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Today/Summer Days
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The Beach Boys Today!
By the fall of 1964, despite the fact that, in Brian Wilson’s words, “the Beatles had eclipsed a lot of what we’d worked for,” the Beach Boys own popularity had reached new heights. For several months, they often had as many as five LPs on the charts simultaneously, and their entire catalogue (with the exception of Surfin’ Safari) was selling exceptionally well. For example, the week of 12/5/64, Beach Boys Concert was enjoying one of its four weeks at #1 with All Summer Long at #12 and Shut Down, Volume 2, Surfer Girl and The Beach Boys Christmas albums scattered through the top 200.
In addition to their remarkable chart success, 1964 was also the year that the Beach Boys took their music to ever bigger audiences via major television appearances, SRO tours and their first promotional trips to England and Europe.
To their fans, the Beach Boys were right up there with the Beatles as one of the top groups in rock. However, inside the band the pressure of maintaining that position was becoming too much for their musical leader to bear.
On December 23, 1964, the Beach Boys left Los Angeles for a short concert tour. That night on the airplane, Brian Wilson broke down. As he later put it, “the rubber band had stretched as far as it would go. [When 1964 ended], there were four Beach Boys on the road. They finished that tour without me…I just wanted to sit and think and rest, pull myself together, check my life out, and once again evaluate what I am, what I am doing and what I should be doing.”
Brian decided that if he was going to make the kind of records that were in his head, he would have to quit touring. Brian: “One night, I told the guys I wasn’t going to perform onstage any more, that I can’t travel. I told them I foresee a beautiful future for the Beach Boys group, but the only way we could achieve it was if they did their job and I did mine. That night, when I gave them the news of my decision, they all broke down. I’d already gone through my breakdown, and now it was their turn. When I told them, they were shook…I felt I had no choice. I was run down mentally and emotionally because I was running around, jumping on jets, one-night stands, singing, planning, teaching. [It was] to the point where I had no peace of mind. No chance to actually sit down and think or even rest. I was so mixed-up and overworked…. I knew I should have stopped going on tours much earlier to do justice to our recordings.”
1965 saw the “new” Beach Boys that Brian Wilson envisioned working to perfection. While he stayed home cutting backing tracks, they spread his music all over the world. The Beach Boys Today! album, the first fruit of that arrangement, turned out to be one of the best LPs the group ever released. As the back cover correctly noted, Today is “a program of big Beach Boy favorites…plus some great new Brian Wilson songs.”
“Do You Wanna Dance”
Lead Vocal: Dennis
Highest Chart Position: #12
A jet-propelled cover version of Bobby Freeman’s 1958 hit, Dennis gets the Today album off to a flying start with one of the best lead vocals he ever recorded. Everything about this production is top-notch, from the terrific backing track to the incredible harmonies on the chorus. This is another example of how, when the Beach Boys recorded somebody else’s song, they tended, as the cliché goes, to make it their own. That’s not to say it’s better than the original, but when a song got the Beach Boys treatment, it was almost always something special.
Production Note: The tracks Brian was cutting gin the mid-‘60s were musically so dense that very often beautiful parts got lost in the final mix. This track is a good example of how somewhere in the mixing r mastering process the fine detail of Brian’s orchestration could sometimes get lost. Beach Boys collectors will recall that on early mixes of “Do You Wanna Dance” there was a strong bass line that was buried in the release version.
“Good To My Baby”
Lead Vocal: Brian and Mike
“Don’t Hurt My Little Sister”
Lead Vocal: Mike and Brian
Side one of Today is full of up-tempo tunes. “Good To My Baby” and “Don’t Hurt My Little Sister” feature great vocals and terrific guitar-based tracks that get your feet moving. More than that, something interesting is always going on (e.g. Unusual chord changes) that make them quite a bit more than just album filler. These two songs are very good, it’s just that they pale in comparison to most of the Today album.
Historical Note: Brian wrote “Don’t Hurt My Little Sister” for the Ronettes. After submitting the song to Phil Spector, Brian waited for a response. When Spector invited Brian to his hotel room for a talk, Brian found out that things had gone awry. There was a piano in the room, and Spector played Brian “Don’t Hurt My Little Sister” which Spector had unilaterally revamped into “ Things Are Changing (For The Better).”
A few days later, Brian went to Gold Star to play the piano on the session. Brian recalls that Spector kicked him off the recording date, telling Brian he couldn’t play the song right. That’s as close as Brian and Phil ever came to working together. Spector ultimately cut “Things Are Changing (For The Better)” With the Blossoms. It was released as a public service announcement for equal opportunity employment.
“When I Grow Up”
Lead Vocal: Mike and Brian
Highest Chart Position: #9
Featuring harpsichord, an incredibly inventive drum pattern, the beautiful chromatic harmonica and breathtakingly complex background vocals, “When I Grow Up” looked at life from a new perspective for rock ‘n’ roll…concern for the future. The imponderable and philosophical questions asked in the lyrics (e.g. – “will I look back and say that I wish I hadn’t done what I did? And “What will I be”) make this kind of a rock ‘n’ roll “Que Sera, Sera.” It's interesting to note that Brian wrote this when he was 22 and not yet married.
This record is also the perfect example of how quickly the Beach Boys’ productions were progressing. “When I Grow Up” is only two years removed from “Surfin’ Safari” and maybe even more incredibly, it was done only four months after “Little Honda.” Clearly, Brian’s production technique was growling exponentially.
Looking back to when this was released in 1964, Brian acknowledged that it may have been too advanced for its time, but the phenomenal arrangement and production is as mind-blowing now as it was then. Very simply, it’s one of the most perfect records ever made.
Production Note: As Mike sings “won’t last forever” in contrast to Brian’s falsetto cry “It’s kinda sad,” you can hear how effectively Brian arranged their voices for maximal emotional impact.
"Help Me, Ronda"
Lead Vocal: Al
Al Jardine sang lead on the 1964 Christmas LP’s “Christmas Day,” but most fans feel this was really his debut as a lead singer on a Beach Boys record.
For those of you only familiar with the hit version of this song, get ready for a very different listening experience. The spelling of the song title isn’t the only thing dissimilar about this first version of “Ronda.” It’s a much busier, less accessible track than the 45.
By the time it was re-recorded a month later, Brian had lost the “Fannie Mae” harmonica lick, the tambourine and the strange up and down volume on the fade of the repeating chorus. He added guitar, different background vocals and a better hook on the “get her out of my hear” line, and turned this album track miss into a hit.
“Dance, Dance, Dance”
Lead Vocal: Mike
Highest Chart Position: #8
A really hot twelve-string guitar riff, sleigh bells, a driving beat, a brilliant modulation after the break and terrific harmonies highlight another tight package of musical magic.
“Please Let Me Wonder”
Lead Vocal: Brian and Mike
Highest Chart Position: #52
(It was the B-side of “Do You Wanna Dance.”)
When the Today album came out in 1965, it was shocking to hear so many great ballads on one side of a record. Looking back, it’s clear that these tracks were the musical and lyrical precursors to Pet Sounds.
At the time, it was very risky to lay your heart right on the line as Brian does in these songs. This album was a big turning point for the group, as the subject matter of their songs became more adult and ultimately, less appealing to their teenage audience who still hungered for pure fun in the sun.
