Seeking to Capitalize on their local L.A. indie-label novelty hit, "Surfin'," the Beach Boys and their nascent sound (tales of innocent SoCal hedonism set to equal parts doo-wop vocal influences and Chuck Berry licks) were produced on these initial releases by the A&R exec who signed them, Nik Venet. But if Brian Wilson's production genius was yet untapped, his songwriting knack, trademark arrangements, and soaring falsetto were already coming to the fore, even on Surfin' Safari, the band's hastily recorded, low-budget debut album--"Surfin'," "Surfin' Safari," and "409" are ample testament to his hitmeister potential. Released just five months later, Surfin' USA both insured the band's national appeal and testified to the rapid development of their harmonies on cuts such as "Farmer's Daughter" and "Lana." The band sounds more confident throughout, and Wilson hints at the greatness to come with the moody ballad "The Lonely Sea." The flip side to Wilson's fragile emotionalism is, of course, Mike Love's nasal, fun-seeking twang; those voices revolving--often tensely--around a hub of incomparable harmony became one of rock's most indelible archetypes. These are the humble, charmingly awkward beginnings of that legend. Three unreleased bonus cuts are also featured: "Cindy, Oh Cindy," "The Baker Man" (a nursery rhyme take on the Olympics' "Hully Gully"), and the nautical "Land Ahoy." The latter two tracks are notable as Brian's official producing debut. This twofer edition features comments by Brian and the astute liner notes of music historian David Leaf. --Jerry McCulley

Sounds Of Summer  - The Very Best Of The Beach Boys

The cynic may question just how many Beach Boys greatest hits albums are enough. Everyone else, however, will appreciate what makes Sounds of Summer unique. This is the first single-disc collection to feature such a large cross section of hits from the group's entire career, spanning 1962's "Surfin' Safari" through 1988's "Kokomo." All 30 tracks, spanning several label changes, were Billboard Top 40 hits and are probably now as identifiable as the national anthem to anyone with radio or TV access. The fact that the tracks aren't in chronological order helps make for a fresh listening experience, as does the crisp digital sound. And yet these songs--even those that are more than four decades old--always sound strangely fresh and will likely remain so as long as there are beaches, young people, and that symbolic season of freedom and dreams. Which is to say that the title here passes the "truth in advertising" test. Perfect for those casual fans not yet ready to spring for the individual albums, Sounds of Summer is in many ways a better representation of this legendary band's art than Elvis' 30 No. 1 Hits and The Beatles 1 were of the King and the Fab Four. --Bill Holdship

This single disc gathers two Beach Boys albums--Friends and 20/20--with the addition of remastering and bonus tracks. By 1968 and the recording of Friends, Brian Wilson's pivotal position as head Beach Boy was gradually crumbling. True, he was still the principal contributor, but songwriting duties were now evenly shared among the group. The results were predictably patchy. For every Brian-sculpted pocket symphony ("Passing By", "Busy Doin' Nothin" and "Wake the World") there's an inconsequential oddity ("Transcendental Meditation", "Anna Lee, The Healer" and "Little Bird"). Originally released in 1969, 20/20 was not a Beach Boys album proper, but rather a collection of odds and sods to fulfil their contract with Capital Records. Ironically, it's actually one of their finest and most coherent post-Pet Sounds albums. Hit singles include the playfully nostalgic "Do It Again" and a superb Carl-produced cover of The Ronettes' "I Can Hear Music". Brother Dennis also gives notice of his maturing compositional skills with the broodily spectral "Be With Me". Not to be outdone, Brian chips in with the mind-boggling "Cabinessence"--culled from the Smile sessions--and the truly transcendent "Time Alone". Also included is the notorious "Never Learn To Love", an underwhelming ditty, which, according to legend, was penned by none other than Charles Manson. Far better are the five bonus tracks, especially the dazzling "Breakaway". --Chris King

Pet Sounds

This was pretty much the only occasion on which Brian Wilson managed to articulate his extraordinary musical vision over the length of an album. As such, Pet Sounds is not merely one of the greatest records ever made, but also one of the towering masterpieces of 20th-century art. Every song here, from the exuberant introduction of "Wouldn't It Be Nice" to the concluding, wistful lament of "Caroline No", is definitive pop music. Wilson's fantastical orchestrations and harmonies support a collection of lyrics which are childishly innocent almost to the point of appearing sinister--no album has ever started with a less traditionally rock & roll sentiment than "Wouldn't it be nice if we were married?". When delivered in Wilson's anguished whine, the effect is gloriously heartbreaking--as statements of naked vulnerability go, "I Know There's An Answer" and "I Just \ Wasn't Made For These Times" remain difficult to top. Popular legend has it that when the fiercely insecure and competitive Wilson, a year on from Pet Sounds, heard the Beatles' Sergeant Pepper's Lonely Hearts Club Band, he was devastated. He needn't have worried. Pet Sounds wasn't trumped then, and it won't be anytime in the future.--Andrew Mueller

Smiley Smile/ Wild Honey

Here are two classic Beach Boys albums from 1967 that were critically dismissed in their day but are now rightly considered to be among their best, nicely remastered and fleshed out with bonus tracks. SMILEY SMILE was originally thrown together as a quick replacement for the doomed, unreleased SMILE album, a would-be masterpiece that had been scrapped at the last minute and has since achieved legendary status, the rock equivalent of the missing footage of Von Stroheim's GREED. WILD HONEY, which is in many ways the Beach Boys' soul album, was a deliberate retrenchment, and its stripped-down production anticipated both Dylan's JOHN WESLEY HARDING and the Beatles' WHITE ALBUM. Along with the R&B-influenced title track and "Darlin'" (not to mention a great Carl Wilson-sungcover of Stevie Wonder's "I Was Made To Love Her"), highlights include the great garage rocker "How She Boogalooed It" and the wonderfully breezy and mostly acoustic "I'd Love Just Once To See You" (as in "in the nude"). Pure joy from start to finish.