Today is the last day of Summer! So in honor (or memoriam) I give you my official Beach Boys Album Ranking. But first! A quick word from yours truly…
One of my favorite musical projects over the past two years has been diving deep into band discographies. Have I spent hours listening to albums better left forgotten? Absolutely. Is there anything to learn from enduring Van Halen III? You’d be surprised.
If it’s a band you love, experiencing their highs—and their lows—brings you closer to them. You note how they respond, album by album, to success and failure. You see them retool or double down on their sound. You feel the impact of lineup changes, shifts in creative direction, and evolving instrumentation and production. It’s more than just hearing a band evolve; it’s hearing the music industry evolve.
So how had I not listened to all of The Beach Boys until this past summer? They’re one of my all-time favorite bands. Hell, I once fought through a sea of drunk boomers at a winery just to see Brian Wilson reunite with the band.
For one, the band has 29 albums. And (spoiler alert) they peaked early. Sure, there were solid albums in the early ’70s and a good song or two later on, but the Beach Boys never had that great “comeback” album. No great albums post-1971 at least in my opinion. Still, there’s a lot to appreciate in their 50+ year journey.
Where do we begin? How about a tier list? Remember when those were popular for a hot minute? Plus, if you don’t feel like reading the whole thing, you can just glance at the pic below and peace out.
Note: I did not include the 2011 SMiLE Sessions release as it’s not an official Beach Boys album. It’s good though!
The F Tier
This is not a Beach Boys album. This is a collection of Beach Boys’ covers, mostly sung by country musicians FEATURING the Beach Boys. I am genuinely mad I had to listen to Toby Keith sing “True to Your School” (RIP) or Sawyer Brown sing “I Get Around” like it’s a Dodge Caravan commercial.
I haven’t even heard of half of the country singers on this album. What also sucks is that Brian Wilson was pressured to drop out of a much more interesting project with producer Andy Paley to participate in this Southern-Fried failure. It’s also Carl Wilson’s last album with the group before his untimely passing in 1998. Stars and Stripes Vol. 1 (they never made a Vol. 2) is an embarrassment. Avoid at all costs.
Music YouTuber “ToddInTheShadows” did a great video about this album a few years ago under his “Train-wreckords” banner and I think he said it all.
To summarize, Summer in Paradise was the bi-product of, “What if Mike Love had full creative control of the band?” You know, cuz of “Kokomo?” The results are one of the cheesiest, most boring, and creatively bankrupt albums in the band’s catalog.
Remember how loud the snare sound used to be in ‘80s drums? Well crank that up to 11 with Summer in Paradise’s lead-off single, a cover of Sly and the Family Stone’s, “Hot Fun in the Summertime”. Throw in a few more “Kokomo” knockoffs and cap it off with John Stamos covering Dennis Wilson’s “Forever” and you have a true trainwreck of an album. Excuse me, a “Train-wreckord”.
It’s at this point in the Beach Boys timeline (the late 70s) that you start seeing the word “Acrimony” thrown out a lot. Drugs, Divorces, and Disco all put a strain on the group’s dynamic, resulting in a scattered collection of solo recordings from each member.
The album opens with a light bop from Brian, “Good Timin’” and is followed by a gentle yacht rock number from Al Jardine, “Lady Lynda” before descending into forgettable ‘70s excess.
Worst of all is Bruce Johnston’s 10-minute disco nightmare remake of “Here Comes the Night” a track previously recorded for Wild Honey. If you don’t believe me, check out the band playing a shortened version of the song on their Midnight Special appearance. Is it the worst Beach Boys song ever recorded? Yes, yes it is.
“Kokomo” – the most divisive song in the Beach Boys’ catalog. A slick, boomer-era tribute to tropical beaches that somehow gave the band their first number-one hit since “Good Vibrations” in 1966. And Mike Love hasn’t stopped talking about it since.
