The Beach Boys - The Shitty Years (or: a Welfare Story)
Posted: Tue Feb 21, 2006 11:29 pm
Inspired by MK's thread on Prince...
I've been going through something of a weird phase as of late. It hit me a few months ago, when I was browsing through a record store in Chicago. I stumbled across a CD copy of "Dirty Work" (the original CBS, no less) for $2.99. "Shit," I scoffed. "I bet this sits here for..."
Wait.
I've never, ever listened to Dirty Work all the way through.
Lots of bands have their "shitty years," or the years outside of what is generally regarded as Critical Gold. There are at least a few cases where those albums are really pretty good, if not as "important" as some others. I like Goats Head Soup and It's Only Rock 'n Roll, not to mention Who By Numbers and Who Are You. So, steeling myself, I decided to actually really listen to some of these albums (ask me about the two day period where I listened exclusively to Black and Blue, Emotional Rescue, Undercover, Dirty Work, and Steel Wheels...no Still Life, as even I'm not ready for that)
At some point, I decided to dive into Part 1 of the Beach Boys: the albums between "Pet Sounds" and "Love You." My feelings below; feel free to pile on.
Smiley Smile: In historical context, Smiley Smile is disastrous, and it sets some pretty unfortunate artistic tendencies for the band: principally, its tendency to release "larks" like this. History, though, has been pretty kind to it. I suppose it helps that the songs--mangled or not--are Brian Wilson compositions, and are splendid. The off-putting studio sound and production, which annoy me on "Wild Honey," are endearing here, given the strangeness of the compositions themselves.
I finally really warmed to the SS version of "Heroes and Villains" (after being primarily familiar with the standard "alternate version" from the boxed-set), and I prefer this version in the context of the album. I also think that the Smiley Smile version of "Vege-tables" is far more appropriate and interesting than the kiddie-like "Smile" arrangement. Ditto for "She's Goin' Bald," which puts that really wonderful, catchy melody (by the way, is it borrowed from something? It seems almost too familiar) to great use; Mike is disarmingly unobnoxious, and the ending refrain ("It's too late mama") is delicious, with that great guitar hook. "Little Pad" mines some similar territory. I see it frequently dismissed as a throwaway, but it's catchy as all fuck, and I've found myself humming Carl's (?) wordless refrain more than once.
The only things I really don't care for are the remake of "Wonderful" (is the "smutty" interpretation of this song spot-on or what? The dirtiest lyrics to ever come out of the BB camp...), and "Getting Hungry," which does nothing for me.
Wild Honey: I don't like this one as much. Firstly, let me go on record as saying that I simply don't buy the Beach Boys as an R&B outfit one fucking bit. Yes, some of their attempts at this are decent, but...no, sorry, not fond of it. That said, "Wild Honey," "Darlin'," and the odd Stevie WOnder cover are servicable. That said, the entire album suffers from a lack of any sort of arranging sense; the weirdness of Smiley Smile is gone, and in its place is that odd studio sound and piano effect. Bleh. It's notable that the few songs with arrangements ("I'd Love Just Once to See You") stand out so prominently. Everything else seems composed, recorded, and presented as-is.
Friends: A welcome upswing. Arrangements are suddenly back in force, the fake F&B is mostly gone, and even the throwaways ("Diamond Head," "Anna Lee, The Healer") are enjoyable. I hate "Transcendental Meditation," and find Dennis's songs here to be a bit overrated (particularly the soporific "Be Still") but you can't have everything.
20-20: Not an album, but still fun. I would like to register that I adore "Never Learn Not To Love." Does this make me a bad person? I think "Bluebirds" and "I Can Hear Music" are enjoyable, but a bit schlocky.
Sunflower: I like, although the production on this one is really weird. "Tears in the Morning" would be OK with a FUCKING LYRICAL REWRITE, BRUCE, WHAT WERE YOU THINKING? Mostly good. "All I Wanna Do" is sublime, Dennis's songs are goofy but fun (although I'm not that fond of "It's About Time"). I've finally warmed to "At My Window."
