15 Big Ones

1976 album by the Beach Boys April 2025 April 2025 15 Big Ones Studio the Beach Boys 15BigOnesCover.jpg 1976 7 5 1974 – May 15, 1976 (except "Susie Cincinnati", 1969 – 1970) *Brother (Santa Monica) Beach Boys (Los Angeles) Caribou Ranch (Nederland) Rock R&B pop 39 20 Brother/Reprise Brian Wilson 20 Golden Greats 1976 The Beach Boys Love You 1977 15 Big Ones studio Rock and Roll Music" b/w "T M Song May 24, 1976 It's OK" b/w "Had to Phone Ya August 30, 1976 Everyone's in Love with You" b/w "Susie Cincinnati November 8, 1976 15 Big Ones is the twentieth studio album by the American rock band the Beach Boys, released on July 5, 1976, by Brother/Reprise. It includes a mix of original songs and renditions of rock 'n' roll and R&B standards. The LP was the band's first album with production credited solely to Brian Wilson since Pet Sounds (1966) and its recording followed a three-year period in which he had withdrawn into depression and the band were largely focused on concert touring. Unsuccessful in releasing or finishing material they had accumulated since 1974, the members and manager Stephen Love prevailed upon Wilson, then recovering from addiction, to lead the group's next release. Most of 15 Big Ones was recorded in early 1976 at the band's Brother Studios with the initial intention that Wilson record a collection of deliberately "under-produced" cover renditions and subsequently yield a potential double album of all-original songs. The project was marred by creative disputes, other health issues among the members, Wilson's reluctance, and conflicts with his psychologist Eugene Landy. One of the proposed titles, Group Therapy, was rejected in favor of a title that referred to both the number of tracks and the group's 15th anniversary. It included five songs written or co-written by Wilson in addition to Mike Love's "Everyone's in Love with You" and Al Jardine's "Susie Cincinnati". The release was accompanied by Wilson's return to major concert touring after a twelve-year absence and a controversial media campaign that declared "Brian Is Back!". The group also commissioned an NBC television special, titled The Beach Boys, that aired in August. Despite mixed reviews, 15 Big Ones was the band's best-selling album of new material since 1965, earning a gold certification from the RIAA. It peaked at number 8 in the U.S. and number 31 in the UK. Three singles were issued: a cover of Chuck Berry's "Rock and Roll Music" (number 5) and the originals "It's OK" (number 29) and "Everyone's in Love with You". The former two were their only top 30 hits in this decade. Brian later referred to 15 Big Ones and its 1977 follow-up, The Beach Boys Love You, as his favorite Beach Boys albums.3 Background thumb|left|The Beach Boys performing in early 1972, months before recording their previous album Holland (1973) In January 1973, the Beach Boys' previous album, Holland, was released amid generally favorable reviews and top 40 entries in the U.S. and UK charts.Badman 2004 326Carlin 2006 165 Early copies of the LP were packaged with a bonus EP, Mount Vernon and Fairway, that was produced by Brian and Carl Wilson.Badman 2004 323 Brian's original concept for Mount Vernon and Fairway was to be "much more ambitious", consisting of renditions of 1950s songs like "A Casual Look".Wilson Greenman 2016 42 His bandmates took issue with the space it would have taken on the LP, and he subsequently lost interest, leaving Carl to finish the project.White 1996 301 The group maintained a touring regimen, but recorded very little in the studio for the next two years.Badman 2004 323 Several months earlier, they had announced that they would complete their unfinished album Smile, but this never came to fruition, and plans for its release were once again abandoned.Badman 2004 305nb Pursuant to the terms of their record contract, when the group missed their May 1973 deadline to deliver the Smile album, Warner Bros. deducted $50,000 from the band's next advance.Badman 2004 305, 327 Following the June 1973 death of the Wilsons' father and former band manager Murry, Brian retreated into his bedroom and withdrew further into drug abuse, alcoholism, chain smoking, and overeating.Badman 2004 329–330 He reflected, "I used my room as my little castle. Added to that, I was very depressed with the Beach Boys. I couldn't talk to them and nobody in the band could relate to me. This went on for about two and a half years. But, on and off, I'd sometimes go and record."Badman 2004 330 In October 1973, the band fired their manager, Jack Rieley. By his account, he had "pulled away" from the band due to "terribly complex, complicated and horribly distasteful situations involving aspects of their business and financial management."Badman 2004 331 Rieley's position was succeeded by Mike Love's brother Steve and Chicago manager James William Guercio.Badman 2004 331, 336 Blondie Chaplin and Ricky Fataar, who had joined the Beach Boys as official members in 1972, left the band in December 1973 and November 1974, respectively.Badman 2004 332, 341 The Beach Boys' greatest hits compilation Endless Summer was released in June 1974 to unexpected success, becoming the band's second number-one U.S. album in October.Dillon 2012 217Badman 2004 339 The LP had a 155-week chart run, selling over 3 million copies,Carlin 2006 193 and led the group to reclaim themselves as the number-one act in the U.S. amid a new generation of fans.Badman 2004 339 Guercio prevailed upon the group to swap out newer songs with older material in their concert setlists,Dillon 2012 216 partly to accommodate their growing audience and the demand for their early hits.Carlin 2006 192 Later in the year, members of the band appeared as guests on Chicago's hit "Wishing You Were Here".White 1996 287 At the end of 1974, Rolling Stone proclaimed the Beach Boys "Band of the Year" based on the strength of their live performances.Carlin 2006 193–194Dillon 2012 218 Early recording history (1974–1975) Caribou sessions thumb|The band initially convened at Caribou Ranch in the Colorado mountains (pictured) to record their fifth studio album for Reprise. To capitalize on their sudden resurgence in popularity, the Beach Boys accepted Guercio's invitation to record their next Reprise album at his Caribou Ranch studio, located around the mountains of Nederland, Colorado.Badman 2004 341Dillon 2012 217Carlin 2006 194–195 These November 1974 sessions marked the group's return to the studio after a 21-month period of virtual inactivity, but the proceedings