No Pier Pressure (board member reviews)

[Alan Smith]

So what about In The Back Of My Mind and Love and Mercy?

How does Brian sound on the first? Rough, smooth, or a bit of both? How does the backing differ from the 1965 version, if at all?

And Love and Mercy - is it a live version? What are the lyrics? Does it have the harmony bridge present in the 1988 and 1995 studio versions, but not in Brian's live renditions?

Brian sounds rough and smooth on ITBOMM, more a bit rough than smooth - but not as gruff as 15BO & LY;

As per 18/05, he pulls out the big guns at the end with some long held high notes and a tender finish, but overall he's fucking around a bit ala CF demo.  The performance is just Brian at the piano, no '65 backing track.

The lyrics go - I know it's so hard to find, a girl who really (really really really) understands your mind
Oh she may be happy just living so plain, but in the back of my mind, I'm afraid it's gonna change

I live my life for her, and livin' plain is all I have to offer her
what would I do if I lose her
it will always be in the back of my mind

In the front of my mind
I got nothing to worry about
cos she tells me everything I like to hear

In the front of my mind
I wanna be a best man
but I really got nothin to fear

(some other mincing around)

Pretty cool!

Love and Mercy is a soft approach; piano for the most part, with a bit of hammond (setting) in the middle - the backing vox are pretty good (some good power/energy) although someone clunks up before the last verse.  Brian's lead is wonderful, imo.

[rab2591]

.

[FatherOfTheMan Sr101]

Full review soon... But I just re read the article where Brian said he "fears death" and listened to the first track.

Broke down, got sick. I feel like I literally got kicked in the stomach. He feels like he's trying so hard to remain optimistic and maintain "This Beautiful Day" and his amazing lead on that track is just too much. I need a break, this is already kicking my ass.

[phirnis]

...
And probably my favorite Brian Wilson-related album since Friends.
...

You like it more than Sunflower, Love You or Holland?

[rab2591]

...
And probably my favorite Brian Wilson-related album since Friends.
...

You like it more than Sunflower, Love You or Holland?

Yepp. Sunflower has 2 songs that skip every time. Love You, kinda the same way - there are a couple tracks on side two that I can't stand. Holland is amazing but too dark compared to this. It's just my personal preference and opinion, of course. I like it when Brian Wilson is in total control - and, between the chords/harmonies/melodies/hooks this is the first album since Friends that I feel really has that classic Brian Wilson at-the-helm touch.

I added "probably" as well because who knows how I'll feel in 6 months about it. But for now, I'm truly impressed by what I hear.

[Debbie Keil-Leavitt]

Lowbacca and Rab:  Thanks so much for your reviews of NPP.  I'm actually saving them, they were so evocative and well-written.  It'll be fascinating to re-read them after I get the product and have my own experience.

[Shady]

One word.

Incredible.

Will do a full review later when I have the time to do this album justice.

[coco1997]

What's the sound quality like on ITBOMM?

[Shady]

The chorus on "whatever happened" is unbelievable.

Seriously gives me chills.

[RiC]

Just listened the 18-track version. I need to digest it for some time and listen it couple times more, but man I got to tell there's not a single track I'd skip on repeated listens. It's at least as good as TLOS, better than TWGMTR, even though I still think the last 3 tracks on the latter are better than propably anything on this one. In the Back of My Mind is really great, better than I'd ever expected. Sounds kinda jazzy. It has a good sound quality, better than Still I Dream of It on IJWMFTT. Love & Mercy is propably the best version there is, does anyone know when it was recorded? Sounds like 21st century to me.

[Lowbacca]

Debbie, you're welcome.


Great review, rab!!

We are blessed, people.

[RBennett123]

Wow. Better than TWGMTR hands down. Trying to wrap my head around this. The album flows better than I could have expected. NPP NEEDS to be taken as a whole, not single tracks. I am completely blown away.

[RBennett123]

This seriously sounds more like a BB record than TWGMTR. Al is all over this. So impressed.

[the professor]

Thanks from the professor as well. Many of you are intimating or stating outright that Radio, by contrast, seems Fosquetticized. I fear that when I listen to Radio I try not to hear Jeff, which is a bad situation. No danger of that here it appears. It is too absurd to long for a BB album with Matt instead of Jeff? A remastering of Radio without him singing 10 parts all over the place?

