Dennis Wilson: Fred Vail

I really don't recall a time when DW actually 'wanted' to leave the group. I do know that the group asked him to leave during a particularly difficult period in his life.

As I've often said, Denny lived as if he was 'forever' immune from the consequences of his actions. He was my friend, and brother-in-spirit' for over 20 years. There was never a more loyal friend. Pacific Ocean Blue was Denny's attempt to 'stand on his own' and be recognized for the amazing talent he was.

He had lived in the shadow of Brian and the others for over 15 years at the time he began production on his solo album - and, keep in mind - that while the others often talked about solo efforts, it was DW who actually completed and released the first solo album.

As to Carl, he did actually leave the group for a time. One of my deep regrets is the fact that I never saw him on his solo tour(s).

I did visit with him while he was writing and recording here in Nashville, most likely around 1980, with Robert Johnson, a local singer/songwriter, who became a good friend of Carl's. He recorded a few demos at a studio in Franklin, TN, called The Castle, working mostly on synthesizers with an 'in-house' musician/tech named Giles.

As to who was the most talented, that is an impossible question for me to answer. Both had unique qualities - CW with his beautiful vocals ('the voice of an angel), his on stage leadership, his compassion, and Denny with his 'passion,' charisma, loyalty and determination.

Perhaps, Denny is the most under-rated Beach Boy, but BOTH shared an amazing amount of talent. One more important point about Carl. He was the leader of the group on stage as well as off. He was the peace keeper.'

While the group miraculously survived for 36 years under Carl's leadership, it fell apart in less than six months after CW passed away on February 6, 1998. If that in itself does not sum up his enormous contribution to The Beach Boys, and their rich musical legacy, nothing else really matters.

I know you hove known the Wilson Brothers for many years, but can you tell us how you first met them? Stu

I first met the boys' on May 24, 1963. I was going to Sacramento State College (a freshman) while working at various Sacramento radio stations as a deejay.

David Leaf once referred to me as the 'teenager with the deejay voice,' and that was a pretty fair description. However, contrary to popular perception, unless you were in a large (le, 'major') market, you didn't make a lot of money unless you were one of the top jocks in a city. I was making about $1.50 an hour and began to supplement my meager income by putting on small teen dances, booking high school 'grad' parties, and such. The year before (1962) as a high school senior at El Camino High School in the affluent north area of Sacramento, I had brought a number of 'name' recording artists to perform at school assemblies.

I think I was 17 when I did my first school concert in the spring of '62. I brought in Johnny Crawford, popular teen star of the hit television series, The Rifleman, and, on the same show was Jan & bean, Smokie Robinson & The Miracles (Smokie's wife, Claudette, was still a part of the group in those early days), and Bobby Freeman (the writer of a hit song the boys' would later record: Do You Wanna Dance?). Additionally, I brought in The Diamonds, Bob Newkirk, and Rusty Draper.

I also booked my first 'grad party' that June, featuring Bobby Freeman and Jerry Wallace, who both had huge hit singles during that period. The '62 'grad' party was such a huge success that the following April, the senior class at El Camino came to me to ask if I would book their grad party.

I was barely 19 and a freshman at Sac State, where I had ironically booked The Four Freshmen into a college show there. When the students told me how much money they had raised ($750), I told them they barely had enough to book the hail and hire a caterer, let alone book any talent.

They asked me what they should do and I suggested promoting a concert to raise more funds. The class a advisors, all adults, were not too receptive to the idea. After all, it had taken them that entire school year to raise the $750 by puffing on newspaper drives, holding car washes, and similar type fund raisers, and I was proposing that they 'lay it all on the line' and do a concert.

Of course, the students thought it was a great idea and we finally persuaded the adult advisors to let us 'go for it'.

I suggested a relatively regional 'surfing bond' called The Beach Boys, who had yet to score their first really big hit single.

I could have picked a multitude of groups at the time, including The Astronauts, Dick Dale and The DelTones, even Jerry Lee Lewis or Bill Haley and The Comets, but for some reason I stuck with the boys.' The early evening of the show (there was NO support or opening act, only The Beach Boys), I drove down to Sacramento Municipal Field - the old Sacramento airport - to meet the group (and Murry), and we loaded ALL their gear into the bock of my folks' '54 Chevy station wagon. It was exactly two months after my 19th birthday and the beginning of a friendship that has lasted 40 years!

As it turned out, that appearance is now considered by many as the 'first' major concert of the group and while they had appeared at various venues in Southern California, this was their first 'headlining' concert in a large auditorium setting.

I'd love to hear about your involvement with so many country based artists, but, hey this is a Beach Boys related thing so I'll ask: How far do the TV/movie versions of early Beach Boys days really reflect how it was, both on and off stage and in and out of the studio? Paul G Adsett

As to my 'current' involvement with country artists (and a few assorted others), since 1980, I have been on owner of Treasure Isle Recorders Inc, the Nashville recording studio I co-founded. My wife and I purchased the stock of my two former partners in December 2000, and, along with the additional funding from four 'silent' partners, I've completely upgraded the studio over the post 18 months. Throughout the course of the past 23 years, we have hosted a virtual 'who's who' of artists representing all genre.

This includes a brief Beach Boys session(s) in the mid-80s, along with additional sessions and full album projects with Sting, Sheryl Crow, Alabama, Dolly Parton, Linda Ronstadt, Travis Tritt, Waylon Jennings (his 'lost' studio album), the late John Denver, Emmylou Harris, John Anderson, Ricky Skaggs, Sandi Patty, Diamond Rio, Kenny Rogers, Ronnie Milsap, Michael W Smith, Steven Curtis Chapman, Pam Tillis, James Taylor, Mac Davis, Molly Hatchet, Hank Williams Jr., Slaughter, Little Texas, The Byrds (Crosby, Hillman, McGwinn) and Jars of Clay, among others.

