Beach Boys 50th Anniversary Tour Recordings Part 2-Live in London-Mermaid Theater 9/24/12

Well, this subject is a favorite of mine. The memories I have of London and British fans are nothing but warm. I had the good fortune thanks to David Leaf and Dave McHarry to attend both the 2002 Pet Sounds Concerts and the 2004 Smile Premiere Concerts in London. British fans are incredibly loyal and along with Japanese fans are probably the best audience in the world for The Beach Boys. The recordings I am currently discussing are a BBC Radio 2 broadcast from the Mermaid Theater in London, and the final concert of the 2012 Tour from Wembley Arena (in part 3).

The Mermaid Theater show, from September 24, 2012, is an abbreviated set that hits many musical highlights from the entire Tour. The Beach Boys perform some 20 songs, and the stereo sound is exquisite. They have an amazing live quality, minimally doctored unlike some other concerts. The show starts out like many others, with a shortened set of surf tunes, beginning with Do It Again, moving into Catch a Wave, and followed by a spirited and new wave flavored Surfin' Safari. A jewel of this performance is Brian's version of Please Let Me Wonder, which he nails perfectly. This song is without peer on this Tour in terms of the quality of performance by Brian of the ballads for which he became famous as a lead vocalist. It is achingly lovely.

Alan chimes in with a breathtaking Then I Kissed Her which is always a highlight of every performance on this Tour. You would not know it wasn't 1967 when the single was released in the United Kingdom. A first rate version of Isn't It Time is next, and the shared leads on this version are well done. Mike's voice sounds a little raspy when he introduces the tune. His vocal is solid if a little thin on the song itself.  The harmonies are on key and avoid being pitchy. The arrangement for Why Do Fools Fall In Love by Brian and as implemented live is terrific.  The tag is amazing as all of the group fall in harmony within a count of 4 beats to form a wall of harmony. Jeff"s high harmony is a little too prominent.

Jeff's lead on Don't Worry Baby, the next tune, is less breathy and is first rate. I love the guitar tones on the bridge. The backing vocals are heavenly. I Get Around follows. The groups' vocals are very faithful to the studio version. Mike gets a little pitchy, but this is because his voice has deepened as he has gotten older. Brian follows with Heroes and Villains. His vocals are nicely done. The song requires quite a lengthy breath to get each line out. I don't hear any off key notes here. Brian's voice is very strong for being the end of a the tour. The group harmonies leading into the tag are awesome. The tag is breathtaking.

The next song, God Only Knows, is also sung by Brian. The song retains it's stately feel, Brian's lead is solid, and is on key. He pulls off a difficult lead that is forever etched as being Carl's trademark. Brian's reaction to the audience's response is delight. Alan comes back with a lead on Wouldn't It Be Nice. The vocal sounds doubled. Perhaps this is another band member, but it could be a mixing console invention. The last stanza with the slow down is beautifully done. California Girls is introduced with it's beautiful instrumental beginning, with Mike Love doing his trademark lead exceptionally well. Backing vocals are also very fine. Bruce is distinct on the tag, which goes a capella for three measures before ending.

Good Vibrations is patchy, with Mike's voice off mike for a few beats. Brian's lead follows Carl's studio vocal except for the high notes which Jeff does. Nelson's sleigh bells may be heard on the bridge. The concluding section with the stop is great. The stairstep harmonies on the tag are well done. Rhonda follows, and this has been a highlight of every recording of this Tour. They are very faithful to the single version off of Summer Days. Alan's voice once again carries the day, and it is as if it was flown in from 1965. Paul's sax solo is a nice addition. Rock and Roll Music follows with a Mike Love lead vocal that is exceptionally good. What is cool is that they do the fourth stanza missing from the 1976 versions of the tune.

The patented Beach Boys finale of Surfin' USA, Barbara Ann, and Fun Fun Fun follows. What is delightful is that Mike Love sounds himself here. He is he voice fans know, and that is not replaceable. Let me jus again praise John Cowsill and Nelson Bragg, as their percussion is just fantastic. While it is hard to screw up Barbara Ann, it is always a relief to report that it is again well done here. The audience may be heard faintly in the background singing along here. Fun times 3 is just contagious. Although the repertoire is more limited in this broadcast, this recording rivals Chiba for the best concert sound wise of the whole Tour. It is the sound of a band that has played 70+ plus shows, is fired up, and knows EXACTLY what each member is going to do. In short, unforgettable. 

Note: The band is interviewed for 15 minutes or so (Alan, Brian, Bruce, David and Mike) after the show.

Copyright 2013 by Peter Reum-All Rights Reserved

Beach Boys Made In California Track Listing Initial Impressions Commentary by Peter Reum

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MADE IN CALIFORNIA-The announced tracklisting:

CD 1
   
1. Home Recordings / "Surfin'" Rehearsal Highlights (2012 Edit - Mono)
2. Surfin' (with Session Intro - Mono)
3. Their Hearts Were Full Of Spring (Demo - Mono)
4. Surfin' Safari (Original Mono Long Version)
5. 409 (Original Mono Long Version)
6. Lonely Sea (Original Mono Mix)
7. Surfin' U.S.A.
8. Shut Down (2003 Stereo Mix)
9. Surfer Girl
10. Little Deuce Coupe
11. Catch A Wave
12. Our Car Club
13. Surfers Rule (with Session Intro)
14. In My Room
15. Back Home
16. Be True To Your School (Mono Single Version)
17. Ballad Of Ole' Betsy
18. Little Saint Nick (Stereo Single Version)
19. Fun, Fun, Fun (Mono Single Version)
20. Little Honda
21. Don't Worry Baby (2009 Stereo Mix)
22. Why Do Fools Fall In Love (2009 Stereo Mix)
23. The Warmth Of The Sun
24. I Get Around (with Session Intro - Mono)
25. Wendy (2007 Stereo Mix)
26. All Summer Long (2007 Stereo Mix)
27. Girls On The Beach
28. Don’t Back Down
29. When I Grow Up (To Be A Man) (2012 Stereo Mix)
30. All Dressed Up For School (Mono)
31. Please Let Me Wonder (2007 Stereo Mix)
32. Kiss Me, Baby (2000 Stereo Mix)
33. In The Back of My Mind (2012 Stereo Mix)
34. Dance, Dance, Dance (2003 Stereo Mix)

General Comments:

It appears to me that the Box compilers, Alan Boyd and Mark Linett, have put together a 50 year overview of The Beach Boys with an emphasis in discs 1 and 2 on Brian's work in the 1961 to 1967 period, and have worked diligently to have all of The Beach Boys represented in the years from 1968 onward. I am very excited to see that there a number of selections included that have been written about by writers through the years, or in some cases, even discussed by group members. The art work for the cds themselves is pulled in some cases from that era's Beach Boys Tour Programs represented from the years covered by the various cds.  That is a clever new approach. It appears to me that the compilers and The Beach Boys themselves have made a strong effort to have Dennis and Carl Wilson's work shared with the listeners to this set, and that is wonderful.

Disc 1 Commentary-The first thing that I noticed is that the 5 song Murry Wilson Beach Boys demo tape that Nik Venet bought outright is the first thing listeners hear. This is important historically because there has been a tendency to discount Murry's contributions to The Beach Boys' early success. If one listens closely to that tape as presented here, it is apparent that The Beach Boys overall talent was very evident. The second thing that is easy to see is that Murry, and perhaps Brian, already had production chops. The next few sides are the second and third Capitol singles. It is hard to discern whether certain tracks not annotated are stereo or mono. This will be revealed in due time. I will generally assume that undesignated tracks are stereo.

The inclusion of nearly half the tracks on the Surfer Girl album is a bow to that lp being Brian's first credited production, and what a strong album it is.  Back Home is a nice addition here, as it has a shuffling pace similar to Little Deuce Coupe, and is a strong track. The single version of Little Saint Nick is stereo, and if so, it will be a great addition. The inclusion of Ballad of Old Betsy and All Dressed Up For School showcases the group's distinctive vocal blend. The tracks from Shut Down Volume 2 are the cream of that album. There are five tracks from All Summer Long, which is the next very strong album that follows the Surfer Girl album. Little Deuce Coupe and Shut Down Volume 2 are not as strong. Beach Boys Today has 6 songs represented, and again, it is a very strong album. Overall, it appears that the compilers took strategic singles and B sides, and tracks from the strongest albums of the early period.

CD 2
   
1. Do You Wanna Dance (2012 Stereo Mix)
2. Help Me, Rhonda (Mono Single Version)
3. California Girls (2002 Stereo Mix)
4. Amusement Parks USA (Early Version)
5. Salt Lake City (2001 Stereo Mix)
6. Let Him Run Wild (2007 Stereo Mix)
7. Graduation Day (Session Excerpt and Master Take, 2012 Mix)
8. The Little Girl I Once Knew (Mono)
9. There's No Other (Like My Baby) (2012 “Unplugged” Mix with Party Session Intro)
10. Barbara Ann (2012 Stereo Mix)
11. Radio Spot “Wonderful KYA” (Mono)
12. Sloop John B (1996 Stereo Mix)
13. Wouldn't It Be Nice (2001 Stereo Mix)
14. God Only Knows (1996 Stereo Mix)
15. I Just Wasn’t Made For These Times (1996 Stereo Mix)
16. Caroline No (1996 Stereo Mix)
17. Good Vibrations (Mono)
18. Our Prayer (2012 “Smile Sessions” Stereo Mix)
19. Heroes And Villains: Part 1 (“Smile Sessions” Mix - Mono)
20. Heroes And Villains: Part 2 (“Smile Sessions” Mix - Mono)
21. Vega-Tables (“Smile Sessions” Stereo Mix)
22. Wind Chimes (“Smile Sessions” Stereo Mix)
23. The Elements: Fire (Mrs. O’Leary’s Cow) (“Smile Sessions” Mix - Mono)
24. Cabin Essence (“Smile Sessions” Mix - Mono)
25. Heroes And Villains (2012 Stereo Mix)
26. Wonderful (2012 Stereo Mix)
27. Country Air (2012 Stereo Mix)
28. Wild Honey (2012 Stereo Mix)

Disc 2 Commentary-This era demonstrates the flowering of Brian Wilson's genius, and his rapid growth as a songwriter, arranger, and producer can be readily seen in this cd's selections. It is critical that this disc shows the growth of Brian Wilson. This disc meets that challenge.  What is very clear in any sequence that a Beach Boys set compiler must accomplish is to somehow in a very limited time allotment of a cd or two document the rapid explosion of talent that Brian evinced during the period from early 1962 through June or July of 1967. Beginning with Surfer Girl, through Don't Worry Baby, and on into Today through Smile, there were few, if any musicians who grew as deeply and as quickly. The 1993 Boxed Set utilized the Smile material to help display this growth.

This set has the advantage of having an entire Smile Sessions Set to pull from. The first few tunes here are very well known, and it is important to show successful records in a set spanning 50 years. There are 5 tunes from Summer Days here, and I enjoy Amusement Parks USA more than the average Beach Boys fan. I feel that it is Brian's first attempt at a Heroes and Villains type song. The Little Girl I Once Knew is a foreshadowing of Pet Sounds, and as such, needs to be included. The highlights of the Party album are many, but in the interest of including more Smile, the compilers appear to have wisely chosen to restrict Party tunes to There's No Other and Barbara Ann. Dennis's vocal on You've Got To Hide Your Love Away I would consider a strong track as well. Pet Sounds is amply represented, and the songs chosen are very strong. The seven tracks from Smile (including Good Vibrations) are some of the strongest Brian ever cut. I am tickled to see The Elements (Mrs. O'Leary's Cow) presented here. From 1967, there are several excellent recordings, such as a stereo Heroes and Villains, a stereo Wonderful, presumably from Smiley Smile, and Country Air and Wild Honey in stereo from that album. If one listens to these two discs, and does not grasp the dramatic growth of Brian in the studio and the group's vocal growth, there is little hope in listening to the rest of the set.


CD 3
   
1. Darlin' (2012 Stereo Mix)
2. Let The Wind Blow (2001 Stereo Mix)
3. Meant For You (Alternate Version)
4. Friends
5. Little Bird
6. Busy Doin' Nothin'
7. Sail Plane Song (2012 Stereo Mix)
8. We're Together Again (2012 Stereo Mix)
9. Radio Spot “Murray The K” (Mono)
10. Do It Again (2012 Stereo Mix)
11. Old Man River (Vocal Section)
12. Be With Me
13. I Can Hear Music
14. Time To Get Alone
15. I Went To Sleep
16. Can’t Wait Too Long (A Cappella)
17. Break Away (Alternate Version)
18. Celebrate The News
19. Cotton Fields (The Cotton Song) (Single Version, 2001 Stereo Mix)
20. Susie Cincinnati (2012 Mix)
21. Good Time
22. Slip On Through
23. Add Some Music To Your Day
24. This Whole World
25. Forever
26. It's About Time
27. Soulful Old Man Sunshine
28. Fallin’ In Love (2009 Stereo Mix)
29. Sound Of Free (Mono Single Version)
30. Til I Die
31. Surf’s Up

Disc 3 Commentary-We might term this period as  "Carl takes over." Carl finished The Wild Honey album when Brian flamed out, and then served as mixdown producer for Friends, and helped finish that lp as well. Brian had moments of inspiration, as this disc amply documents. This disc continues songs from the Wild Honey album, begun on the end of Disc 2, and it is easy to see that there has been some work on making at least some Wild Honey songs available in stereo. Of all the albums left in Mono, Wild Honey is the one that is most in need of being available in stereo. The inclusion of some alternate versions of songs like Meant For You is cool. That is one I would not have thought of. The highlights of Friends are here, and Dennis's Little Bird introduces his composing and Stevie Kalinich's lyrics for the first time. Busy Doin' Nothin' and I Went to Sleep are slices of Brian's life before his crash after Old Man River that are wonderful to illustrate where he was living musically in 1968. Time To Get Alone, written during the Smile period, appears here with Carl producing. Sail Plane Song is simply stunning, and it is a welcome addition.

Can't Wait Too Long is simply one of the best things Brian ever recorded, even if it is unfinished. It appears here in it's rightful place as a highlight of the late Sixties Beach Boys scene.  Do It Again is also a most welcome addition in stereo.  After Brian's Breakaway stalled in the US charts, he withdrew to some degree. The contributions of Carl Wilson and Dennis Wilson over the next several years are evident in the next disc and a half. On the last part of disc 3, Dennis is represented by Celebrate The News, Slip On Through, Forever, Fallin' In Love, It's About Time, and thankfully, Sound of Free. This is half of a great Dennis Wilson album that would compete well with Pacific Ocean Blue. Brian's contributions, as few as they are, are also excellent. Add Some Music, This Whole World,  Soulful Old Man Sunshine, Til I Die, and Good Time are all musically inspired. The horn lines for Good Time are incredible. Surfs Up, however Frankenstein a version people think it is, is a powerful reminder that once upon a time, two men created a masterpiece.

CD 4
   
1. Don’t Go Near The Water
2. Disney Girls (1957)
3. Feel Flows
4. (Wouldn’t It Be Nice To) Live Again
5. Marcella
6. All This Is That
7. Sail On Sailor
8. The Trader
9. California Saga (On My Way To Sunny Californ-I-A)
10. Rock And Roll Music (2012 Mix w/Extra Verse)
11. It's OK (Alternate Mix)
12. Had To Phone Ya
13. Let Us Go On This Way
14. I’ll Bet He’s Nice
15. Solar System
16. The Night Was So Young
17. It's Over Now (Alternate Mix)
18. Come Go With Me
19. California Feelin’
20. Brian’s Back (Alternate Mix)
21. Good Timin'
22. Angel Come Home
23. Baby Blue
24. It's A Beautiful Day (Single Edit) (2012 Mix)
25. Goin’ To The Beach

Disc 4 Commentary-The Seventies were a time when The Beach Boys at first ran away from their history, and then after Endless Summer, turned to embrace the inevitable. Every group member stepped up and contributed, though it would be fair to say that the group's inability to establish a clear identity in this decade hurt them immensely. The Carl production period continued through Surfs Up, Carl and the Passions, and Holland. Contributions from the years 1971 to 1973 were eclectic. Carl's songs on the Surfs Up and Holland albums are quite strong. Dennis's Wouldn't It Be Nice to Live Again has deserved to be heard for 40 years. Bruce's Disney Girls may be one of the most covered tunes in The Beach Boys' oeurve. Marcella and Sail On Sailor became part of The Beach Boys live show for many years. Alan's contributions during this period were strong as well, with California Saga being the "should have been" hit single that wasn't.

After the Great Silence, from 1973 until 1976, Brian was coaxed back. His contributions on 15 Big Ones and Love You were quite childlike, and cemented the whole picture of Brian as eccentric. Asking Brian to contribute was difficult. His avoidance had become ingrained, and the idea of writing songs for cheeseburgers was ridiculous. Despite the collective insanity surrounding 1976-78, the highlights selected from 15 Big Ones and Love You are wonderful. It is great to see It's Over Now, but I miss Still I Dream Of It.  The tunes selected from 15 Big Ones are the hits, and the only other tune I would have included was the duet between Brian and Carl on Just Once In My Life. The tunes selected from Love You are the highlights of the album. Come Go With Me and Brian's Back are nice additions from the MIU period. Dennis's silence on Beach Boys' albums during these two years on 15 Big Ones, Love You, and MIU is deafening. His return to form on LA Light is welcome, and Baby Blue is possibly the best Beach Boys track of the 1976 through 1980 period. The Beach Boys' version of California Feelin' would have been welcome on LA Light. It's A Beautiful Day is simply a great Beach Boys record about LA, and again, is sorely missed on LA Light.

CD 5
   
1. Goin' On
2. Why Don’t They Let Us Fall In Love
3. Da Doo Ron Ron
4. Getcha Back
5. California Dreamin’
6. Kokomo
7. Soul Searchin’
8. You’re Still A Mystery
9. That’s Why God Made The Radio
10. Isn’t It Time (Single Version)

THE BEACH BOYS LIVE:

11. Runaway (Chicago 1965 – w/Concert Promo Intro - Mono)
12. You’re So Good To Me (Paris 1966 - Mono)
13. The Letter (Hawaii Rehearsal 1967)
14. Friends (Chicago 1968 - Mono)
15. Little Bird (Chicago 1968 - Mono)
16. All I Want To Do (London 1968)
17. Help Me, Rhonda (New Jersey 1972)
18. Wild Honey (New Jersey 1972)
19. Only With You (New York 1972)
20. It’s About Time (Chicago 1973)
21. I Can Hear Music (Maryland 1975)
22. Vegetables (New York 1993)
23. Wonderful (New York 1993)
24. Sail On Sailor (Louisville 1995)
25. Summer In Paradise (Wembley 1993)

Disc 5 Commentary-After Keepin' the Summer Alive, The Beach Boys as a group became somewhat of a self-parody. Brian was very ill, as was Dennis, and Carl was alienated and pursued a solo career. The group had effectively ignored the need to record, and made a living off of touring. There was a tendency to play for large events, and concerts in DC and other venues like Live Aid were where the general public saw The Beach Boys. James Watt inadvertantly became the groups's best public relations person, affording President Reagan to personally invite The Beach Boys to play on Independence Day. Despite the publicity, tracks from the Beach Boys were catch as catch can, and the odd tune turned up on obscure motion picture soundtracks. Brian was sequestered from his family and The Beach Boys, and appeared only on rare occasions. In the mid Eighties, Steve Levine produced a Beach Boys album. Getcha Back is from that album, and is a tribute to Dennis Wilson, who I could hear singing lead on in my imagination.

