The Beach Boys Today!-Fifty Years Later by Peter Reum

The Beach Boys Today! - Fifty Years Later

by Peter Reum

Beginning in July 1964, Brian Wilson began work on what would  become a landmark collection of songs known as one of the finest albums of The Beach Boys' entire career. The latter day critical reappraisements of the Today! album are near universally laudatory. Rolling Stone Magazine in its 2007 article on Rock's 500 Best Albums  named Today! as one of three Beach Boys albums included in that elite list.  Allmusic awarded The Beach Boys Today! a rare five star critics' rating on their site, actually surpassing listeners' ratings. Today! has also been included as essential listening in several compendiums of best albums of the Rock Era. 

During the sessions for what became The Beach Boys Christmas Album, Brian held a session for Don't Hurt My Little Sister, a track initially written for consideration as a Ronettes record. The composition, with lyrics by Mike Love and Brian, offered a hint toward the eventual flavor of the entire first side of Today!, which is a mature rock flavored set of six tracks, all centering upon a theme of mature relationships with young women. The six songs comprising the album's first side feel unified both in musical approach and in lyrical content. Several authors through the years have pointed out that the rock and ballad sides of the album are suite-like in their sound and subject matter. Ironically, Today!'s two sided thematic structure was first developed on The Beach Boys Christmas Album, with its first side being a rock oriented collection of Christmas themed tunes that hang together well, and the second side being a more traditional collection of Christmas music that also sounded beautiful as a composite work.

What made Today! such a strong album was that six tracks on the album that were either "A" or "B" sides of singles over a period of roughly 7 months. The August 1964 single When I Grow Up (To Be a Man)/She Knows Me Too Well showcased a more mature form of relationship orientation, more that of a couple in love with each other as opposed to a "going steady" type of theme lyrically.  Both tracks showed a more layered production approach,  Vocals on both songs are intricate, with counterpoint quite prominent. Also, it is notable that The Beach Boys played nearly all of the instruments on these two tracks. It is interesting that Brian was looking into his future, trying to imagine what life would present in his thirties.  September brought a heavily Spector influenced I'm So Young and the stunning outtake All Dressed Up For School. A close listen to I'm So Young shows a dense arrangement of vocals and instruments. All Dressed Up For School reveals Carl Wilson singing his only lead vocal of the Today! sessions, along with a clever ascending vocal scale which was later repeated on a Heroes and Villains session in 1967.

The Dance Dance Dance single was cut in an early version toward the end of September in Nashville, followed by the final Los Angeles version in October 1964. The single, backed with the lovely The Warmth of the Sun, was a top ten charting hit, having been released in late October. Brian's touring and studio responsibilities took a toll on his ability to get everything done to his satisfaction, and an exhausted Brian had an anxiety/panic attack on a flight to Houston, Texas to play a concert on December 23, 1964. In February 1965, the next single was released, Do You Wanna Dance/Please Let Me Wonder. Dennis Wilson's energetic lead vocal on Do You Wanna Dance made the song a hit in the United States and abroad. The session was notable for being a likely time for when Brian informed the rest of the Beach Boys that he would no longer be touring and would confine his efforts to songwriting and producing. The second side of this single, Please Let Me Wonder, is a reflectively amorous song, showing some of the thoughts that a young adult might have, thinking about whether the girl he loves is the "one."

Another lovely ballad,  Kiss Me Baby, was released as the "B" side of the rerecorded and catchier version of Help Me Rhonda, which replaced the unusual Today! version of the song, entitled Help Me Ronda, which had several prominent fades which then went back to regular volume before eventually fading just past the three minute mark on the song. The tune was optioned by The Hondells to be a single, which Brian nixed, knowing that if he recut it, it would be a monster hit. Kiss Me Baby marries a lush instrumental track with very unusual vocals highlighting the tempestuous ups and downs of a couple trying to workout boundaries and emotional intimacy in what might be their first potentially "serious" relationship.  

The remaining album tracks consisted of Good To My Baby, In the Back of My Mind, and an unusual group discussion entitled Bull Session With the Big Daddy (Earl Leaf), who chaperoned the group on their 1964 tour of Europe. Good To My Baby offers an occasional unusual time signature with a full complement of  Beach Boys and The Wrecking Crew playing on the date. Recorded in what sounds like 7/4 time, but is actually 4/4 time, the tune instrumentally is a challenging track, innovative in both its arrangement and performance.  The Bull Session With the Big Daddy segment is a curtailed discussion with Earl Leaf about the 1964 European Tour. The track is somewhat of an unusual end to an exquisite and romantic second side of Today!, and might have been better sequenced as the last track of side one. The heartfelt and emotional lead vocal of Dennis Wilson's on In the Back of My Mind foreshadows many of Dennis's later intensely emotional vocals on his own songs on Seventies Beach Boys and solo albums. The instrumental arrangement of In the Back of My Mind is stunning, and is a preview of some of the more lush and jazz flavored Pet Sounds tracks.  

What can be said about The Beach Boys Today!? First, it moved the emotional content of the songs from a more high school flavored lyrical theme to that of young couples in love and contemplating marriage. It having a Rock Music side and a Ballad side gave the album an aural consistency that was unprecedented in Beach Boys' albums. The gradual and more extensive use of The Wrecking Crew on The Beach Boys Today! gave Brian the option of using more complex instrumental tracks serving as beds for the group's increasingly sophisticated vocal arrangements. Overall, the album charted strongly at Number 4 on the charts, earning an RIAA Gold Record Award in the fall of 1965. Perhaps most importantly, Brian's pioneering use of the studio as an instrument flowered strongly on Today!, foreshadowing the complex jazz influenced music on Pet Sounds. It marked the next step in the consistent exponential growth that began with the Surfer Girl lp, moving into the "fun in the sun" themed All Summer Long album, and was then succeeded by the iconic Pet Sounds album.  It is justifiably the first 5 star Beach Boys album.

