Many Negative Reviews of No Pier Pressure...

[Jonathan Blum]

Let's all play a drinking game, everytime the word 'agenda' is said you have to down a shot. We'll all be shitfaced before the day is out.

The general vibe I'm getting here is that 'all reviews are worthless unless they happen to be positive'.

YES!!  Serious!  There seems to be an agenda here in that regard. 

Speaking for myself -- the most basic "agenda" I see here is reflected in people painting mixed or lukewarm reviews as negative ones.  Viz, the thread title.

Followed by painting the people who dismiss that inventied negativity as them dismissing anything less than a glowing review as worthless.

When in fact people can react against the downspinning here without doing that -- accepting so-so reviews while not accepting the extra snark being posted here.


Now if you'll excuse me, I'm off to cool down the Hugo Awards brouhaha while settling Gamergate in my spare time...

Cheers,
Jon Blum

[Andrew G. Doe]

In these enlightened internet days, word of mouth is no longer a factor: there's this thing called Spotify. You're mildly curious about Arnold Gregory Davenport's new album, you go check it out. Simply, if people like what they hear, they'll buy it. If not, they won't.

We're different here: we buy stuff like this because we have to. It's what we do, and them we proceed to rip it to shreds. Hello, my name is Andrew and I'm a Wilsonaholic.

[Larry Franz]

Let's all play a drinking game, everytime the word 'agenda' is said you have to down a shot. We'll all be shitfaced before the day is out.

The general vibe I'm getting here is that 'all reviews are worthless unless they happen to be positive'.

YES!!  Serious!  There seems to be an agenda here in that regard. 

Speaking for myself -- the most basic "agenda" I see here is reflected in people painting mixed or lukewarm reviews as negative ones.  Viz, the thread title.

Followed by painting the people who dismiss that inventied negativity as them dismissing anything less than a glowing review as worthless.

When in fact people can react against the downspinning here without doing that -- accepting so-so reviews while not accepting the extra snark being posted here.


Now if you'll excuse me, I'm off to cool down the Hugo Awards brouhaha while settling Gamergate in my spare time...

Cheers,
Jon Blum

Metacritic has used their particular methodology to interpret 17 reviews of NPP and characterized 4 of them as positive, 12 as mixed and 1 as negative. On the face of it, that suggests the reviews of NPP have been on the positive side of "mixed".

However, looked at relative to the 353 (3 * 100 + 53) albums from the past 90 days that Metacritic lists, NPP is in the bottom 10, tied for 343rd place. On that basis, it's fair to say that NPP is one of the worst-reviewed albums of the new year.

Recognizing this state of affairs and commenting on it doesn't imply that one has an agenda, other than a desire to understand why an album that some of us think is brilliant has received relatively poor reviews by these 17 critics.

My conclusion is that a big part of this involves expectations. What "should" a Brian Wilson album sound like? NPP hasn't met the critics' expectations. Hence, the very mixed reviews so far.

[Yorick]

Here's another negative review from a huge Brian Wilson fan:

This Beautiful Day - 5, heavily processed Brian vocals, Brian sounding very old. Sweet, but not much of a song. The arrangement is alright, but the way it's been produced to sound is awful. That's the main problem I have with the whole album. Even Brian-esque arrangements are made to sound real bad by the production. The 90s AC sound, the digital reverbs and crispy slick percussion sounds. The trumpet sound in this song comes straight from an 80S porn movie.

Runaway Dancer - 1, an awful intro. The finger clicks, shakers and saxophone sound almost make the glaze come off your teeth. Can this become any worse? Oh yes, there comes a cheap sounding four to the floor kick drum beat with idem dito synths and heavily processed vocals. When I watched the band perform this live on TV a couple of days ago I felt so sorry for the guys in the band..I know the Wondermints guys are total music nerds with a great taste and they must have been embarrassed having to perform this type of trash. It pays their bills.
Hope the song is over soon. Ouch, it can even get worse: there's the chorus! Here Comes The Night (1979) is like God Only Knows compared to this crap. Completely unnecessarily guest star. It pains me how out of touch with modern music Brian fanboys are who rant about how this song could become a chart hit etc. This is the kind of sound that was hip in the 90s, welcome to 2015. Joe Thomas in 2015 is a worse collaborator for Brian than Mike Love could ever be IMO. And that is saying a lot!

