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“Surf’s Up” was so good that when it was finally pieced together, embellished, and released, it actually lived up to expectations. All the while, its reputation had been a major part in fanning the flames of the SMiLE myth, the exquisite melody by turns foreboding, serene, haunting, and – most of all – exquisitely beautiful and fantastic, with oblique lyrics that painted a picture of opulence before suggesting a collapse of established order: an allegory for the seismic cultural changes of the 60s. The song remained unreleased until it was plucked from the vaults and finessed to give the group’s 1971 album a title track and some serious clout. Sat in the half-light, Brian performed alone at the piano, giving viewers a tantalizing glimpse of a song clearly destined for greatness.
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When Brian appeared on Inside Pop: The Rock Revolution – a 1967 US TV special presented by Leonard Bernstein that looked to understand the growing sophistication of pop music – the song he performed was not one of The Beach Boys’ acknowledged masterpieces but “Surf’s Up,” a song he’d written with Van Dyke Parks for SMiLE. (What do you mean there’s no “Barnyard” in yours?) But that’s just the version released as a single from the Smiley Smile album the 2011 The Smile Sessions box set had an entire disc of “Heroes And Villains” outtakes, allowing listeners to piece together their own version. Van Dyke Parks’ lyrics delight in audacious wordplay and punnery while the music moves through sections driven by saw-like string bass with all manner of bells and whistles, to psychedelic doo-wop and sinister barbershop. The rambunctious frontier saga “Heroes And Villains” was to be the SMiLE album’s centerpiece. Meanwhile, Brian had taken “Good Vibrations” to the next level by adopting a modular approach to production, recording fragments of songs with the intention of piecing them together to form a grand art-pop jigsaw puzzle. Wilson and Parks set to work on a collection of material dealing with themes of US history (particularly Western expansion and the idea of manifest destiny), underpinned by ideas about the natural world, humor, and the cycle of life. Looking for lyrics to match his grand musical ambitions, Brian turned to Van Dyke Parks, a well-connected LA musician and writer. There’s little evidence of similar anxieties in the music – a meticulously arranged number peppered with neat ideas, like the luxuriant unspooling of the verse melody, or the gear change into the punchy, echo-laden guitar stabs and Farfisa organ showdown of the middle eight.ġ0: Heroes And Villains ( Smiley Smile, 1967)įollowing up Pet Sounds and “Good Vibrations” was never going to be easy. The singer would rather “wonder” than know for certain if their feelings are reciprocated, and would rather have the “beautiful image” of the object of their affections they’ve cultivated in their head than the real thing. The exquisite bridge between The Beach Boys’ keening early ballads and the musically lush existential crises of Pet Sounds, “Please Let Me Wonder” saw Brian and Mike reflect on the uncertainties surrounding young love and whether it can possibly live up to an idealized version of romance. The twangtastic guitar breaks, the exuberant handclaps, and Brian’s soaring falsetto all helped The Beach Boys score their first US No.1 single – especially notable considering the chart dominance of The Beatles at the time.
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But let’s allow Brian and Mike some creative license here because they managed to take the sound of early smashes like “Surfin’ Safari” and “Surfin’ USA” and move it from the beaches to the roads, with giddily exciting results. One look at the group circa 1964 suggests that the only member who might have fit into the sort of gang of hip tearaways described in “I Get Around” was their drummer, Dennis.
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