So I’m guessing they don’t become a nostalgia act like in OTL with Brian more at the helm. What’s their stance popularity-wise at the moment since in OTL, they’re at a low point from the late 60s to mid 70s.
Rock albums from alternate timelines
- Thread starter flippikat
- Start date
The Beach Boys - Landlocked (1971)
Produced by: The Beach Boys
Side 1:
1. Don’t Go Near The Water (Love/Jardine)
2. Long Promised Road (C. Wilson/Rieley)
3. Fourth Of July (D. Wilson/Rieley)
4. Disney Girls (1957) (Johnston)
5. Sound Of Free (D. Wilson/Love)
Side 2:
1. Feel Flows (C. Wilson/Rieley)
2. My Solution (B. Wilson)
3. A Day In The Life Of A Tree (B. Wilson/Rieley)
4. Til I Die (B. Wilson)
5. Wouldn’t It Be Nice To Live Again (D. Wilson/Shapiro)
Singles:
Long Promised Road b/w Disney Girls (1957)
(#72 US / #68 UK)
Student Demonstration Time* b/w Feel Flows
(#83 US / #71 UK)
Don’t Go Near The Water b/w Carnival*
(#66 US / #31 UK)
“The Beach Boys are back again. After last years impressive double LP Add Some Music, this years effort is only 10 songs. Don’t let that dismay you though, as Landlocked still packs a hell of a punch. This is indeed a worthy follow up to their previous efforts, despite it being their darkest album yet. This dark and moody style is conveyed perfectly by the albums cover, a gloomy but picturesque view on a grey and dismal wheat field. Landlocked is in stark contrast to previous albums from the band, but it is no doubt a tight record. With this album, the band is proving they are fit for the time, but can also still display their own unique twist on contemporary music. Highlights include, but are not limited too, brother Carl’s efforts with Long Promised Road and Feel Flows and Dennis Wilson’s best work yet, Wouldn’t It Be Nice To Live Again. Brian’s minimal but visible presence is also felt on this record. His best track, Til I Die, delivers emotion on the same level as Brian’s Pet Sounds work from 4 years back. Also included is the strange but aptly fitting My Solution, a track that harkens back to the horror movies of days of ole and features a Boris Karloff style voice over from Brian. Overall, Landlocked, and it’s predecessor Add Some Music, prove that The Beach Boys are starting off the decade with their best foot forward.”
- Rolling Stone Magazine (1971)
“This is our most progressive album yet, I’m very happy with how it turned out. Working with our manager, Jack Rieley, has really opened me up to new avenues for songwriting. We all feel pretty good about this album.”
- Carl Wilson (1971)
“I was glad that I got a fair share of the songs on that one. There was some arguing but in the end we compromised and I was satisfied. At the time I was really debating on releasing my own album, but after Landlocked I shifted my focus back to the band.”
- Dennis Wilson (1976)
“I was going through a lot at that time, and our previous album had taken a lot out of me. Til I Die came out of my emotions at that time, it was a pretty heavy time in my life. Some people thought it was a bit of downer, they’re not wrong, but all I wanted to do was express myself any way I could.”
- Brian Wilson (1976)
“The result may have been great, but the process was rough at times. Some of the things that were said between us all would hang over our heads for years after. It’s a good album though, and I’m glad the fans like it as much as they do.”
- Al Jardine (1993)
“Landlocked put an early strain on my relationship with Dennis, but we still put aside all that and continued to work together after it. It was our most contemporary album of the time and we all played a part in that.”
