As part of a planned year-long celebration of The Beach Boys’ 60th anniversary, Capitol Records/UMG are to release a newly remastered and massively expanded edition of the group’s greatest hits collection Sounds Of Summer: The Very Best of The Beach Boys.This collection was originally issued in 2003 and contained 30 tracks. The reissue updates both the number of songs and the audio quality with an extra 50 songs, giving a total of 80 tracks across three CDs or six vinyl LPs.

The Beach Boys' new 50th Anniversary Greatest Hits: 50 Big Ones collection features the band's most popular songs, including "California Girls," "Good Vibrations," "Surfin' U.S.A.," "Wouldn't It Be Nice," "God Only Knows," "Kokomo," and two songs from the band's newest studio album – the title track "That's Why God Made The Radio" and a new single version of "Isn't It Time,"

Comes in 'Long Box' (28x15x3cm). Complete with 12 page glossy booklet. The Live Box (1965-1968).

Mastered by Kevin Gray at Cohearent Audio, most from the original master tapes or best sources available. The best pre-1965 Beach Boys album featured their brilliant number one single "I Get Around," as well as other standout cuts in the beautifully sad "Wendy," "Little Honda" (one of their best hot rod tunes, covered by the Hondells for a hit), and their remake of the late-'50s doo wop classic "Hushabye." The nostalgic "All Summer Long," another great production, seemed (whether intentionally or not) like a sort of farewell to the frivolous California beach culture that had supplied the lyrical grist for most of their music up to this point, with a longing, regretful chorus that was totally at odds with the bouncy arrangement.

The Pet Sounds Sessions is a 4-CD box set by the American rock band the Beach Boys. Released on November 4, 1997, by Capitol Records, it compiles tracks from the group's 11th studio album Pet Sounds (1966) and its 1965–66 recording sessions. The entire album is included in its original mono mix, as well as a specially-created digital stereo mix. The set also contains instrumental tracks, vocals-only tracks, alternate mixes, and edited highlights from the recording sessions for many of the album's songs, along with several tracks not included on the album. The box set was nominated for Best Historical Album at the Grammy Awards of 1999. In 2011, it was followed by The Smile Sessions, a similar compilation devoted to the recording of the Beach Boys' unfinished Smile project.

The Beach Boys' third and fifth albums make a good pairing on one CD, different as they are in content and origins. Surfer Girl was the album on which the group's and Brian Wilson's sound blossomed, and it did so on several levels. The title track was the first song that Brian ever wrote, and it's lucky that he saved it for this stage in their history, for it features surprising elegant and lush harmonies. The usual assumption is that, because of Wilson's hearing loss in one ear, the group's records work best in mono, but on this, their second album in stereo, the mixing makes inventive use of the two-channel separation, even on "Surfer Girl" (which, as a single in those days, would have been conceived in mono from the get-go).

This earlier incarnation of the so-called Landlocked sessions duplicates much of the Invasion Unlimited release, but has the good graces to also include several tracks taken from the other lost Brian Wilson album, Adult Child. The tracks from Landlocked include early/alternate versions of several songs which would later appear on Surf's Up, although many of these tracks wouldn't see the official light of day until the Good Vibrations box set (have I mentioned just how great the box set is?) More of a scattershot set than the Invasion Unlimited set, this set boasts better sound, and the inclusion of such dubious rarities as "Mony Mony" and "Ruby Baby", plus the compilers felt the need to hear early versions of the detestable "Hey Little Tomboy" and the laughable "H.E.L.P. Is On The Way."

This album combines the brilliant original vocal harmonies of The Beach Boys’ beloved classics with brand new symphonic arrangements performed by the Royal Philharmonic Orchestra, creating a unique and special experience of these iconic songs. 17 tracks produced by Nick Patrick and Don Reedman, who conducted similar projects for Roy Orbison and Elvis Presley. Executive produced by Jerry Schilling. Orchestra conducted by Sally Herbert and Steve Sidwell and recorded by Peter Cobbin at Abbey Road Studio 2.

The Beach Boys Beginning their career as the most popular surf band in the nation, the Beach Boys finally emerged by 1966 as America's preeminent pop group, the only act able to challenge (for a brief time) the overarching success of the Beatles with both mainstream listeners and the critical community. From their 1961 debut with the regional hit "Surfin'," the three Wilson brothers – Brian, Dennis, and Carl – plus cousin Mike Love and friend Al Jardine constructed the most intricate, gorgeous harmonies ever heard from a pop band.

