When fans discuss the history and body of work of Brian Wilson and The Beach Boys, the conversation will generally center around whether one is talking about the “pre-Pet Sounds” or “post-Pet Sounds” period. Brian's seminal work, the 1966 album that amazed critics and baffled fans, is the clear demarcation line in the band's first decade.
Everything before Pet Sounds tends to get lumped into the same category as “Surfin' USA”, “I Get Around” and “Catch A Wave”. I'm not saying these aren't great songs-- they're some of my all-time favorites-- but they lack the musical sophistication of what was to come. And while it is an unfair generalization that ignores such early gems as “In My Room” and “The Warmth of the Sun”, it is nonetheless a perception that exists.
On the early, pre-Pet Sounds albums, the group seemed stuck on frivolous subject matter. The lightness of the subject would mask what was often deceptively complex arrangements or progressions. Keep in mind for every all-time classic like “Fun Fun Fun” or “Help Me, Rhonda” there were duds like “Finders Keepers” or “Our Car Club”.
I don't think Brian cared very much what the subject matter was. I say this because he often partnered with others that would handle the lyrics. He was more interested in crafting the harmonies and arrangements. The words were almost secondary for an artist focused more on the tone and timbre of human voices in tight harmony. Because of this, the band was slow to break away from the juvenile subject matter that had taken them to such early success. (Prime example: "The Ballad of Ol' Betsy". Beautiful singing and harmonizing, ridiculous subject matter.)
Another huge factor that kept the band's songs focused on surfing and cars for so long was Mike Love. Mike's voice, with its distinctive nasal quality that often sounded put on, largely defined the unique sound of The Beach Boys. Many of the major, pre-Pet Sounds hits featured Mike on lead vocals: “Surfin' Safari”, “409”, “Little Deuce Coupe”, “I Get Around”, “Fun Fun Fun” and "Dance Dance Dance" are just some examples.
These were the types of songs that Mike loved.
Then there were the type of songs that Brian loved.
Mike and Brian can be viewed as the yin and yang of The Beach Boys. Mike can be seen to represent or champion every thing commercial about the band where Brian represents everything artistic.
An early hint of division along these lines can be heard in the light-hearted track "Cassius Love vs. Sonny Wilson".
Mike was always interested radio friendly hit singles that would sell. Brian proved more interested in following his muse and exploring the possibilities of the studio and experimenting with a wider range of instrumentation. The problem, of course, is that Brian came up with all the music, forcing Mike to rely upon him for the commercial hits even after Brian grew past such concerns and was ready to explore new directions.
These conflicting perspectives are at the heart of Mike's famous dislike and disdain for the Pet Sounds and Smile projects. When he first heard the music Brian had composed for those albums, he lost his temper and derided Brian for not sticking to the proven formula. Brian was of fragile psyche and in need of security and encouragement. For the first time, he did not find that in his band and it was a huge factor contributing to his famous and tragic breakdown and the failure of Smile's completion as a Beach Boy album.
The Pet Sounds album represents a culmination of Brian's maturation as an artist and studio auteur. It has been described as a radical departure from anything the Beach Boys had done before, but I don't think that is entirely true.
As I look at it, there were signs of Brian's more introspective and melancholy themes throughout the early albums. Listen to “The Lonely Sea” or “Surfer Moon” to see what I'm talking about. “The Warmth of the Sun”, “Keep An Eye on Summer” and “We'll Run Away” are other examples.
And this doesn't even include the entire second side of the Today album. “Kiss Me Baby” would be right at home on Pet Sounds (and I've argued before that it would make a better fit for that album than “Sloop John B”).
The band's sound changed, more than once, after Pet Sounds. From the psychedelia of Smiley Smile to the soul of Wild Honey; from the regression and withdrawal of Brian to the late emergence of Dennis' songwriting talents, the fact is the band never sounded the same after Pet Sounds.
Any song that vaguely resembled those early surf hits Mike loved so much were considered retro and a fun, temporary throwback. Examples of these would be “Do It Again”, “It's OK”, and “California Callin”.
So there are your two major sides to The Beach Boys sound: Mike Love and the odes to summer with catchy, bouncy lyrics; and Brian Wilson with his increasingly complex musical arrangements.
But where do these two aspects intersect? What song represents both the best?
Where can you find the fun ode to summer that is also, musically, something Brian's fans can point to?
What's the best example of Brian's brilliant arrangements behind Mike's lead vocal, the perfect balance of yin and yang?
Ladies and Gentlemen, I submit “California Girls”. The song finds Mike right where Mike wants to be: front and center. And underneath that you've got tight background harmonies and a surprisingly dense musical wall of sound that actually has the audacity to pull off an old-fashioned, Roy Rogers, cowboy-on-the-range bassline.
I titled this post The Perfect Beach Boys Song. I'm sure many who read this will quickly name other songs they like better (And I hope they do: comments welcome!). I personally love “California Girls”, but it's not at the top of my list where you'll find “Heroes and Villains”, “Please Let Me Wonder” and many others ahead of it.
But by “perfect” I mean the strongest example of what Brian was learning to do in the studio, musically, with the classic Mike Love sound made familiar on the early surf hits.
So understand what I'm going for here. Hey, I like “God Only Knows” and “Let Him Run Wild” as much as you do, probably more. But I'm looking for that balance between Mike and Brian.
I think “California Girls”, especially with its orchestral opening, is the best example.
Can you think of a better one?
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