The Beach Boys
15 Big Ones / Love You
Capitol / Brother Records
72435-27945-2-2
_______________________________________________________

1. Rock and Roll Music
(Berry)
Arranged: Brian Wilson
Lead vocal: Mike Love
Background: Brian Wilson, Marilyn Wilson, Dennis Wilson, Al Jardine, Michael Love and Carl Wilson
Sax: Steve Douglas, Jack Nimitz, Mike Altschol, Dennis Dreith and John J. Kelson, Jr.
Clarinet: Jack Nimitz, Mike Altschol, Dennis Dreith and John J. Kelson, Jr.
Auto Harp: Carol Lee Miller
Percussion: Gene Estes
Drums: Dennis Wilson
Organ/Piano: Brian Wilson
Moog Bass: Brian Wilson
Arp: Brian Wilson
Guitar: Billy Hinsche and Ed Carter

2. It’s OK*
(Wilson-Love)
Arranged: Brian Wilson and Michael Love
Lead vocal: Mike Love
Arranged: Brian Wilson
Background: Brian Wilson, Marilyn Wilson, Dennis Wilson, Al Jardine, Michael Love and Carl Wilson
Piano: Brian Wilson
Organ/Moog Bass: Brian Wilson
Drums: Dennis Wilson & Ricky Fataar
Clavinet: Dennis Dreith and Jules Jacobs
Guitar: Carl Wilson
Sax: Roy Wood and Wizzard

3. Had To Phone Ya
(Wilson-Love)
Arranged: Brian Wilson
Lead Vocal: Michael Love, Alan Jardine, Carl Wilson, Dennis Wilson & Brian Wilson
Backgrounds: Michael Love, Brian Wilson, Carl Wilson, Marilyn Wilson, Alan Jardine, Carl Wilson & Dennis Wilson
Sax: Steve Douglas & Jay Migliori
Clarinet: Dennis Dreith & Jules Jacobs
Bass: Lyle Ritz
Violins: Sidney Sharp, Arnold Belnick and Henry Ferber
Trumpet: Bobby Shew
Drums: Dennis Wilson
Guitar: Ed Carter & Billy Hinsche
Piano: Brian Wilson

4. Chapel Of Love
(Spector-Barry-Greenwich)
Arranged: Brian Wilson
Lead Vocal: Brian Wilson
Backgrounds: Brian Wilson, Michael Love and Alan Jardine
Sax: Steve Douglas, Jack Nimitz, Mike Altschol, Dennis Dreith & John J. Kelson, Jr.
Auto Harp: Carol Lee Miller
Percussion: Gene Estes
Drums: Dennis Wilson
String Ensemble: Brian Wilson
Piano: Brian Wilson
Moog Bass: Brian Wilson
Guitar: Carl Wilson

5. Everyone’s In Love With You
(Love)
Arranged: Michael Love
Lead Vocal: Michael Love
Backgrounds: Alan Jardine, Carl Wilson, Michael Love and Toni Tennille
Vocals Arranged: Daryl Dragon
String Ensemble: Brian Wilson
Drums: Dennis Wilson
Harp: Maureen L. West
Piano: Ron Altbach
Harpsichord: Ron Altbach
Flute: Charles Lloyd
Bass: Carl Wilson
Guitar: Ed Carter and Carl Wilson
Sax: Steve Douglas and Jay Migliori

6. Talk To Me
(J. Seneca)
Arranged: Brian Wilson
Lead Vocal: Carl Wilson
Backgrounds: Brian Wilson, Carl Wilson, Dennis Wilson, Michael Love and Alan Jardine
Drums: Dennis Wilson
Guitar: Billy Hinsche & Ed Carter
String Ensemble: Brian Wilson
Moog: Brian Wilson
Piano/Organ: Brian Wilson
Bass: Carl Wilson
Medley: Sax: Steve Douglas & Jay Migliori
Percussion: Julius Wechter
Drums: Dennis Wilson
Violins: James Getzoff, Henry L. Roth, Bernard Kondell and Lou Klass

7. That Same Song*
(Wilson-Love)
Arranged: Brian Wilson
Lead Vocal: Brian Wilson
Backgrounds: Brian Wilson, Marilyn Wilson, Carl Wilson, Alan Jardine and Michael love
Sax: Steve Douglas and Jay Migliori
Accordion: Ron Altbach
Percussion: Gene Estes
Drums/Vibes: Dennis Wilson
Bass: Timothy Drummond
Guitar: Ed Carter
Violins: Sidney Sharp, Tiber Zelig, Lori Klass, Murry Adler and William Kurasch
Piano Organ: Brian Wilson

8. TM Song
(Wilson)
Arranged: Brian Wilson
Lead Vocal: Alan Jardine
Backgrounds: Brian Wilson, Michael Love and Alan Jardine
Sax: Steve Douglas and Jay Migliori
Flute: Steve Douglas and Jay Migliori
Guitar: Ed Carter & Billy Hinsche
Organ: Brian Wilson
Drums: Dennis Wilson

9. Palisades Park**
(Barris)
Arranged: Brian Wilson
Lead Vocal: Carl Wilson
Backgrounds: Brian Wilson, Carl Wilson, Michael Love and Alan Jardine
Drums: Hal Blaine
Percussion: Julius Wechter
Sax: Steve Douglas, John J. Kalson, Jr., and Plas Johnson
Accordion: Carl L. Fortina
Bass: Lyle Ritz and Ray Polman
Guitar: Ben Benay and Jerry Cole
Piano: Brian Wilson
Organ: Brian Wilson
Synthesizer: Carl Wilson

10. Susie Cincinnati
(Jardine)
Arranged: Brian Wilson
Lead Vocal: Alan Jardine
Backgrounds: Michael Love, Alan Jardine, Brian Wilson, Carl Wilson, Dennis Wilson and Bruce Johnston
Drums: Dennis Dragon
Guitar: Carl Wilson and Alan Jardine
Clavinet: Daryl Dragon
Bass: Brian Wilson
Harmonica: Brian Wilson

11. A Casual Look
(Ed Wells)
Arranged: Brian Wilson
Lead Vocal: Michael Love and Alan Jardine
Backgrounds: Brian Wilson, Carl Wilson, Michael Love, Alan Jardine
Percussion/Drums: Dennis Wilson
Guitar: Ed Carter and Billy Hinsche
Bass: Carl Wilson
Piano: Brian Wilson
Horns: Steve Douglas and Jay Migliori

12. Blueberry Hill*
(Lewis-Stock-Rose)
Arranged: Brian Wilson
Lead Vocal: Michael Love
Backgrounds: Brian Wilson, Dennis Wilson, Alan Jardine and Michael Love
Sax: Steve Douglas and Jay Migliori
Drums: Hal Blaine
Percussion: Julius Wechter
Bells: Julius Wechter
Accordion: Carl L. Fortina
Guitar: Ben Benay, Thomas J. Tedesco and Carl Wilson
Bass: Ray Pohlman
String Bass: James D. Hughart
Organ/Chimes: Brian Wilson
Piano: Bruce Johnston

13. Back Home*
(Wilson)
Arranged: Brian Wilson
Lead Vocal: Brian Wilson
Backgrounds: Alan Jardine, Carl Wilson and Michael Love
Piano/Organ: Brian Wilson
Drums: Dennis Wilson
Bass: Carl Wilson
Guitars: Carl Wilson
Harp: Carl Wilson
Percussion: Carl Wilson
Bells: Brian Wilson

14. In The Still Of The Night
(F. Parris)
Arranged: Brian Wilson
Lead Vocal: Dennis Wilson
Backgrounds: Dennis Wilson, Carl Wilson, Brian Wilson, Alan Jardine and Michael Love
Drums: Dennis Wilson
Piano: Brian Wilson
Moog Bass: Brian Wilson
String Ensemble: Brian Wilson

15. Just Once In My Life
(Spector-Goffin-King)
Arranged: Brian Wilson
Lead Vocal: Brian Wilson and Carl Wilson
Backgrounds: Brian Wilson, Alan Jardine, Michael Love and Bruce Johnston
Drums: Dennis Wilson
Piano: Brian Wilson
Organ: Brian Wilson
Guitar: Ed Carter and Billy Hinsche
Moog: Brian Wilson
String Ensemble: Brian Wilson
Percussion: Ricky Fataar and Carl Wilson
______________________________________________________________

Produced by Brian Wilson
Recorded January 30, 1967 to May 15, 1976
Horn Solos: Steve Douglas Recorded and Mixed at Brother Studios, Santa Monica, California

Engineered by Stephen Moffitt
*Engineered by Earle Mankey

**Basic track recorded at Western Recorders
Engineered by Chuck Britz

“Susie Cincinnati” Recorded at Brian Wilson’s house
Mastered at Location Recorders, thanks to Steve Guy
Original Album Designed by Dean O. Torrence/KittyHawk Graphics

Illustration by Jim Evans
Photography by Dana Abrams/Haworth Photography
Original Album Art Direction by Ed Thrasher

Dedicated to Alan Betrock

Special Thanks to David Burd, Jeff Levenson and Bruce Louden Special Thanks to Charles Lloyd, Marilyn Wilson, Chip Rachlin and all of the people at ICM and Caribou, Warren Duffy for joining us, Trish at Brother Studio, Stephen Love, whose dream of six years has at last become a reality.

Daryl Dragon and Toni Tennille appear courtesy of A&M Records, Inc.

Bruce Johnston appears courtesy of Equinox Records

Roy Wood and Wizzard appear courtesy of United Artists Records/Jet Records

______________________________________________________________


In 1976, the words that were planted on the lips of Beach Boys fans all over this whole world were “Brian Is Back.”

Brian Wilson, whose once-mighty ocean of creative and spiritual guidance to one of the most illustrious and productive musical careers in history had been trickling to a pebbly stream since the dawn of the ‘70s. He retired from touring with The Beach Boys in late ’64 so his fans had not seen him perform onstage in over a decade. What’s more, the rumours of the state of the reclusive Brian’s bloated mortal and demented mental coils had taken on mythical proportions and many followers wondered if he wouldn’t end up spending the rest of his days on Earth (or whatever world he might be inhabiting) locked up tight in his bedroom, too scared to face the world that adored him. Lack of commercial success and too much substance abuse had zapped his confidence. Brian had created magical music that inspired a generation in the ‘60s. Did he still have the goods locked up somewhere deep inside of him? Heck, there were even some who thought the “adult child” had completely lose his marbles…or maybe Phil Spector’s “mind police” had finally stolen Brian’s soul.

In the spring, news tidbits were popping up in the rock press confirming that Brian was working with the Boys again. By summer, feature articles began appearing in the mass media heralding the return of Brother Brian. A new Beach Boys album was scheduled for a July release and for the first time since Pet Sounds in 1966, the credit on the jacket was to read “Produced by Brian Wilson.” And get this – Brian was going to return to touring with his brothers, cousins and friends after 11 years of the hermitic life. Could this possibly be true? Was Brian really “back?”

Well, in fact it was not wholly untrue.

While Brian languished in his room, The Beach Boys were kicking butt on the road in stadiums, arenas and fairs across the land. The band’s touring career had seen a renaissance in the early ‘70s and it hit even greater heights when Capitol Records, the group’s former label, released two blockbuster anthologies of the band’s greatest pre-1966 sun and fun hits.

The Endless Summer (a Number One Album, released in 1974) and Spirit of America (1975) introduced The Beach Boys to a whole new generation and reminded the old fans that their music was still very happening.

But as busy as they were on the concert stage, the guys were just as stagnant in the recording studio and their current label was none too pleased. The Beach Boys signed a deal aligning their own Brothers Records imprint with Warner Brothers/Reprise in 1970 and they released Sunflower as their first long-player under the new arrangement in August of that year. The widely praised album stiffed. Surf’s Up followed in 1971, reflecting a new socially-and ecologically conscious image for the band.

The album, whose title track was a retooled version of Brian’s previously unreleased, legendary Smile piece from 1966, fared considerably better. In 1972 Carl And The Passions showcased the songwriting and musicianship of Blondie Chaplin and Ricky Fataar, two South African guys from a band called The Flame. They joined the Boys at this time and stayed with them for several years. (Bruce Johnston, who became a Beach Boy in 1965, departed during this time).

Coupled with a re-issue of Pet Sounds in a gatefold sleeve, it just scraped the Top 50 albums chart. Their next release was Holland (recorded in a transplanted studio in the country of the title’s namesake) in 1973, which reached #36. A double live set In Concert was issued later in November and eventually went gold. But that was 1973. The last new piece of music from the band was Brian’s Child of Winter, a holiday 45 he delivered too late to be “in season” for Christmas of ’74.

But it was now 1976. As Brian told Timothy White in a two-part Crawdaddy feature in June of ’76, the group was “behind commitment” with their parent record company. He candidly added “we could get sued, I suppose…” The pressure was on. Not only did Warner want the band to make good on their agreement to deliver “product,” they also wanted a hit. They felt that the surest way of scoring any real numbers with the group was to capitalize on the publicity of a promotional campaign that exploited the return of the dormant “genius” behind The Beach Boys’ greatest success. The trick would be to get Brian to crack the whip again behind the studio control room glass.

But at the time, Brian may not have been in any mood to crack anything. Despite his sloth during the ‘70s, Brian was not totally inactive. But much of his musical output had been sporadic, incomplete and unfocused. He had written songs throughout his homebound years (some of the material was praised by insider who heard him play it on his home piano) but Brian had been too insecure to present them to the band. He even had mixed feelings about working with The Beach Boys again.

In late ’75, Brian’s then-wife, Marilyn, had called on one Dr. Eugene Landy, a Hollywood shrink who placed Brian on an intense regime of exercise, detox and employed a “team approach” of psychiatry for his patient. Part of the routine even included regular songwriting sessions. Brian was gradually getting healthier and returning to productivity. But he was still too much of a chunk to feel good about being seen onstage by thousands of fans.

Maybe it was the therapy. Maybe he was forced into it. Maybe Brian really wanted a hit too. Whatever it was, Brian went to work with the Boys again.

Being that there wasn’t much new material already written to record at the outset, the plan was to start the ball rolling by cutting an album of “oldies but goodies” – that is, cover versions of their personal non-Beach Boys favorites of yesteryear (shades of 1965’s Beach Boys Party!) in an attempt to warm up the group and ease Brian back into the studio and composing mode. The initial sessions put Brian back at his old stomping grounds, Hollywood’s Western Recorders, the birthplace of numerous Breach boys hit records, where he was reunited with many of the “Wrecking Crew” session musicians who played on them. His old comrade, staff engineer Chuck Britz, also presided. The homecoming proved fruitful, if not strained from Brian’s initial paranoia.

Dennis explained in Crawdaddy that in addition to the oldies collection, two more projects would be forthcoming that “could take the form of a double album of all-new material that stretched from hard rock ‘n’ roll to these wordless vocals we’ve been doing that sound like the Vienna Boys Choir.”

As ambitious and auspicious as these aspirations might have been, the lone Beach Boys studio album release of 1976 stands as 15 Big Ones, recorded between January and May with the bulk of the recording held at the band’s own Brother Studio in Santa Monica. The title was a reference to the number of tunes on the album and to the 15th anniversary of The Beach Boys as a professional band (the actual date of the band’s first paid gig was December 31, 1961). The gatefold sleeve (designed by KittyHawk graphics, owned by Dean Torrence of Jan & Dean) pictured portraits of the bearded band members in Olympic rings.

Upon its release in the July of the USA Bicentennial, the album would initially be embraced by many fans as a welcome return to form following the change – or lack – of direction that they felt mired some of the 70’s Beach Boys’ albums. But the passing of time has not been so kind to this record. Many detractors seem to have realized the warts of the album with repeated listening and the gripes are fairly universal: there’s a top-heavy ratio of oldies to originals, a few of the original songs were leftovers, some of Brian’s (and Denny’s) vocal performances sound to nicotine-laced, and the program as a whole feels unfinished and rushed…even forced.

Well, yeah…okay…so what? If you can accept all these points and put it behind you that this isn’t Smile, Pet Sounds or even Wild Honey, give 15 Big One’s a spin and dig on what is a very cool and fun Beach Boys album.

Not since Sunflower had the group offered such a decidedly upbeat collection. Mike’s spirited lead vocal kicks off the album with a rollicking take on Chuck Berry’s Rock and Roll Music, which was also issued as the album’s first single (predating the LP’s appearance with a May release in a hotter 45 mix). It peaked at #5 in August, giving the band their first Top Ten single since Good Vibrations ten years earlier.

While some choices appear obvious and other seem slightly more obscure, the selection of non-originals sprinkled throughout 15 Big Ones pays a fine homage to from whence The Beach Boys came. The guys have a ball tracing their roots from Mike and Carl’s well-dug ‘50s R&B and doo-wop to the Brill Building and early ‘60s pop. Man, they pay tribute to the great Freddie Cannon twice! His Palisades Park (scribed by Chuck Barris of The Gong Show fame) purportedly was the inspiration for Salt Lake City from the Boys’ 1965 album Summer Days (And Summer Nights!!). And, not surprisingly, Brian’s hero, Phil Spector is duly hailed. The album closes with an impassioned duet with the Wilson Brothers (Brian and Carl) doing the Righteous Brothers, on the duos’ 1965 Spector-produced Just Once In My Life. Their plaintive plea strikes a nerve that hadn’t been felt on Beach Boys vinyl since ‘Til I Die in 1971.

The band-penned titles on 15 Big Ones (largely Brian compositions or Brian and Mike co-writes) inject much vitality into the program. Mikes’ ballad Everyone’s In Love With You is a pretty doe to transcendental meditation guru Maharishi Mahesh Yogi, his (and sometimes the group’s) spiritual leader. That Same Song and TM Song are irresistible, catchy numbers. The latter kicks off with an amusing bit of play-acting from the ensemble (possibly a replication of the band squabbling of the period?). Al’s Susie Cincinnati, a churning tribute to a female cab driver from the Ohio city first saw light of day in a different mix as a b-side and was at one time considered for inclusion on Sunflower.

It’s OK delivers the goods as a cool Beach Boys’ summer 45 (it made it up to #29 in a sped-up, compressed mix), thanks, in no small part, to Denny’s priceless “find a ride” tag line. Recorded in 1974, the track features a guest horn section of Roy Wood and Wizzard (our British cousin Wood was a founding member of both the Move and ELO). Had To Phone Ya (also the b-side of It’s OK) is a breezy, adventurous gem that smacks of heavily of Trombone Dixie, an instrumental track recorded a Brian-produced orchestrated session in November ’65. This song was originally recorded by Spring (co-produced by Brian) the vocal duo of Brian’s then-wife Marilyn and her sister Diane Rovell.

The folksy, boogie-woogie Back Home was written with Brian’s old roommate and co-write Bob Norberg and originally recorded in 1963. Despite the glaring crack in Brian’s voice and its relative simplicity, this cut conjures a magically soulful sense of hope. Another thing is sure – it is clearly the most essential Beach Boys recording on 15 Big Ones. There are no auxiliary band members, session players or extra singers performing on this one. It’s pure Brian, Mike, Carl, Denny and Al going for it like they did in 1964. And it’s a beautiful thing.

Having said all that, the “as is” complexion of Back Home pretty much sums up Brian’s attitude during the making of 15 Big Ones. If he got bored or tired and didn’t feel like going for a better take at any given time or writing any more songs for the album, so it went. The band submitted to Brian’s absolute word as producer, for better or worse. Carl, for one, would later voice his regret of this decision.

But it does not rule, 15 Big Ones does rock! Denny Wilson, who was one of the great primal rock ‘n’ roll drummers, propels a dozen of the album’s fifteen tracks, and Hal Blaine, the stickman on scores of Beach Boys recordings, returns to the fold as well. When Carl or Al didn’t play guitar or bass, extended “family” members Billy Hinsche, Ed Carter, (or Wrecking Crew bassists Lyle Ritz and Ray Pohlman) were usually on board. All of the Boys get a turn at a lead vocal and they all add shimmering harmony backgrounds (with occasional help from Marilyn Wilson, Toni Tennille and Bruce Johnston).

And after all is said and done, 15 Big Ones is a very Brian album. He did fourteen of the arrangements and his trademark, avant-garde, carnival keyboard soundscapes swirl and wind their way through the grooves. The marriage of upright piano and roller-rink organ to Moog Bass and synthesizer, Arp synth, String Ensemble and other electronic devices yield a contemporary sophistication and some minimalist and monolithic impressions – uniquely a la Beach Boys. It doesn’t sound dated. And thankfully, it would take three years for the group to dabble in disco.

In the end, 1976 turned out to be a banner year for The Beach Boys. If Brian wasn’t quite back yet, he was smack dab in the process of returning. The fact that a cover song aided the ascent of 15 Big Ones to at #8 position on the album charts and to Gold Record status may be viewed as a fluke or a brilliant reprise of the group’s proven instincts. Taking a cue from their beloved Chuck Berry (Surfin’ USA) and releasing a well-chosen oldie (Barbara Ann, Do You Wanna Dance?) had surely served them well in years past.

Brian lost a bunch of weight and although he generally felt and appeared awkward onstage, he toured with the Boys in the fall. “The Beach Boys 15th Anniversary Special” (produced by Lorne Michaels of Saturday Night Live) aired on NBC-TV in August and fans new and old continued to come out in droves to see the band live.

Considering Brian’s frazzled physical and mental state in 1976, the success of 15 Big Ones on so many levels may be considered nothing short of a miracle. One might also view the album as Brian’s salvation from a goal-less downward spiral and an imminent crash landing. In 1977, he would produce the groups next LP, The Beach Boys Love You, and album that found Brian firmly at the helm and inspired. Some fans argue that it ranks among the best of the bands’ work.

The Beach Boys experienced many ups and downs in the years following the release of 15 Big Ones, including the passing of Denny and Carl. Yet they remain massively popular. And Brian has the battle scars that reflect the time he’s done in his own trenches. But the healing process of Brother Bri has brought him to what seem to be a great place in his personal life and has evolved into a productive recording and touring artist.

It’s good to have him back.


_______________________________________________________________

The Beach Boys Love You

I have a confession to make: Love You is my favorite Beach Boys album. I know that this is an indefensible position to take, with albums like Pet Sounds, Sunflower and the unreleased Smile in the catalogue, it’s hard to pick something as light as Love You. But in a way that lightness is the key to the pleasures found on Love You. After all, isn’t Pet Sounds a masterpiece, a work of genius? Almost thirty-five years of rock criticism have told us that it’s a perfect album, a song cycle – a rock concept album even, an artistic statement that ranks up there with Mozart and Bach, or any bunch of dead white guys you’d care to name.

Nobody has ever made these claims for Love You. But one of Love You’s most endearing charms is its utter lack of pretension.

