Time To Get Alone - I want to know everything!

[Andrew G. Doe]

Ladies & gentlemen, this thread is a shining example of, when it's allowed to be, what this board can be, used to be and can continue to be in the future. My soul* is lifted.

[* yes, I know I don't actually have one, but you get the idea...]

[superunison]

A+++++ Craig!!!!!!!!! Great read! Does an a cappella mix of this song exist that includes the harmonies during the verse?? Possibly my favorite vocals ever from the Boys. The only version I've heard is missing these.

[undercover-m]

I'm not as Beach Boys-smart as you guys, but I thought I'd give a shoutout to the OP. I LOVE this song (this is in the ranks of my top 20 songs by them and one of the reasons I love the 20/20 LP).

I also found a little cover by a local indie band (they do mostly gospel-y stuff, which doesn't "apply" to me, but they did open for another band I liked. They're fun.)
https://pacificgold.bandcamp.com/track/time-to-get-alone-beach-boys-cover
I think it's a nice little cover

and yes, the acapella tag version is great. Acapella tags are always great

[CarlTheVoice]

Ah I agree! Can we release it now, to coincide with the release of Love and Mercy?! It's a lost classic!

[Jukka]

That analysis was the best single post I've ever read here. I wasn't even listening to the track as I read that, but I still got the shivers when we got to the "aren't you glad we finally got away" part.

[Don Malcolm]

Yes, yes, this is great stuff. It would also be valuable to get Stephen Desper's recollections, as they might help us understand the exact sequence of the versions. One's first instinct would be to think that the alternate version is what was arrived at in October, and the changes/enhancements which resulted in the 20/20 version came in November. The question would then become, who actually was responsible for the final version? I think our best possible source for that is Desper (or Alan Boyd).

Strings certainly were prominent in the 20/20 material--they get employed (with less creative inspiration) on a number of other tracks, including "Bluebirds Over the Mountain," "Be Wtih Me," and "Never Learn Not to Love."

[CenturyDeprived]

I wrote this piece in early 2005 about the song. This is the piece exactly as I had it saved in my files. Chalk up any errors or overlooks to youthful exuberance. I hope you find something of interest in it about a truly great song, Time To Get Alone. From March 2005:


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I’d recommend listening to the song itself while reading this information, if possible, so the details pointed out in each section will be more clearly heard. Each section analyzed within the song is marked with the exact time.

Thanks for reading, and thanks in advance for any comments or suggestions!

Craig



The recent discussion about Brian’s post-Smile musical activity, combined with a few mentions of the song Time To Get Alone, was the inspiration for doing something like this. Time To Get Alone has always sounded amazing to me, even comforting in a way, almost sounding like it came from a very inspired place in relation to what was surrounding it at the time of both its creation and its eventual release as a Beach Boys track. The song has characteristics of Brian’s best production work from Pet Sounds and Smile, and would probably have fit perfectly on either one of those projects. However, the song’s history is somewhat mired in controversy, and the role it played during a sad chapter of the Beach Boys’ saga. The song is mostly overlooked as an album track, and I feel it deserves much more recognition than it has received.

In an attempt to answer a few musical questions, and maybe come closer to understanding why this track stands out as it does, I’ve tried to combine a traditional musical analysis with an analysis of the song’s production, including instrumentation, form, rhythm, and other components that created what I consider one of the greatest productions of Brian Wilson’s career. I have purposely not analyzed the lyrical content of the song, except where certain lyrics are closely connected to specific musical concepts.

First Impressions, First Verse (0:00-0:23): Brian has said “All my life I have been fascinated with waltzes.” The most immediate characteristic sound from the opening bars is the ¾ waltz time. That ¾ meter in pop music immediately stands out among the vast majority of songs written in 4/4 time. It instantly sets a mood, establishes a specific groove and feel, and sets certain expectations for the listener. The chord progression is bright and positive, familiar enough to match the warm feeling of the opening lyrics.

Harmonically, the chord progression of the first verse is fairly standard: In the key of D major, the chords are Dmajor (I) - Gmajor(IV) - Eminor(ii) - A7(V7), a very familiar and somewhat ordinary I-IV-ii-V vamp. However, when set in a waltz feel, holding the chords for two measures each, it makes the progression sound anything but ordinary.

Instrumentally, the first verse features some fantastic production ideas. The bass line covers primarily the root notes of the harmonic progression, but is made sonically interesting by the combination of instruments playing the line. There is an electric bass part, played with a pick, that sounds both warm and percussive; then there is a piano part doubling each note played by the electric bass. This piano’s doubling of the electric bass offers both the initial sharper attack on each note, and the more colorful decay of the note after that attack. When combined, the two create almost a new instrument; that combination of sonic textures in the bass is something Brian experimented with on Pet Sounds, and is a technique which has been used extensively in popular music. This bass sound is constant throughout the song.

Vocally, the beautiful melody is double-tracked, with no harmonies or embellishments, and sung in a very friendly and heartfelt tone. This lead vocal is very dry, with no obvious external effects like reverb or delay. The double-tracking here creates a very full sound, and the lack of effects makes the warm delivery of the lyrics seem that much more personal.

The most mind-blowing sound on the track is introduced immediately. What Brian seems to have done is combine four of his most familiar keyboard- and piano-based sounds into a repeating rhythmic and harmonic hook, a part which almost sounds like a loop created with modern digital editing software. Listen closely to the piano part(s): there are four distinct and separate keyboard instruments playing each chord. To my ears, it sounds like the order of instruments is: PIANO, TACK PIANO, HARPSICHORD, and either ACCORDIAN or HARMONIUM. If we’re counting the waltz time as 1-2-3, 1-2-3, the keyboard instruments are assigned one chord each per two-bar harmonic cycle, as follows: 1(bass)-2(piano)-3(tack piano), 1(bass)-2(harpsichord)-3(accordian). The rhythmic and sonic effect created by this arrangement of instruments is incredible, and has to be heard to be fully appreciated. This is a groundbreaking moment of this song’s production which creates an incredible sonic hook, and is a part which a lesser producer or arranger would have assigned to perhaps one keyboard instrument rather than four.

Rhythmically, the drums in the verse are playing simple quarter notes on the hi-hat and hitting the snare on beat 2. The bass and piano double is hitting strong on beat 1, and on the “and” (eighth note) of beat three. That bass pattern, combined with the drums accenting beat 2, and the keyboard “loop” accenting beats 2 and 3, creates a unique rolling feel with no single instrument taking the lead as the rhythmic foundation of the arrangement; rather, each part assumes a vital role in the overall groove. I don’t really hear a kick drum, and it wouldn’t even be necessary with the percussive attack of the electric bass and piano playing their syncopated parts in sequence with the drums. Again, a lesser musical mind may have assigned a standard waltz feel to a full drum kit, and filled in the rest with a traditional waltz feel. Brian instead makes the whole band part of the rhythmic hook, with every instrument playing an essential and multi-faceted role.

The First Chorus (0:23-0:46): The harmonic foundation of the chorus is best analyzed in two parts. The initial measures are built on a descending bass line which could be called a line cliché, still in D major. The harmonic rhythm is altered for this chorus, featuring one chord per bar rather than the two-bar duration of the verse. The chords are: D Major - D/C# - D/B - D/A. This descending line emphasizes how the different bass notes work under the constant D major triad, and also creates yet another strong hook for the chorus, a bass hook which works perfectly with the higher-range melody. The interesting twist is the second part of this phrase (‘just be together, we’ll only be together’), where the chords are: G7 - Dminor7 - G7 - G7. It appears that Brian borrowed the characteristic v minor chord from the G Mixolydian mode, to give that phrase one of his trademark unexpected resolutions. He’s creating yet another hook, a harmonic hook, in the process. In the key of D major, the G chord acts as the IV, and does not have the flatted 7th (F natural) available, and obviously the Dminor7 chord is not diatonic to D major. By “borrowing” this modal progression and using the characteristic Mixolydian minor v chord, Brian adds tremendous interest to this chorus, and adds an unpredictable conclusion to the predictable “line cliché” bass motion.

