Lyrics and Liner Notes

This album evolved over a ten year period. I am a film and television composer, songwriter (pop/musical theater), and producer by trade (with a wife and three kids) who recorded this labor-of-love in my "spare time", usually between 11:00 p.m. and 4:00 a.m., which may account for the album's nocturnal vibe.

The first time I encountered Brian Wilson was at Brother Studio while the Beach Boys were recording 15 BIG ONES. Growing up in Malibu, California during the '60s and '70s the music of the Beach Boys provided the perfect soundtrack to my adolescence. I remember vividly the first time I heard "California Girls" while washing the family car. This incredible sound poured out of the radio and I just had to know who was behind it. The songs presented on this album not only span Brian's forty-year career but also represent his versatility. Many thanks to Brian's collaborators Van Dyke Parks and Tony Asher for their insight and assistance.

When it comes to the subject of the music of Brian Wilson, the uninitiated generally fall into two camps: hard-core rockers who dismiss it as "sissy surf music" or classical snobs who denounce it (and all pop music in general) as too "four chord simple." When I beg their indulgence by playing "Our Prayer" from the 20/20 album, it’s always interesting to see some sort of transformation take place. "Thomas Tallis, Palestrina, Monteverdi"? No ... it’s the kid from Hawthorne!

Brian’s music has a knack for sounding simple on the surface, but it’s never simplistic. In the "production wars" of the '60s, Brian had some stiff competition and he single-handedly rose to the occasion. The Beatles had George Martin and Phil Spector had his "Wall Of Sound." Brian’s "wall" was filled with stained-glass windows and that’s what made his productions in the '60s so unique. Another underlying reason his work endures is due to the healing power of his music.

Brian’s pioneering innovations in pop music are so far reaching that we who write and produce have all been under his influence — whether we realize it consciously or not. If Brian never writes another note it will be fine with me. He's done more than enough. But thankfully Brian is as active as ever with writing, recording, and touring.

"WHERE IS UTOPIA?" (Parkes-Dolan-Pett)

WHERE IS UTOPIA? (x2)
I WANT UTOPIA AND I WANT IT NOW!
(GIMMIE, GIMMIE, GIMMIE, GIMMIE, GIMMIE, GIMMIE, GIMMIE,
GIMMIE, GIMMIE, GIMMIE, GIMMIE, GIMMIE, GIMMIE, GIMMIE NOW!)

Utopia is hard to find.
In one man’s mind,
in all mankind.
You won't find it in a crystal ball,
A banquet hall,
Or an empty mall..
What's happenin' to the good ol' red, white and blue??

WHERE IS UTOPIA? (x2)
I WANT UTOPIA AND I WANT IT NOW!

(GIMMIE, GIMMIE, GIMMIE, GIMMIE, GIMMIE, GIMMIE, GIMMIE,
GIMMIE, GIMMIE, GIMMIE, GIMMIE, GIMMIE, GIMMIE, GIMMIE NOW!)

No one can find it from Main to Nome,
In a ‘bank-owned‘ home,
under the Capital dome.
The media drones have blinders over their eyes.
It’s no surprise they believe their own lies.
What's happenin' to the good ol' red, white and blue??

I WANT UTOPIA? (x2)
I WANT MY UTOPIA AND I WANT IT NOW!

(GIMMIE, GIMMIE, GIMMIE, GIMMIE, GIMMIE, GIMMIE, GIMMIE,
GIMMIE, GIMMIE, GIMMIE, GIMMIE, GIMMIE, GIMMIE, GIMMIE NOW!)
Utopia’s the place to be
Where everything’s free… relatively.
(inst. break)
So, how's that hope and change workin' for you?

WHERE IS UTOPIA? (x2)
I WANT UTOPIA AND I WANT IT NOW!
(GIMMIE, GIMMIE, GIMMIE, GIMMIE, GIMMIE, GIMMIE, GIMMIE,
GIMMIE, GIMMIE, GIMMIE, GIMMIE, GIMMIE, GIMMIE, GIMMIE NOW!)

   THERE'LL COME A DAY OF RECKONING WHEN IT ALL FALLS DOWN!!

                     © 2010 Cinecam Music Publishing (ASCAP) / Box O' Clox Music (ASCAP)

This is a remake of a song we wrote and recorded in 1984 called "WORKING GIRL" (pre-dating the movie by four years). This rewrite has a new verse. Look up! Look out! It's a chem cloud day.... as the bumper sticker's say: "GOOGLE CHEM CLOUDS".

This track originally appeared on "THE QUICKENING" CD. Here it is remixed and re-mastered.

3 (*) "DON'T THROW OUR LOVE AWAY" (Parkes-Pett-Dolan)

A rather unusual story behind this one.... As I was making my youngest daughter (11) a sandwich one afternoon I caught her humming a tune. When I asked her what it was she said she 'made it up'. I said, "What you're humming is a motif from the 3rd movement from Sibelius' 5th Symphony". I knew there was no way that she could have known this. I loaded up a CD of the Sibelius 5th and popped the headphones on her head. After the motif passed she took them off and declared, "Yup, that's it!". Later that night... the hypnotic chord progression from that portion of the symphony was going through my head in circles, keeping me awake. Just as I had fallen into a dream state, a melody flew in over the top of the chord progression. This kind of thing has happened to me before but normally I am unable wake myself in time to write something down. This time I was able to force myself up to jot down the chorus (lyrics and all). The very next night the verse came to me in a similar fashion. So, if the production has somewhat of a 'dreamy' quality about it, that's why.

Yes, this track too originally appeared on "THE QUICKENING" CD. Here it is not only remixed and re-mastered, a vocal line has been added to the bridge. The are also new strings and other various things... Greg Hauge's initial production and arrangement on this song is brilliantly understated. (i.e. the short guitar figure leading into the chorus.

EVERYBODY WANTS TO TELL ME

Another version of this song entitled, "THE QUICKENING" was released in 2004. The tune was originally copyrighted in 1997 (prior to 911) when the original track was recorded using a 54+ string section. Some history on the original release can be found on our website. I was never happy with the 'chorus' melody. I've been writing, producing and arranging pop music since the mid 1970s' and I have never felt compelled to tinker on a track over a period of 13 years. This new, and final, version has not only a new melody for the chorus but the verses have been re-phrased as well.

Light is dark and dark is light,
right is wrong and wrong is right.
When did truth become a lie?
Can't you hear the angels cry?
God has a tear in his eye...

In the home of the brave
In the land of the free
it's the dawning of the age of insanity.
From the spacious skies,
from sea to shining sea
kingdoms rise to fall
and all is vanity... all is vanity ... all is vanity.

A bad moon's rising in the East,
people gather 'round the one eyed beast.
Flying demons full of rage
force history to turn a page...
force history to turn a page...

In the home of the brave
In the land of the free
it's the dawning of the age of insanity.
From the spacious skies,
purple mountain's majesty
kingdoms rise to fall
and all is vanity... all is vanity ... all is vanity.

Stars may tumble from the sky,
it's appointed once for man to die.
Somewhere lies an empty tomb.
The second coming's coming soon....
The Prince Of Peace is coming soon
all is vanity....

Written in Atlanta, which helps to explain it's obvious Southern elements. This track seems to cry out for a big gospel choir performing a call-and-response. If some gospel artist out there ever covers this song I have a choir arrangement layin' around here somewhere.

It clox in at just a little over 2:00, but has a lot to say. Not one note wasted.

The origin for this one dates back to 1982. It's a tonge-in-cheek attempt to shatter the 'California Myth' created in the 1960s' by the Beach Boys , Jan & Dean et al in under 3 minutes. The lyrics actually are more relevant today than when they were originally written. This is one of those songs that somehow just happens... it was written and recorded within a 3 hour period. Wayne Erwin (of Rockin' Foo and The Monkees' fame) played the guitars on the 1982 demo, which can be heard here. Rather than re-record the song from scratch I just superimposed some new elements onto the demo from 1982.

CALIPHORNIA!

CALIPHORNIA!

Ó1982-2008 Cinecam Music Publishing (ASCAP) / Box O' Clox Music (ASCAP)

Yes, it's a 2 chord song (G#m and Em) to be exact). A number for and about the "Midnight Highway".

(DON’T WORRY BABY) BABY, WE ARE HEADED WHERE THE SUN NEVER SETS THERE…NO MORE NIGHT, ELECTRIC LIGHT SAVE THE NUCLEAR POWER…NO-ONE KNOWS THE HOUR…

BABY, WE’RE A GLIMMER HERE, IN HIS EYES JUST A TEAR…MORNIN’ STAR IS NOT TOO FAR … DON’T SELL YOURSELF SHORT, GOT THE FULL REPORT…SKIPPED TO THE END AND WE WIN…IT’S ALRIGHT, YEAH…

Another one originally recorded in the early 80s' - actually a 'B' side to a single released on Zebra Records (which sold something like 1 copy world wide - some accomplishment that, even for us). This new version has a very subtle production.

Included here as a foretaste of an album we plan to release in the future entitled "It's About Time"

2008 Cinecam Music Publishing (ASCAP) / Box O' Clox Music Publishing (ASCAP)

14 "WHEN THE SUN GOES DOWN" (Parkes-Pett)

Another one penned in the early 1980s'. Somewhat inspired by Brian Ferry / Roxy Music.

... appears at this point on the CD for a bit of light hearted irony. Phil and Don time here. We've cut a few different versions of this one over the years (once as demo for a McDonald's commercial).

A LITTLE HAPPINESS IN A BIG OLD WORLD