We've also worked with Rodney Crowell on his last seven album projects (as an artist or producer). Additionally, I co-produced a Grammy nominated album, Red, Hot & Blue, in '89-90, featuring the late Lee Atwater, BB King, Isaac Hayes, Billy Preston and Carla Thomas, and also produced my friend, and Grand Old Opry legend, Bill Anderson.

As to the television biopics, I was not a big fan of the first one, Heroes and Villains, as the author of the book from which the movie was based, Steve Gains, only wanted to show the 'sensationalism' stuff - drugs, Murry, womanizing and bickering. It did not even begin to tell the 'real' story of Americas Bond. I must be honest with all of you, the most recent television movie, produced by John Stamos, I have not seen. I have a copy of it but I find myself making excuses not to view it. I heard both 'pros' and 'cons' about the movie and since the entire band did not have input, I decided many years ago to let my personal memories of the guys speak for itself.

I'm blessed by relatively good health and I still have very vivid memories of my days (and years) with the 'boys.' I'd prefer to remember those times - good or bad - and not be influenced by a Hollywood version of the group's story. As I promised DW in 1979, someday I'll write my story and set the record straight.

Which personal piece of Beach Boys memorabilia are you most proud of having? Mick May

I have a pretty good assortment of Beach Boys memorabilia, including DW drum sticks, guitar strings and picks, a hand written set list' from '63 where most of the list is 'cover songs,' as the boys' did not have enough of their own hits to fill up an entire set, let alone two sets, which is what we frequently played in those early years. In fact, it is only one column long!

I have a number of tickets, signed and unsigned concert and dance posters, some clothing articles, backstage passes, a towel from Denny's yacht, Harmony, acetates, and signed albums, along with a number of glossy publicity photos from the very early Capitol years, and the Warner/Brother years.

Much of my collection is on loon to the Rock & Roll Hall of Fame and Museum in Cleveland, Ohio, where it has been since the grand opening of the museum in September 1995. I visited my collection in 2000!!
One of the items I have on loan to the Museum is a 'show and dance' poster from Friday, November 22, 1963, the date of the assassination of President John F. Kennedy.

We played a show in Marysville, California that evening and - after we drove back to the El Dorado Hotel in Sacramento, 50 miles away - Brian and Mike wrote Warmth of the Sun. There are only three known posters that have survived from that night and I have two of them. My good friend, Peter Howard, editor/publisher of ICE Magazine, has the third. Obviously, it is - like the Mastercard television commercials says - 'priceless.'
Unfortunately, one of my proudest 'treasures,' an actual signed concert poster of the first Sacramento concert (May 24, 1963) was stolen from my home a number of years ago. I am hopeful that eventually it will show up on eBay or elsewhere and I can get it bock.

It was signed that evening by all the guys and, while I do hove one 'unsigned' poster from that very special event, the 'signed' one was one of my most cherished possessions.

Which was the first concert you promoted with The Beach Boys? How was the response from the public? bid The Beach Boys already have a good repute among the public? Who promoted the concerts before you? Mike Wiberg, Sweden

The first Beach Boys concert I promoted was on May 24, 1963, which, as I write this answer, is coming up on 40 years. It certainly does not seem that long ago. Where does the time go? I have most likely covered that concert - and the events surrounding it - in great detail over the years, but l still get a 'rush' thinking about it and the overall 'innocence' of all of us.

We were, in reality, just kids having fun. (fun, fun, fun). The public reacted positively from the start... and while I did hundreds, if not a thousand, shows with them throughout the years, there was ALWAYS a special place in our hearts for Sacramento.

It really opened the door to the whole 'touring' thing and showed the guys, and Murry, that there was an enormous reward in touring - not only did they get an opportunity to share their great 'live' act with countless fans, gaining even more fans in the process, but by combining our 'live' touring with a co-ordinated radio promotion effort, it brought additional attention to the music and the record releases.
We often had radio stations 'front' (ie, 'sponsor') the shows, so there was an additional bond there. I was NOT the 'first' promoter of The Beach Boys. They existed as an 'act' a little over a year before I joined them. However, as for as featuring them as a 'headlining' attraction in a large concert hail setting, I was the first one to do that.

The boys played numerous gigs in the Southern California area, including small VFW hails (Veterans of Foreign Wars), teen clubs (Bob Eubanks Cinnamon Cinder) and other smaller venues along the Southern California coast.

There was a promoter/broker named Harry Klusmeyer, who offered them to me but he was not their agent so I went to the William Morris Agency. (Note: On that initial inquiry to the Morris Beverly Hills office, the receptionist had absolutely no idea who I was talking about when I asked her if they represented the band.)

Did Dennis ever realize that he inspired people to enjoy life? To me I look beyond the booze and drugs and see a person full of energy and using it to explore life. I wonder if he felt his own life to be a bad example? Gypsy's Kiss

DW and I were like 'brothers' for over 2O years. He was my dear friend, buddy, confidant. To me, even after all these years, Dennis will ALWAYS represent the 'spirit' of The Beach Boys - the 'cool' young surfer, the guy everyone admired, the energy on stage and off.

I often called Denny the 'Steve McQueen' of the group and I know he relished in the comparison :)
When I first heard of DW's untimely death, I received many calls from Beach Boys friends and fans. Somehow, by sharing their heartfelt experiences with me, they were communicating to Denny.

