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Author Topic: Let Him Run Wild  (Read 22628 times)
Andrew G. Doe
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« Reply #75 on: January 29, 2012, 10:44:16 AM »

Lay off him... Are we going to accuse every slightly eccentric new poster of being ghost?

Works for me.  Grin
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« Reply #76 on: January 29, 2012, 07:22:48 PM »

Let Him Run Wild. 
Even though I had been listening to Endless Summer for as long as I can remember (I was 3 when it was released and my dad bought it on 8-track), I really got into it when i was about 10.  It was around that time that I started realizing that the world wasn't Brownie Scout meetings and soccer games and my mom having a snack ready for me when I got home from school.  Mind you, this wasn't traumatic...it was just learning.  I read far beyond my grade level, so I read books meant for kids older than me and was exposed to a wider world.  I also outgrew Highlights and other childrens' magazines...thanks to a TV Guide article, I learned that the actresses who played the main characters on my favorite show--"Laverne & Shirley--really hated each other.  And a few months later, People magazine told me about the "Death of a Beach Boy". 
So my appreciation of LHRW came out of that period...I was learning about the dark side of life, and that song is so damn dark.  That diminished chord sounds like November when it gets the sun goes down at 4:00.  Dig what I'm saying?  I don't know if the Murry/Audree story is true, but it's plausible.  That song is filled with pain and rage...Brian's high wail.  The build-up to the second chorus sounds like someone getting ready to throw a punch. 
Marilyn talked in one of the documentaries about "Til I Die" and marveled at how Brian could express his emotions in music.  Same thing goes for LHRW.  Brian has said that he doesn't like LHRW because he sang like a girl.  I think it's more like he just doesn't want to go back to that well of pain.  As much as I love that song, I wouldn't want him to do it in concert now...he can't sing it, and that is not, not, not a song for Jeff to sing. 

Salt Lake City - fine, harmless song.  Not one that I go out of my way to listen to, but I love the way Brian's band does it in concert, complete with fade out.
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« Reply #77 on: November 20, 2012, 09:15:02 PM »

I hope it's OK to bump up this old thread because I've been listening to this song almost nonstop for the past two days, and want to add some things that haven't really been mentioned. I think I understand why some people think it's great, but others find something lacking.

I hadn't heard this song since probably sometime in the 70's and had pretty much forgotten about it, then I recently bought Summer Days (I'm pretty new to this BB fandom stuff) and within about 3 seconds after this song started, I was like, "WOW!" It's completely unlike any of the other songs on the album, and that hits you right away.

One thing I've always been good at is figuring out why a particular song is a good song. Some songs really jump out at me why they're good songs, and this is one of those. I always like to go line-by-line and analyze the thing.

First of all, I don't know if Brian did this deliberately or whether it was just intuitive, but this is a song which really goes out of its way to toy with the listener. From the outset it has the listener expecting, expecting, expecting, then finally delivers by slapping them across the face with the refrain. It's got this great tension which builds up, then is released. Lots of my favorite songs do this, but this one is especially effective.

Here we go. Song lines are in yellow, the chords to the best of my figurings are next to or in the middle of each line in white ...

Em When I Am watched you walk with him
Em Tears filled Am my eyes

OK, the first 2 opening notes of the song (on the keyboard, or xylophone, or whatever it is) already grab your attention ("knock knock When I ..."). Pulling out my guitar it kinda sounds like E-minor, but I'm not sure. Are we in a minor key? Sure sounds like it! We've got alternating E-minor A-minor on each of the first 3 lines.

Em And when I Am heard you talk with him
F I couldn't stand his G lies

So all of a sudden we've gone from all minor chords to all major chords. Maybe we're in a major key after all! What he's doing is dwelling on those minor chords to build up tension ... then teases you with the major chords. One might normally think the tension would be released *at* the unveiling of the major chords, but ... nosiree! For two more lines he's elevating the opening melody but in major chords, just for the sake of making you hang on a bit longer! At this point you just KNOW the song is going to explode at some point ... but not yet!

