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- [00:03]
A
This could be considered a track.
- [00:04]
B
Not really, though. We don't want to do that.
- [00:07]
A
This is a little intro, you know.
- [00:10]
B
All right, here we go.
- [00:10]
A
Countdown time.
- [00:11]
B
One, two, three, go. Okay, boys, do it. Oh, wow. There you go. Okay.
- [00:33]
A
Welcome back to the Club Kokomo Craft Rum Cocktail Report. This is. I just cracked a mystique.
- [00:47]
B
Mystique. That's right.
- [00:49]
A
Guava.
- [00:49]
B
We didn't even talk. We talked about. We've talked about Club Kokomo now on the pot. Well, I guess we did talk about it in one of the previous episodes, but we talked about it most recently on a Neverending Stories episode. That's right, the Bowlsick Conversation.
- [01:02]
A
This is why you gotta subscribe to both our podcast, because how else are you gonna get that kind of crossover information? Like, sometimes. Sometimes you're just gonna miss out.
- [01:15]
B
Exactly. And we know from lots of comments and messages that the beverage review portion of the podcast is definitely not everyone's least favorite part of the podcast. The part that they wish we stopped doing and put timestamps in so they could immediately skip past it. It is, in fact, everyone's favorite part.
- [01:33]
A
Yeah. Nobody has ever said that they wish that they would be able to not listen to it. That's not. Maybe that's what they used to say, but now they don't.
- [01:46]
B
It's just such a resounding success. So much fun.
- [01:51]
A
Well, this one's terrible as well.
- [01:53]
B
Okay.
- [01:54]
A
They all. I'm realizing a pattern. Basically. They all have, like. So I said guava, lychee, lemon, jasmine. It's like that. That's the thing. There's always, like, one thing, whether it's lemongrass or jasmine or, like, there's some kind of, like, old lady perfume quality to all of them that overpowers. Like, it's like when somebody's like, I'm going to get creative in the kitchen and use. I'm going to throw in lavender or some extra saffron into this dish, and then it's like, well, you really shouldn't have done that. And that's basically how all of these are very sweet. Feels like a headache looming, like the moment you sip it.
- [02:41]
B
I thought the excitation one that we had the other night was honestly not bad.
- [02:45]
A
But the thing is, they are much better if you put them in a glass with a ton of ice.
- [02:53]
B
Yeah, glass with ice helps.
- [02:54]
A
You really need to dilute these things anyway. One out of three stars.
- [02:59]
B
All right, well, I think you've now tried all four flavors of the Kokomo Club Kokomo Craft Canned Cocktails between Coco Mojito Mystique Excitation and Afternoon Delight. Do you must have a favorite at least?
- [03:14]
A
I think maybe I've still got an Afternoon Delight in the fridge.
- [03:17]
B
I don't remember a resounding endorsement for Club Gocomo Spirits. I don't remember.
- [03:26]
A
This one kind of has like a bubble gum. It's not very good.
- [03:30]
B
That doesn't sound like something I like. Yeah, guava lychee lemon.
- [03:35]
A
Well, that's why it's bubblegum. Like because bubblegum is like cherry lemon, I think is like the. A little bit of vanilla. That's how you get bubblegum flavor. And I think somehow the guava Lychee Lemon Jasmine is like it's giving bubblegum interesting.
- [03:54]
B
Well, those are the canned cocktails. We'll now need to move on to the actual. I mean they have the canned cocktails. They also have artisanal craft in rums available.
- [04:02]
A
Oh, do they? They just have straight rum.
- [04:04]
B
They have barrel finished rum, like a brown, you know, dark rum. They've also got an artisanal white rum and then, mm, Tahitian vanilla rum. I bet that isn't completely overly sickly sweet.
- [04:19]
A
Yeah, that doesn't sound good. But I'm impressed that they have a barrel aged rum. Let's. We gotta get another Heaven's Door. There's a Heaven's Door release. I got an email about that. I was kind of like, this one sounds good.
- [04:35]
B
Actually, New Heaven's Door just dropped.
- [04:37]
A
Yeah, it was like. It's an overproof whiskey. So I think it's like 180 proof or something like really hot. But it's also finished in Calvados barrels.
- [04:50]
B
Interesting.
- [04:51]
A
The apple brandy barrels. And I like Calvados and I like sort of an overproof spirit.
- [04:59]
B
Oh, you know what? I think I see that here is this exploration series one Calvados finish.
- [05:03]
A
That would be the one. Yeah. Okay, so I'm kind of 80 bucks.
- [05:06]
B
I'd do it. We could do it.
- [05:07]
A
Yeah. Yeah, I think we should do it.
- [05:09]
B
Okay.
- [05:10]
A
I did it for the next like whatever the next big Bob thing is for Chronicles 2.
- [05:18]
B
Chronicles, volume 2. That's right. Thank you, Sean Penn. I got a Heaven's Door little tasting glass at the Bob Dylan center when we were there in Tulsa a couple of weeks ago. I haven't even used that yet, so I got to break that baby up.
- [05:33]
A
Wow. I didn't realize that.
- [05:35]
B
Yeah. All right, well, this has been Club Kokomo canned cocktail report.
- [05:46]
A
And now we're on to. Wow. Would you believe It. We've already made it to the end of the 1970s.
- [05:53]
B
Oh. By hook or by crook. And now it's been quite a journey.
- [06:00]
A
We're onto bigger and better things, other things. We're onto other and different things.
- [06:08]
B
Other and different things. That's right. I've been enjoying, you know, I think the Billy Joel stuff, which, you know, has launched recently as of this conversation. I think it's going over well. People seem interested in it. I like, we've gotten several comments already. They're like, I don't like Billy Joel and I'm not listening to these records. But I am enjoying the podcast still, so if we can get that from people, I'm pleased.
- [06:30]
A
Yeah, I think that's great. And I noticed, you know, there is what we expected. And I think maybe equivocated, possibly a little too much even on the shows about. Is like the hater faction contingent of Billy Joel.
- [06:47]
B
What do you mean, equivocated too much?
- [06:49]
A
Like, I feel like maybe. Maybe we've said too much about, like, oh, like, I know Billy Joel's like, some people hate him, but. But it's true, actually. So maybe not true much. I think that is true. But, yeah, I think that the people who are like, I'm not gonna listen to this. I'm unsubscribing.
- [07:09]
B
Those people are fake friends.
- [07:11]
A
Fake friends missing out. I don't think that's the point of our show anyways. Like, that. We like the music a whole lot like that. We love the music. It's more just like we're exploring. You wouldn't say to an astronaut, oh, how'd you like the moon? Do you love being on the moon? That's not what it's about. It's about going there.
- [07:36]
B
That's right. Yeah. Presumably you'd prefer to be on Earth, but the moon is still interesting.
- [07:42]
A
You'd prefer not to be listening to Billy Joel.
- [07:45]
B
And yet here we are, blasting off into the stars, the heavens above.
- [07:51]
A
Well, just like we're blasting off into the 1980s very shortly with the Beach Boys. But before that, we have to do what we always do, which is look back with love.
- [08:02]
B
That's right.
- [08:02]
A
What we've. We're not even there yet.
- [08:07]
B
I can't wait to do that. It's the. It's the Best of Beach Boys 70s playlist. The Jokerman. The Jokerman take on the beach boys in the nineteen. The decade of the 1970s. Yeah.