Aside from the occasional Brian "therapy production," new music from the Beach Boys in the Eighties was not forthcoming. With Terry Melcher producing, they cut California Dreamin' and Kokomo. The former was a minor hit, and the latter, placed in a Tom Cruise movie called Cocktail, became a worldwide smash. The album that emerged from these sessions was Still Cruisin', and there were a few tracks that whet Beach Boys' fans' appetites.  There were efforts to cut an album without Brian, entitled Summer In Paradise. It failed to chart. In the mid Nineties, there were  negotiations to have Brian produce a Beach Boys album. With Don Was, the group cut two Brian tunes, both diamonds. Soul Searchin' is a showcase for Carl Wilson's marvelous voice, and You're Still A Mystery is the most catchy Beach Boys record since the early Seventies. The group elected to cut country versions of Beach Boys tunes instead, and these two jewels languished for 20 years. In 2012, the surviving Beach Boys, including Bruce Johnston and David Marks made a fine album, and the singles are included here.

The paucity of music from 1980 through 2012 meant there was at least a half a cd to fill. The set compilers elected to fill this space in with roughly 40 minutes of live highlights.Most of this material has been available on bootlegs for years, but it is encouraging to see The Beach Boys realize that their live archive is a source of potential future releases, as their live history is deeper and wider than any rock group. If The Grateful Dead can do it, so can the Beach Boys. I want to encourage the group to see this avenue as a promising way of sharing their music with fans, and also generating unrealized revenue. I would rather buy a legitimate release of live material every time over a bootleg.

CD 6
   
FROM THE VAULTS:
1. Radio Spot (1966 – Mono)
2. Slip On Through (A Cappella Mix)
3. Don’t Worry Baby (Stereo Session Outtake w/ Alternate Lead Vocal)
4. Pom Pom Play Girl (Vocal Session Highlight)
5. Guess I’m Dumb (Instrumental Track w/Background Vocals)
6. Sherry She Needs Me (1965 Track w/1976 Vocal)
7. Mona Kana (Instrumental Track)
8. This Whole World (A Cappella)
9. Where Is She?
10. Had To Phone Ya (Instrumental Track)
11. Smile Backing Vocals Montage (from “The Smile Sessions”)
12. Good Vibrations (Stereo Track Sections)
13. Be With Me (Demo)
14. I Believe In Miracles (Vocal Section)
15. Why (Instrumental Track)
16. Barnyard Blues
17. Don’t Go Near The Water (Instrumental Track)
18. You’ve Lost That Lovin’ Feeling
19. Transcendental Meditation (Instrumental Track)
20. Our Sweet Love (Vocals w/Strings)
21. Back Home (1970 Version)
22. California Feelin’ (Original Demo)
23. California Girls (“Lei’d In Hawaii” Studio Version)
24. Help You, Rhonda (“Lei’d In Hawaii” Studio Version)
25. Surf's Up (1967 Version) (2012 Mix)
26. My Love Lives On
27. Radio Spot (1964 - Mono)
28. Wendy (BBC – Live in the Studio 1964 - Mono)
29. When I Grow Up (To Be A Man) (BBC – Live in the Studio 1964 - Mono)
30. Hushabye (BBC – Live in the Studio 1964 - Mono)
31. Carl Wilson: Coda (2013 Edit)
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Disc 6 Commentary-Well, this is the disc the hard core fans will turn to first. After a breathtaking aircheck, we go right into a stripped down Slip On Through. The vocals are a revelation. The alternate Don't Worry Baby is a nice addition. The Pom Pom Play Girl vocals are remarkable for being one of Carl's earliest leads. Guess I'm Dumb is one of Brian's finest productions in or out of The Beach Boys, and this version shows why. The majestic Sheri She Needs Me track deserved a better lead vocal  and set of lyrics, which it got on the Brian Wilson Imagination lp. Mona Kana I believe is Dennis's first session as a producer. He shows enormous promise here if that information is accurate. We have another a capella Sunflower track in This Whole World, and the tag here is heavenly. Where Is She is Brian in waltz time with a wonderful tune that is magic, but sadly, left undeveloped. Had To Phone Ya's instrumental track is lovely, and the finished version makes it hard to suss out. The Smile backing vocals were a brilliant stroke on the Smile Sessions Set. After Good Vibrations, we go through what I think must be a small grouping of Dennis's work. It is great to see his work recognized. The instrumental track for Don't Go Near the Water is quite catchy, and Stephen Foster is swimming around there somewhere. You've Lost That Lovin' Feelin' is Brian singing both Bobby Hatfield and Bill Medley's parts simultaneously in the same take....wow! I am kind of excited to hear the Transcendental Meditation track, as it sounds to my ears like early jazz/rock fusion. The version of Our Sweet Love here is the one Brian did and left unfinished. Carl's work added to this beginning made it the version we know on Sunflower. Alan cut this version of Back Home. It has a more fluid feel to it, and is quite listenable. California Feelin' here is the demo that Brian cut that Timothy White raved about in his landmark article in Crawdaddy. It is a jewel that needed to be heard. The in-the-studio versions of California Girls and Help Me Rhonda here have been circulating for a long time, but it is great to hear them in pristine sound. Surfs Up is a jewel in whatever incarnation it appears. It's appearance on The Smile Sessions made the investment in that set worthwhile for anyone who loves Smile. I am going to be honest here and say I know nothing about Dennis's My Love Lives On. Totally off the radar! After another radio aircheck, the three BBC tunes from 1964 are most welcome. I have had a crappy cassette of them since the early Seventies, but ......these are great! Carl.....we miss you!

Conclusion-This is a set that offers the best balanced view of The Beach Boys as a group of any set that has been assembled. If you can't afford the physical set, pay the lower amount for the download version. I hope that The Beach Boys use this set as a jumping off point for more product either through a download site or on a limited edition basis. People will buy sets of say, limited editions of 2500 to 5000 made, if the group conscientiously approaches that market. Collectors are predictable, if a bit obsessive, myself included!   editation







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Disc 6 Commentary-
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Review of Van Dyke Parks-Songs Cycled album by Peter Reum

This album has been long anticipated. Van Dyke last did an album of songs live in the Late Nineties, another with Inara George, and his series of singles from last year with gorgeous art work accompanying each one has been incorporated into Songs Cycled. Van Dyke has always followed his muse, and this album feels to me like an overview of his life's work in music, summed up song by song. The word Rococo comes to my mind when I listen to Van Dyke's music. My ears enjoy Van Dyke's music the way my eyes enjoy a Seurat painting. There is more revealed with every listen.

I have had roughly a week to live with this album, and while not all of it is new, it is sequenced in a manner that reminds me of a multi-course meal with tastes of a number of different styles of music and diverse thoughts incorporated into a true album, in the best sense of that word. That is, it seems like a collection of musical thoughts and styles bearing a resemblance to a photographic album which incorporates a number of different thoughts and images from life. There are "palate cleansers" through the album, that is, there are lighter moments that bring a smile or amusement after a heavier message. The album begins with Wedding In Madagascar (Faranaina), a tune resembling perhaps a tango. The vision I see listening is a newlywed couple playfully doing the tango at their honeymoon location.

The second tune recalls for me visions of Casablanca, and a war torn couple remembering a special encounter in Paris while working for the opposition. Seeing and listening to this tune reminds me that, as a nation, we are again in a war we cannot win in a country far away. Clearly, the words from Casablanca, "We'll always have Paris" comes to mind. Van Dyke's noted recollections of the murder of civilians by allies of the USA hit me strongly, as we today hit civilians with drones in remote Asian countries. Killing by proxy.

Hold Back Time is a vignette that for me brings to mind the peace that comes with living with a young family in a fixer upper we fixed up ourselves, with our memories catalogued in "albums," one for each child, chronicling the kids growing up, while we fail to notice our own aging. My friend David Leaf has a saying that I prize greatly..."Peter, these are the good old days." We don't remember the trials and the misery, we try to remember only the sweet memories...the dessert that Life serves.

The American South is the place Van Dyke calls home, despite living almost 50 years now in The Golden State. This tune called Sassafras is a slice of Southern life that is filled with innocence. It a manner of speaking, it reminds me of Wouldn't It Be Nice. This song brings a smile, levity....it cleanses our palate and leads into another course. But, again, it is a picture of youth and innocence.

Black Gold indicts us for our own dependence on fossil fuels. A ship founders on rocks and gushes    oil from it's side like a soldier pierced by a spear. While we blame the ship's captain, we continue to allow these merchants of fossil fuels to ply their wares and spoil all that is natural and wonderful to us. We allow this charade to continue, believing that this next time will be different. Fool me once, screw you, fool me twice, screw me.

Of course, out of all of these barrels of oil have come a few wonders, one of which is the Trinidadian ensemble that Van Dyke produced in 1971,  The Esso Trinidad Tripoli Steelband. This sample of their incredible album is another palate cleanser. Saint Saens sadly did not live to see his composition, Aquarium, be recorded by this very fine product of the oil business, the steel pan.

The next number, Money Is King, hearkens back to Van Dyke's second album, Discover America. The jaunty, bouncy music lulls the listener into a toe tapping mood, at first not hearing the powerful message and social criticism expressed in this fine example of Calypso. For some reason, this tune reminds me of Gil Scott-Heron's observation about Apollo 11, "my rent I can't pay, and Whitey's On the Moon." Calypso is the most clever form of music invented by mankind.....social criticism disguised as "don't worry, be happy" music.

Wall Street is a reflection on the fact that New York's most potent symbol of wealth and greed was brought to it's knees by unknown people who did not like the culture of conspicuous consumption that Wall Street symbolized. In the end, strangers were brought together, however briefly, by the experience of a common tragedy. Were that we could see the misery our own wars bring upon other parts of the world. Could it be that same feeling that engendered 9/11? Who knows?

The experience of facing your own death, or facing a member of your family dying, can bring mortality back to our conscious mind, having forgotten for so many years during Hold Back Time. I am a person raised in the very type of low church that Van Dyke describes in his introduction to The Parting Hand. We call that form of singing plainsong, and we sing psalms that way, as well as a number of hymns. Perhaps we are most vulnerable when we recognize everything ends, and we have to say goodbye. If hymns are sung at low church funerals, they are sung in plainsong.

Van Dyke has confirmed many times that The All Golden is a song about Steve Young, a troubador in LA before troubadors were appreciated there. His song Seven Bridges Road is a song that describes the South as well as anything ever written. Van Dyke stripped down The All Golden here, as he is wont to do in his live appearances, and it reveals a song with the same multiple levels of meanings that are very similar to Van Dyke's lyrics for Smile.

Van Dyke Parks and Inara George

Missin' Mississippi gets at that feeling that Thomas Wolfe, another Mississippian, describes when he says you can never go home again, because it's never the way one remembers it. My experience with that feeling emerged when I listened to Van Dyke describe his sadness about how two hurricanes devastated his hometown, Hattiesburg, as well as the Gulf Coast...Biloxi, Gulfport. Mobile.....This song is both a love song to Van Dyke's memories, and a way of expressing the grief that comes when you know a human tragedy of massive proportions has leveled your fond memories of home.

The real Van Dyke Parks-Age 22

Van Dyke Parks-Cover Shoot for Clang of the Yankee Reaper 1975  

After all of this emotion, all of these tastes, all of these sounds and syllables, it is only fitting that we turn to the hymn that unites the entire South, African-American and Caucasian, that is sung in churches Sundays throughout the South, Amazing Grace. Another denizen of the South, Bill Moyers, did a PBS special on Amazing Grace, showing it's remarkable power to unite a region too divided to unite any other way.

Van Dyke Parks 2012 Los Angeles

So what we have is a picture of America, the America of Van Dyke Parks' lifetime. His album of American vignettes. Like many albums of pictures, there are some that are somber, some that arouse anger, some that bring a grin, some that demand justice, and some that just show how people live. Songs Cycled is Van Dyke's own album of America, a reflection on us as a people. Most of all, Van Dyke has given us a handcrafted album he made himself.

Text Copyright 2013 by Peter Reum-All Rights Reserved

Beach Boys 50th Anniversary Recordings-(Part 1)

When I heard that The Beach Boys would reunite for a concert tour, I knew that it would be logical that several forms of product would be emerging from the shows. The tour went on longer than anyone anticipated, and the inclusion of Brian Wilson, Alan Jardine, and David Marks lent a legitimacy to the tour that no other combination of members could achieve. They played several wonderful shows on this tour. I know because I have recordings and films of them along the way.

Leading into the tour, The Beach Boys released an album which was surprisingly good. It sold respectably, and was favorably reviewed in most major newspapers and music publications, online and printed. The album was written and overseen by Brian Wilson and Joe Thomas, and new and archived tunes were recorded and sounded less formulaic than my ears expected. As usual, there were advance raves and references to a "Life Suite" that sounded interesting. Upon release, That's Why God Made Radio was conventional, with twelve distinct and separate tracks. 

The Beach Boys released Doin' It Again, a dvd documenting the lead up to the tour, and portions of a May 2, 2012 live concert in St. Augustine, Florida. Many Beach Boys fans purchased the dvd, thinking it was a live concert. It turned out that it was instead a collection of interviews, archival footage, and a few songs from St. Augustine. Many buyers were disappointed by the short length of the film and a dearth of anything really new being said. The diehard fans bought it, and loyally raved about it on message boards and review columns on Amazon.com and similar types of internet locations. But those of us old timers who had enjoyed the new cd felt a little burned by the product.