One such call was from Paula Haynes, a fan in Memphis, who was very close to all the guys through the years, but particularly to Denny. That night, probably the night immediately after DW's death, I told Paula: 'You know, they're going to drag Denny through the mud.'

'They're going to bring up all the booze and drug stories; the womanizing, and all the rest. But we're lucky, Paula, we knew the 'real' Dennis and it's our duty to keep that part of him alive.

It's hard to write some of these stories - even after all these years - my eyes are full of tears and they're streaming down my face - but to 'know him was to love him' and I'm deeply grateful for that experience. God bless you, DW, your spirit lives on.

You have had an incredible career, not only with The Beach Boys, but with so many different artists. Can you think of one memorable moment in your career as The Beach Boys Promoter/friend that stands out the most, and that you will never forget. Oh and one quickie, do you have any plans to come to the UK in the future, to meet the British blueboarders at an informal Q & A session? Sue

Thanks, Sue. I would love to visit the UK again... had plans to during the Queen's Celebration a couple of years ago. I really wanted to see Brian perform but with my studio, my young daughter Taylor, and everything considered, it was , not possible at the time. One of these days...

As to sharing a 'favorite' moment.., well, there are the public ones like meeting them at the Sacramento Municipal Field that first early evening of May 24, 1963, when I picked them up in my folks' '54 Chevy wagon, we loaded ALL of the gear into the rear, and off we went to the Auditorium to set up - no 'roadies,' just the group, Murry, a friend, and I.

There is the experience of 'introducing' them that night for the first time; the 'live' album introduction; the night of the Kennedy Assassination and our show (and dance) in Marysville, CA; The White House performance that I orchestrated for them in July 1983 - The last time I saw Denny perform with the original Beach Boys. (Note: there were actually TWO performances that day. One was for the President and Mrs. Reagan at a Special Olympics fundraiser on the South Lawn of The White House, and the second performance was for Barbara Bush's birthday celebration at the Vice President's Residence, when then Vice President George Bush got up on stage and sang Barbara Ann - along with the boys - to his wife). Anyhow, those are a few of the public highlights. The more private, intimate moments are even more numerous but I have to 'save' something for my book :)

What unreleased recordings by Brian do you have and will we ever get a chance to hear them? I understand you have a tape of Brian, the Country music ONE for instance. Richard Brindle

I don't think I have any 'unreleased' recordings by Brian and the boys other than the country sessions from April 1970 that have never been completed. I would eventually like to finish them (they are primarily rhythm tracks, with a few overdubs, and some 'scratch track' lead vocals by me).

We had some great players on those sessions: James Burton (former lead guitar player for Bob Luman, Rick Nelson, and Elvis), Dennis St. John (former drummer and musical director for Neil Diamond), Glen D. Hardin (former Cricket and Ekes' keyboard man), the legendary steel guitar players Buddy Emmons and Jay Dee Manis (former Buck Owens Buckaroo), Gordon Terry (legendary fiddle player), Gib Gilbeau and Freddy Weller and Keith Allison, both former Raiders.

Of course, those sessions were done over 33 years ago. We were ALL a lot younger back then :) I think, perhaps, it's better left 'undiscovered'. :)

Do you still keep in touch with Brian or anyone in The Beach Boys organization? Secondly, some time ago there was some talk of putting together a 40th anniversary show hosted by yourself, any inkling of something like that actually getting off the ground? Thirdly, what is the most poignant moment you can recall about any of the early concerts you were a part of? Phil Potella

I try to see the guys every time they are in the area or even within a short drive. I saw Mike and Bruce last summer (2002) in Ashland, KY; saw Alan, Wendy Carnie, Matt, Adam, and their band in the summer of 2001, about the same time I saw Brian on his Brian Wilson/Paul Simon tour- which I caught in Indianapolis. Ironically, just yesterday (May 3), Alan called me to bring me up to date on his travels and the family. We had a great conversation for a half hour or more.

I am saddened at the current conflict between the two 'original' founding members and wish that for the sake of the music, the legacy and the fans, that it could be put to rest.

Each Beach Boy has made a tremendous contribution to our lives, to our great musical heritage. It is not only disappointing, but a sad commentary on life that it should end on such a 'sour note.

I truly believe that for whatever reason: greed, ego, male pride, control, that they should all patch it up, if not for you--the loyal fans - but for Carl and DW. The Beach Boys legacy deserves a better resolution.

As to a 40th Anniversary of that first Sacramento concert, I've tried to get something off the ground but with all the current controversies, it is not meant to be. We can hope and pray for a 41st Anniversary reunion!!

When did you first meet David Leaf? I loved his story in his book of the night in the hotel room (counting the money) and The Beach Boys and Murry realizing for the first time how much they had been making... Sacramento (and you!) had moved them! When did you first meet Van Dyke Parks? How much was he involved in your Beach Bays experience? We have heard stories about Murry's feelings about the BBs etc... how did your family take the sudden surge when you began to manage the new famous band? Smilin*Jeanie

Greetings, Jeanie, and thanks for the questions. As to meeting David, I had been talking to him over the phone as he was putting together the book Beach Boys and the California Myth.
I was among the first contributors and we struck up a friendship. I've always enjoyed his book as it was written from the heart of a 'fan.'

I also liked the late Timothy Whites book for essentially the same reason.

As to actually 'meeting' David, I believe it was at the Queen Mary International Beach Boys convention in 79. I was invited to deliver the keynote presentation and Mike and Bruce came by late in the afternoon to answer questions and meet and greet fans. The 'hotel room' story you refer to actually took place in the early morning hours following the November 22, 1963 Morysville, CA concert - the night of President Kennedy's Assassination. It was at the El Dorado Hotel. The same night that Brian and Mike wrote Warmth of the Sun.

