Brian shouldn't have to beg ML to include Marcella and Add Some Music, if Brian asks Love to include them (or anything else) he should say Yes Sir, I don't care if he has kept the BB name alive on tour, that has served him well also and, even though he wrote many fine lyrics and has sung well (most of the time), as Dennis said "Brian IS the Beach Boys, we're just his messengers". A slight exaggeration perhaps, but only slight.

There's a fair amount of people that aren't showing up to these concerts because of the awful Mike Love setlist. The Smile Sessions brought A LOT of new fans who are only interested in the 1966/1967 material, and only performing five cuts from that era is not worth the agony of sitting through Little Honda, Catch A Wave, Don't Back Down, Little Deuce Coupe, Shut Down, 409, In My Room, Surfer Girl, or Be True To Your School.

kappa sez "In My Room" = worthless trash

Come on, d00d. These setlists are damn good, full of lots of unexpected additions and deeper cuts.

I enjoy your blaming of *everything* bad on Mike Love. I'm sure the guy is sitting there with a pen and paper, laughing maniacally as he writes "Heroes And Villains (aka total trash) (NO CANTINA SECTION FUCK THAT)" or something.

I also enjoy your dismissal of something like"In My Room" or "Surfer Girl", essential Brian Wilson tracks. Not getting those or dismissing them is not really getting Brian Wilson, just as not getting "Surf's Up" or "Heroes And Villains" isn't, to me. Sorry, I think they deserve a setlist spot as much as "Heroes And Villains", albeit for very different reasons. But hey, Mike added them to the setlist which only contains the biggest radio hits (like "This Whole World", "Please Let Me Wonder", "Marcella", "Add Some Music To Your Day", "I Just Wasn't Made For These Times", etc. etc. etc. and not even adding "Kokomo" to the setlist until several dates in), so it must be a flaming pile of shit.

Mike ain't such a bad guy ^_^ A bit of an asshole, true, but not deserving of the amount of scorn you've thrown his way in this thread. Chill out u r an indian smoking some pizza from the ceremonial pipe or something39jtiegw

Obviously "In My Room" and "Surfer Girl" deserve inclusion, but some of the more redundant concert staples could be omitted in favor of more deep catalog songs. To say the sets are "full" of unexpected additions is exaggeration. Love has basically succeeded in imposing his preferred agenda on the setlists, "Marcella" and "Add Some Music" notwithstanding. There could be much more stunning sequences in the shows, but each one is derailed by a return to relatively pedestrian fare.There is simply not an adequate balance between the more commercial/shallow and the more ambitious/deep elements of the band. This is basically due to ML's preferences. He's not being as conniving about it as you suggest, but he's relentless and determined about it, and he has had his way and the band is basically presented in his image, not as the Wilson Bros. as a sibling unit (who are more truly the group's heart & soul IMO) wanted it to be, and that's a shame, again IMO, because they could be so much more than that, esp. in this last defining go-round.

They're playing them that way because those are the versions the majority of the fans know.

Hahahahahahahaha, right. And "the majority of fans" are surely listening to the Smiley Smile version, completely unaware of the original. No, I'm certain there's a whole club of people that know The Beach Boi~s did a song called Heroes and Villains while somehow being oblivious to an album called Smile.
And as if anyone is going to be bothered by the inclusion of the cantina or hum-be-dum sections.

Uh, wat.

The alleged "Smile versions" are 2011 inventions. They're not the originals. This is not how these songs were originally envisioned in the 60s for the Smile album, and above all, it's not how they were finished in 1966/1967. They're playing the version of "Good Vibrations" that has been known and loved by fans for 46 years, not the version that was edited for The Smile Sessions release last year. Same goes for "Heroes", although a few Smile references have been thrown in there. That's how the song was finished in 1967 and yes, that's the version most people are familiar with. The 2011 edit is not the "original".

So yeah. That's why they're playing the songs as they were finished back in 1966/1967 and not playing versions they've never performed before that were edited together in 2011.

To say that the alternate versions of H&V and GV were only 2011 edits is not entirely accurate. An acetate of a version of H&V including the "Cantina" section was recorded in '66/'67 and is included as a bonus track on the "Smiley Smile"/"Wild Honey" 2-fer, and a version of GV featured on the "Rarities" album served as a template for the SS edit. It certainly would not be out of line, and in fact would be a valid and adventurous artistic statement (much-needed IMO) to play either of those tracks (esp. H&V) in their alternate forms, and, far from alienating fans who may have never heard those versions, would almost undoubtedly only enhance their appreciation of the songs.

