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Author Topic: New Mike Interview - 1/14/16 - San Jose Mercury News  (Read 7240 times)
Lee Marshall
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« Reply #25 on: January 16, 2016, 04:38:12 PM »

Mike co-wrote 3 songs on the TWGMTR lp with Brian.  He recorded it with him and toured with him.  Good enough.   He had a hand in the deplorable lyrics for Isn't it Time ... we 70 year olds went steady again?  Enough of that already.

May well be that the smart people WHO CARE have Brian avoid the 'triggers'...as much as possible.  I would think that Mike is a trigger.  And please NO new lp Mike.  You can't incorporate THAT substand poop [like Pieces Bro.] into a Beach Boys show.  You'll kill the group with that 'mess'.

I mean really.  The poor guy can't do a whole album.  Never could.  He quite simply does not have the MUSICAL talent to pull it off.  THAT is the REAL bottom-line truth.

[and he still needs a PR person badly]
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« Reply #26 on: January 16, 2016, 05:20:57 PM »

Shame on me for actually looking at the link - like there will ever be anything new.  And I'm supposed to look forward to his book?  I'm bored already.
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« Reply #27 on: January 16, 2016, 07:14:58 PM »

Shame on me for actually looking at the link - like there will ever be anything new.  And I'm supposed to look forward to his book?  I'm bored already.

 LOL LOL LOL LOL LOL
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« Reply #28 on: January 22, 2016, 11:31:39 PM »

Interviewer Paul Freeman released his entire Mike Love conversation on his Pop Culture Classics website. The title is "Mike Love: A Beach Boy's Endless Summer." Freeman makes his subjects feel comfortable and never fails to elicit in-depth responses.

http://popcultureclassics.com/mike_love.html
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« Reply #29 on: January 23, 2016, 07:47:33 AM »

PCC:
 Have you seen “Love and Mercy”?

LOVE:
 No, I haven’t. It was set up to show us, but they pulled it. They didn’t show it to us.


Huh? Wished he would have expanded on this
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« Reply #30 on: January 23, 2016, 08:50:29 AM »

PCC:
 Have you seen “Love and Mercy”?

LOVE:
 No, I haven’t. It was set up to show us, but they pulled it. They didn’t show it to us.


Huh? Wished he would have expanded on this

"They"?

There are these little things called DVDs and Blu-ray discs which exist. Not to mention, it's playing on various airlines as well. For as many flights as Mike has taken for touring, I literally would guarantee that at least one of them would've had that film available in the in-flight entertainment system.  I wonder what would happen if a fan actually gave Mike a copy of it as a gift,  along with a portable DVD player and headphones.

You know, if Mike has watched it and has issues with the film, that's his prerogative. I could respect that. I have spoken firsthand to an insider who has their own gripes with the film, and it's everyone's right to feel that way if they feel it was inaccurate in some way. But I wish Mike would just fess up and say that he doesn't want to watch it if indeed that's the case, or if he thinks it's a propaganda film, I just want to hear him say that. Pretending that he just hasn't had time to see it is such a copout.
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« Reply #31 on: January 23, 2016, 09:29:34 AM »

More myKe luHv bullshit. Jealousy is the usual culprit with the lovester's non motivation to see L&M with him insanely believing that he should have been more a part of the storyline. Poor baby can't handle being slighted just like he thought he was on TWGMTR. What a corrupt, deviated mindset.
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« Reply #32 on: January 23, 2016, 12:05:25 PM »

PCC:
 Have you seen “Love and Mercy”?

LOVE:
 No, I haven’t. It was set up to show us, but they pulled it. They didn’t show it to us.


Huh? Wished he would have expanded on this
I found that odd as well.

The interviewer's questions seem very angled to me.

I found this off-putting referring to Brian Wilson: "He’s had some tough times. Self-induced, of course." It seems like a bit of an ostrich problem.
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« Reply #33 on: February 02, 2016, 01:57:39 PM »

In my opinion, Joe Thomas lyrics are no better than Mike's. IT WAS a Beach Boys album by the way so why not have Mike write all the lyrics? And why not have contributions from Bruce, Al and Dave as well? As for Tony Asher and Van Dyke Parks. And Kalanich and Reiley as well, I consider different because their lyrics were on another level. Actually, I take that back, Mike was capable of writing lyrics as good as Tony Asher's as shown on TODAY! But I can understand his gripes. Why not keep song writing in house as much as possible?
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« Reply #34 on: February 02, 2016, 02:49:05 PM »

In my opinion, Joe Thomas lyrics are no better than Mike's. IT WAS a Beach Boys album by the way so why not have Mike write all the lyrics? And why not have contributions from Bruce, Al and Dave as well? As for Tony Asher and Van Dyke Parks. And Kalanich and Reiley as well, I consider different because their lyrics were on another level. Actually, I take that back, Mike was capable of writing lyrics as good as Tony Asher's as shown on TODAY! But I can understand his gripes. Why not keep song writing in house as much as possible?

