Listen to My Heartbeat: Your Guide to the Music of the Beach Boys Part 2

Sirius XM has launched a Beach Boys channel for the summer! Listening to the music of Brian Wilson, et al. randomly has inspired me to highlight these timeless songs in a 3-part series. So, let’s go surfin’ now!

There are few bodies of work in the pop idiom more revered than that of Brian Wilson’s. And the music he made between July 12, 1965 and May 18, 1967 is his crowning achievement. Again, it is SO hard to encapsulate the story of the Beach Boys – particularly this period – in so small a space.

Throughout 1965, Brian had quit touring with the band and stayed home to write music and record it with the best musicians in the business in the best recording studios in Los Angeles. At the beginning of 1966, he began work on “Pet Sounds” – an album and the recording of which deserve it’s own post – an album that has become known as one of the two or three greatest albums ever conceived. The music on “Pet Sounds”, however, was a major move away from anything the Beach Boys had done previously. Earlier I mentioned that Brian Wilson was much better suited to being a producer with a stable of artists. Instead, he was the brains behind a band that the whole world thought of as a lightweight pop vocal group that sang songs about surfing and cars. In the 1960’s, being allowed to break out of the mold the industry had decreed for you was nearly impossible.

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Bruce Johnston, Terry Melcher and Tony Asher in the studio with Brian during the recording of “Pet Sounds” (1966).

It was these restrictions that inhibited Brian Wilson throughout this golden period of his career. The fact that he was still able to make the music that he did is nothing short of remarkable. Brian created the “Pet Sounds” album with the Wrecking Crew while his band toured Japan. When the boys came home, they all got together to listen to the tracks Brian had created. The simplification of the story is that the band was floored by what they heard. With the exception of Mike Love who felt that Brian had abandoned the “formula” in favour of a Brian Wilson solo record. This was damaging to Brian’s psyche and his confidence. It didn’t help that Capitol tended to agree with Mike – it was a vast departure from the sound that the public had come to expect from the Beach Boys. Brian finished the record after adding the guys’ sumptuous vocals. When the sales for “Pet Sounds” proved sluggish and when it stalled on the charts, peaking at “only” #10, Capitol Records turned it’s back on this landmark album and it’s visionary creator by ceasing promotion of the album and instead issuing “The Best of the Beach Boys”.

From February through September, 1966 – over seven months – Brian was busy constructing “Good Vibrations”. Keep in mind that the time and money spent on this one song was astronomical for the time and shows the respect and leeway Capitol was still granting Brian. The song was their 3rd #1 record and sold incredibly well. This further spurred Brian on to create what he thought would be the greatest record ever made.

The “SMiLE” album has been described as “an American gothic trip” and would have been a sprawling epic, telling the story of the American experience throughout history. Mounting pressure from the record company, his father, Murry, and – yes – from Mike Love was piling up on Brian’s fragile shoulders. His perceived eccentricity was also assumed to be a factor in making it difficult for him to complete his opus. Unfortunately, this “eccentricity” was, in reality, a sometimes crippling mental disorder that often took the form of horrific, threatening voices that Brian would hear in his head. Under the weight of all this, “SMiLE” was abandoned. With it crumbled the Beach Boys reputation. Brian Wilson retreated from the world.

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Brian Wilson at home in Bel Air during the “SMiLE” era.

Perhaps the most significant ramification of this retreat was Brian’s turning down an offer to play at the Monterey Pop Festival. The Beach Boys’ absence from this pivotal cultural event was seen as a requiem and the Boys were instantly labelled “un-hip”, which left the group to carry on in some sort of netherworld. The rest of the band knew full well that their cred was made up of about 95% Brian Wilson but they were still a band comprised of many talented pieces so they soldiered on. “Smile” became “Smiley Smile” (“a bunt instead of a grand slam” – Carl) and then “Wild Honey”. These two albums were down home affairs created by the band as a whole. But Brian as an entity had become perhaps even more important to the listening public then the band itself and the Beach Boys seemed out of touch with the rock scene of the late 1960’s. To make matters worse, the record industry began to look at the Beach Boys – without Brian in control – differently, too.

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The Beach Boys, 1968.

The first part of this era is filled with indelible songs that even the most unversed fan knows and loves: “Wouldn’t It Be Nice”, “Sloop John B”, “God Only Knows”, “Good Vibrations”, “Do It Again” and “Sail On, Sailor”. Also, the mini era post-“Pet Sounds” to pre-“Endless Summer” contains some excellent music. Music that is somehow made more enjoyable to us who ‘know’ because it is different, quieter Beach Boys music, unencumbered by greatness. Here’s the best of the hidden gems from this era.

10. “Little Pad” (1967 – from “Smiley Smile”) — This song was written by Brian Wilson only a short time after he wrote the revolutionary “Good Vibrations”. This in itself is indicative of the change he had gone through. It had just about killed him to follow his muse and strive for the heights, competing with the Beatles (who were basically 5 strong) and changing the face of pop music. After the demise of “SMiLE”, Brian decided to take the low road; no more shooting for the stars. Instead, he wanted to keep things simple. Songs don’t get much simpler than “Little Pad”. Indeed, the albums that were made in the wake of the aborted “SMiLE” album are today considered the origin of “lo-fi”. It is an unknown fact that, while the Beach Boys could rely less and less on Brian to continue charting new territory, they led the way to a more stripped down, casual sound in pop music. “Little Pad” is the “hiddenest” of gems and it is adored by those who know. The song starts with a shouted “Do it!” and a lot of giggling and then gives way to more angelic Beach Boys harmonizing. Carl plays the ukelele and dreams out loud, stating his desire for a little pad in Hawaii. The song is comforting and soothing with lyrics we all can relate to. A personal favourite, when I lived in a tiny bachelor apartment years ago, this was a cherished theme song.

