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Author Topic: Rocky Pamplin to be Interviewed on WFMU June 13  (Read 3505 times)
Aum Bop Diddit
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« Reply #25 on: June 13, 2020, 09:56:49 AM »

It's a good interview so far! Waiting for the other shoe to drop...lol

If I were to tell stories from 45 years ago or so it would be my version plus the filter of time.  Not putting Rocky up for sainthood but he makes some points.  His coauthor does seem a bit of a putz however.

I agree: Rocky makes some good points and yes, I can see his perspective on the whole deal to the point where the interview stopped in terms of the full history. You have 25 minutes, you can't expand all that much. But I agree, Rocky did state his perspective in a clear way, and he did make some points. However, it's the blatant contradictions in what Rocky said when he had a working book manuscript versus what his book says after he connected with co-author Ron that makes it so obvious. I see more of Ron in the new narrative than I do Rocky, especially when both sides can be read on demand. That is frustrating.

BTW - WFMU is indeed a terrific station. Being old-fashioned myself, I enjoy tuning in radio stations during road trips versus streaming or satellite. I have some great memories of "finding" WFMU in the various rental cars as I drove up the east coast. It was like a beacon of cool, not to sound cheesy.  LOL  But I found a new go-to stream during the day, second to my own home station WXPN. Highly recommend both of them for people looking for some great broadcast radio. Thanks for letting all of us know!

I will have to familiarize myself with the earlier manuscript.  Though the overall resurrection of Brian Wilson is more important to me than the dirt -- and we all know there is plenty of dirt.  Anyway, it was good to see Smiley Smile in the house there today!  And praise for the Fun 91 WFMU and the mighty Michael Shelley show here Smiley
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« Reply #26 on: June 13, 2020, 10:15:05 AM »

Thank you for posting and telling everyone here about WFMU! I'm still tuned in and loving the set of guitar instrumentals being played. Seriously, on a Saturday afternoon to tune in a station like WFMU and hear Kenny Burrell, songs from Love You, and Ghost Riders In The Sky '65, alongside Junkstar's band...where else can you get that! My kind of station and playlist. Thanks again for letting people know and hopefully WFMU will get more supporters as a result. These stations like WFMU and Philly's WXPN need that support since they're not commercial. If you get a chance tune in to WXPN at 5pm to 6pm for "The Many Moods Of Ben Vaughn" followed by The Geator Jerry Blavat spinning the oldies from 6-7. Great stuff. I really enjoyed Michael's interview with Rocky too, I'd like to hear more.

Thanks again!  Smiley
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« Reply #27 on: June 13, 2020, 10:19:10 AM »

Shout out to "Rocker" on the board...listen to the current show playing on WFMU. Some *great* 50's rockabilly being spun.
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« Reply #28 on: June 13, 2020, 01:42:22 PM »

Thank you for posting and telling everyone here about WFMU! I'm still tuned in and loving the set of guitar instrumentals being played. Seriously, on a Saturday afternoon to tune in a station like WFMU and hear Kenny Burrell, songs from Love You, and Ghost Riders In The Sky '65, alongside Junkstar's band...where else can you get that! My kind of station and playlist. Thanks again for letting people know and hopefully WFMU will get more supporters as a result. These stations like WFMU and Philly's WXPN need that support since they're not commercial. If you get a chance tune in to WXPN at 5pm to 6pm for "The Many Moods Of Ben Vaughn" followed by The Geator Jerry Blavat spinning the oldies from 6-7. Great stuff. I really enjoyed Michael's interview with Rocky too, I'd like to hear more.

