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Author Topic: Soundtrack  (Read 17966 times)
ontor pertawst
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« Reply #50 on: April 23, 2015, 04:10:52 PM »

unfortunately soundtracks are old hat,,, unless it's a huge movie like the "Lord of the ring" or "Star Wars" it seems that Rock n roll type soundtracks (like Ray or Grease, or an 80's soundtrack movie) are out of fashion , just think about it when was the last time you actually saw a (non instrumental) rock n roll soundtrack? Since the 80's? other than Ray and a couple more?it seems that instrumentals (orchestra and Synths) are the in thing right now..

nah, it's the kind of soundtrack that gets released. Not so so much old hat as baseball caps cutting off circulation leading to muddy thinking.
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« Reply #51 on: April 23, 2015, 04:25:01 PM »

Looking solely at sales numbers, there is a pretty good, semi-niche market for all sorts of soundtracks. I remember seeing this on the Screen Archives website for sale as a new, limited edition not that long ago:



In any event, there's more buzz and hype for the L&M film, so it could sell well enough for a soundtrack/score. We're talking here about the score folks, just to remind. Not another BB compilation with BB tracks from the film. We're talking about the "score", the background music.

Additionally, as Howie mentioned, it's also about art and I would say prestige (or insert whatever word of the sort you like).

Look at this way. If you're cheesed off a bit or annoyed by the continued Brian hype machine, but you can't control whether this film comes out, perhaps you might indeed block the soundtrack release out of spite. Just a theoretical of course.
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« Reply #52 on: April 23, 2015, 04:53:19 PM »

This is why BRI needs a MANAGER.

Because a manager (a real one) understands that there is both a high art and casual element to the selling of this band. For those catching up: Brian Wilson camp = high art and the Mike Love camp = casual element. A neutral manager -- preferably, someone who knows these ropes -- would be able to act as a true moderator and circumvent the messes of (at least) the past dozen years.

Both camps are important parts of the Beach Boys experience in 2015, yet, obviously, only one will continue to be in 30, 40. . . 250 years. That’s a fact no matter what team’s jersey you wear (or who’s check you cash.)

Holding the high art faction ransom (or at the very least, trying to spoil it a la the ugliness and lawsuits surrounding the release of BWPS) should never be tolerated.

Atticus Rose’s thought-provoking and forward looking score should get the same unanimous vote that allowed this BBQ to exist without interference: https://www.youtube.com/watch?v=iuBSWYoSPj4

Okay, I'm just gonna throw this out there....

Is Elliott Lott just totally incapable? I mean, I'm glad we got the C50 tour. I'm so, so happy we got the That's Why God Made The Radio and that the final new Beach Boys song might be "Summer's Gone" whether Mike Love likes it or not. I'm beyond stoked we got Made In California with all the previously unreleased material. So kudos to Elliott for his role in bringing this together whether he had any role. But really it seems like, as Howie has said, there is nobody running the show.

So maybe everybody likes Mr. Lott, but it seems like anybody with a brain would be able to get more out of the brand known as The Beach Boys than this guy has. As the recently departed Jack Rieley has put it, they've blown it and they keep blowing it. I will say that Brian Wilson and his team haven't blown it since around the year 2000, though. Doing Pet Sounds live, doing SMiLE live, recording Brian Wilson Presents SMiLE, the live and studio recorded That Lucky Old Sun, the Gerswhin project, the upcoming movie, his upcoming book, and more.

Now the shame is, if I was in charge of BRI, I would couple ascension of Brian Wilson to unassailable legend within the past twenty years with the group he made that music with! But due to somebody within BRI, they have barely managed to take advantage of this, instead making Brian Wilson and The Beach Boys two very separate things. In 2012 they showed how easily it could be done, and show off the "art" and the "fun" of The Beach Boys all at once. But somebody or something's stopping it. And it's a shame.
« Last Edit: April 23, 2015, 06:42:04 PM by sweetdudejim » Logged
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« Reply #53 on: April 23, 2015, 05:01:41 PM »

unfortunately soundtracks are old hat,,, unless it's a huge movie like the "Lord of the ring" or "Star Wars" it seems that Rock n roll type soundtracks (like Ray or Grease, or an 80's soundtrack movie) are out of fashion , just think about it when was the last time you actually saw a (non instrumental) rock n roll soundtrack? Since the 80's? other than Ray and a couple more?it seems that instrumentals (orchestra and Synths) are the in thing right now..

