Runaway Dancer available for purchase on itunes

[CenturyDeprived]

It's dependent on how someone reads the meaning of the word pandering, where it can just as easily be taken as suggesting something was done specifically to target or latch onto a specific goal, removing the notion of that artist doing exactly what they wanted to do with whomever they chose to work with. Of course musicians who work in the music business always have an eye toward reaching a bigger audience, and those that claim they do not in terms of "art" or "integrity" could ostensibly stage a show where they appear on stage and press play on a Mac laptop and begin destroying a guitar with a hammer, and call the results the performance. I guess that could be valid too if they get people to pay to see such a thing happen on stage repeatedly. But realistically, at some point even those performance artists would probably feel the need to mix things up a bit to attract more attention to their art, and might try smashing a trombone with a mallet to "mix things up" and attract a wider audience.  

Getting back to this collaboration in particular, I detect hints of some of the sentiments from last summer when some of the news of the collaborators started to leak out, and there were some claims that went so far as to suggest these collaborations were somehow "forced" onto Brian or onto both parties free of choice.

What if - just consider - Brian himself had heard something one of the future collaborators who will appear on the new album had recorded, really liked it or connected with it, and took the lead in reaching out to that musician with an eye toward a collaboration? There were ridiculous claims about him not being aware of some of the artists, then it came out from Brian directly that his children had a hand in suggesting he work with some current artists...don't you think through them he would have heard something, and possibly liked it enough to suggest trying to arrange a working session with that artist?

Since so much is assumed already without knowing the exact way things went down, let's consider Capital Cities. When Brian was deep in the process of writing, demo'ing, planning, etc some tracks for the upcoming album, "Safe And Sound" was getting massive airplay on commercial radio and was a pretty ubiquitous hit song that you'd hear regularly. Let's assume there was a possibility that on a random drive somewhere with the family, or on a random weekend afternoon when the kids were home and listening to music, he heard that record and simply dug the sounds and the groove? "Hey, who's that?" "Oh, that's Capital Cities, Dad!".  Maybe the trumpet hook caught Brian's attention, maybe it was the analog synth rhythm bed of that track, or maybe it had nothing to do with anything like that, but it's a possibility.

So Brian being a musician of note starts asking around and getting more info, getting the ball rolling, and it turns out there is a chance to meet up with Sebu from Capital Cities. Sebu may also have been a personal fan of Brian's work, maybe even as far as considering the way Brian used analog synths and Mini-Moogs and ARP's in the 70's to create Love You and others. So they connected, and what Brian was curious about as a producer and musician was what he heard in Sebu's work and wanted to see what it was all about, like the experienced magician getting a few new tricks from the next generation. And Sebu in return gets to do what many, many musicians have wanted to experience firsthand by working on a recording in the studio with Brian Wilson, to try to catch a glimpse of what it is that creates some of that magic that many have tried to analyze and experience from afar.

Isn't that scenario as a possibility just as valid as suggesting the two artists were crammed together to sell records and appeal to other demographics and fan bases? It's not discounting at all wanting to sell records and reach bigger audiences, but it's a different angle to view how it all came together and what could have happened to lead up to a collaboration being released as a single.

At some point, the most simple explanation - whether some want to believe it or not - of an artist like Brian hearing something new that he likes through whatever means (his family, a friend sharing a link, randomly hearing something on TV, etc)  then reaching out to the artist who created that work might have been what led to some of these collaborations.

It's just a different spin on it rather than suggesting something or anything was "forced" into happening for reasons other than choice or wanting to work with someone where there is mutual admiration for their works.

One thing to consider, for those who are bummed about Brian having newer artists doing vocals on new Brian material: IMHO... It's plainly obvious this could have been a Beach Boys album, and if Mike had just relented and not made his ego-driven writing demands, we probably would have a new Beach Boys album featuring only original Beach Boy members singing, with the added bonus of the absence of 1960s Beach Boy song title/lyric references in the lyrics. Most likely.

So, if one is in the camp of wanting to complain about Brian having other non BB-related vocalists on NPP, ultimately then, this is one more reason to be bummed at Mike. I don't see how the two can be mutually exclusive.

I'll choose to enjoy what we have with NPP, and I hope it kicks ass. I for one would rather have Brian getting to release more of his artful and sad songs without having to deal with a bandmate mock firing a gun to his head to mock the sad songs, even if that means some newer artists' vocals and less original Beach Boy member vocals.

[Debbie Keil-Leavitt]

While I never considered this my "style" of music (whatever that means), I liked it from the beginning and it has really grown on me.  Now I love it.  What I find dumbfounding is how "into our own heads" everyone can get about Brian, his music and what he would or wouldn't do.  If something gets Brian's attention - however that comes about, I think he cited his kids in an interview which seems logical - and he likes it, he may do something with it.  It will always have that Brian magic if it's something he truly wants to do from inception to completion.  If that happens, I am happily in love with a new record.  From what I've heard of NPP, that's how it will affect me.  I am beyond pleased.  I'm certainly not "bummed" at anyone that it's not a BB record, although I get your point CD.  There are plenty of gorgeous harmonies and all these new, interesting artists working with Brian - best of both worlds from my point of view.  I couldn't be happier.

[CenturyDeprived]

While I never considered this my "style" of music (whatever that means), I liked it from the beginning and it has really grown on me.  Now I love it.  What I find dumbfounding is how "into our own heads" everyone can get about Brian, his music and what he would or wouldn't do.  If something gets Brian's attention - however that comes about, I think he cited his kids in an interview which seems logical - and he likes it, he may do something with it.  It will always have that Brian magic if it's something he truly wants to do from inception to completion.  If that happens, I am happily in love with a new record.  From what I've heard of NPP, that's how it will affect me.  I am beyond pleased.  I'm certainly not "bummed" at anyone that it's not a BB record, although I get your point CD.  There are plenty of gorgeous harmonies and all these new, interesting artists working with Brian - best of both worlds from my point of view.  I couldn't be happier.

