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Today it’s an Italianate apartment building wedged between an Indian restaurant and a Target. But what stood half a century ago at 1454 5th Street in downtown Santa Monica was the Beach Boys’ Brother Studio, a former porn theater turned recording complex where the preeminent American rock band of the 1960s sought to coax its resident genius, Brian Wilson, back into the fold after a long stretch in the wilderness.

Nobody would consider the albums the Beach Boys made at Brother in the mid-70s — among them “15 Big Ones,” “The Beach Boys Love You” and the long-shelved “Adult/Child” — the band’s most successful. (Well, nobody except for Wilson, who frequently cited the synthed-up “Love You” as his fave.) A decade after 1966’s “Pet Sounds,” which so blew the Beatles away that they had to answer with “Sgt. Pepper’s Lonely Hearts Club Band,” the burly, bearded Beach Boys were far from the center of pop music; Wilson, in particular, had largely withdrawn from public life as he struggled with the effects of drugs and his fragile mental health.

Yet Brother offered the setting for a creative reflowering — arguably the band’s final moment of unity before the start of years of more serious infighting.

“It was like we all got back together and became Beach Boys again,” says Al Jardine, who founded the group in suburban Hawthorne in 1961 with Wilson, Wilson’s brothers Dennis and Carl and the Wilsons’ cousin Mike Love. Now, eight months after Brian Wilson’s death in June at age 82, a new box set looks back at the era as an expressive outpouring led by the band’s rejuvenated visionary.

“We Gotta Groove: The Brother Studio Years” collects 73 tracks from 1976 and ’77, including outtakes, demos, a remastered version of the “Love You” LP and the first official release of the widely bootlegged “Adult/Child,” which puts Wilson’s touchingly emotive singing amid orchestral arrangements in a glossy big-band style. Among the set’s highlights are a voice-and-piano rendition of “Still I Dream of It,” which, according to legend, Wilson wrote in the hopes that Frank Sinatra would perform it, and a majestic take on “You’ve Lost That Lovin’ Feeling” that shows how brilliant a record-maker Wilson remained despite all the well-documented turmoil.

“Brian was healing from his personal life, and he was ready to go in the studio again,” says Jardine, 83, whose latest tour with the members of Wilson’s road band will stop Friday night at L.A.’s United Theater on Broadway for a complete performance of “The Beach Boys Love You.” With quirky but heartfelt tunes about Wilson’s daughter Carnie (“I Wanna Pick You Up”) and Johnny Carson (uh, “Johnny Carson”) — not to mention the propulsive “Honkin’ Down the Highway,” on which Jardine sang lead — “Love You” has become something of a cult classic among Wilsonologists.

Says Jardine of the LP: “Brian’s spirit — his songwriting soul — is really strong on that one.”

The Beach Boys opened Brother Studio around 1974 near the corner of 5th Street and Broadway, just a few blocks from the beach. They’d traveled to the Netherlands to record their most recent album, “Holland”; before that, they cut several records at Wilson’s home on Bellagio Road in Bel-Air, though the group’s erstwhile mastermind spent as much time upstairs in his bedroom as he did recording music with his bandmates.

Wilson’s retreat after the flameout of his notoriously ambitious “Smile” project made space for the other Beach Boys to shape the band’s music, as on 1970’s fondly remembered “Sunflower.” But the lack of hits eventually took its toll: With a laugh, Love, 84, says one reason they started up Brother was that Wilson’s wife, Marilyn, eventually “threw in the towel after years of having her house flooded with people” to less-than-spectacular returns. “It was sort of like a self-preservation thing,” he adds.

The Beach Boys backstage at New York’s Central Park in 1977.

(Richard E. Aaron / Redferns)

In “We Gotta Groove’s” liner notes, engineer Stephen Moffitt, who designed Brother after working earlier at L.A.’s Village Recorders, recalls clearing out “all the porn crap” from the building and installing a circular stained-glass window to establish the right vibe. A vintage magazine ad boasts of the studio’s high-end gear as well as its “large screen video lounge” and “a playroom with pong, pinball and bumper pool.”

“It was a respite,” Love says. “A place to go and be creative.”

Just as the band was getting Brother up and running, the Beach Boys scored an unexpected smash with 1974’s “Endless Summer,” a double-LP compilation of the group’s early material — “Surfin’ Safari,” “Don’t Worry Baby,” “California Girls” — that topped the Billboard album chart on its way to sales of more than 3 million copies. A similar hits collection issued in the U.K., “20 Golden Greats,” did just as well there. “An enormous success,” says Love. “One in every five families had it.”

Suddenly, having more or less ignored group-minded efforts like “Holland” and “Carl and the Passions — ‘So Tough,’ ” the world remembered what it loved about the Beach Boys, and that was songs written and produced by Brian Wilson.

The band got to work at Brother recording “15 Big Ones,” which featured a mix of Wilson originals and covers of oldies like “Chapel of Love” and “Blueberry Hill.” The first Beach Boys album since “Pet Sounds” to carry a solo production credit for Wilson, it came accompanied by an aggressive marketing campaign known as “Brian Is Back!”; Wilson appeared on the cover of Rolling Stone — “The Healing of Brother Brian,” the cover line read — and took part in a Beach Boys television special that showed his return to the concert stage at Anaheim Stadium.

Earle Mankey, an engineer at Brother in the mid-70s, says “15 Big Ones” was less Wilson’s attempt to relight the flame than it was “everyone else’s attempt to relight the flame.” He recalls Wilson looking like a “scared rabbit” when he walked into the studio to find some of the session musicians who’d worked with the Beach Boys back in the old days. (This was the time of Wilson’s first dalliance with the psychologist Eugene Landy, who would reenter Wilson’s life to much controversy in the early ’80s.)

Fans watch the Beach Boys perform at Anaheim Stadium on July 3, 1976.

(Tony Korody / Sygma via Getty Images)

Even Love admits that “Brian Is Back!” was a little overblown. “Brian was back to some degree,” Love says now. “One hundred percent? Perhaps not.”

Yet the campaign worked: “15 Big Ones” went to No. 8 on the Billboard 200 — the highest for a Beach Boys studio album in more than a decade — while the LP spun off the band’s first Top 5 single since “Good Vibrations” with a rendition of Chuck Berry’s “Roll and Roll Music.”

More important, the commercial success set up Wilson for a true artistic comeback with “The Beach Boys Love You,” which can still startle you with the purity of its emotion and the strange textures of Wilson’s production. Check out the beautifully lopsided groove of “Mona,” which Dennis sings with a bleary smoker’s rasp, or the lonely-sounding electric-guitar lick floating over the Wilson brothers’ harmonies in “The Night Was So Young”; listen to Brian and Marilyn trading marital assurances in their almost painfully guileless duet, “Let’s Put Our Hearts Together.”

“Of all Brian’s stuff, I’d say it’s his most personal album after ‘Pet Sounds,’ ” says Darian Sahanaja, who played with Wilson for the last couple of decades of his life. “Maybe even more than ‘Pet Sounds,’ because Tony Asher wrote most of the lyrics on ‘Pet Sounds’ and Brian wrote most of the lyrics on ‘Love You.’ The Brian that I knew is very much living and breathing in these songs.”

Unlike “15 Big Ones,” “Love You” was not a hit, peaking at No. 53 — even lower than “Holland.” As much as he adores the album, Sahanaja finds it amusing that anyone in the Beach Boys’ camp might have expected Wilson to try to give rock fans what they wanted.

“He wasn’t listening to the Top 40 at the time,” he says. “He just wrote whatever came out of him. There was no, ‘I wonder what Fleetwood Mac’s up to…’ ”

Indeed, Wilson went even further out with “Adult/Child,” for which he commissioned orchestral arrangements by Dick Reynolds, who’d worked in the ’50s with Wilson’s beloved Four Freshmen. Both Love and Jardine say they can’t quite remember why the album didn’t come out; Love says “it may not have suited the record company at the time” and points out that even “Pet Sounds” got the group’s A&R rep wondering “if maybe we could do something more like ‘I Get Around.’ ”

Whatever the case, “Adult/Child’s” mothballing led to another withdrawal by Wilson, who had far less to do with the band’s next few records and who eventually turned to a solo career. In 2012, Wilson produced a so-so Beach Boys reunion record — minus Dennis, who died in 1983, and Carl, who died in 1998 — but for much of the ’00s he and Jardine toured under Wilson’s name while Love toured as the Beach Boys. (Love’s band will play three shows at the Hollywood Bowl in July.)

Asked what it’s been like performing with Wilson’s band since his death, Jardine says, “I just feel like he’s still around.” Sahanaja says he’s seen Jardine tear up as they’ve been working up songs from “Love You” on the road ahead of Friday’s show. But he’s also been gratified to see the excitement among younger fans regarding what he views as the Beach Boys’ last great album.

“The reaction has been more insane than I’ve ever seen for any of the shows we ever did with Brian,” he says. “It’s like they feel they found this secret thing that they really identify with.” He laughs. “I’m telling you, these kids are freaking out — jumping up and down, singing along to all the words. They’re, like, pogo-ing.”

It’s always special for Bob Baffert to win the Robert B. Lewis Stakes, since the race is named after the late owner of Silver Charm, one of the trainer’s six Kentucky Derby champions.

Winning the Lewis also is as familiar to Baffert as looking in the mirror and seeing white hair. Saturday’s victory by Plutarch was the eighth straight for Baffert in the $100,000 race for 3-year-olds, and his 14th in the race known until 2007 as the Santa Catalina Stakes.

What made Baffert a little emotional Saturday was his other victory, with Splendora in a $200,000 Grade 2 race that used to be known as the Santa Monica Stakes. The name was changed this year in honor of a friend and fellow Hall of Fame trainer who died last summer.

“When I saw that this race was renamed for D. Wayne Lukas, I wanted to win this one,” Baffert told reporters at Santa Anita. “I miss him. I miss talking to him. He would have loved this.”

It would be easy for anyone to love training or just watching Splendora, a 5-year-old daughter of Audible who won her fourth straight start and her first since last fall’s Breeders’ Cup Filly & Mare Sprint. The 2-5 favorite cruised to a 2¾-length victory over Me and Molly McGee in 1:22.09 for seven furlongs.

“She is such a good filly. She just gives me chills,” Baffert said. “She missed the break and got behind, but Juan [Hernandez] rode her with a lot of confidence.”

It was the eighth win in the race for Baffert, who now leads Lukas by two. Lukas’ last victory in the race came in 1996 with the Hall of Famer Serena’s Song, owned by Lewis and his wife, Beverly. It was the next year that Baffert and the Lewises combined to win their first Derby with Silver Charm.

Whether Baffert has another Derby winner in Plutarch won’t be known for 12 weeks, but the colt certainly has the bloodlines. Into Mischief has been the leading sire in North America (by earnings) for the last seven years, including Derby winners Authentic (for Baffert), Mandaloun and Sovereignty, while Plutarch’s dam, Stellar Wind, was the 3-year-old champion filly in 2015.

Plutarch, with Florent Geroux aboard, outruns Intrepid, with Hector I. Berrios aboard, to win the Grade 3 $100,000 Robert B. Lewis Stakes at Santa Anita Park on Saturday.

(Benoit Photo via Associated Press)

“This horse reminds me of Authentic,” Baffert said. “He keeps getting better every week. I don’t think distance will be a problem with him. This is very exciting. He’s legit.”

Plutarch lost his first four starts, including three in stakes races, before winning a maiden race on the final day of Del Mar’s fall meeting. That race and two others were on grass; Baffert said he did that because he wanted to get the colt in some races.

The surprise Saturday was how close Plutarch was to the lead, tracking the equally surprising pacesetter Intrepido through solid fractions of 47.65 for a half-mile and 1:11.35 for six furlongs. Baffert expected his 6-5 favorite, Desert Gate, to be on the lead, but the horse broke slowly and had to settle about a length and a half off the lead in the bunched field of seven.

Plutarch pushed ahead of Intrepido entering the stretch and the two dueled for most of the last quarter-mile, with Plutarch winning by three-quarters of a length in 1:37.02. He paid $10.20 as the co-third choice with the runner-up. Secured Freedom (3-1) edged Desert Gate for third.

“The longer the better,” said winning rider Florent Geroux, who just this week relocated to California from the Louisiana and Kentucky circuit. “He is a colt who has finally put it together this year. I watched some of his replays from last year and from what Bob told me, it looked like the horse was still a little bit green, trying to figure out what was going on during the race. But today, I felt he broke very alertly for me and put me in a great spot. When I asked him to move along the lane he responded really well.”

Intrepido defeated Desert Gate and Plutarch last October at Santa Anita in the Grade 1 American Pharoah, but finished a disappointing fifth later that month in the Breeders’ Cup Juvenile. Trainer Jeff Mullins said he was pleased with the bounce-back.

“I really didn’t expect him to be on the lead … but he breaks [fast] like that, you’ve got to go with it,” Mullins said. “To be off that long, I’m happy with his race.”

Plutarch earned 20 Kentucky Derby points, giving him 23, tied with Intrepido for third in the standings. Silent Tactic, who won Friday’s Southwest Stakes at Oaklawn in Arkansas, and Renegade, winner of the Sam F. Davis Stakes on Saturday at Tampa Bay Downs, lead with 25. It usually takes about 40 points to get into the Derby.

One of Baffert’s recent Lewis winners captured the Derby, though Medina Spirit (2021) later was disqualified. Newgate (2023) went on to win the Santa Anita Handicap as a 4-year-old, while Nysos (2024) and Citizen Bull (2025) ran one-two in last year’s Breeders’ Cup Dirt Mile.

The next race for 3-year-olds at Santa Anita is the San Felipe Stakes on March 7, followed by the Santa Anita Derby on April 4.

Notable

Three of the top four finishers from the Breeders’ Cup Juvenile Fillies make up three-quarters of the short field in Sunday’s featured Las Virgenes Stakes. Super Corredora, trained by John Sadler, won the Oct. 31 race at Del Mar and was named champion 2-year-old filly, with Baffert’s Explora second and Michael McCarthy’s Meaning fourth. Explora is the only one of the trio to race since; she won the Santa Ynez Stakes on Jan. 10. First post on Super Bowl Sunday is earlier than normal at 11 a.m.

A father driving his daughter and two other families from the Santa Clarita Flyers hockey club to a tournament in Colorado was killed last week in a horrific crash in treacherous weather.

Three days later the Flyers won the Western Girls Hockey League 12U title with a 1-0 victory in overtime Sunday, their fifth win of the tournament.

The players met for two hours the night of the accident and decided they would participate rather than pull out and head home.

“We knew that the families in the crash would want us to play and decided not just to do it for ourselves, but do it for them mostly,” Flyers captain Sophia Boyle told Denver 9News. “We are more than a team. It’s like we are a giant family.

“We knew what we wanted, we tried our hardest and we got it.”

The driver of a Colorado Department of Transportation plow truck traveling on snow-covered and wet roads Thursday morning lost control on Interstate 70, drove through the median and hit the Flyers’ Ford Transit van head-on, according to the Clear Creek County Sheriff’s Office.

The van was knocked down an icy embankment before coming to rest, and the driver, Manuel Lorenzana of Chatsworth, was pronounced dead at the scene. Four children were treated for minor injuries at a local hospital; a fifth was flown to a trauma center with critical injuries. Three adults were admitted to the hospital, one in serious condition.

Lorenzana, 38, a noted tattoo artist and lifelong San Fernando Valley resident, was remembered as “a hero and the epitome of what an amazing man, father, partner and friend should be,” his family wrote on a GoFundMe page.

“He was the most thoughtful, loving and supportive man to his soulmate April, and the most caring, involved, fun, kind and loving parent, and best friend, to his daughter Brody.”

Brody was released from the hospital and joined her teammates Saturday. After opening the double-elimination tournament with two victories Friday and a loss in their first game Saturday, the Flyers advanced with a 14-0 win.

Santa Clarita Valley residents gathered at the Flyers’ home rink, the Cube Ice and Entertainment Center, to watch a stream of the game that unfortunately malfunctioned. Still, the crowd stayed, with several people refreshing the league’s website to keep up with the game and shouting when the Flyers scored.

Two victories Sunday — both shutouts — gave the Flyers the title. Moments before the championship game, the Flyers raised their sticks in a silent nod to Manny Lorenzana. Khaleesi Bewer scored the winning goal in overtime, and afterward the Flyers sang Katy Perry’s “California Gurls. ”

“It’s unbelievable how much people have rallied behind these girls,” said Prescott Littlefield, president of the Flyers organization. “If there is a silver lining to this, the amount of support they’ve gotten is beyond my ability to comprehend. The families are so grateful.”