Brian Wilson 1942-2025

By Harvey Kubernik

 

On June 11, 2025, Brian Douglas Wilson, co-founder of the Beach Boys died.

During February 2024 he had been diagnosed with dementia, and three months later Wilson entered into a conservatorship. In a post shared on Instagram, his family announced Brian’s death. “We are heartbroken to announce that our beloved father Brian Wilson has passed away,” they wrote. “We are at a loss for words right now. Please respect our privacy at this time as our family is grieving. We realize that we are sharing our grief with the world.”

I first encountered Brian Wilson in 1962 at Rancho Music record shop in Studio Village in Culver City California when the Beach Boys were doing an in-store appearance and autograph party to promote their new record “Surfin’.”

In 1965 I talked to Brian, clad in a blue Navy pea coat and white Levis, one afternoon after junior high school. He introduced me to his wife Marilyn at Fisher’s Hamburgers inside the Town and Country Market in the Fairfax District.

I’ve subsequently worked with Brian on projects over the last half century. I’ve conducted interviews with him and wrote the 2007 program for Brian Wilson’s 40^th Anniversary Pet Sounds tour. In 2004 he supplied the back cover jacket testimonial for my first book This Is Rebel Music.

In 2014, my brother Kenneth and I wrote the text and assembled the debut coffee table photography book of artist Guy Webster, Big Shots. Webster was a Beach Boys’ insider and allowed to shoot the band and Wilson over the 1966-1967 making of their SMile endeavor. Brian provided the introduction to Big Shots.

“I saw Brian take pop music into a new direction,” marveled Guy in one of our interviews. “I love Brian. Child-like innocence and he was playful. And I believe in that. One of the things about studying Buddhism all my life is getting that playful side, exposing it and don’t be afraid of it and let it out. Everything Brian did I loved. Even the silly songs like ‘Surfer Girl’ I thought were brilliant.

“Well, the first time I walked into the living room at Laurel Way, it was this giant Moroccan tent was in the middle of the room, and there was sand on the floor by the piano, and I just went nuts because they could live the way they wanted to. Because they were rock ‘n’ roll and then, I had to go home to a straight house with you know, no tents in my living room…The group would gather in the tent and it was such an intimate experience. I used to sit in there with the guys and we’d talk and hang out and it was such a beautiful light that came in the tent through this wonderful amber, rose and red sheeting. And I enjoyed it. I thought it was a lot of fun. It made the house unique and different.

“I feel it’s an honor that I was at the recording session for the vocals of ‘Good Vibrations.’ Oh my God. I had chills up and down my arms and back the whole time. I had never seen anything like it and to be in that recording session and to see them practice in the halls getting their harmonies. Holy shit. That was a real treat and one of the highlights of my musical life. Capitol Records is releasing the SMiLE box set with the original 1966 and ’67 sessions for that album, including ‘Good Vibrations.’ I took photos in the book for the package. Van Dyke Parks is the lyricist with Brian on SMiLE. He’s brilliant. I did the cover of his Song Cycle album.”

It was in 1965 at RCA studios in Hollywood where Brian met Andrew Loog Oldham, who was there producing a Rolling Stones session at Studio A with engineer Dave Hassinger.

In 2000, Andrew told me Brian suggested to him “that one day he would write songs that people pray to.”

During 2007 I mentioned to Brian what Andrew said. “Yes, I did. I don’t remember when I first felt that. I know music was more than people applauding and buying records. Even when Pet Sounds came out a lot of people told me it got them through high school or college. The most amazing comment I got from one guy who said ‘that’s the most spiritual album I’ve ever heard.’”

“Brian put his heart in his music at a time when we were all using other muscles,” emphasized Loog Oldham.

The Wilson effect can also be found in 1966 on “What to Do,” from the Rolling Stones’ Aftermath. An homage to the Beach Boys, particularly their stacked vocal harmonies. Mick Jagger initially remarked to his producer, “What do you want me to do? Brian Wilson?”

In 1967, Brian would rave about “My Obsession” from the Stones’ Between the Buttons.

