The Smiley Smile Message Board

How'd you get it so early?

Joe Thomas is good enough for Brian and yet he's not good enough for some of the people on this board. Troubling.

Joe Thomas is good enough for Brian and yet he's not good enough for some of the people on this board. Troubling.

If Brian never records with anyone other than Joe, then so be it. I have absolutely no issues with JT...

Much like "the right time", Al's vocals and Dave's guitar. The song is really about growing old and watching things like your favorite places vanish. Basically the message is things are changing all around me as I grow older, but thank goodness I can count on you... meaning Melinda presumably. It's really got nothing to do with the Beach Boys at all. It's a love song.

If Brian never records with anyone other than Joe, then so be it. I have absolutely no issues with JT or Brian's decision to choose him. Time for all the "experts in production" here to either accept that or move on to some other artist to criticize. I'd rather support Brian and his team instead of hearing people bitch about this, that or the other thing. NPP is going to be another victory for Team Brian so be somewhat thankful that Mike Love didn't worm his way into this project because then, we'd all have something to scream about.

Joe Thomas is good enough for Brian and yet he's not good enough for some of the people on this board. Troubling.

Firstly let me say I am very happy Brian is still making music but lets be frank here. This is Brian Wilson we are talking about, one of the greatest producers ever. I honestly don't understand how so many of Brian's fans can be OK with how Joe's stuff sounds. If this album sounded anywhere near as good as TLOS I'd be more than happy, but it doesn't. It's glossy, sparkly and sickly sweet to my ears.

Sorry.

I give it 4 stars.

      

TWGMTR doesn't sound like Imagination. And NPP doesn't sound like either.

If one actually bothers to listen to Brian's solo output, the latest albums sound a lot less like Imagination and a lot more like the records he recorded in the oughts.

The biggest difference? Joe gets Brian writing new songs, many of which are excellent.

Joe learns. So does Brian.

I'd get your hearing seen to, were I you. That or you actually like tuna fish.

[edit: cute...  ;D]

Rather comical coming from one who's hearing has taken a dump as of late. Tuna fish? Sure, as long as it's done tastefully as Joe and Brian have done on NPP. But you would know better than
them, huh?  ::)

Maybe Brian likes working with Joe, and likes the finished product? I mean, say what you will, but Brian is clearly getting something out of the relationship. Feel free to dislike the sound, but don't presume that Brian is doing anything other than what he wants to do.

Is that 4/4 stars or 4/5 stars?

I threw up reviews (not literally; the songs were actually quite the opposite of vomit-inducing) of the so-far-released songs on my Blog, http://beachboysopinion.blogspot.com , and I'm also trying to keep a companion Facebook page for the blog, http://facebook.com/beachboysopinion

I still think Brian should recall the copies of "No Pier Pressure" and quickly record and add on a song based on yesterday's Twitter Q&A, possibly titled, "Send Me a Pic and I'll Tell You."

I'm probably not going to buy "On the Island" on iTunes right now; I guess at this stage I'll keep as much mystery and surprise for the album as possible.

Can someone post confirmed songwriting credits for all of the songs on the album? Curious if it's literally mostly Wilson/Thomas.

Maybe on par with TLOS??  From what I have heard, it blows away TLOS.

Exactly, and isn't it interesting that Brian's best vocals occur when Joe is co-producing.  :brow

Rather comical coming from one who's hearing has taken a dump as of late. Tuna fish? Sure, as long as it's done tastefully as Joe and Brian have done on NPP. But you would know better than them, huh?  ::)

I prefer the production sound of TL OS better than what's on this record, but song for song I think there are more stronger songs on NPP than on TL OS.

Just checking... nope, according to the credits of BWRG Thomas had precisely nothing to do with the album widely considered to showcase Brian's best vocals of his solo career. Thomas also had diddly to do with TLOS.  So, neither interesting nor accurate. ;D

Post that again when you've sobered up and it might make sense.

How'd you get it so early?

... and how'd he listen to it enough to write a review, so early?  Why review something from an artist you revere enough to be on a message board devoted to... by listening to his album once and then writing your thoughts?


Patience, Grasshoppa.

Did they bring Jim Peterik back in during the NPP sessions to help with "Sail Away," or was this song written in 2012?

Songwriting credits for HeyJude:

1. This Beautiful Day (B. Wilson and J. Thomas)
2.  Runaway Dancer (B. Wilson and J. Thomas and S. Simonian)
3. Whatever Happened  (B. Wilson and J. Thomas)
4. On The Island  (B. Wilson and J. Thomas)
5. Half Moon Bay (B. Wilson and J. Thomas)
6. Our Special Love (B. Wilson and J. Thomas)
7. The Right Time (B. Wilson and J. Thomas)
8. Guess You Had To Be There (B. Wilson and J. Thomas and A. Salgado and K. Musgraves)
9. Don't Worry (B. Wilson and J. Thomas)
10. Somewhere Quiet (B. Wilson and S. Bennett)
11. I'm Feeling Sad (B. Wilson and J. Thomas)
12. Tell Me Why (B. Wilson and J. Thomas)
13. Sail Away (B. Wilson and J. Thomas and J. Peterik and L. Millas)
14.One Kind Of Love (B. Wilson and S. Bennett)
15. Saturday Night (B. Wilson and J. Thomas and N. Reuss)
16. The Last Song (B. Wilson and J. Thomas)

Peterik co-wrote "Your Imagination" (he's not credited in the CD notes, but he's listed as a co-author by BMI) and "Dream Angel" in the late '90s, and the song TWGMTR dates from that period, too.

That being said, I think he came back in 2011-2012 to put some final touches on the song and work on "Isn't It Time." So "Sail Away" could come from either of those period or be totally new.

Oh man. Just got my review copy of the Deluxe Edition. Excited beyond words. Gonna put it on as soon as dinner is ready and my face muscles have relaxed from grinning maniacally. Gotta say, I feel really good about this.

I'm going to update this with first track-by-track impressions, provided I'm still conscious by track 3, or something.

 :thud

__________________________________________________________________________________________



1.    "This Beautiful Day"          
Brian knocks another beautiful mood-setting album opener out of the park.

2.    "Runaway Dancer"     
Brian Wilson is not about harmonies, sunshine, melancholy or health food - he's about surprise. Track #2 takes you by the beach balls and yanks the whole thing in an unexpected direction - especially after the opening track. This is BW like you've never heard him. He's trying something new and you can't help but dance to it. And the kids will too.

3.    "What Ever Happened"     
Brian with Jardine & Marks. Mellow goodness. One that is certainly going to grow on you, once you realise it's flawless.

4.    "On the Island"     
Bossanova, baby. Brian style. So much going on here. Deschanel and Ward are spot-on. People who think "She" sounds bored are missing the point.

5.    "Half Moon Bay"         
Calms any sense of pressure even further. You're starting to wonder what is going to hit you next, jumping at you from behind a pier. Exquisite instrumental track showcasing the craft of Mark Isham.

6.    "Our Special Love"     
New, even better mix of the Peter Hollens track. Beyond gorgeous.

7.    "The Right Time"
The Alan Jardine show. One of the first tracks to be premiered off NPP, it fits nicely into the overall album sequence.

8.    "Guess You Had to Be There"         
I have no clue who Kacey Musgraves is. But, starting April 2015, if you look up "catchy" in the dictionary it will refer you to this melody, chorus, bridge, everything.

9.    "Don't Worry"           
Deluxe edition bonus track. I'll need to listen to this one a couple more times.

10.    "Somewhere Quiet"           
Deluxe edition bonus track. Great singing by Brian. Jardine pops up again, too. Pretty track.

11.    "I'm Feeling Sad"           
Deluxe edition bonus track with a hint of Fosquette. Delightful production, lots to discover. You can tell when Brian has fun doing it.

12.    "Tell Me Why"
.. this isn't the Beach Boys. Because it is. Brian sounds great, and when Al comes in... wow. Floored. My eyes just got a little watery.. I fear it's going to grow worse with the remaining tracks. Maybe it's not the dry Berlin air, after all..

13.    "Sail Away"
BLONDIE!!! AL (again)! Such a tasty intro.. Mr. Chaplin.. .. and then the one and only Jardine takes it away. Man, I love the Beach Boys. Pure bliss.

14.    "One Kind of Love"  
Brian's singing...... "Oh, it's a revelation, I feel alive again." - The maestro in full controll of his ripe voice. I'm smiling like an idiot and I feel happy right now. One kind of Brian Wilson. Splendiferous!

15.    "Saturday Night"
Nate Ruess, everyone. This has single potential written all over it.

16.    "The Last Song"  
Mere words... This is the first time I've needed a handkerchief when listening to a record since... TWGMTR and "Pacific Coast Highway", probably. I'll end this here, it's just too beautiful.

I have no clue who Kacey Musgraves is.

Oh man. Just got my review copy of the Deluxe Edition. Excited beyond words.

For those that have heard it, do you think it's as good or better than TLOS? So far, that is the pinnicale album to me of mostly original material. So far, from the few songs I've heard, it sounds good, but not quite TLOS. But I'm waiting to hold judgement until I buy it next week.

Oh, hang on, wait... I think the US Deluxe Edition doesn't have those two tracks.

Sanity in Australia have it in store. I just got the Deluxe edition.

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?

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

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

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.

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.

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.

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

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.

Update for the Aussies.

They certainly snuck this one out under our noses yesterday when they dropped NPP into stores nationally.

Getmusic has the CD available and if you buy from them you can go into a draw to win a BW signed surfboard but your paying top dollar @ $24.99. JB Hi Fi have the deluxe edition (why would you buy anything else?) for $18.39.

