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Author Topic: Still Cruisin and SIP should be in the core catalogue.  (Read 4824 times)
NateRuvin
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« on: January 04, 2018, 11:33:24 AM »

Summer In Paradise (especially) and Still Cruisin (to a slightly lesser extent) are pretty much universally despised, however, for the sake of history, I think they should be included in the band's official catalogue. To have the gap from BB85 to TWGMTR (aside from singles) is a very inaccurate way to display the band's productivity from 1985 to 2012. Two studio albums is a lot of work, even if most of the heavy lifting was by Mike and Terry Melcher.

I'm not even a huge fan of either of these records, so maybe its the OCD completest in me.
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« Reply #1 on: January 04, 2018, 11:40:08 AM »

Summer In Paradise (especially) and Still Cruisin (to a slightly lesser extent) are pretty much universally despised, however, for the sake of history, I think they should be included in the band's official catalogue. To have the gap from BB85 to TWGMTR (aside from singles) is a very inaccurate way to display the band's productivity from 1985 to 2012. Two studio albums is a lot of work, even if most of the heavy lifting was by Mike and Terry Melcher.

I'm not even a huge fan of either of these records, so maybe its the OCD completest in me.

I've always considered them parts of the catalog.  But, I suppose the powers that be didn't think they were worth remastering or including in the 2fers. 

I think Still Cruisin, minus the Fat Boys song and the unnecessary inclusion of the three 60s classics, is actually a very enjoyable collection of later era BB songs. 

Summer in Paradise is, of course, marred by godawful production, and happens to include possibly the four of the worst songs The Beach Boys ever did (Surfin 92, Summer of Love, Remember Walkin in the Sand, and Under the Boardwalk).  Easily their worst album, but I don't think it deserves the hate that it receives. 
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« Reply #2 on: January 04, 2018, 11:51:18 AM »

I agree. I without a doubt consider them part of the catalogue. But I think they should be available digitally, and, well, acknowledged other than Mike playing SIP in concert, and the live SIP on MIC.  Just because those were two rough albums, doesn't mean Capitol should pretend they don't exist. Besides, they've both got a lot of good stuff hidden in them. Somewhere Near Japan, Still Surfin, Strange Things Happen, to name a few
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« Reply #3 on: January 04, 2018, 12:03:48 PM »

The availability of any given album, in terms of history and documenting the band, really doesn't impact what is part of the "core" catalog. "Still Cruisin'" and SIP are BB albums.

Both being out of print in some or all forms is really just a logistical issue separate from how they're considered.

Both are still easy to find used on CD, are probably easily found on YouTube, and at least "Still Cruisin'" looks like it might still be on Spotify. So it doesn't take much digging at all nor much money to get them if one is interested.

Capitol has nothing to do with the SIP album. Brother owns that album, and could presumably (with the okay of the board members) put it out digitally (and otherwise). Mike is probably the only member who would care, and even he seems minimally interested in album reissues and things of that nature.

Capitol does own "Still Cruisin'" (although some of the tracks back in 1989 were sub-licensed from other labels; which *may* explain it's on-and-off availability).
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« Reply #4 on: January 04, 2018, 12:12:44 PM »

I agree. I without a doubt consider them part of the catalogue. But I think they should be available digitally, and, well, acknowledged other than Mike playing SIP in concert, and the live SIP on MIC.  Just because those were two rough albums, doesn't mean Capitol should pretend they don't exist. Besides, they've both got a lot of good stuff hidden in them. Somewhere Near Japan, Still Surfin, Strange Things Happen, to name a few

Since I've been on Spotify, I've noticed that some later era releases by legacy artists are not available, probably due to them being released on rinky dink labels. 
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« Reply #5 on: January 04, 2018, 12:13:16 PM »

Oh that's interesting. I assumed when Capitol acquired the entire catalogue, SIP was included. Or did that take place before SIP was released?
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« Reply #6 on: January 04, 2018, 12:14:32 PM »

I agree. I without a doubt consider them part of the catalogue. But I think they should be available digitally, and, well, acknowledged other than Mike playing SIP in concert, and the live SIP on MIC.  Just because those were two rough albums, doesn't mean Capitol should pretend they don't exist. Besides, they've both got a lot of good stuff hidden in them. Somewhere Near Japan, Still Surfin, Strange Things Happen, to name a few

Since I've been on Spotify, I've noticed that some later era releases by legacy artists are not available, probably due to them being released on rinky dink labels. 

