Official TLOS Album Reviews

[carl r]

My main criticism of the lyrics on TLOS is that perhaps there aren't enough laugh out loud moments. Put all my fruit in the sack, he speaks in such a manly tone. That kind of thing. Mexican Girl could have been an instrumental or a narrative backing. Too much to expect random Tourettes "Ding Dang" expletives I guess. But I don't think the lyrics are that bad, compared to some of his worst. I really like "Live Not Live" and I maintain that "California Role" is in fact taking the mickey.

That said the rock numbers are pretty nonsensical. "Morning Beat" for example - pretty much doob-doob-doob-doob-dooby-doo-doo.  Has anyone notice the similarity between the verses of this and "White Lightnin"?

[smile-holland]

I hate female hair loss!

 

But there's a balance to everything. No, the lyrics aren't generally the most important thing in a Beach Boys record for me, but that doesn't mean I want them to be bad. And if they have to be bad, I prefer Brian's silliness and irreverence to banal summertime and story-of-Brian fare. This album, in my opinion, is pretty bad in that regard. But that said, it's in some ways my favorite of his solo albums. I love it.

It's strange though. Most of us would agree that at the time of SMiLE we also find the lyrical content (with VDP) very an integral part of the whole project (and whether we don't have a clue what they mean of we all have a different opinion on it) and love most/all of it. And now we have VDP amongst the lyrical contributors (let alone Scott’s and Brian’s choice of words), and yet it doesn’t seem to grab us? Did we expect more of Brian & co. this time? Do we regard TLOS too much as a final statement, his last musical/lyrical contribution ever to mankind, proving “he can still do it”? Meaning that deep inside we fear a retirement in the near future (which –thinking of it – isn’t such a strange thought). Or did the fact that the album (or the concerts that started it) was announced and presented as a theme-based selection of songs set up higher expectations than usual?

Brian solo participated with co-writers such as Landy, Joe Thomas, Andy Paley, Steve Kalinich, etc. Nothing wrong with that I think, not great either, but did we really bother then? (not that I can remember, but I might've missed a few discussions in the past)
I think music and lyrics blend well together in TLOS, more than on any of his other records (SMiLE not withcounted). And I admit I mostly like TLOS for the melodies, moodchanges, emotion, etc., and less for the lyrical content. But I do like the fact that – as a whole – it does have some cohesiveness in both the music and the lyrics. Doesn’t have to be an A+ on language on his (school)report for this album. We didn’t do that for all the greatest hits from the early 60ies either. Music/production was near perfection at times, the lyrics described perfectly the California dream and fitted well with the music. But are we going to unravel the lyrical degree of – for example – California Girls, Fun Fun Fun, or Surfin’ USA as well? I love them, don’t even think of wanting to hear a single alternative lyric, don’t misunderstand me on that, but I don’t look for a deeper psychological / filosophical meaning of the words either, and I’m pretty sure Brian & Mike weren’t thinking that either at the time (we like girls, driving is fun, the surf is up, so we write about them/it).

Can we compare California Girls to California Role? No not really I think. Different times, different musical approach, age, etc. But what I’m trying to say is that I love Brian’s musical output, whether it’s from the early days, his creative peak, the rare but beautiful and sometimes raw material from the (early) 70ies, or his current solowork. Lyrics were and are not the most important aspect of it. And if that’s above the average I see that as a bonus. Whether the TLOS-lyrics are better or not doesn’t really matter to me, although I think they do just fine, and some even better. If Brian can keep future output up to this level, I don’t complain at all. And I do hope that this is not the final release of BW-music.

But that’s my opinion of course.

[Ron]

"Genius is the ability to make something very complex seem very simple." - Brian Wilson, interview about TLOS, 2008

[carl r]

Not sure who said this, but to paraphrase: "Beach Boys music moves you without you wanting it to." It's not the Beach Boys, but TLOS works on this level.

[the captain]

Live Let Live. ... the TLOS version is my least favorite song on the album. Even the music isn't as cool.

Glad to see we can keep alive the tradition of our opinions being almost polar opposites.  Breaking in that tradition, I agree that the Arctic Tale lyrics are better. But the music, I think, is miles better on the TLOS version. I love it.

[phirnis]

Bought my copy today.

I find the extra-verse of Southern California to be incredibly moving. It's like a great artist realizing he's but a mortal after all, yet without the biterness often associated with such subject matter.
Love the synthesizer swirl in Going Home!

Great overall production, and great vocals by everybody.

