THE BEACH BOYS - That's Why God Made The Radio SS member reviews

[Summertime Blooz]

The news report at the end is a delightful and odd touch that reminds me of how Brian reportedly insisted on layering in the "emotional weather report" into "Happy Days" (from "Dante's Inferno"?). It's interesting how often Brian has used the spoken word throughout his recordings.

This reminds me- am I the only one who was surprised that the DJ opening for TWGMTR that we heard on the sizzle reel was missing fron the final product? Was it a last minute change or was it never intended for the album. Anyway- I have both versions now.

[Roger Ryan]

The news report at the end is a delightful and odd touch that reminds me of how Brian reportedly insisted on layering in the "emotional weather report" into "Happy Days" (from "Dante's Inferno"?). It's interesting how often Brian has used the spoken word throughout his recordings.

This reminds me- am I the only one who was surprised that the DJ opening for TWGMTR that we heard on the sizzle reel was missing fron the final product? Was it a last minute change or was it never intended for the album. Anyway- I have both versions now.

Since it was only heard on the sizzle reel and not the "lyric" video on YouTube, I just assumed it wouldn't appear on the album. I'm kind of glad it's not there since I felt it was a little too on-the-nose (the "Bill and Sue" voice-over works fine because it's buried pretty deep in the mix).

[b00ts]

I hum "Strange World" more than any other song since I've heard the album. Catchy chorus.

Mike Love is doing some really cool bass stuff on the choruses. The 'modern' approach to the mix hides his vocal. I wish this album could have been mixed more authentically. The slickness of hiding all the imperfections and having voices and insturments moving in the stereo spread to cover stuff up. Summer's Gone is *almost* mixed 60s style, and it sounds the most honest because of that.

Yes yes yes!!! The modern mixing of the album obscures Mike's bass vocals on the title track, "Isn't It Time" and some others. Notably, his bass vocal is up front on "Daybreak" which was obviously produced separately from the rest of the album.

I wish the rest of the vocal harmonies on the album had been mixed more like "Daybreak." Jeff's voice would stand out  less and would function more as a 'flavor enhancer.' The decision to go with a top end-heavy mixing aesthetic means that the harmonies are often less like The Beach Boys and more like Brian, Mike, Al, Bruce and Jeff in 2012., if that makes sense.

Of course, this is The Beach Boys, so we are all getting used to the new blend and the way it is mixed. Man though, I wish Brian and Mike's lower harmonies (especially Mike's bass harmonies) were more prominent throughout. Again, they would balance Jeff much more effectively than they do now. For example, The "Goodbye" at the end of "Pacific Coast Highway" has a very prominent vocal from Foskett, which is fine, but if the rest of the group were mixed louder, it would sound more like The Beach Boys.

[Wirestone]

What is the order of the harmony stack now? I was wondering that the other day. I actually don't think Brian is near the bottom. Isn't it (from high to low):

Foskett
Bruce
Brian
Al
Mike

I guess Al and Brian could switch now and then.

[LetHimRun]

I hum "Strange World" more than any other song since I've heard the album. Catchy chorus.

Mike Love is doing some really cool bass stuff on the choruses. The 'modern' approach to the mix hides his vocal. I wish this album could have been mixed more authentically. The slickness of hiding all the imperfections and having voices and insturments moving in the stereo spread to cover stuff up. Summer's Gone is *almost* mixed 60s style, and it sounds the most honest because of that.

Yes yes yes!!! The modern mixing of the album obscures Mike's bass vocals on the title track, "Isn't It Time" and some others. Notably, his bass vocal is up front on "Daybreak" which was obviously produced separately from the rest of the album.

I wish the rest of the vocal harmonies on the album had been mixed more like "Daybreak." Jeff's voice would stand out  less and would function more as a 'flavor enhancer.' The decision to go with a top end-heavy mixing aesthetic means that the harmonies are often less like The Beach Boys and more like Brian, Mike, Al, Bruce and Jeff in 2012., if that makes sense.

Of course, this is The Beach Boys, so we are all getting used to the new blend and the way it is mixed. Man though, I wish Brian and Mike's lower harmonies (especially Mike's bass harmonies) were more prominent throughout. Again, they would balance Jeff much more effectively than they do now. For example, The "Goodbye" at the end of "Pacific Coast Highway" has a very prominent vocal from Foskett, which is fine, but if the rest of the group were mixed louder, it would sound more like The Beach Boys.

