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Mike Love single-handedly turned the Beach Boys' very creative Sunflower/Surf's Up/CT&P/Holland machine into an oldies act overnight with his idea of Endless Summer.
Actually, that long-standing view among supporters of the Wilson faction has recently been tempered by the admission of one James William Guercio that he, and the ENTIRE band, agreed upon a course of action earlier in 1974 that would find them embarking upon a more audience-friendly (read: oldies heavy) touring program when he joined their team. Whereas in the Jack Rieley era the oldies showed up mainly in the encore, with a couple of them sprinkled into the main set, in early-mid '74 they now comprised a good half of the main set...this was BEFORE "Endless Summer". So they were already on the road of no return...if "Endless Summer" and "Spirit Of America" hadn't happened, they might have maintained a bit of their contemporary integrity by continuing to play songs from "Holland" for awhile, and maybe the aborted Caribou album might have been finished and released, but they were definitely growing weary of playing newer material that was only received politely, at best.
Thanks for that clarification...Guercio's strategy (and the Band's) to re-employ a lot of oldies at that time, was clever and very appropriate since that weird, turbulent 70's era...The ticket buying public might not have been buying albums and might only have been familar with the older material. You mention "politely" listen at the shows as a first listen. Exactly!
It is better if the audience has familiariy with the material so they can be more actively engaged and enthusiastic (read sing along) which creates a more "interactive experience" and enthusiam. When we were in teacher training, we learned that you have to "build upon an existing experiential background" in small steps. Using a "few new songs" in a "measured fashion" holds the attention of the audience, not unlike kids in the classroom, and sort of "seduces them" (no, not "that" way) to listen to the new stuff. It is a "dance of sorts" for the band to "get their attention, keep their attention, and teach them something new," as our professors taught us.
Performing all new material does not allow the audience(the students) to show the teachers(the band) what they know and can respond to. It allows the show to be a "two-way interactive experience." It also brought the audience back to a "safer place" before much of the violence and strife in the US, at least, over the war and other social issues.
When I see The Stones, or some other band, I want to hear "the hits" because I know their catalog less well and feel "less engaged" when they do more obscure stuff that the "more ardent fans," want and which I am not familar with, at the show, and a live show is meant to "engage" the audience. It is not a one-way delivery. The bertter the audience "responds" the better the band performs.
It would not be fair to expect to hear the oldies from The Stones, whose catalog I know less well then that of The Boys, and apply a "double standard" to either. Unfortunately, sometimes it seems to be the most ardent fans who clamor to hear the more obscure material. It may not be realistic.
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