Text Copyright 2015 by Peter Reum-All Rights Reserved

Turnin' On the Wayback Machine: 1980 Review of Keepin' the Summer Alive by Peter Reum

Author's Note: This review was published in the May 1980 BBFUN Newsletter. In reading it again, 35 years down the road, I can see the rose colored glasses that were over my eyes to a degree. But....here it is with a few corrections that make it more readable... 

Want something familiar but fresh sounding in your musical diet? The Beach Boys' recent albums have often been criticized for sounding dated in the eyes of some critics. No such criticism is fair in relation to Keepin' the Summer Alive. The album has flavorings that recall the best in past Beach Boys music. Vocals are intricate, harmonic, and most important, spirited. Bruce Johnston's production efforts are bearing fruit, and this album is a testament to his catalytical role in the band's present situation. Stephen Desper's engineering gives the album an aural sheen which is at times breathtaking. Rarely has a Beach Boys album sounded so tasteful.

This is an album for fans to be proud of, to play for friends, and to get behind. Minor criticisms arise, but in the context of the whole album, they are relatively picayunish. The first thing that someone who has followed the the band for years hears is Brian's enthusiastic participation. His contributions may be heard in the tracks, the vocal arrangements, but most especially in the songwriting. The essence of a Beach Boys album is usually based in Brian. This album qualifies as that type of a record. 

Carl contributes two new styles of material, the title track, and the country flavored "Livin' With a Heartache." The balance of the songs on the album will sound a little more familiar to Beach Boy fandom. Critics of Beach Boys music are usually divided into two factions....those who simply never liked Beach Boys music - and those who feel that their music since Surfs Up or Holland has been sub par. Those of the first school seem to dislike the album as much as ever, but the interesting critical trend is among the second school.  These critics generally love the album as much as ever, are very positive about it, and there are more than just a few. This in turn brings casual Beach Boys fans back into the fold. We of the hardcore fan persuasion knew this album was special the minute Goin' On hit the radio. The spectrum of experimentation on this album leads to a variety of songs which appeal.

"Some of Your Love" is what could be called an old time Beach Boys song. It is the song of the post Holland years that best captures the pre-Pet Sounds era sound, but for whatever reason - it works well, and the result is beautiful. It is a step beyond anything in the Seventies in "that recapture the old sound" effort. "Goin' On" and "Oh Darlin'" are some of the nicest ballads in recent years. "Goin' On" has vocal intricacies which extend musical and lyrical ideas from "Good Timin"  (and Surfer Girl) into a beautiful counterpoint vocal bridge. The Beach Boys have always been identified with songs of this type and they are wise to include something in this style. 

"When Girls Get Together" is from the archives.  Originally recorded in 1969, its beautiful track offers mandolins, marxophones, and a booming bass over which are some beautiful lyrical ideas and a nice group vocal are placed. Here's hoping there are more songs like this in the archives. Perhaps a cold tracks album would be nice. This song is unique in its sound. No other Beach Boys song approximates its Parisian/Roman sidewalk cafe flavor. 

Carl's two compositions with Randy Bachman are a perfect contrast to some of the more traditional Beach Boys sounding tracks on Keepin' the Summer Alive. The title track bounces along in a powerful fashion, with a boogie rock sound, something the Beach Boys are not known for. A nice tempo shift and Joe Walsh guitar solo highlight the song. "Livin' With a Heartache" is one of Carl's nicest compositions, and deserves hit single status. Both of these songs are new directions for the group, and they work. "Livin' With a Heartache" could be a country music crossover hit. 

"Sunshine" was inspired by "Little Boy," a Phil Spector production from 1963. Although it bears little resemblance to that tune, at one time The Beach Boys intended to cut the song. Instead, it served as a loose basis for this calypso/tropical flavored song. Another experiment in a new musical direction, it bears similarities to some of Van Dyke Parks' recordings. Steel drums played by Vince Charles show up, and add new dimensions to Beach Boys music. But, after all, what is the Caribbean known for but its beaches? This is another experiment with a new sound, and is most welcome.

"Santa Ana Winds" is a pretty song. Its problem is continuity. The spoken introduction disrupts the listening pattern from "When Girls Get Together." The transition becomes disconcerting.Perhaps a note on the inner album sleeve would have been more apropos. It is, however, the first venture into a pure folk sound since Holland in 1973.This is an exciting development.  The track is interesting, especially the harmonica track, which is outrageously good.

This leaves two "oldies" on the album, each closing a side. "School Days" is very nice for its acapella introduction, which is something that is a little touch which obviously had a great deal of effort put into it. The song itself is alright, but has background vocals that are jarring, taking attention away from a good instrumental track and a great Alan Jardine lead vocal. "Ten Years of Harmony" is a 1974 single "B side" by California Music, sung in third person by Bruce Johnston. Written as an affectionate memoir of his first tenure with the group, the song has been adapted into an interesting moody encapsulation of the group's first decade. The narrative has been changed from "they" to "we." Retitled "Endlesss Harmony," it is a nice closing track that should have had 60 to 90 seconds of acapella singing to close the album.  The ambiance of the track is stunning, a tribute to the work of Stephen Desper. 

Keepin' the Summer Alive is too short an album. It begs for another track on both sides, and even with them, it still would have been shorter than 40 minutes. There are no Dennis Wilson songs....this is sad. "Baby Blue" stands out as one of the finest tracks on the L.A. Light Album. Whoever did the graphics work should realize that some of us care about the lyrics, and would like to have them to follow. It makes the process of getting into the album a more intimate and personal experience. Beach Boys lyrics are good, and there is nothing for anyone to be ashamed of lyric wise on this album. (For those of you who care, buy a Japanese copy).

In spite of these flaws, the album reveals a freshness and vitality that bodes well for the future. The Beach Boys are 18 and 1/2 years young, and you are only as old as your musical ideas are. The musical ideas and experiments on this album are for the most part new. Sticking their musical toes into calypso,  folk, and modern country is the best step they could have taken. Yet, there are enough traditional Beach Boys sounds for the more musically conservative among us. So, while pleasing old fans, Keepin' the Summer Alive will make some new fans. (Now if they would only cut a George Gershwin tune). With support from us, the fans, we can all go out and wear down a few of the uninitiated and cynical. This album deserves to be a hit, more so than any album for a few years. Whatever becomes of it, keep up the extra effort and new ideas, guys, and thanks for the album!

Beach Boys Periodicals: Past and Present by Peter Reum

Through the years, there have been a number of publications that have documented the complicated and convoluted world of The Beach Boys and their music. Personally, I have been involved in over 20 books, 10 television programs, and numerous albums covering various aspects of The Beach Boys' music and their lives. Various periodicals have come and gone. Many of them are invaluable and capture the times and events that occurred as they happened. Periodicals such as Dumb Angel Gazette, Add Some Music, California Music, and the wonderful Beach Boys Stomp Magazine. The "go to" periodical for the last half of The Beach Boys' career of more than 50 years has been Endless Summer Quarterly (ESQ). 

ESQ began as a fan magazine published in California in 1987, founded by Rick Edgil and Phil Mast. It was a new voice in a crowded group of fanzines. Eventually, one by one, the various fanzines faded away, and The Beach Boys Freaks United Newsletter and Endless Summer Quarterly were the two USA periodicals left who were dedicated to The Beach Boys. Endless Summer Quarterly changed ownership, with the purchase of the magazine being a shot in the arm to ESQ's future. In 1993, Lee Dempsey and David Beard took over the publication of ESQ, and a new and rigorous approach to the music of The Beach Boys began. Eschewing the drama that has plagued The Beach Boys for most of their career, Lee and David chose to ignore the controversies and plunged into the musical history of The Beach Boys and related artists instead.

Through the years, Lee became busier in his work life, and chose to focus on the financial management of ESQ, and resigned his editorial role, leaving content of the magazine to David. Under David's editorship, ESQ has gained the trust of The Beach Boys, and in turn, they have discussed their music with David in detail that is unprecedented. ESQ has devoted its content to the recording history of the Beach Boys, and has covered contemporary musical projects by the group and its members better than anyone. Recently, ESQ has begun a look back to the creation of each of The Beach Boys' albums with interviews of Brian, Mike, Alan, Bruce, and other important players who contributed to the recording of the music itself. To say that this is important would be an understatement. The interviews that have been conducted are first hand accounts of what happened in those studios as the music was being recorded.

The Beach Boys world has always been a political quagmire, and somehow, David and Lee have been able to avoid being stuck. This has been a tremendous accomplishment, and the fact that all of The Beach Boys are willing to sit down for awhile and talk about their current projects or past recorded work is amazing. I want to support Endless Summer Quarterly and their work because it is the best source of information about The Beach Boys, their music, and related artists. I hope that you will consider subscribing to this fine magazine, and for those of you overseas, they have reasonable rates for you as well. You will not regret subscribing. I will be writing some articles for them this year, and hope you will take time to read them.  I would especially encourage Beach Boys followers outside of the USA to subscribe to ESQ. You can find out more at  www.esquarterly.com.  

The Forty Five Year Saga of Sea Cruise by Peter Reum

The study of rock music is a young branch of music history, and the styles that have evolved over the roughly 60 years of rock's existence  in many nations around the world are almost too numerous to identify. Books from authors began to emerge in the Sixties by authors like Lillian Roxon, Paul Williams, Greg Shaw, and Ralph Gleason.  Many others have come along through the decades, but identifying changes in styles is not always as easy as it sounds. The thought occurred to me that by taking a rock music standard and tracing how different people from around the world recorded it, we could see how rock evolved through the years.

Some years ago, Rhino Records did a cd entitled The Best of Louie Louie: The Greatest Renditions of Rock's All Time Song, which, if you know the old Rhino Records, was another perfect expression of their humorous and sometimes twisted sense of humor about music. With everyone from the Rice University Marching Band to Lee Dantz and His Orchestra included, a listener got the sense of just how embedded that song is in our popular culture. It is unusual to collect versions of the same song by different artists, but we all have our favorites. One of mine is Sea Cruise, that anthem of New Orleans and points south into the Caribbean. My dad used to buy used 45 rpm singles for me from a rack jobber to play on my little Capitol record player, and the one that got the most play besides The Beach Boys was Sea Cruise. Originally performed by Huey "Piano" Smith and the Clowns, Huey wrote the song and arranged it. The song has an undeniable drive and charm to it that has been the reason so many other artists have recorded it through the years. The bass line is a classic "stroll" and made the tune easy to dance to and follow time wise. Huey's seminal version may be heard here: Huey Piano Smith-The first version of Sea Cruise