Just stumbled across most of the show here in SF on PBS, missed the beginning. Pretty standard career retrospective, tour footage interspersed. Nice new footage of Brian playing WIBN beautifully on piano (somewhat marred by voice-over), & playing & singing the tag. His interview segments at the piano, reminiscing about his relationship with Paul McCartney etc. are extremely relaxed & animated. Highlight is the full silent GV session footage, wedded to the single and studio chatter. Probably edited by Alan Boyd, fine job. Can't remember whether 100% of this footage accompanies GV live on the tour (most of it does), wasn't watching the monitor at the beginning of the song at the concert I attended. Seems to almost definitely be more here, perhaps the 1st time it's been seen in its entirety. The beginning esp. is astonishing, Brian's presence is seething with fervor and is absolutely mesmerizing in its intensity and passion. SUCH amazing footage! Want to see this portion of the show again (repeatedly).

Likewise!

That said, the reason they're playing these versions is because they were the officially released versions. The Smile Sessions was an outtakes collection, not an album. They're playing them that way because those are the versions the majority of the fans know. I'll be honest, if I had my druthers, they'd be doing "Heroes and Villains" the way the band was playing it in the 70s, with a lot more edge to it. I loved the old live version of that song. "Good Vibrations" was the biggest hit of their lives, so you don't go messing with it now. Not on a tour that's supposed to be a summation of their recording legacy.

Given that they're playing some deeper cuts that most of the "fans" (and I use that term loosely) probably don't know, what's the harm in changing "Heroes" up a little bit?  I agree with you on "Good Vibrations", but given the recent Smile Sessions release, adding the "cantina" section would be a nice nod to the Smile fanatics out there, considering they don't appear to have any plans to add any more cuts from it.

Solid perspective.

Hey Danimal, glad to see you here after all

In the studio, Brian calls the shots, as should be.  On the stage, Mike calls the shots, as it should be. 

Yup that's it!

Wrong, NOT the way it should be, at least not to the extent that it is now. Everyone is entitled to their opinion, of course.

Someone predicted here that Wirestone would be ecstatic, and cheering wildly, no matter what the setlist is, when he attends  his local tour stop. I imagine he will do a lot of cheering, as I did, but also feel a great amount of frustration and disappointment, as I did (don't mean to put words in your mouth, Wirestone, no offense intended). One reason that the audience expects a more mainstream selection (and didn't seem to respond very well to the rarities) was because they have been conditioned to expect conformity from the band.

It might help you feel better if you keep the setlist in perspective...  The other night at the Greek, they played 45 songs, and nearly half of them -- 21 of the 45 -- weren't hits.  They were B-sides and album tracks, from "Please Let Me Wonder" to "Forever", "Isn't It Time" to "409", "Kiss Me Baby" to "I Just Wasn't Made For These Times", or singles which never touched the Top 40 like "Marcella" and "Sail On Sailor".

There's a lot of songs there which, by most peoples' definition, are deep cuts, and artistically ambitious.  We've been a bit spoiled in recent years, thanks to Brian's band and selected shows from Mike which have delved about this deep before -- to the point where we can take hearing "Disney Girls" and four songs from "Pet Sounds" for granted.  But for a band which could do a 34-song set just of their Top 40 hits... this is an extensive trawl through their catalog.

Basically, the glass is pretty much exactly half full...

Cheers,
Jon Blum

Not quite exactly, IMO Jon. They could drop It's O.K.. R&R Music, The Time Has Come (or whatever it's called) and Barbara Ann in favor of 4 more transcendental nuggets. Then I'd be satisfied.

"Saga" was absolutely terrific, performed brilliantly, feel fortunate to have seen it. Really sorry they didn't do "Friends" which will undoubtedly enter the lineup soon.

PROVE IT. NEED VIDEO OR DIDN'T HAPPENED.

Oh it happened all right. Memorable moment, crystallized by the Northern California sun setting in the West. Strong stuff.

"Saga" was absolutely terrific, performed brilliantly, feel fortunate to have seen it. Really sorry they didn't do "Friends" which will undoubtedly enter the lineup soon.

Wanted to add that I understand that they are performing many songs and it would be very difficult to decide which few to jettison in favor of deeper cuts, and they can't be expected to do more songs, which does present a dilemma.

