The Beach Boys – That’s Why God Made the Radio Review

A steely jaw is all you’ll feel in listening to The Beach Boys albums after Holland. Even that one takes a dedicated fan to get through. Sire Records re-releases Pet Sounds every year as a ritual sacrifice to the landlords who own their office building yet they sit on a mountain of interesting material. People would rather play in mud if it’s what they’re used to, even when offered a swimming pool of possibilities. That’s Why God Made the Radio does not suggest itself to be anything but a chance to reunite Brian Wilson, Al Jardine, and the others. It’s in that humble manner which makes The Beach Boys’ last hurrah in the studio that much sweeter. There’s no indication it would be the end because it was never as though this project felt at all possible. Mike Love had managed to kill the band off with Nascar albums, whale-infused nonsense and a collaboration album that provides evidence as to what happens if you suck up paint instead of blowing it when making art with children.  

That’s Why God Made the Radio looks to bury hatchets either in the ground or back of members of the band and it does a sweet enough job of clearing the air. What this album is built on is a promise that hadn’t been met immediately after Pet Sounds. The Beach Boys went on to make albums of greater interest (Sunflower and Surf’s Up) and records that tried to magic up that classic Wilson appeal (Holland, Love You) without giving him all that much to do. He may have sounded like the main player on Love You but it fell to pieces and serves as one of their most underwhelming experiences because he simply wasn’t up to the task of reviving the band at their best period. Nobody was. But That’s Why God Made the Radio gets there. Somewhat, anyway. Think About the Days is a wonderfully tender opener that bleeds into a brilliant title track. Harmonising beauties that are on par with parts of Pet Sounds is not just a surprise but does act as an early reassurance. This is not going to be another Summer in Paradise.  

What’s most surprising of all is how each of The Beach Boys sounds fantastic. They’ve lost very little of their range and instrumental skill at this point and put it to good use on the likes of Isn’t it Time and Spring Vacation. That lighter touch which defined and often undid the instrumental quality of The Beach Boys is in fine form here. The Private Life of Bill and Sue and Shelter are marvellous pieces of work from the band. Work which borders on best-ever material by the band. That’s Why God Made the Radio doesn’t get an easy ride. The Beach Boys is defined by Pet Sounds and anything else by them is a tough pitch to the passing listener. It’s a leftfield choice, but That’s Why God Made the Radio is a beautiful continuation of what Wilson had tapped into on both Pet Sounds and Smile. A little more collaborative here, and he must sacrifice a few of those special moments but the harmonising on Daybreak Over the Ocean is nothing short of beautiful.  

That’s Why God Made the Radio falls somewhat short lyrically in its latter stages. Fun in the sun isn’t all that convincing a meaning for the band whose earliest works did enough of that. Checking the box of nostalgia on care-free Beaches In Mind is a bit of a letdown given the earnestness preceding and following, but it was bound to happen. From There to Back Again is a touching best from the band where those harmonies are put to good use. That’s Why God Made the Radio begins slipping into a spot where it rips, rather than riffs, on the work of Pet Sounds. But it’s objectively the band’s best album and a sound they refused to capture again before it was too late. With nostalgia guiding them just a little, they make good on a revolutionary sound they never had a chance to explore at the time of their creating of it.