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KTSA / Beach Boys 85

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KEEPIN’ THE SUMMER ALIVE was released March 17, 1980, as Caribou album FZ 36293.  It entered the Billboard “Top LPs” chart on April 12, 1980, was on the charts for six weeks, and peaked at #75 on April 26, 1980.


(Wilson – Bachman)

Lead vocal: Carl Wilson
Basic track recorded Aug. 27-29, 1979 at The Barn (Bachman Studio), Lynden, WA
Basic track produced by Carl Wilson

(Wilson – Love)

Lead vocals: Carl Wilson, Mike Love
Horns arranged by Bob Alcivar
Basic track recorded Oct. 16, 1979 at United/Western Studios, Hollywood, CA
Basic track engineered by Chuck Britz

(Wilson – Love)

Lead vocal: Mike Love

(Wilson – Bachman)

Lead vocal: Carl Wilson
Basic track recorded Aug. 27-29, 1979 at The Barn (Bachman Studio), Lynden, WA
Basic track produced by Carl Wilson
Released May 20, 1980 as Caribou single ZS9 9033


Lead vocal: Alan Jardine
Basic track recorded July 24, 1979 at United/Western Studios, Hollywood, CA
Basic track produced by Brian Wilson and engineered by Chuck Britz


(Wilson – Love)

Lead vocals: Mike Love, Carl Wilson
Horns arranged by Bob Alcivar
Released March 11, 1980 as Caribou single ZS9 9032
Entered Billboard “Hot 100” April 12, 1980; on chart 3 weeks; peaked at #83 April 19, 1980

(Wilson – Love)

Lead vocals: Mike Love
Horns arranged by Bob Alcivar
Basic track recorded July 23, 1979 at United/Western Studios, Hollywood, CA
Basic track produced by Brian Wilson and engineered by Chuck Britz

(Wilson – Love)

Lead vocals: Mike Love, Brian Wilson
Produced by Brian Wilson
Instrumental track recorded Nov. 4, 1969 at Brian Wilson’s home studio, Bel Air, CA
Vocals and additional instrumentation recorded January 1970 at Brian Wilson’s home studio, Bel Air, CA
Mixed Oct. 22, 1979 at Kendun Recorders, Burbank, CA

(Wilson – Jardine)

Lead vocals: Alan Jardine, Mike Love
Produced by Alan Jardine and Bruce Johnston
Strings arranged by Harry Betts
Basic track recorded late August 1978 at Criteria Studios, Miami, FL
Additional instrumentation and vocals recorded November 1978 at Super Sound, Monterey, CA and October 1979-February 1980 at Rumbo Recorders, Canoga Park, CA and Jardine’s Barn, Big Sur, CA
Released May 20, 1980 as the B-side of Caribou single ZS9 9033 Livin’ With A Heartache


Lead Vocal: Bruce Johnston, Carl Wilson
Released March 11, 1980 as the B-side of Caribou single ZS9 9032 Goin’ On

Produced by Bruce Johnston

Brian Wilson; Carl Wilson; Dennis Wilson; Al Jardine; Bruce Johnston; Ricky Fataar; Steve Ross; Ricci Martin; John Hobbs; Joe Walsh; Daryl Dragon; Caleb Quaye; Gary Maliber; Joel Peskin; Steve Douglas; Dick Hyde; Billy Walker; Brian Garofalo; Chuck Findley; Mike Meros; Steve Forman; Igor Horoshevsky; Bill House; Vince Charles; Ray Armando; Scott Matthews; Efrain Toro

Steve Desper (Chief Engineer, Mixer); Chuck Leary; Chuck Britz; Rodney Pearson; Brian Behrns (Second Engineer)

Bob Alcivar (Horns); Harry Betts (Strings)

Elliott Lott, Brother Records

Jason Raphalian (Road Manager); Ray Upton; Greg Hamm (Lighting); Randy Barner (Road Sound)

Michelle Beaulieu; Susan Gamble

Tony Martell; Steve Einczig; Harriet Johnston; James William Guercio

Tony Lane

John Alvin

Gary Nichamin (Boom! Graphics)

The album was recorded at Rumbo Recorders, Los Angeles, and Jardine’s Barn, Big Sur, California.

All recording was done on Neve consoles, operating in Class A, and Studer A-800 multi-track tape recorders.