- Mike Love (2012)
Produced by: The Beach Boys
Side 1:
1. Don’t Go Near The Water (Love/Jardine)
2. Long Promised Road (C. Wilson/Rieley)
3. Fourth Of July (D. Wilson/Rieley)
4. Disney Girls (1957) (Johnston)
5. Sound Of Free (D. Wilson/Love)
Side 2:
1. Feel Flows (C. Wilson/Rieley)
2. My Solution (B. Wilson)
3. A Day In The Life Of A Tree (B. Wilson/Rieley)
4. Til I Die (B. Wilson)
5. Wouldn’t It Be Nice To Live Again (D. Wilson/Shapiro)
Singles:
Long Promised Road b/w Disney Girls (1957)
(#72 US / #68 UK)
Student Demonstration Time* b/w Feel Flows
(#83 US / #71 UK)
Don’t Go Near The Water b/w Carnival*
(#66 US / #31 UK)
“The Beach Boys are back again. After last years impressive double LP Add Some Music, this years effort is only 10 songs. Don’t let that dismay you though, as Landlocked still packs a hell of a punch. This is indeed a worthy follow up to their previous efforts, despite it being their darkest album yet. This dark and moody style is conveyed perfectly by the albums cover, a gloomy but picturesque view on a grey and dismal wheat field. Landlocked is in stark contrast to previous albums from the band, but it is no doubt a tight record. With this album, the band is proving they are fit for the time, but can also still display their own unique twist on contemporary music. Highlights include, but are not limited too, brother Carl’s efforts with Long Promised Road and Feel Flows and Dennis Wilson’s best work yet, Wouldn’t It Be Nice To Live Again. Brian’s minimal but visible presence is also felt on this record. His best track, Til I Die, delivers emotion on the same level as Brian’s Pet Sounds work from 4 years back. Also included is the strange but aptly fitting My Solution, a track that harkens back to the horror movies of days of ole and features a Boris Karloff style voice over from Brian. Overall, Landlocked, and it’s predecessor Add Some Music, prove that The Beach Boys are starting off the decade with their best foot forward.”
- Rolling Stone Magazine (1971)
“This is our most progressive album yet, I’m very happy with how it turned out. Working with our manager, Jack Rieley, has really opened me up to new avenues for songwriting. We all feel pretty good about this album.”
- Carl Wilson (1971)
“I was glad that I got a fair share of the songs on that one. There was some arguing but in the end we compromised and I was satisfied. At the time I was really debating on releasing my own album, but after Landlocked I shifted my focus back to the band.”
- Dennis Wilson (1976)
“I was going through a lot at that time, and our previous album had taken a lot out of me. Til I Die came out of my emotions at that time, it was a pretty heavy time in my life. Some people thought it was a bit of downer, they’re not wrong, but all I wanted to do was express myself any way I could.”
- Brian Wilson (1976)
“The result may have been great, but the process was rough at times. Some of the things that were said between us all would hang over our heads for years after. It’s a good album though, and I’m glad the fans like it as much as they do.”
- Al Jardine (1993)
“Landlocked put an early strain on my relationship with Dennis, but we still put aside all that and continued to work together after it. It was our most contemporary album of the time and we all played a part in that.”
- Mike Love (2012)
Last edited:
I think the nostalgia factor will definitely be present still, but their contemporary music will be acknowledged more then it is at the time in OTL, maybe even just as equally as their more popular early work. As far as popularity goes, I’d say early ‘69 is about the same but then with the release of Reverberation and the success of the Soulful Old Man Sunshine single I’d say they’re at an uptick. Add Some Music definitely sells more then Sunflower does in OTL but not my a crazy huge margin. At this point in TTL I would say they’re better of then they were in OTL but still not number 1 on everyone’s radar. I have some things planned on the horizon that could certainly cause a big bump in popularity though.
The Beach Boys - All This Is That (1972)
Produced by: The Beach Boys
Side 1:
1. You Need A Mess Of Help To Stand Alone (B. Wilson/Rieley)
2. Here She Comes (Chaplin/Fataar)
3. It’s A New Day (D. Wilson/Shapiro)
4. Hold On Dear Brother (Chaplin/Fataar)
5. Baby Baby (D. Wilson/Dragon)
6. Marcella (B. Wilson/Rieley)
Side 2:
1. All This Is That (Jardine/C. Wilson/Love)
2. In The Country (B. Wilson/Goldberg)
3. He Come Down (Jardine/B. Wilson/Love)
4. Cuddle Up (D. Wilson/Dragon)
5. Behold The Night (D. Wilson/Shapiro)
6. Won’t You Tell Me (B. Wilson/Henn)
Singles:
You Need A Mess Of Help To Stand Alone b/w It’s A New Day
(#42 US / #37 UK)
Marcella b/w Here She Comes
(#45 US / #41 UK)
“The Beach Boys are now feeling more comfortable in their own rock sound. This years release, All This Is That, feels like a tight and concise record. This album contains all you’d want from the band at this time. Some heavy rockers from the Wilsons and new members to the group, Ricky Fataar and Blondie Chaplin, combined with a few Dennis ballads make up the large chunk of this LP. Each members presence is felt here, either writing, vocally, or instrumentally. Notable highlights include; Brian’s Marcella and Won’t You Tell Me (written with Soulful Old Man Sunshine collaborator Rick Henn), the stellar title-track, In The Country featuring guest vocalist Don Goldberg, and more. All This Is That is a solid album, and we can’t help but say we’re impressed. All signs point to the fact that The Beach Boys are heading in the right direction.”