The only reason I hedge on Spotify availability when doing a quick check is that even when I find links to albums, such as this one for SC:

https://open.spotify.com/album/230TbUfgA4VulpOAUFa7ad

I'm not able to presently sign in and check to see if it's actually available. I'm surprised that such links exist when they can't actually be accessed, but apparently that's the case with some of these (e.g. Al's "Postcards").
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« Reply #7 on: January 04, 2018, 12:17:45 PM »

Oh that's interesting. I assumed when Capitol acquired the entire catalogue, SIP was included. Or did that take place before SIP was released?

Capitol never acquired the full catalog. They only own the released albums and other released original-era Capitol material from 1962-1969.

All of the 1970-1986 "Brother Years" stuff is still owned by BRI and only *licensed* to Capitol.

I'm guessing when BRI has licensed the "Brother Years" stuff to Capitol, they simply cover the 1970-85/86 albums.
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« Reply #8 on: January 04, 2018, 12:21:23 PM »

Couldn't disagree more with the premise of this thread.  Yes, a few guys calling themselves the Beach Boys put out a couple of albums in the late 80s and early 90s.  But they are at best Beach Boys tribute albums.  Not even that really.  And it certainly does not help the band to be associated with such drek.  Why wish for that?
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The LEGENDARY OSD
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« Reply #9 on: January 04, 2018, 12:23:02 PM »


Ban 'em both!  Old Man
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« Reply #10 on: January 04, 2018, 12:27:39 PM »

Couldn't disagree more with the premise of this thread.  Yes, a few guys calling themselves the Beach Boys put out a couple of albums in the late 80s and early 90s.  But they are at best Beach Boys tribute albums.  Not even that really.  And it certainly does not help the band to be associated with such drek.  Why wish for that?

You can argue the merit of the music contained on Still Cruisin and Summer in Paradise, but they're still Beach Boys albums.   
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« Reply #11 on: January 04, 2018, 12:29:51 PM »

Well geez, they already exist and are out there. It's part of history, good, bad, ugly and everything in between.

I don't particularly hugely prioritize putting them back in print considering how easy they are to track down, but I'm not interested in erasing them from existence.

"Still Cruisin'" wasn't a "a few guys calling themselves the Beach Boys"; it has all five surviving members. Sure, it's a mish-mash and isn't very good overall, and Brian's involvement was rather manufactured. But where do you draw the line? Brian's barely a part of "LA (Light Album)"; Dennis is barely there on "Keepin' the Summer Alive", Carl and Dennis weren't there for much of "MIU", several member make only cameos on "Love You", and so on.
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« Reply #12 on: January 04, 2018, 12:32:34 PM »

The main outside influence making SC and even SIP weird and compromised was the whole Landy situation. It's why Brian was barely integrated into the band in 1988/89, and the immediate aftermath of Brian being extricated from Landy was presumably why he wasn't anywhere to be seen on SIP.

But if we're going to start erasing stuff that Landy directly or indirect impacted, then pretty much everything Brian was a part of from 1983 to 1992 would have to be erased. So no BW '88 album, and so on.

And if we're going to start erasing stuff just because *you* think it sucks, then a ton of their entire catalog is on the table.
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« Reply #13 on: January 04, 2018, 01:58:55 PM »

Couldn't disagree more with the premise of this thread.  Yes, a few guys calling themselves the Beach Boys put out a couple of albums in the late 80s and early 90s.  But they are at best Beach Boys tribute albums.  Not even that really.  And it certainly does not help the band to be associated with such drek.  Why wish for that?

Wow! This was certainly the popular attitude among hardcore Beach Boys fans back when there albums were first released so it's a little nostalgic for me to see someone write this is 2018.....but no, they should've been re released some time ago and any Beach Boy album with Carl Wilson on it is never going to be a total loss.
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« Reply #14 on: January 04, 2018, 02:50:06 PM »

The main outside influence making SC and even SIP weird and compromised was the whole Landy situation. It's why Brian was barely integrated into the band in 1988/89, and the immediate aftermath of Brian being extricated from Landy was presumably why he wasn't anywhere to be seen on SIP.

