*Merged* Brian Wilson current album thread

[Generation42]

So, it's OK to like island songs just as long as they're not about one called Kokomo?

And somehow island songs are just great but faux Jimmy Buffet songs about islands are not?

And sit-com actors are awesome with Brian and then it's time to turn around and bash Stamos some more?

Yeah, OK.

At least Stamos is cute

I think "On the Island" - what little we've heard of it - sounds sublime.  And yet, somehow, I like "Kokomo" too!  Always have.

As I said, almost any time the Beach Boys (or in this case, BW) do "island," I end up a happy listener.

I won't comment on how cute you find Stamos.  That's something very special and very personal to be shared between you and John, and entirely none of my business.

[Pinder's Gone To Kokomo And Back Again]

So, it's OK to like island songs just as long as they're not about one called Kokomo?

And somehow island songs are just great but faux Jimmy Buffet songs about islands are not?

And sit-com actors are awesome with Brian and then it's time to turn around and bash Stamos some more?

Yeah, OK.

At least Stamos is cute

I think "On the Island" - what little we've heard of it - sounds sublime.  And yet, somehow, I like "Kokomo" too!  Always have.

As I said, almost any time the Beach Boys (or in this case, BW) do "island," I'm end up a happy listener.

I won't comment on how cute you find Stamos.  That's something very special and very personal to be shared between you and John, and entirely none of my business.

and I do have his business card

[FatherOfTheMan Sr101]

Is this the song you could see the sheet music for in that picture way back?

[Please delete my account]

Hard to judge by a 10 second clip, but it doesn't sound too promising. I mean, has there ever been a good "island" song? It's always the same old "hey let's kick back and take it slow" crap.

"I'm On An Island"

I'm on an island
And I've got no where to swim
Oh what a mood I am in
I'm on an island

I'm on an island
Since my girl left me behind
She said that I'm not her kind
I'm on an island

But there is no where else on Earth I'd rather be
Then if my long, lost little girl was here with me

I'm on an island
And I've got no where to run
Because I'm the only one
Who's on the island

But there is no where else on Earth I'd rather be
Then if my long, lost little girl was here with me
I'm on an island
And I've got no where to run
Because I'm the only one
Who's on this island

I'm on an island
I'm on an island

[Dancing Bear]

like "Francis Albert Sinatra and Antonio Carlos Jobim" , one of my favorite records of all time.

YES! Times 100. I love that album. Those chords, the voices, the arrangements...I think Sinatra was quoted as saying that was the quietest and softest he ever sang on a record, and he nailed it. The follow-up Jobim-Sinatra is good, but nowhere near that first one. Beautiful record, beautiful songs.

I don't know how many people haven't heard it, but if there are some, *run* out to buy it...or, er, download it I mean, or whatever. 

I'd also like to see Brian do more Bossa Nova, apart from what he's already done since the 60's and this new one. Maybe even mix some of the Jobim standards with some new originals, I'd like to hear what he'd do with a full album in that style.

Jobim says when Sinatra gave him a call (in Rio de Janeiro) to make an album together he thought it was a prank call. 

"Francis albert sinatra and antonio carlos jobim" is a really great album, very respected also in Brasil. The next one ('Sinatra Jobim', which became half of  'And Company') isn't as magical, though it has great arrengements by Eumir Deodato of Also Sprach Zarathrusta and Kool & the Gang fame. Back then in the 60s this guy had a golden hand (listen to 'Inutil Paisagem', 1964).

Great information, thanks for posting! Can you imagine getting a call and someone says "Hey, this is Frank Sinatra, let's cut a record together! " in the 1960's?   


I want to add a bit of a connection to Brian Wilson and the Beach Boys that's pretty slim, but still interesting in terms of musicians involved in the original Bossa Nova popularity and Jobim.