- Rolling Stone Magazine (1972)
“I would say we’re pretty proud of this one. It was an all round group effort and that’s exactly what we needed. I had a really good time working on this one and I’m excited to keep up the pace.”
- Mike Love (1972)
“Yeah, it’s a pretty good album. But I wasn’t feeling like I was part of it all anymore, so I guess I knew my time with the band was up. I’m definitely open to working with them again, but for now I’m enjoying being on my own.”
- Bruce Johnston (1975)
“Landlocked and All This Is That put me right back where I wanted to be. I felt good about those albums and I still do. Not to be boastful but I think some of my finest music is on both of those albums.”
- Dennis Wilson (1978)
“Mike and I had been getting really into Transcendental Meditation for a few years at that point so it definitely started to show up in what we wrote. Songs like He Come Down and the title-track of All This Is That came directly from that. I think it helped us express what we felt while also staying true to ourselves.”
- Al Jardine (1987)
“Here’s one from the All This Is That album from ‘72. It was the lead-off single and it’s still one of my favorite tracks we’ve done. You Need A Mess Of Help To Stand Alone!”
- Carl Wilson (1993)
“I was working on a lot of stuff at that time, stuff like American Spring. I still gave my attention to the group though. All This Is That is a fine album and I’m glad I was a part of it, but the guys really knocked it out of the park on that one. I wasn’t doing too well myself but it was great being with the guys as they worked and had some fun.”
- Brian Wilson (2012)
Produced by: The Beach Boys
Side 1:
1. You Need A Mess Of Help To Stand Alone (B. Wilson/Rieley)
2. Here She Comes (Chaplin/Fataar)
3. It’s A New Day (D. Wilson/Shapiro)
4. Hold On Dear Brother (Chaplin/Fataar)
5. Baby Baby (D. Wilson/Dragon)
6. Marcella (B. Wilson/Rieley)
Side 2:
1. All This Is That (Jardine/C. Wilson/Love)
2. In The Country (B. Wilson/Goldberg)
3. He Come Down (Jardine/B. Wilson/Love)
4. Cuddle Up (D. Wilson/Dragon)
5. Behold The Night (D. Wilson/Shapiro)
6. Won’t You Tell Me (B. Wilson/Henn)
Singles:
You Need A Mess Of Help To Stand Alone b/w It’s A New Day
(#42 US / #37 UK)
Marcella b/w Here She Comes
(#45 US / #41 UK)
“The Beach Boys are now feeling more comfortable in their own rock sound. This years release, All This Is That, feels like a tight and concise record. This album contains all you’d want from the band at this time. Some heavy rockers from the Wilsons and new members to the group, Ricky Fataar and Blondie Chaplin, combined with a few Dennis ballads make up the large chunk of this LP. Each members presence is felt here, either writing, vocally, or instrumentally. Notable highlights include; Brian’s Marcella and Won’t You Tell Me (written with Soulful Old Man Sunshine collaborator Rick Henn), the stellar title-track, In The Country featuring guest vocalist Don Goldberg, and more. All This Is That is a solid album, and we can’t help but say we’re impressed. All signs point to the fact that The Beach Boys are heading in the right direction.”
- Rolling Stone Magazine (1972)
“I would say we’re pretty proud of this one. It was an all round group effort and that’s exactly what we needed. I had a really good time working on this one and I’m excited to keep up the pace.”
- Mike Love (1972)
“Yeah, it’s a pretty good album. But I wasn’t feeling like I was part of it all anymore, so I guess I knew my time with the band was up. I’m definitely open to working with them again, but for now I’m enjoying being on my own.”
- Bruce Johnston (1975)
“Landlocked and All This Is That put me right back where I wanted to be. I felt good about those albums and I still do. Not to be boastful but I think some of my finest music is on both of those albums.”
- Dennis Wilson (1978)
“Mike and I had been getting really into Transcendental Meditation for a few years at that point so it definitely started to show up in what we wrote. Songs like He Come Down and the title-track of All This Is That came directly from that. I think it helped us express what we felt while also staying true to ourselves.”
- Al Jardine (1987)
“Here’s one from the All This Is That album from ‘72. It was the lead-off single and it’s still one of my favorite tracks we’ve done. You Need A Mess Of Help To Stand Alone!”
- Carl Wilson (1993)
“I was working on a lot of stuff at that time, stuff like American Spring. I still gave my attention to the group though. All This Is That is a fine album and I’m glad I was a part of it, but the guys really knocked it out of the park on that one. I wasn’t doing too well myself but it was great being with the guys as they worked and had some fun.”
- Brian Wilson (2012)
Last edited:
Wings - Red Rose Speedway (1973)
Produced By: Paul McCartney
SIDE ONE:
1. Big Barn Bed
2. I Would Only Smile*
3. Get On the Right Thing
4. Country Dreamer
5. Seaside Woman
6. Tragedy**
SIDE TWO:
1. My Love
2. Single Pigeon
3. I Lie Around
4. Mama’s Little Girl
5. Little Lamb Dragonfly
* (Written by Denny Laine)
** (Written by Fred Burch and Gerald Nelson)
“Red Rose Speedway” was seen as a transitional album for Wings. Released after the badly recieved “Wild Life” and before the critically acclaimed “Band on the Run” the album itself was warmly received, getting better reviews than “Wild Life” but was still seen as “pure McCartney schmalz” (a review which would be the inspiration for the title of his 2016 compilation “Pure McCartney”)
Originally a double album, it was then cut down to a single album featuring mainly Paul songs but after a talk with the rest of Wings, different members tracks were replaced to give the album a more “band” feel.
Produced By: Paul McCartney
SIDE ONE:
1. Big Barn Bed
2. I Would Only Smile*
3. Get On the Right Thing
4. Country Dreamer
5. Seaside Woman
6. Tragedy**
SIDE TWO:
1. My Love
2. Single Pigeon
3. I Lie Around
4. Mama’s Little Girl
5. Little Lamb Dragonfly
* (Written by Denny Laine)
** (Written by Fred Burch and Gerald Nelson)
“Red Rose Speedway” was seen as a transitional album for Wings. Released after the badly recieved “Wild Life” and before the critically acclaimed “Band on the Run” the album itself was warmly received, getting better reviews than “Wild Life” but was still seen as “pure McCartney schmalz” (a review which would be the inspiration for the title of his 2016 compilation “Pure McCartney”)
Originally a double album, it was then cut down to a single album featuring mainly Paul songs but after a talk with the rest of Wings, different members tracks were replaced to give the album a more “band” feel.
Kick
The Beatles - Shaved Fish (1975)
Produced By: The Beatles
SIDE ONE:
1. Venus and Mars/Rock Show
2. Here We Go Again
3. This Guitar (Can’t Keep From Crying)
4. Scared
5. You Gave Me the Answer
6. Nobody Loves You (When You’re Down and Out)
SIDE TWO:
1. Tired of Midnight Blue
2. Call Me
3. Letting Go
4. Steel and Glass
5. Venus and Mars (reprise)
6. The Answer’s At the End
In November of 1974, the Beatles regrouped in a studio in Los Angeles, later New Orleans to record their 16th studio album (then titled “Venus and Mars”) but as the sessions went on and Lennon’s partying and drinking habits grew, Paul has to do what was right for John even if he had to end the band.
He secretly called Yoko Ono in order for her and John to reconnect in order for her to bring some stability into his life and after a show in New York City, the two reunited and were back together. The band was put on an indefinite hiatus in late 1975 as John was going into his now-famous “househusband” period. Leaving the rest to follow solo careers as they waited for John to make music again.
Produced By: The Beatles
SIDE ONE:
1. Venus and Mars/Rock Show
2. Here We Go Again
3. This Guitar (Can’t Keep From Crying)
4. Scared
5. You Gave Me the Answer
6. Nobody Loves You (When You’re Down and Out)
SIDE TWO:
1. Tired of Midnight Blue
2. Call Me
3. Letting Go
4. Steel and Glass
5. Venus and Mars (reprise)
6. The Answer’s At the End
In November of 1974, the Beatles regrouped in a studio in Los Angeles, later New Orleans to record their 16th studio album (then titled “Venus and Mars”) but as the sessions went on and Lennon’s partying and drinking habits grew, Paul has to do what was right for John even if he had to end the band.
He secretly called Yoko Ono in order for her and John to reconnect in order for her to bring some stability into his life and after a show in New York City, the two reunited and were back together. The band was put on an indefinite hiatus in late 1975 as John was going into his now-famous “househusband” period. Leaving the rest to follow solo careers as they waited for John to make music again.
