Jack's recall of historical detail can certainly be questioned (as can Al's - for sure), but the wildcard here is whether interview information is recalled to fit an agenda. And if you want to dovetail that into a questionable resume / hype job some 40+ years ago, well...that's a fair cop. I just reacted the way I did because I feel there's a fair amount of self righteousness going on here. Didn't we have an earlier thread about the very same thing? And like a fish going for a lure, we tugged on that 'credibility' line for all it was worth.

And by the way, if you ever get fired...say you got 'downsized'. Twist that black mark till you have a pretzel! 

With the notable exception of the Holland episode (financially...not musically), I don't have a problem with Rieley's stewardship of the band. If he embellished a bit to gain his entre, so be it. Standard operating procedure in the world of business.

Somewhere's in my resume I state that I was responsible for increasing revenue by 135% in the first half of one year. Was it really 135%? No way to prove it...I only know that we were doing quite well and I was cooking. The main thing is that I needed hard numbers, so I pulled it out of my @$$. An embellishment...no more. And I will look you in the eye, hold my gaze and convince you of that fact. Bidniss.

People do whatever they have to do to get the 'magic ticket'. It's what they do with the ticket that matters.

And by the way Andrew...I also believe Jack played bass on those classic Motown recordings. Carol doesn't know what she's talking about 

From Spark's Official Facebook page:

IN THE WORDS OF SPARKS... SELECTED LYRICS will be released by TamTam Books on October 31st.

The beautiful hardbound book features 76 printed lyrics from throughout Sparks' career, personally chosen by Ron and Russell. The book is illustrated with images of Ron and Russell's hand-written lyrics that showcase their thought-process. In addition, Morrissey Official has written an eloquent and celebratory five-page foreword specially for the book.

"In The Words Of Sparks" offers a new way to focus on Sparks' lyrics, and to appreciate how compelling and unique they are even divorced from the music. The book will also work as a companion piece to the forthcoming Sparks box set, New Music For Amnesiacs - The Ultimate Collection.

The book will be available worldwide via Amazon on October 31st, 2013. However, the books are already en route (we hear) to the distributor and will therefore probably be in stock at your local indie bookstores in the US as early as the beginning of October. So go to an actual bookstore to buy it!

Mozilla has an app entitled 'download helper', so that may help if you use Firefox.

Always enjoyed the MP3 of the show, so this video really brings it all home. Thanks much for the link.

I'm not sure if anyone has pointed this out yet but the writer for this movie - Oren Moverman - also wrote for the Bob Dylan film I'm Not There. You know, the one where Cate Blanchett and all the others played Dylan at different stages of his life, even the little black boy. Also, the director of the film was the executive producer of The Tree of Life, a beautifully shot film with a roundabout way of telling a story. Also, music by Atticus Ross and the cinematography is by the man who worked on The Royal Tenanbaums and Moonrise Kingdom both films have a very distinct style to them.
 
So I think seeing a few paparazzi photos of the cast milling about on set is not enough to really have any judgement of how the film is going to be. Look at the cast and crew who brought this one to life - really some talented and creative people, not just some vh1 lifetime movie of the week people. I'm sure I'm not alone on this one.

That's the best news I've heard so far about the film - I'm quite interested in seeing it with all that pedigree in the background. Very cool.

They also had a tenuous Beach Boys connection. Earl Mankey played guitar for them just pre-Kimono, in their Half Nelson years. Earl of course went on to work with the 'Boys at Brother Recording in Santa Monica.

The 'Introducing Sparks" lp that came out in '77 was recorded in LA, and I know that Earl was involved. Check out their Beach Boys pastiche, "Over the Summer"

http://www.youtube.com/watch?v=4qv5JvEmSoc

Hey Wirestone, I thought you were going to take a hiatus from the board until MIC comes out.  Couldn't resist, eh?  

Eh. I tried.

