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Poll
Question: Rate Gettin' in Over My Head
5 - 5 (5%)
4 - 11 (10.9%)
3 - 39 (38.6%)
2 - 32 (31.7%)
1 - 9 (8.9%)
0 - 5 (5%)
Total Voters: 85

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Author Topic: Gettin' in Over My Head  (Read 72482 times)
Charles LePage @ ComicList
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« on: December 25, 2005, 07:53:37 PM »

Discuss, review and rate Gettin' in Over My Head, released June 2004.

« Last Edit: December 26, 2005, 06:53:45 PM by Charles LePage » Logged

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the captain
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« Reply #1 on: December 25, 2005, 08:34:24 PM »

A lot of filler, but I like it more than either the 88 album or Imagination because the production is more natural-sounding. Brian's vocals are pretty weak, and I wish that he had let the band handle all the backgrounds. But the first half of the album and SMITC make it all worthwhile.
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« Reply #2 on: December 26, 2005, 12:37:01 AM »

*ooff*
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« Reply #3 on: December 26, 2005, 03:45:13 AM »

Great songs, and finally real instruments. I agree that Brian did a half-assed job on the vocals, but I have to say it again: the songs are fantastic. "Soul Searchin", "GIOMH", "Desert Drive", "Saturday Morning In The City", "Fairy Tale" and "The Waltz" are all classics and show what a huge range of songwriting-styles Brian has.

Itīs also important to note that this album was some kind of training for SMiLE. He didnīt really produce a complete record for decades, so it was a great opportunity to get him used to the studio again.
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« Reply #4 on: December 26, 2005, 01:24:26 PM »

I liked this album a lot more when I first heard it, but the songwriting is only "kind of" there. Not enough class new material and hardly the best of the unreleased material.
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« Reply #5 on: December 28, 2005, 05:34:58 AM »

My considered opinion -

it sucks, majorly.

Quite simply, the worst/least essential (delete where applicable) BB solo album ever released, and that includes not only LBWL but also Bruce's effort.
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« Reply #6 on: December 29, 2005, 07:49:43 AM »

When I first brought it, I hated it. There was some decent songs (ie Desert Drive, the title track) but that was about it. It wasn't until this year I started listening to it fully again. I ended up being obsessed with tracks like You've Touched Me and Fairy Tale. I still don't like the Waltz but hey you can't have everything.
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Jason
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« Reply #7 on: December 29, 2005, 07:52:23 AM »

Scary thing about this album is that there are most likely a ton of outtakes from the sessions out there. If this is the best that could be picked, I don't know if I wanna hear the outtakes.
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Smilin Ed H
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« Reply #8 on: December 29, 2005, 10:02:28 AM »

This has to be one of the most disappointing albums ever.  The instrumental and vocal arrangements smother the handful of genuinely good songs, most notably Don't Let Her Know and the title track.  In fact the arrangement of DLHK is as bad as the version on SI.  Beyond this, some of the songs are just poor and lyrically emabarrassing (especially the Kalinich stuff).  Worse than the Lovester's solo?  Not as long as DLHK, GIOMH, Soul Searchin' and City Blues are there, even though the arrangements are terrible. There's not enough variety in the tone of the bvs and the lead vocals sound half-assed - very much like his lead for California Feelin' - and totally unlike the leads he sang for BWPS and most of the WIRWFC.  The sad thing is, we'll now never get a decent version of DLHK or GIOHM because these are the finished articles. At least there's the boot of the Paley version of GIOMH, but the earlier version of DLHK stinks too. I don't mind Soul Searchin on this but Elton's vocals on the opener are frighteningly bad.
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artie
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« Reply #9 on: December 29, 2005, 11:20:10 AM »

The Sweet Insanity tunes were much better back in '91/'92. Don't Let Her Know is too sterile and the lyrical changes stink. Same for Rainbow Eyes.

I like Gettin' In Over My Head (that opening is so reminiscent of "How Deep Is Your Love)...

The Waltz is fun, and Desert Drive, with the band's backing vox, rises above most of these. But there are some real clunkers (A Friend Like You, You've Touched Me, Make A Wish - which stunk on Sweet Insanity as well - and City Blues).

Have to disagree with Mr. Doe, though. Anything Brian does is, by its very virtue, better than the "best" product from Love or Johnston. At least we have some harmonies to enjoy.

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« Reply #10 on: January 03, 2006, 08:48:58 AM »

2/3 righteous, 1/3 awful.

