Al Jardine and The Pet Sounds Band are off on another tour celebrating the music of Brian Wilson and The Beach Boys, with special salutes to the Beach Boys’ albums “Pet Sounds” and “Love You.”
Led by longtime Brian Wilson band leader Darian Sahanaja (who also plays keyboards), the touring band includes Rob Bonfiglio: guitar, Michael D’Amico: drums, Gary Griffin: keyboards, Al’s son Matt Jardine: vocals, Bob Lizik: bass, Jim Laspesa: percussion, Debbie Shair: keyboards, Paul Von Mertens: sax and Emeen Zarookian: guitar.
Upcoming tour dates include:
Saturday, July 25th - The Gardens On Spring Creek The Lincoln Center Fort Collins, CO
Thursday, July 30th - Oshkosh Waterfest Oshkosh, WI
Saturday, August 1st - Southern Kentucky Performing Arts Center Bowling Green, KY
Thursday, Augus 6th - Maryland Hall Annapolis, MD
Friday, August 7th - Shenandoah Valley Music Festival Orkney Springs, VA
Sunday, August 9th - Point of the Bluff Hammondsport, NY
Saturday, August 15th - Robins Theatre Warren, OH
Sunday, August 16th - Celebrate Erie Festival – FREE SHOW Erie, PA
Saturday, August 22nd - The Arcada Theatre St Charles, IL
Sunday, August 23rd - Des Plaines Theatre Des Plaines, IL
Saturday, September 5th - Pangle Pavilion at the Greater Lima Region Park & Amphitheater Lima, OH
Friday, September 18th - Boom Days – FREE SHOW Fort Payne, AL
Sunday, September 20th - The Auditorium Eureka Springs, AR
Saturday, October 10th - Poway Center for the Performing Arts Poway, CA
Sunday, October 11th - Cerritos Center for the Performing Arts Cerritos, CA
Thursday, October 22nd - The Soraya California State University Northridge, CA
Saturday, October 24th Bankhead Theater Livermore, CA
Coincidentally, Harvey Kubernik sent us a piece he was working on regarding Al’s new tour that also features an interview that Harvey did with Al back in 2011. So we’ve got THAT for you today as well!
(photo by Noah Tanner)
Al Jardine Beach Boys Co-Founder and Rock and Roll Hall of Famer Summer 2026 Tour
By Harvey Kubernik
Following a smash tour of Australia, the good vibrations continue as Rock and Roll Hall of Famer and Beach Boys co-founder Al Jardine hits the road in the U.S. this July with The Pet Sounds Band, an elite group of handpicked musicians who have performed with Brian Wilson for over two decades.
For fans of all generations, this is the Beach Boys show to celebrate – Jardine will perform all the beloved hits, as well as songs from the milestone album Pet Sounds (now celebrating its 60th anniversary) and tracks from the band’s 1977 cult favorite, The Beach Boys Love You.
Jardine’s U.S. tour kicked off July 16th in Pennsauken, NJ, at the Twilight Music Series and will continue into 2026. (see the full itinerary above)
Last year, Jardine began showcasing The Beach Boys Love You on tour to ecstatic audiences. Originally released during a volatile, transitional era for rock and popular music, the album has since achieved a massive underground following as a foundational blueprint for modern indie pop, bridging the gap between timeless summer melodies and avant-garde rock history.
“It was definitely ahead of its time, though we certainly weren’t thinking that in ‘76,” Jardine says. “Brian wrote most of the songs by himself, except we wrote 'Good Time' together, and he was experimenting with a new generation of synthesizers which inspired him to create new and beautiful music all by himself without the Wrecking Crew. Looking back on the sessions, Brian was right there when punk rock and new wave started. I think that’s why a whole new generation has discovered it fifty years later – it fits right in with today’s experimental indie bands!”
That cross-generational appeal extends directly onto the stage, where a powerful family lineage anchors the performance. Joining Jardine on tour is his son, Matt Jardine, whose striking vocal range allows the band to flawlessly maintain the DNA of the original, intricate Beach Boys arrangements.
“Matt was born the year Pet Sounds came out [1966], and now he’s my Brian Wilson and actually has been for a while," Jardine shares. "What can I say? I’m really proud of him and have seen him greatly evolve vocally over the years. It seems like just yesterday when he was auditioning for the guys.”