I don’t hate “Kokomo.” It’s catchy, it’s beachy, and I have fond memories of hearing the Muppets cover it in the early ‘90s. What I do hate is how Mike Love has treated its success like the second coming. He’s done everything in his power to make “Kokomo” the defining song of the Beach Boys, when it wouldn’t even crack my Top 20. So what about the album it’s on?
Still Cruisin’ isn’t an album as much as it’s a jumbled collection of singles (mostly from movie soundtracks), a few random studio tracks, and a compilation of three of the Beach Boys’ biggest classics: “I Get Around,” “Wouldn’t It Be Nice,” and “California Girls.”
Most of the newer stuff isn’t THAT bad. It’s bad, but in a funny way—like the Beach Boys’ cover of “Wipeout” featuring rapped verses from the Fat Boys. Makes me laugh! But laughter isn’t enough to save Still Cruisin’ from the F Tier.
The D Tier
I love the reverse snow globe cover for this album and that’s where my praise ends for the Beach Boys introduction to the 1980s. Keepin’ the Summer Alive is a paint-by-numbers pop rock album, no tricks, no gimmicks, no nonsense, no interest.
Outside of Randy Bachman co-writing two tracks with Carl Wilson (both of which feel like Bachman Turner Overdrive rejects) and this being Dennis Wilson’s last album before his passing (he plays percussion on one track), Keepin’ the Summer Alive lacks an identity. This is a band without direction. That album cover is fun though, right?
Despite having the worst album cover in the Beach Boys’ discography (designed by Dean Torrence of Jan and Dean, of all people), 15 Big Ones isn’t as bad as you’d think. It’s bad, but there are bright spots.
The album pays tribute to ‘50s rock and doo-wop, which the Beach Boys naturally pull off well. It’s also fun that this came out in the late ‘70s—so you get ‘50s rock with synths. You’ve heard Chuck Berry’s “Rock and Roll Music,” but have you heard it with synth bass?
The real issue with 15 Big Ones is its length. At 15 songs and almost 40 minutes, it feels too long. “Wait, you’re calling 39 minutes a LONG album?” For the Beach Boys? Yes. In fact, 15 Big Ones is the band’s fourth-longest album. And the Beach Boys sound doesn’t have the stamina for extended runtimes. The harmonies, the beach references, the shtick—it all starts to wear thin. Especially when the vocals are at peak raspiness from years of heavy drug use.
Maybe if they had trimmed it down to “10 Big Ones,” I could actually get through it in one sitting.
Named after the “Maharishi International University” in Fairfield, Iowa, M.I.U. Album was the Beach Boys’ attempt at “easy listening” but recording the album was anything but easy. Only Mike Love, Brian Wilson, and Al Jardine (who also produced) appear consistently on the album with Carl and Dennis limited to a couple tracks and Bruce Johnston nowhere to be found.
I dig Al Jardine’s wailing opener, “She’s Got Rhythm’” and Brian Wilson’s tuneful “Hey Little Tomboy”, despite its problematic lyrics about wanting a tomboy to FINALLY turn into a REAL woman. Though even that track is a bummer after you find out it was meant for a more interesting project called “Adult/Child” that like many Brian Wilson projects fell apart and was never released. Maybe THIS is the album that shouldn’t have been released.
The ‘80s were a harsh mistress for many of the great ‘60s bands. The rise of new wave and synth-pop softened the edges of legends like the Stones, the Kinks, and the Who. The Beach Boys, however, fit surprisingly well into the 1980s, with their crystal-clear harmonies and sunny disposition. If only they had the songs to back it up.
I really wanted to like The Beach Boys, especially considering it followed a dud and the tragic loss of founding member Dennis Wilson. But this ain’t it. Steve Levine’s production is crisp, but the songs are dull.
The only standout is Carl Wilson sung “I Do Love You,” but that’s mostly because it was written and largely performed by Stevie Wonder. Maybe they should’ve let Stevie do the whole album? It probably would’ve been better.
I feel bad Carl Wilson had to lead the band in Brian’s absence and the results sucked. Carl could solo on a six string and sing like a baby angel all day, but he wasn’t much of a songwriter. So letting Carl take full control on this album never results in anything that exciting.