I’m still debating over that. I’d like to see Dennis live on a little longer but I don’t see him making it out of the 80s, let alone the 90s. The problem would also be that even he’s still alive, he’d have no music to contribute since he wasn’t making any in OTL after 1983. Having Carl live into the early 2000s would be nice too, I’d like to have him be around for Brian releasing Smile if that still happens.
Well here’s an idea, maybe try to spread out the songs from Pacific Ocean Blue/Bambu (around 3 songs a album maybe?) over the decade. I’m sure he has enough material for that.
And if you genuinely feel Dennis couldn’t make it into the 2000s, maybe he could go in the late 90s and Carl could live? I could see him going from liver cancer or something along those lines (since he was a known alcoholic).
Last edited:
A good chunk of the POB stuff is gonna end up on Beach Boys albums in the late 70s already. I could for sure try and get some Bambu stuff or leftover POB stuff on the 80s albums, it'll just be tough to try and fit some of them with what the band was doing at that time. It's definitely a possibility though. I could see Dennis dying at some point in the 90s, that could work. Carl could probably follow in the early to mid-2000s if he doesn't kick his smoking. If he does stop smoking at some point, I could see him still being alive today.
I could definitely see “Constant Companion” being a single in the 1980s. Songs like “He’s a Bum” and “Time For Bed” DEFINITELY wouldn’t fit, but I could still see stuff like “Under the Moonlight” and “School Girl” making it. Hell even the heavy ballad-y stuff could fit, it fit on LA (Light Album). And if you need an excuse for the less amount of Dennis songs, you could say he’s in rehab or something like that.
Companion was originally intended for LA so that’ll definitely end up there. Under The Moonlights up for contention around that time too. Also, What’s Wrong and You And I are possibly gonna end up on a ‘78 BBs album most likely. Same with Wild Situation and I Love You
Last edited:
The Beach Boys - Holland (1973)
Produced by: The Beach Boys
Side 1:
1. Sail On, Sailor (B. Wilson/Rieley/Parks/Almer/Kennedy)
2. Out In The Country (B. Wilson/Goldberg)
3. California Saga
a. Big Sur (Love)
b. The Beaks Of Eagles (Jardine/Jeffers)
c. California (Jardine)
Side 2:
1. The Trader (C. Wilson/Rieley)
2. Steamboat (D. Wilson/Rieley)
3. Hard Time (Chaplin/Fataar)
4. Carry Me Home (D. Wilson)
Side 3:
1. Leaving This Town (Fataar/Chaplin/C. Wilson/Love)
2. Only With You (D. Wilson /Love)
3. Funky Pretty (B. Wilson/Love/Rieley)
4. We Got Love (Fataar/Chaplin/Love)
Side 4:
1. Mount Vernon And Fairway (A Fairy Tale)
a. Mt. Vernon And Fairway - Theme (B. Wilson)
b. A Casual Look (Wells)
c. I'm The Pied Piper - Instrumental (B. Wilson/C. Wilson)
d. Better Get Back In Bed (B. Wilson)
e. Magic Transistor Radio (B. Wilson)
f. I'm The Pied Piper (B. Wilson/C. Wilson)
g. Radio King Dom (B. Wilson/Rieley)
Singles:
Sail On, Sailor b/w Only With You
(#3 US / #2 UK)
California Saga: California b/w Funky Pretty
(#17 US / #23 UK)
We Got Love b/w Carry Me Home
(#21 US / #20 UK)
"The newest Beach Boys album is possibly their best yet, things are looking up for the California rock band. Holland is a hell of an effort, with each member pulling their weight. The band has seemed to find what truly works for them. The work on this album rivals the other big artists of this year and last. Holland delivers a rock/folk/country mixture that is still drenched in the signature Beach Boys style. Or, well, this version of The Beach Boys style. We can't deny that this album sounds nothing like the band that put out songs like Surfin Safari or Surfer Girl, but the remnants are still there. The Beach Boys are adapting while still keeping their core intact, and it's working for them. As we write this review, lead single Sail On, Sailor is rocketing up the charts. Highlights include; lead-single Sail On, Sailor, the entire California Saga, Carl's epic The Trader, Dennis's heartfelt but bitter Carry Me Home, the Fataar/Chaplin/Love collab We Got Love, and the catchy and fun Funky Pretty. Also included on this double LP is Brian's fairy tale, Mt. Vernon And Fairway. A strange inclusion for sure but we can not deny that the music is good, it has Brian Wilson at its core and that shows. Altogether, this is our favorite Beach Boys album in a few years, the band really has it together with this one. Holland is THE album to start your year with."
