gfxgfx
 
Welcome, Guest. Please login or register.

Login with username, password and session length
logo
 
gfx gfx
gfx
680601 Posts in 27601 Topics by 4068 Members - Latest Member: Dae Lims March 29, 2024, 09:59:42 AM
*
gfx*HomeHelpSearchCalendarLoginRegistergfx
gfxgfx
0 Members and 1 Guest are viewing this topic.       « previous next »
Pages: 1 2 3 [4] 5 Go Down Print
Author Topic: MIU .. wow underrated album  (Read 12986 times)
William Bowe
Smiley Smile Associate
*
Offline Offline

Posts: 281


View Profile
« Reply #75 on: February 21, 2012, 03:12:23 AM »

Quote
I think this record could have used some of the stuff that was left off, such as "Our Team" or maybe "Mike Come Back to L.A." (which I haven't heard of course but it sounds like it could be a fun tune).

Leaving off Our Team and How's About a Little Bit of Your Sweet Lovin' can only have been acts of sabotage.
Logged
Disney Boy (1985)
Guest
« Reply #76 on: February 21, 2012, 11:18:59 AM »

I'm very pleased Our Team was left off MIU, primarily because I love it and wouldn't want it to have been tarnished by such hateful surroundings.
Logged
gsmile
Smiley Smile Associate
*
Offline Offline

Gender: Male
Posts: 231



View Profile
« Reply #77 on: February 24, 2012, 09:01:59 PM »

Who played the lead guitar on "Pitter Patter"...there's some tasty stuff going on there!  Not flashy, but subtle and appropriate for the song.  Almost sounds like rain rolling down a roof.

Right now I'm sitting down with a couple cups of coffee and enjoying the hell out of MIU on vinyl.  A very modest record, and it's small charms equal great pleasure for me.  Side Two in particular is fantastic.  So much Brian involvement in this, it's hard not to love. 

Man, does "Matchpoint of Our Love" ever make me wish the rumoured Barry Gibb produced album happened in the early 80s.  The fusion of Beach Boys harmonies and disco-balladry really bears wonderful fruit on this track and Barry/Albhy Galuten/Karl Richardson could have really taken this sound a step further...
Logged

Quote from: So cold I go burr
There are people who have taken LSD thousands of times and are as sane as Jeff Foskett. Well, that's a bad example, because Jeff hates Love You and that's INSANE.
metal flake paint
Smiley Smile Associate
*
Offline Offline

Gender: Male
Posts: 1376


This harmony kick


View Profile
« Reply #78 on: February 24, 2012, 10:47:19 PM »

MIU is one of my favourite listening (guilty) pleasures.
Logged

"Quit screaming and start singing from your hearts, huh?" Murry Wilson, March 1965.
KokoNO
Smiley Smile Associate
*
Offline Offline

Posts: 287


View Profile
« Reply #79 on: February 24, 2012, 11:36:36 PM »

The L.A. album was them at least trying and, frankly, most of it was quite good (some of it great, even). The MIU album, on the other hand, has no real melodies (aside from the covers, of course) or interesting lyrics or vocal deliveries - all topped off with the most cardboard sounding production you'll ever hear. The lone highlight is the glitzy "Come Go With Me" cover, but it's hardly a classsic.
Logged
Jason Penick
Smiley Smile Associate
*
Offline Offline

Gender: Male
Posts: 580



View Profile
« Reply #80 on: February 24, 2012, 11:51:44 PM »

MIU as an album is severely underrated.  How such an inoffensive record can draw such ire surely reflects more on the general insanity of parts of the Beach Boys fanbase than on anything having to do with the actual music contained within.  Nobody's saying it's Pet Sounds, but it's not trying to be.  It's straight up Yacht Rock, and on that level it works brilliantly.  I'm especially baffled by those who complain about the inconstant sound... You could level that criticism at L.A. all day long, but 90% of this album was recorded with essentially the same backing band, and the sound is incredibly homogenous.  Likewise, the backing vocals are uniformly fantastic, largely thanks to the great Bob Rose who was brought in to coach the group on delivery and help with arrangements-- something they obviously needed in the wake of 15 Big Ones and Love You.

