Lets Do It Again was certainly meant to be on it (just reading a 1988 interview from Contrast magazine which has Brian running through the songs on what was then the forthcoming LP and that was on it). Don't think I've heard that myself anywhere.

"Let's Do It Again" is on The Wilson Project  bootleg. Pity they didn't include it on BW 88.

Søren

Agreed. And it's a pity they didn't include "He Couldn't Get His Poor Old Body To Move" on the album. Did whoever was making the decisions for the final track list have an aversion to rock and roll, or were they trying TOO hard to make Brian appear as a "serious artist"?

What I would like to see is Brian, Mike, and Al go on a retreat to Al's ranch. While there, I would like them to address their issues with each other, heal some wounds, be able to laugh a little bit about the past, and walk away with some peace of mind.

Then, I would like them to call Bruce Johnston and David Marks and form a 2006 version of the Beach Boys. From there, I would like them to work on Brian's new "rock and roll" songs, with studio assistance from Darian Sahahaja and Jeff Foskett, and record a new album for the 45th Anniversary of the Beach Boys.

Finally, I would like them to call some of their old friends, from both the Beach Boys band and Brian's band, and work out a set list that is agreeable to all. Then, before I die, I'd like to see them perform - together.

And one more critical thought -- 1976 was also the year for Brian Wilson's stint on Saturday Night Live.  He lost a LOT of credibility that night with his performance.  At that point, the public's view of Brian's "comeback" was that it was a pure PR stunt exploiting a sick individual.  No one thought that Brian was in a position to do anything on the evidence of that show and 15BO.

I'd love to see that episode.  Any idea who hosted that night?

Brian Wilson.  11/27/76.

I think it was Jodie Foster

1.  Til I Die
2.  Do You Dig Worms?
3.  Farewell My Friend
4.  Heaven
5.  A Young Man Is Gone

Jeff, you threw a lot at me there! Great post!

I think our biggest disagreement is that you are looking more (not entirely) in hindsight, and from a critical point of view, as the knowledgeable Beach Boy fan you are. I am trying (to you unsuccessfully) to view 15 Big Ones from the average record buyer in 1976, who only knows the Beach Boys through Endless Summer.

In that regard, 15 Big Ones was not the failure you make it out to be. No, I cannot pull out the positive record reviews that I referred to. I was referring to more of the People magazine, or US magazine reviews, or newspaper articles, as opposed to "serious" music publications like Rolling Stone or Creem. I still maintain that more people read "they may be old, bald, and fat - but we're glad to have 'em back" than reviews which hammered the album. Although I agree the album deserved the criticism.

Just a few quick responses to your post... I did not say the Beach Boys were united behind 15 Big Ones. I said they survived 1976, which they did. The first real collapse began in late 1977 I believe.

I did not say their success was newfound in 1976. I believe I refferenced Endless Summer and Spirit Of America which were released in 1974 and 1975. But that is pretty close to newfound isn't it?

Love You probably sold what it did BECAUSE OF the success of 15 Big Ones. Love You was the album, if any, that "hurt" the the Beach Boys' career the most. And I still love it!

I'll close with this. 15 Big Ones, as flawed as it was, served it's purpose. It gave the Beach Boys a hit single and a hit album. Maybe it helped Brian regain some of his lost confidence. At the very least, it helped to buy time until he was "really back", which he proved with LOVE YOU.

So instead of Adult Child, the answer was MIU? If the people wanted those backward-facing cliches and (worse) Match Point of Our Love...well, I guess that would say something about people.

Luther, I did not say MIU was the answer. What I did say was that Adult Child was NOT.

Hey, I like Adult Child, although I think it's slightly overrated. I'm just stating what the general public preferred in 1976-77...

I don't get this!  Everyone thinks that because 15BO was a hit that it didn't hurt the BB?  And that LY bombing was what did it?  Come on -- re-read the 1976 press.  There was a tremendous backlash critically against the band who came across as washed up.  They had not released a new album in 3 years, they knew what was at stake, a huge promo package put together, and THAT was the best that they could do?  Carl and Dennis were both opposed to its release but overruled.  They knew what would happen.

Love You bombed for two reasons: 1) no one believed that the BB could make a decent record after 15BO and 2) they had already negotiated the new contract with Caribou at that time and poisoned the label against them.  That happened just as Love You was being released and the label gave it zero promotional push.  It frankly is amazing in some ways that Love You went Top 50 -- no single, no radio play, and yet it outperformed the next three albums which all generated radio singles. 

And did they ever actually submit Adult Child for possible release?  My understanding is that they did not.  And surely Warners would have taken something like Adult Child over MIU any day of the week.

I don't agree with you on this. Yes, 15 Big Ones did hurt the Beach Boys, but only slightly. Some of the reviews were critical, but there were also a lot of "we're glad to have 'em back" reviews. Brian took a hit, but people still believed he was a genius. The backlash gave them a dose of reality, and they survived 1976 pretty much intact. Even though much of the material on 15 BIG ONES was admittedly weak, the group was still happy that they got a hit album and hit single, and of course that Brian was back contributing.

LOVE YOU bombed because no one believed that the BB could make a decent record after 15BO? I totally disagree. Like I said, Brian was still regarded as a savior, they just had a commercially successful album, the Beach Boys were still selling out everywhere, and, this newfound success also helped (as Endless Summer did) re-open that wonderful back catalogue of material to fans. If anything, people WERE EXPECTING a new, great album from the Beach Boys. Now, Brian was really gonna show everybody. Now, he's really back. He was rushed into producing 15 Big Ones. He just wrote 40 new songs, two albums worth...

As far as the record company not promoting it, I never bought that as an excuse for LOVE YOU bombing. LOVE YOU bombed because of what it was not. It was not a Beach Boys' sounding record. And that's what the record-buying public wanted from the Beach Boys at that time. Other than the first 2 tracks on LOVE YOU, those songs are not even remotely what the public wanted from the Beach Boys. They didn't want Johnny Carson, Solar System, or Love Is A Woman. They didn't want to hear Brian and Dennis croaking (some would say ruining) potentially great songs. Even Honkin' wasn't a real car song like Custom Machine. Even the album cover was questionable (sorry, Dean). Do you really think a few ads in a few publications would've helped LOVE YOU? That album never had a chance. But I love it anyway.

And, finally, no I don't think Warners would've taken Adult Child over MIU. Like I mentioned above, in 1977, people were just coming off Endless Summer, Spirit Of America, Rock And Roll Music, It's OK, and I believe Sail On Sailor had recently charted. Warners would've taken one listen to Brian singing "Deep Purple" or Dennis croaking "baseball's on" or Mike singing about a pudgy person appearing and gone "WHAT!!!!!!!!!!!!!!!"

1.  I Saw Her Standing There - The Beatles
2.  God's Children - The Kinks
3.  Perfect Day -  Lou Reed
4.  God Only Knows - The Beach Boys
5.  Lay Lady Lay - Bob Dylan
6.  Light My Fire ( a live version) - The Doors
7.  Dreamboat Annie/Crazy On You - Heart
8.  This Town Ain't Big Enough For Both Of Us - Sparks
9.  Astronomy - Blue Oyster Cult
10. It Was A Very Good Year - Frank Sinatra

Hidden Track: Everybody's Got To Learn Sometime - The Korgis

Yeah, Fear 2 Stop, I remember reading an article where Brian disses his 1988 solo album. He said something about not really liking the songs - which he wrote! I wonder if that's a trend with Brian? When he releases an album, he talks about how hard he worked on it, how proud he was of it, and that it's some of the best work he's ever done. Then, as time goes by...

To say Thomas was all bad does him a disservice, I think. Imagination features some expertly produced vocals (arguably the best of Brian's solo career) and the co-writes on Lay Down Burden and a couple of others turned out pretty well, I thitnk.

I totally agree with you. And if the production of the instrumental tracks was so bad, why didn't Brian say or do something about it. He is credited (along with Joe Thomas) as the producer and the arranger of the album.

Blue Oyster Cult's early stuff was pretty powerful. Buck Dharma is vastly underrated...

Pulp Fiction

My favorite live version of "God Only Knows" is from a Farm Aid Live compilation CD. The CD was released in 2000 but I think the performance dates from 1986. It's a very clean track, you can hear all the instruments and background vocals, and of course, Carl's lead is spectacular.

Ian, I got your point (and I agree with it), but I think you missed mine.

Of course the quality of the track is a determining factor in whether we like/prefer it.   But WHEN AND HOW RECENTLY we heard the alternate version/unreleased song is absolutely a factor in our enjoyment of the track. And remember what I wrote. The degree of how much we like it changes over time.

I'll only bore you with one example - The Pet Sounds box set. I listened to Pet Sounds a hundred times over a period of 20 years. I memorized every note. Then, after 20 years, the boxed set comes out with alternate takes. They're great, top quality, "good" as you would say. Immediately I was blown away. I liked the different ending to "God Only Knows". I liked the original speed of "Caroline No", etc, etc. But after a few months, maybe a year, I started to prefer the 1966 released versions again.

BUT FOR AWHILE, after just listening to the newly released boxed set alternate takes, I was wound up. I might've even written a post on a BB board and said that they were "better than the originals". This is normal isn't it? We are always in different stages of liking/disliking BB songs. Is the quality of the track important? Of upmost importance. Is how long you have been listening to the track or how long it has been available to be listened to important? Of course it is...

New York Mining Disaster 1941

I have a theory about BB/BW fans and unreleased versions...

As obsessive diehards, we have been listening to the same songs for years, maybe even decades.  We have them memorized, engrained in our heads, we sometimes sing 'em in our sleep. That doesn't mean we're tired of them, just very, very familiar with them.

After listening to the same old songs , we are hungry for something new, anything new. Then, when we hear an unreleased or alternate version, we welcome it with open arms. The "difference" in the song is refreshing. Sometimes better, sometimes not. But AT FIRST, we usually like it better, just because it is new(er).

But I find something else interesting, at least for me. Many times when I first hear an alternate take, I think, "Oh, that's better than the released version. Why didn't they release this version". But as time goes by, it evens out and most of the time the original version will take over as the better version. Then I'll say, "Oh that Brian. He was right. His released take was the best". Or I'll hear an unreleased song and say "How could they leave that off the album". In a few months I'll listen to it again and realize it really is weak and realize why it was unreleased. Of course, there are exceptions...

Who would've thought that ADULT CHILD would be the last music that Brian Wilson would produce for/with the Beach Boys? Not me. And that was almost 30 years ago...

It wasn't.  He managed to get two tracks done in 1995.  And they were as good as you could have hoped for from the band.  Of course, that means that they couldn't manage to finish the album.

As soon as I pressed the post button, I knew I should've been more specific and not just used the word "music". I also knew it was just a matter of time (no pun intended) until somebody would call me on it. Which they did!

What I meant to say was "album" - released or unreleased - or at the very least what could be considered a "project". And, yes, I am aware of Brian's producer credit on Stars And Stripes, but we don't really count that now do we?

OK, Jeff, I  THOUGHT about the 1995 sessions. But I had some serious questions about those 2 songs. First of all, I thought the sessions were too brief to be considered a project. Do you know how long they were in the studio? A day or two (I don't know, that's why I'm asking), and second, although Brian was there and contributing, was he actually producing the sessions, or was it a group production effort? Was it ever officially announced or understood that Brian was the sole producer of the then "new" album? I look forward to your information on these sessions.

Who would've thought that ADULT CHILD would be the last music that Brian Wilson would produce for/with the Beach Boys? Not me. And that was almost 30 years ago...

I listened to these three in the 70's and I STILL listen to them:

- The New York Dolls (sad story, really)
- The Dictators (remember them?)
- The Stranglers (early period was a favorite)

Did any of you see The Bob Dylan Show in 2005? I'm curious about your thoughts...

I saw him last summer. He was touring minor league baseball stadiums with Willie Nelson. Dylan played the entire set behind a keyboard, only coming out front occasionally to play a harmonica solo. There was a guitar sitting next to him, and I thought he had to pick it up. But he never did. Somebody near me mentioned carpal tunnel(?). He played a mixed bag, with a slight emphasis on post-1989 stuff. I was slightly disappointed at the lack of hits, but in a way, expected it. The band was tight and Dylan put out, giving 100%. His vocals were a little raw (even for Dylan) but you could understand him.