Agree, you can hear the glimpses here and there, but the album somewhat overall seems to be missing that essential up front Mike bass vocal that made their albums complete for many, many years.

[Jonathan Blum]

Mike Love is doing some really cool bass stuff on the choruses. The 'modern' approach to the mix hides his vocal. I wish this album could have been mixed more authentically.

An actual "authentic" and "honest" mix would bury it even more.  I think what you're getting at is, you prefer '60s studio trickery -- like having Mike on a separate mic and boosting his vocal -- over '10s studio trickery.  They're all matters of style, even the stuff you're treating as "authentic"...

Cheers,
Jon Blum

[Ron]

What is the order of the harmony stack now? I was wondering that the other day. I actually don't think Brian is near the bottom. Isn't it (from high to low):

Foskett
Bruce
Brian
Al
Mike

I guess Al and Brian could switch now and then.

I think that's it, but it's all high.  Mike is singing pretty much middle ground, head voice stuff, with Al above him, Brian above him, and Bruce and Jeff up in the rafters.  Then they add Mike back in doing bass vocals here and there.  


BTW, Check out Brian (can't mistake Brian!) singing that really crazy harmony line at the end of "Strange World" as it starts breaking apart.  Whoa. 

[b00ts]

Mike Love is doing some really cool bass stuff on the choruses. The 'modern' approach to the mix hides his vocal. I wish this album could have been mixed more authentically.

An actual "authentic" and "honest" mix would bury it even more.  I think what you're getting at is, you prefer '60s studio trickery -- like having Mike on a separate mic and boosting his vocal -- over '10s studio trickery.  They're all matters of style, even the stuff you're treating as "authentic"...

Cheers,
Jon Blum

It has little or nothing to do with technology, authenticity or honesty; it is merely an aesthetic decision. I believe Mike's harmonies were tracked/overdubbed separately, as were most of The Beach Boys on this album. It is simply an aesthetic decision about mixing that we are referring to - how the tracks in the vocal stack are equalized and mixed, and how they interact with one another in the final product.

Compare the mix of Sunflower to the mix of Surfs Up - both early 1970s albums, released one year apart, and the entire instrumental soundstage is different. Surf's Up has more of an up-front sound, while Sunflower is spread out in glorious stereo.

Likewise, compare the mix of "Daybreak" to the rest of the songs on the new album. "Daybreak" sounds very similar to the classic Beach Boys blend not because of studio technology being different, but because of the soundstage created in the mixdown. Mike's bass vocal is very prominent in the mix.

[Chris Brown]

I made an effort today to listen to those "middle" tracks that I wasn't so crazy about during my first listen last night.  A lot of them grew on me, notably "Shelter" and "Daybreak".  Foskett bugs me a little in "Shelter" but that could be because I'd kill to be hearing Carl sing his part instead.  Where the hell was Christian Love when you needed him?  He sounds amazing on "Daybreak", a track that I hated last night but actually grew to enjoy after another few listens.

"Isn't It Time" is a great tune, the arrangement just doesn't work for me - not yet, anyways.

Oddly enough, "Strange World" isn't growing on me.  I really thought it would. 

If you'd have told me a month ago that a track called "Spring Vacation" would be one of the most enjoyable cuts, I'd have said you're crazy, but its been the biggest "ear-worm" track so far for me.

"Beaches in Mind" is still a boring clunker for me - given the title I had a feeling that might be the case, but 1/12 ain't bad though.

[Ron]

The ones I can't get into yet are Shelter (I just don't get it, I'll have to listen some more)... Daybreak (It's soooo borrrring).... Beaches In Mind (a little corny even for me).... and I'm not really big on "Bill and Sue" although it's growing on me. 

Best song on the album imho is Spring Vacation, then From there to back again, Strange World, Isn't it Time, Pacific Coast, Summer's Gone, That's Why God, Think of The Days in that order.

[Runaways]

Strange World still sounds like a Disney song.  Not sure i'll ever get into that one, though I don't think it's a bad song like Beaches In Mind.  Seriously and a bad tune.

[Newguy562]

out of the whole album i can only listen to 5 songs :/ but they are 5 really good songs imo lol

[Ron]

Strange World still sounds like a Disney song. 

See to me that's a resume enhancement, though....