What I love best about Love You is it’s very real warmth and humanity. The personal nature of the lyrics, young love, roller-skating children, sophomoric science, airplanes, Johnny Carson (!?!), coupled with the stark simplicity of the songs, and the minimcal nature of the accompaniment, paint a picture of Brian Wilson that is unmatched on any other Beach Boys album. The brilliant production and studio mastery of the past is gone; in its place is a kind of raw honesty that is the antithesis of the traditional Brian Wilson production. The spontaneous nature of the recordings is clearly audible. Vocals go flat, instrumental mistakes are made, audible interjections from the backup singers, flat lead vocals, Brian’s new hoarse voice is to the fore and the whole thing is sounding like nothing so much as an incredibly spirited demo session for a Brian Wilson solo record.

And that’s the secret: in many ways this is a Brian Wilson solo album. For the first and last time on a Beach Boys record, Brian was responsible for a large percentage of the lyrics. When the record came out the childishness of the lyrics was a source of much mockery by critics and public. But to criticize the lyrics for not being suitably heavy is completely besides the point; this record, naive as it is, maybe the most personal record Brian ever made. I don’t listen to this record without seeing the Brian that I’ve had the pleasure to meet; a shy, unworldly, brilliant composer who is completely unsure of himself outside the boundaries of the recording studio. I’ve been a Beach Boys fan for almost all of my life, and although the work that they did in the ‘60s was undoubtedly their most groundbreaking and original, the work they did in the ‘70s is great in its own right. It’s particularly great to see Carl, Dennis, Mike, Al and Bruce step up as writers and producers. Some of the best work by the Beach Boys in the ‘70s was by the other band members. Surf’s Up is probably the most well rounded of the bunch, with great compositions by every member. Still, I can’t help but feel that Love You is a special record, a window into the heart of one of the greatest composers of the 20th century.
______________________________________________________________

1. Let Us Go On This Way
Co-written by Mike Love, the traditional Beach Boys vocal harmonies at the chorus serve as a reassuring entry to Love You. Stranger things were to come.

2. Roller-Skating Child
It was at this point that the average Beach Boys fan probably took Love You off the turntable (or out of the 8-track player) and gave up on the record. But with its synthesizer driven arrangement and Brian’s heartfelt vocals, I’ve always had a soft spot for this song. And I find the lyrics strangely touching.

3. Mona
Wonderful, circular love song, on which Brian is the only audible beach boy. Special touching note: Brian’s lyrical insistence that a shared love of Phil Spector is one of the prerequisites for romance.

4. Johnny Carson
At once the most ridiculous and chilling song on the record, Johnny Carson epitomizes Love You to most people. With it’s arrangement alternating between glacial calm and a jolly sing-along, and it’s lyrics being so seemingly straightforward, one can only wonder why in the world would anybody spend that much time thinking about Johnny Carson. You can only hope they got a couple of Tonight Show appearances out of it.

5. Good Time
If this song, with its complex arrangement and vocals feels out of place on Love You, it’s because the track was recorded circa 1970. Written with Al Jardine, the instrumental was overdubbed by Spring, Marilyn Wilson’s group, and release in 1972. This is the original vocal performance from the early ‘70s.

6. Honkin’ Down The Highway
Honkin’ down the gosh dam highway! In its own absurd way, this is the perfect driving song. Like a lot of songs on this album, it sounds like Brian played all the instruments, including the rudimentary drums.

7. Ding Dang
This one minute long fragment was written with Roger McGuinn of the Byrds. Apparently Brian wrote the ding and Roger wrote the dang. Or Vice versa.

8. Solar System
Solar System brings us wisdom. Uh-huh. But don’t be fooled: the childish lyrics belie the beautiful arrangement and complex time signatures.