One peculiar personnel addition was Blondie Chaplin and Ricky Fataar (Stig O’Hara from The Rutles) members of the South African rock band “The Flames” who both perform and sing a few tracks of their own.
The Flames stuff isn’t bad but it’s jarring. The Flames sound like the Eagles and the Beach Boys sound like well, the Beach Boys. It doesn’t work. I can’t tell if I’m listening to one band or a bunch of separate bands recording on their own and then everybody Frankenstein-ing it all together. Carl had the passion but it wasn’t enough for this one.
The C Tier
It’s a relief the Beach Boys ended their recording career (assuming it’s over) with a thoughtful, not embarrassing, reunion album. The lead single, with its army of harmonies, is as good as any late ‘60s single and despite its occasional autotune, a lovely swan song to the band.
Few tracks capture the magic of the album’s first three tracks but there’s a lot to appreciate in the album’s extravagant production and talented ensemble of backing musicians. It was a treat and honor to go see the band on tour while promoting this album.
Easily the biggest disappointment in my Beach Boys odyssey was listening to Brian Wilson pick up the pieces of his almost-masterpiece, SMiLE, and cobble them together for the lo-fi mess that is Smiley Smile. I use the word “mess” because there’s no focus or intent in the song arrangements or track listing. Like, why is “Good Vibrations” jammed into the middle of the album? Because Brian was outvoted by the band.
If you listen to the SMiLE Sessions (released in 2011), you might think, “Wow, some of these unfinished tracks are rough,” but you get a sense of pacing and what Brian was aiming for, production-wise. With Smiley Smile, I can’t for the life of me figure out why they decided to strip down and rearrange already great songs like “Vegetables” and “Wonderful.” Even “Heroes and Villains” is simplified and underproduced. Was all of this done to make the album more palatable?
Contemporary fans and critics have learned to embrace the quirkiness of Smiley Smile, but I found it depressing. It’s the husk of a great idea, made worse by outside pressures. And man, I hate “She’s Goin’ Bald.”
“Instrumentals!” (said angrily). There are five—yes, FIVE—instrumentals on the Beach Boys’ 12-track, 24-minute second album. Did they not have enough time to write new songs? Probably not. It has a classic lead single, but not much else. At least Mike only sings on four songs.
The Beach Boys never sounded worse than they did on Love You. Whether it was exhaustion, alcohol, drugs, or all of the above, the vocals on this album are rough. It’s a shame because the synth-driven production isn’t bad at all. Some have called Love You a precursor to New Wave—I think that’s being generous.
When your best song is an ode to Johnny Carson (“Johnny Carson”), something has gone terribly wrong.
A fake live album? What is this, Alive by Kiss? No, because that album rules—and it’s real, apart from some crowd noise added in post. From what I understand, Beach Boys Party! was recorded and released to fulfill a contractual obligation with Capitol Records.
The Beach Boys doing an unplugged album isn’t a bad idea, and there are cool moments, like hearing them cover the Beatles and Bob Dylan. But then someone thought it would be cute to add laughter, talking, and intentional fuck-ups. That’s only charming if it’s genuine, but here it feels fake—like The Matrix. Beach Boys Party! is The Matrix.
Can the Beach Boys do soul music? Sort of. I appreciate the effort but the band feels out of their depth trying to act cool and cover Stevie Wonder. Carl (bless his heart) pushes his voice so hard it’s on the verge of cracking and there are few songs I enjoy outside of “Darlin’”. At least they attempted something here.
This album was released three weeks after Surfer Girl. THREE WEEKS! No wonder so many of these early albums blend together. It doesn’t help that the best songs on this album had already appeared on previous albums. That’s because those best songs are all about cars and this is a car themed album. Needless to say the premise wears thinner than a set of bald tires on a drag strip.
Quiet, meditative—in other words, boring. Aside from Dennis Wilson’s moody “Little Bird,” there’s little here to love or hate. Friends is the definition of middle-of-the-pack. There are a couple amusing ideas, like the Hawaiian-style instrumental “Diamond Head,” but overall, it feels like business as usual, pulling together whatever scraps they had at the time.