The Great Huey "Piano" Smith-New Orleans  Songwriter and Performer

As often happened in the late Fifties, when Pat Boone, Gale Storm, and other White artists covered R&B chart topping records, Ace Records used Huey's track without is knowledge and added a ship's horn sound to the track and cut the tune with Frankie Ford, who modified the lyrics. This is the version  that was the big hit, and the earliest version most people have heard. This lip synched version on American Bandstand (when it was still in Philadelphia) is somewhat corny visually, but uses the track and vocal from the record. It is here: Frankie Ford doing Sea Cruise on American Bandstand 

Not to be outdone, Charlie Drake from the UK cut a version in 1959 that borders on rockabilly, or at least Great Britain's version of it. There are some Jordanaire type backing vocals, but the record appears to be a British Music Hall sendup of the song. Judging by the maniacal picture on the version here, the version doesn't seem to be serious:  Charlie Drake - Sea Cruise   In what was probably the early Sixties, alto sax player Ace Cannon cut an instrumental version with a great bottom to it. Ace hails from Mississippi, and the version here is a classic Sixties instrumental, with a raunchy type of sound. Cannon still has a website where his cds can be purchased. His version: Ace Cannon - Instrumental Version of Sea Cruise

Ace Cannon - Alto Saxophonist Extraordinaire

By now, you can see that the song has been recorded by a variety of artists. To develop a timeline is dicey, but we will try to trace it roughly by the year each version was  cut, beginning with Huey "Piano" Smith's effort. The Orlons recorded a killer version of Sea Cruise in 1963. Their version is one of only a small handul of cover versions recorded by women. It is here: The Orlons - Sea Cruise (1963) The Hondells cut a version of Sea Cruise in the mid Sixties that actually had a video made for it. Several Shindig type female dancers come on to the Hondell's boat and turn the song into a party...the version is very good to boot: Hondell's Sea Cruise with vintage 60s video with Shindig girls  Also from that period is a version by Johnny Rivers who continued to perform the song well into the Seventies. Rivers was the master of recycling Fifties hits and Sixties tunes, and rarely wrote songs for himself. His version may be heard here: Johnny Rivers - Sea Cruise  Not to be outdone, British producer/performer Mickie Most and his Guitar gunslinger, Jimmy Page, do a cool version of the tune with several brief guitar spots by Page throughout the song. Apparently there may be an earlier version by Most, but this one is notable due to Page's presence on the single: Mickie Most (with Jimmy Page) - Sea Cruise

The Orlons 1963 Down Memory Lane Album with Sea Cruise

Speaking of Mickie Most, here is a version of Sea Cruise by Herman's Hermits as produced by Mickie Most. You may recognize the guitar style here, as the guitarist either quotes Jimmy Page's guitar solo on Mickie Most's version of Sea Cruise....or, it incorporates segments of the track cut for Most's version. Take a listen: Herman's Hermits (Produced by Mickie Most) - Sea Cruise  The first Ska version was cut by the late Jackie Edwards in 1964 on UK Fontana. The record has the feel of the best of Jamaican music of the time, with Edwards playing off of a nice horn section.  Instead of a guitar solo, a trumpet solos here. Edwards' voice recalls Bob Marley, who recorded his early music shortly after this record was cut. Here it is: Jackie Edwards (Ska) - Sea Cruise   Checking in from Puerto Rico is Jose Feliciano, with a funky version that recalls the Rhythm and Blues feel of the original from Huey "Piano" Smith. The saxophones get down and dirty as well: Jose Feliciano - Sea Cruise

Jose Feliciano 

Another early Seventies version of Sea Cruise was recorded by the late and great reggae pioneer John Holt in 1970. Holt's version shows the change from ska to reggae over the roughly six year period between  the version by Jackie Edwards and this version. Here it is: John Holt (reggae pioneer) - Sea Cruise  Moving away from the Caribbean and into London, a certain Sun Records veteran by the name of Jerry Lee Lewis recorded a version of Sea Cruise with a crack bunch of British rockers in 1973, resulting in what is probably one of, if not his best album ever...Jerry Lee Lewis - The London Sessions. The version of Sea Cruise here is a rocking tour de force. It is loose enough to be fun, but tight enough to let you know everyone means business. Jerry Lee Lewis - Sea Cruise  Continuing in the Southern rock genre, Jerry Jeff Walker did a very fine medley of songs while performing in Texas with an excellent backing band, which may be heard here: Jerry Jeff Walker - Fifties Medley 

As styles of music evolved through the Seventies, several stars of the period took a crack at this tune, with two of the best being a version by John Fogerty, and a version by The Beach Boys, produced by Brian Wilson, but left off of the 15 Big Ones album. The Fogerty version appears to be a version on which Fogerty played all of the instruments. It is from his 1975 solo album, which is simply called John Fogerty. John Fogerty Sea Cruise  While several of Brian Wilson's productions for 15 Big Ones were oldies, some of them were more finished sounding than others. The version of Sea Cruise by The Beach Boys, with the late Dennis Wilson on lead vocal, was left off the album in favor of another oldie that Dennis sang lead on, In the Still of the Night. The version of Sea Cruise heard here was not released until it popped up as a bonus track on an early Eighties compilation entitled Ten Years of Harmony. Here is this version: The Beach Boys (featuring Dennis Wilson) - Sea Cruise

Dennis (left) and Brian Wilson 1965 Summer Days Photo Session

As Sea Cruise entered the late Seventies, Rory Gallagher did a blues boogie version that recalled the song's New Orleans origin. This version burns for roughly 4 and a half minutes, and the remainder of the clip is an unending crowd cheer that seems to grow louder every second. Here is this version: Rory Gallagher at Rockpalast - Sea Cruise  Also in the late Seventies, Robert Gordon and Link Wray of "Rumble" fame cut a version of Sea Cruise which they perform live on this clip. Wray burns through the tune, with Robert Gordon on lead vocal. The version is notable for Wray's performance: Robert Gordon with Link Wray - Sea Cruise  Oldies band Showaddywaddy cut a version which recalls the Fifties. The production here mirrors the saxes on the Frankie Ford version: Showaddywaddy - Sea Cruise At times this version sounds vaguely like Spector's Wall of Sound.

