"Where can I go when I fail when the friends got 'round"

But, to be fair, I'm not a native english speaker so I'd never come up with "fair weather friends cop out"

Oh, but what a perfect song to drunkenly belt out with your buddies after a long night of bar-hopping.

And I love Solar System to death.

True. Love is a Woman screams drunkness, that's why I enjoy it - I know Brian wasn't that serious about it.

"1, 2, 3, she's falling in love with me" is awesome!!

Solar System is so creative and also funny that I can't imagine someone not liking it.

After extensive research and deep analysis I came to the conclusion that Sloop John B has the coolest bass line of all time.

As much as I liked TWGMTR and still appreciate Mike's and Bruce's voices, I can see the positives on having a solo album by Brian Wilson rather than envolving the two aforementioned: at least we won't have that ridiculously cheesy nostalgia that seems to be absolutely mandatory whenever we're talking about The Beach Boys. It feels as though there HAD to be something along the lines of Daybreak Over The Ocean on the album. While Brian himself delivers some cheesy songs once in a while (though I'd blame it on his collaborators), I'm still hopeful to listen to a consistent non-embarrasing work. Including Mike Love is including "good vibrations, good times, a lot of fun, beaches", etc.

In terms of publicity, commercial sucess and live presentations there is no doubt that Brian, Mike, Bruce, Al and David sound much better than just Brian and his backing band, or even Brian together with Al and David. I guess I'm biased because I know I won't be able to attend a concert anyway, so it doesn't matter that much to me personally.

David and Alan participating on a Brian Wilson's solo album, that also includes Jeff Beck, is really the best we can get right now. We should be happy not only because the most creative mind of the musical world announced a new project, but also because if anything the C50 massively improved the relations between these three members.

Saw a guy wearing a Pet Soudns t-shirt after a McCartney concert 2 weeks ago  I went there and talked to him a little bit, saying how rare it was to see a fan, etc.

Also, it's very cool when Good Vibrations comes up on a very weird part of Vanilla Sky, that is itself a very weird movie. I found it awesome because it highlighted the weirdness in the song that is often forgotten due the lyrics.

Damn, really? Didn't even know he was sick...

Always found every member of The Doors incredibly cool, especially him. RIP 

I agree with SgtTimBob when he says this is a "miracle album". It is true that, because I'm fairly young, I didn't follow the band through the harsh years of drought and staining of their own image and legacy; Even so, I feel how amazing it is that we got a new album that is not embarrassing and it is actually quite good. After I first listened to Pet Sounds and the Greatest Hits, I took an almost cronological route through our beloved catalog, including Brian's solo albums. I guess that's the reason I value TWGMTR so much, since I wasn't able to connect to nor like the majority of the material the band and its leader put out after Love You. Combined with everything I already knew from the media, papers and so on (which provided the notorious relation between Beach Boys and cheesy in every level imaginable), it's hard to complain about the final result.

7 out of 12 tracks of the album are between good and excellent. That alone deserves a high praise. So much so that we get quickly spoiled and imagine a world where Daybreak and Spring Vacation don't exist. The latter is actually not THAT bad (certainly better than a lot of things that had come before), but the band could easily have done something different and better. Maybe, because it was their first new album in 20 years, they felt the need to reassure this kind of image to the possible new fans. Well, that's a theory, and I can forgive those slips.

The intro and the two singles are very decent. Being welcomed to a BB's album with a warm harmony and a sweet piano in the background is pleasant enough. The title song and Isn't It Time both have great vocal performances, though the latter is substantially better than the former: more dynamic, challenging and a better song overall. It stuck in my head immediately.

After that, the dip in the album is easily noticed, though indeed Spring Vacation isn't shameful. It is actually a half-decent upbeat song. Songs references don't sit well with me, however.

The Private Life and Shelter seem maybe a bit too corky and I'm still to get into these songs. Until now, they don't do anything for me, other than warn me that Daybreak is coming- I really dislike this song.

The final four is a treat. Strange World has caught my attention since the first listen, such a exciting and strong song. It starts to set higher standars for what was to come, in the final "life suite". Those final three songs are the ones that makes us (or me, at least) think that maybe with a little more hard work and better taste they could have done a real classic. Summer's Gone is nothing short than exquisite, really nice to see that kind of potential in Brian again.

A classic, after all, it is not. It is a Beach Boys album, which consequentely accounts for new theories, wishes, complaints, compliments and joy, in a flawed way. A well-deserved 4.

[much]

True, but The Beatles had quite a few covers. I did some quick counting, and, whilst The Beach Boys covered 9 songs in their studio albums until 1964, The Beatles did 18.

Regardless, it's not that much of a difference anyway. I guess, after all, it's more of a question that The Beatle's fillers and even covers were better.

It's just that, as a BB fan, I tend to disconsider those early fillers and pass them as a minor necessary evil, especially considering that it was pretty much Brian composing all the work.

The Beach Boys at their 66-67 peak were well above what the Beatles did or were even capable of.

But the Beach Boys at their low points were also far below the worst of the Beatles.  List every song the two groups released during the period of their co-existence, and the bottom 20 will all be Beach Boys.

IMO of course.

Well, yeah, but consider the Beach Boys only until 70, when The Beatles broke up. It's not that embarrassing anymore

He did -- he said "during the period of their coexistence".

Fair enough. I guess I'm inclined to relate "Beach Boys' low" with their post-Love You output and everything that happened since.

They released 6 albums in a two year period (62-64). That's where we'd find the majority of "lows", because there were bound to be some fillers. After that (and until Sunflower), I don't see many low points (less than exceptional, of course) to be fair, but that's me.

The Beach Boys at their 66-67 peak were well above what the Beatles did or were even capable of.

But the Beach Boys at their low points were also far below the worst of the Beatles.  List every song the two groups released during the period of their co-existence, and the bottom 20 will all be Beach Boys.

IMO of course.

Well, yeah, but consider the Beach Boys only until 70, when The Beatles broke up. It's not that embarrassing anymore

I haven't listened to much of their solo discographies, but for me, 'Ram' is not only the best of what I've heard, but also up there with the greatest pop records in my collection. Brilliant stuff.

I also enjoy 'Band on the Run', 'Venus and Mars', 'Back To The Egg', 'Tug of War' and John's songs on 'Double Fantasy' very much.

Band on the Run has a great material, but the production is rather..."meh". Every song from that album works better live.

I've always had a soft spot for McCartney (the first album). Brilliant, simple stuff.

I'm still to make a more detailed post on this album, but I just had to say that this pseudo-environmental wave was done with a terrible taste. Something along the lines of "Country Air" and "Let The Wind Blow" would be much more artistic and sensible, not sounding forced, but simple and honest.

Don't Go Near The Water is just embarrassing. And I'd like to know who came up with the final tag - just amazing.

Am I the only one who is actually touched by Rieley's performance on ADITLOAT? I just wish Brian had done the falsetto at the end (which is, I agree, an epical moment).

Yesterday I went to my first big concert. I saw Paul McCartney in Belo Horizonte (Brazil) and it was absolutely awesome and mind-blowing. As a consequence, I'm now addicted to "Another Day" (which, I admit, I didn't know).

I'm also listening quite a bit to "For The Longest Time", by Billy Joel. And, yes, I did hear the song on How I Met Your Mother 

I don't have much to add, just wanted to say that I'd LOOOVE the "original" In My Childhood. The lyrics to You Still Believe In Me are quite obvious and cliché. The sweetness and nostalgic hope in the instrumental would mean the world to me combined with a young Brian Wilson singing about childhood. Perfect match.

Not that those cliché lyrics spoil the song, because that'd be almost impossible, but...how I wish Brian hadn't changed them... Nothing would be more innocent and honest than a true Brian Wilson lyrics.

Love You appeals to me as a voyage to the dephts of the human drunkness.

At first, alcohol gives you a boost; You're there, super psyched and excited in a innocent and young way, sceaming happily that you went through the winger to get that girl. It goes on to Mike's sick voice sining all about a Roller Skating Child, which ends with a drunk Brian giving it his final say. Mona is one of the subject's peak: a circular song that begs you to dance with it, in a silly way making refereces to Phil Spector and settiing up dinners and movies all at once. Johnny Carson is just a relapse of insanity amidst an environment reeking of intricated genius, which can't be shut down even if your brian can't actually make sense of what's happening. It's same what happens on Ding-Dang and Solar System, except the latter is already showing the signs of when the alcohol starts to wear off; There's this kind of weird self-conscience that strikes us all and leads into a very spiritual moment in The Night Was So Young. Unsatisfied and suddenly pissed of, I can imagine Brian feeling sorry for himself angrily singning about this other nice guy, however having no actual proof that he exists. He, then, picks up hope and still in a dorky drunk way musters the courage to say all that had been left implicit and it was ruining everything in Let's Pur Our Hearts Together. It's the kind of honesty that can't be manufactured. I Wanna Pick You Up and Airplaine floats around that innocent feeling from the beggining, together with induced and natural insanity, that can't help but showing a pain that the singer has yet to accepted and recognise - until he finally does. Love Is a Woman is that final moment where Brian (or whoever, actually) looks back at everything with a hint of nostalgia and sings with the voice of a veteran who has seen it all before. Advices are given in a sincere way, through a soaring and shot voice of a 30 something year old bearded drunk man that just knows what the reality has prepared for him.