I'll be on JB Hi Fi's doorstep at opening tomorrow morning (damm you Good Friday trading hours).

FYI: Neither Getmusic or JB have digital downloads from what I can see. If anybody can find a digital download site in Oz please advise.

Question for those who have heard the full album: remember that bit of music that was in the Doin' It Again special, it was mostly piano, guitar and backing vocals, sounded like something that might have been part of the Life Suite, but wasn't used in the TWGMTR album? Has that song resurfaced in NPP? Thanks :)

Re digital, both versions are on the iToons Oz site, if that floats your boat.

Frankly, the blend sounds more like the BBs on No Pier Pressure than it does on TWGMTR.

As I wrote in an earlier thread, if one actually listens to the harmonies on the earlier record, you hear 99.9 percent Brian and Jeff. The other guys do cameo appearances, at best. Given the condensed time frame they had for completing the album, I strongly suspect that Mike, Bruce and Al spent a couple of days in the studio apiece, overdubbing BW solo tracks.

No Pier Pressure, on the other hand, features Al and Blondie and Matt on harmony vocals on multiple songs. You can actually hear that four-part blend of multiple voices, with multiple textures. Combined with Al and Blondie taking leads, along with the guest vocalists, and you have an album that is far more about the union of different voices, all singing at once, than TWGMTR ever was.

This is an interesting take.  I just wish it were Al, Blondie and Matt (with Brian, of course) on all of the tracks.

They sure did, but I folded and paid $25 at Sanity last night, based on 18/05's tip.

Re digital, both versions are on the iToons Oz site, if that floats your boat.

Since the early 70s I've always looked upon new albums from the Beach Boys or Brian Wilson as a one off opportunity to discover one new classic Brian song - CATP had Marcella, Holland had Sail On Sailor, MIU - My Diane, BW88 - Love and Mercy, Imagination - Lay Down Burden, GIOMY - City Blues, WIRWFC - On Christmas Day, TLOS - Midnight's Another Day, TWGMTR - Summer's Gone .... but this sucker's just brim full of classic Wilson - I'd list Runaway Dancer, On The Island, Guess You Had To Be There, I'm Feeling Sad, Sail Away and Saturday Night as worthy inductees into Brian's classics catalogue.

One of my pet hates is hearing people say "It should be a hit" and I'm not about to start laying that burden on this album but there is just so much radio friendly material on this album that its got to find a place on the airwaves over the next few months.

Once again it's a great time to be a Brian Wilson fan.

JOYFUL is the word to describe this album - even the sad songs are joyful - no need for Mr Positivity - congratulations Mr Wilson!

should a different thread be made for negative reviews?

Further listening and I'm not going to compare NPP to Pet Sounds but what I will say is that no Beach Boys/Brian Wilson has, since Pet Sounds, been so complete in terms of quality song writing, performance and production that make the album a complete work and not just an ad hoc collection of songs.

I think Friends and Holland went some way towards attaining that status but I think NNP has come the closest to what Pet Sounds achieved as an album.

It's just one complete, high quality listen.

Stop feasting on the blood of the living to remain eternally young, Jardine!

Further listening and I'm not going to compare NPP to Pet Sounds but what I will say is that no Beach Boys/Brian Wilson has, since Pet Sounds, been so complete in terms of quality song writing, performance and production that make the album a complete work and not just an ad hoc collection of songs.

It's absolutely horrible.

You're joking probably or you have never listened to the first three or four tracks from SIP. :-D

By the way, the German package of NPP includes a booklet sized flyer advertising the Love&Mercy film to open June 11. On the backside of the flyer 50 Big Ones, the Pet Sounds box and MiC are advertised.

Joe Thomas is easily the worst person to ever be involved with Brian Wilson.

...
"The Last Song" - you're going to hate me for this, but the Lalala part makes me cringe, especially the first one. I wish they had some instrument(s) play that melody. The other parts of the song are good, emotional in a "Midnight's Another Day" and "Summer's Gone" way but not quite reaching that level of greatness.
...

It is interesting you feel that way, while NPP reminded me rather of 20/20 in its - what word to use? - "incongruity" sounds to negative for what I mean to say - "diversity" maybe? My sentiment is the opposite of yours, anyway, if I may respectfully say so.

I was really pumped about this album. Then I saw that Yahoo! interview where Brian revealed the true nature of his & Joe Thomas' collaboration: Joe comes up with the chord changes, some of the melodies, and most of the lyrics. Unfortunately, that knowledge really tainted my listening experience.
...

I must've missed out on that interview, is it still online? Didn't find it through Google.

I must've missed out on that interview, is it still online? Didn't find it through Google.

No. That is not what Brian said.

That is false.

In the Wall Street Journal, not Yahoo, Brian said that Joe writes SOME of the chord changes (this was documented in TWGMTR, too, so it's not actually news), that he (Brian) writes the melodies, and they both write the lyrics.

. Maybe it`s because those reviewers aren`t so interested in Blondie and Al working with Brian that they have such different views?

https://www.yahoo.com/music/brian-wilsons-impeccable-re-return-i-take-a-lot-115224663666.html (https://www.yahoo.com/music/brian-wilsons-impeccable-re-return-i-take-a-lot-115224663666.html)

No. That is not what Brian said.

That is false.

In the Wall Street Journal, not Yahoo, Brian said that Joe writes SOME of the chord changes (this was documented in TWGMTR, too, so it's not actually news), that he (Brian) writes the melodies, and they both write the lyrics.

isn't it interesting that Brian's best vocals occur when Joe is co-producing.  :brow

Who knows, Brian could be giving more credit to Joe than he deserves.

It's a thousand times more interesting that the only track that has no identifiable ottotune, 'One Kind of Love', is the only song without a Joe Thomas credit.

That is interesting. Though I would say that while sounds in good voice on the rest of the album, `One Kind of Love` is his worst vocal imo.

1) it's stupid to purport that negative reviews pursue an agenda or just don't get it. There may be an odd strange new poster or two, but other than that we're all fans and no one wants to or enjoys being disappointed.

3) regarding the production and songwriting I've learned to "blame" only Brian. For me the clip-clops, sleighbells and other plethora of mid-60s beach boy patchwork that was found in much of his recent solo output did not sound very authentic to me. I imagined it was his band coming up with 40 year old quirks. No reason to think this current sound is inauthentic.

It's a thousand times more interesting that the only track that has no identifiable ottotune, 'One Kind of Love', is the only song without a Joe Thomas credit.

(http://i115.photobucket.com/albums/n295/guitarfool2002/geraldo4_zpsz9u3eime.jpg)

I'd like to see a journalist ask Brian: "Hey, you say you don't listen to new music, but this album sounds very 'hip'. How did you do that?"

1) it's stupid to purport that negative reviews pursue an agenda or just don't get it. There may be an odd strange new poster or two, but other than that we're all fans and no one wants to or enjoys being disappointed.

There is nothing enjoyable about the disappointment of this album.

It's a thousand times more interesting that the only track that has no identifiable ottotune, 'One Kind of Love', is the only song without a Joe Thomas credit.

1) it's stupid to purport that negative reviews pursue an agenda or just don't get it.

Not sure where people are finding the deluxe version, I've only come across the 13 track edition.

I do have the target version on the way, but just couldn't help myself. Sagittarius = impatience. Haha.

I plan on reviewing the album once my full disc arrives, but I just wanted to say, without getting into conjecture, that if this could've been a Beach Boys' album, it's a shame it wasn't. There are numerous spots where I can "hear" Mike and Bruce vocals. Al is incredible!! His voice has practically not aged a bit!

It's also kind of a tragedy of time, because I think Carl's voice would've fit perfectly in place of Zooey's on "On The Island." Though I think she did a great job, regardless.

You're so right.  What an amazing observation and conspiracy theory!  Maybe while Thomas was away autotuning the other 16 tracks, Brian snuck this one past him.  I'll bet he's gonna be really pissed when he finds out that no OTTOtune was used.  

It seems to me, as a relatively new poster that every time the positive comments start rolling in, these negative comments follow shortly after.  This is a great sounding album with great songs and from reading Brian's interviews, seems like Brian had a great time making it.  Can't we just leave it at that?

I know a lot of people dislike it

I don't think that's the case at all. The reception to the preview tracks on the board has been overwhelmingly positive.

Of course, once we had a couple of weeks of near-unanimous praise, we had a flurry of one-sentence posts from folks with a whole dozen posts under their belts declaring it an offense to God and man.

 ::)

I did a review for the St. Cloud Times, a daily newspaper in Central Minnesota. Well, it's more of a preview and overall "YAY" kind of thing. I haven't had access to the full album yet.

I know a lot of people dislike it, that's fine, but I love what I've heard. I hope you'll check my review out.

The blurb I've been sharing elsewhere:


Brian Wilson is an important part of our cultural fabric. We've heard him in our cars, on our movie soundtracks, on our television shows and commercials. He's a part of us. The Beach Boys legend has a new album coming next week, and I have some thoughts about it.

Check out the article, watch videos (including a handful of the new songs) and check out my Spotify playlist, 54 tracks for 54 years.

http://on.sctimes.com/19PEAhB

A-freakin-men.

I'm sure a lot of people won't like the album, and that's okay, but it's just funny to see all these new posters dive bomb into these threads with nothing but negativity (even some with a post history of solid BW negativity) - and it's not even interesting negativity - it's just trolling garbage....especially the tool who thinks Brian was better off with Landy than Joe. smh.

I hope my review doesn't seem overly negative. I find there's a huge gulf between the songs I like and those I dislike. I love about half of this album, and combined with the best from TWGMTR, it is an absolute gift to this BW fan.