I'm ultimately not that bummed either considering the results from the NPP samples I've heard, though it would have been nice if Mike and Bruce had been part of the record in a capacity/manner of Brian's choosing. Worked fine for Pet Sounds

It's kinda crazy that this album seems to have been the toughest eventually-completed album/project to get off the ground that Brian has had to deal with since SMiLE (NPP would be a distant second), what with Mike/Bruce jumping ship (shuttering Brian's wishes for a TWGMTR BB followup) and Jeff Beck's fallout (from what by all accounts would have been a substantial collaboration). But it's a testament to Brian's current support system that this album got finished, and seemingly quite well.

[Ray Lawlor]

It's dependent on how someone reads the meaning of the word pandering, where it can just as easily be taken as suggesting something was done specifically to target or latch onto a specific goal, removing the notion of that artist doing exactly what they wanted to do with whomever they chose to work with. Of course musicians who work in the music business always have an eye toward reaching a bigger audience, and those that claim they do not in terms of "art" or "integrity" could ostensibly stage a show where they appear on stage and press play on a Mac laptop and begin destroying a guitar with a hammer, and call the results the performance. I guess that could be valid too if they get people to pay to see such a thing happen on stage repeatedly. But realistically, at some point even those performance artists would probably feel the need to mix things up a bit to attract more attention to their art, and might try smashing a trombone with a mallet to "mix things up" and attract a wider audience.  

Getting back to this collaboration in particular, I detect hints of some of the sentiments from last summer when some of the news of the collaborators started to leak out, and there were some claims that went so far as to suggest these collaborations were somehow "forced" onto Brian or onto both parties free of choice.

What if - just consider - Brian himself had heard something one of the future collaborators who will appear on the new album had recorded, really liked it or connected with it, and took the lead in reaching out to that musician with an eye toward a collaboration? There were ridiculous claims about him not being aware of some of the artists, then it came out from Brian directly that his children had a hand in suggesting he work with some current artists...don't you think through them he would have heard something, and possibly liked it enough to suggest trying to arrange a working session with that artist?

Since so much is assumed already without knowing the exact way things went down, let's consider Capital Cities. When Brian was deep in the process of writing, demo'ing, planning, etc some tracks for the upcoming album, "Safe And Sound" was getting massive airplay on commercial radio and was a pretty ubiquitous hit song that you'd hear regularly. Let's assume there was a possibility that on a random drive somewhere with the family, or on a random weekend afternoon when the kids were home and listening to music, he heard that record and simply dug the sounds and the groove? "Hey, who's that?" "Oh, that's Capital Cities, Dad!".  Maybe the trumpet hook caught Brian's attention, maybe it was the analog synth rhythm bed of that track, or maybe it had nothing to do with anything like that, but it's a possibility.

So Brian being a musician of note starts asking around and getting more info, getting the ball rolling, and it turns out there is a chance to meet up with Sebu from Capital Cities. Sebu may also have been a personal fan of Brian's work, maybe even as far as considering the way Brian used analog synths and Mini-Moogs and ARP's in the 70's to create Love You and others. So they connected, and what Brian was curious about as a producer and musician was what he heard in Sebu's work and wanted to see what it was all about, like the experienced magician getting a few new tricks from the next generation. And Sebu in return gets to do what many, many musicians have wanted to experience firsthand by working on a recording in the studio with Brian Wilson, to try to catch a glimpse of what it is that creates some of that magic that many have tried to analyze and experience from afar.

Isn't that scenario as a possibility just as valid as suggesting the two artists were crammed together to sell records and appeal to other demographics and fan bases? It's not discounting at all wanting to sell records and reach bigger audiences, but it's a different angle to view how it all came together and what could have happened to lead up to a collaboration being released as a single.

At some point, the most simple explanation - whether some want to believe it or not - of an artist like Brian hearing something new that he likes through whatever means (his family, a friend sharing a link, randomly hearing something on TV, etc)  then reaching out to the artist who created that work might have been what led to some of these collaborations.

It's just a different spin on it rather than suggesting something or anything was "forced" into happening for reasons other than choice or wanting to work with someone where there is mutual admiration for their works.

Well said GuitarFool.

I am listening to "Talk of the Town", which is the track that Brian submitted to Sebu to work on. The song itself is about a "lady of the evening" to put it politely.  I will try and point out the similarities and differences between the original "Talk of the Town" and the completed "Runaway Dancer".

The intro is the same, verses are the same, the sax is there  and most of the synths are there; in case you didn't know, Brian loves synths. If you listen to the chorus " hey its been the talk of the town" closely enough , you will realize it is Brian and Blondie singing it. There are two transitions to a part where Brian and Blondie sing " Ran away from home, had to get away , livin' on the street, goin' all the way", which have been replaced by Sebu's  " runnin , Runaway dancer , runnin" part. The intro is repeated as a a break before the last part of the song; it ends with the vocal as is on the finished tune. Sebu added the "Runaway Dancer" part and some synth stuff , but the original track is pretty close to what has been released .

When Brian drives with his kids, they pick the radio stations in the car, as there is just so much K-Earth 101 teenagers and younger can listen to. Daria Wilson loves Capital Cities so it's pretty easy to connect the dots.  

[Lowbacca]

No time to read the entire thread right now --- just came to say I LOVE "RUNAWAY DANCER".

[HeyJude]

I can only add that I never suggested anyone was “forced” to do anything. I don’t think Brian or anybody was forced to do anything on this new album.

