Category Archives: The Beach Boys

Bruce and Terry: “Summer Means Fun”

ON THIS DATE (48 YEARS AGO)
June 2, 1964 – Bruce and Terry: “Summer Means Fun” b/w “Yeah !” (Columbia 4-43055) 45 single is released in the US.
Bruce & Terry were Bruce Johnston and Terry Melcher. The pair were instrumental in the development of surf rock, recording under a variety of names and created the band The Rip Chords.
They began working together while Johnston was a well-known session musician and Melcher, the son of actress/singer Doris Day and producer of The Byrds recordings, had a minor solo career as Terry Day before becoming the youngest staff record producer in Columbia Records’ history. Together, they began recording as Terry recorded and also helped produce the 1963 album “Surfin’ Round the World”.
Producing a ‘surf-frat’ band called The Rip Chords, whose “Here I Stand” had reached #51 in early 1963, they ended up taking over most of the vocal parts on that band’s hit “Hey Little Cobra” in 1964 (along with Rip Chords band members, Phil Stewart, Rich Rotkin, Arnie Marcus and Ernie Bringas). The song was the first in a series of hit singles (most of which were released under the name Bruce & Terry), reaching #4 on the U.S. pop charts.
Johnston later joined The Beach Boys, while Melcher became a full time producer. On November 19, 2004, Melcher died at his home after a long battle with melanoma. He was 62 years old.
~ William Ruhlmann, allmusic
It is easy in retrospect to listen to a lot of the vocal surf music of the early ’60s and dismiss most of it as inferior copies of the Beach Boys. But such a judgment ignores the extensive cross-fertilization of the scene. Jan & Dean’s records often sounded like the Beach Boys, it’s true, but one reason was that Beach Boy Brian Wilson often co-wrote and performed on them. Similarly, Bruce Johnston and Terry Melcher, who recorded as the Rip Chords in 1963 and as Bruce & Terry in 1964, aped the sound of Beach Boys records, but also not without help; Wilson wrote the first Bruce & Terry chart single, “Custom Machine.” In July 1964, Bruce & Terry earned another chart entry with a song welcoming the season: “Summer Means Fun.” The cheery tune, which borrowed the phrase “the girls are two to one” from Jan & Dean’s “Surf City,” was written by P.F. Sloan and Steve Barri, who made their own records as the Fantastic Baggies. Johnston and Melcher gave it a typical surf music production, complete with a bouncy beat and high harmonies. It was a sound Wilson’s Beach Boys were starting to leave behind in favor of a more aggressive approach on singles like “Fun, Fun, Fun” and “I Get Around,” which may help explain why it wasn’t a bigger hit. Jan & Dean didn’t mind the lyric steal or the overall similarity to their own records, however; they immediately covered “Summer Means Fun” for their September 1964 LP The Little Old Lady From Pasadena. But the single was Bruce & Terry’s last to chart; the following year, Melcher was spending his time producing rock acts like the Byrds and Paul Revere & the Raiders, and Johnston joined the Beach Boys.

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Filed under 1964, Bruce and Terry, Summer Means Fun, The Beach Boys

The Beach Boys: Pet Sounds

ON THIS DATE (46 YEARS AGO)
May 16, 1966 – The Beach Boys: Pet Sounds is released.
# ALL THINGS MUSIC PLUS+ 5/5
# allmusic 5/5
# Rolling Stone (see review below – first review 1972)
Pet Sounds is the eleventh studio album by the American rock band The Beach Boys, released May 16, 1966, on Capitol Records. It has since been recognized as one of the most influential records in the history of popular music and one of the best albums of the 1960s, including songs such as “Wouldn’t It Be Nice” and “God Only Knows”.  Although Pet Sounds has been credited as one of the most important albums of its time, its initial release failed to reach gold status, where it reached #10 on the American Billboard 200. A heralding album in the emerging psychedelic rock style, Pet Sounds has been championed and emulated for its dramatic and revolutionary baroque instrumentation. It has been ranked at #1 in several music magazines’ lists of greatest albums of all time, including New Musical Express, The Times and Mojo Magazine. It was ranked #2 in Rolling Stone’s 500 Greatest Albums of All Time list.
Pet Sounds was created several months after Brian Wilson had quit touring with the band in order to focus his attention on writing and recording. In it, he wove elaborate layers of vocal harmonies, coupled with sound effects and unconventional instruments such as bicycle bells, buzzing organs, harpsichords, flutes, Electro-Theremin, dog whistles, trains, Hawaiian-sounding string instruments, Coca-Cola cans and barking dogs, along with the more usual keyboards and guitars.
ROLLING STONE REVIEW (1972)
Recorded and released in 1966, not long after the sunny, textural experiments of California Girls, Pet Sounds, aside from its importance as Brian Wilson’s evolutionary compositional masterpiece, was the first rock record that can be considered a “concept album”; from first cut to last we were treated to an intense, linear personal vision of the vagaries of a love affair and the painful, introverted anxieties that are the wrenching precipitates of the unstable chemistry of any love relationship. This trenchant cycle of love songs has the emotional impact of a shatteringly evocative novel, and by God if this little record didn’t change only the course of popular music, but the course of a few lives in the bargain. It sure as hell changed its creator, Brian, who by 1966 had been cruising along at the forefront of American popular music for four years, doling out a constant river of hit songs and producing that tough yet mellifluous sound that was the only intelligent innovation in pop music between Chuck Berry and the Beatles.
Previous Beach Boy albums were also based on strong conceptual images — the dream world of Surf, wired-up rods with metal flake paint, and curvaceous cuties lounging around the (implicitly suburban and affluent) high school. It was music for white kids; they could identify with the veneration of the leisure status which in 1963 was the ripest fruit of the American dream. It wasn’t bullshit, you could dance your silly brains away to “Get Around” or “Fun Fun Fun” if you felt like it.
But Pet Sounds….nobody was prepared for anything so soulful, so lovely, something one had to think about so much. It is by far the best album Brian has yet delivered, and it paradoxically began the decline in mass popularity that still plagues this band. It also reflected Brian’s preoccupation with pure sound. In fact, the credits on the new edition of Pet Sounds read: “This recording is pressed in monophonic sound, the way Brian cut it.” It’s a weird little touch. The tone of it is so mythologizing it sounds as if Brian were no longer among us.
The love songs of Pet Sounds begin with the gorgeous theme of frustrated mid-Sixties blueballed adolescence, “wouldn’t it be nice to stay together, hold each other close the whole night through?…” That question lays the entire premise of the album immediately in front of us. “You Still Believe In Me,” with Brian’s lovely harpsichord playing, carries the affair a little farther, through and past indescretion into the reconciliation of “Don’t Talk (Put Your Head on My Shoulder),” sung in Brians’ wrenching, melting butter falsetto with the gentle lyrics of Tony Asher, Brian’s major collaborator in this period, at the top of their form. There are also the perceptive songs of anxiety, malaise and self-doubt — “That’s Not Me,” “I’m Waiting For the Day,” a tribute to the larger-than-life echo chambers of Phil Spector, the striking choral ensemble of “God Only Knows” and the angst-laden “I Know There’s An Answer.” Each of these tunes has its own singular flavor, one little brilliant touch — the slur of a baritone saxophone or the luxuriant tintinnabulation of Brian’s omnipresent chimes — that puts it apart from the body of the whole record.
The Pet Sounds story ends unhappily, or at least stoically. “Here Today” is an angry blaster, and portrays a pessimism and disaffection that jars with the previous optimism. It is the end of the affair, and our persona is clearly pissed. “I Just Wasn’t Made For These Times” is an expression of general disenchantment with just about everything, rendered politely of course, in a low-key manner. These two tunes, like the rest of the record are great not only because of the lush, dramatic arrangements, but because the strangest of the brothers Wilson has his psyche on the pulse of universal subjectivity. Being extremely aware of fantasy himself, Brian knows how most people think.
Three cuts are impossibly dated and don’t even enter into consideration: a boring cover of “Sloop John B.” that had some success as a single (with all the genius on this record, Capitol Records chose this as the single because it probably sounded truest to preconceptions about the Beach Boy “formula”). The two instrumentals, “Pet Sounds” and “Let’s Go Away For Awhile,” are pretty mood pieces and that’s all.
The final episode of Pet Sounds is “Caroline, No,” three minutes of heartbreaking pathos, a haunting ballad that is the guts of hapless melancholy, the hollow and incredulous feeling at the loss of a lover.
Ah, Pet Sounds. Ah, the wonderful 20 second trailer right out of Thomas Hart Benton with the barking dogs, the signal bells and at the railroad crossing as a fast diesel roars by towards where you are not, the barking in the distance again and then silence. Ah, Brian.
~  Stephen Davis (June 22, 1972)
TRACKS:
All songs written and composed by Brian Wilson/Tony Asher except where noted.                         
Side one                             
1              Wouldn’t It Be Nice (B. Wilson/Asher/Love)        2:25
2              You Still Believe in Me    2:31
3              That’s Not Me  2:28
4              Don’t Talk (Put Your Head on My Shoulder)         2:53
5              I’m Waiting for the Day (B. Wilson/Love)               3:05
6              Let’s Go Away for Awhile (B. Wilson)      2:18
7              Sloop John B (trad. arr. B. Wilson)             2:58
Side two                             
1              God Only Knows              2:51
2              I Know There’s an Answer (B. Wilson/Sachen/Love)        3:09
3              Here Today         2:54
4              I Just Wasn’t Made for These Times        3:12
5              Pet Sounds (B. Wilson)  2:22
6              Caroline, No       2:51
                               
1990 CD reissue bonus tracks                     
1              Unreleased Backgrounds (B. Wilson)      0:50
2              Hang on to Your Ego (B. Wilson/Sachen/Love)    3:18
3              Trombone Dixie (B. Wilson)         2:53
                               
2001 CD reissue bonus track                       
1              Hang on to Your Ego (B. Wilson/Sachen/Love)    3:20

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The Beach Boys “I Get Around”

ON THIS DATE (48 YEARS AGO)
May 11, 1964 – The Beach Boys: “I Get Around” b/w “Don’t Worry Baby” (Capitol 5174) 45 single is released in the US.
“I Get Around” is a song written by Brian Wilson and Mike Love for The Beach Boys. The song features Love on lead vocal for the verse, and Wilson for the chorus. It is noteworthy for its back-to-front structure—it starts with a chorus and has two short verses. It was a single which was released in 1964 through Capitol Records; the B-side of the single was “Don’t Worry Baby”, which itself charted at number 24 in the United States. “I Get Around” was The Beach Boys’ first number-one hit song in the United States. The single charted at number seven in the United Kingdom, and was the band’s first top ten single there. The song’s first album release was on All Summer Long in 1964.
“I Get Around”, backed with “Don’t Worry Baby”, was released as a single in the United States on May 11, 1964. The single entered the Billboard chart on June 6 at #17. The song reached the #1 spot on the Billboard charts on July 4, replacing “A World Without Love” by Peter and Gordon and becoming the band’s first #1 hit in the United States. The song remained at #1 for two weeks before being replaced by “Rag Doll” by The Four Seasons. The single also reached #1 on the United States Variety charts on July 1.
Released in June 1964 in the United Kingdom the single peaked at #7 on the Record Retailer chart and thus becoming the band’s first top ten hit in the United Kingdom. According to some sources, Mick Jagger, when appearing on the UK television show Ready Steady Go!, stated that he thought the song was a great record. This most likely played a part in boosting the single’s success, while also helping the band become more popular in the United Kingdom.


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Filed under brian wilson, I Get Around, The Beach Boys