NOTE: Carl
Wilson was the first of the Beach Boys to put out an entire
solo album. Although Brian Wilson had put out singles (the
first being "Caroline No" from Pet Sounds) and Dennis Wilson had
flirted with the idea over the years, Carl was the first to step out on
his own, and this was after he had tired of the band's complacency in
rehearsing for their live act. But the Beach Boys have never
succeeded as solo acts; being stripped of the Beach Boys
powerful name as a marketing tool, their solo efforts struggle
to get noticed; and invariably, being compared to Brian's
compositions, their own works pale in comparison.
But as with all things, there are jewels to be found...
Carl
Wilson Carl Wilson Caribou NJ2 37010 [LP];
Released 1981
1.
Hold Me (Carl Wilson/Myrna Smith) 4:03
2. Bright Lights (Carl Wilson/Myrna Smith) 3:47
3. What You Gonna Do About Me (Carl Wilson/Myrna Smith) 4:27
4. The Right Lane (Carl Wilson/Myrna Smith) 5:13
5. Hurry Love (Carl Wilson/Myrna Smith) 4:44
6. Heaven (Carl Wilson/Myrna Smith/Michael Sun) 4:23
7. The Grammy (Carl Wilson/Myrna Smith) 3:04
8. Seems So Long Ago (Carl Wilson/Myrna Smith) 4:56
REVIEW:
Carl teamed
up with Myrna Smith (former backup vocalist for Elvis Presley and
Aretha Franklin and wife of Wilson's then-manager Jerry Schilling) to
put together this slight album. Carl wrote the music to all
the numbers, while Ms. Smith did the lyrics and sang backup on every
number (and shared a duet with Carl on one.) Side One is all
up-tempo rockers, and having just listened to the album again, it
struck me how bland they all are. "Hold Me," "Bright Lights,"
"What You Gonna Do About Me?" and "The Right Lane" are completely
undistinguished, containing workmanlike melodies, pedestrian lyrics,
and thin production. The chord changes and melodies are very
simple, and the whole thing smacks of being quickly written and
recorded. Side Two fares better, with three ballads
(something Carl's voice is particularly tuned for), all of which are
somewhat memorable, especially the gently swaying "Heaven," (which
ironically contains ocean imagery and a perfect harmonic tag) and the
bittersweet "Seems So Long Ago." The first cut of side two,
"Hurry Love" is also a nice ballad, benefiting from Carl's fine
voice. There is one out-and-out embarrassing cut: "The
Grammy"
is a pretentious number relating a high-minded rocker's apathy at
receiving a Grammy Award (also, ironic, since the Beach Boys have never
won the prestigious award). Carl has a distinctive voice and
is also a great guitarist, but this album lacks weight.
Youngblood Caribou BF2
3797 [LP]; Released 1983; ICONOCLASTIC [CD]
CD Release September 10, 2010
1.
What More Can I Say? (Carl Wilson/Myrna Smith) - 3:26
2. She's Mine (Carl Wilson/Myrna Smith) - 3:04
3. Givin You Up (Carl Wilson/Myrna Smith/Jerry Schilling) - 4:41
4. One More Night Alone (Billy Hinsche) - 3:05
5. Rockin' All Over The World (J.C Fogerty) - 3:00
6. What You Do To Me (John Hall/Johanna Hall) - 3:56
7. Youngblood (Jerry Leiber/Mike Stoller/Doc Pomus) 2:42
8. Of The Times (Carl Wilson/Myrna Smith) - 4:07
9. Too Early To Tell (Carl Wilson/Myrna Smith/John Daly) - 2:51
10. If I Could Talk To Love (Carl Wilson/Myrna Smith) - 4:10
11. Time (Carl Wilson/Myrna Smith) - 3:00
REVIEW: Re-teaming
with lyricist Myrna Smith from his debut album, as well as
pulling songs from a number of different sources (including Billy
Hinche, John Fogerty, and Elvis Presley writing team Jerry Leiber/Mike
Stoller) Youngblood is a measure above Carl's
debut in a couple of ways: first, there are several good songs on this
album ("Youngblood," "Givin' You Up," "She's Mine," "Of The Times"),
and one VERY good song (a joyful "What You Do To Me"). It's also well
produced, with moments of sweet harmony, stinging guitars and soaring
vocals, which only Carl could supply. Youngblood
is also a fairly hard-rocking album, with more defined touches of
R&B thrown in, which is fun to hear. Carl has his own sound and
style that's distinct from the Beach Boys, much like Dennis did, and Youngblood
is such an improvement over Carl Wilson, that
it's a shame he didn't press on to better things. On the
other hand, there are also several unmemorable songs, (a bland "If I
Could Talk To Love", and the throwaway "Rockin' All Over The World"),
which shows that while Carl is certainly not without his measure of
songwriting gifts, he cannot supply a full album's worth of good
material. Finally seeing the light of day on CD in 2010, collectors who manage to lay their hands on it
probably won't be sorry.
Like A Brother [Beckley-Lamm-Wilson] Transparent Music 500022, [CD Only]; Released 2000
1. Today (John Waite/Phil Galdston) 4:15
2. Feel The Spirit
3. I Wish For You (Carl Wilson/Robert White Johnson/Phil Galdston) 3:01
4. Run Don't Walk (Carl Wilson/Phil Galdston) 3:55
5. Watching The Time
6. Life In Motion
7. Sheltering Sky
8. They're Only Words (Carl Wilson/Phil Galdston) 4:40
9. Without Her
10. Like A Brother (Carl Wilson/Phil Galdston) 4:43
Japanese version featured three extra tracks,
namely "Standing at Your Door," "Blue After All" and "In The
Dark." None of which were written by Carl Wilson, or feature
his lead vocals.
REVIEW: Like A Brother is a difficult
album to review, simply because it touches some close feelings in
me. Being Carl's last full project before his death, and
having taken so long to see the light of release, the anticipation for
it ran fairly high, and while it's a tight, professional album, it has
faults, mostly in weak songwriting and fairly sterile
production. That said, however, I recommend it for anyone who
has enjoyed Carl's voice or songwriting. Like Dennis and
Brian, Carl was given the gift of expressing his soul in his voice and
writing, and in the course of the album, it is Carl's heart-on-his
sleeve talent that pushes this album up. "I Wish for You" is
simple and fragile, and the closing song "Like A Brother" contains
notable references to older brother Brian, "Run Don't Walk" benefits
from Carl's rocking lead, and his harmony vocals throughout are
distinctive and welcome. This album is comparable in overall
value to his previous solo outings -- better than his first, somewhat
lesser than his second, but as an epitaph to a life, it becomes music
to be treasured, since we will not see its like again.
I Can Hear Music: The Beach Boys lead vocal
by Carl Wilson
EMI
Japan [CD Only]; Released December, 2002
1.
I Can Hear Music
2. Sweet Sunday Kinda Love
3. Trader
4. Livin' With a Heartache
5. Girl Don't Tell Me
6. Marcella
7. God Only Knows
8. San Miguel
9. Only With You
10. Darlin'
11. This Whole World
12. Full Sail
13. Palisades Park
14. Long Promised Road
15. Good Timin'
16. Night Was So Young
17. Wild Honey
18. Good Vibrations
19. Steamboat
20. She Believes in Love Again
21. I'll Bet He's Nice
22. Goin' South
REVIEW:
Carl Wilson had one of the most unique voices in rock music.
It could alternate between lush sweetness ("God Only Knows") and and
ragged rhythm and blues ("Wild Honey"). And this CD manages
to gather most of his lead vocal contributions which he made
to The Beach Boys over the course of twenty-five years. I
wouldn't recommend anyone rushing out to buy this compilation, since
anyone with the Beach Boys catalog and a CD burner could do as well,
and maybe even better, since a few tracks are omitted ("Bluebirds Over
The Mountains"?) What could have made this disc something
special is the inclusion of rare-and-getting-rarer tracks from Carl's
two solo albums (see above), which have yet to see the light of day in
the Western hemisphere (not counting the pricey compilation put out a
couple of years ago to benefit the American Lung Cancer
Society). But if you're really into collecting rare Beach
Boys stuff, this is a pretty interesting track lineup, but as
you can see, nothing really rare, but an interesting compilation, if
you're interested in that sort of thing.
Dennis
Wilson Pacific Ocean Blue Caribou/Epic
Associated ZK 34354 [CD]; Released 1977
Reissued June 17, 2008
REVIEW: Hearing
this album may be a shock for those who still think of Dennis for the
teeny-bopper rock of "Do You Wanna Dance?" or the sweetness of "Little
Bird" - dark, coarse, and grungy, Pacific
Ocean Blue
is Dennis Wilson cutting his own path through American rock
music. Written, produced and sung by Dennis, with help from
longtime friend Gregg Jakobson, Pacific Ocean Blue begins
with the layered, Spector-ish "River Song," with it's swirling piano
and alternately rocking and tender vocals before strolling into the
bluesy honky-tonk of "What's Wrong." Next comes the druggy
and intimate ballad "Moonshine," followed by the trembling opening
strains of "Friday Night," a slow rock jam. "Dreamer" is much
the same, accented with a grumbling bass harmonica and horn
section. The next cut, "Thoughts Of You" is one of my
favorites, a lovely ballad with a stumbling, halting piano
accompaniment, and Dennis singing very intimately, before the song
drifts off amid rising strings. "Time" is just as good;
almost stream-of-consciousness writing with a single trumpet solo
building into a fuller, chugging finale. "You And I" is
perhaps the lightest song included, with acoustic guitars and electric
piano punctuated only with soft percussion. Next comes the
environmentally-charged title track, which is a much-less pretentious
number than anything his cousin has written. My next favorite
song, "Farewell My Friend" doesn't take many chances, but is a melodic,
emotional number. Next comes the friendly twang of "Rainbows"
with banjo perking up the track, before the album closes with the
optimistic, lush "End Of The Show." Dennis' voice is very
gruff, but he uses it to great effect, and this album is
unmissable.
