A Totally Subjective Round-Up of Brian Wilson/Beach Boys News, Gossip & Trivia

Sunday, April 23, 2006

Go To UNCANNY MARK II!

http://smileysmile.net/uncanny/

Friday, March 17, 2006

Discussion Of New Book: "Catch a Wave: The Rise, Fall, and Redemption of the Beach Boys' Brian Wilson"

SMILEY SMILE MESSAGE BOARD This thread includes posts by the author of this up-coming book. We hope to receive a review copy in there near future, most likely before it's officially released. So, please watch here for more details!

The Magic Numbers Interviewed, Discuss Brian Wilson

JAM BANDS "The Beach Boys was always a band, just growing up I remember hearing Pet Sounds and being mindblown. That tour we did supporting [Brian Wilson] in the U.K. was like a dream come true. Just never expected that. Going on the same stage as him on the last three shows...we would do some harmonies and it was just, ‘Oh my God! We’re on staqe with Brian Wilson!’ Just one of those moments that you can’t really get your head around. I remember just being really nervous when he’d be on the side of the stage watching us play. He’s definitely in our eyes to be admired."

Thursday, March 16, 2006

Brian Wilson Takes DVD Top Honors @ Home Media Retailing's Music DVD Awards

NET MUSIC COUNTDOWN

Monday, March 13, 2006

Member Of Brian Wilson's Band Performs With Twilight Singers

WABASAWKI
MY SPACE

According to these two blogs, Twilight Singers' (Greg Dulli's band apart from the Afghan Wigs) "new keyboardist on this tour, Scott Bennett, is the musical director for Brian Wilson. Yeah, I don’t need to add anything else to that."

Uh, I thought Darian Sahanaja was the "musical director" of Brian Wilson's band.

Wednesday, March 08, 2006

"Fishscale" Continues To Heat Up

XXL
NAHRIGHT
G-UNIT MIXTAPES

'Smile' Wins Top Music DVD Prize

NEWSWIRE
BILLBOARD

Tuesday, March 07, 2006

Ghostface's "Fishscale" Endures Last Minute Tweaks

BILLBOARD
DEF JAM

Monday, March 06, 2006

Please Read This Book: "Rip It Up & Start Again"

SIMON REYNOLDS
SLATE
VILLAGE VOICE
NY TIMES
IHT
SEATTLE WEEKLY
FAST N BULBOUS
POP MATTERS

A Brian Wilson Tribe

TRIBE

Beach Boys '67 Rehearsals

AQUARIUMDRUNK

Friday, March 03, 2006

Van Dyke Parks Interviewed

BANDOPPLER

Van Dyke Parks, Matthew Sweet and Susanna Hoffs Roll Out The Covers

LOCALNEWSLEADER On their up-coming album of covers, Under The Covers Vol. 1, there's a cover version of Bob Dylan ‘s "It‘s All Over Now, Baby Blue," which features Brian Wilson collaborator Van Dyke Parks on piano. There's also a cover of the Beach Boys "Warmth Of The Sun." The album is being released by SHOUT FACTORY.

Sunday, February 26, 2006

Brian Wilson Hates Fur

STAR BULLETIN "Sir Paul McCartney and his wife Heather Mills McCartney have licensed Israel Kamakawiwoole's 'Somewhere Over the Rainbow.' It will be used on a DVD, part of a campaign to stop the slaughter of 2 million cats and dogs a year for their fur. Stars like Elton John, Phil Collins, George Michael, Brian Wilson, Eddie Murphy, Paul Newman and Bryan Adams have all pledged their support for Mills McCartney's anti-fur campaign."

Saturday, February 25, 2006

Wu Tang Clan's Ghostface Killah Drops Hotly Tipped Solo LP "Fishscale" 3/28/06

SMOKINGSECTION
ORELHAS
CHUNG KING EXPRESS
MTV
DEF JAM
SIX SHOT
VILLAGE VOICE
BALLERSTATUS
THE GHOSTFACE DOLL
HIP HOP SITE

As for the title of the album, "all my real cats that come from the 'hood, they know what Fishscale is about," Ghost explained. "Whoever got the hypest shit out there, that's the one with the fishscale. On the drug scene, fishscale is the best cocaine out there. ... My [music] is like [drugs], so I'm letting brothers know I got the fishscale."

Friday, February 24, 2006

Tons Of Beach Boys Vids At You Tube

YOU TUBE

Brian Wilson Interviewed By Howard Stern 1998

RAPIDSHARE

J Dilla's Last Dayz

DETROIT FREE PRESS

Wednesday, February 22, 2006

Carnie Wilson Solo Album: More Details Emerge

BILLBOARD “A Mother’s Gift” features a duet with her father, Brian Wilson, on “You Are So Beautiful” plus a cover of “Heaven,” penned by her late uncle, Carl Wilson. The album also includes a co-write with her husband Rob Bonfiglio (“What You Dream”) and a song penned by her sister, Wendy Wilson (“With the Sun”).

Tuesday, February 21, 2006

Updated Beach Boys Rarities Information

BEACH BOYS DOT COM

Monday, February 20, 2006

Peter Blake To Illustrate Ltd. Edition "Pet Sounds"

CONTACT MUSIC The Beach Boys have commissioned Sgt. Pepper's Lonely Hearts Club Band artwork creator Sir Peter Blake to provide illustrations for a limited edition version of their classic album Pet Sounds.

Blake says, "I have been working with Brian Wilson to produce a limited edition illustrated book of Pet Sounds' lyrics. Brian has always liked my work and was keen to set up a collaboration. So I am sent, from America, copies of his handwritten lyrics and then I work my designs and illustration around these. When I went to see them play, I made a point of producing a sketch for each band member and handing it over at the end of the gig. Whenever Brian is in London we meet for dinner, and have become good friends."

Carnie Wilson to Release First Solo Album "A Mother's Gift: Lullabies From The Heart"

PRNEWSWIRE Inspired by the Birth of Her Daughter Lola Sofia, the CD Features Duet of "You Are So Beautiful" With Father Brian Wilson and a Cover of the Carl Wilson Song "Heaven"

Thursday, February 16, 2006

Lost Album Blog Posts Beach Boys Rarities

BEACH BOYS RARITIES VOL. 3
BEACH BOYS RARITIES VOL. 4

Hanszun Posts SMiLE Files

HANSZUNBLOG

Brain Wilson Catches Nilsson Flick

INDIEWIRE "[F]ormer Monkee Mickey Dolenz stood introducing the great but awfully-titled documentary Who Is Harry Nilsson (And Why Is Everybody Talkin' About Him?)."

"'In honor of Harry I dropped a tab of acid. In a couple of minutes this ought to be really great,' he quipped to an audience that included many friends and family of the late great pop sing singer songwriter and legendary carouser, but also to his majesty the reclusive Brian Wilson, former Beach Boy current tortured genius, who was whisked in and then out of the theater as the film ended. Many a boomer in the crowd was seen mopping a tear during the lovely Nilsson music cavalcade alongside kids who knew him from videos of The Point."

Wednesday, February 15, 2006

Wilson/Paley Sessions Zip File

HANSZUNBLOG
We haven't checked this download yet, so use at your own caution.

Friday, February 10, 2006

R.I.P. J Dilla

Acclamied hip hop producer J Dilla, aka Jay Dee, passed away suddenly today, Friday, February 10, 2006. On Tuesday, Donuts, only the second album to be issued under his own name, was released.

Obits
BILLBOARD
LA WEEKLY
AP/HOLLYWOOD REPORTER
UPI
FREEP
STONESTHROW

Donuts reviews
PITCHFORK
ROLLING STONE
PITCH

Tuesday, February 07, 2006

Rare Reference To Cult Bootleg

CITY PAGES “And then there's Adult Child, a lurid recording of Brian Wilson at his pharmaceutically induced nadir in the mid-'70s, crooning about putting makeup on young girls and teaching them to shave their legs, and insisting that ‘Life Is for Living’ while in the clutches of agoraphobia.”

Wednesday, February 01, 2006

Healthy? OK. Wealthy? Sure. Wise? NOT!

HEALTHY WEALTHY N WISE

Chris Attwood: Mike, as you know, our focus in these interviews is on passion. Would you share how your passions, the things which are important to you, that mean the most to you in your life, have given rise to the saga of your life with The Beach Boys?

Mike Love: The one thing that was a common denominator in my family, growing up, particularly on my mother’s side of the family, which were the Wilsons—she was one of eight children who lived to maturity (actually nine, but one died in infancy), my grandmother Wilson had eight children who lived to maturity—and they were all musically inclined. My mother, in her high school years, sang in a trio, a light opera, Madame Butterfly, and on the radio, which back then was like being in a music video—on the radio back in the late ‘30s. Anyway, that was a common denominator. The first time I, in fact, remember my cousin Brian singing was sitting on my Grandmother Wilson’s lap at a Christmas party. He sang Danny Boy and it was amazing, even back then at that age. His voice was just an amazing instrument and it charmed everybody.

Chris Attwood: How old was he then?

Mike Love: He was nine years old. This was at my family home, which was a beautiful home overlooking Los Angeles from the Baldwin Hills area, which was a beautiful area. It was a beautiful home with three stories, a subterranean garage, with a pool and everything. So I grew up in some very beautiful surroundings. We had a grand piano, an organ and a harp in the living room. I have two sisters, Maureen and Marjorie, who play the harp, one of them professionally. We all took oil painting lessons, and particularly music lessons, so I’d say that between the Wilsons—whose father was an aspiring songwriter (my Uncle Murray), and my Aunt Audrey, who was a piano teacher—there was nothing but music around. Our original passion was just to sing and create harmony. We liked the “doo-wop” songs of the mid to late ‘50s and we really liked The Everly Brothers because they had a beautiful blend. The “doo-wop” songs had all that great harmony. So we took those influences… along with a group called The Four Freshmen, who did this very intricate, very complicated type of harmony, and they also had a great blend. My cousin Brian literally fell in love with their style of music, so our music was driven by the desire and the passion to create that harmony together. It was a synthesis of those elements that I mentioned, along with the syncopation of Chuck Berry, I might add, which was great. So, we then looked at our environment in Southern California, things we really felt strongly or passionate about—our beach life, our school life, the great cars of that era, the ‘50s and the early ‘60s—and that’s what we knew. That was our reality in Southern California, and we made up our songs.

