The Specific Beach Boys Musical Moment That Is Kicking Your Ass Right Now

[SMiLE Brian]

Yes, he was rocking the solo with the BW band to open the 2nd set of the show. Great show with many highlights!

[Jay]

I'm so jealous. 

[SMiLE Brian]

Seeing the PS50 tour?

[Jay]

Seeing the PS50 tour?

I don't know. Ill have to see if he's playing PA.

[SMiLE Brian]

He is playing philly and Easton!

[Jay]

He is playing philly and Easton!

Somewhere around Pittsburgh would be in my neighborhood.

[You Kane, You Commanded, You Conquered]

2:20 of Summer's Gone

[BiNNS]

The entire duration of "Salt Lake City". (2012 stereo). Just can't get enough of that song at the moment.

[jiggy22]

Not Beach Boys, but Brian's "There's So Many" from the 1988 album is seriously one of his best songs I've ever heard. Crazy to learn that the song was first demoed all the way back in 1979! The majority of the album has an amazing replay value!

[Jay]

The entirety of "All I Wanna Do". That song is other-worldly. Probably Mike's crowning achievement in the group.

[SamMcK]

The entirety of "All I Wanna Do". That song is other-worldly. Probably Mike's crowning achievement in the group.

Right next to Big Sur (4/4 Version) as Mike's shining moment IMO!

[B.E.]

Brian's vocal flourish at the end of this version of Surfer Girl. The moment I'm referring to starts at about the 2:32 mark of this video...

https://www.youtube.com/watch?v=RzxxMYcGUi4

I absolutely love it! Can't listen to this version without rewinding the end a good half dozen times.

[pdas1996]

Here's a couple that I've had at the moment...

- Airplane (Live in Seattle 12/13/1977): The horns! When any song has a flourish of brass, I love it even more!
- Back Home (Seattle 1977): Nice to have Brian singing a song or two with the band. Despite forgetting a lyric, it a nice, up-tempo change from 15BO.
- Heroes and Villains (Live at Nassau; Live at Syracuse; Fillmore East Closing Night) I like the song, especially played live!
- Heroes and Villains (Sounds of Summer/Hawthorne, CA stereo mix) I prefer this louder mix over others.
- It's About Time (using 2012 Sunflower mix): Specifically the backing vocals of the first "I'm singin' in my heart...". I don't think the channel (left/right) matters, but I first noticed it on the right.
- Carl & the Passions (album) is probably one of my top 3-6 favorite albums (Friends, Pet Sounds, Surf's Up, Holland, Love You)
- Peggy Sue/Come Go With Me/Pitter Patter/Winds of Change: The alternate mixes are, IMHO, better than the album cuts.
- Santa Ana Winds/Looking Down the Coast (Song of the Whale): Very catchy tunes.
- Go and Get that Girl: Again, horns! Nice fast tempo, with enough hooks to catch a fish!

[JK]

The coda of "At My Window", a song that creeps up on one.

https://www.youtube.com/watch?v=JnbtV5x5AEo

[thorgil]

The "alternate" melody for "Do You Like Worms" Brian sings for (ALAS!) too few seconds in Disc 3 of the Smile Sessions.

[MyDrKnowsItKeepsMeCalm]

Brian's vocal flourish at the end of this version of Surfer Girl. The moment I'm referring to starts at about the 2:32 mark of this video...

https://www.youtube.com/watch?v=RzxxMYcGUi4

I absolutely love it! Can't listen to this version without rewinding the end a good half dozen times.

Beautiful!   

[thorgil]

Airplane's coda. It's already such a great song, then the coda comes, totally unexpected.

[TwoStepLampLight]

I've been following this board for some time, but have now registered as a member and this is my first post.

I've enjoyed reading this thread in particular and for me there are plenty of exceptional moments in the Beach Boys catalogue, but lately I've appreciated "Time To Get Alone" and especially the line "The touch of your cheeks when they're rosy and cold, feels so cozy to hold..." in particular. The words, the attitude, Carl's voice and the entire song is really special. "...Deep and wide..." from the same song is really a great moment too.

[barto]

"Meant For You". My God this is a beautiful sweet song.

[HeroesandVillains]

The coda of Surf's Up is just bliss

[Kid Presentable]

First time poster, hello!

I have spent so much time soaking up the Beach Boys in my life.  Both as a listener and as someone who has spent years playing in bands.  I love how these moments can pop up and reward you for repeated listens.

These last few days I have been loving It's OK.  The way that it is constructed is Kicking My Ass Right Now.  Through the clever addition and subtraction of instruments Brian built an excellent excellent excellent rock crescendo.

Sometimes it is hard to distinguish or hear certain individual instrumentation, due to Brian's (most often wonderful) production methods.  So I find myself in some of these times more easily focused on what jumps out at me as a listener.  Rather than eeeeeeverything that is there.  Thanks for indulging me.

-It starts out as a high energy song!  Also the method of skipping an intro and starting directly with the first verse is often somewhat jarring to the listener.  I like it this time.
-I am immediately drawn to Mike's leads and the saxophone interplay slightly behind it.  In my mind I liken this verse to turning onto a freeway on-ramp and getting onto the interstate.
-The first chorus introduces the backup stack singing the same lyrics as Mike, and it is important that this chorus never changes through the song.  
-In verse 2, the backup stack is (in my mind) the most prominent thing. Partially because it is new, and partially because the harmonizing is right out front.  Mike's lead doesn't really diminish, but the saxophone is totally buried now.  In my mind the listener is now in the left lane of the freeway, working on getting out of town.
-The second chorus comes back again.  Its consistency helps reinforce the intensity that in my mind slowly climbs, then plateaus, then climbs, then plateaus, etc.
-The third verse is interesting to me because (this is just my guess) Mike lucked out and wrote a third verse with words and syllabic emphases (have some FUN, good or BAD glad or SAD are words that are just more forcefully spoken than stuff like tan your hide, ocean spray, race, disgrace, in verse 2.  Those just aren't forceful words) that allow him to now overtake the backup stack and thus raise the intensity of the song juuuuust a little more.  Plus in the second verse the listener is still getting used to the vocal stack accompaniment, by the third verse the listener is expecting it.
-The third, consistent chorus again reinforces the boiling point that the songs' intensity has now built to.
-Love you, Dennis.  An amazing payoff.  Plus now the saxophone is back out front-ish again to interact with him.  The listener is now out of town and joyfully cruising down a wide open interstate.
-The backup stack comes back with a minor modification to the tempo of the backing harmony that they used in the verse.  Dennis now paces an interplay in the outro that includes the sax, the new backup, and a minor, new tag by Mike that sort of mimes the moog bass.  This interplay brings the listener to the conclusion of the song.  In this part the driver drives off into the sunset.  

[SMiLE Brian]

Welcome, great first post on a kickass song!

[JK]

Welcome, great first post on a kickass song!

Welcome, KP! I echo SB's sentiments. :=)

[RangeRoverA1]

Cool speech. I don't think anybody here reviewed song (& short too!) like that. Hello & welcome.

[jiggy22]

-It starts out as a high energy song!  Also the method of skipping an intro and starting directly with the first verse is often somewhat jarring to the listener.  I like it this time.

Unless you listen to the alternate mix, that one has an intro!

Welcome, BTW!