Mike
Love Looking Back With Love Boardwalk NB 1 33242 [LP Only]; Released 1981 ZERO STARS
1. Looking Back With
Love (J. Studer/C. Thomas/D. Parker) 3:38
2. On And On And On (Benny Anderson/Bjorn Ulvaeus) 3:02
3. Runnin' Around The World (J. Haymer/B. Aaronson) 2:48
4. Over And Over (Robert James Byrd) 2:16
5. Rockin' The Man In The Boat (J. Studer/J. Arnold/M. Brady) 3:20
6. Calendar Girl (Neil Sedaka/H. Greenfield) 3:16
7. Be My Baby (Ellie Greenwich/J. Berry/Phil Spector) 2:39
8. One Good Reason (J. Studer/M. Brady) 4:08
9. Teach Me Tonight (S. Cahn/G. DePaul) 3:28
10. Paradise Found (Mike Love/J. Studer) 3:51
REVIEW:
Here it is, the nuclear waste of Beach Boys
product. Sinking lower than any other album (with the exception of
perhaps Summer In Paradise which was also
virtually a Mike Love solo album), Looking Back With Love
may the be worst record ever. Strangely, for a man
who's claimed to write most of the Beach Boys most popular hits, Mike
does very little writing on his debut solo album, taking credit only
for the final track, "Paradise Found." (Maybe he should take
Neil Sedaka to court and claim his share of "Calender Girl.")
The opening track sounds as if it were Mike's lyrics though,
with prominent songwriter J. Studer
rhyming "vibrations" with "assassinations" in the
worst beginning to an album I've yet to hear. The rest of
the LP is either dumb-bell remakes of classic tracks,
lecherous, innuendo-filled originals, or "Beach Boys" wannabes that are
sucking air. Add to that his extremely nasal voice that only
works when couched in full harmonies, thin production (lots of
synthesized stuff here), and absolutely NO creative sparks to be heard,
and you get an album that really warrants a hazard
label. It's more disappointing to realize that one of the
producers on the album was none other than wunderkind Curt Boettcher
(here titled as Becher), who was easily on par with Brian Wilson in the
1960s in his producing and singing skills; but here, Mr. Becher sounds
like he's simply cranking up the music box and letting it run
down. Avoid at all costs, unless you can get for free (and
you're into masochism.)
First Love (Unreleased)
1978; Produced by Paul Fauerso Country
Love (Unreleased)
1978; Produced by Al Perkins ZERO STARS
FIRST
LOVE
1. First Love (Fauerso)
2. Too Cruel
3. You’re Looking Better
4. Little Lela
5. I Don’t Wanna Know
6. Brian’s Back
7. Viggie
8. The Right Kind Of Love
9. Sumahama
10. Daybreak
COUNTRY LOVE
11. Today I Started Loving You Again (Williams)
12. Dallas
13. Beth On The Mesa
14. Brand New Start
15. I’m A Changed Man
16. Rock ‘n’ Roll Country Bride
17. Every I Touch (Turns Into Tears)
18. Wrinkles
19. My Side Of The Bed
20. Everyone’s In Love With You
21. Some Sweet Day
REVIEW: A
double-CD bootleg, this release documents the two albums which Mike
recorded at Santa Barbara Sound Recorders during 1978 and both were
reportedly
refused by record labels for release. Now, I'm not a big fan
of Mike Love's solo works - his own particular talents have always
seemed to worked best within the group dynamic of the Beach Boys
particular sound; he has always been more comfortable writing songs
about cars and girls than more adult themes, and his talent has always
paled next to his cousin's. But here, if you can track them
down, are two more prime examples of the paucity of Mike's writing
talent: First Love
begins promisingly, with a track written
by the album's producer, Paul Fauerso, and is a decent ode to, well,
first love. Mike sings in a pleasant baritone, and the track
is produced with an organic sound that keeps it from feeling too dated.
The album's other decent track is the R&B churner "I
Don't Wanna Know" which has a strong, punchy lyric and memorable
groove. But surrounding these two songs are truly wretched
compositions, with horribly contrived lyrics, stilted melodies and some
insipid instrumentation, (most appallingly on the infamous "Viggie"
which has teeth-grinding flutes piping up like Woody Woodpecker on
Prozac - where's my rifle?) Listeners are alternately
battered by simpering love lyrics and Maharishi-style platitudes, and
we all know how fun those things are in rock music, huh?
We're
also treated to "Brian's Back" straight from the 15 Big Ones
promotional push,
and an early version of "Sumahama". The album closes with a
good
track - "Daybreak" which is a pleasant-enough ballad, not too far from
Bruce Johnston territory. Country Love
is much worse - a epic disastrous attempt by Mike to tap into the
country music market, but if some poor record company had been foolish
enough to release it to the market, there probably would've been a
lynching. It's tough enough for me to listen to Mike's nasal
whining in a regular pop song, but when it's shotgun-wed to a contrived
countrified slang accent and slide guitars, I start praying to be
scalped below the ears. And if you ever find yourself
confronted
by lurching story-songs like "Beth on the Mesa" or "Rock 'n' Roll
Country Bride" or (God forbid) "Wrinkles", just grin and remember that
this is the same man who railed against the sublime Pet Sounds
and Smile.