I think that was a reasonable and good review. I understand what you're saying about the songs, even though I personally disagree with some statements. I still get the kind of feeling from your post, that you're propably going to dig it more eventually. There's a lot going on on these songs on many levels. And I know that I'm certainly going to appreciate it even more when some time goes by. Even though the production of the album is a bit too steril for my liking, the songs themselves are just so damn good that it doesn't really matter to me.

(Half Moon Bay is a stellar! Could be named Let's Go Away For A While part 2, and I mean it in the good way.)

What's a guy to say with all these competing pressures and prerequisites? Dazzle them with your encyclopedic knowledge. Make 'em laugh with your cynical wit. Make sure they hear you, but for God's sake, don't speak loudly enough to be heard above the crowd. Cover your bases in case the right people end up coming down pro, but be sure to err con. Yes, when in doubt, point out every instance where the subject falls short of perfection … ideally with sarcastic precision.

Maybe instead of expecting everything to be Pet Sounds and taking away points for every flaw, a guy could start from nothing and just listen. Find something to like. Think about why someone else might like it, even if he doesn't at first listen. Maybe err on the side of generosity, even if that means naiveté.

This is an ongoing project for me, asshole that I am by nature. But from my past few years of experience, I can say unequivocally that it's more fun liking things than disliking them. Sure, I miss the snark: I revisit it more often than I should. But really. Liking things is fun.

Coincidentally Kacey Musgraves was one of my successes in this project a few years back, and son-of-a-gun, here she is working with my (apparently, if the professional reviews are to be believed) again-uncool, embarrassing and awkward musical hero. Their song has four chords, which is probably six or eight fewer than a genius ought to be tossing out--and in a pedestrian progression besides. The lyrics are nostalgic, which is the most tedious of feelings for anyone who likes to think his life is less than half over, a sad reflection by someone implicitly acknowledging it's all downhill from here. Our high school football team sure was great, wasn't it? We must have scored 100 points that homecoming. And we walked 5 miles to and from school, uphill both ways.

It's easy to do that. It's easy to be an asshole. I can do it at the drop of a hat, and twice more before you pick it up. Whoo-dee-goshdarn-doo.

What's not so easy is to describe the honest smile you're not comfortable that showed itself at the crack in Wilson's voice at "suddenly mi-i-ine." Or the literal LOL at the surprising chord on "unconditional" and "been wishing' for" in "One Kind of Love."

Ian Gittens, in VirginMedia.com, called No Pier Pressure "one of pop music's true creative geniuses working off memory and autopilot." With all due respect to Ian Gittens, that phrase strikes me as a reviewer working on autopilot. The aforementioned "money chord," to use a term Scott Bennett coined, is not the work of someone on autopilot. Neither are the astoundingly dense, nuanced tracks--both instrumental and vocal--throughout this album.

For someone in that frame of mind, or even for someone whose tastes honestly demand it, there is plenty to pick apart. If it's a Platonic pop perfection every album is measured against, good fucking luck for, well, everyone. Everyone, even the people who once in a while saw stars align to shine their shadows onto that cave wall the rest of us watch.

That's one too many woodblocks. The dreaded vocal effect that dare not speak its name was probably employed. Too much pandering to the retro sound, except when it's pandering to a non-retro sound. I suspect foul play. Who's the puppet master? And wouldn't this actual, tangible thing be better if it were some imaginary thing-made-perfect?

Sure. But those flawed things, these individual, unimportant parts of a flawed whole, all support one another to make what turns out to be beautiful music. It all fits just fine if you don't break it first. It's amazing, actually. A couple septuagenarians with voices in various stages of disrepair, a handful of younger artists spanning a spectrum of hipster cred and pop appeal, any of whom may be forgotten any day now. An instrumental backdrop that is decidedly easy listening, with a few exceptions.

It's true. Again, there's a lot to jump on--or, if the idea of jumping suggests a level of dirtying of feet, certainly to look down on--without trying hard. Those things are true.

What's the harm, though? What's the result when voices performing interweaving parts that--apologies again, Mr. Gittens--stray far from the realm of pop autopilot may also employ the Dreaded Effect, for example? What happens is nothing. Those parts remain the closest thing to divinity I can imagine. It's not worth rejecting god to prove a production point.

The miserable can sit in the corner telling anyone who will listen that the music has been ruined because of the four-chord simple track, the synth-dance track, the dated adult contemporary production, the woodblock, or the rap that isn't even there anyway. They don't make 'em like they did back in my day, goddamnit grumble grumble.

The rest of us will find joy, peace, and even community in this ruined music.

If this is autopilot, we should all be so lucky as to hand over the controls.

Oh captain, my captain.

Edit: I have to say, I'm shocked by the ageist nonsense of the recent batch of reviews. People get older. It happens!

Am I the only one shocked that "I'm Feeling Sad" basically didn't make the album cut?  It's only a bonus track, but is arguably better than 80% of the rest....

What's a guy to say with all these competing pressures and prerequisites? Dazzle them with your encyclopedic knowledge. Make 'em laugh with your cynical wit. Make sure they hear you, but for God's sake, don't speak loudly enough to be heard above the crowd. Cover your bases in case the right people end up coming down pro, but be sure to err con. Yes, when in doubt, point out every instance where the subject falls short of perfection … ideally with sarcastic precision.

Maybe instead of expecting everything to be Pet Sounds and taking away points for every flaw, a guy could start from nothing and just listen. Find something to like. Think about why someone else might like it, even if he doesn't at first listen. Maybe err on the side of generosity, even if that means naiveté.

This is an ongoing project for me, asshole that I am by nature. But from my past few years of experience, I can say unequivocally that it's more fun liking things than disliking them. Sure, I miss the snark: I revisit it more often than I should. But really. Liking things is fun.

Coincidentally Kacey Musgraves was one of my successes in this project a few years back, and son-of-a-gun, here she is working with my (apparently, if the professional reviews are to be believed) again-uncool, embarrassing and awkward musical hero. Their song has four chords, which is probably six or eight fewer than a genius ought to be tossing out--and in a pedestrian progression besides. The lyrics are nostalgic, which is the most tedious of feelings for anyone who likes to think his life is less than half over, a sad reflection by someone implicitly acknowledging it's all downhill from here. Our high school football team sure was great, wasn't it? We must have scored 100 points that homecoming. And we walked 5 miles to and from school, uphill both ways.

It's easy to do that. It's easy to be an asshole. I can do it at the drop of a hat, and twice more before you pick it up. Whoo-dee-goshdarn-doo.

What's not so easy is to describe the honest smile you're not comfortable that showed itself at the crack in Wilson's voice at "suddenly mi-i-ine." Or the literal LOL at the surprising chord on "unconditional" and "been wishing' for" in "One Kind of Love."

Ian Gittens, in VirginMedia.com, called No Pier Pressure "one of pop music's true creative geniuses working off memory and autopilot." With all due respect to Ian Gittens, that phrase strikes me as a reviewer working on autopilot. The aforementioned "money chord," to use a term Scott Bennett coined, is not the work of someone on autopilot. Neither are the astoundingly dense, nuanced tracks--both instrumental and vocal--throughout this album.

For someone in that frame of mind, or even for someone whose tastes honestly demand it, there is plenty to pick apart. If it's a Platonic pop perfection every album is measured against, good fucking luck for, well, everyone. Everyone, even the people who once in a while saw stars align to shine their shadows onto that cave wall the rest of us watch.

That's one too many woodblocks. The dreaded vocal effect that dare not speak its name was probably employed. Too much pandering to the retro sound, except when it's pandering to a non-retro sound. I suspect foul play. Who's the puppet master? And wouldn't this actual, tangible thing be better if it were some imaginary thing-made-perfect?

Sure. But those flawed things, these individual, unimportant parts of a flawed whole, all support one another to make what turns out to be beautiful music. It all fits just fine if you don't break it first. It's amazing, actually. A couple septuagenarians with voices in various stages of disrepair, a handful of younger artists spanning a spectrum of hipster cred and pop appeal, any of whom may be forgotten any day now. An instrumental backdrop that is decidedly easy listening, with a few exceptions.

It's true. Again, there's a lot to jump on--or, if the idea of jumping suggests a level of dirtying of feet, certainly to look down on--without trying hard. Those things are true.

What's the harm, though? What's the result when voices performing interweaving parts that--apologies again, Mr. Gittens--stray far from the realm of pop autopilot may also employ the Dreaded Effect, for example? What happens is nothing. Those parts remain the closest thing to divinity I can imagine. It's not worth rejecting god to prove a production point.

The miserable can sit in the corner telling anyone who will listen that the music has been ruined because of the four-chord simple track, the synth-dance track, the dated adult contemporary production, the woodblock, or the rap that isn't even there anyway. They don't make 'em like they did back in my day, goddamnit grumble grumble.

The rest of us will find joy, peace, and even community in this ruined music.

If this is autopilot, we should all be so lucky as to hand over the controls.

Am I the only one shocked that "I'm Feeling Sad" basically didn't make the album cut?  It's only a bonus track, but is arguably better than 80% of the rest....

Wondering about the differences in tracks on International versions. The Dutch version has 18 tracks: In the Back of My Mind and Love & Mercy are listed as "bonus tracks". The main album lists 16 tracks. I'm Feeling Sad isn't on it though.

incontinent adulation shouldn't be on the menu

I was really pumped about this album. Then I saw that Yahoo! interview where Brian revealed the true nature of his & Joe Thomas' collaboration: Joe comes up with the chord changes, some of the melodies, and most of the lyrics. Unfortunately, that knowledge really tainted my listening experience.

