Tag: brian-wilson

When I write about the music of Brian Wilson and the Beach Boys, I start with this disclaimer—I’ve been a fan since “Little Saint Nick” was released as a single in 1963.

That was over sixty years ago, but I still have a place in my old heart for their music.

When Al Jardine, one of the founding members of the Beach Boys, announced that he and the Pet Sounds Band would be playing at the Shenandoah Valley Music Festival in Orkney Springs, Virginia on Friday, August 7, 2026, within a day, I had purchased tickets for my wife and me.

Needless to say, I couldn’t wait for August 7 to arrive.

I also made arrangements to stay on the grounds for the concert. Shrine Mont, the organization responsible for the facilities where the festival takes place also offers lodging and family style meals. So we booked accommodations for staying overnight after the concert.

As we neared August 7, we made final checks about our tickets and room reservations. My sister and her husband followed our game plan for attending the concert. They would be making the drive from Snow Camp, North Carolina.

On the morning of Friday, August 7, our goal was to be on the road by 9. We only missed that mark by a few minutes.

From Richmond, we took Interstate 64 west, to Interstate 81 north, followed by US 11, and a couple of turns on Virginia roads that would take us into Orkney Springs.

A significant, single car accident on I-64 west just before Wintergreen slowed us down as did a paving project on the main road into Orkney Springs.

But by 5 p.m. we were all checked in and ready for dinner. Prior to the start of dinner, the Pet Sounds Band was doing a sound check. Hearing the music and voices only made me more excited.

Even though the band was playing under a roof, and our seats were inside the covered pavilion, the forecast leaned toward rain and maybe a thunderstorm hitting the area by 8 p.m. The concert was scheduled to start at 8.

After dinner, we could hear rumbling of thunder about the mountains. With rain in the forecast, we were in our seats by 7:30.

While waiting for the concert to start, occasionally, we would catch a glimpse of one of the musicians from the Pet Sounds Band coming on stage for a last minute equipment check. Even Al was backstage for some conversation.

At some point, everyone from the band cleared the stage. They disappeared into a couple of Shrine Mont houses that served as dressing rooms.

Prior to the start of the concert, the Director of the Shenandoah Valley Music Festival took the stage and made a few announcements.

Just before eight, the wind picked up, and by the time the concert started a steady rain was coming down.

From there, the band ambled on to the stage to applause, and when the audience saw Al, there was more applause.

The opening song was “California Girls,” and from that point on, it was like a gentle Pacific Ocean swell of Brian Wilson’s music had rolled into the tranquil Shenandoah Valley and the surrounding Blue Ridge Mountains.

Except for an intermission, the songs were non-stop. Al’s patter between songs was heartfelt and insightful. He did so with honesty, humor, and a respect for the creativity of Brian’s music.

We laughed as he shared how Dennis Wilson, the original surfer in the Beach Boys attempted to teach Al how to surf. Al said despite Dennis’ skilled instruction, he(Al) sunk like a stone into the Pacific.

In a little over two hours, this talented group of musicians and singers performed thirty four songs. I do not have the ears of a musician, but I heard no miscues.

This included complicated arrangements showcasing seven songs from Pet Sounds(1966) and seven songs from the Love You(1977) album.

The harmonies were crisp, clean, tight, and light as air.

Like the original Beach Boys, the band features strong solo vocalists.

Most notable is Al Jardine who will turn 84 in September. Al still sounds strong. Yes, a tour can wear down a lead singer’s voice, but his lead vocal on “Help Me Rhonda” sounded like 1965 again.

Al’s son, Matt, is blessed with a beautiful voice too. Matt is able to hit those Brian Wilson falsetto parts to perfection. His leads on songs that originally featured either Brian or Brian’s brother Carl’s voices were angelic. Matt also blends well with his dad.

Supplementing the lead vocals is guitarist, Rob Bonfiglio, who is married to Brian Wilson’s daughter, Carney. His lead vocal on “Sail On Sailor” from the 1972 Beach Boys’ album Holland was soulful and spirited. Former Beach Boy, Blondie Chaplain, who sang the lead on the original would have been proud of Rob’s work. Rob is also a fine guitar player.

That lead vocal work continued to Darian Sahanaja. Darian, the musical director for the band and keyboard master, shared his clear and powerful voice on “Darlin” and “I Can Hear Music.” Also, Darian took the leads on songs from Pet Sounds and Love You. Again, Carl Wilson, the Beach Boy who sang lead on those songs would have been impressed with Darian’s voice.

With a couple of the tunes from the Love You album, keyboard player, Gary Griffin, sounded just like Mike Love, and percussionist, Jim Laspesa, sounded like Brian Wilson’s back in 1977.

Instrumentally, all of these guys and one brave lady, keyboardist, Debbie Shair, are gifted musicians. They know their chops and the intricate arrangements found in each song.

Individually and collectively, they are able to reproduce the instrumental tracks from the original recordings. The 1960s session musicians the Wrecking Crew who played on lots of Beach Boys recordings would affirm the skills of the Pet Sounds Band.

The mastery of their musician skills were showcased nicely on the instrumental song, “Pet Sounds.”

Horn player, Paul Von Mertens, handles flute, a couple of saxophones, harmonica, and the bass harmonica. On any song that needs that extra touch, Paul is the guy who adds that depth to the background. Even in the same song, he is capable of switching instruments to meet the requirements of the arrangement.

Debbie Shair and Gary Griffin are a part of the keyboard team with Darian. Need a French horn or a synthesizer sound, Debbie and Gary have you covered. Plus, they provide back up vocals to the blend of harmonies.

And I’m not sure, but Debbie might be the secret choreographer who added the comical, maybe penguin like body movements to the song “Johnny Carson.” Her high leg kicks worked well with the song too.

Percussionist, Jim Laspesa, played to perfection the bicycle horn in the fade out to “You Still Believe In Me” and the slide whistle in “Heroes and Villains.” And Jim is part of the background vocals blend.

If there was a shortcoming to the show, it was that not all of the band was introduced.

On bass is the incomparable, Bob Lizik. Bob has been a part of this band when Brian Wilson started going back out on the road.

His playing is steady and seasoned. This includes the required nuances in every song like “Here Today” from Pet Sounds. Throughout the show, whether the song was simple or complicated, Bob was the foundation for the band.

Set up beside Bob is drummer, Mike D’Amico. Going back to the Wrecking Crew musicians, Mike reminds me of drummer, Hal Blaine.

Mike’s timing is remarkable. He is quick and powerful when needed, but he also possesses a deft, finesse for quieter songs like “In My Room.” Mike anchors and drives the energy of the band. He is relentless.

Tucked away behind the keyboard players is guitarist and backup vocalist, Emeen Zarookian. Emeen is an exceptionally gifted guitarist. I don’t know who found and added Emeen to the band, but that was a wise move. His guitar playing is superb.

No matter the song, Emeen captures with high quality the range of tone needed. His fingers can fly like on “Dance, Dance, Dance” or be graceful, subtle as found on “You Still Believe In Me.”

Vocals especially harmonies have always been a trademark of Brian Wilson and the recordings of the Beach Boys. As I said earlier, I do not have the ears of a musician, but the harmonies tonight were impeccable.

A clear example of this would be “Heroes and Villains.” These gifted singers captured every part of this complex, but magical song.

I could have sat in that pavilion and listened to this band sing and play until the first rays of the sun skimmed the crested tree lines of the Blue Ridge Mountains.

I don’t think I was the only one with that wish. I saw people sitting near me who seemed to stare into that wall of music mesmerized by what they were hearing and seeing.

For fans of the Beach Boys, 2026 has been busy.

In February, Capitol Records released a boxed set that focused on the Beach Boys’ 1977 album Love You.

Then later in May, Capitol Records released a double CD and two different high quality vinyl records celebrating the 60th anniversary of the landmark album Pet Sounds.

For Al Jardine and the Pet Sounds Band, they would be active as well. This included live concert performances of the entire Love You album in support of the box set release. Then in late June and early July, Al and the band toured in Australia and New Zealand.

Long time followers of the Beach Boys know that another founding member and Brian Wilson’s cousin, Mike Love, also tours using the name the Beach Boys. Years ago, it was determined that Mike had the rights to use the Beach Boys name for touring purposes.

It is noteworthy that in late July, Mike and his Beach Boys band paused the summer tour to allow Mike time to rest and “recharge.” Those remaining summer dates have been rescheduled for the fall.

My advice to you—if Al Jardine and the Pet Sounds Band come within driving distance of your home town—you must buy a ticket and go.

The show as billed is a tribute to the music of Brian Wilson. Al and the band’s loyalty and respect for Brian are present from beginning to end. If Brian’s music that he created with the Beach Boys is special to you, you have no options, you must attend.

In closing, I have no idea how much longer Al will continue to tour.

I hope Al will have the good sense to know when it is time to stop performing.

Personally, as much as Brian Wilson loved reconnecting with his fans by performing live, I think Brian stayed on the road too long.

And from the video clips I saw of Mike Love’s performances earlier this summer, I sense that he has over stayed his touring ability.

I hope Al out of respect and loyalty to Brian and the Pet Sounds Band will not stay on the road too long.

For now, I hope the remainder of the tour goes well for Al and the band.

Looking to the future, I would love for a double live album that captures the performances of this tour to be released. Not compiling an album for release would be an insult to the hearts and souls of the Pet Sounds Band.

Continuing that look into the future, might Al consider writing a book about all of his years as a Beach Boy. I think he could offer a unique perspective.

And finally thanks to everyone who is a part of the Shenandoah Valley Music Festival. The director told the audience this is year number sixty three for the organization.

I hope they can continue to be successful for a long, long time. It is a beautiful setting and venue at Shrine Mont in Orkney Springs—long may that stage host gifted musicians.

Today, Sunday, December 21 is the anniversary of Carl Wilson’s birth date. Born in 1946, had he beaten back the cancer that took his life, Carl would have turned 79 today.

Ultimately, Carl’s passing broke up the group, the Beach Boys, that he helped found.

The Beach Boys continued to perform and record after the passing of drummer, Dennis Wilson in 1983.

But with Carl’s death, the remaining members— cousins Brian Wilson and Mike Love, Al Jardine, and Bruce Johnston fractured and split like a California vault line. This seismic shift resulted in multiple business disagreements and countless lawsuits.

Of course in 2012, those remaining members put aside their differences for a new album and a world tour in honor of their 50th anniversary.

Still, I will always wonder what the Beach Boys would have been like if Carl had lived, and that applies to his brother, Dennis, a bit too.

Author Kent Crowley’s book, Long Promised Road, takes us into the ups and downs of the Beach Boys. There is a lot of coastline to cover in Carl’s life with and without the Beach Boys. Crowley attempts to capture this journey.

I can only begin to think what it must have been like for Carl as the youngest brother to Brian and Dennis. Their mother, Audree, must have had her hands full raising these distinct personalities.

Her husband, Murry, by all accounts could be challenging too. Yet, the love of music in the Wilson household was linked to Murry, a businessman, and a frustrated songwriter.

Early on, the oldest son, Brian showed promise in music. Most documented writings about the Beach Boys reference a story when Brian requests that his mother make Carl sing with him rather than allowing Carl to join in a neighborhood baseball game.

Mothers tend to have an intuitive sense about their children. According to longtime Beach Boys’ historian, David Leaf, Audree Wilson noted this about her youngest son: “Carl was born 30.”

In 1961, when the Beach Boys first started finding traction around Los Angeles, Carl was their 15 year old lead guitarist.

Three years later in December 1964, Carl’s maturity would steady the band on the concert road when Brian experienced his first nervous breakdown.

With the exception of a period time in the spring and summer of 1981, Carl led the Beach Boys when they toured. Carl departed in 1981 to tour as a solo artist in support of his first solo album.

He opted to return to continue his work with the Beach Boys, but with this mandate to his bandmates—1981 must mean as much as 1961 once did. With that ultimatum Carl set out to reinvigorate the groups’ live performances.

One of my favorite periods for the Beach Boys was from 1970 through 1973. Carl was at the heart of this productive period for the group in the studio and on the road.

Four strong studio albums released by Warner Brothers/Reprise/Brother Records: Sunflower(1970), Surf’s Up(1971), Carl and the Passions “So Tough”(1972), Holland(1973), and The Beach Boys In Concert(1973), found favor with their fan base and music critics too.

Always strong live performers, through the mid-70s, the Beach Boys became a top concert draw again. Their trademark harmonies and musicianship led the way.

Recording engineer, Stephen Desper, a visionary manager, Jack Rieley, and Carl’s steadiness in working with each member of the band in the studio and on the road helped to facilitate this turnaround.

That surge pushed into 1975, when Capitol Records released the Beach Boys’ album Endless Summer. This double album introduced a new generation of fans to the groups’ deep catalog of hit records.

Endless Summer was a huge commercial success. That success translated to even more people attending their concerts at larger venues across America.

Ironically, the triumph of Endless Summer actually brought an end to that early 1970s stretch of songwriting creativity from the Beach Boys.

For the remainder of their careers when the Beach Boys performed live, they became an oldies act. Sure, they did the obligatory promotional performances of new singles from their latest studio albums, and on occasion, a setlist included a rarely performed nugget, but by and large, they became a jukebox with the old hit songs dominating the show.

Through all of these changes, Carl Wilson endured. He led the group on stage ensuring that the singing and playing met his high expectations.

I have no idea how many times I saw the Beach Boys in concert, but Carl’s singing and playing were always a treat for me. His voice rang true whether singing lead or blending into the harmonies.

No matter if Carl’s lead was a tender love song like “Only With You”(from the Holland album), or a rocker like “Darlin’”(from the Wild Honey album), or a fan favorite like “God Only Knows” from the Pet Sounds album, his voice was unmistakeable.

From the Sunflower album, early in the song “Cool Water,” there is a marvelous section of interplay with the background vocals from Carl and his brother, Brian. I’m sure glad that Audree made Carl sing with Brian when they were growing up. Examples like this capture the chemistry of their vocal cords that only brothers could have.

With his guitar playing, Carl had all of the required chops and more.

Whether playing a solo or supporting the structure of a song, he knew the sound he needed to capture for live performances. Carl was competent on six string acoustic or electric, and twelve string as well.

During his career, Carl played guitars made by Fender, Gibson, Epiphone, and Rickenbacker. In 2000, Rickenbacker guitars released a new signature model guitar named after Carl.

In October of 1989, I was able to meet Carl Wilson. This is a longer story that I will document some day. But, he could not have been kinder to me.

Cancer continues to be one of the most rotten things on earth. I absolutely despise it. I don’t know why cancer had to destroy such a gifted musician. But again, I do know why cancer robbed us of Carl—cancer doesn’t care who it invades.

Although I play no musical instrument, nor can I carry a tune, I have a deep admiration for musicians.

There is something special about music and its capacity to touch our souls.

I think Carl Wilson’s gift of music touched many souls.

For some reason, Psalm 32:7 makes me think about Carl: “You are my hiding place, you will protect me from trouble and surround me with songs of deliverance.”

I think music can be a hiding place. A place where the troubles of the world can be soothed by songs that can transport us ever so briefly from the tough realities of the moment.

Sometimes, that is all we need—the strength of a song to buffer us through the challenge before us.

Like me, Carl Wilson was an imperfect human being.

Yet, I admired his endurance with the musical contributions he made to the Beach Boys.

I also appreciated the spirit of his battle to beat back the cancer that took him.

Yes, I miss Carl Wilson.

I’m certain his family misses him too.

But at the very least, I can still listen to the music he made with and without the Beach Boys.

And on those days when I need a distraction, one of those songs for a few minutes will humbly touch my sagging, old heart.

In that joyful sound, I will appreciate God’s gift to Carl.

After his death in 2000, the album Like A Brother was released. This album was a collaborative effort featuring Gerry Beckley from America, Robert Lamm from Chicago, and Carl Wilson from the Beach Boys.

The album features the songwriting, singing, and musicianship from each of these gifted musicians who had been friends for many years.

From this recording, one of Carl’s songs “I Wish For You” has been a favorite. Carl collaborated with Robert White Johnson and Phil Galdston on this effort.

The song features a pretty lead vocal from Carl and heartfelt lyrics.

With Christmas a few days away sharing these two lines from the song seem appropriate:

“I wish you hope through your share of tears,
I wish you peace all your living years.”

At this very moment, no matter where you are in your life, I wish and your families hope and peace this Christmas and in 2026.

Good Lord knows we need it.

Love you all, be safe.