My family was always supportive of my involvement in the music business.., although they were not directly involved.

Like the 'boys,' I grew up in an era where the dad was the 'breadwinner' of the family and the Mom was usually the 'stay at home' one. Not unlike Murry and Audrey.

While our entire generation grew up with 'rock and roll' and music continues to play an indelible part in our lives, my folks did not get into the music of their youth in such a big way. It was the post Depression/World War II era and a lot of the youth were into Frank Sinatra, Big Crosby, the 'big bands' of Glenn Miller and the Dorsey Brothers. My folks loved the Broadway shows of Rogers and Hammerstein. Rogers and Hart, Lerner and Loewe, Cole Porter. When I embarked upon a radio career - first as a 'gopher' and then as a teenage deejay and program director, I think that at first they felt it was just a 'phase'. They soon realized it was my life and supported me 110%.

When I rejoined the group as manager and director of Brother Records in June 1969, I had been making really good money working for a company called Teen-Age Fair, Inc., who put on young 'expos' throughout the USA.

It was a real struggle for the band in those days. They had left Capital but had not been signed to a new Label. Not only that, but the labels were NOT ringing the phone off the hook to sign the boys. It was a time, as legendary radio programmer Jay Cook told me, that The Beach Boys 'weren't hip any more,' at least as far as radio, trade publications, and record label 'insiders' were concerned.I guess we showed them, didn't we!! :) I have met Van Dyke on several occasions but when he was primarily writing with Brian was a period I was not directly involved. I've always had great respect and admiration for Van Dyke.

I'm probably one of a 'handful of folks who actually have a copy of his Warner Bros album Song Cycles. wish I knew Van Dyke better and had more time to visit with him. Being 2,000 miles from CA has its limitations :)

Were you around the studio when Dennis was recording Pacific Ocean Blue? I was wondering what the response to it was from Brian, Carl and in particular Mike... I gather Brian listened to a few tracks, according to one report, and then fled the room because he couldn't listen to it any more.. is that true do you know? And what do you make of the album today? ps I think it's a classic, especially the track You And I. Kie Miskelly

Well, Kie,it's a pleasure to get a question from the 'Big Kahuna'.:) I was there at some of the recording of P0B, but I had been living in Nashville for five years so I was not there for the entire album.

The part I was there for took place primarily at DW's house on the beach in Venice. It was just a small bungalow, with steps out on to the sand. There was recording gear every where. Cables running all over the little house.

What really captured my attention was the passion that DW felt for the album and for his own music. He had lived for so long in the shadow of Brian, rarely doing a 'lead' vocal on the records, and often not even playing drums.

He had all this incredible energy pent up inside him and he was truly destined to let it out. There had been talk about 'solo' albums for years, but DW was finally taking the step. He was the first to actually step out from the 'shadow' of the band and do a commercially released solo album.

I have been trying to see P0B remixed, remastered and re-released for several years, but legal problems have been enormous. Ownership of the actual multitrack tapes have been in question, co-ordinating all the parties (Brother Records, CBS, Jimmy Guerceo, the estate, Caribou) to contribute my studio and myself to the project but I just don't have the time to dwell on it from day to day.

I do know that DW would be enormously proud and honored that after 20 long years, we still remember him and his music.

As to tracks, I think I'll always have two favorites: Forever, which stands as his epitaph, and Do You Wanna Dance, the Bobby Freeman classic, that shows the magical enthusiasm and raw energy that was - and is - DW.

I received the Landlocked album from a friend... Dennis' song... Holy, Holy is a really mystical song... he was in perfect mind as a songwriter... Cuddle Up... the end of the show... O Ocean Blue )... shivers down the spine... who was he really? Andre van den Berg

As I've said previously, DW was simply the 'spirit' of The Beach Boys. His energy on stage and off was something magical. He had his share of deep-rooted problems - problems he could not cope with-but deep down inside, he was a rare 'treasure' and a dear, dear friend.

He was totally devoted to those he cherished, however, he lived as if he would be immune from the consequences of his actions.

It all caught up with him on December 28, 1983. We can only honor his memory - and enjoy his music.

If you could turn back the clock to when you were promoting The Beach Boys, is there anything that you would do differently to what you did then? Would you like to promote Brian on his next tour? Would you like to write a book about The Beach Boys? Dave Brandon

Greetings, Dave. "Will I do the some things that turned me on as a kid? Will I look back and say that I wish I'd never done what I did.' Hummm. There's a song there. I just know it :)

Well, in all honesty. I would have done ONE THING different. On that late evening night of May 24, 1963, when I told the boys' that Morris was taking advantage of them and that a lot of promoters were going to make a whole lot of money off the group... that night when I offered my services to be their first 'advance man,' yes, I would have done one thing different.

I would have asked for Just a simple contract and 5% of the action:) Then I'd be writing these 'war stories' on the beach in Hawaii, instead of Nashville :) I would love to help Brian in any way possible. I've not 'promoted' an actual concert in many, many years and for the past 23 years have owned and operated Treasure Isle Recorders, Inc., my studio in Nashville.

I get to work with a lot of great and talented folks - and a number of legends, but, yes, I still miss the excitement of the boys' and would love to be more actively involved in their shows and tours.

And, yes, it would be 'fun, fun, fun to promote a BW tour and to introduce him every night from the concert stage. (Hey, Bri and Mel, I'm availablell). As to 'the book,' as we refer to it around the house, yes, I promised DW in 1979 that I would some day write that book. He had asked me point blank: 'Fred, when are you going to write a book and set the record straight?'

