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Messages - ripplewine

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Just received the book and am in the middle of reading it now--terrific job, Mark! This work is as good as your last one!

 I agree that there should be a bona fide movie about Jan Berry's career.  If such a project is realized, I hope it gets made by a well-funded operation outside the Hollywood establishment.  Since wealthy white people aren't exactly popular in the mainstream media these days, I think it's unlikely that Hollywood would make a film sympathetic to Jan or Dean.  That is, unless Tom Hanks were to produce and direct it.  He's on record as being a fan of Jan & Dean.

DON'T YOU JUST KNOW IT / Re: The Rarest Jan & Dean 45
« on: August 14, 2014, 08:12:07 PM »
Thanks, BlackSea!  I'd thought that the first few stock copies were labeled "Jan & Arnie."  Dore must have intended the 200 promos for DJs, then, to "test the waters" with Jan's new partner.

DON'T YOU JUST KNOW IT / Re: Back ground on rare CDs?
« on: August 12, 2014, 11:13:34 AM »
I could tell the difference--the lead vocals come from the right speaker as well as the left; it's a lot more obvious if you're using headphones, which I often do.  It can also depend on the type of sound system you're using; mine's one of the ancient big stereos made in the '80s..

« on: August 11, 2014, 02:27:19 AM »
Yep, the '70s weren't very good to Brian, I'm afraid.  I think he wrote just a handful of songs for the albums Sunflower, Surf's Up, Carl & The Passions-So Tough, and Holland.  When Endless Summer came out, with the Beach Boys '60s favorites, it blew those albums out of the water..

« on: August 09, 2014, 05:55:43 PM »
I remember reading somewhere that Dean and I think one of his cars was featured in Hot Rod Magazine.  I've searched in vain for it, so far.  Does anyone know which issue it was?

DON'T YOU JUST KNOW IT / Re: Back ground on rare CDs?
« on: August 08, 2014, 09:41:58 PM »
I don't know why Liberty didn't decide to include Kathy's Clown.  I haven't listened to the released version in a while, but I believe most of the songs were culled from various live performances.  Gonna Hustle You was an unused Jan & Dean studio take from '63, and they used the Drag City album version of Dead Man's Curve from the same year.  So in Liberty's official version, not all of the songs were live, despite what the front cover says...

DON'T YOU JUST KNOW IT / Re: Back ground on rare CDs?
« on: August 08, 2014, 06:46:08 PM »
Yes, that compilation has the complete set lists of both submissions to Liberty for Filet of Soul, as Jan planned to release it.  One set list featured more songs and less talk, and the other one was vice-versa.

Jan & Dean's rendition of Kathy's Clown is similar to the Everly Brothers', but to me it sounds rough and unpolished by comparison, as if they hadn't rehearsed it much.  It was done live for the album.

DON'T YOU JUST KNOW IT / Re: Back ground on rare CDs?
« on: August 08, 2014, 12:21:23 PM »
Hi, surferbee!

Actually I confused this CD with "The Best of Studio Out-Takes Vol.1 & 2" in my earlier post.

Anyway, here's the track listing for the one you were asking about:

Gotta Getta Date (garage demo)
I Love Linda (studio outtake)
Jeannette Get Your Hair Done (garage demo)
I Gotta Drive (studio demo)
Gonna Hustle You (Brian Wilson's demo)
Get A Chance With You (alternate take)
J & D on the Lloyd Thaxton Show-1965
Only A Boy (unreleased single)
Cajun Joe (instrumental version)
Girl You're Blowing My Mind (Jan Berry Warner single)
Laurel & Hardy (Davey Jones studio demo)
Blow Up Music (instrumental version)
Jan Berry Demos (That's the Way it Is/She Sing Sang a Song)
Jenny Lee (Silver Summer alternate cut)
Baby Talk (Silver Summer alternate cut)
Spring Break (radio version)
Spring Break (album version)
Batman (club remix)
Summer Means Fun (enhanced stereo remix)
Sidewalk Surfin' (enhanced stereo remix)
Drag City (enhanced stereo remix)
Dead Man's Curve (enhanced stereo remix) the single version from '64
New Girl In School (enhanced stereo remix)
Surf City (enhanced stereo remix)
Ride the Wild Surf (enhanced stereo remix)
A.A.C.S.C.B.R.T.A. (enhanced stereo remix)
Little Old Lady From Pasadena (enhanced stereo club remix)

The sound quality is pretty good overall, considering they're boots.  The only exceptions here are Jan's two demos from the '70s--That's the Way it Is and Sing Sang a Song.  Quality is very bad on those.  Brian's demo of Gonna Hustle You is better, but still marginal in the sound department.