But if we're going to start erasing stuff that Landy directly or indirect impacted, then pretty much everything Brian was a part of from 1983 to 1992 would have to be erased. So no BW '88 album, and so on.

And if we're going to start erasing stuff just because *you* think it sucks, then a ton of their entire catalog is on the table.

It ain't just me.

Here's a review of SIP from Blender http://blender.com/guide/reviews.aspx?id=2260:

“Kokomo,” perhaps most kindly described as a Beach Boys– influenced song with the Beach Boys singing on it, was a surprise number 1 hit — hence this lame instant album: a collaboration with obese rap trio the Fat Boys, soundtrack contributions and three ’60s hits to pad it out.

From AMG https://www.allmusic.com/album/still-cruisin-mw0000200452:

The Beach Boys' success with soundtracks, notably their number one 1988 hit with "Kokomo" from Cocktail (but also the title track "Still Cruisin'" from Lethal Weapon 2), provided the rationale for this hodgepodge of oldies and one-off singles. Their new savior, producer Terry Melcher, helps them sound like a professional '60s cover band. Meanwhile, except for one lone contribution, a solid "In My Car," Brian Wilson had quietly disappeared to a solo career.

This is about the only place outside of MikeLove.com where people will actually defend this stuff.  The rest of the world (at least those who are aware of the existence of these albums) recognize that they have no artistic merit, and are just money grabs.  Apparently folks around here used to recognize that as well.  It's unfortunate if that's changed.
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« Reply #15 on: January 04, 2018, 02:59:45 PM »

Agreed! w00t! w00t! w00t! w00t! w00t! w00t!
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« Reply #16 on: January 04, 2018, 04:35:09 PM »

The main outside influence making SC and even SIP weird and compromised was the whole Landy situation. It's why Brian was barely integrated into the band in 1988/89, and the immediate aftermath of Brian being extricated from Landy was presumably why he wasn't anywhere to be seen on SIP.

But if we're going to start erasing stuff that Landy directly or indirect impacted, then pretty much everything Brian was a part of from 1983 to 1992 would have to be erased. So no BW '88 album, and so on.

And if we're going to start erasing stuff just because *you* think it sucks, then a ton of their entire catalog is on the table.

It ain't just me.

Here's a review of SIP from Blender http://blender.com/guide/reviews.aspx?id=2260:

“Kokomo,” perhaps most kindly described as a Beach Boys– influenced song with the Beach Boys singing on it, was a surprise number 1 hit — hence this lame instant album: a collaboration with obese rap trio the Fat Boys, soundtrack contributions and three ’60s hits to pad it out.

From AMG https://www.allmusic.com/album/still-cruisin-mw0000200452:

The Beach Boys' success with soundtracks, notably their number one 1988 hit with "Kokomo" from Cocktail (but also the title track "Still Cruisin'" from Lethal Weapon 2), provided the rationale for this hodgepodge of oldies and one-off singles. Their new savior, producer Terry Melcher, helps them sound like a professional '60s cover band. Meanwhile, except for one lone contribution, a solid "In My Car," Brian Wilson had quietly disappeared to a solo career.

This is about the only place outside of MikeLove.com where people will actually defend this stuff.  The rest of the world (at least those who are aware of the existence of these albums) recognize that they have no artistic merit, and are just money grabs.  Apparently folks around here used to recognize that as well.  It's unfortunate if that's changed.

Huh? What are you talking about? Of course it's not a unique opinion that those albums suck. So what? What are you trying to say? Saying they shouldn't be erased from history isn't "defending" the quality of the albums.

Read through my post history before you "introduce" me to the fact that critics hate SIP. Read through my post history to find out what I think of those albums.




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« Reply #17 on: January 04, 2018, 04:58:56 PM »

The main outside influence making SC and even SIP weird and compromised was the whole Landy situation. It's why Brian was barely integrated into the band in 1988/89, and the immediate aftermath of Brian being extricated from Landy was presumably why he wasn't anywhere to be seen on SIP.

But if we're going to start erasing stuff that Landy directly or indirect impacted, then pretty much everything Brian was a part of from 1983 to 1992 would have to be erased. So no BW '88 album, and so on.

And if we're going to start erasing stuff just because *you* think it sucks, then a ton of their entire catalog is on the table.

It ain't just me.