Unlike most (apparently) ss members I don't think TLOS is the be all and end all of BW's solo output. I found I loved about 30-40% of that album. Whenever I listen to it I'm niggled by the sense that it is trying too hard to be an artistic statement worthy of BW's legacy. What I like about the last two Thomas collaborations is that the slightly old-fashioned production style feels somehow much more sincere and un self-conscious.

it all works well together and flows in a cohesive manner (even Runaway Dancer and Last Song carry a similar vibe, in terms of atmospheric/studio feel).

As a fellow German, did the "la la la" part remind you of Deutscher Schlager music? Because that's what came to my mind the first time I heard it. Would be interesting to hear if you felt similar about it or if it's something entirely different that made you cringe.

Am I the only one shocked that "I'm Feeling Sad" basically didn't make the album cut?  It's only a bonus track, but is arguably better than 80% of the rest....

Wondering about the differences in tracks on International versions. The Dutch version has 18 tracks: In the Back of My Mind and Love & Mercy are listed as "bonus tracks". The main album lists 16 tracks. I'm Feeling Sad isn't on it though.

What's a guy to say with all these competing pressures and prerequisites? Dazzle them with your encyclopedic knowledge. Make 'em laugh with your cynical wit. Make sure they hear you, but for God's sake, don't speak loudly enough to be heard above the crowd. Cover your bases in case the right people end up coming down pro, but be sure to err con. Yes, when in doubt, point out every instance where the subject falls short of perfection … ideally with sarcastic precision.

Maybe instead of expecting everything to be Pet Sounds and taking away points for every flaw, a guy could start from nothing and just listen. Find something to like. Think about why someone else might like it, even if he doesn't at first listen. Maybe err on the side of generosity, even if that means naiveté.

This is an ongoing project for me, asshole that I am by nature. But from my past few years of experience, I can say unequivocally that it's more fun liking things than disliking them. Sure, I miss the snark: I revisit it more often than I should. But really. Liking things is fun.

Coincidentally Kacey Musgraves was one of my successes in this project a few years back, and son-of-a-gun, here she is working with my (apparently, if the professional reviews are to be believed) again-uncool, embarrassing and awkward musical hero. Their song has four chords, which is probably six or eight fewer than a genius ought to be tossing out--and in a pedestrian progression besides. The lyrics are nostalgic, which is the most tedious of feelings for anyone who likes to think his life is less than half over, a sad reflection by someone implicitly acknowledging it's all downhill from here. Our high school football team sure was great, wasn't it? We must have scored 100 points that homecoming. And we walked 5 miles to and from school, uphill both ways.

It's easy to do that. It's easy to be an asshole. I can do it at the drop of a hat, and twice more before you pick it up. Whoo-dee-goshdarn-doo.

What's not so easy is to describe the honest smile you're not comfortable that showed itself at the crack in Wilson's voice at "suddenly mi-i-ine." Or the literal LOL at the surprising chord on "unconditional" and "been wishing' for" in "One Kind of Love."

Ian Gittens, in VirginMedia.com, called No Pier Pressure "one of pop music's true creative geniuses working off memory and autopilot." With all due respect to Ian Gittens, that phrase strikes me as a reviewer working on autopilot. The aforementioned "money chord," to use a term Scott Bennett coined, is not the work of someone on autopilot. Neither are the astoundingly dense, nuanced tracks--both instrumental and vocal--throughout this album.

For someone in that frame of mind, or even for someone whose tastes honestly demand it, there is plenty to pick apart. If it's a Platonic pop perfection every album is measured against, good fucking luck for, well, everyone. Everyone, even the people who once in a while saw stars align to shine their shadows onto that cave wall the rest of us watch.

That's one too many woodblocks. The dreaded vocal effect that dare not speak its name was probably employed. Too much pandering to the retro sound, except when it's pandering to a non-retro sound. I suspect foul play. Who's the puppet master? And wouldn't this actual, tangible thing be better if it were some imaginary thing-made-perfect?

Sure. But those flawed things, these individual, unimportant parts of a flawed whole, all support one another to make what turns out to be beautiful music. It all fits just fine if you don't break it first. It's amazing, actually. A couple septuagenarians with voices in various stages of disrepair, a handful of younger artists spanning a spectrum of hipster cred and pop appeal, any of whom may be forgotten any day now. An instrumental backdrop that is decidedly easy listening, with a few exceptions.

It's true. Again, there's a lot to jump on--or, if the idea of jumping suggests a level of dirtying of feet, certainly to look down on--without trying hard. Those things are true.

What's the harm, though? What's the result when voices performing interweaving parts that--apologies again, Mr. Gittens--stray far from the realm of pop autopilot may also employ the Dreaded Effect, for example? What happens is nothing. Those parts remain the closest thing to divinity I can imagine. It's not worth rejecting god to prove a production point.

The miserable can sit in the corner telling anyone who will listen that the music has been ruined because of the four-chord simple track, the synth-dance track, the dated adult contemporary production, the woodblock, or the rap that isn't even there anyway. They don't make 'em like they did back in my day, goddamnit grumble grumble.

The rest of us will find joy, peace, and even community in this ruined music.

If this is autopilot, we should all be so lucky as to hand over the controls.

L&M is the best version I have heard, from the hurricane relief sessions maybe and ITBOMM is from to my ears around the same time (night/day/night/day?) that California Feeling is from. Has the same vibe.

When was this recording of ITBOMM done? Sounds like it falls somewhere in the adult child era, when his voice was making an impressive comeback from the gruff and pitchy Love You sound. He almost has some of his original sweetness in places.

Don't Worry sounds very influenced by 70s Four Seasons records, notably Who Loves You.

Glad to see some open minds. Just gonna cut to the chase though- this album shouldn't get ANY HATE.

NOTHING here is badly written, even the lyrics are top-notch for Brian. Half the album features vocals handpicked to sound perfect for the track.

You can call it trash, you can call it unlistenable, that's great. It's not an opinion to say this is well written.

Joe Thomas can be blamed for some stuff, but Brian goshdarn Wilson delivered something even his GREATEST fans don't deserve. No one can understand how hard this must be for him. God bless that man.

Anyone else besides me holding out until listening to it on release day?

There's something very special and satisfying about purchasing an archaic Compact Disc from an actual store, popping it in the car CD player, and listening to the album from start to finish.  That's my plan, at least.

Somewhere Quiet easily could have fit on a Beach Boys record from 1963 to 1965.

Really glad they released Don't Worry, Somewhere Quiet and I'm Feeling Sad.

Somewhere Quiet easily could have fit on a Beach Boys record from 1963 to 1965.

Now that I think of it, maybe so! :-D At least the sound of it does, it has a certain Modern Talking cheesiness. The melody line reminds me of the Rolling Stones' "Take It Or Leave It", one of the weak tunes from "Aftermath".

Anyone else besides me holding out until listening to it on release day?

There's something very special and satisfying about purchasing an archaic Compact Disc from an actual store, popping it in the car CD player, and listening to the album from start to finish.  That's my plan, at least.

That's because its Summer Means New Love from 1965's Summer Days (And Summer Nights) with added lyrics.

Has anyone listened to it on vinyl yet? I listened to it this morning and I'm really having a problem wrapping my head around the track order on the LP version. Nothing at all like the CD versions.

Must say, am seriously unimpressed by their pre ordering at Amazon UK. Items not turning up on release dates....but three, four days later. Having made it practice since 1964 to get BB/BW releases on first day, I am lamenting record shops .......not for the first time. Anyone care to autograph my downloads....oh, wait.......

Terry - I think someone reviewed the vinyl version early in the thread - it was at least somewhere on SS!  Sorry I'm not more helpful, I'm just a bit too busy to be a researcher here.

Kacey's comment:  "He would not accept mediocre as an answer — not that I feel I'm a mediocre singer. But today there are a lot of producers and other people who will say 'That's fine — we can tune it later if it's not perfect.' Not Brian — he wanted it perfect."

Kacey's likely not a SS Board member, granted - but she certainly "reviews" Brian and herself and addresses the auto-tunafish issue.

http://www.thedailybeast.com/articles/2015/04/04/brian-wilson-on-the-beach-boys-rivalry-with-the-beatles-and-flying-solo.html

"Wilson explains of the production methods used in the making of No Pier Pressure. “We can cut and paste things and go in and pitch correct something with the computer if the note is flat. I wish we had that in the 60s! It was awesome.” "

Take it up with Kacey, then.

http://www.thedailybeast.com/articles/2015/04/04/brian-wilson-on-the-beach-boys-rivalry-with-the-beatles-and-flying-solo.html

"Wilson explains of the production methods used in the making of No Pier Pressure. “We can cut and paste things and go in and pitch correct something with the computer if the note is flat. I wish we had that in the 60s! It was awesome.” "

I'd rather take it up with Brian...

There we have it! It was Brian all along, not Joe!

"Don't worry Al, I'll tunafish it later!"

Thank God they did not have that sort of digital pitch correction in the 1960s. Imagine Carl Wilson's iconic performance of God Only Knows altered this way in order to make it sound "perfect". I'm not a purist when it comes to studio technology and still I think for the style of music made by BW there must be more tasteful/subtle techniques in order to improve/alter a vocal performance.

I wonder if there are people that get furious about ring modulation or flanging.

What's controversial about pitch correction? Everyone does it.

One might gather from Brian's comments, along with Kacey's and Zooey's, that he doesn't use pitch correction when the singer is capable of singing the song as written.  And he has them do several takes, even if their pitch is good in most instances.  So it's doubtful he'd have used pitch correction on himself, or Carl, or Al, given what one can glean from these various interviews.  No need to fret at this late date.

