Here’s one for the record books: perhaps the strangest, most banal and nut crushingly odd album from the pen of Brian Wilson and the Beach Boys. Yes, even stranger than the universally beloved/loathed “Love You.” Even stranger than those mid-period albums they made before Love took over. Which, of course, makes it one of the maddest albums ever made yet never released (and don’t let the shoddy recording quality fool you, this was a completed album).
Which is saying something, as the Beach Boys have roughly…50 insane unreleased albums. And it’s weird enough to be entry three in the “Inexplicable Albums” series!
This proposed follow up to “Love You” was supposed to continue the whole “Brian is Back!” marketing campaign that had resulted in one “meh” album “15 Big Ones” as well as the delightfully odd (obvious solo album wannabe) “Love You.”
What makes this album odd is that it mixes the big cheese Broadway arrangement style from “20 Big Ones” with the childish (not childlike) songwriting of Wilson to create…well…the weirdest fucking Broadway ditties you’ve ever heard in your life.
A great example would be opening track “Life is for the Living.” It starts out with Brian trying to establish a smooth vocal smooth with a slightly off-key “liiiife! Is for the liiving!” as horns honk out a “finger popping” (I hate that term) Broadway riff.
Then Brian sings the following line which should tell you all you need to know about the lyrics on this album: “don’t sit on your ass, smoking some grass, that stuff went out a long time ago.”
Wow! And as always with Brian, I have absolutely no doubt he meant those lyrics in a completely heart felt manner: the guy always bled sincerity in a good and bad way.
Which is then exemplified (again) on the follow up track, “Hey Little Tom Boy.” This song is a…well, it features a band of weird, drugged up bearded 30 something’s chanting “hey little, hey little, hey little Tom boy! Time to turn into a girl!” as well as a creepy middle section where they “make her over” to be a “girl.”
Amazingly, this song made it onto the rushed replacement for this album “MIU” but without the creepy “hey put your hair down baby!” middle section.
I won’t go over every track here: that would require somebody trained in psychology to unravel Brian’s insanity at the time. Instead, I’ll discuss a few of the covers he tries to pull off: “Deep Purple” which is no better or worse than a million other versions of the song (and probably worse) and “On Broadway” which is…Al singing “On Broadway” backed up by a fully arranged cheese orchestra.
So far, so good: again, I don’t doubt Brian’s sincerity with these recordings. I believe he fully loved these songs and tried to do them the best justice he could at the time. And they aren’t bad: just banal.
The best cover is the insane “Shortnin’ Bread” cover which Brian had developed an insane obsession with around that time (climaxing with the infamous Alice Cooper/Ozzy Ozbourne/Whoever hour long singalong of the song led by Brian). It’s the exact same version (I think) featured on the later “LA (Light Album}” which should indicate how far the band was stretching during this period.
Better are the original songs like “H.E.L.P. Is on the Way” which is indescribable. It sounds a bit like a more arranged “Love You” outtake but with lyrics centered on getting into shape (with the HELP of the H.E.L.P. Health food store. Get it?!) or “Games Two Can Play” which is actually catchy as HELL but CREEPY AS FUCK as Brian wants to “play games that two can play.” One assumes in the bedroom.
As with everything Brian, the ballads are where he truly shines. They are the typically heart felt confessions that all his ballads turn into but with banal atmospheres and arrangements instead of his head spinning genius. “It’s Over Now” gets by on the melody alone as well as Brian’s resigned, “seat of death” vocal melody.
Perhaps the one song on the album that truly lives up to the Brian Wilson name (all the songs here are well written and catchy in their idiom but marked by banal arrangements, insane lyrics and lunatic atmospheres). It has an absolutely classy piano and vocal arrangement with minimal orchestral intrusions and a very well developed and winding melody. It’s appropriate it comes at the end of the album as it makes a solid capstone for the whole experience.
This album is something that can seem so utterly crappy and uninteresting the first few times you listen to it but which becomes interesting the more you learn about the band. After giving Brian full reign for a few albums, he must have had the confidence to do things his own away completely again.
Unfortunately, Brian was completely insane by the time this album came out and probably needed a bit of focus and prodding to create a great album. It’s probably why the songs were generally arranged by…somebody else (I forget the name, I think it’s a Sinatra arranger though).
I basically find it mostly interesting as a historical artifact and a priceless piece of information in the Great Brian Wilson/Beach Boys puzzle. It illustrates how truly fucked the band were at this point in their career: sure, Brian was Back but what good was that if he was chucking out albums as weird and hard to sell as this?!
It actually puts Love’s ascension on albums like “MIU” and LA (Light Album)” in a better light: with Carl never being a creative genius (solid, but no genius), Dennis trapped in a drug haze, Brian worthless and Jardine and Johnston seemingly along for the ride, SOMEBODY had to take control of the band and lead it into the future.
Sadly, it was the least creatively gifted member of the group who had to take control. And yes, he led them through the enjoyable but hardly essential “MIU” and “LA (Light Album)” albums but he also lead them into their abysmal “Stamos” years and “Kokomo” which makes this album seem like a lost masterpiece instead of a rightly rejected turd.
Songs to Youtube:
“Life is For the Living” as nothing can compare to this odd combination of trademark Wilson melody, jazz rock arrangements and trademark “WTF?” Wilson lyric.
“Still I Dream Of It” for evidence Brian still had IT but simply couldn’t get IT up at will any more.
(I’d like to thank the commentator who pointed a few jarringly obvious and embarrassing mistakes that I, as a lifelong Beach Boys fan, should never have made. However, since his comment contained personal attacks, I trashed it and won’t share his name. I invite criticism and corrections, but personal attacks about me or any of the writers who contribute to this site will not be tolerated.)
As a young man, I despaired of moving to Marquette to continue my studies because a) I hardly knew anybody there b) went there for a girl who had broken up with me the day I registered for classes and c) the distance and snow. I had never lived anywhere so far from home or anywhere that was so prone to four foot snow storms.
A random snow storm on my way back up to class one day backed up traffic so bad on the I-75 that I made a diversion into Cheboygan for the night, stopping at Wal-Mart and randomly buying “Smiley Smile/Wild Honey” by the Beach Boys.
The strange sounds of the acid warped “Smiley Smile” confused me: my young mind associated the Beach Boys with the lameness (to me at the time) surf hits while “Wild Honey” possessed a simple, stripped down pop/R&B approach that sounds a lot like a lot of minimalistic indie bands of today.
And each were soaked in a sense of positivity held down by a sense of deep sadness that reflected the heart of composer and producer Brian Wilson perfectly: a radiant, child-like genius that wanted to express complete positivity to destroy the demons that were killing his mind and which infected his joyful music with a sense of foreboding that made the late 60’s/early 70’s Beach Boy albums vastly under rated forms of true rock and roll beauty.
Of course, the band ravaged and destroy their own reputation with obvious commercially shilling, complete suck-hack jobs of albums and songs and “Kokomo” a song bad enough to ruin the reputation of The Beatles, Beethoven, Bach and even Richard Nixon for all eternity.
Naturally, Brian had little to do with this: he was completely bonkers and was only just getting by with the care of Eugene Landy, a doctor who went too far and invaded Brian’s life completely to the point he was getting songwriting credits on Brian’s (solid but weird) solo albums.
Landy was able to save Brian from self destruction but he had to go and Brian was able to pick up his life (with the help of a young bride) and although not demon free (that would be impossible) was able to overcome his demons well enough to begin touring and even finishing up the album “Smile” that had eluded him so many years ago and which had contributed to the destruction of his mind.
So, Brian was finally back and was writing some solid music and was once again a force in music. The Beach Boys had folded years ago and were now little more than a traveling county fair oldies act led by Mike Love and a crew of scabs.
And then the band turned 50. So, of course the still living original members (without poor Dennis or Carl Wilson) got together to crank out a suck job of an album not worth a damn.
Or so I figured: until I saw Brian was not only on board but was writing most of the album and producing everything. In the past, this had led to such strange albums as “20 Big Ones” and the masterpiece “Love You” but Brian was “back” and my expectations were slightly elevated.
And the album came out: and of course I bought it. “That’s Why God Made the Radio” was designed to be the classic swan song the band deserved (and is much more deserving of that title than their last album, the stupid country cover album “Stars and Stripes Volume 1”) and it definitely sounds the part.
The harmonies are there: Mike, Bruce and Al all sound great (never druggies, they kept their voices strong) and they sing their hearts out on the trademark Brian Wilson harmonies. Wilson himself is still a bit rough around the edges but he doesn’t go off key.
