The Beach Boys
The Beach Boys | |
---|---|
Origin | Hawthorne, California, USA |
Genre(s) | Rock and Roll, Surf rock, Psychedelic rock, Baroque pop, Sunshine pop |
Years active | 1961–present |
Label(s) | Capitol Brother Reprise Caribou |
Website | thebeachboys.com |
Members | |
Al Jardine Bruce Johnston Mike Love Brian Wilson | |
Former members | |
Carl Wilson Dennis Wilson David Marks Ricky Fataar Blondie Chaplin Glen Campbell |
The Beach Boys are an American rock and roll band. Formed in 1961, the group gained popularity for its close vocal harmonies and lyrics reflecting a California youth culture of surfing, girls, and cars. Brian Wilson's growing creative ambitions later transformed them into a more artistically innovative group that earned critical praise and influenced many later musicians.[1]
The group initially comprised singer-musician-composer Brian Wilson, his brothers, Carl and Dennis, their cousin Mike Love, and friend Al Jardine. This core quintet, along with early member David Marks and later bandmate Bruce Johnston, were inducted into the Rock and Roll Hall of Fame in 1988. The Beach Boys have often been called "America's Band"[2] and have had thirty-six U.S. Top 40 hits (the most of any U.S. rock band) and fifty-six Hot 100 hits, including four number one singles.[1] According to Billboard Magazine, in terms of singles and album sales, the Beach Boys are the No. 1 selling American band.[3]
History
Formative years
Brian Wilson was born in Inglewood, California. At the age of sixteen, Brian shared a bedroom with his two brothers, Dennis and Carl. He watched his father, Murry Wilson, play piano and listened intently to the harmonies of vocal groups like The Four Freshmen. One night he taught his brothers a song called "Ivory Tower" and how to sing the background harmonies. "We practiced night after night, singing softly, hoping we wouldn't wake our Dad." [4] For his sixteenth birthday, Brian received a reel-to-reel tape recorder. He learned how to overdub, using his vocals and those of Carl and his mother. He would play piano and later added Carl playing the Rickenbacker guitar he got as a Christmas present.
Soon Brian was avidly listening to Johnny Otis on his KFOX radio show, a favorite station of Carl's. Inspired by the simple structure and vocals of the rhythm and blues songs he heard, he changed his piano-playing style and started writing songs. His enthusiasm interfered with his music studies at school. He failed to complete a twelfth-grade piano sonata, but did submit an original composition, called "Surfin'".
Family gatherings brought the Wilsons in contact with cousin Mike Love. With Love's sister Maureen and a friend, Brian taught them harmonies. Later, Brian, Mike, and two friends performed at Hawthorne High School (Hawthorne, California), drawing tremendous applause for their version of The Olympics' (doo-wop group) "Hully Gully". He also knew Al Jardine, a high school classmate, who had already played guitar in a folk group called The Islanders. One day, on the spur of the moment, they asked a couple of football players in the school training room to learn harmony parts, but it wasn't a success - the bass singer was flat. Brian suggested to Jardine that they team up with his cousin and brother Carl. It was at these sessions, held in Brian's bedroom, that "the Beach Boys sound" began to form.
In 1962, the Beach Boys (originally called the Pendletones) began wearing blue/gray-striped button-down shirts tucked into white pants as their touring 'uniforms'. This was the band's signature look through to 1966. Although surfing motifs were very prominent in their early songs, Dennis was the only member of the group who surfed. He suggested that his brothers compose some songs celebrating his hobby and the lifestyle which had developed around it in Southern California.
On October 3, 1961, The Pendletones recorded 12 takes of "Surfin'"(Dennis was deemed not yet good enough to play drums, much to his chagrin). A small quantity of singles was pressed. When the boys eagerly unpacked the first box of singles, on the Candix Records label, they were surprised and angered to see their band name had been changed to "Beach Boys." Apparently a young promotion worker, Russ Regan, had decided on the change to more obviously tie the group in with other surf bands of the time (his original name for the band was The Surfers). The limited budget meant the labels could not be reprinted.
