Despite having two hit singles, Summer Days (And Summer Nights!!) doesn't seem to appear in many discussions of the best Beach Boys albums. While musically it is a step forward, some of the lyrics have been criticized as being a return to the simpler themes found on their early records. It is true the album isn't as introspective asToday!, but Summer Days is a strong and very fun album with a lot to offer.
The Girl From New York City(Brian Wilson/Mike Love) Not many songs lead off a Beach Boys album and then totally fade into obscurity like this one. It's an exciting production with great energy and an incredibly catchy chorus: "The California guys all got their eyes on that girl from New York City / The L.A. boys all heard the noise about the girl from New York City." Mike's bass notes, Brian's soaring harmonies, the piano, saxophone, and twangy lead guitar all surround a very strong vocal performance. A deep-cut album opener that does the job in less than two minutes.
Amusement Parks U.S.A. (Brian Wilson/Mike Love) Lyrically, this song is similar to something like "County Fair" back on their debut album. The music is also very carnivallike to match. It could be a little embarrassing to the uninitiated you are trying to convince of the Beach Boys' coolness. However, there are two things I love about this song. First is the sound of Brian's vocals the three times he comes in at the end of the verses. Second is the line, "watching girls in the air can really get you bad." I don't know who wrote this line, but it's so Brian. I can totally understand it and it saves the song for me.
Then I Kissed Her(Phil Spector/Ellie Greenwich/Jeff Barry) Brian gives the Beach Boys' treatment to "Then He Kissed Me," originally produced by Phil Spector for the Crystals. He retains the castanets, but this production has a more acoustic, less aggressive sound compared to the original. Al gets his first of two lead vocals on the album and does a great job on it.
Salt Lake City(Brian Wilson/Mike Love) This song used to fly past me as a simple throwback, but then I heard the session highlights on the 2001 Hawthorne, CA compilation and I realized what a creative track this is. That saxophone is back, some lively piano, great drumming by Hal Blaine, and those flawless harmonies at the end. Like "Amusement Parks U.S.A.," we have Mike and Brian sharing the lead vocal.
Girl Don't Tell Me(Brian Wilson) This song has often been compared to "Ticket To Ride" due to the guitar breaks and Carl's phrasing, particularly on the words "you'll write" in the chorus. It is also unique in that the Beach Boys are playing their own instruments, there are no backing vocals, and it's one of Carl's first leads. He was only 18 years old, but this was the 9th Beach Boys album. It's amazing to think it took Brian so long to use him in this capacity. This song is a highlight of the album for me and it really got my attention when I was first discovering the catalog.
Help Me, Rhonda(Brian Wilson/Mike Love) Al's second lead vocal and the second time this song was released. It first showed up on Beach Boys Today! under the spelling "Help Me, Ronda," but Brian gave it another look and turned it into a #1 single. Carol Kaye's bass and Hal Blaine's drums sound incredible. Mike's bass notes are another highlight on a track full of highlights. This catchy sing-along would be a concert staple for many decades.
California Girls(Brian Wilson/Mike Love) Speaking of concert staples, here's another monster song. The aforementioned Carol Kaye is owning that bass line again and the gorgeous intro is out of this world. In a previous post, I linked to a recording of the track that only featured the vocals. The arrangement Brian came up with for those backing vocals is one of my favorite things ever. This and "Rhonda" are songs I used to think were cheesy when I was younger, but once I became a Beach Boys fan and gave them proper listens, I learned how magnificent they are and that they deserve all the love they get.
Let Him Run Wild(Brian Wilson/Mike Love) Ahh you're killing me, Brian. This is so good! We're this far into the album and we finally get Brian's first unshared lead vocal. What a great arrangement! Listen to the backing track on 1968's Stack-o-Tracks. These are some of Brian's best lyrics. I feel I'm being redundant by pointing out the great harmonies throughout this album, but I can't ignore what the backing vocals do for this record. Gotta love that vibraphone. Frank Capp RIP.
You're So Good To Me(Brian Wilson/Mike Love) Another infectious track. I used to think Al sang this one. There are times Al and Brian can sound identical. I also thought it was Al because Brian comes in so strong, and with a different style, on the "and I love it" part. It is Brian, however, and this is another song with the guys playing their own instruments. That lead guitar riff throughout the verses is an earworm and those "la-la-la-la" backing vocals are the icing on the cake.
Summer Means New Love(Brian Wilson) This instrumental has never done much for me. I could listen to the Pet Sounds instrumentals every day, but this one seems a bit dated. I think it's the lead guitar that make it sound like it belongs in the back of some beach scene in a 1950's teen movie. The strings really help it and you can hear the experimentation that would lead to Pet Sounds.
I'm Bugged At My Ol' Man(Brian Wilson) This song gets mixed reactions. It's a tossed-off tune that doesn't fit the production quality of the rest of the album. We essentially have a humorous (to us) window into the relationship the Wilson brothers had with their overbearing father. The lyrics are pretty weak. The backing vocals are intentionally flat. The bridge is the best part, where Brian sings "they gave me some breadcrumbs and a little glass of water / and they're out there eating steak."
And Your Dream Comes True(Brian Wilson/Mike Love) This 63-second a cappella song is easily a better way to end the album than "Bull Session with the 'Big Daddy'." There's not a lot to say about this one other than it's a pretty little lullaby that shows the listeners what the guys can do, especially after "I'm Bugged." The next time we would get a track like this would be "Mama Says" on the Wild Honey album.
On June 3, 2021, The Beach Boys finally announced the box set that had been rumored as far back as December 2019. Feel Flows: The Sunflower & Surf's Up Sessions 1969-1971 will be released July 30th as a 5CD box set, 4LP edition, 4LP limited colored vinyl package, 2LP set and 2CD set. The box set includes 108 previously unreleased tracks, the majority of which are session highlights and new or alternate mixes (including instrumental and a cappella mixes), as well as live performances, radio promos, and outtakes not originally included on either album.
At the end of 2018, fans were treated to three rarities collections: On Tour: 1968, Wake the World: The Friends Sessions, and I Can Hear Music: The 20/20 Sessions. As 2019 was coming to a close, we were anxiously awaiting releases featuring tracks from the Sunflower and Surf's Up albums. But it was not to be. What came out was a 3-track digital EP called 1969: I’m Going Your Way. There was speculation nearly immediately that a bigger set was in the works and hope that this EP was a mere taste of goodies to come. All throughout 2020, there was talk that the collection was completed and simply waiting on a release date from the label. Then it was said to have been shelved completely for undisclosed reasons. Fans even started a online petition to get Feel Flows released. For whatever reason, the project came back from the dead and started picking up steam. Finally, here we are! It is a joyous day for Beach Boys fans as an embarrassment of riches is coming our way.
Because no reason for the delay has been given, it allows rumor and speculation to run rampant on the Internet. Fans will take sides and point fingers at who they believe must be the culprit. It makes sense that insiders would want to be professional and not share what they know, though many supposed insiders have hinted that they know more than they are willing to say. Because Mike Love is naming "The Beach Boys" summer tour after this release, I wonder if he simply wanted the box out to tie in with a tour that was understandably delayed a year due to the coronavirus pandemic. To me that doesn't seem like the worst reason. I'm only guessing, of course. The real reason, if we ever find out, could be as ridiculous as some speculate. I think come July 30th, all will be forgiven. We were worried this set would never come and it's coming. The long bootlegged original version of "Big Sur" was released to wet our appetites and pre-orders are now being taken! Aren't you glad? It's a great time to be a Beach Boys fan.
The cover art comes courtesy of Dillon Carson, who celebrated the 50th anniversary of Sunflower last September by posting his version of an alternate album cover inspired by Sunflower's gatefold. The Beach Boys camp became aware of it and utilized it with some changes. Al Jardine lost his hat and Brian and Mike were completely redone. You can see this earlier version to the side here.
Here are the contents of the 5CDs coming our way. I'm not going to post the track listings for every edition as the 5-disc box is where you can acquire everything. The contents of the other packages are easily found on Wikipedia or The Beach Boys official website. There are about 16 tracks that are longer on the box compared to the 2CD and/or vinyl versions. These are likely tracks trimmed of studio dialogue, etc., in the interest of space.
DISC ONE SUNFLOWER - Original Album 1. Slip On Through (2019 master) (2:19) 2. This Whole World (2019 master) (1:58) 3. Add Some Music To Your Day (2019 master) (3:36) 4. Got To Know The Woman (2019 master) (2:43) 5. Deirdre (2019 master) (3:30) 6. It’s About Time (2019 master) (2:57) 7. Tears In The Morning (2019 master) (4:07) 8. All I Wanna Do (2019 master) (2:36) 9. Forever (2019 master) (2:42) 10. Our Sweet Love (2019 master) (2:41) 11. At My Window (2019 master) (2:32) 12. Cool, Cool Water (2019 master) (5:03) 13. Sunflower Promo 1 (previously unreleased) (0:59)
SUNFLOWER - LIVE
14. This Whole World (Live 1988) (2:10)
15. Add Some Music To Your Day (Live 1993) (3:23)
16. Susie Cincinnati (Live 1976) (2:46)
17. Back Home (Live 1976) (3:15)
18. It’s About Time (Live 1971) (3:45)
19. Riot In Cell Block 9 (Live 1970) (3:34)
SUNFLOWER - BONUS TRACKS
20. Break Away (original 1969 single mix) (2:55)
21. Celebrate The News (previously unreleased 2020 mix) (2:37)
22. Loop De Loop (previously unreleased 1969 mix) (2:59)
23. San Miguel (previously unreleased 2020 mix) (2:33)
DISC TWO SURF’S UP - Original Album 1. Don’t Go Near The Water (2019 master) (2:41) 2. Long Promised Road (2019 master) (3:32) 3. Take A Load Off Your Feet (2019 master) (2:32) 4. Disney Girls (1957) (2019 master) (4:08) 5. Student Demonstration Time (2019 master) (3:59) 6. Feel Flows (2019 master) (4:44) 7. Lookin’ At Tomorrow (A Welfare Song) (2019 master) (1:57) 8. A Day In The Life Of A Tree (2019 master) (3:09) 9. Til I Die (2019 master) (2:32) 10. Surf’s Up (2019 master) (4:14) 11. Surf’s Up Promo (previously unreleased) (1:02)
SURF’S UP - LIVE
12. Take A Load Off Your Feet (Live 1993) (2:35)
13. Long Promised Road (Live 1972) (4:14)
14. Disney Girls (Live 1982) (4:23)
15. Surf’s Up (Live 1973) (4:58)
16. Student Demonstration Time (Live 1971) (4:42)
SURF'S UP - BONUS TRACKS 17. Big Sur (previously unreleased) (2:35) 18. H.E.L.P. Is On The Way (previously unreleased 2019 mix) (2:31) 19. Sweet And Bitter (previously unreleased) (2:33) 20. My Solution (previously unreleased) (3:44) 21. 4th of July (2019 mix – previously unreleased) (3:11) 22. Sound of Free (1970 single mix, 2019 master) (2:22) 23. Lady (Fallin’ In Love) (1970 stereo mix – previously unreleased) (2:21) 24. Seasons In The Sun (previously unreleased) (3:27) DISC THREE SUNFLOWER SESSIONS 1. Sunflower Promo 2 (previously unreleased) (0:59) 2. Slip On Through (track and backing vocals – previously unreleased) (2:47) 3. This Whole World (long version track & backing vocals – previously unreleased) (3:10) 4. Add Some Music To Your Day (track and backing vocals – previously unreleased) (4:35) 5. Deirdre (track – previously unreleased) (3:34) 6. It’s About Time (track & backing vocals – previously unreleased) (2:53) 7. Tears In The Morning (track & backing vocals – previously unreleased) (4:08) 8. All I Wanna Do (session intro, track & backing vocals – previously unreleased) (3:46)
14. San Miguel (track & backing vocals – previously unreleased) (2:57)
15. Loop De Loop (track – previously unreleased) (2:49) 16. Good Time (session intro, track & backing vocals – previously unreleased) (4:27) 17. When Girls Get Together (track – previously unreleased) (1:47) 18. Slip On Through (alternate 1969 mix with session intro – previously unreleased) (3:25) 19. Our Sweet Love (string section – previously unreleased) (1:00)
1969-1970 a Cappella 20. San Miguel (backing vocals excerpt – previously unreleased) (1:00) 21. Break Away (Tag) (backing vocals excerpt – previously unreleased) (0:18) 22. Cotton Fields (The Cotton Song) (a Cappella – previously unreleased) (2:44) 23. Good Time (backing vocals excerpt – previously unreleased) (0:19) 24. This Whole World (backing vocals section – previously unreleased) (1:05) 25. Add Some Music To Your Day (a Cappella – previously unreleased) (3:30) 26. Got To Know The Woman (a Cappella – previously unreleased) (2:52) 27. It’s About Time (backing vocals excerpt – previously unreleased) (0:50) 28. All I Wanna Do (a Cappella – previously unreleased) (2:58) 29. Forever (previously unreleased 2019 a Cappella mix) (2:52) DISC FOUR SURF’S UP SESSIONS 1. Don’t Go Near The Water (track & backing vocals – previously unreleased) (3:45)
My next post was going to be about the Live In London album, but that's proven to be more work than I expected so let's postpone that for now and talk about "This Whole World." The song was released on the Sunflower album in 1970 and as the B-side to "Slip On Through." I believe this track would have been a strong single to kick off their tenure with Reprise Records. What Brian was able to pull off in a mere 115 seconds is pretty astounding. The song was recorded November 13, 1969 at Brian's home studio when he lived at 10452 Bellagio Road in Los Angeles. According to Craig Slowinski, the musicians were: Jerry Cole (rhythm guitar), David Cohen (lead guitar), Carl (acoustic guitar), Jack Conrad (bass), Ray Pohlman (6-string bass), Dennis Dragon (drums), Gene Estes (chimes & glockenspiel), Daryl Dragon (electric harpsichord, tubular bells, celeste), Brian (piano). In David Leaf's book, The Beach Boys, Daryl Dragon is quoted as saying "From a harmony standpoint, I've never heard a song like that since I've been in pop music. I've never heard a song go through that many changes and come back." Timothy White called the song "the most ingenious of Brian's many mini-opuses." We have some quotes from the guys courtesy of the Summer 2020 Edition of Endless Summer Quarterly. Al Jardine says, "That song is one of my favorites of all-time! That's a monster Beach Boys song right there! That's a favorite for all of us. It's a wonderful expansive mood with lots of great harmonies and chord changes. It's very, very Brian ... cutting edge." Bruce said, "There is Brian 'magic' all over 'This Whole World.'" In his autobiography, I Am Brian Wilson: A Memoir, Brian said "That song came from deep down in me, from the feeling I had that the whole world should be about love. When I wrote that song I wanted to capture that idea." Brian would re-record "This Whole World" for the I Just Wasn't Made for These Times documentary and soundtrack that came out in 1995. He also included it on his Live at the Roxy Theatre album from 2000. Finally, an a cappella version was included on the 2013 Made In California box set. A song like this deserves better than being included on a list of deep cuts, but it's there waiting to be discovered. If you haven't played it in awhile, do so now. It's only 2-minutes, so you'll likely hit 'repeat.'
The next show on the docket is the second performance from December 1, 1968 at the London Palladium. Listening to all of these recordings has been a very enjoyable experience. The additional musicians really add to the songs and the Beach Boys are a well-oiled machine at this point. It's the same short 11-song setlist from the earlier show, but the crowd doesn't seem to mind. Everything is well-received, especially "Do It Again" and the songs from Pet Sounds. After "Do It Again," Mike says "we're never gonna be able to go home if you keep this up. My goodness! Gonna have to establish residence." The show is a little sloppier than the first show. There are some drumming mishaps in "Darlin'" and after Mike disappears in the first chorus of "All I Want To Do" he says, "This is a new song, we haven't quite gotten it." Mike says Brian is not on tour because he's pregnant. There goes Mike with his pregnant talk again. Brian's wife would soon become pregnant, but that's neither here nor there. Before we get to the final show of this On Tour release, we are given "God Only Knows" and "Good Vibrations" from the soundcheck at the Finsbury Park Astoria in London on December 8th. The first thing we hear is Carl telling somebody the setlist. He doesn't provide the entire list, however, saying "I'll give you the rest later because we may change the end of the show a little bit." Despite being a soundcheck, Carl doesn't phone it in. It's a very good performance marred slightly by some talking. This rendition of "Good Vibrations" was released in 1998 on Endless Harmonybut mixed differently and edited in several spots. The most obvious change is that we hear Carl sing "softly smile, I know she must be kind, yeah" and Mike chimes in "oh yeah." Mike is missing on the EH release. In fact, the word "kind" on EH seems to have been flown-in from somewhere else as it's not the slower way Carl sang it in the rehearsal. Also, the four loud drum beats after "She goes with me to a blossom world" heard on On Tour have been removed for EH. The drums after "what an elation" are also different on both versions. There is a bang of some sort right before "Gotta keep those lovin' good..." that was edited out of the On Tour version. I'm not sure why they messed with a rehearsal so much. When lining up the tracks to compare, they often went out of sync. Starting in the first chorus, the EH version runs slightly faster than On Tour: 1968. Finally, on December 8, 1968, the Beach Boys played two shows at the aforementioned Finsbury Park Astoria. The first show that day is presented here as the last concert in this collection. Word was going around at the time of this release that the second show that day wasn't included because it makes up the Live In London album. I will show in my next post how that is not the case. Though it includes some of Mike's most nauseating banter yet, this is another good show by the guys. Compared to a week earlier, "Aren't You Glad" and "Their Hearts Were Full Of Spring" are in the lineup and "All I Want To Do" is dropped. I think the only downside to these London shows, not counting their brevity, is how Dennis lost his moment with "Little Bird" and Al's lone lead, "Help Me, Rhonda," is also absent. These are very much Carl and Mike shows. The medley of five early hits was dropped as well, possibly as an effort to appear more hip, though I'm sure the crowd would have loved them just as much as they seemed to love "Barbara Ann" here.
The last US show featured in this collection comes from the Arizona Veterans Memorial Coliseum in Phoenix, AZ on July 16, 1968. The first thing we hear are the last five seconds of "Help Me, Rhonda," so that song and "Darlin'" are missing this time around. Mike tells us for about the third show now that "California Girls" used to be called "California Girls Are All Pregnant." The context to that joke has probably been lost to time. This show is notable for the inclusion of "I Get Around" which wasn't part of their setlist at the time. Mike introduces it as a request and it takes the place of "Their Hearts Were Full of Spring." Like the previous shows, the new songs seem to stick out when it comes to energy and quality of performance. I get the feeling they enjoy taking a break from the hits to play "Friends," "Little Bird," and "Do It Again." The Beach Boys started their sold-out British Tour with two shows at the London Palladium on December 1, 1968. This next recording is the first concert from that day. The setlist is trimmed down to only 11 selections with songs like "Friends," "Little Bird," "Surfer Girl" and the medley of five early hits being shown the door. Bob Farmer wrote a glowing review of the shows in Disc & Music Echo, mentioning how polished the performance was and how the band "were a brilliant and faithful reproduction of all we've come to expect of them on record." He goes on to say, "If there was any doubt about the on-stage ability of this recording ensemble, forget it. In fact, don't dare suggest it." This was a time when their popularity was certainly waning in the US, but Britain was very friendly and open to our guys. The addition of "Bluebirds Over the Mountain" and the guts to end the show with a song that was unreleased at the time ("All I Want To Do") shows a band with great confidence that they can not only survive these years with Brian taking a more part-time role, but could also grow and evolve on their own. As recently as 2001, in the liner notes to the Concert/Live In London twofer CD reissue, these December 1st shows were said to be the source of the Live In London album released in the UK in 1970 and in the US in 1976 under the name Beach Boys '69 (The Beach Boys In London). This is not the case as we will see in the next and final entry.
The next concert on this set comes from the McElroy Auditorium in Waterloo, Iowa on July 10, 1968. This recording begins after "Darlin'" has started but before the vocals occur. There is not much to say about this particular show. It is well-performed and a very good soundboard recording. Mike repeats some of his dialogue from the previous concerts, but even he isn't as talkative as usual. He introduces the medley as a "Beach Boys mudley of oldies but moldies," which is funny as these songs are not that old and he would still be performing them 50 years later. Twice at the end of "California Girls" the lyric is changed to "I wish you all could be California girls." The list of songs performed is the same as before except "Their Hearts Were Full of Spring" is not included. I don't know if it was dropped that night or edited out of the recording here. Overall, it's a fine show and a better performance than Fargo. We catch up with the guys three days later at the Pershing Municipal Auditorium in Lincoln, Nebraska. Like Iowa, this is another quality show. Mike is more talkative on this date and gets the audience to laugh a couple times. The first time is right before "Surfer Girl" where the song is often announced as the first slow song they ever wrote. Mike says, "Wish we'd turn off these laser beams up there. They're beginning to sterilize us here. I'm not taking any chances on this one." "Their Hearts Were Full of Spring" returns tonight and Mike introduces it by saying "we'd like to do this song a capella, which means naked." There is no band instrumental on this show and there does seem to be a few edits between songs for whatever reason. I think the horn section was a nice addition to this tour. It really helps fill in the backing and moves songs like "California Girls" and "Sloop John B" slightly closer to their studio versions. New songs like "Friends" and "Little Bird" really stand out in these shows.
This is the first post in a four-part series on the digital-only live release On Tour: 1968. On December 14, 2018, the band put out this 114-track set consisting of eight concerts from a very productive, though commercially underwhelming, period. It's one of my favorite years in the history of the group. The first five shows come from their July 1968 US tour and the last three are from London that December. The band augmented their sound by bringing some extra musicians with them. There are no liner notes with this set, but digging around the Internet suggests we have Daryl Dragon on organ, Ed Carter on occasional bass and lead guitar (in the fall), possibly John Guerin on drums for two songs in the summer shows, Mike Kowalski with some percussion (in the fall), and a horn section of unknowns. These guys really flesh out the sound and add a lot to the performances. We start things off with a show at the Auditorium Theatre in Chicago on July 5, 1968. The Beach Boys released their Friends album two weeks earlier, Dennis Wilson had a gang of unsavory characters living at his house, and Brian and the guys had been working on some beautiful recordings the world wouldn't hear for over 20 years with names such as "We're Together Again," "Old Man River," and "Walk On By." This 43-minute recording starts in the middle of "Darlin'" from Wild Honey. They play the usual songs like "Help Me, Rhonda," "California Girls," and "Surfer Girl" before playing both sides of their three-month-old single: "Friends" b/w "Little Bird." Mike introduces "Friends" saying "we're going to do a song of ours, a bomb of ours." They pull off an excellent performance and it sounds like it was very well-received by the crowd. "Little Bird" is next featuring Dennis on lead. These songs are not common occurrences in Beach Boys setlists so it's cool hearing them when they were new. The guys run through the same medley of five early hits they were doing in 1966 and nobody even tries doing the falsetto parts.
Another highlight is hearing both sides of their soon-to-be-released single: "Do It Again" b/w "Wake The World." The horns take the place of the high vocal parts in "Do It Again." Afterwards Mike had a funny comment where he said, "Anybody heard it lately? Not counting just now." This is likely about lack of radio support, though the song would go to #1 in the UK. "God Only Knows" and "Good Vibrations" are nicely executed and appreciated by the audience before launching into "Barbara Ann." Mike then says "I'm going to introduce Ernie and the band," but unfortunately doesn't. Ernie Small was considered a "touring bandleader" at the time. Mike closed with "they're going to demonstrate to you their abilities on their own for a few minutes here and we'll be back shortly." The band then plays us out. I'm unaware if the Beach Boys came back on stage. This is where the Chicago recording ends.
The second show in this collection is from three days later, July 8th, at the Memorial Auditorium in Fargo, North Dakota. I'm assuming the show started with "Darlin'," though it's not included here. We begin with Al singing "Help Me, Rhonda" and the setlist is nearly the same as Chicago. The only changes are that the band instrumental takes place after "Wake The World," "God Only Knows" is played after "Their Hearts Were Full of Spring" instead of before, and "Johnny B. Goode" is featured at the end. The horn section does a great job on "Little Bird" and the intro to "California Girls." The Chicago performance was much better than this Fargo show (the second of two that day). "Surfer Girl" is very weak vocally, there's some goofing around during "Friends," and many cues are missed in the medley. The beginning of "Johnny B. Goode" is butchered and there seems to be odd guitar problems throughout that song.
One early Beach Boys song that doesn't seem to get a lot of love is "Our Car Club" from the Surfer Girl album. I'm not going to make the case that it's some great songwriting achievement, but it sounds really good and I like it! The lyrics would be seen as super corny today, but in the pre-Beatles world this probably passed for "cool." I'm assuming Mike wrote most of, if not all, the lyrics, but some of them are very Brian.
"I've been cruisin' 'round the town now with the guys for quite awhile," Mike begins. "We've been thinkin' 'bout starting up a club that shows some class and style," Brian continues. Everyone then chimes in with "And we'll get the finest cars!" It's an early song in the line of "Little Deuce Coupe" or "I Get Around" where we find the guys bragging about their hipness. In this case there's just something so charming and innocent about it. "We'll get the roughest and the toughest initiation we can find / And if you want to try to get in we'll really put you through the grind." These guys look too clean-cut for anyone to take that seriously.
The song has a sophisticated arrangement and is the first time drummer Hal Blaine appeared on a Beach Boys recording. According to Jon Stebbins in The Beach Boys FAQ, Steve Douglas and Jay Migliori both play saxophone on the track. We don't know exactly when it was recorded. The CD liner notes say July 16, 1963, but they ascribe that date to ten songs on the album and that's not realistic. Unfortunately it seems the documentation has been lost. I think the song is more powerful in its stereo mix versus the mono. The vocals are louder in stereo and Hal's drums sound quite aggressive compared to other tracks on the album.
My favorite part of the song is Brian's voice. I've heard some say that their favorite singer could sing the phone book and they'd love it. I guess I'm the same with Brian. Twice in the song he chimes in with: "We'll set a meet and get a sponsor and collect some dues / and you can bet that we'll have our jackets on wherever we cruise." I don't want to belittle it by calling it cute, but I find it very sweet. This is right before the Beatles showed up and redefined what "cool" is. It takes me back to the world of The Mickey Mouse Club or a town like Mayfield, where the Cleavers lived. In a very good way.
You can't read about Best of the Beach Boys without being reminded it was rushed out by Capitol Records six weeks after the release of Pet Sounds. Even though that album went to #10 in the charts, it didn't sell as well as anyone hoped it would. Brian was said to be very hurt by this compilation showing up and being so heavily promoted over the album he had labored over. Bruce Eder puts it well in his review at AllMusic: "On some level, he must've felt like a child actor or teenage star whose management and producers didn't want him to mature -- and was forced to compete, in effect, with a younger version of himself." For the label to abandon their proven hit makers so quickly is sad, but it also goes to show you the pressure they were always under to deliver the goods. Brian won back Capitol's favor a few months later when "Good Vibrations" topped the charts, but then Smile happened. Looking at the album itself, you find a pretty nice 12-track sampler of what the Beach Boys were all about. The 28-minute program consists of: "Surfin' U.S.A.," "Catch a Wave," "Surfer Girl," "Little Deuce Coupe," "In My Room," "Little Honda," "Fun, Fun, Fun," "The Warmth of the Sun," "Louie, Louie," "Kiss Me Baby," "You're So Good To Me," and "Wendy." The cover of "Louie, Louie" is a bizarre inclusion as nobody would consider that a standout track in any way. There were some obvious hits not included for whatever reason such as the #1 hit "I Get Around" and "California Girls." Four months after the appearance of this collection in the United States, the UK version was released with a very different set of songs. You get two more cuts, so five more minutes, and the peculiar omissions from the US version are included. The UK version dropped "Catch a Wave," "Surfer Girl," "Little Honda," "The Warmth of the Sun," "Louie, Louie," "Kiss Me Baby," and "Wendy." It added "Surfin' Safari," "I Get Around," "All Summer Long," "Do You Wanna Dance," "Help Me Rhonda," "California Girls," "Barbara Ann," "Sloop John B," and "God Only Knows." According to the January 7, 1967 issue of Billboard, the UK LP was originally compiled by EMI as a DJ sampler. EMI's album is more respectful to the band and more well-rounded than what Capitol came up with. There are still ways to improve it, but it's a satisfying spin. In the UK, the Beach Boys popularity was at an all-time high at this point. As Capitol kept embracing their older material, the bands new recordings would sell less and less stateside. Capitol would follow up with a Vol. 2 and Vol. 3. In both cases, EMI would improve on their tracklistings, just like they did here. I've got to hand it to the UK for looking out for our boys.