The "Peggy Sue" remake to me is brilliant, and if you say otherwise, you may be listening with "dead ears, mate" in the words of Russell Crowe.  Sorry, that was uncalled for, but I'm frustrated when it comes to defending this record to folks that don't get it and talk about it as if it was a steamer along the lines of SIP.  I get the feeling so many of the MIU haters have no idea how hard it is to make music that is this tuneful and precise.  I'm really not trying to be all sanctimonious, honestly, but I don't know how else to express it.  There is a level of quality to this record that some are able to ascertain, and it seems to me that those who tend to dismiss it regularly do so out of hand.  For sure it would have been great to have more Carl and Dennis on it, but at the same time it isn't as though Mike, Al and Brian were incapable of creating quality work on their own.

I'm not saying MIU is perfect, but it's got a lovely vibe to it.  It's lush and harmonic.  I would probably give it 3 1/2 stars out of 5, but for some reason I tend to reach for it a lot.  Dean's cover art and the back photo are great too.

Clearly we all hope for capital A Art out of The Beach Boys every time, but taken for what it is, MIU is a pretty good time.  Cool Guy
« Last Edit: February 25, 2012, 12:00:57 AM by Jason Penick » Logged

SUICIDE
It only makes things worse. You can't solve anything by killing yourself. I mean, things can only get better, but if you're dead, they may not. -- Brian Wilson
Outtasight!
Smiley Smile Associate
*
Offline Offline

Gender: Male
Posts: 285


View Profile
« Reply #81 on: February 25, 2012, 12:31:48 AM »

Unfortunately, by having to heavily caveat your praise with "taken for what it is" your essentially saying it's rubbish but if you accept that then it's good rubbish. Accepting that it's lightweight and viewing that as the benchmark for rating the album is not really rating it at all. It's a poor album (excepting My Dianne and Pitter Patter and the production is pretty limp on PP). We will all listen to it often as we're BB's freaks but would you play it to friends?
Logged
Jaco
Smiley Smile Associate
*
Offline Offline

Posts: 152


View Profile WWW
« Reply #82 on: February 25, 2012, 03:19:24 AM »

Brian Wilson was famous for making backing tracks that were solid and great, f.e. Sloop John B or Salt Lake City. You almost had a finished product, but with those gorgeous vocals on top of it the result was even better, sometimes transforming it to a whole different feel of the song. MAGIC.

On MIU it's as if it's the other way around, the backing tracks are just good for underneath the vocal melodies, but there's nothing special about them. They are very mediocre, especially the drums are boring. A missed opportunity, because the songwriting, the melodies are totally not bad at all. (7 Brian songs out of 12)  Not a very good album, but still enough tracks to enjoy.
Logged
Jon Stebbins
Honored Guest
******
Offline Offline

Gender: Male
Posts: 2635


View Profile
« Reply #83 on: February 25, 2012, 09:39:39 AM »

MIU as an album is severely underrated.  How such an inoffensive record can draw such ire surely reflects more on the general insanity of parts of the Beach Boys fanbase than on anything having to do with the actual music contained within.  Nobody's saying it's Pet Sounds, but it's not trying to be.  It's straight up Yacht Rock, and on that level it works brilliantly.  I'm especially baffled by those who complain about the inconstant sound... You could level that criticism at L.A. all day long, but 90% of this album was recorded with essentially the same backing band, and the sound is incredibly homogenous.  Likewise, the backing vocals are uniformly fantastic, largely thanks to the great Bob Rose who was brought in to coach the group on delivery and help with arrangements-- something they obviously needed in the wake of 15 Big Ones and Love You.