This album and I just wanna a good time. 5 all the way. Pure genius and brilliance. One of the most honests and emotional appealing albums I've ever come across. Brian just can't go wrong when he is being Brian.

I heard this for the first time. BB in Detroit, Nov 67

http://youtu.be/eMbI-SVtM3I

The crowd gives great response to Wild Honey at 27:10. Makes sense cuz it had just been released as a single. Darlin hadn't been released and received mild applause. IMO Wild Honey is a much better song, and I don't understand why Darlin was the bigger hit. Of course Babarann was a much bigger hit than God Only Knows so...

Wow, what a great show! How She Boogalooed It is fantastic! Cool to hear it being performed live. Surely, it's slower than studio v-n, yet the latter lacks the authenticity, i.e. the words were sung too quick & so on. Also I liked Mike's small water banter & coughing before CalGirls ("this... is one of my favorite cowboy songs"). Intro to Wild Honey is groovy! And did Carl ever sing it with much effort! It's almost as flawless and determined as the Wild Honey track. Unbelievable! Johnny B Good is done here better than the 1964 v-n. Cool piano & organ variations, the guitar solo is sick! In general, they all sound great, good to hear them being still like friends, entertaining each other. I - of course - quickly downloaded it to my collection before it got deleted by record company or sth. else. Anyway, thanks for sharing this YT link, MTR! And many thanks to gfac22 for uploading that concert! That was very generous thing to do!

Who is singing lead on Barbara Ann?

I've recently watched a video on youtube of Brian talking to some journalist or whoever backstage. The camera appeared to be hidden or something of the kind, so him and guy are seen from distance and the image is kinda blur. Anyway, Brian seemed MUCH more normal than I've seen in other interviews. Even his voice was okay and he was acting very comfortably. Shame I don't remember the name of the video, but that got me thinking that we can't really judge his current state from what we've seen of him in interviews or even shows. To me, aside from the neurological damage which I know nothing of, he's bored. He looks like someone who has a lot of thoughts in his head so every social obligation is annoying because it distracts him from his own personal world. It's like when you have a strong thought in your head, you're really working on it and have to make small talk with someone in the elevator. Being interviewed for 50 years must be incredibly boring. Rhapsody in Blue, Be My Baby, how my brothers and I would sing on our room, how I got the California Girl's bass line from Bach, etc, etc. Plus, there's also the fact that he does not like to perform. I think he just doesn't bother about fulfilling social protocols. For some people it's just harder than normal.

By the way, when the slurriness on his voice first appeared?

I wouldn't say that just because he's being more normal when he thinks he's off camera it means he doesn't have the enormous issues when he knows he's on camera. Maybe not neurological, but psychological. Maybe the camera gives him anxiety that triggers some of those symptoms we see. Anxiety can have an enormous physical impact on a person.

Sure, he DOES have issues, wether they are neurological or pshychological. I just don't know how to describe them and we've read a lot of people doing so with amazing knowledge of the matter, so I wouldn't add anything to that. I was just saying that it's hard to judge just by "the looks of it", especially because Brian has on and off days, even in concerts. I mean, he could maybe look better and still be going through a emotional hell, so...

By the way, in a 1998 interview he reveals, almost by accident, that he's not happy. He then tries to rephrase that and everything, but it seemed honest.

I bet the CIA is already at work....

They already were. What, you think this whole talk about AIDS being cured has nothing to do with Chavez's cancer? It's plain obvious that the american government intends to hide the fact that they master cancer to a point where it can be induced and cured. The truth lies with chavism.

Now: new elections in 30 days.  

Seriously though: that statement is part of Maduro's strategy to keep Chavez' light upon him. Blaming it on "the enemies" that Chavez had been kicking out of his country for 14 years is a good way to do it.

I guess She Knows Me Too Well has the same tone that You're So Good To Me does, which Marilyn claims to be written to her.

I often play Smiley Smile when I'm going to sleep and it's a wonderful ride, because the weird parts really scare me when I'm in that half-awake state of mind. I wish You're Welcome was in there.

Think About The Days is a very good choice. I've must played it over and over quite a few times

I'm actually developing some kind of anger towards The Beatles, for all the atention they get (especially in Brazil where absolutely no one knows who The Beach Boys are)  . I'm almost jealous.

A lot of people my age (that I know, at least) listen solely to what is considered cool, therefore they aren't "hip to The Beach Boys" and wouldn't dream of listening to them. In here it's like there are only Beatles, Pink Floyd and maybe Stones/The Who. It gets kind of boring to listen to this worship after a while. I wish people knew what they are missing out on.

Just voted on Rubber Soul, which now is tied with Abbey Road and Sgt Peppers...

Am I the only one who had his Beatles' obsession ruined by The Beach Boys? I used to be completely fanatic about them and they remain the only band whose discography I've listened from beggining to end (I didn't get close to Summer In Paradise yet, so...).