[shelter]

I got the album today... I deliberately did not listen to any leaked demos or preview clips or promo stuff before today... Because I didn't want to ruin the excitiment of listening to the actual album for the first time and hearing nothing but new stuff (well, except for Midnight's Another Day, that song was such a hype here that I couldn't resist)... And I really have to say that it's way beyond anything I hoped for, let alone expected. Apart from BWPS, this really is probably the best album that Brian had anything to do with since 1971...

[Pablo.]

A fine album. Scott Bennett is the best collaborator Brian had since Andy Paley (Darian is great but he didn't write with him). Brian's singing is his best in a decade, and the idea of having the band singing backings, even leads, works for the better.

Having said that, I think that the concept (narrative segues, reprises, etc.) makes this album much stronger than it actually is when it comes to the songs itself. MAD asides, he has written lots of songs (certainly good) like these on the last 25 years. The concept, performance and production make the difference.

And while Paul Mertens' arrangements are quite good and suitable for Brian's, it would have been great to have Van Dyke Parks (check the great new album of Inara George) writing them.


To Jez: Great analysis. Keep posting those jazz takes on You Tube!

[Wirestone]

My review, which will run in the paper I work for next week. It's um -- quite positive.

By CLAY MCCUISTION
Monitor staff

A lushly orchestrated tribute to life and love in Southern California, That Lucky Old Sun is a late-career triumph for Beach Boys mastermind Brian Wilson. The album, full of catchy tunes and choral vocals, would sound good coming from anyone. But the fact that it comes from a 66-year-old who has endured mental illness, drug abuse and family tragedy makes it a minor miracle.
Wilson’s weathered voice can still soar when the mood strikes, and his devoted backing band members and co-writers have united to create an album of profound nostalgia, pain and humor. It isn’t Pet Sounds, the Beach Boys’ 1966 teen-angst classic. But what is?

Planting the seeds
The seeds for this comeback were planted four years ago, with the resurrection of the legendary Smile album. Originally meant for the Beach Boys, that project was abandoned by Wilson in 1967 amid group infighting. Over the next four decades, it became known as a lost pop-psychedelic masterpiece.
Wilson returned to Smile in 2004. He had been on the comeback trail since the ’80s, writing songs and releasing a handful of solo albums that veered from inspired to insipid. But no one expected this. And no one expected the finished Smile to be any good.
It was.
The ensuing tour, album and live DVD were rapturously received. Wilson was hailed, once again, as a pop music genius. That, so it seemed, was that. Long-delayed project finished, career capped.
But no one told Brian Wilson. Instead, freed from the psychic weight of a lost classic, he began composing new songs. A lot of new songs. With band member Scott Bennett assisting, he wrote about exercising, love and Los Angeles. And the songs sounded different. They took risks with content and structure that Wilson hadn’t tried for years. They breathed with new life and energy.
In an interview with London’s Independent last year, he described it this way: “Something just got into me. I wrote 18 songs last summer. When it rains it pours, and I put my buckets out and caught everything I could”

Elaborate presentation
The results of that deluge of inspiration arrived Tuesday in That Lucky Old Sun. The 10 new songs are linked by poems from Smile collaborator Van Dyke Parks and the old standard that gives the album its title. That’s right – it’s a concept album. What’s more, the concept (following the California sun from morning to night) actually works.
The concept came after the songs. In 2007, Wilson was commissioned by the Royal Festival Hall in London to create a song suite. Bennett, fellow band member Darian Sahanaja and Wilson took the new songs and stitched them together, adding more about Southern California and Wilson’s past.
This should not have worked – concept albums rarely do. Who listens to Pink Floyd albums for the storylines? But Wilson has bested that challenge before; Smile, with its evocations of frontier America, worked. And so does That Lucky Old Sun.
Perhaps it’s because the concept’s vagueness. Perhaps it’s because Brian Wilson’s songs have so often turned to California and his own life for inspiration that it doesn’t feel like a departure. Whatever the case, the songs, poems and musical fragments weave together beautifully.

