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Editorial Reviews
2012 studio album from the reunited California Pop outfit led by Brian Wilson, their first new studio material in over two decades. Celebrating their 50th Anniversary, all surviving members came together to record this new album and embark on a world tour. Features Brian Wilson, Mike Love, Al Jardine, Bruce Johnston and David Marks.
Customer Reviews
Most Helpful Customer Reviews
328 of 345 people found the following review helpful
Format:Audio CD
I was surprised (and relieved) to spend 39 minutes with an album that is, at this point in time, a fitting addition (and maybe the final chapter, who knows) to the legacy of the "real" Beach Boys.
In June 1985, Al Jardine, Bruce Johnston, Mike Love, Brian Wilson, and Carl Wilson (Dennis had died in December 1983) released what could arguably be considered the final "Beach Boys" album, Beach Boys. It was produced by Steve "Culture Club" Levine, and had a cold, brittle, impersonal feel. It had a long list of guest musicians, including the late guitar legend Gary Moore, Stevie Wonder, Ringo Starr...but it still felt cold. A video for "Getcha Back" received some heavy play on MTV, but it was clear that the "Brian Is Back" era was drawing to a close.
The album "Still Cruisin'" came in 1989 and yielded the hit "Kokomo," which some Beach Boys fans like and others don't. Brian tossed in one song for the album, but was otherwise involved, and the track listing was padded out with "I Get Around," "Wouldn't It Be Nice," and "California Girls."
In 1992, the album "Summer In Paradise" was released.It sold 10,000 copies. The cadinal sin on this album was a John Stamos re-recording of the Dennis Wilson classic "Forever" from the album "Sunflower." WHY, guys...WHY? It also featured a weak-kneed, wretched, pointless cover of Sly Stone's "Hot Fun In The Summertime." Carl, Mike, Al and Bruce were smothered in a sea of FOURTEEN additional musicians, including Terry Melcher and Roger McGuinn.
From that point forward, Carl passed away in February 1998...pretty much taking the heart of the band with him. Brian had the songs, Carl provided the heart, the true mojo of the band at its best. Brian made steady gains with his solo career, especially with 1998's Imagination, an album every bit as good as any "classic" Beach Boys album. Mike Love and Bruce Johnston went in one direction with a lineup of touring musicians under the "Beach Boys" brand, as did Al Jardine, resulting in lawsuits and acrimony spread across the years that followed.
So here we are in 2012, a Beach Boys reunion with one out of three Wilson brothers and the return of an original member, David Marks, who left well before the band got "deep."
Producer Joe Thomas takes a co-writing credit on all of the songs but one, "Daybreak Over the Ocean," and it's the only song to carry a sole writing credit from Mike Love. Brian had a hand in writing all of the remaining tracks. The final track, "Summer's Gone," includes a songwriting contribution from Jon Bon Jovi.
As others have pointed out, it was a wise decision to tilt the balance of this album toward Brian and not handing the keys to the car to Mike Love. While there are some "up" tunes on the album, the overall feel is bittersweet...a sun-kissed beach approaching twilight. You can see the scars and feel the age, but it is unquestionably "The Beach Boys." The album is somewhat like "Pet Sounds" without making such a major statement about alienation, love, and finding a place in the world (or not). At this point, the band has nothing to prove. This project was about getting together to "be the Beach Boys" one more time, and given the obstacles described above, they did an admirable job. I can't imagine a Beach Boys fan being disappointed on any level other than uncontrollable circumstances (the loss of Carl and Dennis).
Are we looking at the "Surf's Up" album cover come to life...the last ride? Who knows. The critical reception to this album has been strong and the reunited band has been welcomed with open arms. As long as they have their voices and as long as Brian maintains a skill and passion for the craft of songwriting, this doesn't have to be the end. But if it is, I can assure you that it's the end many Beach Boys fans thought they would never see...warm, elegant, an affirmation that despite a number of career-spanning missteps, The Beach Boys were...and are...the stuff of legend. Just buy it.