were cut short after Brian had insisted on returning to his home in Los Angeles.Badman 2004 341 Guercio remembered, "From the day he got here, he said, 'I want to go home.'"Dillon 2012 218 Contrary to popular belief, the fire that occurred at Caribou Ranch in 1985 is unlikely to have destroyed any Beach Boy tapes, as they would often take their tapes back to Brother Studio after recording at other studios. After the sessions had concluded, the band resumed touring for the remainder of the year. Only four songs have been documented as being recorded at Caribou: "Battle Hymn of the Republic", "Good Timin", a new version of "Ding Dang" (later retitled as Rollin' Up to Heaven), and an additional unidentified backing track.Doe Andrew G. Tours & Sessions: 1974 http://bellagio10452.com/gigs74.html Bellagio 10452 March 15, 2026 February 8, 2026 https://web.archive.org/web/20260208192613/http://www.bellagio10452.com/gigs74.html live Wilson had resumed his songwriting collaboration with poet Stephen Kalinich (who did not accompany the band to Colorado), resulting in such songs as "Child of Winter", "California Feelin'", "You're Riding High on the Music" (written for John Kay) and "Lucy Jones" (intended for an unrealized Wilson-produced Kalinich rock album).https://endlessharmony.boards.net/thread/2012/1973-concert-live-caribou-sessions 1973 in Concert Live & 1974 Caribou Sessions | EHJanuary 2024Badman 2004 343 "You're Riding High on the Music" was never recorded.Abbott 1997 177 "Lucy Jones", as described by Kalinich, "was just a funky song, and Brian and I were having fun."Abbott 1997 177 Long believed to have been written by Wilson and Kalinch in 1974, "Grateful Are We for Little Children" dates from their earlier collaboration in the late 1960s.https://endlessharmony.boards.net/thread/2012/1973-concert-live-caribou-sessions 1973 in Concert Live & 1974 Caribou Sessions | EHJanuary 2024nb A part of the melody of the unrecorded song was later interpolated into Wilson's "Saturday Morning in the City". In November 1974, Mike Love told Melody Maker that the band had completed "about 40 tracks" and that their next album would be completed by January 1975. Love reported, "Brian is very involved with the LP. [...] The album's a combination between Sunflower and Holland. It's got some of the feel that Holland had, but also sounds a bit like Sunflower in certain respects."Kubernick Harvey The Beach Boys: Stepping Out Of The Surf Melody Maker December 21, 1974 https://www.rocksbackpages.com/Library/Article/the-beach-boys-stepping-out-of-the-surf subscription October 3, 2021 September 25, 2021 https://web.archive.org/web/20210925092509/https://www.rocksbackpages.com/Library/Article/the-beach-boys-stepping-out-of-the-surf live The material was written by himself ("about ten" of the songs), Brian (five), Carl and Dennis ("about five" each), and Jardine ("a couple"). He described "Don't Let Me Go" as a song composed by Carl with lyrics by Love, and "Our Life, Our Love, Our Land" as a song written by Love that he described as an "ethnic thing" that resembled "The Trader" from Holland.nb Some of the lines in "Don't Let Me Go" are "Like a ship on the ocean/That finally reaches shore/After seeming ceaseless motion/Welcome home with great emotion/ Thank you for your love and devotion". According to Alan Boyd, neither song resides in the Beach Boy vaults and were possibly never recorded.Discord Q&A with Mark & Alan http://smileysmile.net/board/index.php/topic,26378.msg646487.html#msg646487 2026-03-03 smileysmile.net In reality, by the end of 1974 the group had only completed a small selection of tracks in the studio, and were mostly focused on touring.Dillon 2012 218Badman 2004 341 Additional songs recorded in 1974 include "River Song",Dillon 2012 218 "Ding Dang", "Barnyard Blues", "It's OK", and a rendition of "Honeycomb" (unrelated to the American Spring recording). Released as a single at the end of December 1974, "Child of Winter" was the first Beach Boys record since 1966 to have displayed the label credit "Produced by Brian Wilson".Badman 2004 343 The band toured for most of 1975, playing college football stadiums and basketball arenas.Carlin 2006 195Dillon 2012 218 Meanwhile, Brian produced a cover of "Why Do Fools Fall in Love?" for California Music.Carlin 2006 198nb According to biographer Steven Gaines, Wilson had refused to finish any more tracks for California Music.Gaines 1986 277 Conversely, Stephen Love said that Wilson was ousted from the project. "We were under contract with Warner Bros., and we couldn't have him going on a tangent. If he was going to be productive, it's gotta be for the Beach Boys."Carlin 2006 198 Over the summer, the touring group played a co-headlining series of concert dates with Chicago, a pairing that was nicknamed "Beachago".Carlin 2006 196Dillon 2012 219 The tour was massively successful and restored the Beach Boys' profitability to what it had been in the mid-1960s.Badman 2004 347 25% Dennis and Carl had worked for a full two years, probably [...] trying to get the best possible Beach Boys songs that they could, and it wouldn't fly without Brian's name on it. I heard that, literally, from business people. "'Til you get Brian on there, it's not gonna happen." —Engineer Earle MankeyChrome Dreams (director) Brian Wilson – Songwriter – 1969–1982 – The Next Stage Documentary In a July 1975 article for NME, Nick Kent reported that Carl Wilson had cited "Rollin' Up to Heaven" (retitled from "Ding Dang"), "California Feelin", and "Good Timing" as "titles to new Brian Wilson songs recorded for the next Warner/Reprise album". Carl told Kent that the new songs demonstrated Brian's new "funky" approach.Kent Nick Nick Kent Brian Wilson: The Last Beach Movie part 3 https://www.rocksbackpages.com/Library/Article/brian-wilson-the-last-beach-movie-part-3 NME subscription July 12, 1975 October 3, 2021 August 30, 2021 https://web.archive.org/web/20210830213341/https://www.rocksbackpages.com/Library/Article/brian-wilson-the-last-beach-movie-part-3 live In September, the band recorded an unreleased version of the Del-Vikings' "Come Go with Me".Badman 2004 354, 358 In October, Wilson recorded a rendition of Van Dyke Parks' "Come to the Sunshine", also intended for the band's forthcoming album, but reportedly Brian could not find the master.Doe Andrew G. Tours & Sessions: 1975 http://bellagio10452.com/gigs75.html March 3, 2026 Bellagio 10452 Main production (January–May 1976) Although another joint tour with Chicago had been planned for the summer of 1976,Dillon 