surf guitar sounds in 'Here Today' on Pet Sounds

[JaredLekites]

It's in the same channel as the accordions. There's definitely a fast plucking that is typical of a mandolin. Almost like a flamenco guitar. Whatever it is might be playing the same notes as the accordions. It blends really well which is probably what Brian was going for.

[Christoph]

I think it's just the two accordians playing together, in the PS-Box it's stated that it can be easily misheard as a mandolin.

[Joshilyn Hoisington]

Even if you are skeptical about the aural evidence, the personnel situation doesn't allow for mandolins, every musician is accounted for on other instruments.

[JaredLekites]

But see, the thing is... I didn't say it was for sure a mandolin. I said it could be the same instrument that starts the track out (which I assume is a guitar). Something is DEFINITELY doubling the notes that the accordions are playing during the part of WIBN where the music ritards ("you know it seems the more we talk about it..."). There's a plucking sound that is impossible to achieve on accordion because it is not a stringed instrument. The more I listen, the more I think it's probably a guitar being played in a flamenco/Spanish guitar style (except with a pick).

Brian used a similar effect recently with acoustic guitars on Lucky Old Sun's "Mexican Girl" (approximately a minute and 46 seconds into the track).

[Joshilyn Hoisington]

There's an archtop acoustic guitar strumming during the ritard, but it drops out after the tempo settles.  The accordions are doing the famous triple-bellow shake that sounds astoundingly close to a stringed instrument but isn't.  The intro 12-strings are tacet along with the acoustic guitar during that whole section, it really is just accordions getting that effect.  It's explained in the accordionist  Frank Marocco's own words very nicely in Granata's book on pp. 146 and 147.

[Joshilyn Hoisington]

Also interesting on Here Today is that the two guitars are fairly uncharacteristic for the album, more or less strumming barre chords when they play.  On almost every other song, the guitars play countermelodies or parts, or if they're just comping they're usually jazz-voicings, but in Here Today, perhaps playing in on the Throw-back vibe, they just strum along.

[JaredLekites]

Interesting point. I also noticed this. Oddly enough, I actually used to get "Here Today" and "That's Not Me" confused with each other and tended to think that "Here Today" was the Pet Sounds track that the Beach Boys played on. The 'surf' sounds and the straightforward vibe of the guitars probably helped with this confusion.

[c-man]

Interesting point. I also noticed this. Oddly enough, I actually used to get "Here Today" and "That's Not Me" confused with each other and tended to think that "Here Today" was the Pet Sounds track that the Beach Boys played on. The 'surf' sounds and the straightforward vibe of the guitars probably helped with this confusion.

I doubt any of the Boys could've played that wicked electric bass line! 

[Beach Head]

The Pet Sounds liner notes are very unreliable (for example there are no mandolins on Wouldn't It Be Nice), and I'm not sure what AFM sheet you're thinking of, but Blank No. 247440 for 11 March, 1966 at Sunset Sound for the "Here Today" session does not have Carol on it at all, in fact Ray Pohlman is the leader.  Just be careful when referencing documents--it's hard enough to get things straight.  Another example, Carl is playing 12-string guitar on IWFTD and Ray is in fact playing some sort of bass along with Carol.

Most of the misconceptions about Pet Sounds credits seem to originate with Carol Kaye.  Check out this interview at http://www.albumlinernotes.com/Carol_Kaye.html:

Wouldn't It Be Nice -- "I played thirds a lot in the bridge and other places, a romping good song similar to ‘Help Me Rhonda.’ I think it illustrates Brian's happiness in the studio, his freedom to create and have us play this stuff. Jerry Cole--the top line electric guitar; Barney Kessel and Ray Pohlman on two mandolins (rhythm and fills); Bill Pitman-electric guitar (rhythm); Larry Knechtel-quarter notes (with some rhythm) on piano; Al de Lory on piano, doubling what Larry did. The two accordions, Carl Fortina and Frank Marocco (the lick in the middle)."

I'm Waiting For The Day -- Ray Pohlman, electric guitar through Leslie organ speaker. He's playing fills, then electric guitar rhythm. Al de Lory-organ fills; Larry Knechtel-organ quarter notes. Lyle Ritz is playing ukulele. We kidded him about bringing in a ‘shrunken guitar.’ The drums dictated the beat at first; notice the bass part with the 4th (sus 11th) on the bottom. Very rare! Brian really stretched his orchestrating there, but it's fine. This was a little boring to play without a lead...sort of like Beethoven, the bass wound up playing scale-like figures to a march time, ending a jazz-like chordal spread of violin and cellos."