'Soon, Dennis. One of these days I'll write that book.' Well, it's been over 23 years - close to 24- and I've just gotten around to it.

In fact, these Q&A responses will no doubt end up in a number of chapters, but it will be much more than just 'another Beach Boys book'.

I hope it will be inspirational and it will include numerous stories of growing up as a 'baby boomer' and the other great artists I've had the pleasure of working with through the years.

A friend of mine - Ted Hillary - also a huge BB/Brian fan, put me together with a professional writer by the name of Frank York. We had numerous meetings late last year (2002). We talked on the phone, exchanged e-mails and finally met. Upon meeting Frank and his wife, I decided that the time was right. That I wasn't getting any younger, and that I had an obligation to pass on these memories to others.

I made a verbal agreement with him that very day. Ironically, when I looked at the calendar, it was December 4, 2002. DW's birthday. That sealed it. It was as if Denny had his hand on my shoulder.

I wonder if you have some favorite solo songs from the Wilsons - Carl, Dennis and Brian. Also, did you get to see any of Carl's solo shows? If so, did you enjoy them? rm sorry not to have seen him in NYC. I have been blessed to have met all of the Wilson brothers. Cherish those many good memories, Fred. (Need a ghost writer?) Peace,L&M. Bluebird

Hi, Bluebird. Thanks for the question. I have so, so many 'favorite' songs. I've already spoken of DW, (Forever and Do You Wanna Dance). As to Carl, probably God Only Knows. No one else can bring the same passion and emotion to the song. I also like I Can Hear Music, Heaven, and Sail On Sailor. Carl truly had the 'voice of an angel'.

If Brian was destined to write the message, Corl was just as destined to be the messenger.

Unfortunately, I regret that I never saw Carl's solo tour in the early 80s. I did visit him in the studio here (The Castle) when he was putting together his solo album with Robert Johnson. He also visited our studio, Treasure Isle, both at our original location on Music Row, and our present location in Berry Hill, a little neighborhood just a few miles south of downtown Nashville.

What advice did Brian ask you for? What is your favorite BB song? What other Bands have you had the pleasure of working with? Martha

Hi, Martha. Brian and I have had numerous conversations through the years. One of the most memorable was going with him to the 'mastering' of Pet Sounds. It didn't have a title, as such, but I could see that he was very excited about the album.

I've recounted the story about sitting on the cold linoleum floor of Capitol's mastering room and hearing the album 'front to back' for the first time.

Brian and I were sitting shoulder to shoulder in this cramped little room. Only the pilot lights and VU meters provided the illumination, as Brian had asked the engineer to turn all the lights off in the room.

At the conclusion of the album, Brian turns to me and asked: 'Well, Fred, what did you think of it?'
To which I replied, 'Brian, It's fantastic, it's the best thing you've done.'

To which he replied: 'What do you Think the guys will Think of it?'

And I could only say, 'Brian, This is a great album. It doesn't matter what the guys think. You did a great job.'

As to my favorite Beach Boys song... there are far, far too many. Some of my personal favorites I've already spoken about in previous questions.

As to other bonds and performers I've had the pleasure of working with, again, there are hundreds upon hundreds. They would have to include, however, Smokey Robinson & The Miracles (I presented them my senior year at El Camino High School, Sacramento, in May 1962. It was a high school assembly and they appeared with Jan & Dean, Bobby Freeman, and Johnny Crawford - teenage star of the hit television series, The Rifleman.

My dear friends Jan & bean, are embarking upon their Aloha 2003 tour this year, as Jan can no longer coup with the rigors of The road. We go back to 1960 - about Three years before I met the boys.

I hope to join them at least twice on the road this summer. They've always been two of my favorite people. I stay in touch with Dean (and no doubt he will have some role in the graphics portion of my book) but I have not seen Jan in a number of years.

Other favorite artists include: Buck Owens and Merle Haggard (I worked with both of them during my brief tenure at Capitol Records), Emmylou Harris and Dolly Parton (both have recorded multiple times at my studio), Rodney Crowell (who just completed his newest album (due in June or July) at my studio, Buddy and Julie Miller, Dan Hill, a gifted Canadian singer/songwriter who does his demos at our studio, James Taylor, another studio client, the 'original' Byrds, John Sebastian and The Lovin' Spoonful, The Ventures, Paul Simon (never 'worked' with Paul but have met him and have enormous respect for his music), Ray Peterson (we've been friends for nearly 40 years and I introduced him to Murry and the boys. He was on several of their early tours). Ray is recovering from bladder cancer and I see him at least once a week and speak to him virtually every day. His hit recordings of Tell Laura, I Love Her, The Wonder of You, Fever, Corrina, Corrina and Missing You are part of our rock heritage and his four octave range, still in fine tune, is a rare gift.), Dick Clark, the late Cass Elliott and Waylon Jennings (I worked with him during my 'short' career at RCA Records, he encouraged me to move to Nashville, gave me an office and telephone, and also recorded his last 'studio album' at Treasure Isle). the late John Denver (worked with him at RCA and he also recorded at Treasure Isle).

Well, this could go on for paragraph after paragraph, but all-in-all, I've been very blessed to have worked with and known some of the greatest entertainers of our time.

It's been a 'thrill' just being a 'fly on the wall,' let alone working and knowing them.

I'd like to know more about how Brian came to produce your country album from the early 70s. As far as I know, it's the only country record he was involved with other than Stars & Stripes. Alan

Back in 'the good old days,' when we were doing all The dances and shows - many of them in smaller 'secondary' markets - it was not unusual to load the gear into my folks '54 Chevy wagon or a rental car and head off to the gig(s). There were no 'roadies' in those days, no semi-tractor trailers hauling gear around from one gig to the next. So, to entertain ourselves on the road, we'd often have the radio tuned in to the local pop (Top 40) station.