Surf's Up: Yikes. Several things go bad at once. The production wonks out considerably, and things get decidedly more facile; what was fun the first time around sounds like repetition here. I happen to really like Carl's progressive epics (which makes his plunge into shit on the next album that much more disheartening), and I'd like to take a moment to sing the praises of Al Jardine. "Lookin' At Tomorrow" is an interesting song with an interesting lyric and interesting production; following on "Suzie Cincinatti" (which I really like) and "Good Time" (which I also really like), and his good taste with the Cottonfields cover, Al actually establishes himself as a pretty stable force. I could care less about "Day in the Life of a Tree," and does "Don't Go Near The Water" sound like a cop of "Bluebirds" or what? (if this is pointed out in the liners, please forgive me)
Carl and the Passions: I stepped into unfamiliar territory with this one; I've owned a vinyl copy forever, but never got around to listening to it. I suppose I was expecting more of the "flawed, and sort of goofy, but enjoyable" tendency expressed on Surf's Up, as after all this one doesn't get the sheer hatred usually seen directed at, say, MIU and LA.
Wow. Distinctly unimpressed. There's nothing going on. What a boring lark this is.
Ugh. It's short...really, really short. We suddenly have Blondie Chaplin and Fataar in the band, but they don't really do that much; in fact, they may effect this slide into sub-par, lite R&B. "He Came Down" is a great summary of everything that's wrong with this album: horrific lyrics, horrific arrangement, horrific delivery...it's got it all in spades. Most of the rest isn't actively bad, but just shockingly nondescript; had this not been an album by the BEACH BOYS, I doubt any major label would ever have released it. I enjoy some of the tracks near the end, but...
Holland: See above. Not that familiar with it (I have the Caribou disc), and pretty much disappointed, especially given the fact that some people really ADORE this album. That said, I will risk crucifixion by saying that I don't really like "Sail On Sailor," so clearly the sublime brilliance of Holland is wasted on me. "Trader" is fun, but suffers from the same midtempo lack-of-arrangement as do some of the other tracks.
This version of "Big Sur" pales in comparison to the outtake version.
This is all I have to say at the moment.
I've been going through something of a weird phase as of late. It hit me a few months ago, when I was browsing through a record store in Chicago. I stumbled across a CD copy of "Dirty Work" (the original CBS, no less) for $2.99. "Shit," I scoffed. "I bet this sits here for..."
Wait.
I've never, ever listened to Dirty Work all the way through.
Lots of bands have their "shitty years," or the years outside of what is generally regarded as Critical Gold. There are at least a few cases where those albums are really pretty good, if not as "important" as some others. I like Goats Head Soup and It's Only Rock 'n Roll, not to mention Who By Numbers and Who Are You. So, steeling myself, I decided to actually really listen to some of these albums (ask me about the two day period where I listened exclusively to Black and Blue, Emotional Rescue, Undercover, Dirty Work, and Steel Wheels...no Still Life, as even I'm not ready for that)
At some point, I decided to dive into Part 1 of the Beach Boys: the albums between "Pet Sounds" and "Love You." My feelings below; feel free to pile on.
Smiley Smile: In historical context, Smiley Smile is disastrous, and it sets some pretty unfortunate artistic tendencies for the band: principally, its tendency to release "larks" like this. History, though, has been pretty kind to it. I suppose it helps that the songs--mangled or not--are Brian Wilson compositions, and are splendid. The off-putting studio sound and production, which annoy me on "Wild Honey," are endearing here, given the strangeness of the compositions themselves.
I finally really warmed to the SS version of "Heroes and Villains" (after being primarily familiar with the standard "alternate version" from the boxed-set), and I prefer this version in the context of the album. I also think that the Smiley Smile version of "Vege-tables" is far more appropriate and interesting than the kiddie-like "Smile" arrangement. Ditto for "She's Goin' Bald," which puts that really wonderful, catchy melody (by the way, is it borrowed from something? It seems almost too familiar) to great use; Mike is disarmingly unobnoxious, and the ending refrain ("It's too late mama") is delicious, with that great guitar hook. "Little Pad" mines some similar territory. I see it frequently dismissed as a throwaway, but it's catchy as all fuck, and I've found myself humming Carl's (?) wordless refrain more than once.
