█▀▀▀▀▀▀▀▀ ■ ▀▀▀▀▀▀▀▀▀▀▀▀▀▀ ▄▄▄▄▄▄▄█▄▄▄▄▄▄▄ ▀▀▀▀▀▀▀▀▀▀▀▀▀▀ ■ ▀▀▀▀▀▀▀█ █▀ ███████████████ ▄████▀▀▀▀█▀▀▀▀█▀██▄ ███████████████ ▀▀█▄ █▀ ███▒░░░░░░░░░░░░███▄█ ▄████ █░░░ █ █░▀▀█▄ ███░░░░░░░░░░░░░███▄ █▄ █▀ ██▓▒▒░██████████ ░░▀▀▀ ██ █▒▒░ █ █░░██▄ ██░░░ █▀▀▀▀▀▀▀▀█░░░█▀ █▄ █ █▓▓▒▒░▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀█ ▀ █▓▒░ █ █▓░ █ █▒▒▒░ ▀▀▀▀▀▀▀▀▀▀▀▀▀░█ ▓▄ █ █ █▓▓▒▒░░░░░░░░░░░░░▒▒▓ █▀▀▀▀▀▀▀ █▓▒░ █ █▓▒░ █ ██▓▒▒▒░░░░░░░░░░░░▄▄▄█▓▓█ █ █ █████████████████░▒▒▓ █ ▄ █▓▒░ █ █▓▒▒ █ █▓▓▓▒▒███▒░░▀▀▀▀▀▀░▓▓▓██ █ █ ▄▄▄░░ ▀▀▀▀▀▀▀▀░░░▒▒▓██ ██ █▓▒░ █ █▓▒██▀ ██▓▓▒▒███▒▒░░░░░░▓▓███ ▄█ █ █▀███░░░░░░░░░░▒▒▒███ ▀███ █▓▒░ █ █▓███▀ ██▓▓▓█ ███▓▓▓▓▓▓███ ▄▄█ █▄▄▄▄ ███████████████ ▀████████████████▀ ████ ████████ ▄▄█ ▀▄▄▄▄▄▄▄ ■ ▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄ ■ ▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄ ■ ▄▄▄▄▄▄▄█/a7ds s e x - d r u g s - a n d - r o c k ' n ' r o l l - 2 0 0 2 ▄▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▄ █ Beach Boys - Rarities Vol1 █ █·······································································█ █ Year: 2001 · █ █ No. of Tracks: 32 · Rip Date: 05-29-2003 █ █ Total Playtime: 76:53 min · Ripper: TeaM SDR █ █ Genre Rock & Roll · Size: 105,9MB █ █ Label none · Bitrate: 192/44.1 █ ▀▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▀ ▀█▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀█▀ █ 01 Surfin (Demo) 02:25 █ █ 02 Surfin Safari (Alt Version) 01:49 █ █ 03 Barbie (Alt Take) 02:12 █ █ 04 Chopstick Boogie 01:43 █ █ 05 Gonna Hustle You (Demo) 01:59 █ █ 06 Surfin USA (Demo) 02:03 █ █ 07 Back Home (Take 1) 02:03 █ █ 08 Back Home (Take 4) 02:21 █ █ 09 The Rocking Surfer (Alt Version) 01:39 █ █ 10 Dont Worry Baby (Stereo Remix) 02:45 █ █ 11 Karen (TV Show Theme) 00:44 █ █ 12 Wonderful (Track And Backing Vocals) 02:08 █ █ 13 Holidays (Takes 1-3) 02:59 █ █ 14 Holidays 02:19 █ █ 15 Cabinessence (Track And Backing Vocals) 02:29 █ █ 16 Prayer (Tracking Session) 05:03 █ █ 17 Child Is The Father Of Man (1st Mix) 01:38 █ █ 18 Child Is The Father Of Man (2nd Mix) 01:52 █ █ 19 Surfs Up (Tracking Session) 06:26 █ █ 20 Surfs Up (TV Show) 02:27 █ █ 21 The Old Master Painter-You Are My Sunshine 01:07 █ █ 22 Vegetables (Alt Mix) 03:30 █ █ 23 With Me Tonight 01:00 █ █ 24 The Letter (Final Mix) 01:46 █ █ 25 With A Little Help From My Friends 02:22 █ █ 26 I Was Made To Love Her (Extended Ver) 02:32 █ █ 27 Bluebirds Over The Mountain (Alt Mix) 02:47 █ █ 28 Unknown Track (Breakaway Vocal Tag) 02:53 █ █ 29 We Re Together Again (Track) 02:02 █ █ 30 We Re Together Again (Track And Backing Vocal 02:23 █ █ 31 Never Learn Not To Love (Single Mix) 02:02 █ █ 32 Seasons In The Sun 03:25 █ █ █ █ 76:53 █ █▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄█ █▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄█ █▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀█ █ Beginning their career as the most popular surf band in █ █ the nation, the Beach Boys finally emerged by 1966 as █ █ America's preeminent pop group, the only act able to █ █ challenge (for a brief time) the over-arching success █ █ of the Beatles with both mainstream listeners and the █ █ critical community. From their 1961 debut with the █ █ regional hit "Surfin," the three Wilson brothers ù █ █ Brian, Dennis, and Carl ù plus cousin Mike Love and █ █ friend Al Jardine constructed the most intricate, █ █ gorgeous harmonies ever heard from a pop band. With █ █ Brian's studio proficiency growing by leaps and bounds █ █ during the mid-'60s, the