Here's a review of SIP from Blender http://blender.com/guide/reviews.aspx?id=2260:

“Kokomo,” perhaps most kindly described as a Beach Boys– influenced song with the Beach Boys singing on it, was a surprise number 1 hit — hence this lame instant album: a collaboration with obese rap trio the Fat Boys, soundtrack contributions and three ’60s hits to pad it out.

From AMG https://www.allmusic.com/album/still-cruisin-mw0000200452:

The Beach Boys' success with soundtracks, notably their number one 1988 hit with "Kokomo" from Cocktail (but also the title track "Still Cruisin'" from Lethal Weapon 2), provided the rationale for this hodgepodge of oldies and one-off singles. Their new savior, producer Terry Melcher, helps them sound like a professional '60s cover band. Meanwhile, except for one lone contribution, a solid "In My Car," Brian Wilson had quietly disappeared to a solo career.

This is about the only place outside of MikeLove.com where people will actually defend this stuff.  The rest of the world (at least those who are aware of the existence of these albums) recognize that they have no artistic merit, and are just money grabs.  Apparently folks around here used to recognize that as well.  It's unfortunate if that's changed.

Huh? What are you talking about? Of course it's not a unique opinion that those albums suck. So what? What are you trying to say? Saying they shouldn't be erased from history isn't "defending" the quality of the albums.

Read through my post history before you "introduce" me to the fact that critics hate SIP. Read through my post history to find out what I think of those albums.


I'm trying to say that they are not really Beach Boys albums, and should not be treated as such.

If Bill Gates bought the rights to the Beach Boys name, and promptly started releasing "Beach Boys" albums consisting of tracks performed entirely by monkeys, you could argue that those albums also would represent "history," and should not be "erased."  But you'd be wrong, and you're wrong in this case.
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« Reply #18 on: January 04, 2018, 06:56:30 PM »

The main outside influence making SC and even SIP weird and compromised was the whole Landy situation. It's why Brian was barely integrated into the band in 1988/89, and the immediate aftermath of Brian being extricated from Landy was presumably why he wasn't anywhere to be seen on SIP.

But if we're going to start erasing stuff that Landy directly or indirect impacted, then pretty much everything Brian was a part of from 1983 to 1992 would have to be erased. So no BW '88 album, and so on.

And if we're going to start erasing stuff just because *you* think it sucks, then a ton of their entire catalog is on the table.

It ain't just me.

Here's a review of SIP from Blender http://blender.com/guide/reviews.aspx?id=2260:

“Kokomo,” perhaps most kindly described as a Beach Boys– influenced song with the Beach Boys singing on it, was a surprise number 1 hit — hence this lame instant album: a collaboration with obese rap trio the Fat Boys, soundtrack contributions and three ’60s hits to pad it out.

From AMG https://www.allmusic.com/album/still-cruisin-mw0000200452:

The Beach Boys' success with soundtracks, notably their number one 1988 hit with "Kokomo" from Cocktail (but also the title track "Still Cruisin'" from Lethal Weapon 2), provided the rationale for this hodgepodge of oldies and one-off singles. Their new savior, producer Terry Melcher, helps them sound like a professional '60s cover band. Meanwhile, except for one lone contribution, a solid "In My Car," Brian Wilson had quietly disappeared to a solo career.

This is about the only place outside of MikeLove.com where people will actually defend this stuff.  The rest of the world (at least those who are aware of the existence of these albums) recognize that they have no artistic merit, and are just money grabs.  Apparently folks around here used to recognize that as well.  It's unfortunate if that's changed.

Huh? What are you talking about? Of course it's not a unique opinion that those albums suck. So what? What are you trying to say? Saying they shouldn't be erased from history isn't "defending" the quality of the albums.

Read through my post history before you "introduce" me to the fact that critics hate SIP. Read through my post history to find out what I think of those albums.


I'm trying to say that they are not really Beach Boys albums, and should not be treated as such.

If Bill Gates bought the rights to the Beach Boys name, and promptly started releasing "Beach Boys" albums consisting of tracks performed entirely by monkeys, you could argue that those albums also would represent "history," and should not be "erased."  But you'd be wrong, and you're wrong in this case.

Well, both albums feature Carl, Mike, Al, and Bruce with Brian appearing on SC.  So, just because the albums dont live up to your or some critical standards doesnt mean they're not Beach Boys albums.  These are facts.