Almost Summer: Music from the Original Motion
Picture Score MCA Records 3037 [LP]; Released May 8, 1978
1. Almost Summer
(Wilson/Love/Jardine) featuring Mike Love
2. Sad Sad Summer (Love) featuring Mike Love
3. Cruisin’ (Love) featuring Mike Love
4. Lookin’ Good (Altbach)
5. Summer In The City (Sebastian/Boone) featuring Dave Robinson
6. It’s OK (Wilson/Love) featuring Dave Robinson
7. Football (Lloyd/Altbach)
8. Island Girl (Lloyd)
9. Christine & Bobby (Altbach)
10. We Are The Future (Laws/Holiday/Bolton/Womack) performed by High
Inergy
11. She Was A Lady (Pratt) performed by Fresh
REVIEW:
During the late 1970s, Mike Love began to take on projects
outside of The Beach Boys organization. One of the major
side-trips was with Celebration, a band which featured many of the
players who would figure as part of the Beach Boys band for decades to
come. Although this film (and its soundtrack) have faded into
oblivion, it's interesting to hear how, even away from The Beach Boys,
Mike Love would take their sound along with him: "Almost Summer" is of
particular interest, since it's a collaboration between Brian, Mike and
Al, and sounds akin to "Some Of Your Love," with the opening tag stolen
directly from that song. But it's the second track which is
really eye-opening. Mike has long stated that he's the
"optimism" half of the Beach Boys, while Brian is the "melancholy" but
on "Sad Sad Summer" Mike has written as melancholy a lyric and melody
as Brian ever did. It's a pretty melody as well, if
repetitive, and to my ears, it's probably the best solo song Mike has
ever composed. The third song, "Cruisin'" also written by
Mike, is fast, furious, and forgettably stereotypical car song, not
bad, but by 1978, this type of song was so out of date that to have
Mike still writing and singing about it is almost comical.
The rest of the album features only a couple of further
tracks of interest: "It's OK" performed by Dave Robinson, who does a
decent job with the then-recent Beach Boys song, and "Summer In The
City" which is a very decent John Sebastian-penned track full of melody
and drive. The rest of the album is forgettable instrumentals
and a couple of 1970s-era songs which have not worn well.
Celebration: Celebration Pacific
Arts Records PAC7-122 [LP]; Released February 21, 1979
1. Getting’ Hungry
(Wilson/Love) featuring Mike Love
2. Sailor (Robinson/Altbach) featuring Dave Robinson
3. Lovestruck (Tuleja/Altbach) featuring Dave Robinson
4. She’s Just Out To Get You (Love) featuring Mike Love
5. I Don’t Wanna Know (Love) featuring Dave Robinson
6. Starbaby (Love) featuring Paul Fauerso
7. Go And Get That Girl (Tuleja/Altbach) featuring Dave Robinson
8. How’s About A Little Bit (Wilson/Rovell/Love/Altbach)
featuring Mike Love
9. Song Of Creation (Robinson/Altbach) featuring Dave Robinson
10. Country Pie (Tuleja/Altbach) featuring Dave Robinson
REVIEW:
The
first album proper by Mike's "other" band, Celebration featured a core
group: Mike Love (vocals), Dave Robinson (vocals, bass), Ron Altbach
(keyboards), Charles Lloyd (saxophone), and Paul Fauerso (vocals,
keyboards), along with other supplementary session players and
vocalists. The album alternates between Mike's and Ron
Altbach's
songwriting efforts, and despite the album having a dated feel to it,
the songwriting and singing are generally very strong. It's
interesting to hear how Mike seems to be re-energized by being in a
fresh setting, with other songwriters and singers to bounce ideas off
of - each of the songs he's written here is strong, with special
mention given to "She's Out To Get You" - a strong entry in a strong
album. And even more surprisingly, Mike doesn't take the lead
vocal on all of his own songs - Dave Robinson gives a very bluesy
reading of the slinky "I Don't Wanna Know" which shows a remarkable
sophistication in Mike's songwriting - it's easily one of the
catchiest, wisest songs he's written. And on "Starbaby" Paul
Faureso" brings a smoky ambiance to the somewhat simplistic lyrics, but
again, the song sounds miles above other solo tracks Mike has penned.
And that's not all that's good here: the simple, melodic "Go
And
Get That Girl" is classic 70s pop, and for Beach Boys fans, there's the
rare "How's About A Little Bit" which shows Brian Wilson is classic
"Shortenin' Bread" mode. And Mike sounds absolutely great on
the
final track, "Country Pie". This is all in all an impressive
album - in fact, I'm going to go out on a limb here, and say that Mike
Love has never sounded better as a songwriter and singer than here,
away from The Beach Boys, with talented, sympathetic friends who appear
to have brought out his very best. A real eye-opener for
those
(myself included) who've cast a skeptical eye on Mike's later efforts.
Celebration: Disco Celebration ADC Records LS-4052
[LP]; Released 1979
1. Disco Symphony (Love/Altbach)
featuring Suzanne Wallach 2.
You Can Count On Me (Love/Altbach) featuring Paul Fauerso 3.
California Girls (Wilson/Love) 4.
Party Girl (Love/Altbach) featuring Suzanne Wallach 5.
First Love (Fauerso) featuring Paul Fauerso
REVIEW: Love the cover. The
Beach Boys may have never made a bigger mis-step in the eyes of their
fans than their one and only foray into disco music, on 1979's L.A. (Light Album).
But this was the era of mirror-balls and polyester suits, and
after their successful, organic debut, apparently Mike Love &
Celebration decided that here was a market that was crying out for
their particular blend of California-lite pop. As a kitsch
item, Disco
Celebration
is priceless - Mike Love and Ron Altbach write a magnum opus
discotheque anthem in the opening "Disco Symphony" and is sung with all
the breathless passion that Suzanne Wallach can muster. Paul
Faureso does the same with the similarly vapid "You Can Count On Me" -
the production is actually very good, the songs are strong, the
melodies are memorable, and the singing is top-notch, but with
everything slathered with the heavy dance beats and Fame-like
choruses, it's hard to judge the songs on their own merits.
The
sticker for most Beach Boys fans, and a rallying cry against Mike
Love's judgment, is the disco-fying of a classic "Beach Boys" track:
"California Girls" which here is transformed into something from, oh,
say, Xanadu.
It's a surreal listening experience like no other, and for
the
duration of the song, my mouth was hanging open like the proverbial slack-jawed
yokel.
Oddly, Mike Love doesn't sing lead on the track - it's mostly
a
hot-and-heavy saxophone solo on the lead melody, with ultra-lounge
wah-wah vocals in the background. Following this debacle,
Mike
and Ron write the bump-and-grind "Party Girl" which is as voyeuristic
and sexist as "Hey Little Tomboy" ever aspired to be. The
album
closes with the thankfully disco-free re-recording of Paul
Fauerso's "First Love" which sounds much better here than on Mike's own
version from his aborted solo album. Recommended to all those
out
there with a disco/Beach Boys fetish (you know who you are!)
Mike Love of The Beach Boys: Catch A Wave M.E.L.E. Co 101
[CD]; Released 1996
1. Catch A Wave
2. Do It Again
3. I Get Around
4. California Girls
5. Fun Fun Fun
6. Surfin’ Safari
7. Hawaii
8. Surfin’ USA
9. Surfer Girl
All tracks
produced, engineered, arranged by Adrian
Baker
REVIEW:
In
2007, Mike Love sued Brian Wilson (and lost) for doing what he himself
had done three times before - re-recording old Beach Boys hits and
releasing them as promotion items in the United States and Canada.
These recordings, which were pretty much Adrian Baker's baby
with
Mike Love and Bruce Johnston providing lead and some backing vocals,
were almost note-for-note recreations of the original Beach Boys hits,
and were slick, professional work. The most well-known of
these
tracks appeared on the NASCAR
CD, but this CD appeared first. It's unknown whether this
album
ever achieved legitimate release to the public, but it was available
for a short time through Adrian Baker's website. There's not
much
else I can say about these recordings - they're colder, more
synthesized than the originals, but the tempos, arrangments, and vocals
are all spot on - Mike Love's voice is of course more nasal than the
original recordings with The Beach Boys, but these are fine
reproductions - it's like hearing one of the many rip-off Beach Boys
products out there, but with an eerily familiar-sounding lead vocalist
in place of the usual anonymous schlep artist. I'm not
certain
whether this surfeit of songs was recorded with the intention of
selling them to the highest corporate bidder, but that's what happened,
and hey, that's what makes America great,isn't it?
(Well, that - and being able to sue your family over it.)
Summertime
Cruisin' - The Unforgettable Favorites of Mike Love and Bruce Johnston
of The Beach Boys Capitol
Records/Emi Music Canada [CD]; Released 2001
1. Catch A Wave
2. Do It Again
3. I Get Around
4. California Girls
5. Surfin’ Safari
6. Surfin’ USA
7. Surfer Girl
8. Little Deuce Coupe
9. Little Ol’ Lady
10. Shut Down
11. Don’t Worry Baby
12. Kokomo
13. Good Vibrations
14. Summertime Music (musicians unknown, but probably
performed by Adrian Baker) 1991
15. Camp California (musicians unknown, but probably
performed by Adrian Baker) 1991
All tracks
produced, engineered, arranged by Adrian
Baker
REVIEW: Mmmm...
is it just me, or does the subtitle to this album contain the
undeniable stench of "Golden Oldies?" The third CD to surface
from the Adrian Baker sessions appeared at Chrysler/Dodge Dealers
throughout Canada, and simply pulls the majority of its tracks off of
the previous two collections, and adds four new tracks: "Kokomo" (oh
good, another
version), "Good
Vibrations" (in a sterile, lifeless rendition); and two originals by
Mike Love from 1991: "Summertime Music" which features Mike Love on
lead vocals and an annoying Jamaican rhythm section trying to cover
Baker's similarly annoying shrill falsettos, and finally the "Fun, Fun,
Fun" rip-off "Camp California" which is so cheery and chipper that I'm
fully expecting my hypoglycemia to kick in after one listen.
Adrian Baker undoubtedly is a talented arranger, and probably
the
most canny mimic of Brian's harmonic acrobatics that I've heard, but
his production style is so clean, so controlled and so processed, that
it makes every song here sound like it was stamped out on a production
line. I can understand why Mike Love found him an ideal
partner
for these productions; in the absense of Brian Wilson, Adrian is an
excellent copyist - but after too many of these chilly echoes, I have a
strong hankering for hearing the real
Beach Boys. Mike Love
Not War (AKA Unleash the Love) Unreleased
Album [CD]; Produced by Paul Faureso c.2005
1.
Unleash The Love (Love)
2. Cool Head, Warm Heart (Love)
3. Anything For You (Love)
4. i) Happy Birthday (Thank You)
(Lennon/McCartney)
ii) Pisces Brother (Love)
5. Everyone’s In Love With You (Love)
6. 10,000 Years (Love)
7. Glow Crescent Glow (Love)
8. Too Cruel (Love) featuring Christian Love
9. Brian’s Back (Love)
10. I Don’t Wanna Know (Love) featuring Christian Love
11. Love Foundation (Love)
12. Daybreak (Love)
13. Only One World (Love)
REVIEW: While
Mike Love has had more unreleased material stay in the vaults than any
other Beach Boy, it's fair to say also that a great preponderance of
this material deserves to stay unreleased. That being said,
this
album, which has been making the rounds in Beach Boys' collector's
circles, is undoubtedly the most polished, most accessible solo album
Mike has recorded - and while it still has its faults (mostly in its
forced, preachy lyrics) the arrangements (vocal arrangements by Mike
and Adrian Baker) are extremely good, and in fact make all the songs
sound much better than they might otherwise. Many of the
tracks
have been reworked from earlier projects, but here all shine much
brighter than in their original incarnations: "Too Cruel" in particular
sounds reborn with a charismatic vocal by Mike's son,
Christian,
and although I might question Mike decision to re-record the vapid
"Brian's Back" which firmly belongs in the 1970s where it was written,
here it sounds more wistful, and less crass, than it has in earlier
recordings. Other songs that surprised me was the strong
"10,000
Years" (which is rumored to be an off-shoot of a collaboration with
Dennis Wilson), and the gently lilting "Anything For You".