We'd often sing along to the 'hits,' so to speak. On occasions, I'd turn the dial to a 'country' music station, as I had worked in country radio as a deejay and program director while I was still in high school - KCNW-FM, Sacramento.

I'd be singing along to a popular Johnny Cash, Jim Reeves, Marty Robbins, or other hot record, and the guys would encourage me on.

When I took over as marketing and tour manager in June '69, and was working out of the Ivar office, Brian mentioned those old days and asked me if I wanted to record a country album.

Keep in mind that 'country music' in those days was often also played on the Top 40 stations as crossover' tunes, so Cash, Robbins, Charlie Pride, Hagqard, were not total strangers to "Brian.

Other major Top 40 acts, such as Roy Orbison and The Everly Brothers, were considered 'country' to many folks primarily because of their southern roots.

Since Brian did not know a lot about country music and it was I who had introduced him to the format, he pretty much turned over the song selection - as well as musician lineup - to me. I began calling around, visiting publishers in LA, and making calls to Nashville, to find music. Several of the selections were previous 'hit' country or 'crossover' songs, including the Hank Snow classic (Now and Then) There's A Fool Such As I, Orbison's Only The Lonely and Hank Williams' I Can't Help It If I'm Still In Love With You.

Others were newer or 'original' songs, such as one I got from former Raider Freddy Weller, called Black Man In Georgia and another tune called Bethany Ann.

According to writer Byron Preiss, Brian produced a country album by Fred Vail; this happened around 1970. Whose idea was it to create This album? How many songs were actually recorded, and fully produced; and what was Brians contribution as a producer? bid Fred write The songs himself, or did he select others songs? And finally, can Fred tell us who played on these sessions? Frank IJzendoorn and Frank Lenssen in Holland

This continues the previous question, as to The production and dates of the 'country' album. We nailed down the material, 12 or so songs, and began recording in April 1970. I was working at Ivar on Beach Boys related stuff during the day, so we recorded in the late afternoon and evening at Wally Heider Sound just a few blocks from the 'boy's' offices.

It was only natural that since Brian had recorded mostly pop, Top 40 type stuff all those years, that he leaned on me for input and it ultimately ended up a co-production of sorts. I selected all the musicians, Diane (Rovell) contracted the dates. It was quite an array of talent: James Burton (legendary guitar player to Bob Luman, Rick Nelson and Elvis), Freddy Weller, Dennis St.John Neil Diamond's drummer and musical director - was on drums; Jay bee Menus, a former Buckaroo, and Buddy Emmons - both legendary stall guitar players - worked the dates, as did fiddle player Gordon Terry, another former Raider, Keith Allison, on electric bass, Red Wooten on 'slap' bass (upright boss), and Glen D. Hardin, a former member of The Crickets and Elvis' keyboard player, worked on charts and arrangments with me. Gib Gilbeau also did some overdubs on 'bottle neck' slide guitar. It was a fantastic rhythm section!

Although, as I pointed out earlier, there were a number of 'original (previously unrecorded) songs on the dates, Brian nor I wrote any of them ourselves.

Do you remember working on your solo album with Brian? Can you tall us anything specific about working on it with Brian? Also, do you think it will ever be made available in the near future? I have not heard it and would like to know more about it. Rick Bartlett

Again, Rick asks another question relating to my country album. Working with Brian in the studio - and having attended many of the groups landmark sessions throughout the 60s - was quite a rush for me. I was deeply honored that Brian decided to do the project in the first place, then, to actually ask for and accept my input, was indeed a major compliment.

I could tell early on that Brian was a bit put off by the musicians and musical arrangements. He'd always been such a 'hands on' guy in the control room and he asked Glen and I for a lot of ideas and it really ended up being more of a co-production
.
We never actually went much beyond the 'rhythm frock' portion of the recording, with a few 'lead' vocal overdubs by myself.

It just seemed that Brian lost interest or could not stay focused. I remember one evening when we found out that Linda Ronstadt was coming in to Heider to work in an adjacent studio and I think Brian was a bit 'smitten' with her! We didn't get any work done the rest of that evening!! :)

The project was shelved and the tapes laid around Ivar for years until they were given to me in the late 70s or early 80s. I still have them but they'd most likely have to be 'baked' as the tapes are now in excess of 33 years old!!

I often toyed with the idea of finishing them, which - in reality - would be quite easy as I own a studio, but it's not as simple as that. Finding time, putting together the right folks to finish it up, plus, it's been such a long time that the arrangements may be a bit 'outdated' and I may not be able to hit all the same notes!! :)

I've not closed the door to such a prospect but I've not scheduled any sessions as well!! It's quite amazing that the 'country' sessions have taken on a 'life of their own' and that through the years Brian and Carl (when he was alive) have been asked about them. It came up in one Rolling Stone interview and when the writer asked Brian to describe my style, Brian answered, 'Fred's a bit like Johnny Cash.' To which Carl added, 'Yes, a very far out Johnny Cash!!l' I always thought that was kinda neat.

Do you know if Mike Love wrote all the words to Warmth Of The Sun? Brian mentions this in the IJWMFTtimes film. What was your reaction when you first heard it? Did Brian play it for you on the piano, like an early demo version? Guy Taylor

Thanks for the question, Guy. They had probably been discussing the tragic assassination of our young president, John F. Kennedy, on that fateful day in November. We had been scheduled to play the Civic Auditorium in the small agricultural community of Marysville/Yuba City which is about 50 miles or so north of Sacramento.