I just got this link in an ASCAP "daily brief" email, to a Billboard article that talks about why soundtracks are back. This is the second paragraph of that article:

Last year was the first year since 2009 in which multiple theatrical film soundtracks reached No. 1 on the chart; throw in the Fifty Shades of Grey soundtrack, which peaked at No. 2 on the Billboard 200 and has produced two Top 10 hits on the Hot 100, and it can be concluded that we're in the middle of a full-blown soundtrack revival, nearly two decades after the format's late 90's heyday.

Link to the full article (worth a read):
https://www.billboard.com/biz/articles/news/record-labels/6538871/why-are-soundtracks-suddenly-back-because-theyre-better-than

So the notion that film soundtracks are "old hat" doesn't seem to be an opinion shared by those in the business, in fact quite the opposite. They're more popular commercially (and with crossover hit single potential) than they've been in decades.



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« Reply #54 on: April 23, 2015, 05:10:57 PM »

This is why BRI needs a MANAGER.

Because a manager (a real one) understands that there is both a high art and casual element to the selling of this band. For those catching up: Brian Wilson camp = high art and the Mike Love camp = casual element. A neutral manager -- preferably, someone who knows these ropes -- would be able to act as a true moderator and circumvent the messes of (at least) the past dozen years.

Both camps are important parts of the Beach Boys experience in 2015, yet, obviously, only one will continue to be in 30, 40. . . 250 years. That’s a fact no matter what team’s jersey you wear (or who’s check you cash.)

Holding the high art faction ransom (or at the very least, trying to spoil it a la the ugliness and lawsuits surrounding the release of BWPS) should never be tolerated.

Atticus Rose’s thought-provoking and forward looking score should get the same unanimous vote that allowed this BBQ to exist without interference: https://www.youtube.com/watch?v=iuBSWYoSPj4
If Atticus Rose wrote a musical score for a movie, what would BRI have to do with it? If there would be no actual Beach Boys recordings on the soundtrack, then isn't releasing the soundtrack strickly between the film's production company and a record company?
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« Reply #55 on: April 23, 2015, 05:27:42 PM »

The score is stitched together using elements from various vocals and tracks from numerous songs.
The writers and the performers of those songs would have to grant permission for said tracks to be released as part of a soundtrack.
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CenturyDeprived
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« Reply #56 on: April 23, 2015, 05:48:13 PM »

Maybe Mike would be motivated to hold his vote hostage that would grant soundtrack permission, if he feels there's something he could get out of the leverage. He still talks about being open to future BB collabs, if conditions are met. Having not yet seen the film, I suspect that he would be unhappy with his portrayal. I would think he'd only be happy with a portrayal that he himself had input with and signs off on, regardless of how much the filmmakers might have walked on eggshells to make it fair and balanced (and not inflammatory against Mike).

Makes me wonder how on Earth that the world got The Smile Sessions released in 2011. We are very lucky that happened at all. I suspect perhaps there was similar trades of leverage and very specific rules that went into TSS, all the carefully-worded-by-the-participants promo videos for TSS, and C50 in general. No way I can believe that all the TSS interview footage simply happened without rules about what could/could not be talked about. And maybe Mike felt reneged on what was promised to him in return, whatever that may have been (maybe that was "the room"). Of course, I think it's ridiculous for TSS and/or this soundtrack to possibly only be allowed to be released with the permission of someone who could hold up the vote out of leverage and/or grudges (assuming that's what happened). Wasn't the Pet Sounds Sessions set held up for a year due to similar circumstances?
« Last Edit: April 23, 2015, 06:15:07 PM by CenturyDeprived » Logged
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« Reply #57 on: April 23, 2015, 06:40:37 PM »

Century, you mentioned Mike wanting to collaborate with Brian again, and it being a vague proviso to any further BB work with Brian. He’s been telling that to me, and every other writer, for well over a decade. During the entire C50, has there been ONE witness seeing Mike Love take an active interest in making that happen? From the sessions at Ocean Way through the 75 dates across the globe, where there was always SOME time and a keyboard SOMEWHERE — did Mike Love ever try to make that happen? For the first time in decades, he saw Brian every day. It’s a great thought and an even better soundbyte, but I personally don’t believe it’s true.