Two 24 track Studer tape recorders and a Neve NECAM computer assisted console were electronically linked together for the final 48 track mixdown.

Microphones used include:
Vocals – Neumann M-49; RCA 77-DX; Wahrenbrock PZM-A.
Instruments – AKG C-24; D-12; PZM-A; Neumann U-87; KM 84; Shure SM 57.

Tape to disc transfer made at Kendun Recorders utilizing Neumann disc cutting equipment.

All selections were recorded in true stereophonic sound with special attention to spatial perspective.

This type of recording is much more exciting to hear since it fills the room with sound much as would be present in a live perspective.

Daryl Dragon appears courtesy of Casablanca Records and FilmWorks, Inc.
Joe Walsh appears courtesy of Asylum Records
Chuck Findley appears courtesy of Monterey Records
Bruce Johnston appears courtesy of Columbia Records
Scott Matthews appears courtesy of Durocs and Capitol Records
Steve Forman appears courtesy of Friendship and Elektra Records


As a teenager growing up in Winnipeg-Manitoba and just starting to play guitar in a band, The Beach Boys were one of my biggest influences.  I had been a Beatles, Stones, Shadows, Zombies and UK music fan, and to me, our counterpart on this side of the ocean was The Beach Boys.  I clearly remember hearing the first single Surfin’ USA on the radio and the DJ trying to explain what surfin’ was.  Being from a Canadian prairie town where almost half the year was spent in wintery-snow conditions, the pictures painted by Brian Wilson’s lyrics were of a faraway California dream we had only seen in movies.  We all wanted to go to the California beaches to experience the sand, surf, sun and girls.

In the early years of The Guess Who, some of our greatest moments were learning and performing The Beach Boys songs in our shows.  I always got the Brain Wilson high part.  Years later, The Guess Who played on the same concert tour with The Beach Boys and I stayed behind every night and watched every show, reliving my teenage years and the magic in the songs.  Later in Bachman-Turner Overdrive, I phrased my lead vocals and pronounced my words in Taking Care Of Business to be like Mike Love.

I also understood and appreciated their brotherly interaction of love and friction as I was from a family of four boys with kind of a task master father.  Over the years, I’ve toured with The Beach Boys and grew to know each one of them.  In 1979, I had a band called “Iron Horse” and got a call from Carl Wilson where he asked me to open for them.  I accepted.  He also told me that Brian was possibly coming back for some of the shows.  It was a magical summer for me.  Brian was there for some of the shows and Dennis was on drums.  This was The Beach Boys.  Carl and I bonded and hung out together quite a bit.  On a short break in the middle of the tour, he invited me to go to Caribou Ranch with him to try to write some songs.  To me, this was the dream of a lifetime come true.  We wrote about a half a dozen songs.  Later, back on tour, he and I were sitting at poolside one day, with an acoustic guitar and Brian and the rest of the band came down.  We played them some of the songs and to my amazement, Brian nodded and smiled an approval as did Mike Love and Al Jardine.

After the tour was done, Carl came up to my studio in Lynden, Washington and we recorded demos of the songs.  Then a few weeks later, I got a call from Carl telling me that they were going to record Keepin’ The Summer Alive and Livin’ With A Heartache.  He asked if I could come to L.A. and help produce the album and possibly play on some of the tracks.  I was going through a divorce at the time and was very concerned about my children.  I chose to stay home with them and apologized to Carl for refusing his offer.  He told me he understood my situation and my decision.  He had gone through the same experience a few years earlier.  He was a kind and gentle spirit.

I thank The Beach Boys and especially Carl, for a wonderful summer and making many of my dreams come true.  Being a part of their music means everything to me.  They were an American institution who changed the world and influenced thousands of other musicians with their music.  They reflected everyone’s feelings of wanting life to be an “Endless Summer.”  Their music is timeless.

– Randy Bachman

As the Seventies ended, The Beach Boys – brothers; Brian, Carl and Dennis Wilson, cousin Mike Love and school friend Alan Jardine – marked more than 18 years in the music business by signing with a new record company, Caribou, and also by welcoming the unofficial sixth Beach Boy, Bruce Johnston (absent since 1972) back into the fold.  The two wholly original studio albums they released during the Eighties, KEEPIN’ THE SUMMER ALIVE and THE BEACH BOYS, may not rank amongst their highest achievements, but each has its merits and contributes towards the long history of “America’s band.”