Any comments on the recent Dylan, say from Love And Theft on?

Luther, I wish you hadn't brought up this topic. I've been trying to avoid discussing this subject, but now I have to get it off my chest. When I'm done, don't send Stan Love and Rocky Pamplin after me. It's only one person's opinion.

Shortly after Brian re-emerged with Dr. Landy in 1983, there were rumblings of a Brian Wilson solo career. Supposedly, Brian wanted to make music outside of the Beach Boys' "confines". Brian wanted to stretch out. Brian wanted to be free to make the music that was in his head. Brian wanted to be the producer. And Brian didn't want to work with Mike Love. OK.

Well, twenty-some years, six studio albums, two live albums, and a few B sides later, what do we have? To me, essentially, Brian has recorded twenty years' worth of Beach Boys' music - WITHOUT THE BEACH BOYS!. This thread has prompted me to look at Brian's solo recordings. I don't see one BW solo album (including BWPS) or even one BW solo track (except "Thank You") that would've been unacceptable for the Beach Boys to record. More importantly, I don't hear one BW solo song that wouldn't benefited from the Beach Boys' vocals. When I listen to "Melt Away", I hear Carl. When I hear "Rio Grande", I hear Al. When I hear "South American" or "Desert Drive", I hear Mike. And so on. And so on. You get the point.

Since 1987, Brian has worked with Russ Titelman, Jeff Lynne, Lindsey Buckingham, Don Was, Van Dyke Parks, Darian Sahanaja, and Jeff Foskett. Some might include Bob Dylan, Elton John, Paul McCartney, Eric Clapton, Willie Nelson, and Jimmy Webb. Not too shabby. I had hoped that just by associating with these people, something would've rubbed off, some kind of spark, some kind of inspiration. I was hoping for new material, something brilliant and dynamic. Brian could've recorded anything he wanted, as daring and complex as possible. I guess I'm just disappointed at the path he chose.

Did Brian stretch out? I don't think so. This thread kind of proves that. Did Brian break new ground? No, he recycled old ideas. Peter Reum stated that "in essence, he's been doing it forever." While that statement is basically true, it is also misleading. In Brian's earlier days with the Beach Boys, he might've recycled one, maybe two songs per album. BUT HE WAS PRODUCING UP TO THREE NEW ALBUMS PER YEAR! In Brian's solo career, he went TEN YEARS from BW88 to Imagination, and then SIX YEARS from Imagination to GIOMH. That's a big difference. His recent solo albums are dominated by re-workings. Even more perplexing are the re-recordings of old Beach Boys' songs. For almost 28 years (1967-1995), Brian rejected his Beach Boys past. Now, in the past 10 years, he has re-recorded, in one form or another, dozens of songs from his past catalogue. In my opinion, very few of these re-recordings surpass the originals.

The history books will probably be kind in evaluating Brian's solo career. His emergence as a concert performer and the resurrection of SMiLE will be highlighted. But as someone who lived and died with every new release, I will view it differently. I will see it as a bunch of would've, should've, could'ves. I will see it as wasted opportunities for 3-4 strong Beach Boys albums that would've been superior to the Brian's solo recordings that eventually surfaced. OK, I'm done now.

On GIOMH, I know that almost all of the songs existed in previous incarnations, whether from the Paley sessions, Joe Thomas era, or even earlier. Are "You've Touched Me," A Friend Like You" and "The Waltz" the only new songs?

I don't think "The Waltz" was a new song. Wasn't it a re-working of "Let's Stick Together" from the SWEET INSANITY sessions?

It's hard to believe Kokomo is 18 years old already, and I still have mixed feelings about it. The first time I heard it was on a TV special about Disney World or something. I thought it was the WORST Beach Boys' song I had ever heard. I didn't know it was gonna be a single, or about the movie Cocktail.