The Beach Boys Beginning their career as the most popular surf band in the nation, the Beach Boys finally emerged by 1966 as America's preeminent pop group, the only act able to challenge (for a brief time) the overarching success of the Beatles with both mainstream listeners and the critical community. From their 1961 debut with the regional hit "Surfin'," the three Wilson brothers – Brian, Dennis, and Carl – plus cousin Mike Love and friend Al Jardine constructed the most intricate, gorgeous harmonies ever heard from a pop band. With Brian's studio proficiency growing by leaps and bounds during the mid-'60s, the Beach Boys also proved one of the best-produced groups of the '60s, exemplified by their 1966 peak with the Pet Sounds LP and the number one single "Good Vibrations." Though Brian's escalating drug use and obsessive desire to trump the Beatles (by recording the perfect LP statement) eventually led to a nervous breakdown after he heard Sgt. Pepper's Lonely Hearts Club Band, the group soldiered on long into the '70s and '80s, with Brian only an inconsistent participant.

The Warmth of the Sun is designed to serve as a companion piece to 2003's Sounds of Summer: The Very Best of the Beach Boys, and as such, it is perfect. While that earlier volume contained most of the Beach Boys' biggest hits, the cornerstones of the catalog such as "I Get Around," "Surfer Girl," "California Girls," and "Fun, Fun, Fun," the follow-up is, in its own way, just as strong and just as enjoyable. In fact, while listening to it, a fan might wonder why the compilers in 2003 didn't just make Sounds of Summer a double album, include all of this material as well, and be done with it. Certainly, songs like "Catch a Wave," "409," "Surf's Up," "Wendy," and, of course, the title track are every bit as essential to a basic Beach Boys collection as any given track on the previous set. But The Warmth of the Sun not only stands tall by itself, some hardcore fans might prefer it, as some of the tunes on the first collection are so overexposed that there is little desire to ever hear them again. Gems included in this sequel, such as "You're So Good to Me," "Let Him Run Wild," "'Til I Die," "The Little Girl I Once Knew," and "Disney Girls (1957)" don't exactly have the high profile of "Help Me, Rhonda" or "Barbara Ann," but that's why it's so refreshing to listen to this set list: some of these great songs have been so neglected ("Friends," "Please Let Me Wonder," and "Kiss Me, Baby," for example) that they sound almost like lost hits in this context. Even the lack of material from Pet Sounds is a relief – while that album is indeed one of the greatest ever recorded by anyone, and while "Caroline, No" should have been included on one volume or the other (it's not), anyone who needs to experience the Pet Sounds material should just buy that album anyway. There are by now literally dozens of Beach Boys comps available in as many configurations, but The Warmth of the Sun is one of the most enjoyable pure listening experiences among them.

Beach Boys' Christmas Album features the Beach Boys performing a variety of holiday favorites. Most of the featured songs are well-known, some of the more popular being "Frosty the Snowman," "White Christmas," "Santa Claus Is Coming to Town," and "I'll Be Home for Christmas," among others. Furthermore, there are four songs composed by the Beach Boys — "Little Saint Nick," "Man With All the Toys," "Santa's Beard," and "Merry Christmas, Baby" — which begin the album. This mix of favorites and originals makes this a balanced holiday album that should please both Beach Boys admirers and those unfamiliar with the group. ~ Jason Birchmeier

The Ultimate Christmas Album, Vol. 6: WCBS FM 101.1 is another eclectic collection of pop holiday tunes from the '50s, '60s, '70s, and '80s, including Wham!'s "Last Christmas," the Beach Boys' "Santa Claus Is Coming to Town," and Andy Williams' "Let It Snow! Let It Snow! Let It Snow!." Aretha Franklin's "Winter Wonderland," America's "Hark! The Herald Angels Sing," and Connie Francis' "White Christmas" are some of the other highlights from this scattered compilation, which somehow mixes different sounds and eras into a festive celebration.

Another installment in Collectables' The Ultimate Christmas Album series, volume four gathers a mix of well-known and offbeat holiday tunes, including Elvis Presley's "Blue Christmas," the Platters' "Winter Wonderland," and Perry Como's "It's Beginning to Look a Lot Like Christmas." Brook Benton's "You're All I Want for Christmas," Percy Faith's "Christmas Is," and Otis Redding's "Merry Christmas Baby" are some of the collection's soulful highlights, while Santo & Johnny's "Twistin' Bells" and Stan Freberg's "Christmas Dragnet" add some novelty to the festivities. Though it's a somewhat uneven collection, The Ultimate Christmas Album, Vol. 4: WCBS 101.1 has enough interesting and classic moments to make it worthwhile for anyone looking to go beyond the season's basic music.

The unreleased "Adult Child" album. Most of these are by Brian Wilson, 1976-1977, with occasional participation by the other members of the group. This was rumored to be submitted as the final Beach Boys release for Reprise, but it was rejected and later replaced with The M.I.U. Album. This bootleg has a green Brother Records label.