Thanks again!  Smiley

It was great to see you there and (hear) Junkstar too.  I have always been a radio guy since way back -- I recall hearing "Feel Flows" when it came out on the local "underground" station and having my mind blown.  Or like you fine tuning for that left of the dial gem signal when on the road.  Interesting that hip radio tends to love the Beach Boys.  But not surprising.
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« Reply #29 on: June 13, 2020, 03:06:54 PM »

Interesting comment by M.  Shelley that Russ Titelman told him that, despite receiving co-author credit, Titelman had actually contributed very little to Guess I'm Dumb.  This is kind of similar to Billy Hinsche's recent comments that his contributions to Lady Love were minimal.   It really does raise questions about how much Mike Love was really entitled to all the credits he obtained in the '90s lawsuit. Everyone pretty much agrees that the original omission on California Girls was unjust, but the fact that several contemporary co-author who WERE credited say that it was pretty much all Brian, it does raise questions about some of Love's litigation-generated credits.
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« Reply #30 on: June 13, 2020, 03:42:10 PM »

Interesting comment by M.  Shelley that Russ Titelman told him that, despite receiving co-author credit, Titelman had actually contributed very little to Guess I'm Dumb.  This is kind of similar to Billy Hinsche's recent comments that his contributions to Lady Love were minimal.   It really does raise questions about how much Mike Love was really entitled to all the credits he obtained in the '90s lawsuit. Everyone pretty much agrees that the original omission on California Girls was unjust, but the fact that several contemporary co-author who WERE credited say that it was pretty much all Brian, it does raise questions about some of Love's litigation-generated credits.


Tandyn Almer told me about his credit on "Sail on Sailor." Apparently he was given 1/12th credit in the end. He told me "I wrote every 12th note." He was entertaining.
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« Reply #31 on: June 13, 2020, 04:18:17 PM »

so glad I listened in to learn that after brian finished recording the love you lp that he started on an lp called smile but didnít finish it.  😳
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« Reply #32 on: June 13, 2020, 04:26:00 PM »

Interesting comment by M.  Shelley that Russ Titelman told him that, despite receiving co-author credit, Titelman had actually contributed very little to Guess I'm Dumb.  This is kind of similar to Billy Hinsche's recent comments that his contributions to Lady Love were minimal.   It really does raise questions about how much Mike Love was really entitled to all the credits he obtained in the '90s lawsuit. Everyone pretty much agrees that the original omission on California Girls was unjust, but the fact that several contemporary co-author who WERE credited say that it was pretty much all Brian, it does raise questions about some of Love's litigation-generated credits.


Good question. See my note on Tandyn Almer. There was definitely a money grab in a lot of this. I wasn't there that much when Brian was writing because I would leave out of respect to let him work, and I certainly wasn't there in the earliest days. He actually said, "I want to keep you separate from all this." I was pretty innocent at that time, and I think he loved that. But life happens...to all of us.
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« Reply #33 on: June 13, 2020, 06:39:01 PM »

so glad I listened in to learn that after brian finished recording the love you lp that he started on an lp called smile but didnít finish it.  😳

Not suggesting anything beyond a possibility, but wasn't there talk that when the band was shopping around for a new label, after MIU ended their run with Reprise, that one of the goodies they were offering to potential labels like CBS was the possibility of revisiting or releasing some of the Smile material in some way? I don't remember where the phrase was first written, but I heard the band would put Smile on the negotiation table with labels like "dangling a carrot" in front of the labels to help close a deal especially at a time when the band itself was a shambles and they barely had any new material to offer of any hit-making quality. Was Rocky still around when such things were going on, as in around the time the band knew they would be looking for a new label?
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« Reply #34 on: June 13, 2020, 06:53:07 PM »

Interesting comment by M.  Shelley that Russ Titelman told him that, despite receiving co-author credit, Titelman had actually contributed very little to Guess I'm Dumb.  This is kind of similar to Billy Hinsche's recent comments that his contributions to Lady Love were minimal.   It really does raise questions about how much Mike Love was really entitled to all the credits he obtained in the '90s lawsuit. Everyone pretty much agrees that the original omission on California Girls was unjust, but the fact that several contemporary co-author who WERE credited say that it was pretty much all Brian, it does raise questions about some of Love's litigation-generated credits.


Good question. See my note on Tandyn Almer. There was definitely a money grab in a lot of this. I wasn't there that much when Brian was writing because I would leave out of respect to let him work, and I certainly wasn't there in the earliest days. He actually said, "I want to keep you separate from all this." I was pretty innocent at that time, and I think he loved that. But life happens...to all of us.

