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Author Topic: Examiner exclusive: The Beach Boys Today! - Mike talks about the album  (Read 15010 times)
Pinder's Gone To Kokomo And Back Again
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« Reply #25 on: March 08, 2015, 01:39:57 PM »

Who said he was BW circa 64? I just think he nailed it in Vegas and sounds way better than Foskett. It was a nice addition to the setlist and did justice to the song.

No wonder Mike thinks he can't do it live with Chocolate Shake Man. If you wanna talk shrill, there's a shrilly shriller that shrills.

So, are you saying The Beach Boys used to hang out at Fosket's Freeze back in Hawthorne)
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« Reply #26 on: March 08, 2015, 02:12:41 PM »

OK, I'm not jumping into the Mike vs. Brian discussions.

However, I normally browse the web using Firefox with as many ad blockers as I can. This was my first visit using an iPad via Safari, and I literally could not read David's article because of all the screen-blocking junk ads on the Examiner site. I had to copy and paste the article elsewhere just to read it.
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« Reply #27 on: March 08, 2015, 02:17:00 PM »

Who said he was BW circa 64? I just think he nailed it in Vegas and sounds way better than Foskett. It was a nice addition to the setlist and did justice to the song.

No wonder Mike thinks he can't do it live with Chocolate Shake Man. If you wanna talk shrill, there's a shrilly shriller that shrills.



I dont't think Mike meant that no one on earth can sing SHe Knows Me So Well. He was just being complimentary. Regarding the lyrics to the songs and collaborations with Brian on that album, it's curious that Mike isn't more outspoken about them. My theory is that the bulk or the concept of the "introspective" songs is Brian's, while Mike contributes part of the lyrics, polished some of Brian's lyrical ideas, or contributed a hook-- like on Good To My Baby.

Just my two cents.
« Last Edit: March 08, 2015, 03:16:37 PM by Challenger Putney » Logged

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Pinder's Gone To Kokomo And Back Again
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« Reply #28 on: March 08, 2015, 02:28:16 PM »

Who said he was BW circa 64? I just think he nailed it in Vegas and sounds way better than Foskett. It was a nice addition to the setlist and did justice to the song.

No wonder Mike thinks he can't do it live with Chocolate Shake Man. If you wanna talk shrill, there's a shrilly shriller that shrills.



I dont't think Mike meant that no one on earth can sinf SHe Knows Me So Well. He was just being complimentary. Regarding the lyrics to the songs and collaborations with Brian on that album, it's curious that Mike isn't more outspoken about them. My theory is that the bulk or the concept of the "introspective" songs is Brian's, while Mike contributes part of the lyrics, polished some of Brian's lyrical ideas, or contributed a hook-- like on Good To My Baby.

Just my two cents.

I think he just doesn't want to be know really for such things.... Not going to speculate on why, but I think he's just too happy being the "excitations" and Kokomo guy.... To each their own.

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« Reply #29 on: March 08, 2015, 03:18:59 PM »

Who said he was BW circa 64? I just think he nailed it in Vegas and sounds way better than Foskett. It was a nice addition to the setlist and did justice to the song.

No wonder Mike thinks he can't do it live with Chocolate Shake Man. If you wanna talk shrill, there's a shrilly shriller that shrills.



I dont't think Mike meant that no one on earth can sinf SHe Knows Me So Well. He was just being complimentary. Regarding the lyrics to the songs and collaborations with Brian on that album, it's curious that Mike isn't more outspoken about them. My theory is that the bulk or the concept of the "introspective" songs is Brian's, while Mike contributes part of the lyrics, polished some of Brian's lyrical ideas, or contributed a hook-- like on Good To My Baby.

Just my two cents.

I think he just doesn't want to be know really for such things.... Not going to speculate on why, but I think he's just too happy being the "excitations" and Kokomo guy.... To each their own.



Probably. But goes on detail about Warmth of the Sun. And also at least once about Let the Wind Blow. Maybe he feels those on Today! are mainly Brian's.
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Pinder's Gone To Kokomo And Back Again
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« Reply #30 on: March 08, 2015, 03:36:23 PM »

Who said he was BW circa 64? I just think he nailed it in Vegas and sounds way better than Foskett. It was a nice addition to the setlist and did justice to the song.

