Whether or not Brian, Denny or Carl called Murry an "asshole" matters little.  You gotta KNOW they thought it at the very least.  Not showing up at your own father's funeral says a TON more than just "asshole".  And it was unanimous.  Good for them.

Right. Although 1973 was a very complicated time, and Brian + Denny's emotions were very clouded from drug use no doubt. Nevertheless, I believe that the fact that Brian (and Denny) may not have publicly stated as such for Mike, I don't really have a huge amount of doubt that this somehow is evidence meaning they don't (or didn't, up until 1983) similarly feel that word applies to Mike too. And not in a one-time-did-something-bad kind of way, but in a general, overall sense. Just my hunch. Even if a post C50 Brian wouldn't take the bait and get behind an interviewer saying it. Also doesn't mean they couldn't still have some familial love for him though.

http://www.msn.com/en-us/news/crime/director-of-gregg-allman-film-pleads-guilty-in-train-crash-death/ar-AA9yCjL?ocid=mailsignout

Sad stuff, but I think this is justice considering Randall Miller's monumental irresponsibility during the Allman biopic. I don't know if "The Drummer" will ever get made, but in all likelihood not by Miller.

Even Mike & Brian don't treat each other that badly when they have issues with each other, so why should we.

Mike & Brian were tangled in massively expensive lawsuits for years. I hardly think this level of snark reaches that level of operatic, almost Shakespearean family drama.

I call bullshit. Even during those times they were civil with other. Rarely, have they been derogatory with each other. Even after C50 when Brian was asked if Mike was an asshole, he corrected the interviewer. Just because they fight over business affairs doesn't mean they disrespect each other as people and family.

Here's a question... has Brian ever called Murry an asshole? Or has anyone in the band actually said that (or not corrected an interviewer who said/inferred such)? Maybe Mike said the most strong words against Murry, I seem to recall such - but still nothing that would indicate "asshole" IIRC, because IMO, much like Mike himself, Murry was a figure who did some significant damage to people in his orbit, but still obviously had love in his heart and tried to show it, however misguided the methods may have been. Not comparing Mike to Murry, but only saying that I don't think the BBs (very especially Brian) would say that word about people who are family. They let stuff slide, for better (and usually worse), immeasurably so, because they are related.

Can't really identify with In the Back of My Mind because it's moody and introspective? Come on, that's just lame..

I think it's pretty lame too. I mean, yeah of course he is entitled to his opinion, just as though I'm entitled to state my opinion that his is is a lame opinion, lacking depth of emotion/understanding. It makes him come off as a simpleton by putting down the deeper material, or stating that it "isn't for him" in some capacity. It's the same old crapping on deeper, emotional, intensely personal songs of Brian's like Til I Die, Summer's Gone, etc. Songs that don't need changing and were/are perfect as is. How sick must Brian be of hearing that kind of thing? It's just unnecessary to state that in an interview, unless your (Mike's) own sh*t don't stink, and it most certainly does. Geez.

I wonder if Brian has ever in an interview said similar negative things about Mike's songwriting. Like, "sometimes the subjects/words Mike writes about are too cheesy/regurgitated topics/corny references, that I have to be in the mood to listen to". I mean, Brian doesn't really verbalize this stuff, or so I think, but I'd be very surprised if he didn't feel that way.

And you know, I'm totally serious when I say this... Mike Love clearly has fears, many fears (losing control of the band, taking off his hat, etc)... he's human too. I don't see how it's so hard to relate to a song about worrying about things in the back of one's mind. Unless he's just simply not in touch with those emotions.

Mike should have been asked about his aborted lead vocal for "Please Let Me Wonder". Always been curious to find out more info about that… Never have I ever heard any official question or answer about it either.

Just some thoughts here:

Surely the worst Doors albums must be the two they cut after Jimbo died, right? There's still some good stuff there, but not at the level of their core catalog (how could it be?). Soft Parade happens to be one of my favorites, though I know it's a divisive album.

Similarly, I would think the low ebb of Pink Floyd would be something like Delicate Sound of Thunder that was released after RW left. With the Who, I'd say Endless Wire is the obvious low point (I LOVE By Numbers).

Pool It and Justus are each about half-good to my way of thinking. Take the best cuts from both and you've got a decent album.

If you want to talk bad late period efforts, the Nashville reunion tracks on the Byrds box set really stink, except "Love That Never Dies" which is not the Byrds at all, but a McGuinn solo track. Of all the great songs they could have covered, they went with "From a Distance"? (Now where is that puke emoticon when I need it?)