It was a huge money grab and a very opportunistic one at that, especially factoring in some of the tactics Mike's lawyers used in the courtroom. Like sharks swimming under a pool of blood and legs kicking in the water above. Some of the tactics were disgusting, but not the place to get into that.

How it ties into Rocky (and Stan Love) are his claims of more information on this specific song credit case, and what was done. The original manuscript was going to expand on these claims, and the book co-authored with Ron has nothing of the sort. So the claims may someday come out, but not in Rocky's current book.

Regarding the crediting process as mentioned in Juggler's post, some of the relevant testimony was given by Nik Venet who explained the process of creating music and how ideas would be passed around. If I can find more of the transcript it can be posted, if not there is still an overview available. But basically the way Mike and his lawyers tried to claim certain percentages for contributions he supposedly made were questionable to say the least, ridiculous to be honest. Crediting Mike 25% for *3 words* during the fade-out to Wouldn't It Be Nice when Brian and Tony wrote the song is still one of the most negative aspects to be found in the whole BB's history and saga. It just isn't right, and saying "well, a judge decided it" doesn't justify it or make it right. There is also the issue of the several dozen other songs Mike and his lawyers originally tried to include in the case but which were either removed or thrown out. No one will answer *why* those several dozen other songs were not included in the final judgements, especially if Mike claimed a rightful credit on those as much he did the ones that were part of the judgement. It makes you wonder.

Unfortunately discussing details of the credit lawsuit has been turned into a third rail of discussing the band's history, and if someone pushes it too far, the accusations of bashing and hate start showing up. "Mike won, get over it" is a common sentiment. Yet so many questions can and should be asked.
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« Reply #35 on: June 13, 2020, 08:11:09 PM »

so glad I listened in to learn that after brian finished recording the love you lp that he started on an lp called smile but didnít finish it.  😳

Not suggesting anything beyond a possibility, but wasn't there talk that when the band was shopping around for a new label, after MIU ended their run with Reprise, that one of the goodies they were offering to potential labels like CBS was the possibility of revisiting or releasing some of the Smile material in some way? I don't remember where the phrase was first written, but I heard the band would put Smile on the negotiation table with labels like "dangling a carrot" in front of the labels to help close a deal especially at a time when the band itself was a shambles and they barely had any new material to offer of any hit-making quality. Was Rocky still around when such things were going on, as in around the time the band knew they would be looking for a new label?

Bruce has talked about the time of the la light lp. he said he wanted to put out a collage of smile fragments instead of full songs.  Also he didnít want to record missing parts. He then said Brian knew nothing about this
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« Reply #36 on: June 13, 2020, 08:44:59 PM »

Interesting comment by M.  Shelley that Russ Titelman told him that, despite receiving co-author credit, Titelman had actually contributed very little to Guess I'm Dumb.  This is kind of similar to Billy Hinsche's recent comments that his contributions to Lady Love were minimal.   It really does raise questions about how much Mike Love was really entitled to all the credits he obtained in the '90s lawsuit. Everyone pretty much agrees that the original omission on California Girls was unjust, but the fact that several contemporary co-author who WERE credited say that it was pretty much all Brian, it does raise questions about some of Love's litigation-generated credits.


Tandyn Almer told me about his credit on "Sail on Sailor." Apparently he was given 1/12th credit in the end. He told me "I wrote every 12th note." He was entertaining.

That's hilarious! And, it sheds some light on the oft-pondered nature of Tandyn's involvement in this song (which was apparently very minimal). Thanks for sharing!
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« Reply #37 on: June 13, 2020, 09:56:26 PM »

I love how Michael Shelley brings the interview to a SCREECHING halt when Ron Hamady starts waxing about Mike saving the band.

It would not surprise me one bit if dear old Ron, who had "weasel" scribbled all over his posts when he came on here, was recruited by Mike to effect a "turnaround" on Mr. Wheaties Man.

Rocky's memories are all over the map: he suggests that Dennis was "shattered" by "four years" of sexual hijinks and substance abuse beginning in 1968 at Will Rogers; he suggests that SMILE follows work on LOVE YOU; he jumbles up several more items. It's a joke. Dennis certainly went through a great trauma over the Manson episode, but his songwriting began in that time frame and continued on for more than a decade, including POB.