As the music world marks the 60th anniversary of Pet Sounds, maintaining the absolute sonic authenticity is paramount. To deliver the material with the precision it demands, Jardine is touring with the very same musicians who shared the stage with Brian Wilson for decades.
“This band, which I call The Pet Sounds Band for just that reason, are amazing,” he notes. “They know Pet Sounds inside out and make it look easy on stage. As Brian would have attested to, there are a lot of musical details to pay attention to, not to mention the complex vocal arrangements and this band, led by Darian Sahanaja, knows how to get it right. I feel like I am in the studio again with a live audience this time.”
[EDITOR’S NOTE: Several years ago Billy Hinsche was filling in for Darian for a few shows and told us that he was blown away at the intricacies involved with reproducing this music live on stage. Even though Billy had performed some of these tunes with The Beach Boys for years, he said it was like relearning music all over again from Step One. – kk]
In addition to the classic masterworks, Jardine recently released an EP of new music called Islands in the Sun. The title track is pure escapist fantasy that captures the relaxed tropical vibe of the islands – and an enchanted mystical place called Kokomo. “Bruce Johnston and Matt Jardine join with me to sing those rich Beach Boys harmonies, and Matt shares lead vocals with me throughout,” Jardine says.
A second track off the EP, “My Plane Leaves Tomorrow (Au Revoir),” features collaborations with Neil Young and Flea from the Red Hot Chili Peppers. “It’s about a young soldier going off to war not knowing what his future holds, and is very timely considering our current situation in Iran and the Middle East,” Jardine says. “Neil’s voice intones, ‘Don’t say goodbye,’ after which Flea plays a very moving version of Taps.”
For more information, visit: https://www.aljardine.com/
Al Jardine, Beach Boys co-founder, started the group in 1961 with the Wilson brothers (Brian, Carl, and Dennis) and their cousin Mike Love
Alan Jardine was born in Lima, Ohio, on September 3, 1942, and relocated with his family to Hawthorne, California, when he was a child. He and (future) Beach Boy Brian Wilson attended school together in the South Bay at Hawthorne High, and both played on the football team. Al later attended El Camino Junior College. Jardine and Brian were the first two in the lineup when The Beach Boys were formed.
Somehow, Al Jardine’s role in the band has rarely been the focus in accounts of the band’s physical and audio journey. He was the only member of the band who was not a Wilson or related by blood, like cousin Mike Love. However, it was Jardine’s mom who helped pay for the musical instruments and equipment when the group recorded “Surfin’,” on which Jardine played bass. “Surfin’” landed on the Billboard Top 100 Chart.
Jardine then quit the band to finish his college studies. At the time, a musical career was hardly encouraged by anyone, and for nearly a year he pursued dentistry. Then Brian invited Al to rejoin the Beach Boys after guitarist-vocalist David Marks left the outfit.
Al Jardine’s contribution to the band’s sound is sometimes overlooked, but essential. He sang the lead vocal of one of the band’s best-known records, the number one hit, “Help Me, Rhonda.” His voice is also featured on “Then I Kissed Her,” “I Know There’s An Answer,” “Heroes and Villains,” “Vege-Tables,” and “Cotton Fields.” He suggested the Beach Boys record “Sloop John B” after hearing it on a Kingston Trio LP.
In addition, Jardine co-wrote a plethora of songs, particularly on Sunflower, Surf’s Up, Holland, and Carl and the Passions - So Tough. He sang the vocal on the Beach Boys’ cover of Leadbelly’s folk classic “Cotton Fields,” where Red Rhodes played steel guitar. He co-wrote “Lookin’ at Tomorrow (A Welfare Song)” on Surf’s Up, and earned a co-write on “It’s About Time” on Sunflower with Bob Burchman and Dennis Wilson.
“I love Al’s voice,” emphasized songwriter and poet Stephen J. Kalinich, a Brothers Records staff songwriter during 1966-1969.
“He has included me on many projects and many things, and these last years he has been a strong advocate of mine. He recorded ‘California Feeling,’ my song with Brian, and an Alec Baldwin recitation of one of my poems we call ‘Tide Pool Interlude’ on his Post Card From California album.
“Al had me open the venue with him to a sold-out house at the Henry Miller Library. A 20-minute set of my poems. The people loved it. The next night he had me do a recitation for a private event at The Hearst Castle for the Hearst family and founders and people on the Board, and it was phenomenal. Al used to have me recite at his parties in the late 60s. Mr. Al Jardine, a great friend and a good artist, keeps me on my toes.”
Harvey Kubernik and Al Jardine 2011 interview
(photo by Steven "Stevo" Rood)
Q: From the beginning of the Beach Boys, you seem to have accepted this “team player” or “group member” role. A complementary vocal and instrumental position in the collaboration.
A: Think about it. The blueprint was already laid so many years ago. The quarterback Brian Wilson, the fullback Al Jardine, who doesn’t carry the ball a lot but he can really block and protect the quarterback. And I guess Mike (Love) would have to be the wide receiver. The wideout. He and Brian would play catch all day. But you have to protect the quarterback. The front-line of Carl and Dennis, the running backs. There you go. That’s how it was. You played the role, and you didn’t mess with it. If you are so lucky to have a number one song being written for you, then you accept that responsibility.
That was my role. I didn’t have any illusions about being a solo artist, ever. That would be the last thing in my mind. The way we evolved as a singing group was everybody had a role to play. And it seemed to work perfectly for quite a long time. And then it got top-heavy, out of balance, fell apart with certain kinds of role-playing that went on. And, that happens in any band I guess, when I look back on it. Although ours has a remarkable history of cohesiveness, staying together, and continuing to do a lot of remarkable work. It just fell apart.
To be honest with you, I didn’t really have the writing bug until later, when I moved to Big Sur. Something happened to me environmentally, and also when I started TM® (Transcendental Meditation). It unlocked some brain cells or neurons. You become aware of things. Mike and I basically sequestered ourselves into TM® because the drug culture was so strong around us. And we thought this was a place we could bail out for a while. And it really helped preserve the band for many extra years and helped the creativity, I’m sure. And being in Big Sur, I’m surrounded by this beauty.
Q: What do you remember about the song “Good Vibrations” and the recording sessions around it.
Al: We had recorded the Pet Sounds album and “Good Vibrations” simultaneously. Everything was interchangeable. These are interchangeable parts, and “Good Vibrations” was supposed to come out on Pet Sounds. That was the plan. But Brian had other ideas and was very specific about keeping it out of that project for his own reasons. Obviously, it had a lot to do with SMiLE. He wanted “Good Vibrations” to be the lead-off single for SMiLE.
As it turns out, Capitol was desperate to put out something ‘hit oriented’ on Pet Sounds. So, they selected “Sloop John B.” That took the place of “Good Vibrations.” SMiLE never came out, and then “Good Vibrations” got hanging on Smiley Smile, our little Smiley Smile project. No comparison to the production techniques. You can hear the disparity between the professional studios we utilized on SMilE and the amateur home studio. And that’s what you have there.
Q: I know you and the group members did most of the vocal sessions for SMiLE in 1966 and ’67 at Columbia Records studio, primarily because they had one of the very first 8-track tape machines in Hollywood.
A: That’s where we did it. When the 8-track machine showed up, they brought in a new machine with more tracks, and we loved it. ‘Cause we were able to stack more and more vocals with less sound. Something they call sound to noise ratio. And, so, it should have sounded clearer, less bouncing, combining to open up tracks where you combine them. The engineer would always leave a track open for a bounce to combine your vocals and bounce it to another track. Once it is bounced, it is bounced, and you can’t take it back.
Of course, what I didn’t know during SMiLE was at Columbia was that they would always keep a copy in case the bounce didn’t work out. So, at some point you could go back and do it again. So, we have, fortunately, lots of safety reels. Or we used to, but I understand a lot of that stuff is missing. Because maybe they figured that once it was mastered, they didn’t need them anymore. Who the hell knows. At any rate, we went from 8-track to eventually 16, which was really cool. Whew…That was the mother lode of all tape recorders. That came in different shapes and sizes. One would be tall and stacked way up to the ceiling. It was interesting to see the technology grow and the width of the tape change.
Q: Were you even cognizant in 1966 and ’67, during Pet Sounds and especially on the SMiLE sessions, how Brian interacted with technology and the new audio world around him?
A: At the time, we were in our twenties, like children in a candy shop, and I wasn’t really aware of the roles of the engineer, particularly Chuck Britz, who was at Western. I had no idea about Chuck. Obviously, we had worked on our own records. Chuck was like a dreamin’ carpenter. Who the hell knows how to build a house? You live in a house, but you don’t realize how complex everything is and how important every integral part is.