- [08:18]
A
Yeah.
- [08:18]
B
These are valuable exercises and fun opportunities to just sort of review our long. We've been doing the 70s stuff for the Beach Boys for a long ass time. We started this like December, early December, literally like after, just immediately after the Randy Newman series concluded because that turned into the November of Randy instead of the Summer of Randy. And we started in early December with Sunflower, I believe. And now here we are just now concluding the 70s with the beach Boys and we've already started our next, our next major series. It's been quite a. Quite a decade with the lads, with the Boys of the Beach.
- [08:59]
A
How about we start. How about we start?
- [09:03]
B
Yeah, well, we'll do the same kind of thing we typically do. I've got a long list. You've got a long list. We'll just kind of trade back and forth and shoot for something in the 25ish songs, total range. I'm sure we will end up jamming extra songs on there at the end, as always seems to happen. Did you. Point of order. Did you include any Dennis, Dennis or Mike solo material?
- [09:29]
A
No.
- [09:30]
B
Okay. Because I did. And I mean, you know, there will be a couple of those instances at least from the Dennis material for me because just looking forward, by the time you get to the 80s and certainly the 90s, the quote unquote best of the Beach Boys playlist become very difficult to construct. Well, and they end up needing to be composed of solo material quite a bit more.
- [09:53]
A
We'll see. We'll see. I don't know about it yet.
- [09:56]
B
Well, I do anyways, you know, I want to open this up to any solo material from the 70s, should you feel, you know, even our boy, Mr. Mr. Bruce, I think could. We could get one or two. Yeah, we could have a Doug appearance. So. So yeah, so that'll be the idea. Primarily Beach Boys probably. But you know, we'll get, we'll get some other stuff in here just to have fun with it. And I think the idea is, you know, to both, as we've done in the past, recognize some of the heights of the highs. You know, we can't get around certain songs being included here, but also try to, you know, provide an interesting textural look at a decade's worth of work from the fellas and, you know, maybe go a little bit beyond what you might typically think of as like the top 20 songs from the 70s from the beach Boys. Because if you were ranking those 1 to 20, they probably all come from two or three albums.
- [10:59]
A
Yeah, I think a lot of it's gotta be like some memorable stuff over enjoyable. Like that's what we mean when we say texture. You. We've got a. Things that stuck with us. Not. Not necessarily beautiful, but important. Not beautiful Beach Boys songs, but necessary Beach Boys songs.
- [11:22]
B
That's right. Notable. Well, why don't you start us off? What do you got?
- [11:32]
A
California saga. Big, sir.
- [11:34]
B
Oh, great. Okay. Yeah, let's just put the whole California saga on there. Just. Let's just get that out of the way. All three of it. We'll only count that as one. I think the whole thing deserves to be there.
- [11:44]
A
Yeah. Yeah, I agree.
- [11:46]
B
I think that's probably still one of the most interesting and exciting songs, song, sweets, whatever you want to call it, that the Beach Boys ever conducted. And despite its silliness, it. I think it totally comes across. I went to. I don't know if I told you, I went to Robinson. So you know the song the Beaks of Eagles? Yeah, the Robinson Jeffers poem.
- [12:09]
A
Yeah. You went there?
- [12:10]
B
I went to Robin Jeffers. Robin. Actually, they do call him Robin. Robin Jefferson. Robin Robinson Jeffers house, the tour house in Carmel by the sea. When I was down there a couple weeks ago on my way to Los Angeles, they were doing. They do tours there every week, and I was actually there once a year. They do the Robinson Jeffers garden party, where they open up the whole space. They have members of the Jeffers family come and shake your hand and talk to you about their memories there. Really unbelievable place he took. He went down to Carmel Beach. He's right there on the beach in beautiful Carmel by the sea. He would go down to the ocean, pick up these giant rocks just by himself. Pick up these giant rocks, lug them up to his property lot, and then build. He built this giant, 30, 40 foot tall lookout tower out of these rocks by himself because his wife wanted him to.
- [13:05]
A
Wow. Wait, what do you mean, because his wife wanted him to?
- [13:07]
B
I don't know. That's what. That's the idea.
- [13:09]
A
She.
- [13:09]
B
It's. It's sort of like a. Like a Scottish, you know, castle inspired type thing. She was really into Ireland and Scotland and the moors, the misty moors up there. And so he decided, I'm going to honor you by building you this. This, you know, this castle, like, lookout tower just literally on the edge of the Pacific Ocean. Unbelievable. Unbelievable thing.
- [13:32]
A
Okay, well, yeah. I wonder what. What's up with that structure? Kind of sounds like maybe like the kind of thing you'd get buried in together.
- [13:46]
B
You. You might think that they actually do have. They were big dog people. Also. The Jeffers family, they do have a couple plots on their. On their. Their. Their property for their dogs. Including Haig, Haig Jeffers, an English Bulldog. Really unbelievable. Anyone going through the Carmel area, I think they do tours every Saturday. This garden party only comes around once a year, but cannot recommend it highly enough. It's fantastic place to go check out. He's just like wildcat, this guy. I picked up a book of his poetry. I really dig it.
- [14:19]
A
Very nice. I'll have to read some. What about this music, though? Do we. I mean, we've said that, you know, it's like. It's kind of self explanatory in that it's like Mike Love giving a travelogue guided meditation tour of the California coast.
- [14:41]
B
Yes. Yeah. I mean, I think it's an adult. It's a way that the Beach Boys could have graduated into the Beach Men. You know, sort of a path not taken here. But I think by the time you get to the end of the 70s, as we've seen, and certainly on into the 80s with keeping the summer alive. Ugh, you know, they take the wrong lesson, which is that we just need to keep doing what we always did when we were kids. And we need to. It needs to literally be an endless summer. We need to fix ourselves in the popular imagination circa 1963 or whatever, and just write about, you know, high school and sweetie babies and going down the coast in your woody. And that to me is like. I'm sure there are a lot of people that dig that and wanted that out of the Beach Boys. But I think the vision of the way that they could, you know, take a lot of those influences and iterate on them and expand them, develop them further, make them more mature on the California saga. I think that's totally comes across for me. And again, you know, is a preview of a way they could have pursued this, you know, ecology focused, California focused, beach focused songwriting style, without also just seeming like insipid old men trying to imitate former glories.
- [16:03]
A
Yes. On the other hand, it does very much sound like the soundtrack to an educational film.
- [16:10]
B
It can. I mean, yeah, it can.
- [16:12]
A
The voiceover with the part where it's like, you know, I feel like that's a compliment from me. But it's also, you know, I love educational material for children when it's, you know, really back when we used to care about such things.
- [16:30]
B
Back when children were educated.
- [16:32]
A
Back when we cared about children.
- [16:36]
B
California should be noted also the concluding portion of the California saga. Just eternal all time bop from Mr. Alan Jardine. I cannot get that song out of my head anytime I start listening to it. So Whole thing. Masterpiece. Love to see it here. Great start.
- [16:54]
A
What's next?
- [16:55]
B
Disney Girls. Disney Girls, yeah.
- [16:59]
A
Has to be here. I don't know that there's much to say about it that we haven't said already, but Disney Girls is. If there's one Bruce Johnston contribution to.
- [17:11]
B
There's gonna be a couple Bruce Johnson.
- [17:12]
A
Contributions, but if there's one. If there were only one, I think this is the one.
- [17:16]
B
This is the one. Absolutely. And I mean, one thing I know we. You know, I think we were actually pretty appreciative about Bruce, towards Bruce when we encountered songs like Disney Girls originally, you know, while also acknowledging that he's a little makish, a little kind of schmaltzy. But one thing I've definitely noticed as we have edged on into the 70s with our deeper study, our deeper studies of some records is I really came to, like, enjoy that flavor of the Beach Boys and really miss it on records like Miu and la. He does come back for a star, you know, star making turns on keeping the summer alive, in my estimation. And it's great to hear and see when we get there, but it's. It's a very valuable texture and tone to a lot of these records that was sorely missed, I think, by the time you get to the end of the decade. So. We love you, Bruce. Disney Girls. Come on. That's a classic. If ever. If you don't like Disney Girls, get out of here. I could see Billy Joel doing a good. Disney Girls.
- [18:18]
A
Yeah, yeah.
- [18:19]
B
Catholic, Catholic. Disney Girls. Next.
- [18:26]
A
Sumahama.
- [18:27]
B
Oh, boy. All right, here we go.
- [18:28]
A
Happy to be here. I mean, I feel like it's a spiritual sequel to. To the California saga. In a way, it's like. In a way, they said took the wrong lesson, but it's not like that wasn't attempted again. I feel like. Honestly, I feel like Sumahama. And. And honestly, the bells of Paris.
- [18:50]
B
You only get one. We're trading off. You're not putting bells in here already.
- [18:54]
A
I'm just saying that there's. I think that maybe there were other attempts to progress this idea of citizen of the world type music. Well, Beach Boys. Okay, what about the California coast? Okay, what about.
- [19:09]
B
What about beach? Wasn't it? Yeah, didn't we say that?
- [19:13]
A
That's right. All right, so let's think about other coastal locales. Sumahama. Whether you like it or not, you can't say that it's a good thing that they attempted to explore this. More ecology, this world, global perspective. And then, you know, you want to draw. You want to shoot him down when he tries to spread his wings to the land of the rising sun.
- [19:43]
B
That's, you know, that's a great point. You got. You got me there.
- [19:47]
A
Yeah. Fuck you.
- [19:52]
B
I've been hoisted by my own petard here. I'm looking up. I'm trying to. I'm trying to see. Okay, that's very good. I'm trying to. I went to Google Translate to try to translate.
- [20:08]
A
Translate what?
- [20:09]
B
He says, translate Beach Boy. No, just Beach Boy into Japanese. And it's. It's very good. I'm going to just play it for you here.
- [20:19]
A
Beach Boy.
- [20:20]
B
No, that's wrong. Beachy Boy.
- [20:22]
A
There we go.
- [20:24]
B
Beachy Boy. Beachy Boy. Sumohama. Yeah, I don't. I mean, sure, it's. It's definitely one of the most notable songs, I think, from Light album, A record which I think we seem to not like quite as much as many of the listeners. Yeah, I feel bad about. No, I don't feel bad about you. Nah. I mean, sometimes I'm worried that, like, oh, we, you know, I at least am missing something. But, like, honestly, I really just don't like that record that much. I think that there are good songs on it, but as a record, it just does not. Does not hang. It does not cohere. And like, even the best songs, like, you know, full Sail and Good Timing are like, whatever, it's. It's better than some shit that surrounds it, but it still just doesn't. I don't know, it's not. It's not the flavor for me. Takes your lychee.
- [21:24]
A
Yeah. Yeah.
- [21:26]
B
All right. Sumahama is on there. Sure. Let's get. What else we got here? Hmm. All this is that, man.
- [21:41]
A
Yeah.
- [21:41]
B
That's a great song.
- [21:42]
A
Important song. I think that it's also like the best, easily the best of the songs that are about the transcendental meditation.
- [21:53]
B
It is. I think of all the songs that are about transcendental Meditation, it is the most transcendental sounding of all those songs. I will still ride for transcendental meditation itself, but I know it's understandable to me that that's not other folks's flavor. I know you've long been a anti transcendental meditation enjoyer. That's right. But yeah, I mean, all this is that, I think is a stone cold classic. Clear 100% success to me. The best song easily on Carl and the Passions, right? Yeah, basically, man. Remember how I feel like we were when we were talking about Carl and the Passions? We were like, oh, man, this is. This is sort of a tough hang here. There's. There's some good songs that's like. I wish. I wish we had records as good and deep and varied as Carl and the Passions at this point.
- [22:50]
A
While we're on the subject, I'll just throw in that on my list is Here She Comes from Carl and the Passions. So tough.
- [22:56]
B
Here she Comes.
- [23:00]
A
It's that. Got that like, low key sort of bass with the kind of jazzy sound, a little organ.
- [23:08]
B
Oh, yeah, the second song. Yeah, Here She Comes. Yeah, the. The Blondie Chaplin song. The Flames song.
- [23:18]
A
Yeah, I threw that one in there.
- [23:19]
B
Okay, sure. I think that's. That's a song that I did not even remember existed before you mention it. But why not have that on? This is a flavor of the beach boys in the 70s, so it deserves to be here.
- [23:30]
A
Absolutely. Blondie Chaplin representation.
- [23:33]
B
Yes, it's Blondie and Ricky Fitar representation. They're two valuable voices that we see and hear and want to honor and credit.
- [23:44]
A
What's next?
- [23:46]
B
What is next? Well, I mean, we're gonna have to get some actually good songs on here at some point. I'm trying to figure out, start doing that because, I mean, there is a lot of just like amazing classic shit at this.
- [24:04]
A
I'm just still listening to Here She Comes.
- [24:08]
B
Sounds pretty good. Doesn't really sound like the Beach Boys, but it sounds pretty good. Another version. This is. I mean, this is what's fun about, I think the 70s for the beach Boys in particular is there are so many different bands in this one band over the course of this decade. There's. There's this like, you know, kind of cool modern rock band. That's the rock. The rock. There's the Rocky aspect of things. The Ricky and Blondie version of the band. There's the Makish Bruce thing. There's the like, you know, big brain, early 70s mic approach. There's the failing big brain mic approach of the later 70s. There's the Dennis, you know, Oo Oo type of thing. There's the Brian scent. There's like, so much. And I think that's why a playlist like this is valuable.
- [24:56]
A
Back to you. Long Promise Road, of course, maybe the best song of the 70s, probably.
- [25:05]
B
Up there, certainly. I mean, there are a couple other candidates I think that would be deserving as well.
- [25:11]
A
But, like, it's my favorite.
- [25:14]
B
It's. It is unimpeachable. Carl is shaking his ass on this one and I think just absolutely killing it, man. The whole Jack Riley Thing I can't. We've been. We've been through with these people.
- [25:29]
A
They've been through it. Just noticing.
- [25:32]
B
They sure did. Yeah. I mean, just perfect. Perfect pop song. I think of all the songs that you get in the 70s in the moment when I think the band really starts to become the band as opposed to Brian Wilson's recording project. You know, they've been making their way in that direction in fits and starts over the preceding couple years. But Long Promise Road, I think, is the first point, Even after records like 2020 and Sunflower, which are good records. But this is the first point, I think, where, like, we see. Oh, there actually is a reason for this band to exist beyond, you know, Brian Wilson's project so Hard to love the future. Yeah. Oh, man.