2012 219 the Beach Boys' association with Guercio and his Caribou Management company ended early in the year.Badman 2004 362nb According to biographer Steven Gaines, Guercio may have been fired because members of the group "felt Caribou was being overpaid", although "many observers suggest the Beach Boys followed an old pattern of jettisoning personnel when their financial situation improved."Gaines 1986 269 Biographer Mark Dillon states that the tour evaporated due to Dennis' budding romance with Karen Lamm, the ex-wife of Chicago keyboardist Robert Lamm.Dillon 2012 219 Stephen Love subsequently took over as the band's de facto business manager.Gaines 1986 269 By then, the group had fallen three albums behind schedule in their contract with Warner Bros.White 1996 291–292 In late 1975, Wilson had volunteered himself into psychologist Eugene Landy's 24-hour therapy program.Badman 2004 351, 354Carlin 2006 201Gaines 1986 286 Encouraged by the positive results, Stephen and Wilson's bandmates requested that Wilson produce the album that became 15 Big Ones.Badman 2004 358Carlin 2006 207 He had not been credited as the sole producer on a Beach Boys LP since Pet Sounds (1966).Dillon 2012 225 According to Dennis, the group "couldn't agree on enough" with regards to the songs that they had stockpiled.Abbott 1997 104 Shortly before the sessions had commenced, he explained that the fate of the band's wealth of unreleased material depended on the individual songwriters, and lamented that the pressure to release songs had detracted from the creative enjoyment.Abbott 1997 104 He reported that the group had planned to issue one album of oldies and a potential double album consisting of "all-new material that stretches from hard rock 'n' roll to these wordless vocals we've been doing that sound like the Vienna Boys Choir."Carlin 2006 207White 1996 292 thumb|left|Brian Wilson (left) behind the mixing board of Brother Studios with engineer Stephen Moffitt, January 1976 The principal 15 Big Ones sessions lasted from January 30 to May 15, 1976 at Brother Studios.Badman 2004 358, 362–363Doe Andrew G. Tours & Sessions: 1976 http://bellagio10452.com/gigs76.html Bellagio 10452 September 25, 2021 September 25, 2021 https://web.archive.org/web/20210925050411/http://bellagio10452.com/gigs76.html live Studio staff engineers Stephen Moffitt and Earle Mankey, the latter a former member of Sparks, were enlisted for the project.Dillon 2012 222–223Badman 2004 358 Carl and Dennis assisted Brian with the instrumental tracks, while Al Jardine and Mike Love contributed just vocals.Dillon 2012 226 Group meetings were supervised by Landy.Badman 2004 358 Landy said in a 1988 interview, "Brian and I did that [album] together",White Timothy Timothy White (writer) Back from the Bottom subscription https://www.nytimes.com/1988/06/26/magazine/back-from-the-bottom.html?pagewanted=all The New York Times June 26, 1988 nytimes.com https://web.archive.org/web/20110208090251/https//www.nytimes.com/1988/06/26/magazine/back-from-the-bottom.html?pagewanted=all February 8, 2011 and band road manager Rick Nelson acknowledged that Landy had attempted to exert unwelcome artistic control over the group.Spiller Nancy Bad Vibrations https://www.latimes.com/archives/la-xpm-1988-06-26-tm-8498-story.html Los Angeles Times July 26, 1988 live March 6, 2016 https://web.archive.org/web/20160306015753/http://articles.latimes.com/1988-06-26/magazine/tm-8498_1_eugene-landy latimes.com thumb|An ARP String Ensemble was used on several tracks Before the songs were chosen, the band had agreed to let Brian commit to what Carl termed a "consciously under-producing" approach.White 1996 317Abbott 1997 114 In his 2016 memoir, I Am Brian Wilson, it is stated that he suffered from a bout of laryngitis during the sessions and that his singing was not his "normal voice [...] It was an assumed voice."Wilson Greenman 2016 76 He made prominent use of Moog and ARP synthesizers; Mankey surmised that these were employed "to fake string parts [...] and not have to worry about anything else. He was in there to play the part and get out."Dillon 2012 226 As a warm-up exercise, Wilson first recorded a batch of oldies with many of the session musicians that he had worked with during the mid-1960s.Dillon 2012 226 Initially, he was to have produced one or two albums of all-original material after finishing these oldies exercises.Abbott 1997 114White 1996 291–292, 317 Crawdaddy journalist Timothy White, an observer of much of the album's recording, explained that the premise "represented a compromise at a stage when the Boys had felt stymied as a unit and reluctant to commit their own recent or stockpiled individual compositions to a communal album that didn't mainly feature Brian's work."Abbott 1997 104 Stephen observed that the band "had mixed feelings about [Brian's comeback] because they knew it would frustrate their own designs for their own music. But they probably liked it economically, because they knew it was going to get them a bigger record deal."Carlin 2006 207 Disagreements Brian recalled feeling reluctant to produce the band "because we had drifted apart, personality-wise" but ultimately arrived "to the studio with the attitude that we had to get it done."Badman 2004 358 Following two days of sessions, during which the band recorded "Palisades Park" and "Blueberry Hill", the recording temporarily halted due to disagreements regarding the album's direction.Badman 2004 358 Mankey said, "It was really tense in the studio. Brian would come in around nine or ten in the morning. One day, they would get something done, and the next day they would do nothing except fight."Leaf 1978 177 He remembered that Wilson had also run into difficulty engaging with musicians he was unfamiliar with, calling it "the fastest sessions ever. [...] At the end of the song Brian would say, 'That sounded great, guys!' and head for the door."Carlin 2006 206 According to Brian, "I started to change my mind [about producing the album], and they said, 'Come on, come on, Brian. You can't stop.'" 25% Once we had finished a certain batch of songs Brian said, "That's it. Put it out." That's why the album sounds unfinished. Brian just wanted to do one cut and capture the moment rather than working on something." —Carl WilsonBadman 2004 358 The other band members had struggled to accommodate Brian's decreased attention to production quality.Carlin 2006 206 Carl abruptly left a meeting due to a dispute over the songs voted to be "under-produced"White 1996 317Abbott 