I still think "10,000 Years" has major hit potential. I figure you get Charli XCX on the chorus and Daft Punk to help produce it and it's bound to top the charts.

Mike: Dennis, I'm feeling something sharp. Are you trying to f*** the formula?

Mike, out of the side of his mouth: Ontor pertawst, we meet at last.

Just for my own interests, what's the source on that? I know that Lennon extolled the version done by Nilsson, but I've never heard him or George comment on the Spector version. Of course, they were all fans of the Spector sound but I never knew they felt so strongly about that particular one.

On the American release of the album River Deep - Mountain High, Harrison is quoted on a sticker on the cover as saying "'River Deep - Mountain High' is a perfect record from start to finish. You couldn't improve on it." I don't know if Lennon ever said anything about that particular song, but it's obviously known Harrison and Lennon were huge Spector fans.

Sorry, but I don't buy Spector as a performer. On "Down at TJ's" he sounds like a dead ringer for Pee-wee Herman. He had a reedy voice. Not to discount Phil as a producer, but Brian has led monster tours and sang leads on iconic, hit pop songs. Phil can't even shine Brian's shoes in that category.

I'll agree that Phil was ahead of Brian in the beginning, but he had way more help. If Brian had Nitzsche to help arrange and songwriters like Barry/Greenwich by his side, he probably could've "progressed" a lot quicker. Phil stood on the shoulder of giants. Brian was a giant. That's the difference.

I think one of Spector's greatest talents was his ability to self-promote. You even see it in interviews with the Wrecking Crew. Hal really respects Brian, but he goes nuts over Phil. And Hal's someone who had to know Brian did way more than Spector. Spector just cast a spell over people.

Personally, I think Spector's approach covered all ends of the spectrum - some of his songs I find exhilarating such as Da Doo Ron Ron or Fine Fine Boy, others heartbreakingly and gripping like 'Lovin' Feeling' or 'Wish I Never Saw the Sunshine'. But that increasingly cavernous, gargantuan sound was what ran through it all and eventually became his downfall, I guess. I think it did make him put himself in a corner - if all your releases get bigger and more monstrous, and you are known for that sound, do you dare go back and scale down your approach?

Spector certainly didn't, at least during the 60s, and that was his mistake. It probably has a lot to do with the fact that he craved the attention and notorioty (which I must say he's gotten due to recent, sad events!) He wasn't a performer himself and according to rumours barely earned his co-writing credits on songs, so that production aproach would have been his best bet at continously tooting his horn in the music business.

I'll agree, and on that subject, I find it hard to understand what people think is so great about "River Deep Mountain High" from a production standpoint. It amazes me that John Lennon and George Harrison heard that and thought "I wish The Beatles sounded like that!" Guess you had to be there.  I'm not saying it was a bad job by Spector and his production contained some great ideas, but you sense a guy that was lost and reaching very hard.

Also, re: songwriting, what's a shame is that Brian believed Spector was writing the songs himself! From the famous 1976 RS interview:

Yet [Spector is] not really a composer of songs.
BRIAN: Well, I'm a firm believer that he wrote those songs and gave the others credit. In order to produce them the way he did, he had to write them.


It's like Brian had to fabricate competition for himself. Here he is thinking he isn't quite measuring up to Spector, when an objective observer could see he's much more skilled. Spector was a talented producer that could successfully contribute to the songwriting and arranging process, but he wasn't writing and arranging at anything close to Brian's level. Plus, Brian was also a great PERFORMER. Could Spector front a group on stage and sing tons of leads? I think not.

When people are praising the production of MIA and KTSA, maybe it's time to admit Brian knew what he was doing.

In "All Summer Long", the correct lyrics are "...pair of tongs", which were used as roach clips by the nascent hippie community before the advent of the actual roach.

Also, "miniature golf" is a reference to golf balls, a term in the drug culture for certain depressants.

Certainly, the boys had fun all summer long.

The secret to Brian's music is he knows it's better to beguile the listener than bore him or her. By blending the kick drum in with the other instruments, for example, it's transformed from an easily digested musical part to something your brain can never quite wrap itself around.