That Al Jardine. He keeps pulling me back in. Plus, I bought tickets for BBAD in Boston and am kind of pumped about that ...

Coming up this fall, a career retrospective 5 CD box set for the Mael brothers. Comes with a hardbound book - looks top shelf.

http://store.universal-music.co.uk/restofworld/exclusives/sparks-new-music-for-amnesiacs-the-ultimate-collection-box-set/invt/5037300783451

It'll be interesting to determine whether the old Island-era tracks were remastered or what. I'm sure it'll sound stunning at any rate.

There's something amiss here. Loaf alluded to it:

IF we are to accept the Joe Thomas account of the sessions, the ever-so-wily Brian Wilson was sitting on tracks from '98, approached Capitol on his own volition, and basically closed the BB's deal on his own. That's what Joe reported, for what it's worth. If that DID happen, then how in the hell does that leave room for sitting down at the piano with his cousin Mike? A deal was struck on preexisting tracks, and even with a few more to follow - that doesn't sound like a brand new soup to nuts Brian Wilson / Mike Love creation. It sounds like a Brian Wilson creation with (selected) input from Mike and the boys.

Why is that a problem? Mike's deluding himself if he still thinks he's got the moxie to create an entire conceptualized album. Leave it to the professionals, like Brian, Joe and now, Don Was.

[DBA]

I like DBA...as in Doin' Business As (you know who)

If you don't know who, just ask Al! 

He's sort of the Beach Boy "Neil Sedaka" - with all the good and bad that that infers. Nowadays he's the Neil Sedaka PA system roadie...'little to the right...little to the left...a little up...that's right...'

I vaguely recall him writing something on the BBBritain around '04 or so, talking about moving to Nashville, writing more and pitching his songs to the Nashville community, etc. Did any of that ever happen? The song writing stuff I mean.

Agreed on him losing his mojo. Wealth has a way of squelching that 'drive' that every creative person has at the onset of their career.

Mike is the most polarizing and controversial member of the beach boys, so it makes perfect sense there would be a proportionately higher number of threads about him.  Any BB board worth anything will have its Mike bashers and mike apologists.  Battle on!

Yup. Nature abhors a vacuum, so as long as the issue gets brought up in the press, it's fair game. Having said that, endeavor to bring something fresh and thought provoking to the conversation. Such as Mike's recent interview on the 'Celebrate the News' thread. It's all food for thought.

Now all we need is for Bruce to down too many Pacifico's and carp about Obama. That'll crank up the publicity machine!

Mike Mitchell of the Kingsmen told me stories of when their bands toured the US Southwest in the summer of '64. Bunch of guys crammed in a Greyhound charter, while Brian was constantly shooting Super 8 video. Pranks, highjinks galore, all captured by Brian.

Who knows whatever became of that stuff. Mike said that he'd ask Brian the next time he sees him.

As was mentioned in the Brian in Atlanta Oct 4th thread...here is the general announcement of an 18 city tour:

http://www.usatoday.com/story/life/music/2013/08/05/jeff-beck-brian-wilson-exclusive-fall-tour-dates/2596367/

Exclusive: Brian Wilson, Jeff Beck touring together


Marco della Cava, USA TODAY 12:03 a.m. EDT August 5, 2013


The guitarist got the touring invite after contributing licks to the Beach Boy's upcoming solo album.



Not much gets guitar ace Jeff Beck rattled. But when he was asked to honor Beach Boy Brian Wilson at his MusiCares Person of the Year tribute in 2006, Beck nervously stepped up with Surf's Up and Surfin' USA, just hoping not to offend.

Beck needn't have worried. That initial meeting has led to him not only contributing fretwork on Wilson's forthcoming solo album, but also joining Wilson on a tour that kicks off Sept. 27 in Hollywood, Fla., and wraps Oct. 27 in Akron, Ohio, with tickets going on sale Aug. 9.

