REVIEW: Brad Elliott, acclaimed Beach Boys' discographer, helped put this intriguing package together seven years before the acclaimed Capitol "two-fer" series appeared with their wealth of unreleased tracks. Recently re-released in Japan (with 20-bit remastering and "bonus" medley tracks), the album has become somewhat anachronistic for those who already own the two-fers, but there are still a few surprises to be found. Studio renditions of "With A Little Help From My Friends" (with the odd sensation of hearing the Beach Boys sing Beatles harmonies) a cover of the Box Tops' "The Letter," (more subdued than I'd think a "Wild Honey" out-take would be) a slightly extended version of "Wild Honey," and an alternate two-track mix of "Bluebirds Over The Mountains" make this compilation a must for completists. There is also an early, alternate version of "Good Vibrations" that differs from any other released version. Unfortunately saddled with a K-TEL-like (but undeniably eye-catching) cover, and cursed with being a single album (frustratingly short for many fans), it also had the bad taste to disappear quickly after being released in 1983 due to ongoing contract negotiations with Capitol. Most of the tracks reappeared on the two-fers, but since those are now out of print, you might want to seek this out. (The medley "bonus" tracks are those that were released in the mid-eighties, and have noticeably poorer sound than the other remastered tracks, and are useless overall.) To read more details about this interesting album, you can also check out this link.

REVIEW: This was a highly anticipated album by Beach Boys fans, being a reunion of the remaining members (Dennis having drowned in 1983), and their estranged leader, Brian Wilson. It was also their first proper album in five years, and great things were expected. And while it's a good album, it also shows immediately how much things had changed. Ultra-slick production (courtesy of then-hot producer Steve Levine), digital sound, synthesizers galore, and faux 60's sensibility nestled uncomfortably against mid-80's pre-fabricated soundscapes. The album begins with the wink-wink, nudge-nudge throwback of "Getcha Back," which to my ears sounds so contrived and calculated, it could run for public office. Next comes a better song, Carl's "It's Getting Late" which showcases his amazing voice, and also a surprising pop sensibility that blends far better with contemporary tastes than anything else here. In fact, I might as well say it now; Carl Wilson is the only reason to buy this album. His singing, and the songs he sings are far and away the best assets here. The bouncy "Maybe I Don't Know," a gorgeous "She Believes In Love Again" (penned and vocally shared with Bruce Johnston), and the shimmering "Where I Belong" shine brighter than any of Brian's contributions, which include the awful "Crack At Your Love," "I'm So Lonely," the gag-inducing "California Calling," and the unsubtle "Male Ego."

REVIEW: I give the Beach Boys a half-star for nice cover artwork, but had to remove all the others for sheer ineptitude. The Beach Boys may think they're having a "Summer in Paradise," but true fans know this album is a one-way trip to hell. Bad songwriting, lousy lyrics, ham-fisted production, clueless remakes, all of which make SIP a pinnacle of embarrassment for the band. The album begins with a thudding take on "Hot Fun In The Summertime," before skidding completely out of control with a 'updated' version of their first song ever, "Surfin'." Screaming guitars and numbing drum tracks, anyone? Following is a terrifying Melcher/Love trilogy, "Summer of Love," "Island Fever," and "Still Surfin'," which only goes to prove that bad things do come in threes. Bruce Johnston writes the dullest song in his career with "Slow Summer Dancing (One Summer Night)" and Al Jardine wails out "Strange Things Happen" (which has a nice hook in the chorus, but terrible TM lyrics.) The Beach Boys commence to destroy the classic "Remember (Walking In The Sand)," Van Dyke Parks plays accordion on "Lahina Aloha" (ouch!), even Carl's mellifluous pipes can't save the malnourished "Under The Boardwalk," and Mike love writes the worst lyrics in his life in the title track. The rest is simply not worth mentioning. If anyone out there claims to like this album, they need to be strapped down, beaten senseless, and fed a daily diet of "Pet Sounds" and "Sunflower" until they recover.

REVIEW: After a tumultuous period when it seemed the Beach Boys were going to add yet another "lost" album to their canon, The Pet Sounds Sessions were finally released, and well worth the wait. More of a high-minded set than the "Good Vibrations" box, "The Pet Sounds Sessions" is an education on how what is considered to be one of the all-time best rock albums ever was made. Taking a recording-booth view, a listener gets treated to several different versions of the album, pulled apart in different ways, hearing stereo versions, studio outtakes, backing tracks, vocal tracks, alternate takes, and a remixed mono version. It can be daunting. The booklet is even more comprehensive, listing interviews with everyone involved with the project, plus admirers like Sirs Paul McCartney and George Martin (it also includes a snide prologue by Mike Love, the inclusion of which was apparently the reason the set was delayed.) At times, reading the booklet is a bit much, all the participants extensively laud Brian and Pet Sounds, it's easy to feel quickly jaded, (and creepily almost like reading a eulogy) but it's still very impressive. But then sit back and listen to the depth and sparkle of the newly-mixed stereo version, or soak in the HDCD-mastered mono version, or wonder at the incredible blend of voices singing of bittersweet longing, or hear the alternating sigh and thunder of the unearthed orchestral tracks, and prepare to be... transported.

REVIEW: Well, this disc takes the prize for best Beach Boys disc this year. Even considering that this release was a rush job, I can't find one thing bad about it. The packaging, the liner notes (by wunderkind Brad Elliott) and the sonics (the sound on this package surpasses anything I've heard before. Great kudos to Andrew Sandoval!) put this release head and shoulders above previous remasters. If this is indeed the first volley in the new reissue series Capitol is planning, this is going to be one exciting year. The real find on this disc is "Soulful Old Man Sunshine;" (you know, it really does sound like a shampoo commercial!) with it's jazzy, full-out production, it casts the Beach Boys in a whole new light; but to be fair, this disc is full of high points: electrifying live sets (Heroes and Villains, God Only Knows, Darlin', Long Promised Road), stunningly clear remixes (Kiss Me Baby, California Girls, Surfer Girl), and long-rumored surprises (Heroes and Villains Demo, Sail Plane Song, 'Til I Die-alternate mix). And each of the Beach Boys gets a chance to shine as well: Dennis with his two previously unreleased songs (Barbara, All Alone), Alan with his newly-finished tour-de-force "Loop de Loop," Carl's angel voice is everywhere and Mike pipes up with his uh, renowned "Brian's Back." The alternate "Help Me Rhonda" is wonderful, and the two radio spots are fun, and I finally get to hear "Endless Harmony" without the mastering snafus found on my KTSA cd. Everything here is interesting, each cut is fresh; this is a superlative compilation. NOTE: After the rushed production of the first CD to coincide with the release of the documentary, the Beach Boys came around and asked that some remixing be done, which made subtle changes on several songs, plus one of the radio tracks, which was incorrectly placed on the CD in favor of another, was corrected. The new CD illustration also was commissioned, which I feel is a big improvement. The orange-colored CD is now out-of-print, and can be considered a collector's item.

REVIEW: As the final Beach Boys release of 1998, this upgraded CD of the 1964 Christmas album also signaled the beginning of the new reissue program that Capitol is planning for 1999-2000 of all the Beach Boys catalog. I won't review the original album since I've done that already, but I will say that the sonics on this release easily surpass any previous issue, with Andrew Sandoval (and Steve Desper) once again providing the last word in clarity and brightness, as well as several sparkling stereo mixes, new for this release. The booklet and notes by Brad Elliott are also notable for their high quality. Of the several bonus tracks included, the best tracks from the aborted 1977 "Merry Christmas" album were chosen (including Dennis's slow, classically-tinged "Morning Christmas," Brian's "Winter Symphony" and ultra-rare 1974 single "Child of Winter" the MIU-related Melekalikimaka (Kona Coast), Bells of Christmas (Belles of Paris), and Christmas Time is Here Again (Peggy Sue), as well as yet another version of "Loop De Loop"; Santa's Got An Airplane. While none of the mid-seventies tracks matches the charm or magic of the 1964 tracks, they are good, and an interesting comparison of how the Beach Boys' style changed over the course of a decade. One minor gripe is the exclusion of the previously released "The Lord's Prayer," which fit in so nicely with the original Christmas album. Overall, a noteworthy improvement of this seminal holiday album.

REVIEW: Is it just me, or are official releases looking more and more like bootlegs? Gone are the days when only finished products were the only things the big labels would release, now, anything goes. A shotgun blast of odds and ends that fans should joyfully snap up, "Hawthorne, CA" has something for everyone, although casual fans will likely not be enticed by the potpourri blend of rough demos, backing tracks, live cuts, stereo remixes and a couple of previously unreleased songs. Highlights include sparkling stereo mixes of "Dance, Dance, Dance," "Heroes and Villains," "The Lord's Prayer" and "Vegetables," vocal-only mixes of "Kiss Me Baby," "Been Way Too Long," and "Forever," the lovely "A Time To Live In Dreams" and much, much more. This collection does contain a couple of "huh?" moments, such as the backing tracks to "Surfin' USA" and "Fun, Fun, Fun" (who's been screaming for those?) and even some redundancies with the previously released "Happy Birthday Four Freshman," and "Their Hearts Were Full of Spring." But overall this set is great fun, high nostalgia, and a loving look at what makes the Beach Boys a high-water mark in American music.

REVIEW: Here you have it, the final stage of the Beach Boys live in concert. Fans can now choose between four different entities the band evolved from: the early, rough charm of Concert! (1964); the confident, popular polish of Live in London (1968); the down-but-not-out daring of In Concert (1974); and now the ultra-professional, somewhat heartless finality of Live at Knebworth (1980). The real drawing point for fans here is the presence of all five Beach Boys: Brian Wilson, Dennis Wilson, Carl Wilson, Mike Love, and Al Jardine, performing in what is billed as their last time playing together in the UK. How is it as a listening experience? About what you'd expect from this time in their careers: carefully programmed audience entertainment, only one step removed from present-day tours. The Beach Boys still try out new material on the audience, including then-current singles (an electrifying School Days, which sounds ten times better here than on the studio version), and up-and-coming songs (Keepin' The Summer Alive), but rely heavily on the tried-and-true hits, with each band member getting their place in the spotlight. Brian sings "Sloop John B," Al transitions somewhat awkwardly from "Cotton Fields" to "Heroes and Villains," Mike owns "Be True To Your School," Carl rips into "Darlin'," and Dennis tackles an abbreviated "You Are So Beautiful." The dialogue feels well-rehearsed (even the "impromptu" audience sing-along of 'Happy Birthday' to Brian), but every number rips along confidently, the playing and harmony vocals are tighter than ever, and the band seems to be having a genuinely good time. It's bittersweet to hear Carl and Dennis's voices again come out of the speakers, and sad to have Brian's vocals pushed to the background during most of the concert, but as history it's good to have, and overall an worthwhile CD.

REVIEW: Available exclusively through Hallmark Gold Crown stores for a limited time, Songs From Here & Back is quite different from other discs which Hallmark has commissioned; having achieved gold-selling success from their Christmas releases (with artists like James Taylor, Michael MacDonald, and Amy Grant), the company decided to branch out into other holiday offerings, beginning with a Valentine's Day release from Michael Buble, and now comes The Beach Boys in time for Father's Day. But whereas other artists had all recorded new albums for the company, The Beach Boys, split into three factions at the time of this release, could only manage to scrape up some odds and ends live recordings, and throw in three solo tracks for good measure. Running just over 34 minutes in length, this CD really can't be considered essential, but at only $7.95 (with the purchase of three greeting cards), it's still a good deal. Most of the live performances are all taken from a single show recorded at the Universal Amphitheater in California in front of an appreciative crowd (the exceptions being "Wouldn't It Be Nice" and "Good Vibrations" which are from 1974). Carl's and Al's voices are present, and Mike is in the forefront of the performances. The songs are all good, with tight harmonies, and a good time being had by all - the seven songs aren't particularly electrifying, (two of the tracks are merely spoken introductions) but they're professional and satisfying, and it's nice to have them. The solo tracks, one each by Brian, Al and Mike, are also nice to have, but again, aren't the highlights you might expect them to be. "The Spirit Of Rock & Roll" is a song originally written for Brian's second solo album, Sweet Insanity, and is found here in a new recording that unfortunately strips it of it's strong rock 'n' roll genesis, and is lessened by a clunky arrangement that makes it sound more like a polka than a rock song. Al Jardine's "PT Cruiser" has the distinction of sounding exactly like a 'car song' circa 1963, in the mold of The Rip Chords "Hey Little Cobra" - but doesn't rise above the limitations of that genre. And Mike's "Cool Head, Warm Heart" is swirling with Wilson-esque harmonies (courtesy of Adrian Baker) but is saddled with TM-'lite' lyrics and a similarly unchallenging melody. Nice, but forgettable, which is a good way to describe the entire album.

REVIEW: A 40th Anniversary single (originally released October 10, 1966), that's nice to have, if somewhat anticlimactic. For those of us who've been in the know, it was rumored at one point that Capitol was thinking of putting out a "Good Vibrations" sessions set, with two-or-three CD's filled with vocal and instrumental takes on this revolutionary single. Instead, what fans receive is this CD-Single, which collects bits and pieces, all of which have been released before in some form, and throws in the original b-side as well, the instrumental "Let's Go Away for Awhile" from Pet Sounds. I imagine that the only people who will want to purchase this new release is fans who've missed out on other compilations, like the very rare Beach Boys Rarities album, which was where the "alternate take" was originally found (here, it's listed as 'previously unreleased in the U.S., which is a mistake), or for those who've not heard the various snippets of sessions that have been previously released on the Good Vibrations box set, or the live concert rehearsal, which showed up previously on the Hawthorne, CA double CD. All of which I have to give a great big "eh" to, since I've obviously heard all of this before. Still, for fans of this album, it's nice to have all these versions in the same place, and collectors will snap this up. It's nice that Capitol Records have put this much effort into the Beach Boys catalog, and nice to have it all in HDCD sound. The packaging is also nice, with the original sleeve art used on the front, and pictures of various international releases of the single on the interior; but it would've been nicer if something new besides the stereo mixes had actually been added, as well.

Pet Sounds 40th Anniversary CD+DVD [LIMITED EDITION]
Capitol Records 69940 [CD]; Released August 29, 2006

Also available in standard jewel-case packaging.