It was songs written (and presumably demoed) by Brian and Joe that scored the record deal with Capitol. I would imagine Capitol actually wanted to hear at least *some* of what they were signing them up for. I think other members including Bruce mentioned that Capitol was also directly involved in selecting which tracks ended up on the album. I think Capitol wanted good songs. They don’t care who wrote them. I think if it was 12 songs all written solely by outsider hired gun writers, *maybe* Capitol would have had a problem in terms of how to market the album. But generally, they want songs as strong as possible.

Further, there was a logistical issue at play as well it appears. They were somewhat in a time-crunch to finish the album before the tour, and Brian had already cut some of the stuff before the other guys entered the picture. Ideally, a more varied approach would have been nice. Perhaps that could have happened on a second album. It wasn’t Brian or Joe Thomas keeping a second album from happening, and it wasn’t Joe Thomas keeping Mike from broaching the subject of writing songs with Brian during the 2012 tour when, as has been mentioned numerous times, Mike was spending more time on a daily basis with Brian than he had since 1981.

Also telling is that Mike has never said (as far as I know) that he feels the TWGMTR album is not democratic enough. I haven’t seen him advocate that Al or Bruce or Dave songs should have been on it. He has only referenced he and Brian writing songs, and apparently co-writing three songs with Brian and getting another of his own songs wasn’t enough.

The project was already mired in tons of politics as it was. Mike’s solo flown-in track was evidence of that, as was his “Executive Producer” credit. What should they have done, nixed Joe’s lyrics (assuming Joe wrote all of the lyrics, which I would assume is not the case) and have Mike re-write them? I’d argue the stuff Brian and Joe wrote without Mike has at least marginally better lyrics than what Mike added lyrics to. “Isn’t It Time” and “Spring Vacation” aren’t exactly overflowing with brilliant lyrics. “Daybreak” is inoffensive I suppose. “Beaches in Mind” is weighed down in the same old nostalgia-laden lyrics.

I think an album of all Brian/Mike compositions would be interesting, and could be good. But maybe it wouldn’t be, and considering Mike’s attitude towards the album’s final suite of songs, as published in the Rolling Stone article, I don’t think Mike wanted anything heavy or introspective or evocative of mortality or aging.

So I don’t think I would have wanted Mike rewriting lyrics to *those* songs. I suspect maybe Brian didn’t either, and perhaps in general didn’t particularly want to write “alone in a room” with Mike for an entire album.

Now, a good GROUP manager would have offered some concessions and mediated the whole thing better. Maybe get Brian and Mike alone for at least a few tunes *without* Joe.

But Mike’s complaints about songwriting don’t make much sense to me. He got co-writes on a third of the album, and it’s not as if every other Beach Boys album is stacked from front to back with nothing but Wilson/Love collaborations. As has been asked many times, when was the last time the two wrote a song together and scored a hit? 1968?
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« Reply #35 on: February 02, 2016, 08:14:36 PM »

In my opinion, Joe Thomas lyrics are no better than Mike's. IT WAS a Beach Boys album by the way so why not have Mike write all the lyrics? And why not have contributions from Bruce, Al and Dave as well? As for Tony Asher and Van Dyke Parks. And Kalanich and Reiley as well, I consider different because their lyrics were on another level. Actually, I take that back, Mike was capable of writing lyrics as good as Tony Asher's as shown on TODAY! But I can understand his gripes. Why not keep song writing in house as much as possible?

As HeyJude said, Brian and Joe pitched the songs that got the deal from Capitol to start with. Mike wasn't a part of that process, at all. I think Mike got his share of writing credits, and contributions from Al were at least considered. As for the Asher, Parks and Kalinich, Brian doesn't own them any participation on any new projects, whatsoever.