Another favorite jazz album of mine is by Julie London from 1955, called "Julie Is Her Name", produced by Bobby Troup. Julie also did a follow-up in '58. The key feature os this album that was sort of a revolutionary thing at the time for jazz was Julie only had a guitar and bass backing her vocals. No piano, no drums. All of the "space" including percussion sounds had to be filled by guitar and bass. "Cry Me A River" was the big hit from that album. I always liked Julie's version the best.

I've read that among Jobim's musician friends, that first "Julie Is Her Name" album caused a near earthquake musically in that circle of musicians. They were blown away by the way the guitar was voicing chords like a piano, ditching the traditional way a guitarist would back a vocalist, and also adding that hint of rhythm to make up for the drums. Jobim and his fellow guitarists would study and learn those guitar parts and chord voicings and trade notes and ideas with each other on how those sounds were created for Julie's album.

I might be wrong, but I think I read Jobim himself or maybe one of his friends said that the Julie London record and the guitar style on the album was a major influence (if not the major influence on the chords and the Bossa guitar style in general) on how Jobim played and wrote the Bossa Nova classics he became known for. You hear Jobim's guitar style, and the voicings, and you can hear the connection.

What do the Beach Boys' records have to do with this, what's the connection with the musicians? The guitarist on the first Julie London album who so profoundly influenced Jobim was Barney Kessel. The guitarist on the second one was Howard Roberts. 

The Julie London albums were hits in Brasil, for sure. Chet Baker wasn't, but he was a vocal reference between musicians 'in the know'. When you think about bossa nova, think about Tom Jobim (the composer) but also João Gilberto (the guitar player and singer). You gotta have both to get what a revolution it was in 1958 to have 'Chega de Saudade' in the nearest radio.

[Jim V.]

So, it's OK to like island songs just as long as they're not about one called Kokomo?

And somehow island songs are just great but faux Jimmy Buffet songs about islands are not?

And sit-com actors are awesome with Brian and then it's time to turn around and bash Stamos some more?

Yeah, OK.

At least Stamos is cute

Seriously I'd probably say most people on this board actually DO like "Kokomo" and rightly so. It's a good song. Just not as totally amazing and world beating as Mike Love thinks it is.

And yeah, as others have said, Zooey Deschanel is quite a bit more than the a hack sitcom actor like Stamos. She actually has a music career that would survive with or without her parallel acting career. And shoot, Prince found it okay to work on music with her. So I think it's okay for Brian. However, I'm unaware if Prince has done any work with John Stamos yet.

[the captain]

However, I'm unaware if Prince has done any work with John Stamos yet.

He sticks to top talent like Kim Basinger and Carmen Electra.

[HeyJude]

Seriously I'd probably say most people on this board actually DO like "Kokomo" and rightly so. It's a good song. Just not as totally amazing and world beating as Mike Love thinks it is.

And yeah, as others have said, Zooey Deschanel is quite a bit more than the a hack sitcom actor like Stamos. She actually has a music career that would survive with or without her parallel acting career. And shoot, Prince found it okay to work on music with her. So I think it's okay for Brian. However, I'm unaware if Prince has done any work with John Stamos yet.

I've always contended that "Kokomo" is a really catchy song. For some "hardcore" BB fans, Mike's touting of the song has become problematic.

But more than that, the song has suffered from simply being overexposed, especially back then. It was good (in some ways) for the band back then, getting exposure on MTV and whatnot. But the nature of the song is such that, for some, it grates when overplayed. I will grant it hasn't been really "overexposed" since 1989 or so. But that overexposure has, more than anything else, been what has stuck with "non-hardcore fans" that I've talked to. I've heard many a "casual fan" say that the song is good, but they got "sick of it."

As for Deschanel, she has a pleasant voice. Nothing earth-shattering to me. She already has a far more "legit" music career than Stamos ever has. Not sure why that comparison keeps coming up. She has released several albums, and while apparently a huge Brian/BB fan just like Stamos is, has not thus far jumped on stage during Brian shows to sing for the entire show.

[Cyncie]

Seriously I'd probably say most people on this board actually DO like "Kokomo" and rightly so. It's a good song. Just not as totally amazing and world beating as Mike Love thinks it is.

