You can read an 11 page fan article about Sumahama here:

https://www.facebook.com/photo.php?fbid=634039246673968&set=a.634015046676388.1073741828.100002036942309&type=1&theater

It essentially says that the wrong lyrics were originally printed in the Japanese release (not uncommon for any album released in Japan) and that different lyrics were printed for the single release. And that people misheard hinen no (meaning tragic) for kirei no (which is incorrect Japanse) along with a few other mistakes.

To my ear, it definitely sounds like Mike is singing "kirei no" and not "hinen no."  Admittedly, that's a rather minor grammatical mistake about adjective conjugation and most people would probably still understand the meaning.

I'm not a native Japanese speaker or anything close to it, but to my ear the problem with the Japanese lyrics is that they don't sound particularly idiomatic.  For example, the line:

Sugita ai o sagashi ni iku

If you're just looking up words in an English-Japanese dictionary, you'll find that "Sugita" means "passed," ai means "love," "o" is the grammatical particle marking an indirect object, "sagashi" means "to look for," "ni" is the grammatical particle marking an indirect object or direction, and "iku" means "to go."  So the line is meant to mean something like "Go looking for your past love."

The problem is, in English we use "love" to mean both the abstract feeling and people/things that we have that feeling for.  This is not so in Japanese, where you would have to use a word like "koibito."  Also, the word "sugita," even though it's the past tense of a verb meaning "pass," it's not used for things in the past, but rather in the sense of passing something by or passing through something.  The right phrase idiomatically would be "mukashi no" ("of the past").  In general, it sounds like the person who wrote the lyrics had to look up a number of words in a dictionary and wasn't aware how they were commonly used.

I dont see how or why anyone would think theres anything good about the light album or ktsa...think about it : the beach boys were a rockin band , the light album other than shortenin bread is essentially muzak, brian was hardly involved and it was a collection of outtakes...ktsa just awful...I love the beach boys, ive been a zealot/pundit my whole life but their post.holland output minus love you is grim and soulless.

Do you know what the word 'pundit' means?

If you listen to Phil Miglioratti's interview with publicist Warren Duffy...Al was more of the odd man out than fans previously thought: http://ia600409.us.archive.org/18/items/PhoneInnerviewWwarrenDuffyAug132009/DuffyConcallAug132009_vbr.mp3

Sorry to change the subject, but he says that Brian was into Scientology?  I don't think I've heard or read that anywhere before.

cellunoid (the most unusual word of all, no-one else has ever used it)

I've got my picky slippers on here... but wasn't the word actually supposed to be 'solenoid'? As in a coil of wire, as used in an electromagnetic door locking system? I can't even remember where I heard that that's what that word was — but I think I did. If so, Mike definitely mispronounced it, or was given lyrics to sing that misspelt it, resulting in the mispronunciation, because it really does sound like he sings 'cellunoid'...

I seem to remember that it's 'solenoid' as well.

"Cornucopia"
"Phosphorous"

Nepenthe

not on any official BBs records it's not


And how about 'arbitrarily', for unusual.

who can guess what song it's from without looking it up?

Heads You Win, Tails I Lose

<<Is "A Beginning from an End" meant to be a serious song?  Admittedly it's not funny in the slightest, but the way the spoken interlude goes on and on and takes up nearly half of the song's running time I've always wondered if it wasn't meant as a parody of the teen tragedy song in some way.  I have to admit that the intentionality behind that song totally escapes me--frankly, I can't blame Dean for walking out.>>

I've been listening to this track for about 38 years and try as I might, I don't think it has a shred of parody in it.  This is Jan being serious.

what am I missing here? seems the song is about a mom that died at childbirth, baby surviving. Why would that be thought of as a parody?

I wasn't referring to the subject matter so much as the structure of the song.  The fact that the spoken interlude is so overlong and melodramatic (I know that the subject matter is also dramatic, but generally the idea is to get the emotion into the music) made me think Jan was half-parodying spoken interludes.  I don't really think the track works either way, though.

<< also didn't Dean say he didn't like "You really know how to hurt a guy."? >>
No, he did not like the song.  But the one he walked out of the studio on to go sing on Barbara Ann with the Beach Boys was "A Beginning from An End."  At the same time Jan was cutting YRKHTHAG, Dean was cutting a solo version of the Jamies hit Summertime, which remained unreleased until 1966, post accident.  That shows the different direction they were going.  Liberty was pushing Jan to record more "serious" songs.

Is "A Beginning from an End" meant to be a serious song?  Admittedly it's not funny in the slightest, but the way the spoken interlude goes on and on and takes up nearly half of the song's running time I've always wondered if it wasn't meant as a parody of the teen tragedy song in some way.  I have to admit that the intentionality behind that song totally escapes me--frankly, I can't blame Dean for walking out.

Also, Mike had a troubled relationship with his mother (Murry's sister) and that might have contributed.  That's just speculation though.

They think that "Tears in the Morning" and "Barbara Ann" are better than "Sloop John B" and "Let Him Run Wild."

Why do they say Barabra Ann was the bane of Carl's existence?  Why Carl particularly?  I've never heard anything that suggests he especially came to hate it - can anyone tell me what I've missed?

Carl was quoted saying that many years later, as reported in Andrew Hickey's book.

I totally forgot to mention Pet Projects, a collection of some of BW's non-Beach Boy productions.  There's also The Big Beat 1963 which has some more of those.  The former is on CD, the latter is only available on iTunes.

For starters, I would get both That Lucky Old Sun and Brian Wilson Reimagines Gershwin.  The iTunes version of the former album comes with some rather wonderful bonus tracks, and there was also a special edition best buy version that came with different bonus tracks that would probably be pretty hard/expensive to get now.  (The record company really milked us completist fans with the marketing scheme on that particular album, but IMO the bonus tracks are worth the trouble).  The Disney album is also fun but less essential.

Also, you'll want to get M.I.U. (if only for "My Diane") and L.A., which has some good songs on it.  Still Cruisin' has some not terrible tracks on it, but Summer in Paradise doesn't really.

Beach Boys-produced Charles Manson album

This is probably the biggest one.

But if The Beach Boys did produce and release a Manson album there's a good chance the Tate/LaBianca murders would never have happened.

Hmm… maybe not the Tate/LaBianca murders themselves but it's difficult to imagine that the Manson family wouldn't have eventually murdered someone given what happened.  How would Manson have reacted if he got his album made but it didn't sell and didn't turn into a career?

Of course at this point we're pretty far into "what if" land, but it's difficult to imagine any alternate story with the Manson family ending prettily.

With this level of anger and hatred coming from the OP, i'm guessing "howard beale" is American.

But 2 posts? Which other monikers does "howard beale" post under?

I don't know. His other post so far is a very timely and well-written introductory post in the "Welcome to the SS board" thread. In it, he lets the world know that he is a troll. Great stuff.

That was already pretty obvious given the name and photograph, though.

Beach Boys-produced Charles Manson album

This is probably the biggest one.

Some others:

Phil Spector's rejection of "Don't Worry Baby," allowing the boys to record it themselves.

Reprise's rejection of Holland, resulting in the removal of "We Got Love" and the addition of "Sail On, Sailor."

The non-release of the Kalinich poetry album.

Also, Bruce's non-membership in the band from 1972-1978.  They still got his voice when they needed it, but just try to imagine any of the albums they released in that period with something from Going Public on them.

That being said ...

http://www.billboard.com/articles/columns/chart-beat/6320099/billboard-200-makeover-streams-digital-tracks

And HDD has a sales plus streaming chart, where NPP comes in at #27.

So we shall see.

On the bright side, that means that of the people who listen to Brian Wilson's new album, a higher number than average bought as opposed to just streamed it.

Hooray!  A thread about the music!

When the dance beat kicks in on "Runaway Dancer" up until the start of the first verse.

The chorus of "Runaway Dancer."

The harmonies on the fade of "The Right Time."

"I'm sad when you're not at home, sad 'cuz I'm all alone."  Really the whole song, but the middle eight in particular.

Like the previous poster said, right when the chorus of "Tell Me Why" kicks in with the harmonies behind Al singing "How many times."

The "la la las" on "The Last Song."  (I've really come around on this one).

Being that several of their albums were covers would it be fair to sum up Jan&Dean with the three albums- Drag City, Ride the Wild Surf and Little Old Lady from Pasadena...most of their cuts co.written with either Brian, Roger Christian, Phil Sloan or Jill Gibson...

Umm… why not Dead Man's Curve/The New Girl in School?

Also, why is this a thread?

This review seems annoyed that Brian didn't put more depressing songs on the album

My thoughts exactly.

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 do they have instead of "I'm Feeling Sad?"

Somebody call a plumber.

I give it 4 stars.

      

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

I'm pretty pleased with how it came out, particularly the harmonies.

And rightly so!

So I was surprised by a couple of things in this interview--notably the fact that he wrote Runaway Dancer in 1998 before recording it with "whatshisname" (Sebu).  I'd assumed that that one was (a) written more recently and (b) was collaborative with Sebu from the get-go because it's such an unusual style for Brian but is stylistically similar to Capital Cities.  It would be interesting to hear if there was a demo from around the time it was written to see how much it sounds like the version we have now.

From our friend Ray:

I am listening to "Talk of the Town", which is the track that Brian submitted to Sebu to work on. The song itself is about a "lady of the evening" to put it politely.  I will try and point out the similarities and differences between the original "Talk of the Town" and the completed "Runaway Dancer".

The intro is the same, verses are the same, the sax is there  and most of the synths are there; in case you didn't know, Brian loves synths. If you listen to the chorus " hey its been the talk of the town" closely enough , you will realize it is Brian and Blondie singing it. There are two transitions to a part where Brian and Blondie sing " Ran away from home, had to get away , livin' on the street, goin' all the way", which have been replaced by Sebu's  " runnin , Runaway dancer , runnin" part. The intro is repeated as a a break before the last part of the song; it ends with the vocal as is on the finished tune. Sebu added the "Runaway Dancer" part and some synth stuff , but the original track is pretty close to what has been released .

Ah, thank you; I missed that!