CD
Features both Mono and Stereo mixes of Pet Sounds with a mono bonus track: "Hang On To Your Ego"

DVD
1. THE MAKING OF PET SOUNDS (behind-the-scenes documentary featuring interviews with Brian Wilson, Mike Love, Al Jardine, Dennis Wilson, Carl Wilson, Bruce Johnston and Tony Asher)
2. PET STORIES (Brian Wilson, Tony Asher, Hal Blaine, Carol Kaye, Don Randi, Frankie Capp and Tommy Morgan reflect on the Pet Sounds sessions and songs, the album’s original release and its legacy)
- The Greatest Album Of All Time…
- The Songs
- 'Caroline, No'
- 'Wouldn't It Be Nice'
- 'God Only Knows'
- 'Sloop John B'
- 'I Know There's An Answer'
- 'You Still Believe In Me'
- On All 8 Cylinders…
- The Vocals
- Competition With The Beatles
3. RHYTHM OF LIFE: Sir George Martin & Brian Wilson in the Studio (never-before-released BBC TV documentary excerpt)
4. GOOD VIBRATIONS (unreleased 1966 color ‘firehouse’ promo film)
5. SLOOP JOHN B (1966 black & white promo film)
6. PET SOUNDS (1966 black & white promo film)
7. PHOTO GALLERY (“God Only Knows” audio synched to photo gallery)
* DVD also contains Dolby Digital 5.1 Surround Sound and Hi-Res 96 kHz/24-bit PCM Stereo audio mixes of Pet Sounds + Hi-Res 96 kHz/24-bit PCM Mono audio mix of bonus track “Hang On To Your Ego”

REVIEW: Even for long-time fans, this is a release that should get the some attention. For the 40th Anniversary of the release of one of rock music's seminal albums, Capitol Records has lavished this set with a lot of love - and no album deserves it more. For audiophiles, there are four, count 'em, four different mixes of this song on this set: the original mono mix, remastered in HDCD sound, the new stereo mix, also here in sparkling HDCD, and a new remastered mono mix of "Hang On To Your Ego" - which was the original version of "I Know There's An Answer". The two new mixes for Pet Sounds fans are found on the bonus DVD included, with a Hi-Res 96 dHz/24-bit PCM stereo mix, and an incredible Dolby Digital 5.1 Surround Sound mix that give a whole new way to appreciate the subtle nuances of each song's arrangement. In short, it sounds fabulous, no matter how you slice it.

Also of interest is the extended video portion of the DVD, with lots of new, extended footage of all of the Beach Boys, including rare footage of Carl and Dennis, talking about their feelings towards Pet Sounds, and the effect its had on their career. Much of this footage was available earlier on the Endless Harmony DVD, but here there's more of each interview, and it's all been re-edited into a very pleasing whole. Bruce, Mike, Al, Carl, Dennis, and Brian all give very clear-eyed accounts of their initial reaction to hearing the tracks Brian had prepared, while they were on tour in Japan, and the tortuous process of recording the vocal tracks under Brian's exacting eye. Tony Asher, Carol Kaye, Hal Blaine, and others who contributed to the tracking sessions are all on hand as well, in extended interview segments that fill out and compliment previous incarnations. There are complete promotional videos included for "Sloop John B," "Good Vibrations," and a "Pet Sounds Promotional Film" which are bizarre and fun to watch. And there is a brief meeting of Beatles' producer Sir George Martin as he and Brian sit in Brian's home and studio reminiscing about the far-reaching impact of Pet Sounds on popular music. In short, even if you have the Pet Sounds box set, and the mono/stereo releases on CD, there is still more here for fans, which, after all these years, is a pleasant surprise.

Smile Sessions [LIMITED EDITION]
Capitol/EMI Records 27663 [CD];
Released November 1, 2011

“For all sad words of tongue and pen, The saddest are these, 'It might have been'.”
John Greenleaf Whittier (American Writer, 1807-1892)

REVIEW: There are a lot of mixed feelings over the nearly forty-five-year-late release of what had become the most famous unreleased album in history. Listening to Smile, after decades of songs dribbling out on Beach Boys album, legions of bootlegs, the thirty-minutes of excerpts which were released in 1991 on the Good Vibrations box set, and finally with Brian's 2004 reconstruction/completion of the album, all of which has diminished the impact of this release to a large degree. First, the good things: the presentation is everything that fans, both casual and manic, should herald - much love and attention has been put into the packaging and remastering of Smile, and at least one of the plethora of various releases should find a place in every music lover's libraries. The remastered sound of Smile far surpasses any previous release, (including Brian's version) with amazing clarity and depth of sound, as well as that indefinable Brian Wilson production sound that has never been equalled, putting a final coffin nail in what has been an endless flood of bootlegs. And the music is glorious, with Brian Wilson stretching the boundaries of sonic possibilities far beyond where any producer had gone before, with songs that were both strange and riveting in their naif-like innocence. The liner notes, which are copious, reinforce everything that has been said about the album's dissolution, accompanied with the hilarious back-pedaling of long-time critic Mike Love, who has politically repositioned himself to now rave about the music he once helped drive a knife into.