Released mid-November, 1961, "Surfin'" was soon aired on KFWB and KDAY, two of Los Angeles' most influential radio stations. It was a hit on the west coast, and peaked at #75 on the national pop charts.
The influence of Murry Wilson
As an eight-year-old, Brian Wilson says his "young life was already being shaped and influenced by music... None affected me more than the music I heard when my father played the family piano... I watched how his fingers made chords and memorized the positions".[5]
Murry had limited success as a songwriter, peaking with "Two Step Side Step" when it was recorded for a Bachelors album in 1952. Despite his musical ability and any wish to educate Brian in particular, Murry "was a tyrant," quick to offer discouraging criticism and who "abused [his sons] psychologically and physically, creating wounds that never healed."[6] Carl found comfort in food and Dennis rebelled against the world to express his anger.[7] Brian would immerse himself in music to cope, but though he longed to learn piano as a child, he was too frightened to ask and even too scared to press the keys when his father was at work.[6]
Eventually Brian surprised his parents by showing he had learned how to play the piano by watching his father. Thereafter, "playing the piano... literally saved my ass. I recall playing one time while my dad flung Dennis against the wall... That was just one of many incidents when I didn't miss a note, supplying background music to the hell that often substituted for a family life..."[8]
At first, Murry steered the Beach Boys' career, engineering their signing with Capitol Records in 1962. In 1964, Brian ousted his father after a violent confrontation in the studio. Over the next few years, they became increasingly estranged; when Murry died of a heart attack in 1973, Brian and Dennis did not attend the funeral.
Early career
Murry Wilson told the boys he did not like "Surfin'." However, "he smelled money to be made and jumped on the promotional bandwagon, calling every radio station..."[9] He got the group's first paying gig on New Year's Eve, 1961, at the Ritchie Valens Memorial Dance in Long Beach, headlined by Ike and Tina Turner. Brian recalls how he wondered what they were doing there; "five clean-cut, unworldly white boys from a conservative white suburb, in an auditorium full of black kids." Brian describes the night as an "education" - he knew afterwards that success was all about "R&B, rock and roll, and money." The boys went home with $50 apiece.[10]
In February of 1962, Al Jardine left the band to continue his college studies. David Marks, a fifteen-year-old neighbor and friend of Carl's, replaced him (Jardine, at Brian's request, rejoined the group in July of 1963).[11]
Though Murry effectively seized managerial control of the band without consultation, Brian acknowledges that he "deserves credit for getting us off the ground... he hounded us mercilessly... [but] also worked hard himself." He was the first to stress the importance of having a follow-up hit.[12] They duly recorded four more originals, on June 13 at Western Studios , Los Angeles, including "Surfer Girl," "409" and "Surfin' Safari." The session ended on a bitter note, however: Murry Wilson unsuccessfully suggested and then demanded that the Beach Boys record some of his own songs because, "My songs are better than yours."[13]
On July 16, on the strength of the June demo session, the Beach Boys were signed to Capitol Records. By November, their first album was ready - "Surfin' Safari." Their song output continued along the same commercial line, focusing on California youth lifestyle. The early Beach Boys’ hits helped raise both the profile of the state of California and of surfing. The group also celebrated the Golden State’s obsession with hot-rod racing ("Shut Down," "409," "Little Deuce Coupe") and the pursuit of happiness by carefree teens in less complicated times ("Be True to Your School," "Fun, Fun, Fun," "I Get Around"). From 1962-65, they had sixteen hit singles in a very competitive Top Forty.[14] Although their music was bright and accessible, these early works belied a sophistication that would emerge more forcefully in the coming years. During this period, Brian Wilson rapidly progressed to become a melodist, arranger and producer of world-renowned stature. Their early hits made them major pop stars in the United States and other countries, although their status as America's top pop group was usurped in 1964 by the emergence of The Beatles, who became the Beach Boys' major creative rival.
Apart from the Wilsons' father and the close vocal harmonies of Brian's favorite groups, early inspiration came from the driving rock and roll sound of Chuck Berry and Phil Spector's Wall of Sound.
Some of Brian's songs were modeled after other songs; most famously "Surfer Girl" shares its rhythmic melody with "When You Wish Upon a Star." In his autobiography, Brian states that the melody of "God Only Knows" was inspired by a John Sebastian record.
Brian's innovations and personal difficulties
The stress of road travel, composing, producing and maintaining a high level of creativity was too much for Brian Wilson to bear. On December 23, 1964, while on a flight to Houston, Brian suffered from an anxiety attack and left the tour. Shortly afterward, he announced his withdrawal from touring to concentrate entirely on songwriting and record production. Glen Campbell served as Wilson's replacement in concert, until his own career success required him to leave the group. Bruce Johnston was asked to locate a replacement for Campbell; having failed to find one, Johnston subsequently became a full-time member of the band, first replacing Wilson on the road and later contributing his own talents in the studio.
Jan & Dean, close friends with the band and opening act for them in concert in 1963 and 1964, encouraged Brian to use session musicians in the studio. This, along with Brian's withdrawal from touring, permitted him to expand his role as a producer. Wilson also wrote Surf City for his opening act. The Jan & Dean recording hit #1 on the U.S. charts in the summer of 1963, a development that pleased Brian but angered father/manager Murry, who felt his son had "given away" what should have been the Beach Boys' first chart-topper. A year later, the Beach Boys would notch their first #1 single with "I Get Around."
By 1964, traces of Brian Wilson's increasing studio productivity and ideas were noticeable: "Drive-In," an album track from All Summer Long features bars of silence between two verses while "Denny's Drums," the last track on Shut Down, Vol. II, is a two-minute drum solo. As Wilson's musical efforts became more ambitious, the group relied more on nimble session players, on tracks such as "I Get Around" and "When I Grow Up (To Be a Man)." "Help Me, Rhonda" became the band's second #1 single in the spring of 1965.
1965 led to greater experimentation behind the soundboard with Wilson. The album Today! featured less focus on guitars, more emphasis on keyboards and percussion, as well as volume experiments and increased lyrical maturity. Side A of the album was devoted to sunny pop tunes, with darker ballads on the reverse side. The Boys followed up their #3 smash "California Girls" in November 1965 with another top 20 single, "The Little Girl I Once Knew." It is considered to be the band's most experimental statement prior to Pet Sounds, using silence as a pre-chorus, clashing keyboards, moody brass, and vocal tics. Perhaps too extreme an arrangement to go much higher than its modest #20 peak, it was only the band's second single not to reach the top 10 since their 1963 breakthrough. Later that year they would score a number 2 hit with the single "Barbara Ann," released in December. "Barbara Ann" peaked #3 in the UK charts and became very popular both in the UK and in the U.S. It is one of their most recognized hits and has become legendary over the years. It should be noted here that the Beach Boys' "Barbara Ann" was a "cover" of the original version, which had been written by Fred Fassert and performed in 1961 by a New York "doo-wop" vocal group, "The Regents," whose members included: Chuck Fassert (brother of Fred), Ernie Maresca, Guy Villari and Sal Cuomo.
Pet Sounds
Wilson's growing mastery of the recording studio and his increasingly sophisticated songs and complex arrangements would reach a creative peak with the acclaimed LP Pet Sounds (1966). The tracks "Wouldn't It Be Nice" and "God Only Knows," showcased Wilson's growing mastery as a composer, arranger and producer. It only reached #39 on the national singles chart. "Caroline, No," also taken from Pet Sounds, was issued as a Brian Wilson solo single, the only time Brian was credited as a solo artist during the early Capitol years. Nowadays Pet Sounds is regarded as one of the best albums of all time, rated as #1 on many music magazines lists of greatest albums of all time, including New Musical Express, Mojo and The Times' lists.