- [26:19]
A
Lift the jeweled scepter oh, man, we.
- [26:21]
B
Love the jeweled scepter so hard to.
- [26:22]
A
Lift the jeweled scepter when that turns your smile to a frown that should.
- [26:28]
B
Probably be the title of the playlist, so.
- [26:32]
A
What the. So hard to lift the jeweled Scepter.
- [26:34]
B
Yes. Either that or, you know, some mike loves pigeon. Japanese. Or it could just be called Croissant. Jokerman selects the beach boys in the 1970s.
- [26:48]
A
I like jeweled Scepter.
- [26:49]
B
Yeah, yeah. Long Promise Road. Come on, what do you got?
- [26:56]
A
Okay, let's see. The night was so young.
- [27:00]
B
Ooh. Okay. Absolutely. Yeah, we're going to get plenty of Love you on this.
- [27:07]
A
Almost like the whole album, probably. Yeah.
- [27:09]
B
Yeah. Well, and that's. I think that's. We got to be little judicious about it. That's what I was saying is, like, if you're just ranking things, I think there's an argument to be made that this playlist should mostly, almost all be Surf's Up, Love you and Sunflower with some Holland tossed in there as well. But there's a lot more to this decade, so we're gonna try to be a little more varied. But, yeah, Night was so young. Gotta be there. God, this sounds so good.
- [27:37]
A
Yeah, I love it, man.
- [27:43]
B
I can't believe this was the Beach Boys and they just got rid of it. What a pisser.
- [27:48]
A
What do you mean, got rid of it?
- [27:50]
B
I mean, they made this. This was the band. They made this record. Brian made this record. They made Adult Child that just got the kibosh. And then we just. Man, there's a whole other universe in which Love you maybe sells a little bit more or people are more receptive to it and allowed that process to continue to unfold. We could have a whole Whole other canon of Beach Boys classics. But, you know, it was impossible to sit here and imagine what ifs and what could have beens. Because Lord knows we ended up with plenty of good music after the fact. Just there's some ups and downs coming.
- [28:28]
A
I think that the night was so young is just a do, do, do. A prime example.
- [28:36]
B
I pour some milk and I start to think, is she asleep?
- [28:40]
A
This is like an example of just how much I feel like there's a lot of songs like this. There's an impressive amount of songs that I think are in this kind of subcategory for Brian, anyway. I don't. I could go on, but what do you have next?
- [28:59]
B
Well, let's stick with Love you for a little bit. I'll stick with Love you for a little bit and just put my favorite with. With a bullet from this record. A song that I've loved for a long, long time. Mona.
- [29:12]
A
Oh, well, it's also.
- [29:15]
B
Oh, that's right. God, sounds so good. Still sounds so good. I fell in love with this song 15 years ago at this point, and it just still gets me every single time. Dennis. Oh, I love Dennis. I love you. Just another pure pop masterpiece here. Right up there with Long Promise Road and anything else that's going to come here. So I don't think that. I think this song is undeniable.
- [29:47]
A
I would say brilliant.
- [29:49]
B
Even if Love you is not your preferred flavor of the Beach Boys. Not that it's not your, but, you know, one's preferred flavor.
- [29:58]
A
This Whole World.
- [29:59]
B
Yes. Oh, yeah. Here we go. Now we got coming.
- [30:02]
A
This Whole world is like the other. It's also the best song. It's the best Brian song of the 70s.
- [30:10]
B
Yeah. I mean, it's up there. Certainly give or take what you think of whether you consider Surf's up to be like a song of the 70s.
- [30:19]
A
It's hard because it's such a bummer that we can't really. We do have the ability to put adult child stuff on here. Right.
- [30:28]
B
Well, I mean, we can do whatever we want. The question is, I mean, it wouldn't.
- [30:37]
A
Appear we can't put it on the playlist on Spotify.
- [30:41]
B
Exactly. I would be inclined to say let's just limit it to what people can actually listen to. And then when we do the big Master 100 list at the end of this whole project, obviously anything and everything is fair game. But just for, like, ease of conversation and ease of listening, we might want to just limit it to what's easily accessible. Yeah, yeah, but that's A great point. You know, I think it's worth noting that for me, at least, life is for the living and still I dream of it would be two of the clear contributions to this playlist from Hill Child.
- [31:18]
A
I mean, I wish. I wish we could just put it on there in a. Just world. We could. But in the meantime, I think this whole world is a prime example of Brian at his creative peak. And I feel like it. It's maybe the best moment for him from the 70s in terms of. I feel like there's a lot of times where he's referenced this song as being a highlight for him personally.
- [31:45]
B
Music is in his soul.
- [31:47]
A
And it's. This song is just like. It's so compact, but it's. It really is. I mean, it's about this whole world. It's like.
- [31:56]
B
That's right.
- [31:57]
A
It's got this kaleidoscopic. No, all of it.
- [32:00]
B
All of it, yes. Kaleidoscopic, indeed. And I think it's, you know, the 70s you think of really as the Beach Boys evolving far beyond where they were even in the later 60s, which, that itself is a totally different band than the original version of them. But. And Brian is a big part of that. Certainly by the time you get to love you, he's unrecognizable physically in terms of voice, in terms of the way the songs sound and so on. But to me, I think that this whole world is still like a Brian Wilson 1.0 or 1.1 ish type composition. Just complete command of the entire studio apparatus. Beautifully envisioned from top to bottom, like you said, completely compact. It's less than 2 minutes long, 1 minute, 58 seconds.
- [32:47]
A
But it contains the entire Earth.
- [32:50]
B
Absolutely.
- [32:50]
A
And all the people within it.
- [32:52]
B
This whole world.
- [32:55]
A
And also, I've said it before, but I feel like it's just a song that doesn't sound like any other song. Like, the changes in it are, like, actually, like, super specific. But it feels super. It feels very natural to listen to. But it really is one of those, like, blinking, you'll miss it, that, like, actually not anyone, not just anyone, could have put this song together.
- [33:18]
B
Yes. Yeah. I think there are like three or four songs in this whole world, or ideas, you know, melodies, movements that could have sustained three or four different songs. And the brilliance of it, as it is so often in a Brian Wilson song, is that he's able to just slowly, like, just cut out the prime. You know, the prime material there, cut away the fat, slice off the bone and put it all together into just. Just 98 no, not 98 seconds. 118 seconds of pure perfection in terms of music making. Still. Still a little bull.
- [33:58]
A
Still ball sick. Yeah.
- [34:00]
B
Are you doing, Are you okay?
- [34:02]
A
I'm fine. No knock on bowl.
- [34:05]
B
I thought I was, I believed I was past the contagious point, so I'm glad you're that okay. Okay. We're getting some good stuff on here. I'm glad to see that. Maybe I'll have a little bit of fun with it now. How about this match point of our Love. Your favorite song from Miu?
- [34:29]
A
Yeah, I put it on my list.
- [34:31]
B
Wow. Okay, you're coming around. I, I, you, you didn't like this song when we talked about it because you thought it was stupid.
- [34:37]
A
Yeah, well, then we listened to LA Light album and then I was kind.
- [34:43]
B
Of like, well, not so bad, is it?
- [34:45]
A
Maybe I like Miu a little bit more than I thought.