OK...but I referred to the 4 Seasons, Dovells/Len Barry and Dion.  I was talking about the 60s.

Brian came from the Phil Spector school. The focus was on creating a great rhythmic feel rather than isolating any one performance.  And say what you want about it, but it holds up great under repeat listenings. The rhythmic elements are so dense, even on the earlier stuff, that it's almost impossible to catch it all at any one time. Your ear loses something, and that's what keeps it intriguing. I find that I get burned out on songs by groups like The Who way faster than the Beach Boys.

I actually think the actors look pretty spot on. The bearded Dennis is the older Dennis reflecting on his past. Yes, younger Dennis is scruffy, but real life pictures from back then show that he wasn't necessarily shaving every day: https://lh4.googleusercontent.com/-IrWhyx7fiok/UL6LOqSj5NI/AAAAAAAADmk/tKmMJRSHH_8/w640-h400-p-k/BeachBoys1969_HawthorneHS.png . I actually think the Brian actor looks great considering that Brian is only a small part of this story. He looks like Brian in that car scene, that's for sure.

There are many reasons to hate Manson, but he did have a couple intriguing songs on LIE. To say "Look At Your Game Girl" and "Cease To Exist" aren't interesting songs would be, well... a lie. It's all part of a fascinating and tragic story, but we've been to scared to tell it honestly. I'll give the film credit for having the balls to try. The Beach Boys and Manson - man. Talk about relationship that delves into everything that is America, the good and the bad.

I'll chime in late and say nice job, Micha. Sounds like something Brian very well could've tried. A few more overdubs on the middle 8 and I see it working perfectly as a trippy interlude.

Yep, the MMT album worked as a sort of grab bag of Beatles singles, with its own original songs and single.  Had the BBs had that many hit singles lying around at that time, they would've done alright, too.

Besides even the lyrics, I think the music on Smile isn't necessarily pop gold, either. Brilliantly artistic? Yes. But I don't hear radio hits on Smile. It's highly accessible avant-garde rock music.  "Heroes and Villains" was Brian's attempt to find a commercial middle ground, but it didn't quite hit on the charts. I don't see "Vegetables" doing a lot better.

To expand on my initial post, I'd even say that I enjoy much of Brian's early '70s work - plus Love You - more than Smile. That's not to say I'm not big fan of Smile. I really like it, and there's no denying the brilliance of a song like "Cabinessence". But I find myself listening to the other stuff more.

I actually have it on good authority that AGD was in fact born 6 years earlier than his birth certificate states, and that one of the samples in "Smart Girls" was his idea.

Was Wrinkles a shar pei?

Mike Love is a chronic regifter.

I thought I smelled Al's feet the first time. Amazing what the Desper matrix captures.

Crazy. If Carl could imitate Brian THAT good, why didn't he do all the falsettos? We'd never know.

It's actually quite a strange production, too. It's like some weird mix of old-fashioned/'50s elements and really spacey Love You-ness.That said, I enjoy it.

I do think that for the song to be a true stone cold classic, those transitions into the bridge and outro would need to be smoothed out some. It's not bad as is, but feels a bit rough. I'd like to see something like this:

Feels so good when you come on the line
Yeah, you
you
(you)...

Mike bass vocal: If you'd just
C'mon, c'mon and answer the phone
C'mon, c'mon (I hope you're home)

Just a few tiny musical bits to bring it all together, y'know?

You guys don't get it. If Brian is gonna win the Bieber set - and he will - he needs the young people front and center.

Mike: So this oughta be fun, fun, fun - right, everyone?
Grumpy cat: I had fun once. It was horrible.
Mike: Boy, I sense some vibrations there that aren't too good.
Grumpy cat: What if I told you I don't care?
Mike: Say, you're small. Did you drive here in a little due-
Grumpy cat: No.
Mike: Well tack 'em up buddy and shut 'em down, we're off to a bad start here. Let's try and do it again, less cumulous nimbus this time.
Grumpy cat: ...
Mike: Are you even listening to me?
Grumpy cat: I'm listening. I just don't care.