"He's got a truckload of hits to play, but we'll build on that and interact," Beck tells USA TODAY. "Brian will kick things off, but I'll also be given enough time to establish what I'm about. In the end, we'll mix and match. It's a complete honor to be on stage with him."

Wilson calls Beck "very well versed" in his music, noting that "he'll play in the pockets where I'm not singing. He brings that great guitar-player kind of thing to the picture."

Joining Wilson and Beck on stage will be Beach Boys Al Jardine and David Marks, both just off the band's 50th anniversary tour.

The 18-city Wilson/Beck show will ping-pong across North America, with stops in Washington (Oct. 5, Warner Theater), New York (Oct. 15, Beacon Theater), Los Angeles (Oct 20, a previously announced show at the Greek Theater) and Detroit (Oct. 25, Fox Theater). Check ticketmaster.com for prices, which have not yet been announced.

Talking to Beck about Wilson makes clear the latter's profound impact on already-accomplished musicians looking for a new direction in the '60s.

"I needed musical help around 1966, and (the Wilson-helmed Beach Boys masterpiece) Pet Sounds was dressing on a wound for me with all its amazing melodies," says Beck. "I was floored by it. So were The Beatles. It was outrageously adventurous stuff for the ear."

Beck was predisposed to like Beach Boys fare, which often celebrates what remains his passion: building and driving hot rods. "I'd hear that music and it would be an escape from the humdrum life," he says.

Wilson's new album has "the flavor of Pet Sounds," says Beck. "Once you hear it, you'll be whistling the songs for the rest of your life." Wilson says fans can expect "very mellow sounds, soft and sweet."

Beck contributed to a handful of tracks, raising interesting possibilities for how their styles might mix. Wilson says the music he listens to most these days hails from the past, "things like The Beatles and all the Phil Spector stuff." Meanwhile, Beck — who says a much-discussed reunion with ex-bandmate Rod Stewart "is not going to happen" — has of late been diving deep into Eastern and Irish music, "trying to find out what I'm all about."

When Beck initially hit the studio with Wilson, the experience left him puzzled.

"He didn't say much, so it was quite a bit unnerving, although it was nice to get some enthusiasm from his producer (Don Was)," says Beck. "Brian is somewhere else during that process, so it's not like you're there chatting away. In the end, though, I'm sure we were on the same page."

Beck says the upcoming gigs will feature "what I'd call an interesting mix of people, classic surfing safari music and this weird stuff that I do. But it will sound like it's all of one accord."

TOUR DATES

Sept. 27: Hollywood, Fla.

Sept. 28: Tampa

Oct. 3: St. Augustine

Oct. 4: Atlanta

Oct. 5: Washington

Oct. 6: Bethlehem, Penn.

Oct. 8: Albany, N.Y.

Oct. 9: Boston

Oct. 11: Wallingford, Conn.

Oct. 12: Westbury, Conn.

Oct. 13: Philadelphia

Oct. 15: New York

Oct. 18: Las Vegas

Oct. 20: Los Angeles

Oct. 22: Oakland, Calif.

Oct. 25: Detroit

Oct. 26: Toronto

Oct. 27: Akron, Ohio

Very good news! Gonna start a new thread with the USA link.

[Mike Love on the C50, the length and duration of the the tour]

Not sure if this is just was cherry picked from earlier statements to the press but in a recent (7-31) piece promoting a M&B show in Oakland, Mike Love had the following to say about the end of the C50 and the potential for more C50 type activities.  My apologies in advance if this has been posted before elsewhere:

Mike Love on the C50, the length and duration of the the tour:

“It was always to be (just for) the 50th anniversary,” explains Love, 72. “We started off with the agreement to do 50 shows in honor of the 50 years, but then it expanded into about 73, I believe, and I have talked to various promoters who’ve said ‘Hey, this is really great. You guys sold out, and it would be good to have you back in a couple of years.’