The B Tier
Holland is often considered a “Hidden gem” in the Beach Boys catalog. Released to little commercial or critical fanfare in its time, Holland has been reclaimed as a funky, soulful, and highly collaborative work during an otherwise dark period.
Tracks include the three part “California Saga” that calls back to SMiLE with its offbeat lyrics and song structure. There’s also “Sail On, Sailor” the leadoff banger sung by Blondie Chaplin of the band The Flames. Chaplin and his Flames band member Ricky Fataar write and play on several songs on the album and add a welcomed maturity to the band’s sound.
I’m not as impressed with the song selection as some other fans but I appreciate the diversity of style. Not a gem for me. A garnet, maybe.
I didn’t have high expectations for the band’s first outing. At a glance, you see five naïve-looking kids in Pendleton shirts—and I do mean KIDS. Carl Wilson was 16. Original rhythm guitarist David Marks was 14! Brian and Mike were getting songwriting help from writer/producer Gary Usher. It’s like the band was jumping into a pool with water wings on.
And yet! Surfin’ Safari is a fun album. Outside of surf classics like “Surfin’ Safari,” “409,” and “Surfin’,” you get playful tracks like “County Fair” and “Chug-A-Lug”—which isn’t about drinking beer, but ROOT beer. Remember, these were kids.
I also want to shout out one of Brian Wilson’s early underrated gems, “Cuckoo Clock,” where Brian sings “Cuckoo! Cuckoo!” in his trademark falsetto. A solid debut from these Hawthorne, California rugrats.
Five albums in and the Beach Boys harmonies have developed into something special. “Don’t Worry Baby” is one of their best ballads and I was surprised by the poignancy of “The Warmth of the Sun” a song Brian wrote the day JFK was assassinated. But there’s still fun to be had on this album, like the song “Fun, Fun, Fun” . What’s more fun than three funs?
It’s cuckoo how early in The Beach Boys cannon Brian Wilson established himself as a pop music wunderkind. Sure, he wrote catchy singles on the band’s first two albums, but Surfer Girl (album #3) is the first album Brian produced.
Surfer Girl is also the first time Brian used a string section (“The Surfer Moon”) and the first album where Brian employed the talents of the legendary backing band “The Wrecking Crew” (“Hawaii” and “Our Car Club”) who would go on to provide backing on tracks like “Help Me Rhonda”, “California Girls”, “Good Vibrations” and of course the album Pet Sounds.
The track list is ballad-focused with standouts like “Surfer Girl” and “In My Room”, one of Brian’s most personal and introspective pieces. If someone asked me “Where should I start with the Beach Boys?” I’d say Surfer Girl is the perfect introduction to the band. Also, it makes Zooey Deschanel cry.
You’re telling me you have “California Girls” , one of the best Beach Boys songs with one of the coolest intros and you’re NOT going to open the album with it? You’re going to open the album with a song called “The Girl from New York City”? NEW YORK?!? California’s enemy?
“California Girls” does open side B but real talk, this track order needs work. You can’t bury “Help Me. Rhonda”. Think of Al Jardine! The songs are solid but the flow is off. Close to great, just good instead.
P.S. “I’m Bugged at My Old Men” might be the weirdest song in the band’s catalog. I kind of love it for that. Here’s a charming video of the Wilson brothers playing it for a 1976 TV special.
Most fans rank Today! higher than All Summer Long but I prefer the latter’s track listing. Otherwise, Today is just as fun and catchy with numbers like “Do You Wanna Dance?”, “When I Grow Up (To Be a Man)”, and “Dance, Dance, Dance.”
You’ll notice I didn’t include “Help Me. Rhonda” but to be honest, I prefer the single version later included on Summer Days (And Summer Nights). Too many haphazard fade outs on this version. Still good though. You know I love my Al Jardine.
The Beach Boys sixth album used to be as far back as I would go if I wanted to listen to the “early” Beach Boys. Now I know there is good stuff before this album, but this definitely the best of the early years.