Sea Cruise never lost its luster as a mainline favorite of bands worldwide. Even Bruce Springsteen and the E Street Band were known to perform it, albeit very few times. This is a recording from Denver's spectacular Red Rocks Amphitheater in 1981, from the audience. I am including it here because of its rarity: Bruce Springsteen & E Street Band - Sea Cruise (live)  Former and current Eagle Glen Frey cut Sea Cruise on his 1983 solo album. The version is somewhat sterile, but has a nice vocal. It may be found here: Glen Frey - Sea Cruise  King Yellowman in 1984 recorded a formidable version of Sea Cruise in the reggae manner with an excellent beat and sensual approach. The version is simply exquisite: King Yellowman - Ohh We/Sea Cruise 

King Yellowman - Jamaica's Own Sea Cruiser 

In 1982, Mr. American Pie himself, Don McLean, cut a version of Sea Cruise for his Believers album. This recording is somewhat twangy... Don McLean - Sea Cruise  The Specials cut an instrumental version of Sea Cruise for John Peel in 1980. The version is cool.... The Specials- Sea Cruise (John Peel Sessions) 1980 As with most rock and roll era standards, Sea Cruise had taken on a life of its own, with versions from virtually every type of American music, and several other world styles as well. This trip through 45 years of Sea Cruise ends with a few more versions you need to hear. The first is by Dion Di Mucci from the early Nineties. It is one of my favorites. He brings the tune home to rock and roll, after its long journey around the world. Here it is: Dion - Sea Cruise (from 1992)  The second is a nice skabilly version by Roddy Radiation and the Skabilly Rebels. If you listened to the John Peel Session with The Specials doing Sea Cruise above, this band includes Roderick Byers from The Specials. Here is their Sea Cruise, with Steamboat Willie, Disney's first cartoon on the screen: Roddy Radiation and the Skabilly Rebels -Sea Cruise  The third and last unheard version of Sea Cruise dates from 2005, and is performed by Amsterdam Electronic Exotica artists Sputnik. This version only vaguely resembles the melody we know from so many versions, but it ends with the familiar safety buoy ringing during the end of the song. Here it is: Sputnik - Sea Cruise

There you have it, 45 years of what has become a rock standard. While not covered as often as some other rock music tunes,  by now it is apparent that Sea Cruise has developed a life of its own. I have not included recent cover versions, because the last 10 years have seen a flurry oldies cruises with older rock stars serenading older Boomer patrons.  The magic of Sea Cruise, and songs like it,  is now found in the emerging indie genre, and in the searching of newcomers to rock music. These new fans support their favorite artists, who market their music to these listeners, independent of the once dominant major labels. Long may Sea Cruise live, and songs like it from through the years.

Keep An Eye On Summer - The Beach Boys Sessions 1964 Track by Track by Peter Reum

Keep An Eye On Summer - The Beach Boys Sessions 1964  Track by Track

Cover Art for The Beach Boys New Copyright Extension Collection

The second year of Beach Boys' music issued for copyright protection by Capitol/Universal is a collection of almost 3 and a half hours of music cut by The Beach Boys with a only a few minor exceptions. The first roughly two hours are covered here in this article. My article here is indebted to the notes contributed by the producers, Alan Boyd and Mark Linett for reference, and to the sessionography prepared by Craig Slowinski, whose dedication to accurate research on the sessions work of The Beach Boys is without peer.

Fun Fun Fun

The selections on Keep An Eye On Summer kick off with a session for Fun Fun Fun.  With some selected members of The Wrecking Crew on the date, the musicians begin by playing a stroll that sounds suspiciously like Sleepwalk by Santo and Johnny.  The tracking tape shows off Brian's use of rhythm piano to offset the drums, which according to Alan Boyd are played by Dennis Wilson and Hal Blaine. The baritone saxes also sound like they fill out the overall instrumental combination contributing the the Spectorish production sound. Brian and Murry are producing, with Murry being fairly directive in his "Surge, boys..." sort of  manner.  The bass guitar plays a basic stroll line as well.

Original US Fun Fun Fun Single Picture Sleeve - 1964

The vocals only mix of Fun Fun Fun is very tight, unlike the more open way the Beach Boys played it live in 1964. The falsetto and high harmony lines are simply breathtaking.  The stereo mix of Fun Fun Fun which follows the vocals only version is a full mix, not as treble sounding as the usual Beach Boy mixes. This may be due to me having my bass highly mixed on phones. What I take away from the version here is how remarkably tight the rhythm section and guitar were in their playing together. 

