No Pier Pressure (board member reviews)

[buddhahat]

I have very mixed feelings about this album, as I do about Joe Thomas and what I imagine he is bringing to the table. Unlike most (apparently) ss members I don't think TLOS is the be all and end all of BW's solo output. I found I loved about 30-40% of that album. Whenever I listen to it I'm niggled by the sense that it is trying too hard to be an artistic statement worthy of BW's legacy. What I like about the last two Thomas collaborations is that the slightly old-fashioned production style feels somehow much more sincere and un self-conscious. IMO it seems more in line with how I'd expect a modern BW album to sound. Much that I love Love You I can't see Brian revisiting that stripped down Wendy Carlos aesthetic any time soon so I never understand the 'if Brian were left alone we'd get Love you mk II' line of reasoning. This and the last album, for better or worse, seem fitting in sound to modern day Brian.

What I like about Brian's joe thomas work is that the production is detailed and well-crafted. It feels like a lot of care has gone into it, with all the edges kind of smoothed off and glossy. I feel this production really comes into its own on songs that could belong to the Life Suite I.e the more delicate ones - those that have little tag parts on the end, or have subtle shifts in melody akin to the side two songs on TWGMTR.

The poppier (as in radio 2)  more straightforward songs from this album are not my cup of tea unfortunately. Overall I'd say I like about 50% of the songs which would place it somewhere above TLOS but below TWGMTR for me.

FWIW here are my track by track reviews:

This Beautiful Day - Wonderful. Everything I love about BW's best songwriting is in this short intro - it's moving and intricate. It feels very similar to the best songs from TWGMTR, maybe because it has the Summer's Gone quotes, I'm not sure. Has to be part of the Life Suite, right? 5/5

Runaway Dancer - Sorry, not my bag. As much as I'm all for Brian experimenting this just feels like the sort of song I'd stumble into, hungover, in some foreign nightclub. I do like the chords where the whole thing slows down though. 1.5/5

Whatever Happened - back on form again. Beautiful melodies and bg vocals. I love those little staccato drum beats that have carried over from TWGMTR. 5/5

On the island -  I can't get past Zooey Descanel's voice. It's just too cute for my tastes. Fine for a bit of Yuletide warmth in The Elf, but it cloys here imo as the subject matter is already at full kitsch capacity. The melody is nice enough. I just wish Brian, or one of the other beach boys, was singing this. 2/5

Half Moon Bay - another stunner! Love everything about it.  Another Life Suite song? 5/5

Our Special Love - this is another song that doesn't quite connect for me, and I'm not a fan of Peter Hollens' voice. 1

The Right Time - this sounds like the sort of MOR that I wouldn't tolerate from any other artist. However, due in no small part to Al's stellar vocal performance, this has inched into guilty pleasure territory. I also love the little coda at the end that is very reminiscent of the Strange World tag. This fits nicely in my Life Suite playlist. 3.5/5

Guess you had to be there - I see a lot of positive fan reactions to this song, but it isn't connecting for me. Sounds very MOR to my ears. 1.5

Tell Me Why - This is quite pretty in places, but over all it doesn't quite hit it for me. Really reminds me of something but can't quite put my finger on it. 3.5

Sail Away - f*ck I love those first 4 synth notes. It sounds like Boards Of Canada! But I can't quite get into the rest of the song. Plus put me firmly in the camp that doesn't dig the overt sloop call out. 2

One Kind Of Love - another highlight. Anyone else hear McCartney though? I'm getting serious 'Live or Let Die' vibes from some of the chord changes (which is no bad thing). 5/5

Saturday night - sorry, but not a fan of Nate Reuss's voice and the song isn't doing anything for me either. 1

The Last Song - I'm really torn by this one. I agree with Micha that the 'la la las' are problematic. It is pretty in places though.  4

I hope my review doesn't seem overly negative. I find there's a huge gulf between the songs I like and those I dislike. I love about half of this album, and combined with the best from TWGMTR, it is an absolute gift to this BW fan.

[RiC]

I hope my review doesn't seem overly negative. I find there's a huge gulf between the songs I like and those I dislike. I love about half of this album, and combined with the best from TWGMTR, it is an absolute gift to this BW fan.