9. The Night Was So Young
Probably my favorite song on Love You, The Night Was So Young is also the most fully realized instrumentally. Featuring what sounds like a full band performance, and including virtually the only guitar work on the whole album, this ballad kicks off a string of songs of regret and sadness. While side one is comprised of mostly upbeat songs, side two is conceptually about lost love. One of the things I find so moving about this record is its air of sadness, and missed chances. Knowing what Brian went through in the seventies it’s hard to listen to it without feeling that it’s autobiographical.

10. I’ll Bet He’s Nice
It’s amazing how rhythmic this track is, considering its only percussion is supplied by intermittent tambourine and handclaps. Listen to the interplay of the different synthesizers, including, what is for my money, the best synth-bass ever.

11. Let’s Put Our Hearts Together
This heartbreaking ballad was sung by Brian and his then wife Marilyn. It’s so personal that it’s hard to listen to.

12. I Wanna Pick You Up
Featuring a hoarse, heartfelt vocal from brother Dennis, I Wanna Pick You Up is either a charming love song to a child, or a mildly creepy love song to a woman. Note the massed choir of voices that end the song.

13. Airplane
Airplane is unusual in the scheme of Love You in that it utilizes the interplay of The Beach Boys more fully than any other track. Mike Love’s lead vocal, with its sense of warmth and yearning, is possibly the finest work he ever did.

14. Love Is A Woman
Love Is A Woman is a perfect ending to Love You. As close to soul music as The Beach Boys ever came, this expansive love song was the subject of the first Brian Wilson solo performance on Saturday Night Live.


1. Let Us Go On This Way
(Wilson-Love)

2. Roller-Skating Child
(Wilson)

3. Mona
(Wilson)

4. Johnny Carson
(Wilson)

5. Good Time*
(Wilson-Jardine)

6. Honkin’ Down The Highway
(Wilson)

7. Ding Dang
(Wilson-McGuinn)

8. Solar System
(Wilson)

9. The Night Was So Young
(Wilson)

10. I’ll Bet He’s Nice
(Wilson)

11. Let’s Put Our Hearts Together
(Wilson)

12. I Wanna Pick You Up
(Wilson)

13. Airplane
(Wilson)

14. Love Is A Woman
(Wilson)

Produced by Brian Wilson
Mixdown Producer: Carl Wilson
Engineering: Stephen Moffitt, Earle Mankey *Stephen Desper

Original Album Design: Dean O. Torrence
Photography: Guy Webster

Photos by: David Leaf, Lester Cohen, Lou Cohan and David Hiller

Photos Courtesy of Pet Sounds Magazine
______________________________________________________________ 

Produced for Reissue by: Cheryl Pawelski and Paul Atkinson
Tape Research: Andrew Sandoval
Digitally Remastered by: Andrew Sandoval and Dan Hersch at DigiPrep
Reissue Creative Design: Sam Gay
Reissue Art Direction: Darren Wong
Reissue Design: Chad Timmreck
Project Manager: Herb Agner, Elaine O’Grady

15 Big Ones Liner Notes: Dennis Diken

Love You Liner Notes: Peter Buck

A&R Administration: Michelle Azzopardi
Production: Bryan Kelly
Photos courtesy of: Robin Platzer/Michael Ochs archives.com, Richard McCaffrey

Special Thanks: Elliott Lott, Roy Lott, Richard Cottrell, Bob Hyde, Mark Linett, Bryan Bellomo, Christopher Clough, Brad Elliott, Warren Salyer, Caroline Ray, Adam Varon and Lance Whitaker

All tracks 24-bit Digitally Remastered.

(P) 2000 Brother Records, Inc., under exclusive license to Capitol Records, Inc.

15 Big Ones original art © 1976 Brother Records, Inc. The Beach Boys Love You original art © 1977 Brother Records, Inc. this compilation (P) 2000 Brother Records, Inc., under exclusive license to Capitol Records, Inc. 1750 N. Vine Street, Hollywood, CA 90028. All rights reserved. Unauthorized duplication is a violation of applicable laws. International copyright secured. Printed in the U.S.A. 72435-27945-2-2