There was a major discussion as to whether or not we would even play The date, but after I assured Murry that 'the show must go on,' the guys boarded a plane at LAX and flew up to Sacramento where I met them, as was the usual procedure.

I'm sure that the idea for Warmth most likely had started earlier in the day, perhaps, at the airport as they waited for the flight north, or, perhaps, in the car as we drove up to the gig. When we finished the 'dance and show,' (breaking the hall's attendance record by the way), we drove back to Sacramento where we had several rooms at the El Dorodo Hotel on Business Route 160. 1-80 was not built at the time. So, it was probably around 1am when we reached the rooms.

Murry and I had packed the box office receipts into grocery bogs…crumpled one dollar bills and lots of quarters... as the admission was only $1.75 in those days. All the guys doubled up in those days and there were twin beds in most hotel rooms so Murry and I dumped out the bags and cash was everywhere - covering every inch of the bed, it seemed.

I don't think the guys had actually ever seen so much actual 'cash,' as they were usually paid by check when an 'outside' promoter did the date.

But this was a 'Frederick Vail Production' and we had been the promoters - a partnership with Murry, the boys, and myself, so to speak. I was always paid fairly by Murry and have - through the years - been one of his staunchest supporters (and, at times, 'defenders').

So, the majority of the 'cash' went to the guys and I think I made about $600 for my production and m efforts.
Quite honestly, I was never into doing it for the money, it was always my passion for music and for being a part of the whole scene that really drove me. (But that's another story, another time).

So, after everyone kinda settled down, Brian and Mike began working on Warmth. I remember the two of them going over words (A Cappella, no piano or even guitar) and running through harmony parts and all.
But, of course, there were three other members of the band in the rooms, too, and it was more of a somber atmosphere once the excitement of the gig was over.

Is There anything in your association with The Beach Boys that in retrospect you would have done differently? What would be your top three favorite memories/ events of your time with The Beach Boys? Lina

I think l've covered this question previously, but I'd definitely asked Murry and the boys for a small piece of the oction!! :)

As to 'favorite' memories, Lina, well, you're reading quite a few of them now!! Hopefully, as Kie and I have discussed, we'll end up doing a Part 2 and I'll dive back more into my 'memory bank.'

What is your best memory of all time with the Beach Boys? What did you learn from your experience with The Beach Boys and fame? With Carl? With Dennis? What misconceptions would you like to correct about any or all of The Beach Boys? Will you be at the Carl Wilson Foundation Walk this year? Katherine Russell

Hi, Katherine. Well, I've already shared a lot of memories, and there are far, far too many for a specific favorite. One would have to be Carl and DW flying up to my home in Sacramento, where I was producing a Four Seasons/ Crickets concert for KXOA Podia - and the two of them knocked on my door to 'surprise' me for my 20th birthday! They brought me a tie!! They ended up going to the concert with me and after the show took me and a bunch of my friends to dinner at a popular downtown restaurant. That was a real treat. It was a weekniqht, Wednesday, March 25, 1964, actually the day after my birthday.

As to the annual CW Walk for Cancer, I have only been to the inaugural event, the walk around Lake Hollywood, the silent auction at Cantors Deli on Fairfax, and the first concert at The Roxy.

I would love to come out again but time is scarce with a business and a four-year-old!! Maybe this year. I just hope that it does not lose its small 'family' type of feel and I would also hope that the artists spend more time with the fans and attendees.

I hope 'politics' doesn't ruin a great event in honor of one of the true rare 'gentlemen' of our industry.

Is there a favourite anecdote in your memory from your time with The Beach Boys which you would like to shore with us? Mandy

Hi, Mandy, hang on to your question - and if Kie blesses me with a 'Part 2,' maybe I'll dig up a few more 'gems.' :)

Could you tell us a little about the projects you have been involved in over the last few years? What are you working on at the moment? Linda

Hi, Linda. Shortly after leaving the boys in 71, I went to work, ironically, for Capitol Records, as a promotion manager at the label where the guys had achieved their biggest fame. I worked for a real 'pro,' Al Coury, who I consider to be one of the great 'record men' of all-time. I worked 'full line' promotion, meaning that I promoted all the music at the label: Top 40, pop, A/C, rock, MB, country, even classical.

So, it was a great time to be at Capitol: Helen Reddy, Buck Owens, Merle Haggard, Freddy Heart, Grand Funk, Tex Ritter, Pink Floyd, were among the great acts at the time.

A lot has been written about various bond members' reaction to Pet Sounds, when they first heard it. What was your first feeling about the music? Mark

Greetings, Mark, and thanks for the Pet Sounds question. One of my best recollections of the album is the fact that I was with Brian at the 'mastering' of Pet Sounds. It was quite by occident, or - as they say - a case of being 'at the right place at the right time.'

I had called Brian to see if he wonted to get together. The guys were on the road if I recall. Brian and Marilyn were living on Laurel Way at the time - high in the Hollywood Hills.

Brian told me to meet him at the Capitol Records mastering lab in the basement of the historic Capitol Records lower' building at 1750 North Vine Street in Hollywood. I arrived first and shortly thereafter, BW arrived. He was 'going to lathe,' as David Leaf has said. The 'mastering labs' of the 40s, 50s, 60s were not a bit like the ones of today. Nowadays they are lavish facilities with beautiful chandeliers, carpet, leather chairs, and other 'creature comforts.' Back then, they were more like technical laboratories - very sterile.
Brian immediately asked the mastering engineer to turn all the overhead lights off - as the starkness was probably distracting considering the importance in this one final stage of the creative process of the album.
Therefore, the only illumination we had were the little red 'pilot' lights and the minimal light coming off the various VU meters on the console.

