LA Light Album (a more progressive album)

[Magic Transistor Radio]

This was after Mike had control of Brian's vote. Yet this doesn't seem like the type of album Mike would want at the time. Or did he try it based on the fact that MIU had failed?  Either that, or had Al switched sides by this time. I know that Al sided with Carl some time after Carl cleaned up. Was it this soon? Also, Dennis would've had to show up to vote, they would've beaten Mike 3-2. Is that the case with this album? I did read somewhere that it was Brian, Dennis, Carl and Al that asked Bruce to produce the next album. Mike wasn't mentioned which I thought was interesting.

[Bubba Ho-Tep]

I think it's a solid follow-up to Holland. It's heading where that album was heading. If it wasn't for Brian's reemergence the group would have probably continued making albums in this vein between 73-79. It was Brian who sent them on that strange (if enjoyable) detour into middle-aged teenager land.

What does Mike have to do with anything?  Was 15 Big Ones and Love You his idea?

[Cabinessenceking]

I think it's a solid follow-up to Holland. It's heading where that album was heading. If it wasn't for Brian's reemergence the group would have probably continued making albums in this vein between 73-79. It was Brian who sent them on that strange (if enjoyable) detour into middle-aged teenager land.

What does Mike have to do with anything?  Was 15 Big Ones and Love You his idea?

15BO and Love You were both Brian's ideas. I've heard 15BO was rather a collection of sessions rather than a determined effort at making an album. The sessions served to motivate Brian to get back into the producers chair. At least that was the original idea. Then they all started arguing over having an originals or oldies album.

[EgoHanger1966]

This album, to me, is not progressive. It's not regressive, either, so I guess it's just gressive. Dennis' contributions are nice but by this point his voice was so gravelly that I just don't like to listen to it. Even your MIU and KTSA have more than one standout, really fabtastic track - I see one here and that's Good Timin'.

I think this album's reputation would be totally different if they included Still I Dream of It (unreleased then from the Adult Childl sessions) - there's a Brian vocal and people would go, "hey, at least it has Still I Dream of It! Epic, epic song!". Or something.

[Quzi]

I thought Bruce was less called in to fit the producer's role on L.A. and more found himself in the midst of trying to get things back together after Brian's mental state deteriorated a few days into the session? I can't remember the specifics, but it's not like Brian casually rang Bruce up after M.I.U.'s release party and said "Hey Bruce, I'm a huge fan of Goin' Public. You got some real swing on that record, I really mean it man, it sounds hot! How'd you like to come down here and produce a record for The Beach Boys?"

[Sheriff John Stone]

I always viewed L.A. Light Album as a "going back to how it used to be", starting with 20/20. Brian wan't going to fully participate (actually, other than a few stray, barely audible notes, he isn't even on Light Album), so it was like , "OK, anybody got any songs you wanna add..." So, it became a disjointed group effort, much like the previous 1969-1973 period.

The problem with L.A. Light Album (and KTSA) was Bruce's influence. He wanted to bring the Beach Boys' sound back VOCALLY, and to that extent he succeeded; he cleaned it up. The problem is that the tracks ARE DEAD! Well, most of 'em anyway. If Bruce was trying to be progressive, he didn't get there. Which is a shame, because James Guercio was around during that time, and I wish Guercio would've exerted more influence. I thought Guercio did a great job with Chicago. He had just as much talent to work with in The Beach Boys, but it never came together.

[phirnis]

This album, to me, is not progressive. It's not regressive, either, so I guess it's just gressive. Dennis' contributions are nice but by this point his voice was so gravelly that I just don't like to listen to it. Even your MIU and KTSA have more than one standout, really fabtastic track - I see one here and that's Good Timin'.

I think this album's reputation would be totally different if they included Still I Dream of It (unreleased then from the Adult Childl sessions) - there's a Brian vocal and people would go, "hey, at least it has Still I Dream of It! Epic, epic song!". Or something.

