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   UNLIKE THE PREVIOUS STUDIO ALBUM, “The Beach Boys Love You”, this 1978 release, titled after the Maharishi International University where the majority of the album was recorded, there is no definitive division and decision amongst the bands followers around the world. With “Love You” it was essentially either ‘yes’ or ‘no’ … as simple as that, but the acceptance or rejection of “M.I.U.” was never a clear cut thing. It has always been more of … “well, it has some good parts, and some not so good … so overall ? Hmmmm, not too sure …”. If “Love You” was the most decisive album in the bands catalogue, then “M.I.U.” has to rate as the most indecisive.

  Put it down to a distinct lack of the tri-Wilson-axis ? The bland production ? The noticeable void of quality material ? The lack of the killer ‘hit’ single ? Put it down to whatever reason you wish, but “M.I.U.” just doesn’t ‘cut it’ in the minds of many.

  Bizarrely, the so-called ‘hit’ single that was so lacking upon release (“Peggy Sue” just crept into the lower reached of the Top 75 lists …) was rekindled three years later when “Come Go With Me”, a cover of the 1956 Del-Vikings recording, belatedly made it into the Top 20 … but by that stage “M.I.U.” was virtually a forgotten piece of Beach Boy history.

  The history of the sessions that finally gave us this offering are, perhaps, as confusing as the final product itself. Brian’s ongoing ‘recuperation’ in the studios had resulted in a wealth of material post-1976, with a number of virtually complete albums being mentioned in many hush-hush circles, and in

slightly more publicised conversations aswell. “The New Album”, “Brian Loves You”, “Adult Child” … all titles banded about with promises of what they could and would offer. Sadly, other than the second of these developing into the 1977 group release, a major portion of the material recorded would remain in the vaults. However, internal fractions within the band itself were rife at this time, and when the Love/Jardine division decided to decamp to the Maharishi International University in Fairfield, Iowa for further recording, predominantly for a proposed Christmas release, bringing along a seemingly subdued Brian for that ‘authentic’ Beach Boys touch, the pendulum of creative control swung away from the Wilson brothers. Neither Carl nor Dennis were heavily involved in the sessions, with neither in favour of the project, and with both making but fleeting visits to northerly mid-America group relationships were stretched to breaking …

  With Alan Jardine taking joint production credits, alongside fellow musician, friend and co-meditator Ron Altbach (Brian was only afforded ‘executive production’ status due to his apparent incapability of holding down the full production role) the idea of a Christmas album was swiftly nixed once Warner Brothers heard the initial track selection, and after a number of re-recordings, album titles changes (“California Feeling”, “Winds Of Change” …) and a few additions from the vaults, “M.I.U.” was unleashed to a decidedly lukewarm reception … and a #151 chart position (for three straight weeks …).

  For the fourth album in succession cover presentation was put into the capable hands of Dean Torrence and, in consultation with the band itself, he turned in a decidedly pleasant, if unspectacular offering. Housed in a pastel peach colour scheme, with the dramatic encircled image of a glorious sunset surf break as the only feature on the front cover, the design oozed pristine quality … with distinctly bland overtones. Legendary surf photographer Warren Bolster supplied the picture itself, courtesy of Surfer Magazine, and it was clearly an image that, despite years of trying to break away from, the band were now accepting as the foundation for their nostalgic future, and a true symbolism that their rekindled popularity had forced upon them. Indeed, one of the albums few highlights was a revisit to the ‘surfing sound’ of years gone by, complete with a vocal coda from one of their more popular ‘surfin’ tunes. Despite years of positive creation and reinvention, by 1978 the band had come full circle …

  The one discerning factor on the front of the sleeve is the strange lettering that appears during the word ‘Beach’. The style of the ‘e’ (presumably reshaped to resemble to rise of a breaking wave) is the unnerving eye-catching intervention on this otherwise attractive design, and as a result sets a feeling of uncertainty over

M.I.U. Promotional Poster

over the whole package. The rear of the cover adds little else to the concept, simply replacing the crashing curl of the wave with an outdated photograph of the band, taken by Guy Webster during the January 1977 photo shoot in Florida (from the same session that graced the rear of the “Beach Boys Love You” album), and at approximately 11:40 am judging by the time showing on Carl’s watch. It’s a strange shot, with Mike seemingly in conversation with Brian, whilst both Dennis and Carl calmly pose for the lens. Alan, in the rear, almost appearing as an add-on to the frame …

  Quite why there was no current 1978 picture featured leaves one to only assume that the inner relationship amongst the five-piece line-up had deteriorated to such a level that they simply refused to pose alongside each other. Certainly, stories of the turbulent fighting and bickering during this period, both onstage and offstage, have become legendary within the Beach Boys saga, to the extent that the division of the younger Wilson brothers from the meditating core of the band was so apparent that the pairings refused to travel together, and even entered the concert stage from opposite sides. To have them simply agree to attend an harmonious photo session together, with the sensitive soul of brother and cousin being pulled between the warring sides, was perhaps too abhorrent to consider for either party.

  Credits on the outer sleeve are kept to a minimum, and apart from production, engineering, design and photography credits the only other external appreciation is afforded, once again, to Diane Rovell (an earlier credit appeared on the 1968 “Friends” offering) for her ‘music co-ordination; i.e. her ability to arrange, organise and co-ordinate the recording sessions.

Surf Photographer

The M.I.U. campus, now known as Maharishi University Of Management

  The record itself comes packaged in a more detailed inner lining, with the enlarged logo of the Maharishi International University featuring heavily on both sides, and containing full song lyrics, musician and vocal credits, along with a list of additional names to whom special thanks are given … Lynda Jardine, Marilyn Wilson, Steve Korthof, Stan Love, Matthew Jardine are all familiar names amongst the line-up of friends and acquaintances ... and not forgetting the name of one man, whose influence flows throughout the presentation of this release, possibly to the chagrin of the younger Wilson brothers.

  To quote Dennis Wilson, when questioned about the release by the British music press: “I don’t believe in that album … I hope that the karma will fuck up Mike Love’s meditation for ever. That album is an embarrassment to my life. It should self destruct …”

  Jai Guru Dev …

  All in all, you cannot fault the overall presentation of this addition to the ever increasing Beach Boys catalogue … but it doesn’t really excite you either. One may also argue that this also applies to the music contained inside ...

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CHRISTMAS IN FAIRFIELD

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