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CD on CAPITOL RECORDS by The Beach Boys - Concert & Live In London...plus
Fun, Fun, Fun
The Little Old Lady From Pasadena
Little Deuce Coupe
Long, Tall Texan
In My Room
Let's Go Trippin'
I Get Around
Johnny B. Goode
Wouldn't It Be Nice
Sloop John B.
Do It Again
Wake The World
Aren't You Glad
Bluebirds Over The Mountains
Their Hearts Were Full Of Spring
God Only Knows
Don't Worry Baby
Heroes And Villains
Couplé sur CD au Beach Boys’ Concert de 1964, ce live enregistré dans la capitale anglaise le 8 décembre 1968 à l’occasion d’une tournée européenne et paru aux Etats-Unis en 1976* sans l’accord du groupe a surtout une valeur de document sur la façon dont les Beach Boys sonnaient à l’époque sur scène, sans Brian Wilson mais avec Bruce Johnston et quelques musiciens accompagnateurs pour arrondir les angles. Pourtant, les résultats ne sont pas mauvais du tout (l’accueil du public en Europe était tellement enthousiaste que les Beach Boys se montrèrent de plus en plus confiants sur scène) et les harmonies vocales, inimitables, restent d’une beauté à couper le souffle, mais on ne peut s’empêcher de se dire qu’il manque ici un élément capital : Brian Wilson, d’autant qu’en dehors des reprises, les rares chansons qui ne portent pas sa signature sur cet album font pâle figure devant les siennes.
* Sorti sous le titre Beach Boys ’69 aux Etats-Unis, cet album était précédemment paru en août 1972 en Angleterre (Live in London).
Frédéric Régent - Copyright 2017 Music Story
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En 1964, les BB sont au sommet des charts avec leurs titres "summer, surf & cars". Ce premier live montre une formation dynamique, reprenant ses premiers classiques, agrémentés d'excellentes covers.
En 1969, les BB n'ont plus que l'Angleterre pour les soutenir. Brian Wilson, le génial leader, n'est plus sur la route avec eux. Et pourtant, la performance vocale et instrumentale de ce Live in London est excellente, avec des cuivres qui donnent un nouveau visage aux titres issus de Pet Sounds, Wild Honey ou Friends.
Ne passez pas à côté du Bonus "Heroes & Villains" dans une excellente version live de 1967 (à Hawaï)avec (chose rare) Brian au chant.
Moins éthique historiquement, mais plus intéressant que le CONCERT de 1964 (trop rempli de reprises et pas assez d’originaux de l’époque), LIVE IN LONDON a toujours plu aux fans car il représente la période sacrée WILD HONEY-FRIENDS-20/20 et permet d’en goûter une saveur différente de celle des albums originaux.
Londres est devenue leur terre d’asile depuis que les USA les ont décrétés has-been et ils y ont été reçus comme les Beatles l’avaient été en 1964 en Amérique. Et face à ce nouveau public si enthousiaste, les Boys retrouvent une fraîcheur digne de leurs débuts sur les scènes US. Trop courte (pour une fois qu’un live mériterait d’être double... ), la sélection s’échine à couvrir toutes les périodes et s’efforce de mettre PET SOUNDS en avant (alors mythique en Grande-Bretagne, voir la pochette), dont une gigantesque et énergique version de SLOOP JOHN B dynamitée par Dennis Wilson. On aurait bien échangé BLUEBIRDS OVER THE MOUNTAIN contre n’importe laquelle de cette période, mais bon, tout le reste est de haut vol et le plaisir d’entendre certains classiques interprétés en direct avec autant d’énergie en font un album en public des plus efficaces et vivants qui soient. Magnifique version a capella du THEIR HEARTS WERE FULL OF SPRING de Bobby Troup.
Tops : SLOOP JOHN B, DARLIN’, GOOD VIBRATIONS, GOD ONLY KNOWS, THEIR HEARTS WERE FULL OF SPRING
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The idea for a live album was surprisingly not Capitol's (because once they hit it big, the label pushed them relentlessly for more albums), but nineteen year old Sacramento promoter Fred Vail. He hired them for a solo concert for charity near Christmas, 1963. The Beach Boys were shocked that they were the only act playing the large Sacramento Memorial Auditorium. At that time it was the practice for popular acts, even top acts, to tour together in shows like Dick Clark's Caravan of Stars. The Beach Boys had been playing department stores and roller skating rinks on their Midwest tour that summer. The william Morris Agency had been charging $750.00 for their appearances, not realizing how big they were. Though a bit intimidated, the Beach Boys went on and did a great show before 3,000 fans.
Though capitol recorded that concert, Brian was not pleased with the resulting tapes and asked for new recordings at a later date. Brian's instincts about anything musical or artistic were spot on at this point, and we are probably lucky that the two concerts on August 1, 1964 were used instead. They certainly sound like a confident stage band by this time and perform everything well. Also, by now they were the biggest American band without question, one of the few to not only survive the British invasion but to flourish. By taping the later concert dates we get big hits like I Get Around and Fun, Fun, Fun (plus a bonus track of Don't Worry Baby.
