Billboard ariticle on Mike and song writing w/ Brian issues from last album

[SMiLE Brian]

Props to Ontor's comments in this thread.

[oldsurferdude]

Props to Ontor's comments in this thread.

I'll second that emotion-excellent logic and far above par reading.

[Gertie J.]

norbit

[ontor pertawst]

The only sycophancy I accept is the kind that entitles me to scream "fly monkeys, fly!" once or twice a year and compel my cult to attack enemies.

 Otherwise what's the point, what's the point I ask you! Sorry for getting all ranty on this thread, guys. I'm at that pacing around point waiting for hours and hours of animation I shot to come back from the lab that I've never seen and rather than obsessing about whether it came out, I'm babbling about Mike Love and Brian Wilson as if they were saturday morning cartoon characters. Obviously, things are far more complicated that any of us suspect but it's sure fun to banter about it and try to guess. 

[37!ws]

Oh, poor, poor Mike...instead of what he originally wanted, he ended up with a surprisingly solid album that went to #3.

Mike, babe...listen...you're 72 years old. Get over yourself. Ever hear of a saying, "Life is what happens when you're busy making other plans"? Sometimes "it didn't work out the way we planned it." Get over it. And maybe instead of whining to a journalist on a slow news day, you should fall to your knees and thank God or Maharishi or whatever that your cousin was there to make sure that you didn't have to make a career out of pumping gas.

[joe_blow]

Great link!! Was that the interview where he said he just wanted to write hits with his cousin?

http://www.youtube.com/watch?v=JgepFKVVKVE

[Micha]

It makes it REALLY easy to look objectively at their work.

Thing is, objectivity is generally something OTHER people praise you for. Not what you toot your own horn about, as it's not exactly... very objective?

I'm glad you consider yourself eminently fair-minded and reasonable and took a moment to remind us, this clearly must make your opinions more valid than mine.

You're still not making the point as to how "theme-based" "contract work" doesn't fit with Brian's music and work with the vision of the band. These are unstoppable monster classics that have been performed by hundreds of bands since they were written and thousands of times by Mike Love, who is very careful about pruning and manicuring HIS version of The Beach Boys vision. Which includes hearty helpings of Christian, Usher, and Asher. The fact that they got royalties instead of Mike Love does not make them hackwork that doesn't fit Mike's beautiful vision of an endless summer. Just ask Mike's setlists.

Sorry, I don't agree. I often try to remember one of my former principals who was Harvard educated and he reminded us of the difference between an "opinion" and "an informed opinion." One is just "one without research."  The other is "with information." I like the latter.  Most times that I post here, I check facts first, or re-watch a video. And, I still make plenty of mistakes, and get "called out."  No problem.   I "lurked" for two years before I posted in this "shark tank."  

And, I watched the google C50 interview, many times, on my streamer, where the theme-based stuff was discussed and Christian was described as a "gear-head" who had that lingo ready-to-go for those car song lyrics. (More to Mike's credit to step aside as primary lyricist, in the interest of the Band output.)

That makes mine "informed."  I watched Endless Harmony many times, so when I ask you to do the same, and say "please" I get a hostile remark.  Brian does say that he would have loved to have sung on Kokomo.  Straight from the horse's mouth.  Brian.  Some people don't want to hear this.  It is what it is. On a movie.

I can't tell you about Mike's vision.  His "vision" is likely controlled by BRI contract.  They tell him what the "vision" is.  And, despite all the bad-mouthing, he sells out show after show.  And, if he has a story to tell, whether in a book or an interview, maybe people should listen to all sides of the story and be informed.  

Just please, make the list of songs, and count.  That's all.  Count Asher's, Christian's, Usher's, Parks' and Thomas' work. How many hits?  Over how many years?

Great post. I haven't had the time yet to read the three pages following this, but great post. Can't wait reading Mike's and Brian's announced books.

[drbeachboy]

Great link!! Was that the interview where he said he just wanted to write hits with his cousin?

http://www.youtube.com/watch?v=JgepFKVVKVE

Mike needs to get a grip. There will not be anymore hits. Not in this day & age. They should concentrate on putting out GOOD, QUALITY music for their fan-base.

[SMiLE Brian]

Agreed, TWGMTR was a glimpse of that.

[oldsurferdude]

Oh, poor, poor Mike...instead of what he originally wanted, he ended up with a surprisingly solid album that went to #3.

Mike, babe...listen...you're 72 years old. Get over yourself. Ever hear of a saying, "Life is what happens when you're busy making other plans"? Sometimes "it didn't work out the way we planned it." Get over it. And maybe instead of whining to a journalist on a slow news day, you should fall to your knees and thank God or Maharishi or whatever that your cousin was there to make sure that you didn't have to make a career out of pumping gas.

OK, now my accolades on this post-
 

[Pinder's Gone To Kokomo And Back Again]

Great link!! Was that the interview where he said he just wanted to write hits with his cousin?

http://www.youtube.com/watch?v=JgepFKVVKVE

Mike needs to get a grip. There will not be anymore hits. Not in this day & age. They should concentrate on putting out GOOD, QUALITY music for their fan-base.

The interview where he said he just wants to write hits with his cousin was from several several years ago: not from this hit-less day and age..... Maybe we ought to try and not look at Mike's dissatisfaction with recent events, TWGMTR as him merely longing for, trying to get back to a time long ago.... It could be as simple as he entered into a project with a certain, and quite small, demand/hope/expectation of what the writing particulars would be and they were not only, not to his liking, but quite the opposite of his liking. Anyone in such a situation has every right to take issue with that.... He should be forgiven for stupidly assuming Beach Boys "fans" would much rather have an album written (to a sizable portion at least) by Brian/Mike than a Joe Thomas/Jon Bon Jovi/Brian concoction. Even though we'll give Brian all the excuses and exceptions possible, Mike still should not be faulted for the described assumption.

[Autotune]

An interesting comment from Larry Dvoskin there:

"What you sow is what you reap, come to mind:

Mike 1000% c*ck blocked Al Jardine & Bruce from having any of their songs on the record out of self interest. "Waves Of Love" written by Al Jardine & myself features a guest vocal by late , great Carl Wilson and was declared by the CEO of Clear Channel to be the BEST NEW Beach Boys song in 30 years....

Now That's Why God Made The Radio..and if you stand in the way of the best music foot forward...

What goes around comes around..."

No offense to this Dvoskin guy, but didn't he also call "Waves of Love" his and Al's Pet Sounds or something? I'm pretty sure he has a pretty high opinion of his own work. Kinda seems like a goof if you ask me.

And the quote about the Clear Channel CEO? Who gives a sh*t what he thinks? The song was probably the only new Beach Boys song he'd heard in 30 years besides "Kokomo".

But it is interesting that if Mike really wanted to be better represented on the album, wouldn't it make sense to work together with Al and Bruce to get their work on there? But obviously he doesn't wanna associate with that asshole Jardine.

The RS article documents Al pushing for Waves of Love and Brian not caring for it.

Besides, that cut-and-paste Carl vocal is unreleasable by all means.

[Jim V.]

He should be forgiven for stupidly assuming Beach Boys "fans" would much rather have an album written (to a sizable portion at least) by Brian/Mike than a Joe Thomas/Jon Bon Jovi/Brian concoction. Even though we'll give Brian all the excuses and exceptions possible, Mike still should not be faulted for the described assumption.

So cute that you credit Brian third after Joe Thomas (the guy HE approached to join the project) and Jon Bon Jovi (who cowrote exactly ONE song). We get it. Poor Mike. He just wanted to write with his cousin. IN A ROOM. NO DARN BACKING TRACKS SENT OVER. WHO CARES IF THAT WORKED FOR "CALIFORNIA GIRLS", "GOOD VIBRATIONS" AND "WILD HONEY"!

But yeah, keep minimizing Brian's input into TWGMTR and making it seem like he's a useless shell of his former self that can't think and hates the stage and is trapped in his life.

[Pinder's Gone To Kokomo And Back Again]

Well, that wasn't intentional, but I'd venture to guess that imagining the Brian of 1965 presiding over the TWGMTR sessions would be equally silly.....Not that you think that.

I was just pointing out what might be going on in the guy's head, and it's pretty easy unless you just really want to hate Mike.... I mean think back to how you've felt at different jobs, or bands or relationships, family bullshit. I find our assumed (in the best case) Mike thought process here to be awfully relatable.....

[drbeachboy]

Great link!! Was that the interview where he said he just wanted to write hits with his cousin?

http://www.youtube.com/watch?v=JgepFKVVKVE

Mike needs to get a grip. There will not be anymore hits. Not in this day & age. They should concentrate on putting out GOOD, QUALITY music for their fan-base.

The interview where he said he just wants to write hits with his cousin was from several several years ago: not from this hit-less day and age..... Maybe we ought to try and not look at Mike's dissatisfaction with recent events, TWGMTR as him merely longing for, trying to get back to a time long ago.... It could be as simple as he entered into a project with a certain, and quite small, demand/hope/expectation of what the writing particulars would be and they were not only, not to his liking, but quite the opposite of his liking. Anyone in such a situation has every right to take issue with that.... He should be forgiven for stupidly assuming Beach Boys "fans" would much rather have an album written (to a sizable portion at least) by Brian/Mike than a Joe Thomas/Jon Bon Jovi/Brian concoction. Even though we'll give Brian all the excuses and exceptions possible, Mike still should not be faulted for the described assumption.

If what Mike says is true about his agreement with Brian, then yes, I fully understand his position. To think that writing with Brian anytime after the mid-70s was going to produce hits, it just wasn't going to happen. Their most Beach Boys sounding release, Good Timin' only hit 40. I still haven't figured out why this occurred, except that like most rock bands, their time came and went. Anyway, I tend to believe Mike that Brian and/or his people reneged on their writing agreement.

[Sheriff John Stone]

Great link!! Was that the interview where he said he just wanted to write hits with his cousin?

http://www.youtube.com/watch?v=JgepFKVVKVE

Mike needs to get a grip. There will not be anymore hits. Not in this day & age. They should concentrate on putting out GOOD, QUALITY music for their fan-base.

The interview where he said he just wants to write hits with his cousin was from several several years ago: not from this hit-less day and age..... Maybe we ought to try and not look at Mike's dissatisfaction with recent events, TWGMTR as him merely longing for, trying to get back to a time long ago.... It could be as simple as he entered into a project with a certain, and quite small, demand/hope/expectation of what the writing particulars would be and they were not only, not to his liking, but quite the opposite of his liking. Anyone in such a situation has every right to take issue with that.... He should be forgiven for stupidly assuming Beach Boys "fans" would much rather have an album written (to a sizable portion at least) by Brian/Mike than a Joe Thomas/Jon Bon Jovi/Brian concoction. Even though we'll give Brian all the excuses and exceptions possible, Mike still should not be faulted for the described assumption.

If what Mike says is true about his agreement with Brian, then yes, I fully understand his position. To think that writing with Brian anytime after the mid-70s was going to produce hits, it just wasn't going to happen. Their most Beach Boys sounding release, Good Timin' only hit 40. I still haven't figured out why this occurred, except that like most rock bands, their time came and went. Anyway, I tend to believe Mike that Brian and/or his people reneged on their writing agreement.

I know it appears that I'm trying to defend Mike's perspective, but, really, I'm just trying to make sense out of it, to get inside his head and feel what he's feeling. There WERE these little "things" that happened every year or so that probably fueled Mike's fire.

