Should the Beach Boys be considered Proto?

dr wu23 wrote: 11 pages and Steve's relentless support yet still no admission into the proto prog hall of fame.

So if Steve believes the sandy dudes to be proto prog, and still does, after 11 pages, they should naturally be included in PA?
Just for the record: the admin team, who evaluates acts for related and proto, have never seen a formal suggestion made by a special collaborator. If we do, we will of course take it from there.
Sure, I have already stated my position on this, but I am not the only admin around.
Either way, folks are very much welcome to discuss these matters further. Just don't expect them to be added on account of a thread and maybe three people advocating their supposed proto-prog credentials

Edited by Guldbamsen - September 25 2014 at 14:43

11 pages and Steve's relentless support yet still no admission into the proto prog hall of fame.

Dean wrote: Moon Safari ... formed in 2003 ... ah... if I have to explain why that example is so compete in its irrelevance then we might as well add Backstreet Boys to Experimental/Post Experimental, the Beastie Boys to Krautrock and then call it a day.

(of course I was joking )

I can't wait for the reviews of "Kokomo" to start rolling in.

"Aruba, Jamaica, ooo I wanna take her"

Dean wrote: There is no wall, The Beach Boys are not Proto Prog.  "End of the Trail" by James Earle Fraser

I'm guessing this was intentional, but for anyone else,



"Surf's Up"

NYSPORTSFAN wrote: SteveG wrote: Kati wrote: SteveG wrote: Should the Beach Boys be considered Proto Prog because of Brian Wilson's employment of suite like movements and sophisticated lush musical arrangements for Pet Sounds? Not necessary SteveG I don't think they were original enough in their music or sound to classify them as the above. The melody of The Beach Boys’ classic ‘Surfin’ USA’ is almost identical to the melody of Chuck’s 1958 classic ‘Sweet Little Sixteen’. They sounded so alike in fact that The Beach Boys had to give Berry co-writing credit in order to avoid a lawsuit. A profitable experience in the end for Mr. Berry. We hear Beatles influence in The beach boys however the Beatles and many of the Band's influences were American in origin. Chuck Berry was perhaps the most fundamental progenitor of the Beatles' sound. They recorded covers of "Roll Over Beethoven" and "Rock And Roll Music" early on and many other Berry classics were in their live repertoire. Chuck Berry's influence is also heard (in altered form) on later recordings such as "Everybody's Got Something to Hide Except Me and My Monkey" (1968) and "Come Together" (1969) (when "Come Together" from Abbey Road was released, the owner of Chuck Berry's copyrights sued John Lennon for copyright infringement of his song "You Can't Catch Me", after which the two reached an amicable settlement, the terms of which included an agreement that Lennon cover some Chuck Berry songs as a solo artist). Also copied as follows from wiki: In 1973, "Come Together" was the subject of a lawsuit brought against Lennon by Big Seven Music Corp. (owned by Morris Levy) who was the publisher of Chuck Berry's "You Can't Catch Me". Levy contended that it sounded similar musically to Berry's original and shared some lyrics (Lennon sang "Here come ol' flattop, he come groovin' up slowly" and Berry's had sung "Here come a flattop, he was movin' up with me"). Before recording, Lennon and McCartney deliberately slowed the song down and added a heavy bass riff in order to make the song more original.[14] After settling out of court, Lennon promised to record three other songs owned by Levy.[15] A primitive version of "Ya Ya" with Lennon and his son Julian was released on the album Walls and Bridges in 1974. "You Can't Catch Me" and another version of "Ya Ya" were released on Lennon's 1975 album Rock 'n' Roll, but the third, "Angel Baby", remained unreleased until after Lennon's death. Levy again sued Lennon for breach of contract, and was eventually awarded $6,795. Lennon countersued after Levy released an album of Lennon material using tapes that were in his possession and was eventually awarded $84,912.96. The album was called Roots. Hugs Excellent essay on 'borrowing' influences, Katy. But unlike Surfin' USA and Come Together, Pet Sounds, at least to my ears, has no other obvious Pop or Rock "n" Roll influences. Perhaps the "long hairs" can hear Classical influences but that ability is way beyond me. I feel that Pet Sounds, even if it was derived from Surf Music, is pretty unique and original. Just like you. I love Pet Sounds but it's easy to see Brian Wilson was influenced by Phil Spector "Wall of Sound" production. I mean hasn't anyone noticed that Pet Sounds is built on Phil Spector layering of different instruments. Phil Spector mentored Brian Wilson let's not forget that. What Brian Wilson did like every great musician is take his influences and brand it into their own style.

Hello :) NYSPORTSFAN
I was not aware that Phil Spector mentored Brian Wilson. I do know that Wilson was obsessed with Spector. I am not sure but I also think Spector never produced anything for The Beach Boys.
Hugs

SteveG, to be honest I don't know enough the beach boys, especially pet sounds, you peaked my interest now, I must go back and listen to those tracks! Thank you! Hugs    

Edited by Kati - September 25 2014 at 01:09

*whoosh*

Moon Safari ... formed in 2003 ... ah... if I have to explain why that example is so compete in its irrelevance then we might as well add Backstreet Boys to Experimental/Post Experimental, the Beastie Boys to Krautrock and then call it a day.

There is no wall, The Beach Boys are not Proto Prog. 

Atavachron wrote: