Friday, March 04, 2022

Surf's Up 2022

[As attentive readers are aware, I'm in the process of putting a book of my literary greatest hits together. The following piece -- which I had forgotten about untill yesterday -- was originally written for the comments section of this here blog back in 2006, which is a year before NYMary gave me the metaphorical keys to the car. The essay was occasioned by NYMary's surprise that I rated the Beach Boys as high as I did in the American 60s pantheon; she didn't agree, obviously, but after she posted it, she was gracious enough to change her mind about Brian Wilson and company.

Enjoy, and have a great weekend, everybody!]

NYMary:

I must confess I find it a little odd to be writing this -- the Beach Boys music is pretty much my lingua franca, and the idea that they need defending feels weird to me given how much I love them (although I understand your skepticism, at least in the abstract. After all, Mike Love sucks).

In any event, here's why I think they deserve respect from mere mortals like you and me.

TEN REASONS THE BEACH BOYS ARE SELF-EVIDENTLY ONE OF THE MOST IMPORTANT AMERICAN BANDS OF THE SIXTIES. IF NOT THE MOST IMPORTANT.

1. They invented an instantly recognizable sound of their own, one that practically defines a genre. Very few rock artists can make that claim. (Chuck Berry with "Johnny B Goode", The Byrds with "Tambourine Man," the Ramones, and maybe U2). That alone should guarantee the Beach Boys immortality.

2. What Raymond Chandler did for California in prose the Beach Boys did in music. They reflected a place and a time and made a kind of poetry out of it. They were not fake.

3. Five part harmonies, astoundingly gorgeous. And Brian's conception -- mating progressive jazz voicings a la the Four Freshman with classic doo-wop -- was totally unique. Here's a 1965 live clip that proves the point -- and if this a capella version of the Freshman's "Their Hearts Were Full of Spring"doesn't put a lump in your throat, you need to check your meds.

4. From their inception in the early 60s, they were pretty much the only self-contained rock band in America. Wrote all their own songs, produced their own records. Who else was doing that?

5. Kick-ass live act. If you doubt it, listen to "Beach Boys Concert," get a video of their closed-circuit show from '64, or find "The TAMI Show" video, in which -- performing on the same bill with the Stones, James Brown and most of the Motown acts, they tear the audience to shreds. Carl Wilson was a killer surf guitarist, and the rhythm section was as good as anybody in rock at the time.

Here's their British TV debut on Top of the Pops -- from 1964, totally live versions of "I Get Around" and "When I Grow Up."

6. Contrary to myth, they were not white bread at all. Carl and Dennis Wilson were as soulful singers in the r&b sense as anybody else working in the mid-Sixties. And that includes Stevie Winwood or Felix Cavliere.

7. The car and surf songs are actually quite brilliant. Who else ever conceived of writing love songs to a carburetor? And has any rock song ever conveyed as much sheer teenage elan as "Fun Fun Fun" or "I Get Around"?

8. Brian's best songs from the early period anticipate the confessional singer/songwriter LA genre. "Don't Worry Baby" may be as nakedly emotional and self-revealing as anything Joni Mitchell ever wrote. Ditto "Warmth of the Sun" or "In My Room" or "When I Grow Up."

9. The albums that preceed the sainted "Pet Sounds" and "Smile" are masterpeices. "The Beach Boys Today," Brian's first real studio concept album, is masterly; "When I Grow Up" isn't even the best song on it (try "Don't Hurt My Little Sister" or the astounding Sinatra goes r&b of "The Back of My Mind" sung by Dennis). It's every bit as good as "Rubber Soul." in terms of consistency and melodic invention. The follow-up --"Summer Days and Summer Nights," of which "California Girls" is simply the icing on the cake, is even better -- it's every bit Brian's "Revolver." He never used the studio more impressively than "Let Him Run Wild" or emulated the Beatles with the riffy brilliance of "Girl Don't Tell Me."