No wonder Mike thinks he can't do it live with Chocolate Shake Man. If you wanna talk shrill, there's a shrilly shriller that shrills.




I dont't think Mike meant that no one on earth can sinf SHe Knows Me So Well. He was just being complimentary. Regarding the lyrics to the songs and collaborations with Brian on that album, it's curious that Mike isn't more outspoken about them. My theory is that the bulk or the concept of the "introspective" songs is Brian's, while Mike contributes part of the lyrics, polished some of Brian's lyrical ideas, or contributed a hook-- like on Good To My Baby.

Just my two cents.

I think he just doesn't want to be know really for such things.... Not going to speculate on why, but I think he's just too happy being the "excitations" and Kokomo guy.... To each their own.



Probably. But goes on detail about Warmth of the Sun. And also at least once about Let the Wind Blow. Maybe he feels those on Today! are mainly Brian's.


These Beach Boys guys are a confounding lot!




« Last Edit: March 08, 2015, 03:50:44 PM by Pinder's Gone To Kokomo And Back Again » Logged
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« Reply #31 on: March 08, 2015, 03:38:02 PM »

Rereading this... It's interesting that he doesn't go into much about the lyrics on side two. Which ones were involved in that lawsuit again, fact-check fans and percentage buffs?

Such an uncharacteristic attack of modesty for Michael Edward Love after a hard-fought battle to regain his credit, hmm? I guess he's just a sentimental sap.
« Last Edit: March 08, 2015, 03:40:43 PM by ontor pertawst » Logged
Pinder's Gone To Kokomo And Back Again
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« Reply #32 on: March 08, 2015, 03:50:56 PM »

Rereading this... It's interesting that he doesn't go into much about the lyrics on side two. Which ones were involved in that lawsuit again, fact-check fans and percentage buffs?

Such an uncharacteristic attack of modesty for Michael Edward Love after a hard-fought battle to regain his credit, hmm? I guess he's just a sentimental sap.

I don't think it's feigned modesty, but Mike (or anyone else for that matter) can't talk about everything in the world all the time ..... Maybe it just didn't occur to him in the 50 seconds or whatever it took to do the interview....

As for In The Back Of My Mind, maybe it's the song/track itself that Mike doesn't relate to so much, rather than the lyrics .... Warmth Of The Sun is pretty much a doo wop ballad given a Beach Boys treatment. Totally up Mike's alley, and with gorgeous BB's harmonies. Same with Let The Wind Blow, to a different extent .... I happen to love ITBOMM and think Dennis nailed it, but not everyone, least of all Mike Love, agrees.
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« Reply #33 on: March 08, 2015, 04:31:20 PM »

Mike's writing reached it's apogee with Today! and SDSN. Pop lyrics of the pre-folk rock era played to Mike's strengths -- giving fresh and clever twists to formulaic subjects.

He never quite regained his mojo when the fashion shifted to more personal, expressive lyrics that featured such poetic devices as metaphors and symbols.

He had his creative moment, though. If I had to go to one lyricist to get a feel for what the ideal of the American teenagers lifestyle was during the period 1963-first half 1965 -- more than Lennon / McCartney,  or Gerry Goffin  -- I would go to Mike Love and Brian Wilson.
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« Reply #34 on: March 08, 2015, 07:13:34 PM »

What about Good Vibrations?
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« Reply #35 on: March 08, 2015, 08:14:59 PM »

What about Good Vibrations?
Mike wrote some good lyrics post '65 -- GV for sure, the lyrics for the WH lp, his early 70's stuff, even MIU.

But during the early to mid-60's period, he was one of the top dozen or so best lyricists in pop. Afterwards, he was ok -- nothing special. But then, neither were Cynthia Weil or Jeff Barry or Gerry Goffin.

