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Author Topic: MIU .. wow underrated album  (Read 11485 times)
Alex
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« Reply #50 on: February 19, 2012, 09:57:38 PM »

I love Winds of Change. And I'm not joking.
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« Reply #51 on: February 19, 2012, 10:14:20 PM »

The songs I like from MIU are...
-Hey Little Tomboy
-Belles of Paris
-Sweet Sunday Love
-My Diane
-Match Point
-Winds of Change

The rest is crap
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"Over the years, I've been accused of not supporting our new music from this era (67-73) and just wanting to play our hits. That's complete b.s......I was also, as the front man, the one promoting these songs onstage and have the scars to show for it."
Mike Love autobiography (pg 242-243)
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« Reply #52 on: February 19, 2012, 10:20:41 PM »

I've always loved this record.

Brian's voice sounds great.

Good songs like Pitter Patter, Belles of Paris, Woncha Come Out Tonight, She Got Rhythm, My Diane...

People just hate on it like they hate on Mike Love. It's a good record.
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« Reply #53 on: February 19, 2012, 10:59:37 PM »

The best thing about MIU, is the Dennis Wilson quote we got as a direct result of it.
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« Reply #54 on: February 19, 2012, 11:28:00 PM »

While it doesn't hit as many highs, there are less songs I dislike on MIU than Love You.
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« Reply #55 on: February 20, 2012, 02:23:34 AM »

With Brian, Carl and Dennis all in the midst of break ups in the late 70s, there was great potential for the ultimate 'divorce album' of the decade after Blood on the tracks. My Diane, Baby Blue, Angel Come Home, and Love Surrounds me all show the potential for such an idea. The brothers singing leads on compositions which are perhaps still too raw for the original writer to sing gives them extra power. The others would never have gone for such 'a downer' of an idea but it could have been an interesting direction that the LA/MIU sessions could have taken.
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« Reply #56 on: February 20, 2012, 03:29:59 AM »

Ye Gods, MIU Album is a shocker that has all the elements a BB's record shouldn't - boring, lifeless tunes, yawn production/sonics and all-round woeful lyrics delivered sans emotion.

The only good thing about it is it stops me from listening to LA ( because I couldn't be stuffed skipping through the tracks) - I recommend you give away your copies to someone you don't like.

That Match Point always reminds me of "Howzat", another woeful love affair in sporting (well, cricket) terms, from a year or so earlier.
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« Reply #57 on: February 20, 2012, 05:47:12 AM »

I'm a sucker for this album, I like maybe 70%

I would never play it around another human though

rofl LOL
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« Reply #58 on: February 20, 2012, 05:50:28 AM »

Brians voice is so great on "wontcha come out tonight", it has so much feeling.
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SMiLE Brian
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« Reply #59 on: February 20, 2012, 05:53:47 AM »

I'm a sucker for this album, I like maybe 70%

I would never play it around another human though
a fan listening party would be fun. Grin
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And production aside, Id 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 #60 on: February 20, 2012, 05:54:11 AM »

To me it's the second worse Beach Boys album behind Summer In Paradise, the only good thing is My Diane.

I really like SIP...

I love the lyrics "I can't wait for the summer cause it's gonna be a summer of love, hey now, well it's a love thing." pure genius!  Cool
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busy doin nothin
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« Reply #61 on: February 20, 2012, 08:59:28 AM »

About five years ago there used to be some people on this board who really appreciated and loved MIU -- a guy named Jason Penick was a true and great advocate of the album.  I agreed with him then, and still think it's a great album.  It's really fun if you don't take it too seriously.

"She's Got Rhythm" -- great album opener, love the verses musically
"Come Go with Me" -- not Al's best cover idea, almost sounds like a solo track, but not terrible
"Hey Little Tomboy" -- sonically fastastic, great group involvement in vocals, lyrics have to be taken as a joke
"Kona Coast" -- musically based on "Hawaii," the bridge is pretty creative
"Peggy Sue" -- uninspired
"Wontcha Come out" -- really nice Brian vocal, sweet BW composition
"Sweet Sunday" -- I really love this one, great Carl vocal, great Be My Baby-inspired arrangement
"Belles of Paris" -- music is great, lyircs are sort of silly but still they're kind of fun
"Pitter Patter" -- funky chords & harmonies, a creative song
"My Diane" -- one of the ten greatest songs ever recorded, Denny's vocal utterly heartbreaking
"Matchpoint" -- almost as great as "My Diane," people need to get over the tennis metaphors -- they work!
"Winds of Change" -- kind of treacly but not bad
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« Reply #62 on: February 20, 2012, 10:03:52 AM »

About five years ago there used to be some people on this board who really appreciated and loved MIU -- a guy named Jason Penick was a true and great advocate of the album.  I agreed with him then, and still think it's a great album.  It's really fun if you don't take it too seriously.