But I have a lot of questions about the impact this release will have; it certainly won't turn the world on its ear the way it would have back in the Sixties, but will it surprise anyone today? Will it blow the minds of any young, new artists? Will anyone even care? Finally - and this is a big one - the release doesn't answer the big question which is - was this what Smile would have been back in 1967? I doubt that even Brian Wilson could answer that one now, with the long passage of years and mountains of substance abuse standing in the way. The present track configuration is based upon Brian's 2004 album, but the assemblage of that album is a long way from the Brian of 1966. We'll never know. For those who have been waiting, or have been curious, or who have never heard it - get it now. It's a rare musical gift that has been lost for a long, long time, from one of the premiere musical geniuses of our age, and the talents of a sublime vocal group that, in truth, no longer exists. Smile is from a happier time, a more innocent time, an adventuresome time in popular culture; and it's possible to feel that spirit again in these remarkable, ghostly pieces of music.

REVIEW: An astounding album, for several reasons: first, that it ever happened at all, bringing together five of the remaining earliest Beach Boys (Brian Wilson, Mike Love, David Marks, Alan Jardine and Bruce Johnston) after years of acrimony, splits, lawsuits, and more lawsuits, and everyone seems to be on their best behavior; second, that it's not a cheezy "Kokomo"-type "Do It Again" rehash that has plagued their work since the late Seventies; and finally - that it's just so full of heart. Not what I was expecting, but most everything I was hoping for; a mature, grown-up album that's chock-full of complex melodies and soaring harmonies, beautiful, touching, and often elegiac. Part of the surprise here is just how balanced the album is, with each member of the band getting a chance to shine; and shine they do, with Mike Love getting in some lovely vocals on "Spring Vacation" and "Daybreak Over The Ocean", Al absolutely stunning on "From There To Back Again" Bruce Johnston piping in with his pure clear vocals throughout, David Marks bringing expert guitar work to the songs, and Brian Wilson contributing his most complex songwriting in thirty years. Helped by lyricists Joe Thomas and Jim Peterick, the format hearkens back most strongly to the Today! album, with the second half veering strongly into more melancholy, introspective ballads, and even more illuminating, the wintry September Of My Years approach that the Beach Boys embrace. One of the biggest criticisms of the band over the past twenty years was how they seemed locked away in an Endless Summer, ignoring changes in musical styles and emotional depths that they had explored so effortlessly on their early albums; but now, with That's Why God Made The Radio, The Beach Boys musically grow up and become men. The album is not completely without faults, but they're ones which long-time fans will easily forgive: Mike Love still seems to want to be nineteen with "Spring Vacation" (although it's not anywhere near as creepy as his "Hey Little Tomboy" of the late-70s), and Brian Wilson continues to court oddball subjects with "The Private Life Of Bill And Sue" which is a paean to reality television - but it wouldn't be a Beach Boys album without a couple of oddball moments, would it? This is a tremendously surprising album - full of emotional resonance, beautifully produced and sung, it reminds me why I fell in love with the Beach Boys in the first place.

REVIEW: After the near-unanimous animosity the Beach Boys generated over the unnecessarily truncated DVD of their 2012 reunion concert, which pared down the fifty-song sets they had been playing to sell-out crowds to less than half that number, The Beach Boys dip into the well again (and their fan’s pockets) with this double CD set, which substantially fills out the picture of what their 50th Anniversary Concerts set lists were like, even if there are still several songs which they performed live which aren’t included here. And, like the DVD experience, there is substantial evidence of studio sweetening, on both lead vocals, and all background vocs, which may or may not interfere with your memories of the concert, and with your definition of what a “live” recording should be. Suffice to say this isn’t a “live” concert experience by any stretch of the imagination, but it is what it is, the (safe to say) FINAL live concert document we’ll ever get from the gathered surviving members of The Beach Boys. It’s a strange experience, to say the least; the band sounds alternately old and invigorated - detached and involved, from moment to moment, song to song. Brian Wilson sounds twenty years younger on a fiery “Sail On Sailor” on disc two, but barely there on other songs, while Mike Love is practically mummified on “Be True To Your School” with his cheezy strung-out opening “Wheeeeeeeeeeeeeeeeeeen” but then is a consummate professional on the propulsive car medley. Bruce Johnston sounds a little more out-of-breath on “Disney Girls” but shows that his voice still has his beguiling youthfulness it has always possessed, while Al Jardine gets chances to show his powerful vocal chops on “Then I Kissed Her” and “Help Me Rhonda” - and back-in-the-fold David Marks reveals why he wasn’t allowed many vocal moments in his time with the Beach Boys during flat, uninspiring solos on “Getcha Back” (???) and “Shut Down”. Basically, this was the best the band could do - democratically handing out solos and songs to each member, and even “ghosting in” Carl and Dennis for sublime solo moments on “God Only Knows” and “Forever”, respectively. The harmonies, with all the studio scrubbing that’s been done, sounds excessively clean and polished, while the instrumental backing is tucked somewhat further back in the mix, making me miss Dennis’s powerful drum beat, or the raw rhythm section that you’d hear at a real live concert experience. The Beach Boys proved they could still spin magic in the studio, and I’m sure that the thrill of seeing the combined members on stage added a hefty amount of fuel to the concerts themselves, but this aural document is more removed, and therefore, less exciting.

