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Author Topic: Can "Summer in Paradise" be salvaged?  (Read 7661 times)
rab2591
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« Reply #125 on: January 19, 2018, 10:12:23 AM »

The covers on 15 Big Ones were quite inspired. When I read a mention of "Rock and Roll Music", I am just as likely to think BB as I am Chuck Berry. That's no mean feat by them.

It took me a long time to warm up to 15 Big Ones. ‘It’s OK’ I disliked immensely for years because of that cheesy opening “Fun is in its no sin” line. But years later I spun this record on vinyl full blast and the whole album just clicked.

The “find a ride” section of ‘Its Ok’ is one of the coolest codas they did in the 70s (the bass and sax are killer when you listen on a good sound system). Palisades Park has some really great vocal/instrumental moments. Susie Cincinnati has that great key change that makes the harmonies just burst to life. Mike’s ‘Everyone’s In Love With You’ has a really cool backing track and harmonies, despite the cheesy lyrics - but they fit with the whole album so it’s not a bad thing. ‘Had To Phone Ya’ has some great chord changes, and that telephone skit at the end is pretty cool.

The whole album has innocent charm, but yet it’s backed with this moog orchestra that channels Phil Spector’s wall of sound. And all of that is topped with really great vocals/harmonies.
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« Reply #126 on: January 19, 2018, 10:17:58 AM »

The covers on 15 Big Ones were quite inspired. When I read a mention of "Rock and Roll Music", I am just as likely to think BB as I am Chuck Berry. That's no mean feat by them.

It took me a long time to warm up to 15 Big Ones. ‘It’s OK’ I disliked immensely for years because of that cheesy opening “Fun is in its no sin” line. But years later I spun this record on vinyl full blast and the whole album just clicked.

The “find a ride” section of ‘Its Ok’ is one of the coolest codas they did in the 70s (the bass and sax are killer when you listen on a good sound system). Palisades Park has some really great vocal/instrumental moments. Susie Cincinnati has that great key change that makes the harmonies just burst to life. Mike’s ‘Everyone’s In Love With You’ has a really cool backing track and harmonies, despite the cheesy lyrics - but they fit with the whole album so it’s not a bad thing. ‘Had To Phone Ya’ has some great chord changes, and that telephone skit at the end is pretty cool.

The whole album has innocent charm, but yet it’s backed with this moog orchestra that channels Phil Spector’s wall of sound. And all of that is topped with really great vocals/harmonies.

It's OK is probably one of my favorite post Holland songs.  I think it should've been the lead single.   I can't think of a better song to announce that The Beach Boys were back after a three year hiatus.   I think it could've become a summer of '76 anthem, but of course, it was released in the fall for some reason. 
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« Reply #127 on: January 19, 2018, 11:08:05 AM »

Part of me wishes that they had continued in the Holland frame of mind - environmentally/politically conscious, branching out artistically....heck, they could’ve made a whole series of albums in different countries as an experiment. But I’m also glad we got to experience both Holland and 15 Big Ones. The latter isn’t a favorite album of mine by any stretch, but it’s a whole new palette of colors that was pretty well done all things considered.

I think it's irritating how certain Beach Boys albums can be dismissed or flat out used as punching bags by large groups of fans because of the context surrounding the release (as opposed to the music itself). 15 Big Ones is a prime example. What if the band hadn't dried up for 3 1/2 years prior to its release? It's not 15 Big Ones fault that they didn't release Holland Part 2, 3, 4, 5 and 6 in the intervening years. We could have had both. We could have had a smoother transition. All I'm saying is, while many of the criticisms of 15 Big Ones are entirely valid, try finding a review of the album that doesn't talk as much, if not more, about Holland, Endless Summer, and the 'Brian's Back' campaign than the actual music. All that context is great, but is it more important than the music? If Carl and Dennis had misgivings about the music, should that affect my enjoyment of it? I don't think so. I've been listening to Party! a lot lately. Perhaps the most widely dismissed of their hit albums. Gee, that can't have anything to do with the timing of the release and the success of Barbara Ann, could it? It kind of disrupts that straight line that fans like to draw from Surfin' to GV.
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« Reply #128 on: January 19, 2018, 11:17:49 AM »

Part of me wishes that they had continued in the Holland frame of mind - environmentally/politically conscious, branching out artistically....heck, they could’ve made a whole series of albums in different countries as an experiment. But I’m also glad we got to experience both Holland and 15 Big Ones. The latter isn’t a favorite album of mine by any stretch, but it’s a whole new palette of colors that was pretty well done all things considered.