Genesis Publications in the UK presented a 2008 limited edition book, That Lucky Old Sun, of only 1,000 numbered sets, personally signed by Wilson and artist Peter Blake. The book has illustrated new interviews with Brian and an essay I penned.

That Lucky Old Sun was the seventh studio album by Wilson, issued by Capitol Records in 2008. It was written in collaboration with Scott Bennett, and spoken word poetry commissioned from Van Dyke Parks. It’s a concept album about life in Southern California.

Brian Wilson’s oceanic music has often been viewed as the soundtrack to an imaginary film. The sonic textures and ingenious voicings depict a California wonderland that is within a whisper’s breath of true touch. How appropriate then that England’s Peter Blake took brush in hand to “storyboard” these cinematic jewels, providing visual counterpoint to the scenes and dreams that reside in his songs.

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Excerpts from Brian Wilson and Harvey Kubernik 1974-2014 interviews conducted in restaurants, delicatessens, studios, and Wilson’s home.

 

Q: Do you remember the first day you entered Capitol Records in 1962?

 

A: Yes. I remember walking into the building with my father and Gary Usher. We met the A&R man, Nik Venet. And he listened to our demos and he signed us right on the spot. We played him “409” and “Surfin’ Safari.” “I want to sign you guys right now!” I just wanted to make records. I didn’t know how big it would get. I didn’t think it would.

 

Q: Tell me about engineer Chuck Britz at United Western/Western Recorders. You also worked with Stan Ross, Dave Gold, Larry Levine and Doc Siegel at Gold Star, Bruce Botnick at Sunset Sound, and engineers at Columbia, and RCA.

 

A: The best trip is that they know music. They are good at music and engineering, too. People like Chuck Britz made suggestions. “How ‘bout if we had a little more pick on the bass?” “‘How ‘bout if the piano had more of a tacky sound.” Chuck was like a co-producer but only got credits for being an engineer. Let me tell you a story. I went to Gold Star and asked Larry Levine, the engineer, “What is the secret of the Phil Spector echo trip?” “Well, we have two echo chambers under the parking lot. Phil uses both the chambers at the same time.” So, I tried that myself and it worked.

 

Q: On the original Phil Spector-produced recording of the Crystals “Then I Kissed Her,” Barney Kessel played the opening riff on a Rickenbacker 12-string guitar.

 

A: Barney Kessel!

 

Q: You and the Beach Boys covered “Then I Kissed Her.”

 

A: The opening riff is my favorite riff ever written. I wanted to feature Al [Jardine] on the record and give him a chance to stand up and sing. It’s hard to describe Al’s vocals, but he can go up there and get pretty high.

 

Q: I always wanted to ask when did you start utilizing two bass players on the same music track? Did this technique begin with Pet Sounds?

 

A: I asked Larry Levine what Phil Spector did with his basses and Larry said Phil uses a standup and a Fender both at the same time. And the Fender guy used a pick. So, I tried it out at my session and it worked great! You also get a thicker sound putting the two basses together. I start with drums, bass, guitar and keyboards. Then we overdub the horns and the background voices.

 

Q: Paul McCartney told me how much he liked the bass lines on Pet Sounds. I know you utilized the bass as a principal instrument. Like on “Here Today” you conceived the idea of the bass playing an octave higher on the rhythm bed track.

 

A: Because the bass parts resound better in a studio and you can take three hours to get one line if you really needed it. You could take forever and get a goddamn line, you know?

 

Q: “Surf’s Up.”

 

A: Van Dyke and I wrote that at my house. It was about 11:00 in the morning. We had a sand box with a piano in it and it took us 30 minutes to write it. Maybe an hour and a half. We just wrote it really spontaneously. We title songs after the lyrics. I never wrote a song on guitar or bass. We were trying to get across the feeling of children. How much their love means to people. Van Dyke Parks is the greatest lyricist I’ve ever heard. His lyric writing is poetic.

Leonard Bernstein had me play “Surf’s Up” on TV. He told someone he liked it. A song has to work on the piano before it goes to the studio. On the keyboard you can see what you’re writing. You can hear and see it.