The album's meticulously layered harmonies and inventive instrumentation (performed by the cream of Los Angeles session musicians known as The Wrecking Crew) set a new standard for popular music. It remains one of the more evocative releases of the decade, with a distinctive strain of melancholy and nostalgia for youth. The album is still widely regarded as a classic of the rock era. Among other accolades, Paul McCartney has named it one of his favorite albums of all time (with "God Only Knows" as his favorite song). McCartney has frequently said that it was a major influence on the Beatles' album, Sgt. Pepper's Lonely Hearts Club Band, similar to Brian Wilson stating he was inspired to make Pet Sounds upon listening to The Beatles' Rubber Soul. Despite the critical praise it received, the album was indifferently promoted by Capitol Records and failed to become the major hit Brian had hoped it would be (only reaching #10). Its failure to gain wider recognition hurt him deeply.[citation needed]
Because of his withdrawal from touring, Wilson was able to complete almost all the backing tracks for the album while the Beach Boys were on tour in Japan. They returned to find a substantially complete album, requiring only their vocals to finish it off. There was some resistance from within the band to this new direction. Lead singer Mike Love is reported to have been strongly opposed to it, calling it "Brian's ego music," and warning the composer not to "fuck with the formula."[15] Other group members also fretted that the band would lose its core audience if they changed their successful musical blueprint. At Love's insistence, Brian changed the title of one song from "Hang On to Your Ego" to "I Know There's an Answer." Another likely factor in Love's antipathy to Pet Sounds was that Wilson worked extensively on it with outside lyricist Tony Asher rather than with Love, even though Love had co-written the lyrics for many of their earlier songs and was the lead vocalist on most of their early hits.
Seeking to expand on the advances made on Pet Sounds, Wilson began an even more ambitious project, originally dubbed Dumb Angel. Its first fruit was "Good Vibrations," which Brian described as "a pocket symphony." The song became the Beach Boys' biggest hit to date and a U.S. and U.K. No. 1 single in 1966 — many critics consider it to be one of the best rock singles of all time. In 1997, it was named the "Greatest Single of All Time" by Mojo music magazine. In 2000, VH1 placed it at number 8 on their "100 Greatest Rock Songs" list, and in late 2004, Rolling Stone magazine placed it at number 6 on their "500 Best Songs of All Time" list. It was also one of the more complex pop productions ever undertaken, and was reputed to have been the most expensive American single ever recorded at that time. Costing a reported $16,000, more than most pop albums, sessions for the song stretched over several months in at least three major studios.
In contrast to his work on Pet Sounds, Wilson adopted a modular approach to "Good Vibrations" — he broke the song into sections and taped multiple versions of each at different studios to take advantage of the different sound and ambience of each facility. He then assembled his favorite sections into a master backing track and added vocals. The song's innovative instrumentation included drums, organ, piano, tack piano, two basses, guitars, electro-theremin, harmonica, and cello. The group members recall the "Good Vibrations" vocal sessions as among the most demanding of their career.[citation needed]
Even as his personal life deteriorated, Wilson's musical output remained remarkable. The exact nature of his mental problems was a topic of much speculation. He abused drugs heavily, gained an enormous amount of weight, suffered long bouts of depression, and became paranoid. Several biographies have suggested that his father may have had bipolar disorder and after years of suffering, Wilson's own condition was eventually diagnosed as schizophrenia.[citation needed]
Smile
While putting the finishing touches on Pet Sounds, and just beginning work on "Good Vibrations," Brian met fellow musician and songwriter Van Dyke Parks. In late 1966, Brian and Parks began an intense collaboration that resulted in a suite of challenging new songs for the Beach Boys' next album, which was eventually named Smile.[17] Using the same techniques as on "Good Vibrations," recording began in August 1966 and carried on into early 1967. Although the structure of the album and the exact running order of the songs have been the subjects of endless speculation, it is known that Wilson and Parks intended Smile to be a continuous suite of songs that were linked both thematically and musically, with the main songs being linked together by small vocal pieces and instrumental segments that elaborated upon the musical themes of the major songs.
