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I enjoy these shows so much, Adam. Thanks for taking the time to do this, and, for your perspectives. It’s strange how I grew up NOT being a big Beach Boys fan….as opposed to many other 60s bands that I adored…I guess I have my theories on why…but, having grown to love and appreciate everything about them in my later years, these videos have been a great source of knowledge for me! We have David Leaf on Material Issues today!
There definitely was a stigma around them that didn't lift until the '90s. I would not have gotten into them had I not read about, and grown curious about, their '70s work...the first BBs albums I owned were LIGHT ALBUM, SURF'S UP and PACIFIC OCEAN BLUE which definitely was a back door into the band and it made it easier to see the "cool" aspect of the band.
Great job as usual, Adam! And I love your Murry Wilson! Regarding "When I Grow Up", I've always thought the opening chord choice was pretty impressive - a Gb9#11 functioning as a bVII in the key of Ab. That would typically resolve to the Major I (Ab), but Brian instead does the walk down to Ab (Db Ab/C Bbm Ab). Pretty sophisticated writing for a 22 year old guy.
@@allenf.5907 Indeed. I wish I'd had time to delve into that. I do console myself that we're entering a period where the Beach Boys' catalogue has been extensively analyzed, so I don't necessarily need to repeat work others have likely done better.
@@allenf.5907 When I first started to explore them, I looked for sheet music. The beginning of the book had a history and it talked about how jazz influenced his writing was.
@@karmafrog1 Your analysis is always excellent. I do keep up with your posts - currently in Pet Sounds. From Today to Pet Sounds the chords and voicings are VERY important. And then the game suddenly begins to change with Smile and thereafter. Keep on feeding us the excellent info - it's so important to share.
I learned the Dance, Dance, Dance intro from a book that had the correct tab for the way Glen played it. But when I first tried it, unaccompanied, it sounded wrong. And doing the same thing twice sounded right. Then when I tried to play along to the record, I sounded wrong. 😊 I think maybe we're distracted by the guitars suddenly doubling on the bass. And it tricks our brain into assuming the same pattern is being repeated.
I have people that are much better versed on this stuff feeding me a lot of information. I have enough knowledge of my own to be able to sort it out and present it with some authority and perspective, but credit where credit is due.
Thanks! It's getting really hard to keep these short! I have so much information and I didn't even really get into some of the music progressions, which I feel bad about, but it was long as it was and I didn't really have time this time.
@@hunnagazunna Oh thanks! You know it was done for a limited edition CD that sold out years ago. I don't think it's currently available anywhere but if enough people ask, I'll probably put it on Bandcamp or do a video on youTube or some such.
@@hunnagazunna I had to look pretty hard to find it but there's a discogs listing here: www.discogs.com/release/13980186-Adam-Marslands-Chaos-Band-You-May-Never-Hear-Surf-Music-Again
It is really terrible isn't it? It didn't really hit me until when I went to do the thumbnail for the video which likewise is awful but there wasn't much I could do about it given the source material (my face, and this shit cover). Had I paid closer attention before I definitely would have called it out in the video.
48:30 It would be great if you devoted a "Pet Squares" episode to analyzing the "Help Me, Rhonda" session tape with Murry. So much to psychoanalyze there. You can't spend too much time talking about 1965.
I have actually thought about doing that. Leaning against just because, you're right about 1965 but it already is taking me forever to advance chronologically with this series!
I'm going to try to rectify that shortly. I had a 50/50 amusing/infuriating exchange with some Wrecking Crew fans - of which I am one, by the way - on social media that made me decide the record needs to be corrected.
The Mike Love lawsuits - okay, so he sued Brian after Brian won his lawsuit to get his song rights back. Why wait 30 years? If he was SO INSTRUMENTAL in the creation of these songs, you'd think he would have sued by the end of the 60s when the hits and money were drying up[.
If I recall correctly Mike's lawsuit followed a successful lawsuit of Brian's over the sale of his publishing; Mike wanted his cut of that now much larger pie. The Beach Boys' catalogue in the late '60s was considered so worthless Murry sold it for a pittance, so that timing wouldn't have made sense. While there are certainly aspects of Mike's contributions, timing and lawsuit that are well open to question, most observers of the legal proceedings at the time (even ones hostile to Mike) conceded that he deserved to win in court based on what was presented at trial.
![PET SQUARES #16 Summer Days (And Summer Nights!) Side 2 [A Geek's Guide to The Beach Boys]](http://i.ytimg.com/vi/JAUbaMEafgI/mqdefault.jpg)
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One of my favorite BB albums and you’ve done the “rock” side justice.
I enjoy these shows so much, Adam. Thanks for taking the time to do this, and, for your perspectives. It’s strange how I grew up NOT being a big Beach Boys fan….as opposed to many other 60s bands that I adored…I guess I have my theories on why…but, having grown to love and appreciate everything about them in my later years, these videos have been a great source of knowledge for me! We have David Leaf on Material Issues today!
There definitely was a stigma around them that didn't lift until the '90s. I would not have gotten into them had I not read about, and grown curious about, their '70s work...the first BBs albums I owned were LIGHT ALBUM, SURF'S UP and PACIFIC OCEAN BLUE which definitely was a back door into the band and it made it easier to see the "cool" aspect of the band.
TODAY was the precursor to PET SOUNDS.
