gfxgfx
 
Welcome, Guest. Please login or register.

Login with username, password and session length
logo
 
gfx gfx
gfx
673098 Posts in 27122 Topics by 3989 Members - Latest Member: starry1 December 08, 2021, 07:39:27 AM
*
gfx*HomeHelpSearchCalendarLoginRegistergfx
gfxgfx
0 Members and 1 Guest are viewing this topic.       « previous next »
Poll
Question: Rate That's Why God Made The Radio
5 - 21 (16.7%)
4 - 69 (54.8%)
3 - 29 (23%)
2 - 7 (5.6%)
1 - 0 (0%)
0 - 0 (0%)
Total Voters: 117

Pages: [1] 2 3 4 5 Go Down Print
Author Topic: That's Why God Made The Radio  (Read 57397 times)
smile-holland
Smiley Smile Associate
*
Offline Offline

Gender: Male
Posts: 2117


The dream of Amsterdamee...


View Profile
« on: June 18, 2012, 07:21:01 AM »

Discuss, review and rate That's Why God Made The Radio, released June 5th 2012.



Logged

Quote
Rule of thumb, think BEFORE you post. And THINK how it may affect someone else's feelings.

Check out the Beach Boys Starline website, the place for pictures of many countries Beach Boys releases on 45.

Listening to you I get the music; Gazing at you I get the heat; Following you I climb the mountain; I get excitement at your feet
Right behind you I see the millions; On you I see the glory; From you I get opinions; From you I get the story
FatherOfTheMan Sr101
Smiley Smile Associate
*
Offline Offline

Posts: 2236


The Producer


View Profile
« Reply #1 on: June 18, 2012, 08:58:35 AM »

A perfect reunion album, shows a very true image of the band, rough edges and all.
Logged

**   危険な空 - Dangerous Skies  **
https://mikeleroy.bandcamp.com/album/single
**MIKE LEROY MAKES IT SIMPLE**
https://mikeleroy.bandcamp.com/album/makes-it-simple
The Dumb Angel
Smiley Smile Associate
*
Offline Offline

Gender: Male
Posts: 417



View Profile
« Reply #2 on: June 18, 2012, 09:16:01 AM »

TWGMTR turned out to be an awesome Beach Boys album! Aside from the few not-so-good songs, TWGMTR has many memorable, and quite wonderful BB tracks. And it's amazing that after all those years, they can sing together is such beautiful harmony! Great job boys!

4 stars!
« Last Edit: June 18, 2012, 09:18:07 AM by TheDumb1 » Logged
pixletwin
Smiley Smile Associate
*
Offline Offline

Gender: Male
Posts: 4855



View Profile
« Reply #3 on: June 18, 2012, 09:18:30 AM »

4 stars from me. A few mediocre songs amid some real dazzlers.
Logged
musicismylife101
Smiley Smile Associate
*
Offline Offline

Gender: Female
Posts: 383

The introverted phlegmatic ecapist


View Profile WWW
« Reply #4 on: June 18, 2012, 09:52:26 AM »

Exceeded my expectations. Some songs took a while to grow on me but it was full of hooks and earworms. One of those types where you have to listen to it in its entirety.
Logged

the professor
Smiley Smile Associate
*
Offline Offline

Posts: 982


View Profile
« Reply #5 on: June 18, 2012, 10:05:22 AM »

I pressed the 5 button but would prefer4.5.  Love the hypnotic feeling of living with these songs day and night: a genuine album from the heart of the artists to the hearts of the listeners. Need more of David's guitar work and can do without the great Skunk.  Dave needs to be credited with singing, and, just to disable the obvious attacks against him, Mike ought to show he can write something closer to Kiss Me Baby. On a new album (when they do one), Mike can't rely on the retrospective, self-referencing toolbox.  You can get away with this only once, as I have argued, and as other scholars have attested in their embrace of the album as an "opera."
« Last Edit: June 18, 2012, 06:48:24 PM by the professor » Logged
Austin
Smiley Smile Associate
*
Offline Offline

Posts: 218


View Profile
« Reply #6 on: June 18, 2012, 10:27:27 AM »

Well...