I think a few things. I think that Love And Mercy COULD have portrayed Mike Love in a far harsher light. I think it was fair to him and that made me happy. Because, let’s face facts, George Harrison wasn’t crazy about Sgt. Pepper -- he has a right as a partner to have his say and not have it define him. Fair is fair. And across the board, Mike did outstanding work during that era (he kills on “Cabinessence.”) If the powers that be wanted to settle a score, they could’ve used Love And Mercy to do so. The powers that be did not. If anything, the film is sympathetic to Mike and the situation in regards to the ’66, ’67 output. My point is that, there is so much Brian in Brian's story that Mike is just one of the many planets orbiting his sun. I don't think the same is vice versa. I think Brian -- and, more specifically, Brian's long shadow and talent -- is a central part of Mike's life. That's a tough shadow to live in. Al Jardine seems to now live in it with love and admiration -- Mike Love seems to not.

I hope that Mike’s ghostwritten memoir isn’t used as a tool to do damage to perceived foes. I fear that there are elements in place to “reshade” if not outright rewrite history in regards to certain instances in the book. I hope I'm proven wrong. I really do. I hope we hear about Mike's long and interesting journey and not a long defense against what he feels was robbed from him by Brian and the people in Brian's life -- past and present.
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« Reply #58 on: April 23, 2015, 06:41:31 PM »

This can't all have just happened.

Part of me wonders if the original plan was to release NPP last year, and have a soundtrack with some new BW things (the Scott B. tracks) this year.

But once objections were raised, Capitol changed course, delayed and resequenced NPP, and put off any announcement of the soundtrack.

Clears up some things, if true.
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« Reply #59 on: April 23, 2015, 06:56:53 PM »

Century, you mentioned Mike wanting to collaborate with Brian again, and it being a vague proviso to any further BB work with Brian. He’s been telling that to me, and every other writer, for well over a decade. During the entire C50, has there been ONE witness seeing Mike Love take an active interest in making that happen? From the sessions at Ocean Way through the 75 dates across the globe, where there was always SOME time and a keyboard SOMEWHERE — did Mike Love ever try to make that happen? For the first time in decades, he saw Brian every day. It’s a great thought and an even better soundbyte, but I personally don’t believe it’s true.

I think a few things. I think that Love And Mercy COULD have portrayed Mike Love in a far harsher light. I think it was fair to him and that made me happy. Because, let’s face facts, George Harrison wasn’t crazy about Sgt. Pepper -- he has a right as a partner to have his say and not have it define him. Fair is fair. And across the board, Mike did outstanding work during that era (he kills on “Cabinessence.”) If the powers that be wanted to settle a score, they could’ve used Love And Mercy to do so. The powers that be did not. If anything, the film is sympathetic to Mike and the situation in regards to the ’66, ’67 output. My point is that, there is so much Brian in Brian's story that Mike is just one of the many planets orbiting his sun. I don't think the same is vice versa. I think Brian -- and, more specifically, Brian's long shadow and talent -- is a central part of Mike's life. That's a tough shadow to live in. Al Jardine seems to now live in it with love and admiration -- Mike Love seems to not.

I hope that Mike’s ghostwritten memoir isn’t used as a tool to do damage to perceived foes. I fear that there are elements in place to “reshade” if not outright rewrite history in regards to certain instances in the book. I hope I'm proven wrong. I really do. I hope we hear about Mike's long and interesting journey and not a long defense against what he feels was robbed from him by Brian and the people in Brian's life -- past and present.


From what I gather, from all those who have seen the film (including yourself), Mike will be treated fairly. I hope that's good enough for him (if Mike sees the film, which he probably will), though I don't know that it will be good enough. What good enough would be is another mystery. I hope Mike's book won't be overly defensive too. I want these guys to get along, or if they can't get along creatively, at least not try to prevent releases of material out of spite - that crosses a line in my eyes, if that's what's happening here. If they could only just get along... 
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« Reply #60 on: April 23, 2015, 07:06:49 PM »

Wirestone, that's the first I heard of any of that.
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« Reply #61 on: April 23, 2015, 07:36:25 PM »

Wirestone, that's the first I heard of any of that.