Although their first Caribou offering, 1979’s L.A. (LIGHT ALBUM), generated two Top 50 singles, a chart placing of #100 and heavy company pressure resulted in the band heading back to the studio that summer with the tacit understanding that, this time, Brian Wilson would be considerably more involved.  Accordingly, it was decided to use Western Studio 3, the hope being that he would work more efficiently in familiar surroundings with people he trusted; thus the sessions were engineered by Chuck Britz, who even unearthed an old valve mixing board, and several of Brian’s Sixties sidemen were on hand.  The speciousness of this theory soon became evident: although Carl considered that Brian “dropped his guard…he came right out of himself,” the sessions lasted but two days in late July, yielding four basic tracks – all covers – before Brian’s interest waned (significantly, his every word was taped, it being thought possible that this might be the last time he participated in a Beach Boys session).  Of the tracks recorded, two – School Day and Little Girl – were included on KEEPIN’ THE SUMMER ALIVE while Jamaica Farewell and Stranded In The Jungle were discarded (Historical note: Brian had played organ on a 1976 version of this song credited to California Music, produced by Terry Melcher, Gary Usher…and Bruce Johnston).  About a month later, Carl recorded the basic tracks for his two collaborations with Randy Bachman (ex-Bachman Turner Overdrive) at the latter’s Lynden, WA, studio.

In mid-October, the sessions proper reconvened, initially at Western 3 before transferring to Daryl Dragon’s Rumbo Recorders and – using Mike Love’s Western Audio mobile unit – Alan Jardine’s barn on his Big Sur ranch (and, weather permitting, the surrounding countryside: “We only went inside when it rained or snowed,” recalls engineer Steve Desper).  These sessions were produced by Bruce Johnston and eventually wrapped on Valentine’s Day 1980.  In addition to the new material recorded, The Beach Boys also dipped into their tape archives, considering such titles as Loop de Loop and Dennis’ San Miguel, both from 1969, and even the legendary Been Way Too Long, a Brian composition and production of fragmented brilliance from 1967/1968, very much in the SMILE idiom.  A proposal to release the 1963 recording of The Lord’s Prayer from Capitol also was floated.  Of the new material, Eddie Carter’s excellent Surfer Suzie, Brian and Mike’s Goin’ To The Beach, Boys And Girls (a new Brian composition), Starbaby, How’s About A Little Bit (both titles later appearing on CELEBRATION, the eponymous second album by Mike’s splinter band) and Carl’s rendition of Barry Mann’s I’ll Always Love You similarly fell by the wayside, along with covers of Johnny B. Goode (one of only two sessions to feature Dennis), Da Doo Ron Ron and Smokey Places.

The songs that made the final cut were a curious and occasionally uneasy admixture of new recordings, archive material and an amalgam of both: of the 10 tracks comprising KEEPIN’ THE SUMMER ALIVE (itself the third title after COUSINS, FRIENDS AND BROTHERS and CAN’T WAIT TILL SUMMER), six could boast a history of anything from a few months to 10 years.  The “oldest” track, dating from November 1969, was When Girls Get Together, an ADD SOME MUSIC/SUNFLOWER reject which underwent such a subtle remix as to be undetectable.  The Mike and Brian duet is easy on the ear, but the track itself, propelled by a marxophone, plods somewhat, and the period production ambiance is inevitably at odds with that of the rest of the set.  Decidedly more lively is Some Of Your Love, a spirited return to high school originally recorded during the fall 1977 M.I.U. Album sessions as Mike Come Back To L.A. and featuring an even earlier resonance of the band’s 1974 Christmas single, Child Of Winter.  Of similar vintage is Santa Ana Winds, an early version of which was recorded during the L.A. (LIGHT ALBUM) sessions.  Of this attempt, only the backing vocals on the chorus and the harmonica – allegedly played by Brian – were retained, and the verse lyric was (wisely) entirely rewritten.  In its original incarnation, Santa Ana Winds had formed part of a trilogy celebrating the California coastline and its wildlife; the remaining two selections were combined into a single song, Looking Down The Coast/Monterey, still unreleased.

