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Friends / 20/20
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Original Friends liner notes
On behalf of the Beach Boys, I would like to take this opportunity to thank our many musician friends for taking part in the making of this album.
– DIANE ROVELL
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The songwriting cycle for the FRIENDS album project came quickly to me. I was, by then, an experienced song writer and I knew what each basic key meant to me. By this time I had a good thing rollin’ in my head. The bad things that had happened to me had taken their toll and I was free to find out just how much I had grown through the emotional pain that had come my way. I, even more, had spiritual love high in mind for my fans and people in general. Little things like saying to somebody in music that if I did it then you can do it too, what ever your “do it” might be. The album took shape mostly in my studio in one room in my Bel Air mansion. I got the spirits up and proceeded to record. Until now, Mike had only sung rock and roll songs. Here he had to sing in a peaceful tone of voice on “Meant For You.” The cut “Friends” was, in my opinion, a good way to keep waltzes alive. Carl had sung “Darlin’” and some others before and now he spearheaded this cut with a heavy vocal performance. “Wake The World” was my favorite cut. It was so descriptive to how I felt about the dramatic change over from day to night…“one by one, stars appear, the light of the day is no longer here.” I have heard some songs about parents and babies before and I was challenged to write a song that describes the feeling of love for my daughters. “When A Man Needs A Woman” is a good example. “Anna Lee, The Healer” was a delicate blend of our voices with my high voice takin’ the place of a girl’s voice. I never felt bad or self-conscious about my voice because I can sing high and low both. Mike’s vocal on this song was strong. This album was our best production to date. It had perfect instrumental tracking with no mistakes. I used The Beach Boys and many studio musicians too. Al was very strong with his lead vocal on “Cotton Fields.” Listen to “came across a nice old man with a, he had a hat on” and you’ll hear how clever his singin’ is. Dennis gave us “Little Bird” which blew my mind because it was so full of spiritualness. He was a late bloomer as a music maker. He lived hard and rough but his music was as sensitive as anyone’s. I think that the Beach Boys’ sound was evolving right along. I had developed a 6th sense for everybody’s voices and we could all harmonize this way. When we all sing together I feel a spiritual closeness. Harmony usually means notes that are perfectly and mathematically related to each other, like 1, 3, and 5. This is the basic chord of music. Then there’s 1, 3, 5, and 7. This is a more complex chord. It gets much more complex than that, but I try to keep it sounding simple, no matter how complex it really is. I hope you enjoy this musical album. See you on the next album.
– Brian Wilson
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Friends, the only new Beach Boys LP of 1968, is one of the most tranquil albums ever made. Sent out into the violent maelstrom of ‘68 – when the world was literally crying out for peace, Friends was lost in the shuffle…the proverbial forest not seen for the trees.
It’s too bad because Friends, released six months after 1967’s double-commercial debacle of Smiley Smile / Wild Honey, is in its own way one of the Beach Boys’ best creations. Listening to it, you can’t help but feel more at peace with yourself, and in 1968, everybody could have used the tonic that Friends offered. It wasn’t to be.
In the middle of the American madness, it’s really not surprising that Friends, the very gentlest of Beach Boys records, was ignored. Friends came out two months after Dr Martin Luther King was murdered, just weeks after Senator Robert F Kennedy was killed and only months before demonstrations in Chicago at the Democratic National Convention helped elect Richard Nixon as President.
Interestingly, it was during Richard Nixon’s one-and-a-half terms in office that America and especially the Beach Boys went through their darkest days. Between 1969 and 1974, Nixon presided over the end of America’s involvement in Vietnam and a terribly damaging government scandal.
While Nixon was president, a time when college kids were taking part in some of America’s largest and most contentious street demonstrations, the Beach Boys did not place either an album or single in the top twenty. Not coincidently, it was in 1974, just after Nixon resigned in disgrace, that America, needing an escape from its problems of the day, returned the Beach Boys to the top of the LP charts at almost the same time they had sent Nixon back home to Southern California.
In 1974, America needed the Beach Boys. Maybe, in some karmic sense, it was appropriate that in the late ‘60s, when things were going badly for the U.S., it was also a terrible time for the Beach Boys.
It seemed that nothing the Beach Boys did in 1968 turned out right. An April concert tour of the southeast…a tour that the Beach Boys themselves were promoting…was unceremoniously cancelled when opening night in Nashville unfortunately coincided with Dr. King’s death in nearby Memphis.
The Beach Boys’ luck got worse. In the midst of growing financial difficulties, an ill-conceived venture with the Maharishi Mahesh Yogi cost the group thousands of dollars more. In fact, the group by now was so far out of favor in its homeland that, as Bruce Johnston recalls, there was “a time in 1968, believe it or not, when the Beach Boys drew two hundred people in New York City.”
The disinterest in the group’s personal appearances was reflected at the stores. Friends barely made it onto the charts, peaked in mid-summer at what was then an all-time Beach Boys low of #126 and only remained in the charts for an anemic ten weeks.
But the lack of sales never altered Brian’s fondness for Friends. Brian: “It seems to fit the way I live better – it’s simple and I can hear it anytime without having to get into some mood. Pet Sounds carries a lot more emotion, at least for me…Pet Sounds is by far my very best album. Still, though, my favorite is Friends.”
Friends, one of the shortest and sweetest Beach Boys’ LPs of the ‘60s, was an album that unlike its two predecessors, Smiley Smile and Wild Honey, sounded and felt like a Beach Boys record…lots of harmonies and great melodies, lyrical love and musical friendship. Friends is an album that through the years has grown in stature to take its place as one of the Beach Boys’ finest artistic efforts.
Historical Note: As this was the only new LP the group released in ‘68, maybe even scarier than its lack of commercial success was that the Beach Boys’ hits packages were no longer moving briskly. In 1966, Capitol had been able to compensate for the fact that Pet Sounds wasn’t selling up to expectations by pushing Best of the Beach Boys, which quickly went gold. Best of the Beach Boys, Vol. 2, issued in 1967, did less well, spending only five-plus months on the charts although ultimately it went gold. When Capitol tried the same trick in 1968, they were more than a little horrified to watch Best of the Beach Boys, Vol. 3 sink like a stone, unable to even outperform Friends.
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TRACK-BY-TRACK
“Meant For You”
Lead Vocal: Mike
The fugue-like feel of the organ and the Smiley Smile-like background vocals turn what’s a very brief song into a touching piece of music. It’s a wonderful little overture for the album.
“Friends”
Lead Vocal: Carl (with Brian)
Highest Chart Position: #47
The vocal arrangement of this track let the world know that Brian was back mixing his magical harmonic brew. The world didn’t notice. A fine melody and lovely production couldn’t elevate “Friends” at least on the hit lists, and it became the Beach Boys’ lowest charting single since 1962.
The lyrics of “Friends” seem to focus on the Beach Boys’ own personal history (the pleading “Let’s be friends”), the drum shuffle, the way Brian uses the harmonica and the amazing rising harmonies are highlights of “Friends.”
Historical Note: Beach Boys historian Peter Reum: “‘Friends’ is a waltz, and it’s been used at the Berklee College of Music to teach students how to write in 3/4 time.”
“Wake The World”
Lead Vocal: Brian (with Carl)
Al and Brian had successfully collaborated on “Sloop John B,” but “Wake The World” was the very first original song that Al and Brian wrote together. While it’s very short, like almost everything else on this album, it’s also quite good.
Listen for the wonderful tuba line on the chorus.
“Be Here In The Morning”
Lead Vocal: Brian and Carl
Glockenspiel, a neat stop, the tag featuring Dennis, and what may be the highest lead ever sung are spotlighted on “Be Here In The Morning.” This cut also has sweet harmonies, an interesting “processed” vocal effect, and ends with a terrific snare drum roll (reportedly session ace Jim Gordon).
Historical Note: The lyric, “No calls from Korthof, Parks or Grillo” refers to Brian’s cousin Steve Korthof (who has occasionally served as personal assistant to Brian), road manager Jon Parks and Beach Boys lawyer / business manager Nick Grillo.
“When A Man Needs A Woman”
Lead Vocal: Brian
The Beach Boys were all married by 1968 and becoming family men. In fact, by the time this was recorded, Al and Mike were parents, Dennis a stepfather and Brian’s first daughter, Carnie, was on the way.
Historical Update: Brian and Marilyn Wilson’s two daughters, Carnie and Wendy, recently joined with Chynna Phillips, daughter of “Mama” Michelle and “Papa” John (of the Mamas and the Papas), to form the Wilson Phillips band. Their very first single, “Hold On,” became a number one hit in June of 1990.
“Passing By”
Lead Vocal: Brian, Carl and Al
This delightful semi-instrumental has words (e.g., “While walking down the avenue / I stopped to have a look at you / And then I saw / You’re just passing by) that, for whatever reason, Brian decided not to use. The humming is certainly gorgeous and perfectly appropriate for the feeling Brian wanted to achieve.
Listen for a great bass harmonica part and an organ which sounds like what you’d hear at a skating rink.
“Anna Lee, The Healer”
Lead Vocal: Mike
The world of rock ‘n’ roll can get very tense, and on this tune, the Beach Boys pay tribute to a masseuse who know how to use her hands to make you feel a lot better.
It’s on “Anna Lee…” that Friends’ understated instrumentation is most evident. On the verses, it’s just a vocal on top of a piano bass line, with only some percussion and bass on the choruses.
