Editing The Beach Boys (section)

==History==

=== 1958–1961: Formation ===
[[File:Beach Boys Landmark - Plano general I.jpg|thumb|right|[[Beach Boys Historic Landmark|Historical landmark in Hawthorne, California]], marking where the Wilson family home once stood]]
At the time of his 16th birthday on June 20, 1958, [[Brian Wilson]] shared a bedroom with his brothers, [[Dennis Wilson|Dennis]] and [[Carl Wilson|Carl]]{{mdash}}aged 13 and 11, respectively{{mdash}}in their family home in [[Hawthorne, California|Hawthorne]]. He had watched his father [[Murry Wilson]] play piano, and had listened intently to the harmonies of vocal groups such as [[the Four Freshmen]].{{sfn|Lambert|2007|p=3}} After dissecting songs such as "[[Ivory Tower (1956 song)|Ivory Tower]]" and "[[Good News (musical)|Good News]]", Brian would teach family members how to sing the background harmonies.{{sfn|Carlin|2006|p=12}} For his birthday that year, Brian received a [[Reel-to-reel audio tape recording|reel-to-reel tape recorder]]. He learned how to [[overdub]], using his vocals and those of Carl and their mother.{{sfn|Lambert|2007|p=3}} Brian played piano, while Carl and [[David Marks]], an eleven-year-old longtime neighbor, played guitars that each had received as Christmas presents.{{sfn|Stebbins|2007|p=1}}

Soon Brian and Carl were avidly listening to [[Johnny Otis]]' [[KFRN|KFOX]] radio show.{{sfn|Lambert|2007|p=3}} Inspired by the simple structure and vocals of the [[rhythm and blues]] songs he heard, Brian changed his piano-playing style and started writing songs.{{Citation needed|date=August 2014}} Family gatherings brought the Wilsons in contact with cousin [[Mike Love]]. Brian taught Love's sister Maureen and a friend harmonies.{{sfn|Lambert|2007|p=3}} Later, Brian, Love and two friends performed at [[Hawthorne High School (Hawthorne, California)|Hawthorne High School]].{{sfn|Lambert|2007|p=5}} Brian also knew [[Al Jardine]], a high school classmate.{{sfn|Schinder|2007|p=103}} Brian suggested to Jardine that they team up with his cousin and brother Carl. Love gave the fledgling band its name: "The Pendletones", a pun on "[[Pendleton Woolen Mills|Pendleton]]", a brand of woollen shirt popular at the time.{{sfn|Lambert|2007|p=21}} Dennis was the only avid surfer in the group, and he suggested that the group write songs that celebrated the sport and the lifestyle that it had inspired in [[Southern California]].{{sfn|Schinder|2007|p=104}}{{sfn|Warner|1992|p=328}}{{refn|group=nb|Nick Venet said that none of the members, including Dennis, surfed until after the fact.{{sfn|Hoskyns|2009|p=60}}}} Brian finished the song, titled "[[Surfin'|Surfin{{'-}}]]", and with Mike Love, wrote "[[Surfin' Safari (song)|Surfin' Safari]]".{{sfn|Warner|1992|p=328}}

Murry Wilson, who was an occasional songwriter, arranged for the Pendletones to meet his publisher Hite Morgan.<ref name=RockHallofFame /> He said: "Finally, [Hite] agreed to hear it, and Mrs. Morgan said 'Drop everything, we're going to record your song. I think it's good.' And she's the one responsible."{{sfn|Murphy|2015|p=99}} On September 15, 1961, the band recorded a demo of "Surfin{{'"}} with the Morgans. A more professional recording was made on October 3, at World Pacific Studio in Hollywood.{{sfn|Schinder|2007|p=104}} David Marks was not present at the session as he was in school that day.<ref>{{cite web |last=Greene |first=Andy |title=Exclusive QA: Original Beach Boy David Marks on the Band's Anniversary Tour |url=https://www.rollingstone.com/music/news/exclusive-q-a-original-beach-boy-david-marks-on-the-bands-anniversary-tour-20120316 |magazine=[[Rolling Stone]] |date=March 16, 2012 |access-date=February 19, 2013 |archive-date=February 2, 2013 |archive-url=https://web.archive.org/web/20130202174751/http://www.rollingstone.com/music/news/exclusive-q-a-original-beach-boy-david-marks-on-the-bands-anniversary-tour-20120316 |url-status=live }}</ref>{{refn|group=nb|Since he did not appear on the first performance by the band that would become "the Beach Boys", most historians discount him as a true founding member of the group.{{sfn|Stebbins|2011}}}} Murry brought the demos to Herb Newman, owner of [[Candix Records]] and [[Era Records]], and he signed the group on December 8.{{sfn|Warner|1992|p=328}} When the single was released a few weeks later, the band found that they had been renamed "the Beach Boys".{{sfn|Schinder|2007|p=104}} Candix wanted to name the group the Surfers until [[Russ Regan]], a young promoter with Era Records, noted that there already existed a group by that name. He suggested calling them the Beach Boys.{{sfn|Murphy|2015|p=117}} "Surfin{{'"}} was a regional success for the West Coast, and reached number 75 on the national [[Hot 100|''Billboard'' Hot 100]] chart.

=== 1962–1967: Peak years ===
==== ''Surfin' Safari'', ''Surfin' U.S.A.'', ''Surfer Girl'', and ''Little Deuce Coupe'' ====
[[File:Beach Boys 1963.jpg|thumb|right|The Beach Boys, in [[Pendleton Woolen Mills|Pendleton]] outfits, performing at a local high school, late 1962]]
By this time the de facto manager of the Beach Boys, Murry landed the group's first paying gig (for which they earned $300) on New Year's Eve, 1961, at the [[Ritchie Valens]] Memorial Dance in [[Long Beach, California|Long Beach]].{{sfn|Warner|1992|p=328}} In their early public appearances, the band wore heavy wool jacket-like shirts that local surfers favored{{sfn|Sanchez|2014|p=19}} before switching to their trademark striped shirts and white pants (a look that was taken directly from the [[Kingston Trio]]).{{sfn|Badman|2004|p=187}}{{sfn|Schinder|2007|p=106}} All five members sang, with Brian playing bass, Dennis playing drums, Carl playing lead guitar, and Al Jardine playing rhythm guitar, while Mike Love was the main singer and occasionally played saxophone. In early 1962, Morgan requested that some of the members add vocals to a couple of instrumental tracks that he had recorded with other musicians. This led to the creation of the short-lived group Kenny & the Cadets, which Brian led under the pseudonym "Kenny". The other members were Carl, Jardine, and the Wilsons' mother Audree.<ref name="Kenny"/>{{refn|group=nb|The only songs the group recorded were two Morgan compositions "Barbie" and "What Is a Young Girl Made Of?"<ref name="Kenny">{{cite web|author-link=Richie Unterberger|last=Unterberger|first=Richie|title=Kenny & the Cadets|url=https://www.allmusic.com/artist/kenny-the-cadets-mn0000070397|website=[[AllMusic]]|access-date=April 21, 2020|archive-date=June 18, 2020|archive-url=https://web.archive.org/web/20200618221231/https://www.allmusic.com/artist/kenny-the-cadets-mn0000070397|url-status=live}}</ref>}} In February, Jardine left the Beach Boys and was replaced by David Marks on rhythm guitar.{{sfn|Schinder|2007|p=105}}  A common misconception is that Jardine left to focus on [[dental school]]. In reality, Jardine did not even apply to dental school until 1964, and the reason he left in February 1962 was due to creative differences and his belief that the newly-formed group would not be a commercial success.{{sfn|Murphy|2015|p=151}}

After being turned down by [[Dot Records|Dot]] and [[Liberty Records|Liberty]], the Beach Boys signed a seven-year contract with [[Capitol Records]].<ref name="photobucket13">{{cite magazine|url=http://i351.photobucket.com/albums/q476/marcus1970/hit%20parader%201966/HitParaderp6October1966.jpg|title=The Beach Boy Empire|last=Taylor|first=Derek|date=October 5, 1966|magazine=Hit Parader|page=13|author-link=Derek Taylor|access-date=June 29, 2013|archive-date=May 25, 2017|archive-url=https://web.archive.org/web/20170525143421/http://i351.photobucket.com/albums/q476/marcus1970/hit%20parader%201966/HitParaderp6October1966.jpg|url-status=live}}</ref> This was at the urging of Capitol executive and staff producer [[Nick Venet]] who signed the group, seeing them as the "teenage gold" he had been scouting for.{{sfn|Hoskyns|2009|p=62}} On June 4, 1962, the Beach Boys debuted on Capitol with their second single, "Surfin' Safari" backed with "409". The release prompted national coverage in the June 9 issue of ''[[Billboard Magazine|Billboard]]'', which praised Love's lead vocal and said the song had potential.<ref>{{cite magazine|date=June 9, 1962 |title=Reviews of New Singles |magazine=Billboard Magazine |volume= 74 |issue= 23 |page=40  |url={{google books |plainurl=y |id=sSkEAAAAMBAJ|page=4}} |access-date=April 27, 2013}}</ref> "Surfin' Safari" rose to number 14 and found airplay in New York and Phoenix, a surprise for the label.{{sfn|Schinder|2007|p=105}}

The Beach Boys' first album, ''[[Surfin' Safari]]'', was released in October 1962. It was different from other rock albums of the time in that it consisted almost entirely of original songs, primarily written by Brian with Mike Love and friend [[Gary Usher]].{{sfn|Schinder|2007|p=105}} Another unusual feature of the Beach Boys was that, although they were marketed as "surf music", their repertoire bore little resemblance to the music of other surf bands, which was mainly instrumental and incorporated heavy use of [[spring reverb]]. For this reason, some of the Beach Boys' early local performances had young audience members throwing vegetables at the band, believing that the group were poseurs.<ref name="Emami">{{cite news |last1=Emami |first1=Gazelle |title=Surf Music Evolution: From The Beach Boys To Punk |url=https://www.huffpost.com/entry/surf-music-evolution_n_3322063 |work=[[HuffPost]] |date=December 6, 2017 |access-date=May 2, 2020 |archive-date=June 19, 2020 |archive-url=https://web.archive.org/web/20200619021802/https://www.huffpost.com/entry/surf-music-evolution_n_3322063 |url-status=live }}</ref>

{{listen
|filename=Surfin' USA.ogg
|pos=left
|title="Surfin' U.S.A." (1963)
|description="[[Surfin' U.S.A. (song)|Surfin' U.S.A.]]" was a rewrite of [[Chuck Berry]]'s "[[Sweet Little Sixteen]]" with lyrics about surfing, later becoming one of the best known surf rock songs.{{sfn|Marcus|2013|p=95}}
|}}

In January 1963, the Beach Boys recorded their first top-ten single, "[[Surfin' U.S.A. (song)|Surfin' U.S.A.]]", which began their long run of highly successful recording efforts. It was during the sessions for this single that Brian made the production decision from that point on to use [[double tracking]] on the group's vocals, resulting in a deeper and more resonant sound.{{sfn|Badman|2004|p=32}} The [[Surfin' U.S.A. (album)|album of the same name]] followed in March and reached number 2 on the ''Billboard'' charts.{{sfn|Badman|2004|p=35}} Its success propelled the group into a nationwide spotlight, and was vital to launching surf music as a national craze,{{sfn|Bogdanov|Woodstra|Erlewine|2002|p=71}} albeit the Beach Boys' vocal approach to the genre, not the original instrumental style pioneered by [[Dick Dale]].<ref name="Emami"/> Biographer Luis Sanchez highlights the "Surfin' U.S.A." single as a turning point for the band, "creat[ing] a direct passage to California life for a wide teenage audience&nbsp;... [and] a distinct Southern California sensibility that exceeded its conception as such to advance right to the front of American consciousness".{{sfn|Sanchez|2014|pp=10, 13}}  Jardine returned in spring 1963 so Brian could make fewer touring appearances. Issues between Marks, his parents, and manager/the Wilsons' father Murry led Marks to quit in October 1963.

Throughout 1963, and for the next few years, Brian produced a variety of singles for outside artists. Among these were [[the Honeys]], a surfer trio that comprised sisters Diane and [[Marilyn Wilson|Marilyn Rovell]] with cousin Ginger Blake. Brian was convinced that they could be a successful female counterpart to the Beach Boys, and he produced a number of singles for them, although they could not replicate the Beach Boys' popularity.{{sfn|Sanchez|2014|pp=39–41, 44}} He also attended some of [[Phil Spector]]'s sessions at [[Gold Star Studios]].{{sfn|Sanchez|2014|p=50}} His creative and songwriting interests were revamped upon hearing [[the Ronettes]]' 1963 song "[[Be My Baby]]", which was produced by Spector. The first time he heard the song was while driving, and was so overwhelmed that he had to pull over to the side of the road and analyze the chorus.{{sfn|Wilson|Greenman|2016|p=73}} Later, he reflected: "I was unable to really think as a producer up until the time where I really got familiar with Phil Spector's work. That was when I started to design the experience to be a record rather than just a song."{{sfn|Sanchez|2014|p=47}}

[[File:The Beach Boys 1962.jpg|thumb|left|upright|The Beach Boys in 1963; top to bottom: [[Brian Wilson]], [[Carl Wilson]], [[Dennis Wilson]], [[David Marks]], [[Mike Love]]]]
''[[Surfer Girl]]'' marked the first time the group used outside musicians on a substantial portion of an LP.{{sfn|Schinder|2007|p=107}} Many of them were the musicians Spector used for his [[Wall of Sound]] productions.{{sfn|Schinder|2007|p=111}} Only a month after ''Surfer Girl'''s release the group's fourth album ''[[Little Deuce Coupe]]'' was issued. To close 1963, the band released a standalone Christmas-themed single "[[Little Saint Nick]]", backed with an [[a cappella]] rendition of the [[Lord's Prayer|scriptural]] song "[[The Lord's Prayer (1935 song)|The Lord's Prayer]]". The A-side peaked at number 3 on the US ''Billboard'' Christmas chart.{{sfn|Badman|2004|p=45}}

==== British Invasion, ''Shut Down Volume 2'', ''All Summer Long'', and ''Christmas Album'' ====

The surf music craze, along with the careers of nearly all surf acts, was slowly replaced by the [[British Invasion]].{{sfn|Bogdanov|Woodstra|Erlewine|2002|pp=1313–1314}} Following a successful Australasian tour in January and February 1964, the Beach Boys returned home to face their new competition, [[the Beatles]]. Both groups shared the same record label in the US, and Capitol's support for the Beach Boys immediately began waning. Although it generated a top-five single in "[[Fun Fun Fun]]", the group's fifth album, ''[[Shut Down Volume 2]]'', became their first since ''Surfin' Safari'' not to reach the US top-ten. This caused Murry to fight for the band at the label more than before, often visiting their offices without warning to "twist executive arms".{{sfn|Carlin|2006|p=50}} Carl said that Phil Spector "was Brian's favorite kind of rock; he liked [him] better than the early Beatles stuff. He loved the Beatles' later music when they evolved and started making intelligent, masterful music, but before that Phil was it."<ref name=HimesSurf/> According to Mike Love, Carl followed the Beatles closer than anyone else in the band, while Brian was the most "rattled" by the Beatles and felt tremendous pressure to "keep pace" with them.{{sfn|Love|2016|pp=88, 104, 184}} For Brian, the Beatles ultimately "eclipsed a lot [of what] we'd worked for&nbsp;... [they] eclipsed the whole music world".{{sfn|Leaf|1978|p=52}}{{sfn|Sanchez|2014|p=70}}{{refn|group=nb|He remembered "flipping out [over the Beatles]. I couldn't understand how a group could be just yelled and screamed at. The music they made, '[[I Want to Hold Your Hand]]' for example, wasn't even that great a record, but the[ir fans] just screamed at it.&nbsp;... It got us off our asses in the studio. [We] said 'look, don't worry about the Beatles, we'll cut our own stuff'."<ref>{{cite AV media|people=[[David Espar|Espar, David]], [[Robert Levi|Levi, Robert]] (Directors)|year=1995|title=Rock & Roll|medium=[[Miniseries]]}}</ref> He recalled that he and Love immediately felt threatened by the Beatles, believing that the Beach Boys could never match the excitement created by the Beatles as performers, and that this realization led him to concentrate his efforts on trying to outdo them in the recording studio.<ref name="MSLE">{{cite book |year=2002 |title=Mojo Special Limited Edition: 1000 Days That Shook the World (The Psychedelic Beatles – April 1, 1965 to December 26, 1967)|title-link=Mojo (magazine)#Special editions|location=London |publisher=Emap|page=4}}</ref>}}

[[File:Sullivan Beach Boys.jpg|thumb|right|The band performing "[[I Get Around]]" on ''[[The Ed Sullivan Show]]'' in September 1964 ]]

Brian wrote his last surf song for nearly four years, "[[Don't Back Down]]", in April 1964.{{sfn|Carlin|2006|p=51}} That month, during recording of the single "[[I Get Around]]", the band dismissed Murry as their manager. He remained in close contact with the group, offering unsolicited advice on their business decisions.{{sfn|Gaines|1986|pp=112–113}} When "I Get Around" was released in May, it would climb to number 1 in the US and Canada, their first single to do so (also reaching the top-ten in Sweden and the UK), proving that the Beach Boys could compete with contemporary British pop groups.{{sfn|Moskowitz|2015|p=42}} "I Get Around" and "Don't Back Down" both appeared on the band's sixth album ''[[All Summer Long (album)|All Summer Long]]'', released in July 1964 and reaching number 4 in the US. ''All Summer Long'' introduced exotic textures to the Beach Boys' sound exemplified by the [[piccolo]]s and [[xylophone]]s of [[All Summer Long (The Beach Boys song)|its title track]].{{sfn|Schinder|2007|p=110}} The album was a swan-song to the surf and car music the Beach Boys built their commercial standing upon. Later albums took a different stylistic and lyrical path.{{sfn|Bogdanov|Woodstra|Erlewine|2002|pp=72–73}} Before this, a live album, ''[[Beach Boys Concert]]'', was released in October to a four-week chart stay at number 1, containing a set list of previously recorded songs and covers that they had not yet recorded.{{sfn|Bogdanov|Woodstra|Erlewine|2002|p=72}}

[[File:The Beach Boys (1965).png|thumb|left|The Beach Boys in 1964; clockwise from top left: Mike Love, Brian Wilson, Carl Wilson, Dennis Wilson, [[Al Jardine]]]]
In June 1964, Brian recorded the bulk of ''[[The Beach Boys' Christmas Album]]'' with a forty-one-piece studio orchestra in collaboration with [[The Four Freshmen|Four Freshmen]] arranger [[Dick Reynolds (musician)|Dick Reynolds]]. The album was a response to Phil Spector's ''[[A Christmas Gift for You from Phil Spector|A Christmas Gift for You]]'' (1963). Released in December, the Beach Boys' album was divided between five new, original Christmas-themed songs, and seven reinterpretations of traditional Christmas songs.{{sfn|Sanchez|2014|pp=59–60}} It would be regarded as one of the finest [[holiday album]]s of the rock era.{{sfn|Moskowitz|2015|p=42}} One single from the album, "[[The Man with All the Toys]]", was released, peaking at number 6 on the US ''Billboard'' Christmas chart.{{sfn|Badman|2004|p=75}} On October 29, the Beach Boys performed for ''[[The T.A.M.I. Show]]'', a concert film intended to bring together a wide range of musicians for a one-off performance. The result was released to movie theaters one month later.{{sfn|Sanchez|2014|pp=30–31}}

====''Today!'', ''Summer Days'', and ''Party!''====
[[File:The Beach Boys 1964 Billboard.png|thumb|right|The band with caricatures in Paris, November 1964]]
By the end of 1964, the stress of road travel, writing, and producing became too much for Brian. On December 23, while on a flight from Los Angeles to Houston, he suffered a [[panic attack]].{{sfn|Sanchez|2014|pp=63–64}} In January 1965, he announced his withdrawal from touring to concentrate entirely on songwriting and record production. For the last few days of 1964 and into early 1965, session musician and up-and-coming solo artist [[Glen Campbell]] agreed to temporarily serve as Brian's replacement in concert.{{sfn|Badman|2004|pp=77, 79}} Carl took over as the band's musical director onstage.<ref name="Jarnow15" />{{refn|group=nb|Contracts at that time stipulated that promoters hire "Carl Wilson plus four other musicians".<ref name="Jarnow15" /> Additionally, in February, July, and October, Brian rejoined the live group for one-off occasions.<ref name=GIGS65>{{cite web|last1=Doe|first1=Andrew G. Doe|title=GIGS65|url=http://esquarterly.com/bellagio/gigs65.html|website=Bellagio 10452|publisher=Endless Summer Quarterly|access-date=June 15, 2018|archive-date=October 6, 2014|archive-url=https://web.archive.org/web/20141006142154/http://www.esquarterly.com/bellagio/gigs65.html|url-status=live}}</ref>}} Now a full-time studio artist,{{sfn|Schinder|2007|p=111}} Brian wanted to move the Beach Boys beyond their surf aesthetic, believing that their image was antiquated and distracting the public from his talents as a producer and songwriter.<ref>{{harvnb|Sanchez|2014|pp=91–93}}; {{harvnb|Kent|2009|p=27}}</ref> Musically, he said he began to "take the things I learned from Phil Spector and use more instruments whenever I could. I doubled up on basses and tripled up on keyboards, which made everything sound bigger and deeper."{{sfn|Wilson|Greenman|2016|p=88}}

{{Quote box
| quote = We needed to grow. Up to this point we had milked every idea dry [and did] every possible angle about surfing and [cars]. But we needed to grow
artistically.
| source = — Brian Wilson{{sfn|Badman|2004|p=54}}<ref name=HimesSurf />
| width = 25em
| align = right
}}

Released in March 1965, ''[[The Beach Boys Today!]]'' marked the first time the group experimented with the "album-as-art" form. The tracks on side one feature an uptempo sound that contrasts side two, which consists mostly of emotional ballads.<ref name="Bolin2012" /> Music writer Scott Schinder referenced its "[[suite (music)|suite-like structure]]" as an early example of the [[Album Era|rock album format]] being used to make a cohesive artistic statement.{{sfn|Schinder|2007|p=111}} Brian also established his new lyrical approach toward the autobiographical; journalist [[Nick Kent]] wrote that the subjects of Brian's songs "were suddenly no longer simple happy souls harmonizing their sun-kissed innocence and dying devotion to each other over a honey-coated backdrop of surf and sand. Instead, they'd become highly vulnerable, slightly neurotic and riddled with telling insecurities."{{sfn|Kent|2009|p=13}} In the book ''Yeah Yeah Yeah: The Story of Modern Pop'', [[Bob Stanley (musician)|Bob Stanley]] remarked that "Brian was aiming for [[Johnny Mercer]] but coming up [[indie rock|proto-indie]]."{{sfn|Stanley|2013|pp=219–220}}  In 2012, the album was voted 271 on ''[[Rolling Stone]]'' magazine's list of the [[Rolling Stone's 500 Greatest Albums of All Time|500 Greatest Albums of All Time]].<ref>{{cite magazine |url=https://www.rollingstone.com/music/lists/500-greatest-albums-of-all-time-20120531/the-beach-boys-the-beach-boys-today-20120524 |title=500 Greatest Albums of All Time: The Beach Boys, 'The Beach Boys Today' |magazine=Rolling Stone |date=May 31, 2012 |access-date=August 12, 2012 |archive-date=October 22, 2012 |archive-url=https://web.archive.org/web/20121022163036/http://www.rollingstone.com/music/lists/500-greatest-albums-of-all-time-20120531/the-beach-boys-the-beach-boys-today-20120524 |url-status=live }}</ref>

In April 1965, Campbell's own career success pulled him from touring with the group.{{sfn|Badman|2004|p=86}} [[Columbia Records]] staff producer [[Bruce Johnston]] was asked to locate a replacement for Campbell; having failed to find one, Johnston himself became a full-time member of the band on May 19, 1965. With Johnston's arrival, Brian now had a sixth voice he could work with in the band's vocal arrangements, with the June 4 vocal sessions for "[[California Girls]]" being Johnston's first recording session with the Beach Boys. "California Girls" was included on the band's next album ''[[Summer Days (And Summer Nights!!)]]'' and eventually charted at number 3 in the US as the second single from the album, while the album itself went to number 2. The first single from ''Summer Days'' had been a reworked arrangement of "[[Help Me, Rhonda]]", which became the band's second number 1 US single in the spring of 1965.{{sfn|Schinder|2007|pp=111–112}} For contractual reasons, owing to his previous deal with Columbia Records, Johnston was not able to be credited or pictured on Beach Boys records until 1967.<ref>{{cite web |last1=Cashmere |first1=Paul |title=Bruce Johnston Clocks Up 50 Years In The Beach Boys |url=http://www.noise11.com/news/bruce-johnston-clocks-up-50-years-in-the-beach-boys-20150823 |website=noise11.com |date=August 23, 2015 |access-date=December 22, 2019}}</ref>

To appease Capitol's demands for a Beach Boys LP for the 1965 Christmas season, Brian conceived ''[[Beach Boys' Party!]]'', a live-in-the-studio album consisting mostly of acoustic covers of 1950s rock and R&B songs, in addition to covers of three Beatles songs, [[Bob Dylan]]'s "[[The Times They Are a-Changin' (song)|The Times They Are a-Changin']]", and idiosyncratic rerecordings of the group's earlier songs.{{sfn|Bogdanov|Woodstra|Erlewine|2002|p=71}} The album was an early precursor of the "[[MTV Unplugged|unplugged]]" trend. It also included a cover of [[The Regents (doo-wop band)|the Regents]]' song "[[Barbara Ann]]", which unexpectedly reached number 2 when released as a single several weeks later.{{sfn|Schinder|2007|p=113}} In November, the group released another top-twenty single, "[[The Little Girl I Once Knew]]". It was considered the band's most experimental statement thus far.{{sfn|Bogdanov|Woodstra|Erlewine|2002|p=72}} The single continued Brian's ambitions for daring arrangements, featuring unexpected tempo changes and numerous false endings.{{sfn|Howard|2004|p=59}} With the exception of their 1963 and 1964 Christmas singles ("Little Saint Nick" and "The Man with All the Toys") it was the group's lowest charting single on the ''Billboard'' Hot 100 since "[[Ten Little Indians (The Beach Boys song)|Ten Little Indians]]" in 1962, peaking at number 20.<ref>{{Cite magazine|url=https://www.billboard.com/artist/the-beach-boys/chart-history/hsi/|title=The Beach Boys The Little Girl I Once Knew Chart History|magazine=Billboard|access-date=March 13, 2018|archive-date=November 17, 2021|archive-url=https://web.archive.org/web/20211117203022/https://www.billboard.com/artist/the-beach-boys/chart-history/hsi/|url-status=live}}</ref> According to Luis Sanchez, in 1965, Bob Dylan was "rewriting the rules for pop success" with his music and image, and it was at this juncture that Wilson "led The Beach Boys into a transitional phase in an effort to win the pop terrain that had been thrown up for grabs".{{sfn|Sanchez|2014|p=76}}

==== ''Pet Sounds'' ====
[[File:Brian Wilson,1960s.jpg|thumb|207x207px|[[Brian Wilson]] in 1966]]
Wilson collaborated with [[jingle]] writer [[Tony Asher]] for several of the songs on the album ''[[Pet Sounds]]'', a refinement of the themes and ideas that were introduced in ''Today!''.<ref name=Bolin2012>{{cite web |last1=Bolin |first1=Alice |title=The Beach Boys Are Still Looking at an Impossible Future |url=https://www.popmatters.com/feature/160169-when-i-grow-up-to-be-a-man/P1/ |work=[[PopMatters]] |date=July 8, 2012 |access-date=April 21, 2020 |archive-date=October 18, 2017 |archive-url=https://web.archive.org/web/20171018171858/http://www.popmatters.com/feature/160169-when-i-grow-up-to-be-a-man/P1/ |url-status=live }}</ref> In some ways, the music was a jarring departure from their earlier style.{{sfn|Kent|2009|pp=21–23}}{{sfn|Gaines|1986|p=149}} Jardine explained that "it took us quite a while to adjust to [the new material] because it wasn't music you could necessarily dance to—it was more like music you could make love to".{{sfn|Granata|2003|p=166}}  In ''The Journal on the Art of Record Production'', Marshall Heiser writes that ''Pet Sounds'' "diverges from previous Beach Boys' efforts in several ways: its sound field has a greater sense of depth and 'warmth;' the songs employ even more inventive use of harmony and chord voicings; the prominent use of percussion is a key feature (as opposed to driving drum backbeats); whilst the orchestrations, at times, echo the quirkiness of '[[exotica]]' bandleader [[Les Baxter]], or the 'cool' of [[Burt Bacharach]], more so than Spector's teen fanfares".<ref name="ARP">{{cite journal |last1=Heiser |first1=Marshall |title=SMiLE: Brian Wilson's Musical Mosaic |journal=The Journal on the Art of Record Production |date=November 2012 |issue=7 |url=http://arpjournal.com/smile-brian-wilson%E2%80%99s-musical-mosaic/ |access-date=May 13, 2018 |archive-url=https://web.archive.org/web/20150415032648/http://arpjournal.com/smile-brian-wilson%E2%80%99s-musical-mosaic/ |archive-date=April 15, 2015 |url-status=dead }}</ref>

[[File:Cashbox27unse 40 0013.jpg|thumb|left|The Beach Boys (Brian, Dennis, and Carl Wilson, Mike Love, Al Jardine, and Bruce Johnston), with [[Terry Melcher]] and engineer [[Chuck Britz]], during the ''[[Pet Sounds]]'' sessions, 1966]]

For ''Pet Sounds'', Brian desired to make "a complete statement", similar to what he believed the Beatles had done with their newest album ''[[Rubber Soul]]'', released in December 1965.{{sfn|Jones|2008|p=44}} Brian was immediately enamored with the album, given the impression that it had no [[Filler (media)|filler tracks]], a feature that was mostly unheard of at a time when 45&nbsp;rpm singles were considered more noteworthy than full-length LPs.{{sfn|Fusilli|2005|p=80}}{{sfn|Schinder|2007|p=114}} He later said: "It didn't make me want to copy them but to be as good as them. I didn't want to do the same kind of music, but on the same level."<ref name=HimesSurf/> Thanks to mutual connections, Brian was introduced to the Beatles' former press officer [[Derek Taylor]], who was subsequently employed as the Beach Boys' publicist. Responding to Brian's request to reinvent the band's image, Taylor devised a promotion campaign with the tagline "[[Brian Wilson is a genius]]", a belief Taylor sincerely held.<ref>{{harvnb|Sanchez|2014|p=92}}; {{harvnb|Kent|2009|p=27|loc=Taylor's belief}}</ref> Taylor's prestige was crucial in offering a credible perspective to those on the outside, and his efforts are widely recognized as instrumental in the album's success in Britain.<ref>{{harvnb|Sanchez|2014|pp=91–93|loc="credible perspective"}}; {{harvnb|Kent|2009|p=27|loc=origins, "single most prestigious figure"}}; {{harvnb|Love|2016|p=146}}; {{harvnb|Gaines|1986|p=152|loc=British success}}</ref>

{{Listen
|pos=right
|filename= The Beach Boys - God only knows.ogg
|title="God Only Knows"  (1966)
|description= "[[God Only Knows]]" conditions its [[tonality]] between the keys of [[E major|E]] and [[A major]], which according to musicologist Stephen Downes, was innovative even in the context of the song's [[Baroque music|Baroque]] antecedents. It is often praised as one of the greatest songs ever written.{{sfn|Downes|2014|pp=36–38}}
}}

Released on May 16, 1966, ''Pet Sounds'' was widely influential and raised the band's prestige as an innovative rock group.{{sfn|Bogdanov|Woodstra|Erlewine|2002|p=72}} Early reviews for the album in the US ranged from negative to tentatively positive, and its sales numbered approximately 500,000 units, a drop-off from the run of albums that immediately preceded it.{{sfn|Carlin|2006|p=85}} It was assumed that Capitol considered ''Pet Sounds'' a risk, appealing more to an older demographic than the younger, female audience upon which the Beach Boys had built their commercial standing.{{sfn|Jones|2008|p=47}} Within two months, the label capitulated by releasing the group's first [[greatest hits]] compilation album, ''[[Best of the Beach Boys]]'', which was quickly certified gold by the [[RIAA]].{{sfn|Carlin|2006|pp=85–86}} By contrast, ''Pet Sounds'' met a highly favorable critical response in Britain, where it reached number 2 and remained among the top-ten positions for six months.{{sfn|Gillett|1984|p=329}} Responding to the hype, ''[[Melody Maker]]'' ran a feature in which many pop musicians were asked whether they believed that the album was truly revolutionary and [[progressive music|progressive]], or "as sickly as peanut butter". The author concluded that "the record's impact on artists and the men behind the artists has been considerable".{{sfn|Badman|2004|p=139}}

==== "Good Vibrations" and ''Smile'' ====
[[File:The Beach Boys September 16 1967 Billboard.png|thumb|The Beach Boys accepting a gold record sales certification for "[[Good Vibrations]]" at the [[Capitol Tower]], late 1966]]

Throughout the summer of 1966, Brian concentrated on finishing the group's next single, "[[Good Vibrations]]".{{sfn|Badman|2004|p=5}} Instead of working on whole songs with clear large-scale syntactical structures, he limited himself to recording short interchangeable fragments (or "modules"). Through the method of [[tape splicing]], each fragment could then be assembled into a linear sequence, allowing any number of larger structures and divergent moods to be produced at a later time.<ref name="ARP"/> Coming at a time when pop singles were usually recorded in under two hours, it was one of the most complex pop productions ever undertaken, with sessions for the song stretching over several months in four major Hollywood studios. It was also the most expensive single ever recorded to that point, with production costs estimated to be in the tens of thousands.{{sfn|Harrison|1997|pp=41–46}}

[[File:Van Dyke Parks 1967.png|thumb|upright|[[Van Dyke Parks]], Brian's lyricist and collaborator for the unfinished album ''[[Smile (The Beach Boys album)|Smile]]'']]

In the midst of "Good Vibrations" sessions, Wilson invited session musician and songwriter [[Van Dyke Parks]] to collaborate as lyricist for the Beach Boys' next album project, soon titled ''[[Smile (The Beach Boys album)|Smile]]''. Parks agreed.{{sfn|Hoskyns|2009|p=129}}{{sfn|Badman|2004|p=114}} Wilson and Parks intended ''Smile'' to be a continuous suite of songs linked both thematically and musically, with the main songs linked together by small vocal pieces and instrumental segments that elaborated on the major songs' musical themes.{{sfn|Williams|2010|pp=94–98}} It was explicitly American in style and subject, a conscious reaction to the overwhelming British dominance of popular music at the time.{{sfn|Priore|2005|p=94}}{{sfn|Schinder|2007|p=117}} Some of the music incorporated chanting, cowboy songs, explorations in Indian and Hawaiian music, jazz, classical [[tone poem]]s, cartoon sound effects, ''[[musique concrète]]'', and yodeling.<ref>{{cite web|last1=Murphy|first1=Sean|title=The Once and Future King: 'SMiLE' and Brian Wilson's Very American Dream|url=https://www.popmatters.com/feature/161935-the-once-and-future-king-smile-and-brian-wilsons-very-american-dream/|website=Popmatters|access-date=July 17, 2014|date=August 28, 2012|archive-date=July 28, 2014|archive-url=https://web.archive.org/web/20140728143335/http://www.popmatters.com/feature/161935-the-once-and-future-king-smile-and-brian-wilsons-very-american-dream/|url-status=live}}</ref> ''[[Saturday Evening Post]]'' writer [[Jules Siegel]] recalled that, on one October evening, Brian announced to his wife and friends that he was "writing a teenage symphony to God".{{sfn|Sanchez|2014|p=101}}

Recording for ''Smile'' lasted about a year, from mid-1966 to mid-1967, and followed the same modular production approach as "Good Vibrations".{{sfn|Badman|2004|p=390}} Concurrently, Wilson planned many different multimedia side projects, such as a sound effects collage, a comedy album, and a "health food" album.<ref name="Nolan1971">{{cite magazine|last=Nolan|first=Tom|title=The Beach Boys: A California Saga|magazine=[[Rolling Stone]]|date=October 28, 1971|url=https://www.rollingstone.com/music/news/the-beach-boys-a-california-saga-19711028|issue=94|access-date=May 13, 2018|archive-date=July 18, 2012|archive-url=https://web.archive.org/web/20120718092340/http://www.rollingstone.com/music/news/the-beach-boys-a-california-saga-19711028|url-status=dead}}</ref> Capitol did not support all these ideas, which led to the Beach Boys' desire to form their own label, [[Brother Records]]. According to biographer [[Steven Gaines]], Wilson employed his newfound "best friend" [[David Anderle]] as head of the label.{{sfn|Gaines|1986|p=164}}