The only things I really don't care for are the remake of "Wonderful" (is the "smutty" interpretation of this song spot-on or what? The dirtiest lyrics to ever come out of the BB camp...), and "Getting Hungry," which does nothing for me.
Wild Honey: I don't like this one as much. Firstly, let me go on record as saying that I simply don't buy the Beach Boys as an R&B outfit one fucking bit. Yes, some of their attempts at this are decent, but...no, sorry, not fond of it. That said, "Wild Honey," "Darlin'," and the odd Stevie WOnder cover are servicable. That said, the entire album suffers from a lack of any sort of arranging sense; the weirdness of Smiley Smile is gone, and in its place is that odd studio sound and piano effect. Bleh. It's notable that the few songs with arrangements ("I'd Love Just Once to See You") stand out so prominently. Everything else seems composed, recorded, and presented as-is.
Friends: A welcome upswing. Arrangements are suddenly back in force, the fake F&B is mostly gone, and even the throwaways ("Diamond Head," "Anna Lee, The Healer") are enjoyable. I hate "Transcendental Meditation," and find Dennis's songs here to be a bit overrated (particularly the soporific "Be Still") but you can't have everything.
20-20: Not an album, but still fun. I would like to register that I adore "Never Learn Not To Love." Does this make me a bad person? I think "Bluebirds" and "I Can Hear Music" are enjoyable, but a bit schlocky.
Sunflower: I like, although the production on this one is really weird. "Tears in the Morning" would be OK with a FUCKING LYRICAL REWRITE, BRUCE, WHAT WERE YOU THINKING? Mostly good. "All I Wanna Do" is sublime, Dennis's songs are goofy but fun (although I'm not that fond of "It's About Time"). I've finally warmed to "At My Window."
Surf's Up: Yikes. Several things go bad at once. The production wonks out considerably, and things get decidedly more facile; what was fun the first time around sounds like repetition here. I happen to really like Carl's progressive epics (which makes his plunge into shit on the next album that much more disheartening), and I'd like to take a moment to sing the praises of Al Jardine. "Lookin' At Tomorrow" is an interesting song with an interesting lyric and interesting production; following on "Suzie Cincinatti" (which I really like) and "Good Time" (which I also really like), and his good taste with the Cottonfields cover, Al actually establishes himself as a pretty stable force. I could care less about "Day in the Life of a Tree," and does "Don't Go Near The Water" sound like a cop of "Bluebirds" or what? (if this is pointed out in the liners, please forgive me)
Carl and the Passions: I stepped into unfamiliar territory with this one; I've owned a vinyl copy forever, but never got around to listening to it. I suppose I was expecting more of the "flawed, and sort of goofy, but enjoyable" tendency expressed on Surf's Up, as after all this one doesn't get the sheer hatred usually seen directed at, say, MIU and LA.
Wow. Distinctly unimpressed. There's nothing going on. What a boring lark this is.
Ugh. It's short...really, really short. We suddenly have Blondie Chaplin and Fataar in the band, but they don't really do that much; in fact, they may effect this slide into sub-par, lite R&B. "He Came Down" is a great summary of everything that's wrong with this album: horrific lyrics, horrific arrangement, horrific delivery...it's got it all in spades. Most of the rest isn't actively bad, but just shockingly nondescript; had this not been an album by the BEACH BOYS, I doubt any major label would ever have released it. I enjoy some of the tracks near the end, but...
Holland: See above. Not that familiar with it (I have the Caribou disc), and pretty much disappointed, especially given the fact that some people really ADORE this album. That said, I will risk crucifixion by saying that I don't really like "Sail On Sailor," so clearly the sublime brilliance of Holland is wasted on me. "Trader" is fun, but suffers from the same midtempo lack-of-arrangement as do some of the other tracks.
This version of "Big Sur" pales in comparison to the outtake version.
This is all I have to say at the moment.