I explained my definition of pandering, and went further to explain what while I understand the word viscerally sounds negative, my only intent was to use the best descriptive word to describe a scenario as innocuous and even potentially rewarding as “hey, let’s get the Capital Cities guy on this track, he’s young and in tune with some of the current trends and styles.” Capital Cities is also on Capitol Records, which may not be completely unrelated either, and which also isn’t any sort of sin. Pandering, calculated, strategic, whatever the word is, I think that’s at play with the new album, and it’s not a bad thing.

If you feel a theory, or observation that can theoretically reflect negatively on Brian or his new album is a problem, I’m not sure what to say. As I’ve said, I think they’re doing a good job with “NPP” and playing to many different areas which will help Brian’s industry cred, maintain his ties to the BB legacy, and throw the hardcore fans some interesting pieces as well.

[HeyJude]

I am listening to "Talk of the Town", which is the track that Brian submitted to Sebu to work on. The song itself is about a "lady of the evening" to put it politely.  I will try and point out the similarities and differences between the original "Talk of the Town" and the completed "Runaway Dancer".

The intro is the same, verses are the same, the sax is there  and most of the synths are there; in case you didn't know, Brian loves synths. If you listen to the chorus " hey its been the talk of the town" closely enough , you will realize it is Brian and Blondie singing it. There are two transitions to a part where Brian and Blondie sing " Ran away from home, had to get away , livin' on the street, goin' all the way", which have been replaced by Sebu's  " runnin , Runaway dancer , runnin" part. The intro is repeated as a a break before the last part of the song; it ends with the vocal as is on the finished tune. Sebu added the "Runaway Dancer" part and some synth stuff , but the original track is pretty close to what has been released .

When Brian drives with his kids, they pick the radio stations in the car, as there is just so much K-Earth 101 teenagers and younger can listen to. Daria Wilson loves Capital Cities so it's pretty easy to connect the dots.  

Thanks for the insight into the creation of the song. Very interesting stuff. A number of artists are offering demos of album tracks as bonus tracks in various forms (bonus downloads, “Deluxe” bonus tracks, bonus disc, etc.), so it would be interesting to hear the previous iterations of the track.

I still want to hear Paul McCartney’s “Perfect Lover”, which was recorded with Nigel Godrich prior to being reworked into a much more “modern” sounding “Ever Present Past” with David Kahne. Might be a slightly similar thing to what happened with “Runaway Dancer.”

[The Shift]

Haven't listened t it enough yet but if Our Special Love is the descendant of TWGMTR, then this is descendant of '85, particularly Passing Friend…

....did brian have anything to do with Passing Friend?

I doubt it… tho Brian was involved in that album.  I think it's a Boy George composition produced by Levine… but it's of a similar ilk (sax aside)

[The Shift]

Haven't listened t it enough yet but if Our Special Love is the descendant of TWGMTR, then this is descendant of '85, particularly Passing Friend…

....did brian have anything to do with Passing Friend?

Very little to nothing at all most likely, but I can appreciate where J-Man is going with that comment, I think.  I find snippets of the melody and chord structure reminiscent (purely by coincidence, I dare say) of PF.

"J-Man"… that has a kinda cool  – sorry, Kool – ring to it!     Sorry…   

[The LEGENDARY OSD]

It's dependent on how someone reads the meaning of the word pandering, where it can just as easily be taken as suggesting something was done specifically to target or latch onto a specific goal, removing the notion of that artist doing exactly what they wanted to do with whomever they chose to work with. Of course musicians who work in the music business always have an eye toward reaching a bigger audience, and those that claim they do not in terms of "art" or "integrity" could ostensibly stage a show where they appear on stage and press play on a Mac laptop and begin destroying a guitar with a hammer, and call the results the performance. I guess that could be valid too if they get people to pay to see such a thing happen on stage repeatedly. But realistically, at some point even those performance artists would probably feel the need to mix things up a bit to attract more attention to their art, and might try smashing a trombone with a mallet to "mix things up" and attract a wider audience.  

Getting back to this collaboration in particular, I detect hints of some of the sentiments from last summer when some of the news of the collaborators started to leak out, and there were some claims that went so far as to suggest these collaborations were somehow "forced" onto Brian or onto both parties free of choice.

What if - just consider - Brian himself had heard something one of the future collaborators who will appear on the new album had recorded, really liked it or connected with it, and took the lead in reaching out to that musician with an eye toward a collaboration? There were ridiculous claims about him not being aware of some of the artists, then it came out from Brian directly that his children had a hand in suggesting he work with some current artists...don't you think through them he would have heard something, and possibly liked it enough to suggest trying to arrange a working session with that artist?

Since so much is assumed already without knowing the exact way things went down, let's consider Capital Cities. When Brian was deep in the process of writing, demo'ing, planning, etc some tracks for the upcoming album, "Safe And Sound" was getting massive airplay on commercial radio and was a pretty ubiquitous hit song that you'd hear regularly. Let's assume there was a possibility that on a random drive somewhere with the family, or on a random weekend afternoon when the kids were home and listening to music, he heard that record and simply dug the sounds and the groove? "Hey, who's that?" "Oh, that's Capital Cities, Dad!".  Maybe the trumpet hook caught Brian's attention, maybe it was the analog synth rhythm bed of that track, or maybe it had nothing to do with anything like that, but it's a possibility.

So Brian being a musician of note starts asking around and getting more info, getting the ball rolling, and it turns out there is a chance to meet up with Sebu from Capital Cities. Sebu may also have been a personal fan of Brian's work, maybe even as far as considering the way Brian used analog synths and Mini-Moogs and ARP's in the 70's to create Love You and others. So they connected, and what Brian was curious about as a producer and musician was what he heard in Sebu's work and wanted to see what it was all about, like the experienced magician getting a few new tricks from the next generation. And Sebu in return gets to do what many, many musicians have wanted to experience firsthand by working on a recording in the studio with Brian Wilson, to try to catch a glimpse of what it is that creates some of that magic that many have tried to analyze and experience from afar.