And yeah, as others have said, Zooey Deschanel is quite a bit more than the a hack sitcom actor like Stamos. She actually has a music career that would survive with or without her parallel acting career. And shoot, Prince found it okay to work on music with her. So I think it's okay for Brian. However, I'm unaware if Prince has done any work with John Stamos yet.

I've always contended that "Kokomo" is a really catchy song. For some "hardcore" BB fans, Mike's touting of the song has become problematic.

But more than that, the song has suffered from simply being overexposed, especially back then. It was good (in some ways) for the band back then, getting exposure on MTV and whatnot. But the nature of the song is such that, for some, it grates when overplayed. I will grant it hasn't been really "overexposed" since 1989 or so. But that overexposure has, more than anything else, been what has stuck with "non-hardcore fans" that I've talked to. I've heard many a "casual fan" say that the song is good, but they got "sick of it."

As for Deschanel, she has a pleasant voice. Nothing earth-shattering to me. She already has a far more "legit" music career than Stamos ever has. Not sure why that comparison keeps coming up. She has released several albums, and while apparently a huge Brian/BB fan just like Stamos is, has not thus far jumped on stage during Brian shows to sing for the entire show.

Exactly my thoughts. Kokomo's fine, even if its relevance is somewhat over played by Mike in interviews.  It's weird, though. In Mike's onstage banter, he and Bruce have a little go at each other about "I Write the Songs" and "Kokomo" both being relegated to elevator music. I liked that bit of rare self-deprecation, even though I don't think the song deserves that kind of reputation, either. For me, the truth is somewhere between Mike's "Greatest hit we had and Brian wasn't involved-- HA!" attitude and "You can hear it in any elevator, along with Bruce's masterpiece." Kokomo is a nice, catchy pop hit that had the Hollywood machine behind it because it was the single release for the soundtrack of a Tom Cruise movie. It works for what it is: pleasant pop candy. It wasn't revolutionary like "Good Vibrations" but few things are.

And, there's a big difference between solo Brian collaborating with Zooey Deschanel on a solo (re: non Beach Boys) project,  and John Stamos commanding center stage at a Beach Boys concert. I'd be equally irritated at Deschanel if she jumped up on the stage of a Beach Boys concert and took over while she sang her cover of "Wouldn't it Be Nice." Save it for your own concerts. I also would not want her recording with The Beach Boys, because she's not one.

[guitarfool2002]

like "Francis Albert Sinatra and Antonio Carlos Jobim" , one of my favorite records of all time.

YES! Times 100. I love that album. Those chords, the voices, the arrangements...I think Sinatra was quoted as saying that was the quietest and softest he ever sang on a record, and he nailed it. The follow-up Jobim-Sinatra is good, but nowhere near that first one. Beautiful record, beautiful songs.

I don't know how many people haven't heard it, but if there are some, *run* out to buy it...or, er, download it I mean, or whatever. 

I'd also like to see Brian do more Bossa Nova, apart from what he's already done since the 60's and this new one. Maybe even mix some of the Jobim standards with some new originals, I'd like to hear what he'd do with a full album in that style.

Jobim says when Sinatra gave him a call (in Rio de Janeiro) to make an album together he thought it was a prank call. 

"Francis albert sinatra and antonio carlos jobim" is a really great album, very respected also in Brasil. The next one ('Sinatra Jobim', which became half of  'And Company') isn't as magical, though it has great arrengements by Eumir Deodato of Also Sprach Zarathrusta and Kool & the Gang fame. Back then in the 60s this guy had a golden hand (listen to 'Inutil Paisagem', 1964).

Great information, thanks for posting! Can you imagine getting a call and someone says "Hey, this is Frank Sinatra, let's cut a record together! " in the 1960's?   


I want to add a bit of a connection to Brian Wilson and the Beach Boys that's pretty slim, but still interesting in terms of musicians involved in the original Bossa Nova popularity and Jobim.

