The Smiley Smile Message Board

Discuss, review and rate That's Why God Made The Radio, released June 5th 2012.



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A perfect reunion album, shows a very true image of the band, rough edges and all.

TWGMTR turned out to be an awesome Beach Boys album! Aside from the few not-so-good songs, TWGMTR has many memorable, and quite wonderful BB tracks. And it's amazing that after all those years, they can sing together is such beautiful harmony! Great job boys!

4 stars!

4 stars from me. A few mediocre songs amid some real dazzlers.

Exceeded my expectations. Some songs took a while to grow on me but it was full of hooks and earworms. One of those types where you have to listen to it in its entirety.

I pressed the 5 button but would prefer4.5.  Love the hypnotic feeling of living with these songs day and night: a genuine album from the heart of the artists to the hearts of the listeners. Need more of David's guitar work and can do without the great Skunk.  Dave needs to be credited with singing, and, just to disable the obvious attacks against him, Mike ought to show he can write something closer to Kiss Me Baby. On a new album (when they do one), Mike can't rely on the retrospective, self-referencing toolbox.  You can get away with this only once, as I have argued, and as other scholars have attested in their embrace of the album as an "opera."

Well...

I like it much more than I don't, and it runs the gamut from embarrassing to outstanding. It's unquestionably superior to any album they made in the 80's and 90's, and possibly better than about half of their output in the 70's, although I don't think enough time has passed yet for there to be something resembling a consensus.

Prior to knowing any real information about who was involved in the production, my immediate first reaction listening to both "Do It Again" and the title track was the sound. It's cold and very processed (especially in the vocal department), and against my trying otherwise, somewhat interferes with my enjoyment of the album. This isn't me being some knee-jerk shill about modern recording, either. I really enjoy (and have defended) the sound of BWPS, TLOS, and BWRG, and think they're natural progressions from his 60's sound. And, I get it: at some point we can't let the technicals interfere with our appreciation of the music. But there's a reason we pay engineers and producers. Whether it was Brian, Joe Thomas, the band, an assistant engineer, whoever -- it's not going to age well.

That said, some fifth impressions.

1. "Think About the Days" is a really excellent performance of a chord progression that sounds like someone imitating Brian Wilson. It's fine standalone, but I feel like it had the potential to kick off the title track in a much more interesting way. I think about something like "Our Prayer," whose progression suspends you right to the final held chord, whereas this just sort of...ends.

2. I've grown to like the title track -- it's refreshing to have a Beach Boys single that flirts with the usual fare of sun, girls, etc., but doesn't make them the singular focus of the song. Not in my top 20, but great melody, progression, vocal arrangements, and performances.

3. "Isn't It Time" is my favorite of the Mike Love-cowritten tracks; great performances (bonus points for Mike and Al, less so for Brian), and the sparse, vaguely indie (?) instrumentation is a lot of fun. If this is the second single, it's a great call.

4. I cringed listening to the 30-second previews of "Spring Vacation" before the album was released, and the second verse lyrics in particular haven't grown on me at all. And yet, somehow -- for reasons I can't explain -- the rest of the song has.

5. I like the sound of "The Private Life of Bill and Sue" a lot more than I like the songwriting. Catchy, but empty -- though the instrumentation and a cappella break are cool.

6. I'm not a Jeff Foskett hater by any means, but his performance on "Shelter" is really weak. All of them are, really, and as a result the sterile, adult contemporary backing track sticks out like a sore thumb. This is a good song begging to be covered by someone with a different vision.

7. I'm not particularly moved by "Daybreak Over the Ocean" (though it's not bad), but what struck me is how much warmer it sounds compared to the rest of the album. Again, what was evident to me even before I knew the backstory -- that it came off Mike's solo album, was produced by Paul Fauerso, and had Christian Love's vocals on it -- was that it was the best-sounding track. It also goes to highlight that, even though the vocal ensemble on the rest of this album is good, having Christian Love's voice in the blend could have taken it a big step forward.

8. As far as I'm concerned, "Beaches In Mind" is the worst track on the album, both songwriting and production. Boring guitar tone and playing, hollow drum sounds that would have sounded dated twenty years ago, and cliched lyrics. Some interesting chord changes here and there, and a decent lead from Mike Love, but otherwise forgettable.

9. I'm not quite sure what to make of "Strange World" yet, but I suspect I'll grow more fond of it. Some of my favorite lyrics on the album, and some very strong vocal performances from Brian et al.

Finally, 10.

There are places all over the Beach Boys' latter-day catalog where songs (or even entire albums) need a qualifier: pretty good for the 80's is a common one; large parts of this album could be described as not bad for a bunch of 70-year-olds. But I don't think this suite needs one: it's just as pure a group of Beach Boys songs as those I can remember falling for. Wonderful vocals (especially from Al and Brian), the kind of interesting and emotionally direct composing that inspires Brian Wilson's fans, and believe it or not, a good production. Perhaps not the second coming of Pet Sounds, as some have already suggested, but that it attracts such comparisons is a damn good sign.

Would it be perfect for the last Beach Boys album to end with a song called "Summer's Gone"? Sure, but that's a minor detail from my perspective. Not to draw another Bea-comparison, but the Beatles' last song on their final album wasn't "The End" -- from the popular perspective, it was "Get Back" -- but that's the one we know as the real end. The fact is, even if this reunion ends in some bitter feud or an embarrassing follow-up album, the quality of these songs has already rightly sealed their legacy.

And if not, at least be thankful it wasn't Summer in F***ing Paradise.

A great album with good catchy melodies, shimmering harmonies, top heavy in Brian compositions and even a good song by Mike, very few filler and the suite is just wonderful. Dennis and Carl are surely smiling from heaven. 4 out of 5.

That this album is even here to be talked about is a grand achievement on its own.  Roughly half the album is fairly unremarkable with middle of the road production and arrangements, probably what you'd expect from the group of 20 years ago with a more contemporary sound.

...but that other half, wow.  In typical Beach Boys fashion, there are hidden gems to be discovered alongside the more pedestrian bits.  The end result is far from a perfect album, but one that exceeds the expectations most would have ever dreamed at this point in time and contains material that holds up to the days long past.

Think About the Days - 4.5/5 (Gorgeous, simple opener.)
That's Why God Made the Radio - 3.5/5 (Pretty melody with a reasonable arrangement.  Not quite sure I understand the song's premise.)
Isn't It Time - 4/5 (Probably the most modern sounding track on the album.  It's well-realized with an indie pop sound to it.  The one vocal section with blatant autotune is oddly effective.)
Spring Vacation - 3/5 (A little too nostalgic and feels muddled at times, but there's a good tune under there with some nice chords.)
The Private Life of Bill and Sue - 2.5/5 (Sounds to me like a weak solo Brian track with tropical tones.)
Shelter - 3.5/5 (Like Spring Vacation, I think the song is better than the performance.  Yet, it is hard to resist to the Darlin'-esque chorus in any presentation.)
Daybreak Over the Ocean - 3/5 (Ironically, this one sounds nice enough but there is not much to it.  This makes sense given the song's history.)
Beaches in Mind - 1.5/5 (Competently sung, but drab and uninspired all around to these ears.  For this fleeting moment, the boys sound old.)
Strange World - 3.5/5 (I haven't gotten on board with this one yet as much as what follows it, but it has artistic merits and its melancholy tone leaves room for improvement on more listens.)
From There to Back Again - 5/5 (Absolutely fantastic! An instant classic.  This could be an early 70's song.  Al's voice is phenomenal as are the harmonies.)
Pacific Coast Highway - 4.5/5 (Brian and a piano.  Short, touching, and honest.  Reminds me of Midnight's Another Day in a way.)
Summer's Gone - 4.5/5 (Beautiful close to the album and would be a fitting final note on the Beach Boys' legacy if this is it.  If not, let's hope for more of stuff like this!)

That'll round just barely to a 4.  A 3.5 would be about right I think.

Mostly bad, generic or cringe-inducing.  Tracks 1, 3 and 10-12 range from good to gorgeous.  That's 40% hence a 2/5 rating.

You say 40% of the album is "good to gorgeous" and that equals a 2/10 rating? That'd rather equal a 4/10 rating. 2/10 to me means "crash and burn". Anyway, I'd give it a 7/10.  :)

I admit that I awaited the new LP with a bit of caution.  I've heard way too many reunion albums crash and burn.  I was somewhat hopeful because Brian's recent solo work has been good.  The teaser single, "That's Why God Made the Radio", was a good sign.  It was catchy.  The lyrics were somewhat corny...but it was a NEW Beach Boys single with Brian Wilson on lead vox and oh those gorgeous harmonies were back!  I downloaded the whole LP off of Amazon the moment it became available and listened to it several times through to let it sink in.  I decided that I really liked it.  There are some incredibly beautiful moments...some good ole' fun in the sun moments...some of everything.  I like some songs better than others..."Bill & Sue" is odd...but then again it's Brian and the song is saved by a killer chorus.  Even "Spring Vacation" has it's charm...it's sort of the anthem to their reunion...a code to their 50 years.  The final suite of songs is simply beautiful and I'm going as far as to say it's some of the best work they have ever done.  A simply wonderful look at life and a realization that time passes...people come and go...as ultimately we all do.  Brian's vocal on "Summer's Gone" is heartbreaking.  The only person who could have sung that song in the entire world was Brian Douglas Wilson.

It's a pretty great effort...especially considering the LP's that could have been the final Beach Boys albums: Summer In Paradise (please, God, NO!!!)....Still Cruisin' (A Frankenstein mess of crummy songs)....The Beach Boys (some decent songs, great harmonies...but so dated sounding).

The new LP sounds classic without sounding old.  It sounds like it was recorded in 2012...but the sounds it evokes are mid-to-late 60s.  The minimal use (if at all) of electronic instruments (no my synths!) gives it an organic feel...a warmth that any recording by the Beach Boys has had in so many years.

I'd go as far as to say you'd have to go back as far as Holland to find a Beach Boys LP as all-the-way good as this one (sorry all of you Love You lovers out there).

If this is the end of the road...they've gone out on a high note.  If they have another LP or two in them and can sound this good bring it on.

The final kicker is that if this truly is the final Beach Boys' LP...it's bears the imprint "Produced by Brian Wilson" and Brian is allover this LP...singing and writing and arranging.  Sorry, Mike...but this was a Brian LP (despite some great vocals from Mr. Love)...which is the way the story should end.

Whoops - I meant 2/5.

The bad and mediocore outweigh the good and great, however i really like a solid five of the tracks on the album - which is five more than i liked on SIP - and so i'm going to give the album a solid 3.

If I could have any wishes, here they are:

Do another album without pre-done tracks with Skunk Baxter on them. I want a full accounting of Dave's singing and guitar parts, with an explanation from the BB and from capital as to why he is not credited with vocals and why some songs feature hopelessly in-congruent guitar parts by the Doobie Brothers/Steely Dan legend to Dave's exclusion.
Accordingly have David Marks, whose stock and clout are at their height, really serve as guitar king, surf and otherwise, on the new album


Have vocals on a new album without Jeff: does any song on TWGMTR benefit, artistically, musically, etc.,  from his vocals?  Would any song have suffered if his parts were sung, with whatever needed changes in octave, assigned keys, etc., by Beach Boys? His voice seldom blends, and after 200 listens to the album, I cannot escape cringing whenever I hear him alone or him prominently. I am so sorry to be unkind, but I cannot prevaricate.

I would thus like a TWG album re-release, remastered with only BB voices.

These concerns alone compromise my enjoyment of the otherwise wonderful album.

Well, on certain tracks, he really is necessary. For instance, "Shelter". None of the guys, even Bruce, can do a falsetto, and if anyone else guests on the record for falsetto parts, people would be up in arms anyway. Jeff is the guy, has been for years and will be. It could be so much worse.

I agree with your comments re:Dave Marks.

Think About the Days: 3/5
TWGMTR: 3/5
Isn't it Time: 2/5
Spring Vacation: 2/5
TPLoB&S: 3/5
Shelter: 2/5
Daybreak Over The Ocean: 3/5
Beaches in Mind: 2/5
Strange World: 3/5
From There to Back Again: 3/5
Pacific Coast Highway: 3/5
Summer's Gone: 4/5

After 3 listens, I give this one a 3/5 and pretty much put it to rest.  Much respect to BW and the guys for getting together and recording an album after so long!

this is all wrong. TWGMTR has grown on me, much more than I expected!

3.5

Better than I thought it would be.

Seriously, you rate From Here to Back Again the same as Daybreak? Plus why only listen to a new album 3 times. I assumed we were all way more obsessive tha n that.

Haha. Yeah man, Daybreak is pretty good!

I listened to the album 3 times, VERY INTENTLY, and I feel like I have a pretty complete sense of the music on this one.  I enjoyed it, but there's nothing that I love so much that I'd return to it over listening to my all-time BB favorites!

What are your thoughts on TWGMTR?

I love TWGMTR, gave it a 4. I rate it as their best since Surf's Up and sort of equal to Love You (if you can compare anything to that album). It's got everything. Beautiful melancholia, catchy as hell numbers, quirkyness, commercial numbers and some cheese! In short it's the Beach Boys. Brian came up with some great songs and the boys and he have sung some beautiful vocals. The last 3 songs and Isn't it Time are probably my favourites but Think About the Days is a beautiful opener and I rate Shelter, Bill and Sue, Spring Vacation and Strange World pretty high. Mike Love's vocals sound so much better than anything he has done since the Sunflower/Surf Up/ Holland era, that was an unexpected bonus for me. I've loved all Brians output since BWPS with Lucky Old Sun being a career high in my opinion to sit alongside Pet Sounds, Smile, Friends and Love You.  This album is pretty much up there too. I've listened to it probably 50-60 times straight through as I'm obsessive that way and it is still revealing more to me on each listen.

Shelter blows. It sounds to me like a caricature of a Brian Wilson song. No offense to whoever likes, but I find it to be irredeemable.  Bill and sue is fine but its a very bland and boring listen. Daybreak is aight - I can dig it, although I kinda find the Christian love vocals annoying. Despite all that negativity, I still give this album a solid 5.0 without hesitation. Everything else on it is so amazing that it more than makes up for the two weak tracks and the one clunker (shelter). I freakin love this album to death. And as I've commented elsewhere, FTTBA/PCH might be the best beach boys song since this whole world, an it easily makes my top 10 of all time. It blows my mind everytime I hear it. I feel stupid for saying this, but I am so grateful to the beach boys, and especially Brian, for giving us this last kick ass record.  It's almost just too good to be true. I've always kinda resented Brian's solo career, so I am incredibly happy that he came back to cap off the beach boys' career with such a wonderful last album, written and produced by Brian Wilson.  Thats the way it's supposed to be. All is right with the world now.  Anyway, nuff said. I'm going to go listen to it probably for the 400th time.

It's almost a great album.

Songwise, the dip after Isn't It Time is absolutely abominable. Spring Vacation (I hate this song with a righteous fury), Shelter (It's average - the chorus is rote, the production does nothing unique at all, although Mike's vocal is nice) Bill & Sue (does absolutely nothing for the album) Daybreak (I like it, but I have absolutely no clue why it's on a new beach boys album and the production is right dodgy) and the horrifying Beaches In Mind (FUNNNNNN,FUNNNNNNNN,FUNNNNNNNNNNNNNNNNNNNNNNN). But then Strange World picks it up.

I'm also well happy that they didn't re-record old BW solo material, or use Dennis/Carl vocals. This is about the Beach Boys in 2012, which is what I think was part of the lyrical concern of the suite - the 'we're all still here but we're old and what the hell happened' which Mike seems to think gives him an excuse to write Spring Vacation and Brian writes PCH and Summer's Gone.

The other thing that worries me about it is the strange presence of BW. I have my suspicions that the vast majority of the album was Brian Wilson arrangement/production interpreted by Joe Thomas, that's to say he was running the board on the suggestions of B Dub. So the echo is synthetic and unconvincing, unlike his solo recs, the ubiquitous autotune (worst on BW's vocals) that still mystifies me. And yet, Brian was absolutely running the show on the studio floor - the arrangements sound like him, he was given anything he wanted, he kicked the band through the sessions just like he has wanted to since the nineties.

There's also the mythical 'suite'. Reportedly an album's worth in material, we only have 15 minutes of it. And all of it that made it onto TWGMTR, it's all of a piece -slow ballads and acapella bits. With the snippet of 'I'll Go Anywhere' from the PBS special, it seems it could have covered a lot more ground. I do wonder what happened to it - BW certainly didn't sell Capitol on the suite exclusively, yet he seemed to only want to talk about either the suite or the title track as the album progressed. Another factor is that the suite was composed piecemeal, as BW & JT sifted through their 1998 work and fitted everything together last year. If you're being charitable, BW was torn between this great suite he had assembled, but wasn't fresh, and all the new songs he was writing for the record in the past year, or if you're not, Capitol Records/Mike Love/Satan junked the majority of it for 'real songs'.

Who knows. I think there were a lot of fingers in this album. Capitol may well have sequenced it and sorted the production aesthetic. It may have sounded different had Mark Linett taken the reigns as BW's liason on the mixing desk.

I'll give it a rest now.

You read like Dr Johnson, which I admire. A formidable analysis, stern and compelling, though based in supposition about who must be responsible which production features we don't like.  Without rehashing my many analyses, let me say, so innocently, that  I listened to most of the album on PCH between LAX and Redondo beach and SV rocks exuberantly. Try embracing the song(s) by situation or, I should say, tied to moments and places.  With the "top down," literally or metaphorically, you'll cruise the scene more easily.  

I saved the "suite" for the drive home at sunset. . . .

I agree with a lot of this (although I happen to find Shelter to be a very good song). However, this is a Mike Love executive-produced album. Gone are the days of "All I Wanna Do", Mike Love is all about nostalgia and cheese and fun. That's what he wants The Beach Boys to be remembered for, and any album that he has a hand in will have it's share of corny tracks. The idea of a full Brian suite album is appetizing, but it really can't be an album under the Beach Boys moniker, because Mike won't have that.

One thing that bugs me is that in some tracks, it seems like Brian went into the vocal booth, sang exactly one line, and then walked back out. (check "Beaches In Mind") (and I can't hear him at all on "Daybreak"). The album isn't organic in a lot of ways - maybe that's Thomas' influence, maybe it's just the way everything is recorded today and I have to come to grips with that.

I wonder how different this album would have been if it was a Brian Wilson solo album? Do we automatically like anything more because it says "Beach Boys" on it? The Brian album would have "Bill & Sue" probably, (and I don't understand how that made the cut in it's final version, but whatevs), but you'd probably have a fleshed out suite and no fun-in-the-sun retreads. And, yeah, you'd be missing some great Al vocals on From There To Back Again, but Brian could have done those too. I think if TWGMTR was a Brian Wilson solo album, it'd be closer to Pet Sounds than....I don't even know what album is stylistically similar to this one. MIU?

It's a compromise album.  You have two different camps.  You have Magic Mike and Smilin' Bruce Johnston who make their money on the fair circuit and playing up the fun-in-the-sun angle.  There is nothing wrong with that.  It's always a good time.  On the other hand, you have Brian Douglas Wilson, who despite the odds...is still a creatively active performer.  He's still making new music.  When you go to a Brian Wilson show...yes, you're going to get the classics...but you're also going to get new music.  Heck, the last time I saw Brian live was in late October 2009 and the best part of the show was when they did the "Oxygen to the Brain/Southern California" suite.  You can hear both sides on the new LP...and that's fine.  You get the corny Mike Love summertime fun stuff...and you get the more serious Brian Wilson compositions.  Personally, I think they did a nice job mixing the two.  If you consider that the last "real" Beach Boys LP was "Summer In Paradise" and then consider the LPs that came before it...the new new record is really enjoyable.  It has it's tossed off moments.  It is sometimes corny...but man, it's 2012 and we have a NEW Beach Boys record that was produced by Brian Wilson and which features those incredible harmonies!  I'll put up with a "Daybreak" if it means I also get a "Pacific Coast"!

I'm just glad the Lovester gave the group Daybreak instead of Unleash the Love, Love Foundation, Brian's Back, or Plant a Tree.

Hah!  We should also be fortunate he didn't drag anything out of the "Country Love" vaults!  I wonder where on the running order "Rock n Roll Country Bride" could have fit?

I'm completely out of it. Ordered the vinyl on Amazon, and got a notice that it was delayed until 8/15/2012. So I assumed the entire release was delayed. Never bothered to check here until now, thinking everyone would be weighing in just now... ARGH!

Anyway, I so love the idea of a new release that it's hard to rate subjectively, but I gave it 3/5. It does sound a ton like the recent BW albums, but definitely has something extra with Mike and Al involved. I still don't know how Joe "Buddy Love" Thomas got back into the studio though. Someone probably has an essay on that history here.

My last thought though, being a Love You lover, is how awesome it would be to get a Love You 2. It'll never happen, but if 50 Big Ones is next, why not a Love You Too! followup? Brian's last "Eff you" to commercialism, making the music he wants to make and blowing away everyone who expects more surf and sand. Actually, "Bill and Sue" is as close to BBLY I've heard since "Male Ego".

The TLOS Demos?

Anyone else here changed the track order on their digital copies to reflect the vinyl?

OOP'sing Summer's Gone really shows how how great that string arrangement is. Nice one, Mr Mertens!

The first 5 songs are great (don't get all the hate for Bill and Sue), the next 3 so and so and the last 4 just magnificent (with Summer's Gone as my absolute favourite).

4.5 rounded up to a 5. Unexpectedly good.

Whats OOP'sing?

Out of phasing - you got audacity? drag yr track into it, split it to mono (drop down menu on the track), then select one of the mono tracks, go to effects, press invert. It gets rid of the centre channel, which doesn't do much for a lot of the album, but those strings take centre stage in the break.

Think About the Days: 1/5
TWGMTR: 3.5/5
Isn't it Time: 3/5
Spring Vacation: 2.5/5
TPLoB&S: 2/5
Shelter: 2.5/5
Daybreak Over The Ocean: 3/5
Beaches in Mind: 1/5
Strange World: 3.5/5
From There to Back Again: 4.5/5
Pacific Coast Highway: 4/5
Summer's Gone: 2.5/5

Just did, the horns at the end are incredible.

Haha, I've used this technique myself but had no idea there was a message-board slang word for it!  :lol

cool, I need to give that a try on Summer's Gone

In the excellent new issue of ESQ, Joe Thomas says on "Shelter" that it's Brian, not Jeff, singing the "I'll give you a shelter from the storm, and a house to keep you warm" part.  Joe should know since he produced, I mean, assisted with the album, but still it's hard to believe that's Brian.  Does it sound like Brian to you all?

No way - that's Jeff. Even when Brian did have a stong falsetto, it didn't sound like that.

Heavens, that's Jeff.  How can we trust JT when he says things like this? If it's Brian, he was made to sound like Jeff.

We need official, fully researched liner noted for this album.  I don't have the essay to hand; what else does he say about attributions of vocal and musical parts? Any further  light on Dave?

thanks

I like the song "That's Why God Made The Radio" well enough, it's a decent throwback kind of thing (like "Getcha Back" was), but the album itself on the whole, (though it has some moments here and there) I find boring and too stay-pressed.   
I realize I am in the minority on this, but I'd rather have seen them just get together - just the five of them, without the other dudes, and make a simple, straight forward album of them playing and singing to the best of what they can actually do these days.   That would have been real, honest and honestly I think real good too!  They could have made a very genuine harmony album as the old guys they are today, instead of pulling some fancy production number and trying to sound like 1965 again.    Oh well, just my opinion and I'm pretty sure there isn't one person who would agree with me.  I just find this album kind of sad and disappointing (though not surprising), and though I am happy for the reunion, this album (as a representation of that reunion) makes it seem rather disingenuous. 

Good lord no. Joe Thomas is smoking some auto-tuned crack.

http://www.examiner.com/review/new-beach-boys-single-loses-its-swagger

Brian IS singing the 'I'll Give you' part, I'll grant that...but so is Jeff, and Jeff is singing the rest of it.

I only hear Jeff there. Brian's falsetto isn't, erm, "impressive" nowadays, but I'd be very interested in hearing him give that part a shot. I'd bet my tits he could pull it off pretty decently. How old was the "Heaven" cover? And that was just a quickly assembled, spontaneous all-Brian cover, and his falsetto and voice in general there is pretty damn good considering his age and all.

other dudes? aside from Daybreak, there's only one vocalist on the album that's not a "real Beach Boy".

I totally just OOPSed Spring Vacation. it made Jeff a lot more prominent in the chorus and the bridge isn't as weird. it's still weird, but not as much.

Saw this on vinyl today.


So why didn't I buy it? Duh.  :wall

My wife told me yesterday that all my 5 year old son wants to hear when she drives the kids around is the Beach Boys, but the only BBs in my wife's car is TWGMTR. So psyched that my 5 year old loves TWGMTR. Very cool to think that his first memories of the BBs will be that album (i.e. a new BB album and not just the old stuff).

Put this on as my wife and 2 kids and I ran errands on Saturday. She was pretty amazed that my songs were singing along with me to all the songs. lol

I took a while for me to grow into this album (especially because of the production style, which I still am not a huge fan of), but now I love it!  Wow, it's like a dream that the guys were able to get together after so long and make an album that is this good...

I can't believe this album has scored such an overwhelming average of 4. No way is it above 3 stars.

1. Think About The Days - 5/5 (beautiful, spine-tingling opening track, promises more than the subsequent album delivers)
2. That's Why God Made The Radio - 3/5 (it's ok, i suppose, but not great, certainly no classic, the fade had the opportunity to be really great but they don't pull it off)
3. Isn't It Time - 4/5 (by some considerable distance the best upbeat song on the album, a genuinely good pop song, far better than the dreadful single version)
4. Spring Vacation - 2/5 (nice melody, but ruined by awful auto-tune - this is supposed to be the soddin' Beach Boys for god's sake! - and Mike's horrendous lyrics)
5. The Private Life... - 2/5 (a mediocre melody and an even worse lyric, naff production, i do like the radio voice at the end however)
6. Shelter - 1/5 (sorry but i just really, strongly dislike this song, the melody is just... nothing, and i don't like Jeff's singing at all, nothing against him, i think he adds enormously to the live shows, i just don't like it here)
7. Daybreak - 1/5 (hideous production, boring song. He's got some great songs in the vaults - Viggie, Glow Crescent Glow - why this lame Bluebirds rewrite?)
8. Beaches In Mind - 1/5 (it's just crap)
9. Strange World - 3/5 (the album starts to get back on track here, this is a nice song, not a favourite but i'd never skip passed it, it improves with subsequent listens)
10. From There To Back Again - 4/5 (close to being a 5/5, this is a really great song, fantastic vocal by Al, great unpredictable ending, more like this would've been good)
11. Pacific Coast Highway - 4/5 (terrific, short but sweet, like something from Friends, Brian being bold and experimental, not feeling he has to work to some formula)
12. Summer's Gone - 5/5 (the album opens and closes with 5/5 loveliness, this really is a gorgeous track, oh for a whole album like this, this could've been your Pet Sounds 2 Brian! Sod that ungrateful cousin of yours. A brilliant song, arguably Brian's finest moment in decades).

Overall 3/5.

I don't think I've ever tried rating each track by a number, but I feel so compelled in this instance.

1. Think About the Days - 5/5
2. That's Why God Made the Radio 4/5
3. Isn't it Time - 5/5
4. Spring Vacation - 5/5
5. Private Life of Bill and Sue - 5/5
6. Shelter - 3/5
7. Daybreak - 4/5
8. Beaches in Mind - 4/5
9. Strange World - 4/5
10. From There to Back Again - 5/5
11. Pacific Coast Highway - 4/5
12. Summer's Gone - 5/5

scientifically, that comes out to 4.4 but I voted for 5 on the poll, because I really really like this album.

4

Miracle album. It's 2012 and we have a new Brian Wilson produced Beach Boys album, and it's surprisingly good. I mean, who the heck would have thought that much possible. Obviously it's not going to top Pet Sounds or anything, but that's a pretty tall order and quite honestly how many albums by anyone have ever approached Pet Sounds greatness? No, this is a perfectly fine release when you consider exactly how awful it could be. This album, arguably has no business being anything like as good as it actually is.

There are some downright tasteless song writing choices in and among some real gems. That said.... we live in a world where people like Justin Bieber and Nicki Minaj actually exist as real people selling music; so maybe it's fair to view the songs on this LP in that context? Yeah, obviously Beaches in Mind as well as Shelter, Daybreak Over The Ocean and The Private Life of Bill and Sue don't do this album any favours, despite having their moments and the harmonies being just as strong. But the fact is that the rest of the album is pretty damned good, especially the final three tunes.

That final suite... oh my god. I love it! Al sounds incredible on From There To Back Again, which is just brilliant with it's stop-start rhythms and lilting woodwinds. It's all so wonderfully Brian, and yet he gave the vocal to Al, which is brilliant (in keeping with the long history of brilliant leads Brian has given to Al). Pacific Coast Highway is a wonderful extension of what began in the previous track, fabulous use of rhyhtm and you really feel the emotion in the harmony with that final 'gooooodbyeeee...' Then we get the fantastic Summer's Gone, which could have leapt right out of Pet Sounds, with it's gentle tack piano and percussion building up to that amazing finale and ultimate sense of surrendering oneself to the tide of time, just brilliant. The way it fades out to that rain really cements the Pet Sounds connection for me, too, but it works well in it's own context and is totally justified.

This final segment alone is worth the price of admission. It's a miracle, in my opinion, having the 70 year old Beach Boys coming out with that! I'll take it, even if it means there are some very dubious moments elsewhere on the album. As a whole this LP is a very decent addition to the catalogue and I'm sure it will continue to be looked upon favourably into the future when you consider the other work the group has done since the 70s.

Is Mike singing off key in the "Fun Fun Fun" part in Beaches In Mind? It sounds so weird.

I agree with SgtTimBob when he says this is a "miracle album". It is true that, because I'm fairly young, I didn't follow the band through the harsh years of drought and staining of their own image and legacy; Even so, I feel how amazing it is that we got a new album that is not embarrassing and it is actually quite good. After I first listened to Pet Sounds and the Greatest Hits, I took an almost cronological route through our beloved catalog, including Brian's solo albums. I guess that's the reason I value TWGMTR so much, since I wasn't able to connect to nor like the majority of the material the band and its leader put out after Love You. Combined with everything I already knew from the media, papers and so on (which provided the notorious relation between Beach Boys and cheesy in every level imaginable), it's hard to complain about the final result.

7 out of 12 tracks of the album are between good and excellent. That alone deserves a high praise. So much so that we get quickly spoiled and imagine a world where Daybreak and Spring Vacation don't exist. The latter is actually not THAT bad (certainly better than a lot of things that had come before), but the band could easily have done something different and better. Maybe, because it was their first new album in 20 years, they felt the need to reassure this kind of image to the possible new fans. Well, that's a theory, and I can forgive those slips.

The intro and the two singles are very decent. Being welcomed to a BB's album with a warm harmony and a sweet piano in the background is pleasant enough. The title song and Isn't It Time both have great vocal performances, though the latter is substantially better than the former: more dynamic, challenging and a better song overall. It stuck in my head immediately.

After that, the dip in the album is easily noticed, though indeed Spring Vacation isn't shameful. It is actually a half-decent upbeat song. Songs references don't sit well with me, however.

The Private Life and Shelter seem maybe a bit too corky and I'm still to get into these songs. Until now, they don't do anything for me, other than warn me that Daybreak is coming- I really dislike this song.

The final four is a treat. Strange World has caught my attention since the first listen, such a exciting and strong song. It starts to set higher standars for what was to come, in the final "life suite". Those final three songs are the ones that makes us (or me, at least) think that maybe with a little more hard work and better taste they could have done a real classic. Summer's Gone is nothing short than exquisite, really nice to see that kind of potential in Brian again.

A classic, after all, it is not. It is a Beach Boys album, which consequentely accounts for new theories, wishes, complaints, compliments and joy, in a flawed way. A well-deserved 4.

This album was a miracle. Better songs overall than the last real BB's album, the 1985 one....and I guess time will tell how they compare production wise, but honestly, I still find it hard to believe this album was made.

Last Great BB's album since "The Beach Boys".
The title track is great, the best Beach Boys single since "Getcha Back". Not a fan of the autotuning throughout the album, especially the title track, but I can live with it.
My favourite track is the closer, "Summer's Gone". Just brilliant, and if this is indeed the last Beach Boys studio album, then this ends the Beach Boys on a high note!
A must-get for any fan.
4 out of 5.

My first Beach boys album I ever heard completely from beginning to end, yes that's right.

Think About the Days: 4/5
What an awesome opener! And because of this little piece and Summer's gone's fade, this album can be listened over and over again (CD).
It just flows in perfectly.

TWGMTR: 3.5/5
Great song, but a bit too mediocre. I don't understand why they choosed this as the first single, that should've been Isn't it time instead.

Isn't it Time: 4/5
One of the best upbeat songs in years from anyone! I only wish Brian had little bit more parts, he sounds so great in the beginning of the song.

Spring Vacation: 3/5
Not as bad as some people claim. Corny lyrics maybe, but it's still a fun song. Fits perfectly to the context of the album.

TPLoB&S: 2.5/5
The weakest track, I like the music but the lyrics are out of place. Doesn't fit on this album at all. Vocals are great though, and the harmonies!
This is the Johnny Carson of TWGMTR.

Shelter: 3/5
I really do dig this song, but I just wish it had been recorded and produced in a very different way. Jeff sings well, but he just doesn't have
much "soul or heart" in his singing. Doesn't do anything for me. I wish someone else would've taken the lead. Like for example Bruce maybe?

Daybreak Over The Ocean: 3.5/5
People bash this pretty much only because it's the only Mike Love track. It's actually one of the best songs he has ever written, and a great love song.
I love the instrumental break with those spanish guitars, and the drum that kicks in at the fade. Great vocals too, except the last "because I lo-o-o-ve you"
is cheesy...

Beaches in Mind: 3/5
Pretty much same thing here as with the Spring vacation. It's actually really fun song and if it had a little faster tempo and more hard rockin' style,
it could've been a hit. But this version that we have, well it's not bad but it could have been million times better.

Strange World: 3.5/5
Really interesting and has a different sound than anything else the beach boys have ever recorded. But it doesn't really work much on its own, it's pretty good
introducction to the life suite though. I like the bell ring sound and again Brian's vocals.

From There to Back Again: 5/5
Perfect! Really moving from start to finish. These last three songs are as good as anything from Pet Sounds, Smile, or yeah anything.
 
Pacific Coast Highway: 5/5

Summer's Gone: 5/5
Maybe my favorite Beach boys song ever, just perfect. The last lines and the sound effects of rain and wind chimes are chilling. wow.


So I rate the album 4, it's not perfect but it's close to that. I have listened it at least 300 times, and it still sounds as great as it did the first time I
heard it. One of the best Beach boys albums ever, and I'm sure people will appreciate it even more after some time.

4/5 Excellent album.. I can do without Bill + Sue .. Beaches in Mind.. And im not to impressed with  Spring Vacation either.. These 3 sound weak to me.. But that leaves 9 other cuts of BB magic.. A fine record that re captures their glory and shows these old guys can still sing + rock..  Nothing to be embarrassed about  here.. Auto tune is a little annoying tho.. A minor miracle here in the grooves..!

This simply sucks, don't like it at all. 

Can you explain why it sucks?

Track by track?

1. Think About the Days - 5/5
2. That's Why God Made the Radio 3/5
3. Isn't it Time - 2/5
4. Spring Vacation - 1/5
5. Private Life of Bill and Sue - 2/5
6. Shelter - 3/5
7. Daybreak - 2/5
8. Beaches in Mind - 1/5
9. Strange World - 4/5
10. From There to Back Again - 5/5
11. Pacific Coast Highway - 5/5
12. Summer's Gone - 5/5

On first listen I didn't like a lot of songs on the album. I've given a view more listens since then.
Tracks 1-3 are great 4-8 are average to good and 9-12 are AMAZING.

Think About The Days: 4/5 Nowhere as near as impressive as Our Prayer. I do like the chord progression. I wish they somehow made this and TWGMTR segue together.
That's Why God Made The Radio: 5/5 This is how to write a new Beach Boys song without sounding dated (I'm looking at you Beaches In Mind).
Isn't It Time: 5/5 Great song. I like the shared vocals.
Spring Vacation: 4/5 I dig this one.
The Private Life of Bill and Sue: 3/5 Strange lyrics and storyline. Has a very 'Brian' Feel to it. Not a favourite.
Shelter: 3/5 This is where I start to get bored. Nothing real spectacular.
Daybreak Over The Ocean: 3.5/5 I like this though nothing amazing.
Beaches In Mind: 2.5/5 Really Brian? I'd rather take Bruce's remake of She Believes In Love Again then this. Lyrics are just terrible.
Strange World: 5/5 This is where the album really starts to shine.  Brian sings great on this.
From There To Back Again: 5/5 Just beautiful.
Pacific Ocean Highway: 5/5 My favourite part of the Life suite.
Summer's Gone: 5/5 Amazing. If this is The Beach Boys' last album, they ended it right.

Calculator says 4.16666666666666666667 so 4 stars.

I'm with you all the way on your rating of all of the tracks. I probably like Shelter a bit more than you do, but not enough to change the final score. A 4 from me, as well.

"Shelter" is rather boring... :P I skip it even more often than "Beaches In Mind" or "Spring Vacation".

I really enjoy the chorus (or refrain) with Mike & Jeff. A very nice blend there and it is a very Brian type chord structure. I can find something to like on almost every song that Brian writes. That "something" that just pulls you in, that you can feel.

5/5. TWGMTR is so far removed from anything else they've done that you simply can't compare it. (At least I can't.) For what it's worth, this is my verdict of June 2012, lifted from "my" other forum:

Bowing out gracefully. This is how I would describe That's Why God Made The Radio by the surviving Beach Boys. In response to comments made in earlier posts in this thread [of that other forum], I do feel that up-tempo tunes would have been inappropriate to what is clearly their swansong as a band. (The idea of a follow-up is patently absurd.)
There are plenty of joyous songs on board but the undercurrent is one of sadness and finality: "Summer's gone / It's finally sinking in." The Beach Boys are saying goodbye.
This is a CD I feel I could play at any time, in any company. There are tracks on the original albums that would throw the casual listener and I feel the compilations of hits sell the Boys short, musically. Which is why I've never played Beach Boys records when we've had visitors----until now.
Recorded if not written more than forty years since the original Beach Boys peaked, it's fascinating to hear the nods to musical styles that have emerged since then. I'm reminded too of recent things by Peter Lacey, himself heavily influenced by Brian's Boys. (It's hard to say who is being paid the bigger compliment.)
That's Why God Made The Radio has far surpassed my expectations. This is a band whose members had long gone their separate, often acrimonious ways. There can't be many who could pull off something as contrived as an anniversary album in such fine style.

I really love this album. I actually listen to it more than most other Beach Boys albums. Here's my review:



1. Think About the Days - 5/5 (the perfect album opener. It would probably have been even better if they had put it in front of the suite)
2. That's Why God Made the Radio 4/5 (fun song with great harmonies)
3. Isn't it Time - 3/5 (one of the more boring songs on the album, weird choice for a second single)
4. Spring Vacation - 3/5 (same as Isn't It Time)
5. Private Life of Bill and Sue - 3/5 (this song isn't bad, the melody is good, but it's much too long)
6. Shelter - 5/5 (I love this song, it's amazing)
7. Daybreak - 4/5 It's corny and schmaltzy, but it's one of Mike Love's best songs)
8. Beaches in Mind - 2/5 (the absolute low point of this album. It's actually the only song that' getting on my nerves)
9. Strange World - 5/5
10. From There to Back Again - 5/5
11. Pacific Coast Highway - 5/5
12. Summer's Gone - 5/5 (the last four songs are wonderful and perfect)

What an unexpected gem of an album.  I gave it a five.  I was hesitant to buy the album at first.  I heard the Boys do the title track on Leno, and thought it was OK.  I saw them a few days later, and they did the title track and Isn't It Time, and I wasn't really blown away.  I should note that, in 2012, I wasn't the BB completist I am now.  Finally, in mid August, I broke down and bought TWGMTR.  I proceeded to listen to it every night for about a week straight. 

The album instantly grabs you with Think About the Days.  I didn't fully appreciate the title track until hearing this wordless vocal piece segue into it. 

Isn't It Time grew on me as well. 

Spring Vacation is probably the weak link on the album.  Especially when you listen to it after the end of the C50.

Private Life of Bill and Sue sounds like a Buffett song to me.  Maybe a distant cousin of South American.  I like it. 

Shelter is another nice track. 

OK, here we go.  Daybreak Over the Ocean.  I didn't like this song at all at first, but it's really grown on me over the years.   In 2015, I really like it. 

Beaches in Mind is, IMO, the best of the fun in the sun tracks on the album.  Do It Again Part Infinity. 

Then, the album goes into the another level completely with Strange World. 

And if the Beach Boys recording career ends with the Suite, what a great ending.

From There to Back Again is a thing of beauty - the highlight of the album.  Al and Brian both sound great.

Pacific Coast Highway takes a hint from the Friends album that not all songs need to be padded out.  Short, sad, but sweet.

Then, the saddest song ever (because I love summertime), Summer's Gone. 

The album ends on a bit of a sad note, but it's a beautiful sadness. 

I can't really say enough good things about this album. 

After NRP, when I listen to Radio I hear too much Jeff. I had to delete IIT and replace it with the single version where he is kicked off the bridge.  I so wish they were all together on NPP--all their voices, minus Jeff--is the best thing in the universe.

I agree it would be great to have all the voices on there. 

But the million dollar question is Are you willing to boot off a few of Brian's songs for three or four of Mike's fun/sun songs? 

Granted I do like what Mike brought to TWGMTR, but at this stage of the game, I think Brian and Mike are just too different. 

ideally they would compose both fun and also poignant songs together. BIM was Brian's idea, and he was credited with spring vacation, words and music in part also?  Daybreak is the only song out of place because it has non-BB voices. . . .

I wish Mike would write lyrics like "Tell me why" and "whatever happened" but. . . . he has not.

I do agree that the mix of deeper lyrics and sun/fun stuff is what makes TWGMTR such a good album. 

I was just curious on your opinion as many of this and the BW board would prefer to jettison the lighter material on the record. 

Personally, I think the mix of light and shade makes for a more diverse and satisfying listening experience. 

I love the NPP album, but if I had my choice right now, I'd that TWGMTR over it. 

And.....just my opinion.....I'll gladly take the chesse of Spring Vacation, Daybreak, or BIM over those EDM beats on Runaway Dancer. 

1. Think About the Days - 4/5
2. That's Why God Made the Radio 4/5
3. Isn't it Time - 3/5
4. Spring Vacation - 0/5
5. Private Life of Bill and Sue - 0/5
6. Shelter - 0/5
7. Daybreak - 1/5
8. Beaches in Mind - 0/5
9. Strange World - 2/5
10. From There to Back Again - 3/5
11. Pacific Coast Highway - 1/5
12. Summer's Gone - 2/5

Starts off promising but then just completely falls apart. Redeems itself slightly towards the end. WAAAAAAY too much Foskett and the odd touch of dodgy tuna throughout kills an already bad set of songs.
1/5 overall.

Changed my mind some:

1. Think About the Days - 5/5
2. That's Why God Made the Radio 2/5
3. Isn't it Time - 0/5
4. Spring Vacation - 0/5
5. Private Life of Bill and Sue - 0/5
6. Shelter - 0/5
7. Daybreak - 0/5
8. Beaches in Mind - 0/5
9. Strange World - 4/5
10. From There to Back Again - 5/5
11. Pacific Coast Highway - 5/5
12. Summer's Gone - 4/5

Daaamn.

Lesse here

1. Think About the Days - Inexplicably really beautiful, makes the following dreck all the worse
2. That's Why God Made the Radio - Not too shabby, but sooo thin
3. Isn't it Time - Best of the fun-in-the-sun cuts, very summery despite poor Mike's mangled "isn't it time" at the end of the chorus that sounds like they got the robot from ELO
4. Spring Vacation - Awful lyrics, kinda nice backing track, nothing special overall
5. Private Life of Bill and Sue - Absurdly ridiculously preposterously meh
6. Shelter - Close to a decent song, some nice moments ("shelter from the sunlight") but distressingly half-assed and thin-sounding
7. Daybreak - Really just a nothing song, not offensive or close to good
8. Beaches in Mind - Could actually come from SIP and wouldn't be anywhere near the best track
9. Strange World - Nice, but a bit too flawed for me to consider it part of the closing medley (apart from those EERIE noises at the end, gimme chills)
10. From There to Back Again - Out of nowhere, something really wonderful (excusing the processing on Al's lead), far and away the best song on the album
11. Pacific Coast Highway - A lovely link between FTTBA and SG, but a bit too short to work on its own the same way the previous track does
12. Summer's Gone - A bit too simple and repetitive, but with beautiful moments ("I should wait/ I should stay", the sounds on the fadeout). Still miles ahead of tracks 2-9, makes for a fitting end

Ratings are too hard

I see I rated it 4/5, I'd say now it's more of a 3/5.

I agree with most of the other posters that the middle of the album is highly lacking.  I don't think it's bad, it's listenable but just very bland.  However, the first three tracks and the last three tracks are great.  So there's a great half of an album here.  Graded on a curve (because come on, it's the Beach Boys with Brian Wilson in 2012, it's still incredible that it was made in the first place), 3 out of 5 sounds right.  I'd say it's just as good as if not better than LA (Light Album) or the 1985 album.

Spring vacation is a great rocker and very fun to drive too. Beaches in mind somehow could have been great. What goes wrong on that song? My hero and my favorite beach boy was poorly served by the production because his guitar does not sound prominent nor clear.

Daybreak has voices on it that are not the Beach Boys and therefore should never have been on the album. Shelter and the private life of bill and Sue have not aged well for me and though I never turn a single song off when I listen to this album, I really dread those two songs in particular. I can listen to the title track over and over again endlessly. The final three songs and the opening number are also of infinite beauty. I made a playlist and replaced the album version of isn't it time with the single version because Jeff sounds so terrible on that album version. I think this album is overall quite wonderful and I listen to it and Brian's recent solo album over and over again to calm my troubled soul. All the moments of magic, or rather most of them, come when I hear multiple Beach Boys singing or playing together. Just to be able to say, there is Bruce, and now Mike comes in, and boy there is al singing and wow dave is playing some great stuff there, and wow Brian sounds strong on that, etcetera etcetera. That is the magic of listening to any collaborative work including the Beach Boys

Gave this another spin this evening. It's a great album----and the perfect swansong.

If NPP is a collection of miniatures, TWGMTR is wide-screen all the way. 

I agree.  Love this album.

To me the last three songs are the most fitting end to a recording career since The Beatles' Golden Slumbers / Carry that Weight / The End. 

This.

[This original Beach Boys album  (which may be the last one ever) deserves its own Tribute-renga palindrome - and RengaWagneR delivers!
These songs could be on a movie Soundtrack like a re-make of "NADINE". We suggest exactly that in the following film pitch/synopsis, introducing William DaFOE as director and danish singer-songwriter: Carla K(j)aerby as Nadine (with ROB Frabroni as the Sound engineer!). Soundtrack: mostly songs from GOD MADE RADIO'z (From Here To BACK AGAIN/Beaches In MIND/DAYBREAK/LIFE OF SUE/Spring VACATION/Isn't It TIME/PACIFIC Coast Highway/SUMMER's WORLD=a Medley out of SUMMER's Gone + Strange WORLD) movie-dog Borzoi=a wolfhound. FOCI=plural of focus. ENJOY!:]

                      '
    ->->"Hey-ho borzoi! DARE,
  dam' dog!" Handl-rows (R.E.M.)
      Music of "Back Again".
I'm sub "Mind", "Daybreak"! (Enid?
      - an SM). "Life Of Sue".
                    ²
    "Vacation" and/or "Time" (?)
      Slap pacific-apron 'till
          it 'n'/or "Pacific"
      appals!  EMI trod nano-
      IT, a cave (U.S.). 'FOE
                    ³
    FILMS NADINE: "K'aerby!
  Add nimbus!!" Mini-'Aga K.' >
      cab, FOCI!  "Summer's
World"? Nah! "GOD MADE RADIO'z"
         ROB!  (oh yeh)<-<-

What are you smoking?

He's more likely quaffing fine Sussex ales----and who can blame him? ;D

Been listening to this again recently.