The 2/3 outweighs the awful in my opinion -- and "Desert Drive" is up there in my favorite Brian solo trax list, as is "How Could We Stil Be Dancing."
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« Reply #11 on: January 03, 2006, 07:36:28 PM »

I happen to like the album. That said, some of the vocals on "Fairy Tale" make me cringe. Also, I really wish Brian would stop doubletracking his leads.
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« Reply #12 on: January 03, 2006, 08:33:55 PM »

After forty-something years of double-tracking, I don't think he's going to give it up now.
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« Reply #13 on: January 04, 2006, 03:42:45 AM »

Isn't this one of Ian's favorite albums?

 :D
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« Reply #14 on: January 04, 2006, 08:03:05 AM »

I ended up giving this one a 2.  While the album itself is nearly unlistenable, there ARE good songs on here.  They're hard to find underneath all the bad production and lack of band vocals, but they're there. 

It's better then LBWL.
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« Reply #15 on: January 04, 2006, 11:28:45 AM »


Have to disagree with Mr. Doe, though. Anything Brian does is, by its very virtue, better than the "best" product from Love or Johnston. At least we have some harmonies to enjoy.



Explain why. If you're gonna make such a radical statement, you'd better be ready to back it up.
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artie
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« Reply #16 on: January 04, 2006, 11:49:52 AM »


Have to disagree with Mr. Doe, though. Anything Brian does is, by its very virtue, better than the "best" product from Love or Johnston. At least we have some harmonies to enjoy.



Explain why. If you're gonna make such a radical statement, you'd better be ready to back it up.

 I just happened upon this post and saw your note -

How is that radical? Brian Wilson is one of the most talented artists of his era, and some may argue he is THE most talented. Bruce Johnston has some talent, and Mike Love to a lesser degree has some. But they were along for Brian's ride. Anyone who has to explain why Brian Wilson's compositions and arrangements are better than Mike Love's doesn't have to do much to "back it up"... it's like, would you rather see a poorly played game by the New York Yankees at Yankee Stadium, or go to a youth tee-ball tournament in Hoboken, New Jersey? There is no need for explanation.

Then again, I am from the persuasion that Brian Wilson WAS the Beach Boys. Had he not been involved from the start, nothing would have happened, period. The others were along for the ride. Yes, Denny and Carl were talented. But there are tons and tons of undiscovered musicians who were just as talented, and they didn't have Brian Wilson as their big brother, writing, producing, arranging, and cracking the proverbial whip. That is why I am not a big fan of Sunflower. It is a bunch of mediocre songs with very little Brian involvement, and had they been recording by Joe Nobody, no one would think anything of them.

Gettin' In Over My Head is not stellar, but Brian's songs and arrangements are always good, just to varying degrees.
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Jason
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« Reply #17 on: January 04, 2006, 12:03:21 PM »


I just happened upon this post and saw your note -

How is that radical? Brian Wilson is one of the most talented artists of his era, and some may argue he is THE most talented. Bruce Johnston has some talent, and Mike Love to a lesser degree has some. But they were along for Brian's ride. Anyone who has to explain why Brian Wilson's compositions and arrangements are better than Mike Love's doesn't have to do much to "back it up"... it's like, would you rather see a poorly played game by the New York Yankees at Yankee Stadium, or go to a youth tee-ball tournament in Hoboken, New Jersey? There is no need for explanation.

Then again, I am from the persuasion that Brian Wilson WAS the Beach Boys. Had he not been involved from the start, nothing would have happened, period. The others were along for the ride. Yes, Denny and Carl were talented. But there are tons and tons of undiscovered musicians who were just as talented, and they didn't have Brian Wilson as their big brother, writing, producing, arranging, and cracking the proverbial whip. That is why I am not a big fan of Sunflower. It is a bunch of mediocre songs with very little Brian involvement, and had they been recording by Joe Nobody, no one would think anything of them.

Gettin' In Over My Head is not stellar, but Brian's songs and arrangements are always good, just to varying degrees.

Brian Wilson was the Beach Boys from 1961-1967....then it was purely Carl and Dennis' show. Sunflower has very little Brian involvement? 7 tracks co-written by Brian, Brian evident in all the backing vocals and in a lot of the production? What album are you listening to?
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artie
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« Reply #18 on: January 04, 2006, 01:24:14 PM »

[
Quote

Brian Wilson was the Beach Boys from 1961-1967....then it was purely Carl and Dennis' show.

Sunflower has very little Brian involvement? 7 tracks co-written by Brian, Brian evident in all the backing vocals and in a lot of the production? What album are you listening to?
Quote

To point #1 above - exactly. 1961-1967 - tons of hits, fun, appearances, Pet Sounds, harmonies, popularity, posterity, etc. Post 1967 - mediocrity at best, until they rediscovered BRIAN'S stuff ala Endless Summer and resurged in popularity playing the hits. You made my point.