"She's Got Rhythm" -- great album opener, love the verses musically
"Come Go with Me" -- not Al's best cover idea, almost sounds like a solo track, but not terrible
"Hey Little Tomboy" -- sonically fastastic, great group involvement in vocals, lyrics have to be taken as a joke
"Kona Coast" -- musically based on "Hawaii," the bridge is pretty creative
"Peggy Sue" -- uninspired
"Wontcha Come out" -- really nice Brian vocal, sweet BW composition
"Sweet Sunday" -- I really love this one, great Carl vocal, great Be My Baby-inspired arrangement
"Belles of Paris" -- music is great, lyircs are sort of silly but still they're kind of fun
"Pitter Patter" -- funky chords & harmonies, a creative song
"My Diane" -- one of the ten greatest songs ever recorded, Denny's vocal utterly heartbreaking
"Matchpoint" -- almost as great as "My Diane," people need to get over the tennis metaphors -- they work!
"Winds of Change" -- kind of treacly but not bad


I think that when you have to use as many qualifiers as you do it tends to disprove your point.
 "My Diane" is a good song. I feel safe in asserting that it is not one of the 10 greatest songs ever recorded.
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« Reply #63 on: February 20, 2012, 10:26:16 AM »

I'm a sucker for this album, I like maybe 70%

I would never play it around another human though

Same here!

I would like to add that MIU through KTSLA the vocal blend wasn't working.
How so? How does Peggy Sue, Good Timin' and Goin' On, etc, have the vocal blend not working? Plus people who do like MIU, like it for just that reason; it sounds like The Beach Boys.
To me it doesn't sound like the Beach Boys. It sounds like the Beach Boys trying to sound like the Beach Boys and not quite getting there. That's the biggest problem with the post Holland material is that they spent too much energy trying to sound like an idealized version of "The Beach Boys"...something they had naturally evolved away from. Its like middle aged men trying to project an adolescent vibe, which in practice just makes them seem out of touch and at times creepy.
I remember when Good Timin' was first hitting the radio, folks would often comment to me "Now, that sounds like The Beach Boys". So, if it was The Beach Boys trying to sound like The Beach Boys... Mission accomplished!

What I meant was that each group member seemed to be singing a part other than what would be his regular one in the harmony stack. Part of what makes this the ultimate vocal group is the ease with whihc each guy sings his part, everything natural and unstrained. This changed in the late 70s recordings, when, with two destroyed voices, Alan and Bruce trying to cover for Brian, Mike singing too high, and the magic of the middle voices missing, it all sounded not right. For whatever reason, the blend even with Dennis and Brian in it sounded good enough in Love You (adding Marilyn worked well, maybe). But it doesn't in KTSLA, LA, or MIU. And if I remember correctly, this was one of the reasons expressed by Carl in his manifesto when he left the group for a while: that each guy sings again his original part.
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« Reply #64 on: February 20, 2012, 10:32:47 AM »

About five years ago there used to be some people on this board who really appreciated and loved MIU -- a guy named Jason Penick was a true and great advocate of the album.  I agreed with him then, and still think it's a great album.  It's really fun if you don't take it too seriously.