- Rolling Stone Magazine (1973)
"Our manager, Jack Rieley, had the idea to go outside the states for our next album. He was hoping to inspire us a bit and really get us working, and I would say it worked. It was certainly an adjustment at first, but once we got into the groove we really jelled and started cranking stuff out. After we wrapped up work we decided to name the album after the place that helped inspire us. Felt like a good way to pay homage."
- Carl Wilson (1973)
"This was really a breath of fresh air for us, we needed to fully prove we were with the times but also still The Beach Boys, I think Holland accomplished that for us. I'm very proud of the work we all did here, and it sure is paying off. Sail On, Sailor is our biggest hit in a while, and you better your ass we're proud of that."
- Al Jardine (1973)
"This one doesn't really need an introduction but I'll do it anyway. We recorded this one in a faraway land......Europe. More specifically Holland. After some hard work, it turned into a smash hit, thanks to all of you. Here's Blondie with Sail On, Sailor!"
- Mike Love (1974)
"Holland was a lot of hard work, so we took a small break after that and started focusing on performing. We put out the live LP last year and that sold well. We definitely will have something this year though. It'll be tough to follow up on Holland but we have some tracks that we're really diggin' at the moment. So keep an eye out for something soon."
- Dennis Wilson (1975)
"We all moved to Holland but Brian wasn't really interested. Me, Carnie, Wendy, and everyone else was already over there by the time Brian decided to come. It took a lot of coaxing but when he finally came over I could tell he was happy he did. He enjoyed working with the guys in a new environment, even though the conditions were rough at times. When he wasn't working on music he was riding his bike or shopping in town. He seemed to enjoy the simplicity of it all. I guess you could ask him though."
- Marilyn Wilson (1976)
"I like that album a lot, yeah. It was the result of a lot of good work. The fairy tale grew out of my influences at the time. I was listening to Sail Away by Randy Newman and that album really pushed me to do something unique. I like how it turned out, I think Jack did a pretty good job on the narration. And of course, we had Sail On, Sailor which was a good hit. Made me happy to see that one go big."
- Brian Wilson (2006)
Produced by: The Beach Boys
Side 1:
1. Sail On, Sailor (B. Wilson/Rieley/Parks/Almer/Kennedy)
2. Out In The Country (B. Wilson/Goldberg)
3. California Saga
a. Big Sur (Love)
b. The Beaks Of Eagles (Jardine/Jeffers)
c. California (Jardine)
Side 2:
1. The Trader (C. Wilson/Rieley)
2. Steamboat (D. Wilson/Rieley)
3. Hard Time (Chaplin/Fataar)
4. Carry Me Home (D. Wilson)
Side 3:
1. Leaving This Town (Fataar/Chaplin/C. Wilson/Love)
2. Only With You (D. Wilson /Love)
3. Funky Pretty (B. Wilson/Love/Rieley)
4. We Got Love (Fataar/Chaplin/Love)
Side 4:
1. Mount Vernon And Fairway (A Fairy Tale)
a. Mt. Vernon And Fairway - Theme (B. Wilson)
b. A Casual Look (Wells)
c. I'm The Pied Piper - Instrumental (B. Wilson/C. Wilson)
d. Better Get Back In Bed (B. Wilson)
e. Magic Transistor Radio (B. Wilson)
f. I'm The Pied Piper (B. Wilson/C. Wilson)
g. Radio King Dom (B. Wilson/Rieley)
Singles:
Sail On, Sailor b/w Only With You
(#3 US / #2 UK)
California Saga: California b/w Funky Pretty
(#17 US / #23 UK)
We Got Love b/w Carry Me Home
(#21 US / #20 UK)
"The newest Beach Boys album is possibly their best yet, things are looking up for the California rock band. Holland is a hell of an effort, with each member pulling their weight. The band has seemed to find what truly works for them. The work on this album rivals the other big artists of this year and last. Holland delivers a rock/folk/country mixture that is still drenched in the signature Beach Boys style. Or, well, this version of The Beach Boys style. We can't deny that this album sounds nothing like the band that put out songs like Surfin Safari or Surfer Girl, but the remnants are still there. The Beach Boys are adapting while still keeping their core intact, and it's working for them. As we write this review, lead single Sail On, Sailor is rocketing up the charts. Highlights include; lead-single Sail On, Sailor, the entire California Saga, Carl's epic The Trader, Dennis's heartfelt but bitter Carry Me Home, the Fataar/Chaplin/Love collab We Got Love, and the catchy and fun Funky Pretty. Also included on this double LP is Brian's fairy tale, Mt. Vernon And Fairway. A strange inclusion for sure but we can not deny that the music is good, it has Brian Wilson at its core and that shows. Altogether, this is our favorite Beach Boys album in a few years, the band really has it together with this one. Holland is THE album to start your year with."