Instrumentally, the keyboards which were limited to hitting one chord each in the verse are now opened up and split in the chorus. They are somewhat difficult to distinguish in the mix, but it sounds like the harpsichord has become the driving rhythmic and chordal force in the chorus, playing a steady, rolling eighth note pattern that sounds like it could be doubled by the tack piano. It sounds like the standard piano is now playing the chords on the quarter notes, and it also sounds like a fuzz guitar line could be buried in the mix, playing sustained root notes on beat one of each measure. As mentioned, the bass is playing the descending line in the same rhythm as the verse, and the drums have now added a snare beat to hit on both beats 2 and 3, creating more of a traditional waltz pattern. Combining all of these instruments creates a very rhythmically full sound for the chorus, and adds sonic drive and force to make the chorus stand out apart from the verse.

Vocally, the chorus is where the vocal tracks really explode. Both Brian and Carl are sharing the high lead, trading off at various points, and they are backed by at least three separate backing vocal parts. These parts are either doubled or sung in harmony, covering the entire low-to-high vocal range, and creating counter-melodies while introducing additional lyrics. The parts that stand out most are Mike’s double-tracked bass vocal, Brian’s falsetto lead splitting off into Carl’s then coming back in harmony, and a brilliant harmony line that outlines the D major chord in dotted-half notes, singing the wordless notes: A-D-F#-A, switching to G, and ending by singing what sounds like “baby it’s time” with those borrowed modal notes F-G-F-D. These vocal parts create a massive swirling choral-like sound which defines the chorus and creates yet another production hook.

Second Verse (0:46-1:08): All of the instruments return to playing their parts from the first verse, resuming that rolling feel with the multi-keyboard “loop” and the band once again filling their rhythmic roles. This time around, though, backing vocals are added to the double-tracked lead. These wordless backing vocals follow the harmonies brilliantly, with contrary motion between the bass and upper parts, and interesting phrasing that is anything but static. This creates interesting flowing background lines where others may have chosen to harmonize on each chord change.

Second Chorus (1:08-1:31): Same roles and parts as the first chorus, with the addition of a high vibraphone part, primarily playing one note on beat one of each bar. This seemingly minor addition cuts through the thick arrangement due to its metallic high pitch, and adds a “magical” chiming sound that helps build this second chorus and set it apart from the first.

The Bridge (1:31-1:56): The brilliant way in which Brian approaches this bridge can be found in the bass line. In his previous choruses, after the G7-Dminor7-G7 modal progression, the bass line walked up on the notes G, A,B…and either added a C# on a weak beat 8th note to lead to the tonic note “D”, or deceptively went from the ascending G,A,B to “D” instead of the expected strong resolution to “C”. Brian, instead of deceiving us again, finally resolves that ascending bass line, and the bridge begins on and is based in the key of C. The chords are more difficult to hear in this section, but it sounds like Brian is once again borrowing the Mixolydian modal motif from the chorus and using a v minor chord in the initial progression: Cmajor(I)- Gminor(v)- Cmajor(I) - Fmajor(IV) - Fmajor; then C - Gminor - C - F (I’m analyzing this key/mode as C Mixolydian, which offers the flatted seventh note Bb needed to form the G minor). Notice he also adds an extra measure and plays the first F major chord for two bars rather than one. The next phrase (‘Aren’t you glad we finally got away’) has these chords: Aminor7 - Dminor7 - Aminor7 - Dminor7 - Aminor7 - Aminor7-Dminor7 - Dmajor. These chords are part of the C major scale, and can be analyzed as such, but I’m almost hearing them as a minor progression, with A minor temporarily acting as the i chord and D minor as iv. Whatever the analysis, it changes the overall sound to a minor tonality which we’ve not heard previously, and builds tension in conjunction with the melody and other instruments. This temporary minor tonality is different enough to make this bridge section stand out, but not radical enough to confuse the listener. It’s very difficult to hear this in the mix, but the brilliant chord in this section is the implied final chord just before the last verse: it sounds like that D minor changes to D major, which returns us to the original major-key tonality for the verse in an unexpected way. Notice that the fixed-pitch instruments sounding the note “F natural”, especially the vocals, stop just before this last chord (1:54-1:55). That F natural note defines the D minor tonality, and changing or even suggesting the change of that note up a half step to F# leads us back to the defining note of the D major tonality. It’s difficult to hear and confirm, but it’s almost being suggested by what’s happening in the arrangement.

