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Post by The Cincinnati Kid on Jan 1, 2019 14:22:30 GMT -5
Initially conceived as Adult/Child and then Merry Christmas from The Beach Boys, MIU was eventually released in 1978 to generally poor reviews. Come Go With Me managed to crack the top 20, but not until 1981. Attachments:
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Post by Beach Boys Fan on Jan 2, 2019 21:39:22 GMT -5
8. Many fans use this phrase "mediocre at best" to describe it. I disagree, shall I? It's got many good songs.
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M.I.U Album
Jan 3, 2019 10:30:23 GMT -5
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Post by ian on Jan 3, 2019 10:30:23 GMT -5
The songs are almost all very poorly written and some of them are truly embarrassing attempts to recreate the innocence of the early BBs but the performances are great and I listen to this record without skipping tracks (and there is no new bb albums after this that I can say that about). My Diane is the strongest track and the only one that seems to have any genuine emotion behind it
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Post by Deleted on Jan 3, 2019 20:25:21 GMT -5
MIU is a 6 for me. Ian summarizes it well. I also enjoy Matchpoint and she’s got rhythm in addition to my Diane. There’s a nice soft blend they achieve on some of these tracks with sparse synths and sleigh bells. It’s a shame the songwriting is spotty.
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Departed
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Post by Deleted on Jan 4, 2019 8:53:35 GMT -5
7/10
For the most part I like the MIU Album, with a few exceptions, but I can’t say it’s one that I play very often. The covers are well done. Brian’s singing on Matchpoint is probably my favourite thing on the album. His attempts at falsetto on She’s Got Rhythm (great song!) and Kona Coast (check, please), not so much. I know that My Diane is the fan favourite - I think it’s a very good song, but it has one of my least favourite Dennis vocals.
Highlights: Pitter Patter, Matchpoint of Our Love
Lowlights: Hey Little Tomboy, Kona Coast
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Departed
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Post by Deleted on Jan 9, 2019 0:39:50 GMT -5
Thoughts. I got some. She's Got Rhythm starts off too abruptly for my tastes. I don't think Brian (?) was capable of singing that falsetto anymore. It doesn't sound tender anymore, it sounds shrill. The backing vocals are weak and uninspired. Come Go With Me is a bit too doo-wop for me. I'm not a big fan of that style of music, personally. And then it's got that tacky 80s sax and it feels like a house band at some 50s nostalgia themed diner in the 80s thought to improvise. Hey Little Tomboy is my ultimate guilty pleasure song where the beach boys are concerned--and maybe outside their discography too. I don't see it as bordering on pedophilia like many seem to. I see it as Brian's naivete in not recognizing how such a thing might come of, which somehow makes it charming. But I think perhaps it was meant to be about a parent trying to get his daughter to start acting more feminine. Whether that makes it more creepy to some people I can't say. In any case, I prefer the Adult/Child version with the spoken word bits. They always make me laugh! Kona Coast is discount store Kokomo before Kokomo was a thing. One of many attempts to reclaim their old image. That said, they've made a lot worse in that regard for sure. It's not a great song, but it's charming enough. Peggy Sue is another lame early rock throwback which I just don't care for. I'm just personally not a fan of most early 60s and 50s era rock or doo wop. There's some notable exceptions for sure but for the most part I'm not a fan. It just seems like such a random song to cover as well. Wontcha Come Out Tonight is okay but it sounds uninspired to me. It retains those annoying doo-wop vocals I'm personally not a big fan of. Unfortunately, it looks like that was a theme on this album. Sweet Sunday Kinda Love is maybe the best track thus far, beside HLT. It sounds inspired and the lead vocal is tender. The arrangement and harmonies are by far the best of any track yet. This should have been the single if you ask me. Peggy Sue? Really? What were they thinking?? Belles of Paris is alright but we're back to more of those screeching high notes from the first track, unfortunately. The best parts of this are the spoken word vocals. The choruses completely ruin it. Pitter Patter is at least an interesting subject matter. It has a catchy beat and the choruses are catchy. That's about the nicest thing I can say though--the lyrics and lead vocals could use work. Yet another late Beach Boys track that was on the right track but needed a rewrite. My Diane is maybe the most vulnerable song in the entire Beach Boys catalog in a sense. Here's a man admitting he never got to marry the true love of his life, admitting to his wife that he still harbored feelings for her sister even now. It's like something out of a Greek tragedy in fact. The track is flawed, but the lyrics are sincere and you can feel it. Brian hasn't been this introspective and depressed since 'Til I Die. (Also, poor Marilyn. I will go to my grave saying she's the biggest victim in the whole story.) Match Point of Our Love joins SSKL and HLT as the three best songs of the album. It's got a fantastic beat, inspired arrangement, the lyrics don't get in the way, there's no annoying doo-wop callbacks or shrill voices. Perfection. Winds of Change is alright, but a bit melodramatic for me. The lead vocals seem a tad weak in places, you can tell they couldn't hit those high notes like they used to, so they pull back. Overall, it's actually a pretty okay album. I was expecting a lot worse considering its reputation and most people's prior reviews. I will give it a 6 largely for its cohesiveness, MPOOL/SSKL/HLT and the pure chutzpah it takes to write a song like My Diane, much less release it.