But some of the other Beach Boys, especially Love, found the new music too difficult and too far removed from their established style. Another serious concern was that the new music was simply not feasible for live performance by the current Beach Boys lineup. Love was bitterly opposed to Smile and was particularly critical of Parks' lyrics; he has also since stated that he was deeply concerned about Wilson's escalating drug intake. The problems came to a head during the recording of "Cabin Essence," when Love demanded that Parks explain the meaning of the closing refrain of the song, "Over and over the crow cries uncover the cornfield." After a heated argument, Parks walked out of the session, and shortly thereafter his creative partnership with Wilson came to an equally abrupt end.
Many factors combined to put intense pressure on Brian Wilson as Smile neared completion: Wilson's own mental instability, the pressure to create against fierce internal opposition to his new music, the relatively unenthusiastic response to Pet Sounds, Carl Wilson's draft resistance, and a major dispute with Capitol Records. Matters were complicated by Wilson's reliance on both prescription and illegal drugs, amphetamines in particular, which only exacerbated his underlying mental health problems.
In May 1967, Smile was shelved, and over the next thirty years, the legends surrounding Smile grew until it became the most famous unreleased album in the history of popular music.
Mid-career changes
After the popularity of the song "Good Vibrations" came a period of declining commercial success. Smiley Smile and subsequent albums performed poorly on the U.S. charts (although they fared better in the UK). The group's image problems took a further hit following their withdrawal from the bill of the 1967 Monterey International Pop Festival.
The 1967 album Wild Honey, regarded by some as another classic, features songs written by Wilson and Love, including the hit "Darlin'" and a rendition of Stevie Wonder's "I Was Made to Love Her." Friends (1968) is a largely acoustic album, influenced by the group's adoption of the practice of Transcendental Meditation. The title single was their least successful single since 1962. This was followed by the single "Do It Again," a return to their earlier "fun in the sun" style, which was moderately successful in the US, but went to #1 in the UK.
As Brian's mental and physical health deteriorated in the late 1960s and early 1970s, his song output diminished and he became increasingly withdrawn from the group. To fill the void, the other members began writing songs. Carl Wilson gradually took over leadership of the band, developing into an accomplished producer. To complete their contract with Capitol Records before signing with Reprise Records, they produced one more album, 20/20 (1969), primarily a collection of leftovers (including remnants from Smile), old songs by outside writers, and several new songs by Dennis Wilson. One of those songs, "Never Learn Not to Love," featured uncredited lyrics by Charles Manson[18] and was originally titled "Cease to Exist." Besides "Do It Again," the album included their cover of the Ronettes' "I Can Hear Music," which became their last top 40 hit for seven years.
In 1970, the Beach Boys reactivated their Brother Records label and signed with Reprise Records. With the new contract, the band appeared rejuvenated, releasing the album Sunflower to critical acclaim. The album was and still is recognized as a complete group effort, with all band members contributing significant material, such as "Add Some Music to Your Day," Brian's "This Whole World," Dennis' "Forever" and Bruce Johnston's "Tears in the Morning." The album, like Pet Sounds, was ignored by the public. The band experienced their worst chart performance ever, not even making the top 100.
After Sunflower, the band hired Jack Rieley as their manager. Rieley chose a different direction for the group, emphasizing, among other things, political and social awareness. The result was 1971's Surf's Up, featuring Brian's Smile centerpiece, "Surf's Up." The song itself was virtually the same arrangement of Brian performing in the studio in 1966, with Carl adding vocals and the "Child is Father of the Man" overdubs. Carl's "Long Promised Road" and "Feel Flows" are standouts. Brian contributed one of his best songs, "'Til I Die," which almost did not make the album sequencing. Bruce Johnston produced the classic "Disney Girls (1957)," a throwback to the easier, simpler times they remembered. Johnston ended his first stint with the band shortly after the record's release, reportedly because of friction between him and Jack Rieley. The album was moderately successful, reaching the US top 30. While the record made its run on the charts, the Beach Boys added to their refound fame by performing a near-sellout concert at Carnegie Hall, and following that with an appearance with the Grateful Dead at Fillmore East on April 27, 1971.