Another favorite jazz album of mine is by Julie London from 1955, called "Julie Is Her Name", produced by Bobby Troup. Julie also did a follow-up in '58. The key feature os this album that was sort of a revolutionary thing at the time for jazz was Julie only had a guitar and bass backing her vocals. No piano, no drums. All of the "space" including percussion sounds had to be filled by guitar and bass. "Cry Me A River" was the big hit from that album. I always liked Julie's version the best.

I've read that among Jobim's musician friends, that first "Julie Is Her Name" album caused a near earthquake musically in that circle of musicians. They were blown away by the way the guitar was voicing chords like a piano, ditching the traditional way a guitarist would back a vocalist, and also adding that hint of rhythm to make up for the drums. Jobim and his fellow guitarists would study and learn those guitar parts and chord voicings and trade notes and ideas with each other on how those sounds were created for Julie's album.

I might be wrong, but I think I read Jobim himself or maybe one of his friends said that the Julie London record and the guitar style on the album was a major influence (if not the major influence on the chords and the Bossa guitar style in general) on how Jobim played and wrote the Bossa Nova classics he became known for. You hear Jobim's guitar style, and the voicings, and you can hear the connection.

What do the Beach Boys' records have to do with this, what's the connection with the musicians? The guitarist on the first Julie London album who so profoundly influenced Jobim was Barney Kessel. The guitarist on the second one was Howard Roberts. 

The Julie London albums were hits in Brasil, for sure. Chet Baker wasn't, but he was a vocal reference between musicians 'in the know'. When you think about bossa nova, think about Tom Jobim (the composer) but also João Gilberto (the guitar player and singer). You gotta have both to get what a revolution it was in 1958 to have 'Chega de Saudade' in the nearest radio.

Thank you again for adding to the discussion! Chet Baker, you can trace that very soft, quiet vocal delivery to some of his vocal records. Julie London's albums have some of that quiet style in her vocals too, but not to the level of Chet. He's all but whispering on some of those tunes. You can't really "belt" a Bossa Nova vocal and have it ring true, you know?

I think it's also important to draw a line musically between the Bossa Nova style and what some call "island" or "tropical" music. They're not the same. I think some folks need to listen to some of the original Bossa Nova recordings to see what caused such a stir in both jazz and among popular music when it became almost a "craze" in the US and elsewhere. It was different, it was new, and the whole sound and performance style of it stood out from what was even considered jazz, or pop, or even "exotica".

I'll just say again, it cannot be lumped in with whatever some might call "island" music, and it definitely, absolutely, positively cannot be grouped together with the Jimmy Buffet style. Are some of the beats and accents similar enough to sound alike? Yes. Did certain classic Bossa songs like "The Girl From Ipanema" or "Wave" get tagged as "easy listening" or even elevator/lounge music? Yes, but that's not what they were nor what the style is...the fact that thousands or artists covered these songs and Muzak picked up on them and relentlessly programmed them commercially has as much to do with the actual music as "Yesterday" can be defined by the thousands of vapid cover versions that have been done, to the point where you'd see the song being played on a saw or on wineglasses on "The Gong Show". 

I will say, for 1968 and considering it was on a Beach Boys album, Brian's "Busy Doin' Nothing" is a pretty authentic sounding Bossa, although the lyrics aren't quite what Jobim probably would have done!

[Sheriff John Stone]

I've always contended that "Kokomo" is a really catchy song. For some "hardcore" BB fans, Mike's touting of the song has become problematic.

But more than that, the song has suffered from simply being overexposed, especially back then. It was good (in some ways) for the band back then, getting exposure on MTV and whatnot. But the nature of the song is such that, for some, it grates when overplayed. I will grant it hasn't been really "overexposed" since 1989 or so. But that overexposure has, more than anything else, been what has stuck with "non-hardcore fans" that I've talked to. I've heard many a "casual fan" say that the song is good, but they got "sick of it."

Oh, how Brian and hiswifeandmanagers would love to have this "problem"....

[KittyKat]

So, it's OK to like island songs just as long as they're not about one called Kokomo?