By this logic, Hot Space is not a Queen album, House of Blue Light is not a Deep Purple album, It's Hard isn't a Who album, etc etc etc.   
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« Reply #19 on: January 04, 2018, 07:35:35 PM »

Wait. I see both of your points. I think SC and SiP ARE Beach Boys albums - they’ve all had sporadic participation so it’s hard to draw the line; look at Love You and MIU especially. If LY and MIU are Beach Boys albums then SC and SiP have to be to you. 

But - how could you not consider Hot Space a Queen album? All members are there and contributed almost equally for the first time in their career. Hot Space is one of my favorite Queen albums. I feel it’s picking up momentum in the last ten years amongst fans and musicians. It’s certainly their most divided album critically in their canon.
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« Reply #20 on: January 04, 2018, 07:52:47 PM »

Wait. I see both of your points. I think SC and SiP ARE Beach Boys albums - they’ve all had sporadic participation so it’s hard to draw the line; look at Love You and MIU especially. If LY and MIU are Beach Boys albums then SC and SiP have to be to you. 

But - how could you not consider Hot Space a Queen album? All members are there and contributed almost equally for the first time in their career. Hot Space is one of my favorite Queen albums. I feel it’s picking up momentum in the last ten years amongst fans and musicians. It’s certainly their most divided album critically in their canon.

I think the point he was making (tongue in cheek) was that using Jeff's criteria "Hot Space" can't be a true Queen album because it's generally regarded as a low point and he doesn't like it. That makes no sense obviously.
Debating whether or not SC and SIP are any good is one thing. We KNOW they're not good...but like it or not those are Beach Boys albums and as such should be available to complete the picture.

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« Reply #21 on: January 04, 2018, 09:10:34 PM »

The main outside influence making SC and even SIP weird and compromised was the whole Landy situation. It's why Brian was barely integrated into the band in 1988/89, and the immediate aftermath of Brian being extricated from Landy was presumably why he wasn't anywhere to be seen on SIP.

But if we're going to start erasing stuff that Landy directly or indirect impacted, then pretty much everything Brian was a part of from 1983 to 1992 would have to be erased. So no BW '88 album, and so on.

And if we're going to start erasing stuff just because *you* think it sucks, then a ton of their entire catalog is on the table.

It ain't just me.

Here's a review of SIP from Blender http://blender.com/guide/reviews.aspx?id=2260:

“Kokomo,” perhaps most kindly described as a Beach Boys– influenced song with the Beach Boys singing on it, was a surprise number 1 hit — hence this lame instant album: a collaboration with obese rap trio the Fat Boys, soundtrack contributions and three ’60s hits to pad it out.

From AMG https://www.allmusic.com/album/still-cruisin-mw0000200452:

The Beach Boys' success with soundtracks, notably their number one 1988 hit with "Kokomo" from Cocktail (but also the title track "Still Cruisin'" from Lethal Weapon 2), provided the rationale for this hodgepodge of oldies and one-off singles. Their new savior, producer Terry Melcher, helps them sound like a professional '60s cover band. Meanwhile, except for one lone contribution, a solid "In My Car," Brian Wilson had quietly disappeared to a solo career.

This is about the only place outside of MikeLove.com where people will actually defend this stuff.  The rest of the world (at least those who are aware of the existence of these albums) recognize that they have no artistic merit, and are just money grabs.  Apparently folks around here used to recognize that as well.  It's unfortunate if that's changed.

Huh? What are you talking about? Of course it's not a unique opinion that those albums suck. So what? What are you trying to say? Saying they shouldn't be erased from history isn't "defending" the quality of the albums.

Read through my post history before you "introduce" me to the fact that critics hate SIP. Read through my post history to find out what I think of those albums.


I'm trying to say that they are not really Beach Boys albums, and should not be treated as such.

If Bill Gates bought the rights to the Beach Boys name, and promptly started releasing "Beach Boys" albums consisting of tracks performed entirely by monkeys, you could argue that those albums also would represent "history," and should not be "erased."  But you'd be wrong, and you're wrong in this case.

But neither case with the BBs involved an outside party buying the BB name and releasing an album. Your analogy is completely inaccurate.