1997 114 but later returned "and worked my ass off" in service to his brother and bandmate.White 1996 317Abbott 1997 114 Dennis later complained that he had been "unhappy with the oldies – absolutely" and striving for all-original content, given ample Brian compositions had been available: "Carl and I were really upset." White 1996 316Abbott 1997 113 Stephen advocated for an immediate release to capitalize on the band's commercial momentum and satisfy their business demands;Carlin 2006 207 Dennis later complained, "Steve Love, Mike Love and Alan Jardine were pushing to get it out – it was just a big push."White 1996 316Abbott 1997 113 Without Brian's knowledge, the other members refined the mixes in opposition to his preferred "dry" production quality.Badman 2004 358 According to Jardine, he and his bandmates had felt that Brian, at this time, had lacked the competence to singlehandedly produce the album.Badman 2004 358 Mike attributed the album's "rough sections" in part to Carl suffering "a debilitating back injury" and cormorbid "self-medicating and drinking".Love 2016 251 Stephen said, "Carl was dragging his feet, saying, 'This is a shitty record. This isn't anywhere near as good as it should be.'"Carlin 2006 207 Mankey remembered that everybody in the studio had felt sorry for Brian and offered their assistance in bettering his work, with the exception of Love and Jardine, who "just thought it was crap. They'd show up and say it was terrible."Dillon 2012 226 Sessions resumed in early March.Badman 2004 358, 362–363 Ultimately, a compromise was reached, with the album including a mix of covers and originals.Badman 2004 358 Brian told an interviewer, "15 Big Ones started out as an album of nothing but oldies, but then we ran out of them. Halfway through, Mike Love decided to make the record half old and half new. I didn't like the idea at first, but he literally forced us to do it his way. I resented that."Rensin David A Conversation With Brian Wilson https://www.rocksbackpages.com/Library/Article/a-conversation-with-brian-wilson Oui December 1976 subscription 2021-10-21 2021-10-21 https://web.archive.org/web/20211021202715/https://www.rocksbackpages.com/Library/Article/a-conversation-with-brian-wilson live The group had recorded about two dozen different songs, mostly cover versions, by the time the sessions had wrapped.Badman 2004 358, 362–363 Songs Originals "It's OK", written by Brian and Mike, is an upbeat song about celebrating summer fun.Dillon 2012 223 "Had to Phone Ya" was written by Wilson while his wife Marilyn was away in Europe.Preiss 1979 122 "Everyone's in Love with You", written about the Maharishi Mahesh Yogi, was Mike Love's second ever solo contribution to a Beach Boys album.Dillon 2012 226 "That Same Song" was described by Carlin as "a whimsical history of world music that came close to sparking the gospel fire it set out to ignite".Carlin 2006 209 "T M Song" begins with a mock argument between the band members, possibly based on the real life arguments that had been occurring among themselves. Two of the songs predated the album by several years. The first, "Susie Cincinnati", is Al Jardine's only writing contribution to the album.Dillon 2012 226 It was recorded in 1969 during the sessions for the album Sunflower (1970).White 1996 315 Brian included it on 15 Big Ones "because it's a good song", although Dennis felt that it was a "silly piece of shit".Abbott 1997 108, 110nb The song was first issued in January 1970 as the B-side of the "Add Some Music to Your Day" single, and then again in December 1974 as the B-side of the "Child of Winter" single.Badman 2004 342Matijas-Mecca 2017 110 "Back Home" was originally written in 1963 by Brian and his roommate Bob Norberg.Carlin 2006 209 It is semi-autobiographical; Brian sings in the chorus of wanting to return to Ohio, which happened to be the homestate of his great-grandparents.Matijas-Mecca 2017 110 Carlin notes the 15 Big Ones version for featuring "a throbbing bass, bouncing organ riffs, and a spirited vocal from Brian."Carlin 2006 209 Cover versions and outtakes According to Wilson, "We thought about songs that were standards and, since they were acceptable once, we figured they would be acceptable again. [...] We figured it was a safe way to go."Badman 2004 364 Chuck Berry's "Rock and Roll Music" was chosen, according to Love, because he felt that the band could possibly repeat the success they had with covering Berry's "Sweet Little Sixteen" as "Surfin' U.S.A." (1963).Love 2016 258 Dennis was originally slated to sing the lead on their cover of Fats Domino's "Blueberry Hill", but Wilson gave the part to Love so that Love would not feel left out.White 1996 293 "Palisades Park", originally by Freddy Cannon, had been the source of inspiration for the Beach Boys' songs "County Fair" (1962) and "Amusement Parks U.S.A." (1965).Matijas-Mecca 2017 110 Carl recorded his vocal in one take.White 1996 292 Brian praised Carl's performance and ranked it as "one of my top five Beach Boys vocals. He nailed it."Wilson Greenman 2016 76 The other six selections included on the album were "Chapel of Love" (originally by Darlene Love), "Talk to Me" (originally by Little Willie John), , "A Casual Look" (originally by the Six Teens), "In the Still of the Night" (originally by the Five Satins), and "Just Once in My Life" (originally by the Righteous Brothers).Lambert 2007 310White 1996 315 In the assessment of musicologist Philip Lambert, most of the covers remained faithful to the originals, however, "Blueberry Hill", "Talk to Me", and "Palisades Park" were the exceptions in which the listener gets "more of a sense of the younger Brian Wilson".Lambert 2007 311 Although they were not included on the album, the band also recorded versions of "Sea Cruise", "On Broadway", "Mony Mony", "Running Bear", "Shake, Rattle and Roll", "Don't Fight the Sea", "Peggy Sue", "Michael Rowed the Boat Ashore", and "Let's Dance". Other discarded tracks included the originals "Short Skirts" (Brian), "Lisa" (Mike), "10,000 Years Ago (Mike and Dennis)",White 1996 292 and "Rainbows" (Dennis and Carl).White 1996 292Abbott 1997 113 Packaging and artwork Group Therapy was a title for the album that had been proposed by either Dennis or Brian.Gaines 1986 287Wilson Greenman 2016 74 Brian's 2016 memoir states, "That was the name of a band Ray Kennedy was in back in the '60s, and that might have been in the back of my mind, but mainly I thought of it because it summed up everything that was happening at the time."Wilson Greenman 