Original song written and composed by Brian Wilson and Mike Love; first recorded by The Beach Boys
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3 episodes with I Get Around
2 episodes with I Get Around
3 episodes with I Get Around
2 episodes with I Get Around
2 episodes with I Get Around
2 episodes with I Get Around
2 episodes with I Get Around
9 episodes with I Get Around
3 episodes with I Get Around
BLACK SHIRT MIXTAPE **Episode 122** West Coast Hip Hop Join host Jesse Karassik aka @heyyyyy_jesse as he takes you on a 2 hour sonic journey playing mixtape inspired tracks in a variety of genres- all for your listening (dis)pleasure! Tracklisting: 1. The Game...Jurassic 5 2. Fallin' Up...Black Eyed Peas 3. Tuxedo Rap...People Under The Stairs 4. Ya Mama...The Pharcyde 5. Let 'Em Know...Souls of Mischief 6. Egg Man...Beastie Boys 7. Things You Can Do...Deltron 3030 8. Chemical Calisthenics...Blackalicious 9. Whenimondamic...Loot Pack 10. Express Yourself...NWA 11. Deep Cover...Dr Dre & Snoop Dogg 12. Nuthin' But A "G" Thang...Dr Dre & Snoop Dogg 13. Doing Dumb Shit...Ice Cube 14. Tha Shiznit...Snoop Dogg 15. Insane In The Brain...Cypress Hill 16. I Wish...Skee Lo 17. Getto Jam...Domino 18. I Get Around feat. Digital Underground...2Pac 19. Pitch In On A Party...DJ Quik 20. Doin' Time (remix)...Sublime feat. The Pharcyde 21. THAT'S RIGHT...Brian Green and The Black Eyed Peas
This week's Mixtape Rewind takes us back to Season 3 when we first thought of the idea that would become our podcast, The Battle.What happens when two totally different songs share the exact same title? We built a “battle mix” to find out—pairing heavyweights and outliers across genres and decades—then we argue, analyze, and crown winners. From Go to Get Back, each round reveals how a single word can split into protest anthems, breakup arias, dance‑floor bliss, or guitar‑driven chaos.We kick off with Blink‑182 and The Black Keys on Go, weighing a bold tonal shift against a signature groove. Eurythmics steamroll Charles & Eddie on Would I Lie To You with brass, bite, and Annie Lennox's powerhouse vocal. True Love sparks a values debate: Angels & Airwaves deliver a soaring, cinematic build while Coldplay's “lie if you must” line clashes with the title. Roy Orbison's You Got It proves timeless compared to a New Kids on the Block time capsule. Then it's Growing Pains, as Alessia Cara's present‑tense anxiety meets Ludacris's reflective narrative—two coming‑of‑age angles, one title.The center of the card gets fiery. Green Day's Holiday channels mid‑2000s protest energy against Madonna's disco‑pop celebration. Rihanna's Take A Bow serves velvet‑gloved dismissal, while Muse opens an album with a synth‑rock chill that lingers. Tupac and The Beach Boys both claim I Get Around, one with effortless charisma and the other with historic chart significance. Foo Fighters' Run slams with near‑metal intensity, outpacing Snow Patrol's slow‑burn. Happy pits NF's candid mental‑health lens against Pharrell's pure joy machine—two roads to one feeling. And our main event, Get Back, throws Ludacris's peak hit‑maker energy against The Beatles' cultural gravity and complicated context. https://music.apple.com/us/playlist/same-name-different-songs-mix/pl.u-JPAZEoJTLd7Y15jhttps://open.spotify.com/playlist/1sCtai2Hujfbv9kZD0qnU9?si=779125752f4c4f3f Go by The Black KeysGo by blink-182Would I Lie To You? By Charles & EddieWould I Lie To You? by Eurythmics, Annie Lennox,Dave StewartTrue Love by Angels & AirwavesTrue Love by ColdplayYou Got It (The Right Stuff) by New Kids On The BlockYou Got It by Roy OrbisonGrowing Pains by LudacrisGrowing Pains by Alessia CaraHoliday by Green DayHoliday by MadonnaTake A Bow by RihannaTake a Bow by MuseI Get Around by 2PacI Get Around by The Beach BoysRun by Snow PatrolRun by Foo FightersSummertime by DJ Jazzy Jeff & Fresh PrinceSummertime by Kenny ChesneyHAPPY by NFHappy by Pharrell WilliamsGet Back by LudacrisGet Back by The BeatlesGo to My.SuperAwesomeMix.com and start using our new app on any device - mobile or laptop. Copy and paste a link to your playlist then turn it into an old school mixtape in minutes! Support the showVisit us at https://www.superawesomemix.com to learn more about our app, our merchandise, our cards, and more!