Very good video. You’re so great at all the history. Excellent episode!😊💕👍
Great job as usual, Adam! And I love your Murry Wilson! Regarding "When I Grow Up", I've always thought the opening chord choice was pretty impressive - a Gb9#11 functioning as a bVII in the key of Ab. That would typically resolve to the Major I (Ab), but Brian instead does the walk down to Ab (Db Ab/C Bbm Ab). Pretty sophisticated writing for a 22 year old guy.
Agree. I felt a little bad for not doing some chord breakdowns on this album, but where do you start? And it was already two hours long.
@@karmafrog1 The changes are beginning to get MORE and more impressive. It's when he goes jazz voicings.
@@allenf.5907 Indeed. I wish I'd had time to delve into that. I do console myself that we're entering a period where the Beach Boys' catalogue has been extensively analyzed, so I don't necessarily need to repeat work others have likely done better.
@@allenf.5907 When I first started to explore them, I looked for sheet music. The beginning of the book had a history and it talked about how jazz influenced his writing was.
@@karmafrog1 Your analysis is always excellent. I do keep up with your posts - currently in Pet Sounds.
From Today to Pet Sounds the chords and voicings are VERY important. And then the game suddenly begins to change with Smile and thereafter.
Keep on feeding us the excellent info - it's so important to share.
I learned the Dance, Dance, Dance intro from a book that had the correct tab for the way Glen played it. But when I first tried it, unaccompanied, it sounded wrong. And doing the same thing twice sounded right. Then when I tried to play along to the record, I sounded wrong. 😊 I think maybe we're distracted by the guitars suddenly doubling on the bass. And it tricks our brain into assuming the same pattern is being repeated.
You can write a book - now the money in books is not in the book but the lecture circuit. Anyways - wow I feel like you are the man on this subject
I have people that are much better versed on this stuff feeding me a lot of information. I have enough knowledge of my own to be able to sort it out and present it with some authority and perspective, but credit where credit is due.
Would love to know how Billy Lee Riley got involved with The Beach Boys!
Perhaps Marilyn's part was edited out in the mixdown of GTMB? Or erased over after another take or even a punch-in?
I don't know the reason for the Marilyn credit to begin with, so I can't speak to that. Maybe someone else can chime in.
Great detail! I'd love to hear your take on the post Pet Sounds stuff
Thanks! It's getting really hard to keep these short! I have so much information and I didn't even really get into some of the music progressions, which I feel bad about, but it was long as it was and I didn't really have time this time.
Great video, love how in depth it is! You’ve earned a new sub
Thank you!
Hi Adam, Great edition as ever. By the why, what's the song the backing track belongs to that plays out on this episode?
That's actually my own composition, called "Pet Squares," that lent the show its name.
Where can I find that Pet Squares tune in full? Sounds just like it could be one of Brian's backing tracks from circa 1964/5.
@@hunnagazunna Oh thanks! You know it was done for a limited edition CD that sold out years ago. I don't think it's currently available anywhere but if enough people ask, I'll probably put it on Bandcamp or do a video on youTube or some such.
@@karmafrog1 Thanks Adam. Do you by any chance know what was the name of the limited edition cd is called, so I can see if I can locate it somewhere?
@@hunnagazunna I had to look pretty hard to find it but there's a discogs listing here:
www.discogs.com/release/13980186-Adam-Marslands-Chaos-Band-You-May-Never-Hear-Surf-Music-Again
I'm a great admirer of Larry Knectels' talents. Does anyone here know if he played on Beach Boys records?
Besides the one mentioned here, I know there are a few others. If you go back to the old episodes it's mentioned, but I don't recall which songs.
I'm so young Outro. is a heartbreaker.
The TODAY album cover really stinks though.
It is really terrible isn't it? It didn't really hit me until when I went to do the thumbnail for the video which likewise is awful but there wasn't much I could do about it given the source material (my face, and this shit cover). Had I paid closer attention before I definitely would have called it out in the video.
@@karmafrog1 thanks for the reply👍
48:30 It would be great if you devoted a "Pet Squares" episode to analyzing the "Help Me, Rhonda" session tape with Murry. So much to psychoanalyze there. You can't spend too much time talking about 1965.
I have actually thought about doing that. Leaning against just because, you're right about 1965 but it already is taking me forever to advance chronologically with this series!
Yes!!!!
Man! A guy like you really needs to meet Eric Rose and Rick Cohen. You'd have a month of fun! Are you perhumps familiar with them?
I'm not but I'm in favor of a month of fun.
Love how you inform us about the "band" songs vs. the session people. Again, Dennis never gets the proper recognition as a musician and should.
I'm going to try to rectify that shortly.
I had a 50/50 amusing/infuriating exchange with some Wrecking Crew fans - of which I am one, by the way - on social media that made me decide the record needs to be corrected.
The Mike Love lawsuits - okay, so he sued Brian after Brian won his lawsuit to get his song rights back. Why wait 30 years? If he was SO INSTRUMENTAL in the creation of these songs, you'd think he would have sued by the end of the 60s when the hits and money were drying up[.
If I recall correctly Mike's lawsuit followed a successful lawsuit of Brian's over the sale of his publishing; Mike wanted his cut of that now much larger pie. The Beach Boys' catalogue in the late '60s was considered so worthless Murry sold it for a pittance, so that timing wouldn't have made sense. While there are certainly aspects of Mike's contributions, timing and lawsuit that are well open to question, most observers of the legal proceedings at the time (even ones hostile to Mike) conceded that he deserved to win in court based on what was presented at trial.