- [34:48]
B
Yeah, I mean I think Miu is still, it's. This is, yeah, this is the worst record of the 70s, I think. Pretty, pretty at least of the Beach Boys records. Pretty easily the worst record of the 70s. But I do think the end of this record does, does still kind of stand up as a relatively strong three song run. It might just be because it's surrounded with just some detestable music. But in general I think, I think there's some groovy jams on there. Match one of our love yacht rock lite version of the Beach Boys. It's great.
- [35:26]
A
Yeah. At that same point I'll throw in Bells of Paris, my favorite song on Miu actually by a lot. I think I love Bells of Paris.
- [35:40]
B
I'm glad that you get so much enjoyment out of Bells of Paris.
- [35:45]
A
I just like the.
- [35:47]
B
Someone has to.
- [35:48]
A
I think other people agreed with me actually in the comments and replies.
- [35:52]
B
Did they like it?
- [35:53]
A
Yeah, it's very interesting to see what goes on between Miu and LA Light Album. It is like a shot of love, not a shot of love. A a knocked out, loaded or down in the groove type situation where like it's like you know, the choice between Firing Squad and Electric Chair.
- [36:16]
B
Yeah, yeah. I mean I think that's, that's why La Light Album, I think is a better record ultimately is because it is, I think MIU is a more consistent and cohesive record. It is a more tightly conceived of package that makes sense from beginning to end in a way that LA does not. But it's conceived of as shitty music basically would be my argument against it versus Light Album does have some good to great songs here and There throughout. Even if there are points on that record that frustrate me anyways. Bells of Paris. Yeah. I mean, yeah, I'm listening to it right now. It doesn't sound so bad. Suma Hama and Bells of Paris. You really are loving Mike Love, Citizen of the World on here. And the Beaks of Eagles.
- [37:11]
A
Yeah, yeah.
- [37:14]
B
Is Celebration. None of the Celebration material is not.
- [37:18]
A
On streaming as far as I know.
- [37:19]
B
He's Almost Summer on there, maybe. No, there is a song. There is. Is this band called. Okay, there is a band called Almost Summer and the song is called Beach Celebration. But we're sort. We're looking for the opposite type of thing. We're looking for Almost Summer by Celebration instead of Celebration by Almost Summer. Stupid. All right, let's put some more good music on this playlist, I think would maybe be a reasonable thing to do. Oh. I mean, we haven't had any 15 big ones representation yet. Just once in my life, see, I.
- [38:06]
A
Wanted to save that for the end.
- [38:07]
B
Well, I mean, we'll put that. That can be the end of the playlist. But I mean, that's.
- [38:11]
A
Yeah, this is. If we're talking about non originals featuring Brian or just non originals, period covers. This is. This is the best of the best.
- [38:23]
B
Yes. One of the. One of the most emotionally resonant songs I think, that he ever recorded.
- [38:28]
A
Especially coming after that whole album where it's just like. It reminds me of, like, Dark Eyes at the end of Empire Burlesque by Bob Dylan, where it's like, suddenly you see, like, under this huge pile of garbage, like a familiar face peeking out, a hand reaching up for help. Not that Empire Burlesque is. It's not the same exactly, but there's something just really recognizable and kind of beautifully tragic about both of those songs, especially this one having that curdled, mangled vocal.
- [39:15]
B
The vocal is just unbelievable at the time. God, it just sounds like a primal scream of, like, just endless doom, which I think it basically was.
- [39:28]
A
But it's still. It's about yearning. It's not like a giving up song. It's right before giving up, potentially song. The stakes couldn't be higher. And that's why it's the most dramatic and easily one of the. The high points of. Of the beach boys in the 70s. I think it's even more dramatic than anything on Surf's up. Like, in its own way.
- [39:51]
B
Yeah. I mean, I think by the time you get to Surf's up, the song at the end of Surf's up, you're kind of prepared for that, the record looks the way it does on the COVID You've been through, you know, already a little bit of touching material on there. From Till I Die to Day in the Life of Tree and so on. And so that by the time you get to the last song, it's like, all right, this is still just a walloping, emotionally massive song, but it makes sense in the context of what surrounds it. And I think just once in my life, I mean, I'm looking at the Track list of 15 big ones right now. It's Chapel of Love, it's Susie Cincinnati, it's Palisades Park. It's like. It's like a whole album of cotton candy. And then here at the very end, you just get like, you know, pure black tar heroin.
- [40:38]
A
Yeah. Literally.
- [40:41]
B
I feel like of all the records from the 70s, 15 big ones might be the one that I come around on more. It's just. I remember we did not, like you in particular, had a tough time with.
- [40:51]
A
It, but that's never changed more dramatically. Like, the. The hindsight that the Beach Boys explorations we've done has inspired has never been. It's never been stronger or more dramatic than this series. It's like, instantly, the last thing we did seems like a lot rosier, a lot greener.
- [41:16]
B
You know, you don't know what you got until it's gone. As they say, you don't know.
- [41:20]
A
You don't miss your water till the well runs dry.
- [41:24]
B
That's right.
- [41:25]
A
Which, meanwhile, cool, cool water.
- [41:28]
B
Oh, great. Absolutely. That was on mine, too.
- [41:33]
A
As we talked about when that came around the first time, I think we were talking about how it's kind of perfect because it's the Beach Boys singing a song just about water itself.
- [41:46]
B
Oh, man. Cool. Water is such a gas. It's true what they say about it. I haven't listened to this song in a while. I love to hear this. This is great.
- [41:54]
A
Yep. Yeah.
- [41:55]
B
And this is how you do the Smile material. Right? You know, I think we went over this when we talked about Sunflower, but this is jammed there at the end of this record, just the way that cabanessence is jammed at the end of 2020. But it's reinvented, reproduced, and kind of turned into something that works in the context that it's being presented in instead of just literally, you know, bolted on with a safety piece. Cool. Cooling me, man. We're running this. We're gonna have to. We're already at 15 here. We're gonna have to start being a little discerning with this material, there's a lot of good stuff that there is, that should get on here, but we gotta, you know, we gotta keep it. I don't want to. I don't go too far beyond the bounds. That's part of the exercise here, is. Is calling balls and strikes. I do want to get a little bit of. A little bit of solo material in here. Again, just for our purposes. I'll throw one on that. I know you're going to agree with Constant Companion.
- [42:52]
A
Yeah, the best song that I think Dennis Wilson ever produced. I think he's. Whether he. Apparently he didn't write it, but I. I feel. I like to think that he. He resonated with it and wanted to perform it because it's a very spirited performance. And I think lyrically it's like one of the most sophisticated and interesting songs. It inspired me to make an entire playlist of spiritual yacht rock. Between that song and Dweller on the Threshold by Van Morrison, I was like, there's got to be more songs that kind of do this, have some kind of a yacht rock sensibility broadly, but are about matters of the soul. And yeah, I made a. I made a 22 song playlist that you can find Evan Evans on the old Spotify. It's. I'm very happy with how it turned out. Got some suggestions from people, from listeners. One of the songs on there, Jokerman, it made me realize, like, okay, that's. Exactly. Sure, that's. That's there too. Like, that's. I think that's a theme. Songs that we love tend to have this kind of slick, glossy production or a sort of luxurious feeling, and yet are kind of about transcending the matters of the material world.
- [44:32]
B
I wouldn't even necessarily say that. Constant Companion. Constant Companion at least doesn't even sound slick necessarily.
