The Beach Boys Lyrics Thread: post the gauchest lyrics u got

[Magic Transistor Radio]

I'll Bet He's Nice: "I bet he show's you quite a ball. Please don't tell me if its true. Cuz I'm still in love with you pretty daughter..."

Hey Little Tomboy

School Girl

Mainly because men in their 30s are singing it. The first one is a bit over the top though!

Pretty "darlin'" (not daughter, ewwww!)

Hey Little Tomboy - retro song...

School Girl (one more semester and we're on our way) similar to Wouldn't It Be Nice!

Wow! It sounds just like daughter to me!

[Alan Smith]

When Girls Get Together again taps into that pouch of chauvanism and creepiness common amongst the vaults material.

It's an indepth insight into what "girls" discuss (not) that ends with the vaguely dubious notion of 3 little girls talking of little boys and getting home before it's dark.

Oh, and it's mismatched a possibly unmatchable and dire backing track

It seems the opposite of chauvinism, and an attempt of an understanding at a world of feminism, and a world and culture of communication that women have engaged in forever.  Almost the concept of noses pressed to the glass, not in a voyeurism sense, but an attempt to understand what goes on in an apparent world, closed (or apparently, closed) to them.

The mandolins in the background conjure an European image, perhaps Italian.

Maybe this board could use some more ladies...

Frankly, I think it is a little avant garde.  

Do ya?    I can't sign-up for avant garde but I like your reply, well played.

I think "The Night was so Young" would go a long way to appealing to female fans, I will suggest that to the focus group over in the sandbox  

I'm sticking by my guns here...for years the terms,"mysogynistic" and "macho/sexist" have been hurled at the Beach Boys music, without "taking the music as a whole corpus" and looking at the subleties in between. This is a really subtle old world flavor, with the mandolins, which originated in Italy as some sort of lute, which Brian and Mike may have taken from, perhaps observing their grandmothers or grandaunts, and observing groups of elder ladies and young women and girls, in their travels around the world.  One can't help but notice such things, in Italy, Ireland, France, or Greece. I don't exclude other countries, but won't venture an opinion because I haven't been.

It's sort of a difficult concept for guys to grasp, except, often when visiting my aunt, for drinks, (adult beverage time!) my mother used to say," it was 5 o'clock somewhere." with my girl cousins, (we are badly outnumbered) when the door opens, and one of the guys come through the door, we hear, "Hen Party!" We laugh, but that is the same concept, I think the song captures - the "perception" that it is a "girls only" gathering.  It is the perception of a Secret Society of the Ladies, and, to an extent, it might be...I wonder how a Women's Study course would interpret this song.

Girl Talk. The boys want in. It ain't happening! Hence, the song!  

I like your analysis and the items you've speculated on - it's possibly the most discussion this song's ever had (more than 4 sentences  - no, I haven't checked the archives).

The music is one thing - the subtleties of this song are all in Brian Wilson's head which is a pretty complex place.   It could be he was inspired by some trad European music and this was a stylistic exercise.  Maybe, this was something he "based" on another artist he was listening to at the time, as we know he wasn't getting out much.  Strikes me as something Murray Wilson may have encouraged, who knows. 

The marxophone (made in Michighan) is the key instrument (it belongs to the same family as a mandolin zither, tho, hence the similar sound) and may have inspired the rest of the structure (including the ompah style brass); which in itself is a generalisation of a style of European music.  And it's kinda boring; which reminds me that my key compaint was the lyrics.

These lyrics have/had a lot of potential pitched as a question - what do girls (beyond his life) talk about, has this been going on forever, will I ever know. Instead, the hypothesis passed off as fact and becomes an opportunity to spiel off his own generalisations.  I think the behaviours cited by the lyricist could apply to any group of guys, as much as a secret society of Ladies. 

As for a Gender studies course - perhaps they'd hit skip and save their energy for a more interesting song (like, "Oh those girls" by Mike) 

[filledeplage]

When Girls Get Together again taps into that pouch of chauvanism and creepiness common amongst the vaults material.