You all know "California Girls," "Surfin USA," and "I Get Around." In this episode, we look at some of the "other" tracks on their pre-Pet Sounds albums. Misguided covers, some curio pieces of its time, and some wtf decisions. Enjoy!!
Under the California Sun, Scott does roam, humming the echoes of Good Vibrations along with foam. The Surfin' Safari begins at dawn, while the Fun, Fun, Fun of the waves rolls on.He pauses where the sea meets the God Only Knows sky, dreaming with a Wouldn't It Be Nice sigh. The breeze carries whispers of Don't Worry Baby near, as gulls cry melodies only his heart can hear.Through the sand, he traces a Sloop John B rhyme, tides singing I Get Around to the rhythm of time.When twilight falls on this Endless Summer shore, he'll leave with The Beach Boys in his soul forevermore.The Beach Boys were the last group to play at this year's Eat to the Beat concert series at the EPCOT International Food and Wine Festival...and Scott finally got to see them in concert!During this episode, not only will you hear some of their music, you'll also hear about some of the great food, snacks, and fun and crazy cool experiences Scott had with his good friends, Karen, Brian, and Russell. As a bonus, you'll get to hear a bunch from Karen and Russell, two former Guests on The Mouse and Me. (Listen to their interviews!)Have a happy and healthy Thanksgiving!Email: TheMouseAndMePodcast@gmail.comSupport: www.patreon.com/themouseandmeFB and Instagram: “The Mouse and Me”Music by Kevin MacLeod from https://incompetech.filmmusic.io
Don Randi is a keyboard player, songwriter, arranger, bandleader and one of the most prolific session musicians in history. Don was born in New York City but raised in the Catskill Mountains where he studied classical music. He moved to Los Angeles in 1954 and, by the early 60s, Don was leading his own groups and working with a who's who of now legendary artists. Don is also the founder and owner of the long-standing L.A. nightclub the Baked Potato which he opened way back in 1970. Denny Tedesco is a film producer known for the documentaries "Immediate Family" and "The Wrecking Crew" although Mr. Tedesco has worked on films over the years as a set director, lighting technician, grip and location producer.Maggie, Don & Denny discuss the revolving cast of musical characters we now know as The Wrecking Crew and later we discuss the extraordinary musical legacy of Brian Wilson who passed away June 11, 2025 at the age of 82. Brian Douglas Wilson was an American musician, songwriter, singer, and record producer who co-founded the Beach Boys. He was born on June 20, 1942, at Centinela Hospital Medical Center in Inglewood, California and passed away on June 11, 2025 at the age of 82 in Beverly Hills. Brian Wilson has been frequently called a genius for his compositions and recording techniques and is regarded as one of the most significant songwriters in popular music.His best-known work is distinguished by high production values, complex harmonies, orchestrations and vocal layering.In 1961, Brian 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.By the mid-1960s he had written or co-written more than two dozen American Top 40 hits, including the #1 hits "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 one of the first rock producers to use the studio as an instrument. We dedicate the show to Brian Wilson, there will never be another so bright and so brilliant! Source: https://en.wikipedia.org/wiki/Don_RandiSource: https://www.wreckingcrewfilm.com/Source: https://www.brianwilson.com/Source: https://thebeachboys.com/Host Maggie LePique, a radio veteran since the 1980's at NPR in Kansas City Mo. She began her radio career in Los Angeles in the early 1990's and has worked for Pacifica station KPFK Radio in Los Angeles since 1994.Send us a textSupport the show@profileswithmaggielepique@maggielepique
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 CreditsHost: Eric RezsnyakPanel: Derek Mekita, Kate RacculiaSpecial Guest: Ashleigh StilesProducer: Bob ErlenbackEditor: Eric Rezsnyak#music #popmusic #summersongs #summermusic #summervibes Learn more about your ad choices. Visit megaphone.fm/adchoicesSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.
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?!!
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!
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'
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
Music is everywhere and is everything. It is also alive! Music has been the one constant social and emotional thing that drops us to our knees, put us on our feet, have us cry out in pain and even shout to the top of our lungs with joy. It has brought us together in victories and defeats, consoled us in dying times and joined us together in holy matrimonies. ”Remember a song and you will remember a place and time in your life”. That is a quote from music's soul stirrer, R&B singer/songwriter K'Jon. He will forever be linked to many people for his hit song, “On The Ocean”, which gave him a #1 song on the radio for six weeks straight. Amazingly, his last album ”I Get Around” also debuted at #1 on the Hip Hop/R&B album charts and later made Billboards Top 50 R&B/Hip Hop Album of 2009! The album was so well received by audiences nationwide that K'Jon was nominated for the Best New Artist category at the 2010 NAACP Image Awards. Bio from K' Jon Official website.
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