 

Q: On Surf’s Up I love ‘“Til I Die.” Where did that tune come from? It’s deep in the batter’s box. Like when the former L.A. Dodgers baseball pitcher Hoyt Wilhelm threw a knuckleball.

 

A: Well, I put a B note in G major 7th chord and it was a 3rd in the chord, and the note in the key of G resonates pretty well. Lyrically, I tried to put nature in there. Earth, water, rocks and leaves.

 

Q: “Sail on Sailor.” Carl produced the recording and Blondie Chaplin’s vocal performance is terrific. I know Van Dyke Parks lobbied for the song originally to be recorded.

 

A: I was at Danny Hutton’s one time. Tandyn Almer and I wrote a song, “Sail on Sailor” on a Wurlitzer electric piano and Ray Kennedy was there and started writing some lyrics. “Ray, I didn’t know you could write lyrics.” “Keep playing! Keep Playing!” We wrote the thing in about an hour and a half or two hours. Later, Van Dyke Parks tweaked it a little bit. (Jack Rieley added some lyric revision as well.)

 

Q: Both you and Paul McCartney as songwriters and musicians go away from the root chord and establish counterpoint sound. It’s a structure both the Beatles and the Beach Boys did. Can you talk to me about veering away from the melody from the root chord as a composer?

 

A: I learned that from Motown. I learned how to play bass from Motown for Christ sakes! I learned how to play different type of roots on certain chords. I love Stevie Wonder. We did his “I Was Made to Love Her.”

 

Q: You once said your favorite “John Lennon” songs are “Across the Universe” and “Because.” I hear the influence on the Beatles from “Wonderful” off Smiley Smile.

 

A: I’ll say the influence was on “Here, There and Everywhere.”

 

Q: The opening vocal intro on the Beatles’ “Paperback Writer” was informed by “I Get Around.”

A: Maybe it inspired them. I hope it did. I really do.

 

Q: Your favorite “Paul McCartney” songs?

 

A: “Michelle” and “All My Lovin’” would be two. Paul McCartney’s song “Let It Be” saved many bad nights of mine when I was going through a really rough trip and “Let It Be” would come right to me. Out of nowhere. It healed me. I love Paul’s “The Long and Winding Road.” Because of the chord structure and the message.

 

Q: Rubber Soul?

 

A: “Norwegian Wood” completely blew my mind. And marijuana was around for Pet Sounds. Well, when I first listened to Rubber Soul, I then went to the piano and all I could see were my keys. I locked in with the keyboard and wrote [with Tony Asher] “God Only Knows” in 45 minutes.

 

Q: When you perform “God Only Knows” at concerts, why does it always receive a standing ovation from everyone in the crowd?

 

A: Because we’ve had a little practice, Harvey. (laughs) Second of all, Carl (Wilson) is gone, and third of all, I have to carry what he used to carry. I have to carry the damn weight. I have to carry the ball. I don’t remember the recording session of it. Too far in the past to remember. I mean, here is your part…OK. Here is your part…OK. And, somehow, we got “God Only Knows” done. And, the record spoke for itself. And it was a religious experience. Carl and I were into prayer. We held prayer sessions in our house on Laurel Way. “Dear God. Please let us bring music to people.” It happened. A cool trip.

 

Q: I did an interview with producer Giles Martin. He and his dad, Sir George Martin, who you know well, produced the Beatles’ LOVE album that’s with the stage show in Las Vegas at the Mirage Hotel. You and [wife] Melinda went to the opening. I heard you went back for a second time.

 

A: I thought it was one of the most brilliant pieces of music production I have ever heard in my entire life! I went there thinking it was going to be some look-a-like Beatles guys, a tribute thing. What! A totally different show? I wasn’t ready! What it did to me was make me so very proud of the Beatles. The sound of that theater probably couldn’t be equaled by any place anywhere in the world.

I now realize the sound that I heard was a manifestation of a very, very good natured person like Giles Martin. A very good sense of humor. You gotta check it out! Seeing it made me more proud than ever of the Beatles. It made me realize how great they were with music. I could not believe how good Ringo’s drums sounded. I could not believe it. It was dynamic! You will not believe it. There’s no way they’ve ever sounded better than that theater. I’ll tell you that right now. You gotta go see LOVE and take your chick.