I like it much more than I don't, and it runs the gamut from embarrassing to outstanding. It's unquestionably superior to any album they made in the 80's and 90's, and possibly better than about half of their output in the 70's, although I don't think enough time has passed yet for there to be something resembling a consensus.

Prior to knowing any real information about who was involved in the production, my immediate first reaction listening to both "Do It Again" and the title track was the sound. It's cold and very processed (especially in the vocal department), and against my trying otherwise, somewhat interferes with my enjoyment of the album. This isn't me being some knee-jerk shill about modern recording, either. I really enjoy (and have defended) the sound of BWPS, TLOS, and BWRG, and think they're natural progressions from his 60's sound. And, I get it: at some point we can't let the technicals interfere with our appreciation of the music. But there's a reason we pay engineers and producers. Whether it was Brian, Joe Thomas, the band, an assistant engineer, whoever -- it's not going to age well.

That said, some fifth impressions.

1. "Think About the Days" is a really excellent performance of a chord progression that sounds like someone imitating Brian Wilson. It's fine standalone, but I feel like it had the potential to kick off the title track in a much more interesting way. I think about something like "Our Prayer," whose progression suspends you right to the final held chord, whereas this just sort of...ends.

2. I've grown to like the title track -- it's refreshing to have a Beach Boys single that flirts with the usual fare of sun, girls, etc., but doesn't make them the singular focus of the song. Not in my top 20, but great melody, progression, vocal arrangements, and performances.

3. "Isn't It Time" is my favorite of the Mike Love-cowritten tracks; great performances (bonus points for Mike and Al, less so for Brian), and the sparse, vaguely indie (?) instrumentation is a lot of fun. If this is the second single, it's a great call.

4. I cringed listening to the 30-second previews of "Spring Vacation" before the album was released, and the second verse lyrics in particular haven't grown on me at all. And yet, somehow -- for reasons I can't explain -- the rest of the song has.

5. I like the sound of "The Private Life of Bill and Sue" a lot more than I like the songwriting. Catchy, but empty -- though the instrumentation and a cappella break are cool.

6. I'm not a Jeff Foskett hater by any means, but his performance on "Shelter" is really weak. All of them are, really, and as a result the sterile, adult contemporary backing track sticks out like a sore thumb. This is a good song begging to be covered by someone with a different vision.

7. I'm not particularly moved by "Daybreak Over the Ocean" (though it's not bad), but what struck me is how much warmer it sounds compared to the rest of the album. Again, what was evident to me even before I knew the backstory -- that it came off Mike's solo album, was produced by Paul Fauerso, and had Christian Love's vocals on it -- was that it was the best-sounding track. It also goes to highlight that, even though the vocal ensemble on the rest of this album is good, having Christian Love's voice in the blend could have taken it a big step forward.

8. As far as I'm concerned, "Beaches In Mind" is the worst track on the album, both songwriting and production. Boring guitar tone and playing, hollow drum sounds that would have sounded dated twenty years ago, and cliched lyrics. Some interesting chord changes here and there, and a decent lead from Mike Love, but otherwise forgettable.

9. I'm not quite sure what to make of "Strange World" yet, but I suspect I'll grow more fond of it. Some of my favorite lyrics on the album, and some very strong vocal performances from Brian et al.

Finally, 10.

There are places all over the Beach Boys' latter-day catalog where songs (or even entire albums) need a qualifier: pretty good for the 80's is a common one; large parts of this album could be described as not bad for a bunch of 70-year-olds. But I don't think this suite needs one: it's just as pure a group of Beach Boys songs as those I can remember falling for. Wonderful vocals (especially from Al and Brian), the kind of interesting and emotionally direct composing that inspires Brian Wilson's fans, and believe it or not, a good production. Perhaps not the second coming of Pet Sounds, as some have already suggested, but that it attracts such comparisons is a damn good sign.