And somehow island songs are just great but faux Jimmy Buffet songs about islands are not?

And sit-com actors are awesome with Brian and then it's time to turn around and bash Stamos some more?

Yeah, OK.

At least Stamos is cute

Seriously I'd probably say most people on this board actually DO like "Kokomo" and rightly so. It's a good song. Just not as totally amazing and world beating as Mike Love thinks it is.

And yeah, as others have said, Zooey Deschanel is quite a bit more than the a hack sitcom actor like Stamos. She actually has a music career that would survive with or without her parallel acting career. And shoot, Prince found it okay to work on music with her. So I think it's okay for Brian. However, I'm unaware if Prince has done any work with John Stamos yet.

To be fair, John is more than a so-called hack sitcom actor. He's done Broadway shows, including the lead in "Nine" and the Emcee in "Cabaret." He has a pleasant, unremarkable voice, which is the same thing that can be said of Zooey. Zooey really can't sing the way real singers are expected to. Her voice is weak. She can carry a tune, but she can't belt and she has no range at all. She can sing maybe one octave if she's lucky.  It's all the same alto croon. Both she and John get by on their big blue eyes. If they weren't physically attractive, they wouldn't have careers.

[drbeachboy]

So, it's OK to like island songs just as long as they're not about one called Kokomo?

And somehow island songs are just great but faux Jimmy Buffet songs about islands are not?

And sit-com actors are awesome with Brian and then it's time to turn around and bash Stamos some more?

Yeah, OK.

At least Stamos is cute

Seriously I'd probably say most people on this board actually DO like "Kokomo" and rightly so. It's a good song. Just not as totally amazing and world beating as Mike Love thinks it is.

And yeah, as others have said, Zooey Deschanel is quite a bit more than the a hack sitcom actor like Stamos. She actually has a music career that would survive with or without her parallel acting career. And shoot, Prince found it okay to work on music with her. So I think it's okay for Brian. However, I'm unaware if Prince has done any work with John Stamos yet.

To be fair, John is more than a so-called hack sitcom actor. He's done Broadway shows, including the lead in "Nine" and the Emcee in "Cabaret." He has a pleasant, unremarkable voice, which is the same thing that can be said of Zooey. Zooey really can't sing the way real singers are expected to. Her voice is weak. She can carry a tune, but she can't belt and she has no range at all. She can sing maybe one octave if she's lucky.  It's all the same alto croon. Both she and John get by on their big blue eyes. If they weren't physically attractive, they wouldn't have careers.

So, to you because they cannot sing to your expectations that they have no talent? They both have acting careers, as you are well aware. That doesn't count for anything? There have been many no talent singers & actors who are beautiful, but could not get away on just their looks. Now before you get on me regarding this post, let me point out that you start by saying that "...John is more than a so-called hack sitcom actor..." and end with "If they weren't physically attractive, they wouldn't have careers." 

[HeyJude]

I've always contended that "Kokomo" is a really catchy song. For some "hardcore" BB fans, Mike's touting of the song has become problematic.

But more than that, the song has suffered from simply being overexposed, especially back then. It was good (in some ways) for the band back then, getting exposure on MTV and whatnot. But the nature of the song is such that, for some, it grates when overplayed. I will grant it hasn't been really "overexposed" since 1989 or so. But that overexposure has, more than anything else, been what has stuck with "non-hardcore fans" that I've talked to. I've heard many a "casual fan" say that the song is good, but they got "sick of it."

Oh, how Brian and hiswifeandmanagers would love to have this "problem"....

I would guess they don't lose sleep over that. Brian presumably collects more in songwriting royalties than Mike does, considering there are numerous BB hits without Mike's songwriting and pretty much one without Brian's (excepting things like some international hits that were covers, etc.).

Not only that, but it may well be that some if not most of the "Wilson/Love" songs do not have a 50/50 split. In some cases, it may well be that Brian is credited with 100% of the music and some percent of the lyrics as well. I have a super vague recollection of someone, perhaps even Mike, speaking to this an interview years ago. The sheet music or ASCAP/BMI databases don't tell us what the actual split is in terms of royalties.