The faithful held out hopes for a dvd of a complete show. The length of concerts varied, from roughly 42 songs up to 62 in London. There were clearly great shows along the tour. Friends of mine began to follow the band across the country, and several folks raved about the Grand Prairie, Texas show, The Colorado Red Rocks Amphitheater Show, The Chiba, Japan show, The Barcelona, Spain show, and many more. The Blu-Ray version of Live In Concert: The 50th Anniversary offered: 

1. Do It Again

2. Catch A Wave
3. Hawaii
4. Marcella
5. Isn't It Time
6. Little Deuce Coupe
7. 409
8. Shut Down
9. I Get Around
10. Heroes And Villains
11. Sloop John B
12. Wouldn't It Be Nice
13. All This Is That
14. That's Why God Made The Radio
15. Sail On Sailor
16. Good Vibrations
17. California Girls
18. Help Me Rhonda
19. Rock And Roll Music
20. Kokomo
21. Fun Fun Fun

The lineup omissions are obvious....Surfin' USA, God Only Knows, Forever, All Summer Long, Dance Dance Dance, Surfer Girl, Don't Worry Baby, When I Grow Up, Kiss Me Baby, Little Honda, Barbara Ann, In My Room, Surfin' Safari, Cottonfields, Disney Girls, Why Do Fools Fall in Love,  Wendy, Kiss Me Baby, Please Let Me Wonder,,,,,,and several more. The comparison with other products from other groups becomes painful. When you have a song catalog as deep and wide as The Beach Boys, it seems that even if the price was, say, $40.00, people WOULD PAY IT. If the problem is royalties, pay them, and raise the price! Most of the Beach Boys' fans are Boomers, and can afford it.  To offer an example, I just paid $20.00 for the archival The Who Live at the Isle of Wight 1970, which has two full cds and a live dvd. Visually, The Beach Boys are Beach Men, and although they are older men, the ability to see the incredible band and David Marks firing off amazing licks would be worth the higher price. This is a veteran unit, who can play complex Brian Wilson tunes, or who can thrash out the punk flavored numbers like Surfin' Safari. 

Which brings me to the latest Reunion product, which is a double cd live concert compilation on compact disc of  tunes from the 50th Anniversary Tour. The set, entitled The Beach Boys Live-The 50th Anniversary Tour, compiles several of the musical highlights of this tour, with a total of 41 songs presented. It sounds like a few different shows were utilized to compile this live set. I hear selections from Chiba, Barcelona, Grand Prairie, Texas, Arizona, and possibly Red Rocks, as well as possibly St. Augustine. The sound here is variable, and with a few exceptions,  fairly straight forward. There are studio sweetened moments, and in some cases, the sources for many of the tunes concert-wise are identifiable, with studio tinkering obvious. The reviews across different media are varied and all over the place. This is a case where those who were emotionally uplifted by the sheer power of Brian Wilson's music live don't always find that experience replicated on cds, which like any medium of reproduction, can never replace the EXPERIENCE of being there....of hearing a legendary group dig deep and reel out live performances,with all the mistakes and triumphs that live performance offers.

With all these caveats, there are some great moments here. I love the Tour beginning with Do It Again. It has always been one of my Beach Boys favorites. It is almost as if the tune has found it's true home. The surf guitar licks on Do It Again and Little Honda are great, and David Marks speaks guitar as well as any man I know. The surf music medley is energetic but predictable. My favorite is Surfin' Safari, as the tune's garage punk roots are evident. Surfer Girl's elegance as a composition is in evidence here. Brian's vocal on the bridge gets a big crowd roar, evidence of the audience's affection for him. The Little Girl I Once Knew is a nice addition to the first set. The countering vocals between Jeff and Brian are fun. Jeff's lead is mixed a little too brightly, but that is not his fault. Wendy is refreshing, and sounds like a new song in the set, simply beautiful. The harmonica on the bridge is a nice touch and it's nice to hear Bruce as well. Although some reviews have been contentious about David Mark's lead vocal on Getcha Back, I hear him singing it the way Dennis Wilson would have done it. Had he lived, I have always believed a Dennis Wilson lead vocal was in order for that song. Then I Kissed Her is great, and showcases Alan Jardine's marvelous voice, the best in the surviving Beach Boys.

Brian's vocal on Marcella rocks. His vocals on the tune are gritty and almost bluesy. The tag is definitely bluesy. Isn't It Time sounds studio enhanced, but still translates well into live performance. Why Do Fools Fall In Love is stunning in it's harmonic clarity. There is a tinny tone to Mike Love's lead vocal on When I Grow Up. The backing vocals are excellent. Disney Girls is true to the studio version from Surfs Up. It is a highlight of the set. Be True To Your School is rendered in it's first few notes in a self-parody type of style, which is understandable, given the fact that 70 year old men are singing about high school spirit. It still is performed "straight" once the actual song's structure kicks in. The obligatory hot rod set is next, and is a perfect run of tunes to end the first half of the show. The hot rod set features Mike's "nasal voice" throughout, and is a continuation of that self-caricature from Be True To Your School. In listening to Little Deuce Coupe, 409, Shut Down, and I Get Around, I just want comment how even early on, Brian was writing off the bass root, and the rhythm guitar lines on all four of these tracks are marvelous. These selections are from the Mesa, Arizona concert. Overall, this is a satisfying selection of songs in the first set. To get the surf and hot rod sets out of the way in the first half of the show was a wise decision. Compliments to the drum and percussion as they highlight rather than overwhelm the unusual chord changes that many of Brian's tunes showcase.

The second part of the album begins with a thrilling rendition of the title track from the Pet Sounds album. David Marks plays his ass off, and shows why he is probably the best guitarist to ever be a member of The Beach Boys. This is as close as Brian ever got to a jazz instrumental composition.  Add Some Music offers a track from the Sunflower album. Brian's lead sounds a little draggy on the first section, but improves as the song continues. Alan's vocal is outstanding on the bridge. The drums and percussion are tasteful and understated. Bruce's voice lends a familiarity for us old timers. I have seen lots of carping about Heroes and Villains on this set. Brian's vocal is enthusiastic if not always on key. It is a thrill to hear Mike replicate his bass part live. Whoever dubbed the crowd noise during "healthy, wealthy, and wise" should be aware that crowds don't just suddenly appear and disappear like that. The acapella outro is great. Brian's lead on Sail On Sailor appears to be from Chiba, Japan. Knowing that Brian hates the song, it is remarkable that he carried off so well. Again, his vocal has balls. He sounds like the man who wrote the song. The backing vocals are heavenly. Hearing  California Saga live is a thrill. The harmonies are great, Mike's vocal is solid and authentic. Definitely a thrill to hear Alan do the third verse. The banjo is mixed too low in the mix.

The version of In My Room here is sung by some world weary men. This is no longer a song about  an abused boy. Brian's contribution here is moving, as is Alan's. The high harmony at the end is Brian. The version of All This Is That here is strong. I love Brian's and Mike's parts on this tune. Carl is sampled on the tag, and I don't begrudge their decision. That 45 seconds is sublime and irreplaceable. That's Why God Made the Radio sounds heavily sampled from the studio recording. That's too bad, because I know they could pull it off live. The tributes to Dennis and Carl, Forever and God Only Knows, respectively, are also heavily sampled. Nevertheless, they are moving. Continuing in Pet Sounds mode, Brian takes lead on Sloop John B, with Mike doing his part beautifully. The flute is a cool touch. The last section sounds like Brian with Alan behind him. Again the drumming and percussion are tasteful. Wouldn't It Be Nice features a great lead from Alan. Mike's nasal bridge is rocky. The shimmering guitar in the background is spectacular. Solid, and performed as one would expect to hear it.

We begin the close with Good Vibrations. Brian is great on the opening stanza. Mike's old part on the chorus is almost out of his vocal range....too high. Brian and Alan have a gob of energy going on this tune. The mid range theramin is now a vocal part. Lots of audience, which would be expected. The cello triplets are sampled. Overall, very nice as a live recording.The intro to California Girls leads into a lead vocal from Mike that is reedy and probably studio augmented. His voice sounds blown out on this one. Perhaps it would have been better to use a lead from an early tour show. The acapella break is awesome! Bruce is there on the tag, singing his part from the original album. Help Me Rhonda is spectacular, again because Alan's vocal is so authentic. Mike does nice backing work here. In short, this could be the 1974 Beach Boys. The rhythm/lead guitar is audible and solid. Rock and Roll Music is probably better placed in the first half the set. As a closer, it kills the closing momentum. Mike's vocal is again reedy and thin in the upper register. Surfin' USA is perfectly placed, and is a great closer. The amount of studio augmentation to Mike's voice is distracting from the tune. It sounds like he is singing in a barrel. Kokomo has always struck me as a gold plated dookie. Sorry...again it has been heavily studio augmented. The doubled lead vocal is absurd. Barbara Ann kills when they play it live, 'nuff said. Great harmonies here, and a nice sax solo on the bridge from Paul and guitar solo presumably from David. Fun Fun Fun is the tradtional closer, and we have another nice lead vocal from Mike here, probably studio augmented. David plays the guitar solo with flames shootin' out of his guitar, and continues through to the close. Bless whoever played the Gershwin quote at the end.

Well, did you expect that this would sound like the shows? If so, you are probably disappointed. Nothing can replace the energy of being there in person. As a document of a wonderful and unexpected gift from a bunch of guys who hadn't spoken as a true group since Carl's death, this is an unexpected and welcome gift. Take a look at what happened a few weeks after the London shows, and thank your Higher Power the wheels didn't come off midway through the tour. This one was a gift to the fans, and a financial bonanza for the Boys. Did you ever expect to have one last live set? I didn't, and it is welcome. There are technical criticisms that are valid. There are repertoire decisions that perhaps did not meet everyone's needs. As a document of the latter days Beach Boys, it is better than I expected, and I would give it a solid "B" in terms of listenability. Nothing can replace the earlier live documents by The Beach Boys, but it is a tribute to their musicianship that it sounds so powerful at this time in their career. Kudos to the the incredible band, made up mostly of Brian's touring unit, with great drumming from John Cowsill, and guitar from Scott Totten. With Beach Boys playing, Brian's music is always the star, and so it is here as well.

Well, what about the other performances circulating? There are audience recordings of at least 70 per cent of the Tour. Some are wonderful, and some are forgettable. I am not going to review them show by show, but I will touch on some highlights.

In Barcelona, The highlights for me are many. The first thing I notice is that this recording has a solid bottom! The drums, bass, and percussion are powerful, not eviscerated. This is NOT the case with the official set. Second, Mike doesn't sound like he is singing in a barrel. The energy of a live performance is here, despite the sound quality probably being only a "B." There are also none of the weird double tracked lead vocals that the official release has. There are mistakes....and they are welcome.

In the first half, Surfin' Safari ROCKS! The version of It's Ok in this show is solid if not spectacular. It is nice to hear an undoctored Mike lead vocal. Brian is pitchy on the tag singing Dennis's old part. You're So Good To Me is sung by Brian, and Al does a good Brian impression on the choruses. Brian does a fine job on this tune. Please Let Me Wonder has a wonderful Brian lead vocal, and begs to be heard on the official release. This is as achingly beautiful as The Beach Boys can sing! Come Go With Me is very ably sung by Alan, and is again needed on the official set. The close with the audience singing  along is priceless. I can understand why perhaps The Beach Boys chose not to include tunes with lead vocals sung by the backing band, but Darian Sahanaja kills on Darlin', and the backing vocals are well done. The tag here is spectacular. Cottonfields is also beautifully done, and with Alan singing lead, it is like traveling back to 1970. Ballad of Old Betsy is sung with what almost sounds like a canned backing track. The lead vocal by Scott Totten is great, but the backing is painful. The tag is delicious though.

The second half of the Barcelona Show is sequenced differently than the official set. Good Timin' is the second tune sung, but the lead vocal gets buried. Brian does the lead, and it is fairly listless. Perhaps he just doesn't care for the song. Brian's lead on Sail On Sailor, by contrast, is not only audible, but spirited. The version of That's Why God Made the radio is live, not sampled, and is a welcome change from the sampled parts on the live set. California Dreamin' is a traded lead vocal between Alan and Brian, and it is a great version, with nice leads and great backing vocals. In this show, the tributes to Dennis and Carl are not there, and Brian does a solid lead vocal on God Only Knows. Dance Dance Dance follows California Girls in this show, and suffers from vocal anemia. The tempo seems about 10% slow. All Summer Long is called for by Alan, and they do a terrific version. It should have been on the official set. Rock and Roll Music follows Rhonda here, and is more aptly sequenced. After band introductions, Barbara Ann follows, then Surfin' USA. Do You Wanna Dance replaces Barbara Ann as the next to last tune in the encore. Brian takes the lead. It is not his best lead vocal. Fun Fun Fun closes the set. One final note is that it appears to me that Alan is replacing Carl as the head of the group live. He does it well.

As a side note, there is an audience shot dvd of the July 23rd, 2012 Barcelona Beach Boys show. It is unwatchable. Sooooo....from Barcelona, Please Let Me Wonder, Darlin', California Dreamin', Sail on Sailor, and Cottonfields. All of these are worth pursuing.

