The Thread to Ruminate About Mike Love's Rape Van

[Dr. Medulla]

I swear, the little 80s Beach Boys I've heard (respect to Flex's mantra song, of course ), it sounds indistinguishable from a shitty 80s surf band that's trying to pass as the BBs. Like, how does a very distinct band sound like an inauthentic version of themselves?

[Flex]

I swear, the little 80s Beach Boys I've heard (respect to Flex's mantra song, of course ), it sounds indistinguishable from a shitty 80s surf band that's trying to pass as the BBs. Like, how does a very distinct band sound like an inauthentic version of themselves?

Dennis died, Brian was MIA, Carl had too many health problems to be a creative lead consistently, and Mike and Bruce basically took over creative control of the band. In Mike's mind, 80s BBs is basically what the band always was. Which is quite funny, in its way.

[Dr. Medulla]

I swear, the little 80s Beach Boys I've heard (respect to Flex's mantra song, of course ), it sounds indistinguishable from a shitty 80s surf band that's trying to pass as the BBs. Like, how does a very distinct band sound like an inauthentic version of themselves?

Dennis died, Brian was MIA, Carl had too many health problems to be a creative lead consistently, and Mike and Bruce basically took over creative control of the band. In Mike's mind, 80s BBs is basically what the band always was. Which is quite funny, in its way.

The Beatles quitting when they did is one of those crucial little things that put them at the top.

[WestwayKid]

1985's "Getcha Back" from the album "The Beach Boys" (1985) with lead vocal from Mike Love


This was the lead off single from one of their many attempted comeback albums in their career. Everyone's favorite sax player Mike Love co-wrote it with top bro-dawg Terry Melcher with whom he would later strike gold with "Kokomo." This one made it to #26 in the US which wasn't even as high as their shitty "Come and Go With Me" cover a few years prior, but good enough to reliably make most BBs compilations. 

Lyrics: Oof. Mike Love wants a girl to get back with him. She left him because he pressured her into having sex which sounds very much like something Mike Love would do.  He then promises to leave his new girlfriend if the girl leaves her new boyfriend. Doesn't sound like it'll work out, thankfully.

Music: Some horrific loud, metallic 80s drums open the track before some throwback classic BB vocal arrangements. It's jarring, but they are clearly trying to milk nostalgia, this time with 80s sounds! Mike's verses are pretty alright if you ignore the rapey lyrics. I think that's Carl on the outro which is nice, but not as impressive as his other showings. There's a few spicy chords thrown in at the end of some sections and a standard whole step key change towards the end. Yeah, it's alright

Video: A young boy and girl are friends but evil Mike Love takes pictures of them and then separates the young friends. The boy grows up into a hotter, buffer Patrick Carney, but I guess he's an undesirable nerd because he has glasses and in the 80s, glasses might as well be having an arm growing out of your head. Still, he obsesses over the girl Mike Love tore her away from especially because she turned into a totally hot 80s babe.  She invites him to Al Jardine's 80s cocaine party for some reason and he practices dancing with a dance machine strapped to him. I'm all in on this invention.

Hotter buffer Patrick Carney goes to Al's 80's cocaine party and Carl is the hired muscle working the door for some reason. They dance, but the invention malfunctions and hot Carney ends up in the pool which seems on brand for an 80s cocaine party. 80s babe takes him to the beach the next day to go surfing for some reason. Brian shows up to give hot Carney one of those inflatable balls that the Flaming Lips guy uses as if hot Carney doesn't already have enough hipster appeal. Sure enough, 80s babe is smitten by his post-ironic antics. Bruce almost lets him die because he's ignoring his life guarding duties to chat with other 80s babes. They run off together.