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Post by jasonaustin on Jan 9, 2019 0:46:30 GMT -5
Cool to see so many sevens. I feel like ten years ago MIU would have gotten mostly threes. I've been a fan of this album since I first heard it, warts and all, and it's cool to see people are coming around to its charms.
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Post by kds on Jan 9, 2019 10:49:37 GMT -5
I view MIU as a bit of a return to form after the mediocre 15 Big Ones and Love You albums.
I think there's a lot of good on this album, although not a lot of great. I do like My Diane, Pitter Patter, Winds of Change, and Sweet Sunday Kinda Love a lot. I prefer the Christmas version of Belles of Paris. Come and Go With Me is a decent cover, and better than most of the covers on 15BO.
7/10
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Post by Jason (The Real Beach Boy) on Mar 28, 2019 11:33:14 GMT -5
5. Compared to what came before, this was easily the low point. Compared to some of what came later, this is a highlight. Some of their most banal lyrics and songwriting to that point, and Carl and Dennis are very missed.
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scorho
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Post by scorho on Feb 16, 2020 14:51:08 GMT -5
M.I.U. was the first album I ever bought the day it came out. My excitement fot it was stoked by BBFUN articles. I really enjoyed it at the time. It was the beginning of my senior year of high school, so "Winds of Change" had some emotional resonance. I remember being excited about Brian's involvement and the improvements in his voice.
It hasn't aged well for me, though. "Hey Little Tomboy" is a lot creepier than it was when I was 17. "Matchpoint" is built on a metaphor that's stretched well beyond its limits. "Kona Coast" has gone from "Cool, they're flashing back to Hawaii" to "Ugh, they're recycling old stuff again." I still like "Sweet Sunday Kind of Love" and the lines "You can do something for me /And I'll do the same for you" mean something more than when I was that age. "My Diane" is still the only song with any genuine emotion, but it's kind of tainted now that I know Brian was writing about his wife's sister. The oldies haven't held up as well as they seemed at the time.
Still, every once in a while, I want to hear this album. It brings back nostalgic feelings from an important year. But once I've heard it, I'm good for a long time without spinning it again.
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petsite
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Post by petsite on Feb 16, 2020 19:52:14 GMT -5
It is interesting to note that when the group was assembling MIU, they considered a couple of Adult Child tracks for that LP. On Christmas Eve, 1977, the following master for the LP was assembled:
Side 1: Sweet Sunday Kinda Love Matchpoint Of Our Love Belles Of Paris Winds of Change Diane It's Over Now
Side Two: She's Got Rhythm Shortenin' Bread Our Team Kona Coast How's About A Little Bit Of Your Sweet Lovin' Wontcha Come Out
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Post by E on Feb 17, 2020 7:31:26 GMT -5
Interesting, but for me, something else needs dropping to keep Pitter Patter
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petsite
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Post by petsite on Feb 17, 2020 12:11:16 GMT -5
Interesting, but for me, something else needs dropping to keep Pitter Patter They heard you. The next running order for MIU was:
Side 1 Matchpoint Of Our Love Pitter Patter Sweet Sunday Kinda Love Belles Of Paris Winds of Change Diane
Side Two She's Got Rhythm Our Team Hey Little Tomboy Kona Coast Wontcha Come Out Tonight How's About A Little Bit Of Your Sweet Lovin'
I would have tossed How's About A Little Bit Of Your Sweet Lovin' and kept It's Over Now.
