The Beach Boys, Surf Music, and the British Invasion

1. The Beach Boys, Surf Music, and the British Invasion

2. Brian Wilson and the Beach Boys • Formed in 1961 by Brian Wilson, his two brothers, a cousin, and a friend in Hawthorne, California • Brian Wilson was the guiding spirit of the band during the group’s first decade. • The defining model of the Beach Boys: • Demonstrate mastery of early rock ’n’ roll • Create original material based on and extending those styles • Branch out beyond the forms, sounds, and lyrics of traditional rock ’n’ roll to create something truly unique

3. Brian Wilson and the Beach Boys • The songs of the Beach Boys enshrined Wilson’s somewhat mythical version of California in the consciousness of young Americans. • “Surfin’ Safari” • “Surfer Girl” • “The Warmth of the Sun” • “California Girls” • Wilson’s vision was inclusive even though it remained place specific.

4. Brian Wilson’s Journey from Imitation, through Emulation, to Innovation • The Beach Boys’ first Top 10 hit, the famous “Surfin’ USA” (Number Three, 1963), simply borrows the music of Chuck Berry’s 1958 hit “Sweet Little Sixteen” with new words. • The Beach Boys’ next hit, “Surfer Girl” (Number Seven, 1963), reinvigorated the sound and spirit of the doo-wop ballad by infusing it with California beach content. • “Fun, Fun, Fun” • The group’s first hit of 1964 evoked Chuck Berry. • The solo guitar introduction cops its twelve-bar blues licks directly from Berry’s “Roll Over Beethoven” and “Johnny B. Goode.”

5. Brian Wilson’s Journey from Imitation, through Emulation, to Innovation • By mid-1964, Wilson had moved past obvious emulation into a period of aggressive experimentation with his inherited styles and forms. • “I Get Around” • The Beach Boys’ first Number One record • Turns the up-tempo rock ’n’ roll anthem into a thoroughly individual kind of expression

6. “Surf Music” • The popular duo Jan (Berry) and Dean (Torrence) worked with Brian Wilson and the Beach Boys on a number of projects. • Wilson co-wrote Jan and Dean’s biggest hit, “Surf City” (Number One, 1963).

7. Dick Dale (b. 1937) • The guitar style of Southern California surf music is based on the sound created by Dick Dale of the Del Tones. • Solid-body guitar • High-wattage Fender amplifier • Lots of reverb • “Wet” sounding surf guitar • One of Dick Dale’s characteristic techniques was the rapid, descending tremolo • Borrowed by the Chantays to open their recording of “Pipeline” • Sustained national recognition eluded Dick Dale in the 1960s. • His music became famous in the 1990s, when his recording of “Misirlou,” from 1962, was used as opening music in the hit film Pulp Fiction.

8. Ventures • The most successful instrumental group associated with surf rock • Seattle-based ensemble • Adopted aspects of the style after it became popular in California • The Ventures hit Number Four with “Hawaii Five-0” • Theme song of the hit TV show • Featured on American Bandstand

9. The Beatles, the British Invasion, and the American Response • The Beatles • If greatness is measured in commercial success and popularity, the Beatles were the greatest popular musicians of the twentieth century. • They started out as a performing band modeled on Buddy Holly’s group, the Crickets. • After some initial shifts in personnel, the Beatles achieved a stable lineup by 1962, consisting of • John Lennon and George Harrison (lead and rhythm guitars and vocals), • Paul McCartney (bass and vocals), and • Ringo Starr (drums and occasional vocals).

10. The Beatles • During their extended apprenticeship period, the Beatles played at clubs in their hometown of Liverpool and elsewhere. • In Hamburg, Germany, they performed an imitative repertoire that centered on covers of songs by the American rock ’n’ roll artists they most admired.

11. Listening: “Please Please Me” (1962) • Written by John Lennon and Paul McCartney • Performed by the Beatles • An excellent example of the Beatles’ early songwriting and performing. • Straightforward, up-tempo love song in a typical AABA form • Clever internal rhymes: “complainin’” is rhymed with “rain in [my heart]” at the beginning of the B section.

12. Listening: “Please Please Me” (1962) • Formal structure with two levels • The A sections have their own distinctive form, aabc: a phrases have descending melodic motion; b phrase text simply repeats the words “come on, come on,” building intensity; the c phrase is the melodic high point of the section. • AABA • A a a b c • A a a b c • B d d’ • A a a b c

13. Listening: “Please Please Me” (1962) • A • a Descending melodic motion • a Again • b “Come on, come on”—builds intensity • c “Please, please me”—melodic high point of the section • B • d “ I don’t…” Bridge—new music • d’ “I do…” Change/extension of phrase • A Exact repetition of A section

14. Listening: “A Hard Day’s Night” (1964) • Written by John Lennon and Paul McCartney • Performed by the Beatles • Number One in 1964 • Title song of the Beatles’ first movie • Begins with dissonant guitar chord—effective hook

15. Listening: “A Hard Day’s Night” (1964) • Overall form is AABA • The A section is twelve bars long, has three four-bar phrases, and uses blue notes that do not follow the typical blues harmonic structure. • More than the three traditional chords are used. • The chord changes don’t always happen in the expected places.

16. Listening: “A Hard Day’s Night” (1964) • A Blues-like twelve-bars • It’s been a hard day’s night… • It’s been a hard day’s night… • But when I get home to you… • A • You know I work… • And it’s worth it… • So why on earth…

17. Listening: “A Hard Day’s Night” (1964) • B When I’m home… bridge—new music • A—Exact repetition of first A • A—Instrumental—Guitar solo, eight bars • Voice enters for last four bars of section • B When I’m home… as before • A It’s been a hard day’s… as before

18. Listening: “Yesterday” • Instrumentation—acoustic guitar and strings • Distinguishing features of Beatles’ style: • Reference to popular style • Emphasis on melody • Imaginative instrumentation • Responsiveness to text

19. Listening: “Yesterday” • Romantic ballad with strong roots in Tin Pan Alley popular song tradition • Form: AABABA—variation of Tin Pan Alley thirty-two-bar AABA form • Opening A section • 1. Yesterday • 2. All my troubles… • 3. Now it looks… • 4. Oh, I believe…

20. Listening: “Eleanor Rigby” (1966) • Instrumentation: String quartet—violins, viola, cello • The lyrics describe two lonely people whose lives have been exercises in futility • The harmony emphasizes the feeling of loneliness by alternating between two chords without reaching a goal. • The melody does not lead anywhere; there is no sense of melodic development. • Verse-Chorus form—alternation of a persistent refrain and narrative.

21. The Rolling Stones • Of all the British Invasion acts other than the Beatles, the Rolling Stones have had the greatest cumulative influence in America. • They cultivated an image as “bad boys,” in deliberate contrast to the friendly public image projected by the Beatles. • “(I Can’t Get No) Satisfaction” • Perhaps their most famous hit record • Number One in 1965 • Composed by band members Mick Jagger and Keith Richards • Memorable buzzing guitar hook • Unrelenting beat • Unabashedly self-oriented and ultimately sexual lyrics • The song perfectly exemplifies the distinctive low-down, hard-rocking essence of both the Rolling Stones themselves and their music.

22. Other British Invasion Bands • The other British Invasion acts that had a long-term impact in America started as the Beatles did: with firm roots in American R&B and rock ’n’ roll. • On the whole, the Rolling Stones, the Animals, the Who, the Kinks, and Eric Clapton remained closer to these roots during their careers than the Beatles did.

23. Beach Boys • Brian Wilson, inspired by the Beatles’ album Rubber Soul (1965), produced what is arguably rock’s first concept album, Pet Sounds. • Released in mid-1966 • Modest seller, compared with some other Beach Boys albums • Had an enormous impact on other musicians • Paul McCartney affirmed that Pet Sounds was the single greatest influence on the Beatles’ landmark 1967 album Sgt. Pepper’s Lonely Hearts Club Band.

24. “Good Vibrations” • Wilson furthered his experimentation with the late 1966 single “Good Vibrations,” which reached Number One on the charts and has remained probably the Beach Boys’ most famous song. • Written and produced by Brian Wilson • Performed by the Beach Boys • Innovative hit single

25. “Good Vibrations” • Virtually every aspect of the record is unusual. • No name for the form • Unique yet effective • Wilson uses a rich sound palette to communicate the sensuous experience that is the essential subject matter of “Good Vibrations.” • Memorable melodic hooks and a wide, colorful palette of chords • Extremely costly recording to produce • Milestone in the developing history of rock production

26. Listening: “Good Vibrations,” 1966 • A “I love the colorful clothes…” • High solo voice • Organ accompaniment • Flutes • Percussion • Minor key

27. Listening: “Good Vibrations,” 1966 • B “I’m picking up good vibrations” • Bass voice enters • Accompanied by cello, theremin, percussion • Group enters with vocals • Major key

28. Listening: “Good Vibrations,” 1966 • A again • B again structure suggests verse/chorus • C Soft humming, then “I don’t know but she sends me there…” • Steadily builds tension • No stable key

29. Listening: “Good Vibrations” 1966 • Instrumental transition • New key established (major) • D “Gotta keep those lovin’ good vibrations happenin’ with her” • Solo voice, then group • Organ accompaniment • Text repeats, fades out

30. Listening