I think it's irritating how certain Beach Boys albums can be dismissed or flat out used as punching bags by large groups of fans because of the context surrounding the release (as opposed to the music itself). 15 Big Ones is a prime example. What if the band hadn't dried up for 3 1/2 years prior to its release? It's not 15 Big Ones fault that they didn't release Holland Part 2, 3, 4, 5 and 6 in the intervening years. We could have had both. We could have had a smoother transition. All I'm saying is, while many of the criticisms of 15 Big Ones are entirely valid, try finding a review of the album that doesn't talk as much (if not more) about Holland, Endless Summer, and the 'Brian's Back' campaign than the actual music. All that context is great, but is it more important than the music? If Carl and Dennis had misgivings about the music, should that affect my enjoyment of it? I don't think so. I've been listening to Party! a lot lately. Perhaps the most widely dismissed of their hit albums. Gee, that can't have anything to do with the timing of the release and the success of Barbara Ann, could it? It kind of disrupts that straight line that fans like to draw from Surfin' to GV.

I often lament the drop in quality from Holland to 15 Big Ones. 

But, from my perspective, even without comparing 15 Big Ones to Holland or using any kind of context, I still think it's an overall subpar album.   And probably one of those albums I wouldn't own if it weren't a Beach Boys album. 

If I'm in the right mood, Party can be a very fun album to listen to.   Even with just acoustic guitars and their voices (in much better shape in 65 than 76), the covers of Party sound much better than the ones on 15 Big Ones
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« Reply #129 on: January 19, 2018, 12:03:16 PM »

Yes, 15 BO was an incredible step backward after the stunning Holland, but I have to say that  "Just Once in My Life" has to be the absolutely best cover I've ever heard them attempt. They nail it better than the Righteous Brothers did. It alone was worth the price of admission. Of course, the corny, syrupy, god-awful
"Everyone's In Love With You" would have been better left in the can as should have "Sumhamina" witch bears the same the same description. Both of them are just awful.  Tongue
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« Reply #130 on: January 19, 2018, 12:06:40 PM »

As I've been trimming down my record collection over the last couple years, I've taken a hard look at where The Beach Boys records fit in my world, and which ones I actually play a lot.

This includes realizing I never spin the Surf's Up album, I don't gravitate to the early records, and my go-tos are Today through Friends, plus 15 Big Ones and Love You.

I like the Ten Years of Harmony comp for the rest of the brother era.

Sitting down and actually listening to LA Light Album or MIU is not really a great time for me. As much as something like "Sumahana" is lame, I don't care much for "Goin South" or even "Love Surrounds Me" either.

I do like Holland and Sunflower but you can feel that BW was really in the back seat, so it seemed like a different band. I like 20/20 better than either because it still has some carry over vibes from the Friends era.
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« Reply #131 on: January 19, 2018, 12:15:13 PM »

As I've been trimming down my record collection over the last couple years, I've taken a hard look at where The Beach Boys records fit in my world, and which ones I actually play a lot.

This includes realizing I never spin the Surf's Up album, I don't gravitate to the early records, and my go-tos are Today through Friends, plus 15 Big Ones and Love You.

I like the Ten Years of Harmony comp for the rest of the brother era.

Sitting down and actually listening to LA Light Album or MIU is not really a great time for me. As much as something like "Sumahana" is lame, I don't care much for "Goin South" or even "Love Surrounds Me" either.

I do like Holland and Sunflower but you can feel the BW was really in the back seat, so it seemed like a different band.

While Brian doesn't do a lot of lead singing on Sunflower, he was pretty instrumental in the songwriting.   It was the failure of that album to chart that really caused him to be less involved in the next three albums. 

When I first really really got into the Beach Boys catalog, I really got into the albums from 1966-73, with the exception of Smiley Smile.   So such so that I really didn't listen to the early material as much.  But, in the last year, I've found myself gravitating more to the 1963-66 period (Pet Sounds is the one constant in both periods).   Even though, with the exception of Pet Sounds, those albums are have their share of filler.   When they were on, The Beach Boys were so good during this time period.   
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« Reply #132 on: January 19, 2018, 01:41:21 PM »

Yes, 15 BO was an incredible step backward after the stunning Holland, but I have to say that  "Just Once in My Life" has to be the absolutely best cover I've ever heard them attempt. They nail it better than the Righteous Brothers did. It alone was worth the price of admission.