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Post by E on Feb 17, 2020 13:31:00 GMT -5
Interesting, but for me, something else needs dropping to keep Pitter Patter They heard you. The next running order for MIU was:
Side 1 Matchpoint Of Our Love Pitter Patter Sweet Sunday Kinda Love Belles Of Paris Winds of Change Diane
Side Two She's Got Rhythm Our Team Hey Little Tomboy Kona Coast Wontcha Come Out Tonight How's About A Little Bit Of Your Sweet Lovin'
I would have tossed How's About A Little Bit Of Your Sweet Lovin' and kept It's Over Now.
Oh yes!!!
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petsite
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Post by petsite on Feb 19, 2020 23:01:26 GMT -5
M.I.U. Album By Tom Carson Rolling Stone Magazine November 16, 1978
M.I.U. Album completes a kind of informal trilogy for the Beach Boys — a cycle begun by Brian Wilson’s widely ballyhooed, confusing and ultimately some-what botched return to an active role inside the group with 15 Big Ones in 1976. The new record has little of the derivative, heavy-handed rock & roll revisionism that characterized 15 Big Ones and even less of the murk eccentricity of The Beach Boys Love You, the middle LP. Instead, it’s a resolutely sunny retrospective: a carefully orchestrated return to the style, if not the scope, of the band’s classic mid-Sixties material. Because of its deliberately small scale, M.I.U. Album is much less dramatically flawed than either of its predecessors. But, largely for the same reason, it’s also the least substantial, and the least interesting, of the three.
In fact, this record would be a trifle — close to a throwaway — if the Beach Boys weren’t the Beach Boys and if Brian Wilson weren’t Brian Wilson. That his big comeback turned out to be such a debacle probably isn’t entirely his fault — the surprise was that he chose to return at all. In his absence, the group scored artistically really only once, with 1973’s underrated Holland. They then went on to become nothing more or less than a slick, well-oiled nostalgia unit. Poor, befuddled Brian, stumbling back onto the stage, could only mess up the gears.
Though 15 Big Ones yielded a couple of hit singles, it wasn’t much of an aesthetic success. Most of the drama seemed to have taken place in the studio before anything actually got put on vinyl, and the result was a stagy, self-conscious, oddly lifeless work. Musically, the songs lacked punch, and Brian’s reliance on other people’s material suggested a man far more insecure about his own abilities than the record’s attendant hype would indicate.
The Beach Boys Love You, on the other hand, was completely Brian Wilson’s album: he wrote every song (three in collaboration), and the dense, quirkily mocking vision was all his. With the exception of the great “Don’t Worry Baby,” Brian had never really been able to translate the brooding, reclusive side of his character successfully into pop terms. His private, confessional songs were eccentrically convincing without being particularly moving — they remained claustrophobic, even somewhat trite. (Curiously, it’s on the joyous early rockers that his personality is most vivid. Our knowledge of the anxiety behind their extroverted hedonism gives them, in retrospect, an added depth.)
The Beach Boys Love You was a monumental self-indulgence in Brian’s most bizarre, least commercial vein. It undercut expectations at every turn with a dark, funny absurdity (“Johnny Carson,” for instance). The response, however, was less than ecstatic — the critical reaction, as I recall it, a sort of protracted “Eh?” And now, as the group returns to a safe, tried-and-true, earlier style, Brian seems to be getting shunted aside again: on the new LP, he’s listed only as “executive producer,” sings very little and wrote just two of the twelve songs on his own. (The Beach Boys Love You was dedicated by the band to “Brian whom we love with all our hearts,” which sounds like nothing so much as a polite way of saying: “We know he’s a nut, but don’t blame us.”)
With Brian Wilson, for all practical purposes, exiled back to the sandbox again, M.I.U. Album seems contrived and artificial right from the start. The tracks strive to recapture the dreamy, adolescent innocence of the Beach Boys’ earliest hits, and fail not so much because the concepts are dated but because the group can’t infuse the new material with the same sense of grandeur that made the old songs such archetypal triumphs. Cuts like “Hey Little Tomboy” and “Wontcha Come Out Tonight” (the titles alone tip you off) are tightly crafted, as always, but minor: mere formal exercises in a tired genre.
