Podcasts about I Get Around

Welcome to PTBN Pop's Video Jukebox Song of The Day! Every weekday will be featuring a live watch of a great and memorable music video. On today's episode, Steve Riddle pays tribute to the late, great Brian Wilson, who recently passed away at the age of 82, by watching “I Get Around” by The Beach Boys from 1964.   The YouTube link for the video is below so you can watch along! https://www.youtube.com/watch?v=ruKCw797JM4

Wilson, who has died at the age of 82, was the creative force behind The Beach Boys. He wrote and produced many of their hits, including "I Get Around," "Help Me Rhonda," and "God Only Knows." Wilson spoke to Terry Gross in 1988 and 1998 about creating the distinctive Beach Boys sound and his decision to leave the Beach Boys to pursue a solo career. Plus, Ken Tucker reviews new albums by Willie Nelson and Ken Pomeroy.Learn more about sponsor message choices: podcastchoices.com/adchoicesNPR Privacy Policy

Longtime NFL executive Brian Rolapp is apparently headed to be the first CEO of the PGA Tour---and many thought he'd end up replacing Roger Goodell as soon as 2027 when Goodell's contract is up.  Also, SONG OF THE DAY (sponsored by Sartor Hamann Jewelers): Song of Day: "I Get Around" - Beach Boys (1964)...RIP Brian WilsonShow Sponsored by SANDHILLS GLOBALOur Sponsors:* Check out Hims: https://hims.com/EARLYBREAKAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Wilson, who has died at the age of 82, was the creative force behind The Beach Boys. He wrote and produced many of their hits, including "I Get Around," "Help Me Rhonda," and "God Only Knows." Wilson spoke to Terry Gross in 1988 and 1998 about creating the distinctive Beach Boys sound and his decision to leave the Beach Boys to pursue a solo career. Plus, Ken Tucker reviews new albums by Willie Nelson and Ken Pomeroy.Learn more about sponsor message choices: podcastchoices.com/adchoicesNPR Privacy Policy

You know what they say, "I Get Around but I always come back to Pat Walsh Show!" The second hour of the show continues the Beach Boys chat because, let's be honest, everyone loves the Beach Boys.

pWotD Episode 2962: Brian Wilson Welcome to Popular Wiki of the Day, spotlighting Wikipedia's most visited pages, giving you a peek into what the world is curious about today.With 790,872 views on Wednesday, 11 June 2025 our article of the day is Brian Wilson.Brian Douglas Wilson (June 20, 1942 – c. June 11, 2025) was an American musician, singer, songwriter, and record producer who co-founded the Beach Boys. Often called a genius for his novel approaches to pop composition and mastery of recording techniques, he is widely acknowledged as one of the most innovative and significant songwriters of the 20th century. His best-known work is distinguished for its high production values, complex harmonies and orchestrations, vocal layering, and introspective or ingenuous themes. Wilson was also known for his versatile vocal range. He faced lifelong struggles with mental illness. Wilson's formative influences included George Gershwin, the Four Freshmen, Phil Spector, and Burt Bacharach. In 1961, he began his professional career as a member of the Beach Boys, serving as the band's songwriter, producer, co-lead vocalist, bassist, keyboardist, and de facto leader. After signing with Capitol Records in 1962, he became the first pop musician credited for writing, arranging, producing, and performing his own material. He also produced acts such as the Honeys and American Spring. By the mid-1960s he had written or co-written more than two dozen U. S. Top 40 hits, including the number-ones "Surf City" (1963), "I Get Around" (1964), "Help Me, Rhonda" (1965), and "Good Vibrations" (1966). He is considered among the first music producer auteurs and the first rock producers to apply the studio as an instrument.In 1964, Wilson had a nervous breakdown and resigned from regular concert touring to focus on songwriting and production. This led to works such as the Beach Boys' Pet Sounds and his first credited solo release, "Caroline, No" (both 1966), as well as the unfinished album Smile. By the late 1960s, his productivity and mental health had significantly declined, leading to periods marked by reclusion, overeating, and substance abuse. His first professional comeback yielded the almost solo effort The Beach Boys Love You (1977). In the 1980s, he formed a controversial creative and business partnership with his psychologist, Eugene Landy, and relaunched his solo career with the self-titled album Brian Wilson (1988). Wilson disassociated from Landy in 1991 and toured regularly as a solo artist from 1999 to 2022.Heralding popular music's recognition as an art form, Wilson's accomplishments as a producer helped initiate an era of unprecedented creative autonomy for label-signed acts. He is regarded as an important figure to many music genres and movements, including the California sound, art pop, psychedelia, chamber pop, progressive music, punk, outsider, and sunshine pop. Since the 1980s, his influence has extended to styles such as post-punk, indie rock, emo, dream pop, Shibuya-kei, and chillwave. He received numerous industry awards including two Grammy Awards and Kennedy Center Honors as well as nominations for a Golden Globe Award and Primetime Emmy Award. He was inducted into the Rock and Roll Hall of Fame in 1988 and the Songwriters Hall of Fame in 2000. His life and career were dramatised in the 2014 biopic Love and Mercy.This recording reflects the Wikipedia text as of 03:15 UTC on Thursday, 12 June 2025.For the full current version of the article, see Brian Wilson on Wikipedia.This podcast uses content from Wikipedia under the Creative Commons Attribution-ShareAlike License.Visit our archives at wikioftheday.com and subscribe to stay updated on new episodes.Follow us on Mastodon at @wikioftheday@masto.ai.Also check out Curmudgeon's Corner, a current events podcast.Until next time, I'm generative Ayanda.

The Beach Boys' sixth LP is unquestionably one of their best. It's a transitional one, too, which is why this record stands as the perfect signpost at which to conclude “Catch A Wave: 1961-1964.” Part 1 of Discograffiti's Season One Finale is an intense investigation of the heady days that built up to the explosion of creativity that still stands unequalled in the annals of music history. Beach Boys author Jon Stebbins is back, and he explains why his favorite Beach Boys record preceded what's normally considered Brian's most celebrated era.Here's just a few of the many things that Jon discusses with Discograffiti in this podcast:The hard-to-argue theory that the sessions that devolved into chaos with Murry present wound up giving them number one singles;The importance of “I Get Around” topping the charts when it did;How “I Get Around” begat the hip-hop boast;The origin point of the Beatles/Beach Boys rivalry;The only topic that gets Brian to join the conversation;And an in-depth breakdown of Side 1 of the All Summer Long LP!Listen: linktr.ee/discograffitiI support a wife and a six-year-old son with Discograffiti as my sole source of income. If you're a Beach Boys superfan like me, you'll want The Director's Cut of this episode. It's ad-free and features 12 additional minutes of essential material. Purchase it as a one-off, get the entire Season 1 Series as a bundle (listed under Collections), or better yet…Subscribe to Discograffiti's Patreon and receive a ceaseless barrage (4 shows a week!) of must-hear binge-listening. And now with our 2025 Patreon Membership Drive, you'll also get an episode all about YOU and a FREE copy of Metal Machine Muzak at the Lieutenant Tier or higher after having been a member for 3 months: Patreon.com/DiscograffitiCONNECTJoin our Soldiers of Sound Facebook Group: https://www.facebook.com/groups/1839109176272153Patreon: www.Patreon.com/DiscograffitiPodfollow: ⁠⁠https://podfollow.com/1592182331⁠⁠YouTube Channel: https://www.youtube.com/channel/UClyaQCdvDelj5EiKj6IRLhwInstagram: https://www.instagram.com/discograffitipod/Facebook: https://www.facebook.com/Discograffiti/Twitter: https://twitter.com/DiscograffitiOrder the Digital version of the METAL MACHINE MUZAK 2xLP (feat. Lou Barlow, Cory Hanson, Mark Robinson, & W. Cullen Hart): www.patreon.com/discograffiti/shop/197404Order the $11 Digital version of the MMM 2xLP on Bandcamp: https://discograffiti.bandcamp.com/album/metal-machine-muzakOrder the METAL MACHINE MUZAK Double Vinyl + Digital package: www.patreon.com/discograffiti/shop/169954Merch Shop: https://discograffitipod.myspreadshop.com/allVenmo Dave A Tip: @David-GebroeWeb site: http://discograffiti.com/CONTACT DAVEEmail: dave@discograffiti.comFacebook: https://www.facebook.com/hooligandaveInstagram:  https://www.instagram.com/davidgebroe/Twitter: https://twitter.com/DaveGebroeThere is no other Patreon in existence where you get more for your money. 4 shows a week is what it takes these days to successfully blot out our unacceptable reality…so do yourself a favor and give it a shot for at least one month to see what I'm talking about.  If you're already a member, please comment below about your experience.  www.Patreon.com/discograffiti#jonstebbins #davidmarks #thebeachboys #brianwilson #beachboys #denniswilson #mikelove #carlwilson #music #vinyl #aljardine #thebeatles #brucejohnston #rock #petsounds #pattismith #goodvibrations #allsummerlong #surf #rocknroll #themoon #nuggets #surfing #california #beach #surfrock #discograffiti #metalmachinemuzak #soldiersofsound #andyourdreamscometrue

Panda Bear setzt seine Retro-Rock-Revolution fort, die er vor drei Jahren mit «Reset» lostrat. Wer sich je gefragt hat, wie sich die Beach Boys 2025 anhören würden, bekommt auf «Sinister Grift» die Antwort. Wir sprachen mit dem Animal-Collective-Mitglied über die neue Platte... ...über Heldenepen und über die Bezahlung seiner Tochter, die ihren gemeinsamen Song nicht hören will. +++ PLAYLIST +++ 22:55 FRIENDS WITH ORANGES von LISA HARRES 22:51 NO FRONT TEETH von PERFUME GENIUS FEAT. ALDOUS HARDING 22:47 MAGIC CENTIPEDE von TOM SILKMAN 22:42 HEAVEN von SHYGIRL FEAT. TINASHE 22:38 PLACES TO BE von FRED AGAIN../ANDERSON.PAAK/CHIKA 22:35 POINT & KILL von LITTLE SIMZ FEAT. OBONGJAYAR 22:32 TO BE A ROSE von JENNY HVAL 22:27 MANTARRAYA von MARIA USBECK 22:23 DRAGGIN' von HANNAH COHEN 22:20 I GOT HEAVEN von MANNEQUIN PUSSY 22:16 STRANDED IN THE JUNGLE von NEW YORK DOLLS 22:10 PERSONALITY CRISIS von NEW YORK DOLLS 22:08 ROCKMAN von MK.GEE 21:57 EDGE OF THE EDGE von PANDA BEAR & SONIC BOOM 21:54 GUIDING LIGHT von GOOD SAD HAPPY BAD 21:52 TWIST & SHOUT von THE BEATLES 21:47 ENDS MEET von PANDA BEAR 21:40 ANYWHERE BUT HERE von PANDA BEAR 21:37 LET THE VIRGIN DRIVE von SPIRIT OF THE BEEHIVE 21:32 DEFENSE von PANDA BEAR/CINDY LEE 21:24 50MG von PANDA BEAR 21:20 FERRY LADY von PANDA BEAR 21:12 MY GIRLS von ANIMAL COLLECTIVE 21:10 I GET AROUND von THE BEACH BOYS 21:03 PRAISE von PANDA BEAR

THE ICONIC JOHN SINGLETON DIRECTS TUPAC & JANET JACKSON!! Poetic Justice Full Reaction Watch Along: https://www.patreon.com/thereelrejects Follow Us On Socials:  Instagram: https://www.instagram.com/reelrejects/  Tik-Tok: https://www.tiktok.com/@thereelrejects?lang=en Twitter: https://x.com/thereelrejects Facebook: https://www.facebook.com/TheReelRejects/ After reacting to Boyz N The Hood & Menace II Society, Coy Jandreau (DC Studios) & Greg Alba continue on their journey to the Don't Be a Menace to South Central While Drinking Your Juice in the Hood reaction series—this time picking up with John Singleton's Poetic Justice, starring Janet Jackson (The Nutty Professor II: The Klumps, For Colored Girls) and Tupac Shakur (Juice, Above the Rim). This 1993 classic blends romance and drama, following Justice (Jackson), a grieving poet, and Lucky (Tupac), a mail carrier with dreams beyond the streets, as they embark on a life-changing road trip from Los Angeles to Oakland. Alongside them are the fiery Iesha (Regina King, Watchmen, If Beale Street Could Talk) and her troubled boyfriend Chicago (Joe Torry, Tales from the Hood), whose turbulent relationship adds layers of tension. Directed by John Singleton (Boyz N The Hood, Higher Learning), the film delivers powerful themes of love, loss, and resilience, intertwined with heartfelt poetry from Maya Angelou. We react to the most iconic moments, including Justice & Lucky's First Meeting at the Hair Salon, The Road Trip Begins, The Heated Argument at the Gas Station, The Beach Scene, Chicago & Iesha's Explosive Fight, and The Emotional Finale. As an extra tribute to the film's cultural impact, we're also highlighting some of Tupac and Janet Jackson's biggest hits—Tupac's top 10 songs: California Love, Changes, Dear Mama, Hail Mary, Hit ‘Em Up, I Get Around, Keep Ya Head Up, 2 of Amerikaz Most Wanted, All Eyez on Me, and Ambitionz Az a Ridah. Janet Jackson's top 10 songs: Rhythm Nation, That's The Way Love Goes, Together Again, All For You, Nasty, Escapade, Love Will Never Do (Without You), Any Time, Any Place, Control, and Again. Poetic Justice was a defining film of the ‘90s, and we're diving into all its highs, lows, and lasting impact. Follow Coy Jandreau:  Tik Tok: https://www.tiktok.com/@coyjandreau?l... Instagram: https://www.instagram.com/coyjandreau/?hl=en Twitter:  https://twitter.com/CoyJandreau YouTube: https://www.youtube.com/channel/UCwYH2szDTuU9ImFZ9gBRH8w Support The Channel By Getting Some REEL REJECTS Apparel! https://www.rejectnationshop.com/ Music Used In Manscaped Ad:  Hat the Jazz by Twin Musicom is licensed under a Creative Commons Attribution 4.0 license. https://creativecommons.org/licenses/by/4.0/ POWERED BY @GFUEL Visit https://gfuel.ly/3wD5Ygo and use code REJECTNATION for 20% off select tubs!! Head Editor: https://www.instagram.com/praperhq/?hl=en Co-Editor: Greg Alba Co-Editor: John Humphrey Music In Video: Airport Lounge - Disco Ultralounge by Kevin MacLeod is licensed under a Creative Commons Attribution 4.0 license. https://creativecommons.org/licenses/by/4.0/ Ask Us A QUESTION On CAMEO: https://www.cameo.com/thereelrejects Follow TheReelRejects On FACEBOOK, TWITTER, & INSTAGRAM:  FB:  https://www.facebook.com/TheReelRejects/ INSTAGRAM:  https://www.instagram.com/reelrejects/ TWITTER:  https://twitter.com/thereelrejects Follow GREG ON INSTAGRAM & TWITTER: INSTAGRAM:  https://www.instagram.com/thegregalba/ TWITTER:  https://twitter.com/thegregalba Learn more about your ad choices. Visit megaphone.fm/adchoices

THE ICONIC JOHN SINGLETON DIRECTS TUPAC & JANET JACKSON!! Poetic Justice Full Reaction Watch Along: https://www.patreon.com/thereelrejects Follow Us On Socials:  Instagram: https://www.instagram.com/reelrejects/  Tik-Tok: https://www.tiktok.com/@thereelrejects?lang=en Twitter: https://x.com/thereelrejects Facebook: https://www.facebook.com/TheReelRejects/ After reacting to Boyz N The Hood & Menace II Society, Coy Jandreau (DC Studios) & Greg Alba continue on their journey to the Don't Be a Menace to South Central While Drinking Your Juice in the Hood reaction series—this time picking up with John Singleton's Poetic Justice, starring Janet Jackson (The Nutty Professor II: The Klumps, For Colored Girls) and Tupac Shakur (Juice, Above the Rim). This 1993 classic blends romance and drama, following Justice (Jackson), a grieving poet, and Lucky (Tupac), a mail carrier with dreams beyond the streets, as they embark on a life-changing road trip from Los Angeles to Oakland. Alongside them are the fiery Iesha (Regina King, Watchmen, If Beale Street Could Talk) and her troubled boyfriend Chicago (Joe Torry, Tales from the Hood), whose turbulent relationship adds layers of tension. Directed by John Singleton (Boyz N The Hood, Higher Learning), the film delivers powerful themes of love, loss, and resilience, intertwined with heartfelt poetry from Maya Angelou. We react to the most iconic moments, including Justice & Lucky's First Meeting at the Hair Salon, The Road Trip Begins, The Heated Argument at the Gas Station, The Beach Scene, Chicago & Iesha's Explosive Fight, and The Emotional Finale. As an extra tribute to the film's cultural impact, we're also highlighting some of Tupac and Janet Jackson's biggest hits—Tupac's top 10 songs: California Love, Changes, Dear Mama, Hail Mary, Hit ‘Em Up, I Get Around, Keep Ya Head Up, 2 of Amerikaz Most Wanted, All Eyez on Me, and Ambitionz Az a Ridah. Janet Jackson's top 10 songs: Rhythm Nation, That's The Way Love Goes, Together Again, All For You, Nasty, Escapade, Love Will Never Do (Without You), Any Time, Any Place, Control, and Again. Poetic Justice was a defining film of the ‘90s, and we're diving into all its highs, lows, and lasting impact. Follow Coy Jandreau:  Tik Tok: https://www.tiktok.com/@coyjandreau?l... Instagram: https://www.instagram.com/coyjandreau/?hl=en Twitter:  https://twitter.com/CoyJandreau YouTube: https://www.youtube.com/channel/UCwYH2szDTuU9ImFZ9gBRH8w Support The Channel By Getting Some REEL REJECTS Apparel! https://www.rejectnationshop.com/ Music Used In Manscaped Ad:  Hat the Jazz by Twin Musicom is licensed under a Creative Commons Attribution 4.0 license. https://creativecommons.org/licenses/by/4.0/ POWERED BY @GFUEL Visit https://gfuel.ly/3wD5Ygo and use code REJECTNATION for 20% off select tubs!! Head Editor: https://www.instagram.com/praperhq/?hl=en Co-Editor: Greg Alba Co-Editor: John Humphrey Music In Video: Airport Lounge - Disco Ultralounge by Kevin MacLeod is licensed under a Creative Commons Attribution 4.0 license. https://creativecommons.org/licenses/by/4.0/ Ask Us A QUESTION On CAMEO: https://www.cameo.com/thereelrejects Follow TheReelRejects On FACEBOOK, TWITTER, & INSTAGRAM:  FB:  https://www.facebook.com/TheReelRejects/ INSTAGRAM:  https://www.instagram.com/reelrejects/ TWITTER:  https://twitter.com/thereelrejects Follow GREG ON INSTAGRAM & TWITTER: INSTAGRAM:  https://www.instagram.com/thegregalba/ TWITTER:  https://twitter.com/thegregalba Learn more about your ad choices. Visit megaphone.fm/adchoices

Money B is a rapper and member of Digital Underground and Raw Fusion. Moving from Philadelphia to Oakland, his childhood was shaped by his father's membership in the Black Panther Party. Once he met Digital Underground founder Shock G, Money B became an integral part of the group and their first hit "Doowhatchyalike." Famously, DU would introduce the world to 2pac as a member and Money B played a large role in his debut album. The DU family tree also includes Saafir (RIP), Mystic, 4rax of the Mekanix, and many others. -- For promo opportunities on the podcast, e-mail: info@historyofthebay.com -- History of the Bay Spotify Playlist: https://open.spotify.com/playlist/3ZUM4rCv6xfNbvB4r8TVWU?si=9218659b5f4b43aa Online Store: https://dregsone.myshopify.com Follow Dregs One: Spotify: https://open.spotify.com/artist/1UNuCcJlRb8ImMc5haZHXF?si=poJT0BYUS-qCfpEzAX7mlA Instagram: https://instagram.com/dregs_one TikTok: https://tiktok.com/@dregs_one Twitter: https://twitter.com/dregs_one Facebook: https://facebook.com/dregsone415 00:00 Introdution 01:24 “Freaks of the Industry” 03:55 New single with Guapdad 4000 06:03 Growing up in Philly & Oakland 09:07 Money B's father in the Black Panthers 14:20 Getting into hip-hop 23:30 Shock G starting Digital Underground 28:18 Shock G came to Oakland while pimpin' 31:21 Money B & DJ Fuze join the group 33:29 “Doowutchyalike”, Tommy Boy records 41:41 Different styles of hip-hop 48:04 “The Humpty Dance” 50:39 Shock G & Mac Dre 55:30 “We're All In The Same Gang” 58:52 2pac joins Digital Underground 1:04:54 2pacalypse Now, “Brenda's Got A Baby” 1:09:50 2pac's roots in Oakland 1:15:19 “I Get Around” 1:17:36 2pac going to Death Row 1:28:49 Saafir 1:39:22 Digital Underground's last album 1:44:38 Young Hump 1:54:40 Shock G's passing --- Support this podcast: https://podcasters.spotify.com/pod/show/historyofthebay/support

Send us a textTune in to this episode of "Music In My Shoes" as we unravel the fascinating story behind Neil Young and Crazy Horse's "Hey, Hey, My, My (Into the Black)" and its acoustic counterpart, "My, My, Hey, Hey (Out of the Blue)." Discover how Mark Mothersbaugh of Devo influenced the iconic line "it's better to burn out 'cause rust never sleeps.' We'll also reflect on the generational debates ignited by references to Elvis Presley and Johnny Rotten, celebrating Young's complex legacy as the "Godfather of Grunge."Take a nostalgic stroll through the golden age of rock and pop with us. From the Beach Boys' infectious "I Get Around" to the familiar sound of Peter and Gordon's "A World Without Love," we'll uncover the stories and secrets behind these timeless hits. Relive the vivid imagery of the Drifters' "Under the Boardwalk," the innovative sound of the Zombies' "She's Not There," and the emotive charm of the Shangri-La's "Remember Walking in the Sand." Each song is a testament to the creative genius of these legendary artists and their lasting impact on music history.Our journey continues as we delve into the unique sound of Big Star, drawing connections to the Rubber Soul-era Beatles and The Byrds, and celebrating their influence on bands like The Replacements. We'll share memories of an unforgettable live performance of Billy Idol's electrifying 1984 show at Nassau Coliseum. Finally, we'll reflect on the poignant farewell of the 8G Band on Late Night with Seth Meyers, featuring Bob Mould's intense rendition of "Makes No Sense at All." Join us for a heartfelt tribute to the enduring power of music and the unforgettable memories it creates.Please Like and Follow our Facebook page Music In My Shoes. You can contact us at musicinmyshoes@gmail.com.Learn Something New orRemember Something Old

Lou . Mark and Perry listen to The Beach Boys playing "I Get Around" also music trivia plus random relish topics and the Music Relish charts on what were listening to lately like Joe Walsh and Three Dog Night and Django Reinhardt plus a listen to some original versions of songs and much more !

Specific songs take over the radio each summer to be declared the “song of the summer!” In 1964, the Beach Boys hit “I Get Around” was the song people were listening to by the pool. In 1982, it was “Eye of the Tiger.” TLC's “Waterfalls” was a big hit in 1995. Harry Styles' song, “As It Was” was huge in 2022. Who will hold the title this year? What these songs have in common is that they all cause us to get up and sing and dance.  The book of Psalms was originally titled Tehillim, which means “praise songs” in Hebrew? The English title of “Psalms” originated from the Greek title “Psalmoi,” also meaning “Songs of Praise.”  Many of the Psalms were poems written to music and became songs for the soul. This summer we are going to unpack the truth, hope, and purpose that God desires for our lives from the Psalms. Join us each Sunday in June and July!

Pop music is as quintessential to the summer as warm breezes, lazy afternoons, and margaritas by the pool. And for decades, musical artists have been inspired by the season to create memorable, catchy songs that have, in turn, become required listening every time the warmer months roll around. So for one of our 2024 Summer Specials, the Great Pop Culture Debate wants to feel the heat as we name the Best "Summer" Song. Songs discussed include “Cruel Summer” by Bananarama; “Summer in the City” by The Lovin' Spoonful; “Cool for the Summer” by Demi Lovato; “Summer Breeze” by Seals & Crofts; “California Gurls” by Katy Perry & Snoop Dogg; “Summer of ‘69” by Bryan Adams; “The Boys of Summer” by Don Henley; “Sailing” by Christopher Cross; “Come Sail Away” by Styx; “Summer Lovin'” from Grease; “Under the Boardwalk” by The Drifters; “I Get Around” by The Beach Boys; and more! Join host Eric Rezsnyak, GPCD panelists Derek Mekita and Kate Racculia, and special guest Ashleigh Stiles from Wizard Radio as they discuss 16 of the most popular songs associated with the summer. Play along at home by finding the listener bracket here. Make a copy for yourself, fill it out, and see if your picks match up with ours! For more exclusive content, including warm-up in which we discuss the summer songs we were bummed didn't make the bracket, become a Patreon supporter of the podcast today. Looking for a playlist featuring the nominated songs, plus additional summer bop suggestions from our panelists? Here you go. Have a say in future episodes by voting on our open polls or future topics. Love pop culture? Subscribe to our weekly newsletter, telling you about what's new in music, movies, TV and more every week. Episode Credits Host: Eric Rezsnyak Panel: Derek Mekita, Kate Racculia Special Guest: Ashleigh Stiles Producer: Bob Erlenback Editor: Eric Rezsnyak #music #popmusic #summersongs #summermusic #summervibes Learn more about your ad choices. Visit megaphone.fm/adchoices

Specific songs take over the radio each summer to be declared the “song of the summer!” In 1964, the Beach Boys hit “I Get Around” was the song people were listening to by the pool. In 1982, it was “Eye of the Tiger.” TLC's “Waterfalls” was a big hit in 1995. Harry Styles' song, “As It Was” was huge in 2022. Who will hold the title this year? What these songs have in common is that they all cause us to get up and sing and dance.  The book of Psalms was originally titled Tehillim, which means “praise songs” in Hebrew? The English title of “Psalms” originated from the Greek title “Psalmoi,” also meaning “Songs of Praise.”  Many of the Psalms were poems written to music and became songs for the soul. This summer we are going to unpack the truth, hope, and purpose that God desires for our lives from the Psalms. Join us each Sunday in June and July!

Specific songs take over the radio each summer to be declared the “song of the summer!” In 1964, the Beach Boys hit “I Get Around” was the song people were listening to by the pool. In 1982, it was “Eye of the Tiger.” TLC's “Waterfalls” was a big hit in 1995. Harry Styles' song, “As It Was” was huge in 2022. Who will hold the title this year? What these songs have in common is that they all cause us to get up and sing and dance.  The book of Psalms was originally titled Tehillim, which means “praise songs” in Hebrew? The English title of “Psalms” originated from the Greek title “Psalmoi,” also meaning “Songs of Praise.”  Many of the Psalms were poems written to music and became songs for the soul. This summer we are going to unpack the truth, hope, and purpose that God desires for our lives from the Psalms. Join us each Sunday in June and July!

Specific songs take over the radio each summer to be declared the “song of the summer!” In 1964, the Beach Boys hit “I Get Around” was the song people were listening to by the pool. In 1982, it was “Eye of the Tiger.” TLC's “Waterfalls” was a big hit in 1995. Harry Styles' song, “As It Was” was huge in 2022. Who will hold the title this year? What these songs have in common is that they all cause us to get up and sing and dance.  The book of Psalms was originally titled Tehillim, which means “praise songs” in Hebrew? The English title of “Psalms” originated from the Greek title “Psalmoi,” also meaning “Songs of Praise.”  Many of the Psalms were poems written to music and became songs for the soul. This summer we are going to unpack the truth, hope, and purpose that God desires for our lives from the Psalms. Join us each Sunday in June and July!

Specific songs take over the radio each summer to be declared the “song of the summer!” In 1964, the Beach Boys hit “I Get Around” was the song people were listening to by the pool. In 1982, it was “Eye of the Tiger.” TLC's “Waterfalls” was a big hit in 1995. Harry Styles' song, “As It Was” was huge in 2022. Who will hold the title this year? What these songs have in common is that they all cause us to get up and sing and dance.  The book of Psalms was originally titled Tehillim, which means “praise songs” in Hebrew? The English title of “Psalms” originated from the Greek title “Psalmoi,” also meaning “Songs of Praise.”  Many of the Psalms were poems written to music and became songs for the soul. This summer we are going to unpack the truth, hope, and purpose that God desires for our lives from the Psalms. Join us each Sunday in June and July!

Specific songs take over the radio each summer to be declared the “song of the summer!” In 1964, the Beach Boys hit “I Get Around” was the song people were listening to by the pool. In 1982, it was “Eye of the Tiger.” TLC's “Waterfalls” was a big hit in 1995. Harry Styles' song, “As It Was” was huge in 2022. Who will hold the title this year? What these songs have in common is that they all cause us to get up and sing and dance.  The book of Psalms was originally titled Tehillim, which means “praise songs” in Hebrew? The English title of “Psalms” originated from the Greek title “Psalmoi,” also meaning “Songs of Praise.”  Many of the Psalms were poems written to music and became songs for the soul. This summer we are going to unpack the truth, hope, and purpose that God desires for our lives from the Psalms. Join us each Sunday in June and July!

Specific songs take over the radio each summer to be declared the “song of the summer!” In 1964, the Beach Boys hit “I Get Around” was the song people were listening to by the pool. In 1982, it was “Eye of the Tiger.” TLC's “Waterfalls” was a big hit in 1995. Harry Styles' song, “As It Was” was huge in 2022. Who will hold the title this year? What these songs have in common is that they all cause us to get up and sing and dance.  The book of Psalms was originally titled Tehillim, which means “praise songs” in Hebrew? The English title of “Psalms” originated from the Greek title “Psalmoi,” also meaning “Songs of Praise.”  Many of the Psalms were poems written to music and became songs for the soul. This summer we are going to unpack the truth, hope, and purpose that God desires for our lives from the Psalms. Join us each Sunday in June and July!

While Tupac is well known for his later albums, his first two LPs rarely get recognition they deserve. His 1993 sophomore effort, Strictly for My N.#.G.G.#.Z., was the album that jump started his career. With hits like I Get Around and Keep Ya Head Up, Pac is in revolutionary mode, much like his peers Public Enemy and Ice Cube, creating an album we believe can rival the likes of his most popular. https://www.facebook.com/profile.php?id=100086006336425&mibextid=LQQJ4d https://www.instagram.com/str8_the_clippa?igsh=cTBzNnFhenRkN3Nl&utm_source=qr

Specific songs take over the radio each summer to be declared the “song of the summer!” In 1964, the Beach Boys hit “I Get Around” was the song people were listening to by the pool. In 1982, it was “Eye of the Tiger.” TLC's “Waterfalls” was a big hit in 1995. Harry Styles' song, “As It Was” was huge in 2022. Who will hold the title this year? What these songs have in common is that they all cause us to get up and sing and dance.  The book of Psalms was originally titled Tehillim, which means “praise songs” in Hebrew? The English title of “Psalms” originated from the Greek title “Psalmoi,” also meaning “Songs of Praise.”  Many of the Psalms were poems written to music and became songs for the soul. This summer we are going to unpack the truth, hope, and purpose that God desires for our lives from the Psalms. Join us each Sunday in June and July!

Specific songs take over the radio each summer to be declared the “song of the summer!” In 1964, the Beach Boys hit “I Get Around” was the song people were listening to by the pool. In 1982, it was “Eye of the Tiger.” TLC's “Waterfalls” was a big hit in 1995. Harry Styles' song, “As It Was” was huge in 2022. Who will hold the title this year? What these songs have in common is that they all cause us to get up and sing and dance.  The book of Psalms was originally titled Tehillim, which means “praise songs” in Hebrew? The English title of “Psalms” originated from the Greek title “Psalmoi,” also meaning “Songs of Praise.”  Many of the Psalms were poems written to music and became songs for the soul. This summer we are going to unpack the truth, hope, and purpose that God desires for our lives from the Psalms. Join us each Sunday in June and July!

Welcome to the Instant Trivia podcast episode 1134, where we ask the best trivia on the Internet. Round 1. Category: Ways To Play. With Play in quotation marks 1: To cut class or skip school. To play hooky. 2: It's a 3-word synonym for a pun. Play on words. 3: A person who doesn't date anyone exclusively does this; so do some baseball players. Play the field. 4: A detailed verbal account of an event, not necessarily a sporting event. Play-by-play. 5: New ideas that please the regular folk in Illinois are said to do this. To play in Peoria. Round 2. Category: Their First Billboard No. 1 Hit 1: "Rock Around The Clock". Bill Haley and His Comets (Bill Haley and The Comets accepted). 2: "I Get Around". The Beach Boys. 3: "Heart Of Glass". Blondie. 4: "Dancing Queen". ABBA. 5: "Mrs. Brown You've Got A Lovely Daughter". Herman's Hermits. Round 3. Category: Lewis And Clark 1: =. =. 2: A week after his election, this president offered Lewis a post as his private secretary. Jefferson. 3: Named for a structural section, it's the type of boat the boys set off in; it ran aground on day 2. a keelboat. 4: As a member of the militia, Lewis went to Pennsylvania in 1794 to suppress this rebellion. the Whiskey Rebellion. 5: This man, one of William Clark's brothers, captured Vincennes during the Revolution. George Rogers Clark. Round 4. Category: Double That Double S! 1: Murderer of a politically prominent person. assassin. 2: 14-letter way to describe a facial look without emotion. expressionless. 3: A society with no social demarcations (and no sessions of school). classless. 4: To oust someone from owning a piece of property. dispossess. 5: To evaluate, or to impose a tax. assess. Round 5. Category: WindY Talk. With Wind in quotation marks 1: A bassoon or oboe, for example. woodwind. 2: This jacket often has elastic cuffs and waistband. windbreaker. 3: 3 principal types of these devices are the multivane, the propeller and the S rotor. windmills. 4: The Maui Makani Classic is a competition in this sport. windsurfing. 5: A proper British bug would get squished on this. windscreen. Thanks for listening! Come back tomorrow for more exciting trivia!Special thanks to https://blog.feedspot.com/trivia_podcasts/ AI Voices used

Avec les Beach Boys et les Rolling Stones. Le 11 mai 1964 sort l'un des plus grands succès de l'histoire des Beach Boys, "I Get Around" qui sert un peu de réponses de Brian Wilson au triomphe des Beatles. L'année 1964, c'est aussi la sortie du premier album des Rolling Stones le 16 avril "The Rolling Stones" en Grande Bretagne et "The Rolling Stones : England's Newest Hit Makers" dans sa version américaine avec une très belle interprétation d'un classique de Buddy Holly et ses Crickets de 1957 "Not Fade Away", hommage à Chuck Berry, l'une des influences clefs de Mick Jagger et Keith Richards avec leur reprise de "Carol". Il y a "Route 66" du compositeur et pianiste américain Bobby Troup de 1946 et popularisé par Nat King Cole. Le son des Stones fait déjà des ravages et ce n'est que le tout début de l'aventure… --- Du lundi au vendredi, Fanny Gillard et Laurent Rieppi vous dévoilent l'univers rock, au travers de thèmes comme ceux de l'éducation, des rockers en prison, les objets de la culture rock, les groupes familiaux et leurs déboires, et bien d'autres, chaque matin dans Coffee on the Rocks à 6h30 et rediffusion à 13h30 dans Lunch Around The Clock. Merci pour votre écoute Pour écouter Classic 21 à tout moment : www.rtbf.be/classic21 Retrouvez tous les contenus de la RTBF sur notre plateforme Auvio.be Et si vous avez apprécié ce podcast, n'hésitez pas à nous donner des étoiles ou des commentaires, cela nous aide à le faire connaître plus largement.

Intro song: Yoots by Outdoor Velour (demo)20. SpiritualizedSong 1: Ladies and Gentlemen We Are Floating in SpaceSong 2: Little Girl19. Atom & His PackageSong 1: (Lord, It's Hard to Be Happy When You're Not) Using the Metric SystemSong 2: Anarchy Means I LitterBackground songs: Dinner Bell by They Might Be Giants, I Get Around by The Beach Boys, San Bernardino by The Mountain Goats, I Wanna Be Sedated by Ramones, Just Like Honey by The Jesus and Mary Chain, Silver Rocket by Sonic YouthShow note: The following links will be updated when they are available (i.e., they aren't ready yet, so be patient!)Link to This Might Be a Podcast episode with AndrewLink to new Outdoor Velour albumLink to Charity Compilation

Episode 83. Your host Troy Stephens returns with an amazing conversation with R&B singer K'Jon, best known for his hit song "On the Ocean," a favorite on the The Steve Harvey Morning Show that hit #1 on the Urban AC Radio charts and #12 on Billboard's R&B charts. As always, Troy plays portions of his favorite K'Jon tracks and encourages everyone to go out and stream - and buy - the full songs. Go out and support these indie artists!K'Jon begins by expressing that he wants to leave a legacy with his music, something that his kids can remember and have fun with when he's gone. He wants his music to last for generations. Throughout the interview, you'll hear how passionate K'Jon is about the music he puts out and how he wants it to move people and make them feel.Troy and K'Jon discuss how they both grew up listening to all genres and eras of music. They were exposed to so many amazing artists and styles and that reflects on the music they still listen to and produce. The Detroit native is influenced by Motown, and even talks about how he wants to make an album of big band music. We're hoping that project will come to fruition soon.“On the Ocean” was featured on K'Jon's debut album, “I Get Around,” in 2009. Since then, he's released “Man” (2013), “A Beautiful Thing” (2014), and the pandemic stress reliever “Live, Love & Laughter” (2020). He's released several singles since his last release, and a new EP is coming out this month. Even though K'Jon has been signed to a major label in the past, he seems to enjoy the freedom and control over his music that being an indie artist allows him.Listen and subscribe to the BAAS Entertainment Podcast on Spotify, Amazon Music, Apple Podcasts, Google Podcasts, Deezer, iHeartRadio, Pandora, Podchaser, Pocket Casts and TuneIn. “Hey, Alexa. Play the BAAS Entertainment Podcast.”Listen and subscribe to the BAAS Entertainment Podcast on Spotify, Amazon Music, Apple Podcasts, Google Podcasts, Deezer, iHeartRadio, Pandora, Podchaser, Pocket Casts and TuneIn. “Hey, Alexa. Play the BAAS Entertainment Podcast.”

Singles Going Around- Back To Mono Volume OneI've been wanting to do this episode for a while. Mono records, recorded and transferred in mono. Play this one LOUD.Dave Clark Five- "Any Way You Want It"The Crystlals- "Da Doo Ron Run"The Beach Boys- "I Get Around"The Beatles- "Money"Chuck Berry- "Maybellene"Wilson Pickett- "Land of 1000 Dances"The Rolling Stones- "Satisfaction"The Everly Brothers- "Claudette"The Yardbirds- "I'm A Man"Booker T & The MG's- "Hip Hug-Her"Mitch Ryder & The Detroit Wheels- "Shakin With Linda"Sam The Sham & The Pharoahs- "Little Red Riding Hood"The Doors- "Love Me Two Times"The Vettes- "Devil Driver's Theme"The Beatles- "Baby's In Black"Johnny Cash- "Orange Blossom Special"The Beach Boys- "Good Vibrations"The Rolling Stones- "Let's Spend The Night Together"The Kinks- "This Is Where I Belong"The Yardbirds- "Jeff's Boogie"The Byrds- "Mr. Tamborine Man"The Readymen- "Surfer Blues"The Beach Boys- "Little Pad"*All selections from mono Lp's and 45's.

I dette afsnit af 'Rockhistorier' dedikerer Henrik Queitsch og Klaus Lynggaard intet mindre end to timer og tyve minutter til 'The Beach Boys'. Vi skal derfor igennem en playliste med hele 30 numre, der blandt andet indeholder ”Surfin' USA”, ”Kiss me baby” og julenummeret ”Little Saint Nick”.Playliste: 1. "Surfin'" (1961) 2. "Surfin' Safari" (1962)3. "Surfin' USA" (1963)4. "Lonely Sea" (1963)5. "Misirlou" (1963)6. "Surfer Girl" (1963)7. "Little Deuce Coupe" (1963)8. "In My Room" (1963)9. "A Young Man Is Gone" (1963)10. "Little Saint Nick" - Single Version (1963)11. "Fun, Fun, Fun" (1964)12. "Don't Worry Baby" (1964)13. "The Warmth of the Sun" (1964)14. "I Get Around" (1964)15. "Girls on the Beach" (1964)16. "All Summer Long" (1964)17. "When I Grow Up (To Be a Man)" (1964)18. "She Knows Me Too Well" (1965)19. "Please Let Me Wonder" (1965)20. "Kiss Me, Baby" (1965)21. "Help Me, Rhonda" (1965)22. "Let Him Run Wild" (1965)23. "California Girls" (1965)24. "Girl Don't Tell Me"  (1965)25. The Little Girl I Once Knew" (1965)26. "Wouldn't It Be Nice" (1966)27. "I Just Wasn't Made for These Times" (1966)28. "God Only Knows" (1966)29. "I Know There's an Answer" (1966)30. "Caroline, No" (1966)

1) I Get Around, 2Pac 2) Ms Fat Booty, Mos Def 3) The Humpty Dance, Digital Underground 4) OPP, Naughty by Nature 5) Jump Jump, Kris Kross 6) Hip Hop Hoorhy, Naughty by Nature 7) Se Acabo, The Beatnuts 8) Shake Ya Ass, Mystikal 9) Put Your Hands Where My Eyes Could See, Busta Rhymes 10) Sound of Da Police, KRS-One 11) Smooth Operator, Big Daddy Kane 12) Vivrant Thing, Q-Tip 13) Children's Story, Slick Rick 14) Got Your Money, Old dirty Bastard 15) Stand Up, Ludacris 16) Insane in the Brain, Cpress Hill 17) Cheif Rocka, Lords of the Underground 18) One More Chance, The Notorious B.I.G ( Biggie Smalls) Support House Finesse by contributing to their tip jar: https://tips.pinecast.com/jar/housefinesse Find out more at https://housefinesse.pinecast.co This podcast is powered by Pinecast. Try Pinecast for free, forever, no credit card required. If you decide to upgrade, use coupon code r-b0b82e for 40% off for 4 months, and support House Finesse.

Red Hot Chili Peppers reprend "I Get Around" des Beach Boys

La nouveauté du jour : Noel Gallagher's High Flying Birds "Pretty Boy" La cover du #DriveRTL2 : Red Hot Chili Peppers reprend "I Get Around" des Beach Boys Le journal de la musique : - Un titre de Patti Smith va être retiré des plateformes de musique - Mick Mars ne tournera plus avec Mötley Crüe Le classique du jour : The Black Keys "Lonely Boy" Le live du jour : Spin Doctors "Two Princes" ("Songs from the Road")

It's good to be back and in a BIG way! In case you missed my debut on Sirius XM FLY last Friday, don't worry...I got you. Here's my live radio mix from the Friday FLY Ride. Enjoy and as always...please don't forget to share the show! Playlist is below!@djprinceakeemwww.djprinceakeem.comtwitch.tv/djprinceakeemDJ Prince Akeem_SiriusXM FLY 9.2.22 Playlist 1. U Don't Know- Jay-Z 2. U Don't Know x Dead Prez (Hip-Hop) - (Prince Akeem Blend) 3. Over- Drake 4. Bedrock- Young Money ft. Lloyd 5. Kiss Kiss- Chris Brown ft. T-Pain 6. All I Do Is Win- DJ Khaled (FL!P ONE Edit) 7. Birthday Cake- Rihanna ft. Chris Brown (Cesar Castilla Edit) 8. Some Cut- Trillville ft. Cutty 9. Party- Beyonce ft. Andre 3000 x Some Cut- (Prince Akeem Blend) 10. It's Going Down- Young Joc 11. Damn- Youngbloodz 12. Like You- Bow Wow ft. Ciara 13. Grillz- Nelly ft. Paul Wall, Ali & Gipp 14. This Is Why I'm Hot Remix- Mims ft. Junior Reid & Baby Cham 15. Snap Ya Fingers Lil Jon x Ghetto Story Baby Cham- (Prince Akeem Blend) 16. Oh Yeah- Foxy Brown 17. Mary Jane (All Night Long)- Mary J. Blige 18. If Your Girl Only Knew x Mary Jane- Aaliyah (Prince Akeem Blend) 19. Best of Me- Mya ft. Jay-Z 20. Get It On Tonite- Montell Jordan 21. Fine China x Get It On Tonite- Chris Brown (Prince Akeem Blend) 22. What Chu Like- Da Brat ft. Tyrese  23. Ms. Jackson- Outkast 24. So Into You x Ms. Jackson- Fabulous ft. Tamia (Prince Akeem Blend) 25. 4 Ever- Lil' Mo 26. Next Episode- Dr. Dre ft. Snoop Dogg & Nate Dogg 27. California Love- Dr. Dre ft. 2 Pac 28. I Get Around- 2 Pac 29. How Do U Want It- 2 Pac feat. K-Ci & JoJo 30. I Got 5 On It x How Do U Want It Da Luniz (Prince Akeem Blend) 31. This Is How We Do- The Game ft. 50 Cent (Uki Edit) 32. What's Luv- Fat Joe ft. Ashanti 33. Still Not A Player- Big Pun ft. Joe 34. Freak Like Me x Still Not a Player- Adina Howard (Prince Akeem Blend) 35. Ante Up- M.O.P 36. Twinz x Ante Up- Big Pun ft. Fat Joe (Prince Akeem Blend) 37. Off The Books- The Beatnuts ft. Big Pun, Cuban Link 38. Doo Wop (That Thing) x Off the Books- Lauryn Hill (Prince Akeem Blend) 39. Ready Or Not- Fugees (Green Lantern Edit) 40. Never Leave (Uh Oh) - Lumidee ft. Busta Rhymes 41. No Letting Go- Wayne Wonder 42. Bartender x No Letting Go - T-Pain ft. Akon (Prince Akeem Blend) 43. Sleeping In My Bed- Dru Hill ft. Jermaine Dupri and Da Brat 44. No Scrubs x Sleeping In My Bed- TLC ( Prince Akeem Blend) 45. Grindin'- Clipse 46. Run It- Chris Brown 47. Dark Fantasy- Kanye West 48. Party Up- DMX 49. Who's That Girl- Eve 50. Lighters Up- Lil Kim 51. Quiet Storm Remix- Mobb Deep ft. Lil Kim 52. Shout- Tears for Fears Quiet Storm - (Prince Akeem Blend)53. You Will Never Find Another- In Essence 54. Right Here (Human Nature Rmx)- SWV 55. I'll Be There (Puff Daddy Mix)- Method Man ft. Mary J. Blige

I Get Around and Don't Worry Baby by The Beach Boys.Share this pod with your friends and buy our merch:  https://www.bonfire.com/two-track-audio

The guys play a game of “NBA Outsider” with Kap, which leads to a hilarious exchange with Sedano laughing so hard he can't talk. Woj reported yesterday that Russell Westbrook is very “enthusiastic” about the Darvin Ham hire, which Sedano thinks is great for Russ's potential moving forward… Kap on the other hand, is skeptical, and thinks there's some ulterior motive going on with this story. The guys swipe left or right in Radio Tinder. In the final segment before we hand it off to Game 4 of the NBA Finals, Sedano sings along to Tupac's ‘I Get Around' and says it's a great song to play getting out of work on a Friday. Kappy plays Harry Styles' new sushi song that he keeps talking about and says it reminds him of being “ripped and shredded while drinking a glass of Rosē in Venice.” Plus, Lindsey says Draymond has won her over and Kap can't believe it. Learn more about your ad choices. Visit megaphone.fm/adchoices

La nouveauté du jour : Stephan Eicher "Autour de ton cou" Le journal de la musique : - Clara Luciani nous donne rendez-vous pour son nouveau clip - Bruce Springsteen aura droit à son musée - Un titre de Nirvana est en train de connaitre une deuxième gloire - Weezer sortira un E.P. à chaque saison de cette année La cover du #DriveRTL2 : Red Hot Chili Peppers reprend "I Get Around" des Beach Boys Le live du jour : The White Stripes "Seven Nation Army" ("Under Great White Northern Lights") Le jeu du #DriveRTL2 : Rock & Roll Hall of Fame, pas Rock & Roll Hall of Fame ?

Episode one hundred and forty-two of A History of Rock Music in Five Hundred Songs looks at “God Only Knows" by the Beach Boys, and the creation of the Pet Sounds album. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a ten-minute bonus episode available, on "Sunny" by Bobby Hebb. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Resources There is no Mixcloud this week, because there were too many Beach Boys songs in the episode. I used many resources for this episode, most of which will be used in future Beach Boys episodes too. It's difficult to enumerate everything here, because I have been an active member of the Beach Boys fan community for twenty-four years, and have at times just used my accumulated knowledge for this. But the resources I list here are ones I've checked for specific things. Stephen McParland has published many, many books on the California surf and hot-rod music scenes, including several on both the Beach Boys and Gary Usher.  His books can be found at https://payhip.com/CMusicBooks Andrew Doe's Bellagio 10452 site is an invaluable resource. Jon Stebbins' The Beach Boys FAQ is a good balance between accuracy and readability. And Philip Lambert's Inside the Music of Brian Wilson is an excellent, though sadly out of print, musicological analysis of Wilson's music from 1962 through 67. I have also referred to Brian Wilson's autobiography, I Am Brian Wilson, and to Mike Love's, Good Vibrations: My Life as a Beach Boy. For material specific to Pet Sounds I have used Kingsley Abbot's The Beach Boys' Pet Sounds: The Greatest Album of the Twentieth Century and Charles L Granata's I Just Wasn't Made For These Times: Brian Wilson and the Making of Pet Sounds.  I also used the 126-page book The Making of Pet Sounds by David Leaf, which came as part of the The Pet Sounds Sessions box set, which also included the many alternate versions of songs from the album used here. Sadly both that box set and the 2016 updated reissue of it appear currently to be out of print, but either is well worth obtaining for anyone who is interested in how great records are made. Of the versions of Pet Sounds that are still in print, this double-CD version is the one I'd recommend. It has the original mono mix of the album, the more recent stereo remix, the instrumental backing tracks, and live versions of several songs. As a good starting point for the Beach Boys' music in general, I would recommend this budget-priced three-CD set, which has a surprisingly good selection of their material on it. The YouTube drum tutorial I excerpted a few seconds of to show a shuffle beat is here. Transcript We're still in the run of episodes that deal with the LA pop music scene -- though next week we're going to move away from LA, while still dealing with a lot of the people who would play a part in that scene. But today we're hitting something that requires a bit of explanation. Most artists covered in this podcast get one or at the most two episodes. Some get slightly more -- the major artists who are present for many revolutions in music, or who have particularly important careers, like Fats Domino or the Supremes. And then there are a few very major artists who get a lot more. The Beatles, for example, are going to get eight in total, plus there will be episodes on some of their solo careers. Elvis has had six, and will get one more wrap-up episode. This is the third Beach Boys episode, and there are going to be three more after this, because the Beach Boys were one of the most important acts of the decade. But normally, I limit major acts to one episode per calendar year of their career. This means that they will average at most one episode every ten episodes, so while for example the episodes on "Mystery Train" and "Heartbreak Hotel" came close together, there was then a reasonable gap before another Elvis episode. This is not possible for the Beach Boys, because this episode and the next two Beach Boys ones all take place over an incredibly compressed timeline. In May 1966, they released an album that has consistently been voted the best album ever in polls of critics, and which is certainly one of the most influential even if one does not believe there is such a thing as a "best album ever". In October 1966 they released one of the most important singles ever -- a record that is again often considered the single best pop single of all time, and which again was massively influential. And then in July 1967 they released the single that was intended to be the lead-off single from their album Smile, an album that didn't get released until decades later, and which became a legend of rock music that was arguably more influential by *not* being released than most records that are released manage to be. And these are all very different stories, stories that need to be told separately. This means that episode one hundred and forty-two, episode one hundred and forty-six, and episode one hundred and fifty-three are all going to be about the Beach Boys. There will be one final later episode about them, too, but the next few months are going to be very dominated by them, so I apologise in advance for that if that's not something you're interested in. Though it also means that with luck some of these episodes will be closer to the shorter length of podcast I prefer rather than the ninety-minute mammoths we've had recently. Though I'm afraid this is another long one. When we left the Beach Boys, we'd just heard that Glen Campbell had temporarily replaced Brian Wilson on the road, after Wilson's mental health had finally been unable to take the strain of touring while also being the group's record producer, principal songwriter, and leader. To thank Campbell, who at this point was not at all well known in his own right, though he was a respected session guitarist and had released a few singles, Brian had co-written and produced "Guess I'm Dumb" for him, a track which prefigured the musical style that Wilson was going to use for the next year or so: [Excerpt: Glen Campbell, "Guess I'm Dumb"] It's worth looking at "Guess I'm Dumb" in a little detail, as it points the way forward to a lot of Wilson's songwriting over the next year. Firstly, of course, there are the lyrical themes of insecurity and of what might even be descriptions of mental illness in the first verse -- "the way I act don't seem like me, I'm not on top like I used to be". The lyrics are by Russ Titelman, but it's reasonable to assume that as with many of his collaborations, Brian brought in the initial idea. There's also a noticeable change in the melodic style compared to Wilson's earlier melodies. Up to this point, Wilson has mostly been writing what get called "horizontal" melody lines -- ones with very little movement, and small movements, often centred on a single note or two. There are exceptions of course, and plenty of them, but a typical Brian Wilson melody up to this point is the kind of thing where even I can hit the notes more or less OK -- [sings] "Well, she got her daddy's car and she cruised through the hamburger stand now". It's not quite a monotone, but it's within a tight range, and you don't have to move far from one note to another. But "Guess I'm Dumb" is incorporating the influence of Roy Orbison, and more obviously of Burt Bacharach, and it's *ludicrously* vertical, with gigantic leaps all over the place, in places that are not obvious. It requires the kind of precision that only a singer like Campbell can attain, to make it sound at all natural: [Excerpt: Glen Campbell, "Guess I'm Dumb"] Bacharach's influence is also noticeable in the way that the chord changes are very different from those that Wilson was using before. Up to this point, when Wilson wrote unusual chord changes, it was mostly patterns like "The Warmth of the Sun", which is wildly inventive, but mostly uses very simple triads and sevenths. Now he was starting to do things like the line "I guess I'm dumb but I don't care", which is sort of a tumbling set of inversions of the same chord that goes from a triad with the fifth in the bass, to a major sixth, to a minor eleventh, to a minor seventh. Part of the reason that Brian could start using these more complex voicings was that he was also moving away from using just the standard guitar/bass/drums lineup, sometimes with keyboards and saxophone, which had been used on almost every Beach Boys track to this point. Instead, as well as the influence of Bacharach, Wilson was also being influenced by Jack Nitzsche's arrangements for Phil Spector's records, and in particular by the way Nitzsche would double instruments, and have, say, a harpsichord and a piano play the same line, to create a timbre that was different from either individual instrument. But where Nitzsche and Spector used the technique along with a lot of reverb and overdubbing to create a wall of sound which was oppressive and overwhelming, and which obliterated the sounds of the individual instruments, Wilson used the same instrumentalists, the Wrecking Crew, to create something far more delicate: [Excerpt: Glen Campbell, "Guess I'm Dumb (instrumental and backing vocals)"] Campbell does such a good job on "Guess I'm Dumb" that one has to wonder what would  have happened if he'd remained with the Beach Boys. But Campbell had of course not been able to join the group permanently -- he had his own career to attend to, and that would soon take off in a big way, though he would keep playing on the Beach Boys' records for a while yet as a member of the Wrecking Crew. But Brian Wilson was still not well enough to tour. In fact, as he explained to the rest of the group, he never intended to tour again -- and he wouldn't be a regular live performer for another twelve years. At first the group were terrified -- they thought he was talking about quitting the group, or the group splitting up altogether. But Brian had a different plan. From that point on, there were two subtly different lineups of the group. In the studio, Brian would sing his parts as always, but the group would get a permanent replacement for him on tour -- someone who could replace him on stage. While the group was on tour, Brian would use the time to write songs and to record backing tracks. He'd already started using the Wrecking Crew to add a bit of additional musical colour to some of the group's records, but from this point on, he'd use them to record the whole track, maybe getting Carl to add a bit of guitar as well if he happened to be around, but otherwise just using the group to provide vocals. It's important to note that this *was* a big change. A lot of general music history sources will say things like "the Beach Boys never played on their own records", and this is taken as fact by people who haven't investigated further. In fact, the basic tracks for all their early hits were performed by the group themselves -- "Surfin'", "Surfin' Safari", "409", "Surfer Girl", "Little Deuce Coupe", "Don't Worry Baby" and many more were entirely performed by the Beach Boys, while others like "I Get Around" featured the group with a couple of additional musicians augmenting them. The idea that the group never played on their records comes entirely from their recordings from 1965 and 66, and even there often Carl would overdub a guitar part. And at this point, the Beach Boys were still playing on the majority of their recordings, even on sophisticated-sounding records like "She Knows Me Too Well", which is entirely a group performance other than Brian's friend, Russ Titelman, the co-writer of "Guess I'm Dumb", adding some percussion by hitting a microphone stand with a screwdriver: [Excerpt: The Beach Boys, "She Knows Me Too Well"] So the plan to replace the group's instrumental performances in the studio was actually a bigger change than it might seem. But an even bigger change was the live performances, which of course required the group bringing in a permanent live replacement for Brian. They'd already tried this once before, when he'd quit the road for a while and they'd brought Al Jardine back in, but David Marks quitting had forced him back on stage. Now they needed someone to take his place for good. They phoned up their friend Bruce Johnston to see if he knew anyone, and after suggesting a couple of names that didn't work out, he volunteered his own services, and as of this recording he's spent more than fifty years in the band (he quit for a few years in the mid-seventies, but came back). We've seen Johnston turn up several times already, most notably in the episode on "LSD-25", where he was one of the musicians on the track we looked at, but for those of you who don't remember those episodes, he was pretty much *everywhere* in California music in the late fifties and early sixties. He had been in a band at school with Phil Spector and Sandy Nelson, and another band with Jan and Dean, and he'd played on Nelson's "Teen Beat", produced by Art Laboe: [Excerpt: Sandy Nelson, "Teen Beat"] He'd been in the house band at those shows Laboe put on at El Monte stadium we talked about a couple of episodes back, he'd been a witness to John Dolphin's murder, he'd been a record producer for Bob Keane, where he'd written and produced songs for Ron Holden, the man who had introduced "Louie Louie" to Seattle: [Excerpt: Ron Holden, "Gee But I'm Lonesome"] He'd written "The Tender Touch" for Richard Berry's backing group The Pharaos, with Berry singing backing vocals on this one: [Excerpt: The Pharaos, "The Tender Touch"] He'd helped Bob Keane compile Ritchie Valens' first posthumous album, he'd played on "LSD-25" and "Moon Dawg" by the Gamblers: [Excerpt: The Gamblers, "Moon Dawg"] He'd arranged and produced the top ten hit “Those Oldies but Goodies (Remind Me of You)” for Little Caesar and the Romans: [Excerpt Little Caesar and the Romans, "Those Oldies but Goodies (Remind Me of You)"] Basically, wherever you looked in the LA music scene in the early sixties, there was Bruce Johnston somewhere in the background. But in particular, he was suitable for the Beach Boys because he had a lot of experience in making music that sounded more than a little like theirs. He'd made cheap surf records as the Bruce Johnston Surfing Band: [Excerpt: Bruce Johnston, "The Hamptons"] And with his long-time friend and creative partner Terry Melcher he had, as well as working on several Paul Revere and the Raiders records, also recorded hit Beach Boys soundalikes both as their own duo, Bruce and Terry: [Excerpt: Bruce and Terry, "Summer Means Fun"] and under the name of a real group that Melcher had signed, but who don't seem to have sung much on their own big hit, the Rip Chords: [Excerpt: The Rip Chords, "Hey Little Cobra"] Johnston fit in well with the band, though he wasn't a bass player before joining, and had to be taught the parts by Carl and Al. But he's probably the technically strongest musician in the band, and while he would later switch to playing keyboards on stage, he was quickly able to get up to speed on the bass well enough to play the parts that were needed. He also wasn't quite as strong a falsetto singer as Brian Wilson, as can be heard by listening to this live recording of the group singing "I Get Around" in 1966: [Excerpt: The Beach Boys, "I Get Around (live 1966)"] Johnston is actually an excellent singer -- and can still hit the high notes today. He sings the extremely high falsetto part on "Fun Fun Fun" at the end of every Beach Boys show. But his falsetto was thinner than Wilson's, and he also has a distinctive voice which can be picked out from the blend in a way that none of the other Beach Boys' voices could -- the Wilson brothers and Mike Love all have a strong family resemblance, and Al Jardine always sounded spookily close to them. This meant that increasingly, the band would rearrange the vocal parts on stage, with Carl or Al taking the part that Brian had taken in the studio. Which meant that if, say, Al sang Brian's high part, Carl would have to move up to sing the part that Al had been singing, and then Bruce would slot in singing the part Carl had sung in the studio. This is a bigger difference than it sounds, and it meant that there was now a need for someone to work out live arrangements that were different from the arrangements on the records -- someone had to reassign the vocal parts, and also work out how to play songs that had been performed by maybe eighteen session musicians playing French horns and accordions and vibraphones with a standard rock-band lineup without it sounding too different from the record. Carl Wilson, still only eighteen when Brian retired from the road, stepped into that role, and would become the de facto musical director of the Beach Boys on stage for most of the next thirty years, to the point that many of the group's contracts for live performances at this point specified that the promoter was getting "Carl Wilson and four other musicians". This was a major change to the group's dynamics. Up to this point, they had been a group with a leader -- Brian -- and a frontman -- Mike, and three other members. Now they were a more democratic group on stage, and more of a dictatorship in the studio. This was, as you can imagine, not a stable situation, and was one that would not last long. But at first, this plan seemed to go very, very well. The first album to come out of this new hybrid way of working, The Beach Boys Today!, was started before Brian retired from touring, and some of the songs on it were still mostly or solely performed by the group, but as we heard with "She Knows Me Too Well" earlier, the music was still more sophisticated than on previous records, and this can be heard on songs like "When I Grow Up to Be a Man", where the only session musician is the harmonica player, with everything else played by the group: [Excerpt: The Beach Boys, "When I Grow Up to Be a Man"] But the newer sophistication really shows up on songs like "Kiss Me Baby", where most of the instrumentation is provided by the Wrecking Crew -- though Carl and Brian both play on the track -- and so there are saxophones, vibraphones, French horn, cor anglais, and multiple layers of twelve-string guitar: [Excerpt: The Beach Boys, "Kiss Me Baby"] Today had several hit singles on it -- "Dance, Dance, Dance", "When I Grow Up to be a Man", and their cover version of Bobby Freeman's "Do You Wanna Dance?" all charted -- but the big hit song on the album actually didn't become a hit in that version. "Help Me Ronda" was a piece of album filler with a harmonica part played by Billy Lee Riley, and was one of Al Jardine's first lead vocals on a Beach Boys record -- he'd only previously sung lead on the song "Christmas Day" on their Christmas album: [Excerpt: The Beach Boys, "Help Me Ronda"] While the song was only intended as album filler, other people saw the commercial potential in the song. Bruce Johnston was at this time still signed to Columbia records as an artist, and wasn't yet singing on Beach Boys records, and he recorded a version of the song with Terry Melcher as a potential single: [Excerpt: Bruce and Terry, "Help Me Rhonda"] But on seeing the reaction to the song, Brian decided to rerecord it as a single. Unfortunately, Murry Wilson turned up to the session. Murry had been fired as the group's manager by his sons the previous year, though he still owned the publishing company that published their songs. In the meantime, he'd decided to show his family who the real talent behind the group was by taking on another group of teenagers and managing and producing them. The Sunrays had a couple of minor hits, like "I Live for the Sun": [Excerpt: The Sunrays, "I Live for the Sun"] But nothing made the US top forty, and by this point it was clear, though not in the way that Murry hoped, who the real talent behind the group *actually* was. But he turned up to the recording session, with his wife in tow, and started trying to produce it: [Excerpt: Beach Boys and Murry Wilson "Help Me Rhonda" sessions] It ended up with Brian physically trying to move his drunk father away from the control panel in the studio, and having a heartbreaking conversation with him, where the twenty-two-year-old who is recovering from a nervous breakdown only a few months earlier sounds calmer, healthier, and more mature than his forty-seven-year-old father: [Excerpt: Beach Boys and Murry Wilson, "Help Me Rhonda" sessions] Knowing that this was the family dynamic helps make the comedy filler track on the next album, "I'm Bugged at My Old Man", seem rather less of a joke than it otherwise would: [Excerpt: The Beach Boys, "I'm Bugged at My Old Man"] But with Murry out of the way, the group did eventually complete recording "Help Me Rhonda" (and for those of you reading this as a blog post rather than listening to the podcast, yes they did spell it two different ways for the two different versions), and it became the group's second number one hit: [Excerpt: The Beach Boys, "Help Me, Rhonda"] As well as Murry Wilson, though, another figure was in the control room then -- Loren Daro (who at the time went by his birth surname, but I'm going to refer to him throughout by the name he chose).  You can hear, on the recording, Brian Wilson asking Daro if he could "turn him on" -- slang that was at that point not widespread enough for Wilson's parents to understand the meaning. Daro was an agent working for the William Morris Agency, and he was part of a circle of young, hip, people who were taking drugs, investigating mysticism, and exploring new spiritual ideas. His circle included the Byrds -- Daro, like Roger McGuinn, later became a follower of Subud and changed his name as a result -- as well as people like the songwriter and keyboard player Van Dyke Parks, who will become a big part of this story in subsequent episodes, and Stephen Stills, who will also be turning up again. Daro had introduced Brian to cannabis, in 1964, and in early 1965 he gave Brian acid for the first time -- one hundred and twenty-five micrograms of pure Owsley LSD-25. Now, we're going to be looking at acid culture quite a lot in the next few months, as we get through 1966 and 1967, and I'll have a lot more to say about it, but what I will say is that even the biggest proponents of psychedelic drug use tend not to suggest that it is a good idea to give large doses of LSD in an uncontrolled setting to young men recovering from a nervous breakdown. Daro later described Wilson's experience as "ego death" -- a topic we will come to in a future episode, and not considered entirely negative -- and "a beautiful thing". But he has also talked about how Wilson was so terrified by his hallucinations that he ran into the bedroom, locked the door, and hid his head under a pillow for two hours, which doesn't sound so beautiful to me. Apparently after those two hours, he came out of the bedroom, said "Well, that's enough of that", and was back to normal. After that first trip, Wilson wrote a piece of music inspired by his psychedelic experience. A piece which starts like this, with an orchestral introduction very different from anything else the group had released as a single: [Excerpt: The Beach Boys, "California Girls"] Of course, when Mike Love added the lyrics to the song, it became about far more earthly and sensual concerns: [Excerpt: The Beach Boys, "California Girls"] But leaving the lyrics aside for a second, it's interesting to look at "California Girls" musically to see what Wilson's idea of psychedelic music -- by which I mean specifically music inspired by the use of psychedelic drugs, since at this point there was no codified genre known as psychedelic music or psychedelia -- actually was. So, first, Wilson has said repeatedly that the song was specifically inspired by "Jesu, Joy of Man's Desiring" by Bach: [Excerpt: Bach, "Jesu, Joy of Man's Desiring"] And it's odd, because I see no real structural or musical resemblance between the two pieces that I can put my finger on, but at the same time I can totally see what he means. Normally at this point I'd say "this change here in this song relates to this change there in that song", but there's not much of that kind of thing here -- but I still. as soon as I read Wilson saying that for the first time, more than twenty years ago, thought "OK, that makes sense". There are a few similarities, though. Bach's piece is based around triplets, and they made Wilson think of a shuffle beat. If you remember *way* back in the second episode of the podcast, I talked about how one of the standard shuffle beats is to play triplets in four-four time. I'm going to excerpt a bit of recording from a YouTube drum tutorial (which I'll link in the liner notes) showing that kind of shuffle: [Excerpt: "3 Sweet Triplet Fills For Halftime Shuffles & Swung Grooves- Drum Lesson" , from https://www.youtube.com/watch?v=2CwlSaQZLkY ] Now, while Bach's piece is in waltz time, I hope you can hear how the DA-da-da DA-da-da in Bach's piece may have made Wilson think of that kind of shuffle rhythm. Bach's piece also has a lot of emphasis of the first, fifth, and sixth notes of the scale -- which is fairly common, and not something particularly distinctive about the piece -- and those are the notes that make up the bass riff that Wilson introduces early in the song: [Excerpt: The Beach Boys, "California Girls (track)"] That bass riff, of course, is a famous one. Those of you who were listening to the very earliest episodes of the podcast might remember it from the intros to many, many, Ink Spots records: [Excerpt: The Ink Spots, "We Three (My Echo, My Shadow, and Me)"] But the association of that bassline to most people's ears would be Western music, particularly the kind of music that was in Western films in the thirties and forties. You hear something similar in "The Trail of the Lonesome Pine", as performed by Laurel and Hardy in their 1937 film Way Out West: [Excerpt: Laurel and Hardy, "The Trail of the Lonesome Pine"] But it's most associated with the song "Tumbling Tumbleweeds", first recorded in 1934 by the Western group Sons of the Pioneers, but more famous in their 1946 rerecording, made after the Ink Spots' success, where the part becomes more prominent: [Excerpt: The Sons of the Pioneers, "Tumbling Tumbleweeds"] That song was a standard of the Western genre, and by 1965 had been covered by everyone from Gene Autry to the Supremes, Bob Wills to Johnnie Ray, and it would also end up covered by several musicians in the LA pop music scene over the next few years, including Michael Nesmith and Curt Boettcher, both people part of the same general scene as the Beach Boys. The other notable thing about "California Girls" is that it's one of the first times that Wilson was able to use multi-tracking to its full effect. The vocal parts were recorded on an eight-track machine, meaning that Wilson could triple-track both Mike Love's lead vocal and the group's backing vocals. With Johnston now in the group -- "California Girls" was his first recording session with them -- that meant that on the record there were eighteen voices singing, leading to some truly staggering harmonies: [Excerpt: The Beach Boys, "California Girls (Stack-O-Vocals)"] So, that's what the psychedelic experience meant to Brian Wilson, at least -- Bach, orchestral influences, using the recording studio to create thicker vocal harmony parts, and the old West. Keep that in the back of your mind for the present, but it'll be something to remember in eleven episodes' time. "California Girls" was, of course, another massive hit, reaching number three on the charts. And while some Beach Boys fans see the album it was included on, Summer Days... And Summer Nights!, as something of a step backward from the sophistication of Today!, this is a relative thing. It's very much of a part with the music on the earlier album, and has many wonderful moments, with songs like "Let Him Run Wild" among the group's very best. But it was their next studio album that would cement the group's artistic reputation, and which would regularly be acclaimed by polls of critics as the greatest album of all time -- a somewhat meaningless claim; even more than there is no "first" anything in music, there's no "best" anything. The impulse to make what became Pet Sounds came, as Wilson has always told the story, from hearing the Beatles album Rubber Soul. Now, we've not yet covered Rubber Soul -- we're going to look at that, and at the album that came after it, in three episodes' time -- but it is often regarded as a major artistic leap forward for the Beatles. The record Wilson heard, though, wasn't the same record that most people nowadays think of when they think of Rubber Soul. Since the mid-eighties, the CD versions of the Beatles albums have (with one exception, Magical Mystery Tour) followed the tracklistings of the original British albums, as the Beatles and George Martin intended. But in the sixties, Capitol Records were eager to make as much money out of the Beatles as they could. The Beatles' albums generally had fourteen songs on, and often didn't include their singles. Capitol thought that ten or twelve songs per album was plenty, and didn't have any aversion to putting singles on albums. They took the three British albums Help!, Rubber Soul, and Revolver, plus the non-album "Day Tripper"/"We Can Work It Out" single and Ken Thorne's orchestral score for the Help! film, and turned that into four American albums -- Help!, Rubber Soul, Yesterday and Today, and Revolver. In the case of Rubber Soul, that meant that they removed four tracks from the British album -- "Drive My Car", "Nowhere Man", "What Goes On" and "If I Needed Someone" -- and added two songs from the British version of Help!, "I've Just Seen a Face" and "It's Only Love". Now, I've seen some people claim that this made the American Rubber Soul more of a folk-rock album -- I may even have said that myself in the past -- but that's not really true. Indeed, "Nowhere Man" and "If I Needed Someone" are two of the Beatles' most overtly folk-rock tracks, and both clearly show the influence of the Byrds. But what it did do was remove several of the more electric songs from the album, and replace them with acoustic ones: [Excerpt: The Beatles, "I've Just Seen a Face"] This, completely inadvertently, gave the American Rubber Soul lineup a greater sense of cohesion than the British one. Wilson later said "I listened to Rubber Soul, and I said, 'How could they possibly make an album where the songs all sound like they come from the same place?'" At other times he's described his shock at hearing "a whole album of only good songs" and similar phrases. Because up to this point, Wilson had always included filler tracks on albums, as pretty much everyone did in the early sixties. In the American pop music market, up to the mid sixties, albums were compilations of singles plus whatever random tracks happened to be lying around. And so for example in late 1963 the Beach Boys had released two albums less than a month apart -- Surfer Girl and Little Deuce Coupe. Given that Brian Wilson wrote or co-wrote all the group's original material, it wasn't all that surprising that Little Deuce Coupe had to include four songs that had been released on previous albums, including two that were on Surfer Girl from the previous month. It was the only way the group could keep up with the demand for new product from a company that had no concept of popular music as art. Other Beach Boys albums had included padding such as generic surf instrumentals, comedy sketches like "Cassius" Love vs. "Sonny" Wilson, and in the case of The Beach Boys Today!, a track titled "Bull Session With the Big Daddy", consisting of two minutes of random chatter with the photographer Earl Leaf while they all ate burgers: [Excerpt: The Beach Boys and Earl Leaf, "Bull Session With the Big Daddy"] This is not to attack the Beach Boys. This was a simple response to the commercial pressures of the marketplace. Between October 1962 and November 1965, they released eleven albums. That's about an album every three months, as well as a few non-album singles. And on top of that Brian had also been writing songs during that time for Jan & Dean, the Honeys, the Survivors and others, and had collaborated with Gary Usher and Roger Christian on songs for Muscle Beach Party, one of American International Pictures' series of Beach Party films. It's unsurprising that not everything produced on this industrial scale was a masterpiece. Indeed, the album the Beach Boys released directly before Pet Sounds could be argued to be an entire filler album. Many biographies say that Beach Boys Party! was recorded to buy Brian time to make Pet Sounds, but the timelines don't really match up on closer investigation. Beach Boys Party! was released in November 1965, before Brian ever heard Rubber Soul, which came out later, and before he started writing the material that became Pet Sounds. Beach Boys Party! was a solution to a simple problem -- the group were meant to deliver three albums that year, and they didn't have three albums worth of material. Some shows had been recorded for a possible live album, but they'd released a live album in 1964 and hadn't really changed their setlist very much in the interim. So instead, they made a live-in-the-studio album, with the conceit that it was recorded at a party the group were holding. Rather than the lush Wrecking Crew instrumentation they'd been using in recent months, everything was played on acoustic guitars, plus some bongos provided by Wrecking Crew drummer Hal Blaine and some harmonica from Billy Hinsche of the boy band Dino, Desi, and Billy, whose sister Carl Wilson was shortly to marry. The album included jokes and false starts, and was overlaid with crowd noise, to give the impression that you were listening to an actual party where a few people were sitting round with guitars and having fun. The album consisted of songs that the group liked and could play without rehearsal -- novelty hits from a few years earlier like "Alley Oop" and "Hully Gully", a few Beatles songs, and old favourites like the Everly Brothers hit "Devoted to You" -- in a rather lovely version with two-part harmony by Mike and Brian, which sounds much better in a remixed version released later without the party-noise overdubs: [Excerpt: The Beach Boys, "Devoted to You (remix)"] But the song that defined the album, which became a massive hit, and which became an albatross around the band's neck about which some of them would complain for a long time to come, didn't even have one of the Beach Boys singing lead. As we discussed back in the episode on "Surf City", by this point Jan and Dean were recording their album "Folk 'n' Roll", their attempt at jumping on the folk-rock bandwagon, which included the truly awful "The Universal Coward", a right-wing answer song  to "The Universal Soldier" released as a Jan Berry solo single: [Excerpt: Jan Berry, "The Universal Coward"] Dean Torrence was by this point getting sick of working with Berry, and was also deeply unimpressed with the album they were making, so he popped out of the studio for a while to go and visit his friends in the Beach Boys, who were recording nearby. He came in during the Party sessions, and everyone was suggesting songs to perform, and asked Dean to suggest something. He remembered an old doo-wop song that Jan and Dean had recorded a cover version of, and suggested that. The group had Dean sing lead, and ran through a sloppy version of it, where none of them could remember the words properly: [Excerpt: The Beach Boys, "Barbara Ann"] And rather incredibly, that became one of the biggest hits the group ever had, making number two on the Billboard chart (and number one on other industry charts like Cashbox), number three in the UK, and becoming a song that the group had to perform at almost every live show they ever did, together or separately, for at least the next fifty-seven years. But meanwhile, Brian had been working on other material. He had not yet had his idea for an album made up entirely of good songs, but he had been experimenting in the studio. He'd worked on a handful of tracks which had pointed in new directions. One was a single, "The Little Girl I Once Knew": [Excerpt: The Beach Boys, "The Little Girl I Once Knew"] John Lennon gave that record a very favourable review, saying "This is the greatest! Turn it up, turn it right up. It's GOT to be a hit. It's the greatest record I've heard for weeks. It's fantastic." But the record only made number twenty -- a perfectly respectable chart placing, but nowhere near as good as the group's recent run of hits -- in part because its stop-start nature meant that the record had "dead air" -- moments of silence -- which made DJs avoid playing it, because they believed that dead air, even only a second of it here and there, would make people tune to another station. Another track that Brian had been working on was an old folk song suggested by Alan Jardine. Jardine had always been something of a folkie, of the Kingston Trio variety, and he had suggested that the group might record the old song "The Wreck of the John B", which the Kingston Trio had recorded. The Trio's version in turn had been inspired by the Weavers' version of the song from 1950: [Excerpt: The Weavers, "The Wreck of the John B"] Brian had at first not been impressed, but Jardine had fiddled with the chord sequence slightly, adding in a minor chord to make the song slightly more interesting, and Brian had agreed to record the track, though he left the instrumental without vocals for several months: [Excerpt: The Beach Boys, "Sloop John B (instrumental)"] The track was eventually finished and released as a single, and unlike "The Little Girl I Once Knew" it was a big enough hit that it was included on the next album, though several people have said it doesn't fit. Lyrically, it definitely doesn't, but musically, it's very much of a piece with the other songs on what became Pet Sounds: [Excerpt: The Beach Boys, "Sloop John B"] But while Wilson was able to create music by himself, he wasn't confident about his ability as a lyricist. Now, he's not a bad lyricist by any means -- he's written several extremely good lyrics by himself -- but Brian Wilson is not a particularly articulate or verbal person, and he wanted someone who could write lyrics as crafted as his music, but which would express the ideas he was trying to convey. He didn't think he could do it himself, and for whatever reason he didn't want to work with Mike Love, who had co-written the majority of his recent songs, or with any of his other collaborators. He did write one song with Terry Sachen, the Beach Boys' road manager at the time, which dealt obliquely with those acid-induced concepts of "ego death": [Excerpt: The Beach Boys, "Hang on to Your Ego"] But while the group recorded that song, Mike Love objected vociferously to the lyrics. While Love did try cannabis a few times in the late sixties and early seventies, he's always been generally opposed to the use of illegal drugs, and certainly didn't want the group to be making records that promoted their use -- though I would personally argue that "Hang on to Your Ego" is at best deeply ambiguous about the prospect of ego death.  Love rewrote some of the lyrics, changing the title to "I Know There's an Answer", though as with all such bowdlerisation efforts he inadvertently left in some of the drug references: [Excerpt: The Beach Boys, "I Know There's an Answer"] But Wilson wasn't going to rely on Sachen for all the lyrics. Instead he turned to Tony Asher. Asher was an advertising executive, who Wilson probably met through Loren Daro -- there is some confusion over the timeline of their meeting, with some sources saying they'd first met in 1963 and that Asher had introduced Wilson to Daro, but others saying that the introductions went the other way, and that Daro introduced Asher to Wilson in 1965. But Asher and Daro had been friends for a long time, and so Wilson and Asher were definitely orbiting in the same circles. The most common version of the story seems to be that Asher was working in Western Studios, where he was recording a jingle - the advertising agency had him writing jingles because he was an amateur songwriter, and as he later put it nobody else at the agency knew the difference between E flat and A flat. Wilson was also working in the studio complex, and Wilson dragged Asher in to listen to some of the demos he was recording -- at that time Wilson was in the habit of inviting anyone who was around to listen to his works in progress. Asher chatted with him for a while, and thought nothing of it, until he got a phone call at work a few weeks later from Brian Wilson, suggesting the two write together. Wilson was impressed with Asher, who he thought of as very verbal and very intelligent, but Asher was less impressed with Wilson. He has softened his statements in recent decades, but in the early seventies he would describe Wilson as "a genius musician but an amateur human being", and sharply criticise his taste in films and literature, and his relationship with his wife. This attitude seems at least in part to have been shared by a lot of the people that Wilson was meeting and becoming influenced by. One of the things that is very noticeable about Wilson is that he has no filters at all, and that makes his music some of the most honest music ever recorded. But that same honesty also meant that he could never be cool or hip. He was -- and remains -- enthusiastic about the things he likes, and he likes things that speak to the person he is, not things that fit some idea of what the in crowd like. And the person Brian Wilson is is a man born in 1942, brought up in a middle-class suburban white family in California, and his tastes are the tastes one would expect from that background. And those tastes were not the tastes of the hipsters and scenesters who were starting to become part of his circle at the time. And so there's a thinly-veiled contempt in the way a lot of those people talked about Wilson, particularly in the late sixties and early seventies. Wilson, meanwhile, was desperate for their approval, and trying hard to fit in, but not quite managing it. Again, Asher has softened his statements more recently, and I don't want to sound too harsh about Asher -- both men were in their twenties, and still  trying to find their place in the world, and I wouldn't want to hold anyone's opinions from their twenties against them decades later. But that was the dynamic that existed between them. Asher saw himself as something of a sophisticate, and Wilson as something of a hick in contrast, but a hick who unlike him had created a string of massive hit records. And Asher did, always, respect Wilson's musical abilities. And Wilson in turn looked up to Asher, even while remaining the dominant partner, because he respected Asher's verbal facility. Asher took a two-week sabbatical from his job at the advertising agency, and during those two weeks, he and Wilson collaborated on eight songs that would make up the backbone of the album that would become Pet Sounds. The first song the two worked on was a track that had originally been titled "In My Childhood". Wilson had already recorded the backing track for this, including the sounds of bicycle horns and bells to evoke the feel of being a child: [Excerpt: The Beach Boys, "You Still Believe in Me (instrumental track)"] The two men wrote a new lyric for the song, based around a theme that appears in many of Wilson's songs -- the inadequate man who is loved by a woman who is infinitely superior to him, who doesn't understand why he's loved, but is astonished by it. The song became "You Still Believe in Me": [Excerpt: The Beach Boys, "You Still Believe in Me"] That song also featured an instrumental contribution of sorts by Asher. Even though the main backing track had been recorded before the two started working together, Wilson came up with an idea for an intro for the song, which would require a particular piano sound. To get that sound, Wilson held down the keys on a piano, while Asher leaned into the piano and plucked the strings manually. The result, with Wilson singing over the top, sounds utterly lovely: [Excerpt: The Beach Boys, "You Still Believe in Me"] Note that I said that Wilson and Asher came up with new lyrics together. There has been some slight dispute about the way songwriting credits were apportioned to the songs. Generally the credits said that Wilson wrote all the music, while Asher and Wilson wrote the lyrics together, so Asher got twenty-five percent of the songwriting royalties and Wilson seventy-five percent. Asher, though, has said that there are some songs for which he wrote the whole lyric by himself, and that he also made some contributions to the music on some songs -- though he has always said that the majority of the musical contribution was Wilson's, and that most of the time the general theme of the lyric, at least, was suggested by Wilson. For the most part, Asher hasn't had a problem with that credit split, but he has often seemed aggrieved -- and to my mind justifiably -- about the song "Wouldn't it Be Nice". Asher wrote the whole lyric for the song, though inspired by conversations with Wilson, but accepted his customary fifty percent of the lyrical credit. The result became one of the big hits from the album: [Excerpt: The Beach Boys, "Wouldn't It Be Nice?"] But -- at least according to Mike Love, in the studio he added a single line to the song: [Excerpt: The Beach Boys, "Wouldn't it Be Nice?"] When Love sued Brian Wilson in 1994, over the credits to thirty-five songs, he included "Wouldn't it Be Nice" in the list because of that contribution. Love now gets a third of the songwriting royalties, taken proportionally from the other two writers. Which means that he gets a third of Wilson's share and a third of Asher's share. So Brian Wilson gets half the money, for writing all the music, Mike Love gets a third of the money, for writing "Good night baby, sleep tight baby", and Tony Asher gets a sixth of the money -- half as much as Love -- for writing all the rest of the lyric. Again, this is not any one individual doing anything wrong – most of the songs in the lawsuit were ones where Love wrote the entire lyric, or a substantial chunk of it, and because the lawsuit covered a lot of songs the same formula was applied to borderline cases like “Wouldn't it Be Nice” as it was to clearcut ones like “California Girls”, where nobody disputes Love's authorship of the whole lyric. It's just the result of a series of reasonable decisions, each one of which makes sense in isolation, but which has left Asher earning significantly less from one of the most successful songs he ever wrote in his career than he should have earned. The songs that Asher co-wrote with Wilson were all very much of a piece, both musically and lyrically. Pet Sounds really works as a whole album better than it does individual tracks, and while some of the claims made about it -- that it's a concept album, for example -- are clearly false, it does have a unity to it, with ideas coming back in different forms. For example, musically, almost every new song on the album contains a key change down a minor third at some point -- not the kind of thing where the listener consciously notices that an idea has been repeated, but definitely the kind of thing that makes a whole album hold together. It also differs from earlier Beach Boys albums in that the majority of the lead vocals are by Brian Wilson. Previously, Mike Love had been the dominant voice on Beach Boys records, with Brian as second lead and the other members taking few or none. Now Love only took two main lead vocals, and was the secondary lead on three more. Brian, on the other hand, took six primary lead vocals and two partial leads. The later claims by some people that this was a Brian Wilson solo album in all but name are exaggerations -- the group members did perform on almost all of the tracks -- but it is definitely much more of a personal, individual statement than the earlier albums had been. The epitome of this was "I Just Wasn't Made For These Times", which Asher wrote the lyrics for but which was definitely Brian's idea, rather than Asher's. [Excerpt: The Beach Boys, "I Just Wasn't Made For These Times"] That track also featured the first use on a Beach Boys record of the electro-theremin, an electronic instrument invented by session musician Paul Tanner, a former trombone player with the Glenn Miller band, who had created it to approximate the sound of a Theremin while being easier to play: [Excerpt: The Beach Boys, "I Just Wasn't Made For These Times"] That sound would turn up on future Beach Boys records... But the song that became the most lasting result of the Wilson/Asher collaboration was actually one that is nowhere near as personal as many of the other songs on the record, that didn't contain a lot of the musical hallmarks that unify the album, and that didn't have Brian Wilson singing lead. Of all the songs on the album, "God Only Knows" is the one that has the most of Tony Asher's fingerprints on it. Asher has spoken in the past about how when he and Wilson were writing, Asher's touchstones were old standards like "Stella By Starlight" and "How Deep is the Ocean?", and "God Only Knows" easily fits into that category. It's a crafted song rather than a deep personal expression, but the kind of craft that one would find in writers like the Gershwins, every note and syllable perfectly chosen: [Excerpt: The Beach Boys, "God Only Knows"] One of the things that is often wrongly said about the song is that it's the first pop song to have the word "God" in the title. It isn't, and indeed it isn't even the first pop song to be called "God Only Knows", as there was a song of that name recorded by the doo-wop group the Capris in 1954: [Excerpt: The Capris, "God Only Knows"] But what's definitely true is that Wilson, even though he was interested in creating spiritual music, and was holding prayer sessions with his brother Carl before vocal takes, was reluctant to include the word in the song at first, fearing it would harm radio play. He was probably justified in his fears -- a couple of years earlier he'd produced a record called "Pray for Surf" by the Honeys, a girl-group featuring his wife: [Excerpt: The Honeys, "Pray For Surf"] That record hadn't been played on the radio, in part because it was considered to be trivialising religion. But Asher eventually persuaded Wilson that it would be OK, saying "What do you think we should do instead? Say 'heck only knows'?" Asher's lyric was far more ambiguous than it may seem -- while it's on one level a straightforward love song, Asher has always pointed out that the protagonist never says that he loves the object of the song, just that he'll make her *believe* that he loves her. Coupled with the second verse, which could easily be read as a threat of suicide if the object leaves the singer, it would be very, very, easy to make the song into something that sounds like it was from the point of view of a narcissistic, manipulative, abuser. That ambiguity is also there in the music, which never settles in a strong sense of key. The song starts out with an A chord, which you'd expect to lead to the song being in A, but when the horn comes in, you get a D# note, which isn't in that key, and then when the verse starts, it starts on an inversion of a D chord, before giving you enough clues that by the end of the verse you're fairly sure you're in the key of E, but it never really confirms that: [Excerpt: The Beach Boys, "God Only Knows (instrumental)"] So this is an unsettling, ambiguous, song in many ways. But that's not how it sounds, nor how Brian at least intended it to sound. So why doesn't it sound that way? In large part it's down to the choice of lead vocalist. If Mike Love had sung this song, it might have sounded almost aggressive. Brian *did* sing it in early attempts at the track, and he doesn't sound quite right either -- his vocal attitude is just... not right: [Excerpt: The Beach Boys, "God Only Knows (Brian Wilson vocal)"] But eventually Brian hit on getting his younger brother Carl to sing lead. At this point Carl had sung very few leads on record -- there has been some dispute about who sang what, exactly,  because of the family resemblance which meant all the core band members could sound a little like each other, but it's generally considered that he had sung full leads on two album tracks -- "Pom Pom Play Girl" and "Girl Don't Tell Me" -- and partial leads on two other tracks, covers of "Louie Louie" and "Summertime Blues". At this point he wasn't really thought of as anything other than a backing vocalist, but his soft, gentle, performance on "God Only Knows" is one of the great performances: [Excerpt: The Beach Boys, "God Only Knows (vocals)"] The track was actually one of those that required a great deal of work in the studio to create the form which now seems inevitable. Early attempts at the recording included a quite awful saxophone solo: [Excerpt: The Beach Boys "God Only Knows (early version)"] And there were a lot of problems with the middle until session keyboard player Don Randi suggested the staccato break that would eventually be used: [Excerpt: The Beach Boys, "God Only Knows"] And similarly, the tag of the record was originally intended as a mass of harmony including all the Beach Boys, the Honeys, and Terry Melcher: [Excerpt: The Beach Boys, "God Only Knows (alternate version with a capella tag)"] Before Brian decided to strip it right back, and to have only three voices on the tag -- himself on the top and the bottom, and Bruce Johnston singing in the middle: [Excerpt: The Beach Boys, "God Only Knows"] When Pet Sounds came out, it was less successful in the US than hoped -- it became the first of the group's albums not to go gold on its release, and it only made number ten on the album charts. By any objective standards, this is still a success, but it was less successful than the record label had hoped, and was taken as a worrying sign. In the UK, though, it was a different matter. Up to this point, the Beach Boys had not had much commercial success in the UK, but recently Andrew Loog Oldham had become a fan, and had become the UK publisher of their original songs, and was interested in giving them the same kind of promotion that he'd given Phil Spector's records. Keith Moon of the Who was also a massive fan, and the Beach Boys had recently taken on Derek Taylor, with his strong British connections, as their publicist. Not only that, but Bruce Johnston's old friend Kim Fowley was now based in London and making waves there. So in May, in advance of a planned UK tour set for November that year, Bruce Johnston and Derek Taylor flew over to the UK to press the flesh and schmooze. Of all the group members, Johnston was the perfect choice to do this -- he's by far the most polished of them in terms of social interaction, and he was also the one who, other than Brian, had the least ambiguous feelings about the group's new direction, being wholeheartedly in favour of it. Johnston and Taylor met up with Keith Moon, Lennon and McCartney, and other pop luminaries, and played them the record. McCartney in particular was so impressed by Pet Sounds and especially "God Only Knows", that he wrote this, inspired by the song, and recorded it even before Pet Sounds' UK release at the end of June: [Excerpt: The Beatles, "Here, There, and Everywhere"] As a result of Johnston and Taylor's efforts, and the promotional work by Oldham and others, Pet Sounds reached number two on the UK album charts, and "God Only Knows" made number two on the singles charts. (In the US, it was the B-side to "Wouldn't it Be Nice", although it made the top forty on its own merits too). The Beach Boys displaced the Beatles in the readers' choice polls for best band in the NME in 1966, largely as a result of the album, and Melody Maker voted it joint best album of the year along with the Beatles' Revolver. The Beach Boys' commercial fortunes were slightly on the wane in the US, but they were becoming bigger than ever in the UK. But a big part of this was creating expectations around Brian Wilson in particular. Derek Taylor had picked up on a phrase that had been bandied around -- enough that Murry Wilson had used it to mock Brian in the awful "Help Me, Rhonda" sessions -- and was promoting it widely as a truism. Everyone was now agreed that Brian Wilson was a genius. And we'll see how that expectation plays out over the next few weeks.. [Excerpt: The Beach Boys, "Caroline, No"]

In early 1966, the Beach Boys arrived at Los Angeles' Western Studios to hear what Brian Wilson had been up to. The touring version of the band – Mike Love, Bruce Johnston, Al Jardine and Dennis Wilson – had been on the road in Japan, singing surf hits like “Fun, Fun Fun” and “I Get Around.” Wilson, after suffering a mental breakdown on a plane the year before, stayed home, opting to work on instrumental tracks with studio musicians.What the band heard stunned them. Using instruments like harpsichord, harmonica, strings, and even sleigh bells, Wilson had written a spiritual album that captured heartbreak, insecurity, pain and sadness of entering adulthood. According to legend, the Beach Boys did not like "Pet Sounds", and its commercial failure led Brian Wilson to lose confidence in himself and descend further into mental illness. As the band explained to Rolling Stone in this week's episode of 500 Greatest Albums of All Time podcast, the truth is more a little more complicated.While "Pet Sounds" didn't sell, it inspired generations of musicians, beginning with the Beatles, who, according to George Martin, said ‘Sgt. Pepper's Lonely Hearts Club Band' “never would have happened” without "Pet Sounds". The album was voted number two on Rolling Stone's rebooted 500 Greatest Albums of All Time list, the spot it held in 2003.Rolling Stone's Jason Fine narrates the episode, which includes archival interviews with Brian Wilson, members of Wrecking Crew and more, as well as new interviews with several Beach Boys, plus members of Brian Wilson's touring band, who brought the music of Pet Sounds to life on stage for the first time in 2000. See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

We kick off our first ever Patreon livestream chat (called The 808th Chamber) with a dip into the mailbag, and more shouts for our alien playlist - 100 90s Songs You'd Play to An Alien to Define Hip Hop (full list https://www.crate808.com/alien-playlist). It got heated but the crew had such a laugh with the patrons, talking on songs from Masta Ace, Onyx, Souls of Mischief, Tupac and Digital Underground, De La Soul, Smif-N-Wessun, The Coup…and Montell Jordan?!!

The Beach Boys, in conjunction with Capitol/UME, have produced a one-hour radio special celebrating the August 27th release of Feel Flows, a box set that combines their timeless and often under appreciated albums, Sunflower and Surf's Up. This special features interviews with Brian Wilson, Mike Love, Al Jardine, Bruce Johnston, the late Carl and Dennis Wilson, plus Paul McCartney and David Crosby interspersed with songs off this collection, plus such hits as “Good Vibrations," "I Get Around," “God Only Knows" and "Surf's Up." Hosted by Dan Neer

The Beach Boys, in conjunction with Capitol/UME, have produced a one-hour radio special celebrating the August 27th release of Feel Flows, a box set that combines their timeless and often under appreciated albums, Sunflower and Surf's Up. This special features interviews with Brian Wilson, Mike Love, Al Jardine, Bruce Johnston, the late Carl and Dennis Wilson, plus Paul McCartney and David Crosby interspersed with songs off this collection, plus such hits as “Good Vibrations," "I Get Around," “God Only Knows" and "Surf's Up." Hosted by Dan Neer

The Beach Boys, in conjunction with Capitol/UME, have produced a one-hour radio special celebrating the August 27th release of Feel Flows, a box set that combines their timeless and often under appreciated albums, Sunflower and Surf's Up. This special features interviews with Brian Wilson, Mike Love, Al Jardine, Bruce Johnston, the late Carl and Dennis Wilson, plus Paul McCartney and David Crosby interspersed with songs off this collection, plus such hits as “Good Vibrations," "I Get Around," “God Only Knows" and "Surf's Up." Hosted by Dan Neer

The Beach Boys, in conjunction with Capitol/UME, have produced a one-hour radio special celebrating the August 27th release of Feel Flows, a box set that combines their timeless and often under appreciated albums, Sunflower and Surf's Up. This special features interviews with Brian Wilson, Mike Love, Al Jardine, Bruce Johnston, the late Carl and Dennis Wilson, plus Paul McCartney and David Crosby interspersed with songs off this collection, plus such hits as “Good Vibrations," "I Get Around," “God Only Knows" and "Surf's Up." Hosted by Dan Neer

This is me having a bit of fun, fun, fun with Mike Love. I love the beach Boys, have all my life, since I first heard, I Get Around, as a child. So meeting Mike was a joy, even if at first he was a tad condescending! But we got over that, and after this gig at which the interview was recorded, I rode in his limo back to New York City where we talked some more. But that will be another podcast, this one is about Good Vibrations etc, man! 

Celebrating their 50th, includes Do It Again, Little Honda, Heroes and Villians, Sail On Sailor, Surfin' Safari, Surfer Girl, Sloop John B, Wouldn't It Be Nice, California Girls, Help Me Ronda, Surfin USA, Kokomo, I Get Around, Little Deuce Coupe, 409, Barbara Ann, Fun Fun Fun, and Good Vibrations

Hello Friends! Today we're basking in the summer of 1964, with The Beach Boys' Summertime Magnus Opus, 'All Summer Long'. Featuring Classics such as I Get Around, Wendy, the title track, and Little Honda, this album was originally released in both mono and stereo mixes, but both versions suffered on two differing tracks. With a modern remix or two to help us out, which of these equally fantastic yet equally compromised mixes is the one to go for? Don't Back Down from the decision, let's find out! Happy Listening,  Frederick  Support the show and get hours of extra content at: https://www.patreon.com/backtomono Email the show at: backtomonoradio@gmail.com Listen to companion podcast Back to Mono: https://www.mixcloud.com/backtomonoradio/playlists/back-to-mono-complete/  Find me on Instagram @hypnoticfred Join the Facebook Community here: https://www.facebook.com/groups/backtomono

Part 11.     WITHOUT ME – EMINEM2.     HOT IN HERRE – NELLY3.     GET LOW – LIL JON AND THE EAST SIDE BOYZ4.     I NEED A GIRL PART 2 – DIDDY FT GINUWINE AND LOON5.     I GET AROUND – 2PAC6.     WORK OUT – J COLE7.     FOOLISH – ASHANTI8.     I KNOW WHAT YOU WANT – BUSTA RHYMES FT MARIAH CAREY9.     GOIN DOWN – YUNG JOC10.  U MAKE ME WANNA – USHERPart 21.     THIS IS HOW WE DO IT – MONTELL JORDAN2.     THIS DJ – WARREN G3.     NO DIGGITY – BLACKSTREET FT DR DRE4.     JUMPIN JUMPIN – DESTINY’S CHILD5.     ANGEL – SHAGGY6.     THIS IS WHY IM HOT REMIX – MIMS FT JUNIOR REID AND CHAM7.     WHATEVER YOU LIKE – T.I.8.     LOLLIPOP – LIL WAYNE

Tucker and Reed have pronoun trouble at the club, Porthos sounds red-alert, but Archer ignores him yet again, and gets a knock out. Hoshi meets somebody with great cunning linguistics, Travis is allergic to falls, and Phlox gets a rude awakening. Enterprise finally makes it to Risa! -Brought to you by Section 31- 00:00 Episode 78 00:30 Captain got shroomed coffee again 01:30 DOT Impact 02:00 Sorry about the singing 02:30 Fun mushrooms silently judging 03:40 Please do not fire celebratory phasers into the sky 04:20 Fireworks do not make Veterans, Tribbles, DOTS or pets, happy. 05:00 No Kids! 05:15 Virgins welcome 06:00 Age Test 06:50 Rainbow! 08:00 News - RIP John Erman - https://deadline.com/2021/06/john-erman-dead-star-trek-director-roots-mash-emmy-winner-1234783615/ 08:45 Simon Pegg - Galaxy Quest - https://trekmovie.com/2021/06/28/simon-pegg-working-on-galaxy-quest-tv-series/ 09:24 Star Trek's Queer Fluidity - https://www.startrek.com/news/how-star-treks-queer-fluidity-has-been-giving-fans-the-brighter-future-they-deserve 10:45 BOC 11:05 Klingon Bird of Prey Ornament https://www.hallmark.com/popminded/#events 12:40 Dave Bautista wants to be a Klingon - https://screenrant.com/star-trek-klingon-role-dave-bautista-interest/ 15:10 Star Trek: Enterprise - "Two Days and Two Nights" 16:00 Teaser - "Maybe I don't Know" 16:20 Got Pissed on? 17:45 Kellie Waymire's last Enterprise appearance 18:30 YOU NEED A VACATION 19:20 Tucker's shirt 19:40 Double Launch 20:05 Act I - "Fun, Fun, Fun" 21:20 Cunning Linguistics 21:45 Boner Twin Powers Activate 21:30 T'Pol's profile 23:00 Sleepy Phlox 23:17 Risa looks nice 23:30 Sween! 24:00 Nice Package 24:14 Door Switch Horgon 24:45 Reading Material 25:20 What would you do on Risa? 26:50 https://patreon.com/starfleetunderground 27:00 Porthos calls Red Alert, nobody notices 28:30 Crew Lottery Conspiracy Scam? 29:20 Telescope Voyeurism? 29:50 Dating Tips: Bring a puppy dog 31:00 Warning about ST:D 31:20 Always listen to you science officer 31:40 Pronouns 32:20 It's about the love...or...lust? 32:50 Look! Color! 33:14 Risa: Las Vegas? 33:30 They went to the wrong bar 33:55 Act II -"Strange World" 34:45 Magic Underwear 35:00 Marine Horror Story 35:45 She had me at: "Hi" - Ladies of the evening 37:00 What happened to the Boobs? 37:30 I'm the captain this week 38:40 Dating Tips: Speak in their native language 39:36 Act III - "I Get Around" 40:15 The Hangover 41:00 Moving Mountain and Alien Hospitals 41:55 They were gorgeous! 42:30 No crime here? 43:20 If you're gonna have straps and a pole... 44:07 Hoshi with the creepin' moves! 44:30 Kiwi 44:45 Show me what "Peach" means? 45:45 Wake the Doctor? 46:14 Act IV - "Good Vibrations" 47:44 0 to Fucking Crazy Bitch, real quick 48:10 He Scanned a Bitch! 49:10 Wake-up Call 49:45 I don't care what it tastes like! 50:40 Physical Comedy 51:20 The Feet matched the curtains? 51:50 Hoshi Scores! 53:12 Stink 53:44 Roofies for finger nails 54:45 Secret Logs 55:20 Title Theme: The Beach Boys 55:50 Manamana 56:15 Heather's Score 56:50 Getting Grabby 57:15 Other scores? 777 58:25 What ever happened to the Tandarans? 59:20 Next Week - Star Trek: Enterprise - "Shockwave Part 1" 1:01:20 - Thanks for listening! Now on Patreon! https://patreon.com/starfleetunderground Email: thecollective@starfleetunderground.com Website: https://starfleetunderground.com Twitter: twitter.com/StarfleetUnderG Instagram: instagram.com/starfleetunderground Facebook: facebook.com/starfleetunderground YouTube: www.youtube.com/Qtsy16 Explicit

Shock G, the co-founder of the band Digital Underground, also known as Humpty Hump, passed away on April 22nd and was laid to rest in Tampa this past Saturday. The 90’s were a special time for Bay Area hip hop and Shock G is known to be one of the architects. He is responsible for hit songs like, “The Humpty Dance”, “Doowhatchulike” and “Same Song.” He was also a gatekeeper for discovering new talent -- the most famous being Tupac -- and produced his breakthrough single, “I Get Around.” In addition to that, he produced and collaborated with Dr. Dre, Prince and the Luniz, to name a few. As his fans, friends and family mourn his death, we examine Shock G’s contributions to the Bay Area.

Episode 82: I Get Around w/ Rick Southers by Round Table Discussions

Enjoying the show? Please support BFF.FM with a donation. Playlist 1′26″ Doowutchyalike by Digital Underground on Sex Packets (Warner Bros) 1′39″ The Way We Swing by Digital Underground on Sex Packets (Tommy Boy) 7′56″ Underwater Rimes - Remix by Digital Underground on Sex Packets (Tommy Boy / Eurobond Records) 10′40″ Aquaboogie by Parliment on Motor-Booty Affair (Island Def Jam) 14′34″ Knee Deep by George Clinton on Greatest Funkin' Hits (Capitol Records) 19′53″ Kiss You Back by Digital Underground on Hi-Five: Digital Underground (Tommy Boy) 22′36″ Same Song by Digital Underground on This is an E.P. Release (Tommy Boy / Warner Bros. Records / T.N.T. Recording) 25′41″ I Get Around by 2Pac on Strickly 4 My N.I.G.G.A.Z.... (Interscope) 30′45″ Cali Boogie by Digital Underground on "Cuz A D.U. Party Don't Stop!" (Jake Records) 35′14″ Doo Woo You by Digital Underground on The Body Deep Syndrome (Tommy Boy) 41′45″ True Playas by The Whoridas on Whoridin' (Stay Heated Ent.) 43′52″ So Many Tears by 2Pac on Me Against The World (Interscope) 48′13″ Love Sign - Shock G silky remix by Prince on Crystal Ball (NPG Records) 53′15″ The Danger Zone by Digital Underground on Sex Packets (Tommy Boy) 56′27″ Love To Love You Baby by Donna Summer on Single (Oasis) 60′30″ Freaks Of The Industry by Digital Underground on Sex Packets (Tommy Boy / Eurobond Records) 63′59″ Rebel of the Underground by 2Pack on 2Pacalypse Now (Interscope) 70′56″ No Nose Job by Digital Underground on Sons of the P (Tommy Boy / T.N.T. Recording) 72′57″ Sons of the P by Digital Underground on Sons of the P (Tommy Boy) 84′05″ Unfunky UFO by Parliament on Mothership Connection (Casablanca) 85′35″ Gutfest '89 by Digital Underground on Sex Packets (Tommy Boy) 90′02″ Risky Business by Murs on The End of the Begining (Murs 316) 95′28″ People Over The Stairs by Digital Underground on The Lost FIles (Jake Records) 100′35″ Fuck the World by 2Pac on Me Against the World (Interscope) 104′35″ Tales of the Funky by Digital Undergroun on Sons of the P (Tommy Boy) Check out the full archives on the website.

(20:16) Shit you wasn’t outside for (39:34) Read Em and Weep (46:21) This Week in Hip Hop (1:04:29) Random Shit To Fill In Time (1:22:58) Nike Drops the Ball (1:29:58) Music By: “Doowhatchulike” - Digital Underground “Same Song” - Digital Underground feat. 2Pac “I Get Around” - 2Pac feat Digital Underground “The Humpty Dance” - Digital Underground “Feeling Good“ - Nina Simone

Heute reden wir über einen grandiosen Songwriter: ein innovativer Vordenker in Sachen Pop-Musik, aber leider auch einen Mann mit vielen Problemen, die ihm und seiner Kreativität immer wieder im Weg standen: Es geht um Brian Wilson. Die Beach Boys wären ohne ihn nicht vorstellbar gewesen - weder Surf-Songs wie "I Get Around" oder "Surfin' USA" und erst recht nicht das legendäre Album „Pet Sounds“. An einem Projekt hat er sich allerdings die Zähne ausgebissen und musste zum Schluss resignieren: Das legendäre, unvollendete Beach Boys-Album „Smile“. +++SONG-EMPFEHLUNGEN ZUR FOLGE: Beach Boys mit... "I Get Around", "God Only Knows", "Wouldn't It Be Nice", "I Know There's An Answer", "Good Vibrations", "Heroes And Villains" - und gerne auch mal reinhören in "The Smile Sessions", v.a. die Songs "Surf's Up", "Mrs. O'Learys Cow", "Our Prayer" und "Wind Chimes".

Last week on HPH we began the story of one Charlie Manson, a dude who desperately wanted to be a famous rockstar pimp, but would go on to become known for being the leader of a murderous group of hobos. In this week's episode we're taking a look at how he built up his family and how he hoped to exploit his budding friendship with a Beach Boy into his own magical musical career. Grab a drink and settle in for the sexy thrillride that is this episode of Hundred Proof History titled Charles Manson Part II: Round, Round, Get Around, I Get Around! --- Send in a voice message: https://anchor.fm/100proofhistory/message

Episode one hundred and seventeen of A History of Rock Music in Five Hundred Songs looks at “Don’t Worry Baby” by the Beach Boys, and how the years 1963 and 1964 saw a radical evolution in the sound and subject matter of the Beach Boys’ work. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a ten-minute bonus episode available, on “You’re No Good” by the Swinging Blue Jeans. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt’s irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ —-more—- ERRATA: I say that the Surfin’ USA album was released only four months after Surfin’ Safari. It was actually over five months. Also, for some reason I pronounce Nik Venet’s name as if he were French here. I believe that’s incorrect and his name is actually pronounced “Vennit”, though I’m not 100% sure. More importantly, I say that “Sweet Little Sixteen” wasn’t a big hit, when of course it made number two on the charts.    Resources There is no Mixcloud this week, because there were too many Beach Boys songs in the episode. I used many resources for this episode, most of which will be used in future Beach Boys episodes too. It’s difficult to enumerate everything here, because I have been an active member of the Beach Boys fan community for twenty-four years, and have at times just used my accumulated knowledge for this. But the resources I list here are ones I’ve checked for specific things. Becoming the Beach Boys by James B. Murphy is an in-depth look at the group’s early years, up to the end of 1963. Stephen McParland has published many, many books on the California surf and hot-rod music scenes, including several on both the Beach Boys and Gary Usher.  His books can be found at https://payhip.com/CMusicBooks Andrew Doe’s Bellagio 10452 site is an invaluable resource. Jon Stebbins’ The Beach Boys FAQ is a good balance between accuracy and readability. Stebbins also co-wrote The Lost Beach Boy, David Marks’ autobiography. And Philip Lambert’s Inside the Music of Brian Wilson is an excellent, though sadly out of print, musicological analysis of Wilson’s music from 1962 through 67. The Beach Boys’ Morgan recordings and all the outtakes from them can be found on this 2-CD set. As a good starting point for the Beach Boys’ music, I would recommend this budget-priced three-CD set, which has a surprisingly good selection of their material on it. Transcript Today, we’re going to take our second look at the Beach Boys, and we’re going to look at their evolution through 1963 and 1964, as they responded to the threat from the Beatles by turning to ever more sophisticated music, even as they went through a variety of personal crises. We’re going to look at a period in which they released four albums a year, had three lineup changes, and saw their first number one – and at a song which, despite being a B-side, regularly makes lists of the best singles of all time. We’re going to look at “Don’t Worry Baby”: [Excerpt: The Beach Boys, “Don’t Worry Baby”] When we left the Beach Boys, they had just secured a contract with Capitol Records, and released their first national hit, “Surfin’ Safari” backed with “409”. Since then we’ve also seen Brian Wilson working with several songwriting collaborators to write hits for Jan and Dean. But now we need to double back and look at what Brian was doing with his main band in that time.  After “Surfin’ Safari” was a hit, in one of the many incomprehensible decisions made in the Beach Boys’ career, Capitol decided to follow it up with an album track that Brian and Gary Usher had written, “Ten Little Indians”. That track, a surf-rock version of the nursery rhyme with the group chanting “Kemo sabe” in the backing vocals, made only number forty-nine on the charts, and frankly didn’t deserve to do even that well. Some have suggested, in fact that the record was released at the instigation of Murry Wilson, who was both Brian, Carl, and Dennis Wilson’s father and the group’s manager, as a way of weakening Usher’s influence with the group, as Murry didn’t want outsiders interfering in what he saw as a family business.  After realising the folly of deviating from the formula, the group’s next single followed the same pattern as their first hit. The B-side was “Shut Down”, a car song co-written by Brian and Roger Christian, who you may remember from the episode on “Surf City” as having been brought in to help Brian with car lyrics. “Shut Down” is most notable for being one of the very small number of Beach Boys records to feature an instrumental contribution from Mike Love, the group’s lead singer. His two-note saxophone solo comes in for some mockery from the group’s fans, but actually fits the record extremely well: [Excerpt: The Beach Boys, “Shut Down”]  “Shut Down” was a top thirty hit, but it was the A-side that was the really big hit. Just as their first hit had had a surf song on the A-side and a car song on the B-side, so did this single. Brian Wilson had been inspired by Chuck Berry’s “Sweet Little Sixteen”, and in particular the opening verse, which had just listed a lot of places: [Excerpt: Chuck Berry, “Sweet Little Sixteen”] He might well also have been thinking of Chubby Checker’s minor hit, “Twistin’ USA”, which listed places in America where people might be twisting: [Excerpt: Chubby Checker, “Twistin’ USA”] Brian had taken Berry’s melody and the place-name recitation, and with the help of his girlfriend’s brother, and some input from Mike Love, had turned it into a song listing all the places that people could be surfing — at least, they could “if everybody had an ocean”: [Excerpt: The Beach Boys, “Surfin’ USA”] “Surfin’ USA” became a huge hit, reaching number two on the charts, and later being named by Billboard as the biggest hit of 1963, but unfortunately for Brian that didn’t result in a financial windfall for him as the songwriter. As the song was so close to “Sweet Little Sixteen”, Chuck Berry got the sole songwriting credit — one of the only times in rock music history where a white artist has ripped off a Black one and the Black artist has actually benefited from it. And Berry definitely did benefit — “Sweet Little Sixteen”, while a great record, had never been a particularly big hit, while “Surfin’ USA” is to this day regularly heard on oldies radio and used in commercials and films. But that success meant extra work, and a lot of it. “Surfin’ USA” was the title song of the group’s second album, released in March 1963 only four months after their first, and they would release two more albums before the end of the year — Surfer Girl in September and Little Deuce Coupe in October. Not only were they having to churn out a quite staggering amount of product — though Little Deuce Coupe featured four songs recycled from their earlier albums — but Brian Wilson, as well as writing or co-writing all their original material, started producing the records as well, as he was unhappy with Nik Venet’s production on the first album. Not only that, but as well as making the Beach Boys’ records, Wilson was also writing for Jan and Dean, and he had also started making records on the side with Gary Usher, doing things like making a “Loco-Motion” knock-off, “The Revolution”, released under the name Rachel and the Revolvers: [Excerpt: Rachel and the Revolvers, “The Revolution”] According to some sources, Usher and Wilson found the singer for that track by the simple expedient of driving to Watts and asking the first Black teenage girl they saw if she could sing. Other sources say they hired a professional session singer — some say it was Betty Everett, but given that that’s the name of a famous singer from the period who lived in the Mid-West, I think people are confusing her for Betty Willis, another singer who gets named as a possibility, who lived in LA and who certainly sounds like the same person: [Excerpt: Betty Willis, “Act Naturally”] Wilson was also in the process of breaking up with his girlfriend and starting a relationship with a young woman named Marilyn Rovell. Rovell, along with her sister Diane, and their cousin, Ginger Blake, had formed a girl group, and Brian was writing and producing records for them as well: [Excerpt: The Honeys, “The One You Can’t Have”] As well as making all these records, the Beach Boys were touring intensively, to the point that on one day in June the group were actually booked in for four shows in the same day.  Unsurprisingly, Brian decided that this was too much for one person, and so in April 1963, just after the release of “Surfin’ USA”, he decided to quit touring with the group. Luckily, there was a replacement on hand. Alan Jardine had been a member of the Beach Boys on their very first single, but had decided to quit the group to go off to university. A year later, that seemed like a bad decision, and when Brian called him up and asked him to rejoin the band, he eagerly agreed. For now, Alan was not going to be a proper member of the group, but he would substitute for Brian on the group’s tour of the Midwest that Spring, and on many of the shows they performed over the summer — he could play the bass, which was the instrument that Brian played on stage, and he could sing Brian’s parts, and so while the Beach Boys still officially consisted of Brian, Carl, and Dennis Wilson, Mike Love, and David Marks, the group that was on tour was Carl, Dennis, Mike, David, and Alan, though Brian would sometimes appear for important shows. Jardine also started recording with the group, though he would not get credited on the covers of the first couple of albums on which he appeared. This made a huge change to the sound of the Beach Boys in the studio, as Jardine playing bass allowed Brian Wilson to play keyboards, while Jardine also added to the group’s vocal harmonies. And this was a major change. Up to this point, the Beach Boys’ records had had only rudimentary harmonies. While Brian was an excellent falsetto singer, and Mike a very good bass, the other three members of the group were less accomplished. Carl would grow to be one of the great vocalists of all time, but at this point was still in his early teens and had a thin voice. Dennis’ voice was also a little thin at this point, and he was behind the drum kit, which meant he didn’t get to sing live, and David Marks was apparently not allowed to sing on the records at all, other than taking a single joint lead with Carl on the first album. With the addition of Jardine, Brian now had another singer as strong as himself and Love, and the Surfer Girl album, the first one on which Jardine appears, sees Brian expanding from the rather rudimentary vocal arrangements of the first two albums to something that incorporates a lot more of the influence of the Four Freshmen. You can hear this most startlingly on “In My Room”. This is one of the first songs on which Jardine took part in the studio, though he’s actually not very audible in the vocal arrangement, which instead concentrates on the three brothers. “In My Room” is a major, major, step forward in the group’s sound, in the themes that would appear in their songwriting for the next few years, and in the juxtaposition of the lyrical theme and the musical arrangement.  The song’s lyrics, written by Gary Usher but inspired by Wilson’s experiences, are about solitude, and the song starts out with Brian singing alone, but then Brian moves up to the third note of the scale and Carl comes in under him, singing the note Brian started on. Then they both move up again, Brian to the fifth and Carl to the third, with Dennis joining in on the note that Brian had started on, before Mike and Alan finally also join in. Brian is singing about being alone, but he has his family with him, supporting him:  [Excerpt: The Beach Boys, “In My Room”] This new lineup of the group, with Alan augmenting the other five, might even have lasted, except for a chain of events that started on David Marks’ fifteenth birthday. Murry Wilson, who was still managing the group at this point, had never liked the idea of someone from outside the family being an equal member, and was particularly annoyed at David because Murry had tried to have an affair with David’s mother, which hadn’t worked out well for him.  But then on Marks’ fifteenth birthday, he and Dennis Wilson both caught a sexually transmitted infection from the same sex worker, and when Murry Wilson found this out — as he had to, as he needed to pay their doctor’s bills — he became furious and started screaming at the whole group.  At that point, David had had enough. His mother had been telling him that he was the real talent in the group and he didn’t need those Wilsons, and as a fifteen-year-old kid he didn’t have the understanding to realise that this might not be entirely true. He said “OK, I quit”. At first, the rest of the group thought that he was joking, and even he wasn’t at all sure that he wanted to leave the group altogether. He remained in the band for the next month, but Murry Wilson kept reminding his sons that Marks had quit and that they’d all heard him, and refused to speak directly to him — anything that Murry wanted to say to David, he said to Carl, who passed the message on.  And even though the rest of the group definitely wanted David to stay — especially Brian, who liked having the freedom not to go out on tour, and Carl, who had been the one who’d lobbied to bring his friend into the group in the first place — David was still, as the youngest member, the only one who didn’t sing, and the only one not part of the family, regarded by the others as somewhat lesser than the rest of the band.  David became increasingly frustrated, especially when they were recording the Little Deuce Coupe album. That album was made up entirely of songs about cars, and the group were so short of material that the album ended up being filled out with four songs from earlier albums, including two from the Surfer Girl album released only the previous month. Yet when David tried to persuade Brian to have the group record his song “Kustom Kar Show”, Brian told David that he wasn’t ready to be writing songs for the group.  All this, plus pressure from David’s parents to make him more of a focal point of the group, led to his resignation eventually being accepted, and backdated to the original date he quit. He played his last show with the group on October the fifth 1963, and then formed his own band, the Marksmen, who signed to A&M:  [Excerpt: Dave and the Marksmen, “Kustom Kar Show”] There have been rumours that Murry Wilson threatened DJs that the Beach Boys wouldn’t co-operate with them if they played Marksmen records, but in truth, listening to the records the Marksmen made during their two years of existence, it’s quite obvious why they weren’t played — they were fairly shoddy-sounding garage rock records, with little to commend them. Indeed, they actually sound somewhat better now than they would have done at the time — some of Marks’ flatter and more affectless vocals prefigure the sound of some punk singers, but not in a way that would have had any commercial potential in 1963. Meanwhile, the Beach Boys continued, with Alan Jardine buying a Stratocaster and switching to rhythm guitar, and Brian Wilson resigning himself to having to perform live, at least at the moment, and returning to his old role on the bass. Jardine was now, for publicity purposes, a full member of the group, though he would remain on a salary rather than an equal partner for many years — Murry Wilson didn’t want to make the same mistake with him that he had with Marks. And there was still the constant need for new material, which didn’t let up. Brian’s songwriting was progressing at a furious pace, and that can be seen nowhere better than on “The Warmth of the Sun”, a song he wrote, with Love writing the lyrics, around the time of the Kennedy assassination — the two men have differed over the years over whether it was written the night before or the night after the assassination. “The Warmth of the Sun” is quite staggeringly harmonically sophisticated. We’ve talked before in this podcast about the standard doo-wop progression — the one, minor sixth, minor second, fifth progression that you get in about a million songs: [demonstrates] “The Warmth of the Sun” starts out that way — its first two chords are C, Am, played in the standard arpeggiated way one expects from that kind of song: [demonstrates] You’d expect from that  that the song would go C, Am, Dm, G or C, Am, F, G. But instead of moving to Dm or F, as one normally would, the song moves to E flat, and *starts the progression over*, a minor third up, so you have: [demonstrates] It then stops that progression after two bars, moves back to the Dm one would expect from the original progression, and stays there for twice as long as normal, before moving on to the normal G — and then throwing in a G augmented at the end, which is a normal G chord but with the D note raised to E flat, so it ties in to that original unexpected chord change. And it does all this *in the opening line of the song*: [Excerpt: The Beach Boys, “The Warmth of the Sun”] This is harmonic sophistication on a totally different order from anything else that was being done in teen pop music at the time — it was far closer to the modern jazz harmonies of the Four Freshmen that Brian loved than to doo-wop. The new five-piece lineup of the group recorded that on January the first, 1964, and on the same day they recorded a song that combined two of Brian’s other big influences. “Fun Fun Fun” had lyrics by Mike Love — some of his wittiest — and starts out with an intro taken straight from “Johnny B. Goode”: [Excerpt: The Beach Boys, “Fun Fun Fun”] But while the rest of the track keeps the same feel as the Chuck Berry song, the verse goes in a different harmonic direction, and actually owes a lot to “Da Doo Ron Ron”. Instead of using a blues progression, as Berry normally would, the verse uses the same I-IV-I-V progression that “Da Doo Ron Ron”‘s chorus does, but uses it to very different effect: [Excerpt: The Beach Boys, “Fun Fun Fun”] That became the group’s fourth top ten hit, and made number five on the charts — but the group suddenly had some real competition. At numbers one, two, and three were the Beatles. Brian Wilson realised that he needed to up his game if he was going to compete, and he did. In April 1964 he started working on a new single. By this time, while the Beach Boys themselves were still playing most of the instruments, Brian was bringing in additional musicians to augment them, and expanding his instrumental palette. The basic track was the core members of the band — Carl playing both lead and rhythm guitar, Alan playing bass, and Dennis playing drums, with Brian on keyboards — but there were two further bass players, Glen Campbell and Ray Pohlman, thickening the sound on six-string bass, plus two saxophones, and Hal Blaine adding percussion.  And the main instrument providing chordal support wasn’t guitar or organ, as it usually had been, but a harpsichord, an instrument Brian would use a lot over the next few years: [Excerpt: The Beach Boys, “I Get Around (backing track)”] The recording session for that backing track was also another breaking point for the band. Murry Wilson, himself a frustrated songwriter and producer, was at the session and kept insisting that there was a problem with the bassline. Eventually, Brian had enough of his father’s interference, and fired him as the band’s manager. Murry would continue to keep trying to interfere in his children’s career, but this was the point at which the Beach Boys finally took control over their own futures. A few days later, they reconvened in the studio to record the vocals for what would become their first number one hit: [Excerpt: The Beach Boys, “I Get Around”] It’s fascinating to see that even this early in the group’s career, and on one of their biggest, summeriest hits, there’s already a tension in the lyrics, a sense of wanting to move on — “I’m getting bugged driving up and down the same old strip/I’ve got to find a new place where the kids are hip”. The lyrics are Love’s, but as is so often the case with Brian Wilson’s collaborations, Love seems to have been expressing something that Wilson was feeling at the time. The Beach Boys had risen to the challenge from the Beatles, in a way that few other American musicians could, and “I Get Around” was good enough that it made the top ten in the UK, and became a particular favourite in the Mod subculture in London. The group would only become more popular over the next few years in the UK, a new place where the kids were hip. “I Get Around” is a worthy classic, but the B-side, “Don’t Worry Baby”, is if anything even better. It had been recorded in January, and had already been released on their Shut Down vol 2 album in March. It had originally been intended for the Ronettes, and was inspired by “Be My Baby”, which had astonished Brian Wilson when it had been released a few months earlier. He would later recall having to pull over to the side of the road when he first heard the drum intro to that record: [Excerpt: The Ronettes, “Be My Baby”] Brian would play that record over and over, on repeat, for days at a time, and would try to absorb every nuance of the record and its production, and he tried to come up with something that could follow it. Wilson took the basic rhythm and chord sequence of the song, plus melodic fragments like the line “Be my little baby”, and reworked them into a song that clearly owes a lot to its inspiration, but which stands on its own: [Excerpt: The Beach Boys, “Don’t Worry Baby”] Phil Spector turned the song down, and so the Beach Boys recorded it themselves, and I have to say that this was only a good thing — Ronnie Spector recorded a solo version of it many decades later, and it’s a fine performance, but the lyric misses something when it’s sung by a woman rather than a man. That lyric was by Roger Christian, and in it we see the tension between the more emotional themes that Wilson wanted to explore and the surf and car lyrics that had made up the majority of their singles to this point. The lyric is ostensibly about a car race, and indeed it seems to be setting up precisely the kind of situation that was common in teen tragedy records of the period. The protagonist sings “I guess I should have kept my mouth shut when I started to brag about my car,  but I can’t back down now because I pushed the other guys too far”, and the whole lyric is focused on his terror of an upcoming race.  This seems intended to lead to the kind of situation that we see in “Dead Man’s Curve”, or “Tell Laura I Love Her”, or in another teen tragedy song we’ll be looking at in a couple of weeks, with the protagonist dead in a car crash. But instead, this is short-circuited. The protagonist’s fears are allayed by his girlfriend: [Excerpt: The Beach Boys, “Don’t Worry Baby”] What we have here is someone trying to deal with a particular kind of anxiety brought about by what we now refer to as toxic masculinity. The protagonist has been showing off about his driving skills in front of his peers, and has now found himself in a situation that he can’t cope with. He’s saved by a figure we’ll see a lot more of in Brian’s songs, whoever the lyricist, the supernaturally good woman who understands the protagonist and loves him despite, or because of, his faults, even though she’s too good for him. Obviously, one can point to all sorts of reasons why this figure might be considered problematic — the idea that the man is unable to deal with his own emotional problems without a woman fixing him — but there’s an emotional truth to it that one doesn’t get in much music of the era, and even if it’s a somewhat flawed view of gender relations, it speaks to a very particular kind of insecurity at the inability to live up to traditional masculine roles, and is all the more affecting when it’s paired with the braggadocio of the A-side. The combination means we see the bragging and posturing on the A-side as just a facade, covering over the real emotional fragility of the narrator. Each side reinforces the other, and the combination is one of the most perfect pairings ever released as a single. “Don’t Worry Baby”, released as “I Get Around”’s B-side, made the charts in its own right peaking at number twenty-four. The B-side to the next single further elaborated on the themes of “Don’t Worry Baby”: [Excerpt: The Beach Boys, “She Knows Me Too Well”] This repurposing of the emotional and musical style of girl-group songs to deal with the emotional vulnerability that comes from acknowledging and attempting to process toxic masculinity is something that few other songwriters were capable of at this point – only some of John Lennon’s work a couple of years later comes close to dealing with this very real area of the emotional landscape, and Lennon, like Wilson, often does so by using the figure of the perfect woman who will save the protagonist. In 1964, the group once again released four albums – Shut Down vol.2, All Summer Long, a live album, and a Christmas album – and they also did most of the work on yet another album, The Beach Boys Today!, which would be released in early 1965. As these recordings progressed, Brian Wilson was more and more ambitious, both in terms of the emotional effect of the music and his arrangements, increasingly using session musicians to augment the group, and trying for a variant on Phil Spector’s production style, but one which emphasised gentle fragility rather than sturm und drang. Possibly the greatest track he created in 1964 ended up not being used by the Beach Boys, though, but was given to Glen Campbell: [Excerpt: Glen Campbell, “Guess I’m Dumb”] Campbell got given that track because of an enormous favour he’d done the group. The mental strain of touring had finally got too much for Brian, and in December, on a plane to Texas, he’d had a breakdown, screaming on the plane and refusing to get off. Eventually, they coaxed him off the plane, and he’d managed to get through that night’s show, but had flown back to LA straight after. Campbell, who was a session guitarist who had played on a number of the Beach Boys’ recordings, and had a minor career as a singer at this point, had flown out at almost no notice and for the next five months he replaced Brian on stage for most of their shows, before the group got a permanent replacement in. Brian Wilson had retired from the road, and the hope was that by doing so, he would reduce the strain on himself enough that he could keep writing and producing for the group without making his mental health worse. And for a while, at least, that seemed to be how it worked out. We’ll take a look at the results in a few weeks’ time.

Episode one hundred and seventeen of A History of Rock Music in Five Hundred Songs looks at "Don't Worry Baby" by the Beach Boys, and how the years 1963 and 1964 saw a radical evolution in the sound and subject matter of the Beach Boys' work. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a ten-minute bonus episode available, on "You're No Good" by the Swinging Blue Jeans. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ ----more---- ERRATA: I say that the Surfin' USA album was released only four months after Surfin' Safari. It was actually over five months. Also, for some reason I pronounce Nik Venet's name as if he were French here. I believe that's incorrect and his name is actually pronounced “Vennit”, though I'm not 100% sure. More importantly, I say that "Sweet Little Sixteen" wasn't a big hit, when of course it made number two on the charts.    Resources There is no Mixcloud this week, because there were too many Beach Boys songs in the episode. I used many resources for this episode, most of which will be used in future Beach Boys episodes too. It's difficult to enumerate everything here, because I have been an active member of the Beach Boys fan community for twenty-four years, and have at times just used my accumulated knowledge for this. But the resources I list here are ones I've checked for specific things. Becoming the Beach Boys by James B. Murphy is an in-depth look at the group's early years, up to the end of 1963. Stephen McParland has published many, many books on the California surf and hot-rod music scenes, including several on both the Beach Boys and Gary Usher.  His books can be found at https://payhip.com/CMusicBooks Andrew Doe's Bellagio 10452 site is an invaluable resource. Jon Stebbins' The Beach Boys FAQ is a good balance between accuracy and readability. Stebbins also co-wrote The Lost Beach Boy, David Marks' autobiography. And Philip Lambert's Inside the Music of Brian Wilson is an excellent, though sadly out of print, musicological analysis of Wilson's music from 1962 through 67. The Beach Boys' Morgan recordings and all the outtakes from them can be found on this 2-CD set. As a good starting point for the Beach Boys' music, I would recommend this budget-priced three-CD set, which has a surprisingly good selection of their material on it. Transcript Today, we're going to take our second look at the Beach Boys, and we're going to look at their evolution through 1963 and 1964, as they responded to the threat from the Beatles by turning to ever more sophisticated music, even as they went through a variety of personal crises. We're going to look at a period in which they released four albums a year, had three lineup changes, and saw their first number one – and at a song which, despite being a B-side, regularly makes lists of the best singles of all time. We're going to look at “Don't Worry Baby”: [Excerpt: The Beach Boys, "Don't Worry Baby"] When we left the Beach Boys, they had just secured a contract with Capitol Records, and released their first national hit, "Surfin' Safari" backed with "409". Since then we've also seen Brian Wilson working with several songwriting collaborators to write hits for Jan and Dean. But now we need to double back and look at what Brian was doing with his main band in that time.  After "Surfin' Safari" was a hit, in one of the many incomprehensible decisions made in the Beach Boys' career, Capitol decided to follow it up with an album track that Brian and Gary Usher had written, "Ten Little Indians". That track, a surf-rock version of the nursery rhyme with the group chanting "Kemo sabe" in the backing vocals, made only number forty-nine on the charts, and frankly didn't deserve to do even that well. Some have suggested, in fact that the record was released at the instigation of Murry Wilson, who was both Brian, Carl, and Dennis Wilson's father and the group's manager, as a way of weakening Usher's influence with the group, as Murry didn't want outsiders interfering in what he saw as a family business.  After realising the folly of deviating from the formula, the group's next single followed the same pattern as their first hit. The B-side was "Shut Down", a car song co-written by Brian and Roger Christian, who you may remember from the episode on "Surf City" as having been brought in to help Brian with car lyrics. "Shut Down" is most notable for being one of the very small number of Beach Boys records to feature an instrumental contribution from Mike Love, the group's lead singer. His two-note saxophone solo comes in for some mockery from the group's fans, but actually fits the record extremely well: [Excerpt: The Beach Boys, "Shut Down"]  "Shut Down" was a top thirty hit, but it was the A-side that was the really big hit. Just as their first hit had had a surf song on the A-side and a car song on the B-side, so did this single. Brian Wilson had been inspired by Chuck Berry's "Sweet Little Sixteen", and in particular the opening verse, which had just listed a lot of places: [Excerpt: Chuck Berry, "Sweet Little Sixteen"] He might well also have been thinking of Chubby Checker's minor hit, "Twistin' USA", which listed places in America where people might be twisting: [Excerpt: Chubby Checker, "Twistin' USA"] Brian had taken Berry's melody and the place-name recitation, and with the help of his girlfriend's brother, and some input from Mike Love, had turned it into a song listing all the places that people could be surfing -- at least, they could "if everybody had an ocean": [Excerpt: The Beach Boys, "Surfin' USA"] "Surfin' USA" became a huge hit, reaching number two on the charts, and later being named by Billboard as the biggest hit of 1963, but unfortunately for Brian that didn't result in a financial windfall for him as the songwriter. As the song was so close to "Sweet Little Sixteen", Chuck Berry got the sole songwriting credit -- one of the only times in rock music history where a white artist has ripped off a Black one and the Black artist has actually benefited from it. And Berry definitely did benefit -- "Sweet Little Sixteen", while a great record, had never been a particularly big hit, while "Surfin' USA" is to this day regularly heard on oldies radio and used in commercials and films. But that success meant extra work, and a lot of it. "Surfin' USA" was the title song of the group's second album, released in March 1963 only four months after their first, and they would release two more albums before the end of the year -- Surfer Girl in September and Little Deuce Coupe in October. Not only were they having to churn out a quite staggering amount of product -- though Little Deuce Coupe featured four songs recycled from their earlier albums -- but Brian Wilson, as well as writing or co-writing all their original material, started producing the records as well, as he was unhappy with Nik Venet's production on the first album. Not only that, but as well as making the Beach Boys' records, Wilson was also writing for Jan and Dean, and he had also started making records on the side with Gary Usher, doing things like making a "Loco-Motion" knock-off, "The Revolution", released under the name Rachel and the Revolvers: [Excerpt: Rachel and the Revolvers, "The Revolution"] According to some sources, Usher and Wilson found the singer for that track by the simple expedient of driving to Watts and asking the first Black teenage girl they saw if she could sing. Other sources say they hired a professional session singer -- some say it was Betty Everett, but given that that's the name of a famous singer from the period who lived in the Mid-West, I think people are confusing her for Betty Willis, another singer who gets named as a possibility, who lived in LA and who certainly sounds like the same person: [Excerpt: Betty Willis, "Act Naturally"] Wilson was also in the process of breaking up with his girlfriend and starting a relationship with a young woman named Marilyn Rovell. Rovell, along with her sister Diane, and their cousin, Ginger Blake, had formed a girl group, and Brian was writing and producing records for them as well: [Excerpt: The Honeys, "The One You Can't Have"] As well as making all these records, the Beach Boys were touring intensively, to the point that on one day in June the group were actually booked in for four shows in the same day.  Unsurprisingly, Brian decided that this was too much for one person, and so in April 1963, just after the release of "Surfin' USA", he decided to quit touring with the group. Luckily, there was a replacement on hand. Alan Jardine had been a member of the Beach Boys on their very first single, but had decided to quit the group to go off to university. A year later, that seemed like a bad decision, and when Brian called him up and asked him to rejoin the band, he eagerly agreed. For now, Alan was not going to be a proper member of the group, but he would substitute for Brian on the group's tour of the Midwest that Spring, and on many of the shows they performed over the summer -- he could play the bass, which was the instrument that Brian played on stage, and he could sing Brian's parts, and so while the Beach Boys still officially consisted of Brian, Carl, and Dennis Wilson, Mike Love, and David Marks, the group that was on tour was Carl, Dennis, Mike, David, and Alan, though Brian would sometimes appear for important shows. Jardine also started recording with the group, though he would not get credited on the covers of the first couple of albums on which he appeared. This made a huge change to the sound of the Beach Boys in the studio, as Jardine playing bass allowed Brian Wilson to play keyboards, while Jardine also added to the group's vocal harmonies. And this was a major change. Up to this point, the Beach Boys' records had had only rudimentary harmonies. While Brian was an excellent falsetto singer, and Mike a very good bass, the other three members of the group were less accomplished. Carl would grow to be one of the great vocalists of all time, but at this point was still in his early teens and had a thin voice. Dennis' voice was also a little thin at this point, and he was behind the drum kit, which meant he didn't get to sing live, and David Marks was apparently not allowed to sing on the records at all, other than taking a single joint lead with Carl on the first album. With the addition of Jardine, Brian now had another singer as strong as himself and Love, and the Surfer Girl album, the first one on which Jardine appears, sees Brian expanding from the rather rudimentary vocal arrangements of the first two albums to something that incorporates a lot more of the influence of the Four Freshmen. You can hear this most startlingly on "In My Room". This is one of the first songs on which Jardine took part in the studio, though he's actually not very audible in the vocal arrangement, which instead concentrates on the three brothers. "In My Room" is a major, major, step forward in the group's sound, in the themes that would appear in their songwriting for the next few years, and in the juxtaposition of the lyrical theme and the musical arrangement.  The song's lyrics, written by Gary Usher but inspired by Wilson's experiences, are about solitude, and the song starts out with Brian singing alone, but then Brian moves up to the third note of the scale and Carl comes in under him, singing the note Brian started on. Then they both move up again, Brian to the fifth and Carl to the third, with Dennis joining in on the note that Brian had started on, before Mike and Alan finally also join in. Brian is singing about being alone, but he has his family with him, supporting him:  [Excerpt: The Beach Boys, "In My Room"] This new lineup of the group, with Alan augmenting the other five, might even have lasted, except for a chain of events that started on David Marks' fifteenth birthday. Murry Wilson, who was still managing the group at this point, had never liked the idea of someone from outside the family being an equal member, and was particularly annoyed at David because Murry had tried to have an affair with David's mother, which hadn't worked out well for him.  But then on Marks' fifteenth birthday, he and Dennis Wilson both caught a sexually transmitted infection from the same sex worker, and when Murry Wilson found this out -- as he had to, as he needed to pay their doctor's bills -- he became furious and started screaming at the whole group.  At that point, David had had enough. His mother had been telling him that he was the real talent in the group and he didn't need those Wilsons, and as a fifteen-year-old kid he didn't have the understanding to realise that this might not be entirely true. He said "OK, I quit". At first, the rest of the group thought that he was joking, and even he wasn't at all sure that he wanted to leave the group altogether. He remained in the band for the next month, but Murry Wilson kept reminding his sons that Marks had quit and that they'd all heard him, and refused to speak directly to him -- anything that Murry wanted to say to David, he said to Carl, who passed the message on.  And even though the rest of the group definitely wanted David to stay -- especially Brian, who liked having the freedom not to go out on tour, and Carl, who had been the one who'd lobbied to bring his friend into the group in the first place -- David was still, as the youngest member, the only one who didn't sing, and the only one not part of the family, regarded by the others as somewhat lesser than the rest of the band.  David became increasingly frustrated, especially when they were recording the Little Deuce Coupe album. That album was made up entirely of songs about cars, and the group were so short of material that the album ended up being filled out with four songs from earlier albums, including two from the Surfer Girl album released only the previous month. Yet when David tried to persuade Brian to have the group record his song "Kustom Kar Show", Brian told David that he wasn't ready to be writing songs for the group.  All this, plus pressure from David's parents to make him more of a focal point of the group, led to his resignation eventually being accepted, and backdated to the original date he quit. He played his last show with the group on October the fifth 1963, and then formed his own band, the Marksmen, who signed to A&M:  [Excerpt: Dave and the Marksmen, "Kustom Kar Show"] There have been rumours that Murry Wilson threatened DJs that the Beach Boys wouldn't co-operate with them if they played Marksmen records, but in truth, listening to the records the Marksmen made during their two years of existence, it's quite obvious why they weren't played -- they were fairly shoddy-sounding garage rock records, with little to commend them. Indeed, they actually sound somewhat better now than they would have done at the time -- some of Marks' flatter and more affectless vocals prefigure the sound of some punk singers, but not in a way that would have had any commercial potential in 1963. Meanwhile, the Beach Boys continued, with Alan Jardine buying a Stratocaster and switching to rhythm guitar, and Brian Wilson resigning himself to having to perform live, at least at the moment, and returning to his old role on the bass. Jardine was now, for publicity purposes, a full member of the group, though he would remain on a salary rather than an equal partner for many years -- Murry Wilson didn't want to make the same mistake with him that he had with Marks. And there was still the constant need for new material, which didn't let up. Brian's songwriting was progressing at a furious pace, and that can be seen nowhere better than on "The Warmth of the Sun", a song he wrote, with Love writing the lyrics, around the time of the Kennedy assassination -- the two men have differed over the years over whether it was written the night before or the night after the assassination. "The Warmth of the Sun" is quite staggeringly harmonically sophisticated. We've talked before in this podcast about the standard doo-wop progression -- the one, minor sixth, minor second, fifth progression that you get in about a million songs: [demonstrates] "The Warmth of the Sun" starts out that way -- its first two chords are C, Am, played in the standard arpeggiated way one expects from that kind of song: [demonstrates] You'd expect from that  that the song would go C, Am, Dm, G or C, Am, F, G. But instead of moving to Dm or F, as one normally would, the song moves to E flat, and *starts the progression over*, a minor third up, so you have: [demonstrates] It then stops that progression after two bars, moves back to the Dm one would expect from the original progression, and stays there for twice as long as normal, before moving on to the normal G -- and then throwing in a G augmented at the end, which is a normal G chord but with the D note raised to E flat, so it ties in to that original unexpected chord change. And it does all this *in the opening line of the song*: [Excerpt: The Beach Boys, "The Warmth of the Sun"] This is harmonic sophistication on a totally different order from anything else that was being done in teen pop music at the time -- it was far closer to the modern jazz harmonies of the Four Freshmen that Brian loved than to doo-wop. The new five-piece lineup of the group recorded that on January the first, 1964, and on the same day they recorded a song that combined two of Brian's other big influences. "Fun Fun Fun" had lyrics by Mike Love -- some of his wittiest -- and starts out with an intro taken straight from "Johnny B. Goode": [Excerpt: The Beach Boys, "Fun Fun Fun"] But while the rest of the track keeps the same feel as the Chuck Berry song, the verse goes in a different harmonic direction, and actually owes a lot to "Da Doo Ron Ron". Instead of using a blues progression, as Berry normally would, the verse uses the same I-IV-I-V progression that "Da Doo Ron Ron"'s chorus does, but uses it to very different effect: [Excerpt: The Beach Boys, "Fun Fun Fun"] That became the group's fourth top ten hit, and made number five on the charts -- but the group suddenly had some real competition. At numbers one, two, and three were the Beatles. Brian Wilson realised that he needed to up his game if he was going to compete, and he did. In April 1964 he started working on a new single. By this time, while the Beach Boys themselves were still playing most of the instruments, Brian was bringing in additional musicians to augment them, and expanding his instrumental palette. The basic track was the core members of the band -- Carl playing both lead and rhythm guitar, Alan playing bass, and Dennis playing drums, with Brian on keyboards -- but there were two further bass players, Glen Campbell and Ray Pohlman, thickening the sound on six-string bass, plus two saxophones, and Hal Blaine adding percussion.  And the main instrument providing chordal support wasn't guitar or organ, as it usually had been, but a harpsichord, an instrument Brian would use a lot over the next few years: [Excerpt: The Beach Boys, "I Get Around (backing track)"] The recording session for that backing track was also another breaking point for the band. Murry Wilson, himself a frustrated songwriter and producer, was at the session and kept insisting that there was a problem with the bassline. Eventually, Brian had enough of his father's interference, and fired him as the band's manager. Murry would continue to keep trying to interfere in his children's career, but this was the point at which the Beach Boys finally took control over their own futures. A few days later, they reconvened in the studio to record the vocals for what would become their first number one hit: [Excerpt: The Beach Boys, "I Get Around"] It's fascinating to see that even this early in the group's career, and on one of their biggest, summeriest hits, there's already a tension in the lyrics, a sense of wanting to move on -- "I'm getting bugged driving up and down the same old strip/I've got to find a new place where the kids are hip". The lyrics are Love's, but as is so often the case with Brian Wilson's collaborations, Love seems to have been expressing something that Wilson was feeling at the time. The Beach Boys had risen to the challenge from the Beatles, in a way that few other American musicians could, and "I Get Around" was good enough that it made the top ten in the UK, and became a particular favourite in the Mod subculture in London. The group would only become more popular over the next few years in the UK, a new place where the kids were hip. "I Get Around" is a worthy classic, but the B-side, "Don't Worry Baby", is if anything even better. It had been recorded in January, and had already been released on their Shut Down vol 2 album in March. It had originally been intended for the Ronettes, and was inspired by "Be My Baby", which had astonished Brian Wilson when it had been released a few months earlier. He would later recall having to pull over to the side of the road when he first heard the drum intro to that record: [Excerpt: The Ronettes, "Be My Baby"] Brian would play that record over and over, on repeat, for days at a time, and would try to absorb every nuance of the record and its production, and he tried to come up with something that could follow it. Wilson took the basic rhythm and chord sequence of the song, plus melodic fragments like the line "Be my little baby", and reworked them into a song that clearly owes a lot to its inspiration, but which stands on its own: [Excerpt: The Beach Boys, "Don't Worry Baby"] Phil Spector turned the song down, and so the Beach Boys recorded it themselves, and I have to say that this was only a good thing -- Ronnie Spector recorded a solo version of it many decades later, and it's a fine performance, but the lyric misses something when it's sung by a woman rather than a man. That lyric was by Roger Christian, and in it we see the tension between the more emotional themes that Wilson wanted to explore and the surf and car lyrics that had made up the majority of their singles to this point. The lyric is ostensibly about a car race, and indeed it seems to be setting up precisely the kind of situation that was common in teen tragedy records of the period. The protagonist sings "I guess I should have kept my mouth shut when I started to brag about my car,  but I can't back down now because I pushed the other guys too far", and the whole lyric is focused on his terror of an upcoming race.  This seems intended to lead to the kind of situation that we see in "Dead Man's Curve", or “Tell Laura I Love Her”, or in another teen tragedy song we'll be looking at in a couple of weeks, with the protagonist dead in a car crash. But instead, this is short-circuited. The protagonist's fears are allayed by his girlfriend: [Excerpt: The Beach Boys, "Don't Worry Baby"] What we have here is someone trying to deal with a particular kind of anxiety brought about by what we now refer to as toxic masculinity. The protagonist has been showing off about his driving skills in front of his peers, and has now found himself in a situation that he can't cope with. He's saved by a figure we'll see a lot more of in Brian's songs, whoever the lyricist, the supernaturally good woman who understands the protagonist and loves him despite, or because of, his faults, even though she's too good for him. Obviously, one can point to all sorts of reasons why this figure might be considered problematic -- the idea that the man is unable to deal with his own emotional problems without a woman fixing him -- but there's an emotional truth to it that one doesn't get in much music of the era, and even if it's a somewhat flawed view of gender relations, it speaks to a very particular kind of insecurity at the inability to live up to traditional masculine roles, and is all the more affecting when it's paired with the braggadocio of the A-side. The combination means we see the bragging and posturing on the A-side as just a facade, covering over the real emotional fragility of the narrator. Each side reinforces the other, and the combination is one of the most perfect pairings ever released as a single. "Don't Worry Baby", released as "I Get Around”'s B-side, made the charts in its own right peaking at number twenty-four. The B-side to the next single further elaborated on the themes of "Don't Worry Baby": [Excerpt: The Beach Boys, "She Knows Me Too Well"] This repurposing of the emotional and musical style of girl-group songs to deal with the emotional vulnerability that comes from acknowledging and attempting to process toxic masculinity is something that few other songwriters were capable of at this point – only some of John Lennon's work a couple of years later comes close to dealing with this very real area of the emotional landscape, and Lennon, like Wilson, often does so by using the figure of the perfect woman who will save the protagonist. In 1964, the group once again released four albums – Shut Down vol.2, All Summer Long, a live album, and a Christmas album – and they also did most of the work on yet another album, The Beach Boys Today!, which would be released in early 1965. As these recordings progressed, Brian Wilson was more and more ambitious, both in terms of the emotional effect of the music and his arrangements, increasingly using session musicians to augment the group, and trying for a variant on Phil Spector's production style, but one which emphasised gentle fragility rather than sturm und drang. Possibly the greatest track he created in 1964 ended up not being used by the Beach Boys, though, but was given to Glen Campbell: [Excerpt: Glen Campbell, "Guess I'm Dumb"] Campbell got given that track because of an enormous favour he'd done the group. The mental strain of touring had finally got too much for Brian, and in December, on a plane to Texas, he'd had a breakdown, screaming on the plane and refusing to get off. Eventually, they coaxed him off the plane, and he'd managed to get through that night's show, but had flown back to LA straight after. Campbell, who was a session guitarist who had played on a number of the Beach Boys' recordings, and had a minor career as a singer at this point, had flown out at almost no notice and for the next five months he replaced Brian on stage for most of their shows, before the group got a permanent replacement in. Brian Wilson had retired from the road, and the hope was that by doing so, he would reduce the strain on himself enough that he could keep writing and producing for the group without making his mental health worse. And for a while, at least, that seemed to be how it worked out. We'll take a look at the results in a few weeks' time.

American Forces Vietnam Network (AFVN) was created as a morale-boosting military radio station for servicemen and women in Vietnam. AFVN broadcast 24 hours a day, seven days a week for over 10 years; it began broadcasting on August 15, 1962 and ended in March of 1973. At the height of American involvement in the war, Armed Forces Vietnam Network served more than 500,000 fighting men and women at one time. Perhaps the best-known program became the morning "Dawn Buster" program, thanks to the popularity of the sign-on slogan "Gooooood Morning, Vietnam" (which was initiated by Adrian Cronauer (1965) and later became the basis for the film Good Morning, Vietnam (1987) starring Robin Williams). “Good Morning, Vietnam!” (the movie) earned Williams an Oscar nomination as best actor and was his breakout film performance. Among the notable people who were AFVN disc jockeys were "Scotty" Brink, Pat Sajak (Wheel of Fortune - TV), and Denny Woytek (now on WSRQ radio in Sarasota, Florida). ----- Join the conversation on Facebook at ----- https://www.facebook.com/profile.php?id=100008232395712 ---- or by email at ---- dannymemorylane@gmail.com ----- You’ll hear: 1) I Get Around by The Beach Boys 2) Nowhere To Run by Martha & The Vandellas 3) Game Of Love by Wayne Fontana & The Mindbenders 4) Sugar & Spice by The Searchers 5) Liar, Liar by The Castaways 6) I Got You (I Feel Good) by James Brown & The Famous Flames 7) Baby, Please Don't Go by Them 8) Danger Heartbreak Dead Ahead by The Marvelettes 9) Five O'Clock World by The Vogues 10) California Sun by The Rivieras 11) Ballad Of A Thin Man (Mr. Jones) by The Grass Roots 12) Don't Worry Baby by The Beach Boys 13) In The Midnight Hour by Wilson Pickett 14) It's Alright by Adam Faith 15) Yeah, Yeah by Georgie Fame & The Blue Flames 16) My Boyfriend's Back by The Angels 17) Puff (The Magic Dragon) by Peter, Paul And Mary 18) Get a Job by The Silhouettes 19) You Keep Me Hangin' On by The Supremes 20) Rawhide by Frankie Laine 21) The Warmth Of The Sun by The Beach Boys 22) What A Wonderful World by Louis Armstrong 23) Cast Your Fate To The Wind by Sounds Orchestral

PLAYLIST 3/4/21 - all cover songs for the first week of Membership Drive! The 50 Kaitenz - "Saturday Night" (Bay City Rollers) - '50 Kaitens No Gyai!!' The Spinoffs - "Stayin' Alive" (Bee Gees) - 'Stayin' Alive' Hextalls - "We Belong" (Pat Benatar) - 'Play with Heart' Fun Size - "Don't Stand" (Police) - 'Pop Secret' Pinhead Gunpowder - “Big Yellow Taxi” (Joni Mitchell) - ‘Jump Salty' 30 Foot Fall - "Still Rock n Roll to Me" (Billy Joel) - ‘ACME-183' Zoinks! - "Theme from The Greatest American Hero (Believe It or Not)" (Joey Scarbury) - 'Bad Move, Space Cadet' The Riplets - "Beat It" (Michael Jackson) - 'Rock' Ssssnakes – “Big Balls” (AC/DC) – ‘Kissss Thissss' Pinhead Circus – “Walking on Sunshine” (Katrina and The Waves) - ‘Fall in Love All Over Again' Leatherface – “In The Ghetto”(Elvis Presley) - ‘Fill Your Boots' Ken Yokoyama - "Kokomo" (Beach Boys) - 'Four' The Hotlines – “Fun Fun Fun” (Beach Boys) - splitw/ The Queers Tough - "I Get Around" (Beach Boys) - 'Four' D.O.A. - "It's Not Unusual" (Tom Jones) - 'It's Not Unusual...but It Sure is Ugly' Sloppy Seconds – “The Candy Man” (Sammy Davis Jr., et al) - ‘Destroyed' The Hymans - "Mrs. Robinson" (Simon and Garfunkel) - st C.J. Ramone - "Waiting for My Man" (Velvet Underground) - 'Reconquista' The Leeches - "I Need to Know" (Tom Petty) - 'Get Serious' Parasites – “There is a Light” (Smiths) - unreleased Osaka Popstar - "Man of Constant Sorrow" (traditional) - '...and The American Legends Of Punk' Snuff – “Don't Fear the Reaper” (Blue Oyster Cult) - ‘Six of One, Half a Dozen of the Other' The Mister T Experience - "Pleasant Valley Sunday" (Monkees) - 'Everyone's Entitled to Their Own Opinion' Dead Bars – “Hanging on the Telephone”(Nerves) - split w/ The Tim Version Gigantor - "Tainted Love" (Gloria Jones/Soft Cell) - 'Magic Bozo Spin' Jon Cougar Concentration Camp –“The Mob Rules” (Black Sabbath) - ‘Dead Wax: A Rad Girlfriend Records Compilation'

Finally, Tony and Nadia watch a key film for their three main audience segments: Italians, Sc*ent*l*gists, and People Committing Mail Fraud. It also makes no sense and led to probably our single bluest episode. Come throw ass with us. Our theme music is "Hey Alison!" by Jeff Rosenstock, distributed under a Creative Commons Attribution-Noncommercial-Share Alike 3.0 license, and available at quoteunquoterecords.com. Today’s outro music is The Beach Boys' "I Get Around" as covered by Beagleby

Enjoying the show? Please support BFF.FM with a donation. Playlist 0′00″ Keep It on the Real by 3X Krazy on Stacking Chips (Dollars and Spence Records) 2′42″ Wave The Flag by Mr. Lif on Vangarde (Fat Beats Records) 64′50″ Virus by Deltron 3030 on Deltron 3030 (75 Ark) 66′13″ Takin' These by The Coup on Genocide and Juice (Wild Pitch) 70′37″ Corner Story by Del The Funky Homsapien on Future Development (Hiero Imperium) 74′50″ 42nd Street by Kool Keith (Post Up Music) 78′32″ Blue Bird by RBL Posse on Ruthless By Law (The Rightway Productions) 84′01″ Garcia Vegas by 11/5 on Fiendin 4 tha Funk (FiveStar Ent.) 87′29″ Game Recognize Game by JT The Bigga Figga & Mac Mall on Playaz N the Game ( Get Low Digital) 89′48″ It's Raining Game (In Northern California) ft. Raphael Saadiq by Mac Dre (-) 1341′42″ Hurricane by The Click on Game Related (Zomba Recording) 1342′00″ Oaklandish by Too Short & E-40 on Ain't Gone Do It / Terms and Conditions (Empire) 1345′15″ MOB by Too Short; E-40 on Ain't Gone Do It / Terms and Conditions (Empire) 1347′42″ Hope I Don't Go Back by E-40 on The Element of Surprise (Zomba) 1350′50″ Players Holiday by Too Short on Top Doggs (Thump Records) 1354′13″ Rapper's Ball by E-40 on The Hall of Game (Zomba) 1357′59″ I Get Around by 2Pac on Strictly 4 My N.I.G.G.A.Z. (Interscope) 1364′29″ My Homebodys Chevy by Andre Nickatina & Mac Dre on A Tale of Two Andres ( -) 1369′12″ Oaktown - remix by Casual on Smash Rockwell Presents (Hiero Imperium) 1382′15″ San Francisco Anthem by San Quinn, Big Rich, & Boo Banga on Single (Get Low Recordz) 1392′31″ San Francisco Knights by People Under the Stairs on The Next Step ((Independent Release)) 1397′15″ No Regrets (feat. Del the Funky Homosapien) by Peplove on No Regrets (EP) (UnHerdUnScene) 1402′47″ Along With Me by A Plus on Grow Theory (Hieroglyphics Imperium) 1404′31″ Mind Right by Myka 9 on Mykology (SoundVise) 1407′45″ Storm Warning by Latyrx on Quannum Spectrum (Quannum Projects) 1411′04″ Bags of Millions (feat. Nef The Pharaoh & 50k) by Kafani (Ice King Music) 1421′35″ Go Crazy by Kamaiyah on No Explanations (Empire) 1423′35″ Hella Fun by P-Lo on Shine (Empire) Check out the full archives on the website.

Surf's up as the Lyric Boys dive into 10 of the wildest Beach Boys lyrics, touching upon root beer addiction, illegal street racing, a sadistic corn-stealing boat captain, WAP, Meatloaf the singer and meatloaf the loaf, the genius of Pet Sounds, and a dangerous Charles Manson encounter. Songs featured: Little Deuce Coupe, Be True To Your School, Pom Pom Play Girl, I'm So Young, Chug-A-Lug, She Knows Me Too Well, I Get Around, When I Grow Up (To Be A Man), California Girls, Sloop John B, Find the Lyric Boys online at www.TheLyricBoys.com. Facebook: https://www.facebook.com/thelyricboys Instagram: https://www.instagram.com/thelyricboys/ Tik Tok: https://www.tiktok.com/@thelyricboys Twitter: https://twitter.com/thelyricboys YouTube: https://www.youtube.com/channel/UCS6Xws01HxTY7PYQsAgO9Mw

The Beach Boys  are often regarded as one of the most prolific and influential American bands of all time. However, the group has has its fair share of missteps and controversies over the years. They found early commercial success with songs like "Surfin' USA" and "I Get Around"  and critical success with the album Pet Sounds. As time went on and the musical landscape changed, the band struggled to find their voice. Their follow up albums flopped commercially and critically, inner turmoil created division in the band, and rumor was that they were on the brink of breaking up.In 1971, The Beach Boys released Surf's Up , their most socially-aware and emotional album up to that point. Gone were the band's matching outfits and singing about girls and surfing, and in it's place were more downtempo tracks about the environment, protests, and taking good care of your feet.Writer and cultural critic Hanif Abdurraqib sits down (remotely) with us to discuss one of the weirder entries in the Beach Boys' discography. We talk about the sudden shift in image for the band, The Beach Boys' place in American pop music, and why they struggled to keep up with music trends. More on Hanif AbdurraqibPreorder Hanif's new book A Little Devil In America Hanif's incredible music project SixtyEight2OhFiveTwitter | InstagramMore on Surf's UpThat Time The Beach Boys Tried to Pull It Together for Surf's Up  (Ultimate Classic Rock)Surf's Up: The Socially Aware Album That Made The Beach Boy Cool Again (uDiscoverMusic)Rolling Stone's original review for Surf's UpShow Tracklisting (all songs from Surf's Up unless otherwise indicated):Feel FlowsDon't Go Near The WaterThe Beach Boys: I'll Be Home For ChristmasLong Promised RoadThe Beach Boys: Good VibrationsSurf's UpDon't Go Near The WaterThe Coasters: Riot in Cell Block No. 9Student Demonstration TimeA Day In The Life of A TreeDon't Go Near The WaterFeel FlowsLookin' At Tomorrow (A Welfare Song)Disney Girls (1957)Take A Load Off Your FeetFeel FlowsA Day In The Life Of A TreeBullion: God Only KnowsSly & The Family Stone: Just Like A BabyBill Withers: Hope She'll Be HappierHere is the Spotify playlist of as many songs as we can find on there.If you’re not already subscribed to Heat Rocks in Apple Podcasts, do it here!

Topics: Tupac death, Fugees, Set It Off, Moesha (Bonus Artist: hidingtobefound) http://afropopremix.com 1996 Snapshots 1.    President: Bill Clinton 2.    Jan - Whitewater scandal: U.S. First Lady Hillary Clinton testifies before a grand jury. 3.    Feb - Daniel Green is convicted of the murder of James Jordan, the father of basketball star Michael Jordan. 4.    Mar - Lyle and Erik Menendez are found guilty of first-degree murder for the shotgun killing of their parents. 5.    Apr - Chicago Bulls set a new NBA record for the most wins in a season, 70. 6.    May -? 7.    Jun - The Colorado Avalanche wins their first Stanley Cup in their first season based out of Denver and The Chicago Bulls win their fourth NBA Championship by defeating the Seattle Supersonics. 8.    July - The Centennial Olympic Park bombing at the 1996 Summer Olympics kills 2 and injures 111. 9.    Aug - Tiger Woods makes his professional PGA Tour debut. 10.    Sep - Tupac Shakur dies. 11.    Oct - The Fox News Channel is launched. 12.    Nov - Bill Clinton defeats Republican challenger Bob Dole to win his second term. 13.    Dec - Death of JonBenét Ramsey: A six-year-old beauty queen is beaten and strangled in the basement of her family's home in Boulder, Colorado; her body is found the following day. 14.    Open Comments: 15.    Music Snapshots 16.    #1 Macarena (Bayside Boys Mix), Los del Río 17.    #2 One Sweet Day, Mariah Carey and Boyz II Men 18.    #3 Because You Loved Me, Celine Dion 19.    Record of the Year: Change the World – Eric Clapton 20.    Album of the Year: Falling Into You – Celine Dion 21.    Song of the Year: Change the World 22.    Best New Artist: LeAnn Rimes 23.    Best Female R&B Vocal Performance: You're Makin' Me High – Toni Braxton 24.    Best Male R&B Vocal Performance: Your Secret Love – Luther Vandross 25.    Best R&B Performance by a Duo or Group with Vocal: Killing Me Softly – Fugees 26.    Best R&B Song: Exhale (Shoop Shoop), Babyface, songwriter (Whitney Houston) 27.    Best R&B Album: Words – The Tony Rich Project 28.    Best Rap Solo Performance: Hey Lover – LL Cool J 29.    Best Rap Performance by a Duo or Group: Tha Crossroads – Bone Thugs-N-Harmony 30.    Best Rap Album: The Score – Fugees 31.    Movie Snapshots 32.    #1 Independence Day 33.    #2 Twister 34.    #3 Mission: Impossible 35.    Notables: Don't Be a Menace to South Central While Drinking Your Juice in the Hood, The Birdcage, Fargo, A Thin Line Between Love and Hate, The Nutty Professor, Kazaam, Set It Off, Space Jam, Jerry Maguire. 36.    TV Snapshots 37.    #1 - ER 38.    #2 - Seinfeld 39.    #3 - Suddenly Susan 40.    Debuts: Moesha, The Daily Show, Kenan & Kel, The Steve Harvey Show, In The House, Malcolm & Eddie, Homeboys in Outer Space, The Jamie Foxx Show 41.    Economic Snapshots 42.    Income = 36.3k (Previously 36K) 43.    House = 118.2K (113) 44.    Car = 16.3k (15.5) 45.    Rent = 554(550) 46.    Harvard = 27.5k (26k) 47.    Movie = 4.42 (4.35) 48.    Gas = 1.22 (1.12) 49.    Stamp = .32 (-) 50.    Social Scene: Tupac Killed 51.    Childhood: Tupac Shakur, born Parish Crooks, was born on June 16, 1971, to Black Panther activist parents in New York City. Thirteen days later, his mother, Alice Faye Walker (Afeni Shakur), changed his name. The parents wanted to avoid him being targeted by Black Panther-affiliated enemies. His mother was imprisoned while she was pregnant with him. Tupac's father, Billy Garland, was also a Panther but lost contact with Afeni when Tupac was five years old. The rapper would not see his father again until he was 23 - I thought my father was dead all my life. 52.    Early Life: He had a difficult childhood, as he grew up in the company of criminals, militant activist, violence, and a drugged addicted mother with a transient lifestyle. Art became a constructive and safe escape. His first acting stint was in 1983 (@12 yrs. old) with the Harlem’s 127th StreetRepertory Ensemble when he performed in a play ‘A Raisin in the Sun’ at the Apollo Theater. In 1984, Tupac's family moved from New York City to Baltimore, Maryland.There he studied poetry, jazz, acting, and ballet at the Baltimore School for the Arts and befriended Jada Pinkett. The family later moved to Marin City, California, across the bay from Oakland, in 1988 (@17 yrs. old). They went to the home of a woman Afeni had been close to during her Black Panther days and lived in a poor housing complex, referred to as ‘the Jungle.’ 53.    Early Career: While attending high school he participated in a poetry workshop known as The Microphone Sessions, organized by Leila Steinberg, who would eventually become his first manager. She introduced 19-year-old Tupac to Atron Gregory, a manager for the World Class Wrekin Cru’ and tour manager for NWA, who had just returned to the Bay Area, started TNT Records, and quickly gained attention by signing Digital Underground.  Gregory matched Tupac with Digital Underground as a roadie and backup dancer. Tupac’s talent was soon recognized by the group, and he began rapping in some of their songs. He debuted on ‘Same Song,’ which was featured in the 1991 film Nothing But Trouble. (@20 yrs. old) 54.    Solo Career: He released his debut solo album ‘2Pacalypse Now’ in 1991. (Big hit - 'Brenda's Got a Baby') Also in 1991, Shakur filed a $10-million lawsuit against the Oakland Police Department for allegedly brutalizing him over jaywalking. The case was settled for about $43,000. (1992 - Juice, first starring role) His second album, ‘Strictly 4 My N.I.G.G.A.Z’ came out in 1993. It was more successful than its predecessor and contained the hits ‘Keep Ya Head Up’ and ‘I Get Around’. (1993 - Poetic Justice, co-starred with Janet Jackson) In 1994, he formed a group Thug Life and they released one album ‘Thug Life: Volume 1. (1994 - Above the Rim, Co-starred with Duane Martin) During this period he had several brushes with the law (he was associated with the shooting of a 6 yr. old Qa'id Walker-Teal in Marin City / shooting two policemen / various physical assaults) and was shot in an armed robbery case. After recovering from the shooting, he was sent to prison on a sexual assault charge. He released the album ‘Me Against the World’ in 1995 (@24) while serving his prison term. The album was an immediate hit and debuted at number one on the Billboard 200. 55.    Final Album: During 1995, while imprisoned, impoverished, and with his mother about to lose her house, Tupac had his wife get word to Marion Suge Knight, in Los Angeles, boss of the Death Row Records, at the time a verry successful company, and asked for a meeting. Tupac's mother received $15k, Suge paid Tupac's $1.4m bail, signed the rapper, and went to work on the album ‘All Eyez on Me’. The album was recorded in two weeks! In a matter of two weeks, Tupac recorded and completed the double-disc album, completing two out of three albums he owed Death Row. (The third release would end up being the posthumously released The Don Killuminati: The 7 Day Theory) Released in February of 1996, the album featured five singles and went multi-Platinum in just a few months after its release. 56.    Death: Seven months later, in September 1996, Tupac was killed in a drive-by shooting. He was 25 years old. 57.    Open Comments: 58.    Question: Confused young man or someone to be taken seriously? (What did he represent?) 59.    Music Scene: 60.    Black Songs in the Top 40 61.    #1 Macarena (Bayside Boys Mix), Los del Río 62.    #2 One Sweet Day, Mariah Carey and Boyz II Men 63.    #4 Nobody Knows, The Tony Rich Project 64.    #5 Always Be My Baby, Mariah Carey 65.    #6 Give Me One Reason, Tracy Chapman 66.    #7 Tha Crossroads, Bone Thugs-n-Harmony 67.    #9 You're Makin' Me High / Let It Flow, Toni Braxton 68.    #10 Twisted, Keith Sweat 69.    #11 C'mon N' Ride It (The Train), Quad City DJ's 70.    #14 Exhale (Shoop Shoop), Whitney Houston 71.    #16 Sittin' Up in My Room, Brandy 72.    #17 How Do U Want It / California Love, 2Pac featuring K-Ci and JoJo 73.    #20 Hey Lover, LL Cool J 74.    #21 Loungin, LL Cool J 75.    #23 Be My Lover, La Bouche 76.    #27 I Can't Sleep Baby (If I), R. Kelly 77.    #32 Not Gon' Cry, Mary J. Blige 78.    #33 Gangsta's Paradise, Coolio featuring L.V. 79.    #34 Only You, 112 featuring The Notorious B.I.G. and Mase 80.    #35 Down Low (Nobody Has to Know), R. Kelly featuring The Isley Brothers 81.    #36 You're the One, SWV 82.    #37 Sweet Dreams, La Bouche 83.    #38 Before You Walk Out of My Life / Like This and Like That, Monica 84.    #40 1, 2, 3, 4 (Sumpin' New), Coolio 85.    #42 No Diggity, Blackstreet featuring Dr. Dre 86.    Vote: 87.    Top RnB Albums 88.    Jan - Waiting to Exhale, Soundtrack / Various artists 89.    Feb - Str8 off tha Streetz of Muthaphukkin Compton, Eazy-E 90.    Mar - All Eyez on Me, 2Pac 91.    Mar - The Score, Fugees 92.    Apr - The Coming, Busta Rhymes 93.    Apr - The Resurrection, Geto Boys 94.    Jun - Gettin' It (Album Number Ten), Too Short 95.    Jun - Legal Drug Money, Lost Boyz 96.    Jun - The Nutty Professor, Soundtrack / Various artists 97.    Jul - Secrets, Toni Braxton 98.    Jul - Keith Sweat, Keith Sweat 99.    Jul - It Was Written, Nas 100.    Aug - Beats, Rhymes and Life, A Tribe Called Quest 101.    Sep - ATLiens, Outkast 102.    Sep - Home Again, New Edition 103.    Oct - Another Level, Blackstreet 104.    Nov - Bow Down, Westside Connection 105.    Nov - Ironman, Ghostface Killah 106.    Nov - The Don Killuminati: The 7 Day Theory, Makaveli 107.    Nov - Tha Doggfather, Snoop Dogg 108.    Dec - Hell on Earth, Mobb Deep 109.    Dec - Muddy Waters, Redman 110.    Vote: 111.    Featured Artist: The Fugees 112.    Lauryn Hill (@21 yrs. old in 1996) was born in 1975 to a high school teacher and computer expert in New Jersey. Her mother played piano and her father sang in nightclubs. Young Lauryn sang in church choirs, gospel groups and showed a strong voice. She loved '60s and '70s soul and by age thirteen, she was playing the amateur night showtime at the Apollo, doing a cover of Smokey Robinson's "Who's Loving You". Hill nabbed minor roles on television's As the World Turns and in the film Sister Act II: Back in the Habit. Her work with the Fugees began in 1987 in high school with friend Prakazrel Samuel Michel. 113.    "Pras" (@23 in 1996) was born in Brooklyn in 1972 and raised in New Jersey. He showed an early interest in music and attended Rutgers University and Yale University, pursuing a double major in Philosophy and Psychology. 114.    Wyclef Jean (@27 yrs. old) was born in 1969 in Haiti, the son of a minister. When he was nine, he moved to the projects of Brooklyn, and later New Jersey, where he took up guitar and the study of music. 115.    The trio formed in the late '80s, named themselves the Tranzlator Crew and used Hill's soap opera acting proceeds to pay for equipment. They toured the tri-state area and were signed to major label Ruffhouse/Columbia in 1993. Hill was still a minor. Shortly thereafter, they renamed themselves Fugees, a derisive slang term for refugees, and released a debut 12-inch Fugees (Tranzlator Crew) "Boof Baf" to no notable sales. 116.    Their 1994 debut LP Blunted on Reality, stylized in a fashion like A Tribe Called Quest, Poor Righteous Teachers, and Digable Planets, did better. However, it was the remixed versions of "Nappy Head (Mona Lisa)" and "Vocab" that earned the group another budget for a follow-up album. (Also, notable, in later interviews Pras would say that a married Wyclef and the underage Hill were having a clandestine relationship at the time) 117.    Combining a mix of conscious hip hp, soul, and reggae, with a homemade basement studio, sampled melodies, live guitars, bass, keys, "The Score" arrived in 1996, filling the void between gangsta and glitter. It became an instant classic, ultimately selling over 18 million copies. 118.    Open Comments: 119.    Internal "Affairs": In the summer of 1996, on the Smoking Grooves Tour, Hill met Rohan Marley, (one of Bob Marley's kids) and even though the former University of Miami football player was initially rebuffed, because Hill was still seeing Jean, , no one knew who the child really belonged to. 120.    In the summer of 1996 Hill had met Rohan Marley, a son of Bob Marley and a former University of Miami football player. Hill subsequently began a relationship with him, while still also involved with the married Wyclef. She soon became visibly pregnant. Marley and Hill's first child was born the following summer. 121.    Soon after Zion was born, she learned that Marley already had a wife and two children from another marriage. 122.    Amid newfound international fame and baby Daddy drama, Wyclef did not support Hill's solo desires (she had made appearances on Wyclef's solo project), thus leading to the group splitting up. 123.    Hill started work on The Miseducation of Lauryn Hill; blocking out Wyclef Jean from any type of production help after he had snubbed her. Her old-school takes on "Doo Wop (That Thing)" helped it rule the charts in 1998 and win five Grammy Awards, including Album of the Year, Best New Artist, Best Female R&B Vocal Performance, Best R&B Song, and Best R&B Album -- the most ever for a woman. 124.    Meanwhile, Hill was having more of Marley's children and becoming close with Brother Anthony, a spiritual adviser who studied the Bible with her several times per week. In 2001, she recorded an MTV Unplugged session where she broke down in tears and admitted to being deranged and emotionally unstable. Rolling Stone called the session "a public breakdown", though it debuted at number three on the Billboard 200 and went platinum. 125.    She has been a sporadic and reluctant public figure ever since. 126.    Question: Have you ever had an affair with a co-worker? How did it turn out? 127.    Movie Scene: Set It Off. [Directed by F. Gary Gray Action, Crime, Drama, Romance, Thriller. Starring Queen Latifah, Jada Pinkett, and Vivica A. Fox] 128.    Rotten Tomatoes, Critics Consensus: It may not boast an original plot, but Set It Off is a satisfying, socially conscious heist film thanks largely to fine performances from its leads. 129.    Emanuel Levy, Variety 11-1996: Influenced by "Thelma & Louise" and "Waiting to Exhale," F. Gary Gray's "Set It Off" is a well-crafted girls-n-the-hood actioner, with an acute social conscience and plenty of soul. A tale of female bonding and empowerment, this relevant film boasts a terrific cast, headed by Jada Pinkett and Queen Latifah in career-making performances. 130.    Stephen Holden, New York Times 11-1996: Just Trying to Get Even While They Get Rich. On the long list of Hollywood heist movies that make you root for its criminals to steal a million dollars and live happily ever after, F. Gary Gray's film ''Set It Off'' is one of the most poignantly impassioned. If this messy roller coaster of a film often seems to be going in several directions at once, it never for a second loses empathy for its quartet of black female bank robbers who grew up together in a Los Angeles housing project and earn meager wages working for a janitorial service... A pop psychologist might translate the story into a fable called ''Women Who Rob Banks and the Society That Hates Them.' 131.    Roger Ebert 11-1996: “Set It Off” is advertised as a thriller about four black women who rob banks. But it's a lot more than that. It creates a portrait of the lives of these women that's so observant and informed; it's like “Waiting to Exhale” with a strong jolt of reality. The movie surprised and moved me: I expected a routine action picture and was amazed how much I started to care about the characters. 132.    Kent, Entertainment Weekly 09-2019: Why Set It Off is an era-defining film that shouldn't be remade. We are clearly in the age of reboots and remakes, but the '90s heist film is irreplaceable. 133.    Question 1: Remake or Sequel? 134.    Question 2: Do we really want more black female action heroines/stories? (i.e., women of Black Panther, "Breaking In" movie, Berry, Valkyrie, Guardians...etc.) 135.    TV Scene: Moesha 136.    Screen Rant: No show lasts for six seasons without making a cultural impact; Moesha was nominated for 32 awards and won three: two NAACP Image Awards and one SHINE Award. The series was syndicated, and still airs around the world. Netflix picked up streaming rights to the series in 2020, which became available to US subscribers on August 1, 2020. As new viewers will discover, however, despite how influential the show was, it ends abruptly after a significant cliffhanger for the main character in the season 6 finale. Despite the recognition, the show steadily declined in ratings, leading to its cancelation. 137.    Moesha Mitchell went through quite the journey on Moesha. At the beginning of the series, Moesha was still dealing with her mother's death a few years prior and learning to come to terms with her new stepmother, Deirdre "Dee" Mitchel (Sheryl Lee Ralph) — who just happened to be the vice principal at Moesha's school. The final season sees Brandy experiencing the trials and tribulations of being a young adult, complete with an engagement to long-time on-again, off-again boyfriend Quinton "Q" Brooks (Fredro Starr) and attending college. The final episode ends with the reveal of a positive pregnancy test in Moesha's dorm — who it belongs to, however, is a mystery. Since the show never got another season, the storyline was never resolved. 138.    According to EW, at the time, UPN's plan was to address the pregnancy cliffhanger in the spin-off series The Parkers, which premiered on the network in 1999. The Parkers followed Moesha's "boy-crazy" friend Kimberly Ann "Kim" Parker as she navigated attending college with her mother, who has decided to enlist at the same time as her daughter. For unknown reasons, however, the planned resolution never took place, despite The Parkers running until 2005. With there being reports of a possible reboot series in the works, perhaps this Moesha storyline — as well as the question of what happened to Moesha's brother Myles, who disappeared in the finale — can finally be laid to rest." 139.    Question: Is it reboot worthy? / Is any classic black TV show reboot worthy? 140.    Vote: Best/most important/favorite pop culture item from 1996?

Credits:  1. Movie Magic Opening Theme Produced, Composed & Performed by Corey Gomez.  2. Cavatina (Theme from The Deer Hunter), performed by John Williams & composed by Stanley Myers. Label: EMI. 3. I Get Around, performed by The Beach Boys. Written by Mike Love & Brian Wilson. From Good Morning Vietnam OST. Label: A&M. See omnystudio.com/policies/listener for privacy information.

On this episode, DJ Skandalous breaks down three recent 2Pac related news - Money B of Digital Undergrounds speaks on 2Pac recording "I Get Around". - Throwback 2010 Interview with 2Pac Sound Engineer Dave Aron that worked on All Eyez On Me, Makaveli & Still I Rise albums! - Dave Aron speaks on Interscope Records Editing 2Pac's Songs & Removing his vocals, All Eyez On Me Sessions & MC Hammer recording music with 2Pac! --- Support this podcast: https://anchor.fm/2pacmusic/support

David Dobkins got back to his roots for Netflix's Eurovision Song Contest: The Story of Fire Saga, in which Will Ferrell and Rachel McAdams play an Icelandic musical duo who dream of winning Europe's continent-wide annual music competition.Dobkins got his first directing job on the video for Tupac Shakur's video for "I Get Around," and went on to shoot the Ridley Scott-produced Clay Pigeons, his debut film. From there, he worked with Owen Wilson and Jackie Chan on Shanghai Knights before scoring a massive hit with Wedding Crashers.Eurovision reunites him with McAdams, who plays Sigrit, one-half of the group Fire Saga. Dobkins said he had one rule when he signed on to Eurovision: "The music's gotta be great." See acast.com/privacy for privacy and opt-out information.

Tune in to hear Luke go off, Luke rap, Drew say "ham", and more!"I Get Around", 2Pac, Strictly 4 My N.I.G.G.A.Z., 1992. Luke's choice."Won't Get Fooled Again", The Who, Who's Next, 1971. Drew's choice."Teardrops on My Guitar", Taylor Swift, Taylor Swift, 2006.

ScenePodcast.com @djscene instagram | twitter | facebook 1) Naughty By Nature - O.P.P 2) Ini Kamoze - Here Comes The Hotstepper 3) 2pac - I Get Around (feat Digital Underground) 4) Jay Z - Money Ain't A Thang (feat JD) 5) Mariah Carey - Fantasy (feat ODB) 6) x 7) Slick Rick - Mona Lisa 8) x 9) Big Pun - Still Not A Player 10) x 11) Shanice - I Love Your Smile 12) x 13) Dr. Dre - The Next Episode (feat Snoop Dogg) 14) Mary J Blige - Real Love 15) x 16) A Tribe Called Quest - Electric Relaxation 17) A Tribe Called Quest - Check The Rhime 18) A Tribe Called Quest - Award Tour 19) Beastie Boys - Get It Together (2009 Digital Remaster) 20) Sublime - What I Got 21) Sugar Ray - Fly (feat Super Cat) 22) Spin Doctors - Two Princes 23) Smash Mouth - All Star 24) Rob Base & DJ EZ Rock - It Takes Two (radio edit) 25) Chubb Rock Treat Em Right (Cribb mix) 26) x 27) Corona - The Rhythm Of The Night 28) Blur - Song 2 29) Lenny Kravitz - Are You Gonna Go My Way 30) The Smashing Pumpkins - 1979

This definitive overview of the band and their music provides an unrivalled insight into the world of the Beach Boys. With powerful live performance footage as its backdrop – including Fun Fun Fun, I Get Around and Good Vibrations - the programmes also features fascinating archive interviews with Brian Wilson and his late brother Carl. In addition, a team of eminent musicologists and respected rock critics are on hand to unravel the secrets of the Beach Boys phenomenon; these include influential drummer Rod Gretsinger and producer/guitarist Les Davidson.Featuring highlights from: Surfin ‘USA, I Get Around, Help Me Rhonda, Do it again, California Girls and more...

Listen up, kids. Gary Dudak and Max Miller are finally going to learn about the birds and the bees as they take a microscopic look at the opening credits to the hit 1989 "family" comedy, "Look Who's Talking."   Follow Max: Instagram|Twitter Follow Gary: Instagram|Twitter   Links, as promised in the episode:  Look Who's Talking Opening Credits "I Get Around" cover performed live by The Red Hot Chili Peppers  Barbershop quartet cover of "I Get Around" by Forefront Laid back cover of "I Get Around" by Capybara Beatbox loop pedal cover of "I Get Around" by THePETEBOX Hilarious "shredded" version of "I Get Around" by The Beach Boys --  We hate to be those guys, but if you enjoyed the episode, please subscribe and leave a review wherever you can. And more importantly, spread the word. The more action the show gets the better. We want to continue to make these, and building an audience is the best way to make sure we'll be able to. 

Steve is preaching and quotes his favorite poet of all time, Tupac.  "I Get Around."  "How Do You Want It?"  "California Love."  Let's go.  Welcome to the ride! Learn more about your ad-choices at https://news.iheart.com/podcast-advertisers

Whether you’re celebrating Canada Day today or hurriedly getting work done in hopes of a four-day weekend beginning on the 4th of July, you’ve gotta make time for shazbazzar and JediShua before getting to work as the second half of 2019 begins.  The TechnoRetro Dads have a summer-packed show to kick of the month of July with Bernie, Beach Boys, and big boomers!   In the NEWS… The Dark Crystal: Age of Resistance will have an accompanying comic book series to delve more deeply into the many characters from the Netflix series. Don’t forget that Stranger Things 3 is coming to Netflix this Thursday.  Find out how Hawkins, Indiana deals with another attack from another dimension. Tickets to Star Wars Celebration Anaheim 2020 went on sale…and were quickly sold out.   We Love Our Cereal… …and the Roving Spoonster, Shane in GR does, too! Two new Cap’n Crunch flavors for your bowl! The UK may have lost major holdings in North America, but they get the last laugh by getting white chocolate Coco Pops while the former colonies fill their bowls with empty wishes. Evidence of the TechnoRetro Dads’ time-traveling tours is discovered by Austrian archaeologists who dug up three thousand year-old Cheerios (not Oreos, shaz).   Vinyl Scratchback: The Beach Boys Summer time is a funner time with music blaring from your boombox at the beach — as long as it’s beach music.  And what could be more summer-centric than the tones of The Beach Boys?  From wave-riding songs like “Surfin’ Safari” and “Surfin’ USA” to cruising songs like “Fun, Fun, Fun” and “I Get Around”, The Beach Boys have been an integral part of summer.  But boys will be boys, and therefore had to include songs about the girls like “California Girls” and the wistful “Wouldn’t It Be Nice”.  Rounding out the mix is their huge summer hit in the ‘80s called “Kokomo” (which, evidently, isn’t about white chocolate Coco Puffs).   Let’s Go To the Movies: Weekend at Bernie’s Richard and Larry discover a discrepancy in their company’s financial records that reveals more than a clerical error.  To reward them for their diligence and vigilance in their work, their boss Bernie invites them to his beach house for the weekend — and plans to have them silenced…forever.  But when Bernie gets on the wrong side of his nefarious partner-in-crime, the hitman is given a different target and the two young employees spend a wild weekend trying to conceal the fact that their boss is dead so that they can enjoy a well-earned weekend on the beach.    Fireworks! Pack black powder into a paper cylinder, set it aflame, and watch it smoke, skip, snake, skyrocket, or simply go “BOOM!”  The first week of July is a great time for blowing things up at home, the beach, or dirt roads on the way back from another state with less-stringent laws regulating fireworks.  The ‘Dads and several EarBuds recall their experiences with sparklers, firecrackers, bottle rockets, Roman candles, and more as we celebrate national holidays this week.   Feedback: New Coke and the Cola Wars New Coke turned Jeremy into a Pepsi drinker.  Norman speaks of the Cola Wars in coded speech.  Myles can’t find New Coke in Canada and needs help.   Thanks for tuning in to TechnoRetro Dads, EarBuds!  Go online for more TechnoRetro Dads on iTunes, Apple Podcasts, Stitcher, RetroZap.com, or TechnoRetroDads.libsyn.com.  Pick up your TechnoRetro Dads merchandise at TeePublic.  Don’t forget to rate and review TechnoRetro Dads on iTunes, share us and with us on social media, get TechnoRetro merchandise at TeePublic, and join discussions on Discord about toys, cereal, games, movies and/or shows from the ‘70s and ‘80s by giving the ‘Dads your feedback via voice mail at (209) 878-7323 or sending us your mp3dback via electronic-M to podcast@TechnoRetroDads.com.

It's 3 AM and you have just woken up because you are starving and you are craving a midnight snack. You head to the kitchen in search of some glorious food but you can't find any. You open every cupboard, you open the fridge and all you can find is SCHTAAATS! If you want real food, listen to episode 83 of Get Sidetracked. On this episode the boys are joined by DJ and Canberra fashion mogul, Josh Beck. This week the lads have a chat sports statistics and the crazy coincidences that occur. Josh tells us a bit about his clothing label, Florez froths for Reddit and Sunny argues about Harry Potter and much, much more. If you want some advice or have any questions you would like the boys to answer please email them to wearegetsidetracked@gmail.com! Don't forget to like, rate, review, and follow us on Facebook, Instagram, Soundcloud, Google Podcast, CastBox, Spotify and iTunes or wherever you listen to your podcasts. Intro music credited to Pep Love "Needs & Things (Instrumental)" Boogie Break music credited to 2pac "I Get Around" Outro music credited to BiG HEATH "BiGGY"

È il 1966 quando gli scatenati fan dei Beach Boys si trovano a dover maneggiare la copertina di Pet Sounds, il nuovo album della band californiana. Ed è subito disorientamento: dove sono finite le tavole da surf, il sole cocente di Santa Monica, i drive-in e i sorrisi a centodue denti delle ragazze più belle della contea? Qualcosa è cambiato. Lo sanno i Beach Boys e suo malgrado lo sa anche la Capitol Records, che non fa i salti di gioia davanti a questo improvviso cambio di rotta. Fino a quel momento la band ha cantato l’energia e la freschezza di un’immaginario “felice”. Gli ammiccanti ragazzetti di Surfin’ U.S.A., Barbara Ann e I Get Around sono in predicato di cambiare pagina, e di rivolgersi a una nuova fase della loro carriera, grazie ai testi del paroliere Brian Wilson e a un concept album di estrema raffinatezza stilistica.

They already had hits, but they had yet to reach #1. That is until the Beach Boys released "I Get Around," which reached the top of the charts on this date, June 28, 1964... and brought even more turmoil to the group. Allan looks back in today's Classic Rock Calendar... Image: Jill Bednar / PR Photos

Our Switched on Summer throwback mini-series begins in the heart of the 1960s, with the Beach Boys' perennial school's-out jam "I Get Around." We explore how every aspect of Brian Wilson's two-minute-long masterpiece is perfectly calculated to literally "get around"—harmonically, melodically, and lyrically—creating that unbeatable feeling of cruising all over town with the top down on a hot summer's night.  Learn more about your ad choices. Visit megaphone.fm/adchoices

It’s a full week in TV, both episodes and news, giving us our first marathon episode in long time. First up, Noel and Kate talk through their week in TV, starting with comedy and reality, including the finale of Wyatt Cenac’s Problem Areas, DuckTales, SYTYCD, and RuPaul’s Drag Race. Next up are the genre offerings, including Luke Cage season two, the finale of Supergirl, the midseason finale of Into the Badlands, and a frustrating Marvel’s Cloak & Dagger. We round up the week’s TV with the dramas, including a standout Claws, a Christmas-themed Pose, and interestingly intersecting episodes of Dietland and The Bold Type. Afterwards, it’s time for a return to more kind TV with a deep dive on the second season of Netflix’s Queer Eye.Season Spotlight: Queer Eye Season 2 (2:05:33)Our Week in Comedy and Reality Wyatt Cenac’s Problem Areas finale (31:51) DuckTales (40:38) SYTYCD (45:17) RuPaul’s Drag Race (48:19)Our Week in Genre Luke Cage Season 2 (1:04:17) Supergirl finale (1:07:40) Into the Badlands midseason finale (1:17:06) Marvel’s Cloak & Dagger (1:19:32)Our Week in Drama Claws (1:28:59) Pose (1:42:17) Dietland (1:44:05) The Bold Type (1:50:12)Music Featured: “Covergirl” by RuPaul as featured on SYTYCD for Laganja Estranja’s audition; Mozart’s Requiem in D Minor, K. 626, no. 3: Sequentia: Rex Tremendae, as performed by the Wiener Singverein, Rudolf Scholz, and Helmuth Froschauer; “I Get Around” by The Beach BoysArticles Mentioned: Candice Frederick’s piece at The Week about this week’s Claws; E. Oliver Whitney’s piece at ScreenCrush about Skyler’s season two episode of Queer EyeErrata: The midseason finale of Into the Badlands is titled, “Leopard Catches Cloud,” not “Chamber of Shadows.” The Televerse regrets the error!