Song grade: B-. Horrific production and problematic lyrics aside, this is adequately catchy even if the vocal arrangement is a bit too on the nose.
Video grade: B-. It's very 80s, but at least has a story (albeit thin one) and decent production values. All the members make an appearance too from pedo Mike Love with his creepy camera to cocaine cool Al Jardine. 
Choice Youtube Comment: "I remember hearing this legendary song back in 1985. The Beach Boy's" (that's the whole comment and is one of the most upvoted comments on the video)
Brian status - active contributor in the video. Looking healthy. Eugene Landy is working his magic! No idea if he's on the actual track since it sounds like just Mike and Bruce with a touch of Carl.
Mike Love venom - He's clearly the villain of the video. Fortunately, they overcome his evil and end up together in the end.
Next week: Time for Carl to shine with the follow up single "It's Getting Late."   

Fantastic review!!

Brian is on the track. That's his looped falsetto, as well as him on the outro: "I'll leave her, (Getcha back) and you leave him, etc." The story goes that he went into the sessions sounding like crap. Producer Steve Levine told him so and Brian left and got vocal lessons to get into shape.

[WestwayKid]

I swear, the little 80s Beach Boys I've heard (respect to Flex's mantra song, of course ), it sounds indistinguishable from a shitty 80s surf band that's trying to pass as the BBs. Like, how does a very distinct band sound like an inauthentic version of themselves?

Dennis died, Brian was MIA, Carl had too many health problems to be a creative lead consistently, and Mike and Bruce basically took over creative control of the band. In Mike's mind, 80s BBs is basically what the band always was. Which is quite funny, in its way.

Carl also bailed for a few years in the early 80s and I don't think ever truly returned creatively.

[WestwayKid]

Endless Summer was the worst thing that could have happened to them. Yes, it put them back on top, filling up stadiums. A post Vietnam, post Watergate America WANTED the nostalgia they represented and Mike the showman was more than happy to give it to them, but to be fair - they were all on board to some degree. It must have felt great to be in demand again. As cool as their 70s output was, nobody was buying it (or hearing it). Albums like Holland came and went without a whimper.

Endless Summer brought them back into the public eye, but they dropped the ball. For maybe the first time in a decade, the American record buying public was interested in what they had to offer. They could have put Dennis and/or Carl at the helm, guys who were making good music, who understood that it was 1976. Instead, a shell shocked Brian was put in charge and he was not ready. Look at Dennis' Pacific Ocean Blue, which came out a year after 15 Big Ones. It's a great record. It sounds like it's of the time. My point being, they had a chance to make a statement and they went with some poorly sung nostalgia. That said, it was their highest charting LP in years (which really says something about how in demand they were).

As much as we love Love You, it's too weird, and after that it was just diminishing returns. I think they stopped caring to a point. Dennis died. Carl checked out. Brian was in and out of Dr. Landy's care. Mike was happy to be in charge and saw no reason to rock the boat and Bruce and Al just followed the money and whatever adulation still came with being Beach Boys.

Then Carl died and the whole enterprise fell apart completely. I'm still shocked they managed to come back together for their 50th Anniversary and genuinely thankful I got to see them live: it was a GREAT performance.

[Flex]

Endless Summer was the worst thing that could have happened to them. Yes, it put them back on top, filling up stadiums. A post Vietnam, post Watergate America WANTED the nostalgia they represented and Mike the showman was more than happy to give it to them, but to be fair - they were all on board to some degree. It must have felt great to be in demand again. As cool as their 70s output was, nobody was buying it (or hearing it). Albums like Holland came and went without a whimper.

Endless Summer brought them back into the public eye, but they dropped the ball. For maybe the first time in a decade, the American record buying public was interested in what they had to offer. They could have put Dennis and/or Carl at the helm, guys who were making good music, who understood that it was 1976. Instead, a shell shocked Brian was put in charge and he was not ready. Look at Dennis' Pacific Ocean Blue, which came out a year after 15 Big Ones. It's a great record. It sounds like it's of the time. My point being, they had a chance to make a statement and they went with some poorly sung nostalgia. That said, it was their highest charting LP in years (which really says something about how in demand they were).