Throughout 1966, [[EMI]] flooded the UK market with Beach Boys albums not yet released there, including ''Beach Boys' Party!'', ''The Beach Boys Today!'' and ''Summer Days (and Summer Nights!!)'',{{sfn|Savage|2015|p=476}} while ''Best of the Beach Boys'' was number 2 there for several weeks at the end of the year.<ref name="Mawer/OCC">{{cite web|archive-url=https://web.archive.org/web/20071217020406/http://www.theofficialcharts.com/album_chart_history_1966.php|url=http://www.theofficialcharts.com/album_chart_history_1966.php|first=Sharon|last=Mawer|title=Album Chart History: 1966|publisher=[[Official Charts Company|The Official UK Charts Company]]|date=May 2007|archive-date=December 17, 2007|access-date=October 8, 2019}}</ref> Over the final quarter of 1966, the Beach Boys were the highest-selling album act in the UK, where for the first time in three years American artists broke the chart dominance of British acts.<ref>{{cite magazine |last1=Andrews |first1=Grame |date=March 4, 1967 |title=Americans Regain Rule in England |magazine=Billboard|volume=79 |issue=9 |pages=1, 10 |url={{google books |plainurl=y |id=CykEAAAAMBAJ |page=1}} |access-date=April 27, 2013}}</ref> In 1971, ''[[New York (magazine)|Cue]]'' magazine wrote that, from mid-1966 to late-1967, the Beach Boys "were among the vanguard in practically every aspect of the counter culture".<ref>{{cite magazine|title=Pet Sounds|magazine=Cue|date=1971|volume=40|issue=27|url={{google books |plainurl=y |id=EwgwAQAAIAAJ}}}}</ref>

{{Listen
|pos=right
|filename=Beach Boys - Good Vibrations.ogg
|title="Good Vibrations" (1966)
|description="[[Good Vibrations]]" was the Beach Boys' third single to top the [[Billboard Hot 100|''Billboard'' Hot 100]]. It proliferated a wave of pop experimentation with its rush of riff changes, echo-chamber effects, and intricate harmonies.<ref>{{cite web|last1=John|first1=Bush|title=Review|url=https://www.allmusic.com/song/good-vibrations-mt0028092523|website=[[AllMusic]]|access-date=November 16, 2014|archive-date=January 12, 2015|archive-url=https://web.archive.org/web/20150112102732/http://www.allmusic.com/song/good-vibrations-mt0028092523|url-status=live}}</ref>
}}

Released on October 10, 1966, "Good Vibrations" was the Beach Boys' third US number 1 single, reaching the top of the ''Billboard'' Hot 100 in December, and became their first number 1 in Britain.{{sfn|Badman|2004|pp=155–156}} That month, the record was their first single certified gold by the [[Recording Industry Association of America|RIAA]].{{sfn|Sanchez|2014|p=86}} It came to be widely acclaimed as one of the greatest masterpieces of rock music.{{sfn|Harrison|1997|p=34}} In December 1966, the Beach Boys were voted the top band in the world in the ''NME''{{'}}s annual readers' poll, ahead of the Beatles, [[the Walker Brothers]], [[the Rolling Stones]], and [[the Four Tops]].{{sfn|Sanchez|2014|pp=86–87}}

Throughout the first half of 1967, the release date for ''Smile'' was repeatedly postponed as Brian continuously tinkered with the recordings, experimenting with different takes and mixes, and appeared unable or unwilling to supply finished versions of songs. Meanwhile, he began to suffer from delusions and paranoia, believing on one occasion that the would-be album track "[[The Elements: Fire|Fire]]" caused a building to burn down.{{sfn|Schinder|2007|p=118}} On January 3, 1967, Carl Wilson refused to be drafted for military service, leading to indictment and criminal prosecution, which he challenged as a [[conscientious objector]].<ref name="CW">{{cite web |url=http://reasonabledoubt.org/index.php/criminallawblog/entry/january-3-1967-beach-boy-carl-wilson-becomes-draft-dodger-today-in-crime-history |title=January 3, 1967, Beach Boy Carl Wilson Becomes a Draft Dodger – Today in Crime History |last=Buchanan |first=Michael |date=January 2, 2012 |access-date=August 12, 2013 |archive-url=https://web.archive.org/web/20140225084530/http://reasonabledoubt.org/index.php/criminallawblog/entry/january-3-1967-beach-boy-carl-wilson-becomes-draft-dodger-today-in-crime-history |archive-date=February 25, 2014 |url-status=dead }}</ref> The FBI arrested him in April,{{sfn|Sanchez|2014|p=100}} and it took several years for courts to resolve the matter.<ref name="MF1976">{{cite magazine|title=The Beach Boys|magazine=Music Favorites|volume=1|issue=2|date=1976}}</ref>

After months of recording and media hype, ''Smile'' was shelved for personal, technical, and legal reasons.{{sfn|Matijas-Mecca|2017|pp=xiv, 60–63, 77–78}} A February 1967 lawsuit seeking $255,000 (equivalent to ${{Format price|{{Inflation|US|255000|1967|end_year={{Inflation-year|US}}}}}} in {{Inflation-year|US}}) was launched against [[Capitol Records]] over neglected royalty payments. Within the lawsuit was an attempt to terminate the band's contract with Capitol before its November 1969 expiry.{{sfn|Badman|2004|pp=170, 178, 243}} Many of Wilson's associates, including Parks and Anderle, disassociated themselves from the group by April 1967.{{sfn|Carlin|2006|p=120}} Brian later said: "Time can be spent in the studio to the point where you get so next to it, you don't know where you are with it—you decide to just chuck it for a while."<ref name="An American Band">{{cite AV media | people = Leo, Malcolm (Director) | year=1985 | title =[[The Beach Boys: An American Band]]| medium =Documentary}}</ref>

In the decades following ''Smile''{{'}}s non-release, it became the subject of intense speculation and mystique{{sfn|Schinder|2007|p=118}}{{sfn|Harrison|1997|p=55}} and the most legendary unreleased album in pop music history.{{sfn|Bogdanov|Woodstra|Erlewine|2002|p=72}}{{sfn|Jones|2008|p=63}} Many of the album's advocates believe that had it been released, it would have altered the group's direction and cemented them at the vanguard of rock innovators.{{sfn|Schinder|2007|p=119}} In 2011, ''[[Uncut (magazine)|Uncut]]'' magazine staff voted ''Smile'' the "greatest [[bootleg recording]] of all time".<ref>{{cite magazine|title=The Beach Boys' 'Smile' named as the greatest ever bootleg by Uncut|url=https://www.nme.com/news/the-beach-boys/59950|magazine=[[NME]]|access-date=December 12, 2014|date=October 21, 2011|archive-date=May 6, 2016|archive-url=https://web.archive.org/web/20160506060911/http://www.nme.com/news/the-beach-boys/59950|url-status=live}}</ref>

=== 1967–1969: Faltered popularity and Brian's reduced involvement ===

====''Smiley Smile'' and ''Wild Honey''====
From 1965 to 1967, the Beach Boys had developed a musical and lyrical sophistication that contrasted their work from before and after. This divide was further solidified by the difference in sound between their albums and their stage performances.{{sfn|Lambert|2016|p= {{page needed|date=May 2018}}}} This resulted in a split fanbase corresponding to two distinct musical markets. One group enjoys the band's early work as a wholesome representation of American popular culture from before the political and social movements brought on in the mid-1960s. The other group also appreciates the early songs for their energy and complexity, but not as much as the band's ambitious work that was created during the formative [[psychedelic era]].{{sfn|Lambert|2016|p={{page needed|date=May 2018}}}} At the time, rock music journalists typically valued the Beach Boys' early records over their experimental work.{{sfn|Lambert|2016|p=218}}{{refn|group=nb|For example, critics from ''Rolling Stone'' were wary of the group's changing music, with [[Ralph J. Gleason]] writing in January 1968: "The Beach Boys, when they were a reflection of an actuality of American society (i.e., Southern California hot rod, surfing and beer-bust fraternity culture), made music that had vitality and interest. When they went past that, they were forced inexorably to go into electronics and this excursion, for them, is of limited scope, good as the vibrations were."{{sfn|Lambert|2016|p=218}}}}

In May 1967, the Beach Boys attempted to tour Europe with four extra musicians brought from the US, but were stopped by the British musicians' union. The tour went on without the extra support, and critics described their performances as "amateurish" and "floundering".{{sfn|Love|2016|p=169}} At the last minute, the Beach Boys declined to headline the [[Monterey Pop Festival]], an event held in June. According to David Leaf, "Monterey was a gathering place for the 'far out' sounds of the 'new' rock&nbsp;... and it is thought that [their] non-appearance was what really turned the 'underground' tide against them."<ref name=SmileySmileliner>{{cite AV media notes|title=Smiley Smile/Wild Honey|others=The Beach Boys|year=1990|first=David|last=Leaf|author-link=David Leaf|publisher=[[Capitol Records]]|type=CD Liner|url=http://www.albumlinernotes.com/Smiley_Smile_Wild_Honey.html|access-date=May 26, 2014|archive-date=May 22, 2014|archive-url=https://web.archive.org/web/20140522030643/http://albumlinernotes.com/Smiley_Smile_Wild_Honey.html|url-status=live}}</ref> Fan magazines speculated that the group was on the verge of breaking up.{{sfn|Leaf|1978|p=125}} Detractors called the band the "Bleach Boys" and "the California Hypes" as media focus shifted from Los Angeles to the happenings in San Francisco.{{sfn|Leaf|1978|p=9}} As [[authenticity (art)|authenticity]] became a higher concern among critics, the group's legitimacy in rock music became an oft-repeated criticism, especially since their early songs appeared to celebrate a politically unconscious youth culture.{{sfn|Sanchez|2014|pp=18, 33–36}}{{refn|group=nb|Music critic Kenneth Partridge blamed the lack of "edginess" on the group's early records for why they are "rarely talked about in the same breath as the Beatles and the Rolling Stones, and when they are, it's really only because of two albums".<ref name=PartridgeCoS2015>{{cite magazine|last1=Partridge|first1=Kenneth|title=Why a Comprehensive Beach Boys Biopic Would Likely Fail|url=https://consequence.net/2015/06/why-a-comprehensive-beach-boys-biopic-would-likely-fail/|magazine=[[Consequence of Sound]]|date=June 5, 2015|access-date=May 13, 2018|archive-date=October 13, 2015|archive-url=https://web.archive.org/web/20151013063343/https://consequence.net/2015/06/why-a-comprehensive-beach-boys-biopic-would-likely-fail/|url-status=live}}</ref>}}

[[File:Beach Boys 1967.jpg|thumb|left|The band at [[Zuma Beach]], July 1967]]

Although ''Smile'' had been cancelled, the Beach Boys were still under pressure and a contractual obligation to record and present an album to Capitol.{{sfn|Priore|2005|p=124}} Carl remembered: "Brian just said, 'I can't do this. We're going to make a homespun version of [''Smile''] instead. We're just going to take it easy. I'll get in the pool and sing. Or let's go in the gym and do our parts.' That was ''[[Smiley Smile]]''."<ref name=Himes1983>{{cite magazine|last1=Himes|first1=Geoffrey|author-link=Geoffrey Himes|title=The Beach Boys High Times and Ebb Tides Carl Wilson Recalls 20 Years With and Without Brian|magazine=[[Musician (magazine)|Musician]]|date=September 1983|issue=59|url=http://troun.tripod.com/carl.html|access-date=May 13, 2018|archive-date=May 25, 2018|archive-url=https://web.archive.org/web/20180525211740/http://troun.tripod.com/carl.html|url-status=live}}</ref> Sessions for the new album lasted from June to July 1967 at [[Beach Boys Studio|Brian's new makeshift home studio]]. Most of the album featured the Beach Boys playing their own instruments, rather than the session musicians employed in much of their previous work.<ref name="Jarnow">{{cite web|last1=Jarnow|first1=Jesse|date=July 1, 2017|title=1967 – Sunshine Tomorrow|url=https://pitchfork.com/reviews/albums/the-beach-boys-1967-sunshine-tomorrow/|website=[[Pitchfork (website)|Pitchfork]]|access-date=April 21, 2020|archive-date=May 22, 2020|archive-url=https://web.archive.org/web/20200522093644/https://pitchfork.com/reviews/albums/the-beach-boys-1967-sunshine-tomorrow/|url-status=live}}</ref> It was the first album for which production was credited to the entire group instead of Brian alone.{{sfn|Schinder|2007|p=119}}

In July 1967, lead single "[[Heroes and Villains]]" was issued, arriving after months of public anticipation, and reached number 12 in US. It was met with general confusion and underwhelming reviews, and in the ''NME'', [[Jimi Hendrix]] famously dismissed it as a "psychedelic barbershop quartet". By then, the group's lawsuit with Capitol was resolved, and it was agreed that ''Smile'' would not be the band's next album.{{sfn|Dillon|2012|p=134}} In August, the group embarked on a two-date tour of Hawaii.{{sfn|Matijas-Mecca|2017|pp=80, 82}} The shows saw Brian make a brief return to live performance, as Bruce Johnston chose to take a temporary break from the band during the summer of 1967, feeling that the atmosphere within the band "had all got too weird".<ref>{{Cite web|url=http://bellagio10452.com/unreleased.html|title=UNRELEASED|website=Bellagio10452.com}}</ref>{{sfn|Carlin|2006|p=128}} The performances were filmed and recorded with the intention of releasing a live album, ''[[Lei'd in Hawaii]]'', which was also left unfinished and unreleased.{{sfn|Badman|2004|pp=198–201}}  The general record-buying public came to view the music made after this time as the point marking the band's artistic decline.{{sfn|Lambert|2016|p={{page needed|date=May 2018}}}}

''Smiley Smile'' was released on September 18, 1967,{{sfn|Badman|2004|p=200}} and peaked at number 41 in the US,{{sfn|Schinder|2007|p=119}} making it their worst-selling album to that date.{{sfn|Carlin|2006|p=124}} Critics and fans were generally underwhelmed by the album.{{sfn|Lambert|2016|p=216}} According to Scott Schinder, the album was released to "general incomprehension. While ''Smile'' may have divided the Beach Boys' fans had it been released, ''Smiley Smile'' merely baffled them."{{sfn|Schinder|2007|p=119}} The group was virtually blacklisted by the music press, to the extent that reviews of the group's records were either withheld from publication or published long after the release dates.{{sfn|Badman|2004|p=200}}  When released in the UK in November, it performed better, reaching number 9.{{sfn|Badman|2004|pp=200, 203}}  Over the years, the album gathered a reputation as one of the best "[[chill-out music|chill-out]]" albums to listen to during an LSD [[comedown (drugs)|comedown]].{{sfn|Kent|2009|p=44}} In 1974, ''NME'' voted it the 64th-greatest album of all time.{{sfn|Matijas-Mecca|2017|p=80}}

{{Quote box
| quote = When we did ''Wild Honey'', Brian asked me to get more involved in the recording end. He wanted a break [because he] had been doing it all too long.
| source = —Carl Wilson<ref name="MF1976"/>
| width = 25em
| align = right
}}

The Beach Boys immediately recorded a new album, ''[[Wild Honey (album)|Wild Honey]]'', an excursion into [[soul music]], and a self-conscious attempt to "regroup" themselves as a rock band in opposition to their more orchestral affairs of the past.{{sfn|Harrison|1997|pp=49–50}} Its music differs in many ways from previous Beach Boys records: it contains very little group singing compared to previous albums, and mainly features Brian singing at his piano. Again, the Beach Boys recorded mostly at his home studio.<ref name="SmileySmileliner" /> Love reflected that ''Wild Honey'' was "completely out of the mainstream for what was going on at that time&nbsp;... and that was the idea".<ref>{{cite web|last1=Hart|first1=Ron|title=5 Treasures on the Beach Boys' New '1967—Sunshine Tomorrow'|url=http://observer.com/2017/07/beach-boys-1967-sunshine-tomorrow/|website=[[New York Observer]]|date=July 20, 2017|access-date=May 13, 2018|archive-date=June 23, 2018|archive-url=https://web.archive.org/web/20180623193937/http://observer.com/2017/07/beach-boys-1967-sunshine-tomorrow/|url-status=live}}</ref>

''Wild Honey'' was released on December 18, 1967, in competition with the Beatles' ''[[Magical Mystery Tour]]'' and the Rolling Stones' ''[[Their Satanic Majesties Request]]''.{{sfn|Badman|2004|p=208}} It had a higher chart placing than ''Smiley Smile'', but still failed to make the top-twenty and remained on the charts for only 15 weeks.<ref name="SmileySmileliner" /> As with ''Smiley Smile'', contemporary critics viewed it as inconsequential,{{sfn|Leaf|1985|p=125}} and it alienated fans whose expectations had been raised by ''Smile''.<ref name="SmileySmileliner" /> That month, Mike Love told a British journalist: "Brian has been rethinking our recording program and in any case we all have a much greater say nowadays in what we turn out in the studio."<ref>{{cite magazine|magazine=Beat Instrumental|author=P.G.|title='Personal Promotion is the thing' say Beach Boys|date=February 1968}}</ref>

====''Friends'', ''20/20'', and Manson affair====
The Beach Boys were at their lowest popularity in the late 1960s, and their cultural standing was especially worsened by their public image, which remained incongruous with their peers' "heavier" music.<ref name="Christgau1975">{{cite news|last=Christgau|first=Robert|author-link=Robert Christgau|date=June 23, 1975|url=https://www.robertchristgau.com/xg/music/chicago-75.php|title=Beach Boys at Summer's End|newspaper=[[The Village Voice]]|access-date=September 14, 2018|archive-date=September 15, 2018|archive-url=https://web.archive.org/web/20180915001824/https://www.robertchristgau.com/xg/music/chicago-75.php|url-status=live}}</ref> At the end of 1967, ''[[Rolling Stone]]'' co-founder and editor [[Jann Wenner]] printed an influential article that denounced the Beach Boys as "just one prominent example of a group that has gotten hung up on trying to catch The Beatles. It's a pointless pursuit."{{sfn|Badman|2004|p=207}} The article had the effect of excluding the group among serious rock fans{{sfn|Badman|2004|p=207}}{{sfn|Leaf|1978|p=123}} and such controversy followed them into the next year.<ref name="scullati">{{cite journal|last1=Sculatti |first1=Gene |author-link=Gene Sculatti|url=http://www.teachrock.org/resources/article/villains-and-heroes-in-defense-of-the-beach-boys/ |title=Villains and Heroes: In Defense of the Beach Boys |journal=Jazz & Pop |date=September 1968 |url-status=dead |archive-url=https://web.archive.org/web/20140714191639/http://www.teachrock.org/resources/article/villains-and-heroes-in-defense-of-the-beach-boys/ |archive-date=July 14, 2014 }}</ref> Capitol continued to bill them as "America's Top Surfin' Group!" and expected Brian to write more beachgoing songs for the yearly summer markets.{{sfn|Carlin|2006|p=62}} From 1968 onward, his songwriting output declined substantially, but the public narrative of "Brian as leader" continued.{{sfn|Matijas-Mecca|2017|pp=xxi–xxii, 83}} The group also stopped wearing their longtime striped-shirt stage uniforms in favor of matching white, polyester suits that resembled a Las Vegas show band's.{{sfn|Matijas-Mecca|2017|pp=83, 85}}