There’s a kind of forced spiritual starvation at work here. We know that this band has been through more — and has more to say — than these well-made, insistently simplistic miniatures allow them to express. As if to drive the recidivist point home, “Kona Coast” includes the first reference to surfing in a Beach Boys song in God knows how many years. But it’s just a gesture, and the tune itself, like “Belles of Paris” on side two, is no more than a travelogue (“Wontcha come back to Hawaii”), ready-made for an airline commercial. The mention of disco on “She’s Got Rhythm” is even more jarring: an anachronism intruding upon an anachronism.
Even when the Beach Boys reach for an interesting mood, they can’t quite sustain it. Clearly, a song like “March Point of Our Love” is intended as a playful conceit, but the joke, in this case, is so clunky that the group can’t do much with it except repeat the title line over and over again. Of the two covers, “Peggy Sue,” though it’s a drearily obvious choice, comes off fairly well (there’s a nicely martial percussive effect in bit). But the other, “Come Go with Me,” is cast from the same leaden mold as 15 Big Ones‘ “Rock and Roll Music,” which is to say it’s like slow death in sugar frosting.Throughout, the lackluster playing and singing has a melancholy edge, almost as if the Beach Boys are fully aware that they’ve outgrown this kind of teen fantasy, but can’t think of anyplace else to go.
More than any band in the Sixties pantheon, the Beach Boys exemplify the curious duality of rock & roll: that it’s a genre more of and about the immediate moment than any other art form, but that it also (at its best) freezes that moment into something timeless and universal. Bob Dylan, the Beatles and the Rolling Stones knew this, yet the quality of their vision was such that it constantly left them open to fresh revelations. Their epiphanies invariably raised new questions even as they laid old ones to rest.
But the Beach Boys’ vision was always static, and their protagonists curiously passive spokesmen: a state of mind was being celebrated, not any particular action. They invented an era too well — so well, in fact, that it effectively prevented them from expanding on what they’d already done. And if, as individuals, they sometimes progressed, the epic spaciousness of their classic Sixties work still had to be — and was — reduced. The biggest shortcoming of the Beach Boys’ Seventies output, even at its most successful, is that the horizon’s always so small. M.I.U. Album, a sad little footnote to their glory years, only suggests that the notion of an “endless summer” has a darker shade of meaning than they, or we, could have realized at the time.
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Post by E on Feb 20, 2020 4:03:49 GMT -5
I don't agree with this - "But the Beach Boys’ vision was always static, and their protagonists curiously passive spokesmen: a state of mind was being celebrated, not any particular action. They invented an era too well — so well, in fact, that it effectively prevented them from expanding on what they’d already done."
That has more to do with public perception - a public that didn't want to move on. When they did move on, they moved out of what was considered not only their territory but also what was more generally - musically - hip at the time. Thankfully, because albums like Friends and Sunflower remain great
I can't but help agree with this, though: "M.I.U. Album seems contrived and artificial right from the start. The tracks strive to recapture the dreamy, adolescent innocence of the Beach Boys’ earliest hits, and fail not so much because the concepts are dated but because the group can’t infuse the new material with the same sense of grandeur that made the old songs such archetypal triumphs."
Thank God he didn't review Summer in Paradise.
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Post by Deleted on Feb 21, 2020 14:03:25 GMT -5
I don't agree with this - "But the Beach Boys’ vision was always static, and their protagonists curiously passive spokesmen: a state of mind was being celebrated, not any particular action. They invented an era too well — so well, in fact, that it effectively prevented them from expanding on what they’d already done." That has more to do with public perception - a public that didn't want to move on. When they did move on, they moved out of what was considered not only their territory but also what was more generally - musically - hip at the time. Thankfully, because albums like Friends and Sunflower remain great I can't but help agree with this, though: "M.I.U. Album seems contrived and artificial right from the start. The tracks strive to recapture the dreamy, adolescent innocence of the Beach Boys’ earliest hits, and fail not so much because the concepts are dated but because the group can’t infuse the new material with the same sense of grandeur that made the old songs such archetypal triumphs." Thank God he didn't review Summer in Paradise. I agree the 'static' component does not make a great deal of sense. Even before those titles you mentioned, I think there was a little bit of a progression from Surfin to Heroes and Villains
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Hydra
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Post by Hydra on Apr 24, 2020 11:33:39 GMT -5
First time I heard this album I immediately liked it, starts off with She's Got Rhythm which I think is an awesome fun track and then the brilliant cover of Come Go With Me starts the album off brilliantly. The album could have done with a few changes though, I think substitutng Hey Little Tomboy for the proposed San Miguel and Winds Of Change with the also proposed Its Over Now would have improved the album a hell of a lot, but I still enjoy this album more than Love You.