F And now be- G fore he tries it
F I hope you G realize it

I haven't even talked about the instrumental and vocal layering, which should be obvious and is always an effective way to build up a song. So in addition to toying with the listener via the transition from minor to major chords, you get even more anticipation via the layering. Then the ascending notes on "re-al-ize it" finally tell you the song is about to EXPLODE, which it does:

Let him run wild
He don't care
Let him run wild
He'll find out
Let him run wild
He don't care

(Guess you know I waited for you)


After the explosion occurs, which the saxophone line winds up, we get this sneaky little line "(Guess you know I waited for you)" which just oh-so-stealthily eases you into the next verse as if nothing had happened at all!

I won't repeat the other verses and the ending because it's just the same thing.

So, that's why this is such a great song! It's all about building up anticipation, and releasing it, done brilliantly!

And, here is why the song can be a bit frustrating: The melody isn't all that great. I'm referring to the one in the verses, mostly. The vocal "explosion" in the refrain works fine - after all, it's supposed to explode! - and I even find Brian's screeching in the refrain to be effective because, again, the refrain is supposed to be this massive release. People scream to release tension! But I can definitely see why some people might find this song a bit sterile because it's easy to expect more from the main melody. On occasion I find Brian's falsettos to be a bit overdone, and this is arguably one of those cases. But IMO that doesn't detract from the song - this is one of the occasional songs where a nice melody isn't really necessary, because the design of the song and the arrangement "do all the work," so to speak.

Anyway thought I'd add my thoughts to this old thread.

EDIT: BTW I just figured out that McCartney's Every Night is structured similar to this, albeit a little more drawn out. Maybe more on that later.
« Last Edit: November 20, 2012, 09:36:57 PM by SMiLE-addict » Logged
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« Reply #78 on: November 21, 2012, 07:56:16 AM »

Not to be pedantic, but the verse chords are e-flat minor 7 to a-flat minor 7, then d-flat (still) minor 7 to g-flat 7.

So your analysis isn't quite right.  What happens is that in between the verses and the choruses, there's a key change of sorts, though an enharmonic one, I think.  The interesting thing about the verse chords are that they very much exploit what would be a typical jazz progression, following the circle of fourths.  You'll notice all the chords are a fourth "up" from the previous chord.  e-flat, to a-flat, to d-flat, to g-flat.  Now, you'll notice that if you keep going with that pattern, the next stop would be c-flat.  That is where the progression wants to go, because humans have been conditioned to like this sequence, after all, it's really a bunch of V7-I cadences in a row.  And your "explosion" is simply landing on the tonic, which, as I say, humans have been trained to enjoy.  Or maybe it's hardwired into us?  Who can say?

So it feels good to land on the c-flat in the chorus, only because there's a key change, we can safely call it B now.  Or you can just do what I do and notate the whole thing in the key of B, which is also legit and probably more right, but I tend to use flat keys when there are horns involved.
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« Reply #79 on: November 21, 2012, 08:20:32 AM »

The song has always been a favorite of mine going back to my first ever Beach Boys possession, an 8-track tape of "Best Of..." volume 2. I loved the song.

The harmonic analysis is there, but consider how adept Brian was at songwriting and working with song form in general, especially in this tune. The best tool I hear in this song is how the chord changes in the verses are jazz influenced, the modulations are Spector influenced where the melody remains somewhat constant while the song modulates underneath, and the whole affair sounds very much like a Bacharach influence, and Brian wears it on his sleeve here.

But listen to the chorus - with all of that going on, all of the complexities and tensions and modulations and deceptive cadences and whatever else...the point of the song where you as a songwriter want the maximum impact, the maximum punch and pop, Brian lays the hook and title of the song over a simple I to IV chord progression, which anyone given 5 minutes of musical training could bang out on any chordal instrument.

It allows the hook to burst through, the complexities in the harmony of the verses don't crowd it out or overwhelm the simple message, and the hook and title of the song is delivered with a lot of kick under the simplest chord progression, repeated, in popular music: I to IV. Then, to transition back to the verses, a totally new link section, call it a pre-verse or post-chorus, where the musical complexity and darker chords return.

It's a simple technique, but as is still the case, ultimately for the general public listening to a song, it's all about the hook. And a simple trick is to keep everything going on around the hook playing a support role for that hook, and that includes simplifying where possible so the hook comes blasting out.