- [44:38]
A
No, that's why it's. Well, it's more the rock side of. Yeah. Rock.
- [44:42]
B
Yeah. It's just like kind of groovy. It's.
- [44:44]
A
Boo.
- [44:44]
B
You know, it's got a little beat to it. It's. It. It's a boogie. Boogie type of number. And that's. I mean, that's a big part of music in that genre, I think, is something that just like, you know, you snap your fingers to and you feel good listening to easy, breezy type of music. Yeah, man. The chorus hits. That's great. Even if he doesn't write this song, Dennis inhabits this. Yeah. Regatta Rock.
- [45:10]
A
That's. I mean, Dennis Wilson is actually making Regatta Rock. He had. He had a sailboat that's right.
- [45:16]
B
He absolutely did. He is. You know, that is kind of funny that he. You know, yacht rock music is. I mean that term was by. Especially by a lot of the people who made what came to be known as yacht rock was thought of as, you know, sort of a desultory term for the music. Dennis actually is making real ass music as a man who hangs out and lives on until he doesn't. A boat.
- [45:46]
A
Yeah. Until he dies where it used to be.
- [45:49]
B
Where. Yeah. Literally diving from its deck. God damn. Fun. Fun times ahead, folks. All right, Constant Companion. That was me. What do you got?
- [46:02]
A
Let's see.
- [46:05]
B
Doo doo doo doo doo doo doo doo doo doo.
- [46:09]
A
We got a good time, Good time.
- [46:16]
B
My baby and I just want a good time.
- [46:18]
A
I don't know, maybe we don't. We have to be more specific, more discerning.
- [46:24]
B
They can go on there.
- [46:24]
A
Listen, I'm gonna say Airplane. Airplane.
- [46:26]
B
Airplane. Okay. I, I can, I can co sign Airplane a little bit more easily.
- [46:30]
A
Yeah, Airplane's got to be on there. I think Airplane is one of the sweetest and most, Most under understated songs on a very bold and, and a bold album. I, I think that it has a boldness, but it's, it's like a, a pleasant sort of dissociated song. It's. It's like a post psychedelic song. The Scope isn't ambitious, but it's filled with wonder at a very simple event. Landing in Los Angeles during the afternoon.
- [47:13]
B
I've been flying down to Los Angeles seems like once a week for the last month. And every time I come in, I'm not listening to Airplane, but I am thinking about it.
- [47:21]
A
You are on one.
- [47:22]
B
That's right. Well, but I'm thinking about Airplane as I'm. As I'm about to land and thinking, oh, you know, flying over the city in an airplane. There is something about it.
- [47:32]
A
Yeah, there is.
- [47:35]
B
Alright, I'm gonna do one more from Love U just since we're on the subject and then I'm. Then I gotta put Kai Balash on Love of youf material. At least for me. If you got other stuff, you gotta get on there. That's fair. But ding dang, I mean needs to be on this playlist.
- [47:49]
A
That's right.
- [47:50]
B
That is one of the essential texts of the 1970s from the Beat. One of the essential texts of pop music writ large.
- [47:59]
A
God, how are we gonna not have some of these songs though?
- [48:04]
B
Well, I realized. So we've actually got a little more flexibility here because we can. Let's count California Saga Just as one. One that takes up three slots on the. You know, on the actual numbered playlist, since it, you know, split into three sections. But I think we can get away with just calling that one song, which means that. So right now it says 18. So really we're at 16. So we've still got nine more slots. We got plenty of room for the key for the other Keystone tracks.
- [48:29]
A
Nine more.
- [48:30]
B
Nine more.
- [48:31]
A
Okay.
- [48:32]
B
But B, you know, watch out. We've already got Sumahama and Bells of Paris.
- [48:36]
A
Damn. I was like. My eyes were bigger than my stomach, I guess I put all this. Is that or. No, I. I put the.
- [48:44]
B
Here she comes.
- [48:45]
A
Here she comes in there.
- [48:48]
B
All right, well, okay, everyone out there, you get mad at Evan for putting all the shitty songs on this playlist.
- [48:58]
A
Feel Flows. We gotta put Feel Flows.
- [49:00]
B
Sure, sure. Here we go.
- [49:02]
A
Have to.
- [49:03]
B
Cool. Carl.
- [49:07]
A
We don't need to say anything more about Field Flows.
- [49:11]
B
Yeah, I guess not. I just like listening to Field Flows. This is a great song.
- [49:16]
A
It rocks.
- [49:17]
B
It sounds so. Surf's up. Feels so far away. I'm realizing this is a more difficult exercise for us because I wasn't remembering, like, was this as difficult last time we did this compared to, you know, this playlist? But in the 60s, we had best of the early 60s and best of the late 60s, and in this case, we just have best of the 70s, which I do think makes sense because their rate of release was just not. Not quite as voluminous in the 70s. But I think it does make for a slightly more impacted selection of songs. Feel Flows just feels like it's from a different. Different era, different band than Sumahama, let's say it does.
- [50:03]
A
That is a. That's an interesting observation.
- [50:09]
B
Feel Flows. Yeah. Great song. Love Feel Flows. All right, let me. Let me. Let me see what we've got on here on my long list, because we are still gonna have to make some tough decisions at some point. All right, man. Like, there's so much surf stuff that needs to be here. I'm just gonna put a day in the Life of a tree on here. That's not the most exciting thing that I could be picking right now, but that is, again, another one. One of the great Beach Boys songs, I think, of all of the Beach Boys songs. And so it absolutely needs to appear on a best of the 70s selection.
- [50:46]
A
Yeah, yeah, right. Yes. Yes, of course. Absolutely. I mean. Yeah, I'm. The only reason I'm kind of, like, hemming on this is just. No, I mean, I think a day in the Life of a Tree is. I think there's one more song from Surface up that we have to include, but it is Day in the Life of a Tree is one of them. That's. It's kind of the heart of that record in an maybe underappreciated way.
- [51:16]
B
Absolutely. I will never for the life of me understand people who don't like this song and think it's.
- [51:21]
A
It has to be goofy, corny.
- [51:23]
B
I think it's beautiful.
- [51:25]
A
I think, obviously we have to put what surf's up until I die. We're just not going to have them on here.
- [51:32]
B
Well, not. That's the thing. Yeah, they need. Those also need to be on here.
- [51:35]
A
They do, they do. Like, we're not going to not have them. Those. Fuck it. If we. If this becomes 26. I don't care. There has to be. That's not like even a decision. That's just like durag. We have to do that. What is a decision, though, is what we include then from maybe Love you one more song, I would say. I mean, it seems like so un. Us to not have Johnny Carson. Like, that seems ridiculous that we wouldn't have Johnny Carson. So I'm just going to say Johnny Carson. And. And. And I'll bet he's nice.
- [52:14]
B
All right, well, hang on. Let's. Let's take it. Take it slow. You just put four songs on this.
- [52:19]
A
Yeah, but we're gonna look back and be like, how. How. How did we not include that stuff? Like, I feel like when we do best of the 80s, we're gonna be like, oh, my God. We didn't include what on the best of the 70s, we're. We were fools.
- [52:35]
B
Well, you know, you gotta make the mess. Make the most of it. All right, so let's. We got Surf's up until Johnny Carson on here. That puts us at 20. We're at 23 right now, but that's really 21. If we're counting California.