2016 74 The title was rejected in favor of Dean Torrence's suggestion, 15 Big Ones, which referred to both the number of tracks and the group's 15th anniversary.Dillon 2012 82Badman 2004 358, 364 thumb|Graphic designer Dean Torrence used the logo for the Olympic Games as the basis for the 15 Big Ones cover artwork 15 Big Ones was packaged with cover artwork that showed photos of the individual band members inside five interlocking rings, resembling the logo for the Olympic Games.Matijas-Mecca 2017 108Love 2016 259 This was an intentional reference to the fact that 1976 had been an Olympic year.Love 2016 259 A logo that displayed the band's name, designed by Torrence, was introduced with this release, becoming the Beach Boys' official logo until the 2010s.Matijas-Mecca 2017 108 Mike Love reflected, "The images of Brian, Dennis, Carl, Al, and me in five interlocking circles could have been a metaphor for five bandmates united in common purpose, or five guys living in their separate worlds. With us, it was both."Love 2016 259 Release and promotion Brian's Back the song Brian's Back (song) thumb|left|The group in a publicity shot from 1976 To highlight Brian's recovery and his return to writing and producing, Stephen Love devised a promotional campaign with the tagline "Brian Is Back!", and paid the Rogers & Cowan publicity agency $3,500 per month to implement it (equivalent to $ in US).Gaines 1986 287 In Gaines' description, the resultant "media coverage was enormous",Gaines 1986 287 appearing across Newsweek, New West, Rolling Stone, Crawdaddy, the New York Times, and the Los Angeles Times.Carlin 2006 202Leaf 1978 170 It marked the highest level of press attention that Wilson had received since Derek Taylor's "Brian Wilson is a genius" campaign from 1966.Sanchez 2014 4 On May 24, 1976, lead single "Rock and Roll Music" (backed with "T M Song") was released as the band's first new single in 16 months, peaking in the U.S. at number 5, their highest chart position for a single since "Good Vibrations" (1966).Badman 2004 362 In June, Wilson gave his first press interviews in several years, and, in July, the band produced a six-hour documentary retrospective for U.S. radio.Badman 2004 363 Starting on July 2, he made regular concert appearances with his bandmates for the first time since December 1964, singing and alternating between piano and bass.Badman 2004 363Carlin 2006 215 Some reports erroneously state that it was the first time Wilson had appeared onstage with the band since 1964; in fact, Wilson had last done so in 1973.Badman 2004 363 From July 3 to August 15, 1976, the group embarked on a string of major stadium concert dates across the U.S.Badman 2004 364, 367, 370 Supporting musicians included Billy Hinsche (guitar), Ed Carter (guitar, bass), Ron Altbach (keyboards), and Carlos Muñoz (keyboards).Badman 2004 363 The setlists for these dates included the 15 Big Ones selections "Susie Cincinnati", "Palisades Park", "It's OK", "A Casual Look", "Back Home", and "Rock and Roll Music".Badman 2004 364, 367, 370 At the centerpiece of the "Brian Is Back!" campaign was the release of 15 Big Ones on July 5,Badman 2004 364 coinciding with a concert at Anaheim Stadium on the same day.Badman 2004 365 The album peaked at number 8 in the U.S., becoming their first top 10 album of new material since Pet Sounds, and their highest-charting studio album since Summer Days (And Summer Nights!!) (1965).Badman 2004 96, 364 It also became their second Warner Bros. release to be certified gold.Abbott 1997 113 Controversy Maybe it would have been more accurate to say, "We think and hope Brian's on his way back!" But that's not gonna cut it for a professional [media] campaign. —Band manager Stephen Love, orchestrator of the "Brian Is Back!" campaignCarlin 2006 206 25% Despite its success, the media campaign proved controversial.Badman 2004 364 Landy involved himself by openly discussing Wilson's condition and other aspects of his personal life to reporters.Carlin 2006 200 Wilson often solicited drugs from his interviewers, potentially in jest,Leaf 1978 180 and remarked on one occasion that he had "felt like a prisoner". A Newsweek journalist reported that Jardine and Mike Love were "all for letting Brian take full charge, even though Love makes no secret of resenting him."Gaines 1986 287 Other coverage reported on his family preventing access to his funds, demeaning treatment by Landy, and controlling teenage bodyguard. Harvey Kubernick of Melody Maker, who attended the Anaheim concert, reported that Wilson "shouldn't be subjected to being propped up on stage for video purposes or group/media examination" and "seemed uncomfortable".Badman 2004 364 Writing in 1980, Sounds journalist Sandy Robertson reflected that earlier optimistic coverage of Wilson had downplayed his condition and marked a stark contrast from his past as a creator of hit records.Robertson Sandy The Beach Boys: The Life of Brian https://www.rocksbackpages.com/Library/Article/the-beach-boys-the-life-of-brian Sounds Rock's Backpages April 19, 1980 subscriptionnb Critic Alexis Petridis concurred that the coverage had been "heartbreaking and horrifying in equal measure, depicting a halting, visibly terrified man".Petridis Alexis Alexis Petridis The astonishing genius of Brian Wilson https://www.theguardian.com/music/2011/jun/24/brian-wilson-interview June 30, 2013 The Guardian June 24, 2011 October 31, 2013 https://web.archive.org/web/20131031010510/http://www.theguardian.com/music/2011/jun/24/brian-wilson-interview live On August 5, NBC premiered a Lorne Michaels-produced television special about the band, called simply The Beach Boys; it included live performances of "Rock and Roll Music" and "It's OK", both drawn from the Anaheim concert, and "That Same Song", filmed with the 75-piece Double Rock Baptist Choir.Badman 2004 365 Following the tour, the Beach Boys played a further dozen concert dates at stadiums and basketball arenas, this time without Brian's participation.Carlin 2006 211 On August 23, the band were the subject of a five-page cover story on that week's issue of People magazine.Badman 2004 366 The album's second single, "It's OK" (backed with "Had to Phone Ya"), was issued in the U.S. on August 30 and peaked at number 29.Badman 2004 367 On September 17, Brian appeared as a guest presenter on Don Kirshner's Annual Rock Music Awards program, where he was nominated for the Hall of Fame category and lost to the Beatles. Carl and Dennis accompanied him to the podium.Badman 2004 367 In November, Rolling