[[File:The Beach Boys 1968.jpg|thumb|left|The Beach Boys in 1968, left to right: Dennis Wilson, Mike Love, Carl Wilson (top), Al Jardine, Bruce Johnston]]

After meeting [[Maharishi Mahesh Yogi]] at a [[UNICEF]] Variety Gala in Paris, Love and other high-profile celebrities such as the Beatles and [[Donovan]] traveled to [[Rishikesh]], India, in February–March 1968. The following Beach Boys album, ''[[Friends (The Beach Boys album)|Friends]]'', had songs influenced by the [[Transcendental Meditation]] the Maharishi taught. In support of ''Friends'', Love arranged for the Beach Boys to [[The Beach Boys' 1968 US tour with Maharishi Mahesh Yogi|tour with the Maharishi in the US]]. Starting on May 3, 1968, the tour lasted five shows and was canceled when the Maharishi withdrew to fulfill film contracts. Because of disappointing audience numbers and the Maharishi's withdrawal, 24 tour dates were canceled at a cost estimated at $250,000.{{sfn|Gaines|1986|p=196}} ''Friends'', released on June 24, peaked at number 126 in the US.{{sfn|Schinder|2007|p=120}} In August, Capitol issued an album of Beach Boys backing tracks, ''[[Stack-o-Tracks]]''. It was the first Beach Boys LP that failed to chart in the US and UK.{{sfn|Schinder|2007|pp=120–121}}

In June 1968, Dennis befriended [[Charles Manson]], an aspiring singer-songwriter, and their relationship lasted for several months. Dennis bought him time at Brian's home studio, where recording sessions were attempted while Brian stayed in his room.{{sfn|Guinn|2014|pp=168–70, 340}}{{sfn|Love|2016|pp=202, 208}} Dennis then proposed that Manson be signed to Brother Records. Brian reportedly disliked Manson, and a deal was never made.{{sfn|Guinn|2014|p=168}} In July 1968, the group released the single "[[Do It Again (The Beach Boys song)|Do It Again]]", which lyrically harkened back to their earlier surf songs. Around this time, Brian admitted himself to a psychiatric hospital; his bandmates wrote and produced material in his absence.{{sfn|Carlin|2006|pp=140–141}} Released in January 1969, the album ''[[20/20 (The Beach Boys album)|20/20]]'' mixed new material with outtakes and leftovers from recent albums; Brian produced virtually none of the newer recordings.{{sfn|Gaines|1986|p=213}}

The Beach Boys recorded one song by Manson without his involvement: "Cease to Exist", rewritten as "[[Never Learn Not to Love]]", which was included on ''20/20''.  As [[Manson Family|his cult of followers]] took over Dennis's home, Dennis gradually distanced himself from Manson.{{sfn|Badman|2004|p=224}} According to Leaf, "The entire Wilson family reportedly feared for their lives."{{sfn|Leaf|1978|p=137}}

{{Multiple image
| image1            = Carl Wilson.jpg
| total_width       = 275
| image2            = Dennis Wilson 1971 cropped.jpg
| caption2          = [[Dennis Wilson]] in 1970
| caption1          = [[Carl Wilson]] in 1969
}}

In August, the Manson Family committed the [[Tate–LaBianca murders]]. According to Jon Parks, the band's tour manager, it was widely suspected in the Hollywood community that Manson was responsible for the murders, and it had been known that Manson had been involved with the Beach Boys, causing the band to be viewed as pariahs for a time.<ref>{{cite book|last=O'Neill|first=Tom|title=Chaos: Charles Manson, the CIA, and the Secret History of the Sixties|url=https://books.google.com/books?id=zG92DwAAQBAJ|year=2019|publisher=Little, Brown|isbn=978-0-316-47757-4|access-date=December 2, 2020|archive-date=June 6, 2021|archive-url=https://web.archive.org/web/20210606182949/https://books.google.com/books?id=zG92DwAAQBAJ|url-status=live}}</ref> In November, police apprehended Manson, and his connection with the Beach Boys received media attention. He was later convicted for several counts of murder and [[Conspiracy (criminal)|conspiracy]] to murder.{{sfn|Gaines|1986|p=219}}

==== Selling of the band's publishing ====
{{Further|Sea of Tunes}}
In April 1969, the band revisited its 1967 lawsuit against Capitol after it alleged an audit revealed the band was owed over $2 million for unpaid royalties and production duties.{{sfn|Gaines|1986|p=221}} In May, Brian told the music press that the group's funds were depleted to the point that it was considering filing for bankruptcy at the end of the year, which ''[[Disc & Music Echo]]'' called "stunning news" and a "tremendous shock on the American pop scene". Brian hoped that the success of a forthcoming single, "[[Break Away (The Beach Boys song)|Break Away]]", would mend the financial issues.<!-- <ref name="May69"/> -->{{Citation needed|reason=ref name May69 not defined.|date=December 2018}} The song, written and produced by Brian and Murry, reached number 63 in the US and number 6 in the UK,{{sfn|Badman|2004}} and Brian's remarks to the press ultimately thwarted long-simmering contract negotiations with [[Deutsche Grammophon]].{{sfn|Carlin|2006|p=149}} The group's Capitol contract expired two weeks later with one more album still due. ''[[Live in London (The Beach Boys album)|Live in London]]'', a live album recorded in December 1968, was released in the UK and a few other countries in 1970 to fulfil the contract, although it would not see US release until 1976, under the erroneous re-title ''Beach Boys '69''.{{sfn|Badman|2004|p=238}} After the contract was completed Capitol deleted the Beach Boys' catalog from print, effectively cutting off their royalty flow.{{sfn|Gaines|1986|p=221}} The lawsuit was later settled in their favor and they acquired the rights to their post-1965 catalog.{{sfn|Carlin|2006|p=}}

In August, [[Sea of Tunes]], the Beach Boys' catalog, was sold to Irving Almo Music for $700,000 (equivalent to ${{Format price|{{Inflation|US|700000|1969|end_year={{Inflation-year|US}}}}}} in {{Inflation-year|US}}).{{sfn|Love|2016|p=226}} According to his wife, [[Marilyn Wilson]], Brian was devastated by the sale.{{sfn|Gaines|1986|p=224–225}} Over the years, the catalog generated more than $100 million in publishing royalties, none of which Murry or the band members ever received.{{sfn|Love|2016|p=227}} That same month, Carl, Dennis, Love, and Jardine sought a permanent replacement for Johnston, with Johnston unaware of this search. They approached Carl's brother-in-law [[Billy Hinsche]], who declined the offer to focus on his college studies.{{sfn|Badman|2004|p=253}}

===1970–1978: Reprise era===

====''Sunflower'', ''Surf's Up'', ''Carl and the Passions'', and ''Holland''====
[[File:The Beach Boys Billboard 1971.jpg|thumb|240x240px|The Beach Boys in 1971; top left to right: Mike Love, Brian Wilson; middle left to right: Carl Wilson, Al Jardine, Dennis Wilson; bottom: Bruce Johnston]]
The group was signed to [[Reprise Records]] in 1970.<ref name="allmusic" /> Scott Schinder described the label as "probably the hippest and most artist-friendly major label of the time".{{sfn|Schinder|2007|pp=121–122}} The deal was brokered by Van Dyke Parks, who was then employed as a multimedia executive at [[Warner Music Group]]. Reprise's contract stipulated Brian's proactive involvement with the band in all albums.{{sfn|Carlin|2006|p=150}} By the time the Beach Boys' tenure ended with Capitol in 1969, they had sold 65 million records worldwide, closing the decade as the most commercially successful American group in popular music.<ref>{{cite magazine| date=November 14, 1970 |title=The Best Kept Secret in the World: "The Most Dynamic Vocal Group Rock Has Produced" |magazine=Billboard Magazine |volume= 82 |issue= 46 |page=4 |url={{google books |plainurl=y |id=sSkEAAAAMBAJ|page=4}} |access-date=April 27, 2013}}</ref>

After recording over 30 different songs and going through several album titles, their first LP for Reprise, ''[[Sunflower (The Beach Boys album)|Sunflower]]'', was released on August 31, 1970.<ref name="White2000">{{cite AV media notes|title=Sunflower/Surf's Up|others=The Beach Boys|year=2000|first=Timothy|last=White|author-link=Timothy White (editor)|publisher=[[Capitol Records]]|type=CD Liner|url=http://albumlinernotes.com/Sunflower_Surf_s_Up.html|access-date=May 13, 2018|archive-date=October 6, 2014|archive-url=https://web.archive.org/web/20141006135103/http://albumlinernotes.com/Sunflower_Surf_s_Up.html|url-status=live}}</ref> ''Sunflower'' featured a strong group presence with significant writing contributions from all six band members.{{sfn|Bogdanov|Woodstra|Erlewine|2002|p=73}} Brian was active during this period, writing or co-writing seven of ''Sunflower'''s 12 songs and performing at half of the band's domestic concerts in 1970.{{sfn|Carlin|2006|pp=153–154}} The album received critical acclaim in both the US and the UK.{{sfn|Carlin|2006|p=153}} This was offset by the album reaching only number 151 on US record charts during a four-week stay,<ref name=White2000 /> becoming one of the worst-selling of the Beach Boys' albums at that point.{{sfn|Carlin|2006|p=154}} Fans generally regard the LP as the Beach Boys' finest post-''Pet Sounds'' album.{{sfn|Schinder|2007|p=122}} In 2003, it placed at number 380 on ''Rolling Stone''{{'}}s "Greatest Albums of All Time" list.{{sfn|Moskowitz|2015|p=45}}

[[File:Beach Boys Good Vibrations from Central Park 1971.jpg|thumb|left|The Beach Boys performing in [[Central Park]], July 1971{{sfn|Badman|2004|p=297}}|alt=]]

In mid-1970, the Beach Boys hired radio presenter [[Jack Rieley]] as their manager. One of his initiatives was to encourage the band to record songs featuring more socially conscious lyrics.{{sfn|Carlin|2006|p=155}} He also requested the completion of ''Smile'' track "[[Surf's Up (song)|Surf's Up]]" and arranged a guest appearance at a [[Grateful Dead]] concert at [[Bill Graham (promoter)|Bill Graham]]'s [[Fillmore East]] in April 1971 to foreground the Beach Boys' transition into the counterculture.{{sfn|Gaines|1986|pp=241–242}} During this time, the group ceased wearing matching uniforms on stage,{{sfn|Carlin|2006|pp=155–156}} while Dennis took time to star alongside [[James Taylor]], [[Laurie Bird]], and [[Warren Oates]] in the cult film ''[[Two-Lane Blacktop]]'', released in 1971. Later in 1971, Dennis injured his hand, leaving him temporarily unable to play the drums.{{sfn|Schinder|2007|p=122}} He continued in the band, singing and occasionally playing keyboards, while [[Ricky Fataar]], formally of [[the Flames]], took over on drums.{{sfn|Badman|2004|p=296}} In July, the American music press rated the Beach Boys "the hottest grossing act" in the country, alongside [[Grand Funk Railroad]].{{sfn|Badman|2004|p=297}} The band filmed a concert for [[American Broadcasting Company|ABC-TV]] in [[Central Park]], which aired as ''[[Schaefer Music Festival|Good Vibrations from Central Park]]'' on August 19.{{sfn|Gaines|1986|p=243}}

On August 30, the band released ''[[Surf's Up (album)|Surf's Up]]'', which was moderately successful, reaching the US top-thirty, a marked improvement over their recent releases.{{sfn|Gaines|1986|p=242}} While the record charted, the Beach Boys added to their renewed fame by performing a near-sellout set at [[Carnegie Hall]]; their live shows during this era included reworked arrangements of many of their previous songs,{{sfn|Carlin|2006|pp=155–158}} with their [[set list]]s culling from ''Pet Sounds'' and ''Smile''.{{sfn|Priore|2005|p=140}} On October 28, the Beach Boys were the featured cover story on that date's issue of ''Rolling Stone''. It included the first part of a lengthy two-part interview, titled "The Beach Boys: A California Saga", conducted by [[Tom Nolan (actor)|Tom Nolan]] and David Felton.{{sfn|Badman|2004|p=300}}

Bruce Johnston left the Beach Boys in early 1972, with Fataar and another ex-Flames member, singer and guitarist [[Blondie Chaplin]], becoming official members of the band. The new line-up released ''[[Carl and the Passions – "So Tough"]]'' in May 1972. The original US release was a double album, the second disc being a reissue of ''Pet Sounds''.{{sfn|Badman|2004|p=311}} After the upswing of ''Surf's Up'', ''Carl and the Passions'' was relatively unsuccessful in the US, charting at number 50. It was more successful in the UK, where it was issued as a single album without ''Pet Sounds'', peaking at number 25. The next album, ''[[Holland (album)|Holland]]'', was released in January 1973. Reprise initially rejected the album, feeling it lacked a strong single. Following the intervention of Van Dyke Parks, this resulted in the inclusion of "[[Sail On, Sailor]]".{{sfn|Carlin|2006|pp=184, 305}} Reprise approved, and the resulting album peaked at number 37. Brian's musical children's story, ''[[Mount Vernon and Fairway]]'', was included with the album as a bonus [[extended play|EP]].{{sfn|Carlin|2006|pp=181–182}}

====Greatest hits LPs, touring resurgence, and Caribou sessions====
After ''Holland'', the group maintained a touring regimen, captured on the double live album ''[[The Beach Boys in Concert]]'' released in November 1973, but recorded very little in the studio through 1975.{{sfn|Badman|2004|p=323}} Several months earlier, they had announced that they would complete ''Smile'', but this never came to fruition, and plans for its release were once again abandoned.{{sfn|Badman|2004|p=305}}{{refn|group=nb|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.{{sfn|Badman|2004|pp=305, 327}}}} Following Murry's death in June 1973, Brian retreated into his bedroom and withdrew further into drug abuse, alcoholism, [[chain smoking]], and overeating.{{sfn|Badman|2004|pp=329–330}} In October, the band dismissed Rieley as manager and appointed Mike Love's brother, Stephen, and [[Chicago (band)|Chicago]] manager [[James William Guercio]].{{sfn|Badman|2004|pp=331, 336}} Chaplin and Fataar left the band in December 1973 and November 1974, respectively, with Dennis returning to drums following Fataar's departure.{{sfn|Badman|2004|pp=332, 341}}

The Beach Boys' greatest hits compilation album ''[[Endless Summer (The Beach Boys album)|Endless Summer]]'' was released in June 1974 to unexpected success, becoming the band's second number 1 US album in October.{{sfn|Dillon|2012|p=217}}{{sfn|Badman|2004|p=339}} The LP had a 155-week chart run, selling over 3 million copies.{{sfn|Carlin|2006|p=193}} The Beach Boys became the number-one act in the US,{{sfn|Badman|2004|p=339}} propelling themselves from opening for [[Crosby, Stills, Nash and Young]] in the summer of 1974 to headliners selling out basketball arenas in a matter of weeks.{{sfn|Carlin|2006|pp=193–194}} Guercio prevailed upon the group to swap out newer songs with older material in their concert setlists,{{sfn|Dillon|2012|p=216}} partly to accommodate their growing audience and the demand for their early hits.{{sfn|Carlin|2006|p=192}} Later in the year, members of the band appeared as guests on Chicago's hit "[[Wishing You Were Here]]".{{sfn|White|1996|p=287}} At the end of 1974, ''[[Rolling Stone]]'' proclaimed the Beach Boys "Band of the Year" based on the strength of their live performances.{{sfn|Carlin|2006|pp=193–194}}{{sfn|Dillon|2012|p=218}}

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]].{{sfn|Badman|2004|p=341}}{{sfn|Dillon|2012|p=217}}{{sfn|Carlin|2006|pp=194–195}} These October 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.{{sfn|Badman|2004|p=341}} With the project put on hold, the Beach Boys spent most of the next year on the road playing college football stadiums and basketball arenas.{{sfn|Carlin|2006|p=195}}{{sfn|Dillon|2012|p=218}} The only Beach Boys recording of 1974 to see release at the time was the Christmas single "[[Child of Winter (Christmas Song)|Child of Winter]]", recorded upon the group's return to Los Angeles in November and released the following month.

Over the summer of 1975, the touring group played a co-headlining series of concert dates with Chicago, a pairing that was nicknamed "[[Beachago]]".{{sfn|Carlin|2006|p=196}}{{sfn|Dillon|2012|p=219}} The tour was massively successful and restored the Beach Boys' profitability to what it had been in the mid-1960s.{{sfn|Badman|2004|p=347}} Although another joint tour with Chicago had been planned for the summer of 1976,{{sfn|Dillon|2012|p=219}} the Beach Boys' association with Guercio and his Caribou Management company ended in early 1976.{{sfn|Badman|2004|p=362}}{{refn|group=nb|According to 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".{{sfn|Gaines|1986|p=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]].{{sfn|Dillon|2012|p=219}} }} Stephen Love subsequently took over as the band's ''de facto'' business manager.{{sfn|Gaines|1986|p=269}}

====''15 Big Ones'', ''Love You'', and ''Adult/Child''====

Early in 1975, Brian signed a production deal with [[California Music]], a Los Angeles collective that included Bruce Johnston and Gary Usher, but was drawn away by the Beach Boys' pressing demands for a new album.{{sfn|Carlin|2006|pp=198, 205}} In October, Marilyn persuaded Brian to admit himself to the care of psychologist [[Eugene Landy]], who kept him from indulging in substance abuse with constant supervision.{{sfn|Love|2016|pp=253–255}}{{sfn|Carlin|2006|pp=198–199}} Brian was kept in the program until December 1976.{{sfn|Carlin|2006|p=215}}

[[File:Brian Wilson 1976.png|thumb|left|Brian Wilson behind [[Brother Studios]]' mixing console in early 1976]]

At the end of January 1976, the Beach Boys returned to the studio with Brian producing once again.{{sfn|Badman|2004|p=358}} Brian decided the band should do an album of rock and roll and [[doo wop]] standards. Carl and Dennis disagreed, feeling that an album of originals was far more ideal, while Love and Jardine wanted the album out as quickly as possible.{{sfn|Badman|2004|p=358}} To highlight Brian's recovery and his return to writing and producing, Stephen launched a media campaign and paid the [[Rogers & Cowan]] publicity agency $3,500 per month to implement it.{{sfn|Gaines|1986|p=287}} The band also commissioned an [[NBC]]-TV special, later known as ''[[The Beach Boys: It's OK!]]'', that was produced by ''[[Saturday Night Live|NBC's Saturday Night]]'' creator [[Lorne Michaels]].{{sfn|Carlin|2006|p=215}}

Released on July 5, 1976, ''[[15 Big Ones]]'' was generally disliked by fans and critics, as well as Carl and Dennis, who disparaged the album to the press.{{sfn|Badman|2004|p=364}} The album peaked at number 8 in the US, becoming their first top-ten album of new material since ''Pet Sounds'', and their highest-charting studio album since ''Summer Days (And Summer Nights!!)''.{{sfn|Badman|2004|pp=96, 364}} Lead single "[[Rock and Roll Music (song)|Rock and Roll Music]]" peaked at number 5 – their highest chart ranking since "Good Vibrations".{{sfn|Badman|2004|p=362}}

From late-1976 to early-1977, Brian made sporadic public appearances and produced the band's next album, ''[[The Beach Boys Love You]]''.{{sfn|Carlin|2006|p=290}} He regarded it as a spiritual successor to ''Pet Sounds'', namely because of the autobiographical lyrics.{{sfn|Wilson|Greenman|2016|p=197}} Released on April 11, 1977, ''Love You'' peaked at number 53 in the US and number 28 in the UK.{{sfn|Badman|2004|p=371}} Critically, it was widely praised, though it initially met with polarized reactions from the public.{{sfn|Schinder|2007|p=124}} Numerous esteemed critics penned favorable reviews, but casual listeners generally found the album's idiosyncratic sound to be a detriment.{{sfn|Dillon|2012|p=233}}

''[[Adult/Child]]'', the intended follow-up to ''Love You'', was completed, but the release was vetoed by Love and Jardine.{{sfn|Carlin|2006|pp=222–223}} According to Stan Love, when his brother Mike heard the album, Mike turned to Brian and asked: "What the fuck are you doing?"{{sfn|Carlin|2006|p=223}} Some of the unreleased songs on ''Adult/Child'' later saw individual release on subsequent Beach Boys albums and compilations.{{sfn|Badman|2004|pp=256–371}} Following this period, his concert appearances with the band gradually diminished and their performances were occasionally erratic.{{sfn|Carlin|2006|p=226}}

====CBS signing and ''M.I.U. Album''====
At the beginning of 1977, the Beach Boys had enjoyed their most lucrative concert tours ever, with the band playing in packed stadiums and earning up to $150,000 per show.{{sfn|Carlin|2006|pp=217–218}} Concurrently, the band was the subject of a record company bidding war, as their contract with Warner Bros. had been set to expire soon.{{sfn|Gaines|1986|p=294}}{{sfn|Carlin|2006|pp=216–217}} Stephen Love arranged for the Beach Boys to sign an $8 million deal with [[Sony Music|CBS Records]] on March 1.{{sfn|Gaines|1986|pp=294–295}} Numerous stipulations were given in the CBS contract, including that Brian was required to write at least four songs per album, co-write at least 70% of all the tracks, and produce or co-produce alongside his brothers.{{sfn|Gaines|1986|p=295}}{{refn|group=nb|According to Gaines, "When Brian signed the contract, he cried, knowing he would now have to go back to the studio full-time."{{sfn|Gaines|1986|p=295}}}} Another part of the deal required the group to play thirty concerts a year in the U.S., in addition to one tour in Australia and Japan, and two tours in Europe.{{sfn|Gaines|1986|p=295}}

Within weeks of the CBS contract, the band dismissed Stephen, with one of the alleged reasons being that Mike had not permitted Stephen to sign on his behalf while at a TM retreat in Switzerland.{{sfn|Gaines|1986|pp=295–296, 298}} For Stephen's replacement, the group hired Carl's friend Henry Lazarus, an entertainment business owner that had no prior experience in the music industry.{{sfn|Gaines|1986|p=299}} Lazarus arranged a major European tour for the Beach Boys, starting in late July, with stops in Germany, Switzerland, and France.{{sfn|Gaines|1986|p=299}} Due to poor planning, the tour was cancelled shortly before it began. The band dismissed Lazarus and were sued by many of the concert promoters, with losses of $200,000 in preliminary expenses and $550,000 in potential revenue.{{sfn|Gaines|1986|p=300}}

In July, the Beach Boys played a concert at [[Wembley Stadium]] that was notable for the fact that, during the show, Mike attacked Brian with a piano bench onstage in front of over 15,000 attendees.{{sfn|Gaines|1986|p=301}}{{refn|group=nb|Love later explained that he had been "in a state of extreme sensitivity" after learning that his girlfriend was in a vegetative state following "a horrific car accident".{{sfn|Love|2016|p=427}}}} In August, Mike and Jardine persuaded Stephen to return as the group's manager,{{sfn|Gaines|1986|p=302}} a decision that Carl and Dennis had strongly opposed.{{sfn|White|1996|p=321}}{{sfn|Gaines|1986|p=302}}  By this point, the band had effectively split into two camps; Dennis and Carl on one side, Mike and Jardine on the other, with Brian remaining neutral.{{sfn|Carlin|2006|pp=218–219}}{{sfn|Badman|2004|p=371}} These two opposing contingents within the group – known among their associates as the "free-livers" and the "meditators" – were traveling in different planes, using different hotels, and rarely speaking to each other.{{sfn|Gaines|1986|p=302}} According to Love, "the terms 'smokers' and 'nonsmokers' were also used".{{sfn|Love|2016|p=428}}

On September 3, after completing the final date of a northeastern US tour, the internal wrangling came to a head. Following a confrontation on an airport apron – a spectacle that a bystanding ''Rolling Stone'' journalist compared to the ending of ''[[Casablanca (film)|Casablanca]]'' – Dennis declared that he had left the band.<ref name=Swenson1977>{{cite magazine|last1=Swenson|first1=John|title=The Beach Boys – No More Fun Fun Fun|magazine=[[Rolling Stone]]|date=October 20, 1977|url=http://smileysmile.net/board/index.php?topic=6867.0|access-date=February 1, 2015|archive-date=June 24, 2015|archive-url=https://web.archive.org/web/20150624043744/http://smileysmile.net/board/index.php?topic=6867.0|url-status=live}}</ref> The group was broken up until a meeting at Brian's house on September 17.{{sfn|Badman|2004|p=371}} In light of the lucrative CBS contract, the parties negotiated a settlement resulting in Love gaining control of Brian's vote in the group, allowing Love and Jardine to outvote Carl and Dennis on any matter.{{sfn|Badman|2004|p=371}}

[[File:The Beach Boys Konzert Michigan 1978 (cropped).jpg|thumb|right|The Beach Boys performing a concert in Michigan, August 1978]]

The group had still owed one more album for Reprise. Released in September 1978, ''[[M.I.U. Album]]'' was recorded at [[Maharishi International University]] in Iowa at the suggestion of Love.{{sfn|Carlin|2006|p=224}} The band originally attempted to record a Christmas album, to be titled ''[[Merry Christmas from the Beach Boys]]'', but this idea was rejected by Reprise. These Christmas recordings would eventually be released in 1998 as part of the archival album ''[[Ultimate Christmas]]''. Dennis and Carl made limited contributions to ''M.I.U. Album''; the album was produced by Jardine and [[Ron Altbach]], with Brian credited as "executive producer".{{sfn|Carlin|2006|p=225}} Dennis started to withdraw from the group to focus on his second solo album, ''[[Bambu (album)|Bambu]]'', which was shelved just as alcoholism and marital problems overcame all three Wilson brothers.{{sfn|Schinder|2007|p=124}} Carl appeared intoxicated during concerts (especially at appearances for their 1978 Australia tour) and Brian gradually slid back into addiction and an unhealthy lifestyle.{{sfn|Carlin|2006|pp=226–227}}{{refn|group=nb|At a concert in Perth, Carl was so inebriated that he fell over mid-performance. The next day, he apologized for his poor performance on national television.{{sfn|Love|2016|p=435}}}} After the tour, Stephen was dismissed in part due to an incident in which Brian's caregivers, [[Rocky Pamplin]] and [[Stan Love (basketball)|Stan Love]], physically assaulted Dennis.<ref>{{Cite web |title=The Spokesman-Review - Google News Archive Search |url=https://news.google.com/newspapers?nid=1314&dat=19861021&id=7TwVAAAAIBAJ&sjid=hAgEAAAAIBAJ&pg=7039,3470164 |access-date=2024-09-19 |website=news.google.com}}</ref>

===1978–1998: Continued recording and Brian's estrangement===

====''L.A. (Light Album)'' and ''Keepin' the Summer Alive''====
[[File:The Beach Boys 1979.jpg|thumb|right|The Beach Boys in 1979]]
The group's first two albums for CBS, 1979's ''[[L.A. (Light Album)]]'' and 1980's ''[[Keepin' the Summer Alive]]'', struggled in the US, charting at 100 and 75 respectively, though the band did manage a top-forty single from ''L.A. (Light Album)'' with "[[Good Timin' (The Beach Boys song)|Good Timin']]". The recording of these albums saw Bruce Johnston return to the band, initially solely as a producer and eventually as a full-time band member. In-between the two albums, the group contributed the song "[[It's a Beautiful Day (The Beach Boys song)|It's a Beautiful Day]]" to the soundtrack of the film ''[[Americathon]]''.  In an April 1980 interview, Carl reflected that "the last two years have been the most important and difficult time of our career. We were at the ultimate crossroads. We had to decide whether what we had been involved in since we were teenagers had lost its meaning. We asked ourselves and each other the difficult questions we'd often avoided in the past."<ref>{{cite news|last1=Lloyd|first1=Jack|title=Surf Wasn't Always Smooth|publisher=Knight News Service|date=April 25, 1980}}</ref> By the next year, he left the touring group because of unhappiness with the band's nostalgia format and lackluster live performances, subsequently pursuing a solo career.{{sfn|Schinder|2007|p=124}} He stated: "I haven't quit the Beach Boys but I do not plan on touring with them until they decide that 1981 means as much to them as 1961."<ref name="Jarnow15">{{cite web|last1=Jarnow|first1=Jesse|title=Carl Only Knows: A New Biography of the Man Legally Known as the Beach Boys|url=https://pitchfork.com/thepitch/926-carl-only-knows-a-new-biography-of-the-man-legally-known-as-the-beach-boys/|website=[[Pitchfork (website)|Pitchfork]]|date=October 12, 2015|access-date=April 21, 2020|archive-date=June 16, 2020|archive-url=https://web.archive.org/web/20200616042103/https://pitchfork.com/thepitch/926-carl-only-knows-a-new-biography-of-the-man-legally-known-as-the-beach-boys/|url-status=live}}</ref> Carl returned in May 1982, after approximately 14 months of being away, on the condition that the group reconsider their rehearsal and touring policies and refrain from "Las Vegas-type" engagements.{{sfn|Badman|2004|p=373}}

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On June 21, 1980, the Beach Boys performed a concert at [[Knebworth]], England, which featured a slightly intoxicated Dennis. The concert would later be released as a live album titled ''[[Good Timin': Live at Knebworth England 1980]]'' in 2002. In 1981, the band scored a surprise US top-twenty hit when their cover of [[the Del-Vikings]]' "[[Come Go with Me]]", from the three year old ''M.I.U. Album'', was released as a single from ''[[Ten Years of Harmony]]'', a double compilation album focusing on the Reprise and CBS years.<ref>Whitburn, Joel (2004). ''The Billboard Book of Top 40 Hits'', 8th Edition (Billboard Publications), page 51.</ref>

In late 1982, Eugene Landy was hired once more as Brian's therapist.<ref name="TelegraphObit">{{cite web|url=https://www.telegraph.co.uk/news/main.jhtml?xml=/news/2006/03/31/db3102.xml&sSheet=/portal/2006/03/31/ixportal.html|title=Eugene Landy obituary|access-date=April 16, 2006|url-status=dead|archive-url=https://web.archive.org/web/20080225202250/http://www.telegraph.co.uk/news/main.jhtml?xml=%2Fnews%2F2006%2F03%2F31%2Fdb3102.xml&sSheet=%2Fportal%2F2006%2F03%2F31%2Fixportal.html|archive-date=February 25, 2008}}</ref> This involved removing him from the group on November 5, 1982, at the behest of Carl, Love, and Jardine,<ref name="Goldberg1984">{{cite magazine|last1=Goldberg|first1=Michael|title=Dennis Wilson: The Beach Boy Who Went Overboard|magazine=Rolling Stone|date=June 7, 1984|url=https://www.rollingstone.com/music/features/the-beach-boy-who-went-overboard-19840607|access-date=June 20, 2018|archive-date=August 30, 2017|archive-url=https://web.archive.org/web/20170830173430/http://www.rollingstone.com/music/features/the-beach-boy-who-went-overboard-19840607|url-status=live}}</ref> in addition to putting him on a strict diet and health regimen.{{sfn|Carlin|2006|pp=243–244}} Coupled with counseling sessions that retaught him basic social etiquette, this therapy restored Brian's physical health, slimming down from {{convert|311|lb|kg}} to {{convert|185|lb|kg}}.<ref>{{cite web|title=Brian Wilson on the Beach Boys, Gershwin and his upcoming biopic|url=http://www.ifc.com/fix/2011/11/brian-wilson-on-biopic-the-beach-boys-gershwin|work=IFC|access-date=August 28, 2013|date=November 16, 2011|archive-date=October 5, 2013|archive-url=https://web.archive.org/web/20131005021909/http://www.ifc.com/fix/2011/11/brian-wilson-on-biopic-the-beach-boys-gershwin|url-status=live}}</ref>

====Death of Dennis, ''The Beach Boys'', and ''Still Cruisin''{{'}}====
[[Image:Reagans with the Beach Boys.jpg|thumb|The Beach Boys with President [[Ronald Reagan]] and First Lady [[Nancy Reagan]] at the [[White House]], June 1983]]

By the late 1970s and early 1980s, Dennis had been embroiled in successive failed romantic relationships, including a tense and short-lived relationship with [[Fleetwood Mac]]'s [[Christine McVie]], and found himself in severe economic trouble resulting in the sale of [[Brother Studios]], established by the Wilson brothers in 1974 and where ''Pacific Ocean Blue'' was produced, and the forfeiture of his beloved yacht. To cope with the combination of devastating losses, Dennis heavily abused alcohol, cocaine, and heroin and was, by 1983, homeless and lived a nomadic lifestyle. He was often seen spending much of his time wandering the Los Angeles coast and often missed Beach Boys performances. By this point, he had lost his voice and much of his ability to play drums.<ref>{{cite AV media |last1=O'Casey |first1=Matt |title=Dennis Wilson: The Real Beach Boy |url=https://www.imdb.com/title/tt1704872/ |via=IMDb |date=February 26, 2010}}</ref>

That year, tensions between Dennis and Love escalated to the point that each filed a restraining order against the other.<ref>{{cite web|url=https://www.brain-sharper.com/entertainment/beach-boys-ob/|title=Brian Wilson Explains Why The Beach Boys Will Never Get Back Together|publisher=BrainSharper|date=July 19, 2019|last=Foster|first=JJ|access-date=January 5, 2021|archive-date=March 26, 2018|archive-url=https://web.archive.org/web/20180326061654/http://www.brain-sharper.com/entertainment/beach-boys-ob/|url-status=live}}</ref> Following Brian's readmission for Landy's treatment, Dennis was given an ultimatum after his last performance in November to check into rehab for his alcohol problems or be banned from performing live with the band again. Dennis checked into rehab for his chance to get sober, but on December 28, he drowned at the age of 39 in [[Marina del Rey]] while diving from a friend's boat trying to recover items that he had previously thrown overboard in a fit of rage.{{sfn|Carlin|2006|p=247}}

The Beach Boys spent the next several years touring, often playing in front of large audiences, and recording songs for film soundtracks and various artists compilations.{{sfn|Schinder|2007|p=126}} One new studio album, the self-titled ''[[The Beach Boys (album)|The Beach Boys]]'', appeared in 1985 and proved a modest success, becoming their highest-charting album in the US since ''15 Big Ones''. ''The Beach Boys'' was the group's final album for CBS. The following year they returned to Capitol with a 25th anniversary greatest hits album ''[[Made in U.S.A. (The Beach Boys album)|Made in U.S.A]]'', which featured two new tracks, "[[Rock 'n' Roll to the Rescue]]" and a cover of [[the Mamas and the Papas]]' "[[California Dreamin']]", with the latter featuring [[Roger McGuinn]] of [[the Byrds]] on lead guitar. ''Made in U.S.A'' eventually went double platinum.

Commenting on his relationship to the band in 1988, Brian said that he avoided his family at Landy's suggestion, adding that "Although we stay together as a group, as people we're a far cry from friends."<ref>{{cite news|last1=White|first1=Timothy|author-link1=Timothy White (writer)|title=BACK FROM THE BOTTOM|url=https://www.nytimes.com/1988/06/26/magazine/back-from-the-bottom.html?pagewanted=all|work=[[The New York Times]]|date=June 26, 1988|access-date=June 20, 2018|archive-date=June 20, 2018|archive-url=https://web.archive.org/web/20180620130254/https://www.nytimes.com/1988/06/26/magazine/back-from-the-bottom.html?pagewanted=all|url-status=live}}</ref> Mike denied the accusation that he and the band were keeping Brian from participating with the group.{{sfn|Love|2016|pp=333–334}} In 1987 the band scored a top-twenty single in collaboration with rap group [[the Fat Boys]], on their cover of [[the Surfaris]]' "[[Wipe Out (instrumental)|Wipeout!]]". The following year, the Beach Boys unexpectedly claimed their first US number 1 single in 22 years with "[[Kokomo (song)|Kokomo]]", which topped the chart for one week.<ref>{{Cite magazine|url=https://www.billboard.com/artist/the-beach-boys/chart-history/hsi/|title=The Beach Boys Kokomo (From"Cocktail" ) Chart History|magazine=Billboard|access-date=May 14, 2018|archive-date=November 17, 2021|archive-url=https://web.archive.org/web/20211117203022/https://www.billboard.com/artist/the-beach-boys/chart-history/hsi/|url-status=live}}</ref> The track was featured in the film ''[[Cocktail (1988 film)|Cocktail]]''. Both "Wipeout!" and "Kokomo" were included on the band's next album, 1989's ''[[Still Cruisin']]'', which went platinum in the US.<ref>{{Cite magazine|url=https://books.google.com/books?id=IBEEAAAAMBAJ&pg=PA53|title=September RIAA certifications|date=October 25, 2003|magazine=Billboard|language=en|page=53|access-date=May 14, 2018|archive-date=June 18, 2020|archive-url=https://web.archive.org/web/20200618111308/https://books.google.com/books?id=IBEEAAAAMBAJ&pg=PA53|url-status=live}}</ref>

During 1990 and 1991, the group's original Capitol-era albums (''Surfin' Safari'' through ''Live in London'') were released on CD for the first time, with ''The Beach Boys' Christmas Album'' and ''Pet Sounds'' being individual titles, and the remaining albums issued as two-fers (two albums on one CD). The Reprise and CBS albums (''Sunflower'' through ''The Beach Boys'') would eventually receive the same treatment in 2000. In 1991 the band contributed a cover of "[[Crocodile Rock]]" to the [[Elton John]] and [[Bernie Taupin]] tribute album ''[[Two Rooms: Celebrating the Songs of Elton John & Bernie Taupin|Two Rooms]]''.

====Lawsuits, ''Summer in Paradise'', and ''Stars and Stripes, Vol. 1''====
{{See also|Andy Paley sessions}}
Carlin summarized: "Once surfin' pin-ups, they remade themselves as [[avant-garde pop]] artists, then psychedelic oracles. After that they were down-home hippies, then retro-hip icons. Eventually they devolved into none of the above: a kind of perpetual-motion nostalgia machine."<ref>{{cite news|last1=Carlin|first1=Peter Ames|author-link=Peter Ames Carlin|title=MUSIC; A Rock Utopian Still Chasing An American Dream|url=https://www.nytimes.com/2001/03/25/arts/music-a-rock-utopian-still-chasing-an-american-dream.html|date=March 25, 2001|work=[[The New York Times]]|access-date=May 13, 2018|archive-date=June 12, 2018|archive-url=https://web.archive.org/web/20180612204232/https://www.nytimes.com/2001/03/25/arts/music-a-rock-utopian-still-chasing-an-american-dream.html|url-status=live}}</ref> Music journalist Erik Davis wrote in 1990: "the Beach Boys are either dead, deranged, or dinosaurs; their records are Eurocentric, square, unsampled; they've made too much money to merit hip revisionism".<ref name="Davis1990"/> In 1992, critic Jim Miller wrote: "They have become a figment of their own past, prisoners of their unflagging popularity—incongruous emblems of a sunny myth of eternal youth belied by much of their own best music.&nbsp;... The group is still largely identified with its hits from the early Sixties."{{sfn|Miller|1992|pp=192, 195}}

Love filed a defamation lawsuit against Brian due to how he was presented in Brian's 1992 memoir ''[[Wouldn't It Be Nice: My Own Story]]''. Its publisher [[HarperCollins]] settled the suit for $1.5 million. He said that the suit allowed his lawyer "to gain access to the transcripts of Brian's interviews with his [book] collaborator, Todd Gold. Those interviews affirmed—according to Brian—that I had been the inspiration of the group and that I had written many of the songs that [would soon be] in dispute."{{sfn|Love|2016|pp=353–354}} Other defamation lawsuits were filed by Carl, Brother Records, and the Wilsons' mother Audree.{{sfn|Love|2016|p=353}} With Love and Brian unable to determine exactly what Love was properly owed in royalties and songwriting credits, [[Love v. Wilson|Love sued Brian in 1992]], awarding him $5 million and a share of future royalties from Wilson.<ref>{{Cite web|date=December 13, 1994|title=Beach Boys' Mike Love Wins His Case, Stands to Collect Millions|url=https://www.latimes.com/archives/la-xpm-1994-12-13-fi-8511-story.html|access-date=March 10, 2021|website=Los Angeles Times|archive-date=February 15, 2013|archive-url=https://web.archive.org/web/20130215121946/http://articles.latimes.com/1994-12-13/business/fi-8511_1_beach-boys-lead-singer|url-status=live}}</ref> Thirty-five of the group's songs were then amended to credit Love.<ref name="Times1994">{{cite news |title=Beach Boys' Mike Love Wins His Case, Stands to Collect Millions |url=https://www.latimes.com/archives/la-xpm-1994-12-13-fi-8511-story.html |newspaper=Los Angeles Times |date=December 13, 1994 |access-date=October 1, 2012 |archive-date=February 15, 2013 |archive-url=https://web.archive.org/web/20130215121946/http://articles.latimes.com/1994-12-13/business/fi-8511_1_beach-boys-lead-singer |url-status=live }}</ref> He later called it "almost certainly the largest case of fraud in music history".{{sfn|Love|2016|p=373}}

After dissolving his relationship with Landy, Brian phoned [[Sire Records]] staff producer [[Andy Paley]] to collaborate on new material tentatively for the Beach Boys.{{sfn|Carlin|2006|pp=273, 281}} After losing the songwriting credits lawsuit with Love, Brian told ''[[Mojo (magazine)|MOJO]]'' in February 1995: "Mike and I are just cool. There's a lot of shit Andy and I got written for him. I just had to get through that goddamn trial!"<ref name="MOJO1995">{{cite magazine|last1=Holdship |first1=Bill |title=Lost in Music |magazine=[[Mojo (magazine)|Mojo]] |date=August 1995 |url=http://www.petsounds.com/mojo1.pdf |url-status=dead |archive-url=https://web.archive.org/web/19980630153958/http://www.petsounds.com/mojo1.pdf |archive-date=June 30, 1998 }}</ref> In April, it was unclear whether the project would turn into a Wilson solo album, a Beach Boys album, or a combination of the two.<ref name=Verna1995>{{cite magazine|last1=Verna|first1=Paul|title=From Brian Wilson to Jerry Lee Lewis, Andy Paley's Career Defies Description|url=https://books.google.com/books?id=5QsEAAAAMBAJ&pg=PA88|magazine=[[Billboard (magazine)|Billboard]]|date=April 22, 1995|volume=107|issue=16|pages=88–89|issn=0006-2510|access-date=May 13, 2018|archive-date=May 13, 2016|archive-url=https://web.archive.org/web/20160513062940/https://books.google.com/books?id=5QsEAAAAMBAJ&pg=PA88|url-status=live}}</ref> The project ultimately disintegrated.{{sfn|Carlin|2006|p=284}} Instead, Brian and his bandmates recorded ''[[Stars and Stripes Vol. 1]]'', an album of [[country music]] stars covering Beach Boys songs, with co-production helmed by [[River North Records]] owner [[Joe Thomas (producer)|Joe Thomas]].{{sfn|Carlin|2006|p=291}} Afterward, the group discussed finishing the album ''Smile'', but Carl rejected the idea, fearing that it would cause Brian another nervous breakdown.{{sfn|Love|2016|p=384}}

The 1990s saw the release of the critically acclaimed multi-CD box sets ''[[Good Vibrations: Thirty Years of the Beach Boys]]'' (1993) and ''[[The Pet Sounds Sessions]]'' (1997), both featuring unreleased archive recordings, as well as two single-CD archival sets, ''[[Ultimate Christmas]]'' and ''[[Endless Harmony Soundtrack]]'' (both 1998), with the latter a companion to the official career-spanning documentary ''[[Endless Harmony: The Beach Boys Story]]'', which first aired on [[VH1]] and was later issued on VHS and DVD.

=== 1998–present: Love-led tours and brief reunion ===
==== Carl's death and band name litigation ====
[[File:The Beach Boys concierto.jpg|thumb|The touring lineup of Mike Love and Bruce Johnston's "The Beach Boys Band", with David Marks, in 2008]]

Early in 1997, Carl was diagnosed with lung and brain cancer after years of heavy smoking. Despite his terminal condition, Carl continued to perform with the band on its summer tour (a double-bill with the band Chicago) while undergoing chemotherapy. During performances, he sat on a stool and needed oxygen after every song.{{sfn|Carlin|2006|pp=286–287}} Carl died on February 6, 1998, at the age of 51, two months after the death of the Wilsons' mother, Audree.<ref>{{cite news |last1=Lopez |first1=Robert |last2=Kerkstra |first2=Patrick |title=Beach Boy Carl Wilson Dies of Cancer at 51 |url=https://www.latimes.com/archives/la-xpm-1998-feb-08-mn-16912-story.html |access-date=December 20, 2021 |work=Los Angeles Times |date=February 8, 1998 |ref=carlDeath}}</ref>

<!-- The same month, Mike Love, Bruce Johnston, and David Marks created the album "[[Salute NASCAR]]" for the 50th anniversary of [[NASCAR]]. It was produced by [[Adrian Baker]] and sold exclusively at Union 76 gas stations. Contrary to the album cover, Bruce Johnston only appears on the album's intro and David Marks only did a few guitar overdubs, making it primarily a Mike Love album.<ref>[https://tvtropes.org/pmwiki/pmwiki.php/Music/SaluteNASCAR]</ref> The album consists entirely of covers and was received negatively by fans, having a user score of 11 on Album Of The Year.<ref>[https://www.albumoftheyear.org/album/406177-mike-love-salute-nascar.php]</ref> needs better sources and corrections -->

After Carl's death, Jardine left the touring line-up and began to perform regularly with his band "Beach Boys: Family & Friends" until he ran into legal issues for using the name without license. Meanwhile, Jardine sued Love, claiming that he had been excluded from their concerts,<ref>{{cite magazine|first=Charles|last=Bermant|title=Jardine Loses "Beach Boys"|url=https://www.rollingstone.com/music/news/jardine-loses-beach-boys-20010803|magazine=Rolling Stone|date=August 3, 2001|access-date=September 15, 2017|archive-date=May 25, 2017|archive-url=https://web.archive.org/web/20170525143443/http://www.rollingstone.com/music/news/jardine-loses-beach-boys-20010803|url-status=live}}</ref> BRI, through its longtime attorney, Ed McPherson, sued Jardine in Federal Court. Jardine, in turn, counter-claimed against BRI for wrongful termination.<ref>{{Cite web|url=https://www.casemine.com/judgement/us/5914b847add7b049347841d8|title=BROTHER RECORDS, INC. v. JARDINE &#124; 318 F.3d 900 &#124; 9th Cir. &#124; Judgment|website=Casemine.com|access-date=October 17, 2019|archive-date=August 30, 2019|archive-url=https://web.archive.org/web/20190830015442/https://www.casemine.com/judgement/us/5914b847add7b049347841d8|url-status=live}}</ref> Courts ruled in Love's favor, denying Jardine the use of the Beach Boys name in any fashion. However, Jardine proceeded to appeal this decision in addition to seeking $4 million in damages. The [[California Court of Appeal]] proceeded to rule that "Love acted wrongfully in freezing Jardine out of touring under the Beach Boys name", allowing Jardine to continue with his lawsuit.<ref name="Billboard">{{cite web|url=https://www.billboard.com/articles/news/68217/al-jardine-gets-ok-to-sue-mike-love|title=Al Jardine Gets OK To Sue Mike Love|publisher=Billboard|date=November 12, 2003|access-date=January 5, 2021}}</ref> The case ended up being settled outside of court with the terms not disclosed.<ref>{{cite web|url=https://www.mercurynews.com/2008/03/23/beach-boys-lawsuit-settled/|title=Beach Boys lawsuit settled|publisher=The Mercury News|date=March 23, 2008|access-date=January 5, 2021}}</ref>  BRI ultimately prevailed.<ref>{{cite magazine |title=Settlement Reached In Beach Boys Name Dispute |url=https://www.billboard.com/articles/news/1046108/settlement-reached-in-beach-boys-name-dispute |magazine=Billboard |date=March 21, 2008 |access-date=June 2, 2021 |archive-date=June 4, 2021 |archive-url=https://web.archive.org/web/20210604140450/https://www.billboard.com/articles/news/1046108/settlement-reached-in-beach-boys-name-dispute |url-status=live }}</ref>

Jardine's final appearance with the band for more than a decade occurred on May 9, 1998, which was the final official Beach Boys show performed before the license dispute.<ref name="Bellagio G&S 1998">{{cite web |last1=Doe |first1=Andrew G. |display-authors=et al. |title=Gigs & Sessions:1998 |url=http://bellagio10452.com/gigs98.html |website=Bellagio10452.com |access-date=July 15, 2024}}</ref><ref name="Billboard"/>  During the license dispute, Love (with Marks) toured as "The California Beach Band"; it was previously believed he did so "America's Band", but this has since been disproven.<ref name="Bellagio G&S 1998" />  Love then continued touring with Johnston (and David Marks, until he left the band again in 1999, due to health issues when he was diagnosed with [[hepatitis C]]<ref>{{cite news |title = Celebrity Health – David Marks|work = BBC News|date = May 23, 2008|url = http://news.bbc.co.uk/2/hi/7414433.stm|access-date = October 11, 2011}}</ref><ref>{{harvnb|Stebbins|2007|p=228}}</ref>), after securing a license from BRI, with the first performance of the 'reorganized' Love and Johnston-led touring band on July 4, 1998.<ref name="Bellagio G&S 1998" /><ref name="Billboard"/>

In 2000, ABC-TV premiered a two-part television miniseries, ''[[The Beach Boys: An American Family]]'', that dramatized the Beach Boys' story. It was produced by ''[[Full House]]'' actor [[John Stamos]], and was criticized by numerous parties, including Brian Wilson, for historical inaccuracies.<ref>{{cite news|last1=Holdship|first1=Bill|title=Heroes and Villains|url=http://smileysmile.net/board/index.php?topic=2371.25|work=[[Los Angeles Times]]|date=April 6, 2000|access-date=July 7, 2016|location=[[Chicago]]|archive-date=March 3, 2016|archive-url=https://web.archive.org/web/20160303235253/http://smileysmile.net/board/index.php?topic=2371.25|url-status=live}}</ref>

''[[Sounds of Summer: The Very Best of the Beach Boys]]'', a greatest hits compilation, was released in 2003, eventually going multi-platinum. In 2004, Wilson recorded and released his solo album ''[[Brian Wilson Presents Smile]]'', a reinterpretation of the unfinished ''Smile'' project. That September, Wilson issued a free CD through the ''[[Daily Mail|Mail On Sunday]]'' that included Beach Boys songs he had recently rerecorded, five of which he co-authored with Love. The 10 track compilation had 2.6 million copies distributed and prompted Love to file a lawsuit in November 2005; he claimed the promotion hurt the sales of the original recordings and that his image was used for the CD.<ref>{{cite news |url=https://www.latimes.com/archives/la-xpm-2005-nov-04-et-quick4.4-story.html |title=Mike Love sues Brian Wilson |last1=Lewis |first1=Randy |date=November 4, 2005 |newspaper=Los Angeles Times |access-date=August 4, 2013 |archive-date=November 6, 2013 |archive-url=https://web.archive.org/web/20131106074311/http://articles.latimes.com/2005/nov/04/entertainment/et-quick4.4 |url-status=live }}</ref>  Wilson's wife [[Melinda Ledbetter|Melinda]] alleged that, during the deposition, Love turned to Wilson and remarked: "you better start writing a real big hit because you're going to have to write me a real big check".<ref>{{cite web|url=https://www.rollingstone.com/music/music-news/beach-boys-brian-wilson-finally-defeats-one-of-mike-loves-dubious-lawsuits-120182/|title=Beach Boys' Brian Wilson Finally Defeats One of Mike Love's Dubious Lawsuits|publisher=Rolling Stone|date=May 14, 2007|last=Greene|first=Andy|access-date=January 5, 2021}}</ref>  Love's suit was dismissed in 2007 when a judge determined that there were no triable issues and that the case was without merit.<ref>{{cite news |url=https://www.latimes.com/archives/la-xpm-2007-may-16-et-quick16.1-story.html |title=Beach Boys lawsuit dismissed |last1=Lewis |first1=Randy |date=May 16, 2007 |newspaper=Los Angeles Times |access-date=August 4, 2013 |archive-date=February 27, 2009 |archive-url=https://web.archive.org/web/20090227081628/http://articles.latimes.com/2007/may/16/entertainment/et-quick16.1 |url-status=live }}</ref><ref name="LA Times">{{cite news|title= Beach Boys lawsuit dismissed |url=http://www.proquest.com/|access-date=June 27, 2010|newspaper=Los Angeles Times|date=May 16, 2007|page=E.3}}</ref>

In 2006, Brian Wilson, Love, Jardine, Marks, and Johnston participated in a non-performing reunion on the rooftop of the Capitol Records building in Los Angeles to celebrate that ''Sounds of Summer'' had been certified double-platinum.<ref name="Billboard 2012-2006 rooftop reunion">{{cite magazine |last1=Graff |first1=Gary |title=The Beach Boys: How The Reunion Happened |url=https://www.billboard.com/music/music-news/the-beach-boys-how-the-reunion-happened-1095910/ |magazine=Billboard |publisher=Billboard/Penske |access-date=July 17, 2024 |date=June 5, 2012}}</ref>  Later that year, Jardine joined Brian Wilson and his band for a short tour celebrating the 40th anniversary of ''[[Pet Sounds]]''.<ref>{{cite news|last=Ratliff|first=Ben|title=Wouldn't It Be Nice Not to Fuss Over Significance or Perfection?|url=https://www.nytimes.com/2006/11/23/arts/music/23wils.html|website=[[The New York Times]]|date=November 23, 2006 |access-date=January 7, 2020}}</ref>

In 2008, Marks briefly reunited with Love and Johnston's touring band for a tour of Europe.<ref name="Bellagio G&S 2008">{{cite web |display-authors=et al. |last1=Doe |first1=Andrew G. |title=Gigs & Sessions: 2008|url=http://bellagio10452.com/gigs08.html |website=Bellagio10452.com |access-date=July 17, 2024}}</ref>

In 2010, Jardine released ''[[A Postcard from California]]'', his solo debut, in June 2010 (re-released with two extra tracks on April 3, 2012). The album features contributions from Beach Boys Brian Wilson, Carl Wilson (posthumously), Bruce Johnston, David Marks, and Mike Love.  Other guests with Beach Boys connections included Glen Campbell, [[Scott Mathews]], [[Stephen Kalinich]], and [[Gerry Beckley]] and [[Dewey Bunnell]] of [[America (band)|America]].<ref name="huffingtonpost1">{{cite news|url=http://www.huffingtonpost.com/mike-ragogna/ema-postcard-from-califor_b_697112.html|title=Mike Ragogna: A Postcard From California: A Conversation with The Beach Boys' Al Jardine|publisher=HuffPost|date=August 27, 2010|access-date=November 5, 2011}}</ref>  Also in 2010, Brian Wilson and Jardine sang on "We Are the World 25: for Haiti", a new recording of "We Are the World" (with partially revised lyrics), which was released as a charity single to benefit the population of Haiti.<ref name="Bellagio Guest Appearances">{{cite web |display-authors=et al. |last1=Doe |first1=Andrew G. |title=Guest Appearances |url=http://bellagio10452.com/guesting.html |website=Bellagio10452.com |access-date=July 11, 2024}}</ref>

Jardine made his first appearance with the Beach Boys touring band in more than 10 years in 2011 at a tribute concert for [[Ronald Reagan]]'s 100th birthday;<ref>{{cite web|last=Flanary|first=Patrick|title=Pacific Ocean coup: how Ronald Reagan helped bury a Beach Boy at sea |url=https://www.theguardian.com/music/2019/may/22/beach-boys-dennis-wilson-buried-at-sea-ronald-reagan-help |website=The Guardian|date=May 22, 2019 |access-date=January 7, 2020}}</ref> at this concert, he sang lead on "Help Me, Rhonda" and "Sloop John B". He made a handful of other appearances with Love and Johnston's touring band in preparation for a reunion.

==== ''The Smile Sessions'', ''That's Why God Made the Radio'', and 50th anniversary reunion tour ====
On October 31, 2011, Capitol released a double album and box set dedicated to the ''Smile'' recordings in the form of ''[[The Smile Sessions]]''. The album garnered universal critical acclaim and charted in both the US ''Billboard'' and UK top-thirty. It went on to win [[Grammy Award for Best Historical Album|Best Historical Album]] at the [[55th Annual Grammy Awards|2013 Grammy Awards]].<ref>{{cite web|first1 = Al|last1 = Gomes|first2 = Connie|last2 = Watrous|date = February 10, 2013|title = The Beach Boys Win and Accept Grammy Award for 'The Smile Sessions'|publisher=
Al Gomes and Connie Watrous Archive|via = [[YouTube]]|url = https://www.youtube.com/watch?v=xzIvdZiLjV0}}</ref><ref>{{Cite web|url=https://ultimateclassicrock.com/beach-boys-smile-sessions/|title=5 Years Ago: The Beach Boys Finally Release the Troubled 'Smile Sessions'|first=Michael|last=Gallucci|website=Ultimate Classic Rock|date=October 31, 2016 |access-date=April 5, 2019|archive-date=February 3, 2019|archive-url=https://web.archive.org/web/20190203142204/http://ultimateclassicrock.com/beach-boys-smile-sessions/|url-status=live}}</ref>

[[File:The Beach Boys Smile (7300302550).jpg|thumb|upright=1.1|The reunited Beach Boys performing "[[Heroes and Villains]]" in tribute to ''Smile'']]

On December 16, 2011, it was announced that Wilson, Love, Jardine, Johnston, and David Marks would reunite for a new album and [[Beach Boys 50th Anniversary Reunion Tour|50th anniversary tour]].<ref>{{cite news|url=http://jam.canoe.ca/Music/Artists/B/Beach_Boys/2011/12/16/19133156.html|title=Beach Boys gear up for reunion|access-date=December 16, 2011|work=Sun Media|first=Darryl|last=Sterdan|date=December 16, 2011|url-status=usurped|archive-url=https://archive.today/20120709235328/http://jam.canoe.ca/Music/Artists/B/Beach_Boys/2011/12/16/19133156.html|archive-date=July 9, 2012}}</ref> On February 12, 2012, the Beach Boys performed at the [[54th Annual Grammy Awards|2012 Grammy Awards]], in what was billed as a "special performance" by organizers. It marked the group's first live performance to include Wilson since 1996, Jardine since 1998, and Marks since 1999.<ref>{{cite news |url=https://www.reuters.com/article/us-grammys-beachboys-idUSTRE8171QK20120208 |work=Reuters |first=Jill |last=Serjeant |title=Reunited Beach Boys to perform at Grammy Awards |date=February 8, 2012 |access-date=July 6, 2021 |archive-date=August 7, 2020 |archive-url=https://web.archive.org/web/20200807191955/https://www.reuters.com/article/us-grammys-beachboys-idUSTRE8171QK20120208 |url-status=live }}</ref> Released on June 5, ''[[That's Why God Made the Radio]]'' debuted at number 3 on the US charts, expanding the group's span of ''Billboard'' 200 top-ten albums across 49 years and one week, passing the Beatles with 47 years of top-ten albums.<ref>{{cite magazine |url=https://www.hollywoodreporter.com/news/beach-boys-beatles-billboard-337926 |title=Beach Boys Surpass the Beatles for Billboard 200 Record |magazine=The Hollywood Reporter |access-date=August 14, 2012 |first1=Gary |last1=Trust |date=June 14, 2012 |archive-date=June 18, 2012 |archive-url=https://web.archive.org/web/20120618192812/http://www.hollywoodreporter.com/news/beach-boys-beatles-billboard-337926 |url-status=live }}</ref> Critics generally regarded the album as an "uneven" collection, with most of the praise centered on its closing musical suite.<ref name=Bolin2012/>

During the tour, in May 2012, when asked about the future held for the band and its reunion after the scheduled end of the tour in September, Love stated that "We're looking at our present and future. I think we're going to be doing this again with Brian for a long time." Wilson said that he had begun planning for another Beach Boys album for the band would record after the tour.<ref>{{cite news |last1=Condran |first1=Ed |title=Beach Boys celebrate 50 years with tour stop in Tampa |url=http://tbo.com/entertainment/entertainment/2012/may/03/7/fxnewso8-golden-boys-ar-399218 |access-date=January 2, 2020 |work=[[The Tampa Tribune]] |date=May 3, 2012 |archive-url=https://web.archive.org/web/20120505231342/http://tbo.com/entertainment/entertainment/2012/may/03/7/fxnewso8-golden-boys-ar-399218 |archive-date=May 5, 2012 |url-status=dead}}</ref>  On June 1, 2012, Love received an e-mail from Ledbetter stating "no more shows for Wilson". Love then began accepting invitations for when the reunion was over.{{sfn|Love|2016|pp=402–403}} Johnston told reporter Mark Dillon in mid-June that the current tour was "a one-time event. You're not going to see this next year. I'm busy next year doing my thing with Mike."<ref>{{cite news |last1=Dillon |first1=Mark |title=The Beach Boys at 50 |url=https://www.thestar.com/entertainment/2012/06/15/the_beach_boys_at_50.html |newspaper=The Star |date=June 15, 2012 |ref=none}}</ref> On June 25, Ledbetter sent another e-mail asking to disregard her last message, but by then, Love claimed that "it was too late. We had booked other concerts, and promoters had begun selling tickets."

Despite this, in July, Love stated: "There's talk of us going and doing a return to the Grammys next year, and there's talk about doing another album together. There's nothing in stone, but there's a lot of ideas being floated around. So after this year, after completing the 50th anniversary reunion, we'll entertain doing some more studio work and see what we can come up with and can do in the future." Love said that Wilson and producer Joe Thomas had over 80 hours of material recorded, much of it culled from material they were working on around the time of Wilson's 1998 ''Imagination'' album that "were always songs he had earmarked for the Beach Boys" and that their label Capitol Records was excited by the band's reunion and was encouraging the band for more new music and more tour dates.<ref>{{cite magazine|url=http://www.billboard.com/articles/news/482551/beach-boys-talk-another-album-together |title=Beach Boys Talk 'Another Album Together' |magazine=Billboard |date=June 27, 2012 |access-date=June 6, 2017}}</ref>

Ultimately, the reunion tour ended in September 2012 as planned, after a final show on September 28, but amid erroneous rumors that Love had dismissed Wilson from the Beach Boys.{{sfn|Love|2016|}}<ref name="Wilson">{{cite web|url=https://www.latimes.com/entertainment/music/la-xpm-2012-oct-09-la-et-ms-brian-wilson-al-jardine-respond-to-mike-love-on-beach-boys-flap-20121008-story.html|title='It kinda feels like getting fired' – Brian Wilson to Mike Love|first=Brian|last=Wilson|date=October 9, 2012|work=Los Angeles Times}}</ref>  At this time, Love and Johnston had announced via a press release that following the end of the reunion tour the Beach Boys would revert to the pre-reunion tour Love/Johnston lineup, without Brian, Jardine, or Marks, all of whom expressed surprise. Although such dates were noted in a late June issue of ''Rolling Stone'', it was widely reported that the three had been "fired".<ref name="Wilson"/>  Love later wrote that the end of the reunion came partly as a result of 'interference' from Brian's wife and manager Melinda Ledbetter-Wilson and that he (Love) "had wanted to send out a joint press release, between Brian and me, formally announcing the end of the reunion tour on September 28. But I couldn't get Brian's management team on board{{nbsp}}..."{{sfn|Love|2016|p=404}}<ref name="latimes.com"/><ref>{{cite news|work=CBS News|title=Beach Boys' Mike Love opens up relationship with cousin Brian Wilson|url=http://www.cbsnews.com/news/beach-boys-mike-love-opens-up-drama-with-cousin-brian-wilson/|date=September 15, 2016}}</ref>{{sfn|Love|2016|pp=402–403}}

On October 5, Love responded in a self-written press release to the ''Los Angeles Times'' stating he "did not fire Brian Wilson from the Beach Boys. I cannot fire Brian Wilson from the Beach Boys&nbsp;... I do not have such authority. And even if I did, I would never fire Brian Wilson from the Beach Boys." He claimed that nobody in the band "wanted to do a 50th anniversary tour that lasted 10 years" and that its limited run "was long agreed upon".<ref name="latimes.com">{{cite news|author-link=Mike Love|last=Love |first=Mike |url=https://www.latimes.com/entertainment/music/posts/la-et-ms-mike-love-beach-boys-on-brian-wilson-20121004,0,6311413.story |title=Mike Love sets the record straight on Brian Wilson's 'firing' |work=[[Los Angeles Times]] |date=October 5, 2012 |access-date=February 19, 2013}}</ref> On October 9, Wilson and Jardine submitted a written response to the rumors stating: "I was completely blindsided by his press release&nbsp;... We hadn't even discussed as a band what we were going to do with all the offers that were coming in for more 50th shows."<ref name="Los Angeles Times">{{cite news|url=https://www.latimes.com/entertainment/music/la-xpm-2012-oct-09-la-et-ms-brian-wilson-al-jardine-respond-to-mike-love-on-beach-boys-flap-20121008-story.html |title=Brian Wilson, Al Jardine respond to Mike Love on Beach Boys flap |newspaper=Los Angeles Times |date=October 9, 2012 |access-date=February 19, 2013}}</ref>

From late September, Love and Johnston continued to perform under the Beach Boys name, while Wilson, Jardine, and Marks toured as a trio in 2013,<ref>{{cite news|title=Brian Wilson, Al Jardine & David Marks of the Beach Boys to Play Shows as a Trio|url=http://www.rockcellarmagazine.com/2013/03/08/brian-wilson-al-jardine-david-marks-beach-boys-mike-love/|access-date=March 8, 2013|newspaper=Rock Cellar Magazine|date=March 8, 2013|url-status=dead|archive-url=https://web.archive.org/web/20130316075924/http://www.rockcellarmagazine.com/2013/03/08/brian-wilson-al-jardine-david-marks-beach-boys-mike-love/|archive-date=March 16, 2013}}</ref> and a subsequent tour with guitarist [[Jeff Beck]] also included Blondie Chaplin at select dates.<ref>{{Cite web|url=https://ultimateclassicrock.com/jeff-beck-brian-wilson-tour-nightmare/|title=Jeff Beck Calls His Tour with Brian Wilson 'A Bit of a Nightmare'|first=Jeff|last=Giles|website=Ultimate Classic Rock|date=May 6, 2014 |access-date=April 5, 2019|archive-date=December 15, 2019|archive-url=https://web.archive.org/web/20191215090152/https://ultimateclassicrock.com/jeff-beck-brian-wilson-tour-nightmare/|url-status=live}}</ref>  Wilson and Jardine continued to tour together in 2014 and following years, often joined by Chaplin; Marks declined to join them after 2013.

====Copyright extension releases and occasional partial reunions====
Responding to a new European Union copyright law that extended copyright to 70 years for recordings that were published within 50 years after they were made, Capitol began issuing annual 50-year anniversary "copyright extension" releases of Beach Boys recordings, starting with ''[[The Big Beat 1963]]'' (2013).<ref>{{Cite news|url=https://www.nytimes.com/2013/12/12/arts/music/european-copyright-laws-lead-to-rare-music-releases.html|title=European Copyright Laws Lead to Rare Music Releases|first=Allan|last=Kozinn|work=[[The New York Times]]|access-date=December 12, 2013|date=December 11, 2013|archive-date=December 11, 2013|archive-url=https://web.archive.org/web/20131211221927/http://www.nytimes.com/2013/12/12/arts/music/european-copyright-laws-lead-to-rare-music-releases.html|url-status=live}}</ref>

In June 2013, Wilson's website announced that he was recording and self-producing new material with Jardine, Marks, Chaplin, Don Was, and Jeff Beck.<ref>{{cite web|url=http://www.brianwilson.com/news/2013/6/6/brian-wilson-returns-to-capitol-music-group-currently-recording-and-self-producing-his-11th-solo-studio-album|title=Brian Wilson Returns to Capitol Music Group; Currently Recording and Self-Producing New Solo Studio Album|website=BrianWilson.com|date=June 6, 2013|access-date=May 23, 2014|archive-date=June 9, 2013|archive-url=https://web.archive.org/web/20130609144416/http://www.brianwilson.com/news/2013/6/6/brian-wilson-returns-to-capitol-music-group-currently-recording-and-self-producing-his-11th-solo-studio-album|url-status=dead}}</ref> It stated that the material might be split into three albums: one of new pop songs, another of mostly instrumental tracks with Beck, and another of interwoven tracks dubbed "the suite" which initially began form as the closing four tracks of ''That's Why God Made the Radio''.<ref>{{cite web|title=Rolling Stone: Brian Wilson Rocks With Jeff Beck, Plans New LPs|url=http://www.brianwilson.com/news/2013/6/20/brian-wilson-rocks-with-jeff-beck-plans-new-lps|website=BrianWilson.com|access-date=August 8, 2013|date=June 20, 2013|archive-date=July 29, 2020|archive-url=https://web.archive.org/web/20200729141434/https://www.brianwilson.com/news/2013/6/20/brian-wilson-rocks-with-jeff-beck-plans-new-lps|url-status=dead}}</ref> In January 2014, Wilson declared in an interview that the Beck collaborations would not be released.<ref name="Somethingelse">{{cite web|url=http://somethingelsereviews.com/2014/01/28/it-stopped-working-for-the-beach-boys-brian-wilson-its-about-new-music-not-meditation/|title='It stopped working': For the Beach Boys' Brian Wilson, it's about new music not meditation|website=Something Else!|date=January 28, 2014|access-date=May 23, 2014}}</ref><ref name="DesertSun">{{cite news|last1=Fessier|first1=Bruce|title=Beach Boys' Brian Wilson talks Robin Williams|url=http://www.desertsun.com/story/life/entertainment/music/2014/08/27/beach-boys-brian-wilson/14716185/|access-date=August 28, 2014|agency=The Desert Sun|date=August 28, 2014}}</ref>  Released in April 2015, ''[[No Pier Pressure]]'' marked another collaboration between Wilson and Joe Thomas, featuring guest appearances from Jardine, Marks, Chaplin, and others.{{sfn|Matijas-Mecca|2017|pp=164–166}}

Jardine, Marks, Johnston and Love appeared together at the 2014 Ella Awards Ceremony, where Love was honored for his work as a singer.<ref>{{cite web |url=http://smileysmile.net/board/index.php/topic,17233.0.html |title=Mike receives Ella Award 2014 |publisher=Smileysmile.net |access-date=March 19, 2014 |archive-date=March 7, 2014 |archive-url=https://web.archive.org/web/20140307033617/http://smileysmile.net/board/index.php/topic,17233.0.html |url-status=live }}</ref>{{better source needed|date=June 2018}}<ref>{{cite web|url=http://www.singers.org/special-events/ |title=Ella Award Special Events |date=February 12, 2011 |access-date=May 10, 2015 |url-status=dead|archive-url=https://web.archive.org/web/20150514064028/http://www.singers.org/special-events/ |archive-date=May 14, 2015 }}</ref> In 2015, ''[[Soundstage (TV series)|Soundstage]]'' aired an episode featuring Wilson performing with Jardine, Chaplin, and Ricky Fataar at [[The Venetian Las Vegas|The Venetian]] in [[Las Vegas]].<ref name=venetian>{{cite web|title=Brian Wilson And Friends A Soundstage Special Event|url=http://www.venetian.com/entertainment/shows/brian-wilson.html|website=venetian.com|publisher=Venetian|access-date=November 14, 2014|archive-date=November 11, 2014|archive-url=https://web.archive.org/web/20141111211812/http://www.venetian.com/entertainment/shows/brian-wilson.html|url-status=live}}</ref> In April, when asked if he was interested in making music with Love again, Wilson replied: "I don't think so, no",<ref>{{cite magazine|last1=Caffrey|first1=Dan|title=Eight Minutes with Brian Wilson: An Interview|url=https://consequence.net/2015/04/interview-brian-wilson/|magazine=[[Consequence of Sound]]|date=April 8, 2015|access-date=April 9, 2015|archive-date=April 10, 2015|archive-url=https://web.archive.org/web/20150410203916/https://consequence.net/2015/04/interview-brian-wilson/|url-status=live}}</ref> adding in July that he "doesn't talk to the Beach Boys [or] Mike Love".<ref>{{cite news|last1=Harrison|first1=Tom|title=Brian Wilson here with 'best band I've ever worked with'|url=https://theprovince.com/travel/Brian+Wilson+here+with+best+band+ever+worked+with/11234184/story.html|newspaper=[[The Province]]|date=July 22, 2015|url-status=dead|archive-url=https://web.archive.org/web/20150724203723/http://www.theprovince.com/travel/Brian+Wilson+here+with+best+band+ever+worked+with/11234184/story.html|archive-date=July 24, 2015}}</ref>