Of the tracks cut at Brian’s July Western session, School Day was worked on throughout the winter, almost exclusively at Alan’s Big Sur studio as indicated by Bruce Johnston’s comment, “I played it (the basic track) for Al and he continued with it.”  A remixed version of the song was very nearly released as the third single from the album (a handful of U.S. promo pressings are known to exist), and this version was briefly available on the original vinyl release of the 1981 compilation, TEN YEARS OF HARMONY.  The acappella intro – 24 tracks mixed down to two – was seemingly a late addition to the recording, being edited onto the finished master of the rest of the song.  The other Western track, Little Girl, didn’t make the transition to its final title Sunshine until the first vocal session in mid-December.  Its journey from Spector to reggae is described by Bruce: “Well, Sunshine was originally called Little Girl.  And I can’t remember who recorded it, probably a Phil Spector record, and so we cut this track and then we decided to write a new song to the track, so we took part of the old song, Smokey Places, and whatever Mike and Brian came up with, recorded on the existing track, didn’t have enough room because the song was too short, so we tape-copied the track a few times, put 21 splices in the 24-track tape and stretched the song out and came up with Sunshine,” an inoffensive slice of white-cod reggae.  Finally, of the “old” material, Endless Harmony, although a completely new recording, is an updated version of Bruce’s Ten Years’ Harmony, a song first released as the B-side of a 1974 California Music single that he and Melcher produced, but first recorded during the CARL AND THE PASSIONS “SO TOUGH” sessions.  The autobiographical theme aside, this track is the only cut on the album to feature Dennis Wilson (percussion); expressing considerable distaste for the material and undergoing problems with other band members (hence his absence in the GOIN’ PLATINUM television program devoted to the making of the album), he took no further part in the sessions, the drumming chores falling to Gary Maliber, Ricky Fataar and Scott Matthews (who at one point was reported to have replaced Dennis in the band).

The four remaining totally “new” tracks included the two singles taken from the album.  The lead 45 of Goin’ On began life as Why Didn’t I Tell You and, in its original form, boasted an eccentric drum break in the chorus, thought by many to be Brian’s idea.  “Goin’ On,” opined Brian at the time, “is another song where it started out where one person would write and then another person would modify the song, you know, modify the arrangement… Bruce came up with some really interesting ideas and turned it into what I would consider a more potentially commercial song.”  As a single, it was but a minor hit, stalling at #83 and was an equally brief addition to the live repertoire.  The follow-up, an edit of the quasi-country Livin’ With A Heartache, utterly failed to bother the chart compilers, perhaps due to the fact that Carl Wilson is the only Beach Boy on the track – the backing vocals are by Curt Becher and Terry Melcher, with Jon Joyce being added on the last day of recording.  According to engineer Steve Desper, when Carl’s vocal was cut, he was so “relaxed” (thanks to the odd beer or three…) that he sang leaning against the barn wall.  The other collaboration between Carl and Randy Bachman, the album’s title track, proved a rousing opener, displaying a nice sense of self-parody (notably in Mike’s prominent bass vocal), and featuring a Joe Walsh slide guitar solo.  Oh Darlin’, a new Wilson/Love song, originally featured a Brian Wilson lead vocal over a samba style track before revised by Bruce.  Carl and Mike give of their best, but a pedestrian track takes the day.

After all this effort, the outcome must have seemed disheartening.  Although a chart placing of #75 was superficially an improvement over L.A. (LIGHT ALBUM)’s #100, KEEPIN’ THE SUMMER ALIVE sold significantly fewer copies.  In turn, this affected the group’s confidence and relationship with Caribou; during the five years between KTSA and THE BEACH BOYS, there were no new albums or singles bearing The Beach Boys’ name exclusively (although they did hit considerable heights with The Beach Boys’ Medley and Come Go With Me – #12 and #18, respectively, in 1981), solo albums from Carl and Mike… and not much else, really.  The 20th anniversary in 1981 was chiefly notable for Carl leaving for a year, Brian being inactive within the group, and Dennis increasingly absent from the shows.  It all came to a head in 1983, initially with the band being famously disinvited from the annual Washington July 4th concert by Interior Secretary James Watt, and reaching a resolution of sorts in December with the death of Dennis Wilson at age 39, drowning in the Marina Del Rey harbor.