One thing I like to do when listening to recordings of concerts is to put the event into some context. It's easy to just enjoy the performance, but it's fascinating for me to think about what was going on behind the scenes before, during, and after these little snapshots in time. I don't know of many shows in the history of the Beach Boys that are as intriguing as their visit to Michigan in October 1966. Fortunately for us, the shows were professionally recorded for potential release. Now just because something was seemingly well documented doesn't mean there isn't some confusing and conflicting information out there. Let's take a look. I'd first like to mention the release history of this material. The Beach Boys performed two shows on Saturday October 22, 1966 at the Hill Auditorium in Ann Arbor, MI. In 1993, "Good Vibrations" from the 2nd show was released on the box set Good Vibrations: Thirty Years of The Beach Boys. The five-song medley of hits from the 1st show was released on the Endless Harmony collection in 1998. In 2016, "Wouldn't It Be Nice," "Sloop John B" and "God Only Knows" from the 1st show were released on the Pet Sounds: 50th Anniversary box set. Finally, both shows were released on the digital-only Graduation Day 1966 (with rather misleading artwork). There seems to be a few edits between tracks, but all the songs are there.
Regarding the venue, the Endless Harmony and Graduation Day releases simply say "Live at the University of Michigan." The 50th anniversary Pet Sounds box lists the tracks as from Eastern Michigan University, which is a completely different school. Rolling Stone's website said the shows happened at the non-existent Hills Auditorium. In his book, Catch a Wave: The Rise, Fall and Redemption of the Beach Boys' Brian Wilson, Peter Ames Carlin says the shows took place "in the gym at the University of Michigan" (p. 107). The Hill is no gym. It's actually a beautiful place to see a show and totals over 3500 seats with a main floor, mezzanine, and balcony. I've been to a handful of shows at this venue and I was lucky enough to stand on the stage myself a few years back. You can get really close to the performers and the acoustics are wonderful. One peculiar thing about these shows is that they took place at all. They were their first concerts in three weeks and the guys then flew to Europe for a few weeks of shows. Maybe things were different in the 1960s when it comes to touring musicians, but the idea of playing a few random shows in Michigan before embarking on a European tour seems unusual to me. The shows took place five months after the release of Pet Sounds and two weeks after "Good Vibrations" hit the airwaves. In the three weeks before these shows, Brian and the guys were in the studio working on what would become the legendary lost Smile album. This is an incredible period of transition for the band. These shows in Michigan took place in the middle of what is arguably their most interesting and important period, with Brian at the height of his powers and right before things came crashing down. Here we have the guys on stage singing "Surfin' U.S.A." and "Little Deuce Coupe" where a few days earlier Brian was working on "Do You Like Worms," "Heroes and Villains," and "Cabin Essence." Brian actually took a break from the Smile sessions to travel to Michigan and help the guys rehearse "Good Vibrations" for live performance. It's a complex song and, like the highly produced Wrecking Crew Pet Sounds material, isn't easily adapted to their basic setup. In Keith Badman's book The Beach Boys, he says Brian went to "oversee a lengthy and arduous day-long rehearsal for the song" (p. 153). In the 2nd show, however, Mike Love commented that there were five hours between the shows that day, so they likely didn't spend all day working on this song. What is awesome is that there is actually a picture of Brian on stage in the Hill Auditorium during those rehearsals! I had never seen that picture until recently and I was floored that it exists. What a piece of music history at such an important time! Two more things that are often mentioned regarding these shows are Brian's appearance on stage and the first performance of "Good Vibrations." First, if you didn't know already, Brian wasn't an acting touring member of the group. Bruce Johnston had taken his place, if someone could actually take Brian's place, a year earlier. Brian basically stayed at home creating marvelous recordings while the other guys toured the world. There is no mention of Brian during the 1st show, but right before "Johnny B. Goode," the last song of the 2nd show, the guys ask Brian to peak his head out and wave to the crowd. Carlin says he joined the band on stage for "Barbara Ann" (p. 108), but that's not true as that song was performed before Brian's presence was announced. Badman says "Brian is coaxed into jumping up on stage to sing 'Johnny B. Goode' as an encore" (p. 153). If Brian actually did perform with the guys, there doesn't seem to be any audio evidence of that. It sounds like Mike and Carl sharing the lead, but I suppose it's possible. Were these shows on October 22, 1966 the first ever public performances of "Good Vibrations" as has often been claimed? It makes sense as they are the first shows since it was released and Brian traveled to Michigan to oversee it, but before each performance of the song that day, Mike says something interesting. Before "Good Vibrations" in the 1st show, Mike says "we've done this one time before in front of people." When it comes to show #2 of the day, Mike says "it's the second night we've tried it." Even though it isn't mentioned nearly anywhere, there seems to have been a show the night before at the Jenison Field House in East Lansing, MI, which is an hour from Ann Arbor. Mike mentions the Beach Boys being picketed "last night" and I have seen posts online that suggest this show did happen. One problem is that the East Lansing show wasn't recorded so we don't know if they played "Good Vibrations" or not, but it's possible to conclude they did given Mike's comments from the stage in Ann Arbor. The best we can say with any certainty is that the first public performance of "Good Vibrations" was in Michigan on either October 21 or 22, 1966.