Couldn't disagree more about Dennis' voice on this album. Personally I think it contains some of his most soulful lead vocal performances ever, better even than what he did on his own solo record (in my very personal opinion, that is!).

Big fan of the Light Album as a whole!

[Nicko1234]

Didn`t the L.A. Album　turn out like that due to record company pressure? I thought the execs heard the early tracks and commented, `We`ve been f***ed but it`s a start.`

I personally don`t think there are any great songs on this record (Good Timin` sounds half finished lyrically and so vague as to be meaningless) but most of it is very listenable. If they`d cut the disco song and Shortenin` Bread and included Daybreak and one other original then it could have hung together much better imo.

[Freddie French-Pounce]

I personally think Lady Lynda is is the best song on the album, but that could be because I'm English...

[EgoHanger1966]

A good track but I like the MIU version better.

[Rocker]

This was after Mike had control of Brian's vote. Yet this doesn't seem like the type of album Mike would want at the time. Or did he try it based on the fact that MIU had failed?  Either that, or had Al switched sides by this time. I know that Al sided with Carl some time after Carl cleaned up. Was it this soon? Also, Dennis would've had to show up to vote, they would've beaten Mike 3-2. Is that the case with this album? I did read somewhere that it was Brian, Dennis, Carl and Al that asked Bruce to produce the next album. Mike wasn't mentioned which I thought was interesting.

I'm sure it had something to do with Guercio who was/is a big admirer of the Wilsons. The album was promoted as the first time in years that the Beach Boys' genius comes to light.
Afaik Brian called Bruce back but I think I have read on this boeard that Dennis and Carl both mentioned bringing Bruce back into the group before it actually happened. If I'm not mistaken it's in the "Labor day 1978" thread.

L.A. had some standout material by Dennis, some nice moments by Carl and also Mike and Al's contributions are good. But as someone mentioned it sounds just terrible sterile (which also goes for KTSA). But although most songs have a very laid back and melancholy feeling the whole thing just never starts to feel like an album. Also the tracks come across as solo recordings by each guy and not Beach Boys recordings. Aren't most of the harmonies on Carl's tracks just him, Bruce and Geoffrey Cushing-Murray? I don't think this is what would've happened after Holland had they kept on goin'. Holland and the early 70s records sound like a cohesive album each. That can't be said for L.A. imo. Still I like the record.
The best thing they could've done imo was letting Dennis produce a Beach Boys album and support him in that. He had material and quite some spotlight after having a charting and well-received soloalbum

[Smilin Ed H]

I tend to mess around a variety of tracks that could've been available at the time - and one that was just a little too late:

It's a Beautiful Day (the one that was too late)
Don't Fight the Sea (well, it was STARTED around that period)
Down the Coastline/Song of the Whale
Santa Ana Winds
Full Sail
California Feeling
Country Pie
Good Timin'
Love Surrounds Me
Baby Blue
Angel Come Home
She's Just Out To Get You

Mike was writing some decent stuff around this time, though I'd have been tempted to take something other than Sumahama from his album (or at least take it without the spoken word bit); Al had some good stuff; Carl had Angel; Brian left better stuff in the can. Was Ten Years Harmony considered for this? The song, I mean, not the recording, which was obviously made later. What was the Dennis instrumental that was offered up (or perhaps initially considered) for LA? Mexico? I'm assuming vocals would've been added.  Don't get me wrong, I like this album, more than MIU and more than any group album that comes after it until TWGMTR, but it's a 'what if' scenario, so...

[The Heartical Don]

I am in two minds about L.A.

On the one hand, I saw (and see, with hindsight) great potential in there. I love Good Timin', Full Sail, Denny's work... the sore thumb is Here Comes The Night, if only for the sheer playing time, it is so contrary to the idea of good 3 minute songs, as to be enormously disruptive. Well, Shortenin' Bread is a novelty song, much like Ding Dang. No problem with that, although it is hardly a stone classic in the BBs catalogue. Sumahama is a tad too sweet. Lady Lynda has beautiful moments.

All in all: a missed opportunity; I guess after all the years that passed, I can say: on the other hand, there's Here Comes The Night, period.