This particular song really demonstrates that, I think it's a brilliant bit of songwriting. I love the vocal too, even though Brian himself apparently didn't like it and I believe he vetoed it from the '93 box set.
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« Reply #80 on: November 21, 2012, 08:30:07 AM »

@aeijtzsche

Thanks! As I said I wasn't sure about the chords, was just trying to figure them out on my guitar, which can be an inexact science. My guitar might also be out of tune.

After I finished writing that I noticed the refrain seemed to mostly dwell on C (which, as you just noted is really C-flat, I need to tune my guitar!).

I have ambitions to turn this thing into a folk (or "folk-y") song, maybe I'll do it over the long weekend.
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« Reply #81 on: November 21, 2012, 09:05:39 AM »


...

the hook and title of the song is delivered with a lot of kick under the simplest chord progression, repeated, in popular music: I to IV.

But note that even the I to IV is messed with a tiny bit, the underlying bass note in the keyboards, if not the bass instruments, is B throughout, making a pedal tone, and making it I to IV 4/6, that is to say, a second inversion IV chord.
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« Reply #82 on: November 21, 2012, 10:10:18 AM »


...

the hook and title of the song is delivered with a lot of kick under the simplest chord progression, repeated, in popular music: I to IV.

But note that even the I to IV is messed with a tiny bit, the underlying bass note in the keyboards, if not the bass instruments, is B throughout, making a pedal tone, and making it I to IV 4/6, that is to say, a second inversion IV chord.

Brian loved those pedal tones! California Girls being a great example, not just a pedal tone but a traditional Bach-style pedal bass figure on those first two verse chords! It makes that second chord sound more complex than it really is. The man knew his way around chords, for sure.

I come back to a discussion recently where someone asked about the vocal harmonies on California Girls, and when I posted the transcription, the realization was that he was stacking in simple triads, with maybe one tension (a 7th) in one of the vocal harmony chords. Yet when you hear it, it sounds like more going on - yet underneath he had the Boys singing triads and triad inversions, nothing as complex as what I think many would assume.

This came out in a big way on Pet Sounds, where he had all kinds of "slash chords" and upper-structure triads that are actually more simple than they look and sound. It's one of the tricks I later discovered Steely Dan used on a lot of their deceptively complex chord progressions. Boil them down, and they were stacking triads.

I think Bacharach, on the other hand, coming from his formal background did indeed use a lot of complex structures, altered chords, and tensions beyond the 7th, and a lot of his chords were really that much more complex than stacked triads.
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« Reply #83 on: November 22, 2012, 09:20:47 AM »

Great musical analysis, guys, I love this stuff, just keep at it.

It is a sad sign of increasing age that I saw this thread on the board, and immediately thought "Oh, good, a new thread about Let Him Run Wild... I can post about how I don't actually rate it all that highly, and I'm sure to be about the only poster of that opinion". Then I realised that someone else had already done that. And only THEN did I realise that this was an old thread, and the person who'd voiced that opinion WAS me, three years ago, in a post I have completely forgotten making. Whoops.

Anyway, I stand by what I said then. LHRW is, to me, still merely an OK 1965 Brian song, and I'm totally down with it not having been included on the GV box.

And in a somewhat overdue reply to Surfer Joe (who may, for all I know, not even read this board any more or have been nibbled to death by an okapi in the interim) I totally see what you're saying about rearranging biases. And I utterly accept that many posting here may have been instantly taken with LHRW on first hearing it. As I said back in 2009, YMMV. Music can be very beautiful, very technically accomplished in the composition and the performance, and you can still find that it doesn't move you, even though the same piece does for other people. And so it is, for me, with Let Him Run Wild. It's good - I just don't find it as earth-shatteringly good as some of Brian's other 1965 output.

And to Surfer Joe again and also Sheriff John Stone on the subject of the lyrics... yeah, I do now see what you both meant. "Let him run wild, he don't care" IS ambiguous. It could mean, as I took it originally: 'it's fine to let this crummy boyfriend behave like a jerk - and it's really cool, isn't it, that he just doesn't care as he does it?' In other words, ADMIRING the boyfriend's attitude to the female character - which doesn't fit with the rest of the song. But it can also mean "get rid of him, cast him free so he can run wild on his own, and move on, girl, because he doesn't care for you". And that does fit with the rest of the song, and is probably what was intended. But I just didn't get it... duh.