Why Do Fools Fall In Love

The session tape here begins with Take 5, heavy on rhythm, and cut at Gold Star. Brian's experimentation with the Gold Star echo chamber is in full form. Saxes play a repetitive four note crescendo, and  a repetitive rhythm guitar pattern morphs into a full blown production as the track progresses. The producers and assemblers of this music release, Alan Boyd and Mark Linett, also have included the unusual piano introduction which was appended to the tune a few years ago. The stereo mix included here is new, according to Alan and Mark. On the stereo mix, Brian may be heard adopting a Holland-Dozier-Holland production approach, adding instruments every 4 bars of music. The stacked vocals add to the Spector feel, along with the odd percussion that marks a Spector type of sound. At 1:10 in, the Wall of Sound drops out briefly and turns into a Wall of Vocals. The song went top 10 in several countries and US cities. Here is the Frankie Lymon original: Frankie Lymon & Teenagers Why Do Fools Fall In Love 1956

Don't Worry Baby

What is so powerful about this ballad, is a combination of emotional vulnerability expressed in Brian's lead vocal nonverbally, the lyrics themselves by Roger Christian, and the bass line/backing vocal patterns which rise at the times Brian sounds most worried on the lead vocal. The mantra "Don't Worry Baby" is repeated as the backing vocals rise along with the bass line. As early as Spring of 1964, Brian was composing off the bass root of the song, using it as the main melody. The Don't Worry Baby mantra is sung first by Brian, is answered by the backing vocalists, and then Brian comes back answering "everything will be alright."  Again, the potency of the Beach Boys' singles is on display here, and Don't Worry Baby outperformed I Get Around in some markets around the country and went top 10 in local charts.

Original 1964 Beach Boys Don't Worry Baby/I Get Around Single Picture Sleeve

In the Parking Lot

Once again, this song draws the main melody from the bass line, with Alan and Mark pointing out the unusual extended introduction, which finally breaks at second 17 into the main melody. The track is cleanly produced, with a nice solo from Carl. The witty repartee before the vocals includes a Murry joke, with Dennis and then Mike telling everyone to "treble up."  Later Dennis says that it is time to screw around because Murry is finally gone.  The background vocal refrain 'doo ronday ronday, doo ronday ron' is borrowed from Brian's Gonna Hustle You composition.

The Warmth of the Sun

The track here has a pathos about it that is at once striking yet hopeful as well. The opening has some similarities to the Surfer Girl intro. The rhythm guitar here strums along with Carl playing a repetitive round of quarter notes that at times sounds melancholic, yet just before the glockenspiel trill goes up. Mike Love's bass vocal here is a revelation, and is a key to the track's overall sound. It goes in counterpoint to the guitar Carl is playing. What sounds like wood blocks play on the second and fourth beats of each measure, probably done by Hal Blaine.  The song is sung in a solemn manner, and almost sounds like an Anglican hymn. 

1964 Original US Capitol Records Warmth of the Sun Single Label

Pom Pom Playgirl

This tune is noted by Alan and Mark as being completely played by the Beach Boys themselves. The rhythm piano, presumably played by Brian is dynamite. Mike's baritone sax is surprising,adding almost a Boots Randolph feel on the bottom. The sax plays alternating notes over the first three measures,then hits the sweet 4 notes that are on the Da Doo Ron Ron saxophone part on the fourth measure. The sax and rhythm guitar add a nice bottom, with the bass guitar moving up and down over repeating four note parts every other measure. Carl's lead vocal is a little down in the mix. It almost sounds like Dennis hitting a tympani drum at the end of the tune.

Denny's Drums

This track has some added bass and guitar that cannot be heard on the finished master. Dennis maintains a steady beat on the bass drum with accenting beats on the floor tom and snare. That Dennis was an underrated drummer is unquestionable. At times, he sounds a bit like Gene Krupa  when he played with the Benny Goodman Orchestra. Take a listen to Gene on Sing Sing Sing, then listen to Dennys Drums. Here's Gene: Gene Krupa and Benny Goodman Sing Sing Sing   What do you think?

Original Album Cover Art Work for Capitol Beach Boys Shut Down Volume 2 - 1964

Keep An Eye On Summer

This many be one of the least known but delightful ballads Brian wrote. Of particular note here is some beautiful bass singing by Mike Love along with a nice solo on the bridge of the song, and wistful background vocals from Brian, Alan, and Carl. Dennis is also noticeable doubling on the chorus. This version offers a nice opportunity to listen closely to the background harmonies with Brian's prominent lead vocal muted in the mix offered by Alan and Mark on this set.

Endless Sleep

This is a previously officially unreleased Brian Wilson production from 1964 performed by a gentleman named Denton who did not like  Brian's perfectionistic production tendencies and kept asking Brian if he was done with singing on the session.  The original  version on Demon 226 from 1958 was cut with a little more reverb,  although that version sounds suspiciously like the Goldstar echo chamber. It may be heard here: Endless Sleep1958 by Marty Wilde Brian's version is more uptempo and is not as haunting or foreboding as Wilde's version.

I Get Around

There is so much about this song that could be said. The song was Brian's first Billboard Number 1 record, and that happened in the middle of first wave of The British Invasion. There is an unusual percussive sound that almost sounds like a sped up click track, but more likely is Hal Blaine. There is a rhythmic harpsichord keyboard sound that is just radical, and is being used as a percussion emphasis. The track has some interesting stops and starts that are covered by vocals in the finished version. Once again, Dennis is on drums, and Hal Blaine is most likely on percussion. There is another Murry "treble up" joke from Mike which is directed at Al on the session tape. The vocals only version presented here illustrates the incredibly tight arrangement Brian did with vocals. Alan and Mark mention in their production notes that the 3 track version of the vocals is lost. We can hope that it will be found one of these days.