Shortly after that TV show, it was all over the radio (the people at work kept telling me that they liked it, not knowing anything about the history of the Beach Boys) and I warmed up to it a little bit. I liked it the most probably around the time it went to No. 1.

Right after it faded from the radio, I started to hate it again. Now, whenever I hear it on the radio, I turn it off! But I will say this about it. Whenever I make a Beach Boys' Greatest Hits mix CD for somebody, I break down and include Kokomo. And as much as I don't care for Kokomo, Carl and Mike's vocals are outstanding, it is catchy "summer" atmosphere music, and if Brian had written and/or produced it, I would probably love it and say "See, he still has it!"  It used to bug me when Beach Boys fans would hammer Kokomo and then say how great "South American" was.

I really don't get why so many people get their panties into a wad over this album.  The production is pretty good, the harmonies are killer, and quite a few of the vocalists give a good performance.  Lorrie Morgan's vocal on Don't Worry Baby is bitchin'.  409, Little Deuce Coupe, I Get Around, Fun Fun Fun and Warmth of the Sun are all great too.  How about Doug Supernaw doing Long Tall Texan?  That's awesome!

Two messy, greasy thumbs up!  4 stars.

You, sir, are a brave man.

I agree with analogdemon. Stars And Stripes provided some enjoyment. I'm not exactly a country music fan, but I could appreciate the lead vocalists.  Hey, you had contributions from Willie Nelson, Lorrie Morgan, Toby Keith, Collin Raye, and Jimmy Webb (arrangements). That ain't too bad.

Like every Beach Boys' album since 1967, the project would've benefited from some songs that were left off, like Rodney Crowell's "Sail On Sailor" and Tammy Wynette's "In My Room". I know they were planning a Volume 2, but why the shortage of songs? It's not as if the Beach Boys didn't have the material.

I'm not a Joe Thomas basher. I think he did a fine job in his short stint as producer. On Stars And Stripes, he made the Beach Boys sound like, well, the Beach Boys. I don't think Brian (or Carl) could've done that. Going slightly OT, I thought Joe Thomas did a good job on Brian's Imagination album. I don't think he over-produced it, or made it sound too slick. For anyone who thinks he "hindered" Imagination, could you point out specific tracks or parts, 'cause I don't hear it. Was it the overall feel? I think it's the best Brian sounded in his entire solo career, which ain't saying much.

Finally, I liked the Stars And Stripes video. I thought it was well done; a well produced documentary. It was funny and sentimental at the same time. I always enjoy studio and pre-concert footage. The Beach Boys actually looked like normal human beings; not drugged out, back stabbing, lawsuit serving, adversaries. Maybe I was an optimist in 1995-1996, but after watching the video, I felt good about the Beach Boys as a group, as a band, as people. I really thought something might come out of this "reunion"...

Holland seemed to have a purpose; something totally lacking in the subsequent albums.  I don't think there's any evidence to suggest that a 95 album would've blown the others away.  There are some good Paley/BW songs and there are some weak ones.  You probably would've had an album with the feel of a 60s one.  Maybe Sean O'Hagan could've pulled off something interesting... On the other hand, by this time, the Lovester's lyrics aren't up to much - just listen to Bummer in Paradise or the stuff off his new album - even worse than Kalinich's on GIOMH, which is saying something.

You raise some interesting issues, Ed.

First, I agree that Holland did appear to have a purpose. I felt they were trying to make an ARTISTIC statement with the lyrical content, specifically the poetry, and by actually composing a "suite" with California Saga. The recordings were slick, with various noises and sound effects. The group used sound effects before, but not to this extent. The album title alone, Holland, would suggest that the group was disassociating themselves from California, yet half of the album was about California. Interesting. And remember, Holland was originally rejected by the record company.

I also wonder what the 1995 album would've sounded like and what Mike's role would've been. By that time, Mike was calling a lot of the shots, and he would've demanded major input. Would've he demanded to supply his own lyrics to the Paley tracks?

And lastly, I'm sure Steve Kalinich is a great guy who writes lovely poetry. But with very few exceptions, HIS LYRICS TO BEACH BOYS/BRIAN WILSON SONGS ARE TERRIBLE!!!!!!!!!