Track Listing
1. She's Got Rhythm 7/10 2. Come Go With Me 8/10 3. Hey Little Tomboy 4/10 4. Kona Coast 5/10 5. Peggy Sue 6/10 6. Wontcha Come Out Tonight 6/10 7. Sweet Sunday Kinda Love 6/10 8. Belles Of Paris 7/10 9. Pitter Patter 6/10 10. My Diane 7/10 11. Matchpoint Of Our Love 6/10 12. Winds Of Change 3/10
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petsite
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Post by petsite on Apr 17, 2021 23:09:59 GMT -5
From the old Pet Sounds fan magazine. I have to agree with Ray's review for the most part. I know I really liked this when it came out.
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Post by nts1drums on Apr 17, 2021 23:51:08 GMT -5
There are some really good tracks on this (though admittedly the Christmas version of Kona Coast is better). I’ve always been curious about the instrumental credits, particularly bass. From my understanding, Rusty Ford played bass on some tracks, but these were replaced by Al Jardine himself (who knows why). Which tracks sound like Al and which are Ed (right away I can tell you Ed plays bass on My Diane, could be wrong).
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petsite
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Post by petsite on Apr 24, 2021 21:50:15 GMT -5
Some contemporary views of this LP.
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petsite
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Post by petsite on May 20, 2021 19:07:32 GMT -5
The reprint of MIU with the Reprise only label.
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Post by bobbreckwoldt on Jun 8, 2021 2:10:02 GMT -5
Very mixed. Rightly often sounds like demos with strings and horns attached. But last year during lockdown 1, on the days I went into work I regularly played Sweet Sunday Kinda Love. Guilty pleasure? Not any more. The lyrics stay just about the right side unlike Matchpoint. When will we see a decent version of the film Our Team?
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Post by dauber on Jun 9, 2021 10:47:35 GMT -5
[my review copied from PSF]
As far as I'm concerned, the Beach Boys have two albums tied for their worst. I can't really say that Summer In Paradise is their only "worst" because, well...it's pretty much all computers. So I have to also add another worst for an album that actually has real instruments. That's the way I see it. Hey, this is my review, and I'll call it as I sees it...dad-gummit!
I once mentioned how The Mrs. pointed out to me that, with some exceptions, the quality of the music on a Beach Boys album is inversely proportional to the quality of the album cover. MIU Album definitely fits that rule; it has a beautiful front cover.
As for the music...well....
"She's Got Rhythm" -- blah. Just a tired remake of "Love Is Like A Heat Wave," with Brian singing some high notes that he shouldn't have. Definitely didn't use his 1963 voice on this one. I do like the bass line on the choruses though.
"Come Go With Me" -- A decent cover, but that's about all I can say about that. I do like it better than the Del-Vikings' version, but that's about all I can say about that. Not necessary. Many people like to say that the version of this song that was on the 1990 reissue of this album (and that reissue of Ten Years of Harmony) was the original 1976 version, but didn't someone in the know (Brad Elliott?? AGD?? Mark Linett???) say that technically that's true because the mix came from the 1976 version, but the thing is the "correct" mix that's on all other releases is *also* from the 1976 version??