The addition of Ricky Fataar and Blondie Chaplin in February, 1972, led to a dramatic departure in sound for the band. The album Carl and the Passions - "So Tough" was an uncharacteristic mix that included several songs drawn from Fataar and Chaplin's previous group, Flame, which are nearly unrecognizable as Beach Boys songs. Although it has its supporters, the album is widely considered to be one of the group's most muddled and inconsistent.
The Beach Boys developed an ambitious (and expensive) plan in developing their next project, Holland. The band, their families, assorted associates and technicians moved to the Netherlands for the summer of 1972, eventually renting a farmhouse to convert into a makeshift studio. By the end of their adventure the band felt they had come up with one of their best efforts yet. Reprise, however, felt that the album was weak, and after some wrangling between the camps, the band asked Brian to come up with commercial material. This resulted in the song "Sail On, Sailor," a collaboration between Brian Wilson and Van Dyke Parks, became one of the more emblematic Beach Boys songs. Reprise approved, and the album was released early 1973, peaking at #37 on the Billboard album chart. Holland was also popular on FM radio, which embraced tracks like Mike Love and Al Jardine's "California Saga." Included as a "bonus" EP was Brian's storytale Mount Vernon and Fairway (A Fairy Tale), which was directly influenced by Randy Newman's Sail Away LP. Holland proved that the band could still produce contemporary songs with wide (if not mass) appeal.
Despite the indifference displayed by the record label, the band's concert audience started to grow. The Beach Boys in Concert, a double album documenting the 1972 and 1973 US tours, became the band's first gold record for Reprise.
Endless Summer
In the summer of 1974, Capitol, in consultation with Love, released a double album compilation of the Beach Boys' pre-Pet Sounds hits. Endless Summer, helped by a sunny, colorful graphic cover, caught the mood of the country and surged to #1 on the Billboard album chart. It was the group's first gold record since "Good Vibrations," and remained on the album chart for three years.[19] The following year another compilation, Spirit of America, also sold well. These compilations revived interest in the classic Beach Boys sound.
In 1975, the Beach Boys staged a highly successful joint concert tour with Chicago, with each group performing some of the other's songs, including their previous year's collaboration on Chicago's hit "Wishing You Were Here." Beach Boy vocals were also heard on Elton John's 1974 hit "Don't Let the Sun Go Down on Me."
With the release of "Endless Summer," the Beach Boys suddenly became relevant to the American music landscape. Rolling Stone awarded the band the distinction of 1974's "Band of The Year" , solely based on the their juggernaut touring schedule and material Brian Wilson produced over a decade before. Nostalgia had settled into the Beach Boys hype; the group did not produce any albums of new material from 1973 to 1976. While their concerts continuously sold out, the stage act changed from a contemporary presentation with oldies encores to their old material becoming the bulk (if not the entire) part of the act. Performances of Smiley Smile to Holland material would eventually be phased out, replaced specifically by their hits from 1961 to 1966.
Due to the band's redirection, Blondie Chaplin and Ricky Fataar left the band in late 1973 and early 1974 respectively. Manager Jack Reiley, who still remained in the Netherlands after Holland's release, was relieved of his managerial duties late 1973 and the position eventually filled by James William Guercio.