As much as we love Love You, it's too weird, and after that it was just diminishing returns. I think they stopped caring to a point. Dennis died. Carl checked out. Brian was in and out of Dr. Landy's care. Mike was happy to be in charge and saw no reason to rock the boat and Bruce and Al just followed the money and whatever adulation still came with being Beach Boys.

Then Carl died and the whole enterprise fell apart completely. I'm still shocked they managed to come back together for their 50th Anniversary and genuinely thankful I got to see them live: it was a GREAT performance.

Yeah, they all leaned into the nostalgia act for sure. But as long as Dennis or - especially - Carl were creative decision-makers they at least kept a semblance of respectability. As doofy as 15 Big Ones is, it's fuckin' Revolver compared to '85 or still cruisin or any of their 90s dreck.

The 50th was great. Amazing tour and a a very respectable reunion album. Nice to be able to prove they could still rise to the occasion.

Addendum: I'm listening to Ten Years of Harmony right now and what an alternate universe it presents of a 70s/80s where Endless Summer didn't really happen. Very nice collection of music.

[WestwayKid]

Endless Summer was the worst thing that could have happened to them. Yes, it put them back on top, filling up stadiums. A post Vietnam, post Watergate America WANTED the nostalgia they represented and Mike the showman was more than happy to give it to them, but to be fair - they were all on board to some degree. It must have felt great to be in demand again. As cool as their 70s output was, nobody was buying it (or hearing it). Albums like Holland came and went without a whimper.

Endless Summer brought them back into the public eye, but they dropped the ball. For maybe the first time in a decade, the American record buying public was interested in what they had to offer. They could have put Dennis and/or Carl at the helm, guys who were making good music, who understood that it was 1976. Instead, a shell shocked Brian was put in charge and he was not ready. Look at Dennis' Pacific Ocean Blue, which came out a year after 15 Big Ones. It's a great record. It sounds like it's of the time. My point being, they had a chance to make a statement and they went with some poorly sung nostalgia. That said, it was their highest charting LP in years (which really says something about how in demand they were).

As much as we love Love You, it's too weird, and after that it was just diminishing returns. I think they stopped caring to a point. Dennis died. Carl checked out. Brian was in and out of Dr. Landy's care. Mike was happy to be in charge and saw no reason to rock the boat and Bruce and Al just followed the money and whatever adulation still came with being Beach Boys.

Then Carl died and the whole enterprise fell apart completely. I'm still shocked they managed to come back together for their 50th Anniversary and genuinely thankful I got to see them live: it was a GREAT performance.

Yeah, they all leaned into the nostalgia act for sure. But as long as Dennis or - especially - Carl were creative decision-makers they at least kept a semblance of respectability. As doofy as 15 Big Ones is, it's fuckin' Revolver compared to '85 or still cruisin or any of their 90s dreck.

The 50th was great. Amazing tour and a a very respectable reunion album. Nice to be able to prove they could still rise to the occasion.

Addendum: I'm listening to Ten Years of Harmony right now and what an alternate universe it presents of a 70s/80s where Endless Summer didn't really happen. Very nice collection of music.

I'm going to attempt to listen to Keepin' the Summer Alive right now...

[Flex]

I'm going to attempt to listen to Keepin' the Summer Alive right now...

yeah, sometimes my brain stops working right too

[matedog]

The death of Dennis and Carl are interesting given their touring schedules.

Carl's last show was in like August of 97 and they didn't cancel the rest of their 97 dates. He died in early 98 and they were back in tour a couple weeks later. Dennis died at the very end of 83 and they were back at it in February of 84.

Their touring schedule is really something to behold. It's just relentless and it doesn't seem to matter if critical members of the band die, they just keep going. I bet if Bruce died tomorrow, Mike wouldn't miss a show.

[matedog]

Brian is on the track. That's his looped falsetto, as well as him on the outro: "I'll leave her, (Getcha back) and you leave him, etc." The story goes that he went into the sessions sounding like crap. Producer Steve Levine told him so and Brian left and got vocal lessons to get into shape.

That explains my "it sounds like Carl, but less good" comment.

