That Lucky Old Sun

( 4 )

Editorial Reviews

Barnes & Noble
That Lucky Old Sun lacks the magnificent shock of SMiLE, Wilson's 2004 completion of that '67 album. But it has a natural, hopeful flow that leaves you warm all over.
All Music Guide - John Bush
That Lucky Old Sun, Brian Wilson's second major thematic work, isn't quite the third coming of SMiLE. Instead, it's an ode to the Southern California of the '50s and '60s that the Beach Boys constantly evoked, and although it's polished with the peak-era production style that Wilson made famous, most of the songs are wrapped around the overwrought pop
ock he's revisited again and again since his first major return to ...
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Editorial Reviews

Barnes & Noble
That Lucky Old Sun lacks the magnificent shock of SMiLE, Wilson's 2004 completion of that '67 album. But it has a natural, hopeful flow that leaves you warm all over.
All Music Guide - John Bush
That Lucky Old Sun, Brian Wilson's second major thematic work, isn't quite the third coming of SMiLE. Instead, it's an ode to the Southern California of the '50s and '60s that the Beach Boys constantly evoked, and although it's polished with the peak-era production style that Wilson made famous, most of the songs are wrapped around the overwrought pop
ock he's revisited again and again since his first major return to form, back in 1976. As a thematic topic, "That Lucky Old Sun" is ripe for integration into Brian Wilson's California myth-making. A Tin Pan Alley chestnut from the '40s, it contrasts the ease of the sun's transit each day with the hardship of human toil on earth, a sort of "Ol' Man River" set in the sky. Even better is the fact that it's a professional songwriter's account of working-class life, which dovetails perfectly with the Beach Boys' mythic vision of Southern California and the illusionary aspects of Hollywood's brand of reality. That Lucky Old Sun begins with Wilson briefly stating the theme and the intonation of a heavenly choir, but then barrels into the first song, "Morning Beat," a rocker with a set of adolescent rhymes one example: "The sun burns a hole through the 6 a.m. haze/Turns up the volume and shows off its rays". But wasn't this is supposed to be a collaboration with the great lyricist Van Dyke Parks? Actually, Parks contributes only to a set of spoken narratives, delivered emphatically by Wilson himself, that are interspersed throughout the album and attempt to advance the California panorama from Venice Beach to East L.A. to Hollywood -- as well as frequent stops along Brian Wilson's personal time line. "How could I have got so low, I'm embarrassed to tell you so/I laid around this old place, I hardly ever washed my face." That Lucky Old Sun rarely evokes the classic Beach Boys sound, but instead the driving '70s productions on latter-day Beach Boys albums like 15 Big Ones and Love You -- granted, with innumerable production touches that could only have come from the mind of Brian Wilson ah, the clip-clop of wood blocks!. It's obvious that Wilson was at the center of some of the best and brightest productions of the '60s, but the added assumption about being at the center is that there are integral parts radiating outward. In Wilson's case, those parts consisted of a superb harmony group with several great lead voices and the on-demand talents of an array of excellent musicians, plus copious engineers and studio technology. Naturally, his solo career has positioned him at the forefront, which is a very different place than the center and one he's proved himself unwilling and unable to embrace fully. He needs not only talented collaborators but strong lead voices to place alongside his own; an apt comparison at Wilson's age is Burt Bacharach, who would hardly consider writing lyrics as well as music and singing every song on one of his albums. The lack of colleagues who could inform the result of this album -- the lack of Van Dyke Parks in a prominent role or a Carl Wilson or even a Mike Love -- is what makes That Lucky Old Sun assume a place below SMiLE in the pantheon of Brian Wilson's achievements.
Mojo
It is a measure, then, of the artistic triumph of That Lucky Old Sun that it's such an utter pleasure, an album of sunshine unclouded by its absolute disconnection to the world as experienced by any alert person over the age of 12... Easily Brian Wilson's most consistently enjoyable, moving solo album.