- [52:48]
A
Yeah, we are counting California saga as one song.
- [52:51]
B
Yes. Yeah. So let's. Let's see what else we can get on here. God, like, there's the whole fucking Mount Vernon and Fairway Suite. Like, that doesn't belong on here necessarily, but it's so great. All right, I'm going to get a little more. A little more of the boy Bruce on this playlist. Deirdre playing Deirdre. Classic Deirdre.
- [53:15]
A
Not Crystal Pepsi Deirdre. Crystal Deirdre from the solo album. Anything on there?
- [53:20]
B
I mean, I think the Doug song belongs on here. Like, that is an interesting and significant song from the 1970s from someone associated.
- [53:29]
A
With the Beach Boys.
- [53:31]
B
Won't somebody dance?
- [53:32]
A
Dance with me? I agree. That's gotta be on there.
- [53:38]
B
Yeah, I think. And now I think we've got some good brew stuff on here. We got Disney Girls, we got Deirdre. We got. Want Somebody to Dance With Me. I think Tears in the Morning could be on here easily, but it's not. I don't. I'm not gonna. We gotta be. We gotta be discerning. We don't want to bite off more than we can chew here.
- [53:55]
A
Wait. Yeah, we don't have a lot from Sunflower. That's 1970.
- [53:59]
B
Yeah, that's true.
- [54:00]
A
I kind of was thinking we've got.
- [54:03]
B
We've got Sunflower, we've got this whole world. We've got Deirdre, and we've got Water. I think Forever could be on there, too. But I can live with forever not showing up if. If it must not be on here.
- [54:15]
A
Okay.
- [54:16]
B
I mean, what else? What else?
- [54:18]
A
I put Forever on the playlist on my list.
- [54:21]
B
Yeah, I mean, it's on mine, too, but like, Ceylon Sailor, that is. That's got to be on there. That's probably number. That's probably track one on the whole playlist.
- [54:29]
A
Yeah, we have to put Ceylon Sailor. What else are like, the odd takes that I've got that are like. Well, I said, I'll bet he's nice, I think. I'll bet he's nice must be on there.
- [54:43]
B
All right, we'll do. I'll bet he's nice.
- [54:48]
A
Love Is a Woman. I would love to be on there, too.
- [54:51]
B
Well, you only get. You only get.
- [54:53]
A
I know, I know. I'll bet he's nice. I'll say.
- [54:57]
B
We'll put. I'll Bet He's Nice on there. That is a great song. I'll bet he's nice.
- [55:02]
A
Did you listen to that demo? Have you heard that demo that Kyle Mooney mentioned?
- [55:08]
B
No. Oh, yeah, I remember he mentioned. Yeah. No, I haven't listened to it yet.
- [55:11]
A
Oh, it's amazing.
- [55:12]
B
Mike is, like, hollering in the background or something.
- [55:14]
A
Yeah, well, it's just Brian playing it on the piano, and you realize how, like, how great the chords in that song are. And then at the end, Mike is like, whoo, that is a motherfucker. It's nice to hear.
- [55:31]
B
Yeah, he can, you know, he can charm despite himself in certain circumstances when.
- [55:37]
A
Faced with great art. Like that song, you know?
- [55:40]
B
That's right.
- [55:41]
A
All right, react.
- [55:42]
B
We're at 25 now. Let's each just put one more on and then we'll call it.
- [55:48]
A
Okay.
- [55:51]
B
I mean, there could be plenty of other things on here, but instead it's got. We've got Sumahama and Belles of Paris and Here she comes. You've made your bed and now you're gonna lie in it.
- [56:00]
A
Well, I mean, the Beach Boys made the bed. We have to represent what they've done in the. In the 70s. We can't just, like, pretend that it was all our favorite stuff.
- [56:11]
B
Yeah, boy. So we don't have a single LA track on here yet.
- [56:18]
A
We don't.
- [56:19]
B
No. We have multiple MIU songs.
- [56:21]
A
No, we have Sumahama.
- [56:22]
B
Oh, we have Sumahama. That's right.
- [56:24]
A
Okay, that's the one.
- [56:25]
B
Good catch. I think there's an argument to be made for the disco. Here Comes the Night.
- [56:31]
A
Uh huh.
- [56:32]
B
I think there's an argument.
- [56:33]
A
Are you gonna make that argument?
- [56:34]
B
Yeah, I mean, I don't know. I'm trying to be discerning here. I think there's an argument to be made for Lady Linda and Angel Come Home as well. Those are. Those are all great songs. I think there's only one 15 big one song on here also. I think there's an argument to be made for. It's okay. And back home. I think the Traitor deserves to be on here.
- [56:59]
A
I don't like Holland. The Traitor is not so good.
- [57:02]
B
Oh, the Traitor's great.
- [57:03]
A
It's good, but it's not like. It's not actually great. I don't think.
- [57:06]
B
I think that Don't Go near the Water could be on here. I think Cuddle up could be on here.
- [57:14]
A
Cuddle Up.
- [57:15]
B
Cuddle Up. That's right. Cuddle up to me. That's great. Yeah. I mean, we gotta make. We gotta make some tough calls. All right, so there's only one Dennis Wilson solo song on here so far. And it's a song that didn't even get released. I'm gonna go with the other song from Pacific Ocean Blue that I think is undeniable.
- [57:32]
A
You're gonna say River Song?
- [57:33]
B
I'm gonna say River Song. Yeah. Which I think is overwhelming. Extraordinary. Powerful, rootsy, soulful, rockin. Everything you want out of a Dennis Wilson number.
- [57:44]
A
I agree that it's. It's the best representation, the best example from that yes album.
- [57:53]
B
And now we've got a couple Dennis solo tracks and one Bruce one. I feel. I feel good about that. I'm at. I'm at peace with that. All right, why don't you. Why don't you deliver us our final selection. Don't you say Kona Coast?
- [58:11]
A
No, it's got to be don't go near the Water.
- [58:13]
B
Okay.
- [58:15]
A
I just feel like that's. It's a boring choice. But I. I think of that song, I mean that if you want one song that's like, about the ecology thing in like, the most direct way, that's. That's the one, like, that's an important load bearing pillar of the beach boys in the 70s, I think.
- [58:38]
B
Yes. Yeah. There's no question. And that brings us to, I think, seven Surf's up songs at this point, which is a lot. But like, it. It should be like that. Because Surf's Up, I think is maybe not my favorite record of all these records from the 70s. That would still probably be Love you. But it is, I think, the best record of all of them.
- [59:01]
A
Yeah. What do we got from. From Love you? We've got Mona.
- [59:04]
B
We've got Night Was so Young and Mona and Airplane and Ding Dang and Johnny Carson and I'll bet he's nice.
- [59:11]
A
I want to take off Night with so Young and replace it with Honking down the Highway.
- [59:15]
B
Honking down the highway should be on there, but. Oh, but I love Night with so.
- [59:19]
A
Young is good, but, like, it's not. It's not totally unique. I think that if we can't have that, like. Like that song is great, but I feel like once in my life, like we need a. A Brian ballad. Like we have that. I mean, fun. I don't know. I mean, between the two, like, where are we gonna just not have Honkin down the gosh darn highway?
- [59:44]
B
I know. I feel like I would need to Bet He's Nice Over. Over.