What would constitute a personal lyric from Mike? TM is great? Save the ocean? Let's have fun in the sun?
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« Reply #36 on: March 08, 2015, 10:14:11 PM »

I guess the lyrics of ITBOMM are a bit too wimpy for Mike's taste, he wouldn't want to feel that way, doesn't want to feel the the feelings that are expressed in the lyric. He doesn't want downers when he's in good mood.

The only thing I don't like about ITBOMM is the double-tracking of Dennis' vocal which IMHO destroys the emotion to some extent. IIRC the recent stereo mix avoids that.
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« Reply #37 on: March 08, 2015, 10:28:03 PM »

Good Vibrations and Kokomo...repeat forever...

What lyrics did Mike exactly write for Good Vibrations and for Kokomo?  Would someone please copy them into this thread.  Yes.  Mike contributed to those 2 songs.  So let's see the actual contribution and then weigh it against the credit taken.

Please...be my guest... Cool Guy

Let's contemplate those actual Mike Love penned words.  Please do NOT include the lyrics from either of those songs written by anyone other than Mike Love...  Feel free to bonus us with the lyrics he added to Wouldn't It Be Nice as well.  Good things come in 3's. Smokin
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« Reply #38 on: March 08, 2015, 11:29:31 PM »

Aside from the title words, as far as I'm aware, Mike wrote all the lyric to "GV".

Conversely, his main contribution to "Kokomo" was the "Aruba, Jamaica..." section. This here's how it originally sounded:

https://www.youtube.com/watch?v=2lO08YkpH_0
« Last Edit: March 08, 2015, 11:32:23 PM by Andrew G. Doe » Logged

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« Reply #39 on: March 08, 2015, 11:37:58 PM »

Asher:

She's already working on my brain
I only look in her eyes
And I pick up something I just can't explain

I'm picking up good, good, good vibrations, yeah
Good, good, good vibrations, yeah

I, I bet I know what she's like
And I can feel how right she'd be for me
It's when weird how she comes in so strong
And I wonder what she's picking up from me

I hope it's good, good, good vibrations, yeah
Good, good, good vibrations, yeah

----------

Love:

I... I love the colorful clothes she wears
And the way the sunlight plays upon her hair
I hear the sound of a gentle word
On the wind that lifts her perfume through the air

I'm pickin' up good vibrations
She's giving me excitations

Close my eyes
She's somehow closer now
Softly smile, I know she must be kind
When I look in her eyes
She goes with me to a blossom world

I'm pickin' up good vibrations
She's giving me excitations

I don't know where but she sends me there
(ah my, my what a sensation)
(ah my, my what elations)
(ah my, my what)

Gotta keep those lovin' good vibrations
A happenin' with her
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« Reply #40 on: March 08, 2015, 11:39:15 PM »

Rereading this... It's interesting that he doesn't go into much about the lyrics on side two. Which ones were involved in that lawsuit again, fact-check fans and percentage buffs?

Since you asked ("lawsuit" titles in bold):

Side 1:
Do You Wanna Dance
Good To My Baby
Don't Hurt My Little Sister
When I Grow Up (To Be A Man)
Help Me, Ronda
Dance, Dance, Dance

 
Side 2:
Please Let Me Wonder
I'm So Young
Kiss Me Baby
She Knows Me Too Well
In The Back Of My Mind

Bull Session With 'Big Daddy'
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« Reply #41 on: March 08, 2015, 11:43:50 PM »

It's when how she comes in so strong

"weird", not "when"
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« Reply #42 on: March 09, 2015, 01:31:19 AM »

Rereading this... It's interesting that he doesn't go into much about the lyrics on side two. Which ones were involved in that lawsuit again, fact-check fans and percentage buffs?

Since you asked ("lawsuit" titles in bold):

Side 1:
Do You Wanna Dance
Good To My Baby
Don't Hurt My Little Sister
When I Grow Up (To Be A Man)
Help Me, Ronda
Dance, Dance, Dance

 
Side 2:
Please Let Me Wonder
I'm So Young
Kiss Me Baby
She Knows Me Too Well
In The Back Of My Mind

Bull Session With 'Big Daddy'

Too bad the Q&A is over. I'd really like to know what Mike's contribution to "In The Back Of My Mind" is, as he just said he doesn't identify with it that much.
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« Reply #43 on: March 09, 2015, 02:16:47 AM »


Kudos to John Phillips for finding the time to work on that during his busy schedule of raping his daughter.

