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K E E P I N ' T H E S U M M E R A L I V E
Released on CBS/Caribou Records (JZ-36293) March 17th 1980
Produced by Bruce Johnston
Highest U.S. Chart Position: 75
Keepin’ The Summer Alive (Wilson/Bachman) / Oh, Darlin’ (Wilson/Love)
Some Of Your Love (Wilson/Love) / Livin’ With A Heartache (Wilson/Bachman)
School Days (Ring! Ring! Goes The Bell) (Berry) / Goin’ On (Wilson/Love)
Sunshine (Wilson/Love) / When Girls Get Together (Wilson/Love)
Santa Ana Winds (Wilson/Jardine) / Endless Harmony (Johnston)
Art Direction: Tony Lane
Illustration: John Alvin
Inner Photography: Gary Nichamin / Boom! Graphics
THE 1980 BEACH BOYS ALBUM, “Keepin’ The Summer Alive”, is notable for a couple of reasons. Firstly, it marked the dawn of a new Beach Boys decade, ushering them in to the 1980’s. Secondly, it was notably the last album that the group issued for a five year period; a period that really saw them establish themselves on the ‘nostalgia’ circuit, and one that subsequently saw them (reluctantly) give up their ‘creative’ being. Subsequent releases would still contain new, and often enjoyable recordings, but they were very much in a stylised Beach Boy-mould, and could never be taken for anything else. At least with “Keepin’ The Summer Alive”, with creative juices still flowing (albeit at a slower pace), the band tried one more time at a positive release. It’s just that … very few were really that interested anymore.
Originally due to be titled “Cousins, Friends & Brothers”, after a lyric in the Bruce Johnston ballad (“Endless Harmony”) scheduled for inclusion, this was the second album to issued under the new CBS recording contract, one that was hastily requested by the studio execs in order to make up for the lack of notable sales that the preceding “L.A. (Light Album)” had achieved. It was also the second album in succession that the production reins were handed over to returning member, Bruce Johnston. Attempts had been made to encourage Brian Wilson to step back into the role, and a bizarre attempt at recording, under the guidance of Brian, had been attempted at Western Studios in Hollywood, whereupon all the session players from the ‘old days’ were once again recruited, and an old 60’s style console was installed to help Brian feel at ease … but the sessions proved shortlived before Brian’s attentions wavered, with but a few tracks nearing completion …
Subsequently, with Bruce again at the helm, studio time was booked in various locations, and basic instrumental tracks were either freshly recorded, or resurrected from the archives, and the band set about recording the vocals to a selection of tunes. This time around however, there was one notable exception … Dennis Wilson was virtually absent from the proceedings.
With his lifestyle spiralling out of control, and the bands patience with him growing ever thinner, his lack of
involvement in the final product is one reason why the album appears lacking. “L.A. (Light Album)” had proved so successful, musically, simply by the added dimension that Dennis had brought to the group, but by 1980 he was becoming increasingly out of control much of the time, and his attempts at reintroducing himself into the line-up were becoming too intermittent and too unpredictable. With the exception of two brief occasions (on Bruce's “Endless Harmony” and the still-unreleased “Johnny B Goode”), the majority of the sessions commenced without him …
For some of the recording process a film crew accompanied the band, recording the album as it progressed towards completion (the film eventually aired on the U.S. “Goin’ Platinum” television special) but ultimately, it all fell on partially deaf ears, as the groups hard-earned results met with a megre six-week run on the charts,
although it did improve on the performance of “L.A. (Light Album)”’, by reaching #75, although that in turn hardly justified the initial faith that CBS Records had placed in them …
Under the guidance once again of CBS Art Director, Tony Lane, the job of creating the Beach Boys album cover art for “Keepin’ the Summer Alive” was given to John Alvin, a graduate of the Art Center College of Design in Los Angeles, and the approach came through to him, via his agent at the time, John Steinberg, who in turn had been approached by the agency producing the album.
During that late 70’s period Alvin was just getting started on his career - he’d had some initial success after creating the ad campaign for the Mel Brooks’ film, “Blazing Saddles”, and had just taken part in the National Gallery’s exhibition, “The American Poster” - but this job came along, so instead of going on an intended skiing vacation (his first ever trip) with his best friend, sculptor Larry Noble, he took the proposed job.
The original painting for “Keepin’ The Summer Alive” was about 1½ times larger than the image that eventually appeared on the album cover itself (taking up both front and back), approximately 18”x36”, and was under-painted in acrylic and finished in oil paint, on a canvas base. In those days the commissioning agency kept the artwork and sadly, Alvin has no idea where it may have eventually gone, although when questioned by this author he did clearly recall creating the artwork. However, the actual idea for the featured scenario, the six-man band (with Bruce back in the line-up) performing under the glass dome in the midst of an Arctic snow scene, appears to have been inspired by the initiating agency, and John has no specific recollection today with regards to this particular set-up. Does it work ? Is it a successful, and credible concept for, what can really be termed as, a ‘soft-progressive-rock’ band ? Possibly not … for the actual idea itself is purely ludicrous, but the overall presentation does maintains a certain innocent charm …
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MOVIE POSTERS OF JOHN ALVIN
Today, Alvin is one of America’s leading illustrators within the movie industry, having created more than 125 film campaigns over the past 25 years for New Line Cinema, Warner Bros. Entertainment, Disney Studios and Lucasfilm Ltd., including Blazing Saddles, E.T., The Lion King, and many special works for Star Wars, but back in 1979/1980 he was touting for work alongside the many other artists who had graced the sleeve of the previous album.
The Dean Torrence-designed ‘Beach Boys’ logo makes an overdue reappearance at the top of the sleeve, notably in sparse outline form as opposed to the original neon effect, whilst the album title and track selection (albeit out of sequence for annoyingly unclear reasons) are the only other additions to
Alvin’s work. Indeed, the design was clearly being emphasised on the painting itself, with little in the way of distraction … although the eye is more than often drawn towards the edge of the image, whereupon a bikini clad girl sits upon a towel bearing the words ‘Beach Boys World Tour 1980’, a rather strange act of self-promotion for an album sleeve, and unfortunately that alone proves to be more of a distraction that was surely intended. Another case of the ludicrous charm one would suppose …
In addition to the actual sleeve design, CBS also chose to add a full inner sleeve into the package aswell (although outside of the U.S. a cheaper insert option was utilised instead), adorned with a series of black and white photographs of the recording sessions – with the added inclusion of two photographs featuring Dennis, one pictured behind his drum kit, the other in concert alongside Bruce, acknowledgement to Beach Boys fans around the world as to his acceptance as a true member of the band. Of the remaining seventeen pictures, all captured on film by rock photographer Gary Nichamin (1943-2003), who had photographed the band a number of times on film during the 1970’s, there are no particularly revealing shots, no posing just for the lens, just a collection of candid studio snaps, showing the remaining five members huddled around microphones, working out a melody on the piano or, in Alan’s case, grabbing a quick forty winks in the barn at his own studio set-up in Big Sur (where a number of the sessions were held). Then, to counter balance the many images on display, there is a detailed credit listing, with full musician credits (noting all five performing members of the band, minus Mike, and other notable names including Ricky Fataar, Ricci Martin, Daryl Dragon, Joe Walsh, Steve Douglas, Mike Meros … and a young drummer by the name of Scott Mathews, touted around the press during the following months as a permanent replacement for the errant Dennis …), along with the engineering acknowledgements to former associates Steve Desper and Chuck Britz, both names from past days of glory brought back to assist with
With thanks to Adam Cave and Charlene Harless at Gallery C for their assistance
THE INTERVIEW DISC
John Alvin (above) and some of his poster work
During the launch of the KEEPIN' THE SUMMER ALIVE album, Brian, Mike & Bruce participated in an interview with UK disc jockey Roger Scott. The interview was issued on a limited 'promotional only' vinyl release by CBS (XPR-1204) to assist with publicity for the album.
It was simply packaged in a
plain white sleeve, with a sticker placed on the front ...
the album. Finally, the notes also feature a confusing list of technical specifications (mumbo-jumbo to the ordinary layman …) which may seem a touch unnecessary, but to the interested parties out there who understand exactly what a Neve console in class A is, this may have bought some satisfaction ...
Now, back to the front cover, and if only the artist had realised that polar bears are found at the north pole, but penguins are only found in the southern hemisphere …
G O I N ' P L A T I N U M . . .
A CBS promotional advertisement
The Beach Boys appearance on "GOIN' PLATINUM" was the first in a planned series of TV documentaries for US television, aimed at previewing the recording process, the behind the scenes activities and, ultimately, the chosen bands themselves as they created new material in the studio ...
The all-new 1980 "Keepin' The Summer Alive" offering was the subsequent album in preparation as the Beach Boys appeared before the cameras, and the five heavily-bearded band members (including Bruce, but minus Dennis) are filmed in the studio, with rare rehearsal footage, as they work on the project. They are also shown lip-synching to a number of the featured songs before a decidedly non-plussed audience ...
Other notable inclusions are the interviews with then-band manager Jerry Schilling and CBS executive Steve Einzig (being surprisingly positive about the project ...), the alternate / early mixes of the title track and "School Days (Ring! Ring!)" (shown as part of the 'live' segment) and the wonderful sight of a truly relaxed Brian, working and rehearsing the unreleased "Goin' To The Beach" alongside cousin Mike ... worth checking it out !
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All rights reserved : No part of this text may be copied, stored or reproduced without written consent of the author. Pipeline Publications (UK) 2006
