31:
308:
377:
dopey conversations about some dumb book he'd just read. Or else he'd just go on and on about girls." He added that his impression of Wilson was of "the single most irresponsible person" he had ever met, recalling that he had seen uncashed royalty checks of up to $ 100,000 laying around Wilson's house. He was further bemused by what he described as "the weird relationship he maintained with
297:
wanted to write a song about. Asher's contribution to the music itself was minimal, serving mainly as a source of second opinion for Wilson as he worked out possible melodies and chord progressions, although the two did trade ideas as the songs evolved. He characterized the experience as "writing an autobiography", however, "I wouldn't limit it to Brian's autobiography." On "
411:. I thought it was a goofy name for an album – I thought it trivialized what we had accomplished. On the other hand, I was aware that many of Brian's off-the-wall ideas had turned out to be brilliant." Asher was not called again to write for the next Beach Boys album. He said, "I wasn't surprised. Remember,
406:
After their songs were completed, Asher visited a few of the recording sessions, most of which were string overdub dates. He did not have a favorable reaction when he learned of the album's title. He remembered that Wilson showed him "some proofs of the pictures they'd done at the zoo, and he told me
376:
In later years, Asher reflected on his interactions with Wilson and his bandmates as an "embarrassing" experience. He remembered that Wilson "exhibit this awful taste. His choice of movies, say, was invariably terrible. ... every four hours we'd spend writing songs, there'd be about 48 hours of these
266:
Asher explained, "I think we were recording some music, or voice-overs for a commercial and I had heard that the Beach Boys were in another studio. During a break, we kind of hung out in the hallway and eventually, sort of snuck into the booth and Brian was in the studio . ... eventually, we met."
296:
Wilson and Asher wrote together for about three weeks. According to Asher, a typical writing session started either with Wilson's playing melody or chord patterns that he was working on, by discussing a recent record that Wilson liked the feel of, or by discussing a subject that Wilson had always
287:
dates the initial meeting between Asher and Wilson to early 1963. Schwartz himself claimed that he was introduced to Wilson by Asher, "my best pal in college," at
Western Studio. Asked why he felt Asher was the right collaborator, Wilson responded that he "thought he was a cool person" and was
229:
I asked what it was like writing commercials for an advertising company. It seemed like interesting work. I said, “You should be good with words if you can do that.” And, he said, “I’m pretty good with words.” Out of nowhere I said “Would you like to work with me on some songs and write some
258:
and had felt that the Beach Boys were distinct from most artists, releasing a string of hits where "you wouldn't even know, necessarily, that it was gonna be a Beach Boys record from the first bar or something." However, although he was a fan, he "didn't own any of their albums. I had
461:
After leaving the advertising agency business, Asher teamed with John Bahler to form
Producer's Music Service, a jingle and scoring production company in Hollywood. Asher eventually went to work for Bass/Yager and Associates, a Los Angeles graphic design firm headed by designer
365:". He also said that he conceived the title and subject matter to three of their eight songs. On the publishing royalties, Asher agreed to a 25% cut, an arrangement that he felt was not necessarily commensurate with his contributions. In his words, it was "a
402:
but an amateur human being". Referencing this remark in a 2013 interview, Asher said that he "didn’t mean that in the way it came out", explaining, "We all have areas of things we’re good at and things we’re not so good at, but his is so zeroed-in on music."
470:
In the late 1990s, Wilson and Asher rekindled their writing partnership and wrote at least four songs together. Only two were released: "This Isn't Love" and "Everything I Need". A piano-only rendition of "This Isn't Love" was issued on the 1997 compilation
185:
with a degree in journalism and subsequently found employment at the Carson/Roberts/Inc. advertising agency. Asher devised the company's Mattel slogan, "You can tell it's Mattel—it's swell!", a success that led him to write popular ads and jingles for
271:
and cars) and not wanting to collaborate with any of the songwriters with whom he had previously worked, Wilson called Asher around
December 1965, and within ten days they started to write the songs that formed the bulk of
30:
301:", Wilson reflected, "I think Tony had a musical influence on me certain love for classic songs." In turn, Asher admired the way Wilson "hunt for a chord change ... the way some of us type."
326:
394:
anger. Then he'd fall apart and start crying during play-backs of certain tracks." Asher believed that the "whole claustrophobic scene with him and his family" was more to blame for Wilson's
444:
and used on their television show. As a copywriter and creative director at several advertising agencies (including Carson/Roberts/Inc.), Asher wrote and produced dozens of jingles for
369:... Until you consider that I was a nothing who had never done shit, and I had a chance to write with a guy who had something like nine million-selling records in a row. Well,
283:'s house. Asher said that Schwartz "had been a classmate of mine at Santa Monica College. ... Occasionally I would see Brian —but never stayed long." Wilson biographer
324:
325:
1075:
972:
415:
was considered a flop. Even before the songs were recorded, I knew that the rest of the band felt that Brian's decision to write with me was a bad decision."
812:
609:
909:
967:
1070:
143:". According to Asher, he mainly served as a lyricist for Wilson's songs, but in some cases also contributed musical ideas. Asher also composed
362:
1049:
874:
743:
705:
636:
354:
1129:
173:. He and his mother moved to Los Angeles before he was six months old, while Irving remained in England to serve in the
950:
845:
530:
419:
said that he thought "Asher's lyrics were great. I found no fault whatsoever with his lyrical contributions."
806:
603:
656:
1109:
433:
122:
1041:
Inside the Music of Brian Wilson: The Songs, Sounds, and
Influences of the Beach Boys' Founding Genius
479:
399:
390:
Asked if Wilson had displayed any signs of "lunacy", Asher responded that Wilson had "fits of this
251:
1124:
521:
The
Nearest Faraway Place: Brian Wilson, the Beach Boys, and the Southern Californian Experience
1114:
514:
136:
938:
317:
1119:
786:
627:
The Beach Boys: The
Definitive Diary of America's Greatest Band, on Stage and in the Studio
441:
153:
8:
485:
473:
449:
288:
impressed that Asher had known
Schwartz, "a very brainy guy, a real verbal type person."
519:
711:
687:
625:
583:
255:
1094:
1045:
946:
870:
841:
739:
729:
715:
701:
632:
526:
284:
279:
Other sources state that the pair had met during a social gathering at mutual friend
863:
267:
Looking for a clean break from the by-then-famous Beach Boys sound (associated with
693:
395:
1039:
835:
798:
733:
652:
595:
383:
166:
794:
591:
378:
298:
203:
132:
118:
36:
865:
Wouldn't it Be Nice: Brian Wilson and the Making of the Beach Boys' Pet Sounds
1103:
831:
490:
195:
40:
735:
Catch a Wave: The Rise, Fall, and
Redemption of the Beach Boys' Brian Wilson
494:
358:
333:
247:
191:
178:
170:
151:'s slogan "You can tell it's Mattel—it's swell!", and contributed songs to
140:
114:
44:
165:
Tony Asher was born in London on May 2, 1939, the son of
American actress
697:
477:, while a full-band live performance was released on Wilson's 2002 album
437:
353:
Asher contended that his most significant musical contributions were to "
280:
199:
689:
Good
Vibrations: Brian Wilson and the Beach Boys in Critical Perspective
1090:
453:
345:
260:
232:
217:
127:
125:
in the 1960s. Asher co-wrote eight songs on the Beach Boys' 1966 album
110:
90:
1023:
Beard, David (December 2011). "Mike Love & Brian Remember Smile".
934:
905:
463:
416:
254:
in 1965. Asher was a 26-year-old copywriter who had been working on
332:
According to Asher, he collaborated with Wilson on the music of "
268:
181:. As a child, Asher played piano and composed. He graduated from
174:
74:
466:. Asher spent 12 years at the firm, the last eight as president.
445:
187:
148:
144:
86:
70:
387:. Personally, I could never understand why he'd married her."
109:(born May 2, 1939) is an American songwriter and advertising
182:
939:"The Last Beach Movie Revisited: The Life of Brian Wilson"
914:
398:
moods than his use of LSD. Asher later called Wilson a "
16:
American songwriter and advertising copywriter (b. 1939)
752:
1004:
980:
578:
576:
574:
572:
570:
568:
566:
336:" and was inspired by a former girlfriend named Carol.
992:
837:
Heroes and Villains: The True Story of The Beach Boys
436:. He also wrote several songs with composer-arranger
883:
764:
539:
563:
551:
862:
781:
779:
624:
518:
1071:"Interview with 'Pet Sounds' Lyricist Tony Asher"
968:"Interview with 'Pet Sounds' Lyricist Tony Asher"
1101:
943:The Dark Stuff: Selected Writings on Rock Music
811:: CS1 maint: others in cite AV media (notes) (
776:
608:: CS1 maint: others in cite AV media (notes) (
489:, a project involving Wilson and his daughters
202:. Asher also collaborated on songwriting with
113:who is best known for his collaborations with
840:. New York: Da Capo Press. pp. 143–145.
692:. University of Michigan Press. p. 188.
194:dolls. His colleagues at the agency included
483:. In 1997, "Everything I Need" appeared on
900:
898:
29:
826:
824:
822:
681:
679:
677:
651:
1027:. Vol. 24, no. 94. p. 12.
407:they were thinking of calling the album
1037:
1010:
998:
986:
929:
927:
925:
895:
860:
758:
685:
545:
456:, Glendale Federal Savings, and others.
1102:
1044:. Bloomsbury Publishing. p. 324.
889:
830:
819:
770:
728:
674:
622:
1022:
965:
557:
513:
246:According to most sources, Asher met
230:lyrics?” “I’ll give it a try.” Then,
933:
922:
904:
869:. Chicago Review Press. p. 88.
645:
13:
1062:
355:I Just Wasn't Made for These Times
306:
14:
1141:
1084:
657:"Beach Boys "Feel Flows" Box Set"
222:
1069:Sharp, Ken (September 4, 2013).
966:Sharp, Ken (September 4, 2013).
344:Problems playing this file? See
322:
291:
1031:
1016:
959:
854:
631:. Backbeat Books. p. 114.
422:
910:"The Last Beach Movie: Part 1"
722:
616:
507:
35:Tony Asher (in the back) with
1:
945:. Da Capo Press. p. 20.
787:"Interview with Brian Wilson"
686:Lambert, Philip, ed. (2016).
500:
209:
160:
861:Granata, Charles L. (2003).
7:
584:"Interview with Tony Asher"
10:
1146:
1130:Musicians from Los Angeles
525:. Macmillan. p. 252.
432:, Asher collaborated with
381:... like something out of
215:
373:it doesn’t seem so bad."
131:, including the singles "
96:
81:
52:
28:
21:
1038:Lambert, Philip (2007).
1025:Endless Summer Quarterly
480:Live at the Roxy Theatre
252:United Western Recorders
791:The Pet Sounds Sessions
588:The Pet Sounds Sessions
738:. Rodale. p. 76.
623:Badman, Keith (2004).
311:
238:
310:
227:
47:(right) in early 1966
1076:Rock Cellar Magazine
973:Rock Cellar Magazine
698:10.3998/mpub.9275965
454:Max Factor Cosmetics
442:The Partridge Family
154:The Partridge Family
807:cite AV media notes
604:cite AV media notes
474:Songs Without Words
256:advertising jingles
250:while recording at
241:—Brian Wilson, 2007
137:Wouldn't It Be Nice
1110:American lyricists
730:Carlin, Peter Ames
312:
169:and film producer
1051:978-1-4411-0748-0
908:(June 21, 1975).
876:978-1-55652-507-0
761:, pp. 54–55.
745:978-1-59486-320-2
707:978-0-472-11995-0
653:Kubernick, Harvey
638:978-0-87930-818-6
327:
285:Peter Ames Carlin
104:
103:
97:Years active
1137:
1080:
1056:
1055:
1035:
1029:
1028:
1020:
1014:
1008:
1002:
996:
990:
984:
978:
977:
963:
957:
956:
931:
920:
919:
902:
893:
887:
881:
880:
868:
858:
852:
851:
828:
817:
816:
810:
802:
783:
774:
768:
762:
756:
750:
749:
726:
720:
719:
683:
672:
671:
669:
667:
661:Music Connection
655:(July 2, 2021).
649:
643:
642:
630:
620:
614:
613:
607:
599:
580:
561:
555:
549:
543:
537:
536:
524:
511:
467:
457:
329:
328:
309:
242:
107:Anthony D. Asher
68:
64:
62:
56:Anthony D. Asher
33:
19:
18:
1145:
1144:
1140:
1139:
1138:
1136:
1135:
1134:
1100:
1099:
1087:
1068:
1065:
1063:Further reading
1060:
1059:
1052:
1036:
1032:
1021:
1017:
1009:
1005:
997:
993:
985:
981:
964:
960:
953:
932:
923:
903:
896:
888:
884:
877:
859:
855:
848:
829:
820:
804:
803:
799:Capitol Records
785:
784:
777:
769:
765:
757:
753:
746:
727:
723:
708:
684:
675:
665:
663:
650:
646:
639:
621:
617:
601:
600:
596:Capitol Records
582:
581:
564:
556:
552:
544:
540:
533:
512:
508:
503:
460:
427:
425:
400:genius musician
384:The Flintstones
351:
350:
342:
340:
339:
338:
337:
330:
323:
320:
313:
307:
294:
244:
240:
225:
220:
214:
167:Laura La Plante
163:
69:
66:
60:
58:
57:
48:
24:
17:
12:
11:
5:
1143:
1133:
1132:
1127:
1125:Jingle writers
1122:
1117:
1112:
1098:
1097:
1086:
1085:External links
1083:
1082:
1081:
1064:
1061:
1058:
1057:
1050:
1030:
1015:
1013:, p. 204.
1003:
991:
989:, p. 114.
979:
958:
951:
921:
894:
882:
875:
853:
846:
832:Gaines, Steven
818:
795:The Beach Boys
775:
763:
751:
744:
721:
706:
673:
644:
637:
615:
592:The Beach Boys
562:
560:, p. 253.
550:
538:
531:
515:White, Timothy
505:
504:
502:
499:
424:
421:
392:uncontrollable
341:
331:
321:
318:"Caroline, No"
316:
315:
314:
305:
304:
303:
299:God Only Knows
293:
290:
281:Loren Schwartz
226:
224:
223:Meeting Wilson
221:
216:Main article:
213:
208:
204:Van Dyke Parks
162:
159:
133:God Only Knows
119:the Beach Boys
102:
101:
98:
94:
93:
83:
79:
78:
54:
50:
49:
37:Bruce Johnston
34:
26:
25:
22:
15:
9:
6:
4:
3:
2:
1142:
1131:
1128:
1126:
1123:
1121:
1118:
1116:
1115:Living people
1113:
1111:
1108:
1107:
1105:
1096:
1092:
1089:
1088:
1078:
1077:
1072:
1067:
1066:
1053:
1047:
1043:
1042:
1034:
1026:
1019:
1012:
1007:
1001:, p. 82.
1000:
995:
988:
983:
975:
974:
969:
962:
954:
952:9780786730742
948:
944:
940:
936:
930:
928:
926:
918:. p. 24.
917:
916:
911:
907:
901:
899:
892:, p. 79.
891:
886:
878:
872:
867:
866:
857:
849:
843:
839:
838:
833:
827:
825:
823:
814:
808:
800:
796:
792:
788:
782:
780:
773:, p. 64.
772:
767:
760:
755:
747:
741:
737:
736:
731:
725:
717:
713:
709:
703:
699:
695:
691:
690:
682:
680:
678:
662:
658:
654:
648:
640:
634:
629:
628:
619:
611:
605:
597:
593:
589:
585:
579:
577:
575:
573:
571:
569:
567:
559:
554:
548:, p. 78.
547:
542:
534:
528:
523:
522:
516:
510:
506:
498:
496:
492:
488:
487:
482:
481:
476:
475:
468:
465:
458:
455:
451:
447:
443:
439:
435:
434:Roger Nichols
431:
420:
418:
414:
410:
404:
401:
397:
393:
388:
386:
385:
380:
374:
372:
368:
364:
363:That's Not Me
360:
356:
349:
347:
335:
319:
302:
300:
292:Collaboration
289:
286:
282:
277:
275:
270:
264:
262:
257:
253:
249:
243:
237:
236:, like that.
235:
234:
219:
212:
207:
205:
201:
197:
196:Terry Gilliam
193:
189:
184:
180:
176:
172:
168:
158:
156:
155:
150:
146:
142:
138:
134:
130:
129:
124:
123:Roger Nichols
120:
116:
112:
108:
100:1960s–present
99:
95:
92:
88:
87:jingle writer
84:
80:
76:
72:
67:(age 85)
55:
51:
46:
43:(middle) and
42:
41:Terry Melcher
38:
32:
27:
20:
1074:
1040:
1033:
1024:
1018:
1011:Granata 2003
1006:
999:Granata 2003
994:
987:Granata 2003
982:
971:
961:
942:
913:
885:
864:
856:
836:
790:
766:
759:Granata 2003
754:
734:
724:
688:
664:. Retrieved
660:
647:
626:
618:
587:
553:
546:Granata 2003
541:
520:
509:
484:
478:
472:
469:
459:
440:recorded by
429:
426:
423:Later career
412:
408:
405:
391:
389:
382:
375:
370:
366:
359:Caroline, No
352:
343:
334:Caroline, No
295:
278:
273:
265:
248:Brian Wilson
245:
239:
231:
228:
210:
192:Chatty Cathy
179:World War II
171:Irving Asher
164:
152:
141:Caroline, No
126:
115:Brian Wilson
106:
105:
85:Songwriter,
45:Brian Wilson
1120:1939 births
890:Carlin 2006
793:(Booklet).
771:Carlin 2006
590:(Booklet).
486:The Wilsons
450:Gallo Wines
446:Mattel Toys
438:John Bahler
200:Joel Siegel
65:May 2, 1939
1104:Categories
1091:Tony Asher
935:Kent, Nick
906:Kent, Nick
847:0306806479
558:White 1996
532:0333649370
501:References
430:Pet Sounds
428:Following
413:Pet Sounds
409:Pet Sounds
346:media help
274:Pet Sounds
261:Bill Evans
233:Pet Sounds
218:Pet Sounds
211:Pet Sounds
161:Background
147:, such as
128:Pet Sounds
111:copywriter
91:copywriter
82:Occupation
61:1939-05-02
23:Tony Asher
716:192796203
666:April 25,
464:Saul Bass
417:Mike Love
263:albums."
937:(2009).
834:(1986).
732:(2006).
517:(1996).
361:", and "
139:", and "
39:(left),
801:. 1997.
598:. 1997.
396:bipolar
379:Marilyn
269:surfing
177:during
175:US Army
145:jingles
75:England
1048:
949:
873:
844:
742:
714:
704:
635:
529:
491:Carnie
188:Barbie
149:Mattel
121:) and
71:London
712:S2CID
495:Wendy
367:screw
1095:IMDb
1046:ISBN
947:ISBN
871:ISBN
842:ISBN
813:link
740:ISBN
702:ISBN
668:2022
633:ISBN
610:link
527:ISBN
493:and
371:then
357:", "
198:and
190:and
183:UCLA
135:", "
117:(of
77:, UK
53:Born
1093:at
915:NME
694:doi
1106::
1073:.
970:.
941:.
924:^
912:.
897:^
821:^
809:}}
805:{{
797:.
789:.
778:^
710:.
700:.
676:^
659:.
606:}}
602:{{
594:.
586:.
565:^
497:.
452:,
448:,
276:.
206:.
157:.
89:,
73:,
63:)
1079:.
1054:.
976:.
955:.
879:.
850:.
815:)
748:.
718:.
696::
670:.
641:.
612:)
535:.
348:.
59:(
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
