In seventeen top-ten singles and thirteen hit albums of the group’s first four years, and seventeen more albums of new music in the ensuing decades, the Beach Boys amassed a repertory that would still be influencing the shape of popular music generations later, from the 1990s indie collective Elephant 6 to millennial alternative rock bands such as Animal Collective and Fleet Foxes. But the shows were a success for the same reason that the band has always been a concert draw: soaring vocal harmonies, infectious themes capturing the pristine innocence of an idealized era, and a danceable blend of classic rock ’n’ roll with elements of doo-wop and jazz. Huge crowds danced and cheered, oblivious to a sea of incongruities: septuagenarians calling themselves “Boys,” song lyrics seemingly aimed at the sensibilities of their grandchildren, and striking differences between the youthful voices on their familiar hit records and the more mature vocalisms of creative mastermind Brian Wilson, his cousin, lead singer Mike Love, and lifelong friend Al Jardine. In 2012, to celebrate fifty years since their music first hit the airwaves, the surviving members of the Beach Boys set aside decades of litigious acrimony and reunited for a months-long international tour and the group’s first album of all-new material in twenty years. Published in the United States of America by The University of Michigan Press Manufactured in the United States of America c Printed on acid-free paper 2019 2018 2017 2016 4 3 2 1 A CIP catalog record for this book is available from the British Library. Copyright Law and except by reviewers for the public press), without written permission from the publisher. Good Vibrations Brian Wilson and the Beach Boys in Critical PerspectiveĬopyright © the University of Michigan 2016 All rights reserved This book may not be reproduced, in whole or in part, including illustrations, in any form (beyond that copying permitted by Sections 107 and 108 of the U.S. Williams Sounds of the Underground: A Cultural, Political and Aesthetic Mapping of Underground and Fringe Music by Stephen Graham Krautrock: German Music in the Seventies by Ulrich Adelt Good Vibrations: Brian Wilson and the Beach Boys in Critical Perspective edited by Philip Lambert Duchan Rhymin’ and Stealin’: Musical Borrowing in Hip-Hop by Justin A. Zak III Soul Music: Tracking the Spiritual Roots of Pop from Plato to Motown by Joel Rudinow Are We Not New Wave? Modern Pop at the Turn of the 1980s by Theo Cateforis Bytes and Backbeats: Repurposing Music in the Digital Age by Steve Savage Powerful Voices: The Musical and Social World of Collegiate A Cappella by Joshua S.
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