The "Peggy Sue" remake to me is brilliant, and if you say otherwise, you may be listening with "dead ears, mate" in the words of Russell Crowe.  Sorry, that was uncalled for, but I'm frustrated when it comes to defending this record to folks that don't get it and talk about it as if it was a steamer along the lines of SIP.  I get the feeling so many of the MIU haters have no idea how hard it is to make music that is this tuneful and precise.  I'm really not trying to be all sanctimonious, honestly, but I don't know how else to express it.  There is a level of quality to this record that some are able to ascertain, and it seems to me that those who tend to dismiss it regularly do so out of hand.  For sure it would have been great to have more Carl and Dennis on it, but at the same time it isn't as though Mike, Al and Brian were incapable of creating quality work on their own.

I'm not saying MIU is perfect, but it's got a lovely vibe to it.  It's lush and harmonic.  I would probably give it 3 1/2 stars out of 5, but for some reason I tend to reach for it a lot.  Dean's cover art and the back photo are great too.

Clearly we all hope for capital A Art out of The Beach Boys every time, but taken for what it is, MIU is a pretty good time.  Cool Guy
Jason...before we start...you know I like and respect you...ok here we go. I bought this record the day it came out and I really wanted to like it. I kept playing it for weeks, my roommate was ready to move out after 130 listenings of She's Got Rhythm and Wont'cha Come Out Tonight. The fact that Brian is straining so hard to sing in his old voice, and kind of, almost gets there, isn't enough to make me like it. Even back then it was like watching a car trying to take a turn about 20 mph faster than the car was, at its old age, able to comfortably pull off. Brian makes it around the turn, but barely. Its like everybody was crossing their fingers, and clenching their butt cheeks in the hope that Brian can sing high again...YAY...he did it. He made it...whew! BUT The songs suck. And even if you can stomach them, Brian sounds forced and screechy. And did I mention the the songs, come on, Jason...can you really get behind this stuff? But okay...if you can get by all of that, and I tried...you are left with really unimaginative arrangements and one of the blandest productions on any Beach Boys album. Love You, and even parts of 15 BO are so much more ambitious, yes not has even, not as steady, not as neutral...to me MIU is like room temperature mashed potatoes with no salt. There is none of the Beach Boys mojo that makes the hair on your neck stand up and makes you go...oooohhh...that's brilliant (other than My Diane that is).  Its just passable, like a C in a class you should be getting at least an A- in. Is there anything as inventive as Had To Phone Ya, anything as groovacious as Its OK? No. Is there anything as unique and original as the progressions and arrangements all over Love You? No. And don't even think about comparing it to POB...it sounds like a demo for a Beach Boys-soundalike band trying to get a gig at a frat party compared to the lush, majestic, haunting and HUGE arrangement/productions on POB. I gave MIU every opportunity, and it became one of the most disappointing moments in BB's history for me because in '78 they still had so much talent there...(see Love You and POB). It sounds like potential ignored or unrecognized by those in the band who preferred to avoid art and play it safe. That said, I like Peggy Sue and My Diane is brilliant...and Hey Little Tomboy is one of the all-time greatest train-wrecks of inappropriateness. Jason you are a brave man. BTW I get quizzical looks because All Summer Long is my favorite BB's LP. So many people think of it as one of the lightweight early ones...but to me its the best BB's album. So its not like my taste is normal anyway. Hope you are good my man.
Logged
Disney Boy (1985)
Guest
« Reply #84 on: February 25, 2012, 12:09:35 PM »

Agree with almost all of the above (Peggy Sue, really...?). Talent being deliberately ignored and/or unrecognised? Very accurate indeed. It seems like utter sheer insanity that Dennis was producing songs during this period of the standard seen on POB and the BB's were choosing to release albums such as MIU. All that in-fighting and ego... They really needed a sixth FEMALE member to calm 'em all down (after all, nothing stops a pub brawl faster than a woman's intervention...)