The only way Rocky will spill any beans on what possible Lovester shenanigans occurred during the credits trial is if he can be separated from Hamady, who is to Rocky what Landy became to Brian.

Question for c-man: do we have a handle on just how much actual involvement Tandyn Almer had with the various songs he's either credited on or has been rumored to be involved with during his interlude with Brian?
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« Reply #38 on: June 14, 2020, 06:22:52 AM »

Shout out to "Rocker" on the board...listen to the current show playing on WFMU. Some *great* 50's rockabilly being spun.


Thanks for the heads-up, guitarfool! Will chek out their archive.  Smiley
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« Reply #39 on: June 14, 2020, 06:56:12 AM »

Question for c-man: do we have a handle on just how much actual involvement Tandyn Almer had with the various songs he's either credited on or has been rumored to be involved with during his interlude with Brian?

The only things I know are that Tandyn wrote the original set of lyrics for "Marcella", which apparently allude more directly to Brian visiting a "masseuse". These were re-written by Jack to make it less obvious what Brian was up to - but apparently some of Tandyn's lyrics remain - which is why on later re-issues of the song, his credit was restored. He also apparently wrote the lyrics to "Beatrice From Baltimore", but those were replaced in whole by Jack's lyrics, turning the song into "Mess Of Help To Stand Alone", hence the removal of Tandyn's credit there, with no later restoration of same. Tandyn's name DOES appear on the AFM contract for both sessions - I haven't heard those session tapes, though, so I can't say if he contributed musically to the tracks, or was present in some other capacity (perhaps he played bass, since I believe he studied that instrument formally?). The official by-line for "Sail On Sailor" credits him with co-writing the music - as Debbie says above, by his own admission, every twelfth note. Smiley
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« Reply #40 on: June 14, 2020, 07:03:42 AM »

I'm still cracking up that my big 7" single record release debut event (although Rodney Bingenheimer played it three times last week) featured this Rocky interview in the same program. Bizarre meeting of my two worlds.
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« Reply #41 on: June 14, 2020, 07:06:01 AM »

Thank you for posting and telling everyone here about WFMU! I'm still tuned in and loving the set of guitar instrumentals being played. Seriously, on a Saturday afternoon to tune in a station like WFMU and hear Kenny Burrell, songs from Love You, and Ghost Riders In The Sky '65, alongside Junkstar's band...where else can you get that! My kind of station and playlist. Thanks again for letting people know and hopefully WFMU will get more supporters as a result. These stations like WFMU and Philly's WXPN need that support since they're not commercial. If you get a chance tune in to WXPN at 5pm to 6pm for "The Many Moods Of Ben Vaughn" followed by The Geator Jerry Blavat spinning the oldies from 6-7. Great stuff. I really enjoyed Michael's interview with Rocky too, I'd like to hear more.

Thanks again!  Smiley

It was great to see you there and (hear) Junkstar too.  I have always been a radio guy since way back -- I recall hearing "Feel Flows" when it came out on the local "underground" station and having my mind blown.  Or like you fine tuning for that left of the dial gem signal when on the road.  Interesting that hip radio tends to love the Beach Boys.  But not surprising.

It was great bumping into you guys in the WFMU chat room. Such a small world...
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« Reply #42 on: June 14, 2020, 01:56:47 PM »

I'm still cracking up that my big 7" single record release debut event (although Rodney Bingenheimer played it three times last week) featured this Rocky interview in the same program. Bizarre meeting of my two worlds.

Coincidence?  I think not....
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« Reply #43 on: June 14, 2020, 04:14:15 PM »

Question for c-man: do we have a handle on just how much actual involvement Tandyn Almer had with the various songs he's either credited on or has been rumored to be involved with during his interlude with Brian?

