I'D LOVE JUST ONCE TO SEE YOU

[Pinder's Gone To Kokomo And Back Again]

I just can't get enough of this song....

Nothing beats Brian singing naturally in his normal register..... NOTHING!..... Not even Carl.

I want to know everything possible about this song!

Who wrote the awesome lyrics? (they really just flow like magic)

Who's playing the awesome guitars?

Who's playing the bitchin bassline?

Anyone got any factoids?

[Chocolate Shake Man]

I have no factoids but I do love that song. It was one of the deep cuts that I was introduced to as a kid because my dad had and really liked the Wild Honey album.

[wantsomecorn]

I love that at some point in the creative process for the song, Mike, or whoever came up with the lyrics, said the phrase "I'd love just once to see in you in the nude", and absolutely no one had a problem with it; engineers, publicists, anyone at all.

[filledeplage]

I love that at some point in the creative process for the song, Mike, or whoever came up with the lyrics, said the phrase "I'd love just once to see in you in the nude", and absolutely no one had a problem with it; engineers, publicists, anyone at all.

It's the corollary to WIBN!

Sorry, I could not resist!   

[Magic Transistor Radio]

The song sounds so innocent and sweet, that is what cracks me up about the end lyric!

[Shady]

A perfect song

[Quzi]

I remember c-man saying the boys played everything on this track, but he doesn't know for sure who played what. I'm guessing there's a strong chance Carl's on the acoustic and that Brian's on harpsichord.

[Mr. Cohen]

Woah, there's a harpsichord? I think I know the section of the song you're talking about, but I think that's just some reverbed guitars... perhaps not?

[Amazing Larry]

Woah, there's a harpsichord? I think I know the section of the song you're talking about, but I think that's just some reverbed guitars... perhaps not?

Maybe he recorded harpsichord for the song but it was left out of the mix.

[Quzi]

Woah, there's a harpsichord? I think I know the section of the song you're talking about, but I think that's just some reverbed guitars... perhaps not?

In my search and people were mentioning there is one, but now that I listen, it could just be guitar, maybe with light doubling but I don't have time/my headphones to really listen at the moment.

[Mr. Cohen]

Well, the song has some really great reverbed parts going on, but it's mixed real subtly. That's what makes the song so great.

[dwtherealbb]

I've always wondered who this song is about? Maybe Diane?

[Cabinessenceking]

I've always wondered who this song is about? Maybe Diane?

I could put money on that...

[Micha]

I love this song, too. One of my 4 favorite songs from Wild Honey, the others being the title track, Darlin' and Boogalooed.

[Matt Bielewicz]

Oh, for sure, it is a great, great song. I think it tends to get overlooked because of the joke at the end - you know, like 'serious fans' can't take it as a classic because they feel it's too silly. But *stuff* them. Every aspect of this song is just so excellent. Catchy guitars, happening bass, crisp, to-the-point (and quite funny) lyrics about the bliss of simple domestic life with someone you love... it's a great example of a snappy pop classic of the kind that Brian used to just crank out in seemingly effortless droves when he was at the height of his game.

None of these aspects, however, great as they are, are what REALLY slays me about it. No, for me, the killer is the frustratingly brief but absolutely incredible baroque vocal arrangement at the end of the song, just on the fadeout. Again, it's a classic example of the kind of superb 'tags' or outros Brian was so good at in his 'imperial' period. And it's right at the VERY end of the song! The first time I heard it, I almost missed it, as the song was disappearing into the noise floor in my house with the fadeout, but I sat up, said 'Woooahhh!!! What was THAT?' leapt across the room and played it again. And again. And again. I'm sure many of us here have had similar moments with the Beach Boys music. I mean, we have a whole thread here, don't we, for 'specific musical moments that are kicking our asses right NOW'. And this was one of those for me, the first time, as I worked my way through my newly-bought SS/WH twofer in Autumn 1994, having my world changed by the music on it.

Though I have no idea about how this vocal tag came about, I always pictured Brian recording the track in the rudimentary 1967 Brother home studio, and musing: "OK... we're almost done with this track... but the ending just needs a little something... er... HEY! Dennis and Al, here, you sing this... Mike, here's the bass line... Carl, you sing *this*... and I'll just, er, improvise over the top, OK? Alright — roll tape, Jim... here we go!!!"

And that's it. Fifteen seconds of vocal magic, right on the fadeout. The mad genius of pop music, knocking another moment of throwaway harmony magic right out of the park... just as the song fades out of view.

Oh, and I'm gone, man, SOLID gone...

What a moment. You know, they say Brian Wilson is a genius for creating songs like Catch A Wave, I Get Around, The Warmth of the Sun, God Only Knows, SMiLE, Good Vibrations, This Whole World, Til I Die, Southern California, Summer's Gone... but I say the genius is equally strong in songs like this one. Little moments, I guess, but they knock you out all the more for that.

MattB

[dwtherealbb]

The song is definitely about Marilyn, since she was his wife

what kind of logic is that? Since she was his wife, he had already seen her in such capacity for four years

[Nicko1234]

As Mike has a writing credit on the song I would assume that it's about somebody that he wanted to doink at the time.

[Iron Horse-Apples]

As Mike has a writing credit on the song I would assume that it's about somebody that he wanted to doink at the time.

