The Beach Boys
The Beach Boys | |
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Background information | |
Origin | Hawthorne, California, U.S. |
Genres | |
Years active | 1961–present |
Labels | |
Spinoffs |
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Members | |
Past members | |
Website | thebeachboys |
The Beach Boys are an American
The Beach Boys formed as a
In the late 1960s, the group's commercial momentum faltered in the U.S., and they were widely dismissed by the
The Beach Boys are one of the most critically acclaimed and commercially successful bands of all time, selling over 100 million records worldwide. They helped legitimize popular music as a recognized art form and influenced the development of music genres and movements such as psychedelia, power pop, progressive rock, punk, alternative, and lo-fi. Between the 1960s and 2020s, the group had 37 songs reach the US Top 40 (the most by an American band), with four topping the Billboard Hot 100. In 2004, they were ranked number 12 on Rolling Stone's list of the greatest artists of all time. Many critics' polls have ranked Today!, Pet Sounds, Smiley Smile (1967), Sunflower (1970), and Surf's Up (1971) among the finest albums in history. The founding members were inducted into the Rock and Roll Hall of Fame in 1988. Other members during the band's history have been David Marks, Bruce Johnston, Blondie Chaplin, and Ricky Fataar.
History
1958–1961: Formation
At the time of his 16th birthday on June 20, 1958,
Soon Brian and Carl were avidly listening to
Murry Wilson, who was a sometime songwriter, arranged for the Pendletones to meet his publisher Hite Morgan.
1962–1967: Peak years
Surfin' Safari, Surfin' U.S.A., Surfer Girl, and Little Deuce Coupe
By this time the de facto manager of the Beach Boys, Murry landed the group's first paying gig (for which they earned $300) on New Year's Eve, 1961, at the
After being turned down by
The Beach Boys' first album,
In January 1963, the Beach Boys recorded their first top-ten single, "
Throughout 1963, and for the next few years, Brian produced a variety of singles for outside artists. Among these were
British Invasion, Shut Down Volume 2, All Summer Long, and Christmas Album
The surf music craze, along with the careers of nearly all surf acts, was slowly replaced by the
Brian wrote his last surf song, "Don't Back Down", in April 1964.[45] That month, during recording of the single "I Get Around", Murry was relieved of his duties as manager. He remained in close contact with the group and attempted to continue advising on their career decisions.[46] When "I Get Around" was released in May, it would climb to number 1 in the US and Canada, their first single to do so (also reaching the top-ten in Sweden and the UK), proving that the Beach Boys could compete with contemporary British pop groups.[47] "I Get Around" and "Don't Back Down" both appeared on the band's sixth album All Summer Long, released in July 1964 and reaching number 4 in the US. All Summer Long introduced exotic textures to the Beach Boys' sound exemplified by the piccolos and xylophones of its title track.[48] The album was a swan-song to the surf and car music the Beach Boys built their commercial standing upon. Later albums took a different stylistic and lyrical path.[49] Before this, a live album, Beach Boys Concert, was released in October to a four-week chart stay at number 1, containing a set list of previously recorded songs and covers that they had not yet recorded.[50]
In June 1964, Brian recorded the bulk of
Today!, Summer Days, and Party!
By the end of 1964, the stress of road travel, writing, and producing became too much for Brian. On December 23, while on a flight from Los Angeles to Houston, he suffered a panic attack.[54] In January 1965, he announced his withdrawal from touring to concentrate entirely on songwriting and record production. For the last few days of 1964 and into early 1965, session musician and up-and-coming solo artist Glen Campbell agreed to temporarily serve as Brian's replacement in concert.[55] Carl took over as the band's musical director onstage.[56][nb 5] Now a full-time studio artist,[35] Brian wanted to move the Beach Boys beyond their surf aesthetic, believing that their image was antiquated and distracting the public from his talents as a producer and songwriter.[58] Musically, he said he began to "take the things I learned from Phil Spector and use more instruments whenever I could. I doubled up on basses and tripled up on keyboards, which made everything sound bigger and deeper."[59]
We needed to grow. Up to this point we had milked every idea dry [and did] every possible angle about surfing and [cars]. But we needed to grow artistically.
Released in March 1965,
In April 1965, Campbell's own career success pulled him from touring with the group.[65] Columbia Records staff producer Bruce Johnston was asked to locate a replacement for Campbell; having failed to find one, Johnston himself became a full-time member of the band on May 19, 1965. With Johnston's arrival, Brian now had a sixth voice he could work with in the band's vocal arrangements, with the June 4 vocal sessions for "California Girls" being Johnston's first recording session with the Beach Boys. "California Girls" was included on the band's next album Summer Days (And Summer Nights!!) and eventually charted at number 3 in the US as the second single from the album, while the album itself went to number 2. The first single from Summer Days had been a reworked arrangement of "Help Me, Rhonda", which became the band's second number 1 US single in the spring of 1965.[66] For contractual reasons, owing to his previous deal with Columbia Records, Johnston was not able to be credited or pictured on Beach Boys records until 1967.[67]
To appease Capitol's demands for a Beach Boys LP for the 1965 Christmas season, Brian conceived Beach Boys' Party!, a live-in-the-studio album consisting mostly of acoustic covers of 1950s rock and R&B songs, in addition to covers of three Beatles songs, Bob Dylan's "The Times They Are a-Changin'", and idiosyncratic rerecordings of the group's earlier songs.[28] The album was an early precursor of the "unplugged" trend. It also included a cover of the Regents' song "Barbara Ann", which unexpectedly reached number 2 when released as a single several weeks later.[68] In November, the group released another top-twenty single, "The Little Girl I Once Knew". It was considered the band's most experimental statement thus far.[50] The single continued Brian's ambitions for daring arrangements, featuring unexpected tempo changes and numerous false endings.[69] With the exception of their 1963 and 1964 Christmas singles ("Little Saint Nick" and "The Man with All the Toys") it was the group's lowest charting single on the Billboard Hot 100 since "Ten Little Indians" in 1962, peaking at number 20.[70] According to Luis Sanchez, in 1965, Bob Dylan was "rewriting the rules for pop success" with his music and image, and it was at this juncture that Wilson "led The Beach Boys into a transitional phase in an effort to win the pop terrain that had been thrown up for grabs."[71]
Pet Sounds
Wilson collaborated with jingle writer Tony Asher for several of the songs on the album Pet Sounds, a refinement of the themes and ideas that were introduced in Today!.[61] In some ways, the music was a jarring departure from their earlier style.[72][73] Jardine explained that "it took us quite a while to adjust to [the new material] because it wasn't music you could necessarily dance to—it was more like music you could make love to."[74] In The Journal on the Art of Record Production, Marshall Heiser writes that Pet Sounds "diverges from previous Beach Boys' efforts in several ways: its sound field has a greater sense of depth and 'warmth;' the songs employ even more inventive use of harmony and chord voicings; the prominent use of percussion is a key feature (as opposed to driving drum backbeats); whilst the orchestrations, at times, echo the quirkiness of 'exotica' bandleader Les Baxter, or the 'cool' of Burt Bacharach, more so than Spector's teen fanfares."[75]
For Pet Sounds, Brian desired to make "a complete statement", similar to what he believed the Beatles had done with their newest album Rubber Soul, released in December 1965.[76] Brian was immediately enamored with the album, given the impression that it had no filler tracks, a feature that was mostly unheard of at a time when 45 rpm singles were considered more noteworthy than full-length LPs.[77][78] He later said: "It didn't make me want to copy them but to be as good as them. I didn't want to do the same kind of music, but on the same level."[39] Thanks to mutual connections, Brian was introduced to the Beatles' former press officer Derek Taylor, who was subsequently employed as the Beach Boys' publicist. Responding to Brian's request to reinvent the band's image, Taylor devised a promotion campaign with the tagline "Brian Wilson is a genius", a belief Taylor sincerely held.[79] Taylor's prestige was crucial in offering a credible perspective to those on the outside, and his efforts are widely recognized as instrumental in the album's success in Britain.[80]
Released on May 16, 1966, Pet Sounds was widely influential and raised the band's prestige as an innovative rock group.
