Author's Note: This review was published in the May 1980 BBFUN Newsletter. In reading it again, 35 years down the road, I can see the rose colored glasses that were over my eyes to a degree. But....here it is with a few corrections that make it more readable...
Want something familiar but fresh sounding in your musical diet? The Beach Boys' recent albums have often been criticized for sounding dated in the eyes of some critics. No such criticism is fair in relation to Keepin' the Summer Alive. The album has flavorings that recall the best in past Beach Boys music. Vocals are intricate, harmonic, and most important, spirited. Bruce Johnston's production efforts are bearing fruit, and this album is a testament to his catalytical role in the band's present situation. Stephen Desper's engineering gives the album an aural sheen which is at times breathtaking. Rarely has a Beach Boys album sounded so tasteful.
This is an album for fans to be proud of, to play for friends, and to get behind. Minor criticisms arise, but in the context of the whole album, they are relatively picayunish. The first thing that someone who has followed the the band for years hears is Brian's enthusiastic participation. His contributions may be heard in the tracks, the vocal arrangements, but most especially in the songwriting. The essence of a Beach Boys album is usually based in Brian. This album qualifies as that type of a record.
Carl contributes two new styles of material, the title track, and the country flavored "Livin' With a Heartache." The balance of the songs on the album will sound a little more familiar to Beach Boy fandom. Critics of Beach Boys music are usually divided into two factions....those who simply never liked Beach Boys music - and those who feel that their music since Surfs Up or Holland has been sub par. Those of the first school seem to dislike the album as much as ever, but the interesting critical trend is among the second school. These critics generally love the album as much as ever, are very positive about it, and there are more than just a few. This in turn brings casual Beach Boys fans back into the fold. We of the hardcore fan persuasion knew this album was special the minute Goin' On hit the radio. The spectrum of experimentation on this album leads to a variety of songs which appeal.
"Some of Your Love" is what could be called an old time Beach Boys song. It is the song of the post Holland years that best captures the pre-Pet Sounds era sound, but for whatever reason - it works well, and the result is beautiful. It is a step beyond anything in the Seventies in "that recapture the old sound" effort. "Goin' On" and "Oh Darlin'" are some of the nicest ballads in recent years. "Goin' On" has vocal intricacies which extend musical and lyrical ideas from "Good Timin" (and Surfer Girl) into a beautiful counterpoint vocal bridge. The Beach Boys have always been identified with songs of this type and they are wise to include something in this style.
"When Girls Get Together" is from the archives. Originally recorded in 1969, its beautiful track offers mandolins, marxophones, and a booming bass over which are some beautiful lyrical ideas and a nice group vocal are placed. Here's hoping there are more songs like this in the archives. Perhaps a cold tracks album would be nice. This song is unique in its sound. No other Beach Boys song approximates its Parisian/Roman sidewalk cafe flavor.
Carl's two compositions with Randy Bachman are a perfect contrast to some of the more traditional Beach Boys sounding tracks on Keepin' the Summer Alive. The title track bounces along in a powerful fashion, with a boogie rock sound, something the Beach Boys are not known for. A nice tempo shift and Joe Walsh guitar solo highlight the song. "Livin' With a Heartache" is one of Carl's nicest compositions, and deserves hit single status. Both of these songs are new directions for the group, and they work. "Livin' With a Heartache" could be a country music crossover hit.
"Sunshine" was inspired by "Little Boy," a Phil Spector production from 1963. Although it bears little resemblance to that tune, at one time The Beach Boys intended to cut the song. Instead, it served as a loose basis for this calypso/tropical flavored song. Another experiment in a new musical direction, it bears similarities to some of Van Dyke Parks' recordings. Steel drums played by Vince Charles show up, and add new dimensions to Beach Boys music. But, after all, what is the Caribbean known for but its beaches? This is another experiment with a new sound, and is most welcome.
"Santa Ana Winds" is a pretty song. Its problem is continuity. The spoken introduction disrupts the listening pattern from "When Girls Get Together." The transition becomes disconcerting.Perhaps a note on the inner album sleeve would have been more apropos. It is, however, the first venture into a pure folk sound since Holland in 1973.This is an exciting development. The track is interesting, especially the harmonica track, which is outrageously good.
This leaves two "oldies" on the album, each closing a side. "School Days" is very nice for its acapella introduction, which is something that is a little touch which obviously had a great deal of effort put into it. The song itself is alright, but has background vocals that are jarring, taking attention away from a good instrumental track and a great Alan Jardine lead vocal. "Ten Years of Harmony" is a 1974 single "B side" by California Music, sung in third person by Bruce Johnston. Written as an affectionate memoir of his first tenure with the group, the song has been adapted into an interesting moody encapsulation of the group's first decade. The narrative has been changed from "they" to "we." Retitled "Endlesss Harmony," it is a nice closing track that should have had 60 to 90 seconds of acapella singing to close the album. The ambiance of the track is stunning, a tribute to the work of Stephen Desper.
Keepin' the Summer Alive is too short an album. It begs for another track on both sides, and even with them, it still would have been shorter than 40 minutes. There are no Dennis Wilson songs....this is sad. "Baby Blue" stands out as one of the finest tracks on the L.A. Light Album. Whoever did the graphics work should realize that some of us care about the lyrics, and would like to have them to follow. It makes the process of getting into the album a more intimate and personal experience. Beach Boys lyrics are good, and there is nothing for anyone to be ashamed of lyric wise on this album. (For those of you who care, buy a Japanese copy).
In spite of these flaws, the album reveals a freshness and vitality that bodes well for the future. The Beach Boys are 18 and 1/2 years young, and you are only as old as your musical ideas are. The musical ideas and experiments on this album are for the most part new. Sticking their musical toes into calypso, folk, and modern country is the best step they could have taken. Yet, there are enough traditional Beach Boys sounds for the more musically conservative among us. So, while pleasing old fans, Keepin' the Summer Alive will make some new fans. (Now if they would only cut a George Gershwin tune). With support from us, the fans, we can all go out and wear down a few of the uninitiated and cynical. This album deserves to be a hit, more so than any album for a few years. Whatever becomes of it, keep up the extra effort and new ideas, guys, and thanks for the album!
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