[Dr. Tim]

When I first heard the mp3 of the single I had trouble hearing anyone distinctly other than Brian and a bit of  Mike at the end.  Now, in true 16/44.1k splendor, I can hear the Boys and Jeff's blends nuch better throughout.

Unfortunately now I can also hear the auto-tuning and how pasted-together it is.  Yeah I know that's modern recording, but damn, try to fool me just a LITTLE!  CURSE you ProTools!!!!

And we know it's written and assembled by committee.  That said...

This was far better, and held together so much better, than I was expecting.  I was a-fearin' it would really blow.  Happy to be wrong about that.

I like the Our Prayer intro, the single, and the deliberate left turns, which include the Bill and Sue thing.  That one pulls off the gag of sounding more topical than it really is; it doesn't develop much but it sells the joke. 

The suite at the end is astonishing for its reflectiveness, not the sort of thing one would expect from the "fun/sun/beach/girls" faction of the band.  But everyone had their say, got their way, and it's a pleasant hodgepodge. not their most adventuruous, but not expected to be.

Let's hear more.

[Justin]

Beaches In Mind (a little corny even for me)....

Cool intro but the guitar fills in between the vocals?  Blahhhhh.  Gag.  Totally scarred the track that was barely floating above water.  Shame.

[Summertime Blooz]

Beaches In Mind (a little corny even for me)....

Cool intro but the guitar fills in between the vocals?  Blahhhhh.  Gag.  Totally scarred the track that was barely floating above water.  Shame.

I was literally shocked and horrified the first time I heard that track.

[guitarfool2002]

My cat loves the new album.

[MyGlove]

I got the album yesterday. A little late, but i wanted to pick it up at the store so i could hear it in the car. And... really as an album it doesn't really hold up at all. Great songs, arrangements, their voices are great, the music is awesome. But as a cohesive work of art like Pet Sounds, it falls flat. I was kind of expecting that too when Al said "very Pet Sounding". I'd probably rank it with MIU and LA as far as songs go (not a bad thing since i at least "like" those albums), but i can't really see it ever reaching anywhere close to any 65-77 stuff. And maybe that's not what they were going for. I mean they're 70 years old.. I wouldn't expect them to churn out a modern classic. Well.. maybe i did expect it a little. But for intents and purposes this is an enjoyable listen. Very beautiful. i'd probably give it a 6/10

[Outtasight!]

This album is the best BB's album since Surf's Up. Love You is just as good but comes from a different universe. It is also up there with Lucky Old Sun and the Gershwin alum. I rate it that highly at the moment. It's getting better with each listen. I would have changed the sequencing but have no real gripes other than Daybreak is average. I actually enjoy the production and really can't hear the comparisons to Imagination, it's streets ahead of that album in terms of song quality and production. Love it.

[Summertime Blooz]

This album is the best BB's album since Surf's Up. Love You is just as good but comes from a different universe. It is also up there with Lucky Old Sun and the Gershwin alum. I rate it that highly at the moment. It's getting better with each listen. I would have changed the sequencing but have no real gripes other than Daybreak is average. I actually enjoy the production and really can't hear the comparisons to Imagination, it's streets ahead of that album in terms of song quality and production. Love it.

Best since Surf's Up- I agree.

[Newguy562]

can comeone plz tell me what's so good about surf's up besides til i die and surf's up?

[EgoHanger1966]

can comeone plz tell me what's so good about surf's up besides til i die and surf's up?

Those are the best ones (the killers - IMO). The other songs I like are Disney Girls, Long Promised Road, and Feel Flows.
I dislike a lot of songs on that album though - I don't even rate it as highly as MIU!

[pixletwin]

can comeone plz tell me what's so good about surf's up besides til i die and surf's up?

Ummm just the most majestic song they ever did "A Day in the Life of a Tree". Long Promised Road and hell I would even include Lookin' At Tomorrow as awesome songs... Replace a few duds with 4th of July and Fallin' in Love and you have a classic every bit as good as Pet Sounds.... imo of course.

[Newguy562]

I'm going to check this album out once more and if it doesn't appeal to me then it's just not there for me :/

[Summertime Blooz]

can comeone plz tell me what's so good about surf's up besides til i die and surf's up?

I like it all. Their last classic album in my book. Their next two departed too dramatically from what the Beach Boys  had been up to that point because of the personnel changes. Then they went on a 38 year Endless Summer bender trying to recapture the 60s, but failing to measure up artistically. I'm not in the 'Love You album is great' camp either.