Brett Simons posted this publicly Facebook shortly after NPP was released:

Quote
Very happy to be a part of the new Brian Wilson album, 'No Pier Pressure', released this week. The couple things I worked on initially began as tracking for the film "Love & Mercy", including the wonderful song 'One Kind Of Love' written by Brian and my good mate Scott Bennett and tracked with Scott, Jim Keltner and arranged by Paul Mertens. This is the fourth album I've worked on with Brian - fifth including the Beach Boys 'That's Why God Made The Radio' - as well as the live in-studio DVD of "That Lucky Old Sun". Working in the studio and touring with Brian and my great friends in his incredible band over the past 7 years has been such a great chapter in my musical life. I truly appreciate my time spent playing and singing the timeless music of Brian's catalogue, along with having the opportunity to personally contribute to this body of work and legacy.

Obviously the film has been in the works for awhile, but those two tracks do sound somewhat different from the rest of NPP, and have the different writing credits.

So the question then becomes (to me), why did those tracks become part of Brian's solo album project? What changed? What happened?
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« Reply #62 on: April 23, 2015, 07:58:34 PM »

Wirestone, that's the first I heard of any of that.

Brett Simons posted this publicly Facebook shortly after NPP was released:

Quote
Very happy to be a part of the new Brian Wilson album, 'No Pier Pressure', released this week. The couple things I worked on initially began as tracking for the film "Love & Mercy", including the wonderful song 'One Kind Of Love' written by Brian and my good mate Scott Bennett and tracked with Scott, Jim Keltner and arranged by Paul Mertens. This is the fourth album I've worked on with Brian - fifth including the Beach Boys 'That's Why God Made The Radio' - as well as the live in-studio DVD of "That Lucky Old Sun". Working in the studio and touring with Brian and my great friends in his incredible band over the past 7 years has been such a great chapter in my musical life. I truly appreciate my time spent playing and singing the timeless music of Brian's catalogue, along with having the opportunity to personally contribute to this body of work and legacy.

Obviously the film has been in the works for awhile, but those two tracks do sound somewhat different from the rest of NPP, and have the different writing credits.

So the question then becomes (to me), why did those tracks become part of Brian's solo album project? What changed? What happened?

The answer could just as easily be found in the filmmaking process, just like any number of revisions to a script and changes in the storyboard can happen before a rough cut is even made, perhaps the songs were at one time done and intended for scenes in the film but got cut out for any number of reasons. Maybe those new songs (and new recordings) didn't mesh as well with what Atticus Ross and Trent Reznor eventually did for the score/soundtrack (the sound collage approach) and they were left off. The recordings were good, the songs were obviously strong, so they ended up on the album instead. Just a thought. Or maybe the concept of the soundtrack itself changed midstream and the new songs were simply not a part of it.

For me the bigger issue is still the lack of a soundtrack release - There is one, it's getting rave reviews so far from those who saw the film, the commercial opportunities are waiting to be picked like ripe apples off a tree in the fall, according to that Billboard article the market for soundtrack albums is as big as it's been since the 90's...and yet it's not happening for a musician-centric biography film. I'd rather get to the reasons behind that.  Grin
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« Reply #63 on: April 23, 2015, 08:29:27 PM »

Maybe we should hold off on this until the movie gets released in more places...
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« Reply #64 on: April 23, 2015, 08:41:52 PM »

Hold off on what?  Smiley I don't understand.

Just some bits of info from my own experience in the 90's buying soundtracks...I remember buying the Pulp Fiction soundtrack at Tower some time before the film was released, as did many Tarantino fans I knew (Reservoir Dogs was a massive favorite at the time), and we were all very psyched to see how all the dialogue on that album would fit into the film itself. It actually sold very well at least in the Boston area before the film premiered, and we got tickets for that as well. Same with the film "Backbeat", a bit of an indie sleeper about the Beatles in Hamburg. I had the soundtrack and was really liking it before even seeing the film, as seeing the film was tougher than usual since it was a limited release that didn't get to many theatres. But the soundtrack with Thurston Moore, Mike Mills, Dave Grohl, etc jamming out on 50's rock tunes actually kicked ass at that time, and it was a good listen before any of us could see the film.
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« Reply #65 on: April 23, 2015, 08:51:40 PM »

What I meant was that the movie has not been released in many places yet so demand for the soundtrack, while praised, is small.  I think whoever is stockpiling the music is waiting for June so demand for the music will get larger.  I sense some concern about whether a soundtrack will be released, but I think right now it is too early to think about whether it will be or not.  The movie isn't out everywhere yet!   Tongue
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« Reply #66 on: April 24, 2015, 02:41:30 AM »

Maybe Mike would be motivated to hold his vote hostage that would grant soundtrack permission, if he feels there's something he could get out of the leverage. He still talks about being open to future BB collabs, if conditions are met. Having not yet seen the film, I suspect that he would be unhappy with his portrayal. I would think he'd only be happy with a portrayal that he himself had input with and signs off on, regardless of how much the filmmakers might have walked on eggshells to make it fair and balanced (and not inflammatory against Mike).