Stone published David Felton's feature story, "The Beach Boys: The Healing of Brother Bri" , which presented unfavorable depictions of the band and their entourage of family and friends.Matijas-Mecca 2017 108 On November 8, the third and last single, "Susie Cincinnati" (backed with "Everyone's in Love with You") was issued in the U.S. and failed to chart.Badman 2004 369 On November 16, BBC-2 premiered an episode of The Old Grey Whistle Test that included host Bob Harris' interview with Brian, which had been filmed on September 21.Badman 2004 369 Wilson made his first talk show appearance on November 23, on The Mike Douglas Show, followed by an appearance on NBC's Saturday Night, on November 26. Both appearances included a performance of "Back Home".Badman 2004 370 Initial reviews 15 Big Ones received mixed reviewsDillon 2012 227 and was largely disliked by the group's fanbase.Badman 2004 364 Much of the criticism centered around the cover songs, its overall unfinished, forced, or rushed quality, and Dennis' and Brian's rough vocal performances. In the assessment of biographer Peter Ames Carlin, one of the "more distressing" characteristicss was Brian's degenerated voice.Carlin 2006 2009 White wrote in his Crawdaddy review that the album was a disappointment; although it "does boast several bright moments – but no brilliant ones."Abbott 1997 111 A reviewer for The Village Voice described the album as "the kind of music one might expect to find at a rock star's funeral."Gaines 1986 290 Carlin states that most other reviewers "gave 15 Big Ones gentle treatment", such as in Newsweek, which described the album as "fascinating [...] a curiously unshakable unity."Carlin 2006 209 Jim Miller of Rolling Stone decreed that it was "the most idiosyncratic — and flaky — record I have heard in some time, and it fascinates me."Miller Jim 15 Big Ones https://www.rollingstone.com/music/music-album-reviews/15-big-ones-205936/ Rolling Stone October 1, 2021 August 12, 1976 rollingstone.com June 22, 2020 https://web.archive.org/web/20200622102150/https://www.rollingstone.com/music/music-album-reviews/15-big-ones-205936/ live Post-release and The Beach Boys Love You Other members of the band, including Carl and Dennis, disparaged the album in the press when it was released.Badman 2004 364 Dennis felt that it was "a great mistake to put Brian in full control" and that the "whole process was a little bruising."Badman 2004 364 He stated, "We were heartbroken. People have waited all this time, anticipating a new Beach Boys album, and I hated to give them this."Badman 2004 364 Mike Love declined to comment on the album when asked by a reporter.Badman 2004 366 In White's belief, the troubled sessions "precipitated the abrupt solo career decisions by Dennis and Carl Wilson", and what he had witnessed convinced him that "the greatest obstacle the Beach Boys face is that of five divergent personalities, fraught with jealousies, fears, foibles, conflicting interests and basic stylistic disagreements."Abbott 1997 106, 111 left They couldn't function without me – they'd flounder, Their stage show is down pat, but they need me in the studio. [...] Everything I do is for the group. [...] Sometimes I really feel like a commodity in a stock market. [...] I've wanted to leave them lots of times. —Brian Wilson, December 1976 25% In late 1976 interviews, Brian described 15 Big Ones as "nothing too deep" and promised that his next effort would be as ambitious as "Good Vibrations".Badman 2004 364 He mentioned that he felt it was "a good album" and "if you listen to it, you can see where all the work went", adding that if it had been disliked by "the kids", then it "would have wrecked me and I'd probably have hidden out again." After touring with the band, he wrote material for what became the follow-up album The Beach Boys Love You (1977)Badman 2004 363, 367–368 intending it to be potentially a solo album that was "more creative, more original", and "lyrically much more interesting" than 15 Big Ones.Snyder Patrick Brian Wilson surfs out of nowheresville Rolling Stone March 10, 1977 http://troun.tripod.com/rsbriannowhere.html In a 1998 interview, he referred to both as his favorite Beach Boys albums.Carlin 2006 290 In 1978,Doe Andrew G. GIGS78 http://bellagio10452.com/gigs78.html Bellagio 10452 April 2, 2022 Love recorded the original song "Brian's Back" as a response to the media campaign; the track was later released on the 1998 compilation Endless Harmony Soundtrack.Love 2016 406–407, 417–418 Coinciding with the band's 2012 reunion, Capitol released a 50-track compilation of the Beach Boys' catalog titled Fifty Big Ones that included "It's O.K." and "Rock and Roll Music".Steve Leggett Review: Fifty Big Ones: Greatest Hits album R2565858 yes AllMusic December 7, 2012 "It's O.K." was rerecorded by Mike Love for his 2019 album 12 Sides of SummerErlewine Stephen Thomas 12 Sides of Summer Review https://www.allmusic.com/album/12-sides-of-summer-mw0003284718 AllMusic October 14, 2026 and by Wilson for the 2021 documentary Brian Wilson: Long Promised Road.Beep beep! Rev up your summer with our Brian Wilson playlist, "Long Promised Road Trip" https://www.pbs.org/wnet/americanmasters/brian-wilson-music-road-trip-playlist/22123/ American Masters PBS June 8, 2022 October 14, 2026 In 2025, 15 Big Ones outtakes and alternate mixes were included on We Gotta Groove: The Brother Studio Years, an expanded reissue of Love You. It marked the first release of the 15 Big Ones outtakes "Mony, Mony", "Running Bear", "Shake, Rattle and Roll", "Sea Cruise", and "Short Skirts".We Gotta Groove: The Brother Studio Years https://shop.thebeachboys.com/collections/we-gotta-groove-the-brother-studio-years/products/the-beach-boys-we-gotta-groove-the-brother-studio-years?utm_source=ig&utm_medium=social&utm_content=link_in_bio&fbclid=PAZnRzaAPcc2JleHRuA2FlbQIxMQBzcnRjBmFwcF9pZA8xMjQwMjQ1NzQyODc0MTQAAae10ya-BwHvbDhhE7ZOxB4qHUkXiZ5ojZtl4PLQcpAeJH2Xt8_u__p-5wujMg_aem_jEs08lg8EhJ41BPkyCzHrQ The Beach Boys official website The Beach Boys 20 January 2026 Legacy Retrospective professional ratings AllMusic 2.5 515 Big Ones http://www.allmusic.com/album/15-big-ones-mw0001953221 Bush John AllMusic January 14, 2016 December 5, 2015 https://web.archive.org/web/20151205012427/http://www.allmusic.com/album/15-big-ones-mw0001953221 live Blender 3 5The Beach Boys 15 Big Ones/Love You http://blender.com:80/guide/reviews.aspx?id=2252 Doug Wolk Wolk Douglas October 2004 dead https://web.archive.org/web/20060630150407/http://blender.com/guide/reviews.aspx?id=2252 