- Rolling Stone Magazine (1973)
"Our manager, Jack Rieley, had the idea to go outside the states for our next album. He was hoping to inspire us a bit and really get us working, and I would say it worked. It was certainly an adjustment at first, but once we got into the groove we really jelled and started cranking stuff out. After we wrapped up work we decided to name the album after the place that helped inspire us. Felt like a good way to pay homage."
- Carl Wilson (1973)
"This was really a breath of fresh air for us, we needed to fully prove we were with the times but also still The Beach Boys, I think Holland accomplished that for us. I'm very proud of the work we all did here, and it sure is paying off. Sail On, Sailor is our biggest hit in a while, and you better your ass we're proud of that."
- Al Jardine (1973)
"This one doesn't really need an introduction but I'll do it anyway. We recorded this one in a faraway land......Europe. More specifically Holland. After some hard work, it turned into a smash hit, thanks to all of you. Here's Blondie with Sail On, Sailor!"
- Mike Love (1974)
"Holland was a lot of hard work, so we took a small break after that and started focusing on performing. We put out the live LP last year and that sold well. We definitely will have something this year though. It'll be tough to follow up on Holland but we have some tracks that we're really diggin' at the moment. So keep an eye out for something soon."
- Dennis Wilson (1975)
"We all moved to Holland but Brian wasn't really interested. Me, Carnie, Wendy, and everyone else was already over there by the time Brian decided to come. It took a lot of coaxing but when he finally came over I could tell he was happy he did. He enjoyed working with the guys in a new environment, even though the conditions were rough at times. When he wasn't working on music he was riding his bike or shopping in town. He seemed to enjoy the simplicity of it all. I guess you could ask him though."
- Marilyn Wilson (1976)
"I like that album a lot, yeah. It was the result of a lot of good work. The fairy tale grew out of my influences at the time. I was listening to Sail Away by Randy Newman and that album really pushed me to do something unique. I like how it turned out, I think Jack did a pretty good job on the narration. And of course, we had Sail On, Sailor which was a good hit. Made me happy to see that one go big."
- Brian Wilson (2006)
Last edited:
One Broken Heart for Sale (1962)
Side A
- You'll Be Gone
- I Met Her Today
- For the Millionth and Last Time
- Girls! Girls! Girls!
- One Broken Heart for Sale
- A Boy Like Me, A Girl Like You
- Because of Love
- When It Rains It Really Pours*
- Tomorrow Night**
- Forget Me Never
** From 1954 (and undubbed unlike Elvis for Everyone)
On November 24, 1960 tragedy would strike as Elvis' long time manager Col. Tom Parker would be killed in a car accident. Elvis would mourn the passing of his manager before he would return to the studio in March of 1961 to record some new material for a new album which would become Something for Everybody. With Parker's absence, Elvis was allowed more freedom with recording and with film contracts. Elvis would sign on to star in 1961 film adaptation of West Side Story with his co-star being long time friend Natalie Wood, the film would go on to be the highest grossing movie of 1961. In early 1962 Elvis would start recording material for this album with the last three songs being old SUN recordings and one song from Wild in the Country.
Tennessee Waltz (1963)
Side A
- Because of You
- Here
- Bossa Nova Baby
- Love You So
- Return to Me
- Tennessee Waltz
- Tweedle Dee
- Gone
- Slowly
- Tennessee Dancin' Doll
- Blue Guitar
- Memphis Tennessee
Pink Floyd - Leagues Beneath the Sea (1971)
Progressive Rock - Experimental Rock
Tracklist:
Side One:
1. Going Down* (Waters) 5:10
2. Beset by Creatures of the Deep** (Waters) 5:44
3. Jellyfish (Giles-Wright) 3:40
4. Passage of Time (Giles-Wright) 4:26
5. Seabirds*** (Waters) 4:17
6. Bonus Track; San Tropez (Waters) 1:52
Side Two:
1. From Nothing**** (Giles-Waters-Wright) 16:48
2. Stop Talking! (Belew-Mason) 3:54
3. Drip, Drip (Giles-Wright) 2:00
Main Personnel:
Peter Giles - Rhythm Guitar, lead vocals on Passage of Time, Drip, Drip, and From Nothing.