REVIEW: Part of the problem of being a long-time Beach Boys fan is that you end up buying the same songs over and over again, as reissues, remasters, and general jiggering with the band’s catalog leads to a lot (A LOT) of repetitive buying. Exhibit A: the new Made In California box set, which replaces the definitive 1993 Good Vibrations box set, which has fallen out of print. OK, fine. Never mind that the band just released a two-CD greatest hits box, which is duplicated here in toto; never mind that this set, selling at $130 retail is far pricier than what a casual fan will want to dish out; and never mind that for most of the running time (four of the six discs) are simply album and single cuts with small changes in mixes, lead-in's, or alternate hoo-haws; Made In California is designed to be THE compendium of the Beach Boys catalog – the whole enchilada, as it were, the final word in presenting the sum of The Beach Boys legacy to the world. Well, at least for this year.

For the first four discs, it does an admirable job of gathering the highlights from the band’s first half-century of hit-making - gathering singles, important album cuts, and a few rarities that tickle the ears – an early take of Al’s “Sail Plane Song” makes its first appearance, as well as a couple of divine Dennis Wilson tracks inexcusably having their debut here: “Wouldn’t It Be Nice (To Live Again)” and “My Love Lives On” both showing how under appreciated Dennis continues to be as a composer of stark, raw emotional depth. A rare Brian Wilson track, “Where Is She?” makes its soggy debut, as well as a couple of tracks from the ill-advised aborted Don Was-produced sessions from the early 90’s (“Soul Searchin’” and “She’s A Mystery”). Seventeen live tracks all show up here, the best being three 1964 live BBC appearances, which showcase just how tight the band’s harmonies were in a live setting, especially when compared to the “what-were-they-thinking” inclusion of some 1993 concert appearances of “Vegetables” and “Wonderful” which sound just as out-of-place and momentum-stopping as you could possibly imagine.

What a career-spanning collection like this almost always reveals for any artist is the creative peak, followed by the long decline. Proving yet again just how vital Brian Wilson was to the Beach Boys sound and career – once the hits stop, the box set starts to falter as the material becomes much more scatter-shot – for all the wonderful Dennis and Carl moments that pepper the tracks, you have equally dumb-bell moments like the wretched “Brian Is Back” which remains a completely lame song, even in an alternate mix. And despite the producer’s claim that this box should be snapped up due to the sixty unreleased tracks, most of these are minor-league alternate takes, backing tracks, vocal-only dubs, and live recordings, only a smattering of which I would label essential listening. I mean, we get a vocals-only dub of “Pom-Pom Playgirl” which only goes to show that Brian could work his harmony magic on songs which were then, and now, bottom-of-the-barrel pieces (there’s a reason this song doesn’t show up on Greatest Hits collections, guys!) while more worthy tracks (where are the Holland outtakes?) still remain locked in the vault (no doubt held back for next year's Greatest Hits package). For my money, the previous box set was a far better representation of The Beach Boys career than this mammoth beast, which feels like it’s gone back to the well one too many times.

REVIEW: OK, first of all, I'm not going to review Pet Sounds, the album, which I've already done. Nor am I going to compare this release to the previous box set or deluxe stereo 40th Anniversary edition - you can look up those reviews above. This release - commemorating the big five-oh birthday of Pet Sounds, attempts to give fans a sprinkling of new stuff not found on those other releases, while still making you buy the album again. Actually, three times, with the newly remastered mono, stereo, and Dolby 5.1 Surround Sound Blu-Ray audio versions all included for audiophiles. For those counting, this officially makes this the gazillionth time Pet Sounds has been released. OK, whatever. I imagine you could get really excited about the previously unreleased alternate instrumental/vocal tracks littered throughout, or get all tingly over the live versions from the late 60s/early 70s (which sound severely stripped down from their celestial studio versions, and are nearly ruined by Mike Love's tone-deaf 'comedic' banter), or you may wonder why the producers felt they needed to include "Good Vibrations" which isn't even on Pet Sounds (!!!), but from my point of view, this release is just a big ol' fat cash grab by Capitol, and even with the sterling sound, unwieldy packaging, reverent notes, and glossy pics, I can't in good conscience recommend running out and purchasing this box, ...unless you've NEVER heard Pet Sounds before. Even then, I would suggest getting the solo album before shelling out your money for this behemoth; it's just too much. Too much of a good thing is still... too much. Happy Birthday, Pet Sounds - sorry we had to publicly dissect you and put you on display in order to enjoy you.