It's an indepth insight into what "girls" discuss (not) that ends with the vaguely dubious notion of 3 little girls talking of little boys and getting home before it's dark.

Oh, and it's mismatched a possibly unmatchable and dire backing track

It seems the opposite of chauvinism, and an attempt of an understanding at a world of feminism, and a world and culture of communication that women have engaged in forever.  Almost the concept of noses pressed to the glass, not in a voyeurism sense, but an attempt to understand what goes on in an apparent world, closed (or apparently, closed) to them.

The mandolins in the background conjure an European image, perhaps Italian.

Maybe this board could use some more ladies...

Frankly, I think it is a little avant garde.  

Do ya?    I can't sign-up for avant garde but I like your reply, well played.

I think "The Night was so Young" would go a long way to appealing to female fans, I will suggest that to the focus group over in the sandbox  
 

I'm sticking by my guns here...for years the terms,"mysogynistic" and "macho/sexist" have been hurled at the Beach Boys music, without "taking the music as a whole corpus" and looking at the subleties in between. This is a really subtle old world flavor, with the mandolins, which originated in Italy as some sort of lute, which Brian and Mike may have taken from, perhaps observing their grandmothers or grandaunts, and observing groups of elder ladies and young women and girls, in their travels around the world.  One can't help but notice such things, in Italy, Ireland, France, or Greece. I don't exclude other countries, but won't venture an opinion because I haven't been.

It's sort of a difficult concept for guys to grasp, except, often when visiting my aunt, for drinks, (adult beverage time!) my mother used to say," it was 5 o'clock somewhere." with my girl cousins, (we are badly outnumbered) when the door opens, and one of the guys come through the door, we hear, "Hen Party!" We laugh, but that is the same concept, I think the song captures - the "perception" that it is a "girls only" gathering.  It is the perception of a Secret Society of the Ladies, and, to an extent, it might be...I wonder how a Women's Study course would interpret this song.

Girl Talk. The boys want in. It ain't happening! Hence, the song!  

I like your analysis and the items you've speculated on - it's possibly the most discussion this song's ever had (more than 4 sentences  - no, I haven't checked the archives).

The music is one thing - the subtleties of this song are all in Brian Wilson's head which is a pretty complex place.   It could be he was inspired by some trad European music and this was a stylistic exercise.  Maybe, this was something he "based" on another artist he was listening to at the time, as we know he wasn't getting out much.  Strikes me as something Murray Wilson may have encouraged, who knows. 

The marxophone (made in Michighan) is the key instrument (it belongs to the same family as a mandolin zither, tho, hence the similar sound) and may have inspired the rest of the structure (including the ompah style brass); which in itself is a generalisation of a style of European music.  And it's kinda boring; which reminds me that my key compaint was the lyrics.

These lyrics have/had a lot of potential pitched as a question - what do girls (beyond his life) talk about, has this been going on forever, will I ever know. Instead, the hypothesis passed off as fact and becomes an opportunity to spiel off his own generalisations.  I think the behaviours cited by the lyricist could apply to any group of guys, as much as a secret society of Ladies. 

As for a Gender studies course - perhaps they'd hit skip and save their energy for a more interesting song (like, "Oh those girls" by Mike) 

The layered subleties are exactly what they would look for in Feminist Literary Analysis studies.  The other on the surface stuff is just too easy. MIU/LA impresses me as a sort of goddess/muse salute.  Lady Linda, Angel Come Home, My Diane, Baby Blue, Peggy Sue, and, yes, Hey Little Tomboy. Those were the days when women were not supposed to play basketball, hockey, soccer, etc. Those Little Tomboys grew up to be doctors, lawyers and movie producers.  That one could have been a 1961-63 song, finished with all the demonstration of sophistication and growth nearly 20 years later.  It is a stereotype that evolved. Murry was deceased in the earlier 70's, I think.


When Girls Get Together has that Old World feel, perhaps because of the instruments utilized in the orchestration. If you look at the lyrics on a lyric website, and look at them as a poem, I find them dead-on, and capture the wonder of the eternal life-spanning Secret Ladies Society, the aspiration to figure them out, and the unconditional love for them, without ever finding out what makes them "tick."