Mike Love on problems encountered on the C50 tour

“The amount of production and the amount of band members on stage and everything was just not the kind of thing that can continue on ad infinitum. There are many, many venues that can’t even afford the cost of the band and the production and all that kind of stuff. So by doing that kind of tour, with that many people and that expensive, it kind of precludes you from doing a lot of these places we’ve always enjoyed doing.

“So those are a couple of the reasons why — in addition to the fact we agreed to do X amount of dates — we’re back to doing how we do things or how we’ve done things for a decade and a half.”

Mike Love on the possibility of future C50 type activities

“Only if I can do it with people who I trust and like and are honorable,” Love says. “It was great to be in the studio again and listen to those harmonies coming back, but I had serious issues with the people who were running everything. I have no problem with just Brian and I in a room together with a piano, writing music, but unfortunately it’s not that uncomplicated, so I can’t promise anything right now other than doing this show that we know people love and come out to see every summer.”

http://www.theoaklandpress.com/articles/2013/07/31/entertainment/doc51f82da0e9133216293773.txt#photo1

It's funny how given enough time, more and more kernels of information come out and we can get a more nuanced description of what really went down. Even though I have my confirmed biases, I don't have a problem with Mike being more specific over the 'issues' with C50.

At the end of the day, we were only talking about a few BIG shows Stateside right? (I'm thinking MSG and such), and I never heard any talk about another full scale tour. Apart from those of us lucky enough to live around NYC, we probably wouldn't have even seen those shows (ditto if international C50 shows were on the docket). The real bummer here is the whole Joe Thomas / studio thing; another series of well received BIG shows would've upped the ante on another studio album, which would have led to further big shows (after all, you have to promote the album), and you now find yourself on a moving sidewalk that you can't get off.

Happy compromise - two big end of year shows in MSG, South America or whatever international carrots were being dangled, and one more album. And that's it. But of course, it isn't easy like that. Shame that the studio dynamic is the lynchpin that holds it all together (or blows it all apart).

I actually like it, although yeah...with their whole 'image thing' at the time, it would've further branded them as light weights in the 70's rawwwwk world.

Agree on the Association analogy. Definitely sounds like them.

Guys I wouldn't bother with Cam. He has defended absolutely disgusting behavior by Mike. Sometimes however, he has provided a different view. Occasionally people here get too Brian-centric. But Cam is either fully a put-on, or he's just so blinded that he will defend anything out of Mike.

Late at night...when the world is sleeping...I bet Cam quietly slips on the headphones and digs on some "Lookin' Back With Love"

Lookin' back...ooooo, lookin' back with LOVE, lookin' back...oooo, lookin' back with LOVE...

I remember the 'quote', and I'm paraphrasing here:

From a M&B gig @ the pier in Seattle (circa 1999). I was walking down the sidewalk outside of the venue - could plainly hear the show. Mike said (ever so slightly paraphrasing) - "they say my cousin Brian is a genius. he IS...we tour and he sits home and collects the money"

Now full disclosure here; it was delivered and received as a joke. A joke. Mean spirited perhaps, but classic sardonic Mike (and this coming from a guy who has plenty of issues with the Lovester). Kind of a double edged joke, but basically harmless. That being said, in bad taste imo.

These guys have always had this weird relationship with their reclusive 'genius.' I remember Carl's interview in Musician magazine prior to the release of Beach Boys '85. He said, 'for us to make a truly GREAT album, we need Brian in the studio calling the shots.' Mike was interviewed on Larry King in the late 80's, and a caller gave him the question, 'Mike - what did you think of Brian's solo album? (BW '88).' Mike's response was 'I thought it would've sounded much better as a Beach Boys album'

THEN, when Brian more or less got his sh*t together with Andy Paley in the early 90's, Carl walks out of the sessions. You can't win!

Oy vey. What a crazy dysfunctional bunch of guys...I love 'em!

