WIBNTLA Reviews

[Smilin Ed H]

Don't be such an idiot, Stephen.  I wasn't having a go at you and I'm glad you have faith in your own tastes. Makes you come across as mature... It's just that there are one or two on here who seemed determined to dislike it.  I love it for what it is not because someone else likes it. It would have considerably enhanced my favourite 70s BB album.

If anyone still hasn't heard it, it's here:

http://fridaynightboys300.blogspot.co.uk/2013/08/dennis-wilson-and-beach-boys-wouldnt-it.html

Really? I haven't actually noticed anyone saying they genuinely dislike it but maybe I've missed some posts...

"Just heard it, definitely NOT as bad as Barbara or Make It Good, but it's still not on the level of any of the other Surf's Up tracks. I'm glad it's not on it."

[Don Malcolm]

Here's my 2¢ - when the chorus kicks in at 0.32, if every single hair on your body doesn't stand on end, then... well... I don't know what to say.

Agree...it's a brilliant chorus, sung with more heart and soul than any single human being ought to be able to possess. And it adds significant complication to the story being told in the lyrics, changing the musical and narrative dynamics all at the same time.

And still, after a second go-round of verse/chorus, that guitar solo just ups the ante, lifting the track out of its original context and into some kind of holy space. Range Rover has some nice observations about how it "creeps" in...it takes maybe a few listens to sense how such a simple figure can wind up being so powerful. A great example of what the wacked-out rock critic Richard Meltzer used to call "orgasmic monotony," i.e. a pocket of ecstasy that you don't ever want to end. It's the space being sought, we get the glimpse...then Dennis comes back in with the chorus and we're back on the outside of the Garden of Eden, looking in with even more longing.

[Dove Nested Towers]

A lot of fine, insightful comments here, like Don Malcolm's which I forgot to quote. "Holy space" etc. My previous hyperbole aside, I would like to make a humble, layman's attempt to analyze the essential nature of Dennis Wilson's work, which this clearly represents at its best. I hope this will inspire deeper contemplation and discussion by others here.

There is a basic structural similarity to most of his music. Simple but resonant chords and phrases, amidst structural complexity. An overwhelming emotionality and melancholy that can be almost too overwrought to bear. When he strikes the right balance between this kind of triumphant grandiosity and the inherent sadness to which it's linked in his work, it produces an almost drug-like, addictive, ear-gasmic, can't-get-enough-listens response in those who are attuned to his wavelength, which is most certainly not everyone. Holy Man & Tug of Love are others that are incredibly hypnotic and compelling, IMO. This quality was consistent but his muse gradually got darker as his life unraveled. By Bambu and the time of worse deterioration it was, to my ears almost unbearable. Love Remember Me is very similar to WIBNTLA, almost its obverse twin, coming from a place of almost total despair. Very beautiful but almost unlistenably sad, like "All Alone". In his earlier period especially, he was ambitiously (not consciously so) trying to articulate a transcendentally escapist, idealistic musical sensibility, which is almost frightening in its intensity but at its most fully realized is uniquely evocative and visceral in its effect.

There's a reason why, as Jack Rieley said (if he can be trusted as a source in this case) that the rest of the band (not sure if this was all-inclusive or not) was "consumed by jealousy" or words to that effect when presented with his two offerings for SU. This song crystallizes and achieves his gift for emotional connection completely, in spine-tingling fashion. As Jon said, the delicacy and  emotional range of the vocal reading is amazing. Even if the song is relatively simple, it strikes a note of perfect longing for the victory of romantic love over all obstacles, its escape from all earthly constraints. Total idealism: "whoever told the very first lie" and other similar metaphors throughout, attempting to create a safe haven from the storms outside and alluding to the loss of purity in an almost Adam and Eve sense. Perhaps he felt irrevocably corrupted by his experience with you-know-who and his acolytes, who I will leave unnamed, and wanted desperately to regain his innocence from before that period of his life. He said later that it had "destroyed" him, or words to that effect. Be With Me from that time had a similar romantically escapist theme. Little Bird and Be Still from the period just before this destructive association had themes of personal growth and affirmation which were more positive, less tinged with darkness, but equally effective.