One reason the Beatles gave for quitting touring was the inability to duplicate their increasingly complicated studio recordings on stage. You have to hand it to the Beach Boys for at least trying. Six guys on stage with guitar, bass, and drums could not possibly come close to Brian's productions featuring a dozen musicians and meticulously multi-tracked group harmonies. Given the circumstances I think they did fairly well. The drumming provided by Dennis is strong, Bruce's voice is quite weak, but Carl and Al seem very capable of doing what they need to do. The guys seem to goof around a lot and have a very casual attitude about things. Sometimes they will call attention to their own mistakes and make light of their music. I can only imagine how frustrating it could be for Brian to work with them in the studio, especially if they aren't as excited about the material as he is. Still, I think the live performances at this time are the best they could be given the circumstances. If the audience is put off by the stripped down arrangements of "Good Vibrations" and the songs from Pet Sounds, you wouldn't know it. Everything they do seems well received. One thing I've never understood is why the crowd is so quiet at these shows. Their concerts from 1964 and 1965 have constant screams and overwhelming fan enthusiasm like you would hear at a Beatles show. Suddenly in 1966 you can hear a pin drop. The same is noticeable on the shows from 1967 and 1968 they have released. I wonder what changed. Late 1966 finds the Beach Boys at the height of their popularity. "Wouldn't It Be Nice" and "Sloop John B" were on the radio that summer, "Good Vibrations" was a brand new #1 sensation, and you hear no response when these songs are announced. The applause afterward, however, is strong. It's just very different from how concerts were and what they would become.
As I mentioned before, these shows took place while Brian was still working on the Smile album. As someone who has obsessed over this project and daydreamed about "what if's," it's unreal to put yourself back in time before its collapse, when Brian's curiosity and creativity refused to quit, and when a Smile album could truly be on the horizon. When the guys return from Europe, they start hearing things like "Surf's Up" and "Vega-Tables" for the first time. At the end of the year, however, Smile wasn't near completion as expected. In early 1967 Brian would obsess over additional sections to "Heroes & Villains" and would keep adding more and more pieces to the puzzle to where things got so large, and he got so scattered, that he couldn't put it all together. There was too much material, nobody to help him make sense out of it all, and not much support from the other guys. Brian has always needed other people's enthusiasm to keep him going and he wasn't feeling that anymore. His behavior started to get more bizarre and friends such as Smile collaborator Van Dyke Parks and others would begin leaving Brian's circle.
One more thing that took place the very day after these Ann Arbor concerts has been referred to as a turning point in this entire saga. On the flight home, Brian radioed his wife and asked her to invite some of his friends and acquaintances to meet him at the airport when he returned to Los Angeles. "They are told it is very important that they attend: Brian wants reassurance that he is loved," (Badman, p. 153). Brian has a photographer take pictures of the group and he has one blown up and hung in his living room. Keith Badman continues, "But within months it will be gone - and most of the people will no longer be his friends. One by one, each will step out or be forced out of the picture." Without getting too dramatic, because good work did continue to take place, this weekend could be seen as the moment it all went down. I don't know if anything happened between him and the guys that made him call his wife from the plane. It seems clear that nothing was the same after this and the Brian the guys encountered after their tour was in a worse way than the Brian they said goodbye to in Michigan. Peter Ames Carlin writes, "the airport photograph would take on a symbolic importance, as if it marked the point at which Brian's astonishing creative arc leveled off, nosing slowly toward a descent" (p. 109). Just months after the accomplishment of Pet Sounds and with "Good Vibrations" selling big, it's sobering to think how quickly things can change. A happy postscript: On March 9, 1999, Brian would start his first ever solo tour with a show at the Michigan Theater in Ann Arbor. The Michigan Theater isn't even half a mile away from the Hill Auditorium! How fitting that this place became the spot of the rebirth of his career.