Chris Attwood: You guys were really singing about your passions, about the things that you got the most fun from, right?

Mike Love: Precisely—the things that we were really attracted to, that really motivated us or excited us and so on—whether it be surfing or cars or girlfriends or Friday night football with Be True to Your School. But the underlying, driving force of it all—the passion, if you will—was definitely harmony, and that, I believe, distinguished The Beach Boys as a musical group from so many other groups. There are other groups that do harmonies, but we really focused on that and it became sort of our stock in trade.

Chris Attwood: Yes, it was your signature.

Mike Love: Exactly.

Chris Attwood: Would you tell us the story of how The Beach Boys came to be?

Mike Love: We were asked originally by a fellow who owned a recording studio to do a folk song. Of course, in the middle to late ‘50s, there were groups like Peter, Paul & Mary and The Kingston Trio, and there were other older groups as well, that were folk singers and stuff. I think I bought a guitar because of The Kingston Trio, as I recall. So, we liked folk music, but we weren’t folkies. We were more into the R&B, “doo-wop” Rock ‘n’ Roll, so when we were asked that, we said, “Well, what we’d like to do is make up a song about what’s going on in Southern California, this phenomenon called surfing,” because when I was in high school, if the surf was up, I would get together with a couple of friends and we would take a ride to the beach, and we might even “accidentally” leave school early that day! We said there was this whole style of talking, style of dressing, lifestyle, natural sport of surfing, but nobody’s singing about it. So we came back to them about a week later with a song that my cousin Brian and I wrote together in very short order. It was called Surfin’. That was our first release. We were calling ourselves The Pendletones. Pendleton Mills in Oregon makes a plaid wool shirt that the surfers used to wear over a t-shirt to keep warm in the early morning going down to the beach or late in the afternoon, when it gets kind of cool, so we’d wear our Pendletons. We’d wear them to school and church—wherever we’d go! It was kind of a uniform; part of the ensemble of being a surfer, versus a “ho-dad” who would wear a leather jacket or something. They were more of the “rebel without a cause” type. At any rate, a music promotion man named Russ Regan, who subsequently became the president of various record companies over the past 40 years, saw that our song was Surfin’ and said, “How about The Beach Boys?” We said, “Well, that’s better than what we have,” so we were actually given the name based on the subject matter of our first song.

Chris Attwood: Seems like it worked pretty well.

Mike Love: It stuck! The Beach Boys are known from South Africa and Australia to Norway and Japan, all over the place.

Chris Attwood: You are the “Love man,” so what are some thoughts about romance, love, passion and fulfillment—some things that can inspire our readers in the month of love?

Mike Love: There are all different types of love. I wrote a song in 1975 called Everyone’s In Love with You, and it was a song observing people around Maharishi who really admired and loved him. But the song could fit for Mother Teresa, Jesus or anybody who devotes their life to others out of love—whether it’s a cause or humanity. It goes: “Everyone’s in love with you, but you can’t fall in love with anyone. Everyone’s in love with you, though you can’t fall in love with only one. So many people have had their love affairs. They’ve had their loves to share like mine, but I tell you people, I’ve found something new—a love of a different kind.” There is that kind of love, and I’ve re-recorded that for a CD I’ve been working on over the last couple of years with Paul Fauerso, who is a teacher of TM and professor of music in Fairfield, Iowa at Maharishi University of Management. He’s not there anymore, but that’s how we met, through TM circles. Anyway, he produced this CD that’s going to be coming out, hopefully, in the spring. There’s another song on there that has to do with love, but it’s about having a spiritual connection with somebody. It goes: “Glow, crescent, glow, on that moon ship I want to go, billowing clouds like swollen sails, take me where there’s love like in fairy tales. If earthly love is to ever last, I know that I must find one to share reflections of a love that is divine. I know until I find her, I will seek her everywhere and Venus, it’s to you I sing my prayer. Glow, crescent, glow, on that moon ship I want to go, billowing clouds like swollen sails, take me where there’s love like in fairy tales.”

Chris Attwood: That’s beautiful.

Mike Love: So yes, there’s male/female, boy/girl attraction, there’s romance and everything, but for it to ever last, meaning be everlasting, you have to find that spiritual connection with that other person. It can’t just be the mundane, it can’t be just the physical, although those are delightful and all that. So there is a different kind of love. Then there is one called Unleash the Love, which is about being loving toward mankind and appreciating the differences in cultures and in people, rather than despising others for their differences, whether it be color, race or religion; so I’ve dealt with various types of love on this CD project.

Chris Attwood: Do you know when that’s coming out?

Mike Love: I’m hoping that it comes out in the spring. I know there’s one song that was slated for that album that’s going to come out by Father’s Day. Hallmark is going to do an issue of a bunch of Beach Boys’ songs plus one from me called Cool Head and Warm Heart, which is an expression that Maharishi made about 10 years ago. I was at a TM gathering in Vlodrop, Holland, and I remember him saying, “You need a cool head and a warm heart,” and I said, “Wow, that’s cool,” so I made up a little song that says “You need a cool head and a warm heart to get you through the day without coming apart. You need a cool head and a warm heart and that’s how every day should start.” So there’s another situation there. My new CD has a lot of philosophy on there, meaning philosophical point of view, not overbearingly I hope, but just little hints. Maybe it’s “don’t get stressed out, especially when there are things you can do nothing about. The nature of life is to be always changing and what you need when things start to rearrangin’ is a cool head and warm heart.” That is going to come out on that CD that Hallmark is coming out with. They’re planning a huge campaign and they’re going to have it out in the stores apparently for Father’s Day, so I’m hoping that concurrent with that, I can get my CD out as well.

Chris Attwood: Listening to you, Mike, and as I think back to your hits in the ‘60s and then the music you’re writing now, it really appears that the way in which you have expressed the knowledge you have gained about life and living—at various phases in that life, from the young adolescent up to the more mature adult—has been through your songs. You actually could say you’re a modern bard in that way; using your songs to communicate knowledge. It seems like that is one of your passions, isn’t it?

Mike Love: Absolutely. I’ve always been fond of literature, for instance. I once wrote a poem that takes 12 minutes to read—it’s in iambic heptameter—and it’s quite a fantastic poem. In fact, I’m going to make part of it into a song. I used to do really well in school—not well in math and sciences—but extremely well in literature, history and languages. Whatever hemisphere of the brain that’s coming from, that part of my brain was developed. It was more fun for me. I really got into the language and literature—literally old English literature. Language and words were my passion, and understanding the origin of those words, how Latin influenced so many languages, how Greek played a part in it and how Sanskrit plays a part in all of it. I’m fascinated by all of that and my passion was always poetry and literature. There are little poems that we made up: “Fun, fun, fun, ‘til her daddy takes the T-Bird away.” That was influenced by Chuck Berry’s style of writing. “Well, she got her daddy’s car and she cruised to the hamburger stand now.” It’s not rocket science, but it’s fun and it relates to a lot of people. That’s another thing. I’ve always felt like if you’re going to be esoteric, that’s okay if you’re introducing some concept, but let’s have it connect with people intellectually, emotionally or both, hopefully. Let’s not make it just for the time period that we’re dealing in now; let’s make it be more universal. That thought was always present in my mind. I probably didn’t achieve it in every single song, but it’s there in a lot of them, like Good Vibrations; California Girls; Fun, Fun, Fun and Surfin’ U.S.A. “If everybody had an ocean across the U.S.A.…” Who doesn’t like to go to the beach? Maybe if you don’t surf, you go fishing.

Chris Attwood: From the beginning, your music touched deep chords in people. That’s one of the reasons why it was so popular. Even though the words themselves may have been dealing with light things, you guys have been touted for the incredible harmony you did, the incredible things you have done and continue to do with sound. This is why I say you’re a study in contrasts. Many people may not be so familiar with the spiritual aspect of your background. You have talked about it a few times. I know you and The Beach Boys met Maharishi Mahesh Yogi in the late ‘60s.

Mike Love: In December of ’67, we were initiated in Paris—most of us.

Chris Attwood: I understand you continue to practice transcendental meditation, is that true?

Mike Love: Oh yes.

Chris Attwood: What drew you to this spiritual master, and why are you so passionate about meditation?

Mike Love: First of all, I used to read philosophy, history and literature, but a lot of poetry is quite spiritual. Philosophy, where there’s Zoroastrianism or Hindu or Buddhist philosophy, Christianity, Judaism—all those “isms” and philosophies—I was very fascinated by and read them. You glean information from where it comes and it’s wonderful stuff. I felt badly that, even though there are these various saints and great traditions that expounded these great, virtuous things, humanity couldn’t live in harmony together. The history of humanity is the history of war. So when Maharishi talked about “for the forest to be green, every tree must be green,” and talked about how there is a way in which the world could evolve, do better and become more prosperous and more peaceful and happier and healthier—all those things have a tremendous amount of appeal. When I first learned him, the very first lesson where we were initiated and taught the technique—we were in Paris in December of 1967, doing a UNICEF show. We were there along with Elizabeth Taylor, Richard Burton, Victor Borge, the Turkish Ballet and the Russian Red Army Choir. It was Paris, so there were a lot of French entertainers and a huge orchestra. A curtain opened up and there was George Harrison on one side of Maharishi and John Lennon—they were both there because Maharishi was lecturing in Paris at the time, so we were invited to meet with Maharishi and he offered to teach us TM, which we did. That very first meditation, I remember being more relaxed than I ever could remember being, and there are reasons for that. I was also thinking, “Hey, if this is so relaxing and if everybody could do it, then the world would be entirely changed,” and I still believe that. That’s my direct experience, and my first thought was, “This is so simple to do that anyone can do it, and if everyone did it, the world would be a completely different place.” Starting with that initial response to learning the technique, two months later, I was in India at the invitation of Maharishi. I was there with The Beatles and that was a lot of fun. I talked to Paul McCartney quite a bit. We lived in the same little block of rooms in this little compound there, and we had some very interesting talks. George Harrison and I both had our birthdays that year—he in late February, me in mid March. I wrote a song that’s reminiscent of that time. It’s called Pisces Brothers because we’re both Pisces. It’s a beautiful song about the sweetness of being in that environment at that time.