Brian's return
15 Big Ones marked the return of Brian Wilson as a major force in the group in that it was the first album produced by him since Pet Sounds. This album included several new songs composed by Brian, and several of his arrangements of favorite old songs by other artists, including "Rock and Roll Music" (which made #5), "Blueberry Hill," and "In the Still of the Night." Brian and Mike's "It's OK" was yet another return to their earlier "summertime fun" style, and was a moderate hit. The album was publicized by an NBC-TV special, telecast on August 4 of 1976, simply titled "The Beach Boys," which was produced by Saturday Night Live creator Lorne Michaels and featured appearances by SNL cast members John Belushi and Dan Aykroyd.
Controversies
![](/d/images/thumb/1/14/Reagans_with_the_Beach_Boys.jpg/300px-Reagans_with_the_Beach_Boys.jpg)
In the late 1970s, Dennis Wilson also suffered increasingly from drug and alcohol abuse. Some of the group's concert appearances were marred when he and other band members showed up on stage drunk or stoned. The band was forced to publicly apologize after a poor performance in Perth, Australia in 1978, during which several members of the group appeared to be drunk. In spite of his own frequent drinking, Dennis Wilson managed to release his first solo work, Pacific Ocean Blue, and to launch the work-in-progress Bambu, with friend and musician Carli Muñoz.
In 1980, the Beach Boys played a Fourth of July concert on the National Mall in Washington, D.C. before a large crowd. This gig was repeated in the next two years, but in 1983 Secretary of the Interior James Watt banned the group from playing on the Mall, saying that rock concerts drew "an undesirable element.
This drew howls of outrage from the many of the Beach Boys' American fans, who stated that the Beach Boys sound was a very desirable part of the American cultural fabric. First Lady Nancy Reagan apologized, and in 1984 the group appeared on the Mall again. Love and Johnston most recently appeared on the Mall in 2005 for the Fourth of July concert.
Pet Sounds 40th anniversary reunion
On June 13, 2006, the major surviving Beach Boys (Brian Wilson, Mike Love, Al Jardine, Bruce Johnston, and David Marks) all set aside their differences and reunited for a celebration of the 40th anniversary of the album Pet Sounds and the double-platinum certification of their greatest hits compilation, Sounds of Summer: The Very Best of the Beach Boys, in a ceremony atop the Capitol Records building in Hollywood. Plaques were awarded for their efforts to all major members, with Brian Wilson accepting for his late brothers Carl and Dennis. Wilson himself implied there was a chance that all the living members (not having performed together since September 1996) would reunite again.
Legacy
The group was inducted into the Rock and Roll Hall of Fame in 1988,[20] with Mike Love delivering a speech that assailed Mick Jagger, Paul McCartney and the Beatles, Bruce Springsteen, Billy Joel and Diana Ross.[21] The band was chosen for the Vocal Group Hall of Fame in 1998.[22] In 2001, the group received the Grammy Lifetime Achievement Award. Brian Wilson was inducted into the UK Rock and Roll Hall of Fame in November 2006.[23] In 2004, Rolling Stone Magazine ranked the Beach Boys #12 on their list of the 100 Greatest Artists of All Time.[24]
In 2007, the Beach Boys were inducted into the Hit Parade Hall of Fame. [22]
The group is frequently referred to when the topic of summertime songs comes up. About.com listed Sounds of Summer: The Very Best of The Beach Boys a 2003 compilation CD as the greatest summertime hits CD. [25]
The Wilsons' Hawthorne, CA house, where the Wilson brothers grew up and the group began, was demolished in the 1980s to make way for Interstate 105, (the Century Freeway). A Beach Boys Historic Landmark (California Landmark #1041 at 3701 West 119th Street), dedicated on May 20, 2005, marks the location.