The Beach Boys With The Royal Philharmonic Orchestra
Capitol Records [CD/VINYL/MP3]
Release Date: June 8, 2018

1. California Suite
2. California Girls
3. Wouldn’t It Be Nice
4. Fun, Fun, Fun
5. Don’t Worry Baby
6. God Only Knows
7. Sloop John B
8. Heroes And Villains
9. Disney Girls
10. Here Today
11. In My Room
12. Kokomo
13. The Warmth Of The Sun
14. Darlin’
15. Help Me, Rhonda
16. You Still Believe In Me
17. Good Vibrations

REVIEW: There's really no getting around it - a tiny "trend" in classic pop music these days is to take recordings by older (often "dead") artists, strip the vocals from multi-track masters, and re-set them to new orchestral backing in order to give them a "freshening up" as it were. It's been done with Ella Fitzgerald, Frank Sinatra, and others. It's not a bad idea, when done tastefully, but as has been noted before, song selection is key. The Royal Philharmonic Orchestra again goes back to the Beach Boys well, and this time, marries their thick orchestral sound to original vocals - with limited results. There are several basic problems with this album, which nobody seems to have thought of - first and foremost being: do these songs benefit from having a symphony orchestra tied to them? For the most part - nope. Rock music is 'rock' music partially because it's stripped down and "tight" - "Fun Fun Fun," "Darlin'," "Help Me Rhonda" and others sound like they're being played by a college marching band. Yecch. And other songs which might have benefited from the presence of an orchestra, like say, "Surf's Up" or "'Til I Die" aren't included. Which leaves mostly big hits, played straight, without an ounce of invention or creativity in sight. Sigh. There's a lot you can do with just vocals and a little imagination (see The Beatles "Love" album) - but not here - it's just the same songs played with a thicker backing track which neither illuminates the music, nor, arguably, makes them sound ANY better - in fact, just the opposite - the songs sound clunkier, squarer, and more MOR than they ever used to. Nothing more than another soulless cash grab by the Powers-That-Be.

California Music Presents Add Some Music
Omnivore Recordings [CD/MP3]
Release Date: April 23, 2021

1. ADD SOME MUSIC TO YOUR DAY (feat. Mike Love, Al Jardine, and Bruce Johnston)
2. RAM RAJ (feat. Mike Love)
3. JENNY CLOVER (feat. Al Jardine)
4. SHE BELIEVES IN LOVE AGAIN (feat. Bruce Johnston)
5. LONG PROMISED ROAD (feat. David Marks)
6. FRIENDS
7. GET TOGETHER (feat. Jeffrey Foskett)
8. GOLDEN STATE (feat. Rob Bonfiglio)
9. ADD SOME MUSIC TO YOUR DAY (A Cappella Version (feat. Mike Love, Al Jardine, and Bruce Johnston)
10. ADD SOME MUSIC TO YOUR DAY (Instrumental Version)

REVIEW: I wasn't really sure where to put this album on the website, since it's neither a "Beach Boys" album proper, a tribute album, or an album by "related artists," although it's all of those things as well. When David Beard pulled together three of the surviving Beach Boys, some of the Beach Boys band members, and some of their children to produce the 2020 remake of the 1970 Sunflower track "Add Some Music" it apparently led to interest to release something more, and so we have the unfortunately-named California Music Presents Add Some Music, which contains the previous single, along with an A Cappella version and Instrumental version, and seven other tracks by the individual artists. It's all slickly produced, gently revisiting some familiar Beach Boys songs, with a sprinkling of new stuff. First off, you get Mike Love in full "transcendental meditation" mode on "Ram Raj" a sing-songy mantra which sounds like it belongs somewhere else entirely; then Al Jardine sings "Jenny Clover" a mild piano-driven song which owes a nod to the melodicism of Paul McCartney - and is a hazy, pleasant lullaby with sprinkles of French language thrown in for good measure. Bruce Johnston revisits one of his mid-80s high points, "She Believes In Me" which shows off his still lovely voice in this rendition which has been stripped down from the previous version's 'power-ballad' trappings. David Marks makes a surprise appearance on a cover of "Long Promised Road" which lacks lead vocals but is graced by David's fluid guitar playing - and gives the album some much-needed stinging acidity. "Friends" is next, and is credited only to "California Music" (which I think is the Beach Boys kids and associated others) - but the faceless, heavily-processed vocals makes it sound more like the later versions of The Brotherhood Of Man, which featured a rotating cast of glee-club graduates. It's just OK. Jeffrey Foskett lends his sweet tenor vocals to a remake of Stephen Stills' "Get Together" which again, is far slicker and polished than the simple, organic original, but still benefits from the mellow coolness the song has always possessed. Then Rob Bonfiglio, (Carnie Wilson's husband and touring member of Brian's band amongst his many accomplishments), gets his own moment to shine on the original song "Golden State" which is a pleasant ode to the California, and shows that he's clearly absorbed some of the Beach Boys' emanations. Listeners should get some good vibes themselves from listening to this surprise offering. A portion of the proceeds from the album goes to the charity Feeding America.

"Feel Flows" The Sunflower & Surf's Up Sessions 1969-1971
Capitol Records [STREAMING/CD/LP]
RELEASE DATE: JULY 23, 2021

The "Feel Flows" collection from the Beach Boys is based on the landmark albums, Sunflower and Surf's Up, released in 1970 and 1971, respectively. This 5 CD boxset, in 48-page hardcover book, features remastered versions of the original albums and has 135 tracks including 108 previously unreleased tracks, alternate versions, mixes and, vocals.