 

Q: Knowing you, did you go back home and write a song afterwards?

 

A: No, I didn’t. I actually didn’t. (laughs) I was so blown away I couldn’t write.

 

Q: Sir George Martin’s production work with the Beatles.

 

A: The horn arrangement by (Sir) George Martin is very humorous on “All You Need Is Love.” I saw him at the U.K. Hall of Fame show with his son Giles. And James Brown. That was quite a night. Really cool.

 

Q: Tell me about “Wouldn’t It Be Nice” from Pet Sounds. The production.

 

A: Barney Kessel did the introduction to the song and Glen Campbell was also there. And, I said to myself, “I’m going to have these guys play directly into the board instead of going out into the studio.” And they plugged their instruments into the recording console direct. That’s how we got that sound. I also did that on “California Girls.” My brother Carl played a 12-string on that and we plugged him into the console and he did his thing. Every now and then I’ll do that.

 

Q: “Cool, Cool Water.”

 

A: Well, there is something special. The recording session was brilliant. Mike was absolutely brilliant. He was right on.

 

Q: Did the principal guitar lead played through a Leslie speaker on “Marcella” get influenced from George Harrison’s lead guitar part on “Let It Be?”

 

A: Absolutely. Marcella was a Spanish chick that worked at a local massage parlor.

 

Q: “The Little Girl I Once Knew.” John Lennon really praised the record in a 1965 interview in England. I read that he called it “the greatest record I’ve heard in weeks.” Current SiriusXM deejay Rodney Bingenheimer as a teenager attended that recording session.

 

A: Yes, he did. That is my very favorite introduction in a song in my whole life. It kills me every time.

 

Q: Because of the way the music is suspended on the front end of the track?

 

A: Yes. It might have been the first time the music stopped and started again on a record. I wrote the intro at the studio before we cut the thing. And, (session musician) Larry Knechtel, it was his idea to keep the music rolling. And we tried one, and then I put a second guitar overdub on top of the other guitar. And the rest of it was history. We were doing stereo but I could only hear the mono and I always put the vocals up front in the mix. Mixing in mono is good for my left ear. My right ear is broke, done and over with.

 

Q: I really dig your “Wendy” record.

 

A: It was not written about my daughter Wendy. This was way before she was born. You know it starts with a bass slowed down with a guitar. It was an attempt to flatter the Four Seasons. I wanted to try and imitate the Four Seasons in a way they would like to hear it. ‘Cause I like (producer) Bob Crewe and the way they do their vocals.

 

Q: “The Warmth of the Sun” is awesome.

 

A: Probably Mike Love’s most beautiful lyrics he’s ever written and one of the prettiest songs I ever wrote. I think it’s because JFK had died the day before. We dedicated it to him and I tried to sing it sweetly and angelically, you know, trying to capture the sound of a sweet angel.

 

Q: Do you remember your first writing sessions with Van Dyke Parks?

 

A: Initially, he did not want to work on ‘Good Vibrations’ because when he heard it, he thought it was finished.

 

Q: Do you recall the origin of “Heroes and Villains?”

 

A: I sure do. The song started at my Laurel Way house. [Brian and Marilyn never lived in Laurel Canyon as represented in a 2018 documentary. In 1966 they resided in Beverly Hills]. We had a sandbox and a piano. The actual recording took five or six weeks. I love “Heroes and Villains.” The magic of Van Dyke’s lyrics and my lead vocals. It’s a pretty youthful lead. Because the damn thing is so together and cohesive. It comes together so beautifully that people can’t resist lovin’ it.

 

Q: You brought in the Theremin instrument into Pet Sounds for “I Wasn’t Made for These Times” and “Good Vibrations.” You saw guitarist Barney Kessel in session at Western recording on Sunset Blvd. with a Theremin player for a science fiction soundtrack. You booked Barney the next day and wanted the Theremin guy. Barney said, “I’ll ask him and see if he’s available.”