Some lament that there should b emore Dave on the album. I hope he gets to play more on the rock album. But I am pleased that he is on 2 songs with Al and Brian. How is his part on Whatever happened?
The professor will weigh in when he receives his copy Monday. His sense so far is that this is a landmark album.

Lowbacca and Rab:  Thanks so much for your reviews of NPP.  I'm actually saving them, they were so evocative and well-written.  It'll be fascinating to re-read them after I get the product and have my own experience.

[RBennett123]

Thanks from the professor as well. Many of you are intimating or stating outright that Radio, by contrast, seems Fosquetticized. I fear that when I listen to Radio I try not to hear Jeff, which is a bad situation. No danger of that here it appears. It is too absurd to long for a BB album with Matt instead of Jeff? A remastering of Radio without him singing 10 parts all over the place?

Some lament that there should b emore Dave on the album. I hope he gets to play more on the rock album. But I am pleased that he is on 2 songs with Al and Brian. How is his part on Whatever happened?
The professor will weigh in when he receives his copy Monday. His sense so far is that this is a landmark album.

Lowbacca and Rab:  Thanks so much for your reviews of NPP.  I'm actually saving them, they were so evocative and well-written.  It'll be fascinating to re-read them after I get the product and have my own experience.

There are a few different guitar parts weaving in and out throughout, so it is hard to tell what part Dave is playing (maybe all of them)? They are all great though. Landmark album for sure.

I am digging the mix on this. If anything, the best MIXED Brian solo record. I am noticing at the very end of several cuts, you can hear amplifier buzz/chairs moving/general studio movements. I really like how this wasn't removed. It's really apparent on Saturday Night, Sail Away, and One Kind of Love.

[coco1997]

Can anyone close to Brian's camp give some insight into why "ITBOMM" was chosen as a bonus track? Don't get me wrong, I've been dying to hear this recording for YEARS, but it just seems like an odd selection to throw onto the album. At least "Love and Mercy" makes sense given it's the title of the upcoming movie.

[RiC]

Can anyone close to Brian's camp give some insight into why "ITBOMM" was chosen as a bonus track? Don't get me wrong, I've been dying to hear this recording for YEARS, but it just seems like an odd selection to throw onto the album. At least "Love and Mercy" makes sense given it's the title of the upcoming movie.

I'm certainly not close to Brian's camp, but at least in my opinion it fits quite well there in the middle between Last Song and Love & Mercy. It doesn't stick out there at all actually, as you'd expect some bonus track to do. Overall it fits with the mood of the album.

[coco1997]

I'm certainly not close to Brian's camp, but at least in my opinion it fits quite well there in the middle between Last Song and Love & Mercy. It doesn't stick out there at all actually, as you'd expect some bonus track to do. Overall it fits with the mood of the album.

I mean, the recording is forty years old. By all accounts Brian has a ton of unreleased stuff in the vaults. I figured it was a way to throw the hardcore fans a bone since it was left off MIC.

[The LEGENDARY OSD]

Got my vinyl copy of NPP earlier. Gave it a few spins and here are my thoughts:

Firstly, I want to stress that if you’re going to listen to this album: truly listen to it. Listen in a way that you won’t be distracted by anything. I turned my computer off, turned my phone off. I got the levels on my system just right and laid back to listen to this. Find your own distraction-free way to listen to this one…

1. This Beautiful Day.
   Brian’s vocal is so damn powerful - he really nails those high notes - and they’re cushioned by his trademark wall-of-harmonies. Summer’s Gone homage played by a cello (I think) - perhaps not a coincidence?…picking up right where The Beach Boys left off? This is no doubt my favorite intro of any BW solo album. Theres moment right in the middle where it all comes together (bass, strings, trumpet, and harmonies) and it really sets a nice chill mood for the album. 5/5

2. Runaway Dancer
   The chill mood is completely shattered when this dance tune comes in…although the sax intro gives a good amount of space between the previous opener and the loud bass drum beat of Dancer. I think you have to leave your preconceived notions at the door when you listen to this one - just take it for what it is. If you don’t like dance music, then you probably won’t like this one. Brian is a sucker for synths, so it was only a matter of time before he made at least one attempt at a song like this. The synths are catchy, and the bridge to the final chorus section really packs an emotional punch. I don’t think this will ever gain traction in a youth setting….but just take it for what it is: Brian’s having fun with synths again! 4/5

3. Whatever Happened
   For anyone worried that Brian isn’t on this album enough - listen to this song. This is the Beach Boys right here. Brian sounds as good as he did on the Gershwin album, only Al is here to sing alongside Brian and it’s perfect. The chorus is full of chill yet energizing melody/harmony.  This one gave me chills coming right after Runaway Dancer - it’s a complete 180º from the upbeat tempo of the prior song. Perfect lyrics throughout the song as well - “the harbor lights, the moon across the bay”. I flippin’ love it. 5/5

4. On The Island
   Stop expecting Brian to create Pet Sounds or Smile every time he writes a damn song. Just take it for what it is: this is a really fun relaxing jaunt to “an island nation”. It’s not meant to be a masterpiece, just a really nice chill song. Someone mentioned before about how Brian’s vocal sounded odd during the chorus….I think his voice is purposely supposed to sound like an ocean wave or a gust of wind almost. Highlights for me; middle eight where Zooey does some vocal harmonizing alongside the guitar noodling. It should go without mentioning, but Zooey’s lead vocal is perfect for this bossa nova tune. Also gotta add that the music video made this song that much more special for me - it gave it a cartoonish visual atmosphere that really stuck with me. 5/5

5. Our Special Love
   Those opening (and closing) harmonies are some of the best arranged vocals of Brian’s solo career. This version is different than the Hollens CD mix - there are added harmonies at certain points and it seems to be mixed better. The bass notes really stick out to me - also, listen deeply into this track - there are so many lines of harmonies going on far in the background. It’s an easily overlooked track that is full of life if you just listen for it. 3.9/5

6. The Right Time
   My least favorite track of the regular album, but it’s still really catchy and fun. Al sounds like he’s no older than 25 on this cut. The middle-eight is nice - simple yet catchy and beautiful. Not much more to say about this one. 3.5/5

7. Guess You Had To Be There
   After hearing Al and Brian on The Right Time, it’s quite a shock to hear Kacey Musgraves right out of the gate on this one. It really did throw me off, and I didn’t like it. Then Brian kicks in on the second half of the first verse and I grinned a dopey smile for the rest of the song. It all comes together when Brian gets in the mix. This collaboration works well…Musgraves has an amazing voice and it fits perfectly with the lyrics. Also notice the wonderful mixing on this track - everything sounds muddy with harmony, bass, drums, banjo, and guitar. Truly reminds me of Wouldn’t It Be Nice…only obviously far more bouncy and pop-ish. Also, normally I HATE those stereotypical guitar breaks in songs, but this one I actually look forward to hearing every. damn. time. - it’s really catchy and it fits great. Definite 5/5

8. Tell Me Why
   Al dammit, your voice sounds so good - HOW DO YOU DO IT. Of any track that reminds me of Imagination on this album, it’s definitely this one. But even then, this is much more of a TWGMTR track than Imagination. The coda on this is perfect, probably my favorite outro on the album - a lot of harmonies and underneath Brian is singing “tell me why”. 4/5

9. Sail Away
   GOOD GOD THERE IS A CALLBACK TO SLOOP JOHN B I CAN'T ENJOY THIS NOW UGHHHH just kidding who honestly gives a fig if there’s a callback to a prior song. Blondie adds a lot to this track, and it kinda makes me wish he had more leads on the album. But regardless of that, he fits right into this and damn it sounds good. Al, again, how the hell is your voice that good?? I gotta yap, yet again, about the bass harmonica and the accordion really adding a lot of dimension to the chorus. I find the first verse and chorus to be the highlight of the song - it kinda mellows out a little after that….but I feel the same way about Wouldn’t It Be Nice and that’s still one of my favorites. 5/5

10. One Kind of Love
   Holy sh*t. I’m just going to talk about the chords and production for the moment: this one carries a serious Beatles vibe during the verse, has an insanely beautiful french horn to open and close it, and my god the chords are flippin beautiful. Now onto what really impresses me about the song: Brian’s vocal - one of his best, well, in a long damn time. Listen to him sing “calling out for you” - pahhh. just beautiful…best vocal of the album. The second verse is full of harmonies that truly make this song something else. Really love the chorus as well. I can’t wait to sit in the theaters and hear this over the credits in Love and Mercy! 10/5