On something like "Good Vibrations", it may well be a 75/25 split or something like that.

[Sheriff John Stone]

I've always contended that "Kokomo" is a really catchy song. For some "hardcore" BB fans, Mike's touting of the song has become problematic.

But more than that, the song has suffered from simply being overexposed, especially back then. It was good (in some ways) for the band back then, getting exposure on MTV and whatnot. But the nature of the song is such that, for some, it grates when overplayed. I will grant it hasn't been really "overexposed" since 1989 or so. But that overexposure has, more than anything else, been what has stuck with "non-hardcore fans" that I've talked to. I've heard many a "casual fan" say that the song is good, but they got "sick of it."

Oh, how Brian and hiswifeandmanagers would love to have this "problem"....

I would guess they don't lose sleep over that. Brian presumably collects more in songwriting royalties than Mike does, considering there are numerous BB hits without Mike's songwriting and pretty much one without Brian's (excepting things like some international hits that were covers, etc.).

Not only that, but it may well be that some if not most of the "Wilson/Love" songs do not have a 50/50 split. In some cases, it may well be that Brian is credited with 100% of the music and some percent of the lyrics as well. I have a super vague recollection of someone, perhaps even Mike, speaking to this an interview years ago. The sheet music or ASCAP/BMI databases don't tell us what the actual split is in terms of royalties.

On something like "Good Vibrations", it may well be a 75/25 split or something like that.

I wasn't referring to the financial aspect. I meant writing/recording/releasing a song that is actually overexposed, overplayed, and getting played on MTV (or any video channel). Who knows, maybe Brian & Zooey's "Island Fever" will do the trick.

[Generation42]

I think it's also important to draw a line musically between the Bossa Nova style and what some call "island" or "tropical" music. They're not the same.

I was going to say the same thing, but if it works as shorthand for some folks, that doesn't drive me up a wall, or anything, either.

[the captain]

Who knows, maybe Brian & Zooey's "Island Fever" will do the trick.

Considering Zooey hasn't ever had anything resembling a mainstream hit, I wouldn't bet on her for that kind of boost. I mean, it'd be nice, but it seems pretty unlikely.

[HeyJude]

I've always contended that "Kokomo" is a really catchy song. For some "hardcore" BB fans, Mike's touting of the song has become problematic.

But more than that, the song has suffered from simply being overexposed, especially back then. It was good (in some ways) for the band back then, getting exposure on MTV and whatnot. But the nature of the song is such that, for some, it grates when overplayed. I will grant it hasn't been really "overexposed" since 1989 or so. But that overexposure has, more than anything else, been what has stuck with "non-hardcore fans" that I've talked to. I've heard many a "casual fan" say that the song is good, but they got "sick of it."

Oh, how Brian and hiswifeandmanagers would love to have this "problem"....

I would guess they don't lose sleep over that. Brian presumably collects more in songwriting royalties than Mike does, considering there are numerous BB hits without Mike's songwriting and pretty much one without Brian's (excepting things like some international hits that were covers, etc.).

Not only that, but it may well be that some if not most of the "Wilson/Love" songs do not have a 50/50 split. In some cases, it may well be that Brian is credited with 100% of the music and some percent of the lyrics as well. I have a super vague recollection of someone, perhaps even Mike, speaking to this an interview years ago. The sheet music or ASCAP/BMI databases don't tell us what the actual split is in terms of royalties.

On something like "Good Vibrations", it may well be a 75/25 split or something like that.

I wasn't referring to the financial aspect. I meant writing/recording/releasing a song that is actually overexposed, overplayed, and getting played on MTV (or any video channel). Who knows, maybe Brian & Zooey's "Island Fever" will do the trick.

The landscape of the industry is too different. I also think Brian got plenty of the 60s equivalent of "Kokomo's" exposure with his numerous hits.

My original point with "Kokomo" had nothing to do with any type of exposure so much as the public's perception. Overexposure isn't always good career wise or reputation wise.