A steady diet of some of those instruments, you mention might be boring, but strategic placement for a certain desired effect might make them effective.  Never heard of the marxophone. Thanks!  Reminded me of the Marx Brothers!   

[I. Spaceman]

I love all of the lyrics cited in this thread so far, with the exception of Hey Little Tomboy and Lazy Lizzie.

[sockittome]

Tears in the Morning could've been a decent song, imo, but those lyrics are soooo lame.  And the worst part is how he jams all those syllables into the melody ("hope you love the baby I'm never gonna see").

[I. Spaceman]

Tears in the Morning could've been a decent song, imo, but those lyrics are soooo lame.  And the worst part is how he jams all those syllables into the melody ("hope you love the baby I'm never gonna see").

Yeah, that's a bad one too.
I've never really liked Heads You Win Tails I Lose or Ten Little Indians.

[Myk Luhv]

It kind of blows my mind you can read "Hey Little Tomboy" as anything other than sexist and heteronormative gender-policing, particularly the unreleased alternate (early?) version with the spoken word voice-overs. "Those [c. 1976-78?] were the days when women were not supposed to play basketball, hockey, soccer, etc. Those Little Tomboys grew up to be doctors, lawyers and movie producers." This has nothing to do with the song at hand, considering the song's lyrics are clearly wanting to do the opposite: turn these tomboys into stereotypical girls!

I obviously like The Beach Boys very much otherwise I would not be posting here, but to say Brian Wilson or The Beach Boys are in any way feminist when they employ, at best, an essentialist understanding of gender is clearly nonsense. That wasn't even progressive in the 1960s let alone the '70s!

[filledeplage]

It kind of blows my mind you can read "Hey Little Tomboy" as anything other than sexist and heteronormative gender-policing, particularly the unreleased alternate (early?) version with the spoken word voice-overs. "Those [c. 1976-78?] were the days when women were not supposed to play basketball, hockey, soccer, etc. Those Little Tomboys grew up to be doctors, lawyers and movie producers." This has nothing to do with the song at hand, considering the song's lyrics are clearly wanting to do the opposite: turn these tomboys into stereotypical girls!

I obviously like The Beach Boys very much otherwise I would not be posting here, but to say Brian Wilson or The Beach Boys are in any way feminist when they employ, at best, an essentialist understanding of gender is clearly nonsense. That wasn't even progressive in the 1960s let alone the '70s!

It is, in my view,  important, when making some type of analysis on either music or literature, to make an assessment with a lens from a different era to use the lens of "that era." Not today's after the fact of quasi equality.

By 1978 or so, you never heard the term "tomboy" which was a term I heard in the late 1950's and 1960's.  At those points in time, there were sex roles which were not deviated from, in the classic 1950's and 1960's Donna Reed (stay at home, Mom role)  and I am unconvinced that the term is a pejorative, if it is taken as a "retro" sense because I find the melody similar to the very early BB music without all the sophisticated arrangements.

If one looks at an historic era, and my personal take is one of the potential suitor's admiration, that this "tomboy" can perhaps do more than strap her steel skates onto her sneakers, and maybe is more inquisitive and adventurous, than the average girl of the time, and therein lies the attraction.  He likes her anyway. He'd maybe like to see her with lipstick and heels. He seems to admire that she is not a "helpless" female waiting to be rescued!  It is just my opinion, but maybe, she is gonna rescue him!
 

If you listen to "The Waltz" on Brian's Gettin' In Over My Head, there is "retro" imagery in the description of the high school dance...one must step back and look at the work from the conceived time being written about.  Sounds like mid 1960's, and a romanticized vision.  He is not looking at today's prom or cotillion, with stapless gowns, but an angora sweater...typical of that era...

[bossaroo]

I'll Bet He's Nice: "I bet he show's you quite a ball. Please don't tell me if its true. Cuz I'm still in love with you pretty daughter..."