The only things I know are that Tandyn wrote the original set of lyrics for "Marcella", which apparently allude more directly to Brian visiting a "masseuse". These were re-written by Jack to make it less obvious what Brian was up to - but apparently some of Tandyn's lyrics remain - which is why on later re-issues of the song, his credit was restored. He also apparently wrote the lyrics to "Beatrice From Baltimore", but those were replaced in whole by Jack's lyrics, turning the song into "Mess Of Help To Stand Alone", hence the removal of Tandyn's credit there, with no later restoration of same. Tandyn's name DOES appear on the AFM contract for both sessions - I haven't heard those session tapes, though, so I can't say if he contributed musically to the tracks, or was present in some other capacity (perhaps he played bass, since I believe he studied that instrument formally?). The official by-line for "Sail On Sailor" credits him with co-writing the music - as Debbie says above, by his own admission, every twelfth note. Smiley

I actually do remember the first lines of "Beatrice from Baltimore" - "She got a hole in her stocking, she does a whole lot of rockin,...little Beatrice from Bsltimore." Most of us know how Brian liked women and stockings, so I'm guessing he inspired this.
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« Reply #44 on: June 14, 2020, 04:18:35 PM »

Question for c-man: do we have a handle on just how much actual involvement Tandyn Almer had with the various songs he's either credited on or has been rumored to be involved with during his interlude with Brian?

The only things I know are that Tandyn wrote the original set of lyrics for "Marcella", which apparently allude more directly to Brian visiting a "masseuse". These were re-written by Jack to make it less obvious what Brian was up to - but apparently some of Tandyn's lyrics remain - which is why on later re-issues of the song, his credit was restored. He also apparently wrote the lyrics to "Beatrice From Baltimore", but those were replaced in whole by Jack's lyrics, turning the song into "Mess Of Help To Stand Alone", hence the removal of Tandyn's credit there, with no later restoration of same. Tandyn's name DOES appear on the AFM contract for both sessions - I haven't heard those session tapes, though, so I can't say if he contributed musically to the tracks, or was present in some other capacity (perhaps he played bass, since I believe he studied that instrument formally?). The official by-line for "Sail On Sailor" credits him with co-writing the music - as Debbie says above, by his own admission, every twelfth note. Smiley

I actually do remember the first lines of "Beatrice from Baltimore" - "She got a hole in her stocking, she does a whole lot of rockin,...little Beatrice from Bsltimore." Most of us know how Brian liked women and stockings, so I'm guessing he inspired this.

missing lines where I put the ... - "She do the shake down a Bumbles, she do the chicano rumble."
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« Reply #45 on: June 14, 2020, 06:17:18 PM »

Question for c-man: do we have a handle on just how much actual involvement Tandyn Almer had with the various songs he's either credited on or has been rumored to be involved with during his interlude with Brian?

The only things I know are that Tandyn wrote the original set of lyrics for "Marcella", which apparently allude more directly to Brian visiting a "masseuse". These were re-written by Jack to make it less obvious what Brian was up to - but apparently some of Tandyn's lyrics remain - which is why on later re-issues of the song, his credit was restored. He also apparently wrote the lyrics to "Beatrice From Baltimore", but those were replaced in whole by Jack's lyrics, turning the song into "Mess Of Help To Stand Alone", hence the removal of Tandyn's credit there, with no later restoration of same. Tandyn's name DOES appear on the AFM contract for both sessions - I haven't heard those session tapes, though, so I can't say if he contributed musically to the tracks, or was present in some other capacity (perhaps he played bass, since I believe he studied that instrument formally?). The official by-line for "Sail On Sailor" credits him with co-writing the music - as Debbie says above, by his own admission, every twelfth note. Smiley

I actually do remember the first lines of "Beatrice from Baltimore" - "She got a hole in her stocking, she does a whole lot of rockin,...little Beatrice from Bsltimore." Most of us know how Brian liked women and stockings, so I'm guessing he inspired this.

missing lines where I put the ... - "She do the shake down a Bumbles, she do the chicano rumble."

Oh right, Marcella worked at the Tiger's Den. I never met her. Brian actually had me take him to another massage parlor called "Caesar's" something or other(?). They were really nice to me as I waited in the lobby - lot's of magazines to brouse. Life can be very strange.
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« Reply #46 on: June 14, 2020, 09:51:35 PM »

Question for c-man: do we have a handle on just how much actual involvement Tandyn Almer had with the various songs he's either credited on or has been rumored to be involved with during his interlude with Brian?

