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  BY THE TIME THAT the Beach Boys ‘comeback’ album appeared in the stores, during the summer of 1976, it was already guaranteed to be a commercial success. A preceding Top 5 single, major articles in the press, heavy duty airspace on the TV networks, sell-out concerts around the country (including 2 major venues in California just days before) … and the much publicised return of ‘creative’ genius Brian Wilson … or so the public was led to believe. It simply couldn’t fail, and it didn’t, nestling comfortably within the Top 10 placings of the Billboard album charts just five weeks after its July release date. A major commercial achievement, especially in light that the group hadn’t achieved such chart success for an original album for nigh on a decade … but a critical success ? Well, thirty years later and the jury is still out.

  It was certainly a disappointment to much of the groups fanbase that had relished in the artistic integrity of the preceding four studio albums. Gone was the spark of creativity that the united band had suggested, replaced by a desperate need to give the ailing genius that was once brother Brian his opportunity in the studio once again. Sadly, as was plain for all to see, various band members included, he wasn’t ready for such a responsibility once again. Not just yet. Sitting uncomfortably upon a mish-mash of new recordings, new songs, and a bunch of resurrected ‘oldies-but-mouldies’ Brian appeared to have given the eager, awaiting public a raw, unpolished product, a considerable distance short of the gems he had produced ten years previous. It would appear, through leaking stories, that certain band members were aware of the albums shortcomings, and were only too aware that Brian ‘couldn’t cut it yet’, but were unable to halt the ever-increasing roll of publicity, expectation … and guaranteed success. Business stood in the way of quality, and with the $$$ ringing in the collective purses of the increasingly circus-like career that was now the Beach Boys, all that anyone could do was sit back and led the floodgates open …

  One thing is questionable however, and that was the glaring fact that, had it not been for the considerable lead-up of ‘Brian’s Back’ public awareness, then it remains doubtful if the new release would have garnered any additional interest through presentation alone. The artwork that graced the new music has certainly not aged well, and the front cover appearance of certain band individuals raises eyebrows about how they would have been accepted amongst the mid-70’s ‘rock’ fraternity. People would certainly acknowledge the band for their creative history … but accepting the maturer band ‘in the now’ was a differing concept altogether.

Certainly Dennis, and potentially brother Carl, still maintain the credible rock ‘image’ that was so prevalent during the post-60’s decade, and yet the encircled images of both Mike and Alan offer suggestions of the businessman side of the

group was now beginning to weave its way into the partnership. Mike’s neatly trimmed beard, precision-pressed collar, presentable sailor-hat covering up his short-golden-curled locks, looks a thousand years (ten thousand maybe …) from the bedraggled beanied-hippy that performed for the US audiences during the 1973/74 touring schedule. Likewise, Alan, with neat family-friendly scarlet jersey over his checkered shirt, strangely turned away from his fellow band mates, seemingly unwillingly to participate in the proceedings, looking far more like your favourite uncle than the rock’n’roll star he once pertained to be. And then there is Brian ...

  The image of Brian Wilson, whilst a pleasure to acknowledge, is increasingly disturbing on the eye. Gone was the cherubic, rounded face of when he last accepted the publics gaze. Instead, was the ballooned image of an insecure, middle-aged recluse, smiling nervously before the lens, greasy shoulder-length hair parted clinically to the side, the short unkempt beard meeting with the display of bushy chest-hair. It was a vision that would not have encouraged the inquisitive purchaser to part with their money, that’s for certain. “Surf’s Up”, “Carl & The Passions”, “Holland” … even “In Concert”, had all kept the groups image off the front cover – and maybe now we can understand why. For good or for bad, the Beach Boys were really about the music …

  The photographs themselves were taken by Dana Abrams, a volleyball-playing friend of Dean, and they were taken over at Dana’s studio, where at least twenty individual 5x4 shots were taken of each member, utilising the same background and lighting, and the group themselves chose their individual final picture.

The actual concept of the front package has been long debated in Beach Boys circles (no pun intended), and the inclusion of the photographs within, what appeared to be, the symbol of the Olympic rings has often been questioned. So much so than when this author put that very enquiry to the album designer, Dean Torrence (formerly of Jan & Dean, now head of Kittyhawk Graphics) he recalled the design thus :

  “I had a very solid relationship with Ed Thrasher at the Warner’s Art Department, and Mike Love had pointed out that it was a Olympic year and he also noted that the Olympic symbol was five interlocking circles. He then pointed out that there were also five Beach Boys. Sounded like a cool idea to me. I subsequently came up with the design, the logo and the title. I thought “15 Big Ones” was a lot more humble than “15 Years of Golden Greats, which

was Warner’s initial idea (to acknowledge the group’s 15th anniversary), and I suggested putting 15 songs on the album. I had always wanted to create a logo for the Beach Boys that looked like neon, like you would see at a typical hamburger joint. I had always loved the Bobs Big Boy logo (a US-based hamburger restaurant), it seemed like a perfect fit to me. The Beach Boys and Bobs Big Boy. A very talented airbrush artist named Jim Evans executed the design. He did an awesome job …”

  Certainly the Torrence-designed logo has seen the group through many subsequent years, although it is doubtful that the overall ‘tubular/neon’ effect that continued the theme around the borders of the sleeve would have been accepted beyond the death of disco a few years later. That was just too near to the 1970’s than to the 1950’s inspiration.

  The garish, multi-coloured Olympiad logo continues on to the reverse of the sleeve aswell where, most probably to the delight of the fanatical follower, the full musician listing was also featured, along with full production and assistance credits - albeit with a misspelling for musical acquaintance Charles Lloyd(e). Normally relegated to either the inner spread or the featured insert, such a detailed listing is a pleasing thing to behold … but it does further confuse the overall package – for one is almost led to believe that it BELONGS on the inner spread or the insert. That’s just the rule … isn’t it ?

  Instead, where one would normally expect such detail, the same inner spread, we are greeted by a truly generous montage of black and white photographs. Once again, by way of explanation, Dean Torrence offered: “I did the collage in the inside of the package. I asked all five of the guys to pick out some of their favourite photos…and I was even allowed to throw in (an) official Jan & Dean Fan Club card. Plus, I snuck in a little Surf City reference. Nobody caught it. I figured fans like candid pictures …”

In 1913, Baron Pierre de Coubertin came up with the idea for the symbol most closely associated with the Olympics, the Olympic Rings. Every rings stands for one of the five continents. Although there are seven continents, Antarctica is excluded and North America and South America are considered one. The connection of the rings symbolizes the connection of the continents during the Games and the ideal of peace and brotherhood of the whole planet. When it is an Olympic Year, companies will pay a high price to the International Olympic Committee (IOC) to be able to use the symbol on their products. It is one of the worlds most recognisable logos.

So how much were Warner Brothers willing to budget for the sleeve design ??

  … and indeed we do, for the quantity of photographs is expansive, and truly fascinating, although it is noticeable that many of these candid snaps are from years gone by (Glen Campbell and candy-striped shirts included), and there are very few relating the Beach Boys of 1976. In fact, to confuse the unknowing purchaser further, the main focus of the spread falls on a shot of the band, in concert circa 1972, featuring former band-member Bruce Johnston on bass. Elsewhere, we find pictures of a High School-aged Alan, the three Rovell sisters, Brian in the bath, Murray Wilson, the christening of one of Carl’s sons, Audree Wilson, Alan in the bath, Marilyn’s parents, Mike’s expired driving license, Annie Wilson, various pictures of the band members children, Lynda Jardine, Brian’s dogs Banana and Louie, and … is that former Monkee Davy Jones talking to Marilyn and Brian ? And just look at all those concert tickets lined along the bottom … and hey, I had a diamond-patterned jersey like Alan’s one back in the 70’s aswell ! It’s all intriguingly eye-catching stuff, and a credit to Dean’s imaginative layout … it’s just a shame that the music that was held inside didn’t quite run with the same visionary concept …

  Still, the money’s in, we’re made of tin, we’re here to give you more. Oh no, hang on, that WAS the Monkees …

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Amongst the many others tracks recorded during the "15 Big Ones" sessions, but ultimately dropped (or never completed) from the final selection were:

"Come Go With Me", "Honkin' Down The Highway", "On Broadway", "Mony Mony", "Michael Row The Boat Ashore", "Rock & Roll Music" (alternate version), "Shake, Rattle & Roll", "Secret Love", "He's So Fine", "Sea Cruise", "Runnin' Bear", "Let's Dance", "Workin' In A Coal Mine" and, reportedly, both "Glow Crescent Glow" and an early version of "I Wanna Pick You Up" (hence the initially proposed album title of "Pick Ya Up At 8") ... but would the release have been any stronger, we ask ?

"Fun is in, it's no sin ..."

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