"Good Vibrations" and Smile
Throughout the summer of 1966, Brian concentrated on finishing the group's next single, "
In the midst of "Good Vibrations" sessions, Wilson invited session musician and songwriter
Recording for Smile lasted about a year, from mid-1966 to mid-1967, and followed the same modular production approach as "Good Vibrations".[96] Concurrently, Wilson planned many different multimedia side projects, such as a sound effects collage, a comedy album, and a "health food" album.[97] Capitol did not support all these ideas, which led to the Beach Boys' desire to form their own label, Brother Records. According to biographer Steven Gaines, Wilson employed his newfound "best friend" David Anderle as head of the label.[98]
Throughout 1966, EMI flooded the UK market with Beach Boys albums not yet released there, including Beach Boys' Party!, The Beach Boys Today! and Summer Days (and Summer Nights!!),[99] while Best of the Beach Boys was number 2 there for several weeks at the end of the year.[100] Over the final quarter of 1966, the Beach Boys were the highest-selling album act in the UK, where for the first time in three years American artists broke the chart dominance of British acts.[101] In 1971, Cue magazine wrote that, from mid-1966 to late-1967, the Beach Boys "were among the vanguard in practically every aspect of the counter culture".[102]
Released on October 10, 1966, "Good Vibrations" was the Beach Boys' third US number 1 single, reaching the top of the Billboard Hot 100 in December, and became their first number 1 in Britain.
Throughout the first half of 1967, the album's release date was repeatedly postponed as Brian tinkered with the recordings, experimenting with different takes and mixes, unable or unwilling to supply a final version. Meanwhile, he suffered from delusions and paranoia, believing on one occasion that the would-be album track "Fire" caused a building to burn down.[108] On January 3, 1967, Carl Wilson refused to be drafted for military service, leading to indictment and criminal prosecution, which he challenged as a conscientious objector.[109] The FBI arrested him in April,[110] and it took several years for courts to resolve the matter.[111]
After months of recording and media hype, Smile was shelved for personal, technical, and legal reasons.[112] A February 1967 lawsuit seeking $255,000 (equivalent to $2.33 million in 2023) was launched against Capitol Records over neglected royalty payments. Within the lawsuit was an attempt to terminate the band's contract with Capitol before its November 1969 expiry.[113] Many of Wilson's associates, including Parks and Anderle, disassociated themselves from the group by April 1967.[114] Brian later said: "Time can be spent in the studio to the point where you get so next to it, you don't know where you are with it—you decide to just chuck it for a while."[115]
In the decades following Smile's non-release, it became the subject of intense speculation and mystique[108][116] and the most legendary unreleased album in pop music history.[50][117] Many of the album's advocates believe that had it been released, it would have altered the group's direction and cemented them at the vanguard of rock innovators.[118] In 2011, Uncut magazine staff voted Smile the "greatest bootleg recording of all time".[119]
1967–1969: Faltered popularity and Brian's reduced involvement
Smiley Smile and Wild Honey
From 1965 to 1967, the Beach Boys had developed a musical and lyrical sophistication that contrasted their work from before and after. This divide was further solidified by the difference in sound between their albums and their stage performances.[120] This resulted in a split fanbase corresponding to two distinct musical markets. One group enjoys the band's early work as a wholesome representation of American popular culture from before the political and social movements brought on in the mid-1960s. The other group also appreciates the early songs for their energy and complexity, but not as much as the band's ambitious work that was created during the formative psychedelic era.[120] At the time, rock music journalists typically valued the Beach Boys' early records over their experimental work.[121][nb 6]
In May 1967, the Beach Boys attempted to tour Europe with four extra musicians brought from the US, but were stopped by the British musicians' union. The tour went on without the extra support, and critics described their performances as "amateurish" and "floundering".
Although Smile had been cancelled, the Beach Boys were still under pressure and a contractual obligation to record and present an album to Capitol.[128] Carl remembered: "Brian just said, 'I can't do this. We're going to make a homespun version of [Smile] instead. We're just going to take it easy. I'll get in the pool and sing. Or let's go in the gym and do our parts.' That was Smiley Smile."[129] Sessions for the new album lasted from June to July 1967 at Brian's new makeshift home studio. Most of the album featured the Beach Boys playing their own instruments, rather than the session musicians employed in much of their previous work.[130] It was the first album for which production was credited to the entire group instead of Brian alone.[118]
In July 1967, lead single "Heroes and Villains" was issued, arriving after months of public anticipation, and reached number 12 in US. It was met with general confusion and underwhelming reviews, and in the NME, Jimi Hendrix famously dismissed it as a "psychedelic barbershop quartet". By then, the group's lawsuit with Capitol was resolved, and it was agreed that Smile would not be the band's next album.[131] In August, the group embarked on a two-date tour of Hawaii.[132] The shows saw Brian make a brief return to live performance, as Bruce Johnston chose to take a temporary break from the band during the summer of 1967, feeling that the atmosphere within the band "had all got too weird".[133][134] The performances were filmed and recorded with the intention of releasing a live album, Lei'd in Hawaii, which was also left unfinished and unreleased.[135] The general record-buying public came to view the music made after this time as the point marking the band's artistic decline.[120]
Smiley Smile was released on September 18, 1967,[136] and peaked at number 41 in the US,[118] making it their worst-selling album to that date.[137] Critics and fans were generally underwhelmed by the album.[138] According to Scott Schinder, the album was released to "general incomprehension. While Smile may have divided the Beach Boys' fans had it been released, Smiley Smile merely baffled them."[118] The group was virtually blacklisted by the music press, to the extent that reviews of the group's records were either withheld from publication or published long after the release dates.[136] When released in the UK in November, it performed better, reaching number 9.[139] Over the years, the album gathered a reputation as one of the best "chill-out" albums to listen to during an LSD comedown.[140] In 1974, NME voted it the 64th-greatest album of all time.[141]
When we did Wild Honey, Brian asked me to get more involved in the recording end. He wanted a break [because he] had been doing it all too long.
—Carl Wilson[111]
The Beach Boys immediately recorded a new album, Wild Honey, an excursion into soul music, and a self-conscious attempt to "regroup" themselves as a rock band in opposition to their more orchestral affairs of the past.[142] Its music differs in many ways from previous Beach Boys records: it contains very little group singing compared to previous albums, and mainly features Brian singing at his piano. Again, the Beach Boys recorded mostly at his home studio.[123] Love reflected that Wild Honey was "completely out of the mainstream for what was going on at that time ... and that was the idea."[143]
Wild Honey was released on December 18, 1967, in competition with the Beatles' Magical Mystery Tour and the Rolling Stones' Their Satanic Majesties Request.[144] It had a higher chart placing than Smiley Smile, but still failed to make the top-twenty and remained on the charts for only 15 weeks.[123] As with Smiley Smile, contemporary critics viewed it as inconsequential,[145] and it alienated fans whose expectations had been raised by Smile.[123] That month, Mike Love told a British journalist: "Brian has been rethinking our recording program and in any case we all have a much greater say nowadays in what we turn out in the studio."[146]
Friends, 20/20, and Manson affair
The Beach Boys were at their lowest popularity in the late 1960s, and their cultural standing was especially worsened by their public image, which remained incongruous with their peers' "heavier" music.[147] At the end of 1967, Rolling Stone co-founder and editor Jann Wenner printed an influential article that denounced the Beach Boys as "just one prominent example of a group that has gotten hung up on trying to catch The Beatles. It's a pointless pursuit."[148] The article had the effect of excluding the group among serious rock fans[148][149] and such controversy followed them into the next year.[150] Capitol continued to bill them as "America's Top Surfin' Group!" and expected Brian to write more beachgoing songs for the yearly summer markets.[151] From 1968 onward, his songwriting output declined substantially, but the public narrative of "Brian as leader" continued.[152] The group also stopped wearing their longtime striped-shirt stage uniforms in favor of matching white, polyester suits that resembled a Las Vegas show band's.[153]
After meeting Maharishi Mahesh Yogi at a UNICEF Variety Gala in Paris, Love and other high-profile celebrities such as the Beatles and Donovan traveled to Rishikesh, India, in February–March 1968. The following Beach Boys album, Friends, had songs influenced by the Transcendental Meditation the Maharishi taught. In support of Friends, Love arranged for the Beach Boys to tour with the Maharishi in the US Starting on May 3, 1968, the tour lasted five shows and was canceled when the Maharishi withdrew to fulfill film contracts. Because of disappointing audience numbers and the Maharishi's withdrawal, 24 tour dates were canceled at a cost estimated at $250,000.[154] Friends, released on June 24, peaked at number 126 in the US.[155] In August, Capitol issued an album of Beach Boys backing tracks, Stack-o-Tracks. It was the first Beach Boys LP that failed to chart in the US and UK.[156]
In June 1968, Dennis befriended Charles Manson, an aspiring singer-songwriter, and their relationship lasted for several months. Dennis bought him time at Brian's home studio, where recording sessions were attempted while Brian stayed in his room.[157][158] Dennis then proposed that Manson be signed to Brother Records. Brian reportedly disliked Manson, and a deal was never made.[159] In July 1968, the group released the single "Do It Again", which lyrically harkened back to their earlier surf songs. Around this time, Brian admitted himself to a psychiatric hospital; his bandmates wrote and produced material in his absence.[160] Released in January 1969, the album 20/20 mixed new material with outtakes and leftovers from recent albums; Brian produced virtually none of the newer recordings.[161]
The Beach Boys recorded one song by Manson without his involvement: "Cease to Exist", rewritten as "Never Learn Not to Love", which was included on 20/20. As his cult of followers took over Dennis's home, Dennis gradually distanced himself from Manson.[162] According to Leaf, "The entire Wilson family reportedly feared for their lives."[163]
In August, the Manson Family committed the
Selling of the band's publishing
In April 1969, the band revisited its 1967 lawsuit against Capitol after it alleged an audit revealed the band was owed over $2 million for unpaid royalties and production duties.
In August,
1970–1978: Reprise era
Sunflower, Surf's Up, Carl and the Passions, and Holland
The group was signed to Reprise Records in 1970.[175] Scott Schinder described the label as "probably the hippest and most artist-friendly major label of the time."[176] The deal was brokered by Van Dyke Parks, who was then employed as a multimedia executive at Warner Music Group. Reprise's contract stipulated Brian's proactive involvement with the band in all albums.[177] By the time the Beach Boys' tenure ended with Capitol in 1969, they had sold 65 million records worldwide, closing the decade as the most commercially successful American group in popular music.[178]
After recording over 30 different songs and going through several album titles, their first LP for Reprise, Sunflower, was released on August 31, 1970.[179] Sunflower featured a strong group presence with significant writing contributions from all six band members.[180] Brian was active during this period, writing or co-writing seven of Sunflower's 12 songs and performing at half of the band's domestic concerts in 1970.[181] The album received critical acclaim in both the US and the UK.[182] This was offset by the album reaching only number 151 on US record charts during a four-week stay,[179] becoming one of the worst-selling of the Beach Boys' albums at that point.[183] Fans generally regard the LP as the Beach Boys' finest post-Pet Sounds album.[184] In 2003, it placed at number 380 on Rolling Stone's "Greatest Albums of All Time" list.[185]
In mid-1970, the Beach Boys hired radio presenter Jack Rieley as their manager. One of his initiatives was to encourage the band to record songs featuring more socially conscious lyrics.[187] He also requested the completion of Smile track "Surf's Up" and arranged a guest appearance at a Grateful Dead concert at Bill Graham's Fillmore East in April 1971 to foreground the Beach Boys' transition into the counterculture.[188] During this time, the group ceased wearing matching uniforms on stage,[189] while Dennis took time to star alongside James Taylor, Laurie Bird, and Warren Oates in the cult film Two-Lane Blacktop, released in 1971. Later in 1971, Dennis injured his hand, leaving him temporarily unable to play the drums.[184] He continued in the band, singing and occasionally playing keyboards, while Ricky Fataar, formally of the Flames, took over on drums.[190] In July, the American music press rated the Beach Boys "the hottest grossing act" in the country, alongside Grand Funk Railroad.[186] The band filmed a concert for ABC-TV in Central Park, which aired as Good Vibrations from Central Park on August 19.[191]
On August 30, the band released Surf's Up, which was moderately successful, reaching the US top-thirty, a marked improvement over their recent releases.[192] While the record charted, the Beach Boys added to their renewed fame by performing a near-sellout set at Carnegie Hall; their live shows during this era included reworked arrangements of many of their previous songs,[193] with their set lists culling from Pet Sounds and Smile.[194] On October 28, the Beach Boys were the featured cover story on that date's issue of Rolling Stone. It included the first part of a lengthy two-part interview, titled "The Beach Boys: A California Saga", conducted by Tom Nolan and David Felton.[195]
Bruce Johnston left the Beach Boys in early 1972, with Fataar and another ex-Flames member, singer and guitarist Blondie Chaplin, becoming official members of the band. The new line-up released the comparatively unsuccessful Carl and the Passions – "So Tough" in May 1972, followed by Holland in January 1973. Reprise felt Holland needed a strong single. Following the intervention of Van Dyke Parks, this resulted in the inclusion of "Sail On, Sailor".[196] Reprise approved, and the resulting album peaked at number 37. Brian's musical children's story, Mount Vernon and Fairway, was included as a bonus EP.[197]
Greatest hits LPs, touring resurgence, and Caribou sessions
After Holland, the group maintained a touring regimen, captured on the double live album The Beach Boys in Concert released in November 1973, but recorded very little in the studio through 1975.[198] Several months earlier, they had announced that they would complete Smile, but this never came to fruition, and plans for its release were once again abandoned.[199][nb 8] Following Murry's death in June 1973, Brian retreated into his bedroom and withdrew further into drug abuse, alcoholism, chain smoking, and overeating.[201] In October, the band fired Rieley.[202] Rieley's position was succeeded by Mike Love's brother, Stephen, and Chicago manager James William Guercio.[203] Chaplin and Fataar left the band in December 1973 and November 1974, respectively, with Dennis returning to drums following Fataar's departure.[204]
The Beach Boys' greatest hits compilation album
To capitalize on their sudden resurgence in popularity, the Beach Boys accepted Guercio's invitation to record their next Reprise album at his Caribou Ranch studio, located around the mountains of Nederland, Colorado.[213][205][214] These October 1974 sessions marked the group's return to the studio after a 21-month period of virtual inactivity, but the proceedings were cut short after Brian had insisted on returning to his home in Los Angeles.[213] With the project put on hold, the Beach Boys spent most of the next year on the road playing college football stadiums and basketball arenas.[215][212] The only Beach Boys recording of 1974 to see release at the time was the Christmas single "Child of Winter", recorded upon the group's return to Los Angeles in November and released the following month.
Over the summer of 1975, the touring group played a co-headlining series of concert dates with Chicago, a pairing that was nicknamed "
15 Big Ones, Love You, and Adult/Child
Early in 1975, Brian signed a production deal with California Music, a Los Angeles collective that included Bruce Johnston and Gary Usher, but was drawn away by the Beach Boys' pressing demands for a new album.[221] In October, Marilyn persuaded Brian to admit himself to the care of psychologist Eugene Landy, who kept him from indulging in substance abuse with constant supervision.[222][223] Brian was kept in the program until December 1976.[224]
At the end of January 1976, the Beach Boys returned to the studio with Brian producing once again.
Released on July 5, 1976, 15 Big Ones was generally disliked by fans and critics, as well as Carl and Dennis, who disparaged the album to the press.[227] The album peaked at number 8 in the US, becoming their first top-ten album of new material since Pet Sounds, and their highest-charting studio album since Summer Days (And Summer Nights!!).[228] Lead single "Rock and Roll Music" peaked at number 5 – their highest chart ranking since "Good Vibrations".[219]
From late-1976 to early-1977, Brian made sporadic public appearances and produced the band's next album, The Beach Boys Love You.[229] He regarded it as a spiritual successor to Pet Sounds, namely because of the autobiographical lyrics.[230] Released on April 11, 1977, Love You peaked at number 53 in the US and number 28 in the UK.[231] Critically, it was met with polarized reactions from the public.[232] Numerous esteemed critics penned favorable reviews, but casual listeners generally found the album's idiosyncratic sound to be a detriment.[233]
Adult/Child, the intended follow-up to Love You, was completed, but the release was vetoed by Love and Jardine.[234] According to Stan Love, when his brother Mike heard the album, Mike turned to Brian and asked: "What the fuck are you doing?"[235] Some of the unreleased songs on Adult/Child later saw individual release on subsequent Beach Boys albums and compilations.[236] Following this period, his concert appearances with the band gradually diminished and their performances were occasionally erratic.[237]
CBS signing and M.I.U. Album
At the beginning of 1977, the Beach Boys had enjoyed their most lucrative concert tours ever, with the band playing in packed stadiums and earning up to $150,000 per show.[238] Concurrently, the band was the subject of a record company bidding war, as their contract with Warner Bros. had been set to expire soon.[239][240] Stephen Love arranged for the Beach Boys to sign an $8 million deal with CBS Records on March 1.[241] Numerous stipulations were given in the CBS contract, including that Brian was required to write at least four songs per album, co-write at least 70% of all the tracks, and produce or co-produce alongside his brothers.[242][nb 10] Another part of the deal required the group to play thirty concerts a year in the U.S., in addition to one tour in Australia and Japan, and two tours in Europe.[242]
Within weeks of the CBS contract, Stephen was effectively fired by the band, with one of the alleged reasons being that Mike had not permitted Stephen to sign on his behalf while at a TM retreat in Switzerland.[243] For Stephen's replacement, the group hired Carl's friend Henry Lazarus, an entertainment business owner that had no prior experience in the music industry.[244] Lazarus arranged a major European tour for the Beach Boys, starting in late July, with stops in Germany, Switzerland, and France.[244] Due to poor planning, the tour was cancelled shortly before it began, as Lazarus had failed to complete the necessary paperwork.[245] The group subsequently fired Lazarus and were sued by many of the concert promoters, with losses of $200,000 in preliminary expenses and $550,000 in potential revenue.[246]
In July, the Beach Boys played a concert at Wembley Stadium that was notable for the fact that, during the show, Mike attacked Brian with a piano bench onstage in front of over 15,000 attendees.[247][nb 11] In August, Mike and Jardine persuaded Stephen to return as the group's manager,[249] a decision that Carl and Dennis had strongly opposed.[250][249] By this point, the band had effectively split into two camps; Dennis and Carl on one side, Mike and Jardine on the other, with Brian remaining neutral.[251][231] These two opposing contingents within the group – known among their associates as the "free-livers" and the "meditators" – were traveling in different planes, using different hotels, and rarely speaking to each other.[249] According to Love, "[T]he terms 'smokers' and 'nonsmokers' were also used."[252]
On September 3, after completing the final date of a northeastern US tour, the internal wrangling came to a head. Following a confrontation on an airport apron – a spectacle that a bystanding Rolling Stone journalist compared to the ending of Casablanca – Dennis declared that he had left the band.[253] The group was broken up until a meeting at Brian's house on September 17.[231] In light of the lucrative CBS contract, the parties negotiated a settlement resulting in Love gaining control of Brian's vote in the group, allowing Love and Jardine to outvote Carl and Dennis on any matter.[231]
The group had still owed one more album for Reprise. Released in September 1978, M.I.U. Album was recorded at Maharishi International University in Iowa at the suggestion of Love.[254] The band originally attempted to record a Christmas album, to be titled Merry Christmas from the Beach Boys, but this idea was rejected by Reprise. These Christmas recordings would eventually be released in 1998 as part of the Ultimate Christmas compilation album. Dennis and Carl made limited contributions to M.I.U. Album; the album was produced by Jardine and Ron Altbach, with Brian credited as "executive producer".[255] Dennis started to withdraw from the group to focus on his second solo album, Bambu, which was shelved just as alcoholism and marital problems overcame all three Wilson brothers.[232] Carl appeared intoxicated during concerts (especially at appearances for their 1978 Australia tour) and Brian gradually slid back into addiction and an unhealthy lifestyle.[256][nb 12] Stephen was fired shortly after the Australia tour partly due to an incident in which Brian's bodyguard Rocky Pamplin physically assaulted Carl.[258]
1978–1998: Continued recording and Brian's estrangement
L.A. (Light Album) and Keepin' the Summer Alive
The group's first two albums for CBS, 1979's L.A. (Light Album) and 1980's Keepin' the Summer Alive, struggled in the US, charting at 100 and 75 respectively, though the band did manage a top-forty single from L.A. with "Good Timin'". The recording of these albums saw Bruce Johnston return to the band, initially solely as a producer and eventually as a full-time band member. In-between the two albums the group contributed the song "It's a Beautiful Day" to the soundtrack of the film Americathon. In an April 1980 interview, Carl reflected that "the last two years have been the most important and difficult time of our career. We were at the ultimate crossroads. We had to decide whether what we had been involved in since we were teenagers had lost its meaning. We asked ourselves and each other the difficult questions we'd often avoided in the past."[259] By the next year, he left the touring group because of unhappiness with the band's nostalgia format and lackluster live performances, subsequently pursuing a solo career.[232] He stated: "I haven't quit the Beach Boys but I do not plan on touring with them until they decide that 1981 means as much to them as 1961."[56] Carl returned in May 1982, after approximately 14 months of being away, on the condition that the group reconsider their rehearsal and touring policies and refrain from "Las Vegas-type" engagements.[260]
I think a lot of critics punish the band for not going beyond "Good Vibrations" ... they love the band so much that they get crazy because we don't top ourselves. ... [but] growth in this business is tough.
— Bruce Johnston, 1982[261]
On June 21, 1980, the Beach Boys performed a concert at Knebworth, England, which featured a slightly intoxicated Dennis. The concert would later be released as a live album titled Good Timin': Live at Knebworth England 1980 in 2002. In 1981, the band scored a surprise US top-twenty hit when their cover of the Del-Vikings' "Come Go with Me" from the three year old M.I.U. Album was released as a single.[262]
In late 1982, Eugene Landy was once more employed as Brian's therapist, and a more radical program was undertaken to try to restore Brian to health.[263] This involved removing him from the group on November 5, 1982, at the behest of Carl, Love, and Jardine,[264] in addition to putting him on a rigorous diet and health regimen.[265] Coupled with long, extreme counseling sessions, this therapy was successful in bringing Brian back to physical health, slimming down from 311 pounds (141 kg) to 185 pounds (84 kg).[266]
Death of Dennis, The Beach Boys, and Still Cruisin'
By the late 1970s and early 1980s, Dennis had been embroiled in successive failed romantic relationships, including a tense and short-lived relationship with Fleetwood Mac's Christine McVie, and found himself in severe economic trouble resulting in the sale of Brother Studios, established by the Wilson brothers in 1974 and where Pacific Ocean Blue was produced, and the forfeiture of his beloved yacht. To cope with the combination of devastating losses, Dennis heavily abused alcohol, cocaine, and heroin and was, by 1983, homeless and lived a nomadic lifestyle. He was often seen spending much of his time wandering the Los Angeles coast and often missed Beach Boys performances. By this point, he had lost his voice and much of his ability to play drums.[267]
In 1983, tensions between Dennis and Love escalated to the point that each obtained a restraining order against the other.
The Beach Boys spent the next several years touring, often playing in front of large audiences, and recording songs for film soundtracks and various artists compilations.
Commenting on his relationship to the band in 1988, Brian said that he avoided his family at Landy's suggestion, adding that "Although we stay together as a group, as people we're a far cry from friends."[271] Mike denied the accusation that he and the band were keeping Brian from participating with the group.[272] In 1987 the band scored a top-twenty single in collaboration with rap group the Fat Boys, on their cover of the Surfaris' "Wipeout!". The following year, the Beach Boys unexpectedly claimed their first US number 1 single in 22 years with "Kokomo", which topped the chart for one week.[273] The track was featured in the film Cocktail. Both "Wipeout!" and "Kokomo" were included on the band's next album, 1989's Still Cruisin', which went platinum in the US.[274] In 1991 the band contributed a cover of "Crocodile Rock" to the Elton John and Bernie Taupin tribute album Two Rooms.
Lawsuits, Summer in Paradise, and Stars and Stripes, Vol. 1
Carlin summarized, "Once surfin' pin-ups, they remade themselves as
Love filed a defamation lawsuit against Brian due to how he was presented in Brian's 1992 memoir
The day after California courts issued a restraining order between Brian and Landy, Brian phoned Sire Records staff producer Andy Paley to collaborate on new material tentatively for the Beach Boys.[283] After losing the songwriting credits lawsuit with Love, Brian told MOJO in February 1995: "Mike and I are just cool. There's a lot of shit Andy and I got written for him. I just had to get through that goddamn trial!"[284] In April, it was unclear whether the project would turn into a Wilson solo album, a Beach Boys album, or a combination of the two.[285] The project ultimately disintegrated.[286] Instead, Brian and his bandmates recorded Stars and Stripes Vol. 1, an album of country music stars covering Beach Boys songs, with co-production helmed by River North Records owner Joe Thomas.[287] Afterward, the group discussed finishing the album Smile, but Carl rejected the idea, fearing that it would cause Brian another nervous breakdown.[288]
1998–present: Love-led tours
Death of Carl and band name litigation
Early in 1997, Carl was diagnosed with lung and brain cancer after years of heavy smoking. Despite his terminal condition, Carl continued to perform with the band on its 1997 summer tour (a double-bill with the band Chicago) while undergoing chemotherapy. During performances, he sat on a stool and needed oxygen after every song.[289] Carl died on February 6, 1998, at the age of 51, two months after the death of the Wilsons' mother, Audree.[290]
After Carl's death, Jardine left the touring line-up and began to perform regularly with his band "Beach Boys: Family & Friends" until he ran into legal issues for using the name without license. Meanwhile, Jardine sued Love, claiming that he had been excluded from their concerts,[291] BRI, through its longtime attorney, Ed McPherson, sued Jardine in Federal Court. Jardine, in turn, counter-claimed against BRI for wrongful termination.[292] BRI ultimately prevailed.[293]
In 2000, ABC-TV premiered a two-part television miniseries, The Beach Boys: An American Family, that dramatized the Beach Boys' story. It was produced by Full House actor John Stamos, and was criticized by numerous parties, including Wilson, for historical inaccuracies.[294]
In 2004, Wilson recorded and released his solo album Brian Wilson Presents Smile, a reinterpretation of the unfinished Smile project. That September, Wilson issued a free CD through the Mail On Sunday that included Beach Boys songs he had recently rerecorded, five of which he co-authored with Love. The 10 track compilation had 2.6 million copies distributed and prompted Love to file a lawsuit in November 2005; he claimed the promotion hurt the sales of the original recordings.[295] Love's suit was dismissed in 2007 when a judge determined that there were no triable issues.[296]
In late 2006, Jardine joined Brian Wilson and his band for a short tour celebrating the 40th anniversary of Pet Sounds.[297]
The Smile Sessions, That's Why God Made the Radio, and 50th anniversary reunion tour
On October 31, 2011, Capitol released a double album and box set dedicated to the Smile recordings in the form of The Smile Sessions. The album garnered universal critical acclaim and charted in both the US Billboard and UK top-thirty. It went on to win Best Historical Album at the 2013 Grammy Awards.[298]
On December 16, 2011, it was announced that Wilson, Love, Jardine, Johnston and David Marks would reunite for a new album and
The reunion tour ended in September 2012 as planned, but amid erroneous rumors that Love had dismissed Wilson from the Beach Boys.[302] Love and Johnston continued to perform under the Beach Boys name, while Wilson, Jardine, and Marks continued to tour as a trio,[303] and a subsequent tour with guitarist Jeff Beck also included Blondie Chaplin at select dates.[304]
Copyright extension releases
Responding to a new European Union copyright law that extended copyright to 70 years for recordings that were published within 50 years after they were made, Capitol began issuing annual 50-year anniversary "copyright extension" releases of Beach Boys recordings, starting with The Big Beat 1963 (2013).[305]
Jardine, Marks, Johnston and Love appeared together at the 2014 Ella Awards Ceremony, where Love was honored for his work as a singer.
In 2016, Love and Wilson published memoirs, Good Vibrations: My Life as a Beach Boy and I Am Brian Wilson, respectively. Asked about negative comments that Wilson made about him in the book, Love challenged the legitimacy of statements attributed to Wilson in the book and in the press.[311] In an interview with Rolling Stone conducted in June 2016, Wilson said he would like to try to repair his relationship with Love and collaborate with him again.[312] In January 2017, Love said, "If it were possible to make it just Brian and I, and have it under control and done better than what happened in 2012, then yeah, I'd be open to something."[313]
In July 2018, Wilson, Jardine, Love, Johnston, and Marks reunited for a one-off Q&A session moderated by director Rob Reiner at the Capitol Records Tower in Los Angeles. It was the first time the band had appeared together in public since their 2012 tour.[314] That December, Love described his new holiday album, Reason for the Season, as a "message to Brian" and said that he "would love nothing more than to get together with Brian and do some music."[315]
In February 2020, Wilson and Jardine's official social media pages encouraged fans to boycott the band's music after it was announced that Love's Beach Boys would perform at the Safari Club International Convention in Reno, Nevada on animal rights grounds. The concert proceeded despite online protests, as Love issued a statement that said his group has always supported "freedom of thought and expression as a fundamental tenet of our rights as Americans."[316] In October, Love and Johnston's Beach Boys performed at a fundraiser for Donald Trump's presidential re-election campaign; Wilson and Jardine again issued a statement that they had not been informed about this performance and did not support it.[317]
Selling of the band's intellectual property and 60th anniversary
In March 2020, Jardine was asked about a possible reunion and responded that the band would reunite for a string of live performances in 2021, although he believed a new album was unlikely.[318] In response to reunion rumors, Love said in May that he was open to a 60th anniversary tour, although Wilson has "some serious health issues", while Wilson's manager Jean Sievers commented that no one had spoken to Wilson about such a tour.[319] In February 2021, it was announced that Brian Wilson, Love, Jardine, and the estate of Carl Wilson had sold a majority stake in the band's intellectual property to Irving Azoff and his new company Iconic Artists Group; rumors of a 60th anniversary reunion were again discussed.[320]
In April 2021, Omnivore Recordings released California Music Presents Add Some Music, an album featuring Love, Jardine, Marks, Johnston, and several children of the original Beach Boys (most notably on a re-recording of The Beach Boys' "Add Some Music to Your Day" from 1970's Sunflower).[321] In August, Capitol released the box set Feel Flows: The Sunflower & Surf's Up Sessions 1969–1971.[322] In 2022, the group was expected to participate in a "60th anniversary celebration". Azoff stated in an interview from May 2021, "We're going to announce a major deal with a streamer for the definitive documentary on The Beach Boys and a 60th anniversary celebration. We're planning a tribute concert affiliated with the Rock & Roll Hall of Fame and SiriusXM, with amazing acts. That's adding value, and that's why I invested in The Beach Boys."[323]
On Mike Love's 81st birthday, Jardine once again hinted at a possible reunion on his Facebook page by stating that he was "looking forward" to seeing Love at the "reunion".[324] However, while a reunion ultimately did not occur in 2022, Capitol released the Sail On Sailor – 1972 box set in December; following on from the Feel Flows box set, which focused on Sunflower and Surf's Up, Sail On Sailor focused on Carl and the Passions and Holland.
In January 2023, the tribute concert mentioned by Azoff in 2021 was announced as being part of the “Grammys Salute” series of televised tribute concerts.[325] On February 8 – three days after the 2023 Grammy award ceremonies, A Grammy Salute to the Beach Boys was recorded at the Dolby Theatre in Hollywood, California and subsequently aired as a 2-hour special on CBS on April 9. Present for the taping were Wilson, Jardine, Marks, Johnston, and Love – this time not as performers but as featured guests, seated in a luxury box at the theatre, overlooking tribute performances covering the gamut of their catalog by mostly contemporary artists. According to Billboard, the program had 5.18 million viewers.[326]
In July 2023, the Beach Boys announced a limited edition to their book, The Beach Boys by The Beach Boys, set to be released in 2024. It will feature exclusive interviews, archived photos, live shots, as well as archived texts from late members Carl and Dennis Wilson.[327]
Musical style and development
In Understanding Rock: Essays in Musical Analysis, musicologist Daniel Harrison writes:
Even from their inception, the Beach Boys were an
enharmonic modulations.[106]
The Beach Boys began as a
Early on, Mike Love sang lead vocals in the rock-oriented songs, while Carl contributed guitar lines on the group's ballads.
