Best Aspects of Beach Boys Songs That Don't Get Mentioned Enough

[Niko]

I'd like to start this to point out things about songs that just don't seem to get recognition.
Every time I listen to Pet Sounds, I am blown away by the percussion. Not just the interesting use of different percussive instruments, but the way Brian was able to add the strange rythms into the middle of his songs, such as the little drum beat right before the chorus to IJWMFTT. That drum fill knocks me out every time, as does the woodblock in the background.

The drum kick at the beginning of WIBN, the drum intro to IWFTD, the drum and bass rhythm change near the end of Sloop John B. Tons of moments basically, that have always caught my attention in how awesome they are, and that's for Pet Sounds alone. I could post a massive list of all the small, specific Beach Boys 'details' that have always caught my attention.

What are the little details of BB music that has always stayed with you all?

[Aomdiddlywalla]

All of them... on CD's, in their cases, in the cupboard on a number of shelves. 

[Myk Luhv]

I was listening to Pet Sounds at one point and I thought to myself, "Man, it would've been really interesting to hear 1966 Brian Wilson do a drum'n'bass album!" since I think he had (and probably still has) a sense of groove or beat that isn't so obviously appreciated. He might not be funky, per se, but he certainly can get in-the-pocket when he wants to it seems...

[bluesno1fann]

I'd say the Beach Boys songs that don't get enough recognition at all are their rockers. Highly underrated.

Songs like All I Want To Do, It's About Time, Slip On Through, Got To Know The Woman, Student Demonstration Time, Mess Of Help, etc. are all brilliant!

I would have loved to see a lot more Beach Boys rockers, they really are good at it when they get the chance.

Though maybe this isn't quite what you meant by "Best Aspects of Beach Boys Songs That Don't Get Mentioned Enough". The rockers definitely don't get mentioned enough, but if this isn't quite what you meant, let me know

[ThyRavenAscend]

The extended word "sleep" in Country Air--I could loop that over and over again.

[Niko]

Though maybe this isn't quite what you meant by "Best Aspects of Beach Boys Songs That Don't Get Mentioned Enough". The rockers definitely don't get mentioned enough, but if this isn't quite what you meant, let me know

I meant like this:

The extended word "sleep" in Country Air--I could loop that over and over again.

Considering the detail found in each one of these songs, there is a lot that could be chosen. A good Brian Wilson song is like a detailed oil painting. You can find something new every time you look.

[Jukka]

The extended word "sleep" in Country Air--I could loop that over and over again.

Just to define this topic a bit sharper, I'd say that's more of a "specific moment kicking your ass right now" (see that topic). As for the aspect thing, I'd say its their lyrics. Especially the early ones. They are perfect, innocent and fun, yet even many of us here tend to disparage them, and that's just wrong.

Also, say what you say, but Brian was a genius at sequencing the albums, say what you say (Shut Down vol. 2 being the only exception). Their flow may be flawed in the logical sense, but when you sit down and listen them through, the next song is always the right one for that spot.

Edit. Oh, okay.

[zachrwolfe]

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[TimeToGetAlone]

I might say just how effective each member's voice is and how every member makes a significant vocal contribution.  Beyond songwriting, the vocal performances largely define their contributions to the band.  I can't think of that many bands to which this applies.  Not many groups can be said to have hits with five lead vocalists, let alone have that many to speak of.  Fleetwood Mac is the closest I can think, and their lineup faced considerable turnover from their beginnings.  The more I think about it, those songs of revolving door lead vocalists (Add Some Music, Funky Pretty, Had to Phone Ya, to name three) are a pretty unique listening experience.

[Please delete my account]

I might say just how effective each member's voice is and how every member makes a significant vocal contribution.  Beyond songwriting, the vocal performances largely define their contributions to the band.  I can't think of that many bands to which this applies.  Not many groups can be said to have hits with five lead vocalists,

Six, if you consider "Sail On, Salor" a hit.

The Tempations had a lot of lead singers I guess, but they weren't all in the band at the same time.

[JK]

Wrote this ages ago about the underrated closer on Surfin' Safari:

"I have often wondered why no one (to my knowledge) has ever mentioned 'The Shift' as a pointer to the future. Most reviews quickly dismiss it as 'a fashion statement by Brian and Mike' or words to that effect. On the face of it, the main tune is a 12-bar blues (I I I I IV IV I I V IV I V). However, Brian 'shifts' the key up a whole tone in bar 3 and back down again in bar 12 (in Carl's solo too). As far as I know this is unique----no-one else has ever done this."

This is a great aspect of a Beach Boys song that doesn't seem to get mentioned at all.

[micromoog]

Wrote this ages ago about the underrated closer on Surfin' Safari:

"I have often wondered why no one (to my knowledge) has ever mentioned 'The Shift' as a pointer to the future. Most reviews quickly dismiss it as 'a fashion statement by Brian and Mike' or words to that effect. On the face of it, the main tune is a 12-bar blues (I I I I IV IV I I V IV I V). However, Brian 'shifts' the key up a whole tone in bar 3 and back down again in bar 12 (in Carl's solo too). As far as I know this is unique----no-one else has ever done this."

This is a great aspect of a Beach Boys song that doesn't seem to get mentioned at all.

Lambert calls it "a step forward in Brian's musical development."

I think his interpretation is in line with yours, but it might be a little more in-depth:

Overall the song is in the key of A major, but when the A section begins we hear two bars of G chords.  After that there are two bars of A chords, and then the song continues as a blues progression in A through the end of the section.  In other words, Brian plays on the song's title by "shifting" the first two bars of a blues progression down a whole step from A to G.  This is all anticipated in the introduction, where a C chord similarly shifts up to a D chord.  In fact, at the beginning of the song, when we hear the intro C and D chords and then the vocals enter above G and A chords, it's hard to tell exactly what key the song is in; the key only becomes clear when blues progression eventually asserts itself.  This is Brian in experimental mode, placing his personal stamp on a time-worn convention.

He also mentions that something similar happens in "Finders Keepers."

[Smilin Ed H]

The way that songs with lyrics that can seem quite simple (though not trite) are given profound emotional impact thanks to the music. Obviously, this doesn't apply to Ding Dang.

[bringahorseinhere?]

well there are heaps, but the one that first comes to mind, is 'The Surfer Moon'...

I love the sonic quality of the recording, Brian's awesome and beautiful vocal and his overdub are 'dreamy' and 'wonderful'...

great melody...

the bridge is also very crafted..... the use of different chords that brings it back to the verses...

a very early gem from BW.

RickB

[JK]

Wrote this ages ago about the underrated closer on Surfin' Safari:

"I have often wondered why no one (to my knowledge) has ever mentioned 'The Shift' as a pointer to the future. Most reviews quickly dismiss it as 'a fashion statement by Brian and Mike' or words to that effect. On the face of it, the main tune is a 12-bar blues (I I I I IV IV I I V IV I V). However, Brian 'shifts' the key up a whole tone in bar 3 and back down again in bar 12 (in Carl's solo too). As far as I know this is unique----no-one else has ever done this."

This is a great aspect of a Beach Boys song that doesn't seem to get mentioned at all.

Lambert calls it "a step forward in Brian's musical development."

I think his interpretation is in line with yours, but it might be a little more in-depth:

Overall the song is in the key of A major, but when the A section begins we hear two bars of G chords.  After that there are two bars of A chords, and then the song continues as a blues progression in A through the end of the section.  In other words, Brian plays on the song's title by "shifting" the first two bars of a blues progression down a whole step from A to G.  This is all anticipated in the introduction, where a C chord similarly shifts up to a D chord.  In fact, at the beginning of the song, when we hear the intro C and D chords and then the vocals enter above G and A chords, it's hard to tell exactly what key the song is in; the key only becomes clear when blues progression eventually asserts itself.  This is Brian in experimental mode, placing his personal stamp on a time-worn convention.

He also mentions that something similar happens in "Finders Keepers."

Thanks! Curiously, my shift is up and Lambert's shift is down (perhaps I should rephrase that, lol).