Re Hey Little Tomboy. Agreed, it's sheer hand-over-mouth shock factor makes it by default massively entertaining: 'Hey little tomboy, sit here on my lap... I'm going to teach you to kiss, it's going to feel just like this...' Honestly, could Mike sound any creepier singing that last line? And to think it was only 32 years ago - imagine if someone were to sing something like that today... (Although they sang a Gary Glitter song on Glee recently, so who's to say...)
Logged
Outtasight!
Smiley Smile Associate
*
Offline Offline

Gender: Male
Posts: 285


View Profile
« Reply #85 on: February 25, 2012, 01:57:13 PM »

I'm the leader of the gang I am!
Logged
Jason Penick
Smiley Smile Associate
*
Offline Offline

Gender: Male
Posts: 580



View Profile
« Reply #86 on: February 25, 2012, 04:18:59 PM »


Jason...before we start...you know I like and respect you...ok here we go. I bought this record the day it came out and I really wanted to like it. I kept playing it for weeks, my roommate was ready to move out after 130 listenings of She's Got Rhythm and Wont'cha Come Out Tonight. The fact that Brian is straining so hard to sing in his old voice, and kind of, almost gets there, isn't enough to make me like it. Even back then it was like watching a car trying to take a turn about 20 mph faster than the car was, at its old age, able to comfortably pull off. Brian makes it around the turn, but barely. Its like everybody was crossing their fingers, and clenching their butt cheeks in the hope that Brian can sing high again...YAY...he did it. He made it...whew! BUT The songs suck. And even if you can stomach them, Brian sounds forced and screechy. And did I mention the the songs, come on, Jason...can you really get behind this stuff? But okay...if you can get by all of that, and I tried...you are left with really unimaginative arrangements and one of the blandest productions on any Beach Boys album. Love You, and even parts of 15 BO are so much more ambitious, yes not has even, not as steady, not as neutral...to me MIU is like room temperature mashed potatoes with no salt. There is none of the Beach Boys mojo that makes the hair on your neck stand up and makes you go...oooohhh...that's brilliant (other than My Diane that is).  Its just passable, like a C in a class you should be getting at least an A- in. Is there anything as inventive as Had To Phone Ya, anything as groovacious as Its OK? No. Is there anything as unique and original as the progressions and arrangements all over Love You? No. And don't even think about comparing it to POB...it sounds like a demo for a Beach Boys-soundalike band trying to get a gig at a frat party compared to the lush, majestic, haunting and HUGE arrangement/productions on POB. I gave MIU every opportunity, and it became one of the most disappointing moments in BB's history for me because in '78 they still had so much talent there...(see Love You and POB). It sounds like potential ignored or unrecognized by those in the band who preferred to avoid art and play it safe. That said, I like Peggy Sue and My Diane is brilliant...and Hey Little Tomboy is one of the all-time greatest train-wrecks of inappropriateness. Jason you are a brave man. BTW I get quizzical looks because All Summer Long is my favorite BB's LP. So many people think of it as one of the lightweight early ones...but to me its the best BB's album. So its not like my taste is normal anyway. Hope you are good my man.

Thanks for your comment John!  I hope you are doing well too.  Smiley

In truth I was probably a little overzealous in my defense last night, but seeing this album get trashed to such a degree kicks up emotions in me similar to what I might feel if my 90 lb. weakling kid brother was getting pushed around by bullies.  (I don't have a kid brother, but you get what I mean!)

Truthfully there are parts on the record that I don't care for.  The Brian vocal you so greatly describe as a car taking a turn 20 mph too fast is one of them.  I don't I've ever heard such an abrasive intro to a pop album as when he starts off with that brutal "laaaaaaast.... night i went out disco daaaaancing...".  Ouch.   Undecided

Likewise, some of the lyrics are pure hackwork.  If you've seen that scene in the Our Team documentary where Mike and Al are bashing out the lyrics to Kona Coast as though they were composing a Facebook status update, then you know exactly what I mean.  And then of course, the legendary tennis metaphors.  I guess I can chalk that up to too much time spent sitting in the sun meditating.

Now with the bad stuff out of the way, let me see if I can offer a defense for this maligned red-headed stepchild!

Okay, I'll start with the obvious.  "My Diane" is killer.  I think we all agree there.