Hey Little Tomboy

School Girl

Mainly because men in their 30s are singing it. The first one is a bit over the top though!

Pretty "darlin'" (not daughter, ewwww!)

Hey Little Tomboy - retro song...

School Girl (one more semester and we're on our way) similar to Wouldn't It Be Nice!

Wow! It sounds just like daughter to me!

it's darlin' on Bet He's Nice, but what about Deirdre where he's singing to his daughter the line "we'll take a bath"? creep city.

from Salt Lake City... "the way the kids talk so cool is an out-of-sight thing" is pretty bad.

i like the "my gran" line on Girl Don't Tell Me, but Carl kind of botches it when he sings "YOU came up to stay with MY gran" unless he's singing to a family member. quite possible in Beach Boys world i guess.

[SMiLE Brian]

Skatetown USA

[filledeplage]

I'll Bet He's Nice: "I bet he show's you quite a ball. Please don't tell me if its true. Cuz I'm still in love with you pretty daughter..."

Hey Little Tomboy

School Girl

Mainly because men in their 30s are singing it. The first one is a bit over the top though!

Pretty "darlin'" (not daughter, ewwww!)

Hey Little Tomboy - retro song...

School Girl (one more semester and we're on our way) similar to Wouldn't It Be Nice!

Wow! It sounds just like daughter to me!

it's darlin' on Bet He's Nice, but what about Deirdre where he's singing to his daughter the line "we'll take a bath"? creep city.

from Salt Lake City... "the way the kids talk so cool is an out-of-sight thing" is pretty bad.

i like the "my gran" line on Girl Don't Tell Me, but Carl kind of botches it when he sings "YOU came up to stay with MY gran" unless he's singing to a family member. quite possible in Beach Boys world i guess.

Bossaroo -I'll Bet He's Nice...a brooding guy who got dumped...

Deirdre sounds like two consenting adults...ever hear the 70's expression, "Save water, shower with a friend?"

Salt Lake City - funny outtake on YouTube... I won't venture an opinion...sounds like Wrecking Crew..."out-of-sight" is another groovy old 60's expression. 

Carl didn't botch much. And it all sounds great to me, mistakes and all...old man shun-shine!

All pretty tame in my book... 

[bossaroo]

i know Bet He's Nice is a brooding Brian, i was just telling Magic Transistor who thought the line was "daughter" rather than "darlin"

i'm pretty sure Deirdre is a father singing to his little girl after a divorce or separation. maybe i'm wrong, but i believe that was at least the song's inspiration.

i also realize "out of sight" is an expression popular in the 60s. i think the Beach Boys have used the phrase on more songs than any other band. i used to have a mixtape with every example but i probably missed a couple. either way, the line "the way the kids talk so cool is an out-of-sight thing" is clumsy and rather uncool.

what Salt Lake City outtake are you referring to? is that the one where Brian tells everyone to "wack off man" ?!! hilarious.

[filledeplage]

i know Bet He's Nice is a brooding Brian, i was just telling Magic Transistor who thought the line was "daughter" rather than "darlin"

i'm pretty sure Deirdre is a father singing to his little girl after a divorce or separation. maybe i'm wrong, but i believe that was at least the song's inspiration.

i also realize "out of sight" is an expression popular in the 60s. i think the Beach Boys have used the phrase on more songs than any other band. i used to have a mixtape with every example but i probably missed a couple. either way, the line "the way the kids talk so cool is an out-of-sight thing" is clumsy and rather uncool.

what Salt Lake City outtake are you referring to? is that the one where Brian tells everyone to "wack off man" ?!! hilarious.

My take is that the brooding is "generic," that Dierdre is two adults, "out-of-sight" was pretty heavily and universally used and not maladroit for the time context, and yes, it was "that" clip...laughter and humor are the best!

See The Wrecking Crew film, if possible, to understand the studio musicians who were booked all over the place, they were in such demand..

[I. Spaceman]

Skatetown USA

Those groovy little wheels are gonna GET ME SOME!

