LA Light Album (a more progressive album)

[Sheriff John Stone]

I dislike all three of those albums - MIU, LA, and KTSA - they represent the steepest decline in the quality of the band's output up until that point. Some of the songs work modestly well, She's Got Rhythm, Good Timin', Livin' With A Heartache, and Santa Ana Winds in particular, but the production on all three albums do the songs an incredible disservice.

Individually the band members were all capable of writing good material, that was the case for almost every album from 20/20 on, but without a producer or manager that could mitigate everyone's concerns the final albums ended up fractured and disappointing.

I agree with your points regarding production/choice of producers. After Brian bowed out after Love You, they went Al Jardine then Bruce Johnston then Steve Levine then Terry Melcher. That says a lot.

Does anybody know more about the history of James Guercio with The Beach Boys? As I posted above, I thought he did some good work with Chicago, but I don't think he left them on the best of terms. Was his input more - or less - than has been documented? I always thought he could've produced a sound that would've given The Beach Boys some commercial and critical success during that late 70's period.

[Dunderhead]

I dislike all three of those albums - MIU, LA, and KTSA - they represent the steepest decline in the quality of the band's output up until that point. Some of the songs work modestly well, She's Got Rhythm, Good Timin', Livin' With A Heartache, and Santa Ana Winds in particular, but the production on all three albums do the songs an incredible disservice.

Individually the band members were all capable of writing good material, that was the case for almost every album from 20/20 on, but without a producer or manager that could mitigate everyone's concerns the final albums ended up fractured and disappointing.

I agree with your points regarding production/choice of producers. After Brian bowed out after Love You, they went Al Jardine then Bruce Johnston then Steve Levine then Terry Melcher. That says a lot.

Does anybody know more about the history of James Guercio with The Beach Boys? As I posted above, I thought he did some good work with Chicago, but I don't think he left them on the best of terms. Was his input more - or less - than has been documented? I always thought he could've produced a sound that would've given The Beach Boys some commercial and critical success during that late 70's period.

I've occasionally heard that the closing of Brother studios was the tipping point for a lot of those collaborations and friendships. Dennis apparently became somewhat detached from things once Brother shut down, losing interest in the Bambu project and likely any Beach Boy's release being assembled at that time as well. I imagine Guercio's association with the group ended in the aftermath of that, but I'm not entirely certain on that point, it's just a supposition on my part really.

[Eric Aniversario]

LA Light Album is my 2nd favorite Beach Boys studio album, behind Friends.  If you include solo and live releases, it's still in the top 5 for me.

[Gertie J.]

 

[Nicko1234]

Al produced the vocals on MIU and I think he did a fine job. Brian sounds the best on that album that he did throughout that era.

Ron Altbach produced the music.

[The Heartical Don]

Al produced the vocals on MIU and I think he did a fine job. Brian sounds the best on that album that he did throughout that era.

Ron Altbach produced the music.

I beg to differ. Well, I only have the vinyl MIU, I must add. But I find that to sound poorly produced, almost compressed avant la lettre. Sibilants don't really sound like they should, bass seems to be absent. 'She's Got Rhythm' is potentially a great, great BBs song, but it sounds so tinny, so utterly underwhelming, it packs no punches, and the backing vocals are simply uninteresting, nowadays I think: could be a mediocre BBs tribute band at work here.

But count me in as a great fan of 'My Diane', and 'Winds Of Change', the latter being a much-maligned track, if only for the coda that quotes 'When I Grow Up'. Doesn't bother me: the melody is fantastic, with those large intervals between successive notes, and fine backing vocs echoing the lead (Mike, notably).

[Mike's Beard]

LA seems to have the least Mike involvement of any BB album. Why was the Celebration deal around the same time apparently a much higher priority for him?

[The Heartical Don]

LA seems to have the least Mike involvement of any BB album. Why was the Celebration deal around the same time apparently a much higher priority for him?

Interesting question, I never thought of that. But you seem to be spot on. Perhaps a more informed poster (compared to yours truly) can shed some light (sic) here?

[Nicko1234]

I beg to differ. Well, I only have the vinyl MIU, I must add. But I find that to sound poorly produced, almost compressed avant la lettre. Sibilants don't really sound like they should, bass seems to be absent. 'She's Got Rhythm' is potentially a great, great BBs song, but it sounds so tinny, so utterly underwhelming, it packs no punches, and the backing vocals are simply uninteresting, nowadays I think: could be a mediocre BBs tribute band at work here.

But count me in as a great fan of 'My Diane', and 'Winds Of Change', the latter being a much-maligned track, if only for the coda that quotes 'When I Grow Up'. Doesn't bother me: the melody is fantastic, with those large intervals between successive notes, and fine backing vocs echoing the lead (Mike, notably).

Dennis and Carl were largely absent so he only had himself, Brian (not a great singer at that stage) and Mike (rapidly becoming more nasal) to use of the BBs. I think he did a fine job with the vocals considering.

He has complained himself that he was given half-finished backing tracks to work with.

[The Heartical Don]

I beg to differ. Well, I only have the vinyl MIU, I must add. But I find that to sound poorly produced, almost compressed avant la lettre. Sibilants don't really sound like they should, bass seems to be absent. 'She's Got Rhythm' is potentially a great, great BBs song, but it sounds so tinny, so utterly underwhelming, it packs no punches, and the backing vocals are simply uninteresting, nowadays I think: could be a mediocre BBs tribute band at work here.

But count me in as a great fan of 'My Diane', and 'Winds Of Change', the latter being a much-maligned track, if only for the coda that quotes 'When I Grow Up'. Doesn't bother me: the melody is fantastic, with those large intervals between successive notes, and fine backing vocs echoing the lead (Mike, notably).

Dennis and Carl were largely absent so he only had himself, Brian (not a great singer at that stage) and Mike (rapidly becoming more nasal) to use of the BBs. I think he did a fine job with the vocals considering.

He has complained himself that he was given half-finished backing tracks to work with.

Cheers for that. BTW I will try to locate a good CD copy of MIU; perhaps the Euro (German) pressing of the vinyl was (is) a 'lemon', so to speak.

[MBE]

The US vinyl has a clean sound.

[MBE]

I like Good Timin', Lady Lynda, Angel Come Home, Baby Blue, and Love Surrounds Me, but with Carl's other stuff mediocre and the horror that is Sumahama and Here Comes The Night, I don't love the album. It is more adult though overall.

[EgoHanger1966]

I beg to differ. Well, I only have the vinyl MIU, I must add. But I find that to sound poorly produced, almost compressed avant la lettre. Sibilants don't really sound like they should, bass seems to be absent. 'She's Got Rhythm' is potentially a great, great BBs song, but it sounds so tinny, so utterly underwhelming, it packs no punches, and the backing vocals are simply uninteresting, nowadays I think: could be a mediocre BBs tribute band at work here.

But count me in as a great fan of 'My Diane', and 'Winds Of Change', the latter being a much-maligned track, if only for the coda that quotes 'When I Grow Up'. Doesn't bother me: the melody is fantastic, with those large intervals between successive notes, and fine backing vocs echoing the lead (Mike, notably).

Dennis and Carl were largely absent so he only had himself, Brian (not a great singer at that stage) and Mike (rapidly becoming more nasal) to use of the BBs. I think he did a fine job with the vocals considering.

He has complained himself that he was given half-finished backing tracks to work with.

Cheers for that. BTW I will try to locate a good CD copy of MIU; perhaps the Euro (German) pressing of the vinyl was (is) a 'lemon', so to speak.

I like the sound on MIU. Compression in the sense that it was used for that album isn't bad - the drums really have some crunch to them, a really clean mix without being sterile.

[Disney Boy (1985)]

I beg to differ. Well, I only have the vinyl MIU, I must add. But I find that to sound poorly produced, almost compressed avant la lettre. Sibilants don't really sound like they should, bass seems to be absent. 'She's Got Rhythm' is potentially a great, great BBs song, but it sounds so tinny, so utterly underwhelming, it packs no punches, and the backing vocals are simply uninteresting, nowadays I think: could be a mediocre BBs tribute band at work here.

But count me in as a great fan of 'My Diane', and 'Winds Of Change', the latter being a much-maligned track, if only for the coda that quotes 'When I Grow Up'. Doesn't bother me: the melody is fantastic, with those large intervals between successive notes, and fine backing vocs echoing the lead (Mike, notably).

Dennis and Carl were largely absent so he only had himself, Brian (not a great singer at that stage) and Mike (rapidly becoming more nasal) to use of the BBs. I think he did a fine job with the vocals considering.

He has complained himself that he was given half-finished backing tracks to work with.

Cheers for that. BTW I will try to locate a good CD copy of MIU; perhaps the Euro (German) pressing of the vinyl was (is) a 'lemon', so to speak.

Don't get too excited. MIU sounds even worse on CD than it does on vinyl...

[BB Universe]

Its funny - I like individual songs on the LA album but as a whole it leaves a lot to be desired - sort of like "the whole is less than the parts."  Good Timing is a solid effort, harmonies sounding good. Lady Lynda is a nice contribution by Al (again, the blend a the end is very good and I particularly like how the group did this song live on the Knebworth CD). I've always liked Carl's vocals on Full Sail and Goin South. It has Baby Blue from Dennis and heck, Brian gets his version of Shortening Bread. I have a friend that really likes Sumahama (just saying...).
BUT, another post said it was "punchless" and that states the problem concisely. If the group wanted a mellow album, they got it. Plus, 10+ minutes of disco with HCTN - I just skip right over it so it makes the album even "lighter" (ie. shorter). IMO, replacing it with 2 or 3 upbeat tunes might have turned this album around.

[Mike's Beard]

If they'd chopped HCTN in half and took off either Full Sail or Goin' South and substituted them for decent group renditions of California Feelin and Country Pie then the LA Light Album would have made the grade. It's frustrating that there's a decent album somewhere in there trying to get out.