The side kicks off with “Please Let Me Wonder” a beautiful song that is noteworthy for the lead vocals that are exceptionally tender and warm. Listen for the organ-guitar interplay in the break and for the fat bass line. The bass throughout this side was a signpost on the way to Pet Sounds.
Historical Note: That’s Carl’s romantic “I love you” at the end of the song.
“I’m So Young”
Lead Vocal: Brian
“I’m So Young” is built on the same four chords as all the fifties doo-wop classics, but in arranging this song with typically sophisticated harmonies, Brian managed to make it sound like he’d written it. In fact, it was originally recorded by The Students in the late ‘50s, although Brian was probably inspired to cut it by the version that appeared on The Fabulous Ronettes album.
Worth noting musically are the amazing descending guitar lines and the vocal tag on which Dennis is especially prominent.
“Kiss Me Baby”
Lead Vocal: Brian and Mike
On “Kiss Me Baby,” hear how Brian’s arrangement contrasts his sweet voice to Mike’s deeper tones…an approach that would later be used extensively and to great effect on Pet Sounds. A lovely vocal intro, especially interesting drum fills and quirky percussion frame “Kiss Me Baby’s” very personal, romantic lyric. “She Knows Me Too Well” Lead Vocal: Brian “She Knows Me Too Well” is another of the important musical developments on the road to Pet Sounds, and in retrospect, hearing this in 1965 might have felt very strange…almost like you were hearing a cut from Pet Sounds a year before that album even existed.
“She Knows Me Too Well” is a gorgeous production, but it took a little while to get used to, probably because the bittersweet chord changes and harmonies were more sophisticated than the typical pop ballad of the day.
“In The Back Of My Mind”
Lead Vocal: Dennis
Dennis’ soulful lead vocals helps bring out the jazzy feel of a song that is really unique in the Brian Wilson catalogue. The lush yet subtle orchestration (listen to the oboe) and percussion on this track hinted at what was to come on Pet Sounds. The percussive guitar anticipates a technique that would be employed during the “Good Vibrations” / Smile era. Even the symphonic string lines on the fade are unusual; implausibly, it seems that they’re wandering into a completely different song.
“Bull Session With The ‘Big Daddy’”
“Big Daddy” is Earl Leaf (no relation to this liner note writer), who was a journalist in his youth, but by the 1960s, had settled comfortably into the role of rock ‘n’ roll publicist. Editor of Capitol’s popular “Teen Set” magazine and a contributor to many other rock publications, Earl had terrific access to the Beach Boys. The quotes at the beginning of these liner notes are from an interview he conducted with Brian in 1966.
On this track, the Beach Boys and Earl Leaf are reminiscing about the 1964 fall tour of Europe on which Earl accompanied the group. After five poignant ballads, it was a strange way to end the album, but as the third and last installment of their in-studio personal glimpses, it’s fun to listen to … once, at least.
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Summer Days (And Summer Nights!) was a record that was a bit of a retrenchment for the Beach Boys, even though musically, there are many significant moments. After side two of Today, it didn’t seem possible that Brian could return to these simpler themes, but for one last album, he found a way to combine Capitol’s commercial demands with his artistic calling. This latest batch of tunes, almost all of which he wrote himself, found Brian concentrating on the one subject that always inspired him…girls. And, as always, the lyrics told his story.
“The Girl From New York City”
Lead Vocal: Mike
Strong bass vocals, a driving track, and rocking harmonies are the main attributes of the Beach Boys answer to the Ad-Libs early 65-top ten hit “The Boy From New York City.”
“Amusement Parks U.S.A.”
Lead vocal: Mike (and Brian)
Another great Beach Boys vocal intro begins this cut. Lyrically, the references to all the country’s best amusement parks harken back to the “Sweet Little Sixteen” / “Twistin’ U.S.A.” approach Brian had used to such good effect on ‘Surfin’ U.S.A.”
“Amusement Parks, U.S.A.” ends charmingly with the main riff from “Palisades Park,” a 1962 hit for Freddy Cannon that the Beach Boys covered on their 1976 album, 15 Big Ones. “Palisades Park” was written by game show impresario Chuck Barris about New Jersey’s legendary Cliffside fun spot.
Historical Notes: 1) Reportedly, that’s drummer Hal Blaine as the carnival barker on the spoken break. 2) “Amusement Parks, U.S.A.” was released as a single and went to #3 in Japan.
“Then I Kissed Her”
Lead Vocal: Al
As a producer, Brian liberally borrowed from Phil Spector’s production technique. Here, he takes one of Spector’s biggest hits (the Crystals “Then He Kissed Me”) and gives it the Beach Boys treatment.
In the early ‘60s, Spector’s records were very important to Brian. Brian: “I was unable to really think as a producer up until the time where I really got familiar with Phil Spector’s work…it’s good to take a song and work with it. But it’s the record that counts. It’s the overall sound, what they’re going to hear and experience in two and a half minutes that counts.”
Recalling the times he attended Spector’s sessions, Brian admits he “was unable to perceive very much more than he [Spector] though I could. I was a littler more alert… I basically knew all that was to be know about that [famous “Wall of Sound” Spector production technique] simply by listening, using my ears.” From endless hours of listening to Spector classics like “Be My Baby,” Brian learned how to combine instruments to achieve new sounds, an important ingredient in the next studio album, Pet Sounds.
“Salt Lake City”
Lead Vocal: Mike (with Brian)
“Salt Lake City” is a great track, highlighted by especially good drumming and a brief a capella break near the end that presaged what Brian would do on “Sloop John B.”
Record producer (the Dick Tracy soundtrack and the Brian Wilson solo album) Andy Paley: “If you pick up a guitar and play the “A” string and the “D” string together, you can pretty much figure out the riff to ‘Salt Lake City.’ It’s the most fun riff to play. It sounds like almost two bass guitars playing together. On the record…with slapback and reverb on whatever that guitar is…it sounds beautiful. The thing is that the climbing bass…you’re hearing two bass lines…is similar to what he did on ‘God Only Knows.’ The idea of playing two different bass notes at once is a Brian Wilson trademark…also, the way the single vibe note comes in during the sax break is really cool.”
Historical Note: The Beach Boys were extremely popular in Salt Lake City, and this cut paid tribute to the fans of that town. In fact, according to Beach Boys historian Peter Reum, “Salt Lake was such a hotbed of Beach Boys fever that the Salt Lake City Downtown Merchants Association pressed 1,000 copies of this song as a single that was used strictly as a promotional item.
“Girl Don’t Tell Me”
Lead Vocal: Carl
“Girl Don’t Tell Me” is structured very much like the Beatles “Ticket To Ride,” from the guitar breaks to the chord changes…from the drum rolls to the “I’m the guy, hi, hi” vocal phrasing.
Historical Notes: 1) The Beach Boys played on this track, and the era in which it was done certainly contributed to the Beatlesque quality of it. Brian played the Celeste on this cut. 2) Considering that this was the tenth Beach Boys album and what a great voice Carl has, it’s hard to believe that this is his first lead vocal.
“Help Me, Rhonda”
Lead Vocal: Al
Highest Chart Position: #1
This exuberant version of “Help Me Rhonda,” featuring a stunning lead guitar, became the Beach Boys second #1 hit. The “bow, bow, bow” background vocals have became one of the most popular sing-a-long sections of any Beach Boys record.