In 1976, "It's OK" was a minor B. Wilson/M.Love hit (No. 29); some think it would've had more chart success if it would've been the lead-off single from 15 Big Ones. Then, out of nowhere, in 1978 "Almost Summer" charts, and Mike and Brian are on American Bandstand with it. I think the success of "The Beach Boys Medley" and "Come Go With Me" were two examples of what Mike was/is talking about; the music public will always welcome that kind of music - so thinks Mike. Even though Brian didn't write "Getcha Back", you know Mike was thinking "I told you so" when it went Top 30 and they performed it on Solid Gold. And then there's "Kokomo" which led to a syndicated TV series! Yes, there's a shortage of those little "things" after "Kokomo", but the Beach Boys didn't exactly release many new songs after that.

While a lot of people were waiting for and anticipating and hoping for the "deeper" Beach Boys' material, it never really came; not a lot of it anyway. But, when you look at their most popular songs, well, Mike seems to be involved with it. He will continue to believe in it, that type of song.

[clack]

The interview where he said he just wants to write hits with his cousin was from several several years ago: not from this hit-less day and age..... Maybe we ought to try and not look at Mike's dissatisfaction with recent events, TWGMTR as him merely longing for, trying to get back to a time long ago.... It could be as simple as he entered into a project with a certain, and quite small, demand/hope/expectation of what the writing particulars would be and they were not only, not to his liking, but quite the opposite of his liking. Anyone in such a situation has every right to take issue with that.... He should be forgiven for stupidly assuming Beach Boys "fans" would much rather have an album written (to a sizable portion at least) by Brian/Mike than a Joe Thomas/Jon Bon Jovi/Brian concoction. Even though we'll give Brian all the excuses and exceptions possible, Mike still should not be faulted for the described assumption.

Be fair -- there was only one Bon Jovi co-write, and that was from '98. And 'Summer's Gone' is widely considered to be a fine song.

And we don't know what Mike/Brian co-writing arrangements were made prior to the making of TWGMTR, but Mike wound up with 3 co-writes with Brian. Compare this with 20/20 (1), Sunflower (3), Surf's Up (0), Carl and the Passions (2), Holland (1). So, Mike's 3 TWGMTR co-writes don't seem all that anomalous.

Joe Thomas contributes music as well as lyrics. Mike has come up with an ok melody or 2 over the years, but he's mostly a lyric guy. He's kidding himself if he thinks that Wilson/Love would have come up with better songs than Wilson/Thomas, or even Wilson/Thomas/Love. It's not 1965 any more -- Brian is not the same writer he was then, and neither is Mike.

And neither is Mick Jagger, Keith Richards, Bob Dylan, Paul Simon, Pete Townshend, Ray Davies, Paul McCartney, Smokey Robinson or Burt Bacharach. I get that Mike thinks if only he and Brian can gather around that piano and write together from scratch, magic will happen once again. But it won't.

[Jim V.]

I know it appears that I'm trying to defend Mike's perspective, but, really, I'm just trying to make sense out of it, to get inside his head and feel what he's feeling. There WERE these little "things" that happened every year or so that probably fueled Mike's fire.

In 1976, "It's OK" was a minor B. Wilson/M.Love hit (No. 29); some think it would've had more chart success if it would've been the lead-off single from 15 Big Ones. Then, out of nowhere, in 1978 "Almost Summer" charts, and Mike and Brian are on American Bandstand with it. I think the success of "The Beach Boys Medley" and "Come Go With Me" were two examples of what Mike was/is talking about; the music public will always welcome that kind of music - so thinks Mike. Even though Brian didn't write "Getcha Back", you know Mike was thinking "I told you so" when it went Top 30 and they performed it on Solid Gold. And then there's "Kokomo" which led to a syndicated TV series! Yes, there's a shortage of those little "things" after "Kokomo", but the Beach Boys didn't exactly release many new songs after that.

While a lot of people were waiting for and anticipating and hoping for the "deeper" Beach Boys' material, it never really came; not a lot of it anyway. But, when you look at their most popular songs, well, Mike seems to be involved with it. He will continue to believe in it, that type of song.

Honestly though, wouldn't everybody agree that "That's Why God Made The Radio" was probably the most "Beach Boys" type single since "Getcha Back"? I mean, "Kokomo" is kinda just that late '80s islandy/Jimmy Buffett type thing, "Still Cruisin'" and "Problem Child" and the like were basically late '80s pop that coulda been done by anybody.

Facts are, singles just aren't that big a deal anymore. What was Paul McCartney's last top 40 hit? I'm pretty sure it's "My Brave Face". 1989. A year after "Kokomo" so yeah even though he has gone at least gold with most of his solo albums since then, singles don't chart for these kinda artists anymore. And even with the big current artists, I can't tell you what their hit songs are. Like I know Jay Z and Drake and Lady Gaga and whoever are popular, but I can't tell you what their hit single is. Music is too segmented these days. Bands have top 20 albums without any hits or anything even near a hit single. Look at Animal Collective or Grizzly Bear or any of these groups. Hit singles just aren't where it's at anymore.

[Pinder's Gone To Kokomo And Back Again]

I know it appears that I'm trying to defend Mike's perspective, but, really, I'm just trying to make sense out of it, to get inside his head and feel what he's feeling. There WERE these little "things" that happened every year or so that probably fueled Mike's fire.

In 1976, "It's OK" was a minor B. Wilson/M.Love hit (No. 29); some think it would've had more chart success if it would've been the lead-off single from 15 Big Ones. Then, out of nowhere, in 1978 "Almost Summer" charts, and Mike and Brian are on American Bandstand with it. I think the success of "The Beach Boys Medley" and "Come Go With Me" were two examples of what Mike was/is talking about; the music public will always welcome that kind of music - so thinks Mike. Even though Brian didn't write "Getcha Back", you know Mike was thinking "I told you so" when it went Top 30 and they performed it on Solid Gold. And then there's "Kokomo" which led to a syndicated TV series! Yes, there's a shortage of those little "things" after "Kokomo", but the Beach Boys didn't exactly release many new songs after that.

While a lot of people were waiting for and anticipating and hoping for the "deeper" Beach Boys' material, it never really came; not a lot of it anyway. But, when you look at their most popular songs, well, Mike seems to be involved with it. He will continue to believe in it, that type of song.

Honestly though, wouldn't everybody agree that "That's Why God Made The Radio" was probably the most "Beach Boys" type single since "Getcha Back"? I mean, "Kokomo" is kinda just that late '80s islandy/Jimmy Buffett type thing, "Still Cruisin'" and "Problem Child" and the like were basically late '80s pop that coulda been done by anybody.

Facts are, singles just aren't that big a deal anymore. What was Paul McCartney's last top 40 hit? I'm pretty sure it's "My Brave Face". 1989. A year after "Kokomo" so yeah even though he has gone at least gold with most of his solo albums since then, singles don't chart for these kinda artists anymore. And even with the big current artists, I can't tell you what their hit songs are. Like I know Jay Z and Drake and Lady Gaga and whoever are popular, but I can't tell you what their hit single is. Music is too segmented these days. Bands have top 20 albums without any hits or anything even near a hit single. Look at Animal Collective or Grizzly Bear or any of these groups. Hit singles just aren't where it's at anymore.

It's a matter of opinion, but anything featuring a wailing Jeff Foskett and a John Holmes size load of autotune is going to sound FAR less beach Boys like than Kokomo or Getcha Back (my third fave BBs song ever) so, yes, it's a matter of, perhaps questionable, opinion.... Isn't It Time is way way way more Beach Boys sounding, to my ears.

But you and others are dead on about singles being basically nothing these days.

To The Sheriff's point: I agree. Nor would Mike likely block any deeper more meaningful Beach Boys music from being made.

[drbeachboy]

The interview where he said he just wants to write hits with his cousin was from several several years ago: not from this hit-less day and age..... Maybe we ought to try and not look at Mike's dissatisfaction with recent events, TWGMTR as him merely longing for, trying to get back to a time long ago.... It could be as simple as he entered into a project with a certain, and quite small, demand/hope/expectation of what the writing particulars would be and they were not only, not to his liking, but quite the opposite of his liking. Anyone in such a situation has every right to take issue with that.... He should be forgiven for stupidly assuming Beach Boys "fans" would much rather have an album written (to a sizable portion at least) by Brian/Mike than a Joe Thomas/Jon Bon Jovi/Brian concoction. Even though we'll give Brian all the excuses and exceptions possible, Mike still should not be faulted for the described assumption.

Be fair -- there was only one Bon Jovi co-write, and that was from '98. And 'Summer's Gone' is widely considered to be a fine song.

And we don't know what Mike/Brian co-writing arrangements were made prior to the making of TWGMTR, but Mike wound up with 3 co-writes with Brian. Compare this with 20/20 (1), Sunflower (3), Surf's Up (0), Carl and the Passions (2), Holland (1). So, Mike's 3 TWGMTR co-writes don't seem all that anomalous.

Joe Thomas contributes music as well as lyrics. Mike has come up with an ok melody or 2 over the years, but he's mostly a lyric guy. He's kidding himself if he thinks that Wilson/Love would have come up with better songs than Wilson/Thomas, or even Wilson/Thomas/Love. It's not 1965 any more -- Brian is not the same writer he was then, and neither is Mike.

And neither is Mick Jagger, Keith Richards, Bob Dylan, Paul Simon, Pete Townshend, Ray Davies, Paul McCartney, Smokey Robinson or Burt Bacharach. I get that Mike thinks if only he and Brian can gather around that piano and write together from scratch, magic will happen once again. But it won't.

The real question is, how much changed with doing the new album between when Mike & Brian agreed to do it, to when they went in to start recording. It sounds like Mike was led to believe it wasn't as finished as it turned out. Brian and Joe probably fleshed it out and started recording tracks months before Mike was fully aware of just how much music Brian had in the can.

[Wirestone]

Another version ...

[Sheriff John Stone]

I know it appears that I'm trying to defend Mike's perspective, but, really, I'm just trying to make sense out of it, to get inside his head and feel what he's feeling. There WERE these little "things" that happened every year or so that probably fueled Mike's fire.

In 1976, "It's OK" was a minor B. Wilson/M.Love hit (No. 29); some think it would've had more chart success if it would've been the lead-off single from 15 Big Ones. Then, out of nowhere, in 1978 "Almost Summer" charts, and Mike and Brian are on American Bandstand with it. I think the success of "The Beach Boys Medley" and "Come Go With Me" were two examples of what Mike was/is talking about; the music public will always welcome that kind of music - so thinks Mike. Even though Brian didn't write "Getcha Back", you know Mike was thinking "I told you so" when it went Top 30 and they performed it on Solid Gold. And then there's "Kokomo" which led to a syndicated TV series! Yes, there's a shortage of those little "things" after "Kokomo", but the Beach Boys didn't exactly release many new songs after that.

While a lot of people were waiting for and anticipating and hoping for the "deeper" Beach Boys' material, it never really came; not a lot of it anyway. But, when you look at their most popular songs, well, Mike seems to be involved with it. He will continue to believe in it, that type of song.

Honestly though, wouldn't everybody agree that "That's Why God Made The Radio" was probably the most "Beach Boys" type single since "Getcha Back"? I mean, "Kokomo" is kinda just that late '80s islandy/Jimmy Buffett type thing, "Still Cruisin'" and "Problem Child" and the like were basically late '80s pop that coulda been done by anybody.

Facts are, singles just aren't that big a deal anymore. What was Paul McCartney's last top 40 hit? I'm pretty sure it's "My Brave Face". 1989. A year after "Kokomo" so yeah even though he has gone at least gold with most of his solo albums since then, singles don't chart for these kinda artists anymore. And even with the big current artists, I can't tell you what their hit songs are. Like I know Jay Z and Drake and Lady Gaga and whoever are popular, but I can't tell you what their hit single is. Music is too segmented these days. Bands have top 20 albums without any hits or anything even near a hit single. Look at Animal Collective or Grizzly Bear or any of these groups. Hit singles just aren't where it's at anymore.

The only response I can offer, again trying to channel Mike's perspective, is that he, or specifically HE AND BRIAN TOGETHER, are different; they are the exception. You know the old saying that good music is good music. Mike probably feels that the music he and Brian can create would transcend time and trends. I think Mike's philosophy is based on the philosophy we've heard mentioned - by all the Beach Boys - in various documentaries. You know the one, where there will always be school and the beach and girlfriends and breaking up and cars and the simple joy of living. Mike grabbed on to that philosophy - and how it relates to his music - a long time ago, and he ain't gonna let it go!

[Pinder's Gone To Kokomo And Back Again]

I know it appears that I'm trying to defend Mike's perspective, but, really, I'm just trying to make sense out of it, to get inside his head and feel what he's feeling. There WERE these little "things" that happened every year or so that probably fueled Mike's fire.

In 1976, "It's OK" was a minor B. Wilson/M.Love hit (No. 29); some think it would've had more chart success if it would've been the lead-off single from 15 Big Ones. Then, out of nowhere, in 1978 "Almost Summer" charts, and Mike and Brian are on American Bandstand with it. I think the success of "The Beach Boys Medley" and "Come Go With Me" were two examples of what Mike was/is talking about; the music public will always welcome that kind of music - so thinks Mike. Even though Brian didn't write "Getcha Back", you know Mike was thinking "I told you so" when it went Top 30 and they performed it on Solid Gold. And then there's "Kokomo" which led to a syndicated TV series! Yes, there's a shortage of those little "things" after "Kokomo", but the Beach Boys didn't exactly release many new songs after that.

While a lot of people were waiting for and anticipating and hoping for the "deeper" Beach Boys' material, it never really came; not a lot of it anyway. But, when you look at their most popular songs, well, Mike seems to be involved with it. He will continue to believe in it, that type of song.

Honestly though, wouldn't everybody agree that "That's Why God Made The Radio" was probably the most "Beach Boys" type single since "Getcha Back"? I mean, "Kokomo" is kinda just that late '80s islandy/Jimmy Buffett type thing, "Still Cruisin'" and "Problem Child" and the like were basically late '80s pop that coulda been done by anybody.

Facts are, singles just aren't that big a deal anymore. What was Paul McCartney's last top 40 hit? I'm pretty sure it's "My Brave Face". 1989. A year after "Kokomo" so yeah even though he has gone at least gold with most of his solo albums since then, singles don't chart for these kinda artists anymore. And even with the big current artists, I can't tell you what their hit songs are. Like I know Jay Z and Drake and Lady Gaga and whoever are popular, but I can't tell you what their hit single is. Music is too segmented these days. Bands have top 20 albums without any hits or anything even near a hit single. Look at Animal Collective or Grizzly Bear or any of these groups. Hit singles just aren't where it's at anymore.

The only response I can offer, again trying to channel Mike's perspective, is that he, or specifically HE AND BRIAN TOGETHER, are different; they are the exception. You know the old saying that good music is good music. Mike probably feels that the music he and Brian can create would transcend time and trends. I think Mike's philosophy is based on the philosophy we've heard mentioned - by all the Beach Boys - in various documentaries. You know the one, where there will always be school and the beach and girlfriends and breaking up and cars and the simple joy of living. Mike grabbed on to that philosophy - and how it relates to his music - a long time ago, and he ain't gonna let it go!

Well man! All I can add to that (even though you're not really conversing with me) is, my girlfriend and I rode our bikes this past July 4th from West LA all the way down through Manhattan Beach and guess what we hard blasting from too many beach parties, volleyball games, beach-side stoops, to possibly count, along the way? ...... Fun, Fun, Fun, California Girls, I Get Around, Wouldn't It Be Nice, Little Honda, Surfin USA, Kokomo (not kidding) and on and on and on and on.......

[Cam Mott]

The interview where he said he just wants to write hits with his cousin was from several several years ago: not from this hit-less day and age..... Maybe we ought to try and not look at Mike's dissatisfaction with recent events, TWGMTR as him merely longing for, trying to get back to a time long ago.... It could be as simple as he entered into a project with a certain, and quite small, demand/hope/expectation of what the writing particulars would be and they were not only, not to his liking, but quite the opposite of his liking. Anyone in such a situation has every right to take issue with that.... He should be forgiven for stupidly assuming Beach Boys "fans" would much rather have an album written (to a sizable portion at least) by Brian/Mike than a Joe Thomas/Jon Bon Jovi/Brian concoction. Even though we'll give Brian all the excuses and exceptions possible, Mike still should not be faulted for the described assumption.

Be fair -- there was only one Bon Jovi co-write, and that was from '98. And 'Summer's Gone' is widely considered to be a fine song.

And we don't know what Mike/Brian co-writing arrangements were made prior to the making of TWGMTR, but Mike wound up with 3 co-writes with Brian. Compare this with 20/20 (1), Sunflower (3), Surf's Up (0), Carl and the Passions (2), Holland (1). So, Mike's 3 TWGMTR co-writes don't seem all that anomalous.

Joe Thomas contributes music as well as lyrics. Mike has come up with an ok melody or 2 over the years, but he's mostly a lyric guy. He's kidding himself if he thinks that Wilson/Love would have come up with better songs than Wilson/Thomas, or even Wilson/Thomas/Love. It's not 1965 any more -- Brian is not the same writer he was then, and neither is Mike.

And neither is Mick Jagger, Keith Richards, Bob Dylan, Paul Simon, Pete Townshend, Ray Davies, Paul McCartney, Smokey Robinson or Burt Bacharach. I get that Mike thinks if only he and Brian can gather around that piano and write together from scratch, magic will happen once again. But it won't.

The real question is, how much changed with doing the new album between when Mike & Brian agreed to do it, to when they went in to start recording. It sounds like Mike was led to believe it wasn't as finished as it turned out. Brian and Joe probably fleshed it out and started recording tracks months before Mike was fully aware of just how much music Brian had in the can.

Yeah, the point is Mike was told it was going to be a certain way by Brian. Somebody else kept that from happening.  Apparently, as always, Mike lumped it and did his bit anyway. Mike wants what Brian told him Brian wanted, the two of them working together in a room. It's not just a fantasy of Mike's, it's a desire expressed by Brian to Mike also. How did this get Houdinied into all of this other crap. Usually the board is ballistic over the merest suspicion that someone may have kept Brian from getting even the smallest of his desires.

[Jim V.]

Yeah, the point is Mike was told it was going to be a certain way by Brian. Somebody else kept that from happening.  Apparently, as always, Mike lumped it and did his bit anyway. Mike wants what Brian told him Brian wanted, the two of them working together in a room. It's not just a fantasy of Mike's, it's a desire expressed by Brian to Mike also. How did this get Houdinied into all of this other crap. Usually the board is ballistic over the merest suspicion that someone may have kept Brian from getting even the smallest of his desires.

Give me a fucking break.

"Mike wants what Brian told him Brian wanted." Were you there when Brian told Mike what he wanted to do? Or are you just assuming that based on stuff Mike has said in interviews.