"Hey Little Tomboy" -- Let's see...recorded in 1976...Brian was fat and hairy and smelly. And 34 years old. And he writes this song. Man, how disturbing. Ahhh, and then I heard the mix that would have been on Adult/Child. *shudder* yikes. But you know what? Take away the lyrics (PLEASE take away the lyrics!!) and you actually have a really good, really catchy song. And I know I've proffered my theory on other forums, but I'll repeat it here: I would not be surprised if "Hey Little Tomboy" actually dates back to much earlier than 1976...like, say, the early '60's. The melody and chord changes are classic Brian. The lead vocal switch-off between Mike and Brian is classic Beach Boys. And the line "They're doing it all over the world" tells me a bigger story: now, this album came out the day before my fourth birthday, so I was too young to remember, but I'm pretty damn sure there was not a trend in the '70s of tomboys becoming more feminine, so I'm guessing this line was originally about SOMETHING ELSE: like, say...surfing. Couldn't you imagine this song perhaps originally being something like "Hey Little Surfer" or "Hey Little Honey," possibly being part of the Surfer Girl album? And as I said in my 15 Big Ones post, we know that when Brian was getting treatment from Landy in 1976, part of his therapy was to write songs, even simple songs about quotidian things (undoubtedly these sessions are what produced "Solar System," "Johnny Carson," and "TM Song"); and during those songwriting sessions, Brian would try to sneak some old songs in and cheat on his homework by passing them off as new. Well...what if this was one of them?
"Kona Coast" -- we start to get hints of Mike's "ha ha we're so old" oldies voice that would become more apparent on Keepin' The Summer Alive. "I wanna spend summer on the Kona coast in Hawa-eeeeeeeeeeeeeee!" And more...bad...high voice from Brian. Very trite song. Actually, I think this could have been improved if it were done a little slower; could have sounded dreamier.
"Peggy Sue" -- another unnecessary cover from Al. Worth mentioning that the 1990 version is a different mix as well....different effect on Al's voice. Blah. This cover is very "Who cares?"
"Won'tcha Come Out Tonight" -- love this song, although it is very dated. Good vocal from Brian -- I always liked it when he sang mid-range.
"Sweet Sunday Kinda Love" -- come on, man! Carl had such a beautiful voice; why did they make him waste it on this saccharin drek!? ughghh...and his only lead vocal on the album, too.
"Belles of Paris" -- I seem to remember AGD specifically being offended by this song, as he described it in his book. Ehh, I don't really find anything terribly offensive. Personally, I don't find anything *wrong* with this song, just not the most exciting thing in the world. Definitely better than "Bell[e]s of Christmas," that's for sure.
"Pitter Patter" -- the song is only a tad over three minutes long, but the dippiness to it makes it seem like it goes on for-farking-ever. Honestly, I think this could be a much better song with a completely different set of lyrics that aren't about rain.
"My Diane" -- I must be the only fan who doesn't like this song. Think about it: the troubled Dennis singing Brian's plea to his sister-in-law to take him back. And the production is dated. Just a dreary-ass song.
"Match Point of Our Love" -- a semi-disco song full of tennis puns. Do I need to say more?
"Winds of Change" -- a lot of people love this song, but...I dunno, too maudlin for my tastes, and sounds too much like so many other songs from so many other artists at the time. And yet another song that has the incorrect (but IMHO better) mix on the 1990 reissue.
And I think one of the most unforgivable things in the Beach Boys' history: that both this album and Sunflower had the same peak Billboard chart position. So unfair.
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Post by boogieboarder on Aug 1, 2021 9:52:42 GMT -5
For me, The Beach Boys were always about great vocals and vocal harmonies. It wasn’t so much about the lyrics. But it’s those fun-in-sun lyrics that they’re known for by the public.
It must be hard for men who became famous when they were 14 to 21 years old singing songs about surfing, cars, and teen dating, to write songs when they’re in their forties. You either become your parents or seem like pedophiles. A friend of mine in his forties was singing a traditional old blues song in a coffee house, and overheard a young girl in the audience whispering that he was a dirty old man. Somehow it still works for The Beach Boys on stage, but on records, it’s just too late to keep writing these types of lyrics. So what can a group called “The Beach Boys” do?
That said, after the rough vocals of 15 Big Ones and Beach Boys Love You, I thought MIU was a good return to high quality vocals and harmonies with good production, and I enjoy listening to it. Especially “Wontcha Come Out Tonight,” and “Pitter Patter.”
There are no less than eight Brian Wilson melodies on this album, something you can’t say about the rest of The Beach Boy’s output until the 2012 reunion.
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