I think that was a reasonable and good review. I understand what you're saying about the songs, even though I personally disagree with some statements. I still get the kind of feeling from your post, that you're propably going to dig it more eventually. There's a lot going on on these songs on many levels. And I know that I'm certainly going to appreciate it even more when some time goes by. Even though the production of the album is a bit too steril for my liking, the songs themselves are just so damn good that it doesn't really matter to me.

(Half Moon Bay is a stellar! Could be named Let's Go Away For A While part 2, and I mean it in the good way.)

[buddhahat]

I hope my review doesn't seem overly negative. I find there's a huge gulf between the songs I like and those I dislike. I love about half of this album, and combined with the best from TWGMTR, it is an absolute gift to this BW fan.

I think that was a reasonable and good review. I understand what you're saying about the songs, even though I personally disagree with some statements. I still get the kind of feeling from your post, that you're propably going to dig it more eventually. There's a lot going on on these songs on many levels. And I know that I'm certainly going to appreciate it even more when some time goes by. Even though the production of the album is a bit too steril for my liking, the songs themselves are just so damn good that it doesn't really matter to me.

(Half Moon Bay is a stellar! Could be named Let's Go Away For A While part 2, and I mean it in the good way.)

Thank you Ric. I agree about Half Moon Bay. Seems to come from the same well spring as those 60s exotic instrumentals. Lovely to hear that that Brian is still in there!

[job]

I've been listening all evening and, as I thought, this is the best Beach Boys (nevermind easily the best BW album of all time) record since Love You.  The only track I would even rate as slightly less than stellar is "One Kind of Love".  This is a masterpiece and finally the renaissance we've (or I have) waited for from Brian.  Other than maybe one third of Brian Wilson and possibly half of Imagination, everything else he has done solo is robotic, forced crap compared to this brilliance.

[the captain]

What's a guy to say with all these competing pressures and prerequisites? Dazzle them with your encyclopedic knowledge. Make 'em laugh with your cynical wit. Make sure they hear you, but for God's sake, don't speak loudly enough to be heard above the crowd. Cover your bases in case the right people end up coming down pro, but be sure to err con. Yes, when in doubt, point out every instance where the subject falls short of perfection … ideally with sarcastic precision.

Maybe instead of expecting everything to be Pet Sounds and taking away points for every flaw, a guy could start from nothing and just listen. Find something to like. Think about why someone else might like it, even if he doesn't at first listen. Maybe err on the side of generosity, even if that means naiveté.

This is an ongoing project for me, asshole that I am by nature. But from my past few years of experience, I can say unequivocally that it's more fun liking things than disliking them. Sure, I miss the snark: I revisit it more often than I should. But really. Liking things is fun.

Coincidentally Kacey Musgraves was one of my successes in this project a few years back, and son-of-a-gun, here she is working with my (apparently, if the professional reviews are to be believed) again-uncool, embarrassing and awkward musical hero. Their song has four chords, which is probably six or eight fewer than a genius ought to be tossing out--and in a pedestrian progression besides. The lyrics are nostalgic, which is the most tedious of feelings for anyone who likes to think his life is less than half over, a sad reflection by someone implicitly acknowledging it's all downhill from here. Our high school football team sure was great, wasn't it? We must have scored 100 points that homecoming. And we walked 5 miles to and from school, uphill both ways.

It's easy to do that. It's easy to be an asshole. I can do it at the drop of a hat, and twice more before you pick it up. Whoo-dee-goshdarn-doo.

What's not so easy is to describe the honest smile you're not comfortable that showed itself at the crack in Wilson's voice at "suddenly mi-i-ine." Or the literal LOL at the surprising chord on "unconditional" and "been wishing' for" in "One Kind of Love."

Ian Gittens, in VirginMedia.com, called No Pier Pressure "one of pop music's true creative geniuses working off memory and autopilot." With all due respect to Ian Gittens, that phrase strikes me as a reviewer working on autopilot. The aforementioned "money chord," to use a term Scott Bennett coined, is not the work of someone on autopilot. Neither are the astoundingly dense, nuanced tracks--both instrumental and vocal--throughout this album.

For someone in that frame of mind, or even for someone whose tastes honestly demand it, there is plenty to pick apart. If it's a Platonic pop perfection every album is measured against, good fucking luck for, well, everyone. Everyone, even the people who once in a while saw stars align to shine their shadows onto that cave wall the rest of us watch.