Inside the album
Every song works in its new context, but standouts include the 1960s-style “Good Kind of Love,” the pro-exercise stomper “Oxygen to the Brain” and the bluesy “Goin’ Home.” An honorable mention should go to “Mexican Girl,” a tune so charmingly dorky it could only be written by a 60-something rock star who’s spent too much time ogling LA’s Hispanic population.
The album’s centerpiece, though, stands as “Midnight’s Another Day,” a gloriously despairing evocation of the dark night of Brian Wilson’s soul. A mournful melody, impassioned lead vocal and subtle string arrangement combine for four minutes of overwhelming emotion.
Does That Lucky Old Sun succeed on all fronts? Of course not. Not all of Bennett’s lyrics hit the mark (Beach Boys lyrics being notoriously problematic from the ’60s onward). Wilson’s delivery of Parks’s poems can stray off course. And at 40 minutes, the album could easily include a few more new Wilson-Bennett songs.
Yet the sheer vibrancy of creative vision overwhelms any shortcomings. This is not a Beach Boys album. This is not a revival of a Beach Boys project. This is a true Brian Wilson album, produced with the band and co-writers who musically support him today.
Brian Wilson has worked for, and earned, the triumph that is That Lucky Old Sun.

[the captain]

I enjoyed reading your review, Clay.

[Wirestone]

Luther: Thanks. I appreciate that, especially as I know that you (and most people) probably don't agree with all of it. It's also perhaps a tad too rapturous -- easy to do when I have all these adjectives just hanging around with nothing else to do.

[the captain]

Actually I agree with a lot of it. I think we've found some of the same strengths and weaknesses in the album. Mine may just be a bit more tempered on the positives. It's my nature. I hope you'll post the whole thing after it runs.

[Wirestone]

Luther: That is the whole thing, sad to say. I meant preview in the sense that it was just an advance showing. And don't get me wrong, I could write more. But I think I'm pushing my luck with this much as it is.

[Roger Ryan]

Yes, thanks for sharing that, Clay. Concisely presented, but emphasizing  those aspects that matter most.

I would like to point out, however, that I often do listen to Pink Floyd albums for the storylines!

[the captain]

I try not to listen to my Pink Floyd albums for any reason.

[Amy B.]

I was in Target today and saw a single copy of TLOS already out. It was in the wrong spot anyway, so I took the liberty of moving it to the best sellers section where random people who don't know what to buy but are looking for something that seems like it might be good might notice it.   

[Jonathan Blum]

My review, which will run in the paper I work for next week. It's um -- quite positive.

And very, very well said!

Cheers,
Jon BLum

[shelter]

Excellent review, Clay!

[TonyW]

My review, which will run in the paper I work for next week. It's um -- quite positive.

And very, very well said!

Cheers,
Jon BLum

Hi Jon, what paper do you write for, I'll look out for it.

Also I haven't checked with the local record store but seeing you have done a review I guess its actually getting a release in Australia - what info do you have, is it this week?

UPDATE: A bit of searching and I see Sanity have TLOS listed as a Sept 6 release.

[Beach Bum]

Loved the review claymcc! WELL DONE!

Will post mine soon (sure to make some people sick).

[mjw63]

WARNING- the following is a bit of a ramble 

Well I got my copy today and listened for the first time in high fidelity (I gave it on Saturday and listened to the stream). I listened to the leaked demos a fair bit earlier in the year as well.

I'm quite smitten with it. I guess everyone here is familiar with the experience of listening to a  new BW record- it is extremely hard to listen to it without being conscious of his history, or without trying to place every note in the context of his previous work, both released and aborted. It is very difficult not to play the game of "who did what?" with his collaborators (something you can do with any of the great BB albums of the 70s). I did the same thing I did the day Smile came out- tried to sneak listens at work between meetings that seemed to go on forever, then came home, ate a tasty meal, lit a candle and gave it my full attention.

First things first- it sounds incredible. The production is the purest and most sympathetic that he has had I think. His vocals are also the top of any of his solo albums for me. He sounds like he's having the time of his life on Going Home. I want him to write lots more songs with Scott Bennett! I think the arguments about whether he writes stuff or not are kind of redundant. Would this music exist unless Brian Wilson had sat in that room? Nope. If he didn't scratch the violin parts on papyrus a year before going in, I don't give a shite 

It struck me as I listened to it that this is pretty much the album he could have made at this stage in his career had he not been absent for many years. Compare this to recent work by his contempories and it has a similar feel to me. Memory Almost Full ends in autobiography, and the end of this is amazingly similar in tone. Hearing him sing "I'm glad it happened to me" is heart warming. Then you get to thinking about what he would have followed Smile with in 1969. Probably something a lot like this- it feels like a step back towards a big pop album from Smile. Not that Smile isn't poppy- but this is more conventional. In fact, it is much more similar to Smile than I thought. There are the same shifts of mood, the same sense of nostalgia, the same desire to weave a mythical tapestry from threads of pop culture and the same flashes of humour. All quite deliberate of course, but also extremely nicely done.