Holiday ????  I took positive action. Cancelled the Amazon £18.99  and walked in TODAY , bought in a real, live record shop for £12.99. De luxe.   If crtic had read my item , it referred to previous purchases, just as late.

Yeah, same here.  Walked into Fopp, paid £13 for the deluxe.  I see Amazon have now lowered it to £12.99, though it's temporarily out of stock.

Anyone else besides me holding out until listening to it on release day?

There's something very special and satisfying about purchasing an archaic Compact Disc from an actual store, popping it in the car CD player, and listening to the album from start to finish.  That's my plan, at least.

Yeah, same here.  Walked into Fopp, paid £13 for the deluxe.  I see Amazon have now lowered it to £12.99, though it's temporarily out of stock.

By the way, NPP is number 14 on amazon and rising! Maybe it'll be number one this week?

captain, I would not disagree that adding voices other than Brian's helped TWGMTR. I think my problem is that these are just one-offs, which to me is why they feel like something of a cash grab.
If you want more diversity, why not have Darian, Nick or Scott take a lead? That is something that I would personally love.

captain, I would not disagree that adding voices other than Brian's helped TWGMTR. I think my problem is that these are just one-offs, which to me is why they feel like something of a cash grab.
If you want more diversity, why not have Darian, Nick or Scott take a lead? That is something that I would personally love.

And let me add that I do not consider Al or Blondie to be "guests" in the same method as the others; I did not mean to refer to them in my post above.

captain, I would not disagree that adding voices other than Brian's helped TWGMTR. I think my problem is that these are just one-offs, which to me is why they feel like something of a cash grab.
If you want more diversity, why not have Darian, Nick or Scott take a lead? That is something that I would personally love.

And let me add that I do not consider Al or Blondie to be "guests" in the same method as the others; I did not mean to refer to them in my post above.

...
What I see as the largest flaw is what I would deem as the overuse of guest vocalists. There are far too many of them for my tastes, and I don't feel that they musically, thematically or even (if I may be so bold) spiritually vibe with what Brian is about.
...

Sounds like that ol' prankster Brian was just giving Musgrave the business asking her to do take after take until the notes were just right. I'll bet he wasn't even recording her; just sitting in the booth laughing his ass off, saying "Let's try it one more time" over and over again.

Yeah, same here.  Walked into Fopp, paid £13 for the deluxe.  I see Amazon have now lowered it to £12.99, though it's temporarily out of stock.

First listen...nothing rises much above the level of "nice", and the whole thing seems to be overshadowed by the collaborators, i.e. not enough Brian in the mix.
I'm glad he's still alive and well and making music, but "That Lucky Old Sun" was probably his last great album.

* What is with this sucky 'Deluxe Edition' record company nonsense-speak? What exactly is 'luxury' about the NPP 'Deluxe Edition'? I understood when there was a 'vanilla' version of an album and another for three times the price produced in limited edition goldspun fabric, autographed by the artist in their own blood and featuring handwritten session records, alongside real platinum vinyl versions of the album with instrumental backing tracks, variant mixes and rarities — now THAT'S what I call a Deluxe Edition — but for NPP all the versions that are being sold in record stores worldwide come in the same standard CD jewel cases and the only presentational difference is that the 'standard' version of the album omits some of the best tracks. I'd call the 'Deluxe' edition of the album the standard one, and the 'standard' one the 'incomplete' version. I wouldn't touch the 13-tracker with a barge-pole. Who would miss out on 'I'm Feeling Sad' and (in the UK, at least) the 1975 version of 'In The Back Of My Mind' and the 2005 'Love and Mercy'?

Not a review, just an initial reaction. I'm on my 4th listen through and I still have no firm opinion. The album as a whole is starting to pull into focus but I've not got a handle on it yet. With me this is usually a good thing. By the 10th time through I should have formed my view.

TLOS was not a great album.  This is finally an accessible, great BW album.  Makes sense because most of it was written for the BB.  Brian always writes much more dynamic, accessible stuff when he has The Boys in mind...if only for their voices.

but the second those programmed beats and 90s boyband soundalike Peter Hollens vocal kicks in it turns into a travesty.

Everything on "Our Special Love" is a capella. No programmed drums or bass or whatever people claim to be hearing. Been a fan of Peter Hollens since first hearing he would be collaborating with Brian. Check out his YouTube page. The guy is incredible.

Hmm, that flier is not in the Target edition. Excuse me, it is not in *my* Target edition.

Up to #2 on Amazon, btw!  That means, for the time being, Brian Wilson is outselling Taylor Swift!!!   ;D

(altho I should point out, it's #2 on "CDs and vinyl", cuz that's what old fogies buy.  As far as digital music goes, it... doesn't seem to be... anywhere in the top 100.  But don't worry, Elton John's greatest hits is #100!)

Now #44 on Amazon digital.  If things continue this looks like it'll easily place in the top 20.

Ah, sorry forgot to mention, this is the German release.

First impression (18 track version)- really good easy listening album except for the last song, which I don't like. I'd only heard the previewed songs once or twice each, so they'd still sound fresh when I heard the album. I enjoyed each one more in the context of the album than I did when I heard them individually. (Except the last song).

Maybe it's because I'm one of those philistines who is rarely too excited by instrumentals, I think the vocal version of Summer Means New Love is a great idea and is very welcome. I'd love "Passing By" to get the same treatment.

ITBOMM is fascinating and a finished version would have been a strong addition to any Beach Boys album. Even though in my opinion none of the changes made to the song improve it. The original is one of my favourites.

Runaway Dancer strikes me as a great song trapped in a bizarre production. It sounds more like a radical remix than a "real" version.

I'll say no more till I know the album better.

Do you not like "The Last Song" as in track 16 or the last song, as in track 18 ("Love and Mercy")?

This Beautiful Day: Good album opener.. Very Much 'From There To Back Again' and Summer's Gone...
Runaway Dancer: Hands down the best song on the album.. In my opinion. Very George Michael and WHAM! Definitely could be gettin jiggy wit it on the dance floor with this one.
Whatever Happened: Can't go wrong with AJ & DM. But where is David..?
On The Island: Very Jimmy Buffet! Would like to be "On An Island" with Zooey.
Half Moon Bay: Great jazzy track.
Our Special Love: Peter has a really good voice. Sounds very 80's.
The Right Time: Eh.. This one doesn't do much for me.
Guess You Had To Be There: I don't do Country..But I'll Accept this. Put this on a Country Station.
Somewhere Quiet: Sounds like Al but doesn't say featuring Al Jardine...?
Sail Away: It's ooook.
Saturday Night: Catchy Tune. Put it on the radio.
The Last Song: This one Lasts a little too long.

It's about time BW had current artists on an album.
I loved that Brian wished Carl & Dennis could have sang on the record.

After 11 Studio Albums this is my favorite... It hits all the right spots.
Bravo Brian Bravo.

After giving the album full two listens, here's my track by track thoughts...

1. This Beautiful Day: This recording works far better than the live version from Jimmy Kimmel. Hopefully Brian won't try this one out this summer...it will never be done the justice it deserves. This is one of many songs I think could benefit from the vocal contributions of Mike and Bruce for a Beach Boys album.

2. Runaway Dancer: Hell. No. I couldn't take more than thirty seconds of this. This is NOT the Brian Wilson I know and love.

3. Whatever Happened: A clear continuation of the first track...same sentiments...don't try it live, coulda been the BB's...

4. On The Island: Love her voice...the music really embodies the lyrics...almost to the point of cheesy, but her vocal inflections save it.

5. Half Moon Bay: Could've been a left over Pet Sounds instrumental...but definitely left-over for a reason...

6. Our Special Love: Beat Boxing...really? Kills the track. Next...

7. The Right Time: The strongest track on the album, no doubt. This should have been on TWGMTR...this could've been a kick ass song to have attached to the entire C50 experience. I can really see and hear the whole thing now...such a shame...

8. Guess You Had To Be There: Another great guest spot on a nice song! I'd like to hear a full Brian version though...the lyrics seem far more personal to him than to Kacey...

9. Don't Worry: This just sucks. The horns, the drums, the production...thanks Joe. Anyone else notice the "Don't Worry"'s in this song have the same intervalic values as in "Don't Worry Baby"? Hmm....

10. Somewhere Quiet: Nice! I feel like this would've fit in nicely on "Summer Days..." I'll take it!

11. I'm Feeling Sad: This feels like something that should've been on Ringo's new album...skip...

12. Tell Me Why: I love this! But don't try and tell me you can't smell the dash of "Kokomo" hidden inside this one.

13. Sail Away: It's the Sloop John B riff...with a slightly updated melody and lyrics. As said above, Blondie doesn't even sound like Blondie. It's a "Sloop John B" knock off...I'll be okay with that if they medley it live this summer!  ;)

14. One Kind of Love: A cute and gentle track, I enjoy it a lot...but I can't help but think somebody else's voice may have done it more justice.

15. Saturday Night: The SECOND best track on the album....Thank you NATE!

16. The Last Song: Pretty trite. I never like when aging artists write about the end...it sounds incredibly forced.

here is a round of professor quiz: what song on the album sounds like the association's hit, Windy? And which song borrows directly from the melody and phrasing of the Buckingham's "Don't You Care?
prises for the winners.

Even all those la-la-la's make sense now.

"Don't Worry" sounds like the Buckinghams song.

Which one sounds like "Windy"?

I braced myself after reading some of the negative reviews.

