Always found it weird that they put the laughing part on Smiley Smile (which is tons more bizarre/creepy than the stuff from Smile) on "Wonderful" rather than "Vegetables". It fits well, it's just a strange decision.

This song was always one of my top 5 favorite BB tracks.. The lyrics I related to heavily, and I felt it mirrored my own life and philosophy so much when I first heard it that my mind was blown. Rarely has a song connected with me as hard as this song has. The vocal and instrumental arrangements are another story, complex and amazing.. It all comes together in that song.. I look up to it more than God Only Knows.

However Sloop John B is my favorite backing track from this album. Just an absolutely sublimely beautiful track.

I've been a BB fan for many years and I just realized this version of this song existed. I always thought those "alternate" versions of Love You songs on "Brian Loves You" were exactly the same mixes as the album versions except just in crappier quality. I just realized recently those were the original Brian mixes for the album I guess. Did Billy Hinche sing this version of "Honkin Down The Highway"? Was that his original intent for this song? I wonder it was Al's idea to sing it and not Brian's.. I like Al's version a lot but I think I far prefer Billy's version of the song. He sings it with much more feeling than Al does, who just sounds kind of awkward. Billy really gives it an awesome, even kind of powerful vocal that enhances it. Too bad he didn't sing any other Beach Boys tunes.

Favorites change all the time for me, but here's my current favorites

Brian - Caroline No or Here Comes The Night '67

Mike - That's Not Me

Carl - I Can Hear Music

Bruce - At My Window

Al - Cottonfields

Dennis - Cuddle Up

I tend to forget that certain songs are on 20/20 as opposed to forgetting the whole album exists. I look at it as a hodgepodge album filled with random material from the rest of the band, with Brian contributing the least amount of material ever on a BB album at this point. It comes across as kind of a transitional effort into Sunflower and Surfs Up later except not cohesive at all, and coming across like a compilation of stuff rather than a fully flowing album, with some recent singles/old outtakes tacked onto it.

Then I remember there's songs like "Time To Get Alone", the LP version of "Cottonfields", "I Went To Sleep", "Never Learn Not To Love" (which I always think is a throwaway, but then I remember the harmonies on it are fantastic) and the awesome Smile outtakes. All songs I love and are gems that are some of my favorites. Overall, I just tend to forget how great of an album it is. It probably could have been sequenced better, and as much as the Smile outtakes are essential, they don't fit on here well and seem like they're tacked on to gain some extra attention.

I really don't care for "Nearest Faraway Place", but besides that there's not a mediocre song on there... I guess "Bluebirds" is mediocre, but I like it well enough. Shame that it does seem like a hastily put together album as it is a great one. I guess it doesn't really matter in the grand scheme of things. Not all great albums have to flow all that well, as long as the material is strong.

Another thing about 20/20 that I love is the LP version of "Cottonfields". The single version is great and perhaps more radio-friendly, but I love the LP version that Brian produced and prefer it. I recently heard the backing track of the LP off of some Dumb Angel rarities collection and it made me love it even more. Yeah maybe it's not "punchy" enough and maybe slower and kinda sluggish, but the instrumentation is pure Brian and I love the unique arrangement he gave this song.

Either my tastes are getting shittier, or I guess I just really love the Beach Boys, especially when Mike, Carl, Al and Brian are all involved and singing together. You definitely get that here at times, and it's easy to enjoy. The latter half screws the whole album up with utter filler, but a few songs on this album are pretty fucking great to be honest. "Island Girl", "Somewhere Near Japan", "In My Car" are all excellent, despite some cheesy dated production, but BW88 and BB85 were also horrid, probably even worse in some respects but still had great songs. I ended up avoiding this like the plague for many years, only heard "In My Car", but hearing SNJ and Island Girl was kind of a surprise to me. You'd expect awful embarrassing things like Wipe Out or stuff like off Summer In Paradise to fill this thing up, or faux-Caribbean music abominations a la "Kokomo", which "Island Girl" kind of is actually, but I can't help but enjoy hearing Carl and Al on here especially, that trademark Beach Boys harmony blend, and also some nice inclusions of Brian here and there. I just love the guys singing together and they really do it well here.

Now if they took off "Wipe Out", and the 60's rerun compilation songs tacked on the end for filler and actually tried to come up with a few more new songs, this might have gotten some more credit over the years. They could have easily filled it with other songs from the period (not exactly sure when Chasin The Sky comes from, but they could have tacked on Rock N Roll To The Rescue too). Would have made it much better and not feel like a cheap semi-compliation cash in.

Overall though, I enjoy at least the songs I mentioned, and I ended up giving it a 3 for those alone. "Kokomo" ain't bad. The whole thing is really a guilty pleasure, and songs like SNJ are actually really underrated.

Been a huge BB fan for over a decade now and only just got into this album and the other Spring recordings. I don't know why but I just kind of ignored this material for some strange reason until I realized how amazing a few of these songs are, especially "Sweet Mountain". I'm guessing Brian had a huge hand in the synth sounds on that one. I could be wrong but it sounds so much like what Brian would do a few years later that he had to have some input on how that one sounded. Plus he apparently sang on it (which he sounds extremely weird and I thought it was D Sandler doing those bass vocals at first).

Anyways, Sweet Mountain is pretty much a masterpiece. What an amazing song that is. There are some throwaways here and there, but this album is overall really well done and incredibly tuneful. Very enjoyable and I love Marilyn and Diane's vocals. I don't understand all this "they sound unprofessional" crap, like that really matters.. In fact these girls sound way ahead of their time. Kind of reminds me of all the indie type bands that would do stuff like this 15-20 years later, like Kim Deal/Kelley Deal from the Breeders for example. Their voices are fine and I love them. They aren't perfect but I love them for what they are.

"Thinking About You Baby".. wow what a great cover. Really can see how this song would have fit on 'Today' don't you think? Reminds me of "Please Let Me Wonder" or "Kiss Me Baby", with the same vocal interplay between Mike and Brian except with M and D doing the voices instead. Really shows how the style of this song was when it was first written in '64, before deconstructed for "Darlin'" later on. It's quite incredibly well done, I love it!

Everybody is really good too.. Tennesse Waltz is really beautiful.. Some really melodic stuff here that is pure ear candy. "This Whole World" is really bizarre on this record. Just makes me believe there's gotta be touches of Brian on certain songs more than others. The ending to this version is just plain odd! Some other great stuff like "Awake" and their version of "Good Time". The whole album isn't as incredible as the songs I named but it is all very enjoyable and should be essential to Brian Wilson fans.

The bonus tracks just make this collection even better because Shyin' Away is one of the most perfect pop songs that should have been a huge hit, Fallin In Love is beautiful with Diane's sultry vocals and a few others like "It's Like Heaven" which are awesome and have the touches of Brian for sure. "Do Ya" (and a few others which apparently Brian had much MORE input on that aren't on this reissue but on other collections of Am Spring/The Honey's archives/ old out of print LPs or whatever) and others are also worth seeking out, very great stuff. It's a shame that Brian didn't keep working with the girls on this stuff because he was doing really good things, even by the late 70s when he recorded/produced them again. I personally think that despite how much influence/producing he did on this eponymous LP that perhaps he's the one who got them to work and to do this stuff. I mean once Brian completely lost interest, and after this LP didn't do jack on the charts, Spring just ceased to exist didn't they? Sandler apparently didn't do anything to keep them going, when they had plenty of talent to do so. Something to think about. I do commend Stephen Desper and him for a job well done on this recording, I know they also deserve the credit and accolades for what they did to make this album sound so good.

Regardless of how much Brian did on this record (which I will continue to be fascinated about and read about), I love this LP and love what American Spring did on this LP, singles around the era or what they did later with Brian in the late 70's. It's mostly gold as far as I'm concerned. Love their voices, love the melodic, beautiful, catchy songs on this record and wonderfully quirky arrangements. I am grateful that we have at least some Brian touches/co writes in an era where it was rare to hear any true inspiration come from him, same with Love You and a few other songs in the mid and late 70s. I think that a lot of this LP sounds even better in modern times than it may have at the time. It's a joyful, unpretentious, fun and catchy record so far removed from the overblown and pompous production types of this era, and more in line with what modern indie/underground rock/pop type bands would do later.

Definitely disappointing after Holland, and I agree they should have ditched the covers idea. They should have kept maybe a few covers and the rest originals. A few of the covers are really awesome, like "Palasades Park" and "Just Once In My Life". I enjoy the odd synth symphony sounds on "Chapel Of Love". Agreed with a previous poster who said they listen for the sonic textures more than the song. The song choices aren't the best, but the production is certainly kind of interesting. When they do really cheesy like "Everyone's In Love With You" or just mediocre straight covers like "A Casual Look" then it is just bland and does not sound very good.

It's an odd mixed bag of an album but I think it's good overall. Maybe I'm used to it from years of listening, but there's no doubt there's a handful of great tracks here. Carl is most notably awesome on here, and "Talk To Me" is definitely very underrated.

I think it could have been a lot better. More originals, possibly from Carl or Dennis, and better choice of covers like some of the outtakes which are so good you don't know why they canned them (Sea Cruise and Mony Mony).

http://www.youtube.com/watch?v=4qb9vV-H9ec

Wondering where this video came from.  Very strange, unhappy faces.
Still, very striking how great Brian sang on MIU.

Wow great find, never seen that footage before. Brian looks very pale there, the rest of the band looks good overall, even Dennis. Brian just looks like he doesn't really want to be there. Sad.

Thanks a lot for recanting that story, even if AGD had to correct you a bit. I gotta dig into those archives and look for that story. It seems like Brian really had more insecurity and reclusive problems around that era ( '71 and a year or 2 after) than 74-75 which is when it was widely known he was always "in bed" for 2 or 3 years. Those pictures that circulate of Brian at the Pewter interview and at Keith Moon's birthday party really make me think the same as what someone else here said; he was probably sleeping a lot, but up all night partying too. Who knows, but there's so much info I'm still reading about from the early to mid 70s era.

That's absolutely hilarious.. That could be an interesting compilation idea someone could make though.. Could have a bunch of mostly 71-75 type era songs, including some American Spring stuff.

Sweet Mountain/Tennessee Waltz (since Brian supposedly played everything on the track didn't he?)/ California Feelin Demo/Fairy Tale Music/

A few others I guess, can't really remember much of what is out there right now. It's not much at all obviously.

By the way did Brian co-write that song "Silly Walls"? Never realized how great a song that is and I love the lyrics. I'm really surprised "Shyin Away" wasn't composed by Brian, but maybe it's the production that makes it sound so much like a Brian Wilson song.

Isn't that story supposed to be they go round for dinner, Brian is increasingly scared/awkward until he breaks a plate or something and goes up to his room, whereupon Macca knocks and hears him. Poor guy. That story is so heartbreaking.

No, that's the goldfish bowl/Candice Bergen story, as related by Terry Melcher in the 1971 Rolling Stone 2-fer.

I hate to unearth a really old thread (been reading archives here.. been a huge BB fan for years but never read this site until recently), I know that's annoying. The Brian "Bed" years really fascinate me though.. Actually Brian Wilson in the 70s in general really fascinates me. I can't really find this story anywhere though just by googling, only this thread. Anyone have a transcript? I've never heard about this before.

Rolling Stone did give it a very favorable review and suggested that if the Beach Boys wanted to add more members (they had just added Ricky and Blondie) they should have considered Marilyn and Diane!

I actually kinda agree with that! I wouldn't change history or anything at all, but their voices were awesome, I think they might have benefited from more of their voices. Then again that mid 70s period was quite different than what is on the American Spring LP so perhaps their voices wouldn't have gelled much with the songs anyways. Certainly love their voices and what they sang on some of that Brian Wilson written material!

I know I posted last and I'm double posting, but I was listening to an older version of
"Santa Ana Winds" and compared it to the version on KTSA. When was the original
bootlegged version recorded? Can't really find any info about that either except the version
on KTSA which was mostly tracked in '78 I guess. There's an earlier version that I could have
sworn was tracked in around 1974 possibly produced by Brian Wilson but I'm not sure.. Sounds like Brian
doing the count off at the beginning and there's a bass harmonica and slightly different instrumentation
than what was eventually released.

I guess the "Mary, oh mary baby oh mary!" melody is very similar to the Do Ya chorus.. but it also reminds me a hell of a lot of Mona as well, which seemed to use the same melody throughout the whole song..

I prefer "Do Ya" out of them all.. It's a very well done pop song, should have been a hit.

I've been listening to this show a lot lately (the 8.25th one) and it is certainly a very fascinating recording. So much mystery to this period that mystifies me to no end. The screaming you mention is a really interesting thing to think about. Apparently they were still well loved in Hawaii at the time. Anyways, while this show is certainly kind of sad at how lackluster the performance is, there are some really really good versions of songs here. "Heroes and Villians" is a huge highlight. I've also noticed a really great backing harmony part in Sloop John B during the verses that must have been buried in the mix on the original. Plus the cool Surfin' organ line.. And the only "Getting Hungry" live version on this thread.. also the fact that strangely, "You're So Good To Me" fits the Smiley sound like a glove. Tons of little highlights here and curiosities. The fact that Brian is on here and DOES seem in charge is incredibly priceless.

I have a relevant question to this thread. I just found a lost Honey's LP with apparently some late 70s Brian Wilson productions/songs on it. It has "Do Ya" which I'm addicted to right now. I can't believe a song this good and catchy is so obscure.. Does that sound like Brian at the end? Because if so that's some amazing vocals for the late 70s. Anyway, I can't find any info about this song. There are a few other obscure Brian Wilson productions like "Romeo And Juliet", a "Don't Be Cruel" cover (also very very good),  and "It's Like Heaven ". I found info on the sessions page about these, but I couldn't find when "Do Ya" was recorded. It sounds like Brian recycled this song for about 2 or 3 other songs as well (most notably "Mona" and "Hows About A Little Bit Of Your Sweet Lovin".. possibly also "Almost Summer"). I also must say Marilyn still had an awesome voice at this period. I can see why Brian used her on a few Beach Boys songs around this time.

What are you saying? The cantina version's fade is perfect! The song goes through all kinds of hoops and loops, all kinds of craziness going on... Then it ends with a BANG (the explosion), and the fade represents our hero riding to the sunset after his big adventure. I say it's no placeholder. It just makes sense. Kind of like end credits, you know?

Yeah I can't believe people would take off that "false barnyard" ending.. That is definitely one of my favorite parts of the original H&V.. The ending is absolutely perfect. It makes you realize what an epic song you just listened to. It's like a movie with the perfect ending. Those BB vocals (I can't remember if they were in the original mix or not) are some of the most gorgeous harmonies they've ever done! Up there with Our Prayer and the Whispering Winds tag from SS Wind Chimes to me..

Most of me loves the album for what it is. It is pretty low-key, under-produced, very lightweight at times, but then again other of their albums are also lightweight at times (Sunflower) and people enjoy that. It's just such a warm, comforting, relaxing type of album, with some very nice melodies, great little subtle arrangement touches, and even some subtle experimentation with the last few songs on the record. It reminds me of what Smiley Smile might sound if they weren't in a rush to release something, had their head together and maybe weren't stoned so much (I absolutely love Smiley Smile for the record).

Also something that is worth mentioning is that while Brian is definitely the leader here still and all over the record in terms of production, arrangements and songwriting, it's still quite collaborative with the other guys in the band. Look at the credits for "Be Here In The Morning" and "When A Man Needs A Woman". Just all over the place as far as who is credited on some of these songs, which is interesting..

My favorite songs are "Busy Doin Nothin", "Meant For You", "Diamond Head", "Friends" and "Anna Lee The Healer". Basically the most obvious Brian Wilson-esque songs on here I think are the best. Those two aforementioned songs Mornin' and Needs A Woman are two of the weakest, but mostly because of the lyrics. I don't think that was even Brian's fault, or I doubt it. The songs themselves are still pretty quirky pop tunes, with really good vocals. I don't think there's one bad song on the record. "TM" is definitely the weakest of the bunch and obviously is a weird inclusion to close the album (it sticks out like a sore thumb) but over the years I've appreciated it. At least Brian sings a nice vocal on it.

What's the difference between the Landlocked version of "Good Time" and the Love You version of "Good Time?"
Other than mixing, that is.

Was the Love You version the original track and the Landlocked version added onto? Or, was the Love You version stripped down for release?

Same recording, no overdubs or additions. The overall mix is fairly different, the production is different, the backing vocals are drastically louder, and Brian's bit of ad-libbing (the "Whoa-whoa" stuff during the bridge, the "hey" near the end) aren't there.

I find it weird on the MIC box they used the same exact mix as on Love You, yet placed the song on disc 3 along with the other 1970 Sunflower-era tracks. Sandwiched in-between Suzie Cincinatti and Slip On Through. It's not a problem at all and doesn't really matter since the mixes are pretty much the same with only very minor differences, but strange they wouldn't go with an older mix (the mix that has been booted).

I still also wonder what is up with Sail Plane Song and why they would add effects on there that most likely wasn't intended on the original version (as heard on Endless Harmony). I mean it's cool to hear an experiment like that and I'm glad we have both, but it's just... strange.

I think it's indeed from around 1974, Steve. He sounds just like he did during the Pewter interview. Compare this voice with, say, the Mike Douglas interview in 1976. The two voices are the difference between night and day. MUCH clearer on this tape from '74.  And why else would Larry write "Brian circa '74" on it?

Is this interview available to hear anywhere? Been trying to collect 70s Brian Wilson interviews lately.. There's another one I just heard of Brian and Diane from 1973, where Brian mentions that he hasn't been recording or producing much, just been trying to promote "his main band for the last 2 years" American Spring. Also explains why the name was changed from Spring. Great interview but it also weirdly ends with laughing that I didn't understand. Possibly the comment about "my main band for the last 2 years is Spring" which has been quoted a lot around the board I'm sure.

That was when he fled to NYC after Murry died - Brian started laughing uncontrollably because he'd said they were going to be on Ed Sullivan before he remembered the show had been off-air for about two years by then. He wasn't in a good place then, to put it mildly, and understandably so.

Thanks for the info. I didn't get why everyone was laughing but now it makes sense. I didn't know Ed Sullivan was off the air by then. I did notice the interviewer asking Brian how New York was. I had no idea he fled to NYC after Murry died. I guess Marilyn and Diane came with him? Very fascinating period of his life that I don't really know much about.

Also it was sad to hear Brian's voice when he said "the Beach Boys records just aren't selling".. you can hear that he has grown frustrated and uninterested in the group, and he is also trying (in vain) to promote the Spring  'Shyin' Away' single - "PLEASE buy the record"... All that plus Murry's death must have crushed him at the time.

I think it's indeed from around 1974, Steve. He sounds just like he did during the Pewter interview. Compare this voice with, say, the Mike Douglas interview in 1976. The two voices are the difference between night and day. MUCH clearer on this tape from '74.  And why else would Larry write "Brian circa '74" on it?

Is this interview available to hear anywhere? Been trying to collect 70s Brian Wilson interviews lately.. There's another one I just heard of Brian and Diane from 1973, where Brian mentions that he hasn't been recording or producing much, just been trying to promote "his main band for the last 2 years" American Spring. Also explains why the name was changed from Spring. Great interview but it also weirdly ends with laughing that I didn't understand. Possibly the comment about "my main band for the last 2 years is Spring" which has been quoted a lot around the board I'm sure.

I''m Waiting for the Day*- Brian wrote most of the lyrics.

Wow what's your source on that? I wonder what Mike contributed to the song. Was just listening to it and realized how beautiful the lyrics are. He definitely was an underrated lyricist

Didn't he write the lyrics for "I'm Bugged At My Old Man"? Strange song.

I always preferred the Smiley version by far. It finishes the song nicely, the vocals are incredible and the bicycle rider part I always thought was a perfect chorus. I don't see how that could stifle the songs momentum at all. On the original versions, sections changed randomly into each other and didn't have much of a flow to begin with! So how could the single version ruin the songs momentum when it didn't have a straight momentum to begin with? I love the Smile versions with the different sections. I love how Smile in general is modular and changes from section to section randomly, even if it sounded unexpected and out of left field. There's no way that the public would get that Cantina version of H&V and it wouldn't have topped the charts as far as I'm concerned. Just look at the charts in '66 and '67. There were still lots of catchy pop songs high on the charts. GV was still a catchy pop song through & through ( even though the production was beyond what most other artists were doing).

I personally think it says a lot how well H&V did on the charts after SMile was abandoned. It didn't hit top 10 but it still hit top 20, not too shabby. I doubt any other version that was done for Smile would have done as well as GV as a single. Vegetables however I think would of had potential.

I'm addicted to the 74 demo version now. It is not taken seriously and just so much fun to listen to yet there's some strong emotion in there here and there (just listen to that fantastic outro to the song! Brian can obviously hit high notes pretty well at this point). I have to agree I love the Randy Newman type style done with this song. Makes it quite beautiful. Brian didn't screw it up enough for it to sound totally goofy IMO.

However I also love the Beach Boys version. The MIC version sounds fantastic and in my mind, that is the definitive version to me. The vocals sound amazing and it is so "Beach Boys" in style that it is almost a crime this was never released on an album AND as a single. "California Feelin" even the title is so beach Boys and sounds really commercial to me too. Maybe by 1978 it wouldn't have done well on the charts, but earlier in the 70s,I have no doubt it'd be at least a decent sized hit.

I love the BB's full-band version... BUT, the little BW bit where he says "like most days" seems almost like a joke that was tagged on there, and I question if it would've been included as part of the song if the song had been released back then. It makes me cringe a bit... then I go back to liking the song when Carl's vocal comes in.

Oh I agree. I was really confused when I heard that intro BW bit, because I've been familiar with the BB's version of California Feelin on boots for years and never heard that part before. I don't think it should have been tacked onto the intro of the song like that, but then again it does fascinate me how BW's vocals are so similar to the 1974 Brian here for it being done in 1978.

I've always thought this song is rather underrated. I mean, this is a LOW bar, but I think it's one of the better 80s BB tracks, myself. The production is incredibly dated and of its time, and if you've never seen the music video please do yourself the favor of sparing yourself the nausea, but it's kinda funky and I think it's interesting that they chose to have Brian sing it. His screamy, nasal vocal adds something rather raucous to it.

Have to agree with you here.. This song sounds TONS better than most of The Beach Boys (1985). Some interesting touches in the arrangement (like the acoustic guitars on the chorus), some pretty good full harmony, and I dig Brian's vocal.. Sounds like he's trying to get that old 60's Mike Love sound. Actually the verses remind me a lot of the song Hully Gully, which Mike did sing on the Party album. The production isn't nearly as dated as I'd expect it to be. Not half bad, the 80's cheese doesn't overwhelm it. The lyrics are silly but not cringeworthy at all.

I think this song should have made it onto MIC. It's an interesting song in a sea full of mediocrity or pure crap. I actually don't hate Beach Boys 1985 all that much either.