Will you ever release the song "Pleasure Island"? If it exists? I'll give you $10.

Speaking of that era, how crazy that "Wipe Out" was a #12 hit, with Brian as vocalist. Dang thing spent over a month in the top 20. So from 1975 to 1990, Brian's biggest hits - essentially - were "Rock & Roll Music" and "Wipe Out". No wonder it took him so long to find his way as a solo artist. How do you follow that up?

This place used to be like a fun dive bar on Hawthorne Ave. Now it's a dive bar with secret peepholes and recording devices.

so the question is...
does Mike really not get the evil emperor joke, or does he enjoy being the super villain???

Mike Love enjoys fun, fun, fun.

I look it his situation the way I look at my car. I hate my car. I probably wouldn't ever work on it without my wife nagging me. But, in the end, I like the opportunities the car provides and am grateful for the nagging.

Again, in my opinion, I think in Brian's dream world he'd record an album every 5 years and the BBs would still be "his" band.  I sense he wanted a hit AC record with Imagination. I believe TLOS was a labor of love. Smile and TWGMTR were therapeutic. No Pier Pressure was a thrill. The rest (including touring), I believe, he viewed as work necessary to put himself in position to do those projects. If he doesn't tour Pet Sounds and Smile, I don't think he would've have gotten the opportunity for TLOS, for example.

If "Breakaway" was never released back then, we'd be screaming about how it was a lost #1. The American public sucked, lol.

When "Soulful Old Man Sunshine" was first released, I recall it being highly regarded. Many called it a lost classic. Some still do. I think what it has going for it is novelty value. If you've heard everything the BBs did a million times, "SOMS" is a breath of fresh air. It's a quality pop song with a full production. I don't see it as a lost hit, though. If "Friends" and "Breakaway" weren't good enough for Americans, this wouldn't have worked either. I see the UK charting it decently, though.

The vibe I've gotten from Brian in interviews is that he views touring as essential to his career, and at the end of the day, he wants a successful music career. I basically agree with him on that, but it's true that he probably didn't need to tour as exhaustedly as he did. I think there was an aspect of competition with Mike and his relentless schedule. The thought being, if I'm not out there performing, Mike will be out there shaping my musical legacy for me.

Yeah, I definitely count myself as a Mike fan. I think MIU and KTSA are fun albums. His voice is cool, and he wrote some great stuff. He's also a very distinctive, expressive person, which is why we can have a topic like this. If we tried to do this topic with some of the other BBs instead, we'd just have pics of normal outfits with very PC comments.

POB only sold decently, and I don't think Bambu was better or more commercial than that. I think Dennis figured there was no point in releasing it. He gave "Love Surrounds Me" to the BBs and nothing happened with it. The moment wasn't right for his music. I actually think he could've done better had he got some of the POB stuff out sooner.

Arlene: Hey, wasn't that group nutting?
Stew: Well rhythmically speaking I'd say they were adequate, of course their choral structure could never be compared to that used by Beethoven or Bach.  When those men wrote symphonies they really...Arlene, what's the matter?
Arlene: Oh, nothing Stew I... was staring at Mike and Dennis. They're way cuter than you and more beautiful than the moon. And that Brian guy is a genius.

Really. I'm not.

Naw.

Dang, this proves how cool Mike is. Seriously. The real bombshell would be to find out he posted in this thread.

Micha, the photo appeared on BW's FB. It was just captioned 1966: Hanging Out.

Someone in the comments wrote this:

From the session from which a photograph of the guys hanging onto the front of the locomotive (seen in the background) that graced the covers of sheet music for "Let Him Run Wild," "Kiss Me, Baby," "Girl Don't Tell Me," and "Sloop John B." Interesting that Bruce was there but, similar to the Summer Days album cover shoot, not included in the photograph. (Note: Brian put on a red vest for the actual photo).

I found this picture which confirms the comment: http://2.bp.blogspot.com/_d1cIWUKbr5w/TG9wII2saWI/AAAAAAAABSY/58t7sMZjvRA/s320/TBB%20Sloop%20John%20B%20Sheet%20Music.jpg .

Naw. I'd tell Brian he doesn't do rock & roll vocals as good as his cousin Mike Love and would kindly but firmly refuse his services.

I gotta give it up. Great feature by Brian here, even if it's relatively minor. I was critical of his vocals on "Our Special Love" (holy autotune!), but he fits like a glove on this track. The "so happy" bit reminds me of Animal Collective.

It would be great if someone could edit in lightning bolts coming out of his mouth when does the "wheeeeeeeeeeeeeeeeen" bit in "Be True to Your School".

In all seriousness, BB85 is the first BBs album I don't consider 'classic era'.  By then Brian is marginalized (even if he got a few vocals and songs, it's really the first album where they didn't promote a Brian single OR have him either cowrite or produce the majority of the songs), Dennis is gone, and Carl is more or less just going with the flow. I unofficially consider this the beginning of the Mike Love Era.

The Beach Boys ended when Carl finished puberty.

Mike: We can watch trains all day, Brian. I still think it should go, "who ran the deuce coupe, now?"
Bruce, to himself: I could hit Mike with this stick right now and feel extreme gratification, or I could restrain myself and be set for the rest of my life as Mike's nodding sycophant.
Brian: Ok, but then what? How do I finish the song?
Mike: It's obvious. I rode the deuce coupe.  "Have you seen the grand Mike Love ridin' in his deuce coupe?" It's like a Mike Love travelogue across '60s America.
Bruce, to himself: Just smile and nod, Brucey, smile and nod. Drop the stick. I repeat, just drop the stick.

Like this mix quite a bit. Great listen. The only suggestion I could think of is, perhaps, trying it out with less crossfades. That'd allow the mix to really transport you back to the '60s.

Don't get me wrong, you executed the crossfades well, it's just a very modern feel.

Well, now that I think about it, an interpolation with "Santa's Goin' To Kokomo" would be great on the final track. Move the distant, ghostly "there's a riot goin' on" to the front of the album, with a redux before the first "Kokomo".

I think it'd be interesting to speculate on a Mike & Friends album. Here's my imagining:

1. 10,000 Years Ago, ft. Charli XCX & Daft Punk
Beatles Trilogy
2. Thank You/Spiritual, ft. Paul McCartney
3. Pisces Brothers, ft. Dhani Harrison
4. Back in the USSR, ft. John Stamos
End Trilogy
5. Cool Head, Warm Heart, ft. children of Mike Love, Al Jardine, and Carl Wilson
6. Unleash the Love, ft. Bruno Mars
7. Kokomo, ft. Vampire Weekend, Carson Daly's Mom
8. Love Foundation
9. Glow Crescent Glow, ft. Sam Smith
10. Foskett's Back
11. Everyone's In Love With You, ft. Mormon Tabernacle Choir
12. Only One Word, ft. John Frusciante
13.  Kokomo (Redux)