Would it be perfect for the last Beach Boys album to end with a song called "Summer's Gone"? Sure, but that's a minor detail from my perspective. Not to draw another Bea-comparison, but the Beatles' last song on their final album wasn't "The End" -- from the popular perspective, it was "Get Back" -- but that's the one we know as the real end. The fact is, even if this reunion ends in some bitter feud or an embarrassing follow-up album, the quality of these songs has already rightly sealed their legacy.

And if not, at least be thankful it wasn't Summer in F***ing Paradise.
Logged
BananaLouie
Smiley Smile Associate
*
Offline Offline

Posts: 276


Columnated ruins domino


View Profile
« Reply #7 on: June 23, 2012, 07:02:20 PM »

A great album with good catchy melodies, shimmering harmonies, top heavy in Brian compositions and even a good song by Mike, very few filler and the suite is just wonderful. Dennis and Carl are surely smiling from heaven. 4 out of 5.
Logged

"I'm not a genius. I'm just a hard working guy." - Brian Wilson
TimeToGetAlone
Smiley Smile Associate
*
Offline Offline

Posts: 797


View Profile
« Reply #8 on: July 03, 2012, 05:34:23 PM »

That this album is even here to be talked about is a grand achievement on its own.  Roughly half the album is fairly unremarkable with middle of the road production and arrangements, probably what you'd expect from the group of 20 years ago with a more contemporary sound.

...but that other half, wow.  In typical Beach Boys fashion, there are hidden gems to be discovered alongside the more pedestrian bits.  The end result is far from a perfect album, but one that exceeds the expectations most would have ever dreamed at this point in time and contains material that holds up to the days long past.

Think About the Days - 4.5/5 (Gorgeous, simple opener.)
That's Why God Made the Radio - 3.5/5 (Pretty melody with a reasonable arrangement.  Not quite sure I understand the song's premise.)
Isn't It Time - 4/5 (Probably the most modern sounding track on the album.  It's well-realized with an indie pop sound to it.  The one vocal section with blatant autotune is oddly effective.)
Spring Vacation - 3/5 (A little too nostalgic and feels muddled at times, but there's a good tune under there with some nice chords.)
The Private Life of Bill and Sue - 2.5/5 (Sounds to me like a weak solo Brian track with tropical tones.)
Shelter - 3.5/5 (Like Spring Vacation, I think the song is better than the performance.  Yet, it is hard to resist to the Darlin'-esque chorus in any presentation.)
Daybreak Over the Ocean - 3/5 (Ironically, this one sounds nice enough but there is not much to it.  This makes sense given the song's history.)
Beaches in Mind - 1.5/5 (Competently sung, but drab and uninspired all around to these ears.  For this fleeting moment, the boys sound old.)
Strange World - 3.5/5 (I haven't gotten on board with this one yet as much as what follows it, but it has artistic merits and its melancholy tone leaves room for improvement on more listens.)
From There to Back Again - 5/5 (Absolutely fantastic! An instant classic.  This could be an early 70's song.  Al's voice is phenomenal as are the harmonies.)
Pacific Coast Highway - 4.5/5 (Brian and a piano.  Short, touching, and honest.  Reminds me of Midnight's Another Day in a way.)
Summer's Gone - 4.5/5 (Beautiful close to the album and would be a fitting final note on the Beach Boys' legacy if this is it.  If not, let's hope for more of stuff like this!)

That'll round just barely to a 4.  A 3.5 would be about right I think.
« Last Edit: July 03, 2012, 05:58:17 PM by TimeToGetAlone » Logged
Compost
Smiley Smile Associate
*
Offline Offline

Posts: 197



View Profile
« Reply #9 on: July 15, 2012, 03:03:40 PM »

Mostly bad, generic or cringe-inducing.  Tracks 1, 3 and 10-12 range from good to gorgeous.  That's 40% hence a 2/5 rating.
« Last Edit: July 16, 2012, 07:10:44 PM by Compost » Logged
Lowbacca
Smiley Smile Associate
*
Offline Offline

Posts: 3595


please let me wonder


View Profile
« Reply #10 on: July 16, 2012, 04:25:05 AM »

Mostly bad, generic or cringe-inducing.  Tracks 1, 3 and 10-12 range from good to gorgeous.  That's 40% hence a 2/10 rating.
You say 40% of the album is "good to gorgeous" and that equals a 2/10 rating? That'd rather equal a 4/10 rating. 2/10 to me means "crash and burn". Anyway, I'd give it a 7/10.  Smiley
Logged
Banana
Smiley Smile Associate
*
Offline Offline

Gender: Male
Posts: 392


Mike Love, Not War!


View Profile
« Reply #11 on: July 16, 2012, 06:44:13 PM »

I admit that I awaited the new LP with a bit of caution.  I've heard way too many reunion albums crash and burn.  I was somewhat hopeful because Brian's recent solo work has been good.  The teaser single, "That's Why God Made the Radio", was a good sign.  It was catchy.  The lyrics were somewhat corny...but it was a NEW Beach Boys single with Brian Wilson on lead vox and oh those gorgeous harmonies were back!  I downloaded the whole LP off of Amazon the moment it became available and listened to it several times through to let it sink in.  I decided that I really liked it.  There are some incredibly beautiful moments...some good ole' fun in the sun moments...some of everything.  I like some songs better than others..."Bill & Sue" is odd...but then again it's Brian and the song is saved by a killer chorus.  Even "Spring Vacation" has it's charm...it's sort of the anthem to their reunion...a code to their 50 years.  The final suite of songs is simply beautiful and I'm going as far as to say it's some of the best work they have ever done.  A simply wonderful look at life and a realization that time passes...people come and go...as ultimately we all do.  Brian's vocal on "Summer's Gone" is heartbreaking.  The only person who could have sung that song in the entire world was Brian Douglas Wilson.

It's a pretty great effort...especially considering the LP's that could have been the final Beach Boys albums: Summer In Paradise (please, God, NO!!!)....Still Cruisin' (A Frankenstein mess of crummy songs)....The Beach Boys (some decent songs, great harmonies...but so dated sounding).

The new LP sounds classic without sounding old.  It sounds like it was recorded in 2012...but the sounds it evokes are mid-to-late 60s.  The minimal use (if at all) of electronic instruments (no my synths!) gives it an organic feel...a warmth that any recording by the Beach Boys has had in so many years.

I'd go as far as to say you'd have to go back as far as Holland to find a Beach Boys LP as all-the-way good as this one (sorry all of you Love You lovers out there).

If this is the end of the road...they've gone out on a high note.  If they have another LP or two in them and can sound this good bring it on.

The final kicker is that if this truly is the final Beach Boys' LP...it's bears the imprint "Produced by Brian Wilson" and Brian is allover this LP...singing and writing and arranging.  Sorry, Mike...but this was a Brian LP (despite some great vocals from Mr. Love)...which is the way the story should end.
Logged

"You wanna have the '409' sound, right?  On 'Help Me, Rhonda'?"

"Honkin' down the gosh-darned highway..."

"Cried so hard...teardrops on my bed...COME ON MUTHAF*****S!"
Compost
Smiley Smile Associate
*
Offline Offline

Posts: 197



View Profile
« Reply #12 on: July 16, 2012, 07:11:19 PM »

Mostly bad, generic or cringe-inducing.  Tracks 1, 3 and 10-12 range from good to gorgeous.  That's 40% hence a 2/10 rating.
You say 40% of the album is "good to gorgeous" and that equals a 2/10 rating? That'd rather equal a 4/10 rating. 2/10 to me means "crash and burn". Anyway, I'd give it a 7/10.  Smiley
Whoops - I meant 2/5.
Logged
Disney Boy (1985)
Guest
« Reply #13 on: July 16, 2012, 09:39:40 PM »

The bad and mediocore outweigh the good and great, however i really like a solid five of the tracks on the album - which is five more than i liked on SIP - and so i'm going to give the album a solid 3.
Logged
the professor
Smiley Smile Associate
*
Offline Offline

Posts: 982


View Profile
« Reply #14 on: July 17, 2012, 01:19:17 PM »

If I could have any wishes, here they are:

Do another album without pre-done tracks with Skunk Baxter on them. I want a full accounting of Dave's singing and guitar parts, with an explanation from the BB and from capital as to why he is not credited with vocals and why some songs feature hopelessly in-congruent guitar parts by the Doobie Brothers/Steely Dan legend to Dave's exclusion.
Accordingly have David Marks, whose stock and clout are at their height, really serve as guitar king, surf and otherwise, on the new album


Have vocals on a new album without Jeff: does any song on TWGMTR benefit, artistically, musically, etc.,  from his vocals?  Would any song have suffered if his parts were sung, with whatever needed changes in octave, assigned keys, etc., by Beach Boys? His voice seldom blends, and after 200 listens to the album, I cannot escape cringing whenever I hear him alone or him prominently. I am so sorry to be unkind, but I cannot prevaricate.

I would thus like a TWG album re-release, remastered with only BB voices.

These concerns alone compromise my enjoyment of the otherwise wonderful album.


Logged
EgoHanger1966
Smiley Smile Associate
*
Offline Offline

Posts: 2891



View Profile
« Reply #15 on: July 17, 2012, 01:24:09 PM »

If I could have any wishes, here they are:

Do another album without pre-done tracks with Skunk Baxter on them. I want a full accounting of Dave's singing and guitar parts, with an explanation from the BB and from capital as to why he is not credited with vocals and why some songs feature hopelessly in-congruent guitar parts by the Doobie Brothers/Steely Dan legend to Dave's exclusion.
Accordingly have David Marks, whose stock and clout are at their height, really serve as guitar king, surf and otherwise, on the new album


Have vocals on a new album without Jeff: does any song on TWGMTR benefit, artistically, musically, etc.,  from his vocals?  Would any song have suffered if his parts were sung, with whatever needed changes in octave, assigned keys, etc., by Beach Boys? His voice seldom blends, and after 200 listens to the album, I cannot escape cringing whenever I hear him alone or him prominently. I am so sorry to be unkind, but I cannot prevaricate.

I would thus like a TWG album re-release, remastered with only BB voices.

These concerns alone compromise my enjoyment of the otherwise wonderful album.



Well, on certain tracks, he really is necessary. For instance, "Shelter". None of the guys, even Bruce, can do a falsetto, and if anyone else guests on the record for falsetto parts, people would be up in arms anyway. Jeff is the guy, has been for years and will be. It could be so much worse.

I agree with your comments re:Dave Marks.
Logged

Hal Blaine:"You're gonna get a tomata all over yer puss!"
Brian: "Don't say puss."
blank
Smiley Smile Associate
*
Offline Offline

Posts: 54


View Profile
« Reply #16 on: July 24, 2012, 01:24:03 PM »

Think About the Days: 3/5
TWGMTR: 3/5
Isn't it Time: 2/5
Spring Vacation: 2/5
TPLoB&S: 3/5
Shelter: 2/5
Daybreak Over The Ocean: 3/5
Beaches in Mind: 2/5
Strange World: 3/5
From There to Back Again: 3/5
Pacific Coast Highway: 3/5
Summer's Gone: 4/5

After 3 listens, I give this one a 3/5 and pretty much put it to rest.  Much respect to BW and the guys for getting together and recording an album after so long!


this is all wrong. TWGMTR has grown on me, much more than I expected!
« Last Edit: September 23, 2012, 07:42:58 AM by Sonic Oasis » Logged
lance
Smiley Smile Associate
*
Offline Offline

Gender: Male
Posts: 1018


View Profile WWW
« Reply #17 on: July 24, 2012, 10:33:43 PM »

3.5

Better than I thought it would be.
Logged
Outtasight!
Smiley Smile Associate
*
Offline Offline

Gender: Male
Posts: 283


View Profile
« Reply #18 on: July 25, 2012, 05:25:31 AM »

Think About the Days: 3/5
TWGMTR: 3/5
Isn't it Time: 2/5
Spring Vacation: 2/5
TPLoB&S: 3/5
Shelter: 2/5
Daybreak Over The Ocean: 3/5
Beaches in Mind: 2/5
Strange World: 3/5
From There to Back Again: 3/5
Pacific Coast Highway: 3/5
Summer's Gone: 4/5

After 3 listens, I give this one a 3/5 and pretty much put it to rest.  Much respect to BW and the guys for getting together and recording an album after so long!
Seriously, you rate From Here to Back Again the same as Daybreak? Plus why only listen to a new album 3 times. I assumed we were all way more obsessive tha n that.
Logged
blank
Smiley Smile Associate
*
Offline Offline

Posts: 54


View Profile
« Reply #19 on: July 26, 2012, 12:39:12 PM »

Haha. Yeah man, Daybreak is pretty good!

I listened to the album 3 times, VERY INTENTLY, and I feel like I have a pretty complete sense of the music on this one.  I enjoyed it, but there's nothing that I love so much that I'd return to it over listening to my all-time BB favorites!

What are your thoughts on TWGMTR?
« Last Edit: September 23, 2012, 07:43:18 AM by Sonic Oasis » Logged
Outtasight!
Smiley Smile Associate
*
Offline Offline

Gender: Male
Posts: 283


View Profile
« Reply #20 on: July 27, 2012, 05:19:31 AM »

I love TWGMTR, gave it a 4. I rate it as their best since Surf's Up and sort of equal to Love You (if you can compare anything to that album). It's got everything. Beautiful melancholia, catchy as hell numbers, quirkyness, commercial numbers and some cheese! In short it's the Beach Boys. Brian came up with some great songs and the boys and he have sung some beautiful vocals. The last 3 songs and Isn't it Time are probably my favourites but Think About the Days is a beautiful opener and I rate Shelter, Bill and Sue, Spring Vacation and Strange World pretty high. Mike Love's vocals sound so much better than anything he has done since the Sunflower/Surf Up/ Holland era, that was an unexpected bonus for me. I've loved all Brians output since BWPS with Lucky Old Sun being a career high in my opinion to sit alongside Pet Sounds, Smile, Friends and Love You.  This album is pretty much up there too. I've listened to it probably 50-60 times straight through as I'm obsessive that way and it is still revealing more to me on each listen.
Logged
TimmyC
Smiley Smile Associate
*
Offline Offline

Gender: Male
Posts: 283


View Profile
« Reply #21 on: July 30, 2012, 09:01:26 PM »

Shelter blows. It sounds to me like a caricature of a Brian Wilson song. No offense to whoever likes, but I find it to be irredeemable.  Bill and sue is fine but its a very bland and boring listen. Daybreak is aight - I can dig it, although I kinda find the Christian love vocals annoying. Despite all that negativity, I still give this album a solid 5.0 without hesitation. Everything else on it is so amazing that it more than makes up for the two weak tracks and the one clunker (shelter). I freakin love this album to death. And as I've commented elsewhere, FTTBA/PCH might be the best beach boys song since this whole world, an it easily makes my top 10 of all time. It blows my mind everytime I hear it. I feel stupid for saying this, but I am so grateful to the beach boys, and especially Brian, for giving us this last kick ass record.  It's almost just too good to be true. I've always kinda resented Brian's solo career, so I am incredibly happy that he came back to cap off the beach boys' career with such a wonderful last album, written and produced by Brian Wilson.  Thats the way it's supposed to be. All is right with the world now.  Anyway, nuff said. I'm going to go listen to it probably for the 400th time.
Logged
hypehat
Smiley Smile Associate
*
Offline Offline

Posts: 6311



View Profile
« Reply #22 on: July 31, 2012, 02:57:37 AM »

It's almost a great album.