And
the thrice-recorded "I Don't Wanna Know" again benefits from Christian
Love's bluesy vocal, showing off the song as being one of Mike's very
strongest compositions. In fact so many of the songs here are
retreads, that it begs the question of whether Mike is suffering a
writer's block, such as his cousin Brian has also professed in recent
interviews. Of the new songs appearing, the lead-off track
shows
off Mike's lyrics to their worst effect (and does he have
to make a play off his name on so many of his albums?) But
that
same affection shows up on "Love Foundation" which is saved by the
blow-your-socks-off gospel choir that joins in, while "Daybreak" is
again a stronger incarnation than what appeared on First Love
- the song is blessed with sweet harmonies which lift it up.
Mike
closes the album with another spiritual incantation in "Only One
World", which again puts Mike in the awkward position of calling for
world unity, which, considering his litigious nature, isn't exactly a
position he's suited for. But overall, this album sounds
great,
and stands tall as Mike's far-and-away best solo album. Bruce
Johnston The Bruce Johnston Surfing Band: Surfers' Pajama
Party The Surf
Stompers' ORIGINAL SURFER STOMP DEL-FI LP 1248 [LP] Released 1963;
Del-Fi Records DFCD 71228 [CD]; Released April 25, 1995
1.
Ramrod
2. Last Night
3. Surfer Stomp
4. What'd I Say?
5. What'd I Say?
6. Something On Your Mind
7. Pajama Party (Surfer's Delight)
8. Kansas City
9. Mashin' The Popeye
10. Gee But I'm Lonesome
11. Green Onions
12. Soupy Shuffle Stomp
13. Soupy Shuffle Stomp
REVIEW: Recorded
live at a Sigma Pi fraternity beer bash at UCLA in 1963, this time
capsule document is little more than a college-age surf band playing at
a college function. Muddy sounding, (I've heard bootlegs with
cleaner sound) consisting of several surf-instrumentals, and various
songs with Johnston taking lead vocals, this CD isn't going to set
anyone's discman on fire, but it has a throwback charm that is
reminiscent of the Beach Boys' earliest work. My personal
favorite is the sad, pretty "Gee, But I'm Lonesome" which reveals
Johnston's penchant for sweet ballads already forming. After
this recording, Bruce produced some artists at Del-Fi, before leaving
to form The Rip Chords with Terry Melcher, and of course, link up with
the Beach Boys in later years.
Surfin' 'Round The World Columbia CS-8857, CL-2025 [LP]; 1963, Sundazed
6100 [CD]; 1997
1.
Surfin' 'Round The World
2. Maksha At Midnight
3. Down Under
4. Capetown
5. Biarritz
6. Jersey Channel Islands - Part 7
7. The Hamptons
8. Virginia Beach
9. Surf-A-Nova
10. Hot Pastrami, Mashed Potatoes, Come On To Rincon - Yeah!!!
11. Malibu
12. Surfin's Here To Stay
13. Down Under (Unissued Instrumental)
14. The Hamptons (Unissued Instrumental)
15. Surfin' 'Round The World (Unissued Alternate Version)
REVIEW: Released
two years before joining the Beach Boys, Surfin' 'Round the
World finds Bruce Johnston in a generic "surf" mode, with
loads of reverb-drenched instrumentals and some innocuous songs thrown
in for good measure. You won't find much evidence of his
trademark ultra-melodic style on this disc, which you may consider a
plus, but while this may be a fun disc to throw on as background music
for a beach party, the songs don't stand up to careful
listening. The title track sounds like a poor man's "Surfin'
U.S.A." redux, with catch-all lyrics like: "if you were near an ocean,
you'd be surfin' too" and complete with hot-and-bothered female singers
sweating in the background. The entire album has the same
flavor; check out the titles: "Jersey Channel Islands-Part 7,"
"Surf-A-Nova," and my favorite: "Hot Pastrami, Mashed Potatoes, Come On
To Rincon-Yeah!!!" Bruce Johnston also doesn't miss the
chance to plug his prep-school roots in "The Hamptons."
Sundazed has done a marvelous job of mastering; the sound is great, and
three bonus tracks have been added to the original song
lineup. The album is high-energy stuff, and this may appeal
to surf-music collectors, but not, I suspect, to many Beach Boys fans.
The Best of Bruce & Terry Sundazed SC 11052 [CD Only]; Released August, 1998
1.