[matedog]

This is insane.

[Flex]

The death of Dennis and Carl are interesting given their touring schedules.

Carl's last show was in like August of 97 and they didn't cancel the rest of their 97 dates. He died in early 98 and they were back in tour a couple weeks later. Dennis died at the very end of 83 and they were back at it in February of 84.

Their touring schedule is really something to behold. It's just relentless and it doesn't seem to matter if critical members of the band die, they just keep going. I bet if Bruce died tomorrow, Mike wouldn't miss a show.

If you haven't seen it, there's pro-footage of some of Dennis' last appearances with the band - singing Forever and so forth. It's incredibly fucking rough. I saw it as part of that Beach Boys An American Band documentary but I'm sure the clips are on youtube on their own.

I actually respect the touring schedule. Mike's philosophy of playing absolutely anywhere, and as often as possible, has kept the band accessible and affordable for everyone over the years. Having just decided to skip Bruce Springsteen because I don't want to pay hundreds of dollars to watch a show from the last row of a stadium's upper deck, I respect the hell out of the commitment to access. It has its ghoulish side, obviously, but I think there's a genuine commitment from Mike to get the music to the people.

if you could wed mike's commercial understanding of the touring side to the creative principles of the Wilson faction on the recording side, you'd have something like an ideal version of the band.

Addendum: Bob Dylan does the same relentless touring and as a result I've seen him a bunch of times and never had to, like, take out a loan to see a show.

[WestwayKid]

The death of Dennis and Carl are interesting given their touring schedules.

Carl's last show was in like August of 97 and they didn't cancel the rest of their 97 dates. He died in early 98 and they were back in tour a couple weeks later. Dennis died at the very end of 83 and they were back at it in February of 84.

Their touring schedule is really something to behold. It's just relentless and it doesn't seem to matter if critical members of the band die, they just keep going. I bet if Bruce died tomorrow, Mike wouldn't miss a show.

If you haven't seen it, there's pro-footage of some of Dennis' last appearances with the band - singing Forever and so forth. It's incredibly fucking rough. I saw it as part of that Beach Boys An American Band documentary but I'm sure the clips are on youtube on their own.

I actually respect the touring schedule. Mike's philosophy of playing absolutely anywhere, and as often as possible, has kept the band accessible and affordable for everyone over the years. Having just decided to skip Bruce Springsteen because I don't want to pay hundreds of dollars to watch a show from the last row of a stadium's upper deck, I respect the hell out of the commitment to access. It has its ghoulish side, obviously, but I think there's a genuine commitment from Mike to get the music to the people.

if you could wed mike's commercial understanding of the touring side to the creative principles of the Wilson faction on the recording side, you'd have something like an ideal version of the band.

Addendum: Bob Dylan does the same relentless touring and as a result I've seen him a bunch of times and never had to, like, take out a loan to see a show.

Great point. It should also be said that Mike's version puts on a good show. It's super enjoyable. Heck, they played the Milwaukee County Sports Complex a few years back, which is just down the road from my office - it was just a stage set up in a field with bleacher seating trucked in.

[WestwayKid]

The death of Dennis and Carl are interesting given their touring schedules.

Carl's last show was in like August of 97 and they didn't cancel the rest of their 97 dates. He died in early 98 and they were back in tour a couple weeks later. Dennis died at the very end of 83 and they were back at it in February of 84.

Their touring schedule is really something to behold. It's just relentless and it doesn't seem to matter if critical members of the band die, they just keep going. I bet if Bruce died tomorrow, Mike wouldn't miss a show.

He would not. He'll keep going until he can't anymore. The touring set up is interesting. Mike has to obtain a license to tour as the Beach Boys and in doing so he's obligated to keep a revenue stream pouring into BRI (Brother Records). The real interesting part is that as a shareholder in BRI, Mike has to essentially grant himself a license (along with the other shareholders: Brian, Al, and Carl's estate). Brian makes money when Mike performs as the Beach Boys. So does Al.