[The Heartical Don]

If they'd chopped HCTN in half and took off either Full Sail or Goin' South and substituted them for decent group renditions of California Feelin and Country Pie then the LA Light Album would have made the grade. It's frustrating that there's a decent album somewhere in there trying to get out.

Good call.

[Quzi]

What's so abhorrent about Sumahama? I don't understand

[Rocker]

I think Shortenin' Bread was a weak product of what coulda been a great riff song.

The live versions are cool. Also they sound more like group efforts (obviously).

What's so abhorrent about Sumahama? I don't understand

Dunno. I like it

[Sheriff John Stone]

It's frustrating that there's a decent album somewhere in there trying to get out.

That's been the story of every Beach Boys' album post 1966.

[Micha]

Well, I only have the vinyl MIU, I must add. But I find that to sound poorly produced, almost compressed avant la lettre. Sibilants don't really sound like they should, bass seems to be absent. 'She's Got Rhythm' is potentially a great, great BBs song, but it sounds so tinny, so utterly underwhelming, it packs no punches, and the backing vocals are simply uninteresting, nowadays I think: could be a mediocre BBs tribute band at work here.

But count me in as a great fan of 'My Diane', and 'Winds Of Change', the latter being a much-maligned track, if only for the coda that quotes 'When I Grow Up'. Doesn't bother me: the melody is fantastic, with those large intervals between successive notes, and fine backing vocs echoing the lead (Mike, notably).

Last weekend I listened to the complete MIU album for the first time in a long time - I usually skip the cover versions and the songs I'm not that into. The covers were really annoying, and the songs I'm not that into made me think "Muppet Show" for some reason... but there was half an album of for me really really enjoyable songs, and I think "Pitter Patter" does have punch.

I like "Winds Of Change", but I dislike the production of "My Diane" - it sounds so stiff and unorganic.

Light Album on the other hand has only one track I like listening to, that's Angel Come Home. I was surprised when after a few years I learned it wasn't Dennis but Carl who wrote it.

Good Timin' is another production casualty, I hate that dull backing track. I loved the acoustic version Brian and his band did during the SMiLE tour in 2004, that did the beauty of the song justice.

perhaps the Euro (German) pressing of the vinyl was (is) a 'lemon', so to speak.

Hey, you can't blame us for everything!!! 

[The Heartical Don]

Well, I only have the vinyl MIU, I must add. But I find that to sound poorly produced, almost compressed avant la lettre. Sibilants don't really sound like they should, bass seems to be absent. 'She's Got Rhythm' is potentially a great, great BBs song, but it sounds so tinny, so utterly underwhelming, it packs no punches, and the backing vocals are simply uninteresting, nowadays I think: could be a mediocre BBs tribute band at work here.

But count me in as a great fan of 'My Diane', and 'Winds Of Change', the latter being a much-maligned track, if only for the coda that quotes 'When I Grow Up'. Doesn't bother me: the melody is fantastic, with those large intervals between successive notes, and fine backing vocs echoing the lead (Mike, notably).

Last weekend I listened to the complete MIU album for the first time in a long time - I usually skip the cover versions and the songs I'm not that into. The covers were really annoying, and the songs I'm not that into made me think "Muppet Show" for some reason... but there was half an album of for me really really enjoyable songs, and I think "Pitter Patter" does have punch.

I like "Winds Of Change", but I dislike the production of "My Diane" - it sounds so stiff and unorganic.

Light Album on the other hand has only one track I like listening to, that's Angel Come Home. I was surprised when after a few years I learned it wasn't Dennis but Carl who wrote it.

Good Timin' is another production casualty, I hate that dull backing track. I loved the acoustic version Brian and his band did during the SMiLE tour in 2004, that did the beauty of the song justice.

perhaps the Euro (German) pressing of the vinyl was (is) a 'lemon', so to speak.

Hey, you can't blame us for everything!!! 

I blame the Germans for not beating the Swedes by 4 -0.

[Magic Transistor Radio]

My main point was not to discuss which album we like better. Mike and Al seemed to have more power then Carl and Dennis on 15 Big Ones and MIU. Love You is pretty much a Brian album. Although, Mike had some say on lyrics. I know that Carl and Dennis were doing drugs during the MIU era, but wasn't that put out in favor of Adult/Child which was a more Wilson album? LA Light on the other hand seems to favor the Wilsons. Not saying its better. I suppose the answer lies in a previous post that Mike was busy with Celebration. Another question is, had Carl cleaned up by the LA Light sessions? Had Al swung his vote yet? These are mysteries to me.

[Lonely Summer]

I had two friends years ago separately tell me that Sumuhama was a favorite track.  I think some here just diss it cause it's a Mike Love song. Will Michael E. Love ever redeem himself in the eyes of Beach Boys fans?

[Peadar 'Big Dinner' O'Driscoll]

bit off topic but I just realised that Lady Lynda was not played by the Beach Boys on the 50th tour. Just a bit surprising as Mike is so set on chart positions when choosing the setlist and it hit 6 in the UK . Maybe cos its about Als ex wife or maybe cos the song is crap?*

*just my opinion (but it is  )