Arguably, this shock provided the catalyst for The Beach Boys to attempt another studio album, a project in 1982 – again tentatively tagged BROTHERS, COUSINS AND FRIENDS – with such producers as Val Garay and Barry Gibb having foundered at the prenegotiating stage.  The position was ultimately occupied by Englishman Steve Levine (in 1984, red-hot as Culture Club’s producer) on the recommendation of Bruce Johnston, who’d worked with him some years previously.  An idea of the task facing Levine can be grasped by his (attributed) comment that he thought the album would take ten weeks, and it actually took ten months.

Work commenced in Levine’s London studio, Carl flying over for several days in late June 1984 to work on a few tracks, followed by Brian in early July for a stay of almost two weeks and working on the bulk of the album, including California Calling, I’m So Lonely, It’s Just A Matter Of Time, Crack At Your Love, Male Ego and Oh Lord (a 1982 Brian/Dennis number).  Levine then flew to Los Angeles in October for a series of sessions largely devoted to adding vocals to the finished tracks, although it’s probable that Getcha Back was begun there.  These sessions wrapped in December, the next stage being Bruce and Alan visiting London in mid-January for vocal sweetening of the 13 tracks nearing completion at that point – the 12 on the album, plus a cover of At The Hop.  The album was finished in March 1985 when Levine returned to LA for final mixing and sweetening.  Levine had dictated that this would be the band’s first venture into digital recording, and candidly recalled, “It was both a pleasure and a nightmare… Like any group that’s been around for so long, The Beach Boys are set in their ways.  And, of course, they usually had Brian as their producer.  The Fairlight synthesizer and all the rest was so alien to Brian and the group, but it slowly began to dawn on them how enormous the potential was.”  Carl concurred: “The digital approach is so new, and it can be quite tedious until you learn it… Almost everything on the record was programmed note-for-note, sound-for-sound, beat-for-beat, and we wouldn’t hear it until we sent it through a computer.”

Given these and other obstacles (which included Brian once more being a patient of the controversial Gene Landy), the results were better than might have been expected.  The track selection was nothing if not democratic – three by Carl and new writing partner Robert White Johnson (including the album’s undisputed highlight, the achingly beautiful Where I Belong), a retro Love/Melcher number, a Johnston ballad, two donations from Culture Club and Stevie Wonder… and five from the pen of Brian Wilson, four of which also (originally) credit Landy.  Carl’s uptempo numbers fall firmly into the then-rampant idiom of U.S. middle-of-the-road rock, easy on the ear and brain.  The intro harmonies to It’s Gettin’ Late (the second single, which peaked at #82) are in the classic Beach Boys tradition, but some observers feel they might be sampled, and it’s undeniable that the album overall exhibits a slightly “feathery” vocal quality.  Bruce’s She Believes In Love Again (the third, unsuccessful single) reveals the author in slightly grainy vocal form whilst conforming to the standards expected of a Johnston ballad, and the two “brought-in” tracks are basically exercises on Carl Wilson singing on other people’s songs.  Passing Friend suffers from being both a second-string Culture Club number and about two minutes too long; I Do Love You, however, provides food for thought, the (Stevie) Wonder penned and performed track nicely supporting Carl’s smooth tones.

Mike’s and Terry Melcher’s Getcha Back was the album’s preview single, reaching a highly respectable #26, the band’s biggest hit with a new recording since Rock And Roll Music reached #5 some nine years earlier.  Despite having a mildly unfinished air about it, especially the chorus, it was a promising new start, most notably for Brian Wilson’s falsetto and Billy Joel-like backing vocals, and the opening drum pattern, a direct homage to the style of Dennis.  It was also an early intimation of the role Melcher was to play in the band’s subsequent history…

Of Brian’s contributions, the only one not to (originally) feature Landy’s name in the credits was California Calling, a most engaging stylistic throwback featuring classic Love/Jardine vocals and real drums, courtesy of one Ringo Starr.  Why this wasn’t a single is a complete mystery.  The remaining Wilson/Landy items are, by Brian’s own admission, little more than musical sketches, and the lyrics are sometimes barely adequate… but even so, each holds something to catch the ear – Brian’s plaintive middle eight of Crack At Your Love (a Wilson/Jardine/Landy collaboration*), the urgency in his vocal for the painfully honest I’m So Lonely, the doo-wop arrangement of It’s Just A Matter Of Time and, above all, the gloriously tongue-in-cheek lyrics of Male Ego, a track which sounds so much like a Brian Wilson production that many have assumed the obvious (it isn’t).

Doubtless riding the success of Getcha Back, THE BEACH BOYS topped out at #52 on the charts, again their biggest original album for nine years, but sadly not a precursor to continued success: the band would part company with Caribou/CBS without delivering any new product.  Indeed in the ensuing fifteen years, The Beach Boys have released but two new albums.  No matter – by then their place in rock history had been firmly cemented.

– Andrew G. Doe

* Editor’s Note: Crack At Your Love has since been revised to credit only Alan Jardine and Brian Wilson per the publisher.


(Love – Melcher)

Lead vocals: Mike Love, Brian Wilson
Terry Melcher: Kurzweil 250
Julian Lindsay: Kurzweil 250, PPG Wave 2.3 and Programming
Steve Levine: Fairlight and Drum Programming
John Alder: Guitars
Steve Grainger: Baritone Sax
Graham Broad: Percussion
Released May 8, 1985 as Caribou single ZS4 04913.
Entered Billboard “Hot 100” May 25, 1985; on chart 12 weeks; peaked at # 26 June 29, 1985.


(Wilson – Smith Schilling – White Johnson)

Lead vocal: Carl Wilson
Carl Wilson: Yamaha DX 1 and Electric Guitar
Julian Lindsay: Yamaha DX 1, PPG Wave 2.3 and Oberheim OB8
Steve Levine: Fairlight and Drum Programming
Graham Broad: Percussion
Horns arranged by Ian Ritchie
Ian Ritchie: Tenor Sax
Steve Grainger: Baritone Sax
Kenneth McGregor: Trombone
Dave Spence: Trumpet
Released July 17, 1985 as Caribou single ZS4 05433.
Entered Billboard “Hot 100” Aug. 3, 1985; on chart 5 weeks; peaked at # 82 Aug. 17, 1985.


(Jardine – Wilson)

Lead vocals: Alan Jardine, Brian Wilson
Brian Wilson: Yamaha DX 1, Jupiter 8 and Oberheim OB8
George McFarlaine: Bass
Steve Levine: Fairlight and Drum Programming
Ian Ritchie: Lyricon
Vocals arranged by Brian Wilson and The Beach Boys

(Wilson – Smith Schilling – Levine – Lindsay)

Lead vocal: Carl Wilson
Gary Moore: Rhythm and Lead Guitars
Julian Lindsay: Yamaha DX 1 and Bass
John Alder: Guitar Synth
Graham Broad: Drums and Percussion
Steve Levine: Fairlight and Drum Programming


Lead vocals: Bruce Johnston, Carl Wilson
Bruce Johnston: Kurzweil 250
Julian Lindsay: Yamaha DX 1
Gary Moore: Guitar and Synthaxe
Stuart Gordon: Violin, Viola and Cello
Graham Broad: Percussion
Kenneth McGregor: Trombone
Steve Levine: Fairlight Programming
Strings arranged by Julian Lindsay
Released Oct. 2, 1985 as Caribou single ZS4 05624

(Jardine – Wilson)

Lead vocals: Alan Jardine, Mike Love
Alan Jardine: Electric Guitars
Ringo Starr: Drums and Timpani
Brian Wilson: Piano and DX1
Simon Humphrey: Bass
Julian Lindsay: Organ
John Alder: Electric Guitars
Steve Levine: Fairlight Programming
Vocals arranged by Brian Wilson and The Beach Boys

(O’Dowd – Hay)

Lead vocal: Carl Wilson
Roy Hay: All instrumentation
Steve Grainger: Tenor Sax Solo
Steve Levine: Fairlight and Drum Programming

(Wilson – Landy)

Lead vocal: Brian Wilson
Brian Wilson: Yamaha DX 1
Julian Lindsay: PPG Wave 2.3
Steve Levine: Fairlight and Drum Programming
John Alder: Guitars
Ian Ritchie: Tenor Sax
Vocals arranged by Brian Wilson and The Beach Boys

(Wilson – White Johnson)

Lead vocal: Carl Wilson
Brian Wilson: Yamaha DX1
Julian Lindsay: PPG Wave 2.3
Steve Levine: Fairlight Programming


Lead vocals: Carl Wilson, Alan Jardine
Stevie Wonder: Drums, Bass, Fender Rhodes, Harmonica
Julian Lindsay: Acoustic Piano
Steve Levine: Fairlight Programming


(Wilson – Landy)

Lead vocals: Brian Wilson, Mike Love
Brian Wilson: Yamaha DX1
Julian Lindsay: Kurzweil 250, Bass
John Alder: Dobro
Judd Lander: Harmonica
Graham Broad: Drums and Percussion
Steve Levine: Fairlight Programming
Vocals arranged by Brian Wilson and The Beach Boys
Released Oct. 2, 1985 as the B-side of Caribou single ZS4 05624, She Believes In Love Again

Produced by Steve Levine for Do Not Erase Productions Ltd.

This album is dedicated to the memory of our beloved brother, cousin and friend.

Art Direction: Lane/Donald
Photography: Harry Langdon

Recorded digitally using Sony PCM 3324. Mixed digitally using Sony PCM 1610.

Musical arranger: Julian Lindsay

Signal processing by Barcus-Berry Electronics

Recorded at: Red Bus Recording Studios, London, England; CBS Studios, London, England; Westlake Audio, Los Angeles, California

Engineer: Gordon Milne

Additional Engineers: Greg Laney, Westlake Audio; Nick Godfrey, Red Bus

Assistant Engineers: Carmen Rizzo, Westlake Audio; Peter Lees, Red Bus; Richard Hollywood, CBS

Technical Support: Chris Hollebone, Sony, U.K.; Rod Duggan, Sony, U.K.; Scott Spector, Sony, U.S.A.; Ian Silvester, Audio FX, U.K.; Jonathan Cole, Syco Systems, U.K.; Stuart Nevison, AMS; Mark Crabtree, AMS

Pre-Mastering (U.S.A.): Bernie Grundman, Bernie Grundman Mastering

Mastering (U.K.): Tim Young, CBS Studios

Very special thanks to Walter Winnick and Craig Sussman
Special thanks to Dr. Eugene E. Landy and Carlos Booker
Special, special thanks to Steve Einczig for everything

Stevie Wonder appears courtesy of Motown Records Corporation
Roy Hay appears courtesy of Virgin Records Ltd.


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 Direction: Sam Gay

Reissue Art Direction: Darren Wong

Reissue Design: Chad Timmreck

Project Manager: Herb Agner, Elaine O’Grady

Liner Notes: Andrew G. Doe

A&R Administration: Michelle Azzopardi

Production: Bryan Kelley

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

For more information about all The Beach Boys albums available, go to:
See Hollywood and Vine

For information on the Beach Boys Fan Club, send a self-addressed, stamped #10 envelope to:

Mail Stop 504, 252 Convention Center Dr., Las Vegas, NV 89109

Beach Boys Britain is the official British fan club for the Beach Boys.  For information, write to:

Beach Boys Britain
3 Mill Grove, Lutterworth, Leicestershire LE17 4BS, England

For information on the Brian Wilson Fan Club, write to:

Brian Wilson Fan Club
15030 Ventura Boulevard, 1-710, Sherman Oaks, CA 91403

For information on the Mike Love Fan Club, write to:

The Mike Love Fan Club
114 Gov. Winthrop Road, Somerville, MA 02145

Other Beach Boys fan clubs and fanzines are:

Endless Summer Quarterly
P.O. Box 470315, Charlotte, NC 28427

Good Vibrations Quarterly
600 Sandra Court, Hampton, Virginia 23669

Beach Boys Stomp
22 Avondale Road, Wealdstone, Middlesex HA3 7RE, England

Beach Boys Australia
P.O. Box 106, North Strathfield 2137, Australia

California Saga
P.O. Box 1607 50106 Bergheim, Germany




KEEPIN’ THE SUMMER ALIVE original art: © 1980 Brother Records, Inc.

BEACH BOYS original art: © 1985 Brother Records, Inc.

This compilation (P) 2000 Brother Records, Inc., under exclusive license to Capitol Records, Inc. © 2000 Brother Records, Inc. Manufactured by 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.



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