In The Key Of Disney

[drbeachboy]

I remember when the TLOS mp3s were available, and they sounded terrible. Brian sounded terrible. I almost didn't buy the CD upon release based on those mp3 tracks. The CD sounded light years better due to blending Brian's vocals in the mix. They were way out front and did not sound very appealing.

[Amanda Hart]

When I was 5 I had Little Mermaid posters in my room, I now sit in my office at 25 with Brian Wilson tour posters up. Has this album brought my life full circle already?  

I've listened to this a few times through now and find that it isn't nearly as bad as I had braced myself for. I started to dread this when the track list came out (Lion King? Colors of the Wind??), then when Heigh-Ho was posted as a preview track it confirmed my dread that this would be as someone else said BW "by-the-numbers" and self-referencing. While there certainly is some of that, it isn't at the obnoxious levels I was expecting. It's overall a pleasant album, although predictable at times and a bit too AC for my tastes, but I know I'm not at all the target demographic. I imagine this is made for grandparents to put on when they are watching the little ones.  

Bare Necessities is my early favorite, I like the arrangement and instrumentation. It's a fun track and as Steve Martin says, a banjo will always put a smile on your face.

* I want to add that listening to this makes me really hope Brian still has one more original album left in him. Even if it is more of this safe, AC type stuff, I would love for him to put out something that is his own.

[Myk Luhv]

I wish Brian would give up the seemingly excessive use of saxes and flutes in his songs. They sound so tacky.

[Wirestone]

I wish Brian would give up the seemingly excessive use of saxes and flutes in his songs. They sound so tacky.

I can go with this. The one blind spot in the BW solo discography -- Mertens has a big hand in the orchestral arrangements, which I guess means he also gets to have several wind solos each record. Blech.

The worst, to my mind, was GIOMH. Why on earth would you dub a sax solo over the sublime organ break in Soul Searchin? Grumble grumble grumble.

[Wirestone]

* I want to add that listening to this makes me really hope Brian still has one more original album left in him. Even if it is more of this safe, AC type stuff, I would love for him to put out something that is his own.

Brian has a lot of original albums left in and already outside of him. Besides the Usher sessions, Sweet Insanity and the Paley sessions (at least a couple of albums' worth of unreleased solo songs), he wrote and recorded an entire follow up to TLOS with Scott Bennett.

The issue is that no one wants to release them. Correction: No major label wants to release them, which is all the BW camp seems to care about.

[Exapno Mapcase]

 An embarrassment.

[ghost]

I wish Brian would give up the seemingly excessive use of saxes and flutes in his songs. They sound so tacky.

I can go with this. The one blind spot in the BW solo discography -- Mertens has a big hand in the orchestral arrangements, which I guess means he also gets to have several wind solos each record. Blech.

The worst, to my mind, was GIOMH. Why on earth would you dub a sax solo over the sublime organ break in Soul Searchin? Grumble grumble grumble.

Brian should fire all those guys and hire people from this board. We know the music better than they do anyway.

[Manchini]

I wish Brian would give up the seemingly excessive use of saxes and flutes in his songs. They sound so tacky.

Those would be some of my only complaints. Like, a flute isn't going to make us think that "Colors of the Wind" is authentic Native American. But whatever, I get it I guess. Some of the arrangement choices and -- as has been stated -- overbearing background vocals are my only complaints. But I was already expecting these things as they're a part of BWs work nowadays.

I don't care for "We Belong Together" as a song in general, although I think the band did a great performance of it and I listen to it anyway because of the piano. I just think it's a boring song, I wish they would've chosen some of Randy Newman's work from "The Princess and the Frog" instead.

I really really like this album and have been looking forward to it since it was announced. I was more excited for it than Gershwin actually. I've been listening to a lot of non-Beach Boys/BW stuff lately, and hearing him again gave me that old familiar, pleasant feeling. Changed my mood drastically for the week. His voice just has that profound effect on me. And of course the band did a great job making these songs stand out and kick some ass.

I want to give credit to the music, of course. Disney has employed some GREAT songwriters over the years. I can't say enough good things about Alan Menken.

Only slightly off the subject, but I've been a big fan of "The Newsies" since I was a little kid (don't laugh). Does anybody else agree with me that that would have been awesome for Van Dyke Parks to have worked on that? Menken did an excellent job, so it's not about replacing him or anything, I just think it's really suited to VDP's work, especially considering he's worked with Disney before.

[Amanda Hart]

* I want to add that listening to this makes me really hope Brian still has one more original album left in him. Even if it is more of this safe, AC type stuff, I would love for him to put out something that is his own.

Brian has a lot of original albums left in and already outside of him. Besides the Usher sessions, Sweet Insanity and the Paley sessions (at least a couple of albums' worth of unreleased solo songs), he wrote and recorded an entire follow up to TLOS with Scott Bennett.

The issue is that no one wants to release them. Correction: No major label wants to release them, which is all the BW camp seems to care about.

I suppose you're right, the material exists. The Paley sessions are worth a second look by BW and co., especially You're Still A Mystery. I could only see one or two songs being releasable from what's left of the Usher sessions and Sweet Insanity though, that material just isn't very good. I haven't heard any post-TLOS material, in fact this is the first I've heard of it at all, so I can't judge that stuff. At any rate, I am excited for at least one more mostly original BW album.

[Wirestone]

I think it's hard to separate the Usher and SI stuff from the production, which is generally leaden and awful. I think the best Usher song was "So Long," which has already been released in reworked form as "You've Touched Me." But there are others --

All Over Me
Magic

Which haven't been booted, as far as I know. Also --

Just Say No
Magnetic Attraction
Christine

All of which are decent songs that beg for new lyrics and arrangements. And from S.I., you have four decent ones ...

Water Builds Up
Do You Have Any Regrets
Brian /  Thank You (without the Landy lyrics)
Love Ya

The point is, you could easily fashion an album from those. And then another one (or two) from the remaining Paley songs.

Still a Mystery
It's Not Easy Being Me
Some Sweet Day
Elbow 63
Slightly American Music
Must be a Miracle
Going Home
Chain Reaction Of Love
God Did It
What Rock and Roll Can Do
Frankie Avalon
Marketplace
Mary Anne
I'm Broke
Boogie's Back in Town
This Song Wants to Sleep With You
In My Moondreams

[Bubba Ho-Tep]

I wish Brian would give up the seemingly excessive use of saxes and flutes in his songs. They sound so tacky.

I can go with this. The one blind spot in the BW solo discography -- Mertens has a big hand in the orchestral arrangements, which I guess means he also gets to have several wind solos each record. Blech.

The worst, to my mind, was GIOMH. Why on earth would you dub a sax solo over the sublime organ break in Soul Searchin? Grumble grumble grumble.

I agree. Mertens' all-out flute assault on "Don't Let Her Know She's An Angel" was unforgivable. He needs to go. Compare TLOS demo to the finished product. I liked it a whole lot more before Mertens tarted it up.

[Dr. Tim]

I am intrigued by Wirestone's comment that Brian and Scott have already recorded a follow up to TLOS.  First I've heard of that.  Confirmation?  AGD?

So a major label won't release it.  So fuckin what?  I get that Brian and his team are old-school in thinking that's important, but it's also a big mistake.  Do it yourself! Work a distribution deal with XL, or Saddle Creek, or Yep Roc.  Market hi-rez downloads at a discount through HD Tracks!  There's lots of ways to do it, and no excuse not to, if he's proud of the work. 

[Wirestone]

Compare TLOS demo to the finished product. I liked it a whole lot more before Mertens tarted it up.

I think much of that is actually Scott Bennett's fault/responsibility. He co-produced the album sessions and mixed the record.

I am intrigued by Wirestone's comment that Brian and Scott have already recorded a follow up to TLOS.  First I've heard of that.  Confirmation?  AGD?

I probably sounded more certain than I meant to there. It's a bit of an extrapolation, but Brian talked a lot after the TLOS about making a rock album (the eternal rock album) and the "Pleasure Island" project. And it was confirmed, I seem to recall, that he had continued to record and write with Scott. Some new song titles were mentioned in interviews. Now, whether that means it's essentially a group of demos (along the lines of the TLOS demos) or something more elaborate, who knows.

[Aegir]

Work a distribution deal with XL, or Saddle Creek, or Yep Roc. 

Now I'm just imagining a Brian album produced by Mike Mogis.... drool

[Wirestone]

And given reports that Brian was recording (with Joe Thomas?!) and writing recently, I would be that we'll have a new solo project -- or the germs of a new BB album -- within the next year or so.

[pixletwin]

Sorry, but who is Joe Thomas?

[Amy B.]

So the Smiley Smile board's recommendations to Brian are as follows:
--Get rid of Paul Mertens
--Forget about labels and just release stuff independently

I suppose I agree with both. I do enjoy the Disney album, but I really hate sax solos (saxes in Salt Lake City, on the other hand...) and flute solos.I don't find them that offensive here, but I do think the album would be stronger without them. I guess Mertens went to school and is a traditional arranger, whereas young Brian was the opposite, and that's what people are missing. (Accordians on top of guitars, anyone?) And it would be great if Brian would release stuff through his Web site, but maybe he feels more secure with a contract. And maybe having an obligation to a label motivates him. At least, I wish he could just release some one-off recordings, as he has posted from time to time (like Heaven, etc.).

[37!ws]

Sorry, but who is Joe Thomas?

Exactly.

[Andrew G. Doe]

Brian has a lot of original albums left in and already outside of him. Besides the Usher sessions, Sweet Insanity and the Paley sessions (at least a couple of albums' worth of unreleased solo songs), he wrote and recorded an entire follow up to TLOS with Scott Bennett.

Untrue. 

There are tracks left over from the summer 2006 demo sessions, but post TLOS there was little, if any, new recording until the BWRG sessions.

[ghost]

http://www.mediafire.com/?9ahfs8l047m2x8m

Heigh Ho Haight Asbury

[SMiLE Brian]

Brian has a lot of original albums left in and already outside of him. Besides the Usher sessions, Sweet Insanity and the Paley sessions (at least a couple of albums' worth of unreleased solo songs), he wrote and recorded an entire follow up to TLOS with Scott Bennett.

Untrue. 

There are tracks left over from the summer 2006 demo sessions, but post TLOS there was little, if any, new recording until the BWRG sessions.

AGD, has Brian ever worked on the "pleasure island" project he always talks about?

[Andrew G. Doe]

Brian has a lot of original albums left in and already outside of him. Besides the Usher sessions, Sweet Insanity and the Paley sessions (at least a couple of albums' worth of unreleased solo songs), he wrote and recorded an entire follow up to TLOS with Scott Bennett.

Untrue. 

There are tracks left over from the summer 2006 demo sessions, but post TLOS there was little, if any, new recording until the BWRG sessions.

AGD, has Brian ever worked on the "pleasure island" project he always talks about?

Not to my knowledge - it's like the fabled rock & roll album that he's been talking about since late 1999: something to say during an interview.

[SloopJohnB]

(...)
Magnetic Attraction

(...) decent songs that beg for new lyrics and arrangements.

In my opinion, this is a tune that really deserves a proper release, with a new arrangement obviously, but with the same great lyrics: "Magnetic attraction, I thought I was safe with a heart of steel / Magnetic attraction, drawn to a magnet that's the way I feel" might sound corny to some of you, but to me they're quite clever and I wish I could come up with similar lyrics. I'm pretty sure it would have had hit potential in the 80s and it would still be a good song today.

[Jason]

Brian has a lot of original albums left in and already outside of him. Besides the Usher sessions, Sweet Insanity and the Paley sessions (at least a couple of albums' worth of unreleased solo songs), he wrote and recorded an entire follow up to TLOS with Scott Bennett.

Untrue. 

There are tracks left over from the summer 2006 demo sessions, but post TLOS there was little, if any, new recording until the BWRG sessions.

Wasn't it alleged that much of the leftovers from the summer 2006 demo sessions were actually part of Brian's intended running order to TLOS that was nixed by someone other than Brian?

[Wirestone]

I dunno. I had heard that Scott and Darian sequenced the thing and that Brian added Southern California late in the game.