Brian's bandmates resented the notion that he was the sole creative force in the group.[338] In a 1966 article that asked if "the Beach Boys rely too much on sound genius Brian", Carl said that although Brian was the most responsible for their music, every member of the group contributed ideas.[339] Mike Love wrote, "As far as I was concerned, Brian was a genius, deserving of that recognition. But the rest of us were seen as nameless components in Brian's music machine ... It didn't feel to us as if we were just riding on Brian's coattails."[340] Conversely, Dennis defended Brian's stature in the band, stating: "Brian Wilson is the Beach Boys. He is the band. We're his fucking messengers. He is all of it. Period. We're nothing. He's everything."[341]
Influences
The band's earliest influences came primarily from the work of Chuck Berry and the Four Freshmen.
Though the Beach Boys are often caricatured as the ultimate white, suburban act, black
R&Bwas crucial to their sound.
The eclectic mix of white and black vocal group influences – ranging from the rock and roll of Berry, the jazz harmonies of the Four Freshmen, the pop of the Four Preps, the folk of the Kingston Trio, the R&B of groups like the Coasters and the Five Satins, and the doo wop of Dion and the Belmonts – helped contribute to the Beach Boys' uniqueness in American popular music.[346] Carl remembered that Love was "really immersed in doo-wop" and likely "influenced Brian to listen to it", adding that the "black artists were so much better in terms of rock records in those days that the white records almost sounded like put-ons."[39]
Another significant influence on Brian's work was Burt Bacharach.[347] He said in the 1960s: "Burt Bacharach and Hal David are more like me. They're also the best pop team – per se – today. As a producer, Bacharach has a very fresh, new approach."[348] Regarding surf rock pioneer Dick Dale, Brian said that his influence on the group was limited to Carl and his style of guitar playing.[349] Carl credited Chuck Berry, the Ventures, and John Walker with shaping his guitar style, and that the Beach Boys had learned to play all of the Ventures' songs by ear early in their career.[350]
In 1967,
Vocals
Brian identified each member individually for their
In the group's early recordings, from lowest
[Love] had a hand in a lot of the arrangements. He would bring out the funkier approaches, whether to go shoo-boo-bop or bom-bom-did-di-did-did. It makes a big difference, because it can change the whole rhythm, the whole color and tone of it.
— Carl Wilson[360]
On the group's blend, Carl said: "[Love] has a beautifully rich, very full-sounding bass voice. Yet his lead singing is real nasal, real punk. [Jardine]'s voice has a bright timbre to it; it really cuts. My voice has a kind of calm sound. We're big oooh-ers; we love to oooh. It's a big, full sound, that's very pleasing to us; it opens up the heart."
Use of studio musicians
Biographer James Murphy said, "By most contemporary accounts, they were not a very good live band when they started. ... The Beach Boys learned to play as a band in front of live audiences", eventually to become "one of the best and enduring live bands".[363] With only a few exceptions, the Beach Boys played every instrument heard on their first four albums and first five singles.[13] It is the belief of Richie Unterberger that, "Before session musicians took over most of the parts, the Beach Boys could play respectably gutsy surf rock as a self-contained unit."[28]
As Wilson's arrangements increased in complexity, he began employing a group of professional studio musicians, later known as "the Wrecking Crew", to assist with recording the instrumentation on select tracks.[364] According to some reports, these musicians then completely replaced the Beach Boys on the backing tracks to their records.[13][365] Much of the relevant documentation, while accounting for the attendance of unionized session players, had failed to record the presence of the Beach Boys themselves.[365][366] These documents, along with the full unedited studio session tapes, were not available for public scrutiny until the 1990s.[366]
Wilson started occasionally employing members of the Wrecking Crew for certain Beach Boys tracks during the 1963 Surfer Girl sessions – specifically, on two songs, "Hawaii" and "Our Car Club".[367][13] The 1964 albums Shut Down Volume 2 and All Summer Long featured the Beach Boys themselves playing the vast majority of the instruments while occasionally being augmented by outside musicians.[13] It is commonly misreported that Dennis in particular was replaced by Hal Blaine on drums.[366][368] Dennis's drumming is documented on a number of the group's singles, including 1964's "I Get Around", "Fun, Fun, Fun", and "Don't Worry Baby".[369] Starting with the 1965 albums Today! and Summer Days, Brian used the Wrecking Crew with greater frequency, "but still", Stebbins writes, "the Beach Boys continued to play the instruments on many of the key tracks and single releases."[13]
Overall, the Beach Boys played the instruments on the majority of their recordings from the decade,[366] with 1966 and 1967 being the only years when Wilson used the Wrecking Crew almost exclusively.[13][366] Pet Sounds and Smile are their only albums in which the backing tracks were largely played by studio musicians.[13][370] After 1967, the band's use of studio musicians was considerably reduced.[13] Wrecking Crew biographer Kent Hartman supported in his 2012 book about the musicians, "Though [Brian Wilson] had for several months brought in various session players on a sporadic, potluck basis to supplement things, the other Beach Boys generally played on the earliest songs, too."[371]
The source of the longstanding controversy regarding the Beach Boys' use of studio musicians largely derives from a misinterpreted statement in David Leaf's 1978 biography The Beach Boys and the California Myth, later bolstered by erroneous recollections from participants of the recording sessions.[366][nb 14] Starting in the 1990s, unedited studio session tapes, along with American Federation of Musicians (AFM) sheets and tape logs, were leaked to the public. Music historian Craig Slowinski, who contributes musician credits to the liner notes of the band's reissues and compilations, wrote in 2006: "[O]nce the vaults were opened up and the tapes were studied, the true situation became clear: the Boys themselves played most of the instruments on their records until the Beach Boys Today! album in early 1965."[366] Slowinski goes on to note, "when painting a picture of a Beach Boys recording session, it's important to examine both the AFM contracts and the session tapes, either of which may be incomplete on their own."[366]
During the period when Brian relied heavily on studio musicians, Carl was an exception among the Beach Boys in that he played alongside the studio musicians whenever he was available to attend sessions.[373] In Slowinski's view, "One should not sell short Carl's own contributions; the youngest Wilson had developed as a musician sufficiently to play alongside the horde of high-dollar session pros that big brother was now bringing into the studio. Carl's guitar playing [was] a key ingredient."[374][nb 15]
Spirituality
The band members often reflected on the spiritual nature of their music (and music in general), particularly for the recording of Pet Sounds and Smile.
Brian is quoted during the Smile era: "I'm very religious. Not in the sense of churches, going to church; but like the essence of all religion."[377] During the recording of Pet Sounds, Brian held prayer meetings, later reflecting that "God was with us the whole time we were doing this record ... I could feel that feeling in my brain."[380] In 1966, he explained that he wanted to move into a white spiritual sound, and predicted that the rest of the music industry would follow suit.[381] In 2011, Brian maintained the spirituality was important to his music, and that he did not follow any particular religion.[382]
Carl said that Smile was chosen as an album title because of its connection to the group's spiritual beliefs.
Legacy and cultural influence
Achievements and accolades
The Beach Boys are one of the most critically acclaimed,
Brian Wilson's artistic control over the Beach Boys' records was unprecedented for the time.[396] Carl Wilson elaborated: "Record companies were used to having absolute control over their artists. It was especially nervy, because Brian was a 21-year-old kid with just two albums. It was unheard of. But what could they say? Brian made good records."[129] This made the Beach Boys one of the first rock groups to exert studio control.[397] Music producers after the mid-1960s would draw on Brian's influence, setting a precedent that allowed bands and artists to enter a recording studio and act as producers, either autonomously, or in conjunction with other like minds.[398]
In 1988, the original five members (the Wilson brothers, Love, and Jardine) were inducted into the Rock and Roll Hall of Fame.[10] Ten years later, they were selected for the Vocal Group Hall of Fame.[399] In 2004, Pet Sounds was preserved in the National Recording Registry by the Library of Congress for being "culturally, historically, and aesthetically significant."[400] Their recordings of "In My Room", "Good Vibrations", "California Girls" and the entire Pet Sounds album have been inducted into the Grammy Hall of Fame.[401]
The Beach Boys are one of the most influential acts of the rock era.