[Alan Smith]

When Girls Get Together again taps into that pouch of chauvanism and creepiness common amongst the vaults material.

It's an indepth insight into what "girls" discuss (not) that ends with the vaguely dubious notion of 3 little girls talking of little boys and getting home before it's dark.

Oh, and it's mismatched a possibly unmatchable and dire backing track

It seems the opposite of chauvinism, and an attempt of an understanding at a world of feminism, and a world and culture of communication that women have engaged in forever.  Almost the concept of noses pressed to the glass, not in a voyeurism sense, but an attempt to understand what goes on in an apparent world, closed (or apparently, closed) to them.

The mandolins in the background conjure an European image, perhaps Italian.

Maybe this board could use some more ladies...

Frankly, I think it is a little avant garde.  

Do ya?    I can't sign-up for avant garde but I like your reply, well played.

I think "The Night was so Young" would go a long way to appealing to female fans, I will suggest that to the focus group over in the sandbox  
 

I'm sticking by my guns here...for years the terms,"mysogynistic" and "macho/sexist" have been hurled at the Beach Boys music, without "taking the music as a whole corpus" and looking at the subleties in between. This is a really subtle old world flavor, with the mandolins, which originated in Italy as some sort of lute, which Brian and Mike may have taken from, perhaps observing their grandmothers or grandaunts, and observing groups of elder ladies and young women and girls, in their travels around the world.  One can't help but notice such things, in Italy, Ireland, France, or Greece. I don't exclude other countries, but won't venture an opinion because I haven't been.

It's sort of a difficult concept for guys to grasp, except, often when visiting my aunt, for drinks, (adult beverage time!) my mother used to say," it was 5 o'clock somewhere." with my girl cousins, (we are badly outnumbered) when the door opens, and one of the guys come through the door, we hear, "Hen Party!" We laugh, but that is the same concept, I think the song captures - the "perception" that it is a "girls only" gathering.  It is the perception of a Secret Society of the Ladies, and, to an extent, it might be...I wonder how a Women's Study course would interpret this song.

Girl Talk. The boys want in. It ain't happening! Hence, the song!  

I like your analysis and the items you've speculated on - it's possibly the most discussion this song's ever had (more than 4 sentences   - no, I haven't checked the archives).

The music is one thing - the subtleties of this song are all in Brian Wilson's head which is a pretty complex place.   It could be he was inspired by some trad European music and this was a stylistic exercise.  Maybe, this was something he "based" on another artist he was listening to at the time, as we know he wasn't getting out much.  Strikes me as something Murray Wilson may have encouraged, who knows.  

The marxophone (made in Michighan) is the key instrument (it belongs to the same family as a mandolin zither, tho, hence the similar sound) and may have inspired the rest of the structure (including the ompah style brass); which in itself is a generalisation of a style of European music.  And it's kinda boring; which reminds me that my key compaint was the lyrics.

These lyrics have/had a lot of potential pitched as a question - what do girls (beyond his life) talk about, has this been going on forever, will I ever know. Instead, the hypothesis passed off as fact and becomes an opportunity to spiel off his own generalisations.  I think the behaviours cited by the lyricist could apply to any group of guys, as much as a secret society of Ladies.  

As for a Gender studies course - perhaps they'd hit skip and save their energy for a more interesting song (like, "Oh those girls" by Mike)  

The layered subleties are exactly what they would look for in Feminist Literary Analysis studies.  The other on the surface stuff is just too easy. MIU/LA impresses me as a sort of goddess/muse salute.  Lady Linda, Angel Come Home, My Diane, Baby Blue, Peggy Sue, and, yes, Hey Little Tomboy. Those were the days when women were not supposed to play basketball, hockey, soccer, etc. Those Little Tomboys grew up to be doctors, lawyers and movie producers.  That one could have been a 1961-63 song, finished with all the demonstration of sophistication and growth nearly 20 years later.  It is a stereotype that evolved. Murry was deceased in the earlier 70's, I think.


