Brian Wilson remains the acknowledged mastermind behind the Beach Boys legacy, but history — and this sprawling new rarity-packed set — reminds us that he was absent from the day-to-day operations for long periods, appearing only occasionally from the SMiLE period through very recently.
In keeping, the first two discs of Made in California (due August 27, 2013 from Capitol Records) tend to focus on Wilson, while the next two — which cover the post-1967 output of the band — underscore the typically dismissed contributions made by Carl Wilson, Dennis Wilson, Al Jardine, Mike Love and, to a lesser degree, Bruce Johnston and a growing phalanx of outside contributors.
The box is rounded out by live tracks and studio extras from across the Beach Boys’ career, but the message is clear: Brian Wilson gave this band its spark, but there was always more to it than that. In keeping, Made in California moves far afield from the group’s prodigious — and oh-so-familiar — hits.
From the set’s initial blast of sun-soaked pop sweetness (a remarkable demo of “Surfin'”) through to a final disc highlighted by a series of offbeat outtakes designed to thrill even the most circumspect old-school fan, Made in California delights not by rehashing the Brian Wilson myth or even the group’s best-loved songs (though, in a package this expansive, they’re certainly here) but by ferreting out a series of little- or never-before-heard gems.
Disc 1 wisely culls almost half of Surfer Girl, the lovely vocal showcase “Ballad of Old Betsey” from Little Deuce Coupe, five tracks from All Summer Long, and six from Beach Boys Today, along with assorted other period items — with each of them, here as elsewhere, given fresh stereo or mono mixes.
Over the next disc, Wilson’s quickly emerging genius begins to take shape. That includes five songs from Summer Days, a pair of fun moments from the Party project — though, sadly, not Dennis’ “You’ve Got To Hide Your Love Away” — five tracks from Pet Sounds, seven from SMiLE (the expected “Good Vibrations,” but also a completely unexpected “The Elements: Fire”) and a few (in stereo!) from Wild Honey.
Of course, long-time fans know that Carl Wilson took over as producer to complete that last-mentioned 1967 recording, and Disc 3 illustrates the yeoman’s — and largely unrecognized — work that Brian’s late brother did to keep the brand going into the 1970s. There would be moments of inspiration from the badly faltering elder Wilson on the subsequent Friends project, and this disc also includes the lovely — if still far too short — gem “Can’t Wait Too Long.”
But in the decades leading up to 2012’s reunion effort That’s Why God Made the Radio, Brian would typically be relegated to part-time contributor, at best. Dennis Wilson’s presence also begins to grow within the group, starting with the delightful “Little Bird.” He’s featured on a series of subsequent Disc 3 songs, including the superlative “Sound of Free.”
By 1971’s Surf’s Up, the Beach Boys were left to reconstruct the title song from remnants of the SMiLE sessions that had taken place years before. No matter the tune’s inherent musical wonders, a fair assumption could be made that the group had become creatively bereft. That’s countered here by moments like Johnston’s “Disney Girls (1957),” the Blondie Chaplin-sung “Sail On Sailor,” Jardine’s stirring “California Saga” and this set’s newly issued Dennis Wilson outtake “Wouldn’t It Be Nice To Live Again,” all featured on Disc 4 of Made in California. Each should rightly be hailed now as a late-period classic.
That said, there’s no denying that the Beach Boys — despite the often-overlooked successes of albums like Holland — had lost all momentum by 1980. There were times when something special could still be stirred, as illustrated by Made in California finds like “California Feelin'” and “It’s a Beautiful Day.” But Dennis, after contributing the superlative “Baby Blue” to 1979’s LA: Light Album, would die in a drowning accident in 1983. Carl, it seemed, grew disheartened, and focused on a solo career.
By the time Love led them back to the top with the formulaic 1980s ear-worm “Kokomo,” the Beach Boys had come to embody their own (however unfairly drawn) caricature as a fun-shirt-wearing oldies act.
Everything from 1980’s Keepin’ the Summer Alive (highlighted by the belated release on Made in California of Love’s “Goin’ to the Beach”) through last year’s striking comeback album is represented here by just 10 songs — none of which, sadly, are “Summer’s Gone,” a complete return-to-form moment for Brian Wilson from last year. Of interest, though, are two 1990s-era tracks, written by Brian and reportedly produced by Don Was, for a Beach Boys album that was subsequently scrapped — the Carl-sung “Soul Searchin'” being a lost treasure.
From there, Made in California turns toward largely unheard live cuts and other off-beat rarities to round out the rest of Disc 5 and all of the final album. The concert recordings stretch from BBC performances in 1964 all the way to 1993, with some particularly raucous 1970s dates in between.
The rest is dominated with sometimes idiosyncratic items — among them, early demos (Dennis’ “Be With Me,” “California Feelin'”), instrumental tracks (“Guess I’m Dumb,” the trippy “Transcendental Meditation”) and acappella pieces (“Slip on Through,” “This Whole World”). Still, even this section is keenly attenuated with signpost moments like “California Girls,” “Don’t Worry Baby,” Jardine’s ageless “Help Me Rhonda” and “Surfs Up” — each of which is borne anew through alternate takes that will intrigue even the most casual fan.
Elsewhere, we hear Brian Wilson singing both parts on the Righteous Brothers’ hit “You’ve Lost That Lovin’ Feeling.” “Sheri She Needs Me” later appeared in finished form as part of Brian’s 1998 Imagination solo album, while “Our Sweet Love” had been completed by Carl for Sunflower back in 1970. Made in California, alas, concludes with “Coda” from the youngest Wilson brother, who was stricken by cancer and died in 1998.
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I once suggested on Chicago’s official message board that Robert Lamm and Gerry Beckley collaborate with Brian Wilson for a 2nd Beckley Lamm Wilson album. I know there’s mutual respect there. Lamm actually responded that he thought it was a good idea.
It’s sad to see what a farce Mike Love has turned the once great band into. I was hopeful after their all-too-short reunion that Love had come to his senses but then his true colors once again reared their ugly head.
I guess it’s impossible for someone to write anything about the Beach Boys (even a quality review like this one) and not have the predictable Mike Love basher (in this case, “perplexio”) weigh in with the same, tired, predictable, uninformed tripe. It doesn’t take away from Mr. DeRiso’s excellent review of the new box set. It’s just annoying.
Brian’s involvement remained active well into 1968, with the brilliant and very personal ‘Friends’ album and continued throughout the decade. He contributed more sporadically during the 70s with some very prolific periods, particularly in the late 70s with the ‘Love You’ album and the still-unreleased (and almost completely neglected on the new box set) ‘Adult Child’ sessions.
The song “Can’t Wait Too Long” has been released several times, but never in a cappella form, as presented here.
Thanks for the article… I’m counting the days!
This is the only reasonably complete version of “Can’t Wait Too Long” that I’ve ever heard — after it’s having been included as part of a sound collage on 1990’s double-disc reissue of Smiley Smile and Wild Honey; in edited form on 1993’s Good Vibrations anthology; as a less-than-one-minute acappella version on 2001’s Hawthorne CA; and as an excerpt on Brian’s That Lucky Old Sun from 2008. Am I missing another release along the way?
As for Brian’s involvement, I’m certainly not saying he wasn’t around — only that others (particularly Carl Wilson in the 1970s) began to take a more prominent role in the band in the period after SMiLE. Meanwhile Friends was, of course, principally written by Brian, but to me is far more notable as an early feature spot for the then-as-yet-undiscovered writing contributions of Dennis Wilson.
I definitely wouldn’t characterize “Can’t Wait Too Long” as never-before-released. Certainly this is a new alternative version (as are many of the songs on this set), but we’ve been enjoying several different versions of the song for 23 years now.
“(Wouldn’t It Be Nice To) Live Again,” however, is definitely an “often-mentioned but never-before-released gem” and easily the crown jewel of this set’s new material. Up until this box’s release, some of us wondered if the song was just a rumor. It should have been the closing song on Surf’s Up (or at least the last song on side 1 in place of “Student Demonstration Time”).
Wait a second… did you somehow end up with a different version of the box set? Because I just went back and listened to disc 3 and mine has the less-than-one-minute a capella version you just described.
Dug out the Hawthorne box, as well as the rest, and comparison shopped. Though, within the context of the box, this seemed like a different — even longer — version of “Can’t Wait Too Long,” I think you’re right. I’ve edited that line. Thanks.
Sounds like the Beach Boys have finally put out a career retrospective that truly represents their entire career. Their later music was more mature and enjoyable than people realize.
I liked 3 out of 4 of their albums in the late 70’s: 15 Big Ones; MIU and LA Light Album.
I get the sense that the author is dismissive of their contributions to the Beach Boys journey.
Yes Brian was less of a force in production and outside forces were to blame for a lot of it.
The real thing people should be noting is Carl’s talent and leadership during these times when other bands would have folded, Carl was the glue that kept them together.
I admit back in the 80’s I was too busy to follow music and missed Keepin the Summer Alive and Beach Boys 1985 but I have found them and the one thing that impresses me the most is Carl’s voice. As with the LA Light Album he is absolutely stellar!
His back-round vocals on Baby Blue brings tears to my eyes!
His increase would not have been noticed if not for this period in the groups working existence.
BTW it may seem cool and erudite to bash a huge hit like Kokomo, but every time I hear someone bash it I think how glad I am that they weren’t in charge when it came time to do the song!
I’m sure the Beach Boys feel the same cha ching!