California sound
Professor of cultural studies James M. Curtis wrote in 1987, "We can say that the Beach Boys represent the outlook and values of
The group's "California sound" grew to national prominence through the success of their 1963 album Surfin' U.S.A.,
A 1966 article discussing new trends in rock music writes that the Beach Boys popularized a type of drum beat heard in Jan and Dean's "Surf City", which sounds like "a locomotive getting up speed", in addition to the method of "suddenly stopping in between the chorus and verse".[331] Pete Townshend of the Who is credited with coining the term "power pop", which he defined as "what we play—what the Small Faces used to play, and the kind of pop the Beach Boys played in the days of 'Fun, Fun, Fun' which I preferred."[409]
The California sound gradually evolved to reflect a more musically ambitious and mature world view, becoming less to do with surfing and cars and more about social consciousness and political awareness.
By the end of the 1960s, the California sound declined due to a combination of the West Coast's cultural shifts, Wilson's professional and psychological downturn, and the Manson murders, with David Howard calling it the "sunset of the original California Sunshine Sound ... [the] sweetness advocated by the California Myth had led to chilling darkness and unsightly rot".[414] Drawing from the Beach Boys' associations with Manson and former California governor Ronald Reagan, Erik Davis remarked, "The Beach Boys may be the only bridge between those deranged poles. There is a wider range of political and aesthetic sentiments in their records than in any other band in those heady times—like the state [of California], they expand and bloat and contradict themselves."[276]
During the 1970s, advertising jingles and imagery were predominately based on the Beach Boys' early music and image.
Innovations
Pet Sounds came to inform the developments of genres such as pop, rock, jazz, electronic, experimental, punk, and hip hop.[417] Similar to subsequent experimental rock LPs by Frank Zappa, the Beatles, and the Who, Pet Sounds featured countertextural aspects that called attention to the very recordedness of the album.[418] Professor of American history John Robert Greene stated that the album broke new ground and took rock music away from its casual lyrics and melodic structures into what was then uncharted territory. He furthermore called it one factor which spawned the majority of trends in post-1965 rock music, the only others being Rubber Soul, the Beatles' Revolver, and the contemporary folk movement.[419] The album was the first piece in popular music to incorporate the Electro-Theremin, an easier-to-play version of the theremin, as well as the first in rock music to feature a theremin-like instrument.[420] With Pet Sounds, they were also the first group to make an entire album that departed from the usual small-ensemble electric rock band format.[421]
According to David Leaf in 1978, Pet Sounds and "Good Vibrations" "established the group as the leaders of a new type of pop music,
Other artists and producers, notably the Beatles and Phil Spector, had used varied instrumentation and multi-tracking to create complex studio productions before. And others, like Roy Orbison, had written complicated pop songs before. But "Good Vibrations" eclipsed all that came before it, in both its complexity as a production and the liberties it took with conventional notions of how to structure a pop song.[424]
The making of "Good Vibrations", according to Domenic Priore, was "unlike anything previous in the realms of classical, jazz, international, soundtrack, or any other kind of recording",[425] while biographer Peter Ames Carlin wrote that it "sounded like nothing that had ever been played on the radio before."[426] It contained previously untried mixes of instruments, and was the first successful pop song to have cellos in a juddering rhythm.[427] Musicologist Charlie Gillett called it "one of the first records to flaunt studio production as a quality in its own right, rather than as a means of presenting a performance".[85] Again, Brian employed the use of Electro-Theremin for the track. Upon release, the single prompted an unexpected revival in theremins while increasing awareness of analog synthesizers, leading Moog Music to produce their own brand of ribbon-controlled instruments.[428][nb 16] In a 1968 editorial for Jazz & Pop, Gene Sculatti predicted that the song "may yet prove to be the most significantly revolutionary piece of the current rock renaissance ... In no minor way, 'Good Vibrations' is a primary influential piece for all producing rock artists; everyone has felt its import to some degree".[150]
Discussing Smiley Smile, Daniel Harrison argues that the album could "almost" be considered art music in the Western classical tradition, and that the group's innovations in the musical language of rock can be compared to those that introduced
Sunflower marked an end to the experimental songwriting and production phase initiated by Smiley Smile.[433] After Surf's Up, Harrison wrote, their albums "contain a mixture of middle-of-the-road music entirely consonant with pop style during the early 1970s with a few oddities that proved that the desire to push beyond conventional boundaries was not dead," until 1974, "the year in which the Beach Boys ceased to be a rock 'n' roll act and became an oldies act."[433]
Punk, alternative, and indie
For the artier branches of post-punk, Wilson's pained vulnerability, his uses of offbeat instruments and his intricate harmonies, not to mention the Smile saga itself, became a touchstone, from Pere Ubu and XTC to REM [sic] and the Pixies to U2 and My Bloody Valentine.
— Music critic Carl Wilson (no relation to Brian's brother)[434]
In the 1970s, the Beach Boys served a "totemic influence" on
In the 1990s, the Beach Boys experienced a resurgence of popularity with the
The Beach Boys remained among the most significant influences on indie rock into the late 2000s.
Landmarks
- The Wilsons' California house, where the Wilson brothers grew up and the group began, was demolished in 1986 to make way for Interstate 105, the Century Freeway. A Beach Boys Historic Landmark (California Landmark No. 1041 at 3701 West 119th Street), dedicated on May 20, 2005, marks the location.[450]
- On December 30, 1980, the Beach Boys were awarded a star on the Hollywood Walk of Fame, located at 1500 Vine Street.[451]
- On September 2, 1977, the group performed before an audience of 40,000 at Narragansett Park in Pawtucket, Rhode Island, which remains the largest concert audience in Rhode Island history. In 2017, the street where the concert stage formerly stood was officially renamed to "Beach Boys Way".[452][453][454]
- On September 21, 2017, The Beach Boys were honored by Roger Williams University and plaques were unveiled to commemorate the band's concert on September 22, 1971, at the Baypoint Inn & Conference Center in Portsmouth, Rhode Island. The concert was the first-ever appearance of South African Ricky Fataar as an official member of the band and Filipino Billy Hinsche as a touring member, essentially changing the Beach Boys' live and recording act's line-up into a multi-cultural group. Diversity is a credo of Roger Williams University, which is why they chose to celebrate this moment in the band's history.[455][456]
Members
Current members
|
Former members
|
Timeline
Notable supporting musicians for both the Beach Boys' live performances and studio recordings included guitarist and session musician Glen Campbell, keyboardists Daryl Dragon and Toni Tennille (Captain & Tennille), keyboardist Billy Hinsche, bass guitarist Carol Kaye, guitarist Jeffrey Foskett, drummer John Cowsill, actor, drummer and guitarist John Stamos, and saxophonist Charles Lloyd.