Instrumentally, the bridge is enhanced by the addition of strings and brass instruments, as well as what sounds like a muted piano or muted harpsichord, possibly revisiting a familiar Brian Wilson sonic trademark from previous albums. The other keyboard instruments from the verse and chorus have dropped out, all but the piano doubling the bass. The drums and bass are playing these new harmonies with the same basic rhythm patterns as before. The brass, which is primarily playing lower-register notes and static lines, starts off complimenting a sustained mid-range string note. The vibraphone is now playing a busier quarter-note arpeggio part in a lower register than it had played in the chorus. Then, after the massive “deep and wide” vocal line, the strings launch into a very cinematic-sounding and busy part, eventually building the part to an incredible crescendo which reaches into the upper range of the instruments, a string part dependant more on feel and effect than precise pitch. This is one of the most exciting and visual instrumental parts Brian ever created, as visual and powerful as his similar instrumental work on Smile, and matching perfectly the message of the lyrics: “aren’t you glad we finally got away?”. The sound of those strings reaching into the stratosphere perfectly captures the mood of wanting to get away, another example of Brian capturing the essence of a lyric within an instrumental part.

Vocally, the bridge begins with only the double-tracked lead in front of a more sparse instrumental backing. But the track literally explodes on the words “deep and wide”, done in harmony, pushed up very loud in the mix, and with a massive reverb added. That reverb could convince us that we are really “looking down through the valley so deep and wide”, and is a perfect example of using a studio effect like reverb to further enhance the visual aspect of a lyric. After this explosion of vocals, the wordless backing vocals re-appear, and help build the intensity of the bridge by adding some thick minor-seventh sounding harmonies to the gathering storm of the string part. As stated before, these minor-seventh flavored vocals drop out just before the last measure of the bridge.

Special Note: In the alternate versions of Time To Get Alone, including the version on the Hawthorne disc and the Redwood version, there is an instrumental section which precedes the bridge as released by the Beach Boys. Included in this section is a whistled melody, a low brass part that sounds like a “Salvation Army”-style line, and sleigh bells. This “lost” pre-bridge section also modulates to the key of C, and very brilliantly follows the same line cliché in the bass as the previous choruses had followed, in the new key. You can hear a very brief “jingle” of the sleigh bells from this lost section in the Beach Boys’ released version, right before the bridge enters at 1:31.

Third Verse (1:56-2:07): Actually, this verse is half the length of the previous two verses, with all of the instruments and vocal parts covering the same parts as they had done on verse 2, minus the vibes. It does sound as if this verse were mixed somewhat louder than the others, or perhaps some of the parts were brought up for this last verse to continue the level of intensity from the bridge to the last choruses.