In June 1985, Al Jardine, Bruce Johnston, Mike Love, Brian Wilson, and Carl Wilson (Dennis had died in December 1983) released what could arguably be considered the final "Beach Boys" album, Beach Boys. It was produced by Steve "Culture Club" Levine, and had a cold, brittle, impersonal feel. It had a long list of guest musicians, including the late guitar legend Gary Moore, Stevie Wonder, Ringo Starr...but it still felt cold. A video for "Getcha Back" received some heavy play on MTV, but it was clear that the "Brian Is Back" era was drawing to a close.
The album "Still Cruisin'" came in 1989 and yielded the hit "Kokomo," which some Beach Boys fans like and others don't. Brian tossed in one song for the album, but was otherwise involved, and the track listing was padded out with "I Get Around," "Wouldn't It Be Nice," and "California Girls."
In 1992, the album "Summer In Paradise" was released.It sold 10,000 copies. The cadinal sin on this album was a John Stamos re-recording of the Dennis Wilson classic "Forever" from the album "Sunflower." WHY, guys...WHY? It also featured a weak-kneed, wretched, pointless cover of Sly Stone's "Hot Fun In The Summertime." Carl, Mike, Al and Bruce were smothered in a sea of FOURTEEN additional musicians, including Terry Melcher and Roger McGuinn.
From that point forward, Carl passed away in February 1998...pretty much taking the heart of the band with him. Brian had the songs, Carl provided the heart, the true mojo of the band at its best. Brian made steady gains with his solo career, especially with 1998's Imagination, an album every bit as good as any "classic" Beach Boys album. Mike Love and Bruce Johnston went in one direction with a lineup of touring musicians under the "Beach Boys" brand, as did Al Jardine, resulting in lawsuits and acrimony spread across the years that followed.
So here we are in 2012, a Beach Boys reunion with one out of three Wilson brothers and the return of an original member, David Marks, who left well before the band got "deep."
Producer Joe Thomas takes a co-writing credit on all of the songs but one, "Daybreak Over the Ocean," and it's the only song to carry a sole writing credit from Mike Love. Brian had a hand in writing all of the remaining tracks. The final track, "Summer's Gone," includes a songwriting contribution from Jon Bon Jovi.
As others have pointed out, it was a wise decision to tilt the balance of this album toward Brian and not handing the keys to the car to Mike Love. While there are some "up" tunes on the album, the overall feel is bittersweet...a sun-kissed beach approaching twilight. You can see the scars and feel the age, but it is unquestionably "The Beach Boys." The album is somewhat like "Pet Sounds" without making such a major statement about alienation, love, and finding a place in the world (or not). At this point, the band has nothing to prove. This project was about getting together to "be the Beach Boys" one more time, and given the obstacles described above, they did an admirable job. I can't imagine a Beach Boys fan being disappointed on any level other than uncontrollable circumstances (the loss of Carl and Dennis).
Are we looking at the "Surf's Up" album cover come to life...the last ride? Who knows. The critical reception to this album has been strong and the reunited band has been welcomed with open arms. As long as they have their voices and as long as Brian maintains a skill and passion for the craft of songwriting, this doesn't have to be the end. But if it is, I can assure you that it's the end many Beach Boys fans thought they would never see...warm, elegant, an affirmation that despite a number of career-spanning missteps, The Beach Boys were...and are...the stuff of legend. Just buy it.
92 of 99 people found the following review helpful
By Bodhi Heeren
Format:Audio CD
People who tend to think that come-backs and reunions are only made for commercial reasons must be people who don't know about the deep bonding that happpens when people play music together. Ok, it is not always the magic can be re-created, but in most cases something surprisingly worthwhile comes out of the effort.
That is definitely the case with this 50 years reunion album from one of the greatest bands ever. Uniting the three surviving original members Brian Wilson, Al Jardine and Mike Love with 2 musicians who has an imporatant place in the history of the band. Mainstay Bruce Johnstone and the more obscure surf guitarist David Marks who joined the band at only 13 and played on the first 4 albums.