 

A: Yes. I first discovered it when I was a little kid. My mom and dad had a friend who had a thing where you put your hand out and get a sound that goes higher and lower. And then I found out about what they call a band Theremin where you slide your finger across a band. And I used it. It is an instrument that you use sparingly.

 

Q: In 1967 SMiLE was shelved. Yet, a bunch of the same songs soon populated Beach Boys’ albums for years. Did you know at least then that the tunes were good enough to be heard and released?

 

A: Yes. Always knew the songs were strong enough… “Heroes and Villains” and “Surf’s Up.” Like on “Heroes and Villains.” I always liked the way the words played against each other. “God Only Knows…” There weren’t songs on the radio with God in the title. Then there were no songs with ‘Villains’ on the radio.

Here is what I used: I used reverberation and echo. And that’s how the studio lends itself to the song. So, the record is the proper use of echo, and the proper use of reverberation. I always loved echo from (The Penguins) “Earth Angel” to Phil Spector. And the Four Freshmen had some echo, too. When you have echo and reverb to work with you can stretch the note from ah… to ahhhhhhh. You can stretch notes longer.

As far as the love or joy of making music, you start with your background track. You get the drummer to get to get the right beat and the bass player to thump the right thump. Guitars, pianos, violins and horns. Then you try and get them to all work together.

Mike came over to my Laurel Way house and I had a “Bop Bop …And he said, “Do that again.” And he goes, “I’m pickin’ up good vibrations.” That’s how he did it. On the piano and that (writing) session I could not envision the whole recording. In those days you went into the studio with ideas and paper but I was using portable cassette players back then.

 

Q: I know you used different studios for various sessions. Van Dyke told me he had never seen anyone before you move from studio to studio with basic tracks.

 

A: I liked the Capitol rooms, and I liked the instrumental sound, but I didn’t like the vocal sound. I didn’t like that kind of echo chamber. Tell me I’m an idiot! I just didn’t like the vocal sound, so we switched over to Western, and Gold Star. Western had a big room, and Phil Spector was over at Gold Star. Western had a good bass sound and a better vocal sound. Sunset Sound also had a great tack piano, too. I did things at RCA with engineer Dave Hassinger. “Help Me, Rhonda.” Capitol did have a good violin sound.

 

Q: You were a regular Gold Star visitor and customer for many years. In that facility you produced the Beach Boys’ “Do You Wanna Dance,” “I Just Wasn’t Made for These Times,” “Wouldn’t It Be Nice,” and the original version of “Heroes & Villains” at Gold Star. And, a version of “Cabin Essence” earmarked for SMiLE. You also produced recordings by the Honeys. Discuss Gold Star.

 

A: Basically, it was their echo chamber. More than anything else. I liked their drum sound. I loved their tack piano, too. It was a great studio next to the Musicians Union on Vine. I liked the whole vibe. I liked the owners Dave Gold and Stan Ross and engineer Larry Levine.

For “Good Vibrations” we started at Gold Star studio with the verses. Then we went to Western studio and did the chorus background. Then we went to Sunset Sound to get the bridges, and then we went back to Western to get the second half of the bridge and over to Columbia on Sunset where they had an 8- track machine for the vocals. And that’s we went there because we heard they had an 8-track machine.

 

Q: What drew you to the use of cello in “Good Vibrations” as a featured instrument?

 

A: Well Carl (Wilson) said, “Why don’t we use a cello?” And I replied, “Well, good idea.” So, we called a cello player to come to the studio. We had him play the part. Came right in and did it. Van Dyke and I also talked about the role of the cello on “Good Vibrations.”

 

Q: I know you employed session players on SMiLE and this went back a few years earlier.

 

A: Because they were able to learn strange chords. They were able to learn licks that other people couldn’t learn. They were able to learn and play with more force and more creativity.

 

Q: Do you remember the first time hearing the final studio mix of “Good Vibrations?”

 

A: At the playback, all the guys said, “Hey Brian. This is a number one record.” I said, “You know what? I agree. I think this is gonna be a number one record.”

 

Q: What is the one thing in “Good Vibrations” that still resonates with you when you hear the recording?