And here is this average Joe-looking guy, pleasant fellow, who talked to everybody on equal terms and did not talk over us. Like a regular guy. And here he was doing all this magic. Which was probably normal for him. His norm, and we accepted that, was quite extraordinary. And of course, Brian. When you drove Brian into the mix, and his enabling Chuck to get those blends.
There was a thing where we got everything, and then Brian would sit with Chuck. This is after we would go out on a coffee break, and we would hear Brian and Chuck going over and over again, combining inner bouncing to the open track. “Is that good?” “Brian. You got it?” A very easy working relationship with Chuck. We’re at Western because Chuck is there. Very unlike the working relationship we had at CBS (Columbia). Just the opposite relationship over there.
Q: Was it because it was a union house and corporate suits then?
A: Very difficult. We couldn’t even touch the console without being reprimanded. It was like your piano teacher hitting your hands with a stick. It was like a mean piano teacher hovering over you with a stick. I can’t tell you what Brian must have felt like. We’d do vocal rehearsals in the hallway. It was very negative. I wasn’t around when Brian would take master instrumental tracks from studio to studio. I wasn’t privy to that.
But I would hear tapes done at the different studios and mention to the guys that I was hearing things that didn’t seem right. But yet, it became part of the culture. Part of the sound of “Good Vibrations.” You’ll hear EQ changes right in the middle of the record.
Q: Some tape heads on machines are slower or faster at different studios.
A: Yes. But again, our mission after the basic tracks were laid out was to sing. And we’d hear these things obviously in our earphones and off the wall. And you’d hear that stuff, but the music was so extraordinary that you could forgive those kind of technical errors.
Q: You and the Beach Boys members never seem to be upset that your basic music tracks were created by session musicians under the direction of Brian Wilson. This method began long before Pet Sounds and was very apparent during the SMiLE sessions.
A: We weren’t upset at all. That was a different kind of music. We were a garage band originally. Carl continued to work with the session players. Brian would bounce all of his ideas off Carl first. I think as a failsafe mechanism. You got to have a go-to guy before you go to the guy. Otherwise, because it feels shitty to get shot down on an idea if it is not fully developed. Trust me, I know. That’s what it is. A very fragile thing, and he’s writing these songs that are a very fragile part of your makeup. You feel exposed.
And Carl was so giving. You know how Carl was. He would be constructive and sure. And then he would continue to be involved. I was exhausted from touring, and I can tell you, I needed the time to rest myself. Dennis, of course, just loved, you know, being Dennis.
You can’t be on the road 150 days a year and spend another 150 in the studio. There wouldn’t be time left for living. It was a good thing. Brian wasn’t upset that we were gone so much. And he could never get his ideas out, so this way he had a way to express his ideas. In fact, during SMiLE, that is when we first started using five-part harmony.
Q: You would tour and place vocals on Pet Sounds instrumental tracks. That practice continued with SMiLE. Were the music beds on each album vastly different? Pet Sounds more in the pop song format whereas SMiLE segments and modular music sections?
A: It all sounded the same to me. ‘Cause it wasn’t like we were presented with SMiLE. It was interwoven with Pet Sounds. There was some overlap. It was like a fabric. We just had to extricate out of it what would be Pet Sounds and what would be SMiLE. “Cabin Essence” was done before we went to England in 1966. A lot of stuff is stockpiled.
Q: What did you think about the SMiLE lyrics written by Van Dyke Parks?
A: I loved Van Dyke’s lyrics. I just saw them as art for art’s sake. These wonderful couplets. It’s more of a feeling one gets from the creative process. Like a Lewis Carroll novel. But maybe out of context for a band called the Beach Boys. That’s kind of really what’s it’s all about. And you have a lead singer who is fragile and needs to express himself, and it’s going away, you know, and it’s not the same. Changes. Things change.
Q: You and the band members spent a lot of time up at Brian’s house inside the tent on the premises.
A: Yes. We’d rehearse up there.
Q: At the time of the original SMiLE recording sessions, Brian told me he was young, having fun, and he indicated it wasn’t eccentric behavior at all. But for someone like you, watching guys smoke pot, eat food, and hang around Brian’s sandbox at his home, was it just a part of Brian’s creative process? This was not the same environment that existed when the group was first making records for the Capitol Records label.
A: No. It was a drug-induced environment and was very alien to me. And very nauseating and very uncomfortable there. It was Brian’s slippery slope, literally. He lived on a side of a hill, and it looked like the whole thing was falling downhill from there. I wasn’t too thrilled with his excursion into that world of you know, acid, particularly. Since then, we saw those dramatic changes. It was not a good time for us.
And then when Brian had his breakdown or whatever you want to call it, then everything went back to its simplistic stage. He wanted everything to be about doing a home movie. What we did really is start making home movies. And he got a big old Baldwin organ from the company and he loved it. And he obsessed over that organ, and that became the centerpiece of our Smiley Smile album with some of the remakes of our SMiLE session tracks added with other original stuff. I thought it was a charming album. A very peaceful album. I like the original one that’s coming out.
Q: Then there’s “Heroes and Villains.”
A: That’s a good one. We would later open concerts with it. “Heroes and Villains” is the centerpiece of SMiLE really. The theme is all over the place. Very powerful. It goes very deep. That song was in the incubator for quite a while.
Q: What impressed you about the recording of “Surf’s Up?”
A: It has several movements in it. I like the way Brian expresses it musically. I love the way certain movements work and especially the chorus, “Child is the father of the man.” I mean, that’s pretty God damn heavy, you know. (laughs). That alone is a mind blower. And just the way Mike comes in on his initial note and then we all play off each other musically and spontaneously in a coordinated fashion. Just drives the sucker into a whole other dimension. Very peaceful, loving, and suddenly this heavy statement musically, sonically, and lyrically about a child becoming the caretaker. Symbolically, I guess, we become the father of our own father.
There were some things like “Cool, Cool Water” that I think began during SMiLE and finished up at Brian’s house studio for “Sunflower.” But it was rich and deep because it had the Columbia sound to it. Because we used the chambers over there and the microphones. They had the best mikes.
And, for some of our sessions we were using our PA mikes on Smiley Smile. We’re talkin’ rudimentary stuff here. It’s night and day. That’s why “Cool, Cool Water” had that nice depth and breath to it.
Q: Several SMiLE-era penned tunes would later populate future Beach Boys’ albums. “Cabin Essence” on 20/20, for example. A plethora of songs initially intended for the original SMiLE project prove to be copyrights that have longevity.
You have a recording that appears on your 2010 CD A Postcard from California. “Don’t Fight the Sea.” And now it’s out with a Beach Boys acapella mix from a 1968 recording of the song Friends that you just released to raise money for the Red Cross relief effort in Japan.
A: I met (Sir) George Martin’s son when I was over at Capitol Studios. And he was just going on and on about the Beach Boys’ 20/20 and about how it was his wife’s favourite album. He mentioned “Cabin Essence” was her favourite song. I just couldn’t believe it. (laughs).
I mean, 20/20 was our last album for Capitol. We were just trying to get off the label by then. We were putting stuff on it from anywhere. (laughs). “Cotton Fields” for crying out loud. A lame ass version of “Cotton Fields.”
Q: Why didn’t the original SMiLE album come out?
A: Because we never finished it. I mean, in a sense we did finish it on Smiley Smile. That was the finished, I guess, although instead of evolving I thought it devolved. And, to me, then negated the rest.
So, the rest just sat in the vaults ‘cause it wasn’t finished to the extent that we should have. And that was my concern about it now. Is it really finished? The answer is, does it really matter? It is what it is. It’s a document of the times and it’s pretty cool the way it is. I was very concerned initially, but when I heard the working tapes, “well, there is some closure there.” And it’s kind of interesting.
Q: What is it like hearing the SMiLE sessions advance tapes?
A: I’ve heard some things. I enjoyed listening to it. I was very impressed by the musical integrity and really loved hearing that tack piano. There was a tack piano in the hallway. At Western, that was just incredible. Brian would remember that too. There was just something about it …
When you have a studio that has all this stuff lying around, you just take it for granted. Like bells that you just see against a wall. “Oh. Let’s throw that on there! Let’s do that!” Because, you know, all that stuff is at your disposal in the professional studios at the time. And you don’t have access to that stuff when you do it at home. Which is what happened on Smiley Smile. We were limited to what we could use, plus we didn’t have the chambers. The all-important echo chambers.
Q: What was, or is, the secret of the Beach Boys’ vocal blend?