"Sweet Sunday" is gorgeous.  Not an all time masterpiece, but for what it is it's really a lovely melody, and the lyrics do a great job of describing the joys of staying at home with someone you love.

"Matchpoint", most of the lyrics aside, is still a great song with a fantastic Brian vocal.  The bridge, to me at least, is a real highlight.  "No one ever loved me the way you do/ How did love slip away from me?".  That has to be about Marilyn, right?  Powerful stuff.

"Bells of Paris" is really pretty as well.  I actually prefer it as "Bells of Christmas".  That version has a killer a capella breakdown at the end with some absolutely stellar harmonies.

"Tomboy" may be creepy from a lyrics perspective, but I love the melody, particularly the "They're doing it all over the world" falsetto bit that just comes from nowhere.  Only Brian could write something like that.

I've heard people say Al sounds like Kermit the Frog on "Winds of Change", but I think that's a fine song too.  The "Won't Last Forever" bit at the end is great; so melancholy when you compare it to the way they sang it on "When I Grow Up to Be a Man" 14 years prior.  From Beach Boys to Beach Men.

"Pitter Patter", "Won't You Come Out Tonight" and "Peggie Sue" are just good fun.  Toe tappers.  They don't ask for much, but they make fine ear candy IMO.

So that's nine out of 12 songs on the album that I enjoy.  The other three I can take or leave.  "Kona Coast" maybe kind of shitty lyrically, but the melody is pleasant enough to where it doesn't destroy the overall vibe of the record.  "She's Got Rhythm" is an okay song sunk by an enthusiastic but sub par lead vocal, though even there I really enjoy Mike's part on the bridge.  "Come Go with Me" doesn't really inspire any feelings in me one way or the other.

So there you go...  Hopefully I've been able to explain why I think the album is pretty good, even if few agree with me!  LOL
Logged

SUICIDE
It only makes things worse. You can't solve anything by killing yourself. I mean, things can only get better, but if you're dead, they may not. -- Brian Wilson
Autotune
Smiley Smile Associate
*
Offline Offline

Posts: 1699



View Profile
« Reply #87 on: February 25, 2012, 04:44:02 PM »



"Matchpoint", most of the lyrics aside, is still a great song with a fantastic Brian vocal.  


Why people keep saying that it's a fantastic vocal? He sounds smoother than he usually did back then, but that's it. There's nothing extraordinary from a musical standpoint about the vocal. It's a nice song, well sung, but that's it.
Logged

"His lyrical ability has never been touched by anyone, except for Mike Love."

-Brian Wilson on Van Dyke Parks (2015)
Jason Penick
Smiley Smile Associate
*
Offline Offline

Gender: Male
Posts: 580



View Profile
« Reply #88 on: February 25, 2012, 05:13:15 PM »



"Matchpoint", most of the lyrics aside, is still a great song with a fantastic Brian vocal.  


Why people keep saying that it's a fantastic vocal? He sounds smoother than he usually did back then, but that's it. There's nothing extraordinary from a musical standpoint about the vocal. It's a nice song, well sung, but that's it.

Because it's his best lead vocal by a country mile since about 1971?

I find it fantastic because, if it didn't exist, I wouldn't think it possible for Brian to sing anywhere near that well that late in his career.
Logged

SUICIDE
It only makes things worse. You can't solve anything by killing yourself. I mean, things can only get better, but if you're dead, they may not. -- Brian Wilson
Awesoman
Smiley Smile Associate
*
Offline Offline

Gender: Male
Posts: 1830


Disagreements? Work 'em out.


View Profile WWW
« Reply #89 on: February 25, 2012, 06:01:47 PM »

Ive never really listened to it straight through, its really good! Its obvious brians voice sounds Great for the period.  Like! Razz

There are a couple of decent songs on there, but overall I wouldn't call the album "underrated".  The production is about as dry as a bone. 
Logged

And if you don't know where you're going
Any road will take you there
Bill Ed
Guest
« Reply #90 on: February 25, 2012, 06:09:46 PM »

I share Jason's view of the album. To me it's a fun, listenable album. My guess is that's about all it was intended to be.  Peggy Sue got some airplay and Come Go with Me was somewhat of a hit a few years after MIU came out. That this minor album can provoke such strong negative reactions is a mystery to me.  (Well, not really. I know a little of the Beach Boys' history.)