10. The album that follows the sainted "Pet Sounds" and "Smile" is another masterpiece. "Wild Honey" is one of the handful of great white r&b albums of the period, and if you doubt it check out the title song or Carl's gorgeous reading of Stevie Wonder's "I Was Made to Love Her." And in it's back to basics way, it's very much of a piece with the Beatles "White Album."

I could go on about the Beach Boys early 70s output -- you could make a fabulous comp album with songs like "Marcella" (one of their best ever rockers), "This Whole World" (Brian's canniest pocket symphony), "All I Wanna Do"(the most glorious use of reverb in history), "Bluebirds Over the Mountain" (progressive rockabilly, if you can believe it), "Do It Again" and any number of others up through "Trader" on HOLLAND.

The decline after that was a drag, to be sure, but you get my point....the Beach Boys have a huge body of really transcendent work, and Brian wasn't the only big talent in the band.

Have I mentioned that Mike Love sucks?

15 comments:

GetAwayGoober said...

For the literary greatest hits, I still say one of the best things Steve wrote for Stereo Review was My Front Pages - Things I Like. Back in the '70's???... not sure. It had a list of specific items that everyone could say "Yeah, I heard that too".

Anonymous said...

Amen.

What Steve said...

Alzo said...

https://www.youtube.com/watch?v=N3pt519I1pw

It's semi-live, but it rocks. Dennis is doing a Bonzo!

elroy said...

Not to mention Darlin' on Wild Honey - love that song

GLLinMO said...

I still hold that Brian was underrated as a bass player…

cthulhu said...

I certainly don’t dislike The Beach Boys as a whole, and there’s plenty of their stuff I like…but I don’t really love any of it, at least what I’ve heard (and a fairly wide range of Beach Boys stuff gets played on Little Steven’s Underground Garage, which is one of my go-to music stations). Thinking about this more, I suspect a significant reason for this state of affairs is that most (all?) of what I’m familiar with from the band is more pure pop than I usually like, and I’m not really hearing any significant blues influences - which is more my speed. Any suggestions for more bluesy stuff from them?

Also, how does item 4 - ”self-contained rock band” - fit with using mostly (in many cases entirely) studio musicians (i.e., the Wrecking Crew) on so much of their studio output? I’m not disputing they could do it themselves live, but then why not record that way too?

And to emphasize, I’m not trying to say anyone is wrong here; de gustibus non est disputandum, YMMV, etc…just curious on any further thoughts…

steve simels said...

As I said, check out their cover of Stevie Wonder's "I Was Made to Love Her."

Also this, which by the way, is them, not the Crew.

https://www.youtube.com/watch?v=K7ktVYC0JR4

pete said...

Echoing Bono's Big Nose Theory that every great band needs at least one member with a big nose does it make sense that every great band has at least one member who's a total jerk: The Beatles, the Stones, the Who, Pink Floyd, the Band, the Beach Boys, the Kinks, Jefferson Airplane, the Left Banke, Cream, the Byrds, the Rascals, J. Geils Band, the names just keep coming.

steve simels said...

I'm baffled who the jerk in the J. Geils Band might have been.

pete said...

Geils told me that none of the guys in the band liked Peter Wolf at all.

Anonymous said...

I'll tell you who was the jerk in The Hounds:

Their manager!

Doctored Captain Al

Dave Ings said...

Steve,

In the 70s your writing tipped me off to several great artists (including Mott the Hoople, Procol Harum and Bruce Springsteen) ... but I have NEVER understood your fascination with the Beach Boys. I never liked them and consider them a blot on your otherwise excellent taste :-) but hey, to each their own!

Butch said...

Anyone that can write and sing "I'm Bugged at my Old Man" is ok in my book...

elroy said...

Going back to GetAwayGoober's first post here about My Front Pages:

(I think) I remember at least two things from that list:
Roger Daltry's scream in Won't Get Fooled Again
"All of Rosalita"

Wish I could remember more, will have to buy the book!

JB said...

I think the forgotten 'The Little Girl I Once Knew' is a masterpiece in itself.