The 1964 concert is excellent and shows Mike at his best, commanding the stage and the audience, something his shyer bandmates were not really up to. It's post-Beatlemania with A Hard Dy's Night big at the box office, so there's lots of screaming throughout. though there had usually been a little swooning in the Early sixties, by the Summer of '64 it was all-out pandemonium. This is very noticeable when Mike introduces each member of the band: Dennis gets major decibels with Brian not far behind; Carl just a little and silence for Al who had replaced David Marks and wasn't really well known to the audience yet (you have to remember that the radio was the real medium in those days). They do their hits (though surprisingly Surfin' U.S.A. isn't here though it almost certainly was sung). Their love of old rock'n'roll is present in songs like The Wanderer and Johnny B. Goode, and even Monster Mash is here, a song they'd been doing live since it was first a hit.
The Beach Boys Concert was a hugely popular album, their first #1 LP. Here they are in their classic striped shirts before a totally wild audience. Every fan should have this album.
The surprise here is the Live In London album, recorded in late 1968 at two English venues. It's shameful the way America treated the Beach Boys after 1966. Of course there was a long gap between Good Vibrations and Heroes and Villains and everything had changed after Sergeant Pepper. By 1968 the whole mid-Sixties scene itself fell apart and it wasn't just the Beach Boys but also the Mamas & the Papas, Lovin' Spoonful, Nancy Sinatra, Herman's Hermits, Dave Clark Five, Jan & Dean, Gene Pitney, Cyrkle and others who would basically vanish. The new sound was heavier, the attitude more serious (there was even supposed to be a revolution coming) and the culture became divided over many issues. The Beach Boys kept up with all of it; it's not like they were still singing about cars. But the audience was fickle and it took years for them to regain even part of their old fan base.
The darkest years were '68 to '70 when only one of their five albums even cracked the top 100. But that's what makes this such a great album . Their British fans were still loyal and they charted much better there. the British audience was often much more appreciative of American acts and kept them going through lean years. Here you can verify that as a live band they were better than ever and had added a brass section and other backup to fill out their sound on stage. of course Brian isn't there, but Bruce Johnston had subbed for him for a very long time now. It's a great mix of their songs, old and new, as far back as Their Hearts Were Full of Spring from Brian's days of infatuation with the Four Freshmen (they do Graduation Day in the '64 concert), to Good Vibrations with Mike on theremin, and on to tracks from their Late Sixties albums.
Get it and enjoy it. Both concerts are a real treat.
The first half of the CD, The Beach Boys Concert, is every bit as wonderful as I remembered it since I bought my album in 1965. I urge you to read the other reviews to see the songs. I will say that the excitement of the album is fantastic, and reaches the levels I recall from that distant night at Dallas Memorial Auditorium in July, 1965. [I wonder whatever happened to Lynn B., my date?] I had read that they enhanced the recording, and that it really wasn't a live recording. According to the CD, the recording is basically live, but some of the vocals were, in fact, later re-recorded, in order to be heard over the screams. Having been to the 1965 concert, and seen the equipment used, I can believe this. Remember, these concerts used small amplifiers, the vocals were fed through the PA system, and foldbacks hadn't been invented, so the band could not hear themselves. [The same set-up was present when I saw The Beatles 3 weeks later in Houston]. No wonder they Beach Boys had to enhance the vocals later!
The Live In London half is only fair. Thus, my 4 stars instead of 5. Mike Love's introductins are awful, and the songs really don't get moving. The bonus tracks are good. I would recommend that you buy this, and, to get a great Beach Boys Concert album including later tracks, buy their 1973 album, Beach Boys In Concert, which is far superior to the Live In London for this purpose.
weren't around in time to see the five original aka "real" Beach Boys perform live, and are bombbarded with the garbage that they call "music" today then this will become one of your favorite and most treasured pieces
of music. You get to hear each individual spotlighted on lead on at least once (Brian, Carl, Al, Mike, and a rarity of Dennis singing The Wanderer). Most importantly the first 13 songs (and 1 or 2 of the bonus tracks) capture the Beach Boys in the beginning of their prime with
Brian still as their leader from one of the first live Rock albums ever recorded. All members of the classic line up are in good spirits and very energetic (the only other live album including all 5 members and Bruce Johnston recorded in Knebworth England some 16 years later is very good but doesn't have the same magic and youth as this record with Brian barely there mentally, and the stiff akwardness years of fueding had added to the equation especially between Dennis and Mike) and lets not forget they're singing in their beloved California which gives it something extra special. The second half of the cd (in London) catches them toward the end of their greatness (right before Endless Summer came out which pretty much made them on oldies act and later rock legends) and showcases how they'd progressed in the 7 years since the "Concert". Their rocking power in the early 70s made them one of the few huge acts of the 60s still going strong without giving into the psychedelic and metal crazes going through the country (even if it didn't show on the charts). The only thing missing is Brian. The on stage banter in between songs in both shows gives you the feeling you're really there if you close your eyes. Both concerts demonstrate that yes, the Beach Boys could reproduce those Heavenly harmonies in person which is a feat rarely accomplished back then, and never done today with the artificial voices we hear on the radio and in concerts. It just proves that talent is talent. The Beach Boys had raw talent and all the computer altering done to "singers" voices now still doesn't help them sound good when you compare them to the greats. After listening to this, artists should be embarrased to call themselves singers today.