June 30, 2006 June 2, 2017 Blender Christgau's Record Guide BChristgau Robert Christgau's Record Guide: Rock Albums of the Seventies Ticknor & Fields 1981 089919026X Consumer Guide '70s: B Robert Christgau February 21, 2019 https://www.robertchristgau.com/get_chap.php?k=B&bk=70 May 17, 2020 https://web.archive.org/web/20200517130444/https://www.robertchristgau.com/get_chap.php?k=B&bk=70 live Encyclopedia of Popular Music 3 5The Encyclopedia of Popular Music Oxford University Press 2006 978-0-19-531373-4 Larkin Colin 4th London 479 MusicHound woof!https://archive.org/details/isbn_9781578590612/page/83 MusicHound Rock: The Essential Album Guide Visible Ink Press 1999 1-57859-061-2 Graff Gary Farmington Hills, MI 83 Durchholz Daniel Pitchfork 1.5/1015 Big Ones August 15, 2000 http://pitchfork.com/reviews/albums/11669-15-big-oneslove-you/ Kempke Erik Pitchfork June 19, 2011 April 23, 2011 https://web.archive.org/web/20110423184842/http://pitchfork.com/reviews/albums/11669-15-big-oneslove-you/ live The Rolling Stone Album Guide 2 5https://archive.org/details/newrollingstonea00brac/page/46 The New Rolling Stone Album Guide Fireside/Simon & Schuster 2004 0-7432-0169-8 Brackett Nathan 4th New York, NY 46 with Hoard Christian registration yes According to Christian Matijas-Mecca, 15 Big Ones marked the beginning of a one-and-a-half-year period in which "Brian produced some of his most creative and interesting (if not necessarily commercial) music since he abandoned SMiLE."Matijas-Mecca 2017 108 In the view of journalist Brian Chidester, the album marked the end of "Wilson's full retreat as leader of the Beach Boys" without ever returning "to the form that saw him produce groundbreaking works like Pet Sounds and Smile."Chidester Brian Busy Doin' Somethin': Uncovering Brian Wilson's Lost Bedroom Tapes http://www.pastemagazine.com/articles/2014/03/busy-doin-somethin-uncovering-brian-wilsons-lost-b.html?a=1 Paste December 11, 2014 March 7, 2014 December 11, 2014 https://web.archive.org/web/20141211033306/http://www.pastemagazine.com/articles/2014/03/busy-doin-somethin-uncovering-brian-wilsons-lost-b.html?a=1 live In a retrospective review, The Village Voice critic Robert Christgau bemoaned the album's selection of covers and their lack of a "playful, goofy vocal intensity". Author Nick Kent called it "utterly uninspired and weary-sounding [...] clearly intended only as therapy for Wilson's long dormant production talents."Kent 2009 53 Musician Dennis Diken of the Smithereens, who wrote the liner notes to the album's 2000 reissue, acknowledged its frequent points of criticisms and opined, "If you can accept all [of them] and put it behind you that this isn't Smile, Pet Sounds or even Wild Honey, give 15 Big Ones a spin and dig on what is a very cool and fun Beach Boys album." Reviewing the album's 2000 reissue, Blenders Douglas Wolk wrote it suffered greatly from "clunky covers and bored performances". AllMusic's John Bush believed most of the covers were "simply too well known to be reworked effectively, by anyone", but favorably compared "It's OK" and "Had to Phone Ya" to "Brian's odd pop songs on late-'60s albums like Friends and 20/20." Pitchforks Eric Kempfe described it as "muddy and confused" and highlighted "Had to Phone Ya" and "Back Home" as the best originals; Kempfe added that, with the exception of "Just Once in My Life", the covers "are notable only for the morbid fascination they hold [...] Brian's once-sweet falsetto is reduced to a hoarse crackle; as a result, Mike Love's painful nasal whine is the dominant voice on the record." In his 2007 book Icons of Rock, Scott Schinder called 15 Big Ones "largely a letdown, comprised y largely of lackluster remakes of rock and roll oldies, along with a handful of lightweight but charming new songs by Brian.Schinder 2007 123–124 Following the We Gotta Groove reissue of Love You, AllMusic's Tim Sendra wrote that the "songs intended for 15 Big Ones are a bit of a mixed bag"Sendra Tim We Gotta Groove: The Brother Studio Years Review https://www.allmusic.com/album/release/we-gotta-groove-the-brother-studio-years-mr0006986769 AllMusic October 14, 2026 while Alexis Petridis of The Guardian referred to 15 Big Ones as "a hastily thrown-together mess" and felt that none of the included tracks drawn from its sessions "seem fit to cause anyone to reassess their views".Petridis Alexis February 11, 2026 The Beach Boys: We Gotta Groove review – box set of lost 70s music has all of Brian Wilson's turmoil and talent https://www.theguardian.com/music/2026/feb/11/the-beach-boys-we-gotta-groove-the-brother-studios-years-review-brian-wilson-dennis-wilson The Guardian October 14, 2026 Track listing Side one Lead vocal(s) Rock and Roll Music Chuck Berry Mike Love 2:29 It's O.K. Brian Wilson, Mike Love Love, Dennis Wilson 2:12 Had to Phone Ya Wilson, Love, Diane Rovell Love, Al Jardine, D. Wilson, Carl Wilson, Brian Wilson 1:43 Chapel of Love Jeff Barry, Ellie Greenwich, Phil Spector B. Wilson 2:34 Everyone's in Love with You Love Love 2:42 Talk to Me Joe Seneca C. Wilson 2:14 That Same Song Wilson, Love B. Wilson 2:16 T M Song Wilson Jardine 1:34 Side two Lead vocal(s) 39:20 Palisades Park Chuck Barris C. Wilson 2:27 Susie Cincinnati Al Jardine Jardine 2:57 A Casual Look Ed Wells Love, Jardine 2:45 Blueberry Hill Al Lewis, Larry Stock, Vincent Rose Love 3:01 Back Home Wilson, Bob Norberg B. Wilson 2:49 In the Still of the Night Fred Parris D. Wilson 3:03 Just Once in My Life Gerry Goffin, Carole King, Spector C. Wilson, B. Wilson 3:47 Note "Talk to Me" includes an interpolation of the 1959 song "Tallahassee Lassie", originally performed by Freddy Cannon.Matijas-Mecca 2017 110 Personnel Credits taken from the album's liner notes.15 Big Ones The Beach Boys 1976 Album liner notes The Beach Boys Alan Jardine – lead (3, 8, 10–11) and backing vocals (all tracks), guitar (10) Michael Love – lead (1–3, 5, 11–12) and backing vocals (all tracks), arranger (2, 5) Brian Wilson – lead (3–4, 7, 13) and backing vocals (all tracks except 5), piano (1–4, 6–7, 9, 11, 14–15), organ (1–2, 6–9, 12–13, 15), Moog bass (1–2, 4, 6, 13–15), ARP synthesizer (1), ARP String Ensemble (4–5, 14–15), bass guitar (10), harmonica (10), chimes (12), bells (13), arranger (1–3, 6–15) Carl Wilson – lead (3, 6, 9, 15) and backing vocals (1–3, 5–7, 9–15), guitars (2, 4–5, 10, 12–13), bass (5–6, 11), synthesizer (9), Jew's harp (13), percussion (13, 15) Dennis Wilson – lead (3, 14) and backing vocals (1–3, 6, 10, 12, 14), drums (1–8, 11, 13–15), percussion (11), vibraphone (8) Touring members Ron Altbach – piano (5), harpsichord (5), accordion (7) Ed Carter – guitar (1, 3, 5–8, 11, 15) Billy Hinsche – guitar (1, 3, 6, 8, 11, 15) Guests Daryl Dragon – clavinet (10), vocal arrangement (5) Dennis Dragon – drums (10) Ricky Fataar – drums (2), percussion (15) Bruce Johnston – backing vocals (10, 15), piano (12) Charles Lloyd – flute (5) Toni Tennille – backing vocals (5) Marilyn Wilson – backing vocals (1–3, 7) Roy Wood (credited as "Roy Wood and Wizzard") – saxophone (2) Additional session musicians Mike Altschul – saxophone (1, 4), clarinet (1) Ben Benay – guitar (9) Hal Blaine – drums (9, 12) Jerry Cole – guitar (9) Steve Douglas – saxophone (1, 3–9, 12), horns (11), flute (8) Dennis Dreith – saxophone (1, 4), clarinet (1–3) Tim Drummond – bass (7) Gene Estes – percussion (6) Carl L. Fortina – accordion (9, 12) Jim Hughart – string bass (12) Jules Jacobs – clarinet (2–3) Plas Johnson – saxophone (9) Jackie Kelso – saxophone (1, 4), clarinet (1) Jack Nimitz – saxophone (1, 4), clarinet (1) Jay Migliori – saxophone (5–8), horns (11), flute (8) Carol Lee Miller – autoharp (1, 4) Ray Pohlman – bass (9) Lyle Ritz – bass (3, 9) Bobby Shew – trumpet (3) Tommy Tedesco – guitar (12) Julius Wechter – percussion (9), bells (9, 12) Maureen L. West – harp (5) The Sid Sharp Strings (3, 6–7) Murray Adler – violin (7) Arnold Belnick – violin (3) Henry Ferber – violin (3) Lori Klass – violin (7) Lou Klass – violin (6) Bernard Kundell – violin (6) William Kurasch – violin (7) James Getzoff – violin (6) Henry L. Roth – violin (6) Sidney Sharp – violin (3, 7) Tibor Zelig – violin (7) Technical Dean Torrence and Jim Evans – album cover, art direction and logo Charts Chart (1976)Peakposition UK Top 40 Album ChartBadman 2004 36431 US Billboard Top LPs & TapeBadman 2004 3648 Notes nb 30em References 20em Bibliography 30em Abbott Kingsley Back to the Beach: A Brian Wilson and the Beach Boys Reader https://archive.org/details/backtobeachbrian0000unse/ 1997 Helter Skelter 978-1-90092-402-3 registration Badman Keith The Beach Boys: The Definitive Diary of America's Greatest Band, on Stage and in the Studio https://archive.org/details/beachboysdefinit0000badm registration 2004 Backbeat Books 978-0-87930-818-6 Peter Ames Carlin Peter Ames Carlin Catch a Wave: The Rise, Fall, and Redemption of the Beach Boys' Brian Wilson https://books.google.com/books?id=eYyovo_AbqAC 2006 Rodale 978-1-59486-320-2 2015-12-24 2017-02-22 https://web.archive.org/web/20170222180756/https://books.google.com/books?id=eYyovo_AbqAC live Dillon Mark Fifty Sides of the Beach Boys: The Songs That Tell Their Story https://archive.org/details/fiftysidesofbeac0000dill/ 2012 ECW Press 978-1-77090-198-8 registration Gaines Steven Steven Gaines Heroes and Villains: The True Story of The Beach Boys https://archive.org/details/heroesvillainsth00gain 1986 Da Capo Press New York 0306806479 registration Kent Nick Nick Kent https://books.google.com/books?id=bPMO0CtuBAsC&pg=PA12 The Last Beach Movie Revisited: The Life of Brian Wilson The Dark Stuff: Selected Writings on Rock Music 2009 Da Capo Press 9780786730742 2021-10-03 2021-12-27 https://web.archive.org/web/20211227144747/https://books.google.com/books?id=bPMO0CtuBAsC&pg=PA12 live Lambert Philip Inside the Music of Brian Wilson: the Songs, Sounds, and Influences of the Beach Boys' Founding Genius https://books.google.com/books?id=7XsZAQAAIAAJ 2007 Continuum 978-0-8264-1876-0 2021-10-03 2016-05-15 https://web.archive.org/web/20160515190704/https://books.google.com/books?id=7XsZAQAAIAAJ live Leaf David David Leaf The Beach Boys and the California Myth https://archive.org/details/beachboyscalifor00leaf registration 1978 Grosset & Dunlap New York 978-0-448-14626-3 Love Mike Mike Love Good Vibrations: My Life as a Beach Boy https://books.google.com/books?id=ioG0CwAAQBAJ 2016 Penguin Publishing Group 978-0-698-40886-9 2021-10-03 2020-08-12 https://web.archive.org/web/20200812050025/https://books.google.com/books?id=ioG0CwAAQBAJ live Matijas-Mecca Christian The Words and Music of Brian Wilson https://books.google.com/books?id=wmphDgAAQBAJ&pg=PA86 2017 ABC-CLIO 978-1-4408-3899-6 2021-10-03 2021-04-21 https://web.archive.org/web/20210421025726/https://books.google.com/books?id=wmphDgAAQBAJ&pg=PA86 live Preiss Byron Byron Preiss The Beach Boys https://books.google.com/books?id=I0dWoXNvhkoC 1979 Ballantine Books 978-0-345-27398-7 2021-10-14 2020-07-27 https://web.archive.org/web/20200727161120/https://books.google.com/books?id=I0dWoXNvhkoC live Sanchez Luis The Beach Boys' Smile https://books.google.com/books?id=FC0_AwAAQBAJ 2014 Bloomsbury Publishing 978-1-62356-956-3 2021-10-03 2021-08-18 https://web.archive.org/web/20210818121058/https://books.google.com/books?id=FC0_AwAAQBAJ live Schinder Scott The Beach Boys Schinder Scott Schwartz Andy Icons of Rock: An Encyclopedia of the Legends Who Changed Music Forever 2007 Greenwood Press 978-0313338458 https://books.google.com/books?id=chj91X0dWzUC&pg=PT101 2015-12-24 2016-05-13 https://web.archive.org/web/20160513023445/https://books.google.com/books?id=chj91X0dWzUC&pg=PT101 live White Timothy Timothy White (writer) The Nearest Faraway Place: Brian Wilson, the Beach Boys, and the Southern Californian Experience 1996 Macmillan 0333649370 https://archive.org/details/nearestfarawaypl0000whit/ registration Wilson Brian Brian Wilson Greenman Ben Ben Greenman I Am Brian Wilson: A Memoir https://books.google.com/books?id=9CmiBQAAQBAJ 2016 Da Capo Press 978-0-306-82307-7 2016-10-13 2020-07-26 https://web.archive.org/web/20200726035714/https://books.google.com/books?id=9CmiBQAAQBAJ live Further reading none Felton David The Healing of Brother Bri Rolling Stone November 4, 1976 https://www.rollingstone.com/music/news/the-healing-of-brother-brian-the-rolling-stone-interview-with-the-beach-boys-19761104#ixzz3QaZHBl2d rollingstone.com limited External links album 78023 15 Big Ones 15 Big Ones on YouTube tGMbl_opkCQ "Rock And Roll Music" (2012 Mix With Extra Verse) 4DJDwD7CvrM "California Feelin' (Original Demo)" JYG6gqOWq9Y "Barnyard Blues" s9N_9dQZPiY "Lucy Jones" n2AfoBUHkWk "My Love Lives On" arnLoAl1phY Brian Wilson – Songwriter – 1969–1982 – The Next Stage – Part 6 (documentary excerpt) Category:The Beach Boys albums Category:Reprise Records albums Category:1976 albums Category:1970s covers albums Category:Albums produced by Brian Wilson Category:Caribou Records albums Category:Brother Records albums Category:Albums with cover art by Dean Torrence Category:Rock-and-roll albums