"Doink" - Ha, and every time I think I've heard 'em all, another one pops up.

Not just in the context of Wild Honey, one of my favourite BB songs

I've always found the lyric at the end to be beautiful and innocent, a rejoicing of nudity, and why the hell not?

[rab2591]

The song is definitely about Marilyn, since she was his wife

what kind of logic is that? Since she was his wife, he had already seen her in such capacity for four years

Then how'd you explain the existence of the "When's the last time you baked me a pie" line? I'm very doubtful Diane used to bake him a pie or sth. else back then. That'd be illogical coz Brian had already wife for cooking him meals.

How is it doubtful Diane ever made a pie for Brian? Brian had people at his place all the time back then, there was probably a lot of cooking going on by multiple people. With this logic it makes more sense that the song is about Diane since Marilyn was constantly making Brian meals (she probably made pies for Brian often).

I'd never thought I'd be involved in a speculative discussion about the cooking habits of the Rovell sisters on this board

[RangeRoverA1]

Case closed.

[EgoHanger1966]

The song is definitely about Marilyn, since she was his wife

what kind of logic is that? Since she was his wife, he had already seen her in such capacity for four years

Then how'd you explain the existence of the "When's the last time you baked me a pie" line? I'm very doubtful Diane used to bake him a pie or sth. else back then. That'd be illogical coz Brian had already wife for cooking him meals.

How is it doubtful Diane ever made a pie for Brian? Brian had people at his place all the time back then, there was probably a lot of cooking going on by multiple people. With this logic it makes more sense that the song is about Diane since Marilyn was constantly making Brian meals (she probably made pies for Brian often).

I'd never thought I'd be involved in a speculative discussion about the cooking habits of the Rovell sisters on this board

Also, the "I'd love just once to see you in the nude" line doesn't make sense if Brian was singing about his wife. Presumably, he'd at least have seen her nude once by 1967! 

[Ovi]

Oh, for sure, it is a great, great song. I think it tends to get overlooked because of the joke at the end - you know, like 'serious fans' can't take it as a classic because they feel it's too silly. But *stuff* them. Every aspect of this song is just so excellent. Catchy guitars, happening bass, crisp, to-the-point (and quite funny) lyrics about the bliss of simple domestic life with someone you love... it's a great example of a snappy pop classic of the kind that Brian used to just crank out in seemingly effortless droves when he was at the height of his game.

None of these aspects, however, great as they are, are what REALLY slays me about it. No, for me, the killer is the frustratingly brief but absolutely incredible baroque vocal arrangement at the end of the song, just on the fadeout. Again, it's a classic example of the kind of superb 'tags' or outros Brian was so good at in his 'imperial' period. And it's right at the VERY end of the song! The first time I heard it, I almost missed it, as the song was disappearing into the noise floor in my house with the fadeout, but I sat up, said 'Woooahhh!!! What was THAT?' leapt across the room and played it again. And again. And again. I'm sure many of us here have had similar moments with the Beach Boys music. I mean, we have a whole thread here, don't we, for 'specific musical moments that are kicking our asses right NOW'. And this was one of those for me, the first time, as I worked my way through my newly-bought SS/WH twofer in Autumn 1994, having my world changed by the music on it.

Though I have no idea about how this vocal tag came about, I always pictured Brian recording the track in the rudimentary 1967 Brother home studio, and musing: "OK... we're almost done with this track... but the ending just needs a little something... er... HEY! Dennis and Al, here, you sing this... Mike, here's the bass line... Carl, you sing *this*... and I'll just, er, improvise over the top, OK? Alright — roll tape, Jim... here we go!!!"

And that's it. Fifteen seconds of vocal magic, right on the fadeout. The mad genius of pop music, knocking another moment of throwaway harmony magic right out of the park... just as the song fades out of view.

Oh, and I'm gone, man, SOLID gone...

What a moment. You know, they say Brian Wilson is a genius for creating songs like Catch A Wave, I Get Around, The Warmth of the Sun, God Only Knows, SMiLE, Good Vibrations, This Whole World, Til I Die, Southern California, Summer's Gone... but I say the genius is equally strong in songs like this one. Little moments, I guess, but they knock you out all the more for that.

MattB

Now, that was an excellent post.

I've always enjoyed it a lot as well. For me, the song's charm lies in the way its two segments - the "I'm-busy-doing-nothing'" and the "childish-love-lust" - come together, both musically and context-wise.

But Darlin' is still my favourite song on the album and quite possibly my favourite Carl vocal performance ever.

[Rocker]

I remember c-man saying the boys played everything on this track, but he doesn't know for sure who played what. I'm guessing there's a strong chance Carl's on the acoustic

I remember reading somewhere that Dennis played guitar on that one. But I doubt it to be honest.

[cablegeddon]

From the first time I heard I always thought it sounded like early 2000s/ late 90s indie pop. Just very cool and hip...

[hypehat]

I love how literal we're taking the 'pie' line  

Maybe Marilyn doesn't like pies, so would never really bake them? Therefore, Brian is voicing his displeasure at the lack of pied goods in the Wilson household.

I would have thought Brian getting annoyed at having to do the washing up all the time would have got more traction, but y'know...