“Little Bird”
Lead Vocal: Dennis and Brian
Possibly the most important development in the Beach Boys’ world of the late ‘60s was the emergence of Dennis Wilson as a creative talent. On this, his first released composition, Dennis shows that he had enormous potential which would see full flower on later Beach Boys LPs (such as Sunflower, Carl and the Passions/So Tough and Holland) and on his strong 1977 solo album, Pacific Ocean Blue.
Production Note: Listen for the terrific group vocals and how the muted trumpet emulates the tune’s title character.
“Be Still”
Lead Vocal: Dennis (with Carl)
With Mike Love world famous as the Beach Boys’ lead singer, Brian known for his amazing falsetto, Carl recognized for his beautiful voice and Al’s solid, punchy rock ‘n’ roll singing making hits like “Help Me Rhonda,” the fact that Dennis had an incredibly expressive vocal instrument was often overlooked. Listening to the Beach Boys albums of the ‘60s, you’ll hear what a crucial part he had in the harmonic blend. When Dennis got the chance to sing lead (e.g., “Do You Wanna Dance”), Beach Boys fans were thrilled by his voice.
Now that Dennis was writing songs, he was finally getting the opportunity to regularly show off his style. While “Be Still” isn’t the best one he wrote, it’s an emotionally evocative piece that was another substantial step in his growth as a musicmaker.
“Busy Doin’ Nothin’”
Lead Vocal: Brian
This autobiographical lyric describes what sounds like an average day in the life of Brian Wilson, circa 1968. Set to a bossa nova beat, and with no harmonies whatsoever, Brian sings about his activities, turning the most mundane chores into amazing words and music. The memory trick he uses to summon forth a forgotten phone number is incredible. And if you followed the directions in the lyrics (provided you knew where to start), you would have gotten to Brian’s Bel-Air house.
“Busy Doin’ Nothin’,” possibly more than any other track on Friends, proved that Brian could make completely satisfying music without turning it into a major production. The only problem was that, judging by the words, it certainly doesn’t sound like writing was a top priority for Brian.
Production Note: “Busy Doin’ Nothin’” was one of at least a half-dozen cuts that Brian produced during the Friends sessions on which he utilized outside musicians as he had during his 1964-1966 heyday. However, these were less elaborate affairs, usually involving ten or fewer players, a significantly smaller studio band than he had used during the “hits” years. Nonetheless, Brian’s production of Friends is some of the most effective recording he’s ever done.
“Diamond Head”
With full instrumentation and sound effects, “Diamond Head” is probably the most complicated creation on Friends. As it unfolds, “Diamond Head” draws a musical painting of the Hawaiian landmark and is yet another remarkable example of the arranging genius of Brian Wilson.
Historical Note: Peter Reum: “Parts of ‘Diamond Head’ especially the bridge, are reminiscent of some of the more pictorial music of Smile.”
“Transcendental Meditation”
Lead Vocal: Brian
In late 1967, The Beach Boys met the Maharishi Mahesh Yogi, and learned how to meditate. In the spring of ‘68, the Beach Boys and the Maharishi toured together. Bruce Johnston remembers “the Maharishi giving his lecture and the audience screaming for the Beach Boys.” The tour cost the Beach Boys several hundred thousand dollars. As Al Jardine sardonically noted at the time, “if anybody benefits from this tour, it’ll be the florists.”
It’s ironic that of all the tracks on Friends, the one about the serene and refreshing act of meditation would turn out to be the most raucous and rocking cuts on the album. Yet even though both the sax and the vocals hit very unpleasant notes, this curiously discordant production works.
Historical Note: This song was the first of several the Beach Boys recorded on the same subject (e.g., “The TM Song” on 1976’s 15 Big Ones).
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20/20
The key word for this album is refinement. I was still growin’ musically and we as a group wanted to sound more subtle and tighter. I felt strongly about making an album that would also appeal to older audiences as well. I was sure that we would never sound cooler than on the cut “I Went To Sleep.” The voices coupled with the lyrics were very much like a marriage. This closeness to God was slowly becoming a legend in the recording industry, part and parcel of a higher divinity in the music world. Although I feel that this structure encompasses many artists and groups. “Be With Me” was a ballad with punch. Dennis was good at this. Bruce did a very beautiful thing with “The Nearest Faraway Place.” Al called me one night and suggested that I cut an instrumental track for the song “Cottonfields” and he later showed me how it went. I think that this record is one of the best we’ve ever made. It was so righteous doin’ it. Al proved once again that he could handle a lead vocal with ease: he made it sound effortless. They say that I have a genius for makin’ a complex piece of music seem easy. I wanted the instrumental track of “I Can Hear Music” to be smooth and subliminal. I used acoustic guitars. Carl wailed on the lead. His voice was gettin’ established fast in the group. All my life I’ve been fascinated by waltzes. By this album I rolled around to doin’ what I call a rock and roll waltz with “Cabin Essence.” The night I cut the instrumental part of it no one could believe that a waltz could rock that hard. I had the 6-string bass player play electric fuzz tones. This got it goin’ good. I was sure that I had recorded the most rockin’ waltz ever recorded. Mike had not sung as loud as he did on “All I Want To Do.” He was like a mad man. I was sitting at my piano thinking about holy music. I poked around for some simple but moving chords. Later I sat down and wrote “Our Prayer” in sections. The boys were overtaken by the arrangement. I taught it to them in sections, the way I usually do. The purity of the blending of the voices made the listeners feel spiritual. I was definitely into rock church music. “Time To Get Alone” was another waltz. The intimacy of the lyrics, such as “I looked in your eyes and what did I see, I saw love in your eyes,” coupled with the movin’ instrumental track and Carl’s voice and our voices made for a spectacular record. “Do It Again” was, in my opinion, the best that I had come up with for this album. It was a primitive surf song that rocked in places and got mellow in other places. I fell into a nitch and did some business with the harmonies. I was featured on the “hey nows” and Mike handled the lead vocal. I love to make records for you all and please understand that it is hard to keep up the good work. I aim to entertain you and please you with my craft. I will see you on the next album.
– Brian Wilson
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With 20/20, the Beach Boys last studio album of the ‘60s, the group fulfilled their contract with Capitol. 20/20 was assembled as a collection of recent hit-and-miss singles, a few Smile fragments and several new cuts.
Unexpectedly, given that pedigree, it turned out to be one of the most artistically interesting releases of their career and certainly one of the stronger later LPs. This was due in no small measure to the emergence of Carl and Dennis as talented producers. 20/20 also contains several of the group’s best post-Pet Sounds work (e.g., “Cabinessence”).
Unfortunately, despite the quality of the music and the presence of two hit singles, 20/20 appeared only briefly on the charts, before it ignominiously disappeared, barely outperforming Friends.
Production Note: 20/20 was engineered by Steve Desper, an important addition to the Beach Boys’ studio team. Desper played a key role in the excellent albums the Beach Boys made in the early ‘70s (Sunflower and Surf’s Up).
Historical Note: The title 20/20 refers to both the eye chart Brian’s hiding behind on the inside of the gatefold cover and the fact that this was the Beach Boys 20th album (in less than seven years) for Capitol.
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TRACK-BY-TRACK
“Do It Again”
Lead Vocal: Mike
Highest Chart Position: #20
Long before nostalgia became a national pastime, the Beach Boys scored on the charts with this “tip of the hat” to their more innocent youth. Good lyrics, real Beach Boys vocals and rocking instrumentation made “Do It Again” their 17th and last top twenty hit of the decade.
Production Notes: Brian is very proud of the unusual snare drum sound at the beginning of “Do It Again.” He says he achieved that unique rhythm effect by putting a long echo delay on the drum beat. Also, listen to Brian using his falsetto on the wordless chorus to imitate the sound of a trumpet.
Historical Note: On the fade, the sound of the hammering is reportedly from the Smile era “workshop” session.
“I Can Hear Music”
Lead Vocal: Carl
Highest Chart Position: #24
This track could be considered the turning point in the transition of musical control in the Beach Boys from Brian to Carl; Carl Wilson produced “I Can Hear Music” completely on his own. As you can hear (e.g., the sleighbells and the great a cappella break), he had learned an awful lot from his older brother. This effort is one of the group’s most satisfying late ‘60s releases.
It’s an interesting twist that for his debut, Carl chose a song that Phil Spector had earlier recorded with the Ronettes. This superb cover version gave hope to the Beach Boys’ faithful that even if Brian didn’t want to make “traditional” Beach Boys music, the sound would continue.
Historical Note: “I Can Hear Music” was the 25th and last top forty hit for the Beach Boys in the 1960s.
“Bluebirds Over The Mountain”
Lead Vocal: Mike (verse) Bruce & Carl (choruses)
Highest Chart Position: #61
Strong horns and an exceptional string arrangement enlivened this cover of Ersel Hickey’s 1958 regional hit. The screaming lead guitar (from Ed Carter) was unique for a Beach Boys record and very much of the times. (A brief aside – Ed Carter has played in the Beach Boys touring band for nearly a quarter century.)
Judging from its lack of chart success, nobody wanted to hear this kind of rock from the Beach Boys. The group had been stereotyped and nothing could really change that image.
Historical Note: “Bluebirds…” marked Bruce Johnston’s debut as a Beach Boys producer. (Listen for the string arrangement and the lovely signature “ooh ahh” vocals at the end.) Bruce Johnston says that he “always loved the song” and at one time had thought of recording “Bluebirds…” as a solo single. In fact, he had put down bass and drums. But when the Beach Boys needed a tune for a new 45, Bruce and Carl turned it into a group effort.
Historical Note: Bruce Johnston recalls that the Beach Boys did the vocals and overdubs for this at the same New York studio where Frankie Lymon and the Teenagers cut “Why Do Fools Fall In Love.”
“Be With Me”
Lead Vocal: Dennis
Even though Dennis was going through very tough personal times in 1968, his writing and producing talents continued to develop impressively. “Be With Me,” especially the vocals and string arrangement, has a dark and eerie quality to it, perfectly capturing his emotions of the era.
“Be With Me” is one of the two solo Dennis Wilson productions on the LP. For Dennis, 20/20 proved (as it did for Carl) that he could make quality records in the style established by brother Brian.
“All I Want To Do”
Lead Vocal: Mike
This one isn’t about love; rather, it’s a lusty rocker, written and produced by Dennis and sung by Mike.
Production Note: Turn up the volume on the fade for a brief X-rated surprise.
Historical Update: A live version of “All I Want To Do,” from a 1968 English concert, was included on the Beach Boys’ 1983 album, Rarities.
“The Nearest Faraway Place”
Composed, performed and produced by Bruce Johnston, “The Nearest Faraway Place” is an engaging instrumental that is indicative of both Johnston’s solid musical training and his admiration of Pet Sounds.
Bruce points out that he took the title “from an article that Shana Alexander wrote for Life magazine.”
Historical Note: The strings on this piece, “Be With Me” and on “Bluebirds…” were arranged by Van McCoy. As Bruce Johnston explains, “we talked our arrangements into his head.”
McCoy became world famous in 1975 for his incredibly popular dance classic, “The Hustle.”
“Cotton Fields”
Lead Vocal: Al
Looking to capture the same lightning in a bottle that had worked when Al suggested the group do “Sloop John B,” Al came up with the idea to cover another folk classic, Huddie (Leadbelly) Ledbetter’s folk standard, “Cotton Fields.”
The Beach Boys cut two different versions of “Cotton Fields.” Unsatisfied with Brian’s understated production, the Beach Boys, who had begun performing “Cotton Fields” onstage, decided to record another version. Al: “The version of ‘Cotton Fields’ released as a single in 1970 was an L.A. studio performance by the Beach Boys band cut live at Sunset Sound Recorders in L.A. with Red Rhodes on steel guitar.”
Issued by Capitol instead of the 20/20 track, it went to #1 in the Netherlands and South Africa, hit #2 in England and reached the “Top 5” in Australia, Japan and Spain.
Archival Note: The Al Jardine-produced “Cotton Fields” is on the group’s Rarities LP.
“I Went To Sleep”
Lead Vocal: Brian / Group
Nobody has ever had to ask Brian what’s going on in his life. All you need to do is listen to his music. What’s incredible is that even when nothing was happening, he could transform that inactivity into a lovely song. In its artistic honesty, “I Went To Sleep” is a real classic, featuring beautiful vocals and interesting changes.
Historical Note: Peter Reum: “Recorded during the Friends era, ‘I Went To Sleep’ would have been a far more natural closer for Friends than ‘Transcendental Meditation.’”
“Time To Get Alone”
Lead Vocal: Carl (with Brian and Al)
Harpsichord, a terrific lead vocal, wonderful harmonies and a great string arrangement enhance the beautiful melody. Listen for the shimmering “deep and wide” which is one of the most magnificent moments in the Beach Boys’ musical history.
Historical Note: “Time To Get Alone” was originally produced by Brian for Redwood, a group led by Brian’s best friend, Danny Hutton. Redwood later changed their name and became Three Dog Night.
“Never Learn Not To Love”
Lead Vocal: Dennis
From the opening rumbling to the “Little GTO” vocal fade, “Never Learn…” has both a disturbing lyric and a hypnotic sound. Before being re-written as “Never Learn Not To Love,” this cut was originally titled “Cease To Exist.”
Production Note: Peter Reum: “The opening sound was achieved by playing a tape of a cymbal backwards.
“Our Prayer”
Originally recorded in October of 1966 for Smile, “Our Prayer” is a wordless rhapsody. The Beach Boys, with just their voices, can create indescribable magic. Listening to “Our Prayer,” you feel like you’ve been transported back to the Middle Ages to hear a Gregorian Chant in some medieval cathedral.
Historical Note: Peter Reum: “Brian intended for ‘Our Prayer’ to be the opening track, a spiritual invocation, for Smile.
Production Note: In 1968, the Beach Boys went to the Capitol Tower studios to overdub on the 1966 vocals.
“Cabinessence”
Lead Vocal: Carl (with Mike at the end)
20/20 ends with another piece of the missing Smile puzzle. This version of “Cabinessence,” which includes a section called “Who Ran The Iron Horse” defies categorization. Brian’s vocal effects (“doyn doyn”) and the melody are amazing, and the bass line on the chorus is particularly powerful. Listen to the lyrics and you’ll hear the pun-filled genius of composer Van Dyke Parks who was Brian’s lyricist / collaborator on the ill-fated Smile project.
BONUS TRACKS
“Breakaway”
Lead Vocal: Carl (on the verses), Al (on the choruses) (with Brian & Mike)
Highest Chart Position: #63
After 20/20 came out, the Beach Boys were still contractually obligated to Capitol for one last new 45. “Breakaway” b/w “Celebrate The News” was it.
A great record, “Breakaway” was an unmitigated commercial bomb and it disappeared quickly, the Beach Boys’ lowest charting single since 1962’s “Ten Little Indians.”
It’s too bad, because “Breakaway” deserved a better fate. Easily the greatest Beach Boys 45 that wasn’t a hit, “Breakaway” is a dazzling record full of sensational vocals, great hooks and meaningful lyrics…an outstanding production and probably the last “old-style” Brian Wilson Beach Boys single. Al: “I was really disappointed and frustrated by how this one ended up. We knew we had 90% of a good record, but typical of his late ‘60s mentality, Brian under-produced and undersold the ending of the record.”
Historical Note: “Breakaway” is credited to Brian Wilson and Reggie Dunbar. Dunbar, for some unexplained reason, was a pseudonym used by Murry Wilson, the Wilson brothers’ father. Curiously, the copyright notice only lists Brian as a writer on the song.
“Celebrate The News”
Lead Vocal: Dennis
Dennis’ record-making skills were improving rapidly; this was his most sophisticated effort to date.
“Celebrate The News” features very strong, intricate vocals, and the title, like “Breakaway’s” lyric, seem to address the fact that the end of the Beach Boys 1960s relationship with Capitol was at hand.
“We’re Together Again”
Lead Vocal: Brian and Carl
“We’re Together Again” is an unreleased outtake from 1968 and would have fit perfectly on Friends. The lyric seems to announce that the Beach Boys were again working as a group, not individuals. Full group harmonies highlight this track.
“Walk On By”
Lead Vocal: Brian
Brian is a huge fan of Burt Bacharach’s work; as this is the only example of the Beach Boys paying tribute to him, this fragment is included as musical evidence of Brian’s admiration. And even though Dennis doesn’t exactly nail the lyrics, the singing is so incredible that it was decided that this heretofore unheard session should be rescued from the Beach Boys’ vaults.
The vocal swirl at the end (on the “I break down and cry” line) is one of the most amazing harmony pieces the Beach Boys have ever recorded. It’s reminiscent of the string line on Smile’s “Fire,” which Brian also later adopted for a section of the “Rio Grande” suite on Brian Wilson, his 1988 Sire Records solo album.
“Old Folks At Home (Swanee River) /
“Ol’ Man River”
As the Beach Boys’ music has taken its place in American pop culture as important “folk” art, maybe it’s appropriate that the CD of their last Capitol LP of the 1960s includes a snatch of a traditional American classic, Stephen Foster’s “Old Folks At Home.”
That’s followed by “Ol’ Man River,” from the landmark Broadway musical “Showboat,” which presents another opportunity to hear how the Beach Boys could transform any kind of music into “Beach Boys” music.
Great vocals on “Ol’ Man River” and “Walk On By” make them exciting bonus tracks that even in their incomplete form, are worthy of inclusion on this CD, which brings the Beach Boys’ first Capitol era to an end.
In 1970, the group would sign with Warner Brothers and create a series of terrific albums (notably Sunflower, Surf’ Up and Holland). Combined with non-stop touring that featured scintillating performances, the Beach Boys ultimately won a cadre of fans who, acting as disciples, converted even more supporters to the group’s maturing sound.
When Capitol Records, just prior to Nixon’s resignation from office in 1974, released a hits package titled Endless Summer, the Beach Boys were on their way back to the top of the charts and into the heart of American music.
Liner notes by David Leaf (© 1990 David Leaf)
(David Leaf is the author of the critically acclaimed Brian Wilson biography, The Beach Boys And The California Myth.)