“California Girls”
Lead Vocal: Mike
Highest Chart Position: #3
In 1986, introducing this song at a rare solo appearance, Brian said, “California Girls” was “something I’m very proud of in a sense because it represents the Beach Boys really greatest record production we’ve ever made. It goes back to 1965 when I was sitting in my apartment, wondering how to write a song about girls, because I love girls. I mean, everybody loves girls. So I got the notion, and I wrote “California Girls.” And then I said [to myself], this needs some kind of an introduction that would be a total departure of how the song sounds and yet would somehow lead into the melody.”
Brian accomplished that with the incredible symphonic intro which is among the most amazing bars of pop music ever recorded. Brian recently said it’s the favorite piece of music he’s ever written.
From the classical opening to the organ break at the end, “California Girls” is one of the songs most identified with the Beach Boys. As a frequent concert-opener, it never fails to stir the crowd.
Historical Note: In recent interviews, Brian has claimed that even though he received no credit, Mike Love actually wrote the words to “California Girls.” // Production Note: Andy Paley points to “California Girls” track as a perfect example of another one of Brian’s stylistic signatures…the fact that he used a lot of “pedal bass.”
“Let Him Run Wild”
Lead Vocal: Brian
This track is a hop beyond to Side 2 of Today and another step towards Pet Sounds. When “Let Him Run Wild” came out, it was as big a musical jump as when the Beach Boys went from “409” to “Shut Down.”
An exciting arrangement, strong lyrics and phenomenal harmonies highlight this cut. The diminished chord near the end of the chorus (right after the second “Let Him Run Wild, he don’t care.”) contributes to the classical feeling of this track. Andy Paley: “The way this one’s cut from the beautiful vibes to the Burt Bacharach-like chord progression, makes it sound like one of the great Dionne Warwick records.” Brian has always been a huge fan of Bacharach’s.
“You’re So Good To Me”
Lead Vocal: Brian
The “la la la la la’s” on the chorus are another one of the Beach Boys’ vocal specialties – nonsense syllables that they manage to make expressive through their singing.
The straight 4-4 beat on this track was typical of many mid-‘60s Motown and British Invasion rock songs but rare for a Beach Boys record.
“Summer Means New Love”
“Summer Means New Love,” an instrumental that like “After The Game” (the B-side of the very rare Survivors single, “Pamela Jean”), gave Brian the opportunity to experiment with sound textures. In the world of 1965 rock, these tracks were really unique to Beach Boys records. At that time, nobody – not the Beatles or the Stones or anything else – was cutting songs with the symphonic scope of this instrumental, which perfectly evokes the first blush of love.
Paley: “The chord progression, which starts off with typical rock ‘n’ roll changes, quickly takes a turn into Brian Wilson land. Like so many of his songs, it’s not as predictable as it seems. Also, the string tag is one of the high points on this album.”
Historical Note: Because this track had no vocals (although there was probably a lyric written), it was released as the B-side of the March, 1966 “Caroline, No” single, the only 45 RPM ever released by Capitol under the name of Brian Wilson.
Production Note: The instrumental combinations on this cut were another crucial element in the production technique Brian was developing to make Pet Sounds.
“I’m Bugged At My Ol’ Man”
Lead Vocal: Brian
On the back album cover, he may have been “too embarrassed” to reveal the lead vocalist’s identity but it’s Brian singing “I’m Bugged At My Ol’ Man”…a humorous look at one of the Beach Boys’ biggest personal problems…the steamrolling personality of their one-time manager and always father, Murry Wilson.
Somehow, Brian manages to make a joke out of this. The lyrics are hysterical, they even crack the Beach Boys themselves up. However, students of Beach Boys history will note that this song, in retrospect, may cut a little too close to the bone.
“And Your Dreams Come True”
This a capella group vocal is otherworldly in its beauty: “And Your Dreams Come True” sounds like a lullaby to summer.
“The Little Girl I Once Knew” (Single)
Lead Vocal: Carl, Brian and Mike
Highest Chart Position: #20
“The Little Girl I Once Knew” was released on 45 in the fall of ’65. It’s the record that’s clearly a bridge between “Let Him Run Wild” and the Pet Sounds album.
“Little Girl I Once Knew”’s relative chart failure, coming on the heels of consecutive top five singles, is probably attributable to the fact that radio stations didn’t appreciate the long seconds of “dead air” right in the middle of the song. Lack of airplay notwithstanding, it’s a terrific production that’s highlighted by a sensational guitar intro, a great bass vocal from Mike and a swirling organ break.
“Dance, Dance, Dance” (Alternate Take)
Lead Vocal” Mike and Brian
This early version offers a fascinating example of what Beach Boys records might have sounded like if the group had played on the tracks instead of studio musicians. Surprisingly, the difference isn’t all that significant on “Dance, Dance, Dance,” possibly because the Beach Boys’ singing on this version is just as good as what hey did on the released record.
Listen to this outtake and then the album cut. Note the slightly different lyrics and background harmonies that are a good example of how Brian’s arranging ideas might quickly jell. First recorded in September of ’64 when the Beach Boys were on tour in the southeast, the song changed very little by the time it was committed to wax only a few weeks later.
“I’m So Young” (Alternate Take)
Lead Vocal: Brian
It’s intriguing to hear how a particular production might evolve over the months. On this take listen for the flute, which didn’t make the final cut. Also notice that the bass line, which is featured on the Today album version, wasn’t pronounced in this initial recording of “I’m So Young.”
“Let Him Run Wild” (Alternate Take)
Lead Vocal: Brian
The different background vocal patterns on the chorus show that kind of experimenting that Brian was constantly doing. Also, note the variation on the lead vocal, especially on the third verse.
“Graduation Day” (Studio Version)
The Beach Boys’ studio version of “Graduation Day” (Which the Beach boys sang live on their 1964 Concert album) appears for the first time as a bonus track on this CD. On this Four Freshman classic, you can really hear the roots of the Beach Boys’ vocal style. The “knowing that we’ll never walk alone” vocal bit is worth the price of admission, and the complex harmonizing on the end is wonderful.
Production Note: Apparently, no true stereo versions of The Bach Boys Today! And Summer Days (And Summer Nights!!) exist, so rather than create stereo mixed in 1990, Capitol has used Brian’s original mixes, much to this writer’s delight.
Regardless of the fact that the Beach Boys two 1965 studio LPs, Today and Summer Days (And Summer Nights!!), appear on this CD in mono, they comprise what may be the best CD in the Beach Boys Capitol “Double Play” Series.
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. Do You Wanna Dance
(Bobby Freeman) Time: 2:14
Bobby Freeman Music/Clockus Music, Inc., BMI
Master #53273 Recorded 1/11/65
Single Released 2/65 (Capitol 5372)
Charted 2/27/65 Reached #12
2. Good To My Baby
(Brian Wilson) Time 2:12
Irving Music, Inc. BMI
Master #53322 Recorded 1/13 & 1/19/65
3. Don’t Hurt My Little Sister
(Brian Wilson) Time 2:03
Irving Music, Inc., BMI
Master # 52385 Recorded 6/22/64
4. When I Grow Up (To Be A Man)
(Brian Wilson) Time: 1:58
Irving Music, Inc. BMI
Master # 52666 Recorded 8/5 and 8/10/64
Single Released 9/64 (Capitol 5245)
Charted 9/5/64 Reached #9
5. Help Me, Ronda (LP Version)
(Brian Wilson) Time: 3:04
Irving Music, Inc. BMI
Master # 53272 Recorded 1/8 and 1/19/65
6. Dance, Dance, Dance
(B. Wilson – C. Wilson)
Time: 1:56 Irving Music, Inc.
BMI Master # 51509
Recorded 10/9/64 Single Released 11/64
(Capitol 5306) Charted 11/7/64 Reached #8
7. Please Let Me Wonder
(B. Wilson-M. Love) Time: 2:42
Master # 53271 Recorded 1/7/65
Single Released 2/65 (Capitol 5372)
Charted 3/6/65 Reached #2
6. I’m So Young
(W.H. Tyrus, Jr.) Time: 2:
Music Corp. BMI Master # 52849
Recorded 1/18/ & 1/19/65
9. Kiss Me Baby
(Brian Wilson) Time 2:30
Irving Music, Inc. BMI
Master # 53149 Recorded 12/16/64 & 1/15/65
Single Released 4/65 (Capitol 5345) Did not chart.
10. She Knows Me Too Well
(Brian Wilson) Time: 2:25
Irving Music, Inc. BMI
Master # 52667 Recorded 6/8/64
Single Released 9/64 (Capitol 5245) Did Not Chart
11. In The Back Of My Mind
(Brian Wilson) Time: 2:04
Irving Music, Inc. BMI
Master # 53323
Recorded 1/13 & 1/19/65
12. Bull Session With “Big Daddy”
(Wilson-Wilson-Wilson-Love-Jardine) Time: 2:10
Irving Music, Inc., BMI
Master #53326 Recorded 1/13/65
13. The Girl From New York City
(Brian Wilson) Time: 1:49
Irving Music, Inc. BMI
Master # 53644 Recorded 5/24/65
14. Amusement Parks, U.S.A.
(Brian Wilson) Time: 2:25
Irving Music, Inc. BMI
Master # 53644 Recorded 5/5/65
15. Then I Kissed Her
(Spector-Greenwich-Barry) Time: 2:11
Mother Bertha Music, Inc./Trio Music Company, Inc. BMI
Master # 53642 Recorded 5/3/65
16. Salt Lake City
(Brian Wilson) Time: 1:57
Irving Music, Inc. BMI
Master # 53598 Recorded 3/30/65
17. Girl Don’t Tell Me
(Brian Wilson) Time: 2:14
Irving Music, Inc. BMI
Master # 53643 Recorded 4/30/65
Single Released 12/65 (Capitol 5561) Did Not Chart
18. Help Me, Rhonda (Single Version)
(Brian Wilson) Time: 2:44
Irving Music, Inc. BMI
Master # 53453 Recorded 2/24/65
Single Released 4/65 (Capitol 5395)
Charted 4/17/65 Reached #1
19. California Girls
(Brian Wilson) Time: 2:34
Irving Music, Inc. BMI
Master #53865
Recorded 5/6/65 Single Released 7/65 (Capitol 5464)
Charted 7/24/65 Reached #3
20. Let Him Run Wild
(Brian Wilson) Time: 2:18
Irving Music, Inc. BMI
Master # 53795 Recorded 3/30/65
Single Released 7/65 (Capitol 5464)
Did Not Chart
21. You’re So Good To Me
(Brian Wilson) Time: 2:12
Irving Music, Inc. BMI
Master # 53794 Recorded 5/24/65
Single Released 3/9/66 (Capitol 5602)
Did Not Chart
22. Summer Means New Love
(Brian Wilson) Time: 1:55
Irving Music, Inc. BMI
Master # 53681 Recorded 5/15/65
Single Released 3/9/66 (Capitol 5610)
Did Not Chart
23. I’m Bugged At My Ol’ Man
(Brian Wilson) Time: 2:13
Irving Music, Inc. BMI
Master # 53795
Recorded 5/24/65
24. And Your Dreams Come True
(B. Wilson-M. Love) Time: 1:00
Irving Music, Inc. BMI
Master # 53796 Recorded 5/24/65
25. The Little Girl I Once Knew (Single)*
(Brian Wilson) Time: 2:32
Irving Music, Inc. BMI
Master # 55297 Recorded 10/13/65
Single Released 11/27/65 (Capitol 5540)
Charted 11/27/65 Reached #20
26. Dance, Dance, Dance (Alternate Take)*
(B. Wilson-M. Love) Time: 1:55
Irving Music, Inc. BMI
Master # 51509A
Recorded 922/64
27. I’m So Young (Alternate Take)*
(W.H. Tyrus, Jr.) Time: 2:20
Vance Music Corp. BMI
Master # 52849A Recorded 9/9/64
28. Let Him Run Wild (Alternate Take)*
(Brian Wilson) Time: 2:13
Irving Music, Inc. BMI
Master # 53793A
Recorded 3/30/65
29. Graduation Day (Studio Version)*
(J. Sherman-N. Sherman) Time: 2:18
Erasmus Music BMI
Master # 52706A
Recorded 5/5/65
*BONUS TRACKS
Originally Engineered By Chuck Britz
All songs recorded at Western Recording Studios, Hollywood with the exception of the following:
Track 1: Recorded at Gold Star Recording Studios, Hollywood.
Track 18: Recorded at Universal/Radio Records Studios, Hollywood.
Track 26: Recorded at Columbia Recording Studios, Nashville.
“The Beach Boys Today!” LP – Originally released on March 1, 1965 by Capitol Records (Capitol T-2269) Charted 3/27/65 Reached #4
“Summer Days (And Summer Nights) LP – Originally released on June 28, 1965 by Capitol Records (Capitol T-2354) Charted /24/65 Reached #2
All songs in mono, except 25, 26 & 28, which are stereo.
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In the preparation of these compact discs, every effort has been made to make these historic recordings sound as they did when Brian, Carl, Mike, Dennis and Al first made them. The Producers auditioned numerous tapes in order to find the masters which have been used throughout. These original mono and stereo masters were then transferred to digital utilizing a specially modified tape machine and custom-made analog to digital converters.
The resulting digital tape was next processed using the Sonic Solutions digital noise reduction system. They system allows the removal of tape hiss and other defects without any adverse affect on the music. The previously unreleased bonus tracks have been selected from a variety of sources, and were mixed
directly from the original three and four track master.
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Reissue Compiled and Coordinated by Mark Linett.
Digitally Remastered by Joe Gastwirt and Mark Linett at Ocean View Digital, Manhattan Beach, CA.
Assistant Engineer Dave Mitson
“Dance, Dance, Dance (Demo Version)” “I’m So Young (Alternate Version)” and “Graduation Day” Mixed by Mark Linett At Your Place Or Mine Studios, Los Angeles.
Archival Material and Archival Research Information by Ron Furmanek and Dennis Diken.
Chart Information Courtesy of Billboard and Joel Whitburn.
Liner Notes by David Leaf.
Art Direction by Tommy Steele.
Design by Chuck Ames.
Photo Research by Brad Benedict.
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The Beach Boys Today!