In 2016, Wilson and Jardine embarked on the [[Pet Sounds 50th Anniversary World Tour]], promoted as Wilson's final performances of the album,{{sfn|Matijas-Mecca|2017|pp=169–170}} with Chaplin appearing as a special guest at all dates on select songs.  That same year, Love and Wilson each published memoirs, ''[[Good Vibrations: My Life as a Beach Boy]]'' and ''[[I Am Brian Wilson]]'', respectively. Asked about negative comments that Wilson made about him in the book, Love challenged the legitimacy of statements attributed to Wilson in the book and in the press.<ref name="fes">{{cite news|last1=Fessier|first1=Bruce|title=Beach Boys seek to overcome discord with new wave of Love|url=http://www.desertsun.com/story/life/entertainment/music/2016/11/16/beach-boys-seek-overcome-discord-new-wave-love/93977562/|work=[[The Desert Sun]]|date=November 17, 2016|access-date=May 13, 2018|archive-date=November 6, 2018|archive-url=https://web.archive.org/web/20181106232144/https://www.desertsun.com/story/life/entertainment/music/2016/11/16/beach-boys-seek-overcome-discord-new-wave-love/93977562/|url-status=live}}</ref> In an interview with ''Rolling Stone'' conducted in June 2016, Wilson said he would like to try to repair his relationship with Love and collaborate with him again.<ref>{{cite magazine|last1=Grow|first1=Kory|title=Brian Wilson Talks Mental Illness, Drugs and Life After Beach Boys|url=https://www.rollingstone.com/music/features/brian-wilson-talks-mental-illness-drugs-and-beach-boys-w443076|magazine=[[Rolling Stone]]|date=October 11, 2016|access-date=March 2, 2018|archive-date=March 2, 2018|archive-url=https://web.archive.org/web/20180302225224/https://www.rollingstone.com/music/features/brian-wilson-talks-mental-illness-drugs-and-beach-boys-w443076|url-status=live}}</ref> In January 2017, Love said: "If it were possible to make it just Brian and I, and have it under control and done better than what happened in 2012, then yeah, I'd be open to something."<ref>{{cite web|last1=Friedlander|first1=Matt|title=Beach Boys' Mike Love Says He's Open to Working With Brian Wilson Again|url=https://abcnews.go.com/Entertainment/beach-boys-mike-love-open-working-brian-wilson/story?id=44828961|publisher=[[ABC News (United States)|ABC News]]|date=January 17, 2017|access-date=April 21, 2020|archive-date=June 19, 2020|archive-url=https://web.archive.org/web/20200619101041/https://abcnews.go.com/Entertainment/beach-boys-mike-love-open-working-brian-wilson/story?id=44828961|url-status=live}}</ref>

[[File:The Beach Boys (ZMF 2019) jm81889.jpg|thumb|Johnston and Love performing as the Beach Boys in 2019]]

In July 2018, Wilson, Jardine, Love, Johnston, and Marks reunited for a one-off Q&A session moderated by director [[Rob Reiner]] at the Capitol Records Tower in Los Angeles. It was the first time the band had appeared together in public since their 2012 tour.<ref>{{cite magazine|last1=Newman|first1=Melinda|title=Reunited Beach Boys Catch a Nostalgic Wave During SiriusXM Town Hall|url=https://www.billboard.com/articles/news/8468014/beach-boys-siriusxm-town-hall-recap|date=July 31, 2018|magazine=[[Billboard (magazine)|Billboard]]|access-date=October 1, 2018|archive-date=October 2, 2018|archive-url=https://web.archive.org/web/20181002053554/https://www.billboard.com/articles/news/8468014/beach-boys-siriusxm-town-hall-recap|url-status=live}}</ref> That December, Love described his new holiday album, ''[[Reason for the Season]]'', as a "message to Brian" and said that he "would love nothing more than to get together with Brian and do some music".<ref>{{Cite web|url=https://www.yahoo.com/entertainment/mike-loves-christmas-album-message-brian-wilson-224124673.html|title=Beach Boy Mike Love's Christmas album is 'a message to Brian Wilson'|website=Yahoo.com|date=December 11, 2018 |access-date=October 17, 2019|archive-date=October 31, 2019|archive-url=https://web.archive.org/web/20191031165915/https://www.yahoo.com/entertainment/mike-loves-christmas-album-message-brian-wilson-224124673.html|url-status=live}}</ref>

In 2019, Wilson and Jardine (with Chaplin) embarked on a co-headlining tour with [[the Zombies]], performing selections from ''Friends'' and ''Surf's Up''.<ref>{{Cite web|url=https://liveforlivemusic.com/news/beach-boys-brian-wilson-zombies-tour-2019/|title=Beach Boys' Brian Wilson, The Zombies Announce 'Something Great From '68' Co-Headlining Tour|date=May 7, 2019|website=Liveforlivemusic.com|access-date=August 8, 2019}}</ref>

In February 2020, Wilson and Jardine's official social media pages encouraged fans to boycott the band's music after it was announced that Love's Beach Boys would perform at the Safari Club International Convention in [[Reno, Nevada]] on animal rights grounds. The concert proceeded despite online protests, as Love issued a statement that said his group has always supported "freedom of thought and expression as a fundamental tenet of our rights as Americans".<ref>{{Cite web|last=Sodomsky|first=Sam|date=February 3, 2020|url=https://pitchfork.com/news/brian-wilson-opposes-mike-loves-beach-boys-show-at-trophy-hunting-convention/|title=Brian Wilson Opposes Mike Love's Beach Boys Show at Trophy Hunting Convention|website=Pitchfork|access-date=February 3, 2020|archive-date=February 4, 2020|archive-url=https://web.archive.org/web/20200204202855/https://pitchfork.com/news/brian-wilson-opposes-mike-loves-beach-boys-show-at-trophy-hunting-convention/|url-status=live}}</ref> In October, Love and Johnston's Beach Boys performed at a fundraiser for Donald Trump's presidential re-election campaign; Wilson and Jardine again issued a statement that they had not been informed about this performance and did not support it.<ref>Shaffer, Claire (October 19, 2020). [https://www.rollingstone.com/music/music-news/brian-wilson-al-jardine-donald-trump-beach-boys-fundraiser-1077437/ "Brian Wilson, Al Jardine Disavow Donald Trump's Beach Boys Fundraiser"]. {{Webarchive|url=https://web.archive.org/web/20210117000753/https://www.rollingstone.com/music/music-news/brian-wilson-al-jardine-donald-trump-beach-boys-fundraiser-1077437/ |date=January 17, 2021 }}. ''[[Rolling Stone]]''. Retrieved June 23, 2021.</ref>

====Selling of the band's intellectual property and 60th anniversary====
In March 2020, Jardine was asked about a possible reunion and responded that the band would reunite for a string of live performances in 2021, although he believed a new album was unlikely.<ref>{{cite news |last1=Argyrakis |first1=Argy |title=Al Jardine's "Endless Summer" set for City Winery, plus positive Beach Boys reunion rumblings |url=http://chicagoconcertreviews.com/2020/03/04/al-jardine-beach-boys/ |work=Chicago Concert Reviews |date=March 4, 2020 |access-date=May 5, 2020 |archive-date=February 24, 2021 |archive-url=https://web.archive.org/web/20210224222806/http://chicagoconcertreviews.com/2020/03/04/al-jardine-beach-boys/ |url-status=live }}</ref> In response to reunion rumors, Love said in May that he was open to a 60th anniversary tour, although Wilson has "some serious health issues", while Wilson's manager Jean Sievers commented that no one had spoken to Wilson about such a tour.<ref>{{cite web|url=https://www.rollingstone.com/music/music-news/beach-boys-60th-anniversary-reunion-tour-997685/|title=Beach Boys Hint at Possible 60th Anniversary Reunion Tour|publisher=Rolling Stone|date=May 13, 2020|last=Martoccio|first=Angie|access-date=January 5, 2021|archive-date=January 22, 2021|archive-url=https://web.archive.org/web/20210122010537/https://www.rollingstone.com/music/music-news/beach-boys-60th-anniversary-reunion-tour-997685/|url-status=live}}</ref> In February 2021, it was announced that Brian Wilson, Love, Jardine, and the estate of Carl Wilson had sold a majority stake in the band's intellectual property to [[Irving Azoff]] and his new company Iconic Artists Group; rumors of a 60th anniversary reunion were again discussed.<ref>{{Cite magazine|url = https://www.rollingstone.com/pro/features/beach-boys-rights-sale-azoff-1129316/|title = Inside the Ambitious Plan to Monetize the Beach Boys' Legacy|magazine = [[Rolling Stone]]|date = February 18, 2021|access-date = February 19, 2021|archive-date = February 19, 2021|archive-url = https://web.archive.org/web/20210219005023/https://www.rollingstone.com/pro/features/beach-boys-rights-sale-azoff-1129316/|url-status = live}}</ref>

In April 2021, [[Omnivore Recordings]] released ''[[California Music|California Music Presents Add Some Music]]'', an album featuring Love, Jardine, Marks, Johnston, and several children of the original Beach Boys (most notably on a re-recording of The Beach Boys' "Add Some Music to Your Day" from 1970's ''Sunflower'').<ref>{{Cite magazine|last=Greene|first=Andy|date=February 26, 2021|title=Hear the Beach Boys Reunite on Charity Re-Recording of 'Add Some Music to Your Day'|url=https://www.rollingstone.com/music/music-news/beach-boys-add-some-music-1132591/|access-date=April 7, 2021|magazine=Rolling Stone|archive-date=April 11, 2021|archive-url=https://web.archive.org/web/20210411140354/https://www.rollingstone.com/music/music-news/beach-boys-add-some-music-1132591/|url-status=live}}</ref> In August, Capitol released the box set ''[[Feel Flows (album)|Feel Flows: The Sunflower & Surf's Up Sessions 1969–1971]]''.<ref>{{cite web |last1=Sheffield |first1=Rob |title=The Beach Boys' New 'Feel Flows' Box Set: An Exclusive Guide |url=https://www.msn.com/en-us/entertainment/news/the-beach-boys-new-feel-flows-box-set-an-exclusive-guide/ar-AAKFGMC?ocid=uxbndlbing |website=MSN |access-date=June 5, 2021 |date=June 3, 2021 |archive-date=June 5, 2021 |archive-url=https://web.archive.org/web/20210605181210/https://www.msn.com/en-us/entertainment/news/the-beach-boys-new-feel-flows-box-set-an-exclusive-guide/ar-AAKFGMC?ocid=uxbndlbing |url-status=live }}</ref> In 2022, the group was expected to participate in a "60th anniversary celebration". Azoff stated in an interview from May 2021: "We're going to announce a major deal with a streamer for the definitive documentary on The Beach Boys and a 60th anniversary celebration. We're planning a tribute concert affiliated with the Rock & Roll Hall of Fame and [[Sirius XM|SiriusXM]], with amazing acts. That's adding value, and that's why I invested in The Beach Boys."<ref>{{cite web |last1=Beer |first1=Lenny |last2=Glickman |first2=Simon |title=COMBO PLATTER: IRVING + HITS 2021 |url=https://hitsdailydouble.com/news&id=326687&title=COMBO-PLATTER:-IRVING-+-HITS-2021 |website=Hits Daily Double |access-date=June 2, 2021 |date=June 2, 2021 |archive-date=June 1, 2021 |archive-url=https://web.archive.org/web/20210601185009/https://hitsdailydouble.com/news%26id%3D326687%26title%3DCOMBO-PLATTER%3A-IRVING-+-HITS-2021 |url-status=live }}</ref>

On Mike Love's 81st birthday, Jardine once again hinted at a possible reunion on his Facebook page by stating that he was "looking forward" to seeing Love at the "reunion".<ref>{{cite web |last1=Jardine |first1=Al |title=Happy Birthday Mike 🎈Looking forward to seeing you at the reunion! |url=https://www.facebook.com/alanjardine/posts/5185697128155207 |website=Facebook |access-date=April 11, 2022 |date=March 15, 2022}}</ref> However, while a reunion ultimately did not occur in 2022, Capitol released the ''[[Sail On Sailor – 1972]]'' box set in December; following on from the ''Feel Flows'' box set, which focused on ''Sunflower'' and ''Surf's Up'', ''Sail On Sailor'' focused on ''Carl and the Passions'' and ''Holland''.

In January 2023, the tribute concert mentioned by Azoff in 2021 was announced as being part of the "[[Grammy Awards|Grammys]] Salute" series of televised tribute concerts.<ref>{{cite magazine |url=https://www.billboard.com/music/music-news/grammy-salute-the-beach-boys-2023-1235198488/ |title='A Grammy Salute to The Beach Boys' to Tape 3 Days After 2023 Grammys |magazine=Billboard |last=Grein |first=Paul |date=January 12, 2023 |access-date=February 9, 2023}}</ref> On February 8—three days after the 2023 Grammy award ceremonies, ''A Grammy Salute to the Beach Boys'' was recorded at the Dolby Theatre in Hollywood, California and subsequently aired as a two-hour special on CBS on April 9. Present for the taping were Wilson, Jardine, Marks, Johnston, and Love—this time not as performers but as featured guests, seated in a luxury box at the theatre, overlooking tribute performances covering the gamut of their catalog by mostly contemporary artists. According to ''Billboard'', the program had 5.18 million viewers.<ref>{{cite magazine |url=https://www.billboard.com/music/awards/grammy-salute-to-the-beach-boys-tv-ratings-1235301134/#! |title='Grammy Salute to the Beach Boys' Picks Up Good Ratings Vibrations |magazine=Billboard |last=Grein |first=Paul |date=April 11, 2023 |access-date=May 25, 2023}}</ref>

In July 2023, the Beach Boys announced a limited edition to their book, ''The Beach Boys by The Beach Boys'', set to be released in 2024. It will feature exclusive interviews, archived photos, live shots, as well as archived texts from late members Carl and Dennis Wilson.<ref>{{Cite magazine |last=Kaufman |first=Gil |date=July 13, 2023 |title=Beach Boys Releasing Limited-Edition Official Anthology Book, 'The Beach Boys by The Beach Boys' |url=https://www.billboard.com/music/pop/beach-boys-official-anthology-book-beach-boys-by-the-beach-boys-1235370926/ |access-date=July 14, 2023 |magazine=Billboard}}</ref>

In March 2024, the band announced the release of a [[The Beach Boys (film)|self-titled documentary]] which would be released by streaming service [[Disney+]], which includes new and archived interviews from various members of the band and their inner circle, including Brian Wilson, Love, Jardine, Marks, Johnston, Carl Wilson, Dennis Wilson, Chaplin, Fataar, Brian Wilson's ex-wife Marilyn, and Don Was, among others.  The documentary was directed by [[Frank Marshall (filmmaker)|Frank Marshall]] and [[Thom Zimny]] and was released on May 24, 2024.<ref name="2024 self-titled documentary announcement">{{cite web |last1=Grobar |first1=Matt |title='The Beach Boys' Doc Sets Disney+ Premiere Date |url=https://deadline.com/2024/03/beach-boys-documentary-premiere-date-disney-plus-1235868547/ |website=Deadline |access-date=July 15, 2024 |date=March 26, 2024}}</ref>  The documentary included some footage from a private reunion of Brian Wilson, Love, Jardine, Marks, and Johnston at Paradise Cove, where the ''Surfin' Safari'' album cover photo was taken in 1962.<ref name="USA Today Paradise Cove 2023">{{cite web |last1=Ruggieri |first1=Melissa |title=Mike Love calls Beach Boys reunion with Brian Wilson in documentary 'sweet' and 'special' |url=https://www.usatoday.com/story/entertainment/music/2024/05/24/beach-boys-disney-documentary-interview/73779855007/ |website=USA Today |access-date=July 17, 2024 |date=May 24, 2024}}</ref><ref name="Rolling Stone Paradise Cove reunion 2023">{{cite magazine |last1=Kreps |first1=Daniel |title=The Beach Boys Hold 'Family Reunion' at 'Surfin' Safari' Spot in Clip From Band's Documentary |url=https://www.rollingstone.com/music/music-news/the-beach-boys-family-reunion-documentary-clip-1235021836/ |magazine=Rolling Stone |publisher=Rolling Stone/Penske Media Corporation |access-date=July 17, 2024 |date=May 16, 2024}}</ref><ref name="Billboard Paradise Cove reunion 2023">{{cite magazine |last1=Newman |first1=Melinda |title=New Beach Boys Documentary Brings Good Vibrations; 'It's a Fantastic Thing', Says Mike Love |url=https://www.billboard.com/music/pop/beach-boys-documentary-mike-love-brian-wilson-1235692171/ |magazine=Billboard |publisher=Billboard/Penske Music Corporation |access-date=July 17, 2024 |date=May 24, 2024}}</ref>  Brian Wilson, Love, Jardine, Marks, Johnston, and Blondie Chaplin also participated in a non-performing reunion at the documentary's premiere on May 24, 2024.<ref name="2024 documentary premiere reunion #1">{{cite web |last1=Novak |first1=Lauren |title=Brian Wilson Reunites With Beach Boys Amid Conservatorship Ruling & Health Struggles |url=https://www.remindmagazine.com/article/14636/brian-wilson-reunites-beach-boys-documentary-conservatorship/ |website=Remind Magazine |access-date=July 17, 2024 |date=May 22, 2024}}</ref>

By their 2024 tour, the Beach Boys had played nearly 7,300 concerts.<ref>{{Cite web |last=Levy |first=Matt |date=2024-02-08 |title=Beach Boys tour 2024: Where to buy tickets, schedule, members |url=https://nypost.com/2024/02/08/ticket-sales/beach-boys-tour-2024-where-to-buy-tickets-schedule-members/#:~:text=It%20may%20seem%20unbelievable%20but,their%2063%20years%20of%20existence. |access-date=2025-02-14 |language=en-US}}</ref>