Not surprisingly Brian Wilson is the driving force here, many of the tracks based on demos of songs he had made over the years - with Beach Boys in mind. Helped out by old time friend - and sometimes 'enemy, at least in the court rooms - Mike Love, multi-talent Jeff Foskett and co-producer Joe Thomas. And a host of first-rate studio-musicians, mostly from Brian's touring band but also guitar-legend Jeff 'Skunk' Baxter.
There are some beautiful gems here. The title track is certainly a bona fide hit song. Some more introspective songs like "From there to back again". Not a bad song, interesting arrangements, exemplary playing and on top it: the still present and vital vocal magic. And as always with music of this calliber an album that wins tremedously from repeated listenings
That is definitely the case with this 50 years reunion album from one of the greatest bands ever. Uniting the three surviving original members Brian Wilson, Al Jardine and Mike Love with 2 musicians who has an imporatant place in the history of the band. Mainstay Bruce Johnstone and the more obscure surf guitarist David Marks who joined the band at only 13 and played on the first 4 albums.
Not surprisingly Brian Wilson is the driving force here, many of the tracks based on demos of songs he had made over the years - with Beach Boys in mind. Helped out by old time friend - and sometimes 'enemy, at least in the court rooms - Mike Love, multi-talent Jeff Foskett and co-producer Joe Thomas. And a host of first-rate studio-musicians, mostly from Brian's touring band but also guitar-legend Jeff 'Skunk' Baxter.
There are some beautiful gems here. The title track is certainly a bona fide hit song. Some more introspective songs like "From there to back again". Not a bad song, interesting arrangements, exemplary playing and on top it: the still present and vital vocal magic. And as always with music of this calliber an album that wins tremedously from repeated listenings
40 of 41 people found the following review helpful
Format:Audio CD
As others have correctly stated, this isn't The Beach Boys Today, Pet Sounds, or Sunflower, nor should that have been expected. For one thing, Brian Wilson and the Beach Boys have over forty years more life under their belts than they did way back when. Are you the same person you were that many years ago, if you were even alive then? Yes, the album has some weaker moments, as do all albums. Even Today, Pet Sounds, and Sunflower had their lesser tracks. But even most of the "filler" on this album is much stronger than the weak links that were always a part of previous Beach Boys' (and everybody else's) albums. Part of Brian's charm is that he takes chances, which means you are going to have some misses, but when he hits, boy does he hit like nobody else.
And although it's far too early to reflect upon how this new music will last, it's possible that people will be enjoying it long into the future with the same passion they do when listening to the very best Beach Boys' albums of yesteryear. The more I listen to it, the more I like the songs that didn't immediately bowl me over, and constant replaying hasn't dimmed any of the pleasures of the songs I was initially blown away by.
One of my few quibbles is that I wish Brian, Al, and Bruce had played a few instruments here and there, but considering the results are so stunning as it is, it's barely worth mentioning, especially as studio musicians almost always figured into Brian's past glories. But listening to Al's singing on "From There To Back Again" makes me wish that he, Bruce, and Mike had been featured a little more prominently in some of the mixes. Although I have no quibbles with Brian taking the lead vocals on much of this album, if we should be lucky enough to get another album or two out of The Boys, I hope Al and the others are a little more in the forefront of some of the songs, provided their vocals can stand that spotlight. Because I heard almost nothing but good from them in this album.
While many people have pointed out that Brian is 70 and he doesn't sing like a 25-year-old anymore, have you actually listened to this record? He sounds like a 35-year-old to me, and a 35-year-old who can sing as beautifully as anyone. Yes, he slurs a few words here and there as he's done for a long time, but the tone and quality of his voice that set it apart from everyone else when he was barely a man is still present and immediately recognizable. Heck, Jeff Foskett and his clarion "Carl Wilson" voice are 56, meaning he's twice as old as the Beach Boys were when they were already somewhat past their prime. And as an aside, although David Marks doesn't sing, had he not been guitarist on this album, I don't think this "event" would have been quite as special. Given that Carl and Dennis are gone, I think David definitely needed to be a part of the reunion, and I'm extremely happy for him. I would love to know which guitar parts he played.