11. Saturday Night
   At this point the guest artists aren’t such a shock. And Nate honestly fits this part perfectly - almost as if the song were written specifically for him because I can’t see any other singer pulling this off. “We’re playing our music too loooooouud” DAMN. Best pop hook of the album. As far as pop highlights go, this is THE track of the album. Nate kills the vocals and Brian adds a bit of flavor along the way. There is a lot going on in this one, different sections and whatnot, but it all fits together nicely. 5/5

12. The Last Song
   Wirestone summed this song up perfectly in a previous thread (I hope you don’t mind me quoting you in my review!): “For whatever reason, the melody and execution of The Last Song really speak to me. It is overwrought and big hearted, but it's also reticent and tender. It's mixed so peculiarly that I can only imagine BW was behind it. It falls short of its potential while surpassing it at the same time. It's a miraculous, confounding, touching, gauche, nearly perfect yet also flawed.” — Perfectly put and I can’t say much more about it. I love the layers, the depth. There are small moments throughout this song that send shivers down my spine. 5/5

The bonus tracks: Half moon bay is on the bonus track side of the vinyl - I kinda wish it were placed inside the actual album, but I can imagine spacing these tracks out was an issue for the vinyl pressing. This song takes you to a place. Reminds me of a Miles Davis meets Brian Wilson track…Isham is wonderful on it. Honestly, I don’t know why I’m Feeling Sad was only a bonus track! It is one of my favorites from this project. Don’t Worry - really dislike it and I’m glad it’s on the last side of the vinyl. I kinda dislike the Deluxe CD track listing because it puts this song in the middle of the album, and I can imagine it throws off the vibe of the album. However, you can tell it’s just Brian having fun, so I don’t blame him for making it. Somewhere Quiet is beautiful - has a real ocean feel to it, just sort of drifts along in melody and harmony….it does feel like a bonus track, but I can see it being apart of the regular album as well. When I get the Target version on Tuesday I'm definitely rearranging the songs in iTunes so these bonus tracks are not in the middle of the album (thought I'll probably keep Half Moon Bay and I'm Feeling Sad right where they are).

Overall, this is no doubt my favorite Brian Wilson solo album. And probably my favorite Brian Wilson-related album since Friends. Hell, this is a Beach Boys album; it sounds more like The Beach Boys than TWGMTR did (even with the dance track, and Nate Ruess giving us his unique vocal flavor on Saturday Night). This has beautiful colorful harmony ALL the hell over it. It is brimming with hooks, beautiful chord changes, crazy and off the wall songs NO ONE would’ve ever expected Brian to be making. Yet it also has some of Brian’s most poignant songs ever (Whatever Happened, One Kind of Love, Last Song). Al sounds like a god on it, Blondie adds a lot to the mix. If I had one qualm about the album, it was that David wasn’t given a more centralized role on the tracks. But then again, that’s Brian’s call and I’m satisfied with the way these tracks turned out regardless.

I’m sure a lot of people won’t like the album. I’m sure a lot of “new” posters with an agenda will be turning up to rip this to shreds (well, they already have and it's fairly transparent). I’m sure some will be bemoaning the fact that Mike and Bruce aren’t on it. That the production stinks and Brian should stop working with Joe Thomas. Heh, if you’re hating the album because of an agenda, sod off. If you truly can’t find any artistic merit in these songs, more power to ya. Mike and Bruce aren’t on it? I say who cares at this point? Try not to let their absence plague you with obsessive irritation when listening to these beautifully crafted tunes. Can’t stand the production? Fine - but don’t blame Joe Thomas for your woes. Brian worked his ass off on this album, and then he stamped his approval to release it…’nuff said.

Overall: 5/5

Outstanding, Rab! Thank you.  Five (out of a possible 5) whoots.   

[Lowbacca]

I'm certainly not close to Brian's camp, but at least in my opinion it fits quite well there in the middle between Last Song and Love & Mercy. It doesn't stick out there at all actually, as you'd expect some bonus track to do. Overall it fits with the mood of the album.

I mean, the recording is forty years old. By all accounts Brian has a ton of unreleased stuff in the vaults. I figured it was a way to throw the hardcore fans a bone since it was left off MIC.

There you go.

