Updated Monday, May 22, to include information about the re-air date for "A GRAMMY Salute To The Beach Boys."
"A GRAMMY Salute To The Beach Boys" will re-air on Monday, May 29, at 9 p.m. ET/PT on the CBS Television Network, and will be available to stream live and on demand on Paramount+.
That's a wrap on "A GRAMMY Salute To The Beach Boys," an emotional, star-studded toast to America's Band — as the core lineup of the legendary group bore witness from a balcony.
From its heartfelt speeches and remarks to performances by John Legend, Brandi Carlile, Beck, Fall Out Boy, Mumford & Sons, LeAnn Rimes, St. Vincent, Weezer, and other heavy hitters, "A GRAMMY Salute To The Beach Boys" served as a towering monument to these leading lights on the occasion of their 60th anniversary.
If you missed the CBS telecast, never fear: the thrilling special is rebroadcasting on Monday, May 29, at 9 p.m. ET/PT on the CBS Television Network, and will be available to stream on demand on Paramount+.
Below are some highlights from the Beach Boys' big night.
Read More: How To Watch "A GRAMMY Salute To The Beach Boys," Featuring Performances From John Legend, Brandi Carlile, Beck, Fall Out Boy, Mumford & Sons, LeAnn Rimes, Weezer & More
Weezer Gave "California Girls" A Shot In The Arm
The Weez was a natural choice for a Beach Boys bash — the GRAMMY winners have worn that influence on their sleeve throughout their career — from the harmony-stuffed Blue Album. to their love letter to the West Coast, the White Album.
And while Fall Out Boy's transmutation of "Do You Wanna Dance" into supercharged pop-punk was a joy, Weezer's version of "California Girls" was satisfying in a different way.
Therein, frontman Rivers Cuomo threaded his chunky power chords into the familiar arrangement masterfully. His head-turning, song-flipping guitar work in the outro was also gracefully executed.
John Legend Sang A Commanding "Sail On Sailor"
The rocking-and-rolling "Sail On Sailor" leads off the Beach Boys' deeply underrated 1973 album Holland. On that cut, the lead vocal isn't taken by an original member, but one of their two South African additions at the time: the brilliant Blondie Chaplin.
Fifty years ago, Chaplin channeled the stouthearted tune through his punchy midrange; John Legend possesses a similar one. In his hustling, wolfish performance at the piano, the 12-time GRAMMY winner gave this dark-horse Beach Boys classic the gusto it deserves.
Read More: The Beach Boys' Sail On Sailor Reframes Two Obscure 1970s Albums. Why Were They Obscure In The First Place?
Brandi Carlile Stunned With A Capella "In My Room" Verse
Nine-time GRAMMY winner Brandi Carlile is an eminent and versatile creative force; it's easy to imagine her nailing almost any song in the Beach Boys’ catalog — even the weird ones.
That said, this was more or less a night of hits — so Carlile took "In My Room" head on, and the results were spectacular. Even better was when the backing band dropped out for a verse, highlighting the song's proto-Pet Sounds solitude and introspection.
"Now it's dark/And I'm alone, but/I won't be afraid," Carlile sang, only joined by two harmonists. Mostly unadorned, she radiated a sense of inner strength.
Norah Jones Gorgeously Pared Back "The Warmth Of The Sun"
"The Warmth of the Sun" has always been a fan favorite for its radiant vocal interplay, but Norah Jones proved it's just as powerful with one voice front and center.
Sure, the nine-time GRAMMY winner had harmonists behind her. But while Brian Wilson shared the spotlight with the other Boys in the original tune, she was front and center, teasing out its mellow, jazzy undercurrents.
St. Vincent & Charlie Puth Plumbed The Atmosphere Of Pet Sounds
The Beach Boys' most famous album by some margin, 1966’s Pet Sounds, was well represented at "A GRAMMY Salute To The Beach Boys."
Beck performed a witty "Sloop John B"; Mumford & Sons drew hymnal energy from "I Know There's An Answer"; LeAnn Rimes drew lonesome power from "Caroline, No."
But two performances in particular captured the singular atmosphere of the album — whimsical, hopeful, melancholic, longing, sophisticated, strangely exotic. One was Charlie Puth's "Wouldn't It Be Nice," which strapped on the album's aesthetic like a rocket and took off.
The other was St. Vincent’s captivating take on "You Still Believe In Me," which highlighted the harpsichord melody to spectral effect.
Near the end, when the three-time GRAMMY winner launched into the "I wanna cry" outro, it was hard to not get chills — the kind the Beach Boys have given us for 60 years.
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