By the fall of 1964, despite the fact that, in Brian Wilson’s words, “the Beatles had eclipsed a lot of what we’d worked for,” the Beach Boys own popularity had reached new heights. For several months, they often had as many as five LPs on the charts simultaneously, and their entire catalogue (with the exception of Surfin’ Safari) was selling exceptionally well. For example, the week of 12/5/64, Beach Boys Concert was enjoying one of its four weeks at #1 with All Summer Long at #12 and Shut Down, Volume 2, Surfer Girl and The Beach Boys Christmas albums scattered through the top 200.
In addition to their remarkable chart success, 1964 was also the year that the Beach Boys took their music to ever bigger audiences via major television appearances, SRO tours and their first promotional trips to England and Europe.
To their fans, the Beach Boys were right up there with the Beatles as one of the top groups in rock. However, inside the band the pressure of maintaining that position was becoming too much for their musical leader to bear.
On December 23, 1964, the Beach Boys left Los Angeles for a short concert tour. That night on the airplane, Brian Wilson broke down. As he later put it, “the rubber band had stretched as far as it would go. [When 1964 ended], there were four Beach Boys on the road. They finished that tour without me…I just wanted to sit and think and rest, pull myself together, check my life out, and once again evaluate what I am, what I am doing and what I should be doing.”
Brian decided that if he was going to make the kind of records that were in his head, he would have to quit touring. Brian: “One night, I told the guys I wasn’t going to perform onstage any more, that I can’t travel. I told them I foresee a beautiful future for the Beach Boys group, but the only way we could achieve it was if they did their job and I did mine. That night, when I gave them the news of my decision, they all broke down. I’d already gone through my breakdown, and now it was their turn. When I told them, they were shook…I felt I had no choice. I was run down mentally and emotionally because I was running around, jumping on jets, one-night stands, singing, planning, teaching. [It was] to the point where I had no peace of mind. No chance to actually sit down and think or even rest. I was so mixed-up and overworked…. I knew I should have stopped going on tours much earlier to do justice to our recordings.”
1965 saw the “new” Beach Boys that Brian Wilson envisioned working to perfection. While he stayed home cutting backing tracks, they spread his music all over the world. The Beach Boys Today! album, the first fruit of that arrangement, turned out to be one of the best LPs the group ever released. As the back cover correctly noted, Today is “a program of big Beach Boy favorites…plus some great new Brian Wilson songs.”
TRACK-BY-TRACK
“Do You Wanna Dance”
Lead Vocal: Dennis
Highest Chart Position: #12
A jet-propelled cover version of Bobby Freeman’s 1958 hit, Dennis gets the Today album off to a flying start with one of the best lead vocals he ever recorded. Everything about this production is top-notch, from the terrific backing track to the incredible harmonies on the chorus. This is another example of how, when the Beach Boys recorded somebody else’s song, they tended, as the cliché goes, to make it their own. That’s not to say it’s better than the original, but when a song got the Beach Boys treatment, it was almost always something special.
Production Note: The tracks Brian was cutting gin the mid-‘60s were musically so dense that very often beautiful parts got lost in the final mix. This track is a good example of how somewhere in the mixing r mastering process the fine detail of Brian’s orchestration could sometimes get lost. Beach Boys collectors will recall that on early mixes of “Do You Wanna Dance” there was a strong bass line that was buried in the release version.
“Good To My Baby”
Lead Vocal: Brian and Mike
“Don’t Hurt My Little Sister”
Lead Vocal: Mike and Brian
Side one of Today is full of up-tempo tunes. “Good To My Baby” and “Don’t Hurt My Little Sister” feature great vocals and terrific guitar-based tracks that get your feet moving. More than that, something interesting is always going on (e.g. Unusual chord changes) that make them quite a bit more than just album filler. These two songs are very good, it’s just that they pale in comparison to most of the Today album.
Historical Note: Brian wrote “Don’t Hurt My Little Sister” for the Ronettes. After submitting the song to Phil Spector, Brian waited for a response. When Spector invited Brian to his hotel room for a talk, Brian found out that things had gone awry. There was a piano in the room, and Spector played Brian “Don’t Hurt My Little Sister” which Spector had unilaterally revamped into “ Things Are Changing (For The Better).”
A few days later, Brian went to Gold Star to play the piano on the session. Brian recalls that Spector kicked him off the recording date, telling Brian he couldn’t play the song right. That’s as close as Brian and Phil ever came to working together. Spector ultimately cut “Things Are Changing (For The Better)” With the Blossoms. It was released as a public service announcement for equal opportunity employment.
“When I Grow Up”
Lead Vocal: Mike and Brian
Highest Chart Position: #9
Featuring harpsichord, an incredibly inventive drum pattern, the beautiful chromatic harmonica and breathtakingly complex background vocals, “When I Grow Up” looked at life from a new perspective for rock ‘n’ roll…concern for the future. The imponderable and philosophical questions asked in the lyrics (e.g. – “will I look back and say that I wish I hadn’t done what I did? And “What will I be”) make this kind of a rock ‘n’ roll “Que Sera, Sera.” It's interesting to note that Brian wrote this when he was 22 and not yet married.
This record is also the perfect example of how quickly the Beach Boys’ productions were progressing. “When I Grow Up” is only two years removed from “Surfin’ Safari” and maybe even more incredibly, it was done only four months after “Little Honda.” Clearly, Brian’s production technique was growling exponentially.
Looking back to when this was released in 1964, Brian acknowledged that it may have been too advanced for its time, but the phenomenal arrangement and production is as mind-blowing now as it was then. Very simply, it’s one of the most perfect records ever made.
Production Note: As Mike sings “won’t last forever” in contrast to Brian’s falsetto cry “It’s kinda sad,” you can hear how effectively Brian arranged their voices for maximal emotional impact.
"Help Me, Ronda"
Lead Vocal: Al
Al Jardine sang lead on the 1964 Christmas LP’s “Christmas Day,” but most fans feel this was really his debut as a lead singer on a Beach Boys record.
For those of you only familiar with the hit version of this song, get ready for a very different listening experience. The spelling of the song title isn’t the only thing dissimilar about this first version of “Ronda.” It’s a much busier, less accessible track than the 45.
By the time it was re-recorded a month later, Brian had lost the “Fannie Mae” harmonica lick, the tambourine and the strange up and down volume on the fade of the repeating chorus. He added guitar, different background vocals and a better hook on the “get her out of my hear” line, and turned this album track miss into a hit.
“Dance, Dance, Dance”
Lead Vocal: Mike
Highest Chart Position: #8
A really hot twelve-string guitar riff, sleigh bells, a driving beat, a brilliant modulation after the break and terrific harmonies highlight another tight package of musical magic.
“Please Let Me Wonder”
Lead Vocal: Brian and Mike
Highest Chart Position: #52
(It was the B-side of “Do You Wanna Dance.”)
When the Today album came out in 1965, it was shocking to hear so many great ballads on one side of a record. Looking back, it’s clear that these tracks were the musical and lyrical precursors to Pet Sounds.
At the time, it was very risky to lay your heart right on the line as Brian does in these songs. This album was a big turning point for the group, as the subject matter of their songs became more adult and ultimately, less appealing to their teenage audience who still hungered for pure fun in the sun.