The bottom of the barrel can probably be found on various solo efforts from the 80s and 90s by Davy Jones, Roger Daltrey, John Entwistle (excepting the title track from "Too Late the Hero" which is great), Mike Love, Macca (Pipes of Peace or Broad Street anyone?), Jagger, Bowie, Neil... the list goes on. Those two decades were like kryptonite to most classic rock idols. Of the big names only Springsteen seems to have thrived, and he was a little younger going in than the rest of those guys. The point is that the Beach Boys were far from the only ones releasing substandard goop during that era.

LOL at "substandard goop"

But yeah… It's always easier to understand substandard goop in context.

I think having Al and Blondie will at least bring out some Brian fans that might have started skipping Brian shows here and there in more recent years. The last time I had seen Brian pre-C50 was in 2007 I think. But I went back in 2013 for “BAD”, and I’ll do my best to make this new tour with Al and Blondie. (“BAB?”).

I have to be honest that I’d probably give it at least a second a thought about whether to go if Al and Blondie were not on the tour. Not because Brian shows aren’t up to par (if anything, this year’s setlist might be more interesting; not even counting potential Al and Blondie songs), but simply because I have to be rather motivated these days to make it out to these concerts. But it’s been so rare to see Al (not to mention Al *with* Brian, to say nothing of seeing Blondie in any BB-related configuration), I’m more motivated. I was lucky enough to see Al with Brian twice in 2007 (first on the PS tour, then a “regular” show), and I of course saw them in 2013 as well. So I guess I’d have go back to 2005 as far as the last time I saw Brian *without* Al!

I actually probably would snag ticket to a Mike/Bruce show that had Al there. He really is *that* integral to a BB-related show at this stage, given the quality of his voice. I still can’t believe he hasn’t been able to put together some sort of solo tour, small venues on an actual “tour” rather than random fairs with the “Endless Summer Band” doing the hits.

Agreed, Al rules! Was nothing short of amazing to see him do his original lead parts on "I Know There's an Answer" last year at The Greek. He makes it LEGIT.

Right, because they would have to be better than "Pisces Brothers" to make the cut and that's such a high bar to clear.

This ridiculous parsing of "talk" and "discussion" to absolve Mike Love of all blame for there not being a follow-up to "Radio" is almost adorable in it's pigheadedness. Almost.

I'm glad it worked out this way, tho. Less filler!

Completely agree. I try to hold as nuanced a view of Mike as possible, but at the end of the day he's obviously a very insecure and somewhat bitter man. He had the chance of a fresh start with the reunion and blew it. It was his choice to make, I'm sure he had his reasons, but he has to live with it now.

I know I'll get chewed out bu the apologists again for saying so, but the general public can see what's going on clear as day. Brian was probably pretty upset but he moved on and is having a very prolific year. If it is his last, it's a stunning high note to go out on. Mike's doing his usual schtick on the road and writing angry emails trying to convince somebody that he's perfect and in no way responsible for the messy, mood-killing way the reunion ended. And with that, their respective legacies are cemented. Brian's the guy that makes awesome music. Mike's the frontman on the road who creates embarrassing drama.

How sad that with Brian talking about possibly retiring, that Mike's actions show how much Mike himself cares if he never shares a stage or works with his cousin again while they are both on this earth. Not too much, it would seem. Because, you know, the mythic "room" thing is far and away more important. Talk about priorities being out of whack.

I just think it's pathetic he won't even admit it was his decision to end it. If he just admitted it and said why he did honestly, I think people would respect him even if they were a bit disappointed. But by trying to play the victim he's just digging his own grave as far as public perception goes. No one but the club kokomoers are buying it.

At the very least, drop the Mr. Positivity act if you're gonna keep bringing up old news and taking cheap shots. It's clear who's the bigger man when one guy dusts off and moves on while the other has to look big by trying to knock him down again.

We are the only ones who care about it. Even I don't get that wrapped up in it. Me getting worked up over it doesn't fix a damn thing. During C50, most show-goers only got to hear two new songs and that was with a #3 album. So for Mike I doubt new music works for what he presents at his Beach Boys shows.

Of course we're the ones who care about it, because we're the biggest fans, to whom the music means the most! And we're not the only ones who care. The vast majority of actions Mike has done post C50 have little by little, bit by bit, further damaged/cemented his reputation for the ages. And I hate to see that happen to a musician in my favorite band. And ironically, the actions mostly seem to be a (very) misguided attempt at damage control, but the opposite effect happens.