This capacity for pure emotional connection is a rare gift, which is shared of course by Brian, whose musical sensibility at its peak was more nuanced and complex in its balance between the light and the dark sides of human nature, more universal in its appeal. A more well-rounded and fully realized artist, by a wide margin, but they each refract their own unique facets of the Wilson family's genetic makeup. Carl I think had aspects of both, with a delicate, ethereal nature, a talent that was very refined, to the point of being cloying, but not quite as profound as that of his brothers (singing aside, where his spirit shone brightly), although with considerable merit in its own right. Quite a trio.

[EgoHanger1966]

How much of all the praise is down to the fact that you've been waiting so long to hear it? It will be very interesting to see the board's opinion a year down the line. Amidst all the C50 hype, many people were really digging TWGMTR (the album), and since then opinions on that one have cooled considerably.

Ranked against Dennis' other work, I wouldn't say it's his best song OR best vocal, but it is definitely up there in the top 4 or 5.

[Autotune]

A beautiful vocal. Gorgeous, full-blown production.
Regarding the songwriting, I think that if you dig Dennis' style, you will love it as this ranks among his more well-rounded efforts. I find his songwriting erratic and somewhat pointless at times (but he makes for it through heavily-involved performance and lushness of production-sound). But this tune is as focused as his other stronger songs in the catalogue.

Unlike Soulful Ol Man Sunshine, WIBNTLA came out gracefully out of decades of hyping.

[Shady]

Listened to it with earphones on walking home from work just now. Chills down my body, stunning song and what vocal by Dennis.

Boy, did this live up to the hype, did not think it was possible

[Wirestone]

I'm a huge Soulful fan ... although I don't recall any hype about it. Still, it was a great treat to hear back in 98.

WIBNTLA is definitely a solid, excellent, mid-career Dennis tune, with above-average vocals and a lovely, relatively understated production. Love the out of left-field tag.

I know I've sounded notes of skepticism about Dennis's work in the past ... but I've never denied that he was an excellent producer and performer, and that he wrote some great songs. What's more, he was clearly the band's best shot in the 1970s for a clear, different direction.

You listen to WIBNTLA and you can hear this alternate path for the band, and you can also just realize how far Dennis fell, and how quickly, by the end of the 1970s. No one valued him enough, least of all himself.

[Jon Stebbins]

How much of all the praise is down to the fact that you've been waiting so long to hear it? It will be very interesting to see the board's opinion a year down the line. Amidst all the C50 hype, many people were really digging TWGMTR (the album), and since then opinions on that one have cooled considerably.

I'd say the opposite holds true for Dennis' work. It tends to gain admirers, converts, respect and acclaim as time goes on. Sure some people don't connect with it, but more and more do as time goes on. He was barely talked about in the '90's. 20 years down the line his stuff has become easily the most respected work in the BB's legacy other than Brian's, and he's continued to gain on big brother. The same will hold true for this song. Its going to bring even more people to the "cult" of DW, his work just has an addictive quality to it. Some people try it and don't dig the buzz, but a growing majority are hooked.

[Bedroom Tapes]

Whoa, it's like an orgasm for the ears!  There are few songs that make my hair stand up on end or send shivers down my spine but this one did.  Mind blown...or better yet mindf**ked (in the best possible way)!       That guitar part is killer.  This is definitely the best Dennis track that took the longest to see a release.  Looking forward to your book Jon!

[Moon Dawg]

 Upon first listen I was slightly underwhelmed. ("Too much hype" "Is Evie's version better?") By the fourth hearing, however, I was completely taken by the aching romanticism and the very best vocal of Dennis Wilson's career. It's a wonderful song, but still too new (to me) to evaluate in the context of Dennis's (and The Beach Boys') total body of work.