However suck those albums are, however vapid or short-sighted the decisions were to release those albums, it was *THE* Beach Boys deciding to release them and not blocking their release.

If Mike had released a "Beach Boys" album in 1999 against the wishes of Brian and Al, then it would be closer to something analogous.

I feel like I'm being trolled even having to explain why even the crappiest BB album shouldn't be LITERALLY ERASED FROM EXISTENCE. It's asinine and literally not even possible. Which I also feel ridiculous even having to say.
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« Reply #22 on: January 04, 2018, 10:23:24 PM »

The main outside influence making SC and even SIP weird and compromised was the whole Landy situation. It's why Brian was barely integrated into the band in 1988/89, and the immediate aftermath of Brian being extricated from Landy was presumably why he wasn't anywhere to be seen on SIP.

But if we're going to start erasing stuff that Landy directly or indirect impacted, then pretty much everything Brian was a part of from 1983 to 1992 would have to be erased. So no BW '88 album, and so on.

And if we're going to start erasing stuff just because *you* think it sucks, then a ton of their entire catalog is on the table.

It ain't just me.

Here's a review of SIP from Blender http://blender.com/guide/reviews.aspx?id=2260:

“Kokomo,” perhaps most kindly described as a Beach Boys– influenced song with the Beach Boys singing on it, was a surprise number 1 hit — hence this lame instant album: a collaboration with obese rap trio the Fat Boys, soundtrack contributions and three ’60s hits to pad it out.

From AMG https://www.allmusic.com/album/still-cruisin-mw0000200452:

The Beach Boys' success with soundtracks, notably their number one 1988 hit with "Kokomo" from Cocktail (but also the title track "Still Cruisin'" from Lethal Weapon 2), provided the rationale for this hodgepodge of oldies and one-off singles. Their new savior, producer Terry Melcher, helps them sound like a professional '60s cover band. Meanwhile, except for one lone contribution, a solid "In My Car," Brian Wilson had quietly disappeared to a solo career.

This is about the only place outside of MikeLove.com where people will actually defend this stuff.  The rest of the world (at least those who are aware of the existence of these albums) recognize that they have no artistic merit, and are just money grabs.  Apparently folks around here used to recognize that as well.  It's unfortunate if that's changed.

Huh? What are you talking about? Of course it's not a unique opinion that those albums suck. So what? What are you trying to say? Saying they shouldn't be erased from history isn't "defending" the quality of the albums.

Read through my post history before you "introduce" me to the fact that critics hate SIP. Read through my post history to find out what I think of those albums.


I'm trying to say that they are not really Beach Boys albums, and should not be treated as such.

If Bill Gates bought the rights to the Beach Boys name, and promptly started releasing "Beach Boys" albums consisting of tracks performed entirely by monkeys, you could argue that those albums also would represent "history," and should not be "erased."  But you'd be wrong, and you're wrong in this case.

But neither case with the BBs involved an outside party buying the BB name and releasing an album. Your analogy is completely inaccurate.

However suck those albums are, however vapid or short-sighted the decisions were to release those albums, it was *THE* Beach Boys deciding to release them and not blocking their release.

If Mike had released a "Beach Boys" album in 1999 against the wishes of Brian and Al, then it would be closer to something analogous.

I feel like I'm being trolled even having to explain why even the crappiest BB album shouldn't be LITERALLY ERASED FROM EXISTENCE. It's asinine and literally not even possible. Which I also feel ridiculous even having to say.

I'm used to Mike & Bruce being in the doghouse but evidently the new (old) trend is to dismiss Carl Wilson as a performing "monkey" (Jeff's analogy) and claim that Al Jardine has absolutely no artistic credibility whatsoever.

Yes, we're being trolled.
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Lonely Summer
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« Reply #23 on: January 04, 2018, 10:42:44 PM »

My suggestion: reissue Still Cruisin' the way it should have been in the first place. Ditch the 3 60's tracks, add some 80's tracks in their place like:
 Rock 'N' Roll to the Rescue and California Dreamin from Made in USA (and CD's b-side, Lady Liberty)
 Barbie (Living Doll) - although I suspect Brian is the only BB  is on it, but it was released as a BB's track
 Runaway (live version only released on the Sunkist album)
 Happy Endings (I know... I know... I hate it too, but the BB vocals are sublime)
 Chasin' the Sky (from Up the Creek)
 That would collect up all the loose ends from the 80's. For SIP, I would throw in Crocodile Rock and Problem Child.
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Jeff
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« Reply #24 on: January 04, 2018, 11:23:30 PM »

The main outside influence making SC and even SIP weird and compromised was the whole Landy situation. It's why Brian was barely integrated into the band in 1988/89, and the immediate aftermath of Brian being extricated from Landy was presumably why he wasn't anywhere to be seen on SIP.