[Yes, i know we can't expect them to do a set entirely of obscure album tracks, that's blatantly not what i'm saying, however there'd be no harm in a hardcore fan-pleasing 20-30% chunk of artistic material being thrown into the mix.]

Your actual words at  8.10.51am today:

"...it should be a big, career-spanning trawl through their catalogue."

Ergo, they would "devote half the setlist to obscure album tracks from commercially unsuccessful albums", according to you. Otherwise it would just be a GH set, and we wouldn't want that, would we ?

I can't put it any better (or clearer) than i did previously, so i'll just repeat what i wrote before:

I think i get where Wirestone is coming from, although he didn't argue his point very well. Now i adore - absolutely f**king ADORE - the Beach Boys more commercial and early material and i've no problem with them playing a big old chunk of that on their reunion tour. It goes without saying, they couldn't not! What i do have a problem with however is the fact that - from what's been said so far - there's little acknowledgement of their more artistic side at all - and to me this is disappointing, especially in light of the recent success of Smile, Brian's latest works, and Al's continuous praising of their more experimental work in recent years. Yes, i know we can't expect them to do a set entirely of obscure album tracks, that's blatantly not what i'm saying, however there'd be no harm in a hardcore fan-pleasing 20-30% chunk of artistic material being thrown into the mix. 
I think it's a fallacy to imply the audience would be running to the exits if the band were to play All This Is That, Time To Get Alone or Til I Die inbetween the hits. The group were artistically progressive for a comfortable 14-15 year run - some more acknowledgement of that wouldn't hurt.   

I'm going to enter this fray and try not to take any response personally, even though my skin is probably too thin for my own good, so please be kind. I'm trying to give a constructive opinion and have no interest in conflict or nastiness. This is a topic that is ripe for in-depth exploration at this particular historical juncture because the band is engaged in what is certainly one of its final phases of permanent self-definition. The rubber is hitting the road and the BBs legacy and identity is in the process of being permanently cemented during this tour, and a lot is at stake.

Wirestone is saying a lot of things that I was thinking of saying, and heartily agree with. I don't remember his exact words in his original post, but if he disparaged the band's early car or surf songs more than he intended to (or if his comments were just misconstrued) he later retracted that, and I certainly embrace that early work whole-heartedly, with no ambiguity whatsoever. Some have said here that they are equally happy to hear anything the band chooses to play, even going so far as to call the more ambitious, artistic tracks "yawners" or some such. Of course opinions and tastes are subjective, but I know that last night at the show, there was a magic, reflective mood and zen-like, dreamy  momentum and atmosphere for the relatively few "art" songs in the set (particularly All This is That, California Saga, Add Some Music, Disney Girls & Sail On Sailor)  reminiscent of what the legendary early '70s concerts (which I unfortunately didn't attend) must have been like, that was repeatedly truncated by a return to the more conventional fare before it had a chance to take flight and build up a continuity that would be truly marvelous.

There are too many points that have been made in this thread to fully address. I'll try to remember as many as I can. The comparison between self-indulgent artists playing mediocre, non-commercial material at concerts is spurious. The quality of the best of the more non-commercial BB tunes is widely acknowledged, I venture to say, so that's not really an apt comparison. I don't believe that Brian, in the main, writes music principally for profit-making motives, even when their careers took off and he felt pressure to be a breadwinner. Later (PS and after) came a time when his experimental, artistic growth no longer fostered a natural convergence between his innovative, but up until that time relatively conventional compositional style (enhanced by his competitive urge to write the greatest stuff that anyone could) and his desire to create financially remunerative hit records to support his brothers and family. I believe that he,at least in the first part of the band's career, wrote music mainly to express himself creatively, and that creativity was incidentally commercially appealing. When the music he wrote met with relative indifference (such as H&V not performing up to his expectations) he was hurt and began to withdraw from the expectation that his output would be universally acclaimed.

Ron is correct that there is an idealism present in Wirestone's yearnings for the band to be at least equally identified with its more substantive material as with its less ambitious work. What we want the band to be is now obviously unlikely to happen, and we love what we have, but while simultaneously making peace with it, those of us who hope for more can keep that dream alive and hope to influence this tour and whatever is left of the band's future by standing up for what we believe in, which is nothing less that the full creative potential of the Beach Boys being respected equally with the other parts of its identity.