The fact that there are nevertheless many less-informed fans who don't care, or who glance at Mike's subterfuge excuses and actually believe them at face value, is largely what allows Mike to get away with what he does.  Kind of like the band being faceless to the country fair crowd. Works great for Mike! The music of course is so good that it reins supreme and helps some of the more informed fans simply overlook the lameness and hypocrisy. And I try to overlook it too, but it gets mighty hard at times like this. And sadly, I fully expect more trash talk about NPP from Mike in the future, too.

I'd get less wrapped up in it if Mike would just do his crappy ego-driven behavior as he's done for decades, admit to it (or at least just stay quiet about it)... it's when it's coupled with additionally passive-aggressively picking fights with his cousin in the media that I'm Bugged With Ol' Mike Love.

Right, because they would have to be better than "Pisces Brothers" to make the cut and that's such a high bar to clear.

This ridiculous parsing of "talk" and "discussion" to absolve Mike Love of all blame for there not being a follow-up to "Radio" is almost adorable in it's pigheadedness. Almost.

I'm glad it worked out this way, tho. Less filler!

Completely agree. I try to hold as nuanced a view of Mike as possible, but at the end of the day he's obviously a very insecure and somewhat bitter man. He had the chance of a fresh start with the reunion and blew it. It was his choice to make, I'm sure he had his reasons, but he has to live with it now.

I know I'll get chewed out bu the apologists again for saying so, but the general public can see what's going on clear as day. Brian was probably pretty upset but he moved on and is having a very prolific year. If it is his last, it's a stunning high note to go out on. Mike's doing his usual schtick on the road and writing angry emails trying to convince somebody that he's perfect and in no way responsible for the messy, mood-killing way the reunion ended. And with that, their respective legacies are cemented. Brian's the guy that makes awesome music. Mike's the frontman on the road who creates embarrassing drama.

How sad that with Brian talking about possibly retiring, that Mike's actions show how much Mike himself cares if he never shares a stage or works with his cousin again while they are both on this earth. Not too much, it would seem. Because, you know, the mythic "room" thing is far and away more important. Talk about priorities being out of whack.

I just think it's pathetic he won't even admit it was his decision to end it. If he just admitted it and said why he did honestly, I think people would respect him even if they were a bit disappointed. But by trying to play the victim he's just digging his own grave as far as public perception goes. No one but the club kokomoers are buying it.

At the very least, drop the Mr. Positivity act if you're gonna keep bringing up old news and taking cheap shots. It's clear who's the bigger man when one guy dusts off and moves on while the other has to look big by trying to knock him down again.

We are the only ones who care about it. Even I don't get that wrapped up in it. Me getting worked up over it doesn't fix a damn thing. During C50, most show-goers only got to hear two new songs and that was with a #3 album. So for Mike I doubt new music works for what he presents at his Beach Boys shows.

We are the only ones who care about it. Even I don't get that wrapped up in it. Me getting worked up over it doesn't fix a damn thing. During C50, most show-goers only got to hear two new songs and that was with a #3 album. So for Mike I doubt new music works for what he presents at his Beach Boys shows.
[/quote]

Of course we're the ones who care about it, because we're the biggest fans, to whom the music means the most to! The fact that there are many less-informed fans who don't care, or who glance at Mike's subterfuge excuses and actually believe them at face value, is largely what allows Mike to get away with what he does. The music of course is so good that it reins supreme and helps some of the more informed fans simply overlook the lameness and hypocrisy. I'd get less wrapped up in it if Mike would just do his crappy ego-driven behavior as he's done for decades, admit to it (or at least just stay quiet about it)... it's when it's coupled with additionally passive-aggressively picking fights with his cousin in the media that I'm Bugged With Ol' Mike Love.

Crosby's Mike-related (and other) tweets are making the rounds at the hipster websites...

http://www.brooklynvegan.com/archives/2015/03/david_crosby_ca.html

http://consequenceofsound.net/2015/03/david-crosby-phish-kanye-mike-love/

Right, because they would have to be better than "Pisces Brothers" to make the cut and that's such a high bar to clear.

This ridiculous parsing of "talk" and "discussion" to absolve Mike Love of all blame for there not being a follow-up to "Radio" is almost adorable in it's pigheadedness. Almost.

I'm glad it worked out this way, tho. Less filler!

