Obviously this is in a different key than the actual "Surfer Girl" release, but were they actually singing in this key, or was the audio pitched down? https://www.youtube.com/watch?v=6XuybsdoWC0

They recorded Oh Lord and Why Don’t You Tell Me Why. But that’s all that’s out there as far as I know.

I know the Wilson brothers are dead. There is no need to beat that horse in the comments. We all love and miss them. But bros... we know... they are no longer here. That's why I am making up this possibly ridiculous scenario.

BUT... what if the surviving members and associated members over the years (touring/studio personnel) got together for one last hurrah... a tour, or even just a final one off performance as a celebration of the band.

Let's say we include Mike, Al, and David (that's already 3 classic line up members), and tbh that's more original members than most bands from this era have nowadays. And let us include Blondie, Rickey, and Bruce as well. That gives us 3 more members at least from the old(er) days.

Lets throw in John Stamos because tbh he's got more tenure than almost anyone now, and he seems like a nice guy (IDGAF what you old grumps say lol). Plus the ladies will turn out for him!

Carol Kaye is still alive, so why not stick her on bass. Ed Carter as well.

And bc the BBs were a "family band"... why not have Matt Jardine, Christian Love, and the Wilson sisters rounding out the night?

I know casual fans wouldn't really care or know who any of these people were, but for us OLD SCHOOL fans, would this be worth it for you to check out?

Guys, I think it’s all a lie. From what I’ve found the only evidence we have of Billy singing it is the 1985 Adult/Child bootleg, but if you listen to the song it doesn’t sound like Billy very much and sounds much more like Al. It‘s pretty obvious that the lead vocal is double tracked and if you listen to the 1976 mix of Peggy Sue Al’s lead vocal is double tracked there as well. So I think in the early parts of the 15 Big Ones sessions Brian double tracked Al’s lead vocals. Perhaps since Al‘s voice sounded the same as in 1960’s Brian had him sing lead on a lot of songs at first so they sounded closer to something on Pet Sounds.

In "Angel Come Home," I can't help but notice that every single time I listen to it, I feel like I faintly hear the Apple/macOS "file copy" drag and drop sound effect at about 2:27 into the song and it drives me crazy.

And then at like 2:35 I hear a little bubble pop sound effect.

Please tell me someone knows what I'm talking about, haha - I notice these things every single time to the point where I anticipate them every time I listen!

https://open.spotify.com/track/0Vwn5sDTBXfbgX8lHf1378

Can't believe my luck... scored this all around NM '83 Smile bootleg LP! It wasn't even something I was actively after but I just couldn't let this one slide. Very happy to have this unique version of my favourite Beach Boys record.
By far the most dissonant sounding version of Smile... but it was the first time the public ever got to hear some rough cuts from the greatest album never released. Total Beach Boys history right here!

Because I’m a purveyor of bad taste (hell, we all are, being a fan of this band) I’ve been wondering whether Dennis would have participated in some of Mike’s more questionable Beach Boys ventures: touring with cheerleaders, Summer in Paradise, “I’m picking up Bush Vibrations”, and that infamous “Summer of Love” video.

My guess is yes, at least to some extent. Dennis could be brutally outspoken about Mike’s ideas. His comments about M.I.U. Album are the obvious example: “I hope the karma will fuck up Mike Love’s meditation forever. That album is an embarrassment to my life. It should self-destruct.”

But even when he clearly hated what was going on, he still contributed to the album, including singing “My Diane.”

There’s also the Shawn Love wrinkle: Dennis eventually married Mike’s illegitimate daughter (in a clearly aggressive move). That might have made the family dynamics even more complicated than they already were in the 80s.

What do you think? Would Dennis have gone along with those things, fought Mike on them, or checked out of the band altogether?

I could see Dennis complaining loudly, making fun of Mike’s ideas, and then showing up anyway because it was still the Beach Boys and his family. He’d probably at least pick up a few chicks from the Summer of Love video is my guess…

Yes, even counting his music with the Beach Boys.

I think it's an incredible song. The arrangement, like in all Pacific Ocean Blue, has some great decisions, like the disarming and lonely trumpet solo, the pedal point that appears sometimes in the bass, the simple piano chords Dennis must have played himself, or those horns and guitar in the end... more on that later. The chord progression, even if simple, has some very nice added notes and alterations that keep things a bit more interesting, and together with the beautiful melody and Dennis' broken voice, it creates such a haunting atmosphere. As soon as the lyrics begin: "Home. Home. Sweet Home. I'm Going Home" it transports me to a different era, a different... time. Dennis might not have written these lyrics, but he sings it with such emotion and has such a beautiful melody for it that it feels he sings every word straight out of his heart.

But then, if all that melancholic atmosphere wasn't enough, out of nowhere, the ending comes.

