Several recordings by Charles Manson and members of his "Family" have been released since Manson was indicted in late for the murders of Tate and LaBianca. In the summer ofManson recorded several tracks at Brian Wilson 's home studio but the recordings remain unheard to the public.
Manson himself did not contribute to the recording. Kaufman continually urged Manson to record some of his songs. Manson was "very anxious for his music to be heard. The album was released March 6, Having supposedly failed Album) recover his investment, Kaufman signed an agreement with New-York-based ESP-Disk to distribute the album nationally. The first compact disc version was released on 20 September The CD version used new digital masters.
The first four tracks on the CD release are in mono; the rest of the tracks are in stereo. The versions were also issued on vinyl in the UK. EMI announced on 10 Augustthat the album had been remastered for a second time and, once again, would be released as a two-CD package. The album was released worldwide on 18 Octoberand 19 October in North America. The album was reissued on g vinyl inprepared from the original UK compilation master.
All tracks are written by Lennon—McCartney. From Wikipedia, the free encyclopedia. The Internet Beatles Album.
Archived from the original on 14 May Retrieved 20 April The Beatles: Off the Record. Omnibus Press. ISBN Rolling Stone. Fab Four FAQ 2.
Milwaukee, WI: Backbeat Books. Archived from the original on 27 March Retrieved 20 February Archived from the original on 6 June Retrieved 16 August Australian Chart Book — Retrieved 3 May ISSN Retrieved 4 August Hung Medien, dutchcharts. Archived from the original PHP on 7 November Parks commented, "A lot of people misinterpreted that, but that's OK; it's OK not to be told what to think, if you're an audience.
Health is an important element in spiritual enlightenment. But I do not want to be pompous about it, so we will engage in a satirical approach. Inthe section spun off into a piece called "Mama Says". So the obvious thing was to do something that would cover the physical surroundings. Vosse recalled, "I'd come by to see him every day, and he'd listen to my tapes and talk about them. I was just fascinated that he would hear things every once in a while and his ears would prick up and he'd go back and listen again.
And I had no idea what he was listening for! O'Leary's Cow" and commonly referred to as "Fire". Wilson instructed a friend to purchase several dozen fire helmets at a local toy store so that everybody in the studio could don them during its recording. Wilson also had the studio's janitor bring in a bucket with burning wood so that the studio would be filled with the smell of smoke.
Anderle recalled that Wilson told the group "what fire was going to be, and what water was going to be; we had some idea of air. That was where it stopped. None of us had any ideas as to how it was going to tie together, except that it appeared to us to be an opera. In Julythe composition was reworked as the first section of " She's Goin' Bald ". Inthe piece was given new lyrics and retitled "On a Holiday".
It was recorded the day after the "Fire" session, along with a piece titled "Friday Night", which was intended to segue from "I Wanna Be Around". He then handed out various tools to his musicians for them to create the sounds of sawing, wood cutting, hammering, and drilling.
Brian was consumed with humor at the time and the importance of humor. He was fascinated with the idea of getting humor onto a disc and how to get that disc out to the people. Wilson held sessions that were dedicated to capturing "humorous" situations. It was just like the old days with his Wollensak recorder, except much, much weirder. In earlyBrian's brothers Carl and Dennis went into the studio to record pieces that they had written individually. This look of, 'What the fuck do I do?
Capitol gave Smile the catalog number DT At least two versions of the album jacket were designed, with minor differences.
By Holmes' recollection, his contributions were finished by October. Holmes based the cover on an abandoned jewelry store near his home in Pasadena. This was something that would be pulling you into the world of Smile —the Smile Shoppe—and it had these little smiles all around.
He felt that he and Wilson would not have continued the project the way they did without thinking of it in cartoon terms. According to Vosse, the smile shop derived from Wilson's humor concept.
He said that "everybody who knew anything about graphics, and about art, thought that the cover was not terribly well done It was exactly what he wanted, precisely what he wanted. I think that still stands; I think of Smile in visual terms. In September, Capitol began production on a lavish gatefold cover with a page booklet containing featuring color photographs of the group ultimately selected from a November 7 photoshoot in Boston conducted by Guy Webster as well as Holmes' illustrations.
The gap between conception and realization was too great, and nothing satisfied Brian by the time he'd worked it out and gotten it on tape. And eventually the moment passed He no longer had the same vision. Smile was shelved due to corporate pressures, technical problems, internal power struggles, legal stalling, and Wilson's deteriorating mental health.
Writers frequently theorize that the album was cancelled because Wilson's bandmates were unable to appreciate the music.
However, Stebbins says that the conclusions those writers draw from this perspective are "overly simplistic and mostly wrong" with not enough consideration for Wilson's psychological decline. It is often suggested that Mike Love, in particular, was responsible for the project's collapse. Love dismissed such claims as hyperbole and said that his vocal opposition to Wilson's drug suppliers was what spurred the accusation that he, as well as other members of the band and Wilson's family, sabotaged the project.
Parks' later accounts suggest that he was dismissed from the project at Love's behest. You do a lot of pot, Blue Christmas - The Beach Boys - The Beach Boys Christmas Album (Vinyl, cocaine, you name it, paranoia runs rampant, so, yes, Brian could have become extra- ultrasensitive But can I be responsible?
Should Mike Love take a beating for Brian's paranoid schizophrenia? A playpen of irresponsible people. The group's heavy consumption of drugs at the time has been cited as one of the reasons Smile collapsed. Carl recalled: "To get that album out, someone would have needed willingness and perseverance to corral all of us. Everybody was so loaded on pot and hash all of the time that it's no wonder the project didn't get done. Drugs played a great role in our evolution but as a result we were frightened that people would no longer understand us, musically.
We were stoned! You know, stoned on hash 'n' shit! Brian's use of LSD was negligible compared to his use of Desbutal. By that point, Brian was suffering from He was taking a lot of amphetamines, in the form of Desbutal, which is methedrine and some barbiturate mixed together. That's a combination that's gonna fuck you up — if you take enough of it, you will feel like the walls are looking at you!
There were a number of parts to his paranoia — some of [which] were valid — The things that you do, you see as having so much potency, which usually is your own delusion. The problem is when you crash, [just] how ugly and stupid and trivial it all looks — all you can see are the mistakes.
Wilson was later declared to have schizoaffective disorderalthough most of his friends did not feel that he initially showed any signs of mental illness during the Smile era. We were all strange, doing strange things. Vosse said that, despite the large amount of pot that was available, Wilson "wasn't stoned all the time If you look at the amount of work that was done in the amount of time it took to almost finish it, it's amazing. A very athletic situation, very focused.
The session was conducted as an experiment and was not a full-fledged recording. Smile was one of the most-discussed albums in the rock press  and was first projected for a December release date. That's how good it is. We predict they'll take over where The Beatles left off.
Number One in England. Coming soon with the 'Good Vibrations' sound. The Beach Boys. We're sure to sell a million units So that became the big argument: Are we gonna lose our image or are we gonna start a new one Wilson started having increasing doubts about the project during the latter months of I was an interloper and I was definitely fueling his creativity. No holds barred. No rules. Wilson's friends, family, and colleagues often date the project's unraveling to around the time he recorded "Fire" on November Wilson was frightened that the music may have caused the fire and decided to discard the track.
He later said that his use of marijuana and hashish led him to believe that he was creating witchcraft music. Tensions during the recording sessions emerged around this time, marking a contrast from the joyous atmosphere that began the project.
He said that Wilson "would go through a tremendous paranoia before he would get into the studio, knowing he was going to have to face an argument. By Vosse's account, while tensions had developed during the group vocal sessions, Album) older members of the Wilson family did everything possible to destroy the relationship between Brian and Van Dyke, Brian and David Anderle, and Brian and me.
Mike Love was the tough one for David. Mike really befriended David: He wanted his aid in going one direction while David was trying to take it the opposite way. Mike kept saying, "You're so good, you know so much, you're so realistic, you can do all this for us—why not do it this way," and David would say, "Because Brian wants it that way.
Mike wanted the bread, "and don't fuck with the formula. In a interview, Love recalled being deeply concerned about Wilson's treatment of "himself", "others", and "the reputation of the band", as well as the potential destruction of "our livelihoods".
I think his main problem was [that] the lyrics were not relatable. They were so artistic, and to him, they were really airy-fairy and too abstract. Personally, I loved it. After the Rolling Stone article was published, it acquired notoriety as a formative work of New Journalism and over the ensuing decades, "don't fuck with the formula" was repeated in myriad books, articles, websites, and blogs.
Artistically, it was another matter. In Parks' recollection, "the whole house of cards began tumbling down" when he was invited to the studio by Wilson to settle a dispute from Love over the "Cabinessence" lyric "over and over the crow cries uncover the cornfield".
Brian was starting meet a fantastic amount of resistance on all fronts. Like, very slowly everything started to collapse about him. The scene with Van Dyke. So he abandoned the studio. He got his head into the business aspects of Brother Records. So that kept him out of [recording]. Discrepancies were soon found. In January, Brian missed his deadline and began working less on the album, Carl received a draft notice from the US Army,  "Good Vibrations" began falling off the top 20 chart positions after spending seven weeks in the top 10,  and Parks was offered a solo artist deal from Warner Bros.
And was less and less available to Brian. And Brian was less and less sure of what he was doing with the album. Within the lawsuit, there was also an attempt to terminate their record contract prior to its November expiry. After February, by Anderle's account, tensions between Parks and Wilson flared as the songwriters "started clashing" because Wilson thought Parks' "lyric was too sophisticated, and in some areas Brian's music was not sophisticated enough [for Van Dyke].
For Smilethat celebrated collaboration, to be dependent on a commercial release of 'Vega-Tables' as a single, was to me tremendously ill-advised, wherever it came from. And every once in a while, he would say no just to let Van Dyke know he could say LP and that's what really made Van Dyke mad.
On March 2, after a session for "Heroes and Villains", Wilson and Parks ran into disagreements, possibly over lyrics, and temporarily dissolved their partnership. The event is sometimes considered the symbolic end of the Smile era. Two other dates were also cancelled. Wilson's paranoid delusions intensified throughout the winter  while his progressively erratic behavior started to alarm his associates.
When he showed the painting to Wilson, Wilson believed that the portrait had literally captured his soul. According to Gaines, Wilson suggested to his colleagues that Spector and Frankenheimer were working together as part of a Jewish conspiracy to "destroy Brian Wilson Anderle, himself a Jew, was so insulted he couldn't speak. It took him several days to forgive Brian.
Then Murry was having Brian tailed and so Brian got someone to tail Murry and it just went on and on. All of it complete insanity. By that time It was tapes being lost, ideas being junked — Brian thinking, "I'm no good," then, "I'm too good" — then, "I can't sing! There was even a time back then when there hardly seemed to be a Beach Boys at all.
In Wilson's own words, he had become "fucked up" and "jealous" of Spector and the Beatles,  and he said that when he started Smilehe had been "trying to beat" the Beatles. A popular rumor is that Wilson was deeply affected by his first exposure to the Beatles' February single " Strawberry Fields Forever ".
Vosse recalled that as Wilson pulled over to listen, "He just shook his head and said, 'They did it already—what I wanted to do with Smile. Maybe it's too late. In mid, Wilson and his wife put their Beverly Hills home up for sale and took residence at a newly-purchased mansion in Bel Air. His attitude changed "completely", according to Parks, as Wilson felt "raped" and began "question[ing] the loyalties of the people who were working for him".
Most of the coterie, including Parks and Siegel, disassociated themselves or were exiled from Wilson's social group by April.
A quack claims his wife can cure Tommy " The Hawker "while Tommy's parents are increasingly frustrated that he will never find religion in the midst of his isolation "Christmas". They begin to neglect him, leaving him to be tortured by his sadistic "Cousin Kevin" and molested by his uncle Ernie "Fiddle About". As Tommy grows older, he discovers that he can feel vibrations sufficiently well to become an expert pinball player " Pinball Wizard ". His parents take him to a respected doctor "There's a Doctor"who determines that the boy's disabilities are psychosomatic rather than physical.
Tommy is told by the Doctor to " Go to the Mirror! After seeing Tommy spend extended periods staring at a mirror in the house, his mother smashes it out of frustration "Smash the Mirror".
This removes Tommy's mental blockand he recovers his senses, realising he can become a powerful leader "Sensation". Tommy retreats inward again " See Me, Feel Me " with his "continuing statement of wonder at that which encompasses him".
Townshend had been looking at ways of progressing beyond the standard three-minute pop single format since The first use of the term was applied to a suite called "Quads", set in a future where parents could choose the sex of their children. A couple want four girls but instead receive three girls and a boy, raising him as a girl anyway. The opera was LP after writing a single song, the hit single, " I'm a Boy ".
Townshend initially objected, but eventually agreed to do so, coming up with " A Quick One, While He's Away ", which joined short pieces of music together into a continuous narrative. But what it's really all about is the fact that That's really what we want to do: create this feeling that when you listen to the music you can actually become aware of the boy, and aware of what he is all about, because we are creating him as we play. Pete Townshend talking to Jann WennerAugust . ByTownshend was unsure about how the Who should progress musically.
The group were no longer teenagers, but he wanted LP music to remain relevant. Townshend and Kit Lambert realised they needed a larger vehicle for their music than hit singles and a new stage show, and Townshend hoped to incorporate his love of Meher Baba into this concept. He also wanted the material performed in concert, to counter the trend of bands like the Beatles and the Beach Boys producing studio output that was not designed for live performance.
In Augustin an interview to Rolling StoneTownshend talked about a new rock opera, which had the working title of Deaf, Dumb and Blind Boyand described the entire plot in great detail, which ran to 11 pages. Townshend eventually settled on Tommy because it was a common British name, and a nickname for soldiers in the First World War. Sessions were block-booked from 2pm — 10pm, but recording often spilled over into the early morning.
The album was recorded using an eight-track systemwhich allowed various instruments to be overdubbed. Townshend used several guitars in the studio, but made particular use of the Gibson J acoustic and the Gibson SG. Keith Moon used a new double bass drum kit owned by roadie Tony Haslam, after Premier had refused to loan him any more equipment due to the items repeatedly being abused.
Singer Roger Daltrey later said that Townshend often came in with a half-finished demo recordingadding "we probably did as much talking as we did recording, sorting out arrangements and things. Moon got the songwriting credit for suggesting the idea, though the music was composed and played by Townshend. Moon later said, "It was, at the time, very un-Wholike. A lot of the songs were soft. We never played like that. Some of the material had already been written for other projects.
A cover of Mercy Dee Walton 's "One Room Country Shack" was also recorded but was scrapped from the final track listing as Townshend could not figure out a way to incorporate it in the plot. Recording at IBC was slow, due to a lack of a full plot and a full selection of songs. The group hoped that the album would be ready by Christmas, but sessions dragged on. Melody Maker ' s Chris Welch visited IBC studios in November and while he was impressed with the working environment and the material,  the project still did not have a title and there was no coherent plotline.
The Who took a break from recording at the end of to tour, including a well received appearance at The Rolling Stones Rock and Roll Circus on 10 December. By Marchsome songs had been recorded several times, yet Townshend still thought there were missing pieces. The album was commercially successful, reaching No.
It peaked at No. King, Indianola Mississippi Seeds. ABC Dunhill Records. Strong The Great Rock Discography 5th ed. Edinburgh: Mojo Books. ISBN The Billboard Book of Top 40 Hits. Billboard Books. The Second Disc. October 16, Retrieved April 24, January 17, Retrieved April 30, Retrieved March 1, Tulsa World. November 20, August 14, Interview"Rolling StoneDecember 10, Retrieved May 31, — via IMDb.
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