1964 Original US Capitol Records I Get Around Single Label

All Summer Long

This tracking session is one of the more revealing of these early tracking sessions, as Brian went through some 40 takes with the vibes before he got the entire sequence of notes correct. Brian jokingly titles the track "I Hate It" after 23 takes. There is some cool guitar and bass playing shadowing the vibes here. While Brian is not Lionel Hampton, he gets through the track to finish what is one of the most distinct tracks of the early years instrumentally. There is a clarinet, flute, piccolo, and alto sax which play in the background, adding some festive sounds to the track.  The vocals only track here sparkles, as only The Beach Boys' vocals can. I would say that this is one the few vocals that is truly a group lead. Dennis is quite prominent in the mix here. Anyone who might think that he was not needed in the overall Beach Boys vocal blend should recant after hearing this track.

Original Cover Art Work for Capitol Beach Boys All Summer Long Album

Hushabye

From the All Summer Long album, the version of Hushabye presented is instruments plus backing vocals. This tune was released on an EP in the USA, and charted briefly.There is some very lovely piano here which is mostly played in the bass end of things. The strumming guitar is also lower than the usual notes Carl plays on most songs. The sound is quite close to a Phil Spector production feel.  The original tune by The Mystics on Laurie is classic Brooklyn doo wop,  and is a standard of that genre. It may be heard here: The Mystics doing Hushabye  Because the tune is a Doc Pomus and Mort Shuman composition, the original track has a Latin feel that many of the Pomus/Shuman compositions have.

Girls On the Beach

The notes from the producers/compilers, Alan and Mark, indicate that the first few minutes of this selection are from a separate version of this song prepared for the movie of the same name. As with some sessions, things were not clicking, and the engineers were left to compile a usable version. The second part of this selection sounds to these ears to be the original vocals only version of the tune. The good old handle of the drum kit can be heard in the background, telling me this version is the released version. As an aside, the little part that Dennis contributes at the midpoint of the song reminds me of his marriage to Karen Lamm Wilson.

Wendy

Wendy is one of those songs my grandmother would have called a "woulda, coulda, shoulda" song. All of us have had a relationship that we thought was the one that would last "forever" blow up for reasons we don't really understand. The intro is a classic Brian "cul de sac" intro, with the last minute right turn that brings in the main melody and harmony from God knows where. Once again, the instruments drop out, and the group's vocals carry the song, even on the version with instruments mixed in. This song was also featured on the American EP that was entitled 4 by The Beach Boys. 

Cover Art for the Capitol US Four By The Beach Boys EP

Don't Back Down

The closing track to the All Summer Long lp in another version, this version has its stereo premiere according to Alan and Mark on this release. This song in its released version was also on the 4 by The Beach Boys EP. The version here sounds somewhat disjointed with some backing vocals that stick out like a sore thumb, and an almost forced phrasing that sounds stilted. Knowing Brian, he most likely heard this version, realized it sounded herky jerky,  and cut the released version which production wise sounds smoother and cleaner.

Little Saint Nick

This version, which uses the track from the All Summer Long tune entitled Drive-In, has a full bore Spector feel to it, which probably was a little more of an obvious emulation than Brian wanted to make it. The final mix of the Little Saint Nick single had a sound that was a little more original, with vibe overlays and a more subdued Spector sound. This unusual version his been in circulation for several years, making its debut as a bonus track on one of the cd releases of The 1964 Christmas album. Alan and Mark's Production notes indicate that the Ronettes were present at this session, and Mike does a "bass man" vocal that sound very R&B, along with Brian doing an odd granny voice near the end of the song.

Untitled Jam and Let's Live Before We Die

This selection is one of those that has a degree of mystery about it. The session is a tracking session. The count-off title is Let's Live, but the track has some primitive chord similarities to Girls on the Beach. 

Little Honda (Alternate Version)

This version has appeared as a bonus track on a prior release, but is mixed in stereo here. The track has a depth that is awesome. The Beach Boys hum on the verses and simulate an engine. At the beginning, Mike Love does a soliloquy on how vocals are transmitted through the mixing board to the tape.  Dennis's drumming here is very tasteful.

Little Honda (Unreleased Single Mix)

The thing that has impressed me so much about these various sessions is how much bass guitar that Alan Jardine played, and the rhythm piano or other keyboard instruments that Brian Wilson played on tracking sessions that are buried in the mix when you hear the released records, and are more obvious on these sessions tapes. The other thing is the use of just enough reverb on the guitars to offer a more punchy and rhythmic sound like instrumental surf music.  Check out Brian on organ on this selection in the last 45 seconds of the tune.

She Knows Me Too Well

The first selection heard under this title is a tracking session with backing vocals intact. Brian's patented left hand may be heard playing a bass pattern echoing the vocal part Mike Love sings on this track. Russ Titelman knocks a screwdriver against a mike stand for percussive coloration here. Alan Jardine's bass guitar is elegant here and tasteful, offering a depth that reinforces the composing off the bass root that Brian did throughout the Beach Boys' recording in the first half of the Sixties. The ensemble singing on the vocals only version of the song is extremely tight, with Brian singing a very complex lead part against the backing vocals which add depth and emotive color to the finished song.  This is Brian Wilson entering the mature phase of his production career, pouring his feelings on to vinyl.

Original Sea of Tunes Sheet Music for She Knows Me Too Well

Don't Hurt My Little Sister

This tune is deceptively simple sounding, but this vocals only version really shows off the lead vocal interplay between Mike Love and Brian. They pass the lead back and forth, with Mike singing an an aggressive vocal warning not to hurt his little sister, and Brian asking why the sister's boyfriend doesn't "love her, kiss her, and tell her you miss her."  The lyrical content has entered the relationship phase, with the content slowly moving away from dating and into long-term relationships.

Christmas Eve (Instrumental)

This track is mood music, and would probably fit on any elevator or in any department store. It is a curiosity in the sense that it has some piano parts similar to Autumn Leaves by Roger Williams, but is otherwise forgettable. A search of ASCAP and BMI for a composition with this title by Brian or Murry Wilson, and for Richard or Dick Reynolds did not yield any results.

Original Album Cover Art Work for Capitol Beach Boys Christmas Album - 1964

Jingle Bells (Instrumental)

This arrangement of the Christmas standard is suitably seasonal, with a nice swinging feel, brass accentuation, and string coloration. It would have been a fun addition to the somber side of the Beach Boys Christmas Album, and I would have enjoyed it in that context. This is a Dick Reynolds arrangement, as is Christmas Eve, and you either like Dick's work or you don't. I like a big band arrangement that swings, and this fits the bill.

When I Grow Up (To Be a Man)

This vocals only version sparkles with a tight vocal arrangement that is complex and intricate. Once again, Mike Love's bass vocals are superb, and Brian's high vocals add an innocence that is palpable. The song lyrically offers a young man's questions about life later on, with Brian's trademark naivety audible in the music and his own vocals. The leap from this tune to 1977's Still I Dream of It and It's Over Now in terms of the emotions expressed reveal a middle aged Brian Wilson, who, to use an old Montana saying was "rode hard and hung up wet."

Original Capitol Art Work for When I Grow Up (To Be a Man) Single Picture Cover

Fun Fun Fun (Live in Western Studio)

This release's producers, Mark Linett and Alan Boyd, in their production notes for this selection and the next one, I Get Around, explain that these two recordings were recorded because Brian did not feel the audio quality of the two concerts from Sacramento was good enough to be released. While Beach Boys Concert may not be the first live concert album doctored in the studio, it may be one of the live albums that was most radically revised in the studio for the era it was cut and released. The obvious problem plaguing The Beach Boys and also The Beatles on their Live at the Hollywood Bowl lp was the screaming of young teenyboppers at such a constant and shrill volume that the music was not clearly heard.

Original Album Cover Art Work for Capitol Beach Boys Concert Album - 1964

I Get Around (Live at Western Studio)

This version has lots of cajones  behind it, and could be released were it not for the obvious fact that NO audience is heard, and that makes the song sound live in the studio instead of in front of an audience. Overdubbed audience sounds are not usually believable (reference the Thirteenth Floor Elevators Live on IA). 

I'm So Young (Alternate Version)

This recording is indicated by the producers to be a tracking session and a stereo mix of the first version of the song, which is mixed  a little differently than the version on The Beach Boys Today! The version done by The Ronettes as produced by Phil Spector  has a sensuality that only can be captured by Ronnie Spector. The string chart on Spector's version and the overall arrangement by Jack Nietzche is music to make out by. It can be heard here: The Ronettes-I'm So Young  The original recording, by a doo wop group called The Students, appeared in 1958, with lead singer LeRoy King providing somewhat of an androgynous sound, on which Ronnie Spector may have based her version of the song from 1963. The Student's version may be heard here: I'm So Young by The Students

All Dressed Up For School

This version is in glorious stereo, and I would pay the price I paid for all 3 and a half hours of music just for this track. The producers remark in their notes that the scales the Beach Boys do in this tune show up later several times in subsequent compositions. This tune is one that could have at least been a flip side of a single, or perhaps even an 'A' side. Ok, it sounds a bit lecherous, but we both know that seniors love sophomores.....

Dance Dance Dance (Nashville)

The sketch of Dance Dance Dance done at Nashville showed lots of promise, but suffered from some mildly clumsy lead vocal singing at one point, and the vocals being mixed a little low over and against the instruments.  The song seems perhaps slightly slower than the released single version, and the sound Brian got at RCA in LA jumped out of the speakers.

Original Capitol Art Work for Beach Boys Dance Dance Dance Single Picture Cover

Dance Dance Dance (Los Angeles)

The tracking session at RCA in Los Angeles featured some of Wrecking Crew's finest. Right at the top of the tape, Glen Campbell can heard asking for the song's key. His guitar is high in the mix if you know his style of playing. The percussion and saxes are also Wrecking Crew. Dennis Wilson is on drums and kills, playing in an understated but very effective manner. Hal Blaine can be heard on castanets, tambourine, bell tree, sleigh bells, and possibly triangle. The vocals only version from LA is energetic compared with Nashville, and Mike Love's lead vocal is excellent. Brian's falsetto in the vocal mix highlights the choruses. It is hard to see how this record was not a number one single.

The Beach Boys at The Beeb

The Beach Boys (and Earl Leaf) toured Europe in 1964 in November, and several songs were recorded and thought lost until a British fan provided a well recorded aircheck tape. As the producers indicate, 3 of those tunes were already released on the Made In California 6 cd set. Here we have a lovely version of Graduation Day, which is the peak of the session for me. There are also very fine versions of Surfin' USA,  The Little Old Lady From Pasadena, and I Get Around.

Overall....this is a collector's set of music. That Capitol/Universal has seen fit to release it shows that there are people in the Beach Boys camp and at Capitol/Universal who value collectors and archivists, and also that there is a commitment toward those individuals as well as casual fans who buy collections of hits. Thanks to Alan Boyd, Mark Linett, and Craig Slowinski for their dedication in getting these releases done well and with such attention to details.


Text copyright 2014 by Peter Reum-All Rights Reserved
Original artwork for Beach Boys singles and albums are copyrighted by Capitol Records