"That's Why God Made The Radio" Single!

[Shady]

I see absolutely no mention of the fact the song is available for download on the beach boys facebook page, no promotion on the itunes front page, it just dropped out of nowhere..

Typical BS from Capitol

53 minutes ago it was posted on facebook.

The Beach Boys
Download the new Beach Boys single - "That's Why God Made The Radio" now on iTunes. http://bit.ly/IQP0vd

haha, now that wasn't so hard was it

[CarlTheVoice]

First thing I did when I got in from work was download this and I am really pleased with it!

I understand the reasons why some people aren't happy/sure about this song as I can hear what they are talking about. However, the Beach Boys did not have to re-unite and could have just put out some old collections, but they spent a lot of time in the studio producing what they want to be their legacy. They wouldn't want to be remembered for an embarrassing record or thought of totally past it and I think this is a good choice of direction. It may not be a classic, but we have been so lucky to call so many BB songs classics. We can't be greedy anymore!

So, whatever you think of the song, just remember that the boys are happy with it, they want to do it and how many of you really thought we could possibly hear something this good 50 years on?

Thank God for the Beach Boys! 

[b00ts]

I agree that the bridge is the weakest part of the song and does not sound like Brian wrote it. Now watch--it'll come out that the bridge was Brian's contribution!

Yeah - the sole contribution! It wouldn't surprise me.

I could be incredibly naieve, but Brian talks about writers block from time to time... that leads me to believe he has a confidence issue.  So perhaps he has trouble coming up with ideas.

HOWEVER, if you were to walk up to Brian with a song written called "That's Why God Made The Radio", and tell him you want him to finish it up and make it a Beach Boys record... I would imagine he'd jump right in, change a few lines he didn't like, add some chords, drop a couple parts, and make a pretty different track out of what he started with.  

He doesn't strike me as not capable of production anymore like others have suggested, as a matter of fact I think he really still enjoys doing that.  When you have an entire room full of great musicians, it's really easy to bang out on a piano some different chords (If you're Brian) and play around with the song a little bit.  

So I would assume (there's that word) that Brian took a finished song, was told to rewrite part of it, changed a third or so of it and added more vocal lines.  From what I understand he comes up with harmonies on the fly, half the vocals you're hearing he probably added on top of what was on the original song.  

Yeah this sounds about right.

I can also understand the need to hire other writers to create a quintessentially Beach Boys record. I doubt Brian would have the right perspective to be able to do that, ironically enough. That said, a lot of the tracks from TLOS, with rewritten lyrics, could have made perfect Beach Boy material, just not necessarily recognisably BB to the average Joe, in the same way this is.

I sincerely doubt that the bridge is Brian's contribution. I would imagine that Brian contributed the following:

Structurally:

- Getting straight to the verse at the top of the song, with a short intro
- Hitting the chorus directly ater the first verse without a bridge. This is a classic Brian technique; I know, because I've ripped it off countless times.
- The quick mini-bridges before the choruses ("like a prayer...")
- The quick bridge and break into the ending coda was probably Brian's idea.

I'd imagine that Brian shortened a few of the parts of the song and contributed to its slightly unusual song structure; while this is a common and quintessentially commercial song structure in 2012, it is emblematic of the work Brian did in the mid-60's.

Melodically and Chordally:

- Some of the aspects of the verse melody (floating above the root note)
- Most importantly, I would imagine the exact chord progression in the chorus of the original demo to be different. The modulations in the chorus ("tune right in everywhere you go," the spooky D Sharp Major 7 to C Sharp Major 7 or something similar)
- Really, the chordal and melodic aspects of the Chorus as it progresses are quintessential Brian, both in their commerciality and their uniqueness. I'd imagine the original tune had a more standard doo-wop progression.
- The extra, extremely powerful "That's Why God Made The Radio" at the end of the chorus. Reinforcing the point of the song beautifully in a very Brian manner.

Arrangement and Production:

As we enter this category, we are more susceptible to being duped. Some of Brian's other songwriting hallmarks are so uniquely his that when they are well-executed, there is little doubt as to the author. Still, the arrangement and production are extremely Brian-style, and I can't imagine how anyone could compare them to Imagination.

- Unlike Imagination, the choice of instrumentation is VERY mid-60s Brian, as it was on Brian Wilson Reimagines Gershwin.
- The beautiful, menacing sax or bass harmonica following the chord changes in the chorus - this was Brian's original version of the Moog and other synth bass we heard a lot in his solo and BBs work from 1976-1988
- The break and a capella tag at the end
- Harpsichord or Rocksichord or some sort of non-velocity sensitive Harpsichord-esque instrument throughout
- The bass hovering around away from the root note of the verse whilst still anchoring the song (BW hallmark)
- The beautiful, understated "Wouldn't It Be Nice" - style arpeggios in the break before the coda

There is a lot more, of course, and these are only my observations. Suffice it to say, though, that there is a lot of Brian in this tune. For the naysayers, think about Brian's motivations in every interview he has given for the past 15 years - he wants a hit. Sometimes he says he can't get hits anymore, but he is always fixated on it.

My guess is that Thomas/Peterik had the song lying around for a while, the record company and the group liked it and thought it had a good chance of being a hit, and Brian, motivated as ever, jumped in and helped make it a true Brian-produced Beach Boys record.