“I Get Around”, “All Summer Long”, “Little Honda”, “Wendy” classic after classic with some of Brian’s best falsetto work. No more reusing singles, less instrumentals, just good songs and a clear vision.
The A Tier
Is it that surprising that a band known for their lavish production and soaring harmonies would totally crush a Christmas Album? Honestly, what surprises me more is I prefer Brian Wilson’s original Christmas tunes to some of the greatest Christmas songs ever written. “Little Saint Nick”, “Santa’s Beard” and “Christmas Day” in particular are favorites of mine, but listening to the whole album has been a personal annual tradition for over a decade now.
Though I prefer guitars to strings, which is why I prefer the originals to the covers, The Beach Boys still nail the standards. They even close it out with a New Year’s number, “Auld Lang Syne”, complete with a spoken-word congratulations from Dennis Wilson. Truly a gift of an album.
There’s a story that makes its rounds on the internet that longtime Beach Boy supporting player Bruce Johnston once called a fan “gay” for liking Sunflower. Which is an odd comment considering Johnston did his best work on Sunflower. He wrote/co-wrote the ballads “Deirdre” and “Tears in the Morning” and sang lead or co-lead on four out of the album’s 12 songs.
I think Bruce Johnston has never felt at home as a songwriter in the Beach Boys, so far as saying his personal music was “too smooth” for the group. Sounds to me more like, “I’m saving my GOOD STUFF for other artists or myself.” Yet some of the good stuff ended up on Sunflower
Dennis Wilson makes as big an impact as Johnston, maybe bigger, with his four songs, including the groovy album opener “Slip on Through” and the album’s best song “Forever” possibly the band’s best song not written/co-written by Brian. “Forever” is such a Dennis classic that when I saw the band live in 2012, they played along to a video of Dennis singing the song rather than replacing his vocals.
If Smiley Smile was my biggest disappointment, 20/20 was my biggest surprise. This is a well liked album but not a loved album. A lot of critics and fans cite the lack of Brian Wilson, he’s not even on the cover! But if there was ever an album that showcased why the other members of the band were important it’s this one.
Leadoff track “Do it Again” has been a catchy staple of the Beach Boys’ setlist since its debut (often as the show opener). “I Can Hear Music” is Carl at his most soulful, “Bluebirds Over the Mountain” is a bubblegum earworm. Oh, and let’s not forget, “Never Learn Not to Love” a trippy ballad sung by Dennis Wilson and written by… CHARLES MANSON?!? Jesus. Well, a good song is a good song I guess.
The album closes out with the two of the prettiest tracks originally intended for SMiLE; the acapella “Our Prayer” and the inventive rock and roll waltz “Cabinessence”. Brian Wilson may not have been as hands-on, but you can still feel his presence guiding his bandmates towards rock and roll paradise on this one.
The Beach Boys are celebrated for their sunny, upbeat summer bops, but I’ve found the group is just as compelling when they dip their toes into wistful waters. Surf’s Up saw the group addressing social and environmental issues under the direction of their new co-manager Jack Rieley. Were those actual concerns to the band? I don’t know, but it’s nice to have a few songs about things other than riding in your Woodie.
There’s the funky “Don’t Go Near the Water”, Bruce Johnston’s best song “Disney Girls (1957)”, the trippy “Feel Flows” and of course, “Surf’s Up” which feels like the anti-version of every other surfing song. There’s no stop-and-go to Surf’s Up, every track flows in and out. This would actually be a cool album to play at a party, and there’s only one other Beach Boys’ album I’d say that about (surprisingly, not their Party Album) and it’s…
The S Tier
It’s Pet Sounds. Nuff said.
Is that a cop out review? Absolutely, but what insight can I provide that hasn’t already been repeated hundreds of times before? This album has been a classic since day 1. The production, the instrumentation, the song selection, the vocals. Everything here is perfect. They could have just released this album and no other ones and they’d still be one of my favorite bands.
And just as summer comes to a close, so do we. Thanks for reading!