Primary Artists The Beach Boys & Fat Boys. Scrobble songs and get recommendations on other tracks and artists. Listen online to The Beach Boys - Still Cruisin' and see which albums it appears on. The Beach Boys - Kokomo From ''Cocktail''. The Beach Boys - Island Girl I'm Gonna Make Her Mine. The Beach Boys - Still Cruisin' From ''Lethal Weapon 2''. Songs in album The Beach Boys - Still Cruisin' 1989. Capitol Records, BMG Direct Marketing, Inc. It was left out of Capitol's re-issue campaign in 20, and is currently out of print. It consists mainly of songs that appeared in movies. Still Cruisin' is the 26th studio album by the Beach Boys, released on August 28, 1989.
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Their new savior, producer Terry Melcher, helps them sound like a professional '60s cover band. The Beach Boys' success with soundtracks, notably their number one 1988 hit with Kokomo from Cocktail but also the title track Still Cruisin' from Lethal Weapon 2, provided the rationale for this hodgepodge of oldies and one-off singles. Like I said, I may be making a part two for this thing, because Beach Boys. In today's video, we dive deep into the 1989 Beach Boys, for how this album came to be. Still Cruisin' was left out of Capitol's Beach Boys re-issue. It is also the last album of new material released during a brief return to Capitol Records. Still Cruisin' is the 26th studio album by the Beach Boys, their thirty-fifth official album counting compilations and live packages, and their last release of the 1980s. The Fat Boys appear courtesy of Tin Pan Apple records/PolyGram Records, Inc Somewhere Near Japan Engineer, Mixed By – Keith WechslerProducer – Terry MelcherWritten-By – Johnston, Philips, Love, MelcherĬapitol Records, Capitol Records, Capitol RecordsĬapitol Records, BMG Direct Marketing, Inc. MelcherĬalifornia Girls Producer – Brian WilsonWritten-By – Brian Wilson Still Cruisin' Engineer, Mixed By – Keith WechslerProducer – Terry MelcherWritten-By – M. Kokomo Engineer, Mixed By – Keith WechslerProducer – Terry MelcherWritten-By – Philips, Love, McKenzie, Melcher I Get Around Producer – Brian WilsonWritten-By – Brian Wilson Make It Big Engineer, Mixed By – Keith WechslerProducer – Terry MelcherWritten-By – House, Love, Melcher In My Car Mixed By – Brian Wilson, Mark LinettProducer – Brian Wilson, Eugene E. Wipe Out Co-producer – Damon Wimbley, Darren RobinsonProducer – Albert Cabrera, Tony MoranRap – The Fat BoysWritten-By – The Surfaris But the eternally youthful promise embedded in their music ensures that, when you hear a Beach Boys classic, the American Dream feels real all over again.Wouldn't It Be Nice Producer – Brian WilsonWritten-By – Brian Wilson, T. The subsequent decades have seen a whirlwind procession of lineup changes, legal infighting, tragedies (the deaths of Dennis and Carl in 19, respectively), and surprise late-career novelty hits (1988’s Club Med perennial “Kokomo”).
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As Brian entered an extended period of seclusion, the band took a more democratic approach in the studio, resulting in a series of irreverent, eclectic records-epitomized by 1971’s self-effacing Surf’s Up-that were proudly out of step with the dominant acid-rock trends of the day, but whose inspired fusion of soul, psychedelia, and orchestral pop would be later reclaimed by future generations of home-recording indie savants. But Brian’s obsessive tendencies dovetailed with his worsening mental health (spurred by the lingering trauma of an abusive upbringing), resulting in the abandonment of Pet Sounds’ would-be grandiose follow-up, Smile (which was strip-mined for 1967’s loopy psych-pop pastiche Smiley Smile). Brian’s auterist vision-and his increasingly poignant songcraft-achieved peak clarity with 1966’s chamber-pop masterpiece Pet Sounds, the album that inspired The Beatles to venture into Pepperland and heralded rock’s elevation into high art. suburb of Hawthorne in 1961, brothers Brian, Carl, and Dennis Wilson, their cousin Mike Love, and high-school pal Al Jardine defined the sunny California fantasy forevermore with wave-riding soundtracks like “Surfin’ U.S.A.” As the surf fad dried up, Brian expanded his primary-songwriter role to become the band’s all-knowing creative director and, on mid-’60s delights like “California Girls,” he refashioned The Beach Boys into the male equivalent of the girl groups ensconced within Phil Spector’s Wall of Sound. But over the next half-century, they’d come to symbolize its divided soul, and the psychic tug-of-war between flag-waving optimism and darker truths. In their early-’60s inception, The Beach Boys were nothing less than the sound of America.
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