That's one too many woodblocks. The dreaded vocal effect that dare not speak its name was probably employed. Too much pandering to the retro sound, except when it's pandering to a non-retro sound. I suspect foul play. Who's the puppet master? And wouldn't this actual, tangible thing be better if it were some imaginary thing-made-perfect?

Sure. But those flawed things, these individual, unimportant parts of a flawed whole, all support one another to make what turns out to be beautiful music. It all fits just fine if you don't break it first. It's amazing, actually. A couple septuagenarians with voices in various stages of disrepair, a handful of younger artists spanning a spectrum of hipster cred and pop appeal, any of whom may be forgotten any day now. An instrumental backdrop that is decidedly easy listening, with a few exceptions.

It's true. Again, there's a lot to jump on--or, if the idea of jumping suggests a level of dirtying of feet, certainly to look down on--without trying hard. Those things are true.

What's the harm, though? What's the result when voices performing interweaving parts that--apologies again, Mr. Gittens--stray far from the realm of pop autopilot may also employ the Dreaded Effect, for example? What happens is nothing. Those parts remain the closest thing to divinity I can imagine. It's not worth rejecting god to prove a production point.

The miserable can sit in the corner telling anyone who will listen that the music has been ruined because of the four-chord simple track, the synth-dance track, the dated adult contemporary production, the woodblock, or the rap that isn't even there anyway. They don't make 'em like they did back in my day, goddamnit grumble grumble.

The rest of us will find joy, peace, and even community in this ruined music.

If this is autopilot, we should all be so lucky as to hand over the controls.

[luckyoldsmile]

What's a guy to say with all these competing pressures and prerequisites? Dazzle them with your encyclopedic knowledge. Make 'em laugh with your cynical wit. Make sure they hear you, but for God's sake, don't speak loudly enough to be heard above the crowd. Cover your bases in case the right people end up coming down pro, but be sure to err con. Yes, when in doubt, point out every instance where the subject falls short of perfection … ideally with sarcastic precision.

Maybe instead of expecting everything to be Pet Sounds and taking away points for every flaw, a guy could start from nothing and just listen. Find something to like. Think about why someone else might like it, even if he doesn't at first listen. Maybe err on the side of generosity, even if that means naiveté.

This is an ongoing project for me, asshole that I am by nature. But from my past few years of experience, I can say unequivocally that it's more fun liking things than disliking them. Sure, I miss the snark: I revisit it more often than I should. But really. Liking things is fun.

Coincidentally Kacey Musgraves was one of my successes in this project a few years back, and son-of-a-gun, here she is working with my (apparently, if the professional reviews are to be believed) again-uncool, embarrassing and awkward musical hero. Their song has four chords, which is probably six or eight fewer than a genius ought to be tossing out--and in a pedestrian progression besides. The lyrics are nostalgic, which is the most tedious of feelings for anyone who likes to think his life is less than half over, a sad reflection by someone implicitly acknowledging it's all downhill from here. Our high school football team sure was great, wasn't it? We must have scored 100 points that homecoming. And we walked 5 miles to and from school, uphill both ways.

It's easy to do that. It's easy to be an asshole. I can do it at the drop of a hat, and twice more before you pick it up. Whoo-dee-goshdarn-doo.

What's not so easy is to describe the honest smile you're not comfortable that showed itself at the crack in Wilson's voice at "suddenly mi-i-ine." Or the literal LOL at the surprising chord on "unconditional" and "been wishing' for" in "One Kind of Love."

Ian Gittens, in VirginMedia.com, called No Pier Pressure "one of pop music's true creative geniuses working off memory and autopilot." With all due respect to Ian Gittens, that phrase strikes me as a reviewer working on autopilot. The aforementioned "money chord," to use a term Scott Bennett coined, is not the work of someone on autopilot. Neither are the astoundingly dense, nuanced tracks--both instrumental and vocal--throughout this album.

For someone in that frame of mind, or even for someone whose tastes honestly demand it, there is plenty to pick apart. If it's a Platonic pop perfection every album is measured against, good fucking luck for, well, everyone. Everyone, even the people who once in a while saw stars align to shine their shadows onto that cave wall the rest of us watch.

That's one too many woodblocks. The dreaded vocal effect that dare not speak its name was probably employed. Too much pandering to the retro sound, except when it's pandering to a non-retro sound. I suspect foul play. Who's the puppet master? And wouldn't this actual, tangible thing be better if it were some imaginary thing-made-perfect?

Sure. But those flawed things, these individual, unimportant parts of a flawed whole, all support one another to make what turns out to be beautiful music. It all fits just fine if you don't break it first. It's amazing, actually. A couple septuagenarians with voices in various stages of disrepair, a handful of younger artists spanning a spectrum of hipster cred and pop appeal, any of whom may be forgotten any day now. An instrumental backdrop that is decidedly easy listening, with a few exceptions.

It's true. Again, there's a lot to jump on--or, if the idea of jumping suggests a level of dirtying of feet, certainly to look down on--without trying hard. Those things are true.

What's the harm, though? What's the result when voices performing interweaving parts that--apologies again, Mr. Gittens--stray far from the realm of pop autopilot may also employ the Dreaded Effect, for example? What happens is nothing. Those parts remain the closest thing to divinity I can imagine. It's not worth rejecting god to prove a production point.

The miserable can sit in the corner telling anyone who will listen that the music has been ruined because of the four-chord simple track, the synth-dance track, the dated adult contemporary production, the woodblock, or the rap that isn't even there anyway. They don't make 'em like they did back in my day, goddamnit grumble grumble.

The rest of us will find joy, peace, and even community in this ruined music.

If this is autopilot, we should all be so lucky as to hand over the controls.

A joy to read, as always, captain.

Chris Shields, luckyoldsmile

[ontor pertawst]

A perfect response to Mr. Gittens, thanks for that lovely text outburst.

[Wirestone]

Oh captain, my captain.

Edit: I have to say, I'm shocked by the ageist nonsense of the recent batch of reviews. People get older. It happens!

[luckyoldsmile]

Oh captain, my captain.

Edit: I have to say, I'm shocked by the ageist nonsense of the recent batch of reviews. People get older. It happens!

Agreed. Nothing wrong with older guys sounding older. It's the music. Listen to the music. I was just pointed to The Sonics tonight. They've got a recent release out. Dudes are in their 70s. And they are just totally ripping, it's amazing. Great stuff.

[ontor pertawst]

What?!?!?!? The Sonics? A new release? I gotta hear this!

"Pssssychoooo!"

[luckyoldsmile]

It's called "This is the Sonics." Came out a couple days ago, and is available on Spotify

[startBBtoday]

Still trying to wrap my head around whether I like this album or not. I have mixed feelings and only have the 13-track version.

I do know that I really like "Whatever Happened" and "Tell Me Why" and that they sound like if "Pet Sounds" met "Beach Boys '85".

1. "This Beautiful Day" - Great way to start off the album. Production is pleasant enough if not slightly cheesy at times.
2. "Runaway Dancer" - I believe it was a big mistake to make this Track 2. I think this song is one of the big reasons why some critics are panning the album, and it probably would have been easier to digest if it was in the middle of the album rather than in your face at No. 2. I originally liked this track, but it's not aging well for me.
3. "Whatever Happened" - Love this song. Verses are "Pet Sounds"-esque and choruses are delightfully 80s with some nods to "Pet Sounds"-era material at the end.
4. "On The Island" - Not a huge fan of bossa nova, but this song is pleasant enough. I wouldn't skip it, but I also wouldn't put it on a playlist or anything.
5. "Half Moon Bay" - "Pet Sounds"-esque. It's a nice break.
6. "Our Special Love" - I don't know, guys. If this song was on a Mike Love solo record, we'd probably be laughing for days. First 52 seconds are great. The chorus sounds like a cheesy 90s boy band. I'm also not a huge fan of acapella percussion.
7. "The Right Time" - I'd like this song a lot more without the guitar tone and production. I do enjoy it, though. It's like the sister song to "Shelter". I liked "Shelter" more, though. Al sounds great.
8. "Guess You Had To Be There" - It's fine. I enjoy the verses more than the chorus.
9. "Tell Me Why" - Like "Whatever Happened", it has 60s verses and 80s and choruses, and I really enjoy it. I like the production on this track.
10. "Sail Away" - Something about the opening synth and flutes really bugs me about this song. It's just very dated-sounding. I enjoy it a lot more after those opening notes, though. Blondie, Al and Brian all sound great. My favorite section is Brian's bridge after the second chorus. Reminds me of Tracey Ullman's "They Don't Know".
11. "One Kind Of Love" - A really nice song. It reminds me a bit of "Love and Mercy". I think this song could have been the album's closer. Like the production.
12. Saturday Night" - I like the use of Nate Ruess, I'm just not sure about the song. It sounds like a song that would fit in an animated movie. Not a big fan of the production on this song, especially on the guitar solo.
13. "The Last Song" - It's not what I was expecting, but I enjoy it. The arrangement is definitely a lot more like Dennis than Brian, but it works as an album closer.

I'm excited to hear the rest of the tracks from the extended version. I think Whatever Happened, Tell Me Why, One Kind Of Love and The Last Song are the standouts. And that's coming from someone who never minded the idea of using guest vocalists.

[Summertime Blooz]

This is such a weird album for me. All of my favorite songs are on the first half of this album. Beautiful Day is well-named, although that final chord seems desperately 'Prayer'ish. Runaway Dancer is just  a smooth catchy song even if it sounds nothing like what I expect from BW. My favorite track is 'Whatever Happened' in all it's 60s Beach Boys glory. On the Island is delightful, with BW doing nice backup vocals. Half Moon Bay keeps the Summer vibe going very nicely. A Special Love is a very nice vocal showcase with what seems like the album's most intricate vocal arrangement. My second favorite song The Right Time is another really good one although it's underwritten. Tracks 1-7 are all beautiful and/or melodically inventive enough to keep me completely engaged.  Too bad that starting with track 8, Guess You Had To Be There (I sooo wish that BW had sung this one himself, but it's spoiled for me by Musgrave's presence), things start falling apart for me. Tell Me Why (this one I find to be the grower of the album) is another pretty good one even if it's a bit longer than it needs to be. I just don't appreciate Sail Away's callbacks and I really hate the Chapin vocal. One Kind of Love is OK, but it seems like BW needed to work on this song a bit more to raise it to the standard I expect from him. Saturday Night is harmless but overly simple, and another disappointment. The sappy The Last Song, the biggest misstep of this album, closes things out on a sour note unfortunately. I think at least two of the bonus tracks I'm Feeling Sad and Somewhere Quiet will elevate the album overall when I get to hear them. Al Jardine deserves special recognition for making this album so much more than it might have been without his ageless pipes. So, although not perfect by any means I would agree that this is the best collection of original material of BW's solo career (not much a fan of TLOS) and would rate it maybe a notch below TWGMTR (nothing on that album as dire as The Last Song). On No Pier Pressure BW  (with Al's help) is continuing to produce some of the most impressive music of his post-70s career and I'm thankful for it.

[FatherOfTheMan Sr101]

Glad to see some open minds. Just gonna cut to the chase though- this album shouldn't get ANY HATE.

NOTHING here is badly written, even the lyrics are top-notch for Brian. Half the album features vocals handpicked to sound perfect for the track.

You can call it trash, you can call it unlistenable, that's great. It's not an opinion to say this is well written.

Joe Thomas can be blamed for some stuff, but Brian goshdarn Wilson delivered something even his GREATEST fans don't deserve. No one can understand how hard this must be for him. God bless that man.

[Ron]

Am I the only one shocked that "I'm Feeling Sad" basically didn't make the album cut?  It's only a bonus track, but is arguably better than 80% of the rest....

[Summertime Blooz]

Am I the only one shocked that "I'm Feeling Sad" basically didn't make the album cut?  It's only a bonus track, but is arguably better than 80% of the rest....

Well, they need something to get people to pony up extra $$$$$ for the deluxe version. I agree 'Feeling Sad' is better than %80 of the rest, but does it really matter? We'll have it all in a few days anyway.

[Andrew G. Doe]

What's a guy to say with all these competing pressures and prerequisites? Dazzle them with your encyclopedic knowledge. Make 'em laugh with your cynical wit. Make sure they hear you, but for God's sake, don't speak loudly enough to be heard above the crowd. Cover your bases in case the right people end up coming down pro, but be sure to err con. Yes, when in doubt, point out every instance where the subject falls short of perfection … ideally with sarcastic precision.

Maybe instead of expecting everything to be Pet Sounds and taking away points for every flaw, a guy could start from nothing and just listen. Find something to like. Think about why someone else might like it, even if he doesn't at first listen. Maybe err on the side of generosity, even if that means naiveté.

This is an ongoing project for me, asshole that I am by nature. But from my past few years of experience, I can say unequivocally that it's more fun liking things than disliking them. Sure, I miss the snark: I revisit it more often than I should. But really. Liking things is fun.

Coincidentally Kacey Musgraves was one of my successes in this project a few years back, and son-of-a-gun, here she is working with my (apparently, if the professional reviews are to be believed) again-uncool, embarrassing and awkward musical hero. Their song has four chords, which is probably six or eight fewer than a genius ought to be tossing out--and in a pedestrian progression besides. The lyrics are nostalgic, which is the most tedious of feelings for anyone who likes to think his life is less than half over, a sad reflection by someone implicitly acknowledging it's all downhill from here. Our high school football team sure was great, wasn't it? We must have scored 100 points that homecoming. And we walked 5 miles to and from school, uphill both ways.

It's easy to do that. It's easy to be an asshole. I can do it at the drop of a hat, and twice more before you pick it up. Whoo-dee-goshdarn-doo.

What's not so easy is to describe the honest smile you're not comfortable that showed itself at the crack in Wilson's voice at "suddenly mi-i-ine." Or the literal LOL at the surprising chord on "unconditional" and "been wishing' for" in "One Kind of Love."

Ian Gittens, in VirginMedia.com, called No Pier Pressure "one of pop music's true creative geniuses working off memory and autopilot." With all due respect to Ian Gittens, that phrase strikes me as a reviewer working on autopilot. The aforementioned "money chord," to use a term Scott Bennett coined, is not the work of someone on autopilot. Neither are the astoundingly dense, nuanced tracks--both instrumental and vocal--throughout this album.

For someone in that frame of mind, or even for someone whose tastes honestly demand it, there is plenty to pick apart. If it's a Platonic pop perfection every album is measured against, good fucking luck for, well, everyone. Everyone, even the people who once in a while saw stars align to shine their shadows onto that cave wall the rest of us watch.

That's one too many woodblocks. The dreaded vocal effect that dare not speak its name was probably employed. Too much pandering to the retro sound, except when it's pandering to a non-retro sound. I suspect foul play. Who's the puppet master? And wouldn't this actual, tangible thing be better if it were some imaginary thing-made-perfect?

Sure. But those flawed things, these individual, unimportant parts of a flawed whole, all support one another to make what turns out to be beautiful music. It all fits just fine if you don't break it first. It's amazing, actually. A couple septuagenarians with voices in various stages of disrepair, a handful of younger artists spanning a spectrum of hipster cred and pop appeal, any of whom may be forgotten any day now. An instrumental backdrop that is decidedly easy listening, with a few exceptions.

It's true. Again, there's a lot to jump on--or, if the idea of jumping suggests a level of dirtying of feet, certainly to look down on--without trying hard. Those things are true.

What's the harm, though? What's the result when voices performing interweaving parts that--apologies again, Mr. Gittens--stray far from the realm of pop autopilot may also employ the Dreaded Effect, for example? What happens is nothing. Those parts remain the closest thing to divinity I can imagine. It's not worth rejecting god to prove a production point.

The miserable can sit in the corner telling anyone who will listen that the music has been ruined because of the four-chord simple track, the synth-dance track, the dated adult contemporary production, the woodblock, or the rap that isn't even there anyway. They don't make 'em like they did back in my day, goddamnit grumble grumble.

The rest of us will find joy, peace, and even community in this ruined music.

If this is autopilot, we should all be so lucky as to hand over the controls.

Eh, my review process is much simpler, as befits a very simple man.

I listen to the music, not the reviews of others.

I decide if I like it. Me, not anyone else who says I "have to like track X and if you don't you're a dribbling idiot". Possibly I am, but please, don't tell me.

I write about it, as honestly as I can. If I like it, I'll say so. If not, I'll say so. With examples and reasoning slightly more advanced than "this song sucks/I can't believe how amazing this track is" - why it moves me, up or down.

Still wrapping my head around it but initial thoughts are, this is one of the best solo excursions of Brian's career, is way better than I'd expected or dared to hope (given its protracted and sinuous genesis) and that I've a notion this could perform very respectably on the charts. That makes me very happy indeed, and these days that's no mean feat.  

