The Beach Boys' sixth studio album peaked at number four on the Billboard Charts in November 1964 (the first US group to do so since exactly one year earlier) and essentially announced the group was still very much on top of the music scene amidst the frenzied Beatles mania that was sweltering around them. 

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The group's first number 1 song, 'I Get Around,' opens up All Summer Long - signifying the group's success was not immediately destroyed by the British Invasion. 'All Summer Long' is the quintessential summer song. From its quirky instrumentation to the melancholy major-7th chords cleverly written into its melody, the song possesses a unique wistfulness lying beneath its cheery rhythms. It's almost as though Brian knew that the band's days of innocence were slipping away amid a sea of changing musical and social tides. A cover of the Mystics 1959 lullaby, the Boys' rendition of 'Hushabye' is a huge improvement on the original version. The high falsetto hook is perfect for Wilson, and a smooth production adds to the lushness of the arrangement. 'Little Honda' was originally penned and recorded by the Beach Boys, though Gary Usher's fictitious group, the Hondells, usually retains most of the spotlight associated with the tune. Nevertheless, the Beach Boy's version is a strong contender for first place in the execution of the song in this reviewer's mind. Probably the most intimate track on the album, 'We'll Run Away' showcases just how sophisticated the group's early material could be. Though relatively easy to overlook among the other 'hits' on the album, 'We'll Run Away' requires repeated listens to appreciate the beauty imbued into the track fully. 'Carls' Big Chance' is the album's lone instrumental and harkens back to the band's earlier albums. 

 

Four very exposed low notes from an electric guitar and bass open up 'Wendy', yet another near-perfect slice of early-60s California pop. 'Do You Remember' is an ode to the artists of early rock and roll. While fun and nostalgic, the track isn't the strongest in the group's catalog - still an enjoyable listen, though. Whatever elegance 'Do You Remember' lacked is more than made up in the next track; 'Girls On the Beach'. Almost a sequel to 'Surfer Girl', 'Girls' is much more complex than its predecessor. With modulations at every corner plus a highly intricate chord progression, it's easy to see why the group's songwriting was considered lightyears ahead of the other 'rock' bands of the time period. 'Drive-In' is an enjoyable look at the drive-in culture of the 50s and 60s. After 10 outstanding tracks, the group takes a break just long enough for us to get a glimpse of a 'typical' recording session in 'Our Favorite Recording Sessions'. It's hard to believe the band didn't have enough material at the time to fill an entire album; where's 'All Dressed Up for School?'. The band's last overtly surf-related song (and the only song on the album dedicated to the sport), 'Don't Back Down', closes the album. It's obvious the band was ready to move on from their beach-related roots. 

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As far as albums from the early 60s go, All Summer Long is near perfection. Aside from a few minor problems ('Our Favorite Recording Sessions?' Why???), the band's sixth album again reads like a 'Golden Hits' album.