When Girls Get Together has that Old World feel, perhaps because of the instruments utilized in the orchestration. If you look at the lyrics on a lyric website, and look at them as a poem, I find them dead-on, and capture the wonder of the eternal life-spanning Secret Ladies Society, the aspiration to figure them out, and the unconditional love for them, without ever finding out what makes them "tick."

A steady diet of some of those instruments, you mention might be boring, but strategic placement for a certain desired effect might make them effective.  Never heard of the marxophone. Thanks!  Reminded me of the Marx Brothers!  

Pleasure, but don't thank me, thank the BB historians who have taken the time and passion to write down the use of the M-phone on this insignificant item (their names are Andrew G Doe).  I just looked up the mphone on wiki for the additional info.

You are correct re Murray's mortal evacuation, circa June, 1973 - but WGGTG was written as part of the Add Some Music sessions from 1969/70 - not wanting to be overly picky, merely suggesting/speculating local influences for Brian's compositions of the time, as opposed to his zeitgeist tapping of ancient Euro folk styles.

[SMiLE Brian]

Skatetown USA

Those groovy little wheels are gonna GET ME SOME!

Sung by Mike Love in his mid 30s....

[I. Spaceman]

Skatetown USA

Those groovy little wheels are gonna GET ME SOME!

Sung by Mike Love in his mid 30s....

How bad could it get when The Beach Boys record a theme for an independent knock-off rollerdisco movie...and it it gets rejected?

[filledeplage]

When Girls Get Together again taps into that pouch of chauvanism and creepiness common amongst the vaults material.

It's an indepth insight into what "girls" discuss (not) that ends with the vaguely dubious notion of 3 little girls talking of little boys and getting home before it's dark.

Oh, and it's mismatched a possibly unmatchable and dire backing track

It seems the opposite of chauvinism, and an attempt of an understanding at a world of feminism, and a world and culture of communication that women have engaged in forever.  Almost the concept of noses pressed to the glass, not in a voyeurism sense, but an attempt to understand what goes on in an apparent world, closed (or apparently, closed) to them.

The mandolins in the background conjure an European image, perhaps Italian.

Maybe this board could use some more ladies...

Frankly, I think it is a little avant garde.  

Do ya?    I can't sign-up for avant garde but I like your reply, well played.

I think "The Night was so Young" would go a long way to appealing to female fans, I will suggest that to the focus group over in the sandbox  
 

I'm sticking by my guns here...for years the terms,"mysogynistic" and "macho/sexist" have been hurled at the Beach Boys music, without "taking the music as a whole corpus" and looking at the subleties in between. This is a really subtle old world flavor, with the mandolins, which originated in Italy as some sort of lute, which Brian and Mike may have taken from, perhaps observing their grandmothers or grandaunts, and observing groups of elder ladies and young women and girls, in their travels around the world.  One can't help but notice such things, in Italy, Ireland, France, or Greece. I don't exclude other countries, but won't venture an opinion because I haven't been.

It's sort of a difficult concept for guys to grasp, except, often when visiting my aunt, for drinks, (adult beverage time!) my mother used to say," it was 5 o'clock somewhere." with my girl cousins, (we are badly outnumbered) when the door opens, and one of the guys come through the door, we hear, "Hen Party!" We laugh, but that is the same concept, I think the song captures - the "perception" that it is a "girls only" gathering.  It is the perception of a Secret Society of the Ladies, and, to an extent, it might be...I wonder how a Women's Study course would interpret this song.

Girl Talk. The boys want in. It ain't happening! Hence, the song!  

I like your analysis and the items you've speculated on - it's possibly the most discussion this song's ever had (more than 4 sentences   - no, I haven't checked the archives).

The music is one thing - the subtleties of this song are all in Brian Wilson's head which is a pretty complex place.   It could be he was inspired by some trad European music and this was a stylistic exercise.  Maybe, this was something he "based" on another artist he was listening to at the time, as we know he wasn't getting out much.  Strikes me as something Murray Wilson may have encouraged, who knows.  