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1. MEANT FOR YOU
(B. Wilson-M. Love)
Irving Music, Inc. BMI
Master #59426
Recorded 4/68
2. FRIENDS
(Wilson-Wilson-Wilson-Jardine)
Irving Music, Inc. BMI
Master #59400
Recorded 3/68
Charted 4/20/68 Reached #47
3. WAKE THE WORLD
(B. Wilson-A. Jardine)
Irving Music, Inc. BMI
Master #59340
Recorded 3/68
4. BE HERE IN THE MORNING
(Wilson-Wilson-Love-Wilson-Jardine)
Irving Music, Inc. BMI
Master #59341
Recorded 3/68
5. WHEN A MAN NEEDS A WOMAN
(Wilson-Wilson-Wilson-Jardine-Korthof-Parks)
Irving Music, Inc. BMI
Master #59358
Recorded 3/68
6. PASSING BY
(Brian Wilson)
Irving Music, Inc. BMI
Master #59393
Recorded 3/68
7. ANNA LEE, THE HEALER
(M. Love-B. Wilson)
Irving Music, Inc. BMI
Master #59427
Recorded 4/68
8. LITTLE BIRD
(D. Wilson-S. Kalinich)
Irving Music, Inc. BMI
Master #59214
Recorded 2/68
9. BE STILL
(D. Wilson-S. Kalinich)
Irving Music, Inc. BMI
Master #59581
Recorded 4/68
10. BUSY DOIN’ NOTHIN’
(Brian Wilson)
Irving Music, Inc. BMI
Master #59470
Recorded 4/68
11. DIAMOND HEAD
(Vescozo-Ritz-Ackley-Wilson)
Irving Music, Inc. BMI
Master #59496
Recorded 4/68
12. TRANSCENDENTAL MEDITATION
(Wilson-Love-Jardine)
Irving Music, Inc. BMI
Master #59428
Recorded 4/68
13. DO IT AGAIN
(B. Wilson-M. Love)
Irving Music, Inc. BMI
Master #71536
Recorded 6/68
Charted 7/27/68 Reached #20
14. I CAN HEAR MUSIC
(Barry-Greenwich-Spector)
Trio Music Company, Inc. / Mother Bertha Music, Inc. BMI
Master #71521
Recorded 10/1/68
Charted 3/8/69 Reached #24
15. BLUEBIRDS OVER THE MOUNTAIN
(Ersel Hickey)
Brother Publishing Co. BMI
Master #25231
Recorded 9/29/67 and 11/14/68
Charted 12/14/68 Reached #61
16. BE WITH ME
(Dennis Wilson)
Brother Publishing Co. BMI
Master #71330
Recorded 11/11/68
17. ALL I WANT TO DO
(Dennis Wilson)
Brother Publishing Co. BMI
Master #71399
Recorded 11/21/68
18. THE NEARSEST FAR AWAY PLACE
(Bruce Johnston)
Wilojarston Music Publishing Co. ASCAP
Master #70063
Recorded 6/20/68
19. COTTON FIELDS (THE COTTON SONG)
(Huddie Ledbetter)
TRO-Folkways Music Publishing Inc. BMI
Master #71398
Recorded 11/18/68
20. I WENT TO SLEEP
(B. Wilson-C. Wilson)
Irving Music, Inc. BMI
Master #59990
Recorded 6/68
21. TIME TO GET ALONE
(Brian Wilson)
Irving Music, Inc. BMI
Master #71331
Recorded 10/2/68 and 10/4/68
22. NEVER LEARN NOT TO LOVE
(Dennis Wilson)
Irving Music, Inc. BMI
Master #71063
Recorded 9/11/68
23. OUR PRAYER*
(Brian Wilson)
Irving Music, Inc. BMI
Master #71538
Recorded 10/4/66
Additional vocals recorded at Capitol Records Studios, Fall 1968
24. CABINESSENCE*
(B. Wilson-V.D. Parks)
Irving Music, Inc. BMI
Master #56716
Recorded 10/3, 10/11, 10/12/66 and 12/66
25. BREAK AWAY
(B. Wilson-R. Dunbar)
Irving Music, Inc. BMI
Master #71916
Recorded 3/31/69 (Gold Star) and 4/23/69
Charted 7/5/69 Reached #63
26. CELEBRATE THE NEWS
(D. Wilson-G. Jakobson)
Brother Publishing Co. BMI
Master #72479
Recorded 2/25/69
27. WE’RE TOGETHER AGAIN
(B. Wilson-R. Wilson)
Irving Music, Inc. BMI
Master #102377
Recorded 9/11/68
28. WALK ON BY
(B. Bacharach-H. David)
Blue Seas Music, Inc. / Jac Music Co., Inc. ASCAP
Master #102378
Recorded 5/26/68
29. OLD FOLKS AT HOME / OL’ MAN RIVER
(Stephen Foster) / (J. Kern / O. Hammerstein III)
T.B. Harms ASCAP
Master #59992
Recorded 5/26/68
Tracks 1-26, 29 recorded Stereo
Tracks 27 & 28 recorded Mono
Friends was recorded February through April, 1968 at Brian’s home studio and I.D. Sound. Charted 7/6/68, reached #126.
20/20 was recorded June through November, 1968 at I.D. Sound and Brian’s home studio and mixed at Capitol Records (except * original racks recorded 10/66 at CBS and Gold Star). All dates are for original tracking dates unless otherwise indicated. Engineered by Larry Levine. Charted 3/1/69, reached #68.
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In the preparation of this compact disc, every effort has been made to make these historic recordings sound as they did when Brian, Carl, Mike, Dennis, Al, Bruce and David first made them. Numerous tapes were auditioned in order to find the best sounding master. No remixing was attempted, as it was felt that this would not be faithful to the original productions. The original mono and stereo tapes were transferred using a specially modified ampex tape machine and custom-made analog-to-digital converters.
The disc has been mastered using the Pacific Microsonics HDCD system which encodes 24 bits onto a conventional 16 bit CD. The bonus tracks have been selected from a variety of sources and were mixed directly from the original three and four track masters.
Mark Linett
Los Angeles, CA
December 2000
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REISSUE PRODUCED AND COORDINATED BY MARK LINETT.
24-BIT DIGITALLY REMASTERED BY JOE GASTWIRT AT OCEANVIEW DIGITAL MASTERING, LOS ANGELES, CA, UNDER THE SUPERVISION OF MARK LINETT – 2000.
“We’re Together Again,” “Walk On By” and “Old Folks At Home / Ol’ Man River” MIXED BY MARK LINETT AT YOUR PLACE OR MINE STUDIOS, AND SUNSET SOUND RECORDERS, LOS ANGELES.
ADDITIONAL RESEARCH BY ANDY PALEY.
LINER NOTES BY DAVID LEAF.
ART DIRECTION BY TOMMY STEELE.
DESIGN BY CHUCK AMES.
PHOTO RESEARCH BY BRAD BENEDICT.
_________________________________________________________________
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BEACH BOYS DOUBLE CDs AVAILABLE INCLUDE:
SURFIN’ SAFARI / SURFIN’ USA (31517)
SURFER GIRL / SHUT DOWN VOLUME TWO (31515)
LITTLE DEUCE COUPE / ALL SUMMER LONG (31516)
TODAY! / SUMMER DAYS (AND SUMMER NIGHTS!!) (31639)
PARTY! / STACK-O-TRACKS (31641)
SMILEY SMILE / WILD HONEY (31862)
FRIENDS / 20/20 (31638)
BEACH BOYS CONCERT / LIVE IN LONDON (31861)
SUNFLOWER / SURF’S UP (25692)
CARL & THE PASSIONS “SO TOUGH” / HOLLAND (25694)
IN CONCERT (25933)
15 BIG ONES / LOVE YOU (27945)
M.I.U. ALBUM / L.A. (LIGHT ALBUM) (27950)
KEEPIN’ THE SUMMER ALIVE / THE BEACH BOYS (27948)
OTHER BEACH BOYS CDs AVAILABLE INCLUDE:
PET SOUNDS (26266)
ENDLESS HARMONY (24002)
ULTIMATE CHRISTMAS (95734)
GREATEST HITS VOLUME 1 (21860)
GREATEST HITS VOLUME 2 (20238)
GREATEST HITS VOLUME 3 THE BEST OF THE BROTHER YEARS 1970-1986 (24511)
THE PET SOUNDS SESSIONS – BOX SET (37662)
GOOD VIBRATIONS-THIRTY YEARS OF THE BEACH BOYS – BOX SET (81294)
BEACH BOYS VIDEO/DVD AVAILABLE INCLUDE:
ENDLESS HARMONY (VHS) (92154)
ENDLESS HARMONY (DVD) (92353)
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_________________________________________________________________
Original Friends liner notes
On behalf of the Beach Boys, I would like to take this opportunity to thank our many musician friends for taking part in the making of this album.
– DIANE ROVELL
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The songwriting cycle for the FRIENDS album project came quickly to me. I was, by then, an experienced song writer and I knew what each basic key meant to me. By this time I had a good thing rollin’ in my head. The bad things that had happened to me had taken their toll and I was free to find out just how much I had grown through the emotional pain that had come my way. I, even more, had spiritual love high in mind for my fans and people in general. Little things like saying to somebody in music that if I did it then you can do it too, what ever your “do it” might be. The album took shape mostly in my studio in one room in my Bel Air mansion. I got the spirits up and proceeded to record. Until now, Mike had only sung rock and roll songs. Here he had to sing in a peaceful tone of voice on “Meant For You.” The cut “Friends” was, in my opinion, a good way to keep waltzes alive. Carl had sung “Darlin’” and some others before and now he spearheaded this cut with a heavy vocal performance. “Wake The World” was my favorite cut. It was so descriptive to how I felt about the dramatic change over from day to night…“one by one, stars appear, the light of the day is no longer here.” I have heard some songs about parents and babies before and I was challenged to write a song that describes the feeling of love for my daughters. “When A Man Needs A Woman” is a good example. “Anna Lee, The Healer” was a delicate blend of our voices with my high voice takin’ the place of a girl’s voice. I never felt bad or self-conscious about my voice because I can sing high and low both. Mike’s vocal on this song was strong. This album was our best production to date. It had perfect instrumental tracking with no mistakes. I used The Beach Boys and many studio musicians too. Al was very strong with his lead vocal on “Cotton Fields.” Listen to “came across a nice old man with a, he had a hat on” and you’ll hear how clever his singin’ is. Dennis gave us “Little Bird” which blew my mind because it was so full of spiritualness. He was a late bloomer as a music maker. He lived hard and rough but his music was as sensitive as anyone’s. I think that the Beach Boys’ sound was evolving right along. I had developed a 6th sense for everybody’s voices and we could all harmonize this way. When we all sing together I feel a spiritual closeness. Harmony usually means notes that are perfectly and mathematically related to each other, like 1, 3, and 5. This is the basic chord of music. Then there’s 1, 3, 5, and 7. This is a more complex chord. It gets much more complex than that, but I try to keep it sounding simple, no matter how complex it really is. I hope you enjoy this musical album. See you on the next album.