Chris Attwood: In another area of your life, you have been passionate about the environment. You have been a big supporter of environmental causes over the years. What has made the environment such an important issue to you?

Mike Love: Well, I mean, this is our home—planet Earth—for a time, anyway. Bruce Johnston, who took Brian’s place in 1965, has been with us for the most part, except for a couple years, he’s been with us ever since—he got me involved with the Surfrider Foundation, which is quite a large environmental group that tries to maintain the quality of the water and watches out for what’s going into the water upstream and the conditions around our coast and all over the place. We’re members of that and have raised some money for them from time to time. We have done a few songs, like Summer in Paradise, “way back when our master plan was having fun, fun, fun as America’s band… came out rocking with Rhonda and Barbara Ann, singin’ of surf and sand.” That song, Summer in Paradise, deals with things like deforestation and the ravaging of the earth by the commercial interests that are out there. I think things like organic agriculture and Ayurvedic, healthful things… I’m a big fan of Ayurvedic medicines or health regimens, particularly Maharishi Ayurved. That’s how I came to know about that, and this is from ancient Indian times. The doctors from India have this knowledge of herbs and various treatments that are so helpful and so incredibly great, and have nothing to do with animal testing, nothing to do with pharmaceuticals and everything, and everything to do with strengthening the immune system, making the person healthy at whatever age, sex ,and level of life. Its’ brilliant and so comprehensive. That’s all from the environment, all in harmony with the environment when you’re growing things organically. You’re not spraying things, you’re not irradiating things, you’re not poisoning yourselves through the food you’re eating, like in so many places in the world these days. So I’m very much in favor of promoting any alternative to anything to do with the type of agriculture that leads people right down the road to cancer, heart disease and diabetes, or whatever it may be. My hope is that these types of things get more promoted and I’m happy to help promote them to the degree that I can.

Chris Attwood: Mike, what single idea would you like to leave us with?

Mike Love: I have a song on my CD called Unleash the Love. “Unleash the love and do it with dedication. Unleash the love and set it free. Unleash the love and spread it through every nation, for the greatest power on Earth lies in the heart of you and me.” So I think “unleash the love” is a good thought.

Sunday, January 29, 2006

He's a Brian Wilson, Burt Bacharach Kind Of Guy

BOSTON DOT COM

Friday, January 27, 2006

Richard Ashcroft Inspired By The Power Of Pop

DAILY RECORD "I'm inspired by people like Brian Wilson and Pete Townshend who weren't afraid to talk about the power pop can have on a mind. A great pop song is as powerful as the best piece of poetry you have ever read and the melody can take you to another place. But it is easily abused, as it has been through the decades, by rubbish.”

Monday, January 23, 2006

Pet Sounds 40 Years On

BBC

Thursday, January 12, 2006

Beach Boys File $20M Suit Over Memorabilia

USA TODAY

Tuesday, January 10, 2006

Irish Producer Wins Grammy Nomination For Brian Wilson's 'Smile' Video

IE ARTS

Friday, January 06, 2006

Syd Barrett Turns 60, Musicians Reflect

THE INDEPENDENT UK

Wednesday, January 04, 2006

Influential Guitarist Derek Bailey Has Died

THE GUARDIAN UK
THE INDEPENDENT UK
PITCHFORK
EURO FREE IMPROV
DB INTERVIEW 1
BBC REVIEW 1
DB INTERVIEW 2
BBC REVIEW 2
LA WEEKLY
FORCED EXPOSURE

Friday, December 30, 2005

This Beach Boy Gives Us Plenty To ‘Smile’ About

MCALESTER NEWS

Thursday, December 29, 2005

Richard X. Heyman Discusses Working With Brian Wilson

CITY BEAT

I had the honor of performing with Brian Wilson on two occasions. Andy Paley, who produced my album "Hey Man!", gave me a call and asked if I would be interested in playing and singing with Brian. The gigs were to promote the documentary film "I Just Wasn't Made For These Times". Of course I jumped at the chance.

The first show took place at a club called S.O.B.'s over on the west side of New York City. After a quick rehearsal on stage, we went back to the dressing room. My wife Nancy was with me and we were both thrilled to have the opportunity to sit and chat with the most talented and influential American rock composer of all time. Nancy complimented Brian on specific songs that meant a lot to her.

She'd say, "I really love Please Let Me Wonder'", to which Brian responded as only he could: "Yeah, that's a good song." " Girl Don't Tell Me'". "Yeah, that's a good song." " I Get Around'". "Oh yeah, that's a good song." Brian Wilson, aside from his musical gifts, is a one-of-a-kind personality. I know it's not fair to assume that I know what he's like based on two gigs, but it's all I have. So keep that in mind. For all I know, he might have been putting us on with his childlike innocence, but I don't think so.

The second gig was at a movie theatre in Lincoln Center. For this one we did a rehearsal in Brian's hotel room. The suite was well appointed, with a baby grand piano and a spectacular view of Central Park. Paul Shaffer played the piano, Don Was was on bass. Andy Paley and Billy West were on guitars. The drummer from my band, Kurt Reil, played percussion and I was on drums.

For this rehearsal, there were no amplifiers for the electric guitars and bass. They just plucked and strummed unplugged, barely emitting any sound. The main accompanist was Mr. Shaffer on the piano. Brian sat behind a desk and sang while we all contributed harmonies. While everyone was in a jovial mood, cracking jokes and having a good old time, Brian sat stone faced, showing no emotion one way or another. In the sunlight cascading through the large window, Brian appeared rather pale. He reminded me of a corpse at an open-coffin funeral. Don Was, notable record producer, suggested quite seriously that we perform the show just like we were doing it in the hotel room. Electric guitar and bass with no amplifier, Kurt shaking sleigh bells and me playing on my thighs with a pair of drum sticks. My heart sank as I saw my big chance to play drums with the legendary Brian Wilson sink to making a fool of myself banging my legs black and blue. It took some doing, but we talked him out of that brilliant idea. He said he thought the vibe was so right. Yeah, maybe in a hotel room, but not on a stage in front of a couple thousand people.

As we were wrapping up the rehearsal, Brian went up to Kurt and asked if he could borrow five dollars. This seemed a bit odd, but Kurt, not wanting to offend his hero, fumbled through his pockets and gave him what was essentially all the money he had on him. Five bucks. Why was millionaire rock star Brian Wilson bumming a five spot off my drummer? Strange behavior. Kurt didn't even have enough money to get his car out of the parking lot.

Later that day we met at the venue for a final rehearsal. One of the pure joys of my musical life was when, after we ran through "God Only Knows", Brian turned around and said out of the side of his mouth "great drummin', man".

The show was a blast and Brian seemed pleased and upbeat. As we left the stage, he said to Andy Paley, "hey man, that was the best God Only Knows' ever." The impression I got of Brian Wilson is he's not your normal guy. I've never seen anyone act the way he does. He's definitely a 60's person, still using expressions like "far out". As far as I'm concerned, and I believe I speak for most of my generation, Brian Wilson can act and be however he likes. We are all immensely grateful for the beautiful music he created.

Kurt never did get that five dollars back, but we just chalked it up to the eccentric genius that goes along with being Brian Wilson.

Monday, December 26, 2005

Interview With Brian Wilson

THE SUN UK

What are your memories of being in the Beach Boys?

I remember us having a lot of laughs and good times in the studio. Listening to the old songs puts me in a good mood – a nostalgic, sentimental mood. California Girls is my favourite Beach Boys song. But I probably won’t ever play with (remaining members) Mike Love or Al Jardine again.

What songs are on your new festive album - What I Really Want For Christmas?

My Christmas album has traditional carols, Beach Boys songs and Brian Wilson songs. My favourite ever festive song is White Christmas by Bing Crosby. It’s not something I’ve ever sung myself – but I’d like to.

How will you be spending the holidays and what’s on your Christmas list?

I am spending Christmas hanging out at home with my wife and children. I would like a pair of shoes for Christmas.

Are you religious?

I’m not religious, but I’ve always liked Jesus Christ. I like what Jesus Christ stood for and what his vibrations were all about.

What is the next musical project you have lined up?

We might make a rock ‘n’ roll album next year – although I have no idea when we will release it.
Rock ‘n’ roll is music brought to a height of excitement and exuberance. My album would be more 1960’s rock ‘n’ roll, like Phil Spector, than 1950’s Elvis style. There are a couple of songs I am writing, although I don’t have any words yet. I will be doing all the music and lyrics. It will be me and my back up band playing the songs on the record.

Many musicians cite you as a major influence, but which new bands are you a fan of?

The Magic Numbers are a great group. They are the best band of the last 10 years. It makes me feel great that they are influenced by me. I also like Green Day and Oasis. I don’t listen to much music these days though.

Saturday, December 24, 2005

Van Dyke Parks' Letter To New York Review Of Books

NEW YORK REVIEW OF BOOKS

Smiley Smile Message Board Has Moved!