Also, I become suspicious when someone damns MIU and in the same paragraph starts singing the praises of Love You.  There are some good moments on the latter, but I think the album did irreparable damage to the Beach Boys' as a recording act.   People have posted here that MIU is certainly not the first album they'd play someone when introducing them to the Beach Boys' work.  But would Love You make a better impression?
« Last Edit: February 25, 2012, 06:33:51 PM by Bill Ed » Logged
seltaeb1012002
Smiley Smile Associate
*
Offline Offline

Posts: 1411


View Profile
« Reply #91 on: February 25, 2012, 06:19:30 PM »



"Matchpoint", most of the lyrics aside, is still a great song with a fantastic Brian vocal.  


Why people keep saying that it's a fantastic vocal? He sounds smoother than he usually did back then, but that's it. There's nothing extraordinary from a musical standpoint about the vocal. It's a nice song, well sung, but that's it.

You have a point. I think the reason that it's singled out, is because he sang it in a softer tone than the usual '76 / '77 BW vocals, which is MUCH more reminiscent of how he sang in the early - mid 60's. Same on "Wontcha Come Out Tonight". I'd imagine there was a lot of coaching going on to get him to sound even that good. Aside from that, he's still not ending his notes the way he would've back in the day, probably because his lung capacity was shot, and he was sorely out of practice. He just wasn't the same person/singer anymore. But you have a shade of that "Please Let Me Wonder" tone, and the nice melodies & chord changes (and EP's).
On MIU, I think it's safe to say he doesn't sound much different from the Love You-era  Brian.  It's pretty clear that his voice was still shot. His falsetto on "Kona Coast" is pretty terrible. On the other hand, his falsetto at the end of "Winds Of Change" is not bad at all. If he didn't decline afterwards, this would've been a great starting point for rebuilding his voice.
Logged
oldsurferdude
Guest
« Reply #92 on: February 25, 2012, 08:18:33 PM »



"Matchpoint", most of the lyrics aside, is still a great song with a fantastic Brian vocal.  


Why people keep saying that it's a fantastic vocal? He sounds smoother than he usually did back then, but that's it. There's nothing extraordinary from a musical standpoint about the vocal. It's a nice song, well sung, but that's it.

You have a point. I think the reason that it's singled out, is because he sang it in a softer tone than the usual '76 / '77 BW vocals, which is MUCH more reminiscent of how he sang in the early - mid 60's. Same on "Wontcha Come Out Tonight". I'd imagine there was a lot of coaching going on to get him to sound even that good. Aside from that, he's still not ending his notes the way he would've back in the day, probably because his lung capacity was shot, and he was sorely out of practice. He just wasn't the same person/singer anymore. But you have a shade of that "Please Let Me Wonder" tone, and the nice melodies & chord changes (and EP's).
On MIU, I think it's safe to say he doesn't sound much different from the Love You-era  Brian.  It's pretty clear that his voice was still shot. His falsetto on "Kona Coast" is pretty terrible. On the other hand, his falsetto at the end of "Winds Of Change" is not bad at all. If he didn't decline afterwards, this would've been a great starting point for rebuilding his voice.
Think you need to go back and listen to Love You one more time-maybe 15 BO as well-There is nothing sung by Brian that even comes close to his much smoother vocals on MIU.As far as a starting point. you are absolutely correct.
Logged
seltaeb1012002
Smiley Smile Associate
*
Offline Offline

Posts: 1411


View Profile
« Reply #93 on: February 25, 2012, 09:34:10 PM »

Think you need to go back and listen to Love You one more time-maybe 15 BO as well-There is nothing sung by Brian that even comes close to his much smoother vocals on MIU.As far as a starting point. you are absolutely correct.