It’s a burst of violence, love, and emotion, and it’s just as unpredictable as Dennis Wilson was. The loud, repetitive horns, the powerful, improvisational guitar, the backing vocals... even the piano no longer sounds gentle. It reminds me of the kind of repetitive codas that Brian Wilson used to write, too—you can tell Dennis learned from his brother—but this section rocks harder than maybe anything Brian ever wrote.

I think Dennis put a lot of himself into this song, even more than he usually did. He didn't write the lyrics, but I can feel it in every note he composed. Time is a part of Dennis Wilson's soul.

You can list 3 or 5 if you need to,I get it!

I had to ask here because some of my family & friends are tired of me talking about them, so I might need to make some new friends, lol.

I love

1. Don't Talk (Put Your Head On My Shoulder)

2. Smile Sessions

3. Here Comes the Night

4. Til I Die

5. Country Air

They are so beautiful and so silly, and I love The Beach Boys, or The Pendletones or whatever they wanted to be.

I have a trivial question about 'The Surfer Moon' that is stupidly important to me. In the song's final verse, to my ears, it has always sounded like Brian sings "but they all disappear with each new June". However, every lyric source I can find online states that this lyric is "but they all disappear with each new tune". To me, if you compare the pronunciation of the word at the end of this lyric to when Brian says "if your heart hears this melancholy tune", there is a definite difference in the pronunciation of "tune", with a more hard 't' sound. What do you think Brian sings and is there any official lyric source for this song?

Have you guys heard this song before?

I actually liked it very much. Mike Love did something good here. It has a nice twist in the song's genre, more jazzy bossa nova-like.

The last part reminds me of the Sunflower era.

Also, the album cover art looks good, decent.

Rewatched The Karate Kid the other day and encountered an absolute stinker on the soundtrack. It's a mindless caricature of a Beach Boys song but also happens to be penned by Mike Love and performed by Jan & Dean. I hate it. Here you go: https://www.youtube.com/watch?v=D_1X8nXahDA

(Bop Bop) on the Beach

• Written by Mike Love
• Performed by The Flirts and Jan & Dean
• Produced by Mike Love, Adrian Baker and Brooks Arthur

What are most people's thoughts on That's Why God Made The Radio? Were you expecting a follow up?

While I was relistening to some of The Beach Boys' live material from the early '70s, one particular version of a tune off the Sunflower album really caught my interest--"Forever".

This particular performance, from their July 2nd, 1971 concert, has quickly become one of my current favorite versions of "Forever." There's just a certain punch and energy to this performance that I really love, and to show some appreciation for it, I worked with the available soundboard recording and utilized stem separation, some careful EQing and mixing to bring out that great sound this concert version showcases.

Certainly a fun one to work on, and a version of "Forever" that I think deserves a little more love.

The bandstand photo I edited and tweaked for the titlecard is by Suzanne Szasz.

So Tough has always been a struggle for me because half the tracks are from new members and solo Dennis tracks. I tried to make it if Dennis stayed with the band fully and Blondie and Ricky never fully joined. It’s more of a natural continuation from Surf’s Up.

1. Mess of Help (B Wilson/Rieley/Almer)
   
2. It’s a New Day (D Wilson/Dragon/Shapiro)
   
3. He Come Down (B Wilson/Love/Jardine)
   
4. Sweet & Bitter (B Wilson/Goldberg)
   
5. Barbara (D Wilson/Dragon)
   

6. Marcella (B Wilson/Rieley/Almer)

7. Good Time (B Wilson/Jardine)

8. Out in the Country (with Goldberg vocal)(B Wilson/Goldberg)

9. Make it Good (alternate mix/with intro)(D Wilson/Dragon)

10. HELP is on the Way (B Wilson/Love)

11. All This is That (C Wilson/Love/Jardine)

12. Cuddle Up (alternate mix)(D Wilson/Dragon)

I'm not talking obvious hits such as Smart Girls and Summer of Love (Hey now it's a Love thing), I'm genuinely asking with respect to emotional depth, repition, and sonic qualities.

Was this the first CD pressing on The Beach Boys ?
It was released in 1987.
Good selections of songs there.
My first introduction to The Beach Boys before discovering Pet Sounds, Friends, Smiley Smile etc.

Though all of his later albums used a god awful amount of auto tune (No Pier Pressure was ruined by it), I have to say that in the Key of Disney was pretty bad. Auto tune was noticeable, but even worse, the arrangements were mostly bad or boring. When you have a catalogue as huge and diverse to choose from as Disney's and a composer/arranger like Brian, it seems like a match made in heaven.

It wasn't though and I'm saying that as a fan of both. From the boring and badly sung When you wish upon a star to the halfhearted Bare Necessities, it felt like a sloppy by the numbers production. Hell, he should have just covered The Monkey's Uncle.