Spreading Love, Sunshine and Good Vibrations to a Whole New Generation

 Using “God” in the title of the first studio release by the Beach Boys in over two decades does not make it “God Only Knows,” yet one can almost Smile at the subliminal implication, be it intentional or not. It’s hard not to imagine the worst after surviving band members Brian Wilson, Mike Love, Al Jardine, Bruce Johnston and Dave Marks decide to reunite and record new material just in time (all right maybe a wee bit late) to celebrate their 50^th anniversary. The result however, is a surprisingly credible continuation of days long thought, long gone.

That’s Why God Made the Radio marks The Beach Boys 29^th full length studio recording. From the opening vocals of Think About the Days, there is no question that Brian Wilson is seated comfortably in the Driver’s seat. Beautifully melancholy, this 90 second introduction showcases the band’s relatively unhindered vocal prowess accompanied only by piano. Unfortunately, the title track and alleged radio single immediately follows. Still impressive in the vocal department, That’s Why God Made the Radio is comically cliché. Recalling the days of “tuning in the latest star from the dashboard of my car,” it unjustly feels as if America’s Band have become little more than a sad caricature of what once was.

“The good times never have to end, and now’s the time to let them happen again”, Mike Love sings on Isn’t it Time, a bouncy tune that would have fit seamlessly on an 80’s era Beach Boys release. It’s clearly evident that the lead singer’s agenda in pursuing surf, sun and Fun, Fun, Fun remains hopelessly intact, especially on Spring Vacation. Mr. Love is in great voice here, co-writing a tongue in cheek cut that laudably pokes fun at just how we got here:

           “Some said it wouldn’t last.

All we can say is we’re havin’ a blast…

Easy money, ain’t life funny

Hey, what’s it to ya?”

The cut itself is non-offensive with its laid back adult contemporary feel, but by this point in an album that spans only 39 minutes, the hoped for magic is beginning to wane, taking on more of a tribute band feel. The Private Life of Bill and Sue is simply as ridiculous as its title implies. This one likely remained in the can during Brian Wilson’s Imagination sessions in the mid 90’s when reality television was still a hot commodity. Pseudo Margaritaville fodder, it’s nothing more than reality show Kokomo.

Shelter is another unremarkable middle of the road ballad likely culled from the very same sessions, as co-writing credit goes to Imagination producer Joe Thomas, who collaborated on 11 of the 12 new tunes.

Just about the time you’re getting ready to consider throwing in the towel, something wonderful transpires. Mike Love’s Daybreak Over the Ocean is simply stunning. Originally considered for his unreleased 2^nd solo album in 2005, this track captures the true essence of the original Beach Boys sound so perfectly that it could conceivably have found a home on 1965’s Today.  A perfect complement, the Wilson/Love (and Thomas) penned Beaches in Mind is a solid modern day summertime anthem.

             “Southbay surfin’ again.

Haven’t been this way in I don’t know when

If I have my say, we’ll be back again

Where the good times never end”

How this cut was not chosen to be the single, especially considering the time of year at which this disc was released will forever remain a mystery.

            The album takes a decidedly more poignant turn with Strange World, as Wilson’s more reflective side takes over. It’s a drastic change, similar to the monumental leap taken decades earlier from 1965’s Summer Days (and Summer Nights!!) to the revered Pet Sounds in ’66. Strange World even comes complete with a bicycle bell, quite possibly a second subliminal implication to another introspective tune from that long ago classic LP.

            From There to Back Again is unquestionably, the finest moment here and begins a suite of three songs that brings the album to its foregone conclusion. “Sunlight’s fading and there’s not much left to say,” Wilson mournfully laments on Pacific Coast Highway, a cut that begins with an A cappella intro almost eerily similar to Our Prayer from the legendary Smile sessions, a feeling that carries on to Radio’s swan song, Summer’s Gone. Beginning with the lonely tinkling of wind chimes and a haunting piano that subliminally (hmm) echoes the renowned riff of Wilson’s old nemesis, Heroes and Villains, there is no question that the final message here signifies far more than its title implies.

             “Summer’s gone.

I’m gonna sit and watch the waves.

We laugh, we cry

We live then die

And dream about our yesterday."

            Brian Wilson has finally found closure here. Whether the band follows his lead or decides to continue further is anybody’s guess. Ultimately, the Beach Boys have delivered with minimal disappointment. Should this prove the final bow, they have departed on an admirable note, leaving in their wake nothing less than Good Vibrations.

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