Hawaii (Previously Unissued)
2. Summer Means Fun
3. Come On, Let's Go (The Rogues)
4. Carmen
5. Don't Run Away
6. Custom Machine
7. I Love You Model 'T'
8. Raining In My Heart
9. Everyday (The Rogues)
10. Roger's Reef (The Rogues)
11. Yeah!
12. Thank You Baby
13. Girl, It's Alright Now
14. Roger's Reef, Part Two (The Rogues)
15. Halfway (Previously Unissued)
16. Come Love
17. Four Strong Winds
18. Help Me Rhonda (Previously Unissued)
19. Look Who's Laughing Now (Previously Unissued)
20. Here Comes Summer (Previously Unissued)
REVIEW:An excellent disc, covering material from 1963 -
1966, this compilation by Sundazed is chock-full of several
very fine (if lightweight) 'forgotten' gems that cross the surfing and
folk genres that were so popular in the early and
mid-sixties. Occasionally sounding like Jan and Dean
knockoffs, more surprising is the sometimes canny resemblance to the
Everly Brothers or the Byrds when these two blend their voices in
sympathetic harmonies. Of special interest to Beach Boys collectors is
the inclusion of three covers of Brian Wilson compositions: "Hawaii,"
"Help Me Rhonda" (both previously unreleased), and "Custom Machine,"
heard in stripped-down productions that compare favorably with the
Beach Boys versions. Also on my list of favorites: the hit
single "Summer Means Fun," a super-charged "Come On, Let's Go," an
early incarnation of "Everyday" (later remade by James Taylor), lush
ballads like "Don't Run Away," "Raining In My Heart," and the lovely
"Thank You Baby." There are many more tracks that I liked as well,
including "Halfway," "Come Love," and "Four Strong Winds."
Complimented by a thoughtful booklet which contains new interviews,
several photos and informative "sides," this CD is a first-rate
document of these two talented old friends.
Going Public Columbia
KC-34459 [LP]; Edsel Records EDCD 697 [CD] Released 1977
1.
I Write the Songs
2. Deidre
3. Thank You Baby
4. Rendezvous
5. Won't Somebody Dance with Me
6. Disney Girls
7. Rock and Roll Survivor
8. Don't Be Scared
9. Pipeline
REVIEW: From my first
listen, I'd have to say that this
album is a hate it/love it kind of experience. Bruce proves to the
world what Beach Boys fans have known from the get-go: namely, he
hasn't a rock 'n' roll bone in his body. Filled with electric keyboards
and string arrangements, Bruce's most obvious influences are Neil
Sedaka, (especially on the catchy track "Rendezvous") and stylistically
he's very similar to the Carpenters. Personally, I've always enjoyed
his Beach Boys songs; from "Disney Girls" to "Deirdre" to "The Nearest
Faraway Place," Bruce has managed to create lovely (some would say
'bland') melodies that were nice counterpoints to Dennis's rock
stylings and Carl's R&B leanings. Also, Bruce has a fine tenor
voice that's perfectly suited to his songs. This album makes some
mis-steps, however; "Won't Somebody Dance With Me" is sheer torture in
it's saccharine sweetness, and did we really need a slower, more
introspective take on "Disney Girls?" (I'm still deciding how I feel
about the disco-fied "Deirdre"). And you can't help thinking while
listening to "Rock and Roll Survivor" that REAL rock groups used to
beat up guys like Bruce in high school. All in all, this is a perfect
Sunday afternoon album, just don't expect to be shaked, rattled, or
rolled.
Gone Public: The Bruce Johnston Story Landlocked
Productions, [CD]; Released 2005
FEATURES:
Two-CD
set covering Bruce Johnston's career - from "Bruce & Jerry"
from 1959 to 1998
Numerous
rarities, including outtakes, television performances, and more.
Includes
outtakes from Bruce's work with various groups, including The Vettes,
The Rip Chords, The Kustom Kings, The Catalinas, and many more!
REVIEW: Of
all of the Beach Boys, Bruce Johnston has perhaps been the most
under-appreciated. He seemingly dumped his own career - that
of a
successful producer/songwriter in order to jump on the Beach Boys
bandwagon, and for better or worse, he's been identified with them ever
since. And it's been difficult to chart his progress as a
songwriter as well, since his contributions to the Beach Boys has been
sporadic, with only a couple of songs showing up every few years, and
the songs that have appeared have discarded the surf/rock learnings
that he was best known for in his pre-Beach Boys days. So its
here, on this remarkable dual-CD that was passed around in circulating
circles around 2004-05 that I'm finally able to get an idea of the
musical journey that Bruce Johnston has been on, and the different hats
he's worn over the course of his nearly 50-year-long career.
The
earliest tracks here, which date from 1959, are mostly novelty songs
penned for the "Bruce & Jerry" duo - fairly innocuous stuff,
with
tracks appearing from Surfer's Pajama Party
(including an odd take on George Gerswhin's Porgy & Bess
song "Summertime" - the first hint that this was not your average
public school lad. The Bruce Johnston that most Beach Boys
fans
will be familiar with shows up first on the cocktail-party clinker
"Mazatlan" before really taking off with a very credible cover of
"Surfin' Safari" by the anonymous group The Hot Doggers.
You
can almost hear the change which The Beach Boys music created in
Johnston, as the music becomes more sophisticated, and more attuned to
surf and drag music. This begins Johnston's golden age, when
he
began to sing and produce The Rip Chords, The Vettes, and begins his
fruitful collaboration with Terry Melchner; an association he continued
right up to his aligning himself with The Beach Boys in 1965-66.