[Pinder's Gone To Kokomo And Back Again]

I've always contended that "Kokomo" is a really catchy song. For some "hardcore" BB fans, Mike's touting of the song has become problematic.

But more than that, the song has suffered from simply being overexposed, especially back then. It was good (in some ways) for the band back then, getting exposure on MTV and whatnot. But the nature of the song is such that, for some, it grates when overplayed. I will grant it hasn't been really "overexposed" since 1989 or so. But that overexposure has, more than anything else, been what has stuck with "non-hardcore fans" that I've talked to. I've heard many a "casual fan" say that the song is good, but they got "sick of it."

Oh, how Brian and hiswifeandmanagers would love to have this "problem"....

I would guess they don't lose sleep over that. Brian presumably collects more in songwriting royalties than Mike does, considering there are numerous BB hits without Mike's songwriting and pretty much one without Brian's (excepting things like some international hits that were covers, etc.).

Not only that, but it may well be that some if not most of the "Wilson/Love" songs do not have a 50/50 split. In some cases, it may well be that Brian is credited with 100% of the music and some percent of the lyrics as well. I have a super vague recollection of someone, perhaps even Mike, speaking to this an interview years ago. The sheet music or ASCAP/BMI databases don't tell us what the actual split is in terms of royalties.

On something like "Good Vibrations", it may well be a 75/25 split or something like that.

I wasn't referring to the financial aspect. I meant writing/recording/releasing a song that is actually overexposed, overplayed, and getting played on MTV (or any video channel). Who knows, maybe Brian & Zooey's "Island Fever" will do the trick.

The landscape of the industry is too different. I also think Brian got plenty of the 60s equivalent of "Kokomo's" exposure with his numerous hits.

My original point with "Kokomo" had nothing to do with any type of exposure so much as the public's perception. Overexposure isn't always good career wise or reputation wise.

Don't know if there are any Brian Wilson songs that people just love to hate!

Kokomo is in that rare camp amongst songs like Who Let The Dogs Out, Tubthumping, Closing Time, and countless other one hit wonder 90's bands who's songs were fortunate enough to be get into rotation on MTV or the radio, and just drilled themselves deep into people's hearts and minds with such tenacity that the only logical human reaction after a point was to revolt ....... but then someone would say "But when it comes down to it, it REALLY is a good little tune" ....... Well, other than Who Let The Dogs Out.

[Moon Dawg]

  One of the things I like about "Kokomo" is that it was a slow-starting, from left field sort of hit. The single was released July 18 1988 but did not enter the Billboard Hot 100 until Sept 3 1988. It was definitely bubbling under for a bit until it broke out.

  I recall seeing The Beach Boys at the Ohio State Fair sometime that August. My buddy and I both thought Bruce's intro ("It was just added to WNCI's playlist last week" etc) seemed a bit desperate. We never figured we were hearing a future Number One hit, even though we both agreed it was a decent effort.

 Sometime around October I started hearing the tune and seeing the video everywhere. It was a pleasant surprise, although I shared Brian's likely chagrin as his first solo LP stalled at #54 around the same time!

[Pinder's Gone To Kokomo And Back Again]

 One of the things I like about "Kokomo" is that it was a slow-starting, from left field sort of hit. The single was released July 18 1988 but did not enter the Billboard Hot 100 until Sept 3 1988. It was definitely bubbling under for a bit until it broke out.

  I recall seeing The Beach Boys at the Ohio State Fair sometime that August. My buddy and I both thought Bruce's intro ("It was just added to WNCI's playlist last week" etc) seemed a bit desperate. We never figured we were hearing a future Number One hit, even though we both agreed it was a decent effort.

 Sometime around October I started hearing the tune and seeing the video everywhere. It was a pleasant surprise, although I shared Brian's likely chagrin as his first solo LP stalled at #54 around the same time!