The marxophone (made in Michighan) is the key instrument (it belongs to the same family as a mandolin zither, tho, hence the similar sound) and may have inspired the rest of the structure (including the ompah style brass); which in itself is a generalisation of a style of European music.  And it's kinda boring; which reminds me that my key compaint was the lyrics.

These lyrics have/had a lot of potential pitched as a question - what do girls (beyond his life) talk about, has this been going on forever, will I ever know. Instead, the hypothesis passed off as fact and becomes an opportunity to spiel off his own generalisations.  I think the behaviours cited by the lyricist could apply to any group of guys, as much as a secret society of Ladies.  

As for a Gender studies course - perhaps they'd hit skip and save their energy for a more interesting song (like, "Oh those girls" by Mike)  

The layered subleties are exactly what they would look for in Feminist Literary Analysis studies.  The other on the surface stuff is just too easy. MIU/LA impresses me as a sort of goddess/muse salute.  Lady Linda, Angel Come Home, My Diane, Baby Blue, Peggy Sue, and, yes, Hey Little Tomboy. Those were the days when women were not supposed to play basketball, hockey, soccer, etc. Those Little Tomboys grew up to be doctors, lawyers and movie producers.  That one could have been a 1961-63 song, finished with all the demonstration of sophistication and growth nearly 20 years later.  It is a stereotype that evolved. Murry was deceased in the earlier 70's, I think.


When Girls Get Together has that Old World feel, perhaps because of the instruments utilized in the orchestration. If you look at the lyrics on a lyric website, and look at them as a poem, I find them dead-on, and capture the wonder of the eternal life-spanning Secret Ladies Society, the aspiration to figure them out, and the unconditional love for them, without ever finding out what makes them "tick."

A steady diet of some of those instruments, you mention might be boring, but strategic placement for a certain desired effect might make them effective.  Never heard of the marxophone. Thanks!  Reminded me of the Marx Brothers!  

Pleasure, but don't thank me, thank the BB historians who have taken the time and passion to write down the use of the M-phone on this insignificant item (their names are Andrew G Doe).  I just looked up the mphone on wiki for the additional info.

You are correct re Murray's mortal evacuation, circa June, 1973 - but WGGTG was written as part of the Add Some Music sessions from 1969/70 - not wanting to be overly picky, merely suggesting/speculating local influences for Brian's compositions of the time, as opposed to his zeitgeist tapping of ancient Euro folk styles.

Certain rarer instruments provoke a recall...when I hear the old Russian balalaika, I immediately think of the soundack fo Dr. Zhivago...and that song, When Girls Get Togther, provokes that scene of the old  lady chaperones, from Godfather I, following Michael Corleone, and fiancé #1 as they courted...just what comes into my head, when I hear that song.   

And, yes, Andrew has an impressive research corpus! 

[SMiLE Brian]

Skatetown USA

Those groovy little wheels are gonna GET ME SOME!

Sung by Mike Love in his mid 30s....

How bad could it get when The Beach Boys record a theme for an independent knock-off rollerdisco movie...and it it gets rejected?

This is rock bottom creatively until KTSA or SIP, this song was their full attempt at writing a song in total 1963 style with Mike on lead and they got rejected by a crass 1970s roller disco movie.

[BananaLouie]

Much of the lyrics on Love You were I'm sure mocked by fans and critics (and were considered childish and downright creepy!) but you can't help but find them oddly endearing in all their awkward glory. What makes Love You unique is much of the lyrics were written by Brian who as we all know usually relied on a collaberator to express his thoughts and feelings. Some examples of this are on Roller Skating Child, Good Time, Johnny Carson, Solar System and I Wanna Pick You Up. Definitely one of my all time favorite Beach Boys albums and the lyrics whether you like them or not are very revealing of the Brian Wilson of that time.

[bossaroo]

there's a difference between awkward lines that Brian has written as opposed to Mike.

Brian lines like "we're sanding down our surfboards" on the Surfin USA demo and "my old man he just blew his mind" on Bugged at My Old Man are funny.
"We both didn't have the nerve" from Matchpoint is another one that makes me smile. There's a bunch.