It is a measure, then, of the artistic triumph of That Lucky Old Sun that it's such an utter pleasure, an album of sunshine unclouded by its absolute disconnection to the world as experienced by any alert person over the age of 12... Easily Brian Wilson's most consistently enjoyable, moving solo album.
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Product Details

  • Release Date: 9/10/2008
  • Label: Toshiba Emi Japan
  • EAN: 4988006866652
  • Catalog Number: 60174
  • Sales rank: 299,227

Album Credits

Performance Credits
Brian Wilson Primary Artist, Keyboards, Vocals, Lead
Van Dyke Parks Narrator
Scott Bennett Bass, Keyboards, Background Vocals, Vibes, spanish guitar
Phil Feather Woodwind
Peter Kent Violin, Concert Master
Bob Lizik Bass
Tommy Morgan Harmonica
Bruce Otto Trombone
Brett Simons Electric Bass, Acoustic Bass
Todd Sucherman Drums
Cameron Stone Cello
Darian Sahanaja Keyboards, Background Vocals, Bells
Nick Walusko Guitar, Background Vocals
Jeffrey Foskett Guitar, Ukulele, Background Vocals
Peggy Baldwin Cello
Probyn Gregory Guitar, Trumpet, French Horn, Background Vocals
Nelson Bragg Percussion, Background Vocals
Taylor Mills Background Vocals
Jessica van Velzen Viola
Technical Credits
Van Dyke Parks Composer
Brian Wilson Composer
Scott Bennett Arranger, Composer, Producer
Haven Gillespie Composer
Mark Linett Engineer
Bob Ludwig Mastering
Harry Beasley Smith Composer
Darian Sahanaja Arranger
Tom Recchion Art Direction
Herb Agner Marketing Coordinator, Project Accounting
Paul Von Mertens Orchestral Arrangements
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Customer Reviews

Average Rating 3.5
( 4 )
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Sort by: Showing all of 4 Customer Reviews
  • Posted October 1, 2010

    more from this reviewer

    Brian Wilson's Love of L.A.

    Ok I admit it. I cannot stand L.A. But I do appreciate Wilson's love of the town and the area of southern California. This CD is impeccably produced, with fine musicianship, telling a story of his passion for all things southern Californian. Like most of Wilson's work, there are some quirky songs and a few of the songs take off in quirky directions just when you are getting into the rhythm and melody. Overall, it's a wonderful CD.

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  • Anonymous

    Posted October 1, 2010

    Best Solo Album of New Material He Has Ever Done

    To be frank, nobody expects somebody who's voice sounds like groundskeeper carl from &quot caddyshack&quot to create a masterpiece. But it seems Brian may have done just that. Or at least had come close to doing so. Of his catalog, he is not what you call stellar. At least not on his own. By the time he released his first solo album in 1988 he had been pretty fried and almost fizzled out. So his solo material hasn't been very strong. However, after his SMiLE album was released, a small flame grew inside him. And that flame was inspiration. This new confidence helped him to record this great piece of work. In my opinion, I would say it's the best new piece of written work he has done since the Beach Boys' Love You or Surf's Up album. It's incredibly soulful with heartfelt music. The lyrics in this album are what had me sold. They make Brian sound so much more serious. Though some of the narratives are a little unnecessary. However, the narratives are mostly refreshing and help transition the album. Of course, Brian is old. Much older then when he recorded Pet Sounds. But the extra layering they did to his voice help to solve that little speed bump. However, his backup band is spectacular. In reality, Brian needs the Beach Boys now like he needs a hole in the head. The Wondermints sound absolutely similar, if not better, then the Beach Boys. The standout track has to be &quot Midnight's Another Day.&quot It showcases here how when given the right motivation, Wilson was the ultimate rival to Paul McCartney and John Lennon. If you were to compare this to any Beach Boys album, I would say &quot The Beach Boys Today!&quot is the closest related album. Tracks like &quot Forever, She'll Be My Surfer Girl&quot are a nostalgic yet refreshing and modern version of the original Beach Boys formula. To close, this album is worth every cent.

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  • Anonymous

    Posted January 28, 2009

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  • Anonymous

    Posted December 26, 2008

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Sort by: Showing all of 4 Customer Reviews