Couldn’t agree more! I love how Brian’s putting his all into his vocal parts (to the point of cracking his voice at one point) and it works perfectly with the pleading of the narrator.
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« Reply #133 on: January 19, 2018, 01:49:26 PM »

BW's one man wall of sound! Cool Guy
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And production aside, I’d so much rather hear a 14 year old David Marks shred some guitar on Chug-a-lug than hear a 51 year old Mike Love sing about bangin some chick in a swimming pool.-rab2591
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« Reply #134 on: February 07, 2018, 11:46:06 AM »

BW's one man wall of sound! Cool Guy

Versus myKe's Wall of Slop.  Roll Eyes
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« Reply #135 on: February 08, 2018, 06:01:05 AM »

The covers on 15 Big Ones were quite inspired. When I read a mention of "Rock and Roll Music", I am just as likely to think BB as I am Chuck Berry. That's no mean feat by them.

It took me a long time to warm up to 15 Big Ones. ‘It’s OK’ I disliked immensely for years because of that cheesy opening “Fun is in its no sin” line. But years later I spun this record on vinyl full blast and the whole album just clicked.

The “find a ride” section of ‘Its Ok’ is one of the coolest codas they did in the 70s (the bass and sax are killer when you listen on a good sound system). Palisades Park has some really great vocal/instrumental moments. Susie Cincinnati has that great key change that makes the harmonies just burst to life. Mike’s ‘Everyone’s In Love With You’ has a really cool backing track and harmonies, despite the cheesy lyrics - but they fit with the whole album so it’s not a bad thing. ‘Had To Phone Ya’ has some great chord changes, and that telephone skit at the end is pretty cool.

The whole album has innocent charm, but yet it’s backed with this moog orchestra that channels Phil Spector’s wall of sound. And all of that is topped with really great vocals/harmonies.

Good to see some love for 15 Big Ones! The only song I tend to skip is Everyone's in Love with You. It's not bad but it sounds out of place. Other than that, I love all the great unusual arrangements and quirky little production touches on 15BO, pure Brian! I feel his 70s synth work (from American Spring/Funky Pretty to Love You) is still pretty underrated.
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« Reply #136 on: February 08, 2018, 06:54:32 AM »

Until I got the vinyl I tended to skip many of these tracks. But one night I put this on and really listened to the whole thing, that’s when I started to appreciate it. ‘Everyone’s In Love With You’ is probably my least favorite track, but it doesn’t feel out of place on the record so I don’t hate it.

Someone recently posted a quote regarding Love You and how advanced Brian’s moog usage was on that record. I personally think that the moog/synth use on 15 BO is exceedingly better and far more advanced. Love You seems pretty bare bones in places where 15 BO uses every trick in the book for big sounding production. I hope this album gains popularity in years to come!
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« Reply #137 on: February 08, 2018, 07:58:38 AM »

15 Big Ones was a grower for me too. I quite like it now. There's a quirkiness to the retro covers and the Brian-centric tracks that was jarring at first listen, but I now find endearing. Many of the things I love about Love You are present in this album too.

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« Reply #138 on: February 08, 2018, 11:16:42 AM »

I always liked 15 Big Ones. As with SmileySmile, the hype around both meant people were ultimately disappointed. When you take them as standard BB albums...well SS is genius IMO (reinforced by recent archive releases)....just an incredible sounding album whereas 15 Big Ones is a really enjoyable listen.

MIU on the other hand took me years to warm too and I still only kinda like it. Must have been what Dennis said about it  Grin

and back to topic....can SIP be salvaged......No.
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« Reply #139 on: February 09, 2018, 02:48:32 AM »

Something about 15BO doesn't click with me, although I love For Once In My Life and It's OK and a couple of others. The oldies and the Love You-type fuzzy production just don't suit each other. I don't think there's an out and out stinker on there really, but it just doesn't coalesce as a whole. Not a satisfying listen if you play the whole thing. The tracks on their own are better suited to adding to your own playlists.

MIU I don't care for at all. Possibly even my least played of the main studio albums - but that's only because I dip into SIP once a year because the sadist in me loves a good horror show - to whit, no it can not be salvaged.
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« Reply #140 on: February 09, 2018, 05:07:38 AM »

Not a big fan of MIU at all, even after years of trying to like it. The singing is pretty good and the songwriting has its moments but the arrangements are easily the most forgettable on any BB album up to that point. I like Sweet Sunday, Pitter Patter and of course My Diane, but as a whole this record feels incredibly bland and unimaginative. Love the video footage of Brian teaching everyone their parts for Mike Come Back to L.A., though, and would've loved to hear a finished version of that recording.
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« Reply #141 on: February 09, 2018, 08:52:18 AM »

I don't think there's an out and out stinker on there really, but it just doesn't coalesce as a whole. Not a satisfying listen if you play the whole thing. The tracks on their own are better suited to adding to your own playlists.
That's fair, I'd have to agree with that too.