I think one thing we all need to keep in mind is that there really wasn't as vicious a level of animosity against him until last fall, when he decided that he wasn't going to continue on with Brian, Al and Dave for the near future. I'm sure as time goes by and C50 isn't quite as fresh in our minds, it'll go back to earlier levels, where people won't care quite as much. Although he does have a knack for egotistical and self serving comments, so I'm surely he will get our blood boiling every now and again.

are you kidding me?

It fluctuates. Like the stock market. He's the rock n roll Bernanke. He opens his mouth, and the market dives a hundred points!

In the world outside of SSMB, many of those attending a Beach Boys show don't really know who the members are but are there for the songs.  The video tributes were a cool way at C50 of "introducing" Carl and Dennis to many who attended.  At the Bethlehem show, the people beside me asked who was on the video screens and wondered how exactly they were related to Brian.

Sad, but true. We can argue the motivation behind the vids, but the upshot is that many at the M&B shows need to be educated. I've mentioned a real story from when Mike and Bruce played the Puyallup Fair outside of Tacoma, Washington (circa '05 or so). Mike dedicated that evening's performance of God Only Knows to the memory of Carl Wilson. An older gentleman to my right said to me - "who's that? is that their dad?"

[head explodes]

And who's at fault for that? The overall marketing of the band over the past 30 yrs. Note: I am not just blaming Mike here, but the overall marketing of the brand. There's nothing that can be done to change it, only engage it. That bird has flown.

Ya got 24 minutes to fill. Hmmmmm.
(and you think they had a hard time choosing tracks for MIC!)

http://www.rawstory.com/rs/2013/07/27/british-company-turns-human-ashes-into-vinyl-records/

A company called “And Vinyly” — rhymes with “And Finally” — will now process your cremated remains into a 12-inch vinyl record that includes 24 minutes of the music of your choice. According to BusinessWeek.com, for a fee of about $4,600, decedents can will for their ashes to be included in the pressing of 30 vinyl records to be distributed to friends and loved ones.

The company was founded by U.K. music producer Jason Leach, 41, in 2009, but recently has seen a sudden increase in interest. So far, he has provided the service for four individuals, one of whom was a club DJ whose family wanted him “to be played at his favorite clubs a few more times” after his passing. However, Leach has received hundreds of inquiries in recent months.

The process, he said, is actually quite simple. A person’s ashes are delivered to a pressing plant in London and added to raw vinyl. Then the vinyl is pressed into a 24-minute record, 12 minutes per side. Leach said that most people struggle not with the price — which is actually less than a traditional burial — but with what music or sounds they want to choose.

“People over-think it,” Leach said to Business Week. “This tends to become a very long process with people changing their minds constantly.”

The possibilities, he said, are virtually endless. Leach has recorded people telling jokes or stories about their families. He himself is torn about what he would put on his own record. He said that he thinks about ambient sound, sometimes, or his own laughter on a loop. Other times, he said, he thinks it should just be blank, featuring the sounds of his ashes interacting in pops and scratches with the record player needle.

“I quite like that idea,” he told Business Week, but then a moment later added, “Don’t hold me to any of this. I’m sure I’ll change my mind tomorrow.”

from "Head"

http://www.youtube.com/watch?v=tBX1vwDt7fg

Man, it's a shame that people can't even share a few pictures of a concert without other people acting like a bunch of idiots and derailing YET ANOTHER FUCKING THREAD.

Bhw, thanks for sharing the pictures. Don't mind the kids on the shortbus who have nothing better to do than hate.

I don't hate. I criticize. There's a difference. Of course, it's easy to marginalize those who recognize what a sham the whole M&B thing really is.

Put me down on the ledger who believe the vid tributes belong with the full band, the 'proper' band. Otherwise it's more needless self aggrandizement by Michael who really, truly, wants to be recognized as the Beeeeeech Boys.

Now THAT is something I hate. Cheapness...phony show business...I hate that.

Oh yeah. It's a slippery slope when you consider how session musicians suggest riffs or leads that can make or break a memorable song.