Makes me wonder how on Earth that the world got The Smile Sessions released in 2011. We are very lucky that happened at all. I suspect perhaps there was similar trades of leverage and very specific rules that went into TSS, all the carefully-worded-by-the-participants promo videos for TSS, and C50 in general. No way I can believe that all the TSS interview footage simply happened without rules about what could/could not be talked about. And maybe Mike felt reneged on what was promised to him in return, whatever that may have been (maybe that was "the room"). Of course, I think it's ridiculous for TSS and/or this soundtrack to possibly only be allowed to be released with the permission of someone who could hold up the vote out of leverage and/or grudges (assuming that's what happened). Wasn't the Pet Sounds Sessions set held up for a year due to similar circumstances?

Again, you're assuming that it's Person A holding a soundtrack to ransom. Why not Persons B, C, Q or X ?  May be the case, but it pays to consider the other options.
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« Reply #67 on: April 24, 2015, 04:43:21 AM »

Again, you're assuming that it's Person A holding a soundtrack to ransom. Why not Persons B, C, Q or X ?  May be the case, but it pays to consider the other options.

Howie Edelson did strongly imply that it was Person A.
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« Reply #68 on: April 24, 2015, 06:49:40 AM »

While Carl Wilson’s estate seems to be clouded in a fair amount of mystery as far as how they play into the current inner-workings of BRI, I can’t think of any evidence that we’ve seen that they put up roadblocks to much of anything. They have allowed BB archival releases. They have the least personal ego involved, so it’s easier to believe they’re happy with whatever checks keep rolling in. They have allowed (and/or put up no roadblocks for) Carl’s voice to be used on solo projects by Brian (“Soul Searchin’”) and Al (“Don’t Fight the Sea”, “Waves of Love”).

Given other events of the last couple of years, and especially the last few weeks/months concerning potentially overt and/or subtle “political” moves or jabs from the camps, it’s not far-fetched to believe that Person A is the hold-up.

Previously, when all we really had was the vague idea that a soundtrack *could* be released, it would have been a huge leap to assume “Person A” was blocking a release that we didn’t even know would have or could have existed or been planned. But now that we know a release was planned, and that it awaited signatures from BRI, the whole scenario becomes much more plausible.
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« Reply #69 on: April 24, 2015, 07:05:38 AM »

What I meant was that the movie has not been released in many places yet so demand for the soundtrack, while praised, is small.  I think whoever is stockpiling the music is waiting for June so demand for the music will get larger.  I sense some concern about whether a soundtrack will be released, but I think right now it is too early to think about whether it will be or not.  The movie isn't out everywhere yet!   Tongue

I can’t explain the precise origin of why soundtracks come out in advance of films, but they usually seem to. It’s a promotional tool for the movie, among other things. It’s probably the same reason toys for superhero movies come out several months before the actual movie.

But I think we have pretty good confirmation above that a soundtrack did/does exist and was planned for release. So that doesn’t appear to be an open question at this stage. It’s sounding like it isn’t questions of marketing strategy that are causing delays. Sounds like it’s a signature.

Having not yet seen the film myself, it’s interesting to know that elements of the original tracks are woven into the score. *That* would explain why it requires BRI approval. BRI would have to sign off on use of any archival BB recordings (meaning all of BRI have to sign off even if they only use an isolated lead vocal of Brian). I don’t know enough about the Ross score to know for sure, but I would guess it wouldn’t be as easy as stripping all of those BB vocals/recording elements out of the score. I’d be curious to know if that’s possible, but I wouldn’t assume that it wouldn’t compromise the whole point of how the score was done.
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« Reply #70 on: April 24, 2015, 07:43:30 AM »


[/quote]

...it’s interesting to know that elements of the original tracks are woven into the score. *That* would explain why it requires BRI approval. BRI would have to sign off on use of any archival BB recordings (meaning all of BRI have to sign off even if they only use an isolated lead vocal of Brian). I don’t know enough about the Ross score to know for sure, but I would guess it wouldn’t be as easy as stripping all of those BB vocals/recording elements out of the score.
[/quote]
It's not a matter of just signing off. This presents an issue of rights of usage and publishing. It might be that all parties have not/did not come to an agreement regarding the issuing of the soundtrack. And, who is involved? The various composers of the Beach Boys material, the soundtrack composer, the various publishers of the writers, the film company and the publisher of the soundtrack, not to mention artist/composer managers.