1. Think About the Days - wonderful
2. That's Why God Made the Radio - take or leave
3. Isn't it Time - mostly leave
4. Spring Vacation - Awful
5. Private Life of Bill and Sue - weak
6. Shelter - take or leave
7. Daybreak - Don't like it. Not the Mike track I would have chosen to recycle...
8. Beaches in Mind - Awful
9. Strange World - I like this. A lot. However, it sounds like it could have come from TLOS where it would have improved the album considerably had it replaced any one of a number of songs
10. From There to Back Again - Best BB song since Sail on Sailor. A thing of wonder.
11. Pacific Coast Highway - Love this
12. Summer's Gone - Like this, but for me it's the weakest of the last four tracks

Not exactly a rave review.

 It's not exactly a great album.

Well, at least we won't have to hear these guys cranking out more albums like this.

TWGMTR has swansong written all over it. Releasing anything like a BB studio follow-up would be beyond silly. 

If you listen to it from start to finish, it almost plays out like a concept album about the C50.

The first few songs are "isn't it time to do it again," "summer weather, we're back together."

By the end of the album, Brian sings "I'm better on my own."  Then, Summer's Gone, and it's over. 

What still seems weird to me is just how quickly it was over. Most band reunions start out with plans for maybe a summer tour, and that's all; and then they end up extending and extending until, before you know it, 2 years have gone by. This reunion was just a blur. Glad they left us a permanent record of the reunion.

I kind of equate the 2012 reunion with the reunion of The Police from a few years ago.  Except with The Police, we didn't get a new studio album.  But we did get a really good live document. 

Of course, the main difference is that The Police only exist with Andy, Stewart, and Sting. 

I had forgotten all about that - another one that was done almost before it started. The difference there, though, is you don't have one of the members still touring as the Police, and another member touring under his own name, but doing shows of nothing but Police classics. Just seems so silly to me that Brian and Mike couldn't work out their differences, and continue the legacy together. But this seems to happen with almost every old band. I can go see Ray Davies do a show that is 99% the old Kinks songs he wrote and sang; I can see Dave Davies do a show that is half Kinks songs he wrote and sang, and half songs his brother wrote and sang; and if I lived in the UK, I could go see the Kast Off Kinks - former band members - doing their versions of the old songs.

But they've said goodbye. In fine style too---who would have thought it?

It's all about bowing out gracefully, knowing when to stop. The Beatles knew when to stop; so did Captain Beefheart. It's not difficult.

Yes, it would be silly.  I mean, Brian goes on tour with Al and sings all the great old hits - Good Vibrations, Help Me Rhonda, I Get Around, Surfin' USA, Don't Worry Baby, California Girls; Mike tours with Bruce and does the same. They should be together. Life is short.

It would be great if they did get together, especially now that Blondie is back in the fold.  But, I'm not holding my breath.  When the books arrive in the fall, I think that would potentially be the final nail in the coffin for any hope of a full reunion of surviving members again. 

But, you never know.  If Motley Crue could get together after The Dirt came out, almost anything is possible. 

Okay, they've got energy. Good. The Beatles did great things individually after collectively calling it a day. Beefheart turned to his other love, painting. They had energy in abundance and the two survivors still have.

I'd say it would be silly of the Boys to blow this chance of saying, "The Beach Boys are no more. That's what TWGMTR is telling you, if only you'd listen."     

John,

I'm with you.  I think the closing suite of TWGMTR is somewhat like the closing suite on Abbey Road. 

I think if anyone wants an idea to what a follow-up to TWGMTR might sound like, they just need to listen to Brian's No Pier Pressure album. 

"Life is short" is exactly why they shouldn't get back together if they don't want to (which, considering they aren't together, is presumably the case). Doing something you don't want to do because other people prefer it? Life is short. Do what you want and let the internet cry about it. If they wanted to, great. But they apparently don't. Oh well. TWGMTR was a good album and the closing was very classy, a respectable way to go out.

Maybe Mike and Brian can fight over which members of the Crue join their crew!

See the captain's post of 17 June. The man speaks sense (as always).

RR, the reason I cite NPP as the closest thing to a Beach Boys follow-up is that, apparently, some of the songs on that album were intended for a possible follow-up to TWGMTR.  Plus, Al Jardine's on five tracks. 

RR, I am not most posters. Once you begin to accept that, you will be on the road to understanding. :hat   

I barely heard any of Bruce on TWGMTR. 

I think the vocal harmonies are pretty "Beach Boy esque" on NPP, even if Mike isn't in the mix.   

Although, in addition to Al, you do get a lead from Blondie Chaplin.  Granted, he wasn't a part of the BB 2012 lineup, but he was a Beach Boy.

I hear you.  But, I think realistically, going forward, Brian Wilson solo albums will be the closest we'll get to new Beach Boys albums. 

IF we get any more BW solo albums.

True.

I don't think we can realistically expect as much activity as we've had in the last five years or so.  (BB album, C50 tour, NPP, L&M, tours from both camps, two autobiographies). 

I think anything we get going forward is a bonus. 

I think, at a minimum, we'll see the rock and roll album Brian has been talking about.

I will be very surprised if he ever does the rock and roll album. I guess it depends on what his handlers think will sell.

I'd be surprised if Brian even releases any new album period. Never say never I know, unless
it follows suit to NPP.  Can't really see Brian being too much hands on in the studio at his age.

And what's the point when the albums sell only a certain amount, and the general public only wants to hear him sing the hits from the 60's? Brian's spent a lot of years recording, touring, recording, touring, he'd probably enjoy a nice vacation now.

I give it a 3. I think the good songs (Think About The Days, That's Why God Made the Radio, Isn't It Time) and the great songs (Strange World, From There To Back Again, Pacific Coast Highway, Summer's Gone) add up to an amount of quality that hadn't been on a Beach Boys album since Love You. If it'd only been those 7 songs released as an EP, it'd be a 4.3.

Found this on my hard disk and thought why waste it?

Here, for better or for worse, is my transcription of the chords of "TWGMTT". There are moments when the chords reflect the vocal harmonies. At times my primitive notational system has forced me to choose between the vocal and instrumental harmonies. Such is life. All corrections and/or suggestions welcome----except that one suggestion. 

Intro:
| C - - - | F/G - - - ||
Verse I:
| C - Am - | Bm - Esus4 E | A - F#m7 - | Dm - G - | Am - D - | Am - D - | Dm - C/E - |
| Bb - - - | Gsus4 - G - ||
Chorus I:
| C - - - | Gm - - - | Eb Ebma7 Ebm7 - | Db - Dbma7 Dbm7 | F# F#ma7 F#m7 - | B - D - | F#/C# - G#m/C# | F#/C# - G#m/C# - |
| Dm7+9 - C/E Fma7 | Gsus4 - G - ||
Verse II
Chorus II
Bridge:
| Am - - - | D - - - | Dm - C/E - | Fma7 - G - | Bbm/Ab - Ab - ||
Coda + fade (general chords only):
| Db - - - | Abm - - - | Db - - - | B - - - ||
| Db - - - | Abm - - - | Db Ab/C Bbm - | Ebm - Gbm - |
| Db - - - | Abm - - - | Db Db/C Bbm - | B - - - |
| Db - - - | Abm - - - | Db Ab/C Bbm - | Ebm - Gbm - ||