I agree 100% that his vocals sound smoother to some degree on MIU, OSD. However, my point was that it's still the same guy, with the same damaged vocal cords. The only difference here is that

A) He wasn't "allowed" to smoke until he had gotten done cutting his vocals for the day. For most smokers, this can make all the difference in achieving vocal clarity, which also helps confidence when singing, and that is crucial.

B) This was a Mike Love & Al Jardine project. I'd imagine they were riding Brian like crazy from the control room. I can see it.

Mike to Brian: "C'mon Brian.. sing it like you used to sing"

Whereas 15 BO & Love You were Brian's pet projects. No one was telling him what to do vocally. When Brian started recording 15 BO in '75, after "the change" happened, Brian's first inclination was to sing with a more shouty tone (imo the same tone he used for every other project until Imagination, where I'm sure he was convinced to try and sing soft again. this is just a lazier way of singing. its much more difficult to produce a nice soft tone). And although BW said this shouty tone was intentional, I think he had been having vocal issues since at least '69, probably earlier. You can hear that the cigs started to take it's toll as early as '67 (see 'Surf's Up' '67). Mentally, this had to have a huge effect on him. It's much easier to "belt" a vocal, then attempt to really sing it. He's trying on "Wontcha Come Out Tonight" and "Matchpoint", but he's still struggling. Lots of pitchiness going on, notes ending a little too soon, and lack of emotion. Still overall, not bad, and yes, definitely closer to the classic BW tone we all love.

I do think there were some good vocal moments during the 15 BO / Love You era. See "In The Still Of The Night".  Light years better than Kona Coast, imo. Also check out the live clip of the BB's singing "Surfer Girl" in the studio from the "It's OK" special. He comes pretty close to nailing his original tone on the coda. "Sherry She Needs Me" also has a few moments where you can tell he's into it, and almost nails his classic tone.

Anyway, I'm rambling here. It's a shame he didn't value his voice enough to keep it around longer. It's cool to see he's doing his best to keep it sounding as good as possible these days. I hope they release that "California Feelin" demo from '74 this year so we can really get an idea of where he was at before the drastic decline happened.

Back on topic: I think MIU is a cool album. Much more enjoyable to me than LA Light Album (aside from "Angel Come Home" and "Love Surrounds Me" - which I kinda hope they play live this year).   Grin



Logged
Autotune
Smiley Smile Associate
*
Offline Offline

Posts: 1699



View Profile
« Reply #94 on: February 26, 2012, 09:37:09 AM »



"Matchpoint", most of the lyrics aside, is still a great song with a fantastic Brian vocal.  


Why people keep saying that it's a fantastic vocal? He sounds smoother than he usually did back then, but that's it. There's nothing extraordinary from a musical standpoint about the vocal. It's a nice song, well sung, but that's it.

Because it's his best lead vocal by a country mile since about 1971?

I find it fantastic because, if it didn't exist, I wouldn't think it possible for Brian to sing anywhere near that well that late in his career.

but it's not better sung than most of his other songs of the period. It's just that his voice is clean. Now THAT is significant.
« Last Edit: February 26, 2012, 09:42:13 AM by Dr. Lenny » Logged

"His lyrical ability has never been touched by anyone, except for Mike Love."

-Brian Wilson on Van Dyke Parks (2015)
Autotune
Smiley Smile Associate
*
Offline Offline

Posts: 1699



View Profile
« Reply #95 on: February 26, 2012, 09:43:06 AM »

Just for the fun of it: here's an aproximation of how Brian would sound in older age had he not ruined his voice

http://m.youtube.com/index?desktop_uri=%2F&gl=US#/watch?v=0IpKHIutnUc
Logged

"His lyrical ability has never been touched by anyone, except for Mike Love."