Songwise, the dip after Isn't It Time is absolutely abominable. Spring Vacation (I hate this song with a righteous fury), Shelter (It's average - the chorus is rote, the production does nothing unique at all, although Mike's vocal is nice) Bill & Sue (does absolutely nothing for the album) Daybreak (I like it, but I have absolutely no clue why it's on a new beach boys album and the production is right dodgy) and the horrifying Beaches In Mind (FUNNNNNN,FUNNNNNNNN,FUNNNNNNNNNNNNNNNNNNNNNNN). But then Strange World picks it up.

I'm also well happy that they didn't re-record old BW solo material, or use Dennis/Carl vocals. This is about the Beach Boys in 2012, which is what I think was part of the lyrical concern of the suite - the 'we're all still here but we're old and what the hell happened' which Mike seems to think gives him an excuse to write Spring Vacation and Brian writes PCH and Summer's Gone.

The other thing that worries me about it is the strange presence of BW. I have my suspicions that the vast majority of the album was Brian Wilson arrangement/production interpreted by Joe Thomas, that's to say he was running the board on the suggestions of B Dub. So the echo is synthetic and unconvincing, unlike his solo recs, the ubiquitous autotune (worst on BW's vocals) that still mystifies me. And yet, Brian was absolutely running the show on the studio floor - the arrangements sound like him, he was given anything he wanted, he kicked the band through the sessions just like he has wanted to since the nineties.

There's also the mythical 'suite'. Reportedly an album's worth in material, we only have 15 minutes of it. And all of it that made it onto TWGMTR, it's all of a piece -slow ballads and acapella bits. With the snippet of 'I'll Go Anywhere' from the PBS special, it seems it could have covered a lot more ground. I do wonder what happened to it - BW certainly didn't sell Capitol on the suite exclusively, yet he seemed to only want to talk about either the suite or the title track as the album progressed. Another factor is that the suite was composed piecemeal, as BW & JT sifted through their 1998 work and fitted everything together last year. If you're being charitable, BW was torn between this great suite he had assembled, but wasn't fresh, and all the new songs he was writing for the record in the past year, or if you're not, Capitol Records/Mike Love/Satan junked the majority of it for 'real songs'.

Who knows. I think there were a lot of fingers in this album. Capitol may well have sequenced it and sorted the production aesthetic. It may have sounded different had Mark Linett taken the reigns as BW's liason on the mixing desk.

I'll give it a rest now.
Logged

All roads lead to Kokomo. Exhaustive research in time travel has conclusively proven that there is no alternate universe WITHOUT Kokomo. It would've happened regardless.
What is this "life" thing you speak of ?

Quote from: Al Jardine
Syncopate it? In front of all these people?!
the professor
Smiley Smile Associate
*
Offline Offline

Posts: 982


View Profile
« Reply #23 on: July 31, 2012, 09:13:08 AM »

You read like Dr Johnson, which I admire. A formidable analysis, stern and compelling, though based in supposition about who must be responsible which production features we don't like.  Without rehashing my many analyses, let me say, so innocently, that  I listened to most of the album on PCH between LAX and Redondo beach and SV rocks exuberantly. Try embracing the song(s) by situation or, I should say, tied to moments and places.  With the "top down," literally or metaphorically, you'll cruise the scene more easily.  

I saved the "suite" for the drive home at sunset. . . .
« Last Edit: August 01, 2012, 07:10:08 PM by the professor » Logged
EgoHanger1966
Smiley Smile Associate
*
Offline Offline

Posts: 2891



View Profile
« Reply #24 on: July 31, 2012, 09:35:50 AM »

It's almost a great album.