Is every track a scintillating masterpiece, against which every other piece of music must now be measured and found wanting ? IMHO, no. Of course not. God himself couldn't make an album that good, and I gather he doesn't need the assistance of Mr. Otto Chune. Going overboard like that is, to me at any rate, as offensive as the curt one line dismissals. Brian's not One Direction (he's got better hair, for one thing...) and incontinent adulation shouldn't be on the menu any more than the aforementioned COLD. Just my mindset. YMMV. And who started this acronym thing anyway ?

I'm away for the Easter weekend and will further ponder this album. Right now, this very instant, overall I like it, I like it very much, and I seriously doubt that opinion will do a 180. Some tracks are stunning, most are very good and a few are... less good. This album has legs, at least chez moi. Big surprise, for me ? "Runaway Dancer". Farty synths, a hook like a hooky thing and dude has a righteous beard: what's not to love ?  

[the professor]

"sinuous genesis"

St Andrew, I love your writing. By my bedside lies your catalogue, and I read bits of it every night, in near universal agreement. On this Holy Week, may I say that one blessed thing I am grateful for is a scholar like you to read and enjoy. 

The Professor

[ontor pertawst]

AGD digs Runaway Dancer! Cats and dogs living together! END TIMES! Very hooky End Times.

It really is a terrific album. It'll be interesting to hear what everyone thinks as it sinks in and the tour begins... what a surprisingly tasty treat they served up! Imagine what a mess this could've been if it really was a horrible Stars and Stripesish duets album like some thought...

Am I the only one shocked that "I'm Feeling Sad" basically didn't make the album cut?  It's only a bonus track, but is arguably better than 80% of the rest....

Definitely. It really fits.

I think "The Last Song" is going to sound god-damn majestic by the time the tour heads to the UK.

[GuyO]

Wondering about the differences in tracks on International versions. The Dutch version has 18 tracks: In the Back of My Mind and Love & Mercy are listed as "bonus tracks". The main album lists 16 tracks. I'm Feeling Sad isn't on it though.

[smilethebeachboysloveyou]

Wondering about the differences in tracks on International versions. The Dutch version has 18 tracks: In the Back of My Mind and Love & Mercy are listed as "bonus tracks". The main album lists 16 tracks. I'm Feeling Sad isn't on it though.

What do they have instead of "I'm Feeling Sad?"

[Rentatris]

Ok, honest from the off - I'm not really a big fan of this. I've not been listening to the tracks as they've dripped out (except Right Time) This is all based on 2 listens I've only got the 13 track version but here goes:

1. This Beautiful Day - Awesome, great start. Makes you rub your hands in anticipation about what is coming up  - 5/5

2. Runaway Dancer - No, no, no, no, no. This is just awful, to my ears. I hate the beat and production so much I can't even be bothered to take in the lyrics 0.5

3. Whatever Happened - A nice track, a little too sweet but this was the tone of the album I was expecting. 3

4. On the Island - I love Zooey, she's on my list at number one of ladies I'd be allowed to stray with. This track is...meh, y'know ok, can't see me listening to it much 3

5. Half Moon Bay - Now this I like, it's a delight to be honest. Great arrangements and production. 5

6. Our Special Love - Another enjoyable track, I think it'll grow on me, I still struggle with the 'ol tunafish big time, but I know I just have to accept this blah blah blah. 4

7. The Right Time - This track has been a grower for me since release (which gives hope to the other tracks) - I like it, fits well in album 4

8. Guess you had to be there - This is fine, again doesn't really make any emotional connection with me - 3

9. Tell Me Why - This is a nice track, again, I think it'll grow on me, I really like the brass arrangements underneath the melody 4

10. Sail Away - Ok, I hate this, I don't know why really. Maybe I just need to hear it more 2

11. One Kind of Love - This song has a nice character to it, kinda classic Wilson, don't really like the lyrics though 4

12. Saturday Night - Not as good as hyped, the country feel doesn't work for me. Meh. 3

13. The Last Song - This is very touching and beautiful, bookends the album nicely. La La's grate though 4

 Ok, maybe I don't dislike the album as much as I thought. It's a different beast to a lot of Brians other solo work feels very mainstream and poppy which is not really the side of BW that I like the most. I'll listen to it more and hopefully become more satisfied.

[Mendota Heights]

Revving up for my review.