A: Carl and I were locked in with Brian on the top and Mike on the bottom. And we all seemed to gravitate to whatever Brian extrapolated out of the other. Whatever was there, we just grabbed it. We knew exactly where we were supposed to be. It’s weird. I always floated in on top under Brian and on top of Carl, and he carried his low tenor above Mike’s baritone. It was just a beautiful blend. And when I left for a short while, I thought Dennis’ blend was beautiful. It was a struggle for him. It did not come to him naturally to be a background singer. But I enjoyed the family harmonies.
Towards the end of his career, Dennis came into his own. And then he really started coming into his own. It’s like a dormant quality that began to emerge. Gritty. He was just a man’s man. And he could pull it off. Nothing like the real thing.
Mike’s baritone is fantastic. He still has the pipes. Carl as a singer, a vocalist. He was so similar to Brian in his vocal range. A little fatter, though. He had a fatter voice. Brian was more of a razor- edge voice. So, you had that compliment, that same tonality, but with different edges. Different contours if you looked at it on Pro Tools. It sounded so innocent and nice. There was something magical about it. A family singing together. The family voices.
Bruce Johnston is an important part of the SMiLE sessions. We do forget about Bruce. He was there every night like I was. Those early morning hours before the sun came up during a lot of this stuff. A very precise and organized singer. Very excellent pitch and would sing those very high and long whole notes. Not the high-energy ones like Brian but more round notes. More round like Carl. Very strong and very clear. When you are in a vocal group, you have to have pretty good pitch.
Q: Brian Wilson knew how to write subject-specific tunes for the band to record.
A: With Brian, everything is “what key is it in?” How does it sound the best to him in his head? He chose “Help Me, Rhonda” for me. I sound best on my leads in D and C sharp, and C. Maybe E. But this C sharp key was perfect for me. Mike’s range is in a different key than mine. Carl or Brian could have done it, but Brian was thinking ahead. In 1965, he was thinking, “I’ve got to get these guys leads that they can sing on the road.” I’ve never really talked about this with Brian. We did the vocals en masse at RCA one day. I think Brian might have cut the track there as well.
But Brian was also strategizing, also very cleverly, that he wouldn’t have to go out and sing the song. He wanted me to have the lead, I think. And Mike and Carl. And it strengthened the band a lot by all of us having these great leads. And he could sing any of ‘em, I’m sure.
Shelley Sweet-Tufano recently wrote a review for Forgotten Hits that we ran a few weeks ago about her first experience seeing Al Jardine and the Pet Sounds Band. You can find it here:
https://forgottenhits60s.blogspot.com/2026/04/al-jardine-and-pet-sounds-band.html
We’ve seen Al several times now and he always presents a good show. We’re hoping to catch him again at The Des Plaines Theatre in August.
And, to complete the perfect loop, I’m also reading the new David Beard / Beach Boys Interviews book “All Summer Long.” We’ll have an interview with David once I finish the book. (kk)
Also heading back to the area here are John Cafferty and the Beaver Brown Band, who will now be performing in Des Plaines on November 14th.
We saw them there last November, where they put on a GREAT show.
This time around, Ron Onesti has them paired with John Waite, who topped the chart with “Missing You” in 1984 and propelled The Babys into The Top Ten twice in the late ‘70’s with “Isn’t It Time” and “Every Time I Think Of You.”
This will be another “Must See” show.
You can read our last review here: https://forgottenhits60s.blogspot.com/2025/11/new-concert-review-john-cafferty-and.html
As well as our interview with John here: https://forgottenhits60s.blogspot.com/2025/04/forgotten-hits-interviews-john-cafferty.html
And Timmy just let us know that The Shat will be performing at this year’s Riot Fest right here in Chicago …
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Interestingly enough, I was having lunch the other day with long-time Forgotten Hits Reader Steve Sarley and we got on the topic of which artists to go and see for a much more intimate look at their music … behind the scenes songs and stories … more of an entertaining and informative one-on-one concert if you will … and one of the names I suggested for this was Graham Nash, who we saw a few years ago with just Graham and his guitar and another guitarist named Shane Fontayne, who helped fill in some of the musical gaps and provided harmonies, always a key element of Graham’s career.
After seeing the show, I immediately went out and bought his book where he goes even further in-depth as to the inspiration for his very remarkable resume.
And then today I saw a review in Best Classic Bands of a show he just did at Red Rocks. (Man, I would love to see that theater some day!)
Anyway, here is their review …
And here’s ours from ten years ago …
https://forgottenhits60s.blogspot.com/2015/07/graham-nash.html