The ballads that are sprinkled throughout the album ("This Beautiful Day", "Whatever Happened", "Somewhere Quiet" and "The Last Song") are all quite passable and sound like the makings of what could have been a pretty good record to stand next to BWPS and TLOS.

Unfortunately, the rest of the album gets in the way of that happening.

P.S. The tunafish drives me absolutely bonkers. I want to hear Brian unfiltered the way he is now at age 72. I don't need the 'smoothing over' nor the Joe Thomas oddball pop inclinations.

¯\_(ツ)_/¯

There is none, your ears are f***ed.

My ears are just fine.  It's the album that isn't that good.  Just one man's opinion...  no need to be nasty.

There is no tuna fish, none at all. If you hear it your ears are f***ed.

12. Tell Me Why: I love this! But don't try and tell me you can't smell the dash of "Kokomo" hidden inside this one.

First listen...nothing rises much above the level of "nice", and the whole thing seems to be overshadowed by the collaborators, i.e. not enough Brian in the mix.
I'm glad he's still alive and well and making music, but "That Lucky Old Sun" was probably his last great album.

On The Island isn't about an actual island. It's about the time Brian spent isolated from the outside world. A drink in the hand, cigarette burns on the furniture, taking it slow with no place to go... he's not on the beach he's in his house, wearing his robe and avoiding 'civilization'.  Zooey is just the voice in his head singing the song while he adds background vocals.

Please explain how they make sense, as I don't get it.

I'm listening to [NPP] in the context of the Beach Boys' recent history, so I might be attributing more coherence to the album than it deserves, but there are a lot of lyrics addressed to "you" that sound like they're directed to the Beach Boys. Listening to it that way makes it seem more like a concept album than a bunch of unrelated songs. Even all those la-la-la's make sense now.

Well, going back to what I wrote earlier:


Here's what I wrote on Brian's board about the la-la-la's: "They seemed rather unsophisticated when I listened to the song by itself, but now it sounds like a simple yet clever reference to all those vocals the Beach Boys sang over the years, using the fundamental "la-la-la" that we all know in order to represent all the rest."

That's my interpretation, of course, and I don't know if Brian is actually singing about his relationship with the Beach Boys in many of these songs. But hearing the songs that way instead of as a bunch of songs about romantic relationships makes the album more meaningful for me.

...

Is that a joke? Because no, I can't smell Kokomo or anything Mike Love related inside this album.

The vocals on the verses have a very similar melody to the verses on Kokomo.

Thank you! Someone else on this board that isn't afraid to acknowledge the good, the bad, and the repetitive...

Thank you! Someone else on this board that isn't afraid to acknowledge the good, the bad, and the repetitive...

Why Kokomo? That's nonsense - there's no connection there.

The good, the bad...and the agenda.

The only similarity I can hear is in those descending chords during the verse melodies.

12. Tell Me Why: I love this! But don't try and tell me you can't smell the dash of "Kokomo" hidden inside this one.

...it was just one of several examples on this album of Brian recycling Beach Boys material.

The vocals on the verses have a very similar melody to the verses on Kokomo.

Melodic and harmonic similarities during the verse...that's what I was referring to.

This wasn't an attempt at some Mike v. Brian deal...it was just one of several examples on this album of Brian recycling Beach Boys material.

Really???

Here is the foundation of Western music for the past several hundred years:

In a "sharp" key:
C C# D D# E F F# G G# A A# B
In a "flat" key:
C Db D Eb E F Gb G Ab A Bb B

Those are the twelve individual notes or pitches that comprise all of what we'd call Western music. Whether named in sharps or flats, every chord and melody we hear comes solely from those twelve notes. All of the music we hear comes from those "ingredients".

As something of a musicologist, or historian, or whatever you'd call it, I could trace any number of songs to a previous melody or chord progression. I could pick something on a Beach Boys album and find a precedent on something written in the 1700's possibly as easily as something on a show tune from the 1920's as I could on a Bill Monroe record from the 40's. And on and on and on...

Point is, everyone who writes Western music uses the same ingredients. Just like everyone who writes or speaks the English language uses the same words available to every English speaking person, yet we can identify individuals by the way they write, the way they speak, and which words and phrases they choose to use.

To say Brian is "recycling" Beach Boys songs is, in my opinion, absurd. It becomes more absurd when it gets called out based on a descending chord progression that I could, on demand, find previous examples in any number of thousands of songs.

I just had a similar experience last night where a chord progression came up, and I used it based on what I call the "Hello Goodbye" progression. It's one of the things that simply works, that sounds good, and which writers can call on any time to deliver a hook that they know works and fits so many situations.

Did "All The Young Dudes" 'recycle' McCartney? Did McCartney recycle some Broadway tune from the 30's, or was it a Bach, Mozart, or Beethoven progression? How about Del Shannon's "Runaway"? Did Lennon/McCartney recycle it for "I'll Be Back", Arlo Guthrie with "Comin Into Los Angeles", Chicago with "25 or 6 to 4", Zeppelin with "Babe I'm Gonna leave You", etc?

Or is there a chorale that was heard in cathedrals throughout Europe in the late 1700's by an unknown writer that uses the same chord progression?

It's fun picking some stuff out like that, especially if you're into music history and lineage...but Kokomo?

Just be upfront about it, right? Recycling...no.

Or the next time a chef prepares a chicken noodle soup or something, and he/she puts their own twist on it by adding something unique, should they be accused of "recycling" a soup recipe that may have existed for how many hundred years yet everyone who makes it has an individual way of using the exact same ingredients everyone tthough history has used to create a chicken noodle soup.

Recycling? No way. There are only 12 notes to choose from when writing a song in the Western format...get a statistician to calculate how many unique combinations of those 12 notes could exist and consider what it is that makes individual songwriters immediately identifiable by their style.

And it can easily be traced well beyond the Beach Boys and a chord sequence on Kokomo if there is a genuine interest in tracing the history of Western music, versus anything subliminal or sounding like what some are seeing as a negative.

There's 479001600 possible combinations.

So as a quick aside here without derailing. Led Zep has been accused many times of ripping off other artists when making their music. Is this accusation valid or does their writing fall into this "foundation of Western music" analogy?

I think it was a mistake leaving the 3 deluxe edition tracks off the standard album since it really changes the feel of the album in a positive way to have those 3 tracks there.

Seems kind of pointless to put out a "regular" and "deluxe" version of this album...why would anyone settle for the regular when you can get more songs on the deluxe?

We treating the deluxe version as the standard album?  

No sir, this we is not. Are not. Whatever.

I'll be reviewing it was a 13 track album, and going over the bonus & super-bonus tracks separately. In one instance, very briefly as I dash for cover.

No sir, this we is not. Are not. Whatever.

I'll be reviewing it was a 13 track album, and going over the bonus & super-bonus tracks separately. In one instance, very briefly as I dash for cover.

I think it was a mistake leaving the 3 deluxe edition tracks off the standard album since it really changes the feel of the album in a positive way to have those 3 tracks there.

There's 479001600 possible combinations.

I gotta say, I disagree with you here. At least in the U.S., the deluxe album is being sold as the standard. It's the default album for sale on Amazon, and in practically all stores. Most people are going to experience the record in the 16-track form, so that's the only logical way to review it.

Do I look like Spock ?

Do I look like Spock ?

Seems kind of pointless to put out a "regular" and "deluxe" version of this album...why would anyone settle for the regular when you can get more songs on the deluxe?

Wonderful review Lee!

Really???

Here is the foundation of Western music for the past several hundred years:

In a "sharp" key:
C C# D D# E F F# G G# A A# B
In a "flat" key:
C Db D Eb E F Gb G Ab A Bb B

Those are the twelve individual notes or pitches that comprise all of what we'd call Western music. Whether named in sharps or flats, every chord and melody we hear comes solely from those twelve notes. All of the music we hear comes from those "ingredients".

As something of a musicologist, or historian, or whatever you'd call it, I could trace any number of songs to a previous melody or chord progression. I could pick something on a Beach Boys album and find a precedent on something written in the 1700's possibly as easily as something on a show tune from the 1920's as I could on a Bill Monroe record from the 40's. And on and on and on...

Point is, everyone who writes Western music uses the same ingredients. Just like everyone who writes or speaks the English language uses the same words available to every English speaking person, yet we can identify individuals by the way they write, the way they speak, and which words and phrases they choose to use.

To say Brian is "recycling" Beach Boys songs is, in my opinion, absurd. It becomes more absurd when it gets called out based on a descending chord progression that I could, on demand, find previous examples in any number of thousands of songs.

I just had a similar experience last night where a chord progression came up, and I used it based on what I call the "Hello Goodbye" progression. It's one of the things that simply works, that sounds good, and which writers can call on any time to deliver a hook that they know works and fits so many situations.

Did "All The Young Dudes" 'recycle' McCartney? Did McCartney recycle some Broadway tune from the 30's, or was it a Bach, Mozart, or Beethoven progression? How about Del Shannon's "Runaway"? Did Lennon/McCartney recycle it for "I'll Be Back", Arlo Guthrie with "Comin Into Los Angeles", Chicago with "25 or 6 to 4", Zeppelin with "Babe I'm Gonna leave You", etc?

Or is there a chorale that was heard in cathedrals throughout Europe in the late 1700's by an unknown writer that uses the same chord progression?

It's fun picking some stuff out like that, especially if you're into music history and lineage...but Kokomo?

Just be upfront about it, right? Recycling...no.

Or the next time a chef prepares a chicken noodle soup or something, and he/she puts their own twist on it by adding something unique, should they be accused of "recycling" a soup recipe that may have existed for how many hundred years yet everyone who makes it has an individual way of using the exact same ingredients everyone tthough history has used to create a chicken noodle soup.