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« Reply #142 on: February 09, 2018, 09:01:10 AM »

I don't think there's an out and out stinker on there really, but it just doesn't coalesce as a whole. Not a satisfying listen if you play the whole thing. The tracks on their own are better suited to adding to your own playlists.


I think this could be used as a blanket statement for every post Holland Beach Boys album.
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« Reply #143 on: February 09, 2018, 10:02:53 AM »

Summer in Paradise can most certainly be salvaged -- from the landfill where they dumped all the unsold copies.
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« Reply #144 on: February 09, 2018, 11:52:00 AM »

I think Surfin' 92 could be easily salvaged for Love's new rumored project, Keepin' The Love Alive. More vocal processing and a guest rap from Uncle Kracker would be all that song needs to fit part and parcel with Love's current solo sound.
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« Reply #145 on: February 09, 2018, 01:22:16 PM »

I don't think there's an out and out stinker on there really, but it just doesn't coalesce as a whole. Not a satisfying listen if you play the whole thing. The tracks on their own are better suited to adding to your own playlists.


I think this could be used as a blanket statement for every post Holland Beach Boys album.

Are you really not satisfied when you complete your listening of TWGMTR? I mean, there may be some duds on there (though I’ve grown to like the duds) but as a whole it is a pretty satisfying listen...in that I don’t take off my headphones and feel negative thoughts about the album. Overall it’s a happy/good listening experience. But that’s just my opinion.
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« Reply #146 on: February 09, 2018, 06:58:32 PM »

I don't think there's an out and out stinker on there really, but it just doesn't coalesce as a whole. Not a satisfying listen if you play the whole thing. The tracks on their own are better suited to adding to your own playlists.


I think this could be used as a blanket statement for every post Holland Beach Boys album.

Are you really not satisfied when you complete your listening of TWGMTR? I mean, there may be some duds on there (though I’ve grown to like the duds) but as a whole it is a pretty satisfying listen...in that I don’t take off my headphones and feel negative thoughts about the album. Overall it’s a happy/good listening experience. But that’s just my opinion.

Personally, I love TWGMTR, but I think its partly due to my really getting into the catalog in the summer of 2012. It seems as the album approaches its sixth birthday, fan opinion isn't as positive. 
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« Reply #147 on: February 09, 2018, 07:27:41 PM »

I don't think there's an out and out stinker on there really, but it just doesn't coalesce as a whole. Not a satisfying listen if you play the whole thing. The tracks on their own are better suited to adding to your own playlists.


I think this could be used as a blanket statement for every post Holland Beach Boys album.

Are you really not satisfied when you complete your listening of TWGMTR? I mean, there may be some duds on there (though I’ve grown to like the duds) but as a whole it is a pretty satisfying listen...in that I don’t take off my headphones and feel negative thoughts about the album. Overall it’s a happy/good listening experience. But that’s just my opinion.

Personally, I love TWGMTR, but I think its partly due to my really getting into the catalog in the summer of 2012. It seems as the album approaches its sixth birthday, fan opinion isn't as positive. 

What a shame if that’s the case. It’s not perfect, but it certainly has really top-notch music on it. I wonder what it’s reputation will be in 30 years.
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« Reply #148 on: February 09, 2018, 07:33:17 PM »

I don't think there's an out and out stinker on there really, but it just doesn't coalesce as a whole. Not a satisfying listen if you play the whole thing. The tracks on their own are better suited to adding to your own playlists.


I think this could be used as a blanket statement for every post Holland Beach Boys album.

Are you really not satisfied when you complete your listening of TWGMTR? I mean, there may be some duds on there (though I’ve grown to like the duds) but as a whole it is a pretty satisfying listen...in that I don’t take off my headphones and feel negative thoughts about the album. Overall it’s a happy/good listening experience. But that’s just my opinion.

Personally, I love TWGMTR, but I think its partly due to my really getting into the catalog in the summer of 2012. It seems as the album approaches its sixth birthday, fan opinion isn't as positive. 

What a shame if that’s the case. It’s not perfect, but it certainly has really top-notch music on it. I wonder what it’s reputation will be in 30 years.

Unfortunately, I think its rep will continue to decline as the novelty wears off.  That tends to happen with one off reunion albums.  Van Halen released a solid album earlier in 2012 that's been all but forgotten.  Fun fact, both the Van Halen and Beach Boys comeback albums missing hitting #1 on Billboard due to Adele.

For me, its one of my favorite BB albums.  Especially from a consistency standpoint. 
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« Reply #149 on: February 09, 2018, 08:44:45 PM »

Summer in Paradise is actually the best BB album from a, uh, "consistency standpoint".
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