The only things I know are that Tandyn wrote the original set of lyrics for "Marcella", which apparently allude more directly to Brian visiting a "masseuse". These were re-written by Jack to make it less obvious what Brian was up to - but apparently some of Tandyn's lyrics remain - which is why on later re-issues of the song, his credit was restored. He also apparently wrote the lyrics to "Beatrice From Baltimore", but those were replaced in whole by Jack's lyrics, turning the song into "Mess Of Help To Stand Alone", hence the removal of Tandyn's credit there, with no later restoration of same. Tandyn's name DOES appear on the AFM contract for both sessions - I haven't heard those session tapes, though, so I can't say if he contributed musically to the tracks, or was present in some other capacity (perhaps he played bass, since I believe he studied that instrument formally?). The official by-line for "Sail On Sailor" credits him with co-writing the music - as Debbie says above, by his own admission, every twelfth note. Smiley

I actually do remember the first lines of "Beatrice from Baltimore" - "She got a hole in her stocking, she does a whole lot of rockin,...little Beatrice from Bsltimore." Most of us know how Brian liked women and stockings, so I'm guessing he inspired this.

missing lines where I put the ... - "She do the shake down a Bumbles, she do the chicano rumble."
Would the line "Beatrice from Baltimore" be sung where the words "mess of help to stand alone" are in the final version?
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« Reply #47 on: June 15, 2020, 05:39:39 AM »

Life can be very strange.

Especially with one B. Wilson circa 1971?  Smiley
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« Reply #48 on: June 15, 2020, 10:34:07 AM »

I love how Michael Shelley brings the interview to a SCREECHING halt when Ron Hamady starts waxing about Mike saving the band.

It would not surprise me one bit if dear old Ron, who had "weasel" scribbled all over his posts when he came on here, was recruited by Mike to effect a "turnaround" on Mr. Wheaties Man.

Rocky's memories are all over the map: he suggests that Dennis was "shattered" by "four years" of sexual hijinks and substance abuse beginning in 1968 at Will Rogers; he suggests that SMILE follows work on LOVE YOU; he jumbles up several more items. It's a joke. Dennis certainly went through a great trauma over the Manson episode, but his songwriting began in that time frame and continued on for more than a decade, including POB.

The only way Rocky will spill any beans on what possible Lovester shenanigans occurred during the credits trial is if he can be separated from Hamady, who is to Rocky what Landy became to Brian.

At this point, I wouldn't be surprised. Even in the interview, which was mostly Rocky, the only person who mentioned Mike Love in any significant way was Ron. And as you said, that came at the very end when it felt like Ron had to get that talking point in there so it was on the record. Rocky himself didn't mention it at all during the broadcast. I'd still like to know how that specific angle which seems to be present in so much which Ron has said about this book has anything to do with Rocky telling his story.

It felt like Rocky's so-called "admiration" for Mike Love wasn't what Rocky was discussing, and Ron at the end had to remind listeners that he helped remind Rocky of that admiration and praise for Mike.

And yet, as anyone can read in the links to Rocky's posts which I posted above, Rocky's opinions of Mike's actions and behavior seem to have done a complete 180 degree shift from when he was shopping and previewing the first manuscript to the time Ron took over with the book which got published.

You pointed it out in the interview, Don, and as I said nothing would surprise me at this point. After reading what Ron posted here and what was broadcast Saturday in the interview, it's all out there for people to decide their opinions on how and why Ron is pushing a Mike-As-Savior angle into the story when Rocky's original narrative as late as a few years ago was the complete opposite.
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« Reply #49 on: June 15, 2020, 10:59:10 AM »

12 noon EST, Rocky coming up on the broadcast in minutes: http://stream0.wfmu.org/freeform-128k

I think these are archived too so anyone interested can listen later

Is this where the interview is? I'm 30 minutes in and it has just been music I don't like. I can't skip forward either.
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"Over the years, I've been accused of not supporting our new music from this era (67-73) and just wanting to play our hits. That's complete b.s......I was also, as the front man, the one promoting these songs onstage and have the scars to show for it."
Mike Love autobiography (pg 242-243)
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