Isn't that scenario as a possibility just as valid as suggesting the two artists were crammed together to sell records and appeal to other demographics and fan bases? It's not discounting at all wanting to sell records and reach bigger audiences, but it's a different angle to view how it all came together and what could have happened to lead up to a collaboration being released as a single.

At some point, the most simple explanation - whether some want to believe it or not - of an artist like Brian hearing something new that he likes through whatever means (his family, a friend sharing a link, randomly hearing something on TV, etc)  then reaching out to the artist who created that work might have been what led to some of these collaborations.

It's just a different spin on it rather than suggesting something or anything was "forced" into happening for reasons other than choice or wanting to work with someone where there is mutual admiration for their works.

One thing to consider, for those who are bummed about Brian having newer artists doing vocals on new Brian material: IMHO... It's plainly obvious this could have been a Beach Boys album, and if Mike had just relented and not made his ego-driven writing demands, we probably would have a new Beach Boys album featuring only original Beach Boy members singing, with the added bonus of the absence of 1960s Beach Boy song title/lyric references in the lyrics. Most likely.

So, if one is in the camp of wanting to complain about Brian having other non BB-related vocalists on NPP, ultimately then, this is one more reason to be bummed at Mike. I don't see how the two can be mutually exclusive.

I'll choose to enjoy what we have with NPP, and I hope it kicks ass. I for one would rather have Brian getting to release more of his artful and sad songs without having to deal with a bandmate mock firing a gun to his head to mock the sad songs, even if that means some newer artists' vocals and less original Beach Boy member vocals.

Exactly. And you can imagine how elated I find myself knowing the luhvster or br00th have absolutely nada to do with NPP. Yippee!!!!. 

[JohnMill]

It's dependent on how someone reads the meaning of the word pandering, where it can just as easily be taken as suggesting something was done specifically to target or latch onto a specific goal, removing the notion of that artist doing exactly what they wanted to do with whomever they chose to work with. Of course musicians who work in the music business always have an eye toward reaching a bigger audience, and those that claim they do not in terms of "art" or "integrity" could ostensibly stage a show where they appear on stage and press play on a Mac laptop and begin destroying a guitar with a hammer, and call the results the performance. I guess that could be valid too if they get people to pay to see such a thing happen on stage repeatedly. But realistically, at some point even those performance artists would probably feel the need to mix things up a bit to attract more attention to their art, and might try smashing a trombone with a mallet to "mix things up" and attract a wider audience.  

Getting back to this collaboration in particular, I detect hints of some of the sentiments from last summer when some of the news of the collaborators started to leak out, and there were some claims that went so far as to suggest these collaborations were somehow "forced" onto Brian or onto both parties free of choice.

What if - just consider - Brian himself had heard something one of the future collaborators who will appear on the new album had recorded, really liked it or connected with it, and took the lead in reaching out to that musician with an eye toward a collaboration? There were ridiculous claims about him not being aware of some of the artists, then it came out from Brian directly that his children had a hand in suggesting he work with some current artists...don't you think through them he would have heard something, and possibly liked it enough to suggest trying to arrange a working session with that artist?

Since so much is assumed already without knowing the exact way things went down, let's consider Capital Cities. When Brian was deep in the process of writing, demo'ing, planning, etc some tracks for the upcoming album, "Safe And Sound" was getting massive airplay on commercial radio and was a pretty ubiquitous hit song that you'd hear regularly. Let's assume there was a possibility that on a random drive somewhere with the family, or on a random weekend afternoon when the kids were home and listening to music, he heard that record and simply dug the sounds and the groove? "Hey, who's that?" "Oh, that's Capital Cities, Dad!".  Maybe the trumpet hook caught Brian's attention, maybe it was the analog synth rhythm bed of that track, or maybe it had nothing to do with anything like that, but it's a possibility.

So Brian being a musician of note starts asking around and getting more info, getting the ball rolling, and it turns out there is a chance to meet up with Sebu from Capital Cities. Sebu may also have been a personal fan of Brian's work, maybe even as far as considering the way Brian used analog synths and Mini-Moogs and ARP's in the 70's to create Love You and others. So they connected, and what Brian was curious about as a producer and musician was what he heard in Sebu's work and wanted to see what it was all about, like the experienced magician getting a few new tricks from the next generation. And Sebu in return gets to do what many, many musicians have wanted to experience firsthand by working on a recording in the studio with Brian Wilson, to try to catch a glimpse of what it is that creates some of that magic that many have tried to analyze and experience from afar.

Isn't that scenario as a possibility just as valid as suggesting the two artists were crammed together to sell records and appeal to other demographics and fan bases? It's not discounting at all wanting to sell records and reach bigger audiences, but it's a different angle to view how it all came together and what could have happened to lead up to a collaboration being released as a single.

At some point, the most simple explanation - whether some want to believe it or not - of an artist like Brian hearing something new that he likes through whatever means (his family, a friend sharing a link, randomly hearing something on TV, etc)  then reaching out to the artist who created that work might have been what led to some of these collaborations.

It's just a different spin on it rather than suggesting something or anything was "forced" into happening for reasons other than choice or wanting to work with someone where there is mutual admiration for their works.

One thing to consider, for those who are bummed about Brian having newer artists doing vocals on new Brian material: IMHO... It's plainly obvious this could have been a Beach Boys album, and if Mike had just relented and not made his ego-driven writing demands, we probably would have a new Beach Boys album featuring only original Beach Boy members singing, with the added bonus of the absence of 1960s Beach Boy song title/lyric references in the lyrics. Most likely.

So, if one is in the camp of wanting to complain about Brian having other non BB-related vocalists on NPP, ultimately then, this is one more reason to be bummed at Mike. I don't see how the two can be mutually exclusive.