Recycling? No way. There are only 12 notes to choose from when writing a song in the Western format...get a statistician to calculate how many unique combinations of those 12 notes could exist and consider what it is that makes individual songwriters immediately identifiable by their style.

And it can easily be traced well beyond the Beach Boys and a chord sequence on Kokomo if there is a genuine interest in tracing the history of Western music, versus anything subliminal or sounding like what some are seeing as a negative.

The regular version does not appear to be in many stores--the Best Buys around here do not have any copies.

I gotta say, I disagree with you here. At least in the U.S., the deluxe album is being sold as the standard. It's the default album for sale on Amazon, and in practically all stores. Most people are going to experience the record in the 16-track form, so that's the only logical way to review it.

Your mileage, of course, may vary.  If you like NPP, that's great - just, for me, personally, this one is a misfire.

...
I’m surprised by how non-memorable I find a lot of the songs.  Songs like “Tell Me Why” are pleasant-sounding under all the gloss, but also don’t stick in my head at all - I’ve forgotten them when they’re over.
...

[
Sail Away I'm just as glad as anyone to see Blondie back in the mix, especially with Brian & Al.  But I have to say that the lyrics are a bit clumsy and awkward and somewhat contrived.  

I hear ya man, but I just want to illustrate from an outside voice speaking in, that your entire review perfectly presents that YOU are the reason you're not enjoying the album.  Your only critiques of it are that you don't like that whole sound, or that whole genre of music, or those type of guitars... 

I know it's hard because I do the same thing, but try listening to it with unprejudiced ears.  What if you decided to start liking (*gasp!) adult contemporary?  We might think you're old!  We might think you're soft!  We might think you're a poser!  Ignore all of that and just listen to the music for what it is, and see if you like it, regardless of what genre it's in or what the guitar tone is. 

Initial Impressions (after first listen)

Wow, a lot to like.  Different.  Updated.  New-sounding.  Progressive -- pushing boundaries.  Soulful.  Fresh.  Layered.  Lots to hear.  Lots to discover.  Professional.  Well-produced, slick.  Sweet.  Sad, bitter sweet.  Tender.  Meaningful.  Lots of curves thrown in.  Fun.  Exciting.  Inventive.  Happy to be making music.  A creative release.  No confines.  Free.

Call me a Joe Thomas defender, too, if need be.  But it's where the music's at.  It fits.  I don't think we'll get another "revealing" Love You production --nor another ground-breaking, wall-of-sound, climbing into the piano, new-horizon from Brian.  It's LA Light Album from here on out, perhaps.  And that's fine.  Beggars/choosers.  And I like LA a lot.

Overall, this feels like a natural extension of 2012's That's Why God Made The Radiator.  But better.  It's cooler.  It's not afraid to venture into different textures.  Essentially there's less "Beach Boy" branding to be aligned with.  This is where Brian Wilson lives.  The comfortable life of the never-retiring, rock-star genius.

(http://blogs.lavozdegalicia.es/javierbecerra/files/2011/12/Brian-Wilson-.jpg)

I want to spend some more time with the album before writing out a full review but my first thoughts..."Our Special Love" just kills me, a really beautiful intro and outro with this awful boy band song wedged in to the middle.  "Runaway Dancer" is the only song that I'm now skipping.  I'm surprised at some of the negative reviews of "Sail Away" I love the bouncy bass, and Al's singing coming out of the key change, the whole thing is very catchy and one of my favorite tunes on the album, along with "Guess You Had to Be There."   Overall the Joe Thomas cheese-factor is bothering me more here than ever before.

Initial Impressions (after first listen)

Wow, a lot to like.  Different.  Updated.  New-sounding.  Progressive -- pushing boundaries.  Soulful.  Fresh.  Layered.  Lots to hear.  Lots to discover.  Professional.  Well-produced, slick.  Sweet.  Sad, bitter sweet.  Tender.  Meaningful.  Lots of curves thrown in.  Fun.  Exciting.  Inventive.  Happy to be making music.  A creative release.  No confines.  Free.

Call me a Joe Thomas defender, too, if need be.  But it's where the music's at.  It fits.  I don't think we'll get another "revealing" Love You production --nor another ground-breaking, wall-of-sound, climbing into the piano, new-horizon from Brian.  It's LA Light Album from here on out, perhaps.  And that's fine.  Beggars/choosers.  And I like LA a lot.

Overall, this feels like a natural extension of 2012's That's Why God Made The Radiator.  But better.  It's cooler.  It's not afraid to venture into different textures.  Essentially there's less "Beach Boy" branding to be aligned with.  This is where Brian Wilson lives.  The comfortable life of the never-retiring, rock-star genius.

(http://blogs.lavozdegalicia.es/javierbecerra/files/2011/12/Brian-Wilson-.jpg)

Initial Impressions (after first listen)

Wow, a lot to like.  Different.  Updated.  New-sounding.  Progressive -- pushing boundaries.  Soulful.  Fresh.  Layered.  Lots to hear.  Lots to discover.  Professional.  Well-produced, slick.  Sweet.  Sad, bitter sweet.  Tender.  Meaningful.  Lots of curves thrown in.  Fun.  Exciting.  Inventive.  Happy to be making music.  A creative release.  No confines.  Free.

Call me a Joe Thomas defender, too, if need be.  But it's where the music's at.  It fits.  I don't think we'll get another "revealing" Love You production --nor another ground-breaking, wall-of-sound, climbing into the piano, new-horizon from Brian.  It's LA Light Album from here on out, perhaps.  And that's fine.  Beggars/choosers.  And I like LA a lot.

Overall, this feels like a natural extension of 2012's That's Why God Made The Radiator.  But better.  It's cooler.  It's not afraid to venture into different textures.  Essentially there's less "Beach Boy" branding to be aligned with.  This is where Brian Wilson lives.  The comfortable life of the never-retiring, rock-star genius.

(http://blogs.lavozdegalicia.es/javierbecerra/files/2011/12/Brian-Wilson-.jpg)

More in depth thoughts later, but here's some quick ones...

Not only my favorite BW solo album by a large margin, this is in my top 10 of any BB related album, easily.  I love every single song on here, but obviously some stand out more to me. 'Runaway Dancer', 'One Kind of Love' and (especially) 'Guess You Had to Be There' are my favorites. Brian hits some notes I'd never thought I'd ever hear him *attempt* again, much less hit. The production (much more Wilson than Thomas, truth be told, although some won't want to believe that) hits it for me, too. From all accounts, Brian was heavily involved and motivated, and it shows.

I was reading on the Hoffman boards that a couple people have edited out the Peter Hollens boyband stuff from "Our Special Love"  Has anybody here tried this and more importantly, would they be willing to share it?!

I wouldn't change a thing about 'Our Special Love' because I think it's really beautiful track as-is, but I did take the scissors to 'Guess You Had To Be There' to cut out Musgrave's first verse which turns it into more of a Brian track since you hear his voice first. I also removed Chaplin's lead vocal section on 'Sail Away' and faded it out early to eliminate some of the 'Sloop John B' stuff. Improves the album for me.

More in depth thoughts later, but here's some quick ones...

Not only my favorite BW solo album by a large margin, this is in my top 10 of any BB related album, easily.  I love every single song on here, but obviously some stand out more to me. 'Runaway Dancer', 'One Kind of Love' and (especially) 'Guess You Had to Be There' are my favorites. Brian hits some notes I'd never thought I'd ever hear him *attempt* again, much less hit. The production (much more Wilson than Thomas, truth be told, although some won't want to believe that) hits it for me, too. From all accounts, Brian was heavily involved and motivated, and it shows.

I’ve listened through the 16-track Deluxe version several times now, in a variety of contexts, and I’ve tried to come to terms with my thoughts and opinions on NPP.  Unfortunately, they are not nearly as positive as the prevailing sentiment around these parts.

I just can’t get into this album for the most part, apart from a song here and there.  A lot of it is the production; the terms “adult contemporary” and “70s soft rock” have been thrown around a lot in descriptions of NPP’s sound, in both positive and negative reviews, and unfortunately, those are two of my most-loathed genres, so I’m already facing an uphill battle.  I just do. not. like. the (IMHO) super-slick, saccharin, oft-cheesy, glossy sheen that Joe Thomas brings to the proceedings.  It’s significantly toned-down from “Imagination,” thankfully (that album is down at the bottom of the barrel for me in Brian’s solo catalogue), but it still grates on me.  (This is also one reason why TWGMTR didn’t resonate with me all that much, and yes, I realize I’m probably in the minority on that one.)

Please note that I’m NOT complaining or talking about any there-or-not presence of pitch correction on vocals.  There may be some here and there, or there may not, but whatever - that’s not my issue with the album’s sound at all.

I’m surprised by how non-memorable I find a lot of the songs.  Songs like “Tell Me Why” are pleasant-sounding under all the gloss, but also don’t stick in my head at all - I’ve forgotten them when they’re over.  Pleasant but bland.  “The Right Time” is more memorable, and Al sounds legitimately GREAT, but the soft rock instrumental production grates at me (especially those ‘70s light-rock guitar riffs, a guitar tone that always makes my skin crawl - not a knock at David Marks as a guitarist, I just don’t like the guitar tone used on this album at all).  “Sail Away,” despite the SJB-quoting flutes, is also more memorable, and transcends the production a bit (and it’s great having Blondie, Al, and Brian on a song together).  “Whatever Happened” is also a nice, solid song.  “The Last Song” I don’t enjoy much - it feels like it’s trying too hard, somehow (and again, that production doesn’t work well with my tastes), and doesn’t hit me nearly as sharply as, say, “Midnight’s Another Day,” which I feel is one of Brian’s career peaks, solo or otherwise.