If you give this album the repeated attention it deserves, you will hear some incredibly catchy music and arrangement/production touches that could only have come from Brian and those he's influenced. No, not every song has that Brian Wilson production stamp on it that one might like, but enough of them do, and the consistency of professionalism that begins from track 1 and ends with track 12 is obvious on first listen. And I don't think people should really obsess about how much the performances might or might not have been tweaked or enhanced in the studio, as studio magic was always one of the hallmarks of Brian's work. It's the "record" that matters -- the final recording that Brian was always concerned with. And from that standpoint alone, this album is classic Beach Boys all the way.
My favorite part of the opening piano-and-voice dominated song, "Think About The Days," is the French horn right at the very end. This is the type of attention to detail that helps make this album so rewarding.
While initially one of my least favorite songs, the title hit single "That's Why God Made The Radio" gets better with each listen, as you get more comfortable with Brian's chord and tempo changes, as well as subtle alterations in the repeats of the vocal parts. Comparing a song like this to "Getcha Back" -- a similar-themed and similar-sounding piece -- reveals how much more musical this recording is despite any flaws in lyrics or musical conception (one being a rather obvious modulation on the second "a whole new generation" that is so atypical of the usually unpredictable Mr. Wilson). However, the song ends on a high note with another of Brian's amazing vocal tags, the type he has written again and again throughout the years while always offering something different.
"Isn't It Time" and "Spring Vacation" are basically sunshiney fluff, with typically-forgettable lyrics that hearken back to the earlier years. But are they beautifully written and performed? You betcha. Mike, Al, and Bruce sound great, the harmonies are both exquisite and brilliantly arranged. The first song has a bridge as good as the chorus (Jeff's beautiful "And as the Sun goes down"), and Brian's "Hall-e-lu-ooo-ooo-ooo-ya" in "Spring Vacation" is priceless.
So many people seem to want to pounce on "The Private Life of Bill and Sue," but I think it's an absolute classic, similar in musical spirit to the great "South American" from Brian's solo album Imagination. The lyrics aren't deep, but they aren't supposed to be. And we don't listen to sunshine pop for the lyrics anyway, which are perfect for the lightness of the song. Just listen to the music and enjoy. The chorus is as catchy as anything Brian's written, and reminds me in its own way of "California Girls." It's that good. Get over the subject matter and immerse yourself in the amazing vocal arrangement and incredible harmonies. The instrumentation is light and frothy, with the bridge being short, fun, and makes you want to revisit the song again and again. Production-wise, the baritone sax that provides the brassy propulsion throughout the song (especially at the end of the bridge) makes this a Wilson classic.
"Shelter" is not one of my favorites, but many people love it, and that's the strength of this album. If you ask enough people, every song has its devoted fans, with no dogs that everyone wants to pounce on, like "Let's Put Our Hearts Together" or "The TM Song." The chorus of "Shelter" is an inversion of "Darlin" ("Don't know if words can say..."), with Jeff Foskett supplying his Carl Wilson imitation perfectly. The other Beach Boys' voices are superb, with and while I feel this song pales compared to some of the others on this album, it would have been one of the best songs on any of the Beach Boys' albums from 1974 onward. Listen to it and marvel at the fact that no other group has sung like the Beach Boys or offered such amazing vocal arrangements in the history of rock and roll.
The weakest song is probably Mike's "Daybreak Over the Ocean," but it's much better than many of his tunes, and its biggest faults are that it's too long and that Brian wasn't allowed to produce it all the way through. If you remove about 1:30 of its over four-minute length, and if Brian could have produced the song from the bottom up, I think it could have been a mini-classic. It needed a choral bridge rather than the basic instrumental version it received, but even though it's one of the lesser lights on the album, there's very little in it that anyone should be embarrassed about, other than the fact that Mike seems to be off the beat throughout a lot of the song. The vocal fade is great, with more Carl Wilson sound-alike vocals. Compare this with "Brian's Back" or some of the other Mike Love offerings from the past, and this song is miles ahead of most of them.
"Beaches in Mind" needed some extra work, as it's too perfunctory for my ears. The material we're presented with is superbly produced, and the chorus is definitely melodic, but it just sounds unfinished structurally. The verse and "fun fun fun" bridge are not as memorable as what Brian usually composes, and you find yourself just waiting for the chorus to return, which is the best part. The keyboards are great, and little vocal touches help it stand up to repeated listenings, but I think Brian didn't flesh this one out as well as he could have.
"Strange World" captures everything that is brilliant about Brian Wilson and The Boys. While it seems to be a simple song, listen to the amazing key change from the piano opening to the first verse. It sounds wrong the first time you hear it, but right every time thereafter. The bass playing is terrific, with fun organ stops, and the arrangement of the vocals is astounding. The chorus is as catchy as anything Brian's ever written - as good as "I Get Around," "Fun, Fun, Fun," etc. The bridge ("Sunday morning") is a superb melody as memorable as anything on the album, with the gorgeous vocals after "pretty good company" being exquisite. The throwaway line about "Yo Te Amo" is priceless, and the lyrics are as solid as almost any past Beach Boys song. Driving strings that might remind one of "Cabinessence" help close out this amazing track.
Obviously, "From There to Back Again" is the acknowledged classic, from Al Jardine's flawless vocals to the incredible song structure that I still haven't completely figured out. The starts and stops and changes in mood are simply as good as anything from Pet Sounds, Smile, or Sunflower. The guitars and drums are straight out of 1966 while still sounding contemporary. Mike gets in some great vocal touches before Al's whistling, and the harmonies are memorable throughout. This song definitely belongs in the pantheon of truly great Wilson creations like "This Whole World," "Surf's Up," etc. Read more ›
And although it's far too early to reflect upon how this new music will last, it's possible that people will be enjoying it long into the future with the same passion they do when listening to the very best Beach Boys' albums of yesteryear. The more I listen to it, the more I like the songs that didn't immediately bowl me over, and constant replaying hasn't dimmed any of the pleasures of the songs I was initially blown away by.
One of my few quibbles is that I wish Brian, Al, and Bruce had played a few instruments here and there, but considering the results are so stunning as it is, it's barely worth mentioning, especially as studio musicians almost always figured into Brian's past glories. But listening to Al's singing on "From There To Back Again" makes me wish that he, Bruce, and Mike had been featured a little more prominently in some of the mixes. Although I have no quibbles with Brian taking the lead vocals on much of this album, if we should be lucky enough to get another album or two out of The Boys, I hope Al and the others are a little more in the forefront of some of the songs, provided their vocals can stand that spotlight. Because I heard almost nothing but good from them in this album.
While many people have pointed out that Brian is 70 and he doesn't sing like a 25-year-old anymore, have you actually listened to this record? He sounds like a 35-year-old to me, and a 35-year-old who can sing as beautifully as anyone. Yes, he slurs a few words here and there as he's done for a long time, but the tone and quality of his voice that set it apart from everyone else when he was barely a man is still present and immediately recognizable. Heck, Jeff Foskett and his clarion "Carl Wilson" voice are 56, meaning he's twice as old as the Beach Boys were when they were already somewhat past their prime. And as an aside, although David Marks doesn't sing, had he not been guitarist on this album, I don't think this "event" would have been quite as special. Given that Carl and Dennis are gone, I think David definitely needed to be a part of the reunion, and I'm extremely happy for him. I would love to know which guitar parts he played.