For complete track list CLICK HERE.

REVIEW: If youi've followed my reviews at all, you know that there are periods of the Beach Boys history that I appreciate more than others. Lots of music critics point to Pet Sounds as the band's creative apex, but for me, it's always been Sunflower. Not only is it filled with amazing songs, but the feel of the album is much lighter, more stylistically diverse, and more sonically adventurous than Pet Sounds. It's a happier album. Just my opinion. I don't have nearly as high an opinion of Surf's Up even though that was the album which helped the Beach Boys build some cred with the college crowds of the time. The public was wrong, as usual - they should have clued into Sunflower, instead of letting it die an ignominious death. That these two albums are getting the deluxe box set treatment, fifty years after their original appearance, shows that they have only grown in critics estimation in the ensuing years.As box sets go, it's par for the course - the original albums remastered, selected live tracks which range from contemporary to far removed from the original era; tracks stripped down and presented in instrumental/vocal mixes, alternate takes, unused songs, fragments, and studio chatter. This has always been the most interesting era of the band from my perspective - the undisputed leader of a popular band utterly breaks down, and what's the rest of the band to do? It would destroy most groups, but the Beach Boys were family - and the rest of the band, instead of shrugging their shoulders and splitting into factions, simply moved their studio into Brian's basement, and began to bring in whatever they had; and democratically, they each worked and suggested, and played, and sang, and polished the songs themselves. The liner notes testify just how easy and fun the work was - the Beach Boys were now in their late twenties, starting families, and were comfortable in their own skins; they liked each other, respected each other, and were young enough still to consider themselves adventurous in musical terms. Listening to these tracks in their various forms makes me appreciate just how talented each member of the band was, and almost makes me forget the bitter, acrimonious years and personal tragedies which would soon engulf them.
Is it worth it to purchase the box set over streaming it? Maybe - the booklet sheds some small light on the process, but there's not any in-depth analysis or digging into the songs or variations. The text is curiously large and spaced out for such an endeavor - and the interviews offered are mostly snippets which don't dig too deep; and as far as unreleased material, the best stuff is undoubtedly Dennis's songs, which show a depth and maturity which he had only hinted at on previous albums. As Al Jardine states, it's a real shame that his planned solo album at the period never happened. It's a great box, notwithstanding its flaws - highlighting the last great creative era of the band.

"Sail On Sailor - 1972"
Capitol Records [STREAMING/CD/LP]
RELEASE DATE: December 2, 2022

The Beach Boys “Sail On Sailor“ collection celebrates the landmark 1972 albums “Carl And The Passions” and “Holland.” This 6CD set features a 48-page book with extensive liner notes, rare photos and more. The collection includes remastered versions of the original albums as well as outtakes and session highlights from the original “Mount Vernon and Fairway” EP from “Holland”, plus a previously unreleased concert from Carnegie Hall, 1972. Also included are dozens of studio and live additional tracks, sessions and alternate versions.

REVIEW: By 1972, the Beach Boys were seriously floundering, creatively speaking. Brian had completely retreated from the band, lost in a drug and paranoiac haze which hobbled his creative juices and left him suspicious and withdrawn. What were the Beach Boys to do? With ebbing commercial prospects, and with their backlog of self-composed songs on the wane, they recruited two additional members for the band (former "Flame" members Ricky Fataar and Blondie Chaplin) and decided (or self-consciously veered) into an entirely new sound and direction - one which baffled long-time fans, and which didn't have enough artistic or commercial "oomph" to catch the ears of any new ones. They also dumped their old manager and took on Jack Rieley, which was a decidedly mixed blessing, in retrospect. Although Rieley brought some enthusiastic young blood to the band, his ideas, such as moving the band to Holland to refresh their creative juices, was disastrous. The new sounds the band was making was decidedly stripped-down, with songs which didn't show them off to their best advantage - simply put, without Brian's brilliance, they had flashes of brilliance in Carl's and Dennis's offerings, but even they were now experimenting with mind-altering substances, and it led to songs which were droning, repetitive, and often depressing. A far cry from the sweet, joyful/melancholy songs which defined the band. This set, which captures the album sessions for "Carl and the Passions: So Tough" and "Holland" show that the band could still create vocal fireworks, but there was a definite malaise which had set in - Dennis's songs were slower, sleepier, and less 'pop' song than naval-gazing indulgence; Carl seemed to give in to his love of R&B, which vocally he just wasn't suited for, his angelic voice sounding shredded on his "shouted" moments. The harmonies are still strong, as shown in outtakes and alternate mixes, but even these had shifted from the "Four Freshman" sound to more chant-lilke back-and-forths, which still astound, even if they don't reach the complex ethereal heights which Brian could bring to the arrangements. Even so, this box is probably the best presentation of these albums which they could hope for - the producers have judiciously chosen interesting session outtakes, and paired it with the never-before-released Carnegie Hall concert which showcased just how tight and powerful the band had become live. It's a tear-your-head-off performance, and one which should have been released long before this. Worth picking up for those who want to reassess this era of the band.