The side kicks off with “Please Let Me Wonder” a beautiful song that is noteworthy for the lead vocals that are exceptionally tender and warm. Listen for the organ-guitar interplay in the break and for the fat bass line. The bass throughout this side was a signpost on the way to Pet Sounds.
Historical Note: That’s Carl’s romantic “I love you” at the end of the song.
“I’m So Young”
Lead Vocal: Brian
“I’m So Young” is built on the same four chords as all the fifties doo-wop classics, but in arranging this song with typically sophisticated harmonies, Brian managed to make it sound like he’d written it. In fact, it was originally recorded by The Students in the late ‘50s, although Brian was probably inspired to cut it by the version that appeared on The Fabulous Ronettes album.
Worth noting musically are the amazing descending guitar lines and the vocal tag on which Dennis is especially prominent.
“Kiss Me Baby”
Lead Vocal: Brian and Mike
On “Kiss Me Baby,” hear how Brian’s arrangement contrasts his sweet voice to Mike’s deeper tones…an approach that would later be used extensively and to great effect on Pet Sounds. A lovely vocal intro, especially interesting drum fills and quirky percussion frame “Kiss Me Baby’s” very personal, romantic lyric. “She Knows Me Too Well” Lead Vocal: Brian “She Knows Me Too Well” is another of the important musical developments on the road to Pet Sounds, and in retrospect, hearing this in 1965 might have felt very strange…almost like you were hearing a cut from Pet Sounds a year before that album even existed.
“She Knows Me Too Well” is a gorgeous production, but it took a little while to get used to, probably because the bittersweet chord changes and harmonies were more sophisticated than the typical pop ballad of the day.
“In The Back Of My Mind”
Lead Vocal: Dennis
Dennis’ soulful lead vocals helps bring out the jazzy feel of a song that is really unique in the Brian Wilson catalogue. The lush yet subtle orchestration (listen to the oboe) and percussion on this track hinted at what was to come on Pet Sounds. The percussive guitar anticipates a technique that would be employed during the “Good Vibrations” / Smile era. Even the symphonic string lines on the fade are unusual; implausibly, it seems that they’re wandering into a completely different song.
“Bull Session With The ‘Big Daddy’”
“Big Daddy” is Earl Leaf (no relation to this liner note writer), who was a journalist in his youth, but by the 1960s, had settled comfortably into the role of rock ‘n’ roll publicist. Editor of Capitol’s popular “Teen Set” magazine and a contributor to many other rock publications, Earl had terrific access to the Beach Boys. The quotes at the beginning of these liner notes are from an interview he conducted with Brian in 1966.
On this track, the Beach Boys and Earl Leaf are reminiscing about the 1964 fall tour of Europe on which Earl accompanied the group. After five poignant ballads, it was a strange way to end the album, but as the third and last installment of their in-studio personal glimpses, it’s fun to listen to … once, at least.
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Summer Days (And Summer Nights!) was a record that was a bit of a retrenchment for the Beach Boys, even though musically, there are many significant moments. After side two of Today, it didn’t seem possible that Brian could return to these simpler themes, but for one last album, he found a way to combine Capitol’s commercial demands with his artistic calling. This latest batch of tunes, almost all of which he wrote himself, found Brian concentrating on the one subject that always inspired him…girls. And, as always, the lyrics told his story.
“The Girl From New York City”
Lead Vocal: Mike
Strong bass vocals, a driving track, and rocking harmonies are the main attributes of the Beach Boys answer to the Ad-Libs early 65-top ten hit “The Boy From New York City.”
“Amusement Parks U.S.A.”
Lead vocal: Mike (and Brian)
Another great Beach Boys vocal intro begins this cut. Lyrically, the references to all the country’s best amusement parks harken back to the “Sweet Little Sixteen” / “Twistin’ U.S.A.” approach Brian had used to such good effect on ‘Surfin’ U.S.A.”
“Amusement Parks, U.S.A.” ends charmingly with the main riff from “Palisades Park,” a 1962 hit for Freddy Cannon that the Beach Boys covered on their 1976 album, 15 Big Ones. “Palisades Park” was written by game show impresario Chuck Barris about New Jersey’s legendary Cliffside fun spot.
Historical Notes: 1) Reportedly, that’s drummer Hal Blaine as the carnival barker on the spoken break. 2) “Amusement Parks, U.S.A.” was released as a single and went to #3 in Japan.
“Then I Kissed Her”
Lead Vocal: Al
As a producer, Brian liberally borrowed from Phil Spector’s production technique. Here, he takes one of Spector’s biggest hits (the Crystals “Then He Kissed Me”) and gives it the Beach Boys treatment.
In the early ‘60s, Spector’s records were very important to Brian. Brian: “I was unable to really think as a producer up until the time where I really got familiar with Phil Spector’s work…it’s good to take a song and work with it. But it’s the record that counts. It’s the overall sound, what they’re going to hear and experience in two and a half minutes that counts.”
Recalling the times he attended Spector’s sessions, Brian admits he “was unable to perceive very much more than he [Spector] though I could. I was a littler more alert… I basically knew all that was to be know about that [famous “Wall of Sound” Spector production technique] simply by listening, using my ears.” From endless hours of listening to Spector classics like “Be My Baby,” Brian learned how to combine instruments to achieve new sounds, an important ingredient in the next studio album, Pet Sounds.
“Salt Lake City”
Lead Vocal: Mike (with Brian)
“Salt Lake City” is a great track, highlighted by especially good drumming and a brief a capella break near the end that presaged what Brian would do on “Sloop John B.”
Record producer (the Dick Tracy soundtrack and the Brian Wilson solo album) Andy Paley: “If you pick up a guitar and play the “A” string and the “D” string together, you can pretty much figure out the riff to ‘Salt Lake City.’ It’s the most fun riff to play. It sounds like almost two bass guitars playing together. On the record…with slapback and reverb on whatever that guitar is…it sounds beautiful. The thing is that the climbing bass…you’re hearing two bass lines…is similar to what he did on ‘God Only Knows.’ The idea of playing two different bass notes at once is a Brian Wilson trademark…also, the way the single vibe note comes in during the sax break is really cool.”
Historical Note: The Beach Boys were extremely popular in Salt Lake City, and this cut paid tribute to the fans of that town. In fact, according to Beach Boys historian Peter Reum, “Salt Lake was such a hotbed of Beach Boys fever that the Salt Lake City Downtown Merchants Association pressed 1,000 copies of this song as a single that was used strictly as a promotional item.
“Girl Don’t Tell Me”
Lead Vocal: Carl
“Girl Don’t Tell Me” is structured very much like the Beatles “Ticket To Ride,” from the guitar breaks to the chord changes…from the drum rolls to the “I’m the guy, hi, hi” vocal phrasing.
Historical Notes: 1) The Beach Boys played on this track, and the era in which it was done certainly contributed to the Beatlesque quality of it. Brian played the Celeste on this cut. 2) Considering that this was the tenth Beach Boys album and what a great voice Carl has, it’s hard to believe that this is his first lead vocal.
“Help Me, Rhonda”
Lead Vocal: Al
Highest Chart Position: #1
This exuberant version of “Help Me Rhonda,” featuring a stunning lead guitar, became the Beach Boys second #1 hit. The “bow, bow, bow” background vocals have became one of the most popular sing-a-long sections of any Beach Boys record.
“California Girls”
Lead Vocal: Mike
Highest Chart Position: #3
In 1986, introducing this song at a rare solo appearance, Brian said, “California Girls” was “something I’m very proud of in a sense because it represents the Beach Boys really greatest record production we’ve ever made. It goes back to 1965 when I was sitting in my apartment, wondering how to write a song about girls, because I love girls. I mean, everybody loves girls. So I got the notion, and I wrote “California Girls.” And then I said [to myself], this needs some kind of an introduction that would be a total departure of how the song sounds and yet would somehow lead into the melody.”
Brian accomplished that with the incredible symphonic intro which is among the most amazing bars of pop music ever recorded. Brian recently said it’s the favorite piece of music he’s ever written.
From the classical opening to the organ break at the end, “California Girls” is one of the songs most identified with the Beach Boys. As a frequent concert-opener, it never fails to stir the crowd.
Historical Note: In recent interviews, Brian has claimed that even though he received no credit, Mike Love actually wrote the words to “California Girls.” // Production Note: Andy Paley points to “California Girls” track as a perfect example of another one of Brian’s stylistic signatures…the fact that he used a lot of “pedal bass.”
“Let Him Run Wild”
Lead Vocal: Brian
This track is a hop beyond to Side 2 of Today and another step towards Pet Sounds. When “Let Him Run Wild” came out, it was as big a musical jump as when the Beach Boys went from “409” to “Shut Down.”
An exciting arrangement, strong lyrics and phenomenal harmonies highlight this cut. The diminished chord near the end of the chorus (right after the second “Let Him Run Wild, he don’t care.”) contributes to the classical feeling of this track. Andy Paley: “The way this one’s cut from the beautiful vibes to the Burt Bacharach-like chord progression, makes it sound like one of the great Dionne Warwick records.” Brian has always been a huge fan of Bacharach’s.
“You’re So Good To Me”
Lead Vocal: Brian
The “la la la la la’s” on the chorus are another one of the Beach Boys’ vocal specialties – nonsense syllables that they manage to make expressive through their singing.
The straight 4-4 beat on this track was typical of many mid-‘60s Motown and British Invasion rock songs but rare for a Beach Boys record.
“Summer Means New Love”
“Summer Means New Love,” an instrumental that like “After The Game” (the B-side of the very rare Survivors single, “Pamela Jean”), gave Brian the opportunity to experiment with sound textures. In the world of 1965 rock, these tracks were really unique to Beach Boys records. At that time, nobody – not the Beatles or the Stones or anything else – was cutting songs with the symphonic scope of this instrumental, which perfectly evokes the first blush of love.
Paley: “The chord progression, which starts off with typical rock ‘n’ roll changes, quickly takes a turn into Brian Wilson land. Like so many of his songs, it’s not as predictable as it seems. Also, the string tag is one of the high points on this album.”
Historical Note: Because this track had no vocals (although there was probably a lyric written), it was released as the B-side of the March, 1966 “Caroline, No” single, the only 45 RPM ever released by Capitol under the name of Brian Wilson.
Production Note: The instrumental combinations on this cut were another crucial element in the production technique Brian was developing to make Pet Sounds.
“I’m Bugged At My Ol’ Man”
Lead Vocal: Brian
On the back album cover, he may have been “too embarrassed” to reveal the lead vocalist’s identity but it’s Brian singing “I’m Bugged At My Ol’ Man”…a humorous look at one of the Beach Boys’ biggest personal problems…the steamrolling personality of their one-time manager and always father, Murry Wilson.
Somehow, Brian manages to make a joke out of this. The lyrics are hysterical, they even crack the Beach Boys themselves up. However, students of Beach Boys history will note that this song, in retrospect, may cut a little too close to the bone.
“And Your Dreams Come True”
This a capella group vocal is otherworldly in its beauty: “And Your Dreams Come True” sounds like a lullaby to summer.
BONUS TRACKS
“The Little Girl I Once Knew” (Single)
Lead Vocal: Carl, Brian and Mike
Highest Chart Position: #20
“The Little Girl I Once Knew” was released on 45 in the fall of ’65. It’s the record that’s clearly a bridge between “Let Him Run Wild” and the Pet Sounds album.
“Little Girl I Once Knew”’s relative chart failure, coming on the heels of consecutive top five singles, is probably attributable to the fact that radio stations didn’t appreciate the long seconds of “dead air” right in the middle of the song. Lack of airplay notwithstanding, it’s a terrific production that’s highlighted by a sensational guitar intro, a great bass vocal from Mike and a swirling organ break.
“Dance, Dance, Dance” (Alternate Take)
Lead Vocal” Mike and Brian
This early version offers a fascinating example of what Beach Boys records might have sounded like if the group had played on the tracks instead of studio musicians. Surprisingly, the difference isn’t all that significant on “Dance, Dance, Dance,” possibly because the Beach Boys’ singing on this version is just as good as what hey did on the released record.
Listen to this outtake and then the album cut. Note the slightly different lyrics and background harmonies that are a good example of how Brian’s arranging ideas might quickly jell. First recorded in September of ’64 when the Beach Boys were on tour in the southeast, the song changed very little by the time it was committed to wax only a few weeks later.
“I’m So Young” (Alternate Take)
Lead Vocal: Brian
It’s intriguing to hear how a particular production might evolve over the months. On this take listen for the flute, which didn’t make the final cut. Also notice that the bass line, which is featured on the Today album version, wasn’t pronounced in this initial recording of “I’m So Young.”
“Let Him Run Wild” (Alternate Take)
Lead Vocal: Brian
The different background vocal patterns on the chorus show that kind of experimenting that Brian was constantly doing. Also, note the variation on the lead vocal, especially on the third verse.
“Graduation Day” (Studio Version)
The Beach Boys’ studio version of “Graduation Day” (Which the Beach boys sang live on their 1964 Concert album) appears for the first time as a bonus track on this CD. On this Four Freshman classic, you can really hear the roots of the Beach Boys’ vocal style. The “knowing that we’ll never walk alone” vocal bit is worth the price of admission, and the complex harmonizing on the end is wonderful.
Production Note: Apparently, no true stereo versions of The Bach Boys Today! And Summer Days (And Summer Nights!!) exist, so rather than create stereo mixed in 1990, Capitol has used Brian’s original mixes, much to this writer’s delight.
Regardless of the fact that the Beach Boys two 1965 studio LPs, Today and Summer Days (And Summer Nights!!), appear on this CD in mono, they comprise what may be the best CD in the Beach Boys Capitol “Double Play” Series.
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. Do You Wanna Dance
(Bobby Freeman) Time: 2:14
Bobby Freeman Music/Clockus Music, Inc., BMI
Master #53273 Recorded 1/11/65
Single Released 2/65 (Capitol 5372)
Charted 2/27/65 Reached #12
2. Good To My Baby
(Brian Wilson) Time 2:12
Irving Music, Inc. BMI
Master #53322 Recorded 1/13 & 1/19/65
3. Don’t Hurt My Little Sister
(Brian Wilson) Time 2:03
Irving Music, Inc., BMI
Master # 52385 Recorded 6/22/64
4. When I Grow Up (To Be A Man)
(Brian Wilson) Time: 1:58
Irving Music, Inc. BMI
Master # 52666 Recorded 8/5 and 8/10/64
Single Released 9/64 (Capitol 5245)
Charted 9/5/64 Reached #9
5. Help Me, Ronda (LP Version)
(Brian Wilson) Time: 3:04
Irving Music, Inc. BMI
Master # 53272 Recorded 1/8 and 1/19/65
6. Dance, Dance, Dance
(B. Wilson – C. Wilson)
Time: 1:56 Irving Music, Inc.
BMI Master # 51509
Recorded 10/9/64 Single Released 11/64
(Capitol 5306) Charted 11/7/64 Reached #8
7. Please Let Me Wonder
(B. Wilson-M. Love) Time: 2:42
Master # 53271 Recorded 1/7/65
Single Released 2/65 (Capitol 5372)
Charted 3/6/65 Reached #2
6. I’m So Young
(W.H. Tyrus, Jr.) Time: 2:
Music Corp. BMI Master # 52849
Recorded 1/18/ & 1/19/65
9. Kiss Me Baby
(Brian Wilson) Time 2:30
Irving Music, Inc. BMI
Master # 53149 Recorded 12/16/64 & 1/15/65
Single Released 4/65 (Capitol 5345) Did not chart.
10. She Knows Me Too Well
(Brian Wilson) Time: 2:25
Irving Music, Inc. BMI
Master # 52667 Recorded 6/8/64
Single Released 9/64 (Capitol 5245) Did Not Chart
11. In The Back Of My Mind
(Brian Wilson) Time: 2:04
Irving Music, Inc. BMI
Master # 53323
Recorded 1/13 & 1/19/65
12. Bull Session With “Big Daddy”
(Wilson-Wilson-Wilson-Love-Jardine) Time: 2:10
Irving Music, Inc., BMI
Master #53326 Recorded 1/13/65
13. The Girl From New York City
(Brian Wilson) Time: 1:49
Irving Music, Inc. BMI
Master # 53644 Recorded 5/24/65
14. Amusement Parks, U.S.A.
(Brian Wilson) Time: 2:25
Irving Music, Inc. BMI
Master # 53644 Recorded 5/5/65
15. Then I Kissed Her
(Spector-Greenwich-Barry) Time: 2:11
Mother Bertha Music, Inc./Trio Music Company, Inc. BMI
Master # 53642 Recorded 5/3/65
16. Salt Lake City
(Brian Wilson) Time: 1:57
Irving Music, Inc. BMI
Master # 53598 Recorded 3/30/65
17. Girl Don’t Tell Me
(Brian Wilson) Time: 2:14
Irving Music, Inc. BMI
Master # 53643 Recorded 4/30/65
Single Released 12/65 (Capitol 5561) Did Not Chart
18. Help Me, Rhonda (Single Version)
(Brian Wilson) Time: 2:44
Irving Music, Inc. BMI
Master # 53453 Recorded 2/24/65
Single Released 4/65 (Capitol 5395)
Charted 4/17/65 Reached #1
19. California Girls
(Brian Wilson) Time: 2:34
Irving Music, Inc. BMI
Master #53865
Recorded 5/6/65 Single Released 7/65 (Capitol 5464)
Charted 7/24/65 Reached #3
20. Let Him Run Wild
(Brian Wilson) Time: 2:18
Irving Music, Inc. BMI
Master # 53795 Recorded 3/30/65
Single Released 7/65 (Capitol 5464)
Did Not Chart
21. You’re So Good To Me
(Brian Wilson) Time: 2:12
Irving Music, Inc. BMI
Master # 53794 Recorded 5/24/65
Single Released 3/9/66 (Capitol 5602)
Did Not Chart
22. Summer Means New Love
(Brian Wilson) Time: 1:55
Irving Music, Inc. BMI
Master # 53681 Recorded 5/15/65
Single Released 3/9/66 (Capitol 5610)
Did Not Chart
23. I’m Bugged At My Ol’ Man
(Brian Wilson) Time: 2:13
Irving Music, Inc. BMI
Master # 53795
Recorded 5/24/65
24. And Your Dreams Come True
(B. Wilson-M. Love) Time: 1:00
Irving Music, Inc. BMI
Master # 53796 Recorded 5/24/65
25. The Little Girl I Once Knew (Single)*
(Brian Wilson) Time: 2:32
Irving Music, Inc. BMI
Master # 55297 Recorded 10/13/65
Single Released 11/27/65 (Capitol 5540)
Charted 11/27/65 Reached #20
26. Dance, Dance, Dance (Alternate Take)*
(B. Wilson-M. Love) Time: 1:55
Irving Music, Inc. BMI
Master # 51509A
Recorded 922/64
27. I’m So Young (Alternate Take)*
(W.H. Tyrus, Jr.) Time: 2:20
Vance Music Corp. BMI
Master # 52849A Recorded 9/9/64
28. Let Him Run Wild (Alternate Take)*
(Brian Wilson) Time: 2:13
Irving Music, Inc. BMI
Master # 53793A
Recorded 3/30/65
29. Graduation Day (Studio Version)*
(J. Sherman-N. Sherman) Time: 2:18
Erasmus Music BMI
Master # 52706A
Recorded 5/5/65
*BONUS TRACKS
Originally Engineered By Chuck Britz
All songs recorded at Western Recording Studios, Hollywood with the exception of the following:
Track 1: Recorded at Gold Star Recording Studios, Hollywood.
Track 18: Recorded at Universal/Radio Records Studios, Hollywood.
Track 26: Recorded at Columbia Recording Studios, Nashville.
“The Beach Boys Today!” LP – Originally released on March 1, 1965 by Capitol Records (Capitol T-2269) Charted 3/27/65 Reached #4
“Summer Days (And Summer Nights) LP – Originally released on June 28, 1965 by Capitol Records (Capitol T-2354) Charted /24/65 Reached #2
All songs in mono, except 25, 26 & 28, which are stereo.
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In the preparation of these compact discs, every effort has been made to make these historic recordings sound as they did when Brian, Carl, Mike, Dennis and Al first made them. The Producers auditioned numerous tapes in order to find the masters which have been used throughout. These original mono and stereo masters were then transferred to digital utilizing a specially modified tape machine and custom-made analog to digital converters.
The resulting digital tape was next processed using the Sonic Solutions digital noise reduction system. They system allows the removal of tape hiss and other defects without any adverse affect on the music. The previously unreleased bonus tracks have been selected from a variety of sources, and were mixed
directly from the original three and four track master.
Mark Linett
Los Angeles, CA
February, 1990
Los Angeles, CA
February, 1990
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Reissue Compiled and Coordinated by Mark Linett.
Digitally Remastered by Joe Gastwirt and Mark Linett at Ocean View Digital, Manhattan Beach, CA.
Assistant Engineer Dave Mitson
“Dance, Dance, Dance (Demo Version)” “I’m So Young (Alternate Version)” and “Graduation Day” Mixed by Mark Linett At Your Place Or Mine Studios, Los Angeles.
Archival Material and Archival Research Information by Ron Furmanek and Dennis Diken.
Chart Information Courtesy of Billboard and Joel Whitburn.
Liner Notes by David Leaf.
Art Direction by Tommy Steele.
Design by Chuck Ames.
Photo Research by Brad Benedict.
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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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