Discography
Studio albums
- Surfin' Safari (1962)
- Surfin' U.S.A. (1963)
- Surfer Girl (1963)
- Little Deuce Coupe (1963)
- Shut Down Volume 2 (1964)
- All Summer Long (1964)
- The Beach Boys' Christmas Album (1964)
- The Beach Boys Today! (1965)
- Summer Days (And Summer Nights!!) (1965)
- Beach Boys' Party! (1965)
- Pet Sounds (1966)
- Smiley Smile (1967)
- Wild Honey (1967)
- Friends (1968)
- 20/20 (1969)
- Sunflower (1970)
- Surf's Up (1971)
- Carl and the Passions – "So Tough" (1972)
- Holland (1973)
- 15 Big Ones (1976)
- The Beach Boys Love You (1977)
- M.I.U. Album (1978)
- L.A. (Light Album) (1979)
- Keepin' the Summer Alive (1980)
- The Beach Boys (1985)
- Still Cruisin' (1989)
- Summer in Paradise (1992)
- Stars and Stripes Vol. 1 (1996)
- That's Why God Made the Radio (2012)
Selected archival releases
- The Pet Sounds Sessions (1997)
- Endless Harmony Soundtrack (1998)
- Ultimate Christmas (1998)
- Hawthorne, CA (2001)
- The Smile Sessions (2011)
- The Big Beat 1963 (2013)
- Keep an Eye on Summer 1964 (2014)
- Becoming the Beach Boys: The Complete Hite & Dorinda Morgan Sessions (2015)
- Beach Boys' Party! Uncovered and Unplugged (2015)
- 1967 – Sunshine Tomorrow (2017)
- Wake the World: The Friends Sessions(2018)
- I Can Hear Music: The 20/20 Sessions(2018)
- Feel Flows: The Sunflower & Surf's Up Sessions 1969–1971 (2021)
- Sail On Sailor – 1972 (2022)
Filmography
- 1962: One Man’s Challenge
- 1964: T.A.M.I. Show
- 1965: The Girls on the Beach
- 1965: The Monkey's Uncle
- 1971: Good Vibrations from Central Park
- 1976: The Beach Boys: Good Vibrations Tour
- 1979: The Midnight Special
- 1980: Beach Boys 4th of July Celebration: Live from Queen Mary
- 1980: The Beach Boys: A Celebration Concert
- 1981: The Beach Boys: 20th Anniversary Special
- 1985: The Beach Boys: An American Band
- 1987: The Beach Boys: 25 Years Together
- 1991: The Beach Boys Live in Japan ‘91
- 1993: The Beach Boys Today
- 1996: The Beach Boys: Nashville Sounds
- 1998: Endless Harmony: The Beach Boys Story
- 1998: The Beach Boys: The Lost Concert 1964
- 2002: Good Timin': Live at Knebworth England 1980
- 2004: Sights + Sounds of Summer: The Very Best of The Beach Boys
- 2006: The Beach Boys: In London 1966
- 2012: The Beach Boys 50: Doin’ It Again
- 2012: The 50th Reunion Tour
- 2014: The Beach Boys: Live at the Hollywood Bowl
- 2016: Classic Albums: Pet Sounds
- 2023: A Grammy Salute to The Beach Boys
- 2024: The Beach Boys doc on Disney +
Notes
- ^ Nick Venet said that none of the members, including Dennis, surfed until after the fact.[9]
- ^ Since he did not appear on the first performance by the band that would become "the Beach Boys", most historians discount him as a true founding member of the group.[13]
- ^ The only songs the group recorded were two Morgan compositions, "Barbie" and "What Is a Young Girl Made Of?"[18]
- ^ He remembered "flipping out [over the Beatles]. I couldn't understand how a group could be just yelled and screamed at. The music they made, 'I Want to Hold Your Hand' for example, wasn't even that great a record, but the[ir fans] just screamed at it. ... It got us off our asses in the studio. [We] said 'look, don't worry about the Beatles, we'll cut our own stuff."[43] He recalled that he and Love immediately felt threatened by the Beatles, believing that the Beach Boys could never match the excitement created by the Beatles as performers, and that this realization led him to concentrate his efforts on trying to outdo them in the recording studio.[44]
- ^ Contracts at that time stipulated that promoters hire "Carl Wilson plus four other musicians".[56] Additionally, in February, July, and October, Brian rejoined the live group for one-off occasions.[57]
- ^ For example, critics from Rolling Stone were wary of the group's changing music, with Ralph J. Gleason writing in January 1968: "The Beach Boys, when they were a reflection of an actuality of American society (i.e., Southern California hot rod, surfing and beer-bust fraternity culture), made music that had vitality and interest. When they went past that, they were forced inexorably to go into electronics and this excursion, for them, is of limited scope, good as the vibrations were."[121]
- ^ Music critic Kenneth Partridge blamed the lack of "edginess" on the group's early records for why they are "rarely talked about in the same breath as the Beatles and the Rolling Stones, and when they are, it's really only because of two albums".[127]
- ^ Pursuant to the terms of their record contract, when the group missed their May 1973 deadline to deliver the Smile album, Warner Bros. deducted $50,000 from the band's next advance.[200]
- ^ According to Gaines, Guercio may have been fired because members of the group "felt Caribou was being overpaid", although "many observers suggest the Beach Boys followed an old pattern of jettisoning personnel when their financial situation improved."[220] Biographer Mark Dillon states that the tour evaporated due to Dennis' budding romance with Karen Lamm, the ex-wife of Chicago keyboardist Robert Lamm.[217]
- ^ According to Gaines, "When Brian signed the contract, he cried, knowing he would now have to go back to the studio full-time."[242]
- ^ Love later explained that he had been "in a state of extreme sensitivity" after learning that his girlfriend was in a vegetative state following "a horrific car accident".[248]
- ^ At a concert in Perth, Carl was so inebriated that he fell over mid-performance. The next day, he apologized for his poor performance on national television.[257]
- ^ Starting with the 1970 sessions for the Surf's Up album, Stephen Desper remembers the emerging corrosive effects of Brian's incessant chain smoking and cocaine use: "He could still do falsettos and stuff, but he'd need Carl to help him. Either that or I'd modify the tape speed-wise to make it artificially higher, so it sounded like the old days."[354]
- ^ The statement in question was, "from 1963 through 1966 Brian used studio musicians on the instrumental tracks."[372][366]
- ^ Carl's lead and rhythm guitar playing is featured on several of the band's singles, including "I Get Around", "Fun, Fun, Fun", "Don't Worry Baby",[375] "When I Grow Up (To Be A Man)", "Do You Wanna Dance?", and "Dance, Dance, Dance".[374]
- ^ Even though the Electro-Theremin was not technically a theremin, the song became the most frequently cited example of the theremin in pop music.[429]
- ^ In 2015, Wilson was asked about punk rock and responded: "I don't know what that is. Punk rock? Punk? What is that? ... Oh yeah. I never went for that. I never went for the fast kind of music. I go for the more medium tempo. Spencer Davis, I liked that."[436]
- ^ When asked how he felt about "reintroducing Brian Wilson as an alternative music hero and getting people back into Pet Sounds and SMiLE," O'Hagan mentioned that a "few of the touring American bands have told me that we did have such an impact, especially in LA."[440]
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Further reading
Articles
- New York Review of Books.
- Rogers, Jude (June 12, 2008). "The lure of the beach". New Statesman.
Books
- Abbott, Kingsley, ed. (1998). Back to the Beach: A Brian Wilson and the Beach Boys Reader. Helter Skelter. ISBN 978-1-90092-402-3.
- Berry, Torrence (2013). Beach Boys Archives, Volume 2. White Lightning Publishing. ISBN 978-1941028995.
- Berry, Torrence (2014). Beach Boys Archives, Volume 5. White Lightning Publishing. ISBN 978-1941028063.
- Berry, Torrence (2015). Beach Boys Archives, Volume 7. White Lightning Publishing. ISBN 978-1941028100.
- Berry, Torrence and Zenker, Gary (2013). Beach Boys Archives, Volume 1. White Lightning Publishing. ISBN 978-0989334457.
- Berry, Torrence and Zenker, Gary (2014). Beach Boys Archives, Volume 3. White Lightning Publishing. ISBN 978-1941028018.
- Berry, Torrence and Zenker, Gary (2014). Beach Boys Archives, Volume 4. White Lightning Publishing. ISBN 978-1941028025.
- ISBN 978-1532348570.
- Cunningham, Don; Bielel, Jeff, eds. (1999). Add Some Music to Your Day: Analyzing and Enjoying the Music of the Beach Boys. Tiny Ripple Books. ISBN 978-0967597300.
- Curnutt, Kirk (2012). Icons of Pop Music: Brian Wilson. Equinox Publishing, Ltd.
- Desper, Stephen W. (2002). Recording the Beach Boys.
- Doe, Andrew; ISBN 978-1-84449-426-2.
- Elliott, Brad (1984). Surf's Up: The Beach Boys On Record 1961–1981. Popular Culture Inc.
- Fawcett, Anthony (1978). California Rock, California Sound: the Music of Los Angeles and Southern California. Reed Books.
- ISBN 978-0-87877-202-5.
- Granata, Charles L.; ISBN 9781556525070.
- McParland, Stephen J., ed. (2001). In The Studio with Brian Wilson and The Beach Boys: Our Favorite Recording Sessions: A Look at Various Recording Sessions by The Beach Boys, 1961–1970. CMusic Books.
- Priore, Domenic (1988). Look, Listen, Vibrate, Smile: The Book about the Mysterious Beach Boys Album. Surfin' Colours Hollywood.
- Sumrall, Harry (1994). Pioneers of Rock and Roll: 100 Artists Who Changed the Face of Rock. Billboard Books. ISBN 978-0-8230-7628-4.
- ISBN 978-1852425951.
- ISBN 978-1-58234-282-5.
- Williams, Paul (June 1, 2003). Brian Wilson & The Beach Boys: How Deep is the Ocean? : Essays & Conversations. Omnibus. ISBN 978-0-7119-9103-3.
External links
- Official website
- The Beach Boys at Curlie
- The Beach Boys at AllMusic