"She's Got Rhythm" -- great album opener, love the verses musically
"Come Go with Me" -- not Al's best cover idea, almost sounds like a solo track, but not terrible
"Hey Little Tomboy" -- sonically fastastic, great group involvement in vocals, lyrics have to be taken as a joke
"Kona Coast" -- musically based on "Hawaii," the bridge is pretty creative
"Peggy Sue" -- uninspired
"Wontcha Come out" -- really nice Brian vocal, sweet BW composition
"Sweet Sunday" -- I really love this one, great Carl vocal, great Be My Baby-inspired arrangement
"Belles of Paris" -- music is great, lyircs are sort of silly but still they're kind of fun
"Pitter Patter" -- funky chords & harmonies, a creative song
"My Diane" -- one of the ten greatest songs ever recorded, Denny's vocal utterly heartbreaking
"Matchpoint" -- almost as great as "My Diane," people need to get over the tennis metaphors -- they work!
"Winds of Change" -- kind of treacly but not bad


I think that when you have to use as many qualifiers as you do it tends to disprove your point.
 "My Diane" is a good song. I feel safe in asserting that it is not one of the 10 greatest songs ever recorded.
You know people can like stuff even though it is quirky or whatever. There are plenty of songs throughout the catalog that I like just for the music, or lyrics, or the performance alone. A lot of you guys like My Diane, but it is one of my least favorites, though I do like the heartfelt lead by Dennis.
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The Brianista Prayer

Oh Brian
Thou Art In Hawthorne,
Harmonied Be Thy name
Your Kingdom Come,
Your Steak Well Done,
On Stage As It Is In Studio,
Give Us This Day, Our Shortenin' Bread
And Forgive Us Our Bootlegs,
As We Also Have Forgiven Our Wife And Managers,
And Lead Us Not Into Kokomo,
But Deliver Us From Mike Love.
Amen.  ---hypehat
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« Reply #65 on: February 20, 2012, 10:35:30 AM »

I'm a sucker for this album, I like maybe 70%

I would never play it around another human though

Same here!

I would like to add that MIU through KTSLA the vocal blend wasn't working.
How so? How does Peggy Sue, Good Timin' and Goin' On, etc, have the vocal blend not working? Plus people who do like MIU, like it for just that reason; it sounds like The Beach Boys.
To me it doesn't sound like the Beach Boys. It sounds like the Beach Boys trying to sound like the Beach Boys and not quite getting there. That's the biggest problem with the post Holland material is that they spent too much energy trying to sound like an idealized version of "The Beach Boys"...something they had naturally evolved away from. Its like middle aged men trying to project an adolescent vibe, which in practice just makes them seem out of touch and at times creepy.
I remember when Good Timin' was first hitting the radio, folks would often comment to me "Now, that sounds like The Beach Boys". So, if it was The Beach Boys trying to sound like The Beach Boys... Mission accomplished!

What I meant was that each group member seemed to be singing a part other than what would be his regular one in the harmony stack. Part of what makes this the ultimate vocal group is the ease with whihc each guy sings his part, everything natural and unstrained. This changed in the late 70s recordings, when, with two destroyed voices, Alan and Bruce trying to cover for Brian, Mike singing too high, and the magic of the middle voices missing, it all sounded not right. For whatever reason, the blend even with Dennis and Brian in it sounded good enough in Love You (adding Marilyn worked well, maybe). But it doesn't in KTSLA, LA, or MIU. And if I remember correctly, this was one of the reasons expressed by Carl in his manifesto when he left the group for a while: that each guy sings again his original part.
I may be not remembering correctly, but most of what Carl was commenting on was live performance, not the studio albums.
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The Brianista Prayer

Oh Brian
Thou Art In Hawthorne,
Harmonied Be Thy name
Your Kingdom Come,
Your Steak Well Done,
On Stage As It Is In Studio,
Give Us This Day, Our Shortenin' Bread
And Forgive Us Our Bootlegs,
As We Also Have Forgiven Our Wife And Managers,
And Lead Us Not Into Kokomo,
But Deliver Us From Mike Love.
Amen.  ---hypehat
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« Reply #66 on: February 20, 2012, 02:16:10 PM »

I'm a sucker for this album, I like maybe 70%

I would never play it around another human though

Same here!

I would like to add that MIU through KTSLA the vocal blend wasn't working.
How so? How does Peggy Sue, Good Timin' and Goin' On, etc, have the vocal blend not working? Plus people who do like MIU, like it for just that reason; it sounds like The Beach Boys.
To me it doesn't sound like the Beach Boys. It sounds like the Beach Boys trying to sound like the Beach Boys and not quite getting there. That's the biggest problem with the post Holland material is that they spent too much energy trying to sound like an idealized version of "The Beach Boys"...something they had naturally evolved away from. Its like middle aged men trying to project an adolescent vibe, which in practice just makes them seem out of touch and at times creepy.
I remember when Good Timin' was first hitting the radio, folks would often comment to me "Now, that sounds like The Beach Boys". So, if it was The Beach Boys trying to sound like The Beach Boys... Mission accomplished!