Roger Waters - Bass, lead vocals on Going Down, Beset by Creatures of the Deep, and San Tropez
Richard Wright - Keyboards, lead vocals on Jellyfish
Adrian Belew - Lead Guitar, lead vocals on Stop Talking!
Nick Mason - Drums
---
*OTL One of These Days
**OTL Careful With That Axe Eugene
***OTL Sea Birds
****OTL Echoes
Last edited:
A Long Lonely Highway (1963)
Side A
- (It's A) Long Lonely Highway
- I Walk The Line
- Slowly but Surely
- I Met Her Today
- Echoes of Love
- Finders Keepers, Losers Weepers
- Hello, Mary Lou
- Blue River
- Western Union
- (You're The) Devil in Disguise
- Your Cheatin’ Heart
Awake - The Beach Boys (1974)
SIDE ONE: (16:20)
Soulful Old Man Sunshine
Hard Times
Out In the Country*
Awake
Carry Me Home
SIDE TWO: (16:14)
We Got Love
Sweet and Bitter
It’s a New Day
Where Is She?
Won’t You Tell Me
“Following the tremendous success of the compilation ‘Endless Summer’ the band felt that they needed to capitalize on the success with a new album. The problem was, they were constantly on tour so they had no time to record new material. So on the downtime of the tour, Dennis and Carl Wilson went into the vaults to find new, unreleased songs to compile into an album. Most were dating from the ‘Holland’ or ‘Carl and the Passions’ sessions, some even dating back to the ‘Sunflower’ sessions. One song in particular ‘Soulful Old Man Sunshine’ was vetoed by Carl due to the ‘shunshine’ flub, but was convinced by Dennis to add it and even release it as a single. And it paid off, as it had been their most successful single in years, peaking at #12. The album itself hit #30, and was a critical smash but found some disappointment with newer fans who were expecting more ‘fun in the sun’ styled music.”
* the Don Goldberg version
Caribou Ranch - The Beach Boys (1975)
SIDE ONE: (15:23)
The River Song
Had to Phone Ya
Child of Winter
Barnyard Blues
Good Timing
SIDE TWO: (14:50)
It’s OK
Back Home
Rainbows
In the Back of My Mind
My Love Lives On
California Feeling
“The Beach Boys regrouped at Caribou Ranch in late 1974 to record their first album of new material in 2 years. And one surprising factor was the reemergence of Brian Wilson as a musical force again, having written or co-written 6 out of the 11 songs on the album. Including a re-recording of the 1965 Dennis Wilson song ‘In the Back of My Mind’ which Brian now sang lead on. Upon release in June of 1975, ‘Caribou Ranch’ received warm reviews, welcoming Brian back into regular songwriting and producing. And also many praising the rustic ‘the band’ feel of the album. The album itself reached the top 15 and it’s feel-good single ‘It’s OK/Good Timin’ reached the top 20. Their highest charting album since Pet Sounds.”
Big Ones - The Beach Boys (1976)
SIDE ONE: (16:59)
1. Rock and Roll Music
2. Sea Cruise
3. Come Go With Me
4. Shake, Rattle and Roll
5. Peggy Sue
6. You’ve Lost That Loving Feeling
SIDE TWO: (17:53)
1. In the Still of the Night
2. Talk to Me/Tallahassee Lassie
3. Seasons In the Sun
4. You Are So Beautiful
5. Just Once In My Life
6. Michael, Row the Boat Ashore
“In the beginning of 1976, with a rejuvenated Brian Wilson, the band decided to go with one of Wilson’s ideas since 1973, an album of covers. Leaning into the nostalgia image they’ve been building up for years, this album featured covers of fifties classics like ‘Rock and Roll Music’ ‘Shake, Rattle and Roll’ and ‘Peggy Sue.’ But also beautiful covers of songs like Phil Spector’s ‘You’ve Lost That Loving Feeling’ or Dennis’s breathtaking rendition of ‘Michael, Row the Boat Ashore.’ The album itself received positive reviews, with many praising the second side in particular.”