- [59:50]
A
Yeah, I think I'll bet He's Nice is crucial because it actually is like really innovative production. Like that song actually, I think has been influential when. When people talk about Love you as being like proto electro pop and stuff. Like, I think that song, the way it's executed is. Is really important in terms of, like, what the entire Love you thing is all about. But Honking down the highway is like the other side of what Love you is all about. And it also is a nice little showcase for Alan Jardine.
- [60:21]
B
That's right. We do need a little bit of AL representation, Mr. Jardine, because we didn't.
- [60:27]
A
Put like, pitter patter, you know, there's like some owl moments that I think are.
- [60:32]
B
Take good care of your feet.
- [60:34]
A
Yeah, we didn't have that on there.
- [60:36]
B
That didn't make it, unfortunately.
- [60:37]
A
That's okay. I mean, I feel like that is a. As great as it is. It's a holdover from 60s era vegetables, I think is the prime example of that mode. As good as it is. I mean, take good care of your feet. Love it. But I think we've given a nice survey of Surf's up and really pointed to its strengths, its true strengths.
- [61:05]
B
No, I think that this playlist looks like it makes sense to me now because we've got. There's 1, 2, 3, 4, 5, 6. Yeah, so there's six Love U songs on here and seven Surf's up songs. And so I think those stand as the two pillars of this decade, you know, in terms of the records. And then everything else in between is kind of. There's two or three, you know, one to three, let's say great songs on all of these records, but none of them, you know, are as significant, you know, complete statements as either of those two records, which I think makes perfect sense.
- [61:38]
A
Did you have any, like, oddball stragglers that you just want to mention while we're here that were on the playlist that surprised you?
- [61:48]
B
I mean, I had. I had more 15 big ones on here. I had it's okay and Back Home and had Dephonia. I love all those songs. I can't. I think of all of them. I would make the strongest case for Back Home, which I do think is, you know, probably the other Great Brian track from that record. But I'm not gonna necessarily go to the mat on that one. My Diane, I think, is also a really strong and significant song. But again, I can't try to wedge that in over some of these Surf's up songs or Love you songs. What about you?
- [62:23]
A
Let's see. Common. Common from Dennis Wilson. I put on there. It's an instrumental, which, you know, I would like to. I feel like if we could sneak that into the playlist without commenting on it because it's not, you know, it's just like an instrumental transition. I feel like that's fair.
- [62:43]
B
We'll see about that.
- [62:44]
A
Then forever, obviously I put on there, but yeah, forever feels too obvious. Like, I think that song lives outside of the Beach Boys and Dennis even. I think it's like kind of joined the canon as part of just the American songbook of schlocky but beautiful love songs. And it needs no help from us.
- [63:11]
B
Yeah, yeah. Oh, I had all I want to do on mine too. The Beach Boys invent chillwave in 1970 song which, you know, isn't like extraordinary. AAA tune necessarily, but I think it's groovy.
- [63:28]
A
It is groovy.
- [63:29]
B
Yeah, that sounds great. Yeah, I think this looks good. We got like three songs from Sunflower. We got two songs from Carl and the Passions. We got one song from 15 Big Ones, a couple from Miu. We got plenty from Holland. We got some Dennis solo. We got some Bruce solo. We got one, you know, one standing or one standout masterpiece from Light album Sumahama. It's an up and down decade, obviously. And I think maybe most significant is I feel like this was an easier exercise for like Lou and John and Bob, for instance, is like the 70s, you know, best of 70s. Like, you're gonna have your own, you know, couple favorites, I think, from all of them, but there's a lot more kind of agreed upon territory, I think, with all of them that just like, have to be here and. Or have to be there. And this is. I feel like someone else could make their best of the 70s playlist and would have some overlap, certainly, but you could have like 15 songs that are totally different.
- [64:33]
A
Yeah, I think we've done a good job at giving a general sweeping survey.
- [64:39]
B
That's right. We have lifted the jeweled scepter and we have turned our smiles. No, we've turned our frowns into smiles. Is that. Is that what he's doing?
- [64:47]
A
That's what you're trying to do.
- [64:48]
B
You're trying to do. You're trying to turn the frown into a smile by lifting the jeweled scepter.
- [64:53]
A
Well, he just says the weight turns your smile to a frown.
- [64:56]
B
The weight of the scepter turns the frown, turns the frown to a smile.
- [65:00]
A
Turns the smile to a frown.
- [65:01]
B
Turns the smile to a frown. I see. Okay.
- [65:03]
A
We lifted the scepter and we didn't frown. We lifted without frowning.
- [65:07]
B
Okay, thank you. We're smiling. We're holding scepters.
- [65:10]
A
We took off some weight. We took some weight off the scepter, so now we can just lift it. Speaking of the things that we left off Roller Skating Child, you know, like Love Is a Woman. Good time. Let us go on this way, you know, honorable mention, hats off.
- [65:30]
B
You could put the whole Love U record on here, but there's only so many spaces. We'll come back to all this stuff at the very end when we do our Big Master Jokerman 100 list. I'm very excited for that. It's many months down the line, but that's going to be a banger selection of material.
- [65:44]
A
And I'm excited. I mean, after we. We talk a lot about going through the deep dark, the Mariana Trench of the beach boys in the 80s, 90s and up till current day, such as it may be. I haven't even really spent much time with those records myself yet, so who knows what my actual reaction will be. But what I do know, what we both know, is that there's light at the end of the tunnel. There is Brian Wilson's solo career. And that is going to be, I think, where we close out this entire series. That is going to be something to look forward to. And if you unsubscribe, you know, don't think you're getting away with it because you're going to be missing out the.
- [66:33]
B
Good stuff coming up. Exactly. We're going to, you know, we're going to be putting out, putting out some fun stuff from the Beach Boys world over the summer as we make our way through the 80s. But I think the series is really going to take flight once again when we get to the launch of Brian Wilson's solo career at the end of the 80s with his self titled record. Obviously there's only. I realized this last night. I was looking at it on the discography page for the Beach Boys. There's only six more Beach Boys records that we have ahead of us at this point. Wow.
- [67:04]
A
Wow.
- [67:05]
B
And we're about to knock one of them off in the very next episode. Keeping the summer alive from 1980. But at that point it's the Beach Boys self titled from 85, still cruisin' just one of the most preposterous releases ever from 1989 because it's half just old songs from the 1960s. Plus Kokomo, obviously. Summer in paradise, the Lisa Frank Trapper Keeper cover album from 1992. Stars and Stripes, Volume 1. Just a bunch of country music artists, collaborative covers of old Beach Boy songs. That's a humdinger. And then that's why God Made the radio from 2012. So we're, you know, we're approaching the end with the Boys of the Beach. It's gonna be going on for quite some time into the future. But literally in terms of just number of Beach Boys records left, we are. We're getting up there.
- [67:59]
A
Yeah, yeah.
- [68:00]
B
Anyways, much more to come. Have fun with this playlist, folks. And why don't you. They say don't go near the water. Do go near the Jokerman Patreon. And our inspiration of the discography of William Joel running all summer long.
- [68:17]
A
Yeah, the Long island sound.
- [68:19]
B
That's right.
- [68:19]
A
Take a dip. We gotta warm up before we do.
- [68:22]
B
The song.
- [68:25]
A
Jokerman.
- [68:31]
B
Breath.
- [69:10]
A
I remember that song.
- [69:12]
B
I had a crush on a girl named Baldwin.