-Brian Wilson on Van Dyke Parks (2015)
RadBooley
Smiley Smile Associate
*
Offline Offline

Posts: 97


View Profile
« Reply #96 on: February 26, 2012, 10:00:46 AM »

Just for the fun of it: here's an aproximation of how Brian would sound in older age had he not ruined his voice

http://m.youtube.com/index?desktop_uri=%2F&gl=US#/watch?v=0IpKHIutnUc
Reformatted the link for 'ya-- didn't seem to be working for me:

http://www.youtube.com/watch?v=0IpKHIutnUc
Logged
Bill Ed
Guest
« Reply #97 on: February 26, 2012, 08:29:47 PM »

Just for the fun of it: here's an approximation of how Brian would sound in older age had he not ruined his voice

I found this link

http://www.youtube.com/watch?feature=endscreen&NR=1&v=fHDQlG4FrFU

to a recent Four Freshmen performance. Maybe this is an approximation of how an older Brian would sound if he surrounded himself with younger vocalists to shore him up.  . . . Oh, wait a minute!
Logged
buddhahat
Smiley Smile Associate
*
Offline Offline

Posts: 2643


Hi, my name's Doug. Would you like to dance?


View Profile
« Reply #98 on: March 05, 2012, 05:15:21 AM »

Maybe a good solution to improve MIU is just to take the best tracks and combine with the best from Adult Child and some other contemporaneous songs.

My mix elevates the album into high art territory, by collecting songs into suites.

Side A (containing the 'sports suite')
Come Go With Me
Our Team
It's Trying To Say
Hey Little Tomboy
Matchpoint of Our Love
Lines
Sweet Sunday
Pitter Patter

Side B (containing the 'xmas suite' and culminating in the soporific 'mandrax suite')
Kona Cost
Bells Of Christmas
Winter Symphony
Deep Purple
It's Over Now
My Diane
Still I Dream Of It
Everybody Wants To Live
Logged

Bedroom Tapes, Bedroom Tapes, Bedroom Tapes, Bedroom Tapes, Bedroom Tapes, Bedroom Tapes, Bedroom Tapes, Bedroom Tapes, Bedroom Tapes, Bedroom Tapes, Bedroom Tapes, Bedroom Tapes, Bedroom Tapes, Bedroom Tapes, Bedroom Tapes, Bedroom Tapes, Bedroom Tapes, Bedroom Tapes, Bedroom Tapes, Bedroom Tapes, Bedroom Tapes, Bedroom Tapes, Bedroom Tapes, Bedroom Tapes, Bedroom Tapes, Bedroom Tapes, Bedroom Tapes, Bedroom Tapes, Bedroom Tapes, Bedroom Tapes, Bedroom Tapes, Bedroom Tapes, Bedroom Tapes, Bedroom Tapes, Bedroom Tapes, Bedroom Tapes, Bedroom Tapes, Bedroom Tapes, Bedroom Tapes, Bedroom Tapes, Bedroom Tapes, Bedroom Tapes, Bedroom Tapes ......
Custom Machine
Smiley Smile Associate
*
Offline Offline

Posts: 1294



View Profile
« Reply #99 on: March 05, 2012, 11:59:01 AM »

For me the M.I.U. Album contains two of the worst songs the Beach Boys ever recorded (She's Got Rhythm & Hey Little Tomboy) and some really great stuff (Kona Coast, Wontcha Come Out Tonight, Sweet Sunday Kind of Love, Belles of Paris, & My Diane).   I played the album a lot when it came out back in September 1978, and appreciated the fact that overall the vocals (excepting She's Got Rhythm) were significantly better done than on 15 Big Ones and Love You.

But, it has a lousy cover and an incredibly lame title.  I can picture the average record buyer seeing the new Beach Boys album and wondering "'M.I.U. Album'?? What the hell is that supposed to mean?"


Logged
gfx
Pages: 1 2 3 [4] 5 Go Up Print 
gfx
Jump to:  
gfx
Powered by SMF 1.1.21 | SMF © 2015, Simple Machines Page created in 3.271 seconds with 21 queries.
Helios Multi design by Bloc
gfx
Powered by MySQL Powered by PHP Valid XHTML 1.0! Valid CSS!