The splitting of writer/publishing shares can be a point involving intense negotiation. Who knows who wanted what or who was willing or unwilling to share rights or credits?

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« Reply #71 on: April 24, 2015, 07:46:03 AM »

Maybe Mike would be motivated to hold his vote hostage that would grant soundtrack permission, if he feels there's something he could get out of the leverage. He still talks about being open to future BB collabs, if conditions are met. Having not yet seen the film, I suspect that he would be unhappy with his portrayal. I would think he'd only be happy with a portrayal that he himself had input with and signs off on, regardless of how much the filmmakers might have walked on eggshells to make it fair and balanced (and not inflammatory against Mike).

Makes me wonder how on Earth that the world got The Smile Sessions released in 2011. We are very lucky that happened at all. I suspect perhaps there was similar trades of leverage and very specific rules that went into TSS, all the carefully-worded-by-the-participants promo videos for TSS, and C50 in general. No way I can believe that all the TSS interview footage simply happened without rules about what could/could not be talked about. And maybe Mike felt reneged on what was promised to him in return, whatever that may have been (maybe that was "the room"). Of course, I think it's ridiculous for TSS and/or this soundtrack to possibly only be allowed to be released with the permission of someone who could hold up the vote out of leverage and/or grudges (assuming that's what happened). Wasn't the Pet Sounds Sessions set held up for a year due to similar circumstances?

Again, you're assuming that it's Person A holding a soundtrack to ransom. Why not Persons B, C, Q or X ?  May be the case, but it pays to consider the other options.

That's the option that seems to make the most logical sense to me. But I am certainly open to the possibility of being completely, 100% incorrect.
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« Reply #72 on: April 24, 2015, 08:15:48 AM »

I hope that Mike’s ghostwritten memoir isn’t used as a tool to do damage to perceived foes. I fear that there are elements in place to “reshade” if not outright rewrite history in regards to certain instances in the book. I hope I'm proven wrong. I really do. I hope we hear about Mike's long and interesting journey and not a long defense against what he feels was robbed from him by Brian and the people in Brian's life -- past and present.


It goes without saying that we have to wait for the book to materialize to judge it. But nearly all of the interviews/essays/letters he's done in the last few years (or decades) leave little hope that the book will greatly differ. It may be in a somewhat different "voice" coming from a ghostwriter. But considering what he imparts in interviews when there's at least theoretically some give-and-take from an interviewer, I can only imagine how it would go when it's all essentially monologue. That David Beard "interview" comes close, and that wasn't pretty.

A reason the book will probably blow up among fans/scholars, is that if the book is any substantial length, it will no doubt have some interesting/key biographical information and anecdotes. The arguments will ensue when fans debate over whether the chapters on his family history, and anecdotes about the early days, are integral enough and important enough to outweigh the diatribes about all the "wrongs" inflicted on him.

That's the tone post-C50 from Mike's side hasn't particularly gotten kinder, and that this book is due in 2016, certainly doesn't give one much hope we'll see another reunion project of any sort in 2016.

I don't know how much of an "historical record" such ghostwritten autobiographies will become in the years to come, but if I were Brian, as silly as it sounds, I would wait for Mike's book so that if there's anything in that to refute, there will be a venue for that.
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« Reply #73 on: April 24, 2015, 08:42:48 AM »

So far it' been implied right here that MEL is keeping the soundtrack from being released.

But. One question: didn't the theatrical release of this film, with its portrayals and BB-filled soundtrack have to been approved by BRI also? Why would one vote for the release of a movie and then hold back its harmless soundtrack?
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"His lyrical ability has never been touched by anyone, except for Mike Love."

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Check your privilege. Love & Mercy guys!


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« Reply #74 on: April 24, 2015, 08:57:09 AM »

Just a guess but it could be that old chestnut market oversaturation. Brian's team want you to come out of the cinema and buy No Pier Pressure if you haven't already, another album featuring his music out so soon after NPP could have Brian competing with himself, effectively.
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I'd rather be forced to sleep with Caitlyn Jenner then ever have to listen to NPP again.
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