To point# 2 above, I'm listening to the album with dreck like Got To Know The Woman, Tears In The Morning, Deidre...which, incidentally, Bruce said Brian contributed one word to for his co-writing credit. How anyone can even begin to compare that to Pet Sounds is beyond me.
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« Reply #19 on: January 04, 2006, 01:29:06 PM »

You're WAY in the minority of one with that opinion here, but good luck, my friend!
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Jason
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« Reply #20 on: January 04, 2006, 02:18:13 PM »


To point #1 above - exactly. 1961-1967 - tons of hits, fun, appearances, Pet Sounds, harmonies, popularity, posterity, etc. Post 1967 - mediocrity at best, until they rediscovered BRIAN'S stuff ala Endless Summer and resurged in popularity playing the hits. You made my point.

To point# 2 above, I'm listening to the album with dreck like Got To Know The Woman, Tears In The Morning, Deidre...which, incidentally, Bruce said Brian contributed one word to for his co-writing credit. How anyone can even begin to compare that to Pet Sounds is beyond me.

Greatness isn't necessarily measured by hits or popularity. And considering since everything post 1967 is mediocrity, I suppose that includes the two albums and myriad tracks that Brian produced or co-produced when he quite clearly wasn't up to par with his pre-1967 days? I'm sorry man, but I really have to disagree with you. After 1967, Brian's involvement became too sparse and too inconsistent on the whole. The Brian's Back campaign yielded three albums and scores of unreleased material produced by Brian, and even then he wasn't producing work on par with his 1961-1967 days. After 1967, someone had to jump on the boat, and the rest of the band was obviously willing to. Dennis and Carl did so most eagerly, and with the finest results. And when Brian's contiributions were used, many times they were of varying vintage. Brian just didn't want to be a Beach Boy anymore. As far as I'm concerned, after 1967, the Beach Boys' creative control remained in the hands of Carl and Dennis for the most part.

As far as Deirdre goes, Brian contributed many words, of which Bruce used two. Hence the rather nice co-writing credit.
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« Reply #21 on: January 05, 2006, 02:06:01 PM »

Ya'll can say what you want, but IMHO it is true, Brian was and is the BBs. Artie's point is getting lost in the whole post-67 discussion. Everything the band did after that time, with the scattered exception of some of Dennis' songs, paled in comparison with whatever bits Brian chose to contribute.

The rest of the BBs were a talented vocal group, with some ability as songwriters. BW was a genius, pure and simple.
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« Reply #22 on: January 05, 2006, 03:15:31 PM »

[
Quote
Sunflower has very little Brian involvement? 7 tracks co-written by Brian, Brian evident in all the backing vocals and in a lot of the production? What album are you listening to?
Quote

To point above, I'm listening to the album with dreck like Got To Know The Woman, Tears In The Morning, Deidre...which, incidentally, Bruce said Brian contributed one word to for his co-writing credit. How anyone can even begin to compare that to Pet Sounds is beyond me.
Say wha...Huh  Shocked Shocked Shocked Shocked

Gettin' In- is yes, by far Bri's weakest album. Good production with real musicians (FINALLY!) & not synths. Some decent tunes- no real feeling behind them- kind of a going-through-the-motions kind of feel. It sounds flat and not alive. Not the best choice of tunes- few strong. Weak use of Paul McC repeating the same line. Why bother with Elton & Crapton? The prior LP's, Warner & Imagination have far better tunes- but shitty production. Better than Sunflower... no freakin' way!!
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« Reply #23 on: January 10, 2006, 02:18:31 AM »

I ended up giving this one a 2.  While the album itself is nearly unlistenable, there ARE good songs on here.  They're hard to find underneath all the bad production and lack of band vocals, but they're there. 

It's better then LBWL.

No, it's not. LBWL is inoccuous and mostly enjoyable  fluff. GIOMH sucks like a turbocharged vacuum  in warp drive. I just listened to it, and now, I'm going to wash out my ears.
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« Reply #24 on: January 10, 2006, 02:41:48 AM »

My considered opinion -

it sucks, majorly.

Quite simply, the worst/least essential (delete where applicable) BB solo album ever released, and that includes not only LBWL but also Bruce's effort.

I just don't know how you arrive at this opinion.  It's not a great album but no way is it anywhere as near bad as you're making out.  I don't see how an album with a fair number of songs varying from OK to great could be.
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