Review : The Beach Boys - Thatís Why God Made the Radio
PopmattersThe irony of the Beach Boysí tragedy has made that tragedy all the more painful. For several generations of people around the world, the bandís vey name has been synonymous with good olí fashioned fun in the sun, of fresh-faced, pre-Vietnam American innocence. Even their more crestfallen later work was defined by a sweet, nostalgic ache. But the bandís tale of abuse, addiction, mental illness, dubious associations, premature deaths, and ugly lawsuits is by now almost as familiar as ďCalifornia GirlsĒ.
At the center of it all, of course, has been Brian Wilson. In terms of public portrayal, he has gone from yet another 1960s acid casualty to helpless, exploited pawn in the games of would-be therapists and businessmen, to damaged but ultimately triumphant survivor. Everybody wished for a happy ending for Brian. And, in the last decade, from his 2004 resurrection of Smile to his well-received new material and tours, they seem to have gotten it.
The Beach Boys, however, are another story. Itís surely not so simple, but if Brian Wilson was the hero, his former band, led by Wilsonís cousin Mike Love, has been the villain. Marginalizing the mentally ill Wilson only to rope him back in to ensure record label and fan interest, arranging outlandish collaborations with the Fat Boys, suing Wilson for releasing Smile without them, turning into a casino-bound lounge act, and ďKokomoĒ are only the most heinous of the Love-led Beach Boysí crimes....full text
GuardianIt's easy to be sceptical about the Beach Boys' reunion. Indeed, if you look at the messageboards, diehard fans seem the most distrustful of the lot, which figures: for all the warmth and open-heartedness of the band's best music, if there's one thing being a Beach Boys fan teaches you, it's scepticism. There are only so many times you can be told Brian Wilson has been restored to full physical and mental health, the better to make himself and a lot of other people a great deal of money, before you develop what the Clash called a "bullshit detector", and Beach Boys fans have been told that on a regular basis Ė and with a great deal of evidence to the contrary Ė for the last 36 years....full text
AllmusicPlans for the Beach Boys' 50th anniversary tour came together surprisingly quickly, but nothing prepared fans for a full studio album just six months after their official reunion. Further surprises included apparently cordial relations between all surviving members, Brian Wilson in the producer's booth, the presence of 12 original songs on the album, and the complete absence of any attempt to cash in on fond memories of "Kokomo" or Endless Summer or "Do It Again" or "Help Me, Rhonda" -- depending on which generation the band might want to court. That's Why God Made the Radio is as good as it gets for those who love their Beach Boys. It includes frequently gorgeous charts from Wilson and just a little sweetening to the songs (musically with help from Wilson's regular band and arranger Paul Mertens, lyrically with help from Joe Thomas and Jim Peterik). The album is a record of two halves -- or sides, in case the band was thinking back to famous side-by-side classics like 1965's Today! The first half is mostly upbeat, with highlights "Isn't It Time" and the title track evoking pleasant curios from late-'60s LPs like Wild Honey or Friends. The second half is largely reflective, with songs that reveal the band's feelings about time passing and life ending (much more than any other material in their entire careers). Granted, no latter-day Beach Boys record comes without missteps, but fortunately there are only two. "Spring Vacation" is embarrassingly chummy, with the lines "As for the past, it's all behind us/Happier now, look where life finds us/Singing our songs is enough reason/Harmony boys is what we believe in/Some said it wouldn't last/All we can say is we're still having a blast." Meanwhile, the downright odd "Private Life of Bill and Sue" takes a fictional couple into the reality-show realm for a misguided cultural critique. For those worried about either Love or Wilson dominating the proceedings, it's clear to see that not only Wilson gets his moment in the sun. For Mike Love, it's "Daybreak Over the Ocean," which could have come off as an update of "Kokomo"'s tropical motif (with Mike crooning a little too closer to your ear), but is thankfully treated very lightly. For Al Jardine, it's "From There to Back Again," easily the most beautiful song on the album, a Side 2 ballad epic that Wilson frames impeccably around Jardine's voice, aging but still sweet. (It ranks as one of their best ballads since the '60s.) These may not be the songs that will ever light up their live sets, but together they form what is easily the best Beach Boys record in 35 years -- and a surprisingly cohesive, reflective, listenable one at that....full text
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