Grand Prairie, Texas hosted the tour, and the concert cd double set circulating is from April 26, 2012. It is superior sound wise to Barcelona. The version of Do It Again here is very good. The surf sequence omits Hawaii. Surfin' Safari is again terrific. The David Marks guitar is again a bonus. The Little Girl Girl I Once Knew is delightful here, and superior to the official version. Jeff does not stick out like a sore thumb here. Wendy is a highlight here, as it is on the official concert release. Then I Kissed Her is outstanding. The drumming is tasteful, and you can actually hear Nelson's castanets. You're So Good To Me is also wonderful, with Brian singing his ass off. Why Do Fools Fall In Love has a live intro. Jeff's lead is tasty, not shrill. The bridge sax solo jumps! The tag is a sequential 5 part vocal blend and great. Once again, you can hear the drums as Nelson's percussion on When I Grow Up. Cottonfields is outstanding, a highlight of the set. The pedal steel blends nicely. Perhaps it is David or Scott playing a lap steel. Disney Girls is simply fantastic, and Bruce sounds like he just flew in from 1971. Well worth pursuing. Perhaps this is the version on the official release. Please Let Me Wonder  follows and Brian again does it beautifully.Why was this not put on the official set? A mistake. The motorized vehicle sequence begins with a great little Honda, and proceeds as does the official double cd set. Mike's leads throughout are first rate. David's guitar slices and dices better than a Vegematic.

The second half of the show is sequenced differently than the official release or Barcelona. The set begins with Sloop John B and then goes into Wouldn't It Be Nice.  Brian is lead on Sloop John B, and Alan does Wouldn't It Be Nice. Both are great. Some beautiful 12 string guitar on California Dreamin' follows. This track just shines here. Next comes the tribute in memory of Dennis on Forever.  Sail On Sailor follows, with a solid lead by Brian.  The version of Heroes from Grand Prairie is excellent from a lead vocal standpoint by Brian, as are are the backing vocals. This version could appear on the official set with no modification in the studio. Next is In My Room, started by Brian, with the rest of the group falling in. All This Is That follows. It is a nice version, but you can tell they haven't been doing it very long.  Next is the group's tribute to Carl, God Only Knows.

That's Why God Made Radio is next, with Brian doing a nice first stanza, but then Jeff gets a little pitchy. Brian does another nice stanza, but the board has Jeff set a little too loud, like The Little Girl I Once Knew on the official set. California Girls offers a solid Mike lead, and excellent group vocals on the chorus, especially the acapella drop before the tag.  Next is Dance Dance Dance. It is a little shrill. Again, Jeff is over-miked. All Summer Long is also fairly ragged at this point, nowhere near as polished as Barcelona. Help Me Rhonda is done beautifully here, and the audience can be heard singing along in the background. No studio doctoring is needed. Rock and Roll Music follows, and would probably be better in the first set. Do You Wanna Dance here is sung by Brian and doubled by Alan, and it is fantastic. The tempo is appropriate for a set ender, and the whole thing just ROCKS. A great solo is offered by David. Perfection. Barbara Ann is next, also done very well. The sax and guitar solos on the bridge by Paul and David respectively are excellent. Surfin' USA closes the set. The encore is Kokomo, Good Vibrations, and Fun Fun Fun. Kokomo is well done here. The version of Good Vibrations here is not as good as either Barcelona or the official double set. Brian has some trouble with tempo and pitch here. Fun Fun Fun is great, mainly due to David Marks. Again, with no studio doctoring, the audience can be clearly hear singing along.

Highlights of Grand Prairie......Surfin' Safari, You're So Good to Me, California Dreamin', Disney Girls (perhaps the highlight of the show), Cottonfields, Please Let Me Wonder, Heroes and Villains (another possible show highlight), The Little Girl I Once Knew, Wendy, Help Me Rhonda, and Do You Wanna Dance (another show stopper!). An exceptional show here, and no doubt this was the source for some of the official double set release tunes.

The set from Chiba, Japan is another circulating concert. The original double cd/single dvd set has sold for almost $400 on Ebay. It is a little shorter than Grand Prairie or Barcelona. Chiba is remarkable in terms of sound. It is most likely either a board recording or was pulled from a broadcast of the television show in Japan. First of all, this is recorded in true stereo, so it is not an audience recording. Second, the mixing is superb. No one part of the vocals or instruments overwhelm others. The vocals may have been studio modified, but suffice to say, there is not a dud in this whole show. It is simply the gold standard for recordings from this tour. Frankly, I am unsure why the group did not just release this show as an official release.

The Surf Sequence begins with Do It Again, then Little Honda, Catch a Wave, Hawaii, Don't Back Down,  Surfin' Safari, and ends with Surfer Girl. They peel of these tunes one after another and they COOK. Then the car tunes begin with Don't Worry Baby, and proceed into Little Deuce Coupe, 409, Shut Down, and ends with I Get Around. They are flawless. The concert then goes into That's Why God Made The Radio....best version ever. The version of Sail On Sailor that follows is my favorite version of all time. Beautifully delivered by Brian, with great backing vocals and instrumentation. Brian sings Heroes and Villains next and nails it. Heroes is followed by Isn't It Time. It is well done, remarkably well done. Mike then introduces what he terms "doo-wop." The group then breaks into a stunning version of Why Do Fools Fall In Love with a very nice Jeff Foskett lead, followed by When I Grow Up and Cottonfields. Both are nearly perfect. The first cd ends here.

The second cd is shorter, with 14 songs.This set begins with tributes to both Carl and Dennis, and both sound studio augmented besides the Dennis and Carl sampled vocals. They are moving and respectful of both mens' memory. Brian introduces God Only Knows. All This Is That is simply heavenly. It is a standout, even on this peak of performances from the 50th Anniversary Tour. Sloop John B and Wouldn't It Be Nice are next, a mini Pet Sounds segment. Both tunes are well done and sound fresh. The acapella dropout on Sloop John B is excellent. Brian's lead is very well done. Wouldn't It Be Nice is also breathtaking. Alan's mistake on the lyrics is the only thing that is off, and I am glad it is there, because it shows this is a live version. Alan does a killer Then I Kissed Her next. Nelson's castanets are easily audible. Good Vibrations begins the concert closing sequence, and it is an enjoyable version. Brian's voice cracks once, but again, it substantiates that this is indeed a live recording. California Girls is next, and the stately introduction is beautiful. There is an acapella section near the conclusion, and it is spot on. Alan's Help Me Rhonda, as in the other shows, is a major highlight and just sparkles. Even Rock and Roll Music rocks here. Mike does a lead vocal that tops his studio lead. The final tune before the encore is Surfin' USA. I love John Cowsill's drumming here, as it is very close to the way Dennis used to do it. Again, a stellar lead vocal from Mike Love. The encore here features Christopher Cross on Kokomo, and Dewey Bunnell and Gerry Beckley from America on Barbara Ann and Fun Fun Fun.This  version of America has some balls, and is fairly enjoyable to hear. Barbara Ann and Fun Fun Fun are their wonderful concert closing selves. Thus ends the Chiba double cd....the one that got away. This set rivals any Beach Boys live recording from ANY time.

Part 2 will follow later. Thank you for reading this long article!