SMILEY SMILE BOARD

Thursday, December 22, 2005

Brian Wilson Q&A

SCRIPPS HOWARD NEWS SERVICE
Q: Is it true that your favorite album of all time is "A Christmas Gift for You From Phil Spector"?
A: Yeah, that's my favorite Christmas album.
Q: What is it about that album you like?
A: I just like the tracks. I like the background tracks. I think they really sound good.
Q: Is that something you listen to all year round?
A: Yes.
Q: A lot of the songs you did with the Beach Boys sounded like Christmas songs, even though they were about surfing and cars.
A: Right, right.
Q: Where did you get the idea to put sleigh bells on all your songs?
A: From my drummer Hal Blaine _ he had some with him and we just used them.
Q: Were you worried people would get confused hearing sleigh bells in June?
A: Oh, no, no. We knew it was appropriate.
Q: And what month did you make this new album?
A: May.
Q: Did you have a Christmas tree in the studio?
A: No.
Q: But you got in the holiday mood anyway.
A: Yeah, we got in the mood. We put ornaments up and made it real Christmas-like.
Q: There are something like a thousand Christmas songs to choose from. How many did you originally want to include on this album?
A: Eight.
Q: Wait, that's it?
A: Yeah.
Q: You did a new version of "Little Saint Nick." Is that because you thought you could do it better now than when you did it with the Beach Boys?
A: Yeah, because we could. I think it's the best version so far.
Q: You didn't want to redo "Santa's Beard"?
A: Nah, we just wanted to do "The Man With All the Toys" and "Little Saint Nick." Those are the only ones we wanted to do.
Q: You wrote a new song called "What I Really Want for Christmas" with Bernie Taupin. What was it like working with the guy who wrote "Crocodile Rock"?
A: We sent the cassettes to the guys and they sent the lyrics back.
Q: That sounds like a pretty good way to work. In fact, you've had a pretty good year overall.
A: Yeah, it's been a good year.
Q: What made it the best?
A: Making the Christmas album.
Q: Even better than taking "Smile" on tour?
A: Yeah.
Q: Is Christmas pretty much your favorite holiday ever?
A: Yes it is.
Q: What's it like at your house?
A: Happy. Happy times.
Q: Do you go all-out with, like, presents and trees?
A: Yeah, yeah. The whole bit. The whole deal.
Q: Do you have any Christmas responsibilities?
A: We have a guy install lights.
Q: What about you personally?
A: Just to buy presents.
Q: You must be a really good gift buyer.
A: Yeah, I am.
Q: Where do you get your presents?
A: Oh, just various different stores in Beverly Hills.
Q: And then do you sit around the piano and sing Christmas carols?
A: Yeah, I sing for my friends.
Q: Man, I need to come to Christmas at your house.
A: Yeah, right.

More Christmas fun with BW @ CANOE

Wednesday, December 21, 2005

Sandoval's SMiLE Footnote

EAST BAY EXPRESS "Andrew Sandoval turned up an undocumented segment of mid-'60s tape of Brian Wilson running through demos of Smile-era songs at the end of a 'talking session' on which Wilson and friends merely chanted and conversed. The tape's most interesting section unspooled only after ten minutes of silence."

Monday, December 19, 2005

Brief Interview With Brian Wilson

LF PRESS Clive Davis “convinced me [that making a Christmas album] would be a good idea," said Brian Wilson on the phone from Los Angeles. "I never wanted to since the Beach Boys."

"It brought back memories of when we used to carol. My whole family went door-to-door. I enjoyed it very much," said Wilson.

"I love those songs. They're great songs."

Of life these days, Wilson says: "I'm very grateful. Yes."

He's planning yet another album as well as a tour for next year. "I have a couple of songs written. They are just melodies. I don't have any lyrics yet," said Wilson.

He says he won't be including his cousin Mike Love in family get-togethers. "No. Doubt it." he said.

Sunday, December 18, 2005

Pop Quiz: Brian Wilson

SF GATE

Friday, December 16, 2005

Interesting, If Wrong-Headed, Editorial

BRADENTON
Where's the 'Love' for Mike?
Lone Beach Boy drives critics mad
by WADE TATANGELO Herald Staff Writer

Music critics, snobs and hipsters typically despise the current incarnation of the Beach Boys. The whippings started to inundate music publications in the early 1970s. The harassment peaked with the cheesy 1988 hit "Kokomo" and the flames of hate were rekindled for the online era courtesy of the Beach Boys 1996 lame-o country effort "Stars and Stripes, Vol. 1."

And Mike Love is all to blame. At least that's what those cruel critics say. Because the only other original B-Boy still alive, Brian Wilson, can do no wrong.

The pop music police agree that the Beach Boys album "Pet Sounds" is a masterpiece; the single "Good Vibrations" is hailed as three and a half minutes of sunny pop magic; and "California Girls" is regularly classified as one of the catchiest ditties to ever pour from a convertible.

However, them nasty critics have serious abhorrence for the B-Boys assemblage that will perform in Sarasota at the Van Wezel Performing Arts Hall on Sunday. You see, these pundits, who write about pop tunes with the passion evangelicals save for Darwinists, and Susan Sarandon think it is wrong, wrong, wrong that Mike Love calls his current band the Beach Boys, which is ruining the group's good name.

Alas, original Beach Boys Dennis and Carl Wilson are dead. Fortunately, their brother Brian Wilson, the band's main composer/musical director during the glory days, is back from a self-imposed exile and blowing audiences away as a solo act. However, lawsuit-happy cousin Love (he's currently trying to take Brian back to court) bills his solo act as the Beach Boys.

The musicians who will be at the Wezel backing him Sunday on oldies like "Surfer Girl" and such are just replacement players. So, couldn't the show be marketed as "The Beach Boy and Friends?" Or "Beach Boy Mike Love and Band?" How about "For the Love of Mike, play 'Kokomo'?"

Because it seems Wilson has just as much right to tour as the Beach Boys as Love? Right? Right?

On the flip side, Love has his fans and perhaps deserves a little more respect than he gets. He's been the Beach Boys lead singer since the group first made teenyboppers squeal in 1961. And the 64-year-old flaxen vocalist did co-write many of the Boys' biggies, like "Surfin' Safari" and "Be True to Your School." Plus, the gig is being promoted as a "holiday show" - which means gems like "Little Saint Nick," from the Beach Boys beloved 1964 "Christmas Album," should be on display. And how could this music critic blast a holiday show?

Love Ruins X-mas Cheer With Hubris

THE LEDGER "There's always [a] possibility [of a future reunion]," Mike Love says. "There could be some really nice stuff to come out of that, were that to happen. [Brian Wilson is] still surrounded to this day by people who manipulate him and get him into things that are not the best thing for him, I think. But with Brian, I feel he has certain abilities that complement my abilities and anytime we were to get together, those basic natures take over and transcend any issues and problems and what have you. Whenever Brian and I are together, we have a lot of fun."

"We always do `Little Saint Nick' this time of year because it was a big hit. But this year, we're doing seven songs off the Christmas album, and we're doing (Bobby Helms') `Jingle Bell Rock,' which we never recorded but it's a fun song."

"The first time I remember Brian singing was in my Grandma Wilson's lap," Love says. "He sang `Danny Boy,' and what a voice; a beautiful voice. And in later years, we'd get together for Christmas parties and birthdays and stuff. And the adults would do their music and sing, and we would get together and do the doo-wop songs of the day and the early rock 'n' roll songs, the Everly Brothers and things like that."

"I think that's what his genius really was, vocal arrangements," Love says about Wilson. "Nobody was better, and he was darn good with production of tracks, too."

Thursday, December 15, 2005

Belated Wilson X-mas Links

BRANDON SUN
ENTERTAINMENT IRELAND

Baby It's Cold Outside

TELEGRAPH UKBrian Wilson continues his gravity-defying rehabilitation by picking up some 40-year-old Beach Boy threads on What I Really Want for Christmas (BMG), mixing reworked antiques such as Silent Night and Hark! The Herald Angels Sing alongside a couple of new songs. Wilson doesn't shimmer with the same radiance that surrounded him in the Pet Sounds era, but he sounds several megawatts sparkier than the brain-damaged burn-out he resembled a few years ago.”

Wednesday, December 14, 2005

Brian Wilson Garners Raves

METROTIMESBrian Wilson’s What I Really Want for Christmas…is getting raves. But really, do you think Brian Wilson will ever suffer a bad review again? Nor should he, since he’s practically Santa Claus for finally finishing Smile and delivering us from Mike Love.”

Friday, December 09, 2005

Dennis Wilson's "Pacific Ocean Blue" In MP3

MHAYHURST

Thursday, December 08, 2005

Brian Wilson Nominated For Grammy

MIAMI HERALD Best Long Form Music Video: "Brian Wilson Presents Smile," Brian Wilson; "No Direction Home" (Bob Dylan); "Trapped In The Closet (Chapters 1-5)," R. Kelly; "End Of The Century: The Story Of The Ramones," (The Ramones); "Devils & Dust," Bruce Springsteen

Wednesday, December 07, 2005

Jews & Hip Hop Go Together Like Latkes & Sour Cream

REUTERS

Madlib Gets XXL Press

STONESTHROW

Friday, December 02, 2005

Mike Love Speaks

ASBURY PARK PRESS "It's a shame," Mike Love said while calling from Chicago. "Brian has . . . problems. He's been controlled his whole life. His father controlled him and then Dr. (Eugene) Landy controlled him. And now the people surrounding him are controlling his life. I would welcome the opportunity for Brian to be in this band, but I can't imagine him ever having control and him getting over his paranoia."

"We can't let the people down who love this band," Love said. "Our fans love our music, and we love having the opportunity to perform."

"Some of those songs are just a little too esoteric to do at shows," Love said. "Those are great songs, but we can't play them all. We recorded so many great songs from the early years. I have great memories of those times."

"What Brian and I had was really special," Love said. "We started singing together at an early age. We're a year apart. We were 11, 12 years old. We had a great relationship, but it didn't take long for things to get weird."

"I'm known as the bad one in this band, but it's not true," Love said. "I was just different from the Wilsons (Brian, Dennis and Carl). . . . It's a shame how that all went down. But fortunately, the Beach Boys are still here and we're valid."