(Sorry, just want the guy to be remembered for what he should be remembered for. Child abuse survivor.)
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« Reply #44 on: March 09, 2015, 03:02:26 AM »

Call me cynical, but wasn't it oddly convenient that Mackenzie went public with that claim...

1 - eight years after he died and...

2 - when she had an autobiography to promote.
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« Reply #45 on: March 09, 2015, 03:09:56 AM »

What about Good Vibrations?
Mike wrote some good lyrics post '65 -- GV for sure, the lyrics for the WH lp, his early 70's stuff, even MIU.

But during the early to mid-60's period, he was one of the top dozen or so best lyricists in pop. Afterwards, he was ok -- nothing special. But then, neither were Cynthia Weil or Jeff Barry or Gerry Goffin.

What would constitute a personal lyric from Mike? TM is great? Save the ocean? Let's have fun in the sun?

I'm not disagreeing, I just thought Mike's apogee ought to be moved over to GV in 1966. That would be Brian's apogee too imo. The rest of the band's apogees came at various other points imo.
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« Reply #46 on: March 09, 2015, 03:26:17 AM »

So...I guess the point... [beyond the one mentioned directly above by elombre which is an issue that needs its own spotlight and amount of attention paid to it ... and I do not want to appear to be ignoring it as the sexual abuse of children is a widespread spark of life killing evil...] ...is that Mike Love wrote all of the KEY words to Good Vibrations and, especially by comparison, just a few extra words to Kokomo yet gets branded as the "Club Kokomo" guy.

[It should be pointed out that when Mike, Carl and the Boys recorded Kokomo that THAT information regarding the late John Phillips had not been made public and that NO ONE knew of the years of abuse MacKenzie Phillips would later say she'd suffered at the hands of her father.]

So while Mike may not have had much to do with Wouldn't It Be Nice...and really not a GREAT deal to do with the lyrics of Kokomo rather than sharing the lead with Carl and writing the 'travelogue'...there are two points.  Both Good Vibrations and Kokomo were number 1 songs.  The time-frame between them scaling the charts was the largest gap between #1 songs by any specific group or artist ever [at least with Billboard] and the 2 songs had a large influence on 2 distinctly separate generations of fans.   Everybody won...including us. 3D  BRI, The Beach Boys, The fans by virtue of the extra time potentially bought through the obvious success of the bonus #1 song and the subsequent demand for more tours and concerts...thus some of the added income and time for Brian to reach the point where he's at today assisted by some positive bonus revenues generated through BRI...some of which can be attributed to hitting number 1 again in 1988...22 years after Good Vibrations.  All in all it seems like a positive to me.  

[ps...I do have that John Phillips cd with Kokomo on it but for those who aren't really aware of the 'original'...it was good of Andrew to post the link]

So then...The Club Kokomo thing is what?  A dig at Mike because he managed to pull something off without Brian?  He still needed Carl...and Terry Melcher, and The Boys...and yes even John Phillips MAJORLY to make it happen.  So then is it really a dig at Mike?  Or is it more of a dig at the folks who like and appreciate Mike and his contribution to the group's success?  Or is it just a dig at those dinks who refer to those of us with an appreciation of the talents and abilities of Brian Wilson as 'Brianistas'?  Sometimes it seems like the problem is at least as much some of the actions by fans as it is anything done by Mike or Brian who have both contributed their highs and their lows along the way.  That's life.

Together?  They gave us Good Vibrations.  Somehow those vibes got spilt and we've spent an awfully long time trying to pick them all up again.   That's my look at it based on what I know 'Today'.  There sure has been a LOT of water under the bridge and over the dam since THAT album dropped.