My personal theory with Kokomo is that, for the first bit, it's totally annoying and you really just keep listening in order to have fun hating it. Mike's almost daring you to keep hating it, then the drums kick in and the catchy factor ups a notch but the hate remains. But then Carl comes blasting in and all is forgiven ....... Then when the next verse and pre-chorus come along you kinda start digging them because you know Carl will be coming back ..... Then the sax comes in and it's like HOW CHEESEBALL ARE THEY WILLING TO MAKE THIS? ..... BUT you still know Carl's likely coming along again, so you bear with it ..... This is the case basically forevermore when you hear it.... Classic tension/release thing. Makes for a hit.

Worth noting: though the drums are apparently all programmed drums, it was Jim Keltner's work, so the bed track has tremendous feel.

[the captain]

Kokomo is in that rare camp amongst songs like Who Let The Dogs Out, Tubthumping, Closing Time, and countless other one hit wonder 90's bands who's songs were fortunate enough to be get into rotation on MTV or the radio, and just drilled themselves deep into people's hearts and minds with such tenacity that the only logical human reaction after a point was to revolt ....... but then someone would say "But when it comes down to it, it REALLY is a good little tune" ....... Well, other than Who Let The Dogs Out.

Semisonic had at least one other hit beyond "Closing Time," with "Singing In My Sleep" reaching #11 in the U.S. in 1998. You'll likely recall the refrain (if you were listening to music in those days--I don't know how old you are).

https://www.youtube.com/watch?v=zhS3YP04Fjk&feature=kp

And Dan Wilson, their primary songwriter, of course has quite a few more hits: Adele, Dixie Chicks, etc. So he's hardly a one-hit wonder.

(Sorry, I'm sensitive about my hometown guys. Oh, except that I mocked Prince a few posts ago...)

[Pinder's Gone To Kokomo And Back Again]

Kokomo is in that rare camp amongst songs like Who Let The Dogs Out, Tubthumping, Closing Time, and countless other one hit wonder 90's bands who's songs were fortunate enough to be get into rotation on MTV or the radio, and just drilled themselves deep into people's hearts and minds with such tenacity that the only logical human reaction after a point was to revolt ....... but then someone would say "But when it comes down to it, it REALLY is a good little tune" ....... Well, other than Who Let The Dogs Out.

Semisonic had at least one other hit beyond "Closing Time," with "Singing In My Sleep" reaching #11 in the U.S. in 1998. You'll likely recall the refrain (if you were listening to music in those days--I don't know how old you are).

https://www.youtube.com/watch?v=zhS3YP04Fjk&feature=kp

And Dan Wilson, their primary songwriter, of course has quite a few more hits: Adele, Dixie Chicks, etc. So he's hardly a one-hit wonder.

(Sorry, I'm sensitive about my hometown guys. Oh, except that I mocked Prince a few posts ago...)

Hey! No apology necessary THE BEACH BOYS are my hometown band, so I fully understand the whole sensitive thing all too well.

Have you read the book Semisonic's drummer wrote: "So You Wanna Be A Rock N Roll Star"? ..... If not, do so ASAP!!!!

[Shady]

I've listened to that clip maybe 40 times

Brian sounds great on the "take it slow" part. Very addictive

[♩♬🐸 Billy C ♯♫♩🐇]

I know, difference of opinion and all, but...

Zooey really can't sing the way real singers are expected to. Her voice is weak. She can carry a tune, but she can't belt and she has no range at all. She can sing maybe one octave if she's lucky.  It's all the same alto croon. Both she and John get by on their big blue eyes. If they weren't physically attractive, they wouldn't have careers.

'Real ' singers don't all have to have 8 octave ranges and be loud enough to sink a boat. Just because she is not a belter doesn't mean she can't sing. By your criteria, that means Frank Sinatra was a weak singer, too, if we go by belting=singing. Not every 'real' singer relies on power...many rely on technique as well. Not trying to call you out that much on that, as again it is your own opinion, but one of my biggest pet peeves is oversinging, where someone hits about 50 runs in a row and is all over the place. I prefer my singers to be in tune first :/