Beach Boys also proved to be █ █ one of the best-produced groups of the '60s, █ █ exemplified by their 1966 peak with the Pet Sounds LP █ █ and the number one single, "Good Vibrations." Though █ █ Brian Wilson's escalating drug use and obsessive desire █ █ to trump the Beatles (by recording the perfect LP █ █ statement) eventually led to a nervous breakdown after █ █ he heard Sgt. Pepper's Lonely Hearts Club Band, the █ █ group soldiered on long into the 1970s and '80s, with █ █ Brian only an inconsistent participant. The band's █ █ post-1966 material is often maligned (if it's █ █ recognized at all), but the truth is the Beach Boys █ █ continued to make great music well into the '70s. █ █ Displayed best on 1970's Sunflower, each member █ █ revealed individual talents never fully developed █ █ during the mid-'60s ù Carl Wilson became a solid, █ █ distinctive producer and Brian's replacement as nominal █ █ band-leader, Mike continued to provide a visual focus █ █ as the frontman for live shows, and Dennis developed █ █ his own notable songwriting talents. Though legal █ █ wranglings and marginal oldies tours during the '90s █ █ often obscured what made the Beach Boys great, the █ █ band's unerring ability to surf the waves of commercial █ █ success and artistic development during the '60s made █ █ them America's first, best rock band. █ █ The origins of the group lie in Hawthorne, California, █ █ a southern suburb of Los Angeles situated close to the █ █ Pacific coast. The three sons of a part-time █ █ song-plugger and occasionally abusive father, Brian, █ █ Dennis and Carl grew up a just few miles from the ocean █ █ ù though only Dennis Wilson had any interest in surfing █ █ itself. The three often harmonized together as youths, █ █ spurred on by Brian's fascination with '50s vocal acts █ █ like the Four Freshmen and the Hi-Lo's. Their cousin █ █ Mike Love often joined in on the impromptu sessions, █ █ and the group gained a fifth with the addition of █ █ Brian's high-school football teammate, Al Jardine. His █ █ parents helped rent instruments (with Brian on bass, █ █ Carl on guitar, Dennis on drums) and studio time to █ █ record "Surfin'," a novelty number written by Brian and █ █ Mike Love. The single, initially released in 1961 on █ █ Candix and billed to the Pendletones (a musical █ █ paraphrase of the popular Pendleton shirt), prompted a █ █ little national chart action and gained the renamed █ █ Beach Boys a contract with Capitol. The group's █ █ negotiator with the label, the Wilsons' father Murray, █ █ also took over as manager for the band. Before the █ █ release of any material for Capitol, however, Jardine █ █ left the band to attend college in the Midwest. A █ █ friend of the Wilsons, David Marks, replaced him. █ █ █ █ Finally, in mid-1962 the Beach Boys released their █ █ major-label debut, Surfin' Safari. The title track, a █ █ more accomplished novelty single than its predecessor, █ █ hit the Top 20 and helped launch the surf-rock craze █ █ just beginning to blossom around Southern California █ █ (thanks to artists like Dick Dale, Jan & Dean, the █ █ Chantays, and dozens more). A similarly themed █ █ follow-up, Surfin' U.S.A., hit the Top Ten in early █ █ 1963 before Jardine returned from school and resumed █ █ his place in the group. By that time, the Beach Boys █ █ had recorded their first two albums, a pair of 12-track █ █ collections that added a few novelty songs to the hits █ █ they were packaged around. Though Capitol policy █ █ required the group to work with a studio producer, █ █ Brian quickly took over the sessions and began █ █ expanding the group's range beyond simple surf rock. █ █ █ █ By the end of 1963, the Beach Boys had recorded three █ █ full LPs, hit the Top Ten as many times, and toured █ █ incessantly. Also, Brian began to grow as a producer, █ █ best documented on the third Beach Boys LP, Surfer █ █ Girl. Though surf songs still dominated the album, █ █ "Catch a Wave," the title track, and especially "In My █ █ Room" presented a giant leap in songwriting, █ █ production, and group harmony ù especially astonishing █ █ considering the band had been recording for barely two █ █ years. Brian's intense scrutiny of Phil Spector's █ █ famous Wall of Sound productions were paying quick █ █ dividends, and revealed his intuitive, unerring depths █ █ of musical knowledge. █ █ █ █ The following year, "I Get Around" became the first █ █ number one hit for the Beach Boys. Riding a crest of █ █ popularity, the late 1964 LP Beach Boys Concert spent █ █ four weeks at the top of the album charts, just one of █ █ five Beach Boys LPs simultaneously on the charts. The █ █ group also undertook promotional tours of Europe, but █ █ the pressures and time-constraints proved too much for █ █ Brian. At the end of the year, he decided to quit the █ █ touring band and concentrate on studio productions. █ █ (Glen Campbell toured with the group briefly, then █ █ friend and colleague Bruce Johnston became Brian's █ █ permanent replacement.) █ █ █ █ With the Beach Boys as his musical messengers to the █ █ world, Brian began working full-time in the studio, █ █ writing songs and enlisting the cream of Los Angeles █ █ session players to record instrumental backing tracks █ █ before Carl, Dennis, Mike and Al returned to add █ █ vocals. The single "Help Me, Rhonda" became the Beach █ █ Boys' second chart-topper in early 1965. On the group's █ █ seventh studio LP, The Beach Boys Today!, Brian's █ █ production skills hit another level entirely. In the █ █ rock era's first flirtation with an extended █ █ album-length statement, side two of the record █ █ presented a series of downtempo ballads, arranged into █ █ a suite that stretched the group's lyrical concerns █ █ beyond youthful infatuation and into more adult notions █ █ of love. █ █ █ █ Two more LPs followed in 1965, Summer Days (And Summer █ █ Nights!!) and Beach Boys' Party. The first featured █ █ "California Girls," one of the best fusions of Brian's █ █ production mastery, infectious melodies, and gorgeous █ █ close harmonies (it's still his personal favorite █ █ song). However, dragging down those few moments of █ █ brilliance were novelty tracks like "Amusement Parks █ █ USA," "Salt Lake City" and "I'm Bugged at My Old Man" █ █ that appeared a step back from Today. When Capitol █ █ asked for a Beach Boys' record to sell at Christmas, █ █ the live-in-the-studio vocal jam-session Beach Boys' █ █ Party resulted, and sold incredibly well after the █ █ single "Barbara Ann" became a surprise hit. In a larger █ █ sense though, both of these LPs were stopgaps, as Brian █ █ prepared for production on what he hoped would be the █ █ Beach Boys' most effective musical statement yet. █ █ █ █ In late 1965, the Beatles released Rubber Soul. Amazed █ █ at the high song quality and overall cohesiveness of █ █ the album, Brian began writing songs ù with help from █ █ lyricist Tony Asher ù and producing sessions for a song █ █ suite charting a