I don't put the early surf & car songs in the category of "less ambitious" (more so the songs, culminating in "Kokomo" which recycled the familiar, archetypal memes and tropes in IMO sub-standard, recycled fashion later in the group's career, such as "Getcha Back" etc), even though they define the aesthetic that informed ML's vision (I don't want to polarize board members into pro-Mike and anti-Mike factions, a trap that is easily fallen into by many, myself included) or descend into character assassination or the like, just trying to identify, basically correctly I think, the fact that his vision of what the band should be is more mainstream overall than what Carl & Dennis were pushing for in the late '70s when push really came to shove over the group's image and identity. His vision won the day, and the group became more and more an oldies act (despite the undeniably high quality of these particular oldies) rather than attempting to strike a balance between the two facets of the group's nature. This tour is a really significant opportunity to regain a relative balance between those aspects of its character, and the opportunity is being missed, not completely, but to a considerable degree.

Someone predicted here that Wirestone would be ecstatic, and cheering wildly, no matter what the setlist is, when he attends  his local tour stop. I imagine he will do a lot of cheering, as I did, but also feel a great amount of frustration and disappointment, as I did (don't mean to put words in your mouth, Wirestone, no offense intended). One reason that the audience expects a more mainstream selection (and didn't seem to respond very well to the rarities) was because they have been conditioned to expect conformity from the band. It didn't have to be that way, but it is, and I understand that that is the reality of the situation, and am very thankful to have that reality. But I am an idealist too, and the power of some of the more obscure material is so potent that I was keenly aware last night of a very real, palpable missed opportunity. The most exalted musical ambitions of the group, in large part, are being done a disservice to. This band and its music are very important to us, and at this moment of penultimate self-definition, the opportunity for closure and a return to the more exalted artistic ideals that fueled some of its most amazing, existential, introspective work is sad to see pass by. One problem, of course, is that much of that material was sung by Dennis or Carl, and even some precious early songs like "Keep An Eye On Summer", "We'll Run Away" or "She Knows Me Too Well" would be difficult for Brian to pull off and would have to be performed by Foskett or others.

I felt it last night, a tantalizing sense of lost promise, and am unwilling to just keep quiet, toe the line and shuffle off into the night. During the poignant memorials to Carl and Dennis, their spirits seemed to be both celebrating the 50 years of mostly wonderful entertainment, while crying out for more of the 3 brothers' creative stamp to still be present in the content of the evening's festivities. Al, to his great credit, apparently regrets siding with the more conventional direction at that critical juncture in the late '70s. His stand-up advocacy for Surf's Up and Dennis' comments about SMiLE were a breath of fresh air during the recent Charlie Rose interview, and his attempts to convince ML to open the 2nd set with "Our Prayer" were laudable. I understand that the Beach Boys identity will forever be founded mainly on the themes of their origins, which are quite profound but the overreliance on and pervasiveness of that particular aspect cheapens those elemental, formative Southern California themes. I understand that it's a blessing and a miracle that they overcame their various differences and are touring at all, and performing so well, but they are far more multifaceted than that, and their legacy deserves better.  

So they read this? OK guys, here's my suggestion.

You've GOT to play something else from SMiLE on this tour, other than H&V and GV, which have graced BB setlists for decades. You just released the thing 6 months ago. I know Mike is in charge of the setlist and has issues with much of the material. Regardless of that though, it represents a significant part of Brian's creative peak.

Just take your pick, Mike. Just do Our Prayer, like Al suggested, if the lyrics bother you that much. As it stands, we're getting more "deep cuts" from less currently celebrated albums like CATP and Holland, and the lack of a SMiLE curveball in the mix is becoming painfully conspicuous.

If you want to make the fans go *nuts* and create a little more harmony and embrace the SMiLE just a little, GO FOR
IT!!!!

BTW, Friends on the soundcheck setlist rulez.

Well said.

O.K., I will attempt a review (at least some essentials).

They could jettison It's O.K., the 2nd song from the new album, R&R To the Rescue or Barbara Ann, not to mention the obligatory "Kokomo" which would disappoint many fans by its exclusion I guess.

Wow. R&R to the Rescue is such a cool addition to the set! A cool, underrated song from the '70s

O.K., Mr. Smarty Pants, I meant R&R Music of course, writing in a rush late at night.

I rarely post here, so don't lump me in with everyone that gets talked about behind their backs (personal). I was not insulting you personally. It's just that I didn't call the car and surf songs mediocre, and I know full well who Brian's collaborators were, ML among those who did fine work with him.

Just trying to do a service for everyone and add my two cents, should've known there would be blowback. Peace, brother.