 

A: Mike’s bass part was the one. Mike’s voice on it was the thing that sold me on it. Mike’s singing got us famous.

 

Q: Can you discuss the Beach Boys as vocalists.

 

A: In “Good Vibrations,” Mike’s singing got us famous. Because his voice has a quality to it that goes hand and hand with the song. I’ve written specific songs for Al Jardine, like “Help Me, Rhonda.” Al is a good lead vocalist. Carl Wilson is my favorite rock ‘n’ roll singer. He had a resonate voice and he had a lot of energy and power in his voice. In which I didn’t have or Mike, Al or Bruce Johnston. Carl and Dennis were both my brothers and my artists. Dennis as a singer… First of all, he had an energy. Right? Second of all he had a nice quality about his voice. Coupled energy with a sweetness and that was his whole trip. Bruce Johnston. He is not an energy singer. Bruce is a sweeter singer and a better falsetto.

 

Q: I have a faint memory in 1967 when the Beach Boys rehearsed “Good Vibrations” on Sunset Blvd. at the former site of The Moulin Rouge club that became The Kaleidoscope and The Aquarius Theater. Before the play Hair was in that building. You were teaching the group the vocal parts because you weren’t going to perform shows with them. Do you remember this?

 

A: Yes. I wanted it to be done right and I wanted them ready to go for tour. I knew it could work on stage. I never thought “How is this gonna work live?” When we rehearsed everyone was very cooperative. When the boys were touring in 1966 that was when I first started writing even more parts for them.

 

Q: You flew to Michigan to see “Good Vibrations” played live for the first time. Isn’t that correct?

 

A: Right. In front of an audience. I just remember saying, “That’s fantastic.” Ten-minute ovation. What was it like? I was proud as hell. I took a bow. I knew the group could perform the material on stage. When it went to number one it did give me some confidence I could write in sections.”

 

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In 2004, Brian invited me to a Burbank rehearsal room. Wilson and his band were preparing to premiere SMile in the UK at the Royal Festival Hall on February 20th. I watched with his friend, the legendary guitarist, bassist, author and music instructor Carol Kaye.

 

After receiving triumphant reviews for the SMile event in England, I chatted with Brian at his house about the SMile box being readied for retailers. I’m thanked in the booklet credits.

 

“Well, when we got there, I was scared that it wasn’t going to go over. Right? I wasn’t sure I could do it. We rehearsed for months. But as soon as it was over they stood up for 15 minutes and applauded. Standing ovation. I was so afraid it wasn’t going to go over. What would you do if you were in my shoes?

 

“It was a kick because my whole band loved the SMiLE album. Right? And they had to learn it from scratch. We all had a good time because they loved the music. All the songs I was pleased with. During rehearsals the songs started popping out.

 

“It was so reassuring to see Paul McCartney at one of the SMiLE concerts. Oh God. Yes. He was crying at the concert. Last year I went to see him at Coachella Music Festival in California. He blew my mind. I was on the side of the stage and cried.

 

“I knew SMile would be heard one day. I don’t think about where I was when I wrote it. I’m passed that. I feel I’m a messenger of music for people. Lots of people, new kids, will discover Carl and Dennis when this new SMile box comes out or when we tour. It’s the magic of music that you get to discover songs and people again.”

 

How does it feel to be doing selections from SMiLE now in concert, and even celebrating the accomplishment of SMiLE reaching an audience?

 

You know what, I don’t like SMiLE any more. I got so tired of it and did it so many times that I’ve forgotten the damn thing! I said: “I don’t want to remember it. It’s done.” I like the band I played it with.

 

On November 4, 2004, SMile was presented in Los Angeles at the Walt Disney Concert Hall venue. To record collectors, L.A. natives, the congregation and Wilson, bio-regional psychic relief and closure was omnipresent that evening.

 

“Phil Spector is my hero,” exclaimed Brian in one of our dialogues during 1977. “He gave rock ‘n’ roll just what it needed at the time and obviously influenced us a lot. His productions…they’re so large and emotional…Powerful…the Christmas album is still one of my favorites. We’ve done a lot of Phil’s songs: ‘I Can Hear Music,’ ‘Just Once in My Life,’ ‘There’s No Other Like My Baby,’ ‘Chapel of Love’… I used to go to his sessions and watch him record. I learned a lot…”

 

“I’ve always been flattered that Brian continues to say nice things about me and keeps recording my songs,” remarked Spector in our 1977 interview. “Brian is a very sweet guy and a nice human being. I’m glad he’s coming out of his shell. I think he got caught in a trap with ‘Good Vibrations.’ I think he got condemned more than condoned.

 

“He became a prisoner instead of a poet. He had the plaudits, the accolades, and touched the masses. I know music is a very important thing to him, besides a vocation. It became cluttered the last few years. Your attitude is in the grooves, and it’s a very personal thing. But Brian thrived on competition.

 

“I remember when ‘Fun, Fun, Fun’ came out. He wasn’t interested in the money, but a top ten record. He wanted to know how the song would do against the Beatles and if (radio station) KFWB would play it. But I never saw Brian as a competitor.”

 

Carol Kaye has worked with Wilson, Spector, Jack Nitzsche, Sonny Bono, Bumps Blackwell, and Quincy Jones. Kaye will be inducted into the Rock and Roll Hall of Fame as part of the 2025 class for Musical Excellence.

 

In 2023 I asked Carol if she had met any of the Beatles. “Paul McCartney called me many years ago when he found out I played on the ‘Good Vibrations’ sessions. We traded picks.”

 

(Title photo courtesy Capitol Photo Archives) 

Harvey Kubernik © 2025

 

 

Harvey Kubernik is the author of 20 books, including 2009’s Canyon Of Dreams: The Magic And The Music Of Laurel Canyon, 2014’s Turn Up The Radio! Rock, Pop and Roll In Los Angeles 1956-1972, 2015′s Every Body Knows: Leonard Cohen, 2016′s Heart of Gold Neil Young and 2017′s 1967: A Complete Rock Music History of the Summer of Love.

Sterling/Barnes and Noble in 2018 published Harvey and Kenneth Kubernik’s The Story Of The Band: From Big Pink To The Last Waltz. In 2021 the duo wrote Jimi Hendrix: Voodoo Child for Sterling/Barnes and Noble.

Otherworld Cottage Industries in 2020 published Harvey’s Docs That Rock, Music That Matters. His Screen Gems: (Pop Music Documentaries and Rock ‘n’ Roll TV Scenes) is scheduled for 2025 publication.

Kubernik’s 1995 interview, Berry Gordy: A Conversation With Mr. Motown is in The Pop, Rock & Soul Reader edited by David Brackett was published in 2019 by Oxford University Press. Brackett is a Professor of Musicology in the Schulich School of Music at McGill University in Canada.

The New York City Department of Education will publish for fall 2025 the social studies textbook Hidden Voices: Jewish Americans in United States History. Kubernik’s 1976 profile/interview with concert promoter Bill Graham on the Best Classic Bands website Bill Graham Interview on the Rock ’n’ Roll Revolution, 1976, Best Classic Bands, is included.

Harvey penned liner notes to CDs of Carole King’s Tapestry, The Essential Carole King, Allen Ginsberg’s Kaddish, Elvis Presley The ’68 Comeback Special, The Ramones’ End of the Century and Big Brother & the Holding Company Captured Live at The Monterey International Pop Festival.

During 2006 Kubernik spoke at the special hearings by The Library of Congress in Hollywood, California, addressing archiving practices and audiotape preservation. In 2017 he appeared at the Rock and Roll Hall of Fame in Cleveland, Ohio, in their Distinguished Speakers Series. Harvey was a panelist at The Grammy Museum in Los Angeles in 2023 discussing the Martin Scorsese-directed The Last Waltz.

Kubernik has lectured at the University of Southern California School of Cinema-Television about Oscar-winner D. A. Pennebaker, examining his documentaries on Bob Dylan, Dont Look Back, and David Bowie, Ziggy Stardust and the Spiders From Mars.)

 

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