Songwise, the dip after Isn't It Time is absolutely abominable. Spring Vacation (I hate this song with a righteous fury), Shelter (It's average - the chorus is rote, the production does nothing unique at all, although Mike's vocal is nice) Bill & Sue (does absolutely nothing for the album) Daybreak (I like it, but I have absolutely no clue why it's on a new beach boys album and the production is right dodgy) and the horrifying Beaches In Mind (FUNNNNNN,FUNNNNNNNN,FUNNNNNNNNNNNNNNNNNNNNNNN). But then Strange World picks it up.

I'm also well happy that they didn't re-record old BW solo material, or use Dennis/Carl vocals. This is about the Beach Boys in 2012, which is what I think was part of the lyrical concern of the suite - the 'we're all still here but we're old and what the hell happened' which Mike seems to think gives him an excuse to write Spring Vacation and Brian writes PCH and Summer's Gone.

The other thing that worries me about it is the strange presence of BW. I have my suspicions that the vast majority of the album was Brian Wilson arrangement/production interpreted by Joe Thomas, that's to say he was running the board on the suggestions of B Dub. So the echo is synthetic and unconvincing, unlike his solo recs, the ubiquitous autotune (worst on BW's vocals) that still mystifies me. And yet, Brian was absolutely running the show on the studio floor - the arrangements sound like him, he was given anything he wanted, he kicked the band through the sessions just like he has wanted to since the nineties.

There's also the mythical 'suite'. Reportedly an album's worth in material, we only have 15 minutes of it. And all of it that made it onto TWGMTR, it's all of a piece -slow ballads and acapella bits. With the snippet of 'I'll Go Anywhere' from the PBS special, it seems it could have covered a lot more ground. I do wonder what happened to it - BW certainly didn't sell Capitol on the suite exclusively, yet he seemed to only want to talk about either the suite or the title track as the album progressed. Another factor is that the suite was composed piecemeal, as BW & JT sifted through their 1998 work and fitted everything together last year. If you're being charitable, BW was torn between this great suite he had assembled, but wasn't fresh, and all the new songs he was writing for the record in the past year, or if you're not, Capitol Records/Mike Love/Satan junked the majority of it for 'real songs'.

Who knows. I think there were a lot of fingers in this album. Capitol may well have sequenced it and sorted the production aesthetic. It may have sounded different had Mark Linett taken the reigns as BW's liason on the mixing desk.

I'll give it a rest now.

I agree with a lot of this (although I happen to find Shelter to be a very good song). However, this is a Mike Love executive-produced album. Gone are the days of "All I Wanna Do", Mike Love is all about nostalgia and cheese and fun. That's what he wants The Beach Boys to be remembered for, and any album that he has a hand in will have it's share of corny tracks. The idea of a full Brian suite album is appetizing, but it really can't be an album under the Beach Boys moniker, because Mike won't have that.

One thing that bugs me is that in some tracks, it seems like Brian went into the vocal booth, sang exactly one line, and then walked back out. (check "Beaches In Mind") (and I can't hear him at all on "Daybreak"). The album isn't organic in a lot of ways - maybe that's Thomas' influence, maybe it's just the way everything is recorded today and I have to come to grips with that.

I wonder how different this album would have been if it was a Brian Wilson solo album? Do we automatically like anything more because it says "Beach Boys" on it? The Brian album would have "Bill & Sue" probably, (and I don't understand how that made the cut in it's final version, but whatevs), but you'd probably have a fleshed out suite and no fun-in-the-sun retreads. And, yeah, you'd be missing some great Al vocals on From There To Back Again, but Brian could have done those too. I think if TWGMTR was a Brian Wilson solo album, it'd be closer to Pet Sounds than....I don't even know what album is stylistically similar to this one. MIU?
Logged

Hal Blaine:"You're gonna get a tomata all over yer puss!"
Brian: "Don't say puss."
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 0.268 seconds with 24 queries.
Helios Multi design by Bloc
gfx
Powered by MySQL Powered by PHP Valid XHTML 1.0! Valid CSS!