M.I.U. Album/L.A. (Light Album)

Editorial Reviews

Barnes & Noble - Scott Schinder
In contrast to the fun-house surrealism of its predecessor The Beach Boys Love You, 1978's Al Jardine-produced and largely Brian Wilson-penned M.I.U. Album is an enjoyably breezy, if somewhat insubstantial, outing. The album suffers from a noticeable dearth of solid material, but there's fun to be had on a pair of Wilson tunes, the sweet "Pitter Patter" and the goofy falsetto dance number "She's Got Rhythm." The album also features Jardine's catchy take on the Del-Vikings' doo-wop classic "Come Go with Me." Brian is largely absent from the inconsistent L.A. (Light Album). High points include the breathtaking Brian/Carl collaboration "Good Timin'," Carl's meditative ...
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Editorial Reviews

Barnes & Noble - Scott Schinder
In contrast to the fun-house surrealism of its predecessor The Beach Boys Love You, 1978's Al Jardine-produced and largely Brian Wilson-penned M.I.U. Album is an enjoyably breezy, if somewhat insubstantial, outing. The album suffers from a noticeable dearth of solid material, but there's fun to be had on a pair of Wilson tunes, the sweet "Pitter Patter" and the goofy falsetto dance number "She's Got Rhythm." The album also features Jardine's catchy take on the Del-Vikings' doo-wop classic "Come Go with Me." Brian is largely absent from the inconsistent L.A. (Light Album). High points include the breathtaking Brian/Carl collaboration "Good Timin'," Carl's meditative "Full Sail," and his agreeably demented mauling of "Shortenin' Bread," as well as a trio of first-rate Dennis tunes originally intended for his never-released second solo album. Last -- and definitely least -- the album also includes the band's ill-advised stab at disco, an extended remake of the band's own 1967-vintage "Wild Honey," which sounds a bit better than it looks on paper, but was still a bad idea.
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Product Details

  • Release Date: 8/15/2000
  • Label: Capitol
  • UPC: 724352795024
  • Catalog Number: 27950

Tracks

Disc 1
  1. 1 She's Got Rhythm (2:29)
  2. 2 Come Go With Me (2:08)
  3. 3 Hey Little Tomboy (2:27)
  4. 4 Kona Coast (2:33)
  5. 5 Peggy Sue (2:16)
  6. 6 Wontcha Come Out Tonight? (2:29)
  7. 7 Sweet Sunday (2:43)
  8. 8 Belles of Paris (2:29)
  9. 9 Pitter Patter (3:15)
  10. 10 My Diane (2:37)
  11. 11 Match Point of Our Love (3:32)
  12. 12 Winds Of Change (3:16)
  13. 13 Good Timin' (2:12)
  14. 14 Lady Lynda (3:59)
  15. 15 Full Sail (2:58)
  16. 16 Angel Come Home (3:41)
  17. 17 Love Surrounds Me (3:42)
  18. 18 Sumahama (4:32)
  19. 19 Here Comes the Night (10:52)
  20. 20 Baby Blue (3:25)
  21. 21 Goin' South (3:18)
  22. 22 Shortenin' Bread (2:50)
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Album Credits

Performance Credits
The Beach Boys Primary Artist
Victor Feldman Percussion
Jimmy Lyons Guitar
Bruce Johnston Piano
Joe Chemay Bass
Bob Alcivar Strings, Horn
Mike Baird Drums
Harry Betts Strings, Horn
Ed Carter Bass, Guitar
Bob Esty Synthesizer
Bobby Figueroa Drums
Steve Foreman Percussion
Carlos Munoz Piano
Joel Peskin Alto Saxophone
John Philip Shenale oberheim
Richie Zito Guitar
Gary Mallaber Drums
Jim Guercio Bass
Technical Credits
The Beach Boys Producer
Brian Wilson Composer
Bruce Johnston Producer
Mike Love Composer
Carl Wilson Composer
Paul Atkinson Producer, Reissue
Curt Becher Producer, Engineer
Dennis Diken Liner Notes
Bill Fletcher Engineer
Chuck Leary Engineer
Earle Mankey Engineer
Lewis A. Martineé Composer
Joel Moss Engineer
Tom Murphy Engineer
Cheryl Pawelski Producer, Reissue
Andrew Sandoval Tape Research
Greg Venable Engineer
Dennis Wilson Composer
Jeff Guercio Engineer
Jim Guercio Producer
Tony Lane Art Direction
Bryan Kelley Producer
Geoffrey Cushing-Murray Composer
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Sort by: Showing 1 Customer Reviews
  • Anonymous

    Posted October 1, 2010

    Weak but worthwhile

    This two-fer combines the group's last album from their ill-fated contract with Reprise records (1978's <b>M.I.U.</b>) and their first from their ill-fated contract with CBS (1979's <b>L.A. Light Album</b>). <b>M.I.U.</b> found the band setting up shop at, of all places, Maharishi International University in Iowa, and is a weak, disjointed effort which attempts to cover a multitude of sins (mostly weak songwriting) with slick production. The highlight is Al Jardine's inspired solo cover of ''Come Go With Me,'' along with Brian Wilson's weird but catchy ''Hey Little Tomboy,'' and Dennis Wilson's impassioned vocal on brother Bri's ''My Diane.'' The rest: zzzzzzzz....<p>Which brings us to <b>L.A.</b>. Perhaps most often panned as <i>The Album Which Has The Beach Boys Disco Sell-out On It</i> (''Here Comes The Night''), hardcore Beach Boys fans have long cherished <b>L.A.</b> as the repository of three of the best records drummer Dennis Wilson cut with the Beach Boys. ''Baby Blue'' features a haunting high vocal by brother Carl with a lovely bridge sung by raspy-voiced Dennis, and may well be the last really great record the Beach Boys ever made: it's stately and chilling in a way that Brian's best stuff of the mid-60s was. As if that weren't enough, Dennis growls through two great blue-eyed-soul tracks (''Love Surrounds Me'' and ''Angel Come Home'') which woulda coulda shoulda been huge hits, if anybody woulda coulda shoulda <b>cared</b> about the group back then. It's a shame that the group didn't do more of his songs, and it's a shame that the rest of <b>L.A.</b> comes nowhere near his level (although Brian's ''Good Timin''' and Carl's ''Full Sail'' came close). But if ever an album were worth buying for three tracks, it would be <b>L.A.</b> and those three gorgeous, regrettably overlooked Dennis Wilson tracks. All in all, this two-fer is a disc for which programmable CD players were invented!

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