There were just three of us: Brian, The Capitol Records mastering engineer, and me. Brian and I actually sat on the cold linoleum floor - his left shoulder against my right one.

Of course, no one knew the enormous impact this album would have on our industry. No one knew at the time that it would become the #1 American album of the rock era, and - by most comparisons - the #2 rock album of all-time.

I don't think that Brian was concerned about impressing the Capitol brass, the radio programmers, or even those two chaps from London, Lennon and McCartneyl :) He had other 'concerns' on his mind.

So, as we began the mastering process, with Brian occasionally telling the engineer to add EQ - making it 'wetter' here and there - or adding compression, when to fade, etc., there was absolutely no hint of the great things that were to come.

As the dog barks, the train whistle blows, and the final notes of the album fade into the distance, there was complete silence.

I was still mesmerized by the overall production, let alone the great songs I'd just heard. I don't know what, if anything, I'd expected, but this was something truly unique.

I picked up on Wouldn't It Be Nice, God Only Knows, Sloop John B, I Wasn't Made For These Times and Caroline, No, right away. They were - and still are - among my favorites.

Finally, breaking the silence, Brian looks over at me and said: 'What do you think, Fred?' I Just remember telling him, 'It was great, Brian. It's the best thing you've done,' I added. Then he said: 'But what do you think the guys will say,' he asked. 'I don't know what the boys will think, Brian. I just know this is a great album. I wouldn't worry about that now. You did a greatjob!

I am totally mesmerized whenever I watch the Lost Concert video. Can you share your memories of being in the audience that night. Mally

Mally, that is a great question. I had heard about this 'Lost Concert' tape from March 1964 and had seen it promo'd on AMCs American Pop. I tuned in when it finally hit the air waves. All of a sudden, as the cameras scan the audience, I see myself sitting there - right next to Marilyn!

Just a few short weeks later, when Marilyn and Daniel come through Nashville after their visit with the girls who were on the road in Florida, I asked Mare about the concert. Neither of us remembered beinq there!!
Each time I see the show I'm still amazed! We both appear on the film a number of times but neither one of us remember being there!

From the looks of the crowd and the stage, it was most 'likely filmed at a l station -probably KHJ-1V on Melrose Avenue. That was the host station for several LA area TV shows of the era, including Ninth Street West and The Lloyd Thaxton Show, if I recall.

It was not a large audience... probably less than 100 people. Again, 'the right place at the right time.'

What went through your mind the first time you heard Brian sing one of his songs? Secondly have you written any songs yourself? Ruth

Greetings, Ruth...it's nearly 3am in the morning here - on Sunday, Mothers Day 2003. Ironically, you are my 'final' question - at least for Part 1!!

As to Brian's vocals, which, in the early days were the most unique part of 'The Beach Boys 'sound,' I always enjoyed his lovely falsetto and the innocence he brought to a song. Carl had the pretty voice - 'the voice of an angel;' DW had the raw, gutsy vocal quality; Mike, like Brian, the teenage innocence; Al had a pure vocal quality.

The blend - the end result - was perfect, flawless. Brian's vocal parts don't immediately 'blow you away,' nor hit you over the head, but at the same time, take them out of the mix and it just wouldn't be The Beach Boys.

Back in those early 60s days, Brian was very soft spoken. He still is. I once said he was an 'introvert in an extrovert industry.'

He was never one to want to stand out, certainly not on stage as was the case with Mike and DW. They were both born to be 'stars.'

'The smell of the grease paint and the roar of the crowd' drove them. That was simply not the case with Brian. He was driven by the music.

He once told me that he shared his love through his music. And that pretty much says it all. To 'sum it up,' as they say, this has been a wonderful experience - sharing my stories with all of you. In many ways it was therapeutic.

In other ways, it gave me a bit of a head start on that book I promised DW I would write some 24 years ago.
All-in-all, I'm very flattered that Kie would ask me to be a part of his tribute to Brian and the boys.
I would also like to thank Linda for her diligence and work in getting the questions off to me in such an easy format.

Since a great many of the Blueboarders live in the UK and I don't have the opportunity to meet all of you at concerts and various events, this is one way of sharing my stories with you.
Hopefully, down the road, I'll have an opportunity to visit all of you in person and answer even more of your questions.

In the meantime, thanks for letting me share with you my great love and appreciation for Brian and the music.

There's been a lot of controversy over the past couple of years. A lot of it has been centered around Mike and Al and the litigation they are going through.

Unfortunately, The Beach Boys, as I and millions of fans have grown to love, simply exist no more - except in our memories and on the many, many albums they gave us.

I'm quite saddened that the #1 vocal-instrumental group of all time has been silenced.

There are those who have said, 'how can it be The Beach Boys with no Wilson' on stage? But that is only part of the true picture.

I've seen the three shows - each with their own style and sound. Mike is still the consummate entertainer.., the 'cheerleader,' so to speak. Both Bri and Alan are actually singing better than they have in years. But in reality, the real 'star' of any Beach Boys concert - regardless of who you go to see - is the music.

The music is their legacy, pure and simple. Fifty years from now - long after we're all gone, the music will remain. Like Stephen Foster did in the middle 1800s, and Cole Porter, Berlin, and Cohen did in the first half of the last century, Brian did in the second half.

He captured a whole generation in his music. He spoke to us, because, in reality, he was one of us. He had the same dreams, the same upbringing. He had a rare gift and he has shared it unselfishly with all of us.
For that we can all be very grateful.

Fred falls asleep exhausted! : )

Look for Part 2 Coming Soon!