There are faults. The narratives occasionally sound forced and clunky, and I'm never a fan of the bonkers exercise numbers. I can feel Oxygen to the Brain growing on me though, and at least it's not H.E.L.P is on the way. Some of the lyrics cloy (I give you "I hardly ever washed my face"), and I get a sense that it would be cool to have songs based not on the wide sweep of his life experience but on the everyday of where he is now (something like Busy Doin' Nothin) But I'm really loving this record more than I thought. I think its a really essential addition to his work, and I think it's impressive without qualification.

I'll now stop rambling and shuffle off to bed to listen again. Enjoy it!

[Jonathan Blum]

My review, which will run in the paper I work for next week. It's um -- quite positive.

And very, very well said!

Cheers,
Jon BLum

Hi Jon, what paper do you write for, I'll look out for it.

...I think you've confused me with Clay!  He's the newspaperman who's doing the review; I'm a writer too, but as a science fiction novelist there's not all that much call for album reviews.  :-)  (Though in a book we did in 2001, my wife and I did slip in a mention of a reconstructed Smile being performed on a distant planet in a few hundred years' time...)

I probably will be doing a review in my blog, though!

Cheers,
Jon Blum

[Jason]

The completion in 2003 and subsequent premiere in 2004 of the legendary Smile album by Brian Wilson was greeted worldwide with open arms, something much of Wilson’s work either with or without the Beach Boys since 1967 had not been. The shows were an artistic, if not commercial, success, and the release of a studio recording and subsequent Christmas LP aside, fans wondered what the originator of the “California sound” would come up with next.

That Lucky Old Sun was the response.

This album, conceived and written by Wilson, Van Dyke Parks, and Scott Bennett mainly in 2006 and 2007, was delivered to audiences at Royal Festival Hall as the response to the Hall’s request for a new work to be premiered there. The shows, like in 2004 with Smile, were also artistically successful.

Now, a year later, we have a studio recording of this work. The interim period between the London shows and the completion of the LP were trying for the Brian Wilson camp, with rumours of departing band members, leaked demo recordings, and more message board prattling that Brian was even more outside of the driver’s seat of his career.

That Lucky Old Sun is a quirky listen to say the very least, sounding like the bastard offspring of Pet Sounds, Smile, and The Beach Boys Love You, with more elaborate orchestrations coupled with sillier, more outlandish synthesized textures. The lyrics are equally ambitious, alternating between warm nostalgia, cheeky “clever” words, and naked introspection.

However, the fan reaction has been somewhat mixed. Some see the LP as a fresh sound for Brian in the wake of Smile, some see it as a has-been going on way past his expiration date. These are both true to an extent, but what Brian did on this LP is so monumental that my next statement will be a head-scratcher.

Brian created another Love You with this album.

Think about it. Predominantly goofy lyrics (“hey bonita muchacha, dontcha know that I wantcha?”), relatively simple music (don’t let the orchestra fool you), and plenty of that “Brian Wilson-ness” that has defined pretty much everything he did after 1967. And there’s a love it or hate it feeling about the LP. You get it or you don’t.

Brian’s reclaimed some of his earlier mystique with this LP, and that’s admirable for an artist of his age. I don’t see That Lucky Old Sun becoming a classic, but for a 66 year old Wilson, it’s perfectly acceptable if not spectacular.

[Jonathan Blum]

...The bit I'm not clear on is how "Que bonita muchchacha / Dontcha know that I wantcha" is supposedly different from "I'm pickin' up good vibrations / She's givin' me the excitations", or "Aruba, Jamaica, ooh I wanna take ya".  These don't hit me as '70s brian-damage lyrics -- a song about Johnny Carson this is not.  It's the good-old-fashioned boy-girl thing, in all its beautiful dumbness.

In fact, the thing that's striking me so far about the lyrics is how there's more going on than first appears on the surface -- even "Mexican Girl" manages to tie in with the overall motif of the healing power of music.  And if you compare "Oxygen To The Brain"'s sophistication -- both its point about not wasting your life, and its use of those running images of dawn, music, and reawakening -- to previous health-songs like "Too Much Sugar", it's like night and day.  As it were...

Cheers,
Jon Blum

[Jason]

I don't find anything incredibly profound in any of the lyrics on TLOS beyond Midnight's Another Day. In fact, I implied that the silliness of the lyrics was to the album's benefit.

Sure, there's more going on, yeah, but silly is silly and opinions are opinions.