ALBUM REVIEW: The Beach Boys - Carl and the Passions "So Tough"

    By the end of 1971, The Beach Boys were in a better spot than they had been at the end of the 60s - their previous two albums, Sunflower and Surf's Up, had been met with a level of critical attention and acclaim that was missing from previous albums (if the press even bothered with them in the US, of course), and Surf's Up was even a decent success on the charts in comparison to recent releases. While they were moving up, this was unfortunately contrasted with some turmoil in the band, particularly with friction between Dennis Wilson and the rest of the group - rumors of a solo album from Dennis were brewing, although one never materialized, and he was in a state of constantly leaving (or getting fired) and rejoining. In the midst of this, new album sessions saw participation from members of The Flame, who were the opening act for The Beach Boys since 1970; these members, Ricky Fataar and Blondie Chaplin, were eventually made full members of the group at the recommendation of manager Jack Riley (Carl would later comment how the group needed "fresh blood" to liven up the group). After the sessions, long time member Bruce Johnston left the group, although it remains largely unclear if he quit or was fired. Carl and the Passions is a complete left field for the group, even by the standards of what they had done prior - based in more of a roots rock and soul sound, "So Tough" marked a serious change in sound for the group, even if the Blondie-Ricky era was short-lived, and the adjustment is obvious with the album's occasional mixed grab bag of material.

    It's weird to try and dissect this album because it really is a menagerie of different sounds and ideas, even by the standards of the decently eclectic Beach Boys. There's that classic pop sounds on moments like "Marcella" or "All This Is That", there's more driving rock numbers like the killer "You Need a Mess of Help to Stand Alone", roots rock influence on "Here She Comes", and even slow baroque numbers like "Cuddle Up". Ultimately, this scatter of ideas leaves the album with a lack of cohesion more than anything, especially with Dennis' songs which bluntly sound detached from everything else (it doesn't help that a song like "Cuddle Up" sounds pretty boring). That's not to say that these influences are necessarily misplaced, especially since the group has done equally out-there albums in their catalog (see the still soulful and lively Wild Honey), but something feels different with five years gone. I'm sure part of it is also Brian's continuously decreasing involvement - sure he sings backup on a few moments and plays a few instruments here and there, but that's it. He's not even anywhere on the second half. Then, of course, there's the new additions of Ricky and Blondie, who are certainly pulling their weight on this with two songs of their own (even having the highlight "Here She Comes"), but perhaps they're part of this weird feeling of the album. All of this scattered style and drastic changes in sound makes for the assured black sheep of their catalog, even in comparison to the following year's weird and wonderful Holland.

    Still, this album came out during the group's creative peak, so there is still some gems to be found amidst this album. The previously mentioned opening "You Need a Mess of Help to Stand Alone" is a soaring rock numbers, and makes for a great introduction to this change in style for The Beach Boys, even if what follows is a certifiable potpourri. "Marcella" is somewhere between old and new Beach Boys in sound, and it makes for one of the more lovable and standout moments on the album. "All This Is That", written by Mike and Al, is the album's certifiably best tune with its flavorful harmonies and reflective lyricism. Blondie and Ricky hit it big with "Here She Comes", a clean dose of Big Pink Americana that manages to rock as much as it pops. Amidst all these great moments, however, is some certifiable schlock. Dennis Wilson is the worst culprit here, who has gone from carrying albums with "Little Bird" and "Forever" to the drowsy "Make It Good" and "Cuddle Up", both songs that are nothing short of momentum killing on the album - it surprises me little that both of these songs were co-written by the male half of Captain and Tennille. There's also the spirited "He Come Down" which, while interesting, ultimately has its gospel influence misplaced - something about the gospel influence here doesn't really sound right, which is certainly shocking to me considering this is The Beach Boys.

    The Blondie-Ricky era of The Beach Boys was certainly one of unbridled creativity, but Carl and the Passions is a bit too much of a sore thumb in their catalog - its ideas too scattered, its songs too mixed in quality. The following year's Holland would prove to be a much more cohesive and realized album (arguably one of their best in my mind) that truly shows what this line-up was capable of. Carl and the Passions isn't a throwaway by any means (there is plenty of worthwhile material throughout this disc), but it leaves a whole lot to be desired.

RATING: ✯✯✯✯✯✯✯✯✯✯

Listen to Carl and the Passions "So Tough".