 It begs the question: where does WIBNTLA fit on SURF'S UP? Again, very hard to say. I can't see it as the closing track. It would work rather well closing side one, but then what the hell do we do with "Student Demonstration Time"? (I don't believe in discarding any original tracks for my alternate versions of SURF'S UP, and I kinda like SDT anyway.)

 It seems odd - insane maybe - that WIBNTLA didn't come out until 2013. Could it have been used for SO TOUGH or HOLLAND? Easily. One of the mid to late 70's albums? A harder sell given the decline of Dennis's voice, but in an alternate world, it may have been rescued from the vaults as part of a 1976 album. The GOOD VIBRATIONS box in 1993? Amazing they would favor "4th of July" over WIBNTLA.

But we're talking about The Beach Boys, and the things they do often make little sense. Very glad we can hear this gem today in 2013 and in all the days to come!
 

[pixletwin]

One thing it's missing is Adam's POB Dennis impression echoing "Whoever said?". That was a stroke of genius.

[Wrightfan]

One thing it's missing is Adam's POB Dennis impression echoing "Whoever said?". That was a stroke of genius.

I pretty sure it's there in the original, buried really low

[Moon Dawg]

How much of all the praise is down to the fact that you've been waiting so long to hear it? It will be very interesting to see the board's opinion a year down the line. Amidst all the C50 hype, many people were really digging TWGMTR (the album), and since then opinions on that one have cooled considerably.

I'd say the opposite holds true for Dennis' work. It tends to gain admirers, converts, respect and acclaim as time goes on. Sure some people don't connect with it, but more and more do as time goes on. He was barely talked about in the '90's. 20 years down the line his stuff has become easily the most respected work in the BB's legacy other than Brian's, and he's continued to gain on big brother. The same will hold true for this song. Its going to bring even more people to the "cult" of DW, his work just has an addictive quality to it. Some people try it and don't dig the buzz, but a growing majority are hooked.

 Yes. I bought a FRIENDS reissue a couple of days after Dennis drowned. When "Little Bird" came on I was like "Dennis could write songs!" I had been into The Beach Boys for several years, but did not truly discover the music of Dennis Wilson until he was gone. My appreciation for POB evolved over several years after buying a used promo/DJ copy about 1985.

[Rocky Raccoon]

It's nearly identical to the Adam Marsland/Evie Sands version aside from the lead vocalist.  Though that was probably Marsland's intention, to make it sound as close to the original as possible.  Anyways, I knew it was a great song when I heard that version and I still think it's a great song, it sounds great and it's probably one of Dennis's best vocal performances.

[b00ts]

I wonder how the Made In California mix differs from the mix that was cut from The Warmth of The Sun. I assume the song was remixed for the box set.

Also, hearing WIBNTLA makes me realize how great it would have been to hear it in surround sound on the Surf's Up DVD-Audio reissue. Does anyone know what the prospective tracklist was for that release?

[SloopJohnnyB]

Does WIBNTLA live up to the all the hype? Absolutely!

Just heard it now for the first time. As discussed in another thread POB could and should have been a BB album. I like 15 Big Ones. I like it all. But wow. The different direction they all took in the second half of the 1970's. But hey, we got the The Beach Boys Love You and Pacific Ocean Blue. Go figure. This band was on fire at times. It was all good. 'Celebration' too.

It had to be tough for Dennis to shelve his songs. I guess there was another BB album. Another tour. Dennis moved on. He should have been allowed to have a solo career along with his role in The Beach Boys. I hate to hear that he was told to stay with the band when a few years later Mike did 'Celebration' and his solo album. I really like 'Celebration'. I guess Mike's solo career didn't last long anyway.

Dennis gets to shine here for BB50. Shine on.