Wednesday, November 30, 2005

"Brian Wilson: Our Journey to SMiLE", by Ken Shane

NYC PLUS

Monday, November 28, 2005

Baile Funk Rocks Brazil's Ghettos

STYLUS MAGAZINE

Saturday, November 26, 2005

Top Music Blog Cites MetaCritic On SMiLE

COOLFER “Is Brian Wilson’s Smile the best album of the decade? It tops the list of highest scored albums at MetaCritic.com with a 97, which ties it with the 97 given to Loretta Lynn’s Van Lear Rose and Led Zeppelin’s How The West Was Won (which for whatever reason are ranked at #2 and #3). Sufjan Stevens’ Illinois(e) ranks as MetaCritic’s top album of 2005 with a score of 90 (its user rating is 8.7). My Morning Jacket’s Z is close behind at 89 (but its user rating is down at 8.3). MetaCritic ranks titles based on average scores of various album reviews.”

Friday, November 25, 2005

BW To Release Christmas Single

NME

Thursday, November 24, 2005

New Brian Wilson Tome Listed On Amazon UK

AMAZON UK
Catch a Wave: The Rise, Fall, and Redemption of the Beach Boys' Brian Wilson
by Peter James Carlin
Hardcover 336 pages (May 2006)
Publisher: Rodale Press
ISBN: 1594863202

Brian Wilson Interview, July 2004, by Elton John

FIND ARTICLES

Oasis' Noel Gallagher Hates Cabbage

THE AGE “Not that I like the Beach Boys. I f--kin' hate the Beach Boys - I think Brian Wilson is a cabbage.”

Tuesday, November 22, 2005

Patti Smith Revives "Horses" On Stage, Disc To Honor Its 30th Anniversary

Will Hermes's review & interview from 2005
VILLAGE VOICE 1

Greil Marcus's review from 1975
VILLAGE VOICE 2

Simon Reynold's excellent interview with Patti from 2005
GUARDIAN UK

Interview with Patti from 2005
NEWSWEEK

Monday, November 21, 2005

"Good Vibes" #2 On "Oldies" Top 10 List

OLDIES 2) The Beach Boys, "Good Vibrations"
Capitol 5676 (10 October 1966) b/w "Let's Go Away For Awhile"
recorded 17 February - 24 August 1966, Los Angeles, CA

"Created over half a year using $40,000 and, it seems, every studio and sessionman in L.A., this most famous of Brian Wilson's "pocket symphonies" helped inspire the creation of the Beatles' "Sgt. Pepper" in response. But on it own, it towers as high as any 20th-century work of art, an achievement so large that -- according to some -- it also helped destroy its creator's muse."

Sunday, November 20, 2005

Noted Beach Boys Expert Peter Reum Expounds On Mike's Most Recent Lawsuit

According to PETER REUM'S posting on the SMILEY SMILE MESSAGE BOARD:

"The Beach Boys, as a contemporary recording group, ended in 1985. That album did not sell well. From then on, it has only been greatest hits compilations that sold meaningfully.

As a concert group, Brian is outdrawing Mike's band in several venues across the country, and in the UK. Furthermore, Mike's license is coming up for renewal.

So, for Mike, Brian is out doing songs Brian and he wrote, and creating a new identity independent of the BBs. Brian's career is ascending, Mike is playing auto shows and county fairs. I'd be worried if I were Mike too.

What his real agenda is, is probably related to these issues. Fact is, Brian is now seen as an entity separate from the BBs. Hell, he's presenting at the American Musc Awards this year. Did they ask 'The Beach Boys?'

Mike probably feels somewhat threatened by Brian's resurgence, and somewhat upset that he spent 44 years out singing his butt off, only to be ecilpsed by Brian, using Brian's name recognition as a former Beach Boy.

Those are some of the issues I see flying around. What Mike 'wants' is for Brian to either join him or dissappear, so Mike can keep making money. That's the agenda as I see it.

One other thought has occured to me, and that is Brian has shown a great deal of disrespect for the efforts that Mike Love and Carl Wilson made in keeping the music alive while Brian was ill. I think Brian popping off about how his new band is better than the BBs really mijado off the remaining BBs.

The idea that instrumentally, that is true, in my opinion, is not the point. The fact is that Brian was carried during his illness for many years in the BBs' eyes, and his remarks probably smack of arrogance and ungratitude from their point of view.

I am not going to argue one side or the other. I am trying to sort out how this family insanity came to pass, and I think from Mike's point of view, some of the reasons are those I stated above.

In this sort of family acrimony, the first thing to do is try to sort out what peoples' REAL feelings are. There can be a thousand stupid reasons stated for what is happening, but feelings are what is real.

Mike seems to operate from a base of anger, an a secondary emotion, covering abandonment, isolation, envy, being wronged, fear, and jealousy. It sounds in the text of the lawsuit, at least as revealed so far, there is a strong undercurrent of all of these emotions.

As I have said before, these two men sound very much like two old lovers, now married in name only, fighting over the property in a divorce action from a love that has long grown cold. Mike sounds like an angry separated wife, and it is very sad, because I believe he still is trying to love his cousin, but doesn't know how or why the fire went out, nor does Brian.

This suit will be settled long before it goes to trial. In my opinion, there are some specific things Mike is probably wanting, and his real agenda will emerge when they begin negotiations."

Saturday, November 19, 2005

Scientific American Mind On Brian Wilson

SCIMIND

Mike Love Slithers Down The Gutter

Today we provide our dear readers with some additional tidbits we've edited from Mike Love's lawsuit against his cousin Brian Wilson and a boatload of other defendants. Even a casual perusal of the Compalint shows just how low Mike will go in order to play out his vindictive daydreams. While it's true that the Complaint itself was written by Mike's lawyers, Mike, as the client and Plaintiff, had to sign off on the Complaint's content and tone.

The lines highlighted in red contain some of the "juicier" parts of the Complaint. These portions demonstrate the tremendous resentments Mike holds against Brian Wilson as well as Al Jardine. It's interesting to note that the Complaint goes into some detail about Mike's loathing of Al despite the fact that Al isn't a defendant in the lawsuit. Why Mike feels compelled to dredge up this garbage is beyond us. This lawsuit is more than mere "sour grapes" - it's a scortched earth attack by Mike against Brian.

"Contrary to the myth that Brian Wilson was the sole musical genius behind The Beach Boys songs, Mike Love and Brian Wilson are credited as co-authors of nearly all of The Beach Boys’ hits; and Mike Love and Carl Wilson carried the performing band for forty years. Many of Mike Love’s early compositional and lyrical contributions to The Beach Boys songs were concealed for many years by Brian Wilson’s father, Murray Wilson, who was the first manager of The Beach Boys, and then later by Brian Wilson, in order to direct the valuable songwriting royalties for The Beach Boys hits to Murray and Brian Wilson. However, this injustice was corrected after a four-month federal court jury trial and ensuing verdict and judgment in 1994 (hereinafter “the Love partnership action”) crediting Mike Love as the co-author of thirty-five of The Beach Boys’ songs, including such hits as California Girls, Wouldn’t It Be Nice, Help Me Rhonda, 409, and Be True To Your School. This judgment legally established Mike Love and Brian Wilson as partners in these songs and that Brian Wilson owed fiduciary duties to Mike Love in connection with their songs. Before the trial court decided on the amount of damages, Mike Love and Brian Wilson entered into a settlement agreement, i.e., a contract, wherein the settlement agreement was incorporated into the judgment.
Mike Love has been historically recognized as the primary voice and image of The Beach Boys; and Carl Wilson was historically recognized as the musical leader. After Carl’s death in 1998, Alan Jardine announced in the entertainment media that he no longer wished to tour with The Beach Boys; and Mike Love announced privately within BRI that he would no longer tour with Alan Jardine because of Jardine’s long and well documented history of mental and emotional problems, failure to perform, and abusiveness toward other band members. BRI then granted an exclusive license to Mike Love to perform at live concerts using The Beach Boys registered trademark. Since 1998, Mike Love has scrupulously fulfilled his license obligations, using the trademark to perform as The Beach Boys in approximately 150 live concerts per year all over the world. He has paid over eleven million dollars to BRI as royalties on this license.
In the same time frame following Carl Wilson’s death, Alan Jardine misappropriated the trademark, bastardized The Beach Boys name, altered the traditional Beach Boys harmonies, line-up and music, defamed Mike Love and The Beach Boys in the media, and then overtly infringed upon the trademark by using it to perform live concerts while duping ticket-buyers into believing it was the BRI-licensed Beach Boys. Jardine wreaked havoc in the marketplace causing BRI to sue for a permanent injunction which was granted and then upheld by the Ninth Circuit in Brother Records, Inc. v Jardine, 318 F.3d 900 (9th Cir. 2003). Although Jardine is still a 25% shareholder and a Director of BRI (receiving 25% of the license revenues), he is an adjudicated infringer who has breached his fiduciary duties to BRI.
Like Jardine, Brian Wilson has now with the “give-away” scheme, pursued a path to promote himself, destroy The Beach Boys trademark, and breach his fiduciary duties to BRI and to Mike Love. Historically, these breaches are the continuation of over thirty-five years of conduct by Brian Wilson to damage The Beach Boys and BRI.
In order to promote himself, Brian began to misappropriate BRI property. In 2003, he misappropriated 'Pet Sounds,' a Beach Boys album, all while serving as a fiduciary to BRI. In September, 2004, Brian Wilson, without permission or a license from BRI, the owner of Smile, orchestrated the scheme to release a Smile CD. Up until then, Smile had been called the most recognized unreleased album in the history of rock ‘n’ roll. Smile has obtained “secondary meaning” as a Beach Boys property, and historically has been identified with The Beach Boys trademark. The defendants here exploited Mike Love and The Beach Boys’ tie-ins with Brian Wilson and Smile to promote the sale of the Smile CD, The Mail on Sunday newspaper, and the services of BigTime.TV.
The corporate entity for The Beach Boys is Brother Records, Inc. (“BRI”), a California corporation formed in 1967. BRI’s shareholders are Mike Love, Brian Wilson, Carl Wilson’s estate, and Alan Jardine. The Beach Boys trademark is registered with the United States Patent and Trademark Office, and BRI is the owner of The Beach Boys mark. The Beach Boys mark is a famous trademark and has been widely used by the public to identify BRI’s touring band and albums since BRI began using the mark in the 1960’s.
In a May 4, 1973 meeting of the BRI Board of Directors, BRI shareholders Brian Wilson, Dennis Wilson, Carl Wilson, Mike Love, and Alan Jardine resolved to enter into an 'Agreement Of Indemnification' which provided, in pertinent part, the following:

'WHEREAS, SHAREHOLDERS are shareholders of record of American Recreation Corp., The Beach Boys Productions, Inc., Brother Records, Inc., Brother Studios, Ltd., and Wilojarston Music Ltd., hereinafter collectively referred to as CORPORATIONS; and
WHEREAS, a judgment was rendered against two of the CORPORATIONS based on the representation of one shareholder, and;
WHEREAS, the SHAREHOLDERS mutually desire to have all decisions of financial consequence to each corporation reviewed by the Board of Directors of each corporation and by the CORPORATIONS’ Financial Manager, Mr. Stephen Love, in order to avoid future problems in the nature of the aforementioned litigation matter; and
WHEREAS, a method of enforcement is deemed necessary;
NOW, THEREFORE, in consideration of these premises and the mutual promises set forth herin, the parties hereto agree as follows:
Any shareholder who without prior authorization of the Board or Boards of Directors enters into an agreement with any third party or parties which is not subsequently ratified by the written approval of all of the parties hereto, and/or the Board or Boards of Directors of the involved Corporation or Corporations, shall be liable to the Corporation or Corporations for any and all proximate losses, costs or expenses resulting therefrom. (Emphasis Added.) . . .
If any action at law or in equity, including an action for declaratory relief, is brought to enforce or interpret the provisions of this Agreement, the prevailing party shall be entitled to a reasonable attorney’s fee, which may be set by the Court in the same action or on a separate action brought for that purpose, in addition to any other relief to which he may be entitled.'

This 'Agreement of Indemnification' was executed by Brian Wilson and all of The Beach Boys."

Thursday, November 17, 2005

UK Paper The Independent Covers Brian Wilson

MIKE LOVE vs. BRIAN WILSON
REVIEW OF WHAT I REALLY WANT FOR CHRISTMAS

AC Compared To BW Yet Again

ROLLING STONE "[T]he [Animal] Collective's sound is still awesomely weird, swinging from mystical, raga-style jams to glorious Smile-era Brian Wilson psychedelia."

Wednesday, November 16, 2005

Mike's Case Of Sour Grapes: Additional Details

We've finally obtained a copy of Mike Love's Complaint against Brian Wilson et al. We'll be posting more details as we make our way through the Complaint. Stay tuned! (Note: "Complaint" is a legal term of art which describes the document a Plaintiff files with a court in order to initiate a civil lawsuit.)

Complaint for damages and injunctive relief for the following causes of action:

Violation of Statutory and Common Law Rights of Publicity; Breach of Covenant of Good Faith and Fair Dealing; Action for Indemnity Under Written Indemnity Agreement; Declaratory Relief; Breach of Fiduciary Duty; Copyright Infringement for Unlawful Reproduction, Unlawful Preparation of Derivative Work, and Unlawful Distribution; Federal Trademark Infringement; Federal Unfair Competition – False Representation; Federal Trademark Dilution; State of California Unlawful Business Practices; Interference with Contractual Relations; Intentional Interference with Prospective Economic Advantage; Negligent Interference with Prospective Economic Advantages; and Civil Conspiracy

From the introduction of the Complaint:

“This action arises out of an international advertising and marketing scheme organized and orchestrated by Brian Wilson and his agents to promote the release of The Beach Boys’ long-awaited Smile album, at the expense of fellow Beach Boy Mike Love and The Beach Boys corporate entity, Brother Records, Inc. (“BRI”). This multimedia promotion shamelessly misappropriated Mike Love’s songs, likeness, and The Beach Boys trademark, as well as the Smile album itself, which has been identified with The Beach Boys for over thirty-seven years. The primary means used to implement the scheme was the use of “The Beach Boys” registered trademark, the misappropriation of images of Mike Love and the band, coupled with the “give- away” of over 2.6 million music CDs entitled “Good Vibrations.” This CD included a number of Beach Boys hit songs composed by Mike Love and Brian Wilson. The free Good Vibrations CD increased the sale of defendant Brian Wilson’s Smile CD, and defendant The Mail on Sunday’s newspapers, but it has had an adverse effect on the sales and value of the many Beach Boys CDs available for sale in the marketplace. Incredibly, the emails and correspondence by and between the defendants three weeks before the “give-away” on September 24, 2004 admit that they had to use The Beach Boys name and images to “engage” the audience. This suit seeks damages including the disgorgement of millions of dollars of illicit profits, and the protection of The Beach Boys trademark and the name and likeness of Mike Love and The Beach Boys.”

Today In Entertainment History

KKTV On November 16th, 1988, Stan Love, former Beach Boys manager and brother of singer Mike Love, was sentenced to five years' probation for embezzling more than 900-thousand dollars from the group.

Monday, November 14, 2005

Details Of Mike Love's Case Of Sour Grapes

U.S. District Court, Central District Of California, Western Division, Los Angeles
Case # 05-cv-07798
Assigned to Honorable Audrey B. Collins
Referred to Magistrate Judge Patrick J. Walsh
Cause: 28:1338 Copyright Infringement
Filed 11/02/2005

Plaintiff = Mike Love
Represented by Alfred G. Rava
The Rava Law Firm
311 Fourth Ave., Ste. 312
San Diego, CA 92101
619-238-1993
alrava@cox.net
Philip H. Stillman
Flynn & Stillman
224 Birmingham Dr., Ste. 1A3
Cardiff, CA 92007
858-795-7000
pstillman@flynnstillman.com

Defendants = The Mail On Sunday, Associated Newspapers Ltd., Sanctuary Records Group NY, Sanctuary Music Management Inc., Sanctuary Music Productions Inc., Bigtime.TV, Brian Wilson, Jean Sievers, Lippin Group Inc., Soop LLC, David Leaf

Brian Wilson Named Award Presenter For 2005 American Music Awards

UPI Brian Wilson will be an award presenter at the 2005 American Music Awards.

Sunday, November 13, 2005

Greatest Gigs At SECC- Scotland's Top Music Venue

SUNDAY MAIL 7. BRIAN WILSON January 25, 2002 "This was the former Beach Boy's first ever solo gig in Scotland - and he didn't disappoint. To hear his masterpiece Pet Sounds performed in its entirety was mindblowing.To witness the sheer craft of his songwriting was a total joy."

Saturday, November 12, 2005

Brian Wilson At The Greek Theater, Berkeley, CA, 2005-09-02 (AUD) Torrent

We don't mess with these new formats (we like good old CDs and LPs) so we can't vouch for this torrent's reliability. Nevertheless, here's the link: ZOMBTRACKER.

Al Jardine Endless Summer Tour Rider

AL JARDINE TOUR RIDER

Friday, November 11, 2005

Mike Love Appears On Crypto-fascist's TV Show

Mike Love broke cover and spoke with Fox News' Bill O'Rilley, here's what he said according to the SMILEY SMILE MESSAGE BOARD.

Here's what the BILL O'REILLY archive has to say:

Back of Book Segment, "Bad Vibrations", Guest: Mike Love

“Beach Boys co-founder Mike Love is suing his cousin and former bandmate Brian Wilson, complaining that Wilson gave away millions of their songs without his knowledge or approval. 'Brian is being mishandled by people around him,' Love told The Factor. 'They are giving away millions of CDs of our songs to promote Brian's new album, using the Beach Boys name and likenesses. The people surrounding Brian have been unreasonable. I love my cousin Brian and the things we did together were great, but that doesn't justify some of the things that have been done in his name by the people around him.' The Factor extended an open invitation to Brian Wilson to appear at any time.”

Wednesday, November 09, 2005

SMiLE Concert Makes Critics' List

IRISH EXAMINER

18. Brian Wilson Smile Concert, Royal Festival Hall (20th February 2004)

"Brian Wilson’s decision to make the live debut of Smile at a concert in London astounded fans around the world. The concert instantly sold out and attracted people from as far as Australia and Japan. The full majesty of Smile was debuted to a rapturous audience that included Paul McCartney and Wilson’s writing partner, Van Dyke Parks."

Tuesday, November 08, 2005

Forbes Picks Up Love v. Wilson Story

FORBES

Monday, November 07, 2005

Mike Love Attempts To Pull Foot Out Of Mouth

BUSINESSWIRE

November 07, 2005 05:36 PM US Eastern Timezone

Beach Boy Mike Love Speaks out; Files Suit Alleging International Advertising & Marketing Scheme; The Mail on Sunday, Associated Newspapers Ltd., Bigtime.TV, Sanctuary Records Group, Brian Wilson and Others Named

NASHVILLE, Tenn.--(BUSINESS WIRE)--Nov. 7, 2005--Mike Love, lead singer and co-founder of the Beach Boys, filed a law-suit in Federal Court against several English companies and London newspaper, The Mail on Sunday, in connection with an alleged fraudulent scheme to misappropriate his name and image, and to infringe on the rights to many of his famous hit songs, including "California Girls," "Good Vibrations," according to Mike Flynn of Flynn & Stillman, Mike Love's attorney.

The suit also names Beach Boys co-founder, Brian Wilson, who stopped touring with The Beach Boys in 1964 because of mental and emotional problems. Until 2003, Wilson and his property had been subject to a legal conservatorship. Wilson's second wife was appointed conservator after their mid-nineties marriage.