If you give this album the repeated attention it deserves, you will hear some incredibly catchy music and arrangement/production touches that could only have come from Brian and those he's influenced. No, not every song has that Brian Wilson production stamp on it that one might like, but enough of them do, and the consistency of professionalism that begins from track 1 and ends with track 12 is obvious on first listen. And I don't think people should really obsess about how much the performances might or might not have been tweaked or enhanced in the studio, as studio magic was always one of the hallmarks of Brian's work. It's the "record" that matters -- the final recording that Brian was always concerned with. And from that standpoint alone, this album is classic Beach Boys all the way.
My favorite part of the opening piano-and-voice dominated song, "Think About The Days," is the French horn right at the very end. This is the type of attention to detail that helps make this album so rewarding.
While initially one of my least favorite songs, the title hit single "That's Why God Made The Radio" gets better with each listen, as you get more comfortable with Brian's chord and tempo changes, as well as subtle alterations in the repeats of the vocal parts. Comparing a song like this to "Getcha Back" -- a similar-themed and similar-sounding piece -- reveals how much more musical this recording is despite any flaws in lyrics or musical conception (one being a rather obvious modulation on the second "a whole new generation" that is so atypical of the usually unpredictable Mr. Wilson). However, the song ends on a high note with another of Brian's amazing vocal tags, the type he has written again and again throughout the years while always offering something different.
"Isn't It Time" and "Spring Vacation" are basically sunshiney fluff, with typically-forgettable lyrics that hearken back to the earlier years. But are they beautifully written and performed? You betcha. Mike, Al, and Bruce sound great, the harmonies are both exquisite and brilliantly arranged. The first song has a bridge as good as the chorus (Jeff's beautiful "And as the Sun goes down"), and Brian's "Hall-e-lu-ooo-ooo-ooo-ya" in "Spring Vacation" is priceless.
So many people seem to want to pounce on "The Private Life of Bill and Sue," but I think it's an absolute classic, similar in musical spirit to the great "South American" from Brian's solo album Imagination. The lyrics aren't deep, but they aren't supposed to be. And we don't listen to sunshine pop for the lyrics anyway, which are perfect for the lightness of the song. Just listen to the music and enjoy. The chorus is as catchy as anything Brian's written, and reminds me in its own way of "California Girls." It's that good. Get over the subject matter and immerse yourself in the amazing vocal arrangement and incredible harmonies. The instrumentation is light and frothy, with the bridge being short, fun, and makes you want to revisit the song again and again. Production-wise, the baritone sax that provides the brassy propulsion throughout the song (especially at the end of the bridge) makes this a Wilson classic.
"Shelter" is not one of my favorites, but many people love it, and that's the strength of this album. If you ask enough people, every song has its devoted fans, with no dogs that everyone wants to pounce on, like "Let's Put Our Hearts Together" or "The TM Song." The chorus of "Shelter" is an inversion of "Darlin" ("Don't know if words can say..."), with Jeff Foskett supplying his Carl Wilson imitation perfectly. The other Beach Boys' voices are superb, with and while I feel this song pales compared to some of the others on this album, it would have been one of the best songs on any of the Beach Boys' albums from 1974 onward. Listen to it and marvel at the fact that no other group has sung like the Beach Boys or offered such amazing vocal arrangements in the history of rock and roll.
The weakest song is probably Mike's "Daybreak Over the Ocean," but it's much better than many of his tunes, and its biggest faults are that it's too long and that Brian wasn't allowed to produce it all the way through. If you remove about 1:30 of its over four-minute length, and if Brian could have produced the song from the bottom up, I think it could have been a mini-classic. It needed a choral bridge rather than the basic instrumental version it received, but even though it's one of the lesser lights on the album, there's very little in it that anyone should be embarrassed about, other than the fact that Mike seems to be off the beat throughout a lot of the song. The vocal fade is great, with more Carl Wilson sound-alike vocals. Compare this with "Brian's Back" or some of the other Mike Love offerings from the past, and this song is miles ahead of most of them.
"Beaches in Mind" needed some extra work, as it's too perfunctory for my ears. The material we're presented with is superbly produced, and the chorus is definitely melodic, but it just sounds unfinished structurally. The verse and "fun fun fun" bridge are not as memorable as what Brian usually composes, and you find yourself just waiting for the chorus to return, which is the best part. The keyboards are great, and little vocal touches help it stand up to repeated listenings, but I think Brian didn't flesh this one out as well as he could have.
"Strange World" captures everything that is brilliant about Brian Wilson and The Boys. While it seems to be a simple song, listen to the amazing key change from the piano opening to the first verse. It sounds wrong the first time you hear it, but right every time thereafter. The bass playing is terrific, with fun organ stops, and the arrangement of the vocals is astounding. The chorus is as catchy as anything Brian's ever written - as good as "I Get Around," "Fun, Fun, Fun," etc. The bridge ("Sunday morning") is a superb melody as memorable as anything on the album, with the gorgeous vocals after "pretty good company" being exquisite. The throwaway line about "Yo Te Amo" is priceless, and the lyrics are as solid as almost any past Beach Boys song. Driving strings that might remind one of "Cabinessence" help close out this amazing track.
Obviously, "From There to Back Again" is the acknowledged classic, from Al Jardine's flawless vocals to the incredible song structure that I still haven't completely figured out. The starts and stops and changes in mood are simply as good as anything from Pet Sounds, Smile, or Sunflower. The guitars and drums are straight out of 1966 while still sounding contemporary. Mike gets in some great vocal touches before Al's whistling, and the harmonies are memorable throughout. This song definitely belongs in the pantheon of truly great Wilson creations like "This Whole World," "Surf's Up," etc. Read more ›
Most Recent Customer Reviews
5.0 out of 5 stars
Great
It was worth twice the money just for tracks 10 and 11, beach boys vocals are at the top of their game
Published 1 day ago by steve
5.0 out of 5 stars
NOTE TO BEACH BOYS.
Hope some of you or your friends read these. Don't want to get into the politics of two versions of the band touring (Mike, Bruce as BB; Brian, Al, separate tour); which none of... Read more
Published 20 days ago by winningisboring
5.0 out of 5 stars
heavenly harmony
I've been a huge Beach Boy fan from day one, and this album does not disappoint! Even though it features just a couple of the original singers, there are younger family members... Read more
Published 26 days ago by Szxvp
5.0 out of 5 stars
Fabulous Album!
If you are a Beach Boys fan, you have to get this album. Even if you aren't a fan...get it! It is a great album. And it comes in vinyl! How fun! I love the Beach Boys!
Published 1 month ago by Anonymous
4.0 out of 5 stars
God and the Radio
"In 1968 ... the Beach Boys released Friends, an album so laid back, some thought it asleep. ...'Friends' is a wholly likable record that has aged remarkably well; the seed of its... Read more
Published 2 months ago by Kendal B. Hunter
5.0 out of 5 stars
Outstanding CD
THe Beach Boys have endured on the scene for many years. And as you listen to this compilation of songs, you will soon realize that they still have what it takes to sing and play... Read more
Published 2 months ago by Lorcan Dragonskull
5.0 out of 5 stars
Vinyl single
Song sounds great on vinyl and its a different mix to the cd.
Sleeve is a little flimsy.
If you must,get it.
Sleeve is a little flimsy.
If you must,get it.
Published 2 months ago by Samuel Bond
5.0 out of 5 stars
Best album in years!
As a 50 year fan I feel that this is the best since the Pet Sounds album of the nineteen sixties!
Published 2 months ago by Paul D. White
5.0 out of 5 stars
The Beach Boys do it again
Who would think that bryan Williams could still write great Beach Boys songs.-Well, he did it again. Way to go Bryan
Published 2 months ago by Michael L. Lambert
5.0 out of 5 stars
as good as it gets
If you like the "old" Beach Boys you should enjoy this. Was pleasantly surprised and am enjoying it thoroughly. For $2.99, how can you possibly go wrong?
Published 2 months ago by Tom Laird
Listmania!
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