[Kurosawa]

I'm a huge Soulful fan ... although I don't recall any hype about it. Still, it was a great treat to hear back in 98.

WIBNTLA is definitely a solid, excellent, mid-career Dennis tune, with above-average vocals and a lovely, relatively understated production. Love the out of left-field tag.

I know I've sounded notes of skepticism about Dennis's work in the past ... but I've never denied that he was an excellent producer and performer, and that he wrote some great songs. What's more, he was clearly the band's best shot in the 1970s for a clear, different direction.

You listen to WIBNTLA and you can hear this alternate path for the band, and you can also just realize how far Dennis fell, and how quickly, by the end of the 1970s. No one valued him enough, least of all himself.

I really think everyone (including Dennis himself) was so consumed with Brian's problems that Dennis' own issues went neglected.

[MBE]

I'm glad this woke a few up to how good a vocalist Dennis could be. As much as I love his work in the second half of the seventies,  something special had been lost by 1975. Nice to hear Brian and Carl on this too by the way.  If I were Carl I would have begged Dennis to compromise.

[Jay]

I wonder what would have happened if Dennis had issued this song as a single by himself. Or better yet, if this had been played on the radio as being a "mystery artist".

[Andrew G. Doe]

One thing it's missing is Adam's POB Dennis impression echoing "Whoever said?". That was a stroke of genius.

I pretty sure it's there in the original, buried really low

Nope - Adam himself stated here that this was his idea.

The GOOD VIBRATIONS box in 1993? Amazing they would favor "4th of July" over WIBNTLA.

I'm a bit sketchy on this, but I don't think it was (re)discovered in the BRI vault until a few years later. I'll find out.

[Jay]

Does anybody know the full breakdown of who played what? Will it be in the liner notes? I'm just wondering if it's Brian playing the "pounding" piano. It sounds like his style of playing(to me, it does).

[JohnMill]

Don't be such an idiot, Stephen.  I wasn't having a go at you and I'm glad you have faith in your own tastes. Makes you come across as mature... It's just that there are one or two on here who seemed determined to dislike it.  I love it for what it is not because someone else likes it. It would have considerably enhanced my favourite 70s BB album.

If anyone still hasn't heard it, it's here:

http://fridaynightboys300.blogspot.co.uk/2013/08/dennis-wilson-and-beach-boys-wouldnt-it.html

Really? I haven't actually noticed anyone saying they genuinely dislike it but maybe I've missed some posts...

"Just heard it, definitely NOT as bad as Barbara or Make It Good, but it's still not on the level of any of the other Surf's Up tracks. I'm glad it's not on it."

Surprised at all the hate for "Barbara" as I always liked that one.  Been listening to WIBNTLA (You know given how many initials are in the title, I might as well have typed that one out) and I think it's a pretty strong track in it's own right.  In a way it's probably better that a lot of these tracks are only coming out now.  Given how the band was being received in mainstream circles at the time of "Surf's Up" (at least in the USA) the song probably would've been buried. 

[Alan Smith]

The Boys have had their share of dumb decisions but not releasing this song back in the day really takes the cake

That particular decision was taken, and effected by one Wilson, Dennis Carl. 

Any insights as to why did Dennis made this decision?  Even with the hindsight of 40 years of historical and musical perspective, I see no reason why this didn't get an earlier airing.

Politics aside, what would make Dennis shelve this but then support the inclusion of "...,Pete" or "Hold on Dear Brother", "Susie Cin" or even "Make it Good"?

Why would Dennis favour a remake of "Only With You*" for his solo album instead of this smokin' beast?

To me, it indicates Dennis made a rather significant decision to let it go - are there any clues as to what got in his craw?

*Not that there's anything wrong with that. I love the POB Only with You.

[runnersdialzero]

"Barbara"s really nice, surprised it has a slightly bad reputation.

[Jay]

A slightly bad reputation is still better than poor "All Alone" from the same cd, which seems to be largely ignored by many fans.