THE BEACH BOYS - That's Why God Made The Radio SS member reviews

[Ron]

Best song? Summer's Gone.

Does anyone wish the harmonies came back in a second time as the song fades? The harmonies in the middle part are so damn strong and I keep hearing them in my head as the last verse ends and the song starts to fade.

I felt the same way.  I'll bet they consciously did it, though, to fit the theme. 


Is anybody with me in saying that Mike's vocal on "Isn't it Time" is perfect?  A lot of times these guys sound old, or a note here or there isn't quite right, or they flub the enunciation a little bit, or whatever.... but Mike's verse on "Isn't it Time" is just drop dead perfect.  He sounds like he's 25.  I mean he's not stretching or anything, and it's not a hard part, but he really delivered on that one.  If you find yourself wondering what he brings to the table, that's a good example. 

[Ron]

The first song to get the "put on repeat" treatment from me:  "Strang World"...fantastic.

Yup!  I did that last night.  That is a fantastic song, great choice of word.     To these ears, it's not quite DONE, it never really does whatever it's supposed to do.  Was it part of the suite?  This song has so much potential, everything from the melody, to the harmony, the lyrics, the production... it's a nice little Gem of a Brian Wilson song.  This 1 song probably more than anything else on the album has Brian's madness all over it. 

[Ron]

As a snapshot, I kinda get what they were doing with this album. 

It opens with the introspective wordless chant "Think About The Days'and you immediately know something is up.  What's going on here?  It's dark, it's looming, it's mysterious and it's beautiful.  The opening chant is only validated later after we've listened to the entire album.   Picture this when you start the album with "Think About The Days"..think of a helicopter shot from high up in the sky and we're slowly zooming in on a convertible, with its top down and an older gentleman sitting at the wheel...it's Brian starting his drive down the Pacific Coast Highway.  This is the beginning of his (and our) journey down memory lane.  He wants to distract himself from his thoughts, though.  So what does he have on in the car during the ride?  Why, the radio of course!  BAM..track two..."That's Why God Made The Radio.'  An ode to the radio as Brian is driving.  He celebrates the radio and he smiles at the good times he's had with the radio being the center of his life.  So what follows?  Tracks 3 through 8 (Isn't It Time, Spring Vacation" "The Private Life of Bill and Sue"  "Shelter"  "Daybreak Over the Ocean"  "Beaches in Mind" ) are the songs Brian hears coming out of the radio.  Yes, they are Beach Boys songs coming through the airwaves as he's driving.  It's as if Brian'is listening to a new Beach Boys album inside a new Beach Boys album!  The songs are a callback to the fun, personal and lighthearted stuff we've always known from the Beach Boys.  Sort of no surprises but still familiar old/new tunes.  When those songs conclude, the radio is turned off and Brian finishes his ride with an introspective look at his own life.  We're now removed from the scene as a spectator, this is now Brian signing to us about himself and life as he knows it.  Thus begins "Strange World" ""From There to Back Again"   "Pacific Coast Highway"  a look inward much like Pet Sounds was (which is why these songs sound so much like Pet Sounds!) and then it ends with the painfully heartwrenching "Summer's Gone".  Brian's trip is over.  He's reached home.  And it's raining.  And it's time to get inside.

This is the album coming from the same guy who realized fifty years ago that he just wasn't made for these times.   And it sounds like in this album, he's finally coming to terms with that.

Justin, you think a lot like I think.  I didn't realize what you've posted, but I can definately see it.  Remember ultimately any art is up to the interpretation of the viewer.  If that's what you hear in it, then I'm sure Brian would be proud that it envoked something deeper than what it seems to be on the surface... I like your theory, I'm going to check it out on my way home tonight, I'll see if I hear what you're saying.

I already got there on "Spring Vacation", I think that's definately meant to be just a song being sung to an audience, not necessarily taken literally.  Seeing it as one of the songs playing on the radio while Brian cruises, I could see that. 

[Ron]

I don't see what is so heart wrenching about Summer's Gone. It seems to me like a calm acceptance of the transitory nature of life. It is a bit melancholy, but heart wrenching?

Some of us are fighting it to the end, Pixletwin.  Not all of us are mature enough to accept the things that come so easily to you   

[Ron]

I am intrigued with your term "Empty nostalgia"? When you look back at life when you are 69-70 years old and tell me your memories are filled with empty nostalgia, then I will believe it. I'm 54 and the older I get the more I keep looking back. I have no idea how old you are, but the way you used that term makes me think that you are young enough that nostalgia is not important to you, yet.

You might be on to something here. For the record, I'm 25 and don't understand nostalgia at all. Even people my own age who get nostalgic for old Nicktunes and The Lion King, I flat out don't get it. This may say more for my own life, but I'm really happy in my adult life and have no desire to move backward, especially to my teen years, which is what most commercial nostalgia seems to point to.

For me there is a difference between looking back with fond memories and trying too hard to make connections to the "old days". There are some nice moments on the record that seem to come from honest reflection and aren't cheesy, but there are also moments where it feels like they're trying to capitalize on their past. Obviously they've put stuff out that is a lot worse than this record, but I feel like they could do better by themselves and their fans than self-referencing and the clear nostalgia grabs in songs like "Spring Vacation"

I can see where you're coming from Amanda, I'm only slightly older than you but I've always had a healthy appreciation for Nostalgia.  One thing I'd like to mention, and you can take it or leave it... I'm not trying to change you or anything... but Nostalgia is less a romanticized view of things that are gone... and more of an acceptance of what made you.  We're all the end product of things we did earlier in life, and things that happened even before we were born.  So for instance, getting Nostalgic about the Lion King is less about romanticizing it, and more about accepting that the Lion King was likely a huge influence in your life and as such, is something you carry in at least a small way around with you. 

Another thing I'll mention is that an album is not meant to be a fully realized 'record' of everything the Beach Boys feel.  For a minute, while you're listening to the song, they present you with some nostalgia.  The other 23.9 hours of the day you wont' get that... it's not meant to be overbearing, just a little salt. 

[Amy B.]

Does anyone know how Jon Bon Jovi ended up working on the album?

[Ron]

Look at a song like "Spring Vacation" with absolutely no context that this is a song on the Beach Boys reunion album. it's just a song reconnecting with someone from your past. it could even be a love song about someone you used to date and it was a pretty turbulent relationship and now you're back together and just enjoying yourselves again.

Yes!  I agree.  I hated the song until I realized what you just posted.  If you think about it as just a song on the radio... it's very, very good.  Forget it's the Beach Boys, forget it's Mike Love, just listen to the song.  I love it.  The "Good Vibrations" line we all love to hate should be the only nod to the 'Boys... and then you understand the simplicity the song is intended to have.  It's just about a couple people having a good time on vacation.  

[Too Much Sugar]

I'll have a full review later on, but I just want to say how impressive "From There To Back Again" is, at least, compositionally.  Of course, there's many great Brian songs, but it's been a long time since I've heard so many vintage Wilson tricks packed into a song, like this.  From the quirky chord progressions, key changes, modular sections in the song, tempo changes... and doing it all within 3:30.  It's deeply impressive and it's a side of Brian I wasn't sure was still there.  Brilliant.

[Ron]

I'll have a full review later on, but I just want to say how impressive "From There To Back Again" is, at least, compositionally.  Of course, there's many great Brian songs, but it's been a long time since I've heard so many vintage Wilson tricks packed into a song, like this.  From the quirky chord progressions, key changes, modular sections in the song, tempo changes... and doing it all within 3:30.  It's deeply impressive and it's a side of Brian I wasn't sure was still there.  Brilliant.

I was feeling it, the first time I heard it.  I thought "Whoa, this is really deep, beautiful like Brian sometimes does".  Then they did the Jazz thing with Mike at the end and I couldn't believe it.  So fucking creative, it's like the Genius Brian has returned. 

[startBBtoday]

As I was listening to Think About The Days today, I kept being reminded of Lay Down Burden for some reason. I think that song actually could have fit into the suite pretty well.

[Justin]

As a snapshot, I kinda get what they were doing with this album. 

It opens with the introspective wordless chant "Think About The Days'and you immediately know something is up.  What's going on here?  It's dark, it's looming, it's mysterious and it's beautiful.  The opening chant is only validated later after we've listened to the entire album.   Picture this when you start the album with "Think About The Days"..think of a helicopter shot from high up in the sky and we're slowly zooming in on a convertible, with its top down and an older gentleman sitting at the wheel...it's Brian starting his drive down the Pacific Coast Highway.  This is the beginning of his (and our) journey down memory lane.  He wants to distract himself from his thoughts, though.  So what does he have on in the car during the ride?  Why, the radio of course!  BAM..track two..."That's Why God Made The Radio.'  An ode to the radio as Brian is driving.  He celebrates the radio and he smiles at the good times he's had with the radio being the center of his life.  So what follows?  Tracks 3 through 8 (Isn't It Time, Spring Vacation" "The Private Life of Bill and Sue"  "Shelter"  "Daybreak Over the Ocean"  "Beaches in Mind" ) are the songs Brian hears coming out of the radio.  Yes, they are Beach Boys songs coming through the airwaves as he's driving.  It's as if Brian'is listening to a new Beach Boys album inside a new Beach Boys album!  The songs are a callback to the fun, personal and lighthearted stuff we've always known from the Beach Boys.  Sort of no surprises but still familiar old/new tunes.  When those songs conclude, the radio is turned off and Brian finishes his ride with an introspective look at his own life.  We're now removed from the scene as a spectator, this is now Brian signing to us about himself and life as he knows it.  Thus begins "Strange World" ""From There to Back Again"   "Pacific Coast Highway"  a look inward much like Pet Sounds was (which is why these songs sound so much like Pet Sounds!) and then it ends with the painfully heartwrenching "Summer's Gone".  Brian's trip is over.  He's reached home.  And it's raining.  And it's time to get inside.

This is the album coming from the same guy who realized fifty years ago that he just wasn't made for these times.   And it sounds like in this album, he's finally coming to terms with that.

Justin, you think a lot like I think.  I didn't realize what you've posted, but I can definately see it.  Remember ultimately any art is up to the interpretation of the viewer.  If that's what you hear in it, then I'm sure Brian would be proud that it envoked something deeper than what it seems to be on the surface... I like your theory, I'm going to check it out on my way home tonight, I'll see if I hear what you're saying.

I already got there on "Spring Vacation", I think that's definately meant to be just a song being sung to an audience, not necessarily taken literally.  Seeing it as one of the songs playing on the radio while Brian cruises, I could see that. 

You're absolutely right Ron...we're all going to view this album in our own little way.  The song order on the album really spoke to me and seemed very, very specifically outlined.  I'm not sure I would have this album any other way at this point (moving songs, or adding other ones in).  With that in mind, I do have some reservations about a few songs like "Beaches In Mind" (I think the outro is pretty great) but I think we know just how much we're supposed to take those tunes seriously, compared to the grand scheme of the entire album.  

[Too Much Sugar]

I'll have a full review later on, but I just want to say how impressive "From There To Back Again" is, at least, compositionally.  Of course, there's many great Brian songs, but it's been a long time since I've heard so many vintage Wilson tricks packed into a song, like this.  From the quirky chord progressions, key changes, modular sections in the song, tempo changes... and doing it all within 3:30.  It's deeply impressive and it's a side of Brian I wasn't sure was still there.  Brilliant.

I was feeling it, the first time I heard it.  I thought "Whoa, this is really deep, beautiful like Brian sometimes does".  Then they did the Jazz thing with Mike at the end and I couldn't believe it.  So f*cking creative, it's like the Genius Brian has returned. 

Yes!  That's it!  That last bit, in particular, put such a big smile on my face.  The song itself just goes in so many places, but yet it works.  I can't think of another songwriter who can pull off stuff like that as effortlessly as Brian.  1966 Brian definitely came back for that.

[Zach95]

I'll have a full review later on, but I just want to say how impressive "From There To Back Again" is, at least, compositionally.  Of course, there's many great Brian songs, but it's been a long time since I've heard so many vintage Wilson tricks packed into a song, like this.  From the quirky chord progressions, key changes, modular sections in the song, tempo changes... and doing it all within 3:30.  It's deeply impressive and it's a side of Brian I wasn't sure was still there.  Brilliant.

I was feeling it, the first time I heard it.  I thought "Whoa, this is really deep, beautiful like Brian sometimes does".  Then they did the Jazz thing with Mike at the end and I couldn't believe it.  So f*cking creative, it's like the Genius Brian has returned. 

Yes!  That's it!  That last bit, in particular, put such a big smile on my face.  The song itself just goes in so many places, but yet it works.  I can't think of another songwriter who can pull off stuff like that as effortlessly as Brian.  1966 Brian definitely came back for that.

What's spectacular about From There to Back Again is that it doesn't sound pretentious, whatsoever.  It's a la Pet Sounds without trying too hard.  It stands on its own as a mark of beauty and will forever be considered a stunning, introspective Brian Wilson composition. 

[Ron]

When I heard the jazz part come in, immediately I heard Jimi Hendrix saying "They're like a Pschedelic Barbershop Quartet"

[Too Much Sugar]

I'll have a full review later on, but I just want to say how impressive "From There To Back Again" is, at least, compositionally.  Of course, there's many great Brian songs, but it's been a long time since I've heard so many vintage Wilson tricks packed into a song, like this.  From the quirky chord progressions, key changes, modular sections in the song, tempo changes... and doing it all within 3:30.  It's deeply impressive and it's a side of Brian I wasn't sure was still there.  Brilliant.

I was feeling it, the first time I heard it.  I thought "Whoa, this is really deep, beautiful like Brian sometimes does".  Then they did the Jazz thing with Mike at the end and I couldn't believe it.  So f*cking creative, it's like the Genius Brian has returned. 

Yes!  That's it!  That last bit, in particular, put such a big smile on my face.  The song itself just goes in so many places, but yet it works.  I can't think of another songwriter who can pull off stuff like that as effortlessly as Brian.  1966 Brian definitely came back for that.

What's spectacular about From There to Back Again is that it doesn't sound pretentious, whatsoever.  It's a la Pet Sounds without trying too hard.  It stands on its own as a mark of beauty and will forever be considered a stunning, introspective Brian Wilson composition. 

That's the other thing I wanted to mention.  While there are elements of "From There To Back Again" that actually remind me of late '70s Brian (i.e., "The Night Was So Young"), this is probably the closest I've seen anyone get to the "Pet Sounds" style and nail it, maybe since "Pet Sounds" itself.  Of course Brian would be the one to do it, but I think even some his attempts at times over the years felt a bit forced.  But this suite just nails it in so many ways.  If I didn't know better, I'd think these were old Wilson/Asher songs.  For once, the "Pet Sounds" comparisons were actually apt.

[Ron]

I think Brian took inspiration from all the work he did on those Gershwin songs.  That's some fine songwriting, it never sounds forced like you're talking about.  I see what you're saying.  He pulled it off with the same finesse he used to, and like Gershwin did. 

[Runaways]

From There To Back Again seriously feels like Pet Sounds style post-Smile.  If I had to say what I'd think his music would have been like in 1969 if Smile came out then it'd be that song. 

[Newguy562]

From There to Back Again has some of the best harmonies I've heard from the beach boys so pretty sounding..

[dumbangel76]

This album is so beautiful... I need to take my time to write a full review but, so much goodness on here! My eyes tear up when those harmonies come on for "Goodbye" on Pacific Coast Highway.. Such a beautiful song

[Zach95]

I think Brian took inspiration from all the work he did on those Gershwin songs.  That's some fine songwriting, it never sounds forced like you're talking about.  I see what you're saying.  He pulled it off with the same finesse he used to, and like Gershwin did. 

My friend stated the same thing.  He compared the songwriting to Gershwin, funny how people perceive the same things.

[Chris Brown]

I just gave the album a first spin, and although I never do this, I'm posting without having read the entire thread, as I don't want any other opinions clouding mine just yet...

All in all, I'm thrilled to have this album.  It's still hard to believe I just listened to a new Beach Boys album - I've literally never done that in my life (unless you count compilations or Brian Wilson albums).  

As a whole, it's about what I expected going in - quality wise, for me, it's a bit like an inverse bell curve.  Starts out strong, sags in the middle but comes back and knocks you on your ass.  When it's good, it's really good, and that's enough to forgive some of the weaker material.

Going track by track:

1)  "Think About the Days" - I loved this from the first time I heard the preview on Amazon.  Great vocal arrangement, has a very evocative feel to it that really comes around full circle by the end of the record.

2)  "That's Why God Made the Radio" - obviously we all heard this weeks ago, but it's nice to hear it in context.  I'm not sure the transition from "Think About the Days" works too well, but it's a strong track with great harmonies.  Very distinctly Beach Boy-ish.

3)  "Isn't It Time" - I feel like I should have enjoyed this track more than I actually did.  I don't know if it's the arrangement, the melody or what, but this one didn't grab me.  That being said, I feel like there's a good chance it will grow on me over time.

4)  "Spring Vacation" - despite the (at times) terrible and cheesy lyrics, I found myself enjoying the song more than I thought I would based on the Amazon preview clip.  If any other track from the album has the potential to be a hit, it's this one.  Brian sounds amazing here.

5)  "The Private Life of Bill and Sue" - yet another track where I expected one thing and got another.  The title intrigued me when I first heard it, but I was really let down by this track.  It sounded very uninspired to me, like a bad takeoff on "Margaretaville" and "South American".  I was waiting for the great hook to come in, but it never did.  The only real "swing and a miss" for Brian on here.

6)  "Shelter" - I'm on the fence here.  I liked the track (despite the little "Darlin" melody ripoff), wasn't blown away but I think it has the potential to grow on me.  I think I'll need a few more listens to better assess this one.

7)  "Daybreak Over the Ocean" - worst track on the album as far as I'm concerned.  Not one redeeming aspect - all along I thought "Spring Vacation" would be the clunker, but while that one turned out much better than I thought, this one just does nothing for me.

 "Beaches in Mind" - I had a tough time getting into this one.  Like "Shelter", I think I need a few more listens.

9)  "Strange World" - here's where the album starts really kicking into gear.  Love Brian's vocals, it's a strong track with some nice BW quirks.

10) "From There to Back Again" - and so the closing trifecta begins.  This is a beautiful tune and track, and Al's "robot" vocals don't bother me as much as I would have thought.  Hearing this makes me wish they'd utilized him on a few more leads, but no matter.  He brings his "A" game here.

11) "Pacific Coast Highway" - wow.  This is where the emotions really started coming to the surface for me.  The arrangement is just perfect, and Brian's vocal is one of the best I've heard from him in years.  It suits the sad and melancholy material perfectly.  Those lyrics just hit you like a ton of bricks.  Being 28 years old it's nothing I can relate to yet, but the way this and "Summer's Gone" capture the feelings of a man who knows he's in the twilight of his life is nothing short of stunning, heartbreaking and incredibly moving.  

12) "Summer's Gone" - Brian hit the nail on the head; this is a perfect way to close out the last Beach Boys record (although I'd certainly welcome a few more original albums).  The arrangement is clearly the closest to Pet Sounds, at times borrowing from "Caroline, No" in a not-so-subtle way.  It works beautifully though, and like I said above, this track and "Pacific Coast Highway" make for a powerful punch to end the record.  The rain at the end was perfect.  I was left feeling happy and sad at the same time, but mostly just amazed and thankful that Brian and the Boys still has such powerful music left in them.

I can't wait to delve in some more and let some of these tracks sink in, but right now, after my first listen, I'm thrilled that we have this record at all.  We've been way too spoiled these last few years for sure.  

Now to go back and see what everyone else thinks...

[JohnMill]

Does anyone know how Jon Bon Jovi ended up working on the album?

He was hanging around the studio and was asked to come in and tidy up the lyrics to "Summer's Gone".  He basically expanded the song from a single verse written by Brian into a full fledged song. 

[Runaways]

Does anyone know how Jon Bon Jovi ended up working on the album?

He was hanging around the studio and was asked to come in and tidy up the lyrics to "Summer's Gone".  He basically expanded the song from a single verse written by Brian into a full fledged song. 

Yup.  But i think what sets that song and a lot of the last three is what Brian does around the singing melodies.  George Martin said that what Brian did on god only knows was "build a tapestry" around carl's vocal.  i feel like summer's gone does the exact same thing.

[Ron]

I bought the physical c.d. and drove home listening to it tonight, again i'm impressed by "Spring Vacation".  I think if Katy Perry or somebody had recorded it, it'd probably already be *that* annoying song on the radio everybody hates to love and makes #1. 

[Summertime Blooz]

This is a beautiful tune and track, and Al's "robot" vocals don't bother me as much as I would have thought.  Hearing this makes me wish they'd utilized him on a few more leads, but no matter.  He brings his "A" game here.

I agree. You listen to the whole album and you finally get to FTBA  and you think "Hello- where's that voice been all this time?" Funny that Al's one featured vocal is the highlight of the album.