The outside artist collaborations veer wildly around the quality spectrum, ranging from (again, all in my humble opinion) utter train wrecks (“Runaway Dancer,” “Our Special Love”) to bland-but-inoffensive (“Half Moon Bay”) to catchy-enough-but-utterly-generic (“Saturday Night” - I never liked Fun.’s music, and I’m not big on Nate Ruess’s voice - and "Guess You Had To Be There," and while I don't necessarily think it's pitch correction, there is *some* kind of vocal processing on Musgraves that I find very distracting and weird-sounding) to pretty fun and solid (“On The Island” - it sounds *nothing* like a Brian Wilson song, rather sounding like a 100% She & Him tune that Brian happens to do some backing vocals on, but I’m OK with She & Him, it works for what it is, and I dig the bossa nova lounge music vibe, and I think the production works pretty well here).  Apart from occasional spins of that last song, I’ll never listen to any of these again.

I want to say I have no “agenda” or whatever - I genuinely love Brian’s music, and it’s had a massive impact on me over the years.  Brian's music is in part why I write and perform music now.  I just do not jibe with this album at all, just as I didn’t jell with “Imagination” or GIOMH, or some examples from the BBs catalogue.  Several of the songs, if they were given a more organic/less soft rock or AC production, would probably strike me a *lot* better, but as it is, I’ll probably not be revisiting the vast majority of this album in the future.  I love BWPS, I love TLOS (apart from the spoken word and a song or two), I love (most of) BW88 (like “Love You,” I can roll with the crazy production as it completely commits to it, and there are just so many wonderful tunes), but NPP doesn’t do it for me.

Your mileage, of course, may vary.  If you like NPP, that's great - just, for me, personally, this one is a misfire.

It seems that more than anything the reviewers are praising a lot of Brian`s work on the album but want to knock Joe Thomas for the things they don`t like. As the album has certainly had worse ratings than TLOS and Joe Thomas is the big change on the production side, that makes sense.

I have NO idea why Brian's team think this is the sound to go for rather than a more hip, vintage sound.

Actually, the big change sound-wise is Brian. Thomas was not as involved as you think (and certainly much less than on TWGMTR),and my answer to that is the same one I have to the other poster below:

Joe lives near Chicago. Brian lives in LA. Joe visited Brian and cowrote most of the songs, and participated in some tracking sessions. But it is my understanding that Brian largely recorded and supervised the vocals for the album on his own, as well as the string overdubs and additional recording, such as the Scott Bennett songs that originated as an entirely separate project. Brian did some of his own mixing for the album, and directed many of the creative decisions – like the album cover art – on his own.

As for less credit and more work, Brian gets a sole arrangement credit on the album. That means something. It's certainly not unprecedented given his history either. After all, he produced several of the albums credited to the BBs in the late 60s.

Well, if that`s the case then it`s unfortunate because I really don`t want to think that Brian was responsible for the drum and brass sounds or the production of something like Don`t Worry. I would prefer to blame that guff on Mr Thomas.

But it is my understanding that Brian largely recorded and supervised the vocals for the album on his own, as well as the string overdubs and additional recording, such as the Scott Bennett songs that originated as an entirely separate project. Brian did some of his own mixing for the album, and directed many of the creative decisions – like the album cover art – on his own.

It's okay not to like something that Brian did that was his idea...he did the TLOS interludes that I personally didn't care for. As for the drums, well...to me it sure beats the sh*t of the drum sound Thomas normally comes up with himself. Just my honest opinion. The drum sound, and (especially) the bass textures, do not sound like Thomas's work. And sorry to burst your bubble, but I think Don't Worry was mainly Brian.

Are you joking?  I can't tell.

The three new tracks on the deluxe version not on the regular version might be my favorite three on the album.

Thomas was not as involved as you think (and certainly much less than on TWGMTR)

Yup. It was also my understanding that Thomas was more involved in the early days of the project, back when Jeff Beck was still involved, but I could be mistaken.

I hope it is ok to post it but this is Andrew Hickey`s lengthy and thoughtful review:

http://andrewhickey.info/2015/04/12/brian-wilson-no-pier-pressure/

The captain and I hang out on the Record Room. We don't project the image you ascribe to that venue. Very few do.

I'm sure Ian would get a kick out of the description.

Joe lives near Chicago. Brian lives in LA. Joe visited Brian and cowrote most of the songs, and participated in some tracking sessions. But it is my understanding that Brian largely recorded and supervised the vocals for the album on his own, as well as the string overdubs and additional recording, such as the Scott Bennett songs that originated as an entirely separate project. Brian did some of his own mixing for the album, and directed many of the creative decisions – like the album cover art – on his own.

As for less credit and more work, Brian gets a sole arrangement credit on the album. That means something. It's certainly not unprecedented given his history either. After all, he produced several of the albums credited to the BBs in the late 60s.

Ian wished death on Billy and his children, so Internet hardman Ian can go ram a stiff one up his butthole as far as this board's concerned.

I think Andrew Hickey is a decent writer and his review is interesting....

but stuff like saying Capital Cities is "a young persons’ skiffle group of some notoriety" strikes me as somebody trying to sound too cool for school. The kinda person that would hang out in the now vacant "Record Room" with former Smiley Smile board terrorist Ian Wagner. I mean, I didn't know who Capital Cities was either before this project, but the way he states it just reeks of musical elitism.

Don’t know if it makes any sense to post my personal review here any longer since the latest discussions about the album seems to, sadly, have curtailed into negativity in the ‘Many negative reviews of NPP’ thread. But here goes anyway – some basic thoughts. I haven’t read all the pages in this thread, so bear with me if I’m restating what others may have noted before me.

I was among those who purposefully kept away from listening to preview cuts from the album before release; when I received my Deluxe copy I had only heard Right Time, On the Island and Runaway Dancer (live version) via the youtube videos posted beforehand. I loved all three songs so that, along with some of the early praise from others here, had me stoked about the album.

I wish I could say it lived up to my expectations but I think it does fall a little short. For me, there’s definitely been much to enjoy but I don’t think it can touch TLOS, or perhaps even the Gershwin album in terms of Brian’s vocals and the overall production value. I’d say that I enjoy 2/3 of the album so, having said that, this is one happy fan though I had honestly hoped for a bit better album. Still, a fairly good Brian album is much better than most of the new releases out there so I’m not complaining.

A few opinions:

-   This Beautiful Day – THIS, as short as it is, is the stand-out track for me. GREAT opener! When I listened to the album in the car today I immidiedetly re-played the track after it ended so it basically sounded as if the verses were sung two times after each other. Works well that way. Brian could easily have stretched this one out with the second half having word-less harmonies like Think about the Days off TWGMR.

-   Al is otherworldly on the tracks where he sings lead! I wish he’d sung even more here. I particularly like him on Tell Me Why. Wow! I wish he’d sung lead on Saturday Night though – would have made an otherwise nice song much more compelling for me since the grit in Al’s typical vocal would have given the song a bit more power. Nate Ruess comes across as a bit to polished in his vocal for my taste.

-   I’m a bit perplexed by some of the negativity about Runaway Dancer. To these ears, it’s possibly the catchiest song on here. Really cool and kudos to Brian for trying something new. I guess the mixed emotions are due to the very modern, club-aimed production. And I must admit, had the production been toned down a little & more vintage-sounding like, say, Right Time, it would probably have fit the song better. But man, is this catchy!

-   I was curious to hear how almost all songs seem to end on a final drawn-out note instead of fading or having some of those gorgeous tags Brian is known for. It’s a shame he hasn’t incorporated a few into some of the dying seconds on these songs. Oh well, can’t have it all I guess.

-    The Right Time is such a great, catchy song. Unlike others here, I find it to be much superior to Lay Down Burdon.

-   I’m Feeling Sad is pure Brian. Super song. It reminds quite a lot of ‘Ticket to Wyoming’ by Ocean Blue. Has anyone else noticed this? https://www.youtube.com/watch?v=_Iq0-MUjn34

-   What’s up with the heavy processing on Kacey Musgreaves’ vocal? It really sticks out like a sore thumb and really annoys me whenever I hear the song.

-   My two least favorite tracks on the album are Half Moon Bay (boring to these ears, doesn’t really go anywhere) and Our Special Love. (I have always hated that kind of all-vocals backing tracks like on this one. Basically, I think it sounds very messy and annoying…)

-   Don’t Worry is a decent song and I quite like it. But don’t get me started on those fake synth horns. I don’t know what Brian was thinking. The production value on the album is high throughout so I can’t fathom why he wouldn’t feature real horns on this song. Had he done that it would have sounded much, much better. Others on here have made comparisons to the 70s output of the Four Seasons. That comparison is spot-on!

-   The Last Song isn’t quite what I’d hoped it would be. It’s nice enough and has some lovely harmonies but I don’t think it measures up to the last songs on TWGMR – which I’d hoped it would. And which I think This Beautiful Day does.

Overall – nice album which I’m thoroughly enjoying. Not as much as I’d thought I’d do but there’s lots on here for me to enjoy. Some have taken issue with the use of autotune. That doesn’t really bother me. On the other hand, I think the production sometimes come across as to white-bred, high-polished – and, to some extent, life-less. The sound on TLOS was more to my liking but if this is where Brian’s head is at right now I respect him for following up on it as decisively as he’s clearly done. (not wanting to open a can of worms in terms of the whole discussion of how much control Joe Thomas and other parts of Brian’s team have…)