Whatever Happened? - 8, really pretty song. Almost The Association-like chords. Good vocal arrangement. Awful production once again. There's no life in the vocals, because they are all pitched to perfect pitch. It takes away a lot of the emotion for me.

On The Island, 6, Zooey is the best guest star on the album for me. The only one that brings something true and honest to the table, with personality. It's a nice inoffensive song. You shouldn't produce a cheesy song like this so slick, it makes it worse than having some raw elements left in. Such a shame that even solo backing vocal lines from Brian like 'wasting our time' are tuned in such an extreme way.

Half Moon Bay - 5, so cheesy. I can't find any true emotion here with the way it's been produced.

Our Special Love - 3, It starts with harmonies that are very reminiscent of Forever. Sadly, every vocal is so processed it's painful to listen to. When the tasteless beats and the horrible guestsinger enter I just have to switch it off.

The Right Time - 7, when I first heard it I thought it was a bad cliche rewrite of Lay down Burden, but on the album it's a standout. It's a shame the way it's been produced and the vocals have been processed, cause it's great hearing Al and Brian sing together. Sweet!

Guess You Had To Be There - 4, Once again, I like the arrangement with the banjo and stuff, but detest the actual sound of the production. The singer sounds like one of the popsingers of the Disney children club. I don't hear a lot of Brian Wilson in here, except for the vocal harmonies.

Don't Worry - 4, It's not just the title that is reminiscent of Don't Worry Baby, the start of the chorus harmonies are a total rewrite. Complete with awful trumpet accents that sounds midi-like, an awful disco rhythm guitar. Ouch... This is so ****ing cheap. I can't believe there's Brian Wilson fans that dig this stuff, while simultaneously raving about Brian's production genius.

Somewhere Quiet - 7, Very nice and sweet, if totally unnecessary. Great to have Al here again, I love the power when he sings 'Ima-gineee'. One of the albums highlights.

I'm Feeling Sad - 7, the album is becoming better as we move on. This is a nice song!

Tell Me Why - 7, this is a great, classic, little song. Nice arrangement. Awful deep 80s midi sounding snare here and there. Whereas percussion sounds like the coca cola bottle like sound have been employed by Brian since Pet Sounds or earlier, Joe Thomas makes them sound cheap productionwise.

Sail Away - 6, Great to HAVE Blondie on the album here, but not equally impressing to HEAR him. It's a nice inoffensive song, with some Sloop John B. bit thrown in. I won't spin this except for when the whole album is playing. Which I doubt I will do a lot. This is shaping up to be Brian's worst solo album for me so far. I love

One Kind of Love - 8, Great song, awful production. That 80s snare again!

Saturday Night - 6, not a bad tune, but I don't like the singer's vocal and delivery at all. And the production is once again trite and cheap.

The Last Song - 5, all the media hype about this song was unfair. This is a nice sentiment and all, but that does not always make a great song. The production just about destroys what could have been quite nice. The lalala's, the AC piano playing. Ouch once again

[Yorick]

A guy called lethimrun on the SteveHoffman.tv board wrote a very strong thing about the album I thought:
"I got a burned copy of the album a couple of weeks ago and picked up a Target copy on Wednesday. I watched the PBS special last night, overall I liked the sound of the PBS special better. Even so, I have serious problems with this album. Brian has said many times he doesn't listen to current music and when he does listen to the radio, he listens to oldies stations.
So, where did this stuff come from? It certainly doesn't sound like someone who is unfamiliar with current music trends. It certainly doesn't sound like the music that one might expect to be in the head of Brian Wilson in 2015. Even though, I'm not sure what that might be. I think I'd recognize it when I heard it. But, does anyone really think this is truly representative of Brian's musical creativity. In 2015, I might expect it to be odd, quirky, maybe even a bit troubling and hopefully still adventurous. But, I'd never expect it to be average and contemporary.
This album reminds me of a highly processed supermarket type food that has chocolate written all over it, yet on closer examination you find, ''contains artificial chocolate flavoring''.
Look at the photo of Brian on the rear of the booklet on this CD...for me that's this album in a nutshell. It looks like Brian, but we all understand, it's doesn't really look like him.
I wish Brian well, I hope his days are full of happiness. And if I thought there was any chance of his reading this, I'd never write any of it. "

[Micha]

I have myself found that I sometimes have more specific, detailed observations to make about, say, a bad movie, than a great movie.

I've thought about what you wrote here, it makes total sense. If the movie is great, you're kind of in it, you feel it without noticing all the great details. If there's a lot of bad details that take you out of the emotion, you're bound to remember the bad details. Sorry for being off topic here.

[Gerry]

I have to say I'm really sad for you . I've been a BW/BB fan since 1968, saw them in concert for the first time in 1969 and I love this album. I think if you are a fan and you don't love this album the problem is with you and not with Brian, Joe Thomas and the production of this album. It seems as though many people on this board want Brian to be something other than he currently is. I'm sure this is a very familiar situation for Brian Wilson.

[Nicko1234]

I have to say I'm really sad for you . I've been a BW/BB fan since 1968, saw them in concert for the first time in 1969 and I love this album. I think if you are a fan and you don't love this album the problem is with you and not with Brian, Joe Thomas and the production of this album. It seems as though many people on this board want Brian to be something other than he currently is. I'm sure this is a very familiar situation for Brian Wilson.

I disagree. People were criticizing Joe Thomas after Stars and Stripes and Imagination and when Brian issued BWPS, Lucky Old Sun, BWRG etc. I don`t remember many fans saying that they wished he was working with Joe Thomas again. Quite the opposite in fact.

Similarly some were unhappy with the production of TWGMTR and particularly with the C50 live album.

With that in mind, I`m not sure why anyone should be surprised if many reviewers have questioned the production and called it dated or cheesy. Many on this board have been saying the same things about Joe Thomas`s productions for years...

[Yorick]

I have to say I'm really sad for you.

Thanks for your compassion. I'm very dissappointed as well, I had been looking forward to the album a lot. Even though some signs weren't very hopegiving, I was very hopeful. I hadn't liked the production on TWGMTR, but some of the material was so strong it just shone through. Gettin' Over My Head to No Pier Pressure is like Pet Sounds to MIU to me.

[Wirestone]

Professional reviewers are one thing.

But if you've followed Brian Wilson's solo career at all, I can't imagine much on NPP would come as a shock or disappointment. It sounds of a piece with practically everything he's recorded since 2000. Same general vocal and instrumental approach, same players, same kinds of songs.

I mean, maybe Joe records vocals somewhat differently. But this has a lot more in common with BWRG and TLOS than it does with Imagination.

All I can imagine is that folks are so blinded by the fact that Joe's name is attached, or that Mike's isn't, that they're not able to actually hear the music. Which is a shame.

EDIT: And in terms of the "this can't possibly be music that Brian wrote; he's just a shell of his former self" -- have you read the board in the past six months or so? One of Brian's best friends, someone who has known him for years and years, someone who is not part of his PR machine, has posted repeatedly.

This is Brian's album. These are Brian's songs. He co-produced it. He arranged it. He played on it. He mixed it. This is what he meant to release. Now, that doesn't mean it's automatically brilliant. But it is his.

[Nicko1234]

Professional reviewers are one thing.

But if you've followed Brian Wilson's solo career at all, I can't imagine much on NPP would come as a shock or disappointment. It sounds of a piece with practically everything he's recorded since 2000. Same general vocal and instrumental approach, same players, same kinds of songs.

I mean, maybe Joe records vocals somewhat differently. But this has a lot more in common with BWRG and TLOS than it does with Imagination.

All I can imagine is that folks are so blinded by the fact that Joe's name is attached, or that Mike's isn't, that they're not able to actually hear the music. Which is a shame.

It sounds significantly different. In many, many ways.

Joe Thomas`s name is not just `attached` is it? His sonic stamp is certainly present on the album because he is a listed producer. How many of Brian`s other solo songs have a production similar to Don`t Worry for example?

[Micha]

All I can imagine is that folks are so blinded by the fact that Joe's name is attached, or that Mike's isn't, that they're not able to actually hear the music. Which is a shame.

I heard the music. Both TLOS (without Joe and Mike) and TWGMTR (with Joe and Mike) do much more for me than NPP. I absolutely agree with you that it is total nonsense to believe Joe Thomas ruined an album that would have been great if Brian would have been the only responsible one for the way it turned out. I assume that the album came out as Brian wanted it to be and that he accepted no input from Joe Thomas that he didn't agree with. Do I think I have the right to demand from Brian to make an album to my liking? Certainly not. Even though I don't connect with it, I hope NPP will be a big success for Brian, because he deserves it.

[Gerry]

Do you not believe that Brian gave his stamp of approval to the production of this album? Do you you think that Brian was bullied into this sound by Joe Thomas?

[Nicko1234]

Do you not believe that Brian gave his stamp of approval to the production of this album? Do you you think that Brian was bullied into this sound by Joe Thomas?

Your point being?

If the reviewers were saying that the production is dated and cheesy and that it is all Brian`s fault then would that suddenly make it better???

Nobody has said Brian contributed nothing or that he was bullied into things. But it is also nonsensical to think that Brian could co-produce an album with Joe Thomas and that it would bear no similarities to the music that he was credited as co-producing in the past (which people were so critical of).

The album sounds like a Wilson/Thomas co-production rather than a Wilson/Bennett production because that is exactly what it is.

[Wirestone]

Professional reviewers are one thing.

But if you've followed Brian Wilson's solo career at all, I can't imagine much on NPP would come as a shock or disappointment. It sounds of a piece with practically everything he's recorded since 2000. Same general vocal and instrumental approach, same players, same kinds of songs.

I mean, maybe Joe records vocals somewhat differently. But this has a lot more in common with BWRG and TLOS than it does with Imagination.

All I can imagine is that folks are so blinded by the fact that Joe's name is attached, or that Mike's isn't, that they're not able to actually hear the music. Which is a shame.

It sounds significantly different. In many, many ways.

Joe Thomas`s name is not just `attached` is it? His sonic stamp is certainly present on the album because he is a listed producer. How many of Brian`s other solo songs have a production similar to Don`t Worry for example?

Yes, because a bonus track that literally sounds like nothing else on the record is totally representative of Joe's input.

How about the 14 tracks that aren't that or Runaway Dancer? There's nothing about any of them that would be out of place on Brian's other solo records from the last 15 years. Except that, in large part, they're better written and more inventively arranged.

[Ang Jones]

But it is also nonsensical to think that Brian could co-produce an album with Joe Thomas and that it would bear no similarities to the music that he was credited as co-producing in the past (which people were so critical of).

I wouldn't go so far as to state that it has NO similarities but it is IMO a lot better than some of the earlier work Brian did with Joe Thomas. Brian wrote Amusement Parks USA with Mike and also wrote Good Vibrations with him. That doesn't mean these songs are of equal quality.

[beatnickle]

Okay...... this record is starting to grow on me. Now I think it may be his best solo effort . It's much better with headphones for me.

[jeffh]

Too many people were expecting a Masterpiece. What we got is a great cd. I especially like the tracks that make me smile, Saturday Night, On The Island, Guess You Had To Be There and yes, Runaway Dancer!! They make me happy. That's all I ever want or need from a song.

Thank you Brian

[Nicko1234]

Yes, because a bonus track that literally sounds like nothing else on the record is totally representative of Joe's input.

How about the 14 tracks that aren't that or Runaway Dancer? There's nothing about any of them that would be out of place on Brian's other solo records from the last 15 years. Except that, in large part, they're better written and more inventively arranged.

You are entitled to your opinion but to me there is quite obviously a difference in sound between songs written and produced by Wilson/Bennett and songs written and produced by Wilson/Thomas. That`s only natural and certainly isn`t down to the listener`s imagination. It can be heard in the drums and the brass to give but two examples.

[GhostyTMRS]

I think there are also some fans who cling to the kind of songs Brian was writing during the SMiLE and "Love You" era, expecting him to churn out quirky outsider music like Daniel Johnston with a budget. Some of Brian's appeal with twenty-something hipsters (oh, lets call them what they are...college kids...DUH!) is based on that skewed perception of him but I don't think Brian is interested in being that guy anymore (and hasn't been for a long LONG time). Some fans have just got to move on. All the old stuff is there if you want to listen to it. NPP doesn't magically erase those other quirkier records. It's different, because Brian's different. Just roll with it.

[Jason Penick]

I have to say I'm really sad for you . I've been a BW/BB fan since 1968, saw them in concert for the first time in 1969 and I love this album. I think if you are a fan and you don't love this album the problem is with you and not with Brian, Joe Thomas and the production of this album. It seems as though many people on this board want Brian to be something other than he currently is. I'm sure this is a very familiar situation for Brian Wilson.

I think there are also some fans who cling to the kind of songs Brian was writing during the SMiLE and "Love You" era, expecting him to churn out quirky outsider music like Daniel Johnston with a budget. Some of Brian's appeal with twenty-something hipsters (oh, lets call them what they are...college kids...DUH!) is based on that skewed perception of him but I don't think Brian is interested in being that guy anymore (and hasn't been for a long LONG time). Some fans have just got to move on. All the old stuff is there if you want to listen to it. NPP doesn't magically erase those other quirkier records. It's different, because Brian's different. Just roll with it.

Great posts! Summarized my thoughts better than I could. Just roll with it, indeed.

[Wirestone]

Yes, because a bonus track that literally sounds like nothing else on the record is totally representative of Joe's input.

How about the 14 tracks that aren't that or Runaway Dancer? There's nothing about any of them that would be out of place on Brian's other solo records from the last 15 years. Except that, in large part, they're better written and more inventively arranged.

You are entitled to your opinion but to me there is quite obviously a difference in sound between songs written and produced by Wilson/Bennett and songs written and produced by Wilson/Thomas. That`s only natural and certainly isn`t down to the listener`s imagination. It can be heard in the drums and the brass to give but two examples.

There are songs written by Wilson / Bennett on this very record.

Or didn't you notice?

Brian's band, which has consistently played on all of his records since Imagination, plays on this one too. Mertens, who has done arrangements on all the records since then, does arrangements here too. Brian overdubs himself a bunch. Again, like usual.

The main difference, as I've mentioned, is that there is a greater variety of songs, a somewhat denser production approach (although it's pretty similar to BWRG in many ways) and more multitracked leads from Brian.

The horror!

[Mikie]

I find the reviews coming in from the usual journalistic suspects to be predictable in their muted enthusiasm. It's par for the course with Brian's solo career. I can't recall too many professional reviews (at least not written by mouthbreathers) of any of his solo albums that were overly effusive in their praise or criticism. To me, it seems like many reviewers out there just aren't tuned into same vibe we as fans are. They hear the album and wonder what the big deal is. Clearly it's a highly professional effort featuring great vocals and solid instrumentation, but it's just not their cup of tea, and they fail to see what the big deal is with this Brian Wilson guy.

So it goes. Brian, and the Beach Boys writ large, are lifestyle music. This is not a criticism. What I mean by that is, you really have to be in a particular mindset or mode to really be receptive of where they're coming from. I know this is generalizing things, but I feel their music appeals to those who have an optimistic worldview, are comfortable doing some soul searching, are trying to get in touch with their emotions, who enjoy good times and nature, and most especially aren't afraid of music that's sincere and wears its heart on its sleeve. If you're a post-ironic hipster or hardcore doom metal devotee then the music of the Beach Boys is probably going to fly right by you, and that's fine-- which is a long-winded way of saying why I don't put much credence in most mainstream music reviews.

The in-fighting between the various factions of fandom is more problematic, but it's always been this way in Beach Boys world. Try ignoring it. It's a beautiful, sunny day here in northern California. I'm in my room with the door to the porch open, listening to No Pier Pressure and loving every note.

As long as we're throwing accolades around for posts here, I meant to acknowledge this earlier post in a positive way. Especially the part about "being in Northern California on a sunny day in a room with the door to the porch open." I can relate to that..... 

And for Nick: Hang in there, buddy, here's one guy that'll give ya the thumbs up on your recent posts.   Like

[♩♬🐸 Billy C ♯♫♩🐇]

I think there are also some fans who cling to the kind of songs Brian was writing during the SMiLE and "Love You" era, expecting him to churn out quirky outsider music like Daniel Johnston with a budget. Some of Brian's appeal with twenty-something hipsters (oh, lets call them what they are...college kids...DUH!) is based on that skewed perception of him but I don't think Brian is interested in being that guy anymore (and hasn't been for a long LONG time). Some fans have just got to move on. All the old stuff is there if you want to listen to it. NPP doesn't magically erase those other quirkier records. It's different, because Brian's different. Just roll with it.

Exactly

[Mike's Beard]

There are songs written by Wilson / Bennett on this very record.

Which oddly enough is the standout track on the album. Coincidence?