I would have an entirely different view if that song were left off, and three others had been there to replace it.

Three stars out of five, then.

[♩♬🐸 Billy C ♯♫♩🐇]

I actually like this album much less than anything else that came before it. Too sterile, and Carl's songs on this one suck.

[Magic Transistor Radio]

When I say progressive I don't mean to imply that it is a classic. But it is full of deeply meditative songs. Yeah, Here Comes the Night is not one of them. I know that Brian was put in charge for 15 Big Ones and Love You. But Mike and Al each had a song on 15BO while Dennis offered up POB and possibly River Song. They were voted down 3-2 I read on another topic. Love You is my favorite BB album after Holland by far. But MIU was what I was comparing it to. There are some catchy Adult Child out takes and an emotional track in Winds of Change. But then its full of back to the oldies cheese. At least the disco song was more current as was the new wave 85 album (except California Calling)

[Rocker]

When I say progressive I don't mean to imply that it is a classic. But it is full of deeply meditative songs. Yeah, Here Comes the Night is not one of them. I know that Brian was put in charge for 15 Big Ones and Love You. But Mike and Al each had a song on 15BO while Dennis offered up POB and possibly River Song.

I'm not sure if "River song" was still considered a Beach Boys song at this point. But iirc "Rainbows" (and "Pacific ocean blues" as you mentioned) was considered for the album (or one album that wa hoped for to come out of the Brian renessaince

[EgoHanger1966]

By definition in this circumstance, progressive means that the group was heading into new territory and doing things musically that were different AND substantially creative and better (subjective, I know) than what they had done previously. This can obviously be debated in most cases, but I don't think anyone here would call the LA Light album a progressive happening for the Beach Boys. 20/20 --> Sunflower is a clear progression. Maybe CATP ----> Holland. All Summer Long ----> Today!. Not to say the album that comes before is worse, just significantly different in a way that most construe as the next step.

You can't really say it was a regression, because MIU came before it and while I enjoy that album for the most part, that was a regression too. They'd been regressing ever since Holland, but that's a discussion that no one probably wants to rehash again and it might get a little heated, because some will view Love You as a genius-rock masterpiece. Others (who may or may not enjoy it - I do) will view that as a further backslide from the more art-y concepts they were establishing in the late 60s and early 70s.

Again, an album doesn't have to be progressive to be good, and most of the albums I like aren't....

[drbeachboy]

By definition in this circumstance, progressive means that the group was heading into new territory and doing things musically that were different AND substantially creative and better (subjective, I know) than what they had done previously. This can obviously be debated in most cases, but I don't think anyone here would call the LA Light album a progressive happening for the Beach Boys. 20/20 --> Sunflower is a clear progression. Maybe CATP ----> Holland. All Summer Long ----> Today!. Not to say the album that comes before is worse, just significantly different in a way that most construe as the next step.

You can't really say it was a regression, because MIU came before it and while I enjoy that album for the most part, that was a regression too. They'd been regressing ever since Holland, but that's a discussion that no one probably wants to rehash again and it might get a little heated, because some will view Love You as a genius-rock masterpiece. Others (who may or may not enjoy it - I do) will view that as a further backslide from the more art-y concepts they were establishing in the late 60s and early 70s.

Again, an album doesn't have to be progressive to be good, and most of the albums I like aren't....

Well, using your progressive criteria, musically, moving from MIU to the L.A. (Light Album) is progressive. As far as the Progressive music movement goes, then I would say no.

[EgoHanger1966]

By definition in this circumstance, progressive means that the group was heading into new territory and doing things musically that were different AND substantially creative and better (subjective, I know) than what they had done previously. This can obviously be debated in most cases, but I don't think anyone here would call the LA Light album a progressive happening for the Beach Boys. 20/20 --> Sunflower is a clear progression. Maybe CATP ----> Holland. All Summer Long ----> Today!. Not to say the album that comes before is worse, just significantly different in a way that most construe as the next step.

You can't really say it was a regression, because MIU came before it and while I enjoy that album for the most part, that was a regression too. They'd been regressing ever since Holland, but that's a discussion that no one probably wants to rehash again and it might get a little heated, because some will view Love You as a genius-rock masterpiece. Others (who may or may not enjoy it - I do) will view that as a further backslide from the more art-y concepts they were establishing in the late 60s and early 70s.

Again, an album doesn't have to be progressive to be good, and most of the albums I like aren't....

Well, using your progressive criteria, musically, moving from MIU to the L.A. (Light Album) is progressive. As far as the Progressive music movement goes, then I would say no.

I respect your opinion and it's great that the members of this board have different viewpoints on this, but I see nothing musically progressive (in any sense) on LA Light. There's a tasteful disco track on MIU (Matchpoint), and there's an 8 minute long HCTN on LA. Different? Yeah. Musically further-out and expanding on what they'd done in a positive way? No. Good Timin' is great but they'd done that sound before - essentially a mixture of their 60s hits and some of their obscurer fan favorite ballads. Pretty much every comeback single they have issued since is a continuation of this sound (Goin' On, Getcha Back, TWGMTR...).  Dennis' musical ideas are good, but remember Cuddle Up and Make It Good on CATP? Not the same, but I see LA Light as a continuation of that bag, only not as successful and not nearly as good. Your mileage may vary, and none of what anyone is saying is definitive because it's an opinion thread. But that's where I'm at with this album. I'm biased because I don't like it that much, probably, and I have trouble giving this album yet another chance while there are so many more luring options on the shelf. I like (at least a little bit) of all the different styles The Beach Boys had their hands in, so I'm not saying I dislike this because it doesn't sound like Pet Sounds, or Today, or Sunflower.

[drbeachboy]

By definition in this circumstance, progressive means that the group was heading into new territory and doing things musically that were different AND substantially creative and better (subjective, I know) than what they had done previously. This can obviously be debated in most cases, but I don't think anyone here would call the LA Light album a progressive happening for the Beach Boys. 20/20 --> Sunflower is a clear progression. Maybe CATP ----> Holland. All Summer Long ----> Today!. Not to say the album that comes before is worse, just significantly different in a way that most construe as the next step.

You can't really say it was a regression, because MIU came before it and while I enjoy that album for the most part, that was a regression too. They'd been regressing ever since Holland, but that's a discussion that no one probably wants to rehash again and it might get a little heated, because some will view Love You as a genius-rock masterpiece. Others (who may or may not enjoy it - I do) will view that as a further backslide from the more art-y concepts they were establishing in the late 60s and early 70s.

Again, an album doesn't have to be progressive to be good, and most of the albums I like aren't....

Well, using your progressive criteria, musically, moving from MIU to the L.A. (Light Album) is progressive. As far as the Progressive music movement goes, then I would say no.

I respect your opinion and it's great that the members of this board have different viewpoints on this, but I see nothing musically progressive (in any sense) on LA Light. There's a tasteful disco track on MIU (Matchpoint), and there's an 8 minute long HCTN on LA. Different? Yeah. Musically further-out and expanding on what they'd done in a positive way? No. Good Timin' is great but they'd done that sound before - essentially a mixture of their 60s hits and some of their obscurer fan favorite ballads. Pretty much every comeback single they have issued since is a continuation of this sound (Goin' On, Getcha Back, TWGMTR...).  Dennis' musical ideas are good, but remember Cuddle Up and Make It Good on CATP? Not the same, but I see LA Light as a continuation of that bag, only not as successful and not nearly as good. Your mileage may vary, and none of what anyone is saying is definitive because it's an opinion thread. But that's where I'm at with this album. I'm biased because I don't like it that much, probably, and I have trouble giving this album yet another chance while there are so many more luring options on the shelf. I like (at least a little bit) of all the different styles The Beach Boys had their hands in, so I'm not saying I dislike this because it doesn't sound like Pet Sounds, or Today, or Sunflower.