Currently, Beach Boys Bruce Johnson and Mike Love tour the United States, Europe and many other countries under the name of the "Beach Boys Band." Other "honorary Beach Boys," such as John Stamos, also make guest appearances on their tours. [26]
Discography
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Notes
- ↑ 1.0 1.1 allmusic ((( The Beach Boys > Overview )))
- ↑ "Still America's Band: The Beach Boys Today," Kevin M. Cherry, National Review, July 8, 2002
- ↑ "The Record Setters: Top 10 American Bands, http://www.recordresearch.com/record_setters.php?id=1
- ↑ Wilson, Brian (with Todd Gold), Wouldn't It Be Nice: My Own Story, p. 34
- ↑ Wilson, Brian (with Todd Gold), 1996. Wouldn't It Be Nice: My Own Story, p. 30
- ↑ 6.0 6.1 Wilson, Brian (with Todd Gold), Wouldn't It Be Nice: My Own Story, p. 30
- ↑ Wilson, Brian (with Todd Gold), Wouldn't It Be Nice: My Own Story, p. 26
- ↑ Wilson, Brian (with Todd Gold), Wouldn't It Be Nice: My Own Story, p. 32
- ↑ Wilson, Brian (with Todd Gold), Wouldn't It Be Nice: My Own Story, p. 52
- ↑ Wilson, Brian (with Todd Gold), Wouldn't It Be Nice: My Own Story, p. 53
- ↑ The Beach Boys
- ↑ Wilson, Brian (with Todd Gold), Wouldn't It Be Nice: My Own Story, p. 54
- ↑ Wilson, Brian (with Todd Gold), Wouldn't It Be Nice: My Own Story, p. 55
- ↑ The Beach Boys
- ↑ musicangle.com - By Michael Fremer - Music * Reviews * Audio * Sound * Vinyl
- ↑ Psychedelicatessen, Topic: Smile Booklet?, tripod.com, retrieved on 2007-01-15
- ↑ The unusual capitalization of the title, "SMiLE," is an accident of Capitol Records' mid-1960s graphic design. Brian himself wrote it as "Smile" on his own message board.
- ↑ Urban Legends Reference Page: All I Want to Do, snopes.com, retrieved on 2007-01-15
- ↑ Endless Summer, The Beach Boys, mp3.com, retrieved on 2007-01-15
- ↑ Rock and Roll Hall of Fame Inductees: The Beach Boys, rockhall.com, retrieved on 2007-01-15
- ↑ I Know There´s An Answer
- ↑ 22.0 22.1 Vocal Group Hall of Fame Inductees: The Beach Boys, vocalgroup.org, retrieved on 2007-01-15
- ↑ Led Zeppelin make UK Hall of Fame, bbc.co.uk, retrieved on 2007-01-15
- ↑ The Immortals: The First Fifty. Rolling Stone Issue 946. Rolling Stone.
- ↑ Top 10 Summer Pop Albums: The Beach Boys- Sounds Of Summer, retrieved on 2008-01-27
- ↑ http://www.beachboysband.net
ReferencesISBN links support NWE through referral fees
- Whitburn, Joel, The Billboard Book of Top 40 Hits, 1992.
- Wilson, Brian (with Todd Gold), Wouldn't It Be Nice, My Own Story, 1991. Nota Bene: It has been documented by numerous Beach Boys authors, including Andrew G. Doe, that Brian Wilson did not actually write this book and his participation in its creation was minimal. Please see http://www.btinternet.com/~bellagio/1991.html for details.
- Complete Guide To The Music Of The Beach Boys, a book updated in 2004 as Brian Wilson & The Beach Boys: The Complete Guide To Their Music, author Andrew Grayham Doe.
External links
- Official site
- Beach Boys Band - Current Touring Band
- Unofficial site
- The Beach Boys Fan Club
- Vocal Group Hall of Fame page on The Beach Boys
- Rock & Roll Hall of Fame page on The Beach Boys
- Brian Wilson's official site
- The Mike Love Fan Club
- Al Jardine's official site
- The Carl Wilson Foundation
- David Marks 2008 Interview on ilikemusic.com
- Eric Aniversario's Beach Boys setlist archive
- Bellagio 10452 - timeline and discography
- The Beach Boys Album Covers Site
- Mike Wheeler's Brian Wilson page - CabinEssence
- Imagination - A Website For Brian Wilson and the Beach Boys
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