I'll choose to enjoy what we have with NPP, and I hope it kicks ass. I for one would rather have Brian getting to release more of his artful and sad songs without having to deal with a bandmate mock firing a gun to his head to mock the sad songs, even if that means some newer artists' vocals and less original Beach Boy member vocals.

Pretty much spot on.  From reading the interview Brian Wilson did a few weeks back where he talked about the new record, the upcoming film and The Beach Boys, it seems to me that Mike Love is the definition of persona non grata in the Wilson world.  Everything I read communicated to me that Brian Wilson just doesn't want to do business with his cousin anymore...washed his hands of him if you will.  As far as Mike Love's take on the situation, any time he's ready I'm sure many folks will be all ears.

I'm really anticipating this new record.  Unlike OSD however, I would've taken Mike Love and Bruce Johnston contributing to this record over any of the guest stars.  Mike still has one of the best bass voices in the business and I always regarded Bruce Johnston as underrated as well.  The problem lies in the idea that if Mike Love was involved with this record, would it have taken it's current form?  If Mike Love was willing to go along with Brian Wilson's musical direction for this project then I would have no problem with him being a part of it.  By his participation alone he would've made it better.  On the other hand if Mike Love's involvement would've mutated the record into a less desirable form, then it's probably best he sat out.  

So it's really a double edged sword.  Mike Love can still contribute mightily to any project based on his talents alone.  The alleged conflicts that seem to arise however from a Wilson/Love collaborative effort though well you would have to ask yourself if the ends would suit the means.

[CenturyDeprived]

It's dependent on how someone reads the meaning of the word pandering, where it can just as easily be taken as suggesting something was done specifically to target or latch onto a specific goal, removing the notion of that artist doing exactly what they wanted to do with whomever they chose to work with. Of course musicians who work in the music business always have an eye toward reaching a bigger audience, and those that claim they do not in terms of "art" or "integrity" could ostensibly stage a show where they appear on stage and press play on a Mac laptop and begin destroying a guitar with a hammer, and call the results the performance. I guess that could be valid too if they get people to pay to see such a thing happen on stage repeatedly. But realistically, at some point even those performance artists would probably feel the need to mix things up a bit to attract more attention to their art, and might try smashing a trombone with a mallet to "mix things up" and attract a wider audience.  

Getting back to this collaboration in particular, I detect hints of some of the sentiments from last summer when some of the news of the collaborators started to leak out, and there were some claims that went so far as to suggest these collaborations were somehow "forced" onto Brian or onto both parties free of choice.

What if - just consider - Brian himself had heard something one of the future collaborators who will appear on the new album had recorded, really liked it or connected with it, and took the lead in reaching out to that musician with an eye toward a collaboration? There were ridiculous claims about him not being aware of some of the artists, then it came out from Brian directly that his children had a hand in suggesting he work with some current artists...don't you think through them he would have heard something, and possibly liked it enough to suggest trying to arrange a working session with that artist?

Since so much is assumed already without knowing the exact way things went down, let's consider Capital Cities. When Brian was deep in the process of writing, demo'ing, planning, etc some tracks for the upcoming album, "Safe And Sound" was getting massive airplay on commercial radio and was a pretty ubiquitous hit song that you'd hear regularly. Let's assume there was a possibility that on a random drive somewhere with the family, or on a random weekend afternoon when the kids were home and listening to music, he heard that record and simply dug the sounds and the groove? "Hey, who's that?" "Oh, that's Capital Cities, Dad!".  Maybe the trumpet hook caught Brian's attention, maybe it was the analog synth rhythm bed of that track, or maybe it had nothing to do with anything like that, but it's a possibility.

So Brian being a musician of note starts asking around and getting more info, getting the ball rolling, and it turns out there is a chance to meet up with Sebu from Capital Cities. Sebu may also have been a personal fan of Brian's work, maybe even as far as considering the way Brian used analog synths and Mini-Moogs and ARP's in the 70's to create Love You and others. So they connected, and what Brian was curious about as a producer and musician was what he heard in Sebu's work and wanted to see what it was all about, like the experienced magician getting a few new tricks from the next generation. And Sebu in return gets to do what many, many musicians have wanted to experience firsthand by working on a recording in the studio with Brian Wilson, to try to catch a glimpse of what it is that creates some of that magic that many have tried to analyze and experience from afar.

Isn't that scenario as a possibility just as valid as suggesting the two artists were crammed together to sell records and appeal to other demographics and fan bases? It's not discounting at all wanting to sell records and reach bigger audiences, but it's a different angle to view how it all came together and what could have happened to lead up to a collaboration being released as a single.

At some point, the most simple explanation - whether some want to believe it or not - of an artist like Brian hearing something new that he likes through whatever means (his family, a friend sharing a link, randomly hearing something on TV, etc)  then reaching out to the artist who created that work might have been what led to some of these collaborations.

It's just a different spin on it rather than suggesting something or anything was "forced" into happening for reasons other than choice or wanting to work with someone where there is mutual admiration for their works.

One thing to consider, for those who are bummed about Brian having newer artists doing vocals on new Brian material: IMHO... It's plainly obvious this could have been a Beach Boys album, and if Mike had just relented and not made his ego-driven writing demands, we probably would have a new Beach Boys album featuring only original Beach Boy members singing, with the added bonus of the absence of 1960s Beach Boy song title/lyric references in the lyrics. Most likely.

So, if one is in the camp of wanting to complain about Brian having other non BB-related vocalists on NPP, ultimately then, this is one more reason to be bummed at Mike. I don't see how the two can be mutually exclusive.

I'll choose to enjoy what we have with NPP, and I hope it kicks ass. I for one would rather have Brian getting to release more of his artful and sad songs without having to deal with a bandmate mock firing a gun to his head to mock the sad songs, even if that means some newer artists' vocals and less original Beach Boy member vocals.

Pretty much spot on.  From reading the interview Brian Wilson did a few weeks back where he talked about the new record, the upcoming film and The Beach Boys, it seems to me that Mike Love is the definition of persona non grata in the Wilson world.  Everything I read communicated to me that Brian Wilson just doesn't want to do business with his cousin anymore...washed his hands of him if you will.  As far as Mike Love's take on the situation, any time he's ready I'm sure many folks will be all ears.

I'm really anticipating this new record.  Unlike OSD however, I would've taken Mike Love and Bruce Johnston contributing to this record over any of the guest stars.  Mike still has one of the best bass voices in the business and I always regarded Bruce Johnston as underrated as well.  The problem lies in the idea that if Mike Love was involved with this record, would it have taken it's current form?  If Mike Love was willing to go along with Brian Wilson's musical direction for this project then I would have no problem with him being a part of it.  By his participation alone he would've made it better.  On the other hand if Mike Love's involvement would've mutated the record into a less desirable form, then it's probably best he sat out.  

So it's really a double edged sword.  Mike Love can still contribute mightily to any project based on his talents alone.  The alleged conflicts that seem to arise however from a Wilson/Love collaborative effort though well you would have to ask yourself if the ends would suit the means.

Exactly. Mike's voice can still be utilized by Brian in excellent ways. I love how he sounds on his part on From There to Back Again, for instance. I'd hope even OSD could give Mike that much  . It's unfortunate that it has ended the way it has, but the silver lining is that I feel pretty confident that NPP would trump a 2015 Brian and Mike alone in a room record, a situation in which Brian would almost surely have a difficult time directly saying the words "no" to his cousin's much-much-more-often-than-not hare-brained latter day ideas.

We'll never know for sure, but I think we're coming out ahead musically, and more importantly, if Brian remains in a better emotional place, that's most definitely the preferred situation, no matter how big a fan we are of either Mike Love The Artist, or the moniker The Beach Boys. That said, I mourn the fact that a tarnished legacy of the band name has resulted from this situation, regardless of if some people here may wish to diminish that as being a fact.

[ontor pertawst]

Let's face it, "On The Island" would've been way, way more inappropriate and creepy with Mike Love singing it croaking and pointing around Zooey.

Also, he'd have a flippin' fit over the lyrical references to legalized tho still TM-impairing DRUGS! He'd rewrite them and mention Kokomo three times by the second chorus.

Blondie and Al have voices that held up better and suit the kind of material BW has been doing, do you think Mike Love would've allowed Blondie back in The Beach Boys anyway? He won't even let Al Jardine in the friggin' Beach Boys. And you know how clean he keeps it.

[SMiLE Brian]

Welcome back OSD!

M&B are playing the car shows they so deserve, while BW is making art with this amazing album.

[CenturyDeprived]

Welcome back OSD!

M&B are playing the car shows they so deserve, while BW is making art with this amazing album.

If NPP wins a Grammy, do you think Mike could possibly find it in himself to selflessly praise NPP in the press, sans any self-boasting references? Honest question.

I think even if Mike could be the bigger man and actually do that, I'd be surprised if Mike would be sitting at home watching the Grammys and actually hoping for NPP to win any awards. And that's sad.

[SMiLE Brian]

He will claim it would have had a number one hit like kokomo if only it had his lyrics.

There is no praise for BW doing stuff without him, its all about a jealousy that has destroyed Mike's sanity.

[CenturyDeprived]

He will claim it would have had a number one hit like kokomo if only it had his lyrics.

That's the thing. If NPP actually generated a number one hit, I don't know if Mike could take it. Honestly. While I don't see a number one hit happening, who knows. Stranger things have happened...

[SMiLE Brian]

I hope for a number one album and hit!

[HeyJude]

He will claim it would have had a number one hit like kokomo if only it had his lyrics.

That's the thing. If NPP actually generated a number one hit, I don't know if Mike could take it. Honestly. While I don't see a number one hit happening, who knows. Stranger things have happened...

A number one single is virtually impossible. A number one album is nearly impossible. But a relatively high chart placement on the album charts (Top 50, maybe even Top 20, and in a perfect storm Top 10) for NPP is possible.

The thing is, TWGMTR hit #3 and Mike minimized that in an interview, which showed either an unwillingness to relent that Brian can or should write the bulk of the material without Mike, and/or a gross lack of understanding of how charts are tabulated and how the industry trends are going. It seemed to me to be some of both.

When was the last time the Beach Boys had "sustained" success on any chart (as in, I dunno, staying in the Top 5 or 10 on the singles or albums charts for numerous weeks)? Even "Kokomo" was #1 for like one week or so, right?

In any event, I don't think Mike would have a nervous break down if NPP hit #1. Maybe behind the scenes he would be supremely annoyed or irked. But if that happened and he was asked about it, I would imagine the response would be along the lines of his statement about "The Right Time."

[CenturyDeprived]

He will claim it would have had a number one hit like kokomo if only it had his lyrics.

That's the thing. If NPP actually generated a number one hit, I don't know if Mike could take it. Honestly. While I don't see a number one hit happening, who knows. Stranger things have happened...

A number one single is virtually impossible. A number one album is nearly impossible. But a relatively high chart placement on the album charts (Top 50, maybe even Top 20, and in a perfect storm Top 10) for NPP is possible.

The thing is, TWGMTR hit #3 and Mike minimized that in an interview, which showed either an unwillingness to relent that Brian can or should write the bulk of the material without Mike, and/or a gross lack of understanding of how charts are tabulated and how the industry trends are going. It seemed to me to be some of both.

When was the last time the Beach Boys had "sustained" success on any chart (as in, I dunno, staying in the Top 5 or 10 on the singles or albums charts for numerous weeks)? Even "Kokomo" was #1 for like one week or so, right?

In any event, I don't think Mike would have a nervous break down if NPP hit #1. Maybe behind the scenes he would be supremely annoyed or irked. But if that happened and he was asked about it, I would imagine the response would be along the lines of his statement about "The Right Time."

Publicly, he'd probably make a nice-ish statement, but I'd be (very pleasantly, I might add) surprised if he responded with zero snarkiness, self-boasting, and absolutely no mentioning of what it "could have been" if only with Love contributions. I know it's a hypothetical, but I do think this would be pretty spot on. Again, sad.

[Fall Breaks]

It's dependent on how someone reads the meaning of the word pandering, where it can just as easily be taken as suggesting something was done specifically to target or latch onto a specific goal, removing the notion of that artist doing exactly what they wanted to do with whomever they chose to work with. Of course musicians who work in the music business always have an eye toward reaching a bigger audience, and those that claim they do not in terms of "art" or "integrity" could ostensibly stage a show where they appear on stage and press play on a Mac laptop and begin destroying a guitar with a hammer, and call the results the performance. I guess that could be valid too if they get people to pay to see such a thing happen on stage repeatedly. But realistically, ait some point even those performance artists would probably feel the need to mix things up a bit to attract more attention to their art, and might try smashing a trombone with a mallet to "mix things up" and attract a wider audience.  

Getting back to this collaboration in particular, I detect hints of some of the sentiments from last summer when some of the news of the collaborators started to leak out, and there were some claims that went so far as to suggest these collaborations were somehow "forced" onto Brian or onto both parties free of choice.

What if - just consider - Brian himself had heard something one of the future collaborators who will appear on the new album had recorded, really liked it or connected with it, and took the lead in reaching out to that musician with an eye toward a collaboration? There were ridiculous claims about him not being aware of some of the artists, then it came out from Brian directly that his children had a hand in suggesting he work with some current artists...don't you think through them he would have heard something, and possibly liked it enough to suggest trying to arrange a working session with that artist?

Since so much is assumed already without knowing the exact way things went down, let's consider Capital Cities. When Brian was deep in the process of writing, demo'ing, planning, etc some tracks for the upcoming album, "Safe And Sound" was getting massive airplay on commercial radio and was a pretty ubiquitous hit song that you'd hear regularly. Let's assume there was a possibility that on a random drive somewhere with the family, or on a random weekend afternoon when the kids were home and listening to music, he heard that record and simply dug the sounds and the groove? "Hey, who's that?" "Oh, that's Capital Cities, Dad!".  Maybe the trumpet hook caught Brian's attention, maybe it was the analog synth rhythm bed of that track, or maybe it had nothing to do with anything like that, but it's a possibility.

So Brian being a musician of note starts asking around and getting more info, getting the ball rolling, and it turns out there is a chance to meet up with Sebu from Capital Cities. Sebu may also have been a personal fan of Brian's work, maybe even as far as considering the way Brian used analog synths and Mini-Moogs and ARP's in the 70's to create Love You and others. So they connected, and what Brian was curious about as a producer and musician was what he heard in Sebu's work and wanted to see what it was all about, like the experienced magician getting a few new tricks from the next generation. And Sebu in return gets to do what many, many musicians have wanted to experience firsthand by working on a recording in the studio with Brian Wilson, to try to catch a glimpse of what it is that creates some of that magic that many have tried to analyze and experience from afar.

Isn't that scenario as a possibility just as valid as suggesting the two artists were crammed together to sell records and appeal to other demographics and fan bases? It's not discounting at all wanting to sell records and reach bigger audiences, but it's a different angle to view how it all came together and what could have happened to lead up to a collaboration being released as a single.

At some point, the most simple explanation - whether some want to believe it or not - of an artist like Brian hearing something new that he likes through whatever means (his family, a friend sharing a link, randomly hearing something on TV, etc)  then reaching out to the artist who created that work might have been what led to some of these collaborations.

It's just a different spin on it rather than suggesting something or anything was "forced" into happening for reasons other than choice or wanting to work with someone where there is mutual admiration for their works.

Well said GuitarFool.

I am listening to "Talk of the Town", which is the track that Brian submitted to Sebu to work on. The song itself is about a "lady of the evening" to put it politely.  I will try and point out the similarities and differences between the original "Talk of the Town" and the completed "Runaway Dancer".

The intro is the same, verses are the same, the sax is there  and most of the synths are there; in case you didn't know, Brian loves synths. If you listen to the chorus " hey its been the talk of the town" closely enough , you will realize it is Brian and Blondie singing it. There are two transitions to a part where Brian and Blondie sing " Ran away from home, had to get away , livin' on the street, goin' all the way", which have been replaced by Sebu's  " runnin , Runaway dancer , runnin" part. The intro is repeated as a a break before the last part of the song; it ends with the vocal as is on the finished tune. Sebu added the "Runaway Dancer" part and some synth stuff , but the original track is pretty close to what has been released .

When Brian drives with his kids, they pick the radio stations in the car, as there is just so much K-Earth 101 teenagers and younger can listen to. Daria Wilson loves Capital Cities so it's pretty easy to connect the dots.  

Thank you, Ray, for posting that. Cool that Blondie is on it too. Hadn't noticed that.

[job]

He will claim it would have had a number one hit like kokomo if only it had his lyrics.

That's the thing. If NPP actually generated a number one hit, I don't know if Mike could take it. Honestly. While I don't see a number one hit happening, who knows. Stranger things have happened...

A number one single is virtually impossible. A number one album is nearly impossible. But a relatively high chart placement on the album charts (Top 50, maybe even Top 20, and in a perfect storm Top 10) for NPP is possible.

The thing is, TWGMTR hit #3 and Mike minimized that in an interview, which showed either an unwillingness to relent that Brian can or should write the bulk of the material without Mike, and/or a gross lack of understanding of how charts are tabulated and how the industry trends are going. It seemed to me to be some of both.

When was the last time the Beach Boys had "sustained" success on any chart (as in, I dunno, staying in the Top 5 or 10 on the singles or albums charts for numerous weeks)? Even "Kokomo" was #1 for like one week or so, right?

In any event, I don't think Mike would have a nervous break down if NPP hit #1. Maybe behind the scenes he would be supremely annoyed or irked. But if that happened and he was asked about it, I would imagine the response would be along the lines of his statement about "The Right Time."

The charts are so fragmented nowadays, it basically means nothing to chart high.  It's like being the best ballerina in Cincinnati...who gives a sh*t?

[JohnMill]

He will claim it would have had a number one hit like kokomo if only it had his lyrics.

That's the thing. If NPP actually generated a number one hit, I don't know if Mike could take it. Honestly. While I don't see a number one hit happening, who knows. Stranger things have happened...

A number one single is virtually impossible. A number one album is nearly impossible. But a relatively high chart placement on the album charts (Top 50, maybe even Top 20, and in a perfect storm Top 10) for NPP is possible.

The thing is, TWGMTR hit #3 and Mike minimized that in an interview, which showed either an unwillingness to relent that Brian can or should write the bulk of the material without Mike, and/or a gross lack of understanding of how charts are tabulated and how the industry trends are going. It seemed to me to be some of both.

When was the last time the Beach Boys had "sustained" success on any chart (as in, I dunno, staying in the Top 5 or 10 on the singles or albums charts for numerous weeks)? Even "Kokomo" was #1 for like one week or so, right?

In any event, I don't think Mike would have a nervous break down if NPP hit #1. Maybe behind the scenes he would be supremely annoyed or irked. But if that happened and he was asked about it, I would imagine the response would be along the lines of his statement about "The Right Time."

The charts are so fragmented nowadays, it basically means nothing to chart high.  It's like being the best ballerina in Cincinnati...who gives a sh*t?

I'd argue that many classic/vintage artists do.  It's the mindset that they are used to.  Success equals a high chart position and plenty of radio airplay which is why so many of them are of the disenchanted set given the change in how the charts and radio airplay are managed in the past decade or so.  They've really lost their measuring stick as far as how to determine the comparative success of a given record.  So yeah a high chart position does still matter to the artist, less so to the consumer.  

[CenturyDeprived]

He will claim it would have had a number one hit like kokomo if only it had his lyrics.

That's the thing. If NPP actually generated a number one hit, I don't know if Mike could take it. Honestly. While I don't see a number one hit happening, who knows. Stranger things have happened...

A number one single is virtually impossible. A number one album is nearly impossible. But a relatively high chart placement on the album charts (Top 50, maybe even Top 20, and in a perfect storm Top 10) for NPP is possible.

The thing is, TWGMTR hit #3 and Mike minimized that in an interview, which showed either an unwillingness to relent that Brian can or should write the bulk of the material without Mike, and/or a gross lack of understanding of how charts are tabulated and how the industry trends are going. It seemed to me to be some of both.

When was the last time the Beach Boys had "sustained" success on any chart (as in, I dunno, staying in the Top 5 or 10 on the singles or albums charts for numerous weeks)? Even "Kokomo" was #1 for like one week or so, right?

In any event, I don't think Mike would have a nervous break down if NPP hit #1. Maybe behind the scenes he would be supremely annoyed or irked. But if that happened and he was asked about it, I would imagine the response would be along the lines of his statement about "The Right Time."

The charts are so fragmented nowadays, it basically means nothing to chart high.  It's like being the best ballerina in Cincinnati...who gives a sh*t?

Who gives a sh*t? Both Brian and Mike, that's who! Can't shake their old school ideals of hitting the top.
(I'd say Mike moreso, clearly based on his derogatory comments towards the TWGMTR #3 placement).

[JohnMill]

He will claim it would have had a number one hit like kokomo if only it had his lyrics.

That's the thing. If NPP actually generated a number one hit, I don't know if Mike could take it. Honestly. While I don't see a number one hit happening, who knows. Stranger things have happened...

A number one single is virtually impossible. A number one album is nearly impossible. But a relatively high chart placement on the album charts (Top 50, maybe even Top 20, and in a perfect storm Top 10) for NPP is possible.

The thing is, TWGMTR hit #3 and Mike minimized that in an interview, which showed either an unwillingness to relent that Brian can or should write the bulk of the material without Mike, and/or a gross lack of understanding of how charts are tabulated and how the industry trends are going. It seemed to me to be some of both.

When was the last time the Beach Boys had "sustained" success on any chart (as in, I dunno, staying in the Top 5 or 10 on the singles or albums charts for numerous weeks)? Even "Kokomo" was #1 for like one week or so, right?

In any event, I don't think Mike would have a nervous break down if NPP hit #1. Maybe behind the scenes he would be supremely annoyed or irked. But if that happened and he was asked about it, I would imagine the response would be along the lines of his statement about "The Right Time."

The charts are so fragmented nowadays, it basically means nothing to chart high.  It's like being the best ballerina in Cincinnati...who gives a sh*t?

Who gives a sh*t? Both Brian and Mike, that's who! Can't shake their old school ideals of hitting the top.
(I'd say Mike moreso, clearly based on his derogatory comments towards the TWGMTR #3 placement).

I think Mike Love's issue wasn't so much the chart placement of that record but the fact that the record didn't pin at that position.  It was there one minute, gone the next.  But that is just the way the charts work these days with vintage artists.  Sustained success is a rare thing and that is something that just needs to be accepted at this point.  That way when you do see a vintage act with sustained success on the charts, it makes it that much sweeter.