Disc two show just how much his sound changed after he joined
the
Beach Boys - it became more elegant, more ballad-oriented, and to some
ears, less interesting - he dropped his rock stylings and turned into
the second coming of Neil Sedaka. Why he made this change is
somewhat baffling - it's a dramatic and seemingly sudden turn-about,
but this CD (which Bruce himself reportedly owns a copy of) is
invaluable in hearing the evolution of the sixth Beach Boy.
Al
Jardine Al
Jardine Family & Friends Live In Las
Vegas Al Jardine
Family & Friends HV100 [CD Only]; Released October 2001
1.
Dance, Dance, Dance
2. Do You Wanna Dance
3. Catch a Wave
4. Hawaii
5. Do It Again
6. Darlin'
7. Wild Honey
8. Come Go With Me
9. Surfer Girl
10. Don't Worry, Baby
11. Shut Down
12. Little Deuce Coupe
13. I Get Around
14. In My Room
15. Girl, Don't Tell Me
16. Break Away
17. Sail on Sailor
18. God Only Knows
19. Sloop John B.
20. Wouldn't It Be Nice?
21. Good Vibrations
22. Heroes and Villains
23. Rhonda
24. Surfin' USA
25. Barbara Ann
26. Fun, Fun, Fun
27. California Energy Blues [*]
[*] bonus track
REVIEW: For anyone
who's been living in
a cave, you should know that Al Jardine is no longer a touring member
of "The Beach Boys." Kicked out during a power struggle
following the death of Carl Wilson, and stripped of the right to use
the Beach Boys name, he formed a touring band consisting of his two
sons Matt and Adam, and Brian Wilson's first two daughters, Wendy and
Carnie. Together they toured as "Al Jardine Family &
Friends," and judging by this 75+ minute disc, they put together a
credible act, easily as powerful and polished as any other permutation
of the now-splintered Beach Boys out there. Full of energy,
craftsmanship and their own sense of style, the group tears out
faithful renditions of classic songs, with a few surprises, including
"Do It Again," "Darlin," "Wild Honey," and "Sail On Sailor."
While there's not the sense of revelation that comes with hearing Brian
perform live, Al Jardine as a solo act is no slouch. Looser than
Brian's "Live at the Roxy," and with all involved sounding invigorated,
this is a celebratory concert. The harmonies are gorgeous,
with some acapella breaks showing off their vocal chops (including a
new tag at the end of "Surfer Girl" which is stunning), and overall
bursting with a sustained sense of fun. The disc closes with
a new studio song by Al Jardine called "California Energy Blues" which
is a novelty number dealing with the current energy crises in the
Golden State and rates about the same as any of Jardine's earlier
compositions. With two of the three touring Beach Boys groups
now documented, I would hope that Mike Love and Bruce Johnston soon
follow suit.
A Postcard From California Jardine Tours
[CD/MP3];
Released June 29, 2010
1. A Postcard
From California 4:59
2. California Feelin' 2:03
3. Looking Down The Coast 3:46
4. Don't Fight The Sea 3:23
5. Tide Pool Interlude 1:38
6. Campfire Scene 0:44
7. A California Saga 2:52
8. Help Me Rhonda 3:47
9. San Simeon 2:48
10. Drivin' 3:12
11. Honkin' Down The Highway 2:34
12. And I Always Will 4:19
REVIEW:
It's
hard to know how to judge an Al Jardine album, since he, as an artist,
has been so invisible for most of his life. His unassuming
demeanor made him the least 'notorious' of The Beach Boys; and since
his very public split with, and acrimonious lawsuit with Mike Love over
control of The Beach Boys name, Al has seemed content to let his music
career putter along, doing the odd concert here and there, and working
with glacial speed on this, his first ever studio solo album.
Despite his subdued nature, his gentle spirit has apparently
made
him lots of friends, and appearances from a multitude of these kindred
spirits show up here. You'll hear glimpses of David Crosby,
Stephen Stills, Neil Young, Gerry Buckley, Mike Love, Bruce Johnston,
David Marks Glen Campbell, ...and even Carl Wilson's sweet voice is
heard in ghostly harmonies. Brian Wilson makes extended solo
appearances on two of the albums finest tracks: "Don't Fight The Sea"
and "Drivin'" - the former a slinky 80s-style pop song, and the latter
a twelve-bar blues churner, both of which show Al's compositional
skills at their very best. Which is unfortunately not to say
that
those numbers are typical; Al has never been a prolific
or inspired composer, and it's a little discouraging to note
that
four of the twelve tracks here are re-recordings of old Beach Boys
songs, which all bear some small stylistic changes, but hew pretty
closely to their original arrangements (and it doesn't help
that
two of the songs are the pretentious "A California Saga" and the clunky
"Lookin' Down The Coast"). The title track is a lyrically
clumsy
ode to his home state, name-dropping various locals and tied to a bland
melody, and I found the pale "San Simeon" and "California Feelin'" both
forgettable. There's also an awkward spoken poem in "Tide Pool
Interlude" which is married to a pleasant piano backdrop.
Al's
voice hasn't aged well either, and the closely mic'ed, dry vocals
occasionally reveal just how much elasticity Al's voice has lost.
The prettiest song on the album, the closing "And I Always
Will"
is a lovely paean to his wife, and it achingly looks backwards with
some regrets, but is a fitting, elegiac benediction. This
isn't
an album that's going to win Al any new fans, but those who've enjoyed
his intermittent contributions over the years will enjoy this as well.