What is probably not written by Brian is the bridge towards the end. Very standard songwriting, and it sticks out like a sore thumb, as do the distorted guitars, which seem to scream "take us seriously!" Brian is typically able to use distorted guitars, synths, etc. to great effect in order to heighten the tension in a song, especially towards the end. This is a pale imitation of that technique, and the guitars are mixed too loud.

All food for thought, anyway!
-b00ts

[CarlTheVoice]

The more I listen to this the more I want to cry......in a good way!

[Chris Brown]

Excellent post bOOts, agreed on all counts.  

As others have said, the bridge was a bit of a letdown - it's by far the most generic part of the song, almost sounds like it doesn't belong at all.  Still, that's a minor quibble on what is otherwise an outstanding track.  I haven't been able to stop listening since downloading it last night, it holds up really well on repeat listens.

[CarlTheVoice]

Excellent post bOOts, agreed on all counts.  

As others have said, the bridge was a bit of a letdown - it's by far the most generic part of the song, almost sounds like it doesn't belong at all.  Still, that's a minor quibble on what is otherwise an outstanding track.  I haven't been able to stop listening since downloading it last night, it holds up really well on repeat listens.

All BB songs last well on repeat! So many bands don't, I get sick and tired of them!

[Rocker]

I guess if Brian had more than a little to do with the writing of the song we would've read it in every article and would've been told in every video.

[Autotune]

I think Brian wrote all the parts that I like. And Peterik wrote all the parts I don't like.

Likewise, it's the BBs singing the vocals that sound good. And Jeff singing those that stink.

[Aegir]

I really like Jeff's "falling in loOove!"

[Rocker]

I just wrote to a big radio station here and told them about the new single and that it is out. Hope they'll play it

[Iron Horse-Apples]

b00ts knows that the structure is the key.

[Freddie French-Pounce]

Excellent post bOOts, agreed on all counts.  

As others have said, the bridge was a bit of a letdown - it's by far the most generic part of the song, almost sounds like it doesn't belong at all.  Still, that's a minor quibble on what is otherwise an outstanding track.  I haven't been able to stop listening since downloading it last night, it holds up really well on repeat listens.

I Didn't mind it at first, but listening to it the first time with the rubbish lyric video actually devalued the song - as soon as I listened to it without anything else - It seemed that much better, and just gets better every time I hear it!

The first time I heard it, the bridge seemed further out of place than on later listens, and the near a capella section almost sounded cut on, Smile style if you know what I mean. Now, It flows perfectly!

[Wirestone]

Fabulous post, Boots. For those of us without some of precise musical knowledge, it's very useful.

Over on the Blue Board, someone with connections to Capitol said that Brian and Joe had picked the song back up and finished it for this record. So that suggests that your theory -- which is Brian basically editing, rewriting and fiddling with a tune -- has some real basis in fact.

[Charles LePage @ ComicList]

So this song is one of the "leftover" Wilson/Thomas songs from Imagination?

http://www.browardpalmbeach.com/1998-08-27/music/brian-wilson-reconstructed/4/

And Joe Thomas is willing to work with Brian after getting sued?  Fascinating.

[the professor]

I too am grateful for that detailed scholarly analysis of the song structure. As I listen I hear the exact beach boys voices more clearly all the time. Who can offer a detailed explanation of exactly who is singing exactly what exactly when? Last question how will we monitor is this song is going to be a hit? Thank you for everyone's fellowship and kind caring of our information our appreciation and our hope. Let me say 1 more time that I distinctly here davids voice in the response on the chorus. His south bay accent is very distinct.

[Aegir]

why does David have a different accent from the Wilson brothers who grew up across the street from him?

[Paulos]

Because Dave didn't always live in Hawthorne, he moved there when he was 7.

[Heysaboda]

News flash:

IT'S GLORIOUS!

[the professor]

Where was dave living up until 7?

[Paulos]

So this song is one of the "leftover" Wilson/Thomas songs from Imagination?

http://www.browardpalmbeach.com/1998-08-27/music/brian-wilson-reconstructed/4/

And Joe Thomas is willing to work with Brian after getting sued?  Fascinating.

Well Brian is working with Mike after being sued by him more than once, Al sued Brian at least once and Mike sued Al for using The Beach Boys name so it doesn't seem to be an issue.

It's also nice to see the chairman of the board, hows do you like the new single Chuck?

[Paulos]

Where was dave living up until 7?

I can't remember and my copy of The Lost Beach Boy is in my parents attic and as such inaccessable - paging Mr Stebbins and Mr Doe for an answer!

[Andrew G. Doe]

Erie, PA.

Jeez, don't you guys know anything ? 

[Aegir]

Well then that certainly wouldn't explain his SOUTH BAY, LOS ANGELES ACCENT!

[endofposts]

I looked on YouTube to find video of David Marks talking, to see what the professor was talking about, and he sounds like the average person from the West Coast, either Northern or Southern California.  I'm not sure what a South Bay accent sounds like.  There's a video where he takes Chuck Kelly on a walking tour of Hawthorne and tells stories about the Wilsons, like the time Dennis chopped a tree down after David fell out of it and broke his arm.

[RCTID]

i dig this song the more i listen to it.

love it.