Fred Vail: "The rest of the story" on Beach Boys Concert Album

PFS ~ This post came courtesy of (and with thanks to!) Kent Kotal and his FORGOTTEN HITS website and newsletter

I just got this GREAT memory to share from our BEACH BOYS Buddy FRED VAIL:

I start this story on December 21, 1963, the night of the 'first' live recording session that became "Beach Boys Concert," the group's very first #1 Gold Album. I had proposed the idea of recording 'the boys' to Murry and Brian Wilson in September. The group was enormously 'hot,' it was 'pre-Beatlemania,' and it's safe to say they were the most talked about group in America.

Chuck Britz, the Western Recording engineer who was Bri's 'go to guy' for their records, brought a few pieces of recording equipment to the Sacramento Memorial Auditorium, set it up in the janitor's supply room adjacent to the stage, and proceeded to record what would become one of the very first, if not the 'first,' live albums in rock history.

I introduced the group ("and now, from Hawthorne, California to entertain you tonight with a gala Christmas concert and recording session, the fabulous Beach Boys.") In the final released version, Brian merely had Chuck delete the word "Christmas" as to not date the recording. It has worked for 45 years!! Brian and the group returned to Sacramento in May to record another set so that he would have more tracks to select from. Also, "Fun, Fun, Fun" had not yet been recorded on December 21 -- it was recorded eleven days later on January 1, 1964 -- and it became one of the key tracks on the album.

The album was released in August and immediately started climbing the charts -- becoming #1 within a month or two. In late September I received a phone call from Jan Berry, whom I had promoted several times in '62 and '63, and whom I visited with whenever the opportunity presented itself.

Jan and Dean were often recording at United Recording, which was literally next door to Western, both on Sunset Blvd. When the two groups were recording on the same day, they'd often jump back and forth between the two studios, visiting -- and, on occasion -- doing vocal parts on each other's records. Dean's vocal work on the BB classic, "Barbara Ann," was a result of such a collaboration.

When Jan reached me on the phone, he said, "Fred, we want to do what you did with 'the boys.'" "You mean, you want to record a 'live' album," I responded. "Yes," said Jan. We want to capture the same feel the boys captured and the kids in Sac really scream their asses off," he added.

I told him it was a great idea and I'd be honored to help out in any way I could. But then I mentioned the fact that the duo couldn't 'lip sync,' as they often did in those days. They'd have to record it 'live' as Brian and Chuck had done. Then Jan said, "Okay, you work out all the details with Lou (Adler) and let's go for it."

Between conversations with Lou, Jan, and Dean, I began to make recommendations for the musicians. My first recommendation was Hal Blaine; my second was Glen Campbell, who was a very active studio musician and demo singer at the time. Glen was very much a part of the "wrecking crew" group even though he's not always mentioned.

I had an ulterior motive for suggesting Glen. I owed him a favor as he had worked a grad party for me in June, for 'free,' while he was in town doing a county gig at the "40 Grand" club in North Sacramento. Glen had been playing golf that afternoon with another friend (and one of the greatest singers and all-round 'nice guys'), Ray Peterson.

Ray mentioned to Glen that he was doing a grad party late that night and Glen asked if he could come over after his country set at the "40 Grand." I told Glen that the budget had been set weeks ago and that I couldn't afford to pay him anything. He said he'd do it for fun. I told him: "I owe you one." So, when we were putting the backup band together for the J & D live album session, I immediately recommended hiring Glen for lead guitar. I knew Glen could also do a few 'warm up' songs and I'd be able to repay him for the 'grad party' gig. We agreed on $200! It was a 'win-win' for both of us.

I then suggested hiring Phil and Steve, as their single, "Summer Means Fun," recorded under the group name, "The Fantastic Baggies," was also climbing the charts. Those four musicians were the backup band for "Jan and Dean," but they also received individual billing on the hand bills we distributed, as did 'ex' Beach Boy David Marks and The Marksmen" who I also added to the show.

At the concert, October 24, 1964, I introduced Roger Christian, who, in turn, introduced the duo: "Welcome to 'scream city. Guys -- hold on to your girls. Girls, just hold on. Here's America's #1 duet, Jan and Dean." That recording, and some additional 'live' recordings from "The T.A.M. I' Show, became Jan and Dean's "Command Performance" album, another classic 'live' recording from the great days of rock and roll.

I still visit with Phil on occasion when I'm out in LA. Phil, Stevie Kalinich and Marilyn (Wilson) and Daniel Rutherford and I always try to have dinner together and tell 'war stories' of the great times we had during those exciting 60's on the west coast. Phil is a terrific guy and one of my all-time favorite songwriters.

Well, sorry I 'rambled' a bit, but I hope you and your readers enjoyed the 'rest of the story.'

Fred Vail, Treasure Isle Recorders, Inc., Nashville, TN ("Music City, USA")

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