1. This Beautiful Day
A pleasant song to start off the album.

Frog score: 4/5

2. Runaway Dancer
Definitely has an 80's feel to it (the sax). Strong verses and the sax are the highlights of this song. Sebu is a great vocalist and collaborator, really dig him and his big big beard. I have not seen him in person, but they say the camera adds 5 centimeters.

Frog score: 4/5

3. Whatever Happened
A very Beach Boys-y song. Al adds an extra dimension to the song, sounds like it could have been released around 1965.

Frog score: 4/5

4. On The Island
This one has been a favorite since day 1 for me. Zooey has always mesmerized me and her vocals really bring solipsism to the album. OTI has a nice vibe, reminds me a little of Danish/Dutch 50's duo Nina and Fredrik. Will play this song a lot this summer out in the sun with a drink in my hand. Drink in my hand.

Frog score: 5/5
Solipsism score: 6/5

5. Half Moon Bay
A solid song to drink to. Can a tune get a better review than that? Would like to hear a version without vocals. Correct me if I am not wrong but parts of it has a Friends type of feel to it.

Frog score: 3.7/5

6. Our Special Love
Strong intro. This song has grown on me. Would like to hear a version with instruments, the melody is beautiful. The "Nothing, nothing" part is reminiscent of the "Get up and hit up" line in Spring Vacation. OSL would sound great as an uptempo song on the rock and roll album.

Frog score: 4/5

7. The Right Time
Melodically strong, but somewhat repetitive. The words "the right time" are repeated too many times. Highlight of the song is Brian's line "But not this time".

Frog score: 2.5/5

8. Guess You Had To Be There
A song about people passing out on the C50 floor. Kacey Musgraves is such a breath of fresh air - her vocals are appealing, her lyrics tells a story and she's one of the most good-looking pop stars out there (after Al and Blondie). Very catchy melody, starts out as a good thing and does not turn into a headache.

Frog score: 4.5/5

9. Don't Worry
The weakest NPP track, the melody is decent and Brian's vocals are great though. Gave this Songsmith-y song a few spins while riding my exercise bike, the line "Don't worry where you are going or how far, everyone has to find their own glowing star" made me bike 18.4 kilometers in 35 minutes. Followed up with a 37 minute yoga/stretching program for my hamstrings (played no music during the yoga/stretching program though).

Frog score: 2/5

10. Somewhere Quiet
Really good lyrics by Scott Bennett. A strong Beach Boys track through and through. This is how Summer Means New Love should have been.

Frog score: 4/5

11. I'm Feeling Sad
I don't feel sad when listening to this song about Brian doing ordinary everyday things.

Frog score: 4/5

13. Sail Away
This one has been a favorite since day 1 for me. I have probably listened to this song 200+ times and it is constantly stuck in my head. It does not get more Beach Boys than this. Stellar efforts by Blondie and Al. Love how they and Brian trade lines. Strong melody, cool flute, cool everything. Love it. The live version rocks.

Frog score: 5/5

14. One Kind of Love
Infectious melody, can't get it out of my head. Written for the Love and Mercy biopic.

Frog score: 3.5/5

15. Saturday Night
So glad Brian is collaborating with Nate Ruess, an artist who has written many fine pop songs the past few years. This a really strong track, especially the verses and Nate's vocals.

Frog score: 4.7/5

16. The Last Song
A song that can bring tears to your eyes. Melancholy melody, touching lyrics and wonderful vocals by Brian. To me The Last Song is the entire Beach Boys history from 1961 - 2015 condensed into 4.36 minutes of magic. It is true indeed there is not enough time for the ones that you love. We can all agree on that.  

Frog score: 4.9/5

[RiC]

Couple more notions from me.

Sail Away is an ultimate Beach Boys song, in many ways it's what TWGMTR should've been. Plus it has some heavy fat drums, which are cool.

One Kind of Love is one of my favorites. It would fit perfectly into TLOS. Brian sounds fantastic! One of the best vocals from him like ever.

Don't Worry is actually also one of my favorites, it's catchy as hell and has that 80's feel all over it, which is a good thing. You hear this song once and you remember it the rest of your life, especially the chorus. Great up-beat tune.


But Joes Thomas' previous comments about this stuff sounding like Carl and The Passions and Wild Honey makes me wonder, what kind of acid trip has he been on?

[the captain]

incontinent adulation shouldn't be on the menu

Wholly agree. And that's certainly not what I'm advocating.

Also, that's a great phrase.