Anyway, enough of the four-years-late replies to old threads! Make with the musical discussion again already...
« Last Edit: November 22, 2012, 09:23:18 AM by Matt Bielewicz » Logged
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« Reply #84 on: November 22, 2012, 12:55:29 PM »


And to Surfer Joe again and also Sheriff John Stone on the subject of the lyrics... yeah, I do now see what you both meant. "Let him run wild, he don't care" IS ambiguous. It could mean, as I took it originally: 'it's fine to let this crummy boyfriend behave like a jerk - and it's really cool, isn't it, that he just doesn't care as he does it?' In other words, ADMIRING the boyfriend's attitude to the female character - which doesn't fit with the rest of the song.

I don't think that interpretation is plausible.

But it can also mean "get rid of him, cast him free so he can run wild on his own, and move on, girl, because he doesn't care for you". And that does fit with the rest of the song, and is probably what was intended. But I just didn't get it... duh.

Let him run wild [without you]
He don't care [he doesn't care about you anyway]
Let him run wild [and prey on other girls]
He'll find out [when he meets a girl who hurts him the same way]

Anyway, enough of the four-years-late replies to old threads! Make with the musical discussion again already...

Sorry.
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« Reply #85 on: November 22, 2012, 05:14:16 PM »

But the phrase 'let him run wild' doesn't seem entirely insulting. The song seems kinda territorial, some kind of poor 'but he doesn't understand you' riff. It's a potentially jilted dude singing it, IMO
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« Reply #86 on: November 22, 2012, 05:33:56 PM »

I think sometimes people try to over-analyze lyrics. When you're writing a song, you've got to not only tell some sort of story, but have that story fit into so many beats per line, or beats per verse, while also (usually) making the words rhyme. More often than not it's close to impossible to have this perfectly consistent message and wording fit into the notes you're trying to sing; lyrics writing is usually a compromise. So if a song doesn't make total, perfect sense, it's probably because the composer had difficulty finding the right words given the number of notes he had to work with, or maybe he was under a tight deadline and rushed the writing of the song, or something like that, and the listener should probably be satisfied with the general message of the song without getting caught up in the details of the words.
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« Reply #87 on: November 22, 2012, 06:37:40 PM »

OK, somebody help me out with the chords in the transition from the refrain to the verse (the part with the sax solo and the "Guess you know I waited for you"). There's a C# minor in there somewhere but that's all I've been able to figure out. Disclaimer: I'm more accustomed to referring to chords in terms of sharps than flats, so bear with me.  Undecided

With some help from aeijtzsche's comments above my guitar chord sequence for the song goes as thus:

The first 3 lines alternate between this):


And this:


The 3rd line goes to an E, then until the refrain it's just alternating E and F#.

Then the refrain is just B and E, each chord taking up a whole line.

Then there's the transition which isn't obvious to my ear what the chords are. HELP!  Sad
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« Reply #88 on: November 22, 2012, 09:44:34 PM »

If you want to go all with the key of B throughout and make it all sharps:

D# min 7 / G# min 7   x 3

C# min 7 / F#7  x 3

B  /   E/B   /  B  /  G# dim / C# / C# min / no chord

repeat
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« Reply #89 on: November 23, 2012, 08:11:10 AM »

If you want to go all with the key of B throughout and make it all sharps:

D# min 7 / G# min 7   x 3

C# min 7 / F#7  x 3

B  /   E/B   /  B  /  G# dim / C# / C# min / no chord

repeat

Nit picking: The B and B/E chords, first three chords in the chorus, get two bars each, the rest are one bar each as indicated.

Look at that "no chord" bar for a touch of Brian's musical skills in a simple three-note group.

There is a melody there, if transcribing in sharps it's D#-F#-G#-F#-D# on the words "waited for you girl". Put into a harmonic context, the vocal is the feature on that one bar, consider what chord those melody notes are outlining: D# and F# are the two strong chord tones, the 1 and the flat 3, on the D# minor triad. If he had gone to an A# rather than the G#, it would have been the entire D# minor triad...instead I'd consider the G# a melody note, a passing tone, whatever traditional term would fit. But there is no doubt with the 1 and b3 being heard in that "no chord" bar, that Brian is suggesting a D# minor chord.