I'm not saying the car and surf tunes are mediocre, you misread what I said. Plus the original vocal blend (still there to an amazing degree even with Carl & Dennis no longer with us) can't be duplicated at the solo shows, even though Brian's band are technically fine singers. I'm not going to get into an argument with you like a lot of people seem to like to do on this board. I think I gave a balanced opinion, I'm a very old -time fan and resent being lectured. If you are completely happy with what the band under Mike's leadership evolved into, that's your opinion and you're entitled to it, just don't get snarky. As I said, I'm very happy that the tour happened, and the concert had many memorable highlights. I just call the band and its history as I see it, and I feel confident that is is one, of many, very valid viewpoints.

O.K., I will attempt a review (at least some essentials).

The setting was spectacular, at Berkeley's Greek Theatre, where many legendary concerts have been held. Perfect evening, destiny seemed to hang in the air. First special moment was Brian's warbled intro to "Marcella", followed by a very strong vocal performance by BW of the cult favorite. Everyone was in fine voice. Mike introduced "Disney Girls" (couldn't remember which album it was on, and added that Bruce had also written I Write the Songs, but they wouldn't play it due to tome constraints) and Bruce played and sang it excellently, one of the evening's early highlights. Bruce may have been unhappy with the crowd response, commenting (or needling) inscrutably: "we're a California band" when the song ended. Please Let Me Wonder" featured a fine lead vocal from Brian and solid rendition all around. "Don't Back Down", seldom if ever heard before this tour, was the only notable entry in a series of surf songs. Scott Totten's excellent lead on "Ballad of Ol' Betsy", another obscure personal favorite, was quite enjoyable. Fine rendition of "Cottonfields" selected on this night over CA Dreaming. "California Saga" really soared, Al spot-on. Perfect night to introduce this tune to the set. I will say at this juncture that there were moments when the cumulative vibe that was starting to build after a certain sequence of quality, deep-catalog tunes was derailed by a mediocrity inserted at an inopportune time, so that what sometimes started to feel like an early '70s classic period show never had a chance to build creative momentum, whether it be "It's the Time" or whatever the 2nd new song just introduced to the set is called, or "It's O.K", there was a haunting (to me at least) sense of missed opportunity, due to the relatively conservative setlist. No "This Whole World", sorely missed. Jeff's vocal on Don't Worry Baby was serviceable but a bit bloodless, would much rather hear Brian sing it, warts & all. 4-song car medley ended the 1st half.

2nd set opened with "Add Some Music" around the piano, lovely. IJWMFTT with Pet Sounds footage onscreen, delicate and gorgeous. "Sail on Sailor" was also especially poignant on this beautiful evening, Brian struggling a bit with the vocal but valiantly soldiering on. Show-stopper IMO was "All This is That", crystal-clear and transcendent(!) Wouldn't It Be Nice" & "Sloop John B", rock-solid, with a lovely 1st verse on the latter from Brian. Touching video tributes to Dennis & Carl, then an excellent SS version of H&V, the only SMiLE song of the night (criminal. I shouted out a request for "Surf's Up" at the top of my lungs, but alas to no avail of course. Just doing my duty). Another stellar 1st verse for Brian on GV, highlight being the complete newly discovered silent studio footage, only available for viewing during GV on the tour so far, it seems. One long shot I hadn't seen was of Brian singing his part, getting WAY into it, like the shot we've seen when he is coaching Hal Blaine, clapping along. Thus ended the musically interesting portion of the evening. Everyone sung & played very well, the evening was just crying out for more of the creative side of the band's repertoire, at least 3 additional adventurous numbers (Break Away, Country Air, Wonderful, 'Til I Die, Vegetables, Darian singing Darlin', Our Prayer to open the 2nd set, as Al suggested, only to be met with indifference from Love) so that the selection wouldn't be tilted too heavily towards the conservative, at least IMO. They could jettison It's O.K., the 2nd song from the new album, R&R To the Rescue or Barbara Ann, not to mention the obligatory "Kokomo" which would disappoint many fans by its exclusion I guess. Ah, let 'em eat cake! Usual uninteresting encore. All songs performed very solidly, but IMO due to Mike's iron conformist hand on the setlist it narrowly failed to reach the potential heights that the band's concerts at their best are capable of, sorry to say, despite the excellent vocal and instrumental performances. I understand that compromise is necessary for the less hard-core, but it's tilted too far in the other direction to really take off. Unfortunately that's probably what the majority of fans want, at least partially because they've been carefully trained since the late '70s, when the Wilson contingent and the Clean Livers had their cataclysmic split (which Al is on record as having regretted, siding with Love et al) and the oldies revue die was cast when the Wilsons lost that battle, to expect from the BBs. I for one find that very unfortunate, but am certainly thankful to have been able to see them at all last night.