Mike's complaints seem, to me, to be less about this album and more about validating his resentments about Brian using collaborators on Pet Sounds and Smile. "See, he did it to me again! All I've ever wanted is to write with Brian!" He needs to spend some meditation time on that so he can let it go.

The truth is, time moves on. Brian isn't living in 1968 any more. He can't. Love And Mercy has shown us why.  At this stage in the game, there's no reason for him to open himself up to be used and abused as he was in the past. Mike likes to refer to Brian as "The goose that laid the golden egg." Maybe that's the problem, and maybe the goose is just finished with that crap. Brian seems to surround himself with people he feels safe and comfortable working with. Mike's just not one of those people.

It would be interesting to see Mike's reaction if Brian ever decided to call him up, though. "Hey Mike! Drop about 50 tour dates and spend some time with me, in a room, writing and recording some new music! I'd be groovy!"

Does anyone think Mike would actually do it? Because I don't.



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« Reply #36 on: February 02, 2016, 11:12:49 PM »

In my opinion, Joe Thomas lyrics are no better than Mike's. IT WAS a Beach Boys album by the way so why not have Mike write all the lyrics? And why not have contributions from Bruce, Al and Dave as well? As for Tony Asher and Van Dyke Parks. And Kalanich and Reiley as well, I consider different because their lyrics were on another level. Actually, I take that back, Mike was capable of writing lyrics as good as Tony Asher's as shown on TODAY! But I can understand his gripes. Why not keep song writing in house as much as possible?
Right on!
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« Reply #37 on: February 02, 2016, 11:13:48 PM »

In my opinion, Joe Thomas lyrics are no better than Mike's. IT WAS a Beach Boys album by the way so why not have Mike write all the lyrics? And why not have contributions from Bruce, Al and Dave as well? As for Tony Asher and Van Dyke Parks. And Kalanich and Reiley as well, I consider different because their lyrics were on another level. Actually, I take that back, Mike was capable of writing lyrics as good as Tony Asher's as shown on TODAY! But I can understand his gripes. Why not keep song writing in house as much as possible?

One issue others haven't mentioned is that Joe Thomas (and the other co-writers) weren't just contributing lyrics. Just off the top of my head, we know that Thomas wrote the chord sequence for Think About The Days and the whole chorus of Private Life of Bill & Sue, and that Jim Peterik and Larry Millas came up with the basic track for Isn't It Time. And conversely, Brian *was* contributing lyrics and lyrical ideas.
The process for That's Why God Made The Radio (and, by the sounds of it, for No Pier Pressure) was very different from the "Brian writes all the music and a lyricist writes all the lyrics) process -- which may well be what Melinda meant when she told Mike that Brian doesn't write like that any more. And while Mike *is* capable of adding musical ideas, I don't think he's capable of the kind of musical contributions Joe Thomas made.
Now, for me personally, I'd far rather have had Brian writing in the way he used to, and if he was doing that then having Mike write the lyrics would make sense. But for whatever reason (and I can think of about twenty possible reasons, some very good) that isn't how Brian was writing then.
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« Reply #38 on: February 03, 2016, 03:41:23 AM »

I think Mike's point is Thomas promised him he would be able to write with Brian in a certain way and it didn't happen. Sitting around writing during C50 is sort of a red herring, since that was too late for TWGMTR wasn't it?
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« Reply #39 on: February 03, 2016, 06:01:27 AM »

I think Mike's point is Thomas promised him he would be able to write with Brian in a certain way and it didn't happen. Sitting around writing during C50 is sort of a red herring, since that was too late for TWGMTR wasn't it?

I know I'm in the minority here, but I'm interested in reading Mike's book to see a detailed take on why he was disappointed with C50. 

The C50 has undoubtedly paid dividends for both sides.  I'm not 100% sure that Love and Mercy would've happened without C50.  Brian's solo album did pretty well, likely to the increased exposure he enjoyed from a massive tour and #3 album.  Mike and Bruce and playing to bigger audiences and, from all accounts, are putting on much better shows than they did prior to 2012. 
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« Reply #40 on: February 03, 2016, 06:10:47 AM »

I think Mike's point is Thomas promised him he would be able to write with Brian in a certain way and it didn't happen. Sitting around writing during C50 is sort of a red herring, since that was too late for TWGMTR wasn't it?

I know I'm in the minority here, but I'm interested in reading Mike's book to see a detailed take on why he was disappointed with C50. 