Yet here we are.   There must have been more good than bad.  Cool Guy

« Last Edit: March 09, 2015, 03:48:43 AM by Add Some » Logged

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« Reply #47 on: March 09, 2015, 04:49:42 AM »

Some nice comments from Mike about the "Today!"-album:

http://www.examiner.com/article/examiner-exclusive-the-beach-boys-today?CID=examiner_alerts_article



I'm afraid I misunderstand this part though:

This was the first 12-track collection to feature a “pop side” (Side 1) and a “ballad side” (Side 2)


The idea of a "pop-side" and a "ballad-side" certainly was not uncommon in the business. For example, Presley did the absolute same thing in '61 for his "Something for everybody" album:

http://en.wikipedia.org/wiki/Something_for_Everybody


But maybe I didn't understand what is meant with the above part. Can anyone clarify?

I tweaked it, although it was implied—because it's a Beach Boys' column—it was the first pop side/ballad side for TBB.


Ah ok, thanks. That makes more sense. I thought you meant it was generally the first album. But it was the first for the Beach Boys for sure.
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« Reply #48 on: March 09, 2015, 05:41:57 AM »

So...I guess the point... [beyond the one mentioned directly above by elombre which is an issue that needs its own spotlight and amount of attention paid to it ... and I do not want to appear to be ignoring it as the sexual abuse of children is a widespread spark of life killing evil...] ...is that Mike Love wrote all of the KEY words to Good Vibrations and, especially by comparison, just a few extra words to Kokomo yet gets branded as the "Club Kokomo" guy.

[It should be pointed out that when Mike, Carl and the Boys recorded Kokomo that THAT information regarding the late John Phillips had not been made public and that NO ONE knew of the years of abuse MacKenzie Phillips would later say she'd suffered at the hands of her father.]

So while Mike may not have had much to do with Wouldn't It Be Nice...and really not a GREAT deal to do with the lyrics of Kokomo rather than sharing the lead with Carl and writing the 'travelogue'...there are two points.  Both Good Vibrations and Kokomo were number 1 songs.  The time-frame between them scaling the charts was the largest gap between #1 songs by any specific group or artist ever [at least with Billboard] and the 2 songs had a large influence on 2 distinctly separate generations of fans.   Everybody won...including us. 3D  BRI, The Beach Boys, The fans by virtue of the extra time potentially bought through the obvious success of the bonus #1 song and the subsequent demand for more tours and concerts...thus some of the added income and time for Brian to reach the point where he's at today assisted by some positive bonus revenues generated through BRI...some of which can be attributed to hitting number 1 again in 1988...22 years after Good Vibrations.  All in all it seems like a positive to me.  

[ps...I do have that John Phillips cd with Kokomo on it but for those who aren't really aware of the 'original'...it was good of Andrew to post the link]

So then...The Club Kokomo thing is what?  A dig at Mike because he managed to pull something off without Brian?  He still needed Carl...and Terry Melcher, and The Boys...and yes even John Phillips MAJORLY to make it happen.  So then is it really a dig at Mike?  Or is it more of a dig at the folks who like and appreciate Mike and his contribution to the group's success?  Or is it just a dig at those dinks who refer to those of us with an appreciation of the talents and abilities of Brian Wilson as 'Brianistas'?  Sometimes it seems like the problem is at least as much some of the actions by fans as it is anything done by Mike or Brian who have both contributed their highs and their lows along the way.  That's life.

Together?  They gave us Good Vibrations.  Somehow those vibes got spilt and we've spent an awfully long time trying to pick them all up again.   That's my look at it based on what I know 'Today'.  There sure has been a LOT of water under the bridge and over the dam since THAT album dropped.

Yet here we are.   There must have been more good than bad.  Cool Guy



To your point, how about "Good Vibrationists" instead of "Kokomoist" then?
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« Reply #49 on: March 09, 2015, 05:56:39 AM »

Well Cam...I think the point is we're Beach Boys fans rather than either of the considerations you mentioned as possibilities.  We are sadly weakend when divided...and it's almost incessant...not to mention so well PAST old that it's now just BAD blue cheese. LOL
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