The suit alleges that the English companies, The Mail on Sunday, and Wilson's representatives combined to deceive buyers of The Mail on Sunday that the giveaway of nearly 3 million copies of the CD, Good Vibrations, was authorized by Mike Love and The Beach Boys. The "give away" of a free CD including five Love/Wilson co-authored hits was designed to promote sales of Brian Wilson's Smile. Smile has generally been recognized as the most famous unreleased album in Rock and Roll. It was originally created by The Beach Boys in 1968 and is owned by them. The suit alleges that the Smile CD and the "give-away" CD, Good Vibrations, were fraudulently marketed using The Beach Boys' names and images without permission.

Mike Love stated, "Once again the people around Brian, my cousin and collaborator on many hits, who I love and care about, have used him for their own financial gain without regard to his rights, or my rights, or even the rights of the estates of his deceased brothers, Carl and Dennis, and their children." Love and Carl Wilson were always identified as the leaders of The Beach Boy's touring band until Carl's 1998 death. In every Beach Boy's concert, Love and Bruce Johnston (who eventually replaced Brian Wilson in the touring group in 1965) lovingly acknowledge Carl.

Love said, "Unfortunately, history repeats itself. Because of Brian's mental issues he has always been vulnerable to manipulation. I simply want to stop the infringers and stop the deception!"

In 1988 Love co-authored, without Brian, The Beach Boys' biggest hit, "Kokomo," and in 1994 won a multi-million dollar judgment against Brian and his representatives for failing to credit him for thirty-five songs, including several hits that were misappropriated by defendants in this case. Mike Love currently tours as the lead singer with The Beach Boys performing over 150 concerts per year.

Contacts

The Press Office
Jim Della Croce, 615-269-3670
or
Jay Jones, 615-269-8849
http://www.thepressoffice.com

Paste Freelancer Wins Award For Brian Wilson Profile

PASTE For his Paste profile “Brian Wilson Remembers How to Smile” (issue #12), writer Geoffrey Himes will be honored as part of the 38th Annual American Society of Composers, Authors & Publishers Deems Taylor Awards.

He is one of ten writers and editors of journal, magazine and newspaper articles, program notes and/or linear notes who will receive an award.

ASCAP Deems Taylor Awards recognize outstanding print, broadcast and new media coverage of music.

The winners will be celebrated at a reception Thursday, Dec. 15, at The Frederick P. Rose Hall, Home of Jazz at Lincoln Center, The Allen Room, Broadway at 60th Street, New York City.

In addition, John Hendrix’s illustration that accompanied the Wilson story was among those recognized by Communication Arts in a recent “Fresh” profile.

More Outlets Pick Up Love v. Wilson Story

NYTIMES Smile: The Lawsuit: Mike Love of the Beach Boys is suing his cousin and former bandmate Brian Wilson over issues relating to "Smile," Mr. Wilson's 2004 completion of the unfinished Beach Boys album of that name. In the suit, filed in federal court in Los Angeles last week, The Associated Press reported, Mr. Love objected to a promotion in which 2.6 million copies of a Beach Boys compilation CD were given away in copies of a British newspaper. The lawsuit said the giveaway, in The Mail on Sunday, undercut the band's sales, among other things. "Smile," which was abandoned in 1967, became one of rock's most famous unfinished albums until Mr. Wilson took it up again and released it last year.
PASTE MAGAZINE
UNDERCOVER
SOULSHINE

Friday, November 04, 2005

Brian Wilson Self-Releases New CD Single

YAHOO STORE "Walking Down The Path of Life/Love & Mercy"

AP: Mike Love Suing Cousin Brian Wilson

ABC NEWS

Mike Love Is Suing His Cousin and Former Beach Boys Bandmate Brian Wilson Over 'Smile' Album

By TIM MOLLOY
The Associated Press

LOS ANGELES - Mike Love is suing his cousin and former Beach Boys bandmate Brian Wilson, but Love's lawyer hopes the lawsuit won't mar their good vibrations.

Love filed the lawsuit in federal court Thursday accusing Wilson of promoting his 2004 album,
"Smile," in a manner that "shamelessly misappropriated Mike Love's songs, likeness and the Beach Boys trademark, as well as the `Smile' album itself."

Love's lawyer says it's nothing personal.

"Mike has a lot of affection for Brian and they have a good relationship and cordial relations," said Phil Stillman, who has represented Love since 1992. "There's obviously some problem with the way Brian's (associates) have promoted the albums."

Stillman added: "They remain family and the co-founders of a very important band in rock 'n' roll history."

The Beach Boys never completed "Smile," and it was regarded as a lost classic until Wilson opted to finish it himself. The album earned international acclaim and marked a dramatic return for the 63-year-old singer-songwriter, who had kept a low profile for years.

Love objected to a promotion in which 2.6 million copies of a Beach Boys compilation CD were given away to readers of Britain's The Daily Mail on Sunday newspaper. The lawsuit said the giveaway undercut the band's sales.

The lawsuit seeks damages, including "millions of dollars in illicit profits," and seeks at least $1 million for international advertising "to correct the effects of ... unfair competition and infringing uses."

A lawyer for Wilson didn't return a call from The Associated Press for comment.

Love formed the group in Hawthorne in 1961 with Wilson, Wilson's brothers Carl and Dennis, and Wilson's friend Al Jardine. They went on to record hits such as "Good Vibrations," "Wouldn't It Be Nice" and "California Girls."

Wilson's brothers have died, and he split acrimoniously with Love and Jardine years ago. In an interview earlier this year with the AP, he refused to discuss them in the present tense, but talked about their early years with apparent fondness. His new album is "What I Really Want for Christmas."

Love has the exclusive legal right to tour under the Beach Boys name.

Thursday, November 03, 2005

Yahoo Picks Up EOnline Love Lawsuit Story

YAHOO NEWS

It's Gettin' Ugly

EONLINE

Beach Boys Feud Feud Feud

by Josh Grossberg
Nov 3, 2005, 1:40 PM PT

So much for good vibrations.

Beach Boys member Mike Love has filed a lawsuit against former band mate Brian Wilson over Smile--the famously unfinished Beach Boys opus that Wilson completed and released on his own last year to much acclaim, and at Love's expense.

The suit, filed in federal court in Los Angeles, alleges that the promotional blitz by Wilson "shamelessly misappropriated Mike Love's songs, likeness, and the Beach Boys trademark, as well as the Smile album itself," per court papers obtained by City News Service.

Wilson, the Beach Boys' principal songwriter and general mastermind, scrapped Smile at the height of the seminal surf band's popularity in 1967, a few weeks before the Beatles released Sgt. Pepper's Lonely Hearts Club Band. The lost sessions became the stuff of music legend; based on the surviving songs and snippets, some music aficionados argued Smile would have rivaled Sgt. Pepper's in the pop pantheon. Per rock history, it was Love who was fought against the release of Smile because it differed dramatically from the Beach Boys' standard surf sound.

Love, who cowrote and sang lead on many early Beach Boys classics, alleges that the publicity campaign for Wilson's solo Smile negatively affected sales of Beach Boys albums. Particularly aggrieving Love was Wilson's decision to give away more than 2.6 million copies of a Beach Boys' compilation disc in an edition of Britain's Mail on Sunday newspaper.

Love's suit seeks damages amounting to "millions of dollars in illicit profits," claiming the campaign diluted the Beach Boys' brand name, and addition $1 million-plus for international advertising "designed to correct the effects of its unfair competition and infringing uses." Other defendants include the Mail on Sunday and Sanctuary Records Group.

Reps for Wilson and Love could not be reached for comment Thursday.

Smile, which features the classic "Good Vibrations," was among the most critically hailed albums of 2004. It also earned Wilson his first competitive Grammy.

Love, who cofounded the band with cousins Brian, Dennis and Carl Wilson, and friend Al Jardine, is the only member of the Rock and Roll Hall of Fame quintet to continue using the Beach Boys moniker.

As Brian Wilson, the most talented and reclusive of the bunch, managed to overcome decades-long depression and launched a successful solo career, both his brothers have died. Dennis Wilson drowned in 1983, while Carl Wilson succumbed to cancer in 1998.

The three surviving members--Love, Wilson and Jardine--each own a share of the Beach Boys corporation, Brother Records. However, due to legal wrangling through the years, Love is the only member allowed to use Beach Boys name for touring purposes.

(Wouldn't it be nice if they all just got along? Jardine tried touring under the name "Beach Boys Family and Friends" with Brian Wilson's daughters Wendy and Carnie, but an appeals court barred him from doing so.)

Despite the infighting, the Beach Boys are in synch on one legal matter.

Brother Records notified London auctioneer CooperOwen last week that 28 memorabilia items about to be put up for bid, including original sheet music by Brian Wilson and Love, were actually stolen, according to the Los Angeles Police Department.

No suspect has been publicly named in the theft of the mementos, but Brother Records says it will file a civil suit on behalf of the Beach Boys against CooperOwen and the individual seller of the memorabilia, as well as anyone who purchases the items.

Mike Love Suing Brian Wilson Over SMiLE?

EONLINE "NOT SMILING: Beach Boy Mike Love suing fellow bandmate Brian Wilson, accusing the musician of hyping his most recent album, SMiLE, at his expense."

Brian Wilson Signed Surfboard Goes For $23,000

SCOOP An auction of classic pieces of music memorabilia helped raise $190,033 for charity in Auckland on November 2 for New Zealand’s sole music therapy centre.

The most popular item at this year’s event was a surfboard autographed by Beach Boy, Brian Wilson which went under the hammer for $23,000.

Tuesday, November 01, 2005

Brian Wilson's Band Pays Tribute To The dBs

USA TODAY

Stand-ins for DeciBels: A Tribute to the dBs

Contributors include Don Dixon, members of Hootie & The Blowfish, The Smithereens and Brian Wilson's band. Nov. 8.

Jazz Event Of '05 Dates From '57

VILLAGE VOICE

Saturday, October 29, 2005

Spector Murder Trial Update

YAHOO NEWS

Friday, October 28, 2005

Beach Boys Auction Halted With Minutes To Spare

ASSOCIATED PRESS

Thursday, October 27, 2005

Beach Boys Enlist FBI, Auction House Denies Selling Beach Boys Stolen Goods

UK YAHOO NEWS The Beach Boys are threatening to bring in the FBI to investigate a lucrative auction of the band's memorabilia, which they claim is stolen. The legendary 60s pop group insist they will sue the London auction house that is selling the iconic property, alongside the person who put it up for sale.