[rab2591]

Thanks OSD, Lowbacca, and Debbie! Glad you guys enjoyed the review. I'm sure I'll have more to say when I get the Target version (eagerly looking forward to hearing Love and Mercy and ITBOMM). Also, eagerly looking forward to reading everyone's full reviews of the album. Exciting times!

[job]

"Overall, this is no doubt my favorite Brian Wilson solo album. And probably my favorite Brian Wilson-related album since Friends. Hell, this is a Beach Boys album; it sounds more like The Beach Boys than TWGMTR did"

Yup...I've been saying this for weeks.  I thought I was wrong once...I was mistaken.

[GhostyTMRS]

With NPP added into the mix, I'd rank Brian's solo studio albums like this:

1. BWPS - *****
2. Brian Wilson 88 **** (I know some people here don't like it. I was in my 20's when this came out..at the height of my Brian-mania. It'll always be special to me)
3. NPP ****
4. TLOS **** (the Best Buy version with "Just Like Me and You"..in my top 10 of Brian Wilson solo songs
5. Imagination *** (I used to rate this higher than TLOS. It's a lost a bit of luster over the years)
6. Reimagines Gershwin ***
7. IJWMFTT ***
8. Orange Crate Art ***
9. GIOMH **
10. WIRWFC **
11. In the Key of Disney **

[♩♬🐸 Billy C ♯♫♩🐇]

Not counting NPP, as I have yet to hear the full album, I'd go
1. BWPS
2. TLOS (almost gave this the top spot, but I hate the spoken word interludes)
3. Gershwin
4. Disney.
5.WIRWFC

(gap)
6. IJWMFTT
7. BW88

(HUGE gap)
8.GIOMH
9 OCA (the songs after San Francisco generally suck, and Hold Back Time is the worst non-Speed Turtle song ever recorded by BW)
10. Imagination

[Alan Smith]

Just finished second listening to the Royale with cheese edition.  This is a pretty satisfying and charming album, broad enough to satisfy many a listener - I would hazard negative "professional" reviews were last minute or hasty gloss overs, as there's a lot to chew on (vocally especially, Brian is on top form), and I'm far from finished with this baby.

As per the great man, there are many twists and turns within these songs, and they do deserve a full run through, in case you miss a little snippet of mid song brilliance because the track started shakily or in a different musical tone.

I must say I was quite appreciative of the studio version of Runaway Dancer vs the live vid.  It quite crackles, and the number of backing vocalists seem fewer or better layered than the live run through.  Like Our Special Love, it's not quite my musical cup of tea, but the arrangement and production on both are meticulous and offer some complex listening.

Without anything to go on, I got the impression/wouldn't be surprised that Whatever Happened was part of the Life Suite - again, I've got nothing, and if this has been mentioned/discussed/answered before, apologies in advance for being asleep at the wheel.

Half Moon Bay was a great suprise, I wonder if this approach was born out of the Jeff Beck period (ie, Brian envisioning an fleshed out instrumental lead - the trumpet sounds great, but I can easily imagine a searing guitar providing equitable emotional gravitas.

I think She & Him should have been given a crack at I'm Feeling Sad, there is just something about the melody that I think would suit Zooey's voice.  

I'm still a bit perplexed by Somewhere Quiet, not sure about that one.

Anyway, y'all better buy this one, and take your time with it if your not instantly convinced - you never know how you'll feel in a month or 2.

Quick packaging notes - I have the made in Oz version of the deluxe: standard jewel case, the promo "sticker" usually on the jewel case is actually printed on the top right corner of the front cover (booklet centre photo with Brian Wilson's new album featuring...).  Great back booklet cover photo of the great man, presented in black & white & yellow).  

There are some other Brian sitting at the piano, Brian sitting on a Marshall guitar amp photos and a few more shots from the Pier photo shoot - one with a Red surfboard photo-shopped in.

Steve Desper and Mark Linett get additional engineering credits, and additional mixing credits for Mark - I will assume for now this is for ITBOMM & Love & Mercy respectively. ****Edit 04/04/15 - incorrect assumption re Steve Desper, as he'd moved along and was working elsewhere****

The thanks bit includes a call out to Capitol Records, Brian's musical home for 50 years.  

I agree the mix is good, although the CD mastering is a bit trebly, with a lot of sibilants apparent through-out.  I am looking forward to getting my filthy paws on the vinyl to see if this reduced.

Good Times!