– Brian Wilson
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Friends, the only new Beach Boys LP of 1968, is one of the most tranquil albums ever made. Sent out into the violent maelstrom of ‘68 – when the world was literally crying out for peace, Friends was lost in the shuffle…the proverbial forest not seen for the trees.
It’s too bad because Friends, released six months after 1967’s double-commercial debacle of Smiley Smile / Wild Honey, is in its own way one of the Beach Boys’ best creations. Listening to it, you can’t help but feel more at peace with yourself, and in 1968, everybody could have used the tonic that Friends offered. It wasn’t to be.
In the middle of the American madness, it’s really not surprising that Friends, the very gentlest of Beach Boys records, was ignored. Friends came out two months after Dr Martin Luther King was murdered, just weeks after Senator Robert F Kennedy was killed and only months before demonstrations in Chicago at the Democratic National Convention helped elect Richard Nixon as President.
Interestingly, it was during Richard Nixon’s one-and-a-half terms in office that America and especially the Beach Boys went through their darkest days. Between 1969 and 1974, Nixon presided over the end of America’s involvement in Vietnam and a terribly damaging government scandal.
While Nixon was president, a time when college kids were taking part in some of America’s largest and most contentious street demonstrations, the Beach Boys did not place either an album or single in the top twenty. Not coincidently, it was in 1974, just after Nixon resigned in disgrace, that America, needing an escape from its problems of the day, returned the Beach Boys to the top of the LP charts at almost the same time they had sent Nixon back home to Southern California.
In 1974, America needed the Beach Boys. Maybe, in some karmic sense, it was appropriate that in the late ‘60s, when things were going badly for the U.S., it was also a terrible time for the Beach Boys.
It seemed that nothing the Beach Boys did in 1968 turned out right. An April concert tour of the southeast…a tour that the Beach Boys themselves were promoting…was unceremoniously cancelled when opening night in Nashville unfortunately coincided with Dr. King’s death in nearby Memphis.
The Beach Boys’ luck got worse. In the midst of growing financial difficulties, an ill-conceived venture with the Maharishi Mahesh Yogi cost the group thousands of dollars more. In fact, the group by now was so far out of favor in its homeland that, as Bruce Johnston recalls, there was “a time in 1968, believe it or not, when the Beach Boys drew two hundred people in New York City.”
The disinterest in the group’s personal appearances was reflected at the stores. Friends barely made it onto the charts, peaked in mid-summer at what was then an all-time Beach Boys low of #126 and only remained in the charts for an anemic ten weeks.
But the lack of sales never altered Brian’s fondness for Friends. Brian: “It seems to fit the way I live better – it’s simple and I can hear it anytime without having to get into some mood. Pet Sounds carries a lot more emotion, at least for me…Pet Sounds is by far my very best album. Still, though, my favorite is Friends.”
Friends, one of the shortest and sweetest Beach Boys’ LPs of the ‘60s, was an album that unlike its two predecessors, Smiley Smile and Wild Honey, sounded and felt like a Beach Boys record…lots of harmonies and great melodies, lyrical love and musical friendship. Friends is an album that through the years has grown in stature to take its place as one of the Beach Boys’ finest artistic efforts.
Historical Note: As this was the only new LP the group released in ‘68, maybe even scarier than its lack of commercial success was that the Beach Boys’ hits packages were no longer moving briskly. In 1966, Capitol had been able to compensate for the fact that Pet Sounds wasn’t selling up to expectations by pushing Best of the Beach Boys, which quickly went gold. Best of the Beach Boys, Vol. 2, issued in 1967, did less well, spending only five-plus months on the charts although ultimately it went gold. When Capitol tried the same trick in 1968, they were more than a little horrified to watch Best of the Beach Boys, Vol. 3 sink like a stone, unable to even outperform Friends.
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TRACK-BY-TRACK
“Meant For You”
Lead Vocal: Mike
The fugue-like feel of the organ and the Smiley Smile-like background vocals turn what’s a very brief song into a touching piece of music. It’s a wonderful little overture for the album.
“Friends”
Lead Vocal: Carl (with Brian)
Highest Chart Position: #47
The vocal arrangement of this track let the world know that Brian was back mixing his magical harmonic brew. The world didn’t notice. A fine melody and lovely production couldn’t elevate “Friends” at least on the hit lists, and it became the Beach Boys’ lowest charting single since 1962.
The lyrics of “Friends” seem to focus on the Beach Boys’ own personal history (the pleading “Let’s be friends”), the drum shuffle, the way Brian uses the harmonica and the amazing rising harmonies are highlights of “Friends.”
Historical Note: Beach Boys historian Peter Reum: “‘Friends’ is a waltz, and it’s been used at the Berklee College of Music to teach students how to write in 3/4 time.”
“Wake The World”
Lead Vocal: Brian (with Carl)
Al and Brian had successfully collaborated on “Sloop John B,” but “Wake The World” was the very first original song that Al and Brian wrote together. While it’s very short, like almost everything else on this album, it’s also quite good.
Listen for the wonderful tuba line on the chorus.
“Be Here In The Morning”
Lead Vocal: Brian and Carl
Glockenspiel, a neat stop, the tag featuring Dennis, and what may be the highest lead ever sung are spotlighted on “Be Here In The Morning.” This cut also has sweet harmonies, an interesting “processed” vocal effect, and ends with a terrific snare drum roll (reportedly session ace Jim Gordon).
Historical Note: The lyric, “No calls from Korthof, Parks or Grillo” refers to Brian’s cousin Steve Korthof (who has occasionally served as personal assistant to Brian), road manager Jon Parks and Beach Boys lawyer / business manager Nick Grillo.
“When A Man Needs A Woman”
Lead Vocal: Brian
The Beach Boys were all married by 1968 and becoming family men. In fact, by the time this was recorded, Al and Mike were parents, Dennis a stepfather and Brian’s first daughter, Carnie, was on the way.
Historical Update: Brian and Marilyn Wilson’s two daughters, Carnie and Wendy, recently joined with Chynna Phillips, daughter of “Mama” Michelle and “Papa” John (of the Mamas and the Papas), to form the Wilson Phillips band. Their very first single, “Hold On,” became a number one hit in June of 1990.
“Passing By”
Lead Vocal: Brian, Carl and Al
This delightful semi-instrumental has words (e.g., “While walking down the avenue / I stopped to have a look at you / And then I saw / You’re just passing by) that, for whatever reason, Brian decided not to use. The humming is certainly gorgeous and perfectly appropriate for the feeling Brian wanted to achieve.
Listen for a great bass harmonica part and an organ which sounds like what you’d hear at a skating rink.
“Anna Lee, The Healer”
Lead Vocal: Mike
The world of rock ‘n’ roll can get very tense, and on this tune, the Beach Boys pay tribute to a masseuse who know how to use her hands to make you feel a lot better.
It’s on “Anna Lee…” that Friends’ understated instrumentation is most evident. On the verses, it’s just a vocal on top of a piano bass line, with only some percussion and bass on the choruses.
“Little Bird”
Lead Vocal: Dennis and Brian
Possibly the most important development in the Beach Boys’ world of the late ‘60s was the emergence of Dennis Wilson as a creative talent. On this, his first released composition, Dennis shows that he had enormous potential which would see full flower on later Beach Boys LPs (such as Sunflower, Carl and the Passions/So Tough and Holland) and on his strong 1977 solo album, Pacific Ocean Blue.
Production Note: Listen for the terrific group vocals and how the muted trumpet emulates the tune’s title character.
“Be Still”
Lead Vocal: Dennis (with Carl)
With Mike Love world famous as the Beach Boys’ lead singer, Brian known for his amazing falsetto, Carl recognized for his beautiful voice and Al’s solid, punchy rock ‘n’ roll singing making hits like “Help Me Rhonda,” the fact that Dennis had an incredibly expressive vocal instrument was often overlooked. Listening to the Beach Boys albums of the ‘60s, you’ll hear what a crucial part he had in the harmonic blend. When Dennis got the chance to sing lead (e.g., “Do You Wanna Dance”), Beach Boys fans were thrilled by his voice.
Now that Dennis was writing songs, he was finally getting the opportunity to regularly show off his style. While “Be Still” isn’t the best one he wrote, it’s an emotionally evocative piece that was another substantial step in his growth as a musicmaker.
“Busy Doin’ Nothin’”
Lead Vocal: Brian
This autobiographical lyric describes what sounds like an average day in the life of Brian Wilson, circa 1968. Set to a bossa nova beat, and with no harmonies whatsoever, Brian sings about his activities, turning the most mundane chores into amazing words and music. The memory trick he uses to summon forth a forgotten phone number is incredible. And if you followed the directions in the lyrics (provided you knew where to start), you would have gotten to Brian’s Bel-Air house.
“Busy Doin’ Nothin’,” possibly more than any other track on Friends, proved that Brian could make completely satisfying music without turning it into a major production. The only problem was that, judging by the words, it certainly doesn’t sound like writing was a top priority for Brian.
Production Note: “Busy Doin’ Nothin’” was one of at least a half-dozen cuts that Brian produced during the Friends sessions on which he utilized outside musicians as he had during his 1964-1966 heyday. However, these were less elaborate affairs, usually involving ten or fewer players, a significantly smaller studio band than he had used during the “hits” years. Nonetheless, Brian’s production of Friends is some of the most effective recording he’s ever done.
“Diamond Head”
With full instrumentation and sound effects, “Diamond Head” is probably the most complicated creation on Friends. As it unfolds, “Diamond Head” draws a musical painting of the Hawaiian landmark and is yet another remarkable example of the arranging genius of Brian Wilson.
Historical Note: Peter Reum: “Parts of ‘Diamond Head’ especially the bridge, are reminiscent of some of the more pictorial music of Smile.”
“Transcendental Meditation”
Lead Vocal: Brian
In late 1967, The Beach Boys met the Maharishi Mahesh Yogi, and learned how to meditate. In the spring of ‘68, the Beach Boys and the Maharishi toured together. Bruce Johnston remembers “the Maharishi giving his lecture and the audience screaming for the Beach Boys.” The tour cost the Beach Boys several hundred thousand dollars. As Al Jardine sardonically noted at the time, “if anybody benefits from this tour, it’ll be the florists.”
It’s ironic that of all the tracks on Friends, the one about the serene and refreshing act of meditation would turn out to be the most raucous and rocking cuts on the album. Yet even though both the sax and the vocals hit very unpleasant notes, this curiously discordant production works.
Historical Note: This song was the first of several the Beach Boys recorded on the same subject (e.g., “The TM Song” on 1976’s 15 Big Ones).
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20/20
The key word for this album is refinement. I was still growin’ musically and we as a group wanted to sound more subtle and tighter. I felt strongly about making an album that would also appeal to older audiences as well. I was sure that we would never sound cooler than on the cut “I Went To Sleep.” The voices coupled with the lyrics were very much like a marriage. This closeness to God was slowly becoming a legend in the recording industry, part and parcel of a higher divinity in the music world. Although I feel that this structure encompasses many artists and groups. “Be With Me” was a ballad with punch. Dennis was good at this. Bruce did a very beautiful thing with “The Nearest Faraway Place.” Al called me one night and suggested that I cut an instrumental track for the song “Cottonfields” and he later showed me how it went. I think that this record is one of the best we’ve ever made. It was so righteous doin’ it. Al proved once again that he could handle a lead vocal with ease: he made it sound effortless. They say that I have a genius for makin’ a complex piece of music seem easy. I wanted the instrumental track of “I Can Hear Music” to be smooth and subliminal. I used acoustic guitars. Carl wailed on the lead. His voice was gettin’ established fast in the group. All my life I’ve been fascinated by waltzes. By this album I rolled around to doin’ what I call a rock and roll waltz with “Cabin Essence.” The night I cut the instrumental part of it no one could believe that a waltz could rock that hard. I had the 6-string bass player play electric fuzz tones. This got it goin’ good. I was sure that I had recorded the most rockin’ waltz ever recorded. Mike had not sung as loud as he did on “All I Want To Do.” He was like a mad man. I was sitting at my piano thinking about holy music. I poked around for some simple but moving chords. Later I sat down and wrote “Our Prayer” in sections. The boys were overtaken by the arrangement. I taught it to them in sections, the way I usually do. The purity of the blending of the voices made the listeners feel spiritual. I was definitely into rock church music. “Time To Get Alone” was another waltz. The intimacy of the lyrics, such as “I looked in your eyes and what did I see, I saw love in your eyes,” coupled with the movin’ instrumental track and Carl’s voice and our voices made for a spectacular record. “Do It Again” was, in my opinion, the best that I had come up with for this album. It was a primitive surf song that rocked in places and got mellow in other places. I fell into a nitch and did some business with the harmonies. I was featured on the “hey nows” and Mike handled the lead vocal. I love to make records for you all and please understand that it is hard to keep up the good work. I aim to entertain you and please you with my craft. I will see you on the next album.
– Brian Wilson
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With 20/20, the Beach Boys last studio album of the ‘60s, the group fulfilled their contract with Capitol. 20/20 was assembled as a collection of recent hit-and-miss singles, a few Smile fragments and several new cuts.
Unexpectedly, given that pedigree, it turned out to be one of the most artistically interesting releases of their career and certainly one of the stronger later LPs. This was due in no small measure to the emergence of Carl and Dennis as talented producers. 20/20 also contains several of the group’s best post-Pet Sounds work (e.g., “Cabinessence”).
Unfortunately, despite the quality of the music and the presence of two hit singles, 20/20 appeared only briefly on the charts, before it ignominiously disappeared, barely outperforming Friends.
Production Note: 20/20 was engineered by Steve Desper, an important addition to the Beach Boys’ studio team. Desper played a key role in the excellent albums the Beach Boys made in the early ‘70s (Sunflower and Surf’s Up).
Historical Note: The title 20/20 refers to both the eye chart Brian’s hiding behind on the inside of the gatefold cover and the fact that this was the Beach Boys 20th album (in less than seven years) for Capitol.
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TRACK-BY-TRACK
“Do It Again”
Lead Vocal: Mike
Highest Chart Position: #20
Long before nostalgia became a national pastime, the Beach Boys scored on the charts with this “tip of the hat” to their more innocent youth. Good lyrics, real Beach Boys vocals and rocking instrumentation made “Do It Again” their 17th and last top twenty hit of the decade.
Production Notes: Brian is very proud of the unusual snare drum sound at the beginning of “Do It Again.” He says he achieved that unique rhythm effect by putting a long echo delay on the drum beat. Also, listen to Brian using his falsetto on the wordless chorus to imitate the sound of a trumpet.
Historical Note: On the fade, the sound of the hammering is reportedly from the Smile era “workshop” session.
“I Can Hear Music”
Lead Vocal: Carl
Highest Chart Position: #24
This track could be considered the turning point in the transition of musical control in the Beach Boys from Brian to Carl; Carl Wilson produced “I Can Hear Music” completely on his own. As you can hear (e.g., the sleighbells and the great a cappella break), he had learned an awful lot from his older brother. This effort is one of the group’s most satisfying late ‘60s releases.
It’s an interesting twist that for his debut, Carl chose a song that Phil Spector had earlier recorded with the Ronettes. This superb cover version gave hope to the Beach Boys’ faithful that even if Brian didn’t want to make “traditional” Beach Boys music, the sound would continue.
Historical Note: “I Can Hear Music” was the 25th and last top forty hit for the Beach Boys in the 1960s.
“Bluebirds Over The Mountain”
Lead Vocal: Mike (verse) Bruce & Carl (choruses)
Highest Chart Position: #61
Strong horns and an exceptional string arrangement enlivened this cover of Ersel Hickey’s 1958 regional hit. The screaming lead guitar (from Ed Carter) was unique for a Beach Boys record and very much of the times. (A brief aside – Ed Carter has played in the Beach Boys touring band for nearly a quarter century.)
Judging from its lack of chart success, nobody wanted to hear this kind of rock from the Beach Boys. The group had been stereotyped and nothing could really change that image.
Historical Note: “Bluebirds…” marked Bruce Johnston’s debut as a Beach Boys producer. (Listen for the string arrangement and the lovely signature “ooh ahh” vocals at the end.) Bruce Johnston says that he “always loved the song” and at one time had thought of recording “Bluebirds…” as a solo single. In fact, he had put down bass and drums. But when the Beach Boys needed a tune for a new 45, Bruce and Carl turned it into a group effort.
Historical Note: Bruce Johnston recalls that the Beach Boys did the vocals and overdubs for this at the same New York studio where Frankie Lymon and the Teenagers cut “Why Do Fools Fall In Love.”
“Be With Me”
Lead Vocal: Dennis
Even though Dennis was going through very tough personal times in 1968, his writing and producing talents continued to develop impressively. “Be With Me,” especially the vocals and string arrangement, has a dark and eerie quality to it, perfectly capturing his emotions of the era.
“Be With Me” is one of the two solo Dennis Wilson productions on the LP. For Dennis, 20/20 proved (as it did for Carl) that he could make quality records in the style established by brother Brian.
“All I Want To Do”
Lead Vocal: Mike
This one isn’t about love; rather, it’s a lusty rocker, written and produced by Dennis and sung by Mike.
Production Note: Turn up the volume on the fade for a brief X-rated surprise.
Historical Update: A live version of “All I Want To Do,” from a 1968 English concert, was included on the Beach Boys’ 1983 album, Rarities.
“The Nearest Faraway Place”
Composed, performed and produced by Bruce Johnston, “The Nearest Faraway Place” is an engaging instrumental that is indicative of both Johnston’s solid musical training and his admiration of Pet Sounds.
Bruce points out that he took the title “from an article that Shana Alexander wrote for Life magazine.”
Historical Note: The strings on this piece, “Be With Me” and on “Bluebirds…” were arranged by Van McCoy. As Bruce Johnston explains, “we talked our arrangements into his head.”
McCoy became world famous in 1975 for his incredibly popular dance classic, “The Hustle.”
“Cotton Fields”
Lead Vocal: Al
Looking to capture the same lightning in a bottle that had worked when Al suggested the group do “Sloop John B,” Al came up with the idea to cover another folk classic, Huddie (Leadbelly) Ledbetter’s folk standard, “Cotton Fields.”
The Beach Boys cut two different versions of “Cotton Fields.” Unsatisfied with Brian’s understated production, the Beach Boys, who had begun performing “Cotton Fields” onstage, decided to record another version. Al: “The version of ‘Cotton Fields’ released as a single in 1970 was an L.A. studio performance by the Beach Boys band cut live at Sunset Sound Recorders in L.A. with Red Rhodes on steel guitar.”
Issued by Capitol instead of the 20/20 track, it went to #1 in the Netherlands and South Africa, hit #2 in England and reached the “Top 5” in Australia, Japan and Spain.
Archival Note: The Al Jardine-produced “Cotton Fields” is on the group’s Rarities LP.
“I Went To Sleep”
Lead Vocal: Brian / Group
Nobody has ever had to ask Brian what’s going on in his life. All you need to do is listen to his music. What’s incredible is that even when nothing was happening, he could transform that inactivity into a lovely song. In its artistic honesty, “I Went To Sleep” is a real classic, featuring beautiful vocals and interesting changes.
Historical Note: Peter Reum: “Recorded during the Friends era, ‘I Went To Sleep’ would have been a far more natural closer for Friends than ‘Transcendental Meditation.’”
“Time To Get Alone”
Lead Vocal: Carl (with Brian and Al)
Harpsichord, a terrific lead vocal, wonderful harmonies and a great string arrangement enhance the beautiful melody. Listen for the shimmering “deep and wide” which is one of the most magnificent moments in the Beach Boys’ musical history.
Historical Note: “Time To Get Alone” was originally produced by Brian for Redwood, a group led by Brian’s best friend, Danny Hutton. Redwood later changed their name and became Three Dog Night.
“Never Learn Not To Love”
Lead Vocal: Dennis
From the opening rumbling to the “Little GTO” vocal fade, “Never Learn…” has both a disturbing lyric and a hypnotic sound. Before being re-written as “Never Learn Not To Love,” this cut was originally titled “Cease To Exist.”
Production Note: Peter Reum: “The opening sound was achieved by playing a tape of a cymbal backwards.
“Our Prayer”
Originally recorded in October of 1966 for Smile, “Our Prayer” is a wordless rhapsody. The Beach Boys, with just their voices, can create indescribable magic. Listening to “Our Prayer,” you feel like you’ve been transported back to the Middle Ages to hear a Gregorian Chant in some medieval cathedral.
Historical Note: Peter Reum: “Brian intended for ‘Our Prayer’ to be the opening track, a spiritual invocation, for Smile.
Production Note: In 1968, the Beach Boys went to the Capitol Tower studios to overdub on the 1966 vocals.
“Cabinessence”
Lead Vocal: Carl (with Mike at the end)
20/20 ends with another piece of the missing Smile puzzle. This version of “Cabinessence,” which includes a section called “Who Ran The Iron Horse” defies categorization. Brian’s vocal effects (“doyn doyn”) and the melody are amazing, and the bass line on the chorus is particularly powerful. Listen to the lyrics and you’ll hear the pun-filled genius of composer Van Dyke Parks who was Brian’s lyricist / collaborator on the ill-fated Smile project.
BONUS TRACKS
“Breakaway”
Lead Vocal: Carl (on the verses), Al (on the choruses) (with Brian & Mike)
Highest Chart Position: #63
After 20/20 came out, the Beach Boys were still contractually obligated to Capitol for one last new 45. “Breakaway” b/w “Celebrate The News” was it.
A great record, “Breakaway” was an unmitigated commercial bomb and it disappeared quickly, the Beach Boys’ lowest charting single since 1962’s “Ten Little Indians.”
It’s too bad, because “Breakaway” deserved a better fate. Easily the greatest Beach Boys 45 that wasn’t a hit, “Breakaway” is a dazzling record full of sensational vocals, great hooks and meaningful lyrics…an outstanding production and probably the last “old-style” Brian Wilson Beach Boys single. Al: “I was really disappointed and frustrated by how this one ended up. We knew we had 90% of a good record, but typical of his late ‘60s mentality, Brian under-produced and undersold the ending of the record.”
Historical Note: “Breakaway” is credited to Brian Wilson and Reggie Dunbar. Dunbar, for some unexplained reason, was a pseudonym used by Murry Wilson, the Wilson brothers’ father. Curiously, the copyright notice only lists Brian as a writer on the song.
“Celebrate The News”
Lead Vocal: Dennis
Dennis’ record-making skills were improving rapidly; this was his most sophisticated effort to date.
“Celebrate The News” features very strong, intricate vocals, and the title, like “Breakaway’s” lyric, seem to address the fact that the end of the Beach Boys 1960s relationship with Capitol was at hand.
“We’re Together Again”
Lead Vocal: Brian and Carl
“We’re Together Again” is an unreleased outtake from 1968 and would have fit perfectly on Friends. The lyric seems to announce that the Beach Boys were again working as a group, not individuals. Full group harmonies highlight this track.
“Walk On By”
Lead Vocal: Brian
Brian is a huge fan of Burt Bacharach’s work; as this is the only example of the Beach Boys paying tribute to him, this fragment is included as musical evidence of Brian’s admiration. And even though Dennis doesn’t exactly nail the lyrics, the singing is so incredible that it was decided that this heretofore unheard session should be rescued from the Beach Boys’ vaults.
The vocal swirl at the end (on the “I break down and cry” line) is one of the most amazing harmony pieces the Beach Boys have ever recorded. It’s reminiscent of the string line on Smile’s “Fire,” which Brian also later adopted for a section of the “Rio Grande” suite on Brian Wilson, his 1988 Sire Records solo album.
“Old Folks At Home (Swanee River) /
“Ol’ Man River”
As the Beach Boys’ music has taken its place in American pop culture as important “folk” art, maybe it’s appropriate that the CD of their last Capitol LP of the 1960s includes a snatch of a traditional American classic, Stephen Foster’s “Old Folks At Home.”
That’s followed by “Ol’ Man River,” from the landmark Broadway musical “Showboat,” which presents another opportunity to hear how the Beach Boys could transform any kind of music into “Beach Boys” music.
Great vocals on “Ol’ Man River” and “Walk On By” make them exciting bonus tracks that even in their incomplete form, are worthy of inclusion on this CD, which brings the Beach Boys’ first Capitol era to an end.
In 1970, the group would sign with Warner Brothers and create a series of terrific albums (notably Sunflower, Surf’ Up and Holland). Combined with non-stop touring that featured scintillating performances, the Beach Boys ultimately won a cadre of fans who, acting as disciples, converted even more supporters to the group’s maturing sound.
When Capitol Records, just prior to Nixon’s resignation from office in 1974, released a hits package titled Endless Summer, the Beach Boys were on their way back to the top of the charts and into the heart of American music.
Liner notes by David Leaf (© 1990 David Leaf)
(David Leaf is the author of the critically acclaimed Brian Wilson biography, The Beach Boys And The California Myth.)