And the material is there too: “Think About the Days” is a solid acapella and piano introduction that reminds one “Our Prayer” from “Smile” or “One for the Boys” from “Brian Wilson.” And lead off single, “That’s Why God Made the Radio” has the perfect mix of “simple but genius” melodies and flawless surf arrangements and playing that highlighted the band’s best material.
The album then goes through a variety of summer themed songs such as “Spring Vacation,” “Shelter” and “Daybreak Over the Ocean” a Mike Love composed song that is probably the weakest tune here but leagues about the shill he was putting out in the 80’s.
And then the album ends with a heart felt trilogy of songs that slow things down and get introspective with carefully paced melodies and arrangements that end with “Summer’s Gone” a lament to the passing of summer and perhaps a lament to the passing of the band (Love quickly kicked the other guys off their won 50th Anniversary Tour and replaced them with his typical scabs).
In spite of the bad vibrations (heh) that come from the usual Mike Love shenanigans, this album is a pure return to form right? The sound is there: the style is there. Brian is writing and producing. No one expects a masterpiece from a 70 year old in a style patented when he was in his 20’s but this album sounds like it’s worth the money, right?
Generally, yes: it works as a solid swan song for the band and I was rather excited listening to it the first few times. It really SEEMED like the old times were back but with a new twist reflecting the band’s age: they were no longer singing about surfing but simply celebrating the nostalgia of the old days.
This is all good stuff but the more I listened to the album the more I felt the nagging sensation that…Brian’s heart wasn’t really in this stuff. And this is the most important aspect of the Beach Boys: how focused and dedicated Brian is to the music. With apologies to the rest of the band, they could be anybody: the Beach Boys was Brian’s band (and to a lesser extent, his brothers’) and I don’t need Al Jardine singing harmony to make me feel like I’m listening to the Beach Boys.
Basically, the guys who aren’t Brian sound completely dedicated to the project: they sing their heart out, Mike writes an “okay” song and even original “second” guitarist David Marks puts in a solid performance, having grown a lot on the instrument since the band’s early days.
But the problem here is Brian. It’s not that Brian isn’t writing good music (this is catchy, well composed stuff) it’s simply that we’ve seen this kind of thing from Brian before. Everything seems highly calculated, carefully considered and composed to fit “The Beach Boys” sound.
But what is the “Beach Boys sound?” Many will cry out that it’s surf rock: yes, for the first few years, it definitely was surf rock. But then Brian moved onto to writing more complex rock and nearly baroque level ballads.
Then the band moved into weird psychedelic insanity, into a weird pop mode, some kind of odd minimalistic acoustic style, a weird melange of soul/rock/pop/and MOR in the early 70’s and then into a semi-roots rock band for a few albums which mutated into a hideous Broadway style group for an album before Brian recorded a “synthesizers and drums” album before the band started dabbling more in soft rock balladry and stale surf rock.
Which of these styles is represented on this album? Basically, the stale (but well written) surf rockers, some well written soft rock ballads and nostalgia, nostalgia, nostalgia. Nothing on the album is exciting or unique to the album: it sometimes sounds under arranged instrumentally in a way that Brian’s recent releases have not.
And therein lies the problem: I think Brian sort of rushed this out for the tour without putting a lot of thought into it. His best work in the last few years have been albums he’s taken his time on and which really touched his emotions and spurred him on to put his absolute heart into it (the Gershwin cover project, “That Lucky Old Sun” and “Smile” basically).
To these ears, this sounds the most like a “contractual obligation” album that Brian has ever produced. Sure, the Beach Boys have produced way worse albums but these represented at least Mike Love’s honest attempts to stay relevant and keep the band afloat. It didn’t work but at one cannot fault him for trying to keep the band going.
It even sounds more like a contractual obligation than those weird albums Brian did in the mid 60’s (like “Party!”) that were made to please Capitol and get product on the shelves. At least those were funny and inspired, more like a silly gag than anything else.
Final verdict? The album isn’t bad: it’s sure sonic poetry in the arrangements (as under arranged as I instinctively feel most of these songs are) with solid, catchy melodies and bad lyrics (just like we always expect from the band) set to a firm sense of nostalgia. If you go into it with that relaxed state of mind, it’s a great album. Just don’t expect to fall in love with the album or to find it on your play list too often.