What I meant was that each group member seemed to be singing a part other than what would be his regular one in the harmony stack. Part of what makes this the ultimate vocal group is the ease with whihc each guy sings his part, everything natural and unstrained. This changed in the late 70s recordings, when, with two destroyed voices, Alan and Bruce trying to cover for Brian, Mike singing too high, and the magic of the middle voices missing, it all sounded not right. For whatever reason, the blend even with Dennis and Brian in it sounded good enough in Love You (adding Marilyn worked well, maybe). But it doesn't in KTSLA, LA, or MIU. And if I remember correctly, this was one of the reasons expressed by Carl in his manifesto when he left the group for a while: that each guy sings again his original part.
I may be not remembering correctly, but most of what Carl was commenting on was live performance, not the studio albums.


You're right, I guess. But said problem occured on and off-stage
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« Reply #67 on: February 20, 2012, 06:44:51 PM »

...Shortenin Bread are the among the worst songs the BB's ever produced.

blasphemy.

Lol i was gonna say the same thing!!

The best thing about MIU, is the Dennis Wilson quote we got as a direct result of it.

Refresh my memory?
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« Reply #68 on: February 20, 2012, 07:18:35 PM »

Any album that has so much BW-written material can't be a total loss. And the vocals are often good.

The main problem is that Al really couldn't figure out how to produce the backing tracks. It all sounds very same-y.
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« Reply #69 on: February 20, 2012, 07:52:06 PM »

Quote
"I hope that the karma will f*ck up Mike Love's meditation forever. That album is an embarrassment to my life. It should self-destruct."

 Wink
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« Reply #70 on: February 20, 2012, 09:19:04 PM »

Quote
"I hope that the karma will f*ck up Mike Love's meditation forever. That album is an embarrassment to my life. It should self-destruct."

 Wink

Never a truer word spoken.
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« Reply #71 on: February 20, 2012, 10:04:27 PM »

It all sounds very same-y.

That is an interesting point, because often people say that exactly this is what is wrong with the 20/20 album: It has no coherent sound.

Actually I enjoy listening to selected tracks from MIU. It is pretty lightweight, I agree, but it is unpretentious, too, which I like. For some reason I cannot explain it reminds me of watching the Muppet Show.
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Check your privilege. Love & Mercy guys!


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« Reply #72 on: February 20, 2012, 11:32:56 PM »

For all it's flaws I must say that MIU doesn't sink as low as the worst tracks off 15 Big Ones, Love You, KTSA, BB85 or SIP.
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I'd rather be forced to sleep with Caitlyn Jenner then ever have to listen to NPP again.
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« Reply #73 on: February 21, 2012, 12:10:23 AM »

I like "Hey Little Tomboy" and "Wontcha Come Out Tonight". "Pitter Patter" almost sounds like a Sunflower outtake somehow but it's not a huge favorite of mine. "Sweet Sunday" is a nice song but was much more convincingly performed by The Honeys. "My Diane" is probably in my top 20 of fave BB songs ever.

Overall, M.I.U. somehow manages to be worse than than the sum of its parts. 2 stars from me.

Considering what came before (both Holland and Love You are genuine high points in my book, five-star material) M.I.U. is pretty bland. Considering what came after L.A. (which I think is decent and has a couple moments of greatness) it doesn't sound that bad I guess...
I think this record could have used some of the stuff that was left off, such as "Our Team" or maybe "Mike Come Back to L.A." (which I haven't heard of course but it sounds like it could be a fun tune).
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Nicko1234
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« Reply #74 on: February 21, 2012, 01:16:45 AM »

Any album that has so much BW-written material can't be a total loss. And the vocals are often good.

The main problem is that Al really couldn't figure out how to produce the backing tracks. It all sounds very same-y.

Al didn't produce the backing tracks, he produced the vocals and did a good job.

Ron Altbach did the music and Al has spoken about how difficult it was to work with such mediocre, unfinished backing tracks.
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