I don't know, they just don't do it for me anymore. I guess it's because they don't have that sweetness that pretty much all of the BB's records do. Plus, I'm not a big fan of John Lennon's voice and I do find some of his music quite annoying. While I've always liked Paul, he never striked me as some kind of genius with sparkles of brilliance thrown over his music. He is the true "hard-working guy" - complete musician all around. Great songrwriter, versatile voice, etc...

Their early stuff comes nowhere close to Brian's surf, dance and car songs. A Hard Day's Night is actually their only record which I could never listen to in its entirety.

I really like Help (the album) and Let It Be, though. Revolver and Magical Mystery Tour are also remarkable. Rubber Soul wins for me because it was an incredible change in their style and it was their melodical peak.

I've always thought that Lookin' At Tomorrow could fit into The Wall, so blown over I was when I first listened to it. Well, with different lyrics, perharps...

How the hell did Jardine come up with that?

https://notes.utk.edu/bio/greenberg.nsf/2700cc9c7c94b8be852563b7006b5bff/9b59a01f892cb86a8525792d00713c7c/$FILE/A&O%20-%20Dysfunction%20&%20creativity%20-%20Brian%20Wilson%20in%20sci-amer-mind1205-36.pdf

Did you guys check this? That quote from 1976 (15 Big Ones, most likely) is new to me. It actually explains a lot WHY Brian didn't sit down and record an album in the early 70's, considering that the little output of his musical material was still brilliant. Plus, we can also understand why Brian was apparently easy to exploit.

EDIT: Paul J B, just now I saw your post. Thank you! And as for your question, I've read somewhere Brian saying to one interviewer that it's a "good thing" for him, since it makes him interact or something of the kind. But, again, there are different kinds of interviews...when the interviewers is up to the job, Brian can talk a little bit more, but you can tell he's nervous. I myself rush the words and talk a little funny when in situations like that.

I love Smiley Smile.

Yes, maybe Brian was acting as if he couldn't care less, but there's more to it in the story. Why did he chose those arrangements, why those songs, who those voices? He had an ideia, a plan. Smiley Smile, at least for me, was never a random record. It means a lot and it's a great prove of Wilson's genius.

The biggest crime that Smiley Smile (did not) commit was not being SMiLe. If the fans can overlook this and face the album for WHAT IT IS they'll find an amazing piece of psychedelic music, full of incredible harmonies and sparkles of genius. The concept was too different than anything Brian had ever recorded. There is no use in trying to find the original Wonderful in the SS version, thus the latter should not be blamed in the comparison (can you guys imagine what it'd be like for the angelical Wonderful to come up with its harpsichord in the middle of Smiley Smile? It wouldn't work within the album). What, I guess, most people didn't get at the time (and a lot of them still don't) is that the whole concept changed. SS was never supposed to be SMiLe. Brian might as well have changed the name of the songs and given the album a different name (though I love the actual one), but he didn't, and the hype over the original Smile was a luggage too heavy for any other albums to carry.

Musical context often f*** things up. If SS hadn't come as a "replacement" or anything after months of expectation for Smile and maybe if Brian was together with the psychedelic musicians in the UK (of course the american fans who were Dancing, Dancing, Dancing and singing Wouldn't It Be Nice couldn't accept anything different than that), this album would get a lot more recognition. It's fucking awesome and goes to show how Syd Barret got nothing on the sunny, dumb and funny Beach Boys.

That being said, I of course understand the confusion Smiley must have caused at the time. But, oh, well, screw it! Screw the context. I'm listening to this thing 40 years after its released and sounds great. I don't care about "what Brian should have done to please the public of 1967" nor things like that. Musical quality is the most important thing and Brian would go on to record another two amazing albums that maybe didn't have any similarity to what people were listening at the time (Wild Honey and Friends). And thank God he did!

Smiley Smile is one the best albums of the 60's, as SMiLe itself would have been too, but in a different category. Maybe in a more "pop" category and everything, but that doesn't make it BETTER. They are so different. There is no use in comparing how one is beautifully produced and the other is a bunch of stoned guys playing in their living room. The concepts are almost opposites.

As for the tracks:

Yeah, I feel Good Vibrations shouldn't be there, but I can live with that because it's got that great weirdness into it. I found it incredible how the harmonies pretty much make the songs all alone. They carry the whole thing and it's great. Wind Chimes, Fall Breaks, Wind Chimes, Little Pad...maybe that was the BB's harmony at its peak. How can one not be blown away?!

On, and by the way, I've read some post talking about the Mutantes' first album. Yes!! If you like Smiley Smile, you'll love Os Mutantes. They are from Brazil and get a lot of praise in the UK (just like The Beach Boys! The hell with the "american band" stigma!)