young man's growth to emotional █ █ maturity. Though Capitol was resistant to an album with █ █ few obvious hits, the group spent more time working on █ █ the vocals and harmonies than any other previous █ █ project. The result, released in May 1966 as Pet █ █ Sounds, more than justified the effort. It's still one █ █ of the best-produced and most influential rock LPs ever █ █ released, culminating years of Brian's perfectionist █ █ productions and songwriting. Critics praised Pet █ █ Sounds, but the new direction failed to impress █ █ American audiences. Though it reached the Top Ten, Pet █ █ Sounds missed a gold certificate (the first to do so █ █ since the group's debut LP). Conversely, worldwide █ █ reaction was not just positive but jubilant. In █ █ England, the album hit number two and earned the Beach █ █ Boys honors for best group in year-end polls by NME ù █ █ above even the Beatles, hardly slouches themselves with █ █ the releases of "Paperback Writer"/"Rain" and Revolver. █ █ █ █ The Beach Boys' next single, "Good Vibrations," had █ █ originally been written for the Pet Sounds sessions, █ █ though Brian removed it from the songlist to give █ █ himself more time for production. He resumed working on █ █ it after the completion of Pet Sounds, eventually █ █ devoting up to six months (and three different studios) █ █ on the single. Released in October 1966, "Good █ █ Vibrations" capped off the year as the group's third █ █ number one single and still stands as one of the best █ █ singles of all time. Throughout late 1966 and early █ █ 1967, Brian worked feverishly on the next Beach Boys' █ █ LP ù a project named Dumb Angel, but later titled Smile █ █ ù that promised to be as great an artistic leap beyond █ █ Pet Sounds than that album was from Today. He drafted █ █ Van Dyke Parks, an eccentric lyricist and session man, █ █ as his songwriting partner, and recorded reams of tape █ █ containing increasingly fragmented tracks that grew █ █ ever more speculative as the months wore on. Already █ █ wary of Brian's increasingly artistic leanings and drug █ █ experimentation, the other Beach Boys grew hostile when █ █ called in to the studio to add vocals for Parks lyrics █ █ like, "A blind class aristocracy / Back through the █ █ opera glass you see / The pit and the pendulum drawn / █ █ Columnaded ruins domino / Canvas the town and brush the █ █ backdrop" (from "Surf's Up"). A rift soon formed █ █ between the band and Brian; they felt his intake of █ █ marijuana and LSD had clouded his judgment, while he █ █ felt they were holding him back from the coming █ █ psychedelic era. █ █ █ █ As recording for Smile dragged on into spring 1967, █ █ Brian began working fewer hours. For the first time in █ █ the Beach Boys' career, he appeared unsure of his █ █ direction. If Smile ever appeared salveagable, those █ █ hopes were dashed in May, when Brian officially █ █ cancelled the project ù just a few weeks before the █ █ release of the Beatles' Sgt. Pepper's Lonely Hearts █ █ Club Band. In August, the group finally released a new █ █ single, "Heroes and Villains." Very similar to the █ █ fragmentary style of "Good Vibrations," though a █ █ distinctly inferior follow-up, it missed the Top Ten. █ █ That fall, the group convened at Brian's Bel Air █ █ mansion-turned-studio and recorded new versions of █ █ several Smile songs plus a few new recordings and █ █ re-emerged with Smiley Smile. Carl summed up the LP as █ █ "a bunt instead of a grand slam," and its near-complete █ █ lack of cohesiveness all but destroyed the group's █ █ reputation for forward-thinking pop. █ █ █ █ As the Beatles were ushering in the psychedelic age, █ █ the Beach Boys stalled with the all-important teen █ █ crowd, who quickly began to see the group as █ █ conservative, establishment throwbacks. The perfect █ █ chance to stem the tide, a headlining spot at the █ █ pioneering Monterey Pop Festival in summer 1967, was █ █ squandered. Though the Beach Boys regrouped quickly ù █ █ the back-to-basics Wild Honey LP appeared before the █ █ end of 1967 ù their hopes of becoming the world's █ █ preeminent pop group with both hippies and critics had █ █ fizzled in a matter of months. █ █ █ █ All this incredible promise wasted made fans, critics, █ █ and radio programmers undeniably bitter toward future █ █ product. Predictably, both Wild Honey and 1968's █ █ Friends suffered with all three audiences. They survive █ █ as interesting records nevertheless; deliberately █ █ under-produced, including song fragments and █ █ recording-session detritus often left in the mix, the █ █ skeletal blue-eyed soul of Wild Honey and the laidback █ █ orchestral pop of Friends made them favorites only █ █ after fans realized the Beach Boys were a radically █ █ different group in 1968 than in 1966. Sparked by the █ █ Top 20 hit "Do It Again" ù a song that saw the first █ █ shades of the group as an oldies act ù 1969's 20/20 did █ █ marginally better. Still, Capitol dropped the band soon █ █ after. One year later, the Beach Boys signed to █ █ Reprise. █ █ █ █ The first LP for Brother/Reprise was 1970's Sunflower, █ █ a surprisingly strong album featuring a return to the █ █ gorgeous harmonies of the mid-'60s and many songs █ █ written by different members of the band. Surf's Up, █ █ titled after a reworked song originally intended for █ █ Smile, followed in 1971. Though frequently loveable, █ █ the wide range of material on Surf's Up displayed not a █ █ band but a conglomeration of individual interests. █ █ During sessions for the album, Dennis put his hand █ █ through a plate glass window and was unable to play █ █ drums. Early in 1972, the band hired drummer Ricky █ █ Fataar and guitarist Blondie Chaplin, two members of a █ █ South African rock band named the Flame (Carl had █ █ produced their self-titled debut for Brother Records █ █ the previous year). █ █ █ █ Carl and the Passions - So Tough, the first album █ █ released with Fataar and Chaplin in the band, descended █ █ into lame early-'70s AOR-rock. For the first time, a █ █ Beach Boys album retained nothing from their classic █ █ sound. Brian's mental stability wavered from year to █ █ year, and he spent much time in his mansion with no █ █ wish to even contact the outside world. He occasionally █ █ contributed to the songwriting and session load, but █ █ was by no means a member of the band anymore (he rarely █ █ even appeared on album covers or promotional shots). █ █ Though it's unclear why Reprise felt ready to take such █ █ a big risk, the label authorized a large recording █ █ budget for the next Beach Boys album. After shipping █ █ most of the group's family and entourage (plus an █ █ entire studio) over to Amsterdam, the Beach Boys █ █ re-emerged in 1973 with Holland. The LP scraped the █ █ bottom rungs of the Top 40, and the single "Sail On, █ █ Sailor" (with vocals by Chaplin) did receive some FM █ █ radio airplay. Still, Holland's muddy sound did nothing █ █ for the aging band, and it