Hot time in old Berzerkeley tonight!

Good work, Mark, looking forward to reading your book.

Anyone, including Mike, who thinks Dennis was in any way derisive of Pet Sounds by making that statement about Smile is an idiot. As many people with functioning depth and awareness have pointed out, Dennis loved Pet Sounds, he was constantly touting its greatness, and to him Smile was so unbelievably fantastic it made one of the greatest records ever recorded pale in comparison. Dennis was on the front lines of the Smile cult...and only Al had the guts to point out that Dennis was right. "Surf's Up" is better than anything on Pet Sounds.

I personally found this exchange during the interview to be very revealing. Brian was unable or unwilling to personally defend Cabin Essence in 1966 when he was the undisputed leader at the top of his game, so he's certainly not going to step up to the plate now in 2012 with essentially the most conservative members of the group there in the room with him. Their laughter at the very idea that Smile surpasses Pet Sounds... I wonder if that stings Brian on any level. Well, it stings ME. In fact, it pisses me off! I know it's not au courant to criticize Mike these days, but I found it disingenuous of him to twist Dennis's enthusiastic contemporary comment regarding SMiLE (a regard that Mike and Bruce obviously don't share for the work, outside of the official press junkets that they were clearly obligated to participate in) into the suggestion that Dennis was disparaging Pet Sounds. That's slimy, especially when the person in question can't defend himself, and laughable, to anyone with even a passing knowledge of Beach Boys history and how things went down. I've been very positive regarding Mike during this tour and I think overall he's great... but I'll call this one like I see it.

Al Jardine... he may be a little late to the party, but my respect for the guy has increased exponentially in the last year. Apparently he actually meant what he was saying in the SMiLE youtube series... good for him! He defended VDP in the recent Mojo article too, and is the only Beach Boy on the stage who even mentions the huge SMiLE release that occurred just 6 short months ago. This all would be a lot harder to take without Al 's perspective and willingness to speak up. Since Carl died, he stopped toeing the line for Beach Boys INC and so now he tends to have the most interesting things to say of any of the surviving members of the band. Wherever Dennis is on a spiritual level, and Carl for that matter, I'm sure that Al's gesture was appreciated. Maybe even Brian appreciated it, but who the hell knows!?!?

I love all the Beach Boys and am greatly appreciative of this tour, but I needed to get this off my chest. Just one man's opinion.

Nicely said.

Charlie Rose says "so SMiLE was to be your masterpiece?" VERY awkward silence. Brian finally says "Well, it was a labor of love. It's not my favorite album. I like "Lucky Old Sun, Summer Days..." then interrupted. Rose later quotes Dennis' saying that SMiLE is "so good, it makes Pet Sounds stink", to general derision. Mike: "Dennis would say anything" Someone cites his affinity for "shock value". To his everlasting credit, Al jumps in: "Now listen guys, you listen to "Surf's Up" and it's a masterpiece of lyric, production etc. (something of the sort), he (Dennis) WASN"T WRONG". Mike: "But to put down Pet Sounds isn't cool". Short shrift and almost no reflection or attention given to it overall, despite Rose's two valiant efforts to broach the topic. Mike wasn't very supportive of PS in its day, not to mention SMiLE. He's gotten on board with the former, but still won't acknowledge the latter, either because he still doesn't see the merit (doubtful) or because he can't swallow his pride and praise it belatedly, for fear he'll look bad. Great to see them so comfortable, even though the interview is shallow and unrevealing, and so amazing to see that GV session footage with Brian in full flight. Mike really rubs me the wrong way though, no matter how much gloss is applied to his image for purposes of rehabilitation. Unctuous and sanctimonious, I'd love (no pun intended) to see him put on the spot and have to face more of a hardball interview than Rose is capable of.

It's terrific IMO.

Let's not forget Dennis's "I've Got A Friend" instrumental track, supposedly stellar. If the live performances are any indication, I'd put that among the very best unreleased stuff along with WIBNTLA and Brian's "California Feeling" demo. "Solar System" with unexpectedly creative backing vocals only is supposedly terrific as well.