Cooper Owen are handling the sale of 28 lots, which include the original arrangement sheets for both "Good Vibrations" and "God Only Knows", which are handwritten by Brian Wilson.A lso set to go under the hammer today are Wilson and Mike Love's contract for "Do It Again" and personal photographs of the band with late Beatle George Harrison, reports the BBC.

In a statement, Brother Records, The Beach Boys' label, insisted "the FBI and Interpol may also become involved in the investigation."

However, Cooper Owen has now moved to deny the items are stolen with the owner saying he will counter-sue the band, who have spent much of their career in court. According to the auction house: "The Beach Boys items were purchased more than 20 years ago. (The seller) is claiming full title to the items which he has put up for sale in a public auction."

"He is also threatening to sue The Beach Boys' management for any damages that they have done to his reputation by making these last minute claims."We are now discussing the position with our lawyers. (The seller) has also been in discussion with The Beach Boys' management over this dispute."

"He states that he purchased this material more than 20 years ago and that The Beach Boys' management are wrong. He is prepared to fight them in court and defend his position vigorously."

BBC
PITTSBURGH LIVE
UPI
ENTERTAINMENTWISE
PRNEWSWIRE

Wednesday, October 26, 2005

BRI Claims Stolen Beach Boys Goods Auctioned

For Immediate release: October 27, 2005 Brother Records, Inc. Claims Stolen Beach Boys Memorabilia on the Block, Los Angeles, CA (Oct. 27, 2005)

The Beach Boys corporate entity, Brother Records, Inc., has notified London auction house CooperOwen that the 28 lots of memorabilia that are reported to be sold through live auction on October 27, 2005, was actually stolen from The Beach Boys. A criminal investigation has already commenced by the Los Angeles Police Department. The FBI and Interpol may also become involved in that investigation. Brother Records has made it clear that, in addition to the ongoing criminal investigation, it intends to file a civil lawsuit in the U.S. and the U.K. against CooperOwen and the individual seller of the memorabilia, as well as anyone who purchases any of the memorabilia at the auction.

Contact: Edwin F. McPherson McPHERSON & KALMANSOHN, LLP 1801 Century Park East 24th Floor Los Angeles, California 90067 Phone: (310) 553-8833 Fax: (310) 553-9233
emcpherson@m-klaw.com
www.m-klaw.com
Source: Brother Records, Inc.

Collegians Love To Compare Animal Collective To Brian Wilson

TUFTS DAILY “If the [Animal Collective] were ever to record a song while on speed, 'The Purple Bottle' would be the result; surf guitar-ridden 'Turn into Something' would be the fruits of Brian Wilson's labor while on LSD.”

Tuesday, October 25, 2005

Al Jardine Reaches Agreement With The Other Boys

WMGK "It seems as though the nearly six-year legal battle between former Beach Boy Al Jardine and the group might be over. Jardine has been suing the Beach Boys' organization Brother Records Inc. due to their blocking Jardine from using the words 'Beach Boys' anywhere in the billing of the solo shows. In a bizarre twist, Jardine, Mike Love, co-founder Brian Wilson and the late Carl Wilson's estate are all partners in Brother -- which means Jardine has in essence been suing himself."

"In the past few months, the estranged trio -- Jardine, Love and Wilson -- have met during separate meetings and it seems as though some type of arrangement has been worked out. Whether or not that means that Jardine will be appearing onstage with the Beach Boys, which now include Love along with 40-year veteran Bruce Johnston, is still up in the air."

"Bruce Johnston told us that he misses hearing Jardine on stage as part of the group's nightly harmonies: 'Al Jardine has a voice, a terrific voice, but he's got some notes there that nobody has. Y'know he just has a range that puts the song away, it's so good. It's stunning and traffic stopping. I couldn't sing like that!'"

Animal Collective Compared To Brian, Again

THE MANEATER "Aren’t The Beach Boys fantastic? 'Good Vibrations' is an outstanding song, though ‘excitations’ probably isn’t a word. Brian Wilson is either the most genius or most insane songwriter that ever lived. The man wrote songs in a giant sandbox and was friends with Charles Manson. After writing Pet Sounds, however, he regained his sanity, and that’s when the music started to suffer. John Stamos was their drummer, for instance."

"However, if Brian Wilson still wrote songs in his sandbox and never severed his ties to cult leader/convicted murderer/folk singer Manson, he probably would have been a prime choice for collaboration with Animal Collective, whose new album, Feels, recalls Wilson at the height of his insanity."

Monday, October 24, 2005

PR 101

INDEPENDENT UK “In the mid-1970s the Beach Boys had reached an all-time low, playing little more than pub gigs for a few hundred dollars a night.”

“They turned to a new manager, Tom Hewlett. On 4 July, he took the Beach Boys to Washington where they set up alongside the Washington Memorial and played for an hour. The truth is, among the vast crowds they were hardly noticed - many people thought they were a copycat group, cheap holiday entertainment. But the next day their manager was able to announce that the Beach Boys had played a gig at the Washington Memorial and one million people had come.”

“The media were derogatory: it was a scam. But Nancy Reagan stepped in and chastised them - the Beach Boys were her favourite group, as American as burgers and apple pie. The story ran and ran, and one month later the Beach Boys were back in 3,000-seater concert halls earning top bucks.”

Sunday, October 23, 2005

ABBA Cites Brian Wilson's Influence On Production

BLOGCRITICS According to Benny Anderson of ABBA, "The biggest inspiration for me as a producer was definitely Brian Wilson of the Beach Boys. There has always been a lot of vocals in American music. This is a tradition you had long before the Beach Boys. Wilson used vocals in a rhythmic way and added layer upon layer. Also Phil Spector, he's another guy who makes as much sound as possible come out of the smallest speaker. We tried to do that with ABBA. The human voice is the finest instrument."

Saturday, October 22, 2005

Unreleased Mike Love Album Should Stay That Way

Mike LoveMike Love, Not War (no label)

It’s no wonder that Mike Love has been unable to find a label willing to release this album. Mike Love, Not War is mediocre at best; certainly not great, but not completely awful, either. The lyrics are fairly banal. Given the fact that Love has been in the music business for over forty years, it’s surprising how pedestrian the lyrics sound. Any first year composer could do just as well. Unless you are a huge Mike Love fan, you need not worry about tracking down a copy of this disappointment of an album.

It’s pretty cheesy that Love ripped off the title of a bootleg for this album. Moreover, Mike Love, Not War doesn’t come close to sounding as good as any of Brian Wilson’s solo albums. The album features basic production with few flourishes, and has a demo feel throughout. All lead vocals are by Mike Love, except as noted.

1. Unleash The Love (4:04) – a jaunty little rocker featuring a decent acapella outro. The theme of the lyrics focuses on fighting injustice and pitching in to help other people. “Unleash the love and do it with dedication, unleash the love and set it free, unleash the love and spread it throughout every nation, for the greatest power on Earth lies in the heart of you and me.”

2. Cool Head (3:16) – an acapella intro kicks off this mid-tempo rock tune. The theme of the lyrics focuses on not stressing out. “You need a cool head and a warm heart to get you through your day without comin’ apart, you need a cool head and a warm heart and that’s how the day should start.”

3. Anything For You (3:01) – odd electronic beats with a slight soul feel; sax solo

4. Happy Birthday (2:13) – aka “Spiritual Regeneration.” Recorded in India in 1967 with members of The Beatles. A really basic recording with pretty rough sound; just a couple of acoustic guitars and vocals. This track has previously appeared on Beatles bootlegs.

5. Pisces Brothers (4:13) – the lyrics concern Mike’s trip to India in ’67: “It was an atmosphere divine…music and memories are all that last.” This is a slow ballad with tabla beats and an electric guitar solo.

6. Everyone’s In Love With You (4:23) – another slow ballad about “divine love.” The opening lyric is: “Everyone’s in love with you, but you can’t fall in love with anyone.” The track features some decent pedal steel guitar playing.

7. 10,000 Years (5:30) – mid-tempo rock with an ‘80’s feel; drum machine beats, distorted electric guitars, synth bursts & blasts, with fairly “heavy” sections. “10,000 years ago (oh well) the Earth was still kinda wet, they had a lot of rain for 40 days and 40 nights, it hadn’t had a chance to dry out yet.”

8. Glow Crescent Glow (3:32) – sounds of waves crash against acoustic guitar strums. Yet another slow ballad, but this one has some congas. “Glow Crescent Glow, on that moon-ship I want to go.” A child sings the final lyric, “Love like in fairytales.”

9. Daybreak (4:39) – acapella intro starts off still another mid-tempo ballad.

10. Too Cruel (3:30) –someone other than Mike Love is on lead vocals; not surprisingly, this is one of the better songs on the album. A slow ‘60s rock tune with a slight reggae flavor, drum machine beats, acoustic guitars and organ.

11. Brian’s Back (4:02) – this song dates to at least the mid-‘70s. The lyrics drop the names of several Beach Boys’ songs and albums (e.g. “Fun, Fun, Fun and Pet Sounds). Here’s the chorus: “They say that Brian’s back, well I knew him for oh so long, well they say Brian’s back, well I never knew that he was gone, still they say Brian’s back, I knew he’s had his ups and downs, well they say Brian’s back, but in my heart he’s always been around.”

12. I Don’t Wanna Know (3:50) – again, it’s not Mike Love on lead vocals. Mid-tempo, backbeat soul, not unlike “Mustang Sally.” This track features a horn section and an electric guitar solo.

13. Love Foundation (4:25) – bumpin’ up-tempo soul-rock with horns and several background vocalists. The extended outro features “in studio” break-down vamping by the vocalists. There’s also a couple of rap vocal sections.

14. Only One World (4:14) – female spoken word sections describe ecological themes