Completely agree. I try to hold as nuanced a view of Mike as possible, but at the end of the day he's obviously a very insecure and somewhat bitter man. He had the chance of a fresh start with the reunion and blew it. It was his choice to make, I'm sure he had his reasons, but he has to live with it now.

I know I'll get chewed out bu the apologists again for saying so, but the general public can see what's going on clear as day. Brian was probably pretty upset but he moved on and is having a very prolific year. If it is his last, it's a stunning high note to go out on. Mike's doing his usual schtick on the road and writing angry emails trying to convince somebody that he's perfect and in no way responsible for the messy, mood-killing way the reunion ended. And with that, their respective legacies are cemented. Brian's the guy that makes awesome music. Mike's the frontman on the road who creates embarrassing drama.

How sad that with Brian talking about possibly retiring, that Mike's actions show how much Mike himself cares if he never shares a stage or works with his cousin again while they are both on this earth. Not too much, it would seem. Because, you know, the mythic "room" thing is far and away more important. Talk about priorities being out of whack.

It was an immense pain in the rear to sneak in a video camera into shows, but I took the risk!

I didn't want to know how you did it! What did your proctologist say about that?

You don't wanna know, believe me   Ouch.

But seriously though, trying to sneak in a Hi8 videocamera into a show was not easy. Not to mention actually trying to film the show: looking into the viewfinder to know what you are actually shooting, and staying totally still to avoid bouncing around, all while trying to keep a lookout for security without getting caught, and somehow trying to actually gain some enjoyment from the show. Royal pain, that's why I don't do it anymore. But I did it successfully probably 20+ times for various bands. So I have massive respect for anyone else who took pains like these for the BBs; pre-iPhones, it really wasn't easy! Now that I think about it (I'd almost forgotten), I actually took these steps and brought my camera to a 2002 (or 2003) BW show, but the battery crapped out and I only got 1 song (City Blues). One day I'll find it and put it on Youtube.

Mama Says...

The answer is simple. For ONE album Mike and Brian pulled a "Lennon & McCartney" or a "Jagger & Richards". Every original song would be a "Wilson & Love" collaboration, even if it wasn't. Or if the lyrics weren't written by someone else like Parks or Asher.

"Mama Says" was written solely by Brian, but it was credited to both. No big deal. Brian didn't mind sharing the credits for this little dittie and Mike didn't really make big bucks from this track alone.

End of story.  

That might well be true, actually.

Nobody has ever been able to appropriately explain the reasoning behind the "by Brian and Mike" credit on the "Gettin' Hungry" single, and this would seem to run tandem to that.

Mike reclaiming his rightful spot as an important, vital part of the songwriting process within the band, at a point when Brian wasn't emotionally vulnerable or feeling defeated in the slightest, and whose emotional state surely played no factor in this happening.

Well I thought they were just having a good time writing songs together for the next R'N'B influenced Beach Boys' album....

But if it's necessary for you - with no evidence in contemporary or more recent interviews - to fantasize about Mike forcing his way and Brian feeling defeated and bending over... Ok. But it's just weird.

Actually, the just plain weird part involves the juxtaposition of Mike being sidelined for two albums (because Brian's vision seemed to have been in conflict with Mike's, unless I'm missing something here), and then immediately thereafter having Mike return not just as Brian's main (and quite nearly sole) collaborator, but for unprecedented incidents such as (probable) overcrediting Mike (Mama Says) as well as going out of the way to state Mike's prominence with the "Brian and Mike" single credit. To me, that credit feels as much a nail in the coffin of the statement of intent I think the "Brian Wilson" Caroline, No single credit was laced with, as a '66 release of the song Surf's Up would have been a nail in the coffin to their cheesy surfin' image. But, ya know, that's just me.

As far as evidence, well, there's circumstantial evidence when Brian spoke on "Beautiful Dreamer" with emotion in his voice, mentioning Mike as part of why SMiLE fizzled... for the guy who seemed to have hurt Brian's feelings in a big way, in late '66/early '67, to be not just "back", but "B-A-C-K" in the collaborator's seat such a big, more prominently-than-ever-before-in-the-history-of-the-band type of way, in a matter of mere months... well, the conclusion/hypothesis that I've drawn seems to have some logic behind it, IMHO. None of us know all the facts, but I don't think it's fair to dismiss these ideas outright as being Flat Earth Society type stuff, Dancing Bear. We all can make educated guesses based on the evidence we've seen, and while I'm more than willing to admit that I may be totally wrong, I think you should on the flipside admit that there *might* be some truth to it also.

That said, I dig Wild Honey. I'm glad it exists, and I want a proper stereo remix to be released. But I do think its main author was defeated and conflicted when it was written, and some weird defeatist amends were being made. And I also think that absent the transparency of the internet, and absent a supportive wife that Melinda is, that a similar situation could have directly followed TWGMTR.

Well, once in the late 90s Brian and Joe Thomas were such great pals that Brian bought another house in Chicago. Then things didn't go so well and Joe was sued by Brian's wife. Now they're best pals again recording together their seconds CD in a row.

Once in '66 Van Dyke Parks was Brian's perfect collaborator, but then things didn't go so well and Van Dyke took his time off to record his own solo album. They hung out a bit in the 70s before Landy, then nothing much happened till they became best pals again circa BWPS. After TLOS things didn't go so well and now they're estranged, with Van Dyke writing sarcastic tweets about their relationship.

Are you sure you want to look at Brian's relationship with friends / collaborators in a logical way? ("Oh well things went sour during Smile then there's no way Brian would want to write again with Mike 9 months after").  

Fair enough, Dancing Bear. But what you're saying is also not much of an argument in outright dispelling my theories... being as Brian willingly (?) musically collaborated with both Murry in '69, and Landy for nearly a decade. Not comparing Mike to those two, but I'm just saying that while yes, Brian's choices/relationships with friends/collaborators will always remain questionable and his own reasons/justifications subject to debate/speculation, it's also essentially an established fact based on the Murry/Landy examples that Brian still will work with people who either have deeply hurt him and/or who have been able to push his buttons in ways which he has a hard time saying "no" to. I think Brian was/is afraid to say "no" directly to Mike's face, and will always be.

Cent Dep???  Did you write that?  "Rightful?  That was YOU???  Man.  We need to go have a drink together buddy.   We'll bring Mike.  He needs to learn a coupla things.

 

"Mike reclaiming his rightful spot as an important, vital part of the songwriting process within the band"

Rightful?

Please.

Rightful!!!.  Gawd.  I'm going to be sick.

I don't for a moment imagine that Mike ever thought anything different, either then or now.

Mama Says...

The answer is simple. For ONE album Mike and Brian pulled a "Lennon & McCartney" or a "Jagger & Richards". Every original song would be a "Wilson & Love" collaboration, even if it wasn't. Or if the lyrics weren't written by someone else like Parks or Asher.

"Mama Says" was written solely by Brian, but it was credited to both. No big deal. Brian didn't mind sharing the credits for this little dittie and Mike didn't really make big bucks from this track alone.

End of story.  

That might well be true, actually.

Nobody has ever been able to appropriately explain the reasoning behind the "by Brian and Mike" credit on the "Gettin' Hungry" single, and this would seem to run tandem to that.

Mike reclaiming his rightful spot as an important, vital part of the songwriting process within the band, at a point when Brian wasn't emotionally vulnerable or feeling defeated in the slightest, and whose emotional state surely played no factor in this happening.

Well I thought they were just having a good time writing songs together for the next R'N'B influenced Beach Boys' album....

But if it's necessary for you - with no evidence in contemporary or more recent interviews - to fantasize about Mike forcing his way and Brian feeling defeated and bending over... Ok. But it's just weird.

Actually, the just plain weird part involves the juxtaposition of Mike being sidelined for two albums (because Brian's vision seemed to have been in conflict with Mike's, unless I'm missing something here), and then immediately thereafter having Mike return not just as Brian's main (and quite nearly sole) collaborator, but for unprecedented incidents such as (probable) overcrediting Mike (Mama Says) as well as going out of the way to state Mike's prominence with the "Brian and Mike" single credit. To me, that credit feels as much a nail in the coffin of the statement of intent I think the "Brian Wilson" Caroline, No single credit was laced with, as a '66 release of the song Surf's Up would have been a nail in the coffin to their cheesy surfin' image. But, ya know, that's just me.

As far as evidence, well, there's circumstantial evidence when Brian spoke on "Beautiful Dreamer" with emotion in his voice, mentioning Mike as part of why SMiLE fizzled... for the guy who seemed to have hurt Brian's feelings in a big way, in late '66/early '67, to be not just "back", but "B-A-C-K" in the collaborator's seat such a big, more prominently-than-ever-before-in-the-history-of-the-band type of way, in a matter of mere months... well, the conclusion/hypothesis that I've drawn seems to have some logic behind it, IMHO. None of us know all the facts, but I don't think it's fair to dismiss these ideas outright as being Flat Earth Society type stuff, Dancing Bear. We all can make educated guesses based on the evidence we've seen, and while I'm more than willing to admit that I may be totally wrong, I think you should on the flipside admit that there *might* be some truth to it also.

That said, I dig Wild Honey. I'm glad it exists, and I want a proper stereo remix to be released. But I do think its main author was defeated and conflicted when it was written, and some weird defeatist amends were being made. And I also think that absent the transparency of the internet, and absent a supportive wife that Melinda is, that a similar situation could have directly followed TWGMTR.

Mama Says...

The answer is simple. For ONE album Mike and Brian pulled a "Lennon & McCartney" or a "Jagger & Richards". Every original song would be a "Wilson & Love" collaboration, even if it wasn't. Or if the lyrics weren't written by someone else like Parks or Asher.

"Mama Says" was written solely by Brian, but it was credited to both. No big deal. Brian didn't mind sharing the credits for this little dittie and Mike didn't really make big bucks from this track alone.

End of story.  

That might well be true, actually.

Nobody has ever been able to appropriately explain the reasoning behind the "by Brian and Mike" credit on the "Gettin' Hungry" single, and this would seem to run tandem to that.

Mike reclaiming his rightful spot as an important, vital part of the songwriting process within the band, at a point when Brian wasn't emotionally vulnerable or feeling defeated in the slightest, and whose emotional state surely played no factor in this happening.

Brian wrote "Don't Hurt My Little Sister" for Phil, but held it back when he demanded a piece of the composer credits. Brian did play piano on a session for "DHMLS" that was later used for "Things Are Changin'" but it's unlikely that Spector produced it - Jerry Riopelle says he did.

So, briefly... no.

I wonder if that was Brian being put off by that crediting request of Phil, or if Murry could have found out and put the kibosh to it.

Even if it was underhanded of Phil, I somehow doubt a starry-eyed Brian would have cared much, if solely up to him, don't you agree?

I think it's time Mike get back into the rap duet mode, after having the Bart Simpson "Summer of Love" collab sadly fall through years prior.

"Mike Love States His Case That They Gave Me" could be an opportunity for the Snoop Dogg/Love combo that the world's been waiting for.  

Meant For You is a great Mike vocal. I wonder, did Mike not like the way he sounded on this song? Did he (or Brian) feel this wasn't the right "Mike" type of sound? Because he so rarely sounded like this again on record.

Also: Kokomo, which presumably due to the cheesy lyrics and massive overexposure of the song, probably makes it overlooked as one of Mike's best-delivered vocals. "By and by we'll defy", for example, has a little twinge of vibrato or something, which sounds super to my ears.

All I can say is that listening to The Bee Gees' High Civilization has made me feel not quite as embarrassed for The BBs' SIP (the bad half/60% of the album), Smart Girls, and the like. It's just "wow" bad.

Well there was that R&RHOF speech thing.....

Well, yeah. That was where Mike randomly started insulting people, unprompted (in that nobody sh*t-talked him to cause him to go off on his rant).

But I was talking about where a celebrity publicly insulted Mike, and then Mike took the bait and publicly defended himself and then threw an insult back. I don't think that's happened yet, though I could be wrong.

Maybe Mike should tweet Crosby and ask why Roger McGuinn isn't exactly breaking down his door trying to get a Byrds reunion going with him?

He should ask him. Has Mike ever taken the bait and started publicly bickering with anyone other than one (or more) of the BBs themselves? It's high time he spread the wealth and start some back-and-forth feuds with other non BB musicians.

For those searching your local listings, keep in mind that different PBS stations air these types of things on different dates at different times. An “air date” usually gives a good frame of reference for the week or weekend that it will air in most markets. But some stations will sometimes take several extra weeks to air something like this (or will re-air it again within a few weeks). Folks following the “Doin’ It Again” PBS airing from back in 2012 will probably remember that different areas/stations got different air dates in some cases.

My recollection is that my local stations usually premiere episodes of things like “Soundstage” and “Austin City Limits” on weekends, so I’m not sure April 9th (a Thursday) will be the date here.

Set air date

You know what you should ask him next though? What he thinks of 'The Right Time'. Would make a good question I think.

I think Mike may just agree to a Smiley Smile Q&A, which perhaps would go something like this:

Q: Mike, what’s your favorite pizza?

A: Set end date.