And there is the mini-brilliance of that bar: Acting as a transition from chorus to verse, Brian's melody anticipates the strong opening chord, the first chord of the verse and also the first chord heard at the very beginning of the song. It's going back to the familiar, back to the starting point, without hammering it home and without, ultimately, a strong chordal resolution in the form of a traditional cadence or even a V chord or tritone followed by a resolution to lead it back.

Yet, that one bar bridges the gap *perfectly*, and with nothing more than a simple bass vocal (also sonically contrasting the high falsetto of what surrounds it BTW) Brian has that bass note land squarely on the root note of the opening chord of the verse, landing on familiar territory for the listener:

The last bass note of the chorus/transition is the root note of the first chord of the verse. It's a resolution without a resolution, at least in the traditional harmonic sense, yet that last note feels right at home as the falsetto verse melody takes over.

I think moments like that are pretty cool, I won't say brilliant or use the overused term genius, but they are clever and worth noting for anyone who writes songs. Incredibly cool choices.

« Last Edit: November 23, 2012, 08:14:39 AM by guitarfool2002 » Logged

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« Reply #90 on: November 23, 2012, 10:18:16 AM »

Let Him Run Wild is my favorite pre-Pet Sounds song. The lead vocal by Brian is amazing and the harmonizing by the others is fantastic. A perfect song, in my opinion.
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« Reply #91 on: November 23, 2012, 10:21:08 AM »

Let Him Run Wild is my favorite pre-Pet Sounds song. The lead vocal by Brian is amazing and the harmonizing by the others is fantastic. A perfect song, in my opinion.

It's a great song with a lot of depth in its production.  I don't see how anyone could not like it.
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« Reply #92 on: November 23, 2012, 05:02:29 PM »

Got it! Thanks!

guitarfool's comments are spot on, I hadn't caught the no-chord segment and it works just beautifully! The  G#dim-C#-C#min segue is even easy to play on guitar since it's all on the same bar. Toying around with that segment I discovered if you only play the C#min once it adds just a wee bit more suspense before the next verse kicks in.
If you want to go all with the key of B throughout and make it all sharps:

D# min 7 / G# min 7   x 3

C# min 7 / F#7  x 3

B  /   E/B   /  B  /  G# dim / C# / C# min / no chord

repeat
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« Reply #93 on: February 04, 2013, 10:50:48 AM »

Bumping up this thread once again ...

Does there exist anywhere an instruments-only track(s) to this song?? Can't seem to find it anywhere on the web, but maybe I haven't looked hard enough.
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« Reply #94 on: February 04, 2013, 10:55:58 AM »

Bumping up this thread once again ...

Does there exist anywhere an instruments-only track(s) to this song?? Can't seem to find it anywhere on the web, but maybe I haven't looked hard enough.

You mean the track on Stack-o-Tracks?
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« Reply #95 on: February 04, 2013, 11:10:55 AM »

I was thinking of something more "deconstructed" than the track on Stack-O-Tracks. Preferably individual instrument tracks, if they exist.
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« Reply #96 on: February 04, 2013, 11:22:01 AM »

I was thinking of something more "deconstructed" than the track on Stack-O-Tracks. Preferably individual instrument tracks, if they exist.

Ah, I see. Simple answer, no. Long answer, Not that I know of.
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« Reply #97 on: February 04, 2013, 11:22:53 AM »

OK, here's what I'm actually trying to figure out: In the instrumental lines which serve as a sort-of counter-melody ("When I watched you walk with him, tears filled my eyes" DAH DAH DAH DA), what is/are the instruments forming the "DAH DAH DAH DA?" It sounds like an electric guitar, but something else is being played with it, and I can't figure out what.
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« Reply #98 on: February 04, 2013, 11:26:35 AM »

Also, there's something nifty-sounding that plays simultaneously with the word "Guess you know I ..." Not sure if it's the same intrument(s) or not, maybe-kinda sounds like the same but I'm not sure, but it would be interesting to know.
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« Reply #99 on: February 04, 2013, 11:27:43 AM »

OK, here's what I'm actually trying to figure out: In the instrumental lines which serve as a sort-of counter-melody ("When I watched you walk with him, tears filled my eyes" DAH DAH DAH DA), what is/are the instruments forming the "DAH DAH DAH DA?" It sounds like an electric guitar, but something else is being played with it, and I can't figure out what.

Just sounds like an interwoven sound of two different guitar tones to me.
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