The C50 has undoubtedly paid dividends for both sides.  I'm not 100% sure that Love and Mercy would've happened without C50.  Brian's solo album did pretty well, likely to the increased exposure he enjoyed from a massive tour and #3 album.  Mike and Bruce and playing to bigger audiences and, from all accounts, are putting on much better shows than they did prior to 2012. 


I'd disagree that their shows post-2012 are "much better" than pre-2012. The main differences have been that they've kept the video screens and in 2014 replaced Christian Love (the weakest link on stage) with Jeff Foskett, but they'd already become an exceptionally good live band by 2008, once Scott Totten took over as musical director. What does seem to have happened, pleasingly, is that fans of the more artistic side of the band (a group in which I'd definitely include myself) have been impressed by Scott and John Cowsill during the 2012 tour and so been willing to give Mike's band a chance, and been surprised at how good they were.

I'm actually very interested in hearing Mike's book, because we've never heard a detailed account of his side of... well, anything. We've had interviews where he's said either crafted PR-friendly non-answers or angrier (and probably more emotionally honest) rants, but never had something where he's sat down and talked in detail about what his contributions to the hits actually were, what he did during the Smile period, his problems with Al, and so on. If he's actually honest in it, it could be fascinating. Of course, if it's just the same stuff he's been saying in interviews, it'll be worthless...
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« Reply #41 on: February 03, 2016, 06:24:04 AM »

I think Mike's point is Thomas promised him he would be able to write with Brian in a certain way and it didn't happen. Sitting around writing during C50 is sort of a red herring, since that was too late for TWGMTR wasn't it?
I know I'm in the minority here, but I'm interested in reading Mike's book to see a detailed take on why he was disappointed with C50. 

The C50 has undoubtedly paid dividends for both sides.  I'm not 100% sure that Love and Mercy would've happened without C50.  Brian's solo album did pretty well, likely to the increased exposure he enjoyed from a massive tour and #3 album.  Mike and Bruce and playing to bigger audiences and, from all accounts, are putting on much better shows than they did prior to 2012. 


I'd disagree that their shows post-2012 are "much better" than pre-2012. The main differences have been that they've kept the video screens and in 2014 replaced Christian Love (the weakest link on stage) with Jeff Foskett, but they'd already become an exceptionally good live band by 2008, once Scott Totten took over as musical director. What does seem to have happened, pleasingly, is that fans of the more artistic side of the band (a group in which I'd definitely include myself) have been impressed by Scott and John Cowsill during the 2012 tour and so been willing to give Mike's band a chance, and been surprised at how good they were.

I'm actually very interested in hearing Mike's book, because we've never heard a detailed account of his side of... well, anything. We've had interviews where he's said either crafted PR-friendly non-answers or angrier (and probably more emotionally honest) rants, but never had something where he's sat down and talked in detail about what his contributions to the hits actually were, what he did during the Smile period, his problems with Al, and so on. If he's actually honest in it, it could be fascinating. Of course, if it's just the same stuff he's been saying in interviews, it'll be worthless...
Andrew - I have to disagree about Christian.  If you can find the GOK that Christian did the lead, on Youtube from December of 2011, where the Touring Band did a show for the military in DC, with the late, great Marvin Hamlisch, you might change your mind. 

While Christian is not a forceful singer, his voice is very close to Carl's in the blend, and those Wilsonian-quality vocal chords God-given DNA are unbeatable on any BB song.  I've seen him outside of the Touring Band context and he is very good on many of the leads, in California Surf, Inc. or whatever they call themselves.   

And the young girls in the audience, love him.  Wink
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« Reply #42 on: February 03, 2016, 06:35:59 AM »

I think Mike's point is Thomas promised him he would be able to write with Brian in a certain way and it didn't happen. Sitting around writing during C50 is sort of a red herring, since that was too late for TWGMTR wasn't it?

I know I'm in the minority here, but I'm interested in reading Mike's book to see a detailed take on why he was disappointed with C50. 

The C50 has undoubtedly paid dividends for both sides.  I'm not 100% sure that Love and Mercy would've happened without C50.  Brian's solo album did pretty well, likely to the increased exposure he enjoyed from a massive tour and #3 album.  Mike and Bruce and playing to bigger audiences and, from all accounts, are putting on much better shows than they did prior to 2012. 


I'd disagree that their shows post-2012 are "much better" than pre-2012. The main differences have been that they've kept the video screens and in 2014 replaced Christian Love (the weakest link on stage) with Jeff Foskett, but they'd already become an exceptionally good live band by 2008, once Scott Totten took over as musical director. What does seem to have happened, pleasingly, is that fans of the more artistic side of the band (a group in which I'd definitely include myself) have been impressed by Scott and John Cowsill during the 2012 tour and so been willing to give Mike's band a chance, and been surprised at how good they were.

I'm actually very interested in hearing Mike's book, because we've never heard a detailed account of his side of... well, anything. We've had interviews where he's said either crafted PR-friendly non-answers or angrier (and probably more emotionally honest) rants, but never had something where he's sat down and talked in detail about what his contributions to the hits actually were, what he did during the Smile period, his problems with Al, and so on. If he's actually honest in it, it could be fascinating. Of course, if it's just the same stuff he's been saying in interviews, it'll be worthless...

Andrew,

Unfortunately, I'm really not qualified to comment on the BB pre 2012 shows as I never went to one.  I've just seen it posted that his shows have greatly improved.  I saw M&B for the first time last summer, still buzzing from seeing Brian's crew earlier in the summer, and I was extremely impressed. 

I'm hoping Mike is saving some good stuff for the book, and maybe that's why he's a skipping record in interviews. 
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« Reply #43 on: February 03, 2016, 06:39:29 AM »

Andrew - I have to disagree about Christian.  If you can find the GOK that Christian did the lead, on Youtube from December of 2011, where the Touring Band did a show for the military in DC, with the late, great Marvin Hamlisch, you might change your mind. 

While Christian is not a forceful singer, his voice is very close to Carl's in the blend, and those Wilsonian-quality vocal chords God-given DNA are unbeatable on any BB song.  I've seen him outside of the Touring Band context and he is very good on many of the leads, in California Surf, Inc. or whatever they call themselves.   

And the young girls in the audience, love him.  Wink

I've heard the video you're talking about, and my point still stands. Note that I didn't say Christian was a bad singer -- he isn't. Ge can be very good. But he did often seem very bored, and sometimes lazy, on stage in the shows I saw. He may well be better in California Surf Inc -- it wouldn't surprise me that a change from doing the same thing 100 times a year to doing the odd show here and there would give him more enthusiasm and energy.
I called him the weakest link in the band -- note that that's a different thing from saying he was a *weak* link. He sang well, played the parts fine, and did a good job. But in any band there will be a weakest member, and Christian was that -- other than yourself, everyone I've heard talk about Mike's band says they sound better, vocally, since Jeff replaced him.
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« Reply #44 on: February 03, 2016, 06:58:43 AM »

Andrew - I have to disagree about Christian.  If you can find the GOK that Christian did the lead, on Youtube from December of 2011, where the Touring Band did a show for the military in DC, with the late, great Marvin Hamlisch, you might change your mind. 

While Christian is not a forceful singer, his voice is very close to Carl's in the blend, and those Wilsonian-quality vocal chords God-given DNA are unbeatable on any BB song.  I've seen him outside of the Touring Band context and he is very good on many of the leads, in California Surf, Inc. or whatever they call themselves.   

And the young girls in the audience, love him.  Wink
I've heard the video you're talking about, and my point still stands. Note that I didn't say Christian was a bad singer -- he isn't. Ge can be very good. But he did often seem very bored, and sometimes lazy, on stage in the shows I saw. He may well be better in California Surf Inc -- it wouldn't surprise me that a change from doing the same thing 100 times a year to doing the odd show here and there would give him more enthusiasm and energy.
I called him the weakest link in the band -- note that that's a different thing from saying he was a *weak* link. He sang well, played the parts fine, and did a good job. But in any band there will be a weakest member, and Christian was that -- other than yourself, everyone I've heard talk about Mike's band says they sound better, vocally, since Jeff replaced him.
Andrew - Foskett's name was not even in my post.  Foskett has been around BB land for over 30 years.  Strong singer, knows the words, does very well on the hippie-era stuff.  Perhaps I was not clear in what I wrote.

Sometimes a subtle, voice that is not overpowering, makes a huge difference in the blend. They are all about the blend.  I'd love to see his voice back, even guesting occasionally according to the demands of his beach volleyball schedule.  Wink
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