_________________________________________________________________
1. MEANT FOR YOU
(B. Wilson-M. Love)
Irving Music, Inc. BMI
Master #59426
Recorded 4/68
2. FRIENDS
(Wilson-Wilson-Wilson-Jardine)
Irving Music, Inc. BMI
Master #59400
Recorded 3/68
Charted 4/20/68 Reached #47
3. WAKE THE WORLD
(B. Wilson-A. Jardine)
Irving Music, Inc. BMI
Master #59340
Recorded 3/68
4. BE HERE IN THE MORNING
(Wilson-Wilson-Love-Wilson-Jardine)
Irving Music, Inc. BMI
Master #59341
Recorded 3/68
5. WHEN A MAN NEEDS A WOMAN
(Wilson-Wilson-Wilson-Jardine-Korthof-Parks)
Irving Music, Inc. BMI
Master #59358
Recorded 3/68
6. PASSING BY
(Brian Wilson)
Irving Music, Inc. BMI
Master #59393
Recorded 3/68
7. ANNA LEE, THE HEALER
(M. Love-B. Wilson)
Irving Music, Inc. BMI
Master #59427
Recorded 4/68
8. LITTLE BIRD
(D. Wilson-S. Kalinich)
Irving Music, Inc. BMI
Master #59214
Recorded 2/68
9. BE STILL
(D. Wilson-S. Kalinich)
Irving Music, Inc. BMI
Master #59581
Recorded 4/68
10. BUSY DOIN’ NOTHIN’
(Brian Wilson)
Irving Music, Inc. BMI
Master #59470
Recorded 4/68
11. DIAMOND HEAD
(Vescozo-Ritz-Ackley-Wilson)
Irving Music, Inc. BMI
Master #59496
Recorded 4/68
12. TRANSCENDENTAL MEDITATION
(Wilson-Love-Jardine)
Irving Music, Inc. BMI
Master #59428
Recorded 4/68
13. DO IT AGAIN
(B. Wilson-M. Love)
Irving Music, Inc. BMI
Master #71536
Recorded 6/68
Charted 7/27/68 Reached #20
14. I CAN HEAR MUSIC
(Barry-Greenwich-Spector)
Trio Music Company, Inc. / Mother Bertha Music, Inc. BMI
Master #71521
Recorded 10/1/68
Charted 3/8/69 Reached #24
15. BLUEBIRDS OVER THE MOUNTAIN
(Ersel Hickey)
Brother Publishing Co. BMI
Master #25231
Recorded 9/29/67 and 11/14/68
Charted 12/14/68 Reached #61
16. BE WITH ME
(Dennis Wilson)
Brother Publishing Co. BMI
Master #71330
Recorded 11/11/68
17. ALL I WANT TO DO
(Dennis Wilson)
Brother Publishing Co. BMI
Master #71399
Recorded 11/21/68
18. THE NEARSEST FAR AWAY PLACE
(Bruce Johnston)
Wilojarston Music Publishing Co. ASCAP
Master #70063
Recorded 6/20/68
19. COTTON FIELDS (THE COTTON SONG)
(Huddie Ledbetter)
TRO-Folkways Music Publishing Inc. BMI
Master #71398
Recorded 11/18/68
20. I WENT TO SLEEP
(B. Wilson-C. Wilson)
Irving Music, Inc. BMI
Master #59990
Recorded 6/68
21. TIME TO GET ALONE
(Brian Wilson)
Irving Music, Inc. BMI
Master #71331
Recorded 10/2/68 and 10/4/68
22. NEVER LEARN NOT TO LOVE
(Dennis Wilson)
Irving Music, Inc. BMI
Master #71063
Recorded 9/11/68
23. OUR PRAYER*
(Brian Wilson)
Irving Music, Inc. BMI
Master #71538
Recorded 10/4/66
Additional vocals recorded at Capitol Records Studios, Fall 1968
24. CABINESSENCE*
(B. Wilson-V.D. Parks)
Irving Music, Inc. BMI
Master #56716
Recorded 10/3, 10/11, 10/12/66 and 12/66
– BONUS TRACKS –
25. BREAK AWAY
(B. Wilson-R. Dunbar)
Irving Music, Inc. BMI
Master #71916
Recorded 3/31/69 (Gold Star) and 4/23/69
Charted 7/5/69 Reached #63
26. CELEBRATE THE NEWS
(D. Wilson-G. Jakobson)
Brother Publishing Co. BMI
Master #72479
Recorded 2/25/69
27. WE’RE TOGETHER AGAIN
(B. Wilson-R. Wilson)
Irving Music, Inc. BMI
Master #102377
Recorded 9/11/68
28. WALK ON BY
(B. Bacharach-H. David)
Blue Seas Music, Inc. / Jac Music Co., Inc. ASCAP
Master #102378
Recorded 5/26/68
29. OLD FOLKS AT HOME / OL’ MAN RIVER
(Stephen Foster) / (J. Kern / O. Hammerstein III)
T.B. Harms ASCAP
Master #59992
Recorded 5/26/68
Tracks 1-26, 29 recorded Stereo
Tracks 27 & 28 recorded Mono
Friends was recorded February through April, 1968 at Brian’s home studio and I.D. Sound. Charted 7/6/68, reached #126.
20/20 was recorded June through November, 1968 at I.D. Sound and Brian’s home studio and mixed at Capitol Records (except * original racks recorded 10/66 at CBS and Gold Star). All dates are for original tracking dates unless otherwise indicated. Engineered by Larry Levine. Charted 3/1/69, reached #68.
_________________________________________________________________
In the preparation of this compact disc, every effort has been made to make these historic recordings sound as they did when Brian, Carl, Mike, Dennis, Al, Bruce and David first made them. Numerous tapes were auditioned in order to find the best sounding master. No remixing was attempted, as it was felt that this would not be faithful to the original productions. The original mono and stereo tapes were transferred using a specially modified ampex tape machine and custom-made analog-to-digital converters.
The disc has been mastered using the Pacific Microsonics HDCD system which encodes 24 bits onto a conventional 16 bit CD. The bonus tracks have been selected from a variety of sources and were mixed directly from the original three and four track masters.
Mark Linett
Los Angeles, CA
December 2000
_________________________________________________________________
REISSUE PRODUCED AND COORDINATED BY MARK LINETT.
24-BIT DIGITALLY REMASTERED BY JOE GASTWIRT AT OCEANVIEW DIGITAL MASTERING, LOS ANGELES, CA, UNDER THE SUPERVISION OF MARK LINETT – 2000.
“We’re Together Again,” “Walk On By” and “Old Folks At Home / Ol’ Man River” MIXED BY MARK LINETT AT YOUR PLACE OR MINE STUDIOS, AND SUNSET SOUND RECORDERS, LOS ANGELES.
ADDITIONAL RESEARCH BY ANDY PALEY.
LINER NOTES BY DAVID LEAF.
ART DIRECTION BY TOMMY STEELE.
DESIGN BY CHUCK AMES.
PHOTO RESEARCH BY BRAD BENEDICT.
_________________________________________________________________
FOR INFORMATION ON THE BEACH BOYS FAN CLUB, SEND A SELF-ADDRESSED, STAMPED #10 ENVELOPE TO:
BBFC
Mail Stop 504, 252 Convention Center Dr., Las Vegas, NV 89109
http://www.beachboysfanclub.com/
BEACH BOYS BRITAIN IS THE OFFICIAL BRITISH FAN CLUB FOR THE BEACH BOYS. FOR INFORMATION, WRITE TO:
Beach Boys Britain
3 Mill Grove, Lutterworth, Leicestershire LE17 4BS, England
http://www.angelfire.com/la/Beachboysbritain/
FOR INFORMATION ON THE BRIAN WILSON FAN CLUB, WRITE TO:
Brian Wilson Fan Club
15030 Ventura Boulevard, 1-710, Sherman Oaks, CA 91403
http://www.celebritymerch.com/bw/index.htm
FOR INFORMATION ON THE MIKE LOVE FAN CLUB, WRITE TO:
The Mike Love Fan Club
114 Gov. Winthrop Road, Somerville, MA 02145
http://www.mikelovefanclub.com/
OTHER BEACH BOYS FAN CLUBS AND FANZINES ARE:
Endless Summer Quarterly
P.O. Box 470315, Charlotte, NC 28427
http://www.members.aol.com/esqeditor/welcome.html
Good Vibrations Quarterly
600 Sandra Court, Hampton, Virginia 23669
Beach Boys Stomp
22 Avondale Road, Wealdstone, Middlesex HA3 7RE, England
Beach Boys Australia
P.O. Box 106, North Strathfield 2137, Australia
California Saga
P.O. Box 1607 50106 Bergheim, Germany
http://members.aol.com/chaschke/index.html
BEACH BOYS DOUBLE CDs AVAILABLE INCLUDE:
SURFIN’ SAFARI / SURFIN’ USA (31517)
SURFER GIRL / SHUT DOWN VOLUME TWO (31515)
LITTLE DEUCE COUPE / ALL SUMMER LONG (31516)
TODAY! / SUMMER DAYS (AND SUMMER NIGHTS!!) (31639)
PARTY! / STACK-O-TRACKS (31641)
SMILEY SMILE / WILD HONEY (31862)
FRIENDS / 20/20 (31638)
BEACH BOYS CONCERT / LIVE IN LONDON (31861)
SUNFLOWER / SURF’S UP (25692)
CARL & THE PASSIONS “SO TOUGH” / HOLLAND (25694)
IN CONCERT (25933)
15 BIG ONES / LOVE YOU (27945)
M.I.U. ALBUM / L.A. (LIGHT ALBUM) (27950)
KEEPIN’ THE SUMMER ALIVE / THE BEACH BOYS (27948)
OTHER BEACH BOYS CDs AVAILABLE INCLUDE:
PET SOUNDS (26266)
ENDLESS HARMONY (24002)
ULTIMATE CHRISTMAS (95734)
GREATEST HITS VOLUME 1 (21860)
GREATEST HITS VOLUME 2 (20238)
GREATEST HITS VOLUME 3 THE BEST OF THE BROTHER YEARS 1970-1986 (24511)
THE PET SOUNDS SESSIONS – BOX SET (37662)
GOOD VIBRATIONS-THIRTY YEARS OF THE BEACH BOYS – BOX SET (81294)
BEACH BOYS VIDEO/DVD AVAILABLE INCLUDE:
ENDLESS HARMONY (VHS) (92154)
ENDLESS HARMONY (DVD) (92353)
ALL TRACKS 24-BIT DIGITALLY REMASTERED
(P) 2001 © 1990 Capitol Records, Inc. Manufactured by Capitol Records, Inc., 1750 N. Vine Street, Hollywood, CA 90028. All rights reserved. Unauthorized duplication is a violation of applicable laws. Printed in U.S.A.
HDCD®
72435-31638-2-2
See Hollywood and Vine
hollywoodandvine.com/beachboys
__________________________________________________________
Surfin' Safari / Surfin' USA
Surfer Girl / Shut Down, Volume Two
Little Deuce Coupe / All Summer Long
Today! / Summer Days, Summer Nights
Party! / Stack-O-Tracks
Smiley Smile / Wild Honey
Concert / Live In London
Sunflower / Surf's Up
Friends / 20/20
Carl & The Passions: So Tough / Holland
Keeping The Summer Alive / Beach Boys (1985 Release)
M.I.U. / Light Album
15 Big Ones / Love You
Surfer Girl / Shut Down, Volume Two
Little Deuce Coupe / All Summer Long
Today! / Summer Days, Summer Nights
Party! / Stack-O-Tracks
Smiley Smile / Wild Honey
Concert / Live In London
Sunflower / Surf's Up
Friends / 20/20
Carl & The Passions: So Tough / Holland
Keeping The Summer Alive / Beach Boys (1985 Release)
M.I.U. / Light Album
15 Big Ones / Love You
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