On the "enhanced stereo remixes," basically what they did was put the vocals on both the left and right channels. 

« on: August 08, 2014, 07:23:07 AM »
"Girl You're Blowing My Mind" is a fantastic track indeed--definitely a step in the right direction musically for the duo.  I've always wondered what songs like this one and "Louisiana Man" would have sounded like with Jan & Dean's vocals, had it not been for the accident. 

Perhaps J & D might have decided to go in both directions as they'd done in '63-'64--with a mixture of great music and comedy.  Based on what we hear in Pop Symphony, it seems possible that Jan could also have gotten into writing movie scores--with his skill set, I think he could have flourished there, too.  Much of Jan's classical arrangement of "Drag City" sounds as if it had been plucked right out of an action/drama film.  And then there was medicine, like Charles said.  Jan may have been trying to decide what to do himself, with so many options before him.

Dean once said in an interview about the movie "Deadman's Curve" that a conversation between them about career direction was not far off at the time of Jan's accident.

« on: August 07, 2014, 08:03:22 PM »
That's a very good point.  Plus, Jan & Dean, unlike the Monkees, were already an established act with a lot of experience in the business.  A regular TV series would have served as excellent promotion for their songs, too.

« on: August 07, 2014, 06:30:28 PM »
I totally understand that; it's one of the things that makes Pop Symphony brilliant--giving young students material that they could better relate to, as well as showing critics that, in Jan's words, "they are making music like they used to."  Plus, all of the tracks sound terrific, with each one done in a different musical style.  But at the same time, I can see why Liberty was unhappy about it; record companies exist for one reason only:  to make money by selling records.  They signed Jan & Dean in the first place to do just that.  All of a sudden here they were, spending a huge amount of Liberty's money making a record that probably everyone knew was going to end up being a tax write-off.  Meanwhile, across town, the Beach Boys (and the Beatles, too) were raking in the dough with new singles and albums for Capitol, their competitors!  It's probably one of the reasons that Liberty were hostile to some of Jan & Dean's later projects, such as Filet of Soul and Jan's version of Norwegian Wood.

I definitely agree that Jan demonstrated an ability to change with the times--there's a good chance they'd have made it through the Sixties OK; as far as I know they never had any personal problems like LSD use that would have hampered their abilities.  And even Buddy Holly suffered a slump in popularity, toward the end of his career.

DON'T YOU JUST KNOW IT / Re: Back ground on rare CDs?
« on: August 07, 2014, 05:49:42 PM »
I like that CD--I thought it was really interesting to hear both versions of Jan & Dean's proposed album in their entirety.  Before getting this one, I'd heard only the abridged version that was on the Anthology album from 1971.  I got the CD from an online site about six years ago--I'm pretty sure it's the same one that Shawn Crossen put together.

DON'T YOU JUST KNOW IT / Re: Back ground on rare CDs?
« on: August 07, 2014, 08:11:30 AM »
I have that CD--I found the sound quality to be pretty good; even the studio chatter in the background is clear.

DON'T YOU JUST KNOW IT / Re: Frank Sinatra Jr. Kidnapping
« on: August 07, 2014, 05:46:17 AM »
Lou Adler claimed at the trial that the safety deposit box was for stock investments that Dean and Barry Keenan had been making together.  They'd been friends since their high school days. 

$25,000 was a LOT of money in 1963--back then it would buy either one new Ferrari 275GTB or about five new Corvette Sting Rays with all the options! 

I wouldn't really classify Dean as a badass.  He claimed he gave Keenan that money simply because he was unemployed; he didn't believe the guy would actually kidnap Frank Sinatra, Jr., even after he'd told Dean of his plan.  Apparently, Dean believed this was just another of a series of practical jokes they'd shared together, or just a silly way of asking him for money.  He claimed he thought Keenan was joking when he told him about his scheme.

DON'T YOU JUST KNOW IT / Re: Baby Talk Auction WOW!!
« on: August 07, 2014, 05:20:14 AM »
That's right--condition (grade) is everything when it comes to desirability and price.  It looks like someone either didn't do the necessary research before bidding, or wants the record VERY badly--or both!

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