I know it is all taste and opinion, but I would take what they were doing on L.A. over MIU or anything that they did after 1979.

[Jim V.]

This was after Mike had control of Brian's vote. Yet this doesn't seem like the type of album Mike would want at the time. Or did he try it based on the fact that MIU had failed?  Either that, or had Al switched sides by this time. I know that Al sided with Carl some time after Carl cleaned up. Was it this soon? Also, Dennis would've had to show up to vote, they would've beaten Mike 3-2. Is that the case with this album? I did read somewhere that it was Brian, Dennis, Carl and Al that asked Bruce to produce the next album. Mike wasn't mentioned which I thought was interesting.

I think it's a solid follow-up to Holland. It's heading where that album was heading. If it wasn't for Brian's reemergence the group would have probably continued making albums in this vein between 73-79. It was Brian who sent them on that strange (if enjoyable) detour into middle-aged teenager land.

What does Mike have to do with anything?  Was 15 Big Ones and Love You his idea?

I totally dig what Bubba says here. One could say that the music on L.A. (Light Album) is more MOR than that of Holland but you can definitely draw a line to trace from where they were in '72/'73 to where they were in '78/'79. Basically it was Carl's material that really made the album as "light" as it is. And obviously "Here Comes The Night" is way outta left field. But otherwise, it's easy to see the Holland band a few years older making L.A.

On the other hand, I suppose you could maybe draw a line from things like "Funky Pretty" to 15 Big Ones and Love You with the synth bass and all, but otherwise, it really doesn't make any sense in the continuity of The Beach Boys story.

[Cabinessenceking]

They didn't have enough good songs to make LA a good album. Only Dennis had anything worthwhile, and he provided the slow yet soulful mood of the album, Carl's stuff got too boring (I personally like Goin' South), but since it was titled LA they coulda thrown on CalFeelin' and anything else about CA/LA on that album instead of the rediculous HCTN (this really was the killer of the album, yet it represented the only upbeat song next to Good Timin'). I think Shortenin' Bread was a weak product of what coulda been a great riff song. A lost oppertunity if you'd like. So was the entire album.

[EgoHanger1966]

They had PLENTY of songs. This is a band with way too many unreleased songs.They could have pulled stuff out of the vaults, and if BRiAN was well enough he could have given them things like "Just An Imitation" that he had written but never recorded. Almost all of the Adult/Child material was unreleased at that point.

[Magic Transistor Radio]

By definition in this circumstance, progressive means that the group was heading into new territory and doing things musically that were different AND substantially creative and better (subjective, I know) than what they had done previously. This can obviously be debated in most cases, but I don't think anyone here would call the LA Light album a progressive happening for the Beach Boys. 20/20 --> Sunflower is a clear progression. Maybe CATP ----> Holland. All Summer Long ----> Today!. Not to say the album that comes before is worse, just significantly different in a way that most construe as the next step.

You can't really say it was a regression, because MIU came before it and while I enjoy that album for the most part, that was a regression too. They'd been regressing ever since Holland, but that's a discussion that no one probably wants to rehash again and it might get a little heated, because some will view Love You as a genius-rock masterpiece. Others (who may or may not enjoy it - I do) will view that as a further backslide from the more art-y concepts they were establishing in the late 60s and early 70s.

Again, an album doesn't have to be progressive to be good, and most of the albums I like aren't....

Well, maybe better words would be 'deep', 'emotive', 'arty', 'non commercial'. Outside of HCTN and Shortnen, this is an album full of deep emotive cuts. Shortnen is catchy as well, but I prefer the A/C version. Shortnen has a Love You vibe to it that I like. Brian may not have been great any more, but a half assed Brian could make very interesting music. A la Love You.

[Dunderhead]

I've heard it mentioned on this board that Keepin' The Summer Alive was originally supposed to be produced by Brian Wilson. I'm pretty sure one of the honored guests posted that the initial Brian sessions showed a lot of promise but that he become uncooperative when Bruce was recruited back into the band behind his back. Any truth to that?

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.