Way back in January last year, I posted a piece entirely created by AI. and asked what you thought was going on. After a few comments that missed the mark, someone guessed the image was AI, but the text passed the test. Nobody got that the whole thing was artificially generated from prompts by bots. To be fair, AI images and text weren't as widely used as they are now - this may have been one of the first blog pieces to be created by algorithms - one of the many Blog Firsts initiated by th' groundbreaking IoF©!
With the advances in AI capability, it's time to try the exercise again, to the same prompts. The difference is immediately apparent. The image, at first glance, looks like a real album. A shit design, maybe a Russian knock-off, it doesn't stand up to more than a moment's examination. But the improvement over the first attempt [left - Ed.] is startling. For one, the group name and album title is spelled correctly, which was absolutely beyond dumbass AI back then. For another, the font is a slightly warped Cooper Black, as used on the Pet Sounds cover. There are six members of the group, so they've reinstated Bruce for the album, which is a thoughtful gesture, even if it makes the Olympic Rings a tad inaccurate.
The text is an improvement, too. There's more detail, and it's more authoritative. It could be a typically anodyne review written by (say) an Allmusic or Rolling Stone reviewer. There's nothing brilliantly perceptive or original or witty about it, no sense of character, idiosyncrasy, or insight, but it's perfectly acceptable internet-corporate content for the undemanding phone gazer.
We'll do this again in another 20 months - if we're still around - and see how we stand. Be afraid. Be very afraid. We can shrug it off, but unlike AI use in music, its appropriation by evildoers to form opinions and incite action seems nothing but bad news. What, me worry?
AI Album Review: 15 Big Ones by The Beach Boys
Released in 1976, 15 Big Ones marked a significant moment for The Beach Boys, primarily because it marked the return of Brian Wilson to a more central role in the band’s recording process after years of being largely absent due to personal struggles. The album features a blend of classic pop standards and new compositions, and while it doesn’t achieve the critical acclaim of their earlier groundbreaking works, it offers a nostalgic look at their musical roots, mixed with the distinctive Beach Boys charm.
One of the most interesting aspects of 15 Big Ones is its dual nature. Nearly half the album is composed of cover versions of 1950s and 60s pop standards, with tracks like “Rock and Roll Music” (a Chuck Berry cover) and “In the Still of the Night” giving the group a chance to revisit the music that originally inspired them. While these covers may not be as innovative as their earlier material, there’s a sense of fun and energy, as if the band is rediscovering the joy of making music, with Brian Wilson’s production touches subtly evident.
On the other hand, the album’s original compositions are a mixed bag. Songs like “It’s O.K.” and “Had to Phone Ya” feel like attempts to merge their past sound with more contemporary sensibilities, but they don’t quite reach the same emotional depth or complexity of their peak period. Still, these tracks show glimpses of the Wilson brothers’ songwriting magic, especially when harmonies soar as they did in their heyday.
Brian Wilson’s return is, of course, the headline here. His presence on 15 Big Ones is palpable, but it's clear he's still finding his footing after years of absence from the band's creative process. His vocals are rawer, and his arrangements less polished than fans of Pet Sounds might expect. But there’s an undeniable emotional weight to his return, as though he’s trying to regain his place both within the band and in the musical world.
While 15 Big Ones isn’t among The Beach Boys’ best albums, it holds a certain charm, especially for longtime fans. It’s a nostalgic mix of old and new, with the band revisiting their roots while Brian Wilson steps back into the spotlight. Though not a return to form, it's a testament to the enduring spirit of a group that helped define a generation of music.
This is off-topic, but 15 Big Ones id one of my most-played albums, according to the person in my computer who counts stuff. I added an xtry track (the splendid session recording of Come Go With me, not the later MIU version), jigged the track order a little, and called it 16 Big Ones, because I can. By any technical and even artistic standards, this doesn't make a Perfect Ten, but it's a pleasantly stupid and undemanding album that never, ever, fails to make me feel good, and to let the back story spoil the party is senseless. Love this album.
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