earned scathing reviews. █ █ █ █ Perhaps a bit gun-shy, the Beach Boys essentially █ █ retired from recording during the mid-'70s. Instead, █ █ the band concentrated on grooming their live act, which █ █ quickly grew to become an incredible experience. It was █ █ a good move, considering the Beach Boys could lay claim █ █ to more hits than any other '60s rock act on the road. █ █ The Beach Boys in Concert, their third live album in █ █ total, appeared in 1973. █ █ █ █ Then, in mid-1974, Capitol Records went to the vaults █ █ and issued a repackaged hits collection, Endless █ █ Summer. Both band and label watched, dumbfounded, as █ █ the double-LP hit number one, spent almost three years █ █ on the charts, and went gold. Endless Summer █ █ capitalized on a growing fascination with oldies rock █ █ that had made Sha Na Na, American Graffiti, and Happy █ █ Days big hits. Rolling Stone, never the most friendly █ █ magazine to the group, named the Beach Boys their Band █ █ of the Year at the end of the year. Another collection, █ █ Spirit of America, hit the Top Ten in 1974, and the █ █ Beach Boys were hustled into the studio to begin new █ █ recordings. █ █ █ █ Trumpeted by the barely true marketing campaign █ █ "Brian's Back!," 1976's 15 Big Ones balanced a couple █ █ of '50s oldies with some justifiably exciting Brian █ █ Wilson oddities like "Had to Phone Ya." It also hit the █ █ Top Ten and went gold, despite many critical █ █ misgivings. Brian took a much more involved position █ █ for the following year's The Beach Boys Love You (it █ █ was almost titled Brian Loves You and released as a █ █ solo album). In marked contrast to the fatalistic █ █ early-'70s pop of "Til I Die" and others, Brian sounded █ █ positively jubilant on gruff proto-synth-pop numbers █ █ like "Let Us Go on This Way" and "Mona." However █ █ idiosyncratic compared to what oldies fans expected of █ █ the Beach Boys, Love You was the group's best album in █ █ years. (A suite of beautiful, tender ballads on side █ █ two was quite reminiscent of 1965's Today.) █ █ █ █ After 1979's M.I.U. Album, the group signed a large █ █ contract with CBS that stipulated Brian's involvement █ █ on each album. However, his brief return to the █ █ spotlight ended with two dismal efforts, L.A. (Light █ █ Album) and Keepin' the Summer Alive. The Beach Boys █ █ began splintering by the end of the decade, with █ █ financial mismanagement by Mike Love's brothers Stan █ █ and Steve fostering tension between him and the █ █ Wilsons. By 1980, both Dennis and Carl had left the █ █ Beach Boys for solo careers. (Dennis had already █ █ released his first album, Pacific Ocean Blue, in 1977, █ █ and Carl released his eponymous debut in 1981.) Brian █ █ was removed from the group in 1982 after his weight █ █ ballooned to over 300 pounds, though the tragic █ █ drowning death of Dennis in 1983 helped bring the group █ █ back together. In 1985, the Beach Boys released a █ █ self-titled album which returned them to the Top 40 █ █ with "Getcha Back." It would be the last proper Beach █ █ Boys album of the '80s, however. █ █ █ █ Brian had been steadily improving in both mind and body █ █ during the mid-'80s, though the rest of the group grew █ █ suspicious of his mentor, Dr. Eugene Landy. Landy was a █ █ dodgy psychiatrist who reportedly worked wonders with █ █ the easily impressionable Brian but also practically █ █ took over his life. He collaborated with Brian on the █ █ autobiography Wouldn't It Be Nice and wrote