But if we're going to start erasing stuff that Landy directly or indirect impacted, then pretty much everything Brian was a part of from 1983 to 1992 would have to be erased. So no BW '88 album, and so on.

And if we're going to start erasing stuff just because *you* think it sucks, then a ton of their entire catalog is on the table.

It ain't just me.

Here's a review of SIP from Blender http://blender.com/guide/reviews.aspx?id=2260:

“Kokomo,” perhaps most kindly described as a Beach Boys– influenced song with the Beach Boys singing on it, was a surprise number 1 hit — hence this lame instant album: a collaboration with obese rap trio the Fat Boys, soundtrack contributions and three ’60s hits to pad it out.

From AMG https://www.allmusic.com/album/still-cruisin-mw0000200452:

The Beach Boys' success with soundtracks, notably their number one 1988 hit with "Kokomo" from Cocktail (but also the title track "Still Cruisin'" from Lethal Weapon 2), provided the rationale for this hodgepodge of oldies and one-off singles. Their new savior, producer Terry Melcher, helps them sound like a professional '60s cover band. Meanwhile, except for one lone contribution, a solid "In My Car," Brian Wilson had quietly disappeared to a solo career.

This is about the only place outside of MikeLove.com where people will actually defend this stuff.  The rest of the world (at least those who are aware of the existence of these albums) recognize that they have no artistic merit, and are just money grabs.  Apparently folks around here used to recognize that as well.  It's unfortunate if that's changed.

Huh? What are you talking about? Of course it's not a unique opinion that those albums suck. So what? What are you trying to say? Saying they shouldn't be erased from history isn't "defending" the quality of the albums.

Read through my post history before you "introduce" me to the fact that critics hate SIP. Read through my post history to find out what I think of those albums.


I'm trying to say that they are not really Beach Boys albums, and should not be treated as such.

If Bill Gates bought the rights to the Beach Boys name, and promptly started releasing "Beach Boys" albums consisting of tracks performed entirely by monkeys, you could argue that those albums also would represent "history," and should not be "erased."  But you'd be wrong, and you're wrong in this case.

But neither case with the BBs involved an outside party buying the BB name and releasing an album. Your analogy is completely inaccurate.

However suck those albums are, however vapid or short-sighted the decisions were to release those albums, it was *THE* Beach Boys deciding to release them and not blocking their release.

If Mike had released a "Beach Boys" album in 1999 against the wishes of Brian and Al, then it would be closer to something analogous.

I feel like I'm being trolled even having to explain why even the crappiest BB album shouldn't be LITERALLY ERASED FROM EXISTENCE. It's asinine and literally not even possible. Which I also feel ridiculous even having to say.

I'm used to Mike & Bruce being in the doghouse but evidently the new (old) trend is to dismiss Carl Wilson as a performing "monkey" (Jeff's analogy) and claim that Al Jardine has absolutely no artistic credibility whatsoever.

Yes, we're being trolled.

Interesting to see the somersaults some will use to try to legitimize this crap.  I see several attempts to mischaracterize my comments, but the Carl=monkeys one is so far out there that I had to laugh at it.

In any case, although I should know better than to waste more time on this, I'll try again.  For both albums, Dennis was dead, and Brian had moved onto a solo career.  If you think that a legitimate "Beach Boys" exists with just the others ... well, I can't help you.  And it wasn't really even all of the others.  Wiki says that Bruce was "the only band member actually to play on" Summer in Paradise.  Still Cruisin' was, in a sense, "better," but given that three of the songs were reruns from more than 20 years earlier, and another was the Fat Boys, it's far from a real album.

Here's the other thing -- these "albums" have not, as the OP lamented, been re-released.  There's a reason for that.  Don't try to act as though I'm the crazy one (or simply a troll) when it's a very small number of you who are fighting reality.
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