Since the Boys have been in the biz for 50 years now, there should be a degree of protocol on how you approach comparisons to other albums in their discography. For instance, I personally don’t consider it fair to compare The Beach Boys Love You from 1977 to Pet Sounds from 1966. They are both very good in very unique, individual ways. There will be those who will be panning this new record because it isn’t Pet Sounds. It isn’t Sunflower. It isn’t even Love You. However, it is important to maintain some perspective. When compared to their last 5 albums of new material (Keepin’ the Summer Alive (‘80), The Beach Boys (‘85), Still Cruisin’ (‘89), Summer in Paradise (‘92), and Stars & Stripes, Vol. 1 (‘96)), this LP is better in a lot of ways. A few of note: John Stamos doesn’t sing a lame cover version of Dennis Wilson’s “Forever”, which felt like a sacrilege when it was released in 1992, 10 years after Denny’s death. There isn’t a sped up, synthesizer-drenched version of their very first single from 1961, “Surfin’”. Alas, not even a single duet with a country artist is to be found, leading me to rejoice that this album, most likely their last together, is not going to be Stars & Stripes, Vol. 2.
The album opens with a sweeping degree of melancholy on “Think About the Days,” as you hear the boys harmonizing on wordless notes, as if their voices just mesh into this unmistakable instrument that only they can create. This transitions nicely into “That’s Why God Made the Radio,’ a well-selected first single, particularly if the goal here is to give the “lifetime” fans something that feels like a happy-go-lucky Beach Boys song. It’s lyrics speak with generational disregard for all things of technological advancement since the radio, hinting at a deep sense of wonder that, no doubt, amazed Brian back in the 50’s. “Isn’t it Time” boasts a Hawaiian-style ukulele, happy/hoppy hand-claps. Mike’s vocal sounds a little wispy, which is a good timbre on him. This song would have fit on one of their mid-80’s albums. It’s also a good moment to acknowledge that this project wouldn’t be possible without the falsetto vocals of Jeffrey Foskett, on board with Brian since the early ‘80’s, which bounce along the top range. “Spring Vacation” reeks of Mike Love-type lyrics, drenched in nostalgia, with tongue-in-cheek lines about money, old age, and song titles of the past (“We Used to Get Around,” “Good Vibrations”). I like the song, just not the lyrics (with the high point being Brian hitting some higher notes, climaxing with “Hallelujah!”) Next up is “The Private Life of Bill & Sue,” with a title right up there with “Johnny Carson” as one of the strangest-named songs in their catalog. Awesome chorus, with a lead vocal from Brian. It does devolve a bit into soft-rock territory during the verses, with a laid-back acoustic strumming. This song would fit very nicely on Brian’s solo album from 1998, Imagination.
It is at this point that the record struggles to progress, and presents 3 so-so songs in a row (“Shelter,” “Daybreak Over Ocean,” and “Beaches in Mind.”) Though usually a forgivable offense, it would have been nice to have maintained a level of artistic fortitude throughout. To the rescue, it is with great fortune that the lone Wilson brother is in the building. The final four tracks deliver a nice cohesiveness to finish out the record (a cohesiveness that would have been nice from top to bottom.) Highlighted by the reprise of the sweet and subtly sad harmonies of the opener, segueing into the album highlight, “Pacific Coast Highway.” This illustrates how Brian has always had a dose of reality about the ups and downs of life that the other guys don’t seem to possess. Furthermore, his understanding of what a Brian Wilson fan wants from a Beach Boys’ song seems to be well in tact. We wrap up with the fortuitous song titled, “Summer’s Gone,” which could just as well have been called “That’s All, Folks!” A peaceful, loving way to end the album, as it fades to the sound of the waves hitting the shore and receding.
My hunch is that these 12 songs, along with their summer tour, is meant to offer a final chapter and closure to fans, and to repair some relationships that had turned sour over a long period of time. Avoiding a digression into the ups and downs that the Beach Boys have been through, suffice it to say that there are numerous books and articles out there that will substantiate the finer points of why they’ve had one of the most fascinating careers that could be imagined. In that regard, I consider these endeavors a success and I’m happy that they occurred. But, I would trade several of the tracks on this album for a handful of new creations from Brian where he’s giving it 100%, much like he gave us on That Lucky Old Sun and Brian Wilson Presents SMiLE. Though certainly not a plea to give the new album the time of day, it is certainly a sweet little ending to a fascinating, at times treacherous, story.
Overall Grade: B-