9. “I Was Made to Love Her” (1967 – from “Wild Honey”) — I have a dear friend who’s a guitarist. Once, back in the day, he scoffed while I was playing the Beach Boys and said “don’t the Beach Boys ever use a guitar?!” So I played him “Student Demonstration Time” but I had to concede his point. A case has been made by Kent Crowley in his book on Carl that his guitar playing was influential and I’ll concede that, as well, but we all know that the Beach Boys – despite their garage beginnings as a ‘surf band’ – are not “guitar based”. That’s not to say they can’t rock out. This cover of Stevie Wonder’s “I Was Made to Love Her” is a case in point. Interesting to note that here it is Carl who shines but not as a guitarist. Carl Wilson was respected in his day and is revered today for his angelic voice. But the vocal he lays down here is “balls out”. Tapping in to his childhood spent digging rhythm and blues and early rock ‘n’ roll, Carl lays down a great blue-eyed soul vocal here. Right from the outset. Listen to the way he sings “I was born in Little Rock, had a childhood sweetheart…”. The second half of that line is amazing and the song could end then and it would still make this list. The “Wild Honey” album followed on the heels of “Smiley Smile” and is considered the second of a group of three consecutive “chill out” albums that the Beach Boys made themselves, as a self-contained band again. Carl referred to these albums as “music for Brian to cool out by”, referring to the break Brian was taking from his control of the band’s sound. “Wild Honey” is fascinating to listen to owing in part to the fact that it is a straight up soul album, owing greatly to the Stax/Motown sound of the time. “I Was Made to Love Her” features instrumentation that includes great piano and tambourine and it features another great group vocal. The song rolls along and is a stone groove.

8. “The Trader” (1973 – from “Holland”) — Carl Wilson is featured again on this track known only by those of us on the inside. “Holland” is a pretty cool album made at a pivotal point in the Beach Boys history. They had fallen out of favour with the critics and the record buying public so, to try to inject some new life into the proceedings, they made the costly move of transporting themselves and recording equipment to Holland. Also at this time, they had taken on a new manager, Jack Rieley. Jack and Bruce Johnston didn’t see eye to eye so Bruce had left the band. But the Boys had added two members of a South African group that Carl had discovered – The Flame – and Blondie Chaplin and Ricky Fataar made contributions to this album. It’s an excellent record that features great work from all group members. You’d do well to check out all of side two, for example, featuring great writing and vocals from Carl, Ricky, Blondie, Dennis and Mike (not to mention Brian’s contribution, “Mount Vernon and Fairway [A Fairy Tale]”, added to the original album on a 7″ record). But I really dig Carl’s “The Trader”. The song was a statement of sorts from Carl. Jack Rieley was something of a lyricist and he wrote the words to “The Trader”, which tell a tale of colonization and slavery. This was heavy stuff from the Beach Boys but Carl offset this by having his young son, Justyn, greet the listener at the beginning of the song. “Holland” is an interesting album in the Beach Boys canon. It signalled the end of an era.

7. “Forever” (1970 – from “Sunflower”) — “Sunflower” is another intriguing album. Historically, it has nothing obvious to recommend it. It even lacks the cache that the previously mentioned trilogy of “chill out” albums enjoy. But it’s sneaky good. Their first album of the 1970’s was also their first album for Reprise Records. The ’70’s were marked as a time when the Beach Boys had trouble maintaining a constant label on which to release material. The cover depicts an older group of fellas posing with their children in a picture taken by Ricci Martin, son of Dean. “Forever” looms large in “Beach Boys World”, the inhabitants of which cherish it’s existence. As stated in Part 1 of this series, Dennis Wilson was a rebel. Coerced to join the band, he ended up venting his pent up frustrations and virile energy behind the drum kit. But by 1970, Dennis was starting to show signs of his submerged musical vision; one of tenderness and quiet beauty. It seems almost cliche – handsome, rough-and-tumble, hard living guy suddenly sits at the piano, of all instruments, and pounds out solemn chords and whispers words of love. But Dennis was not a cliche; he was the prototype. “Forever” is his crowning achievement and the song for which he is best known. (But for my favourite Dennis/Beach Boys song, stay tuned for Part 3) 1968’s “Friends” album had contained Dennis’ initial offerings to the group and those two songs – “Little Bird” and “Be Still” – were surprising in their sensitivity. “20/20”, released the following year, had contained Dennis’ infamous “Never Learn Not to Love”; a song derived from an original composition by one Charles Manson. But with “Forever”, Dennis made his most significant contribution to the band’s catalogue. The strumming guitar, the boisterous vocals on the bridge and Dennis’ heartfelt lead all add up to a simply beautiful track. Brian himself said that “‘Forever’ has to be the most harmonically beautiful thing I’ve ever heard”. Heady praise from a man who knows. For me, it’s the simple purity of the lyric and Dennis’ reading: “If every word I said would make you laugh, I’d talk forever”. Only a song of rare beauty could survive what John Stamos and The Beach Boys* did to it in 1992.

6. “This Whole World” (1970 – from “Sunflower”) — It’s funny; I’ve been talking about this era when Brian Wilson “checked out” but here he is again contributing a gorgeous song. Think of it this way: if another artist had made the type of music that Brian Wilson made when he was supposedly just chilling out, that artist would be revered today. Brian could make beautiful music in his sleep. It helped that the rest of the band – Carl, in particular – were beginning to perfect using the studio as Brian had in his heyday. Carl’s production work during this era is fantastic and he begins to emerge from his big brother’s shadow and takes over control of the band’s sound. Brian has said that “This Whole World” is “about love in general”, which sums up the positivity of his body of work. He wrote the song, taught the boys all their parts, sang on it himself and played piano. He basically produced the record – recorded in his home studio – although the credit reads “Produced by The Beach Boys”. All in all, not bad from a supposed recluse. Allmusic says that here Brian reestablishes his reputation as a “brilliant melody writer(s) and arranger(s)” and “wipes away three years of artistic cobwebs”. Carl’s guitar starts things off and the song features his great vocal. His voice in this era – he is 24 here – is a delight to hear. Brian created a chant background vocal – “Om dot dit it” – that is accompanied by chimes and gongs. Mike shines with his “I’m thinkin’ ’bout this whole world” after Carl sings “Here comes another day for your love” at about the minute mark. The ending is celestial. Two minutes of pop perfection.

5. “Time to Get Alone” (1969 – from “20/20”) — “20/20” – the Boys 20th album – was released early in 1969. Brian had checked himself into a psychiatric hospital and was absent for the recording. Carl and Dennis cobbled together parts of songs that Brian had been working on recently and finished them for inclusion on the album. It was the last album released during their classic era with Capitol Records. “20/20” went to #3 in the UK and #68 in the US – which is indicative of their reputation at the time. Huge in England, disowned at home. The hit single “Do It Again” starts the album but the second track is one of two almost perfect recordings that grace this record. “Time to Get Alone” was written by Brian – I may need to rethink my assertion that he had checked out at this time! Brian had wanted to give the song to a fledgling group he was working with called Redwood, who would later become Three Dog Night. But the band, at this point, was not about to give up any songs to outsiders; they needed all the help they could get themselves. “Time to Get Alone” is in waltz time and was recorded in Brian’s home studio. Video footage of the recording exists. The song has delightfully pleasant chord changes and typically idyllic vocals on the chorus. This era is by far the time when the Beach Boys’ group vocals were not only the best of their career but the finest sounds ever made by human voices in the pop genre. (“Baby, it’s time…”) Consider that the lyric talks of winter; snow, cold and tobogganing of all things. Times had certainly changed for the Beach Boys. And I’ve heard it said that the “deep and wide” at the 1:42 mark is the greatest single moment in the Beach Boys catalogue. I don’t know about that but “Time to Get Alone” has a staggeringly gentle beauty. Here’s the footage of the recording but you need to check out the master.

4. “Here Today” (1966 – from “Pet Sounds”) — “Pet Sounds” is not about singles. Some of the better known Beach Boys songs are from this landmark album but, almost more than any other pop album in history, that record is about the whole. Truth be told, “Pet Sounds” is a work of such singular artistry that it can seem inaccessible if you don’t approach it in the right frame of mind or with misguided expectations. It makes me almost – almost – sympathize with Mike Love and execs at Capitol. You can imagine their confusion when they first heard that record coming from the purveyors of fun in the sun ditties. I say all this to say that when I first heard “Pet Sounds” (I found it on cassette at A&A Records in Market Square in Kitchener, Ontario in 1992) I really didn’t know how to assess it. All these years later, I am still learning about it’s glorious nuances. But aside from the hits, “Here Today” is perhaps the only unknown song on the LP you can dig on first listen. Brian liked to work with lyricists and for “Pet Sounds” he teamed up with ad man Tony Asher who wrote the words to this uptempo number. Musicologists praise the “bass literature” of this song and Bruce hailed the break in the middle as “perfection” and owing to the work of Bach. If you listen closely to the break – as all Beach Boys fans know – you can hear some studio chatter (about cameras) that was left in the final mix. Listen for Brian’s “Top, please!”. Mike takes the lead and the Wrecking Crew is on hand with the addition of Terry Melcher on tambourine, which is actually pronounced in the mix and greatly adds to the feel of the song. Carol Kaye and Lyle Ritz make significant contributions on bass and Larry Knechtel shines on the organ. An interesting, driving song that sometimes sounds almost sinister with it descending sax honks on the chorus and the organ on the break.

3. “Disney Girls (1957)” (1971 – from “Surf’s Up”) — Bruce Johnston won a Grammy for “I Write the Songs” but this is his standard. Bruce had operated successfully in the music business before joining the Beach Boys and he did so again after he left the Beach Boys in the early 1970’s. This ability to function outside of the fold makes it all the more difficult to understand why it’s him that has stayed with Mike Love all this time. Before he left in 1972, though, he nailed it. When you discuss the most affecting Beach Boys songs with which Brian Wilson had little or nothing to do, “Disney Girls (1957)” is near the top of the list. Bruce has always seemed to me to be a softy so it’s no surprise that his most enduring composition is gentle and nostalgic. Bruce plays most of the instruments and the song is dominated by his gentle piano and a strummed guitar. He also employs a Moog synthesizer, creating a wah-wah sound that fits with the lyrics that speak of escaping reality. And the words are wonderfully pleasant and contain many key phrases that depict a happiness attained later in life that may actually be the manifestation of the dreams of youth. First he lets you know that he likes to check out: “reality, it’s not for me and it makes me laugh”. Then, as he reminisces about “Patti Page and summer days on old Cape Cod”, he realizes he may actually have found his “turned-back world with a local girl in a smaller town”. The payoff comes after a rather awkward bridge which has always been my only beef with the song. After the Beach Boys’ voices drift off into the ether, Bruce’s lead reappears to take us home: “All my life I’ve spent the nights with dreams of you…it’d be a peaceful life with a forever wife and a kid someday”. I mean, the song is gorgeous. It’s been covered many times by the likes of Cass Elliot, Art Garfunkel, Doris Day, Jack Jones, Captain and Tennille and Bruce himself on his 1977 solo album, “Going Public”. In 1975, Barry Manilow would take Bruce’s “I Write the Songs” to the top of the charts and earn Bruce a Grammy award but I will always love Bruce Johnston for “Disney Girls (1957)”.

2. “Our Sweet Love” (1970 – from “Sunflower”) — In researching this essay, I stumbled on an astounding fact: there is next to nothing to read on the internet or in my Beach Boy books about the song “Our Sweet Love”. Therefore, this may be the greatest Beach Boys song no one’s ever heard. We are talking “Sunflower” again here; a nondescript album in the canon with nothing remarkable to recommend it. The Beach Boys are on the outs with most everybody and Brian Wilson has virtually abandoned the creative process. Carl Wilson has stepped to the fore and displays great acumen in the recording studio. “Our Sweet Love” was buried on side 2 of the record and it was written by Carl with Brian and contributions from Al Jardine; it may be the only song recorded by the Beach Boys written by those three. The song begins with dreamy guitar and strings and Carl’s angelic voice. It is subdued and prayer-like: “honey, it’s heaven”. At the 1:08 mark, it floats off on Carl’s “sweet love, sweet love…”. It is optimistic and absolutely gorgeous. Listen closely for the sleigh bells at the very end.

1. “I Can Hear Music” (1969 – from “20/20”) — If there is a creation of Carl’s in this era more sublime than “Our Sweet Love”, it is only his “I Can Hear Music”. Written by Phil Spector, Jeff Barry and Ellie Greenwich, it was originally released by the Ronettes in 1966. When you consider that this song is thought to be Carl’s first attempt at taking over for his brother, Brian, and controlling a session, the result is remarkable. The song begins with a wash of divine vocal sound and strummed guitar. Sleigh bells are present throughout. Carl’s lead is on point; as we’ve said earlier this was probably the era in which he sounded best. And I think we’d all have to agree that Carl Wilson possessed the finest voice in this vocal group comprised of fine voices. Indeed, in any of the few times the Beach Boys were enlisted to provide back-ups on the songs of others it is Carl that is dominant. If Carl’s voice was the closest to perfection, it is not too much of a stretch to assume that he would be the one (after Brian, natch) to most ably arrange the Beach Boys’ voices in a way that would showcase them in their finest light and this is the case with “I Can Hear Music”. The a cappella break in this song is beyond description. It’s another example – one of the top two or three – of the segments you play for the uninitiated to back up your claim that they were the best vocal group ever. And Carl’s “ohhhhh…” that brings them back to the chorus is pristine. I like what Kent Crowley says of “I Can Hear Music” in his book on Carl: “Brian’s only involvement in the song was to be astonished when he heard it”. This production of Carl’s was a landmark in this era as it showed the others in the group and the record industry at large that Carl – at 22 years old – was able to take over the musical direction of the Beach Boys. This included not only producing wonderful records in the studio but also the ability to reproduce their sound in a live performance.

Next Up… 1974-1992: The Beach Boys break new ground again, ascend to the heights and embed themselves into the fabric of history…

 

 

 

 

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The Warmth of the Sun: Your Guide to the Music of the Beach Boys

Sirius XM has launched a Beach Boys channel for the summer! Listening to the music of Brian Wilson, et al. randomly has inspired me to highlight some of their lesser known songs in a 3-part series. So, let’s go surfin’ now!

Brian Wilson and I go way back. My earliest recollection of hearing music is my mother’s Elvis Presley records. (And “Maneater” and “Stray Cat Strut”) I connected with Presley early and became not just a “lifelong fan” but a sort of student; of his music, his personality and his impact on society. However, I think I can safely say that the first music that I discovered for myself was the music of the Beach Boys. I was 12 years old and my Aunt Lori gave me some records, among them the Beach Boys’ iconic greatest hits package, 1974’s “Endless Summer”.

I listened to this record throughout the summer of 1985, the summer I was 12. At the end of that summer, my family was moving away from the city I had grown up in to a small town. Perhaps the impending separation from my friends and from the life I had known caused me to gravitate to the Beach Boys’ songs; songs of joy, songs of love, songs of longing. The music spoke to my imagination. It gave me a “place to go”.

I’m going to try very hard to be concise throughout this 3-part series. I intend it to be a set of articles for those only slightly familiar with this music that will highlight some of the lesser known gems in the Beach Boys canon – and not a dissertation on the career of the group and their cultural impact; although their story is so rife with fascinating episodes that I would like to tackle such a series one day. They are often misunderstood and underappreciated and a multi-part series on them would go a long way to clearing that up.

But – like I’ve done with Frank Sinatra, Elvis Presley and Nat Cole (search for them on my blog to read the articles) – I’d like these articles to direct your attention to the music; which has also been somewhat misunderstood and underappreciated. I plan on going a little deeper than their more recognizable hits as most of us are more-than-familiar with iconic Beach Boys music. We could call this the best of the “2nd tier”. Of course, the Beach Boys catalogue is so deep that we could carry on to highlight a 3rd and 4th tier; the hidden gems.

One can’t talk about the music of the Beach Boys without talking about Brian Wilson. Brian was born the oldest of three boys to Murry and Audree in 1942 in Hawthorne, California. The late Rolling Stone writer Timothy White wrote a book of such staggeringly thorough research that I cannot recommend it highly enough. It is called “The Nearest Faraway Place” and it deals not only with Brian and the Beach Boys but it also gets in-depth about what White calls the “Southern California Experience”. White’s book begins with a long history of Brian’s forebears. The story White relates goes a long way towards explaining the person of Murry Wilson. The generational issues that plagued previous Wilson men landed heavily on Murry – and he in turn “landed heavily” on Brian.

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The most thoroughly researched book I’ve ever read. This fascinating read has become an essential book in my collection. Photo Credit: Henry Holt and Co.

Brian was a gentle child who was subjected to brutal treatment at the hands of his father. It’s so hard to abbreviate this aspect of Brian’s journey but suffice it to say that Brian turned to music not only as a companion and an outlet but also as a means to communicate with and satisfy the demands and expectations of Murry. Murry himself had been a songwriter; somehow restraining his demons long enough to compose pleasant little ditties in the hopes of having them published and perhaps even recorded and performed by a big name. He was successful once when Lawrence Welk performed Murry’s “Two-Step Side Step” on the radio.

Brian was intrigued by the intricate harmonies of the vocal group the Four Freshmen. He became obsessed with mastering these harmonies by breaking them down – separating them and teaching them to his two younger brothers, Carl and Dennis. Carl was keen on Chuck Berry and rhythm and blues music and Brian absorbed that as well. Dennis was a rebel, for lack of a better word. He would go toe-to-toe with Murry and then take off into the streets and down to the beach. It was surfing, girls and beach life that Dennis was most interested in and it was these pursuits that he talked about around the house and in the music room that Murry had set up for the boys.

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An absolutely priceless picture of Carl, Dennis and Brian Wilson (foreground) horsing around on their front lawn in Hawthorne.

The Wilson boys had an older cousin named Mike Love. Mike was into doo-wop and when the two families would get together, Mike and the three Wilson boys would talk music and listen to the radio and sing songs themselves, Mike taking the bass parts. The four young men began to entertain the idea of forming a group. With the addition of high school friend Al Jardine, they did just that, filling the music room of the Wilson home with their fledgling sounds. This caught the attention of father Murry who quickly put himself in charge of the boys’ progress. He did, after all, have some connections in the music business and he was possessed of the belligerence needed to operate in that arena.

But first, Murry needed a holiday. He and Audree were going to Mexico. Brian, the oldest, was left in charge of the house and of the $500 ’emergency money’ Murry had left behind. No sooner had the Wilson parents left the driveway than the boys took the $500 and rented instruments so that they could work on a song. Dennis had come back from the beach raving about the scene there and suggesting that Brian write a song about surfing. It was this song the group worked on while Murry and Audree were away.

When Murry returned and saw all the instruments and learned to what use the emergency money had went, he blew his stack, focusing his physical rage on Brian. Once Murry had the situation explained to him, and their song, “Surfin'”, played for him, he calmed down and went into business mode. The song was eventually released on the tiny Candix label and became a minor hit for the newly christened “Beach Boys”. Capitol Records became interested and the boys soon found themselves in the studio recording their first album.

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Teenagers. Working out the harmonies while recording their debut LP, “Surfin’ Safari” (1961). Mike, Brian, Carl, Dennis and David Marks. Photo Credit: Capitol Records.

Whew! Seems wrong to compress this story like that! The main purpose here, though, is to talk about the music that the Beach Boys made in this first era of their legendary run as “America’s Band”. During the years 1961 to 1965, Brian Wilson and his group did no less than put their stamp on history; music history and cultural history. And Brian Wilson did it almost single-handedly. Although he would much rather have followed Phil Spector’s lead and been a producer with a stable of artists, Brian found himself “paying the bills” as the bassist of a surf band. The songs that went over with the public in this era dealt with surfing, cars and girls; what Mike Love would later infamously label “The Formula”. The songs come across as so simple that, to the general listener, they are just fun songs. But Brian began to create compositions that were vocally and harmonically intricate if you knew what to listen for. I’ll concede though that the classic songs from this era are still cherished today because they depict and celebrate the sheer joy of living; not necessarily because of Brian’s tonal shifts or chord changes. The great songs from this era are songs we all know and love so well that they have become embedded in the fabric of life itself; you want to depict fun, happiness and the release that warm weather provides, play a Beach Boys song: “Surfin’ Safari”, “Surfin’ U.S.A.”, “409”, “Little Deuce Coupe”, “Shut Down”, “Fun, Fun, Fun”, “I Get Around”. Don’t let your familiarity with these songs rob you of your enjoyment of them. They represent a remarkably successful string of records that are sophisticated creations while at the same time being infinitely accessible. You may have heard “Surfin’ U.S.A.” a thousand times and you take it for granted. Try to listen to it again for the first time; there are few records from this era more exhilarating.

OK, so, you know all those songs but what else was going on? Glad you asked. Got a list right here.

10. “Catch a Wave” (1963 – from “Surfer Girl”) — Some of the songs I will present on these lists may seem to be pedestrian or common in the Beach Boys catalogue. Most times the reason for their inclusion is that they are perfect examples of what the group did so well. Some songs are simply great representations of their ‘sound’. “Catch a Wave” may be one of these songs. Written by Brian and Mike, it is a rare time when all the boys played on a recording with no session musicians. Even Al Jardine AND David Marks play on “Catch a Wave”; Marks would leave the group less than 6 months after this was recorded. Mike Love’s sister, Maureen, cameos on harp. Never released as a single, it’s appeal may come in part from it’s inclusion on “Endless Summer”. It appears early on that compilation – track 3 – and helps to create the mood of that album. It is an integral piece, one of many parts, but, taken on it’s own, it has a good, mid-tempo groove with some solid drumming from Dennis and a great solo from Brian on organ. Features some of Mike’s better wordplay. It’s one of many of their songs that sounds like a summer sunset, the end of a fun day spent outdoors. A year later, Jan & Dean gave this song new lyrics about skateboarding and took “Sidewalk Surfin'” to #25.

9. “In the Parkin’ Lot” (1964 – from “Shut Down Volume 2”) — Maybe the most hidden gem on this list, Brian took this little ditty and sent it skyward by tacking on four bars of gorgeous vocals to the beginning and the end of this song from this very good album with the silly name. Earlier in the year, Capitol had released a compilation of instrumental hot rod songs and called it “Shut Down”. I suppose the Beach Boys could’ve called their album something else – but it was likely Capitol that named both. “In the Parkin’ Lot” is most notable for Brian’s arrangement of the boys’ sumptuous voices but it also shines due to it’s ‘slice-of-life’ vocal imagery, brought to you by Roger Christian. Christian was a disc jockey in Los Angeles in the ‘golden era’ and spent some time at the famous KFWB near Hollywood and Vine where he was introduced to Brian Wilson. The two would go for milkshakes and write songs. Christian – a disc jockey, mind you – was great with word imagery and he knew cars. If you look him up, you’ll see that he wrote the words to many great songs by the Beach Boys and – more impressively – he wrote the lyrics to the majority of the best songs of Jan and Dean. If you close your eyes and listen to “In the Parkin’ Lot”, you’ll hear a cute tale of a guy and a girl waiting until the last minute to get out of the car in the morning and get to class on time. But it’s the stunning display of  vocals that bookend this song that set it apart.

8. “All Summer Long” (1964 – from “All Summer Long”) —  A lot of you may say that this enduring title track from ’64 is, indeed, one of the better known Beach Boys songs and not a “2nd tier” song. I won’t argue with that – I may even agree – but I will stand by the assertion that it may not be one of the first 10 or 15 songs a casual fan will mention. Again I will use this song as an example of what the Beach Boys did best in this era. The song is an absolute delight written by Brian and Mike. Brian has crafted another perfect pop song – both with his composition and his production – and Mike again nails the ethos of what the Beach Boys were about. Mike’s lyrics depict a perfect idyll of summer activities with personal touches we all can relate to. He takes the lead vocal here and sings of sitting in the car with a coke, miniature golf, Hondas, horseback rides and randomly hearing your favourite song on the radio. These images provide for us today delightful pangs of nostalgia for a bygone era. Again, all the boys were present in the studio and I was delightfully surprised to learn that it is Brian himself playing the distinctive marimba on this track. This song ascended to rarefied air in 1973 thanks to George Lucas’ seminal coming-of-age film “American Graffiti”. Lucas’ film is a significant paean to the pivot point in the lives of young people but also paints a portrait of the major shifts experienced in American society in the early-to-mid ’60’s. Not only did Lucas give his stamp of approval to the 42 songs he used to exemplify the aura of the time but he was savvy enough to know that this Beach Boys song – in not only the lyrics but the tone of the song – speaks of the end of something; summer, yes, but Lucas also heard in it the “sundown” of the innocence of the era that ended with the death of JFK and the coming of the Beatles. He felt strongly enough to use it over the closing credits even though it was released 2 years after the year in which his film is set.

7. “Kiss Me, Baby” (1965 – from “The Beach Boys Today!”) — This album represented a major leap for the Beach Boys and a turning point in their career and in Brian Wilson’s life. Brian and the boys had been going non-stop for 4 years, releasing some of the most iconic music in American history. Consider that all this time Brian had been doing most of the heavy lifting: composing the music, arranging the songs, arranging the vocals, playing bass and various keyboards, singing and performing and touring. He was doing all this while battling psychological issues of immense proportions that I won’t get into. A week after recording the backing track for “Kiss Me, Baby” with the famed Wrecking Crew (plus Carl on guitar; himself on piano), Brian had a significant anxiety attack and nervous breakdown and announced he was retiring from touring and staying home to focus on making music. “The Beach Boys Today!” is significant as the album that indicated that things were pivoting. Gone were songs of surf and cars and goofy teenage love. This album was filled with serious statements on mature love and life. I single out “Kiss Me, Baby” because it is sublime. Written by Brian and Mike – who also take the leads – it begins with dreamy vocals and dramatic piano (Leon Russell is also credited on piano here). Mike’s lyrics tell of the aftermath of an argument – and there is a sense that what the couple is fighting over is no longer just ‘kid stuff’. Excellent percussion from the legend Hal Blaine leads us to one of those ‘cliffs’ I love in a song – the vocals seem to hang in midair for a second and then we drop into the chorus: “We both had a broken heart…oh, baby…kiss me, baby, love to hold you….” Beautiful vocals from all five Boys. A gorgeous song.

6. “Wendy” (1964 – from “All Summer Long”) — I’ve always thought that there was something significant about the second half of “Endless Summer”. The songs always seemed a bit more serious while still feeling like sunshine and warm air. Maybe the first half is the glow of midday; full bore fun in the sun. And the second half is late afternoon, approaching sunset; exhaling, afterglow, driving back home, tired but exhilarated. “Wendy” fits that ‘second half’ vibe for me perfectly. Another song written by Brian and Mike and featuring all five Beach Boys playing and singing. There’s just something about the sound of the guitars and the vocal arrangement. Brian lays down a nice organ solo and when the voices come back in – “Wendy, I wouldn’t hurt you like that…” – it is one of a thousand examples of how good their voices sounded together. This song may be looked at as one of those simple, little ditties but there is more going on here. There is certainly emotional content, yes, but if you look it up, you’ll find that there is a surprising amount going on with the composition, as well: “The song begins with a minor i chord in the key of D minor, moves to a major IV…then modulates to the key of F major (the relative major of D minor) through a substituted plagal cadence…” I don’t know what any of that means but I do know that it substantiates the claim that the genius of Brian Wilson was hiding in plain sight; you may not have understood it but it was there. As I say, “Wendy” has a unique quality to it and it made me a major fan of that feminine appellation.

5. “The Warmth of the Sun” (1964 – from “Shut Down Volume 2”) — Here is an earlier example of that “Wendy” vibe I just mentioned. “Shut Down Volume 2” is an interesting album. It contains what could be considered ‘filler’ like “Shut Down, Part II”, “Louie, Louie” and “Denny’s Drums” but it also contains the iconic up-tempo “Fun, Fun, Fun” and ballads like “Keep an Eye on Summer” and “The Warmth of the Sun”. A dramatic ballad, the song begins – as many of their songs do – with soaring harmonies featuring Brian’s lovely falsetto. Mike has written some fine lyrics here which immediately seem different from other sentiments from his pen. The words express a confusion about life, wondering what is the value in the things that I do? It is fitting that this conundrum is solved when Brian sings that it’s all good “for I have the warmth of the sun within me at night”. It’s a manifesto of sorts from the Beach Boys that says that while things may not always be great, things like sunshine and the freedom and joy it can afford will help – if not save – you in the end. There is an emotion inherent in this song owing to the day it was written; November 22, 1963. The day John F. Kennedy was assassinated was a turning point for American society and elicited feelings in the entire nation. Brian and Mike were not immune to this and both were inspired to create this beautiful statement from a tragic event. This song is often mentioned when discussing Brian’s inventive chord changes in his earlier compositions. Beach Boy dad, Murry Wilson, did an instrumental version of this song on his lone album, the surprisingly enjoyable “The Many Moods of Murry Wilson” on Capitol (1967).

4. “Car Crazy Cutie” (1963 – from “Little Deuce Coupe”) — “Run, a-run, a-do run run. Oh, oh, run…” Annnd, I’m done. But seriously: I love Capitol Records but…in the summer of ’63, the label put out an album of hot rod songs called “Shut Down” which featured the song of the same name and “409” by the Beach Boys. This was done without their participation or knowledge. So, Brian quickly finished up some songs he had been working on and hustled the boys back into the studio to record their own album of car songs. They released the “Little Deuce Coupe” album only one month after their previous album, “Surfer Girl”. The Boys flying through the recording of this album with the speed of a ’32 Ford can be seen in the fact that half the songs are under two minutes in length and the whole album runs about 20 minutes. Nevertheless, this is looked on as one of the earliest “concept” albums. The longest song on the album? The one that LEAST sounds like it was a rush job, “Car Crazy Cutie”, written by Brian and Roger Christian. Brian constructed a very cool vocal arrangement that puts one in mind of the Crystals’ “Da Doo Ron Ron”, which was recorded around the same time as this tune. Once again, the song begins with a distinctive vocal intro and the tune drops in to a great mid-tempo guitar-driven groove. Again, the band features Al Jardine and David Marks, who would not play on another Beach Boys record until 2012. Roger’s car-savvy lyrics tell of a gal who’s a real “rodder’s dream gal” who’s “hip to everything, man, from customs to rails” and when he “takes her to the drags, man, everyone flips”. I love this song and – like “In the Parkin’ Lot” – it’s the vocal bookends that make it stand out.

3. “Do You Wanna Dance?” (1965 – from “The Beach Boys Today!”) — Beautiful harmonies, strikingly complex arrangements. These are the things we often think of when thinking of the Beach Boys. But here is an example of them exhibiting sheer energy in a driving remake of Bobby Freeman’s classic song. This is the only song on this list that was a domestic A-side single. I wish I knew musical terminology to describe to you what Brian has done here with the arrangement. Utilizing Freeman’s pounding piano chords to build the song up with crescendos, Brian has maximized the dramatic import of the composition. Although he used the Wrecking Crew on this one, the instruments that stand out the most are the pounding piano played by Brian himself and the guitar (that doubles with the piano) played by Carl, who also takes the solo. Brian has replaced Freeman’s unique percussion sound in the breaks with Carl’s boss guitar. But again it’s the vocals that really stand out. The lead is taken by Dennis and this is significant. The highest charting Beach Boys song to feature Denny on lead, “Do You Wanna Dance?” benefits from his masculine voice. Indeed, the energy inherent here is due in large part to his reading of the lyric. I love how his voice starts things off here, popping out of the gates. The times when the group comes in to sing “oh, do ya, do ya, do ya, do ya wanna dance?” are exhilarating! Particularly heading for the outro; listen for Brian’s falsetto wail at the final crescendo. Add Hal Blaine’s drums and this thing rolls. Consider that this track features organ and two mandolins. Not easy to hear them but they contribute to the overall sound. Makes me think that actual video footage of Dennis Wilson, at this point in his life, recording this song would be the coolest thing I’ve ever seen.

2. “Don’t Worry, Baby” (1964 – from “Shut Down Volume 2”) — Here’s where we can begin debating the definition of “2nd tier” Beach Boys songs. I’ll allow that the general public is aware of this beautiful song but it also fits the criteria presented here as in it is not immediately indicative of the Beach Boys’ sound in this era. The fact that this is on the same album as “Pom Pom Playgirl”, “Shut Down, Part 2” and “Louie, Louie” shows the strides Brian was making as a composer. Brian wrote “Don’t Worry, Baby” as an homage to Phil Spector and Brian’s favourite record, “Be My Baby”. Roger Christian provided the lyrics which depicted a young man’s apprehension regarding an upcoming drag race. Thing is, Brian had spoken at length with Roger about his frustrations with his father, Murry, and his own vulnerabilities where girls were concerned. Roger – to his credit – seems to have taken these talks with Brian and turned them into a lyric about a drag race – that’s not really about a drag race. Here, too, we can also begin to collectively shake our heads and struggle to accurately describe such a work of art. Dennis starts things off with a gentle snare and those glorious vocals come in followed by some nice piano from Brian. And, again, there is just that sound to this song. It has that dreamy sunset sound to it. Maybe I shouldn’t be so amazed that all the Boys play on this recording but I am. They all contribute to an amazingly smooth recording. I have read that Brian was unsure about singing a falsetto lead on a single – although this was technically not a single as it was released as the B side of “I Get Around”, the Beach Boys’ first #1 song. “Don’t Worry, Baby” charted in it’s own right and peaked at #24. It is one of the few Beach Boys songs to have been covered extensively, having been essayed by the likes of Bryan Ferry, the Bay City Rollers and Billy Joel. Keith Moon did a brutal version on his terrible solo album that reportedly made Brian break down crying. B.J. Thomas took it to #17 in 1977 and the Everly Brothers do a fine version – featuring the Beach Boys – on the soundtrack of “Tequila Sunrise”. The vocal arrangement is one of Brian’s finest and if someone asks you what is so good about the Beach Boys, play them this song.

1. “Let Him Run Wild” (1965 – from “Summer Days [And Summer Nights!!]”) —  I see now that I have given myself a ridiculously difficult task – trying to describe not only “Don’t Worry, Baby” but now also “Let Him Run Wild”. Appearing on a fun and somewhat underrated album, “Let Him Run Wild” was written by Brian and Mike. Brian’s composition is a nod to the song stylings of the great Burt Bacharach and is notable as being the first song that Brian wrote under the influence of marijuana. It was also the first song that made Carl and Dennis realize that Brian was starting to move into another realm and it is a significant signpost on the way to “Pet Sounds”. Vocally, this is another 6-Beach Boy performance with Bruce Johnston putting in some of his first shifts. Several star members of the famed Wrecking Crew are on hand and the track starts with Frank Capp’s vibraphone followed by Brian’s lead. Some dreamy guitar work by Carl (or Howard Roberts) and a nifty bass line from Carol Kaye carry the tune along gently. We drift into the chorus – “Let him run wild, he don’t care…” – and are neatly lead back to the verse: “I guess you know I waited for you…”. I dunno – I’m out of things to say about this gorgeous track. It was the b-side of “California Girls”.

Next Up… 1966 – 1973: Brian pivots and leaves everyone behind