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Just a correction before getting fact-checked...It was Atticus Ross alone, not with his collaborator Trent Reznor, who did Love & Mercy's soundtrack. It's been 9 years since the film came out - hard to believe - and I was just reading an article about Ross and Reznor's other film work so I erroneously credited Reznor too. It's fixed now. Too much going on to recall this stuff on the fly!

Here's one interview with Ross where he talks about how the L&M score came about, there's more out there online too:

https://silverscreenriot.com/talking-with-atticus-ross-of-love-mercy-gone-girl-social-network/

Love & Mercy soundtrack is great. I think I read at time of release that it was all derived from the original music. I could be misremembering, because some of those synth sounds must be original to the soundtrack. I’d love to read more about the technical details behind it.

Why not?

BUMP...

And an update.

Registrations are coming in at a nice tempo. We even expect a few foreign (= non Dutch) guests to join our convention. Very cool!

But there's room for more. The meeting is exactly one month ahead of us: October 19th, in Baambrugge. So if you you're thinking of coming over - feel free to get in contact with me through smileholland@gmail.com.

It seems to be pretty universally shared that the sound and the quality of sound of this documentary was wonky at best...both the music and the interviews...and yet, here it wins an Emmy for audio mixing. I don't get it, but there are a lot of things about these kinds of awards and things in general that I don't get. Maybe it was more an emotional/supportive vote for Brian's classic records and how they sounded going back to the 60's rather than the actual product of the documentary? Who knows. Wonders never cease.

I will say if there was a BB's related audio project that should have been nominated in the film/TV/video awards sphere, it would have been Atticus Ross' and Trent Reznor's pastiche soundtrack for Love & Mercy. That was fresh, exciting, and vital to several key scenes in the film, and it took the original music to places I don't think we would have imagined before hearing it in the film. But as far as I know, that one which deserved an award did not win. Or I could be wrong.

I wasn't giving the documentary credit, was just surprised they mentioned the Al and David thing. That's all. I should also mention that it was frankly baffling that, with all the talk about SMiLE, you barely hear anything from it in the film. I have no idea why this is, when the damn SMiLE Sessions set has been out for a dozen goshdarn years. It was like," SMiLE this, and SMiLE that" while they played 'You're Welcome' which wasn't even part of SMiLE, really. They acted like the damn thing was still a taboo subject. Weird.

No worries, my post above was not about your previous post. I was talking about reviews from several months back (not even sure I remember where I read them) that seemed to be giving the doc an awful lot of credit for a few graphics. As far as I'm concerned, creating that graphic for the coming and going of members was more a sign that the doc was being extra lazy, doing the easy work (e.g. covering personnel changes) rather than trying to contextualize any of the myriad of complicated topics in the band's history (Murry, Smile, songwriting credits, Manson, etc.).

Can someone explain in detail what caused the
 Issues between Al and Mike - leading to Al’s
Dismissal from The Beach Boys?

By Peter Jeffreyw1/PapaLaPap (2024)
_____________________________________________________________
    1ST CHORD SHOULD HAVE AN f iN iT !       W,Tf ?     
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    ALSO THE GUiTAR RiFF SWITCHES "Bb TO B" WHEN  THE CHORD CHANGES !   
    LIKE YOU SWITCH FROM "Beachboys TO Brian", YOURSELF ?   
------------------------------------------------------------------------------------------------------------------------------------------------------------------------
   iT'S A PALINDROME VAMP: Gm7/D (with the maj6) TO Dm7/G« (with maj6)     A MiNOR "maj6 jam"?   

https://musescore.com/user/67293877/scores/12707380

I wasn't giving the documentary credit, was just surprised they mentioned the Al and David thing. That's all. I should also mention that it was frankly baffling that, with all the talk about SMiLE, you barely hear anything from it in the film. I have no idea why this is, when the damn SMiLE Sessions set has been out for a dozen goshdarn years. It was like," SMiLE this, and SMiLE that" while they played 'You're Welcome' which wasn't even part of SMiLE, really. They acted like the damn thing was still a taboo subject. Weird.

I don't blame Al for still being pissed about how C50 ended in 2012.  Let him jab Mike, in my opinion, since (as HeyJude states) there's no chance of any reunion at this stage (with the possible exception of revisiting TWGMTR-era studio material). 

With regards to Al touring with Brian's band, isn't it possible that Al could pay the band at the same rate Brian paid them?  After all, Al picked up a share of the Iconic money and could technically "float" the whole operation, even if it loses (some?) money in the process.

Yes, I suppose all of the BRI shareholders are rich enough that they could float some length of touring out of pocket, or partially out of pocket. But touring costs add up fast. I don't think Al could pay fully out of pocket for like a year-long tour.

Could he pay the band members at the same rate and just cover any shortfalls that ticket sale revenue doesn't cover, for like a 5 or 10-gig mini tour? I would assume so. Is it fair to expect that of him, or ask that of him? I have no idea.

I think Al has been breaking even or losing a bit of money on his own touring for awhile now. So I don't think he cares too much about money. But I don't know if he's interested in cutting checks for hundreds of thousands of dollars to do 6 gigs with Brian's band.

They could try to amortize the touring cost a bit by maybe doing a quickie live album or something, I dunno.