Third Chorus and Fade-Out (2:07-end): The final chorus, with the important addition of a counter-melody from the strings which compliments the already busy vocal parts from earlier choruses. It also sounds like the backing vocals were pushed up a bit on the mix for this final chorus, or perhaps that is a sonic illusion caused by the addition of the strings making an already full sound even fuller. This final string part adds what I hear to be emotional warmth and another layer of meaning to the lyrics of the track, almost like the feeling some get when listening to a Sinatra track with similar-sounding strings. In other words, it creates the perfect mood to end the song, a mood once again expressed instrumentally by Brian Wilson.

I feel that Time To Get Alone is one of the most perfect productions heard on any Beach Boys record, or on most pop records from any artist. It can easily stand alongside the best work from Pet Sounds and Smile, and it in no way suggests a lesser quality of work and skills from Brian from a time where it has been said he deliberately under-produced certain records. On this song, every instrumental part is exactly where it should be, the tools he uses to build the song section-by-section are textbook examples of creating and maintaining interest throughout a song, from a musical perspective it is complex and advanced in its structure and composition, the vocal and instrumental performances on the record are flawless, the mix sounds rich and full, and it captures, near-perfectly, Brian Wilson’s ability as a producer and songwriter to convey and compliment the visual imagery of a lyric through instrumental music.

Analyzing this song was a fantastic opportunity to learn what made this song great, piece-by-piece and section-by-section. Many musicians are given assignments to similarly deconstruct and analyze works by the great composers such as Bach and Beethoven, with the end result of such exercises hopefully being a greater understanding of the techniques used to create such masterpieces, techniques which can then be applied to that musician’s own work. I feel just as strongly about the value of analyzing Time To Get Alone for any fans of Brian Wilson who are interested in studying his musical techniques. The fact that this song comes from a period in Brian’s history that is often overlooked or misunderstood is even more of an inspiration to look more closely at it from a different perspective, and perhaps recognize Time To Get Alone as the artistic triumph it is.

               

Amazing. Thanks for that!

[Rocker]

guitarfool, thanks so much for your post! Fantastic read!!


Regarding Danny Hutton's involvement in the arrangement, was he also responsible for the ending of Redwood's version? The Beach Boys' version(s) don't have that closing bit:

https://www.youtube.com/watch?v=cqBvxvE5SNo

[marcusb]

Ladies & gentlemen, this thread is a shining example of, when it's allowed to be, what this board can be, used to be and can continue to be in the future. My soul* is lifted.

[* yes, I know I don't actually have one, but you get the idea...]

I've been lurking here for a while and it's threads like this that help me discover some of my favorite BB tracks. There's so many Post PS/Smiley tracks that I just never took the time to appreciate. I probably have only listened to 20/20 once through!! I know.. I'm a terrible fan..

[c-man]

1. The 20/20 version is produced by Carl. We all know Brian wrote it, TDN were going to record it etc, but what exactly did Carl bring to the track that wasn't previously there? More strings, more vocals, more atmosphere, the DEEP AND WIDE revelation?
2. Was this ever considered for a single release?
3. Do we have any quotes from the boys on this song? Did they love it/hate it/consider it to be a gem?
4. Was it ever sung live by the boys?
5. In the Hawthorne version one vocal is really bugging me and I need to find out who it is! After the 3:14 mark, during the absolutely heavenly harmonies there is a voice, I think it may be Carl, who is just above Mike (?) in the mix. It's a really smooth, beautiful voice but it could also be Bruce, it's difficult to work out. Can anyone help? It's not very low but it stands out.

This will hopefully answer some, but probably not all, of the poster's above questions...from Volume 3 of the upcoming MIC sessionography:

A day after recording the "Darlin'" track in October of '67, Brian laid down a piano-harpsichord-bass track for the waltz "Time To Get Alone", a song about a romantic weekend getaway that, like "Darlin'", was planned for release by Redwood (FYI, there's reason to believe a third October 1967 Beach Boys recording, "Aren't You Glad", was also briefly intended for Redwood).  No session was held the following day (possibly because it was Friday the 13th, and Brian was notoriously superstitious at the time), but two days of overdubs commenced at Wally Heider's over the weekend, during which strings, horns, drums and various percussion parts were completed, and Redwood's vocals were added.  Brian soon parted ways with the singing trio professionally (although he and Danny Hutton have remained close friends to this day), and the track was appropriated by The Beach Boys. The Boys recorded backing vocals and Brian and Carl added rough lead vocals (including different lyrics in places) during the Wild Honey sessions.  That version was canned (although it is available on the 2001 Capitol Records compilation Hawthorne, CA), but the Boys returned to the track a year later during sessions for 20/20, performing two reduction mixes to second and third generation 8-track tapes while adding vocals and other overdubs (interestingly, this time they chose to sing more of the original lyrics from the Redwood version, instead of the alternate lyrics they sang on the "rough" version from '67).  In so doing, they dropped a few previously-recorded parts such as the sleighbells and most of the horns (but kept the mellophonium in the bridge), and added extra piano, vibes and glockenspiel, as well as a new vocal part sung by Marilyn and Diane in the choruses ("Ooooh / Baby, it's time").  In addition to the by-now standard stereo mix, an unused mono mix was made, probably intended for a never-released single.  For some reason, about a week after mixing down the stereo version destined for 20/20, Brian and Carl recorded a completely new backing track for the song (with Steve Desper engineering, Brian on piano and Carl on 12-string acoustic guitar - plus bass, drums, accordion, and horn).  No vocals were recorded for that version, so it ultimately went unused, and the original 1967 track with 1968 overdubs saw release instead.

[Ian]

It's odd considering what a great song it is but I don't recall any set list that includes it.  Strange that they never did it live

[c-man]

It's odd considering what a great song it is but I don't recall any set list that includes it.  Strange that they never did it live

Brian's band has, though.

[phirnis]

So glad this did not become a Three Dog Night/Redwood song, by the way!

[Andrew G. Doe]

It's odd considering what a great song it is but I don't recall any set list that includes it.  Strange that they never did it live

Brian's band has, though.

Indeed they did - première of BWPS in London. Not one of their best efforts: it wasn't in the setlist when they came back to Europe in the summer. Maybe time to dust it off again for the final EuroTour...

[Rocker]

It's odd considering what a great song it is but I don't recall any set list that includes it.  Strange that they never did it live

Brian's band has, though.

True. IIRC they added it for the first time during the first Smile-tour. I saw it being performed in Frankfurt.
And wasn't word that the song itself started it's existence during the original Smile sessions? Or do I confuse it with "Saturday morning in the city" which allegedly also was first started during Smile in the 60s?

[Generation42]

I haven't the time to dig into a new topic right now, just perusing (so apologies in advance if it has been noted).

But it occurs to me that one Mr. Stephen Desper might prove invaluable to this topic, no?

[Sam_BFC]

Has anyone heard the unreleased less-vocals remake?

[Ian]

Wow-I was at the Smile premiere and I completely forgot they did that!

[donald]

A worthy thread.    Thanks for the appreciation of this song and the enlightening dissection of the composition.    I will listen with more careful attention next time I spin this one.     Always enjoyed the atmosphere and mood evoked by this piece.  Glad others also enjoy this standout song as much as I do.

[metal flake paint]

This will hopefully answer some, but probably not all, of the poster's above questions...from Volume 3 of the upcoming MIC sessionography:

A day after recording the "Darlin'" track in October of '67, Brian laid down a piano-harpsichord-bass track for the waltz "Time To Get Alone", a song about a romantic weekend getaway that, like "Darlin'", was planned for release by Redwood (FYI, there's reason to believe a third October 1967 Beach Boys recording, "Aren't You Glad", was also briefly intended for Redwood).  No session was held the following day (possibly because it was Friday the 13th, and Brian was notoriously superstitious at the time), but two days of overdubs commenced at Wally Heider's over the weekend, during which strings, horns, drums and various percussion parts were completed, and Redwood's vocals were added.  Brian soon parted ways with the singing trio professionally (although he and Danny Hutton have remained close friends to this day), and the track was appropriated by The Beach Boys. The Boys recorded backing vocals and Brian and Carl added rough lead vocals (including different lyrics in places) during the Wild Honey sessions.  That version was canned (although it is available on the 2001 Capitol Records compilation Hawthorne, CA), but the Boys returned to the track a year later during sessions for 20/20, performing two reduction mixes to second and third generation 8-track tapes while adding vocals and other overdubs (interestingly, this time they chose to sing more of the original lyrics from the Redwood version, instead of the alternate lyrics they sang on the "rough" version from '67).  In so doing, they dropped a few previously-recorded parts such as the sleighbells and most of the horns (but kept the mellophonium in the bridge), and added extra piano, vibes and glockenspiel, as well as a new vocal part sung by Marilyn and Diane in the choruses ("Ooooh / Baby, it's time").  In addition to the by-now standard stereo mix, an unused mono mix was made, probably intended for a never-released single.  For some reason, about a week after mixing down the stereo version destined for 20/20, Brian and Carl recorded a completely new backing track for the song (with Steve Desper engineering, Brian on piano and Carl on 12-string acoustic guitar - plus bass, drums, accordion, and horn).  No vocals were recorded for that version, so it ultimately went unused, and the original 1967 track with 1968 overdubs saw release instead.

Thanks for sharing part of your sessionography notes, Craig. Looking forward to the completed project.

[brother john]

But it occurs to me that one Mr. Stephen Desper might prove invaluable to this topic, no?

Mr Desper wrote at some length about this song on this very forum a few years back. I imagine it would be in the Desper Thread somewhere.

[Willy Wilson]

guitarfool2002 you have just given me an almost mystical experience, reading your analysis while listening. TTGA has been a favourite of mine for 3 decades. I had never, never noticed that "Baby it's time..." in the chorus....... I can't describe the feeling. Now I can die happy. Need an acapella version NOW!!

[yrplace]

I'm not as Beach Boys-smart as you guys, but I thought I'd give a shoutout to the OP. I LOVE this song (this is in the ranks of my top 20 songs by them and one of the reasons I love the 20/20 LP).

I also found a little cover by a local indie band (they do mostly gospel-y stuff, which doesn't "apply" to me, but they did open for another band I liked. They're fun.)
https://pacificgold.bandcamp.com/track/time-to-get-alone-beach-boys-cover
I think it's a nice little cover

and yes, the acapella tag version is great. Acapella tags are always great

To answer a question earlier in this thread, the acapella tag and in fact the entire mix on Hawthorne was created by Alan Boyd and myself specifically for that project.........

[CenturyDeprived]

I'm not as Beach Boys-smart as you guys, but I thought I'd give a shoutout to the OP. I LOVE this song (this is in the ranks of my top 20 songs by them and one of the reasons I love the 20/20 LP).

I also found a little cover by a local indie band (they do mostly gospel-y stuff, which doesn't "apply" to me, but they did open for another band I liked. They're fun.)
https://pacificgold.bandcamp.com/track/time-to-get-alone-beach-boys-cover
I think it's a nice little cover

and yes, the acapella tag version is great. Acapella tags are always great

To answer a question earlier in this thread, the acapella tag and in fact the entire mix on Hawthorne was created by Alan Boyd and myself specifically for that project.........

Mark, thank you and Alan for creating that acapella tag. It's absolutely pure magic, and brilliantly done. I'm assuming that came from the vocal sessions thay were part of sessions for other sections of the song?

[CarlTheVoice]

I'm glad that this thread didn't flop, but I never thought there were so many people who love it as much as I do. Thanks everyone for your views and insight.

Thanks for the post Mark, are you able to help at all with identifying the vocal in the Hawthorne mix (see my original post)? I think it sounds like Carl but it's very difficult to be sure. 

Thank you!