lyrics for █ █ Brian's first solo album, 1988's Brian Wilson. Critics █ █ and fans enjoyed Wilson's return to the studio, but the █ █ charts were unforgiving, especially with attention █ █ focused on the Beach Boys once more. The single █ █ "Kokomo," from the soundtrack to Cocktail, hit number █ █ one in the US late that year, prompting a haphazard █ █ collection named Still Cruisin'. The group also sued █ █ Brian, more to force Landy out of the picture than █ █ anything, and Mike Love later sued Brian for █ █ songwriting royalties (Brian had frequently admitted █ █ Love's involvement on most of them). █ █ █ █ Despite the many quarrels, the Beach Boys kept touring █ █ during the early '90s, and Mike Love and Brian Wilson █ █ actually began writing songs together in 1995. Instead █ █ of a new album though, the Beach Boys returned with █ █ Stars and Stripes, Vol. 1, a collection of remade hits █ █ with country stars singing lead and the group adding █ █ backing vocals. Also, a Brian Wilson documentary titled █ █ I Just Wasn't Made for These Times aired on the Disney █ █ Channel, with an accompanying soundtrack featuring █ █ spare renditions of Beach Boys classics by Brian █ █ himself. Just as the band appeared to be pulling █ █ together for a proper studio album though, Carl died of █ █ cancer in 1998. █ █ █ █ Ten years after his first solo album, Brian became █ █ aware of his immense influence on the alternative-rock █ █ community; he worked with biggest-fans Sean O'Hagan (of █ █ the High Llamas) and Andy Paley on a series of █ █ recordings. Again, good intentions failed to carry █ █ through, as the recordings were ditched in favor of █ █ another overly produced, mainstream-slanted work, █ █ Imagination. By early 1999, no less than three Beach █ █ Boys-connected units were touring the country ù a Brian █ █ Wilson solo tour, the "official" Beach Boys led by Mike █ █ Love, and the "Beach Boys Family" led by Al Jardine. In █ █ 2000, Capitol instituted a long-promised reissue █ █ campaign, focusing on the group's long out-of-print █ █ '70s LPs. █ █▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄█ ▄▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▄ ▄▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▄ █ Shoutouts! · Wanted! █ █·······································································█ █ · █ █ ATR rH iRO MIL LSi ftf gF COR · Shells/BNCs █ █ rageMP3 TWCMP3 + everyone who · Rippers/Pre-Releasers █ █ supports the scene... you · Afills █ █ know who you are. · Internal Dump (10mbit+) █ █ · █ ▀▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▀ ▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄ ▄▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▄ █ ▓▓▒▒▒▒▒▒▒▒▒░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░ ░░░▒▓▓▓▓▓▓▓▓▓▓▓ █ █ ▓▓▓▒▒▒▒▒▒▒▒▒░░ ▄▄▄▄▄▄▄▄▄▄ ▄▄▄▄▄▄▄▄▄▄▄ ▄▄▄▄▄▄▄▄▄▄ ░░░▒▒▓▓▓▓▓▓░░░░▓ █ █ ▓▓▓▓▒▒▒▒▒▒▒░░░ ███▀ ▀██ ▀███▀ ▀██▄ ▀███ ▀███▄ ░░░▒▒▒▒▒▒▒▒▓▓░▓ █ █ ▓▓▓▓▒▒▒▒▒▒▒▒░░ ████▄▄ ███ ░░░ ███ ███ ▄███▀ ░░▒▒▒▒▒▒▒▒▒▓▓░▓ █ █ ▓▓▓▓▒▒▒▒▒▒▒░░░ ▀▀█████▄▄ ███ ░░░ ███ ███▄▄▄███▀ ░░░░▒▒▒▒▒▒▒▒▓▓▓▓ █ █ ▓▓▓▓▒▒▒▒▒▒▒▒▒░░░ ▀▀████ ███ ░░░ ███ ███▀███▄ ░░░▒▒▒▒▒▒▒▒▒▒▓▓▓▓ █ █ ▓░▓▓▒▒▒▒▒▒▒░░░ ▄ ▄███ ███ ███▀ ███ ▀███▄ ░░░░▒▒▒▒▒▒▒▒▓▓▓▓ █ █ ▓░▓▓▒▒▒▒▒▒▒▒░░ █▀▀██████▀ ▄████▄▄███▀ ▄███▄ ▄███▄ ░░▒▒▒▒▒▒▒▒▒▓▓▓▓ █ █ ▓░░░░▓▓▓▓▓▓░░░ ░ ░░░▒▒▒▒▒▒▒▒▒▓▓▓ █ █ ▓▓▓▓▓▓▓▓▓▓▓▒░░░░░ s e x ░░░░ d r u g s ░░░░ r o c k ░░░░▒▒▒▒▒▒▒▒▒▒▒▓▓ █ ▀▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▀ ▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀ nfo/a7ds