Product Description
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Two 1965 classics, garnished with alternate takes of Dance,
Dance, Dance; I'm So Young, and Let Him Run Wild ; a studio
version of Graduation Day, and the single version of the Little
Girl I Once Knew.
.co.uk
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This single disc gathers two Beach Boys albums--Today! and
Summer Days and Summer Nights--with the addition of remastering
and bonus tracks. When Brian Wilson finally summoned up the
courage to confront his musically interfering her (the bands'
early benefactor Murray Wilson) during the sessions for the
Today! album, it could hardly be termed a rite of passage. Brian
had always been in charge of his music, less so of himself. Thus,
it's hard to believe that the gloriously realised, tender suite
of songs ("Please Let Me Wonder" to "In the Back of My Mind")
which occupy the second side of Today!--the exquisite
semi-orchestral arrangements, the caramel harmonies and the
lyrics which dwell on the dreamy, soul-searching solitaire of
adolescence--are actually the work of a wobbly, self-doubting
recluse recovering from a mental breakdown. But here it
is--undiminished by time--the symphonic template for Pet Sounds (
/exec/obidos/ASIN/B0000259CP/${0} ). Summer Days and Summer
Nights, meanwhile, is livelier and sunnier. Carl Wilson makes his
vocal debut (what took so long?) on the Beatles-do-Dylan inspired
pop strum of "Girl Don't Tell Me", there's the cheesy pseudo surf
of "Amusement Parks USA" (a hit in Japan) and some other numbers
called "Help Me Rhonda" and "California Girls" which will still
be around on the airwaves long after global warming has made the
sea levels rise to wash all the beaches away. Similarly
indispensable, the bonus tracks include the ground-breaking
stop-start of "The Little Girl I Once Knew" (Brian's first
"pocket symphony") and a terrific, twangy-guitar demo take of
"Dance Dance Dance". --Kevin Maidment
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Review
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Released just four months after Today! in July 1965, The Beach
Boys' ninth album was at first deemed by some to be a regression.
Its predecessor had, on its second side, revealed the now
studio-locked, pot-guzzling Brian Wilson's knack for melancholy,
darker ballads. Summer Days re-embraced the band's archetypal
themes of fun, sun, and partying. Mike Love was pleased the group
were back on course, as were Capitol, little knowing that Wilson
had Pet Sounds brewing as his next trick.
If Pet Sounds is now so firmly ensconced in the canon and drowned
with adulation that it's impossible to hear it without wondering
if it's quite the epic work of genius it's cracked up to be,
Summer Days inversely wins love for having always been unfairly
sniffed at. Sparkling pop records don't feature in lists of The
Greatest Albums You Must Own Or We'll Disown You as frequently as
drug-influenced over-strainers, and this is simply loaded with
proud pop songs. Half the tracklisting reads like a Greatest
Hits: Then I Kissed Her, Help Me Rhonda, You're So Good to Me and
California Girls are up there with any icons of West Coast
sunshine. Help Me Rhonda - a number one - was a reworking of the
previous album's Help Me Ronda, with new vocals by Al Jardine.
(This was also the first album to feature Bruce Johnston.)
Then I Kissed Her was Wilson's attempt to out-play his hero Phil
Spector at his own game, but his arrangements elsewhere were more
inspired. Throwaways like Amusement Parks USA and Salt Lake City
boast subtle intricacies and Summer Means New Love is a coy but
charming instrumental. It was California Girls however which,
with its symphonic intro (Wilson's personal favourite), fused
operatic pretensions and pop smarts to best effect, landing
another huge hit. Cloying joke songs (I'm Bugged at My Ol' Man)
aside, Summer Days retains its big, balmy sound through the
Beatles-esque Girl Don't Tell Me and the Bacharach homage Let Him
Run Wild. If Pet Sounds is the critics' favourite, Summer Days is
perhaps the people's day at the beach.
--Chris Roberts
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