Mike should know better. Writing lyrics is one of his only talents and he's supposed to be "Mr. Cool" according to Bruce and others. most of "Salt Lake City" is plain bad and there's plenty more to choose from.

[filledeplage]

there's a difference between awkward lines that Brian has written as opposed to Mike.

Brian lines like "we're sanding down our surfboards" on the Surfin USA demo and "my old man he just blew his mind" on Bugged at My Old Man are funny.
"We both didn't have the nerve" from Matchpoint is another one that makes me smile. There's a bunch.

Mike should know better. Writing lyrics is one of his only talents and he's supposed to be "Mr. Cool" according to Bruce and others. most of "Salt Lake City" is plain bad and there's plenty more to choose from.

Most everyone agrees that Brian has wonderful compositional skills, maybe equal to Beethoven or Mozart. Had he no lyricist for his music, he would have been one of the greats of our instrumental composers.  Mike had and has a flair for finding the words to make the music "available" for us to sing it as we "wax down the boards" - and on YouTube there is some poor quality footage and Mike is playing some kind of keyboard. I've seen him play sax, about a million years ago.  He handles a great majority of the leads.  Not bad for 70.  

The Wilson-Love combo is no less significant than any other eminent writer-composer duo...

Additionally, Mike keeps the show "moving" and you might think he is corny or goofy, but he knows how to talk to his "contemporaries" who grew up with the music in the 1960's, and he "tells it like it is."

Most don't know that he did the lyrics to Good Vibrations, while on tour, and somehow is able to listen to Brian's music, and, author words to make Brian's work "sing-able" as we go on our merry way!

And, don't get why he is continuosly demonized.

[SMiLE Brian]

Much of the lyrics on Love You were I'm sure mocked by fans and critics (and were considered childish and downright creepy!) but you can't help but find them oddly endearing in all their awkward glory. What makes Love You unique is much of the lyrics were written by Brian who as we all know usually relied on a collaberator to express his thoughts and feelings. Some examples of this are on Roller Skating Child, Good Time, Johnny Carson, Solar System and I Wanna Pick You Up. Definitely one of my all time favorite Beach Boys albums and the lyrics whether you like them or not are very revealing of the Brian Wilson of that time.

I like the lyrics a lot actually and they really show Brian's mind at the time. I just think a few rewrites could have transformed this album from cult classic to a renowned masterpiece because the backing tracks were as great as ever. 

[BananaLouie]

Much of the lyrics on Love You were I'm sure mocked by fans and critics (and were considered childish and downright creepy!) but you can't help but find them oddly endearing in all their awkward glory. What makes Love You unique is much of the lyrics were written by Brian who as we all know usually relied on a collaberator to express his thoughts and feelings. Some examples of this are on Roller Skating Child, Good Time, Johnny Carson, Solar System and I Wanna Pick You Up. Definitely one of my all time favorite Beach Boys albums and the lyrics whether you like them or not are very revealing of the Brian Wilson of that time.

I like the lyrics a lot actually and they really show Brian's mind at the time.

Love You is probably Brian's most personal album since Pet Sounds, in fact it's probably even more personal in many ways because most of the lyrics were written by Brian, all in all a solid album.

[SMiLE Brian]

Much of the lyrics on Love You were I'm sure mocked by fans and critics (and were considered childish and downright creepy!) but you can't help but find them oddly endearing in all their awkward glory. What makes Love You unique is much of the lyrics were written by Brian who as we all know usually relied on a collaberator to express his thoughts and feelings. Some examples of this are on Roller Skating Child, Good Time, Johnny Carson, Solar System and I Wanna Pick You Up. Definitely one of my all time favorite Beach Boys albums and the lyrics whether you like them or not are very revealing of the Brian Wilson of that time.

I like the lyrics a lot actually and they really show Brian's mind at the time.

Love You is probably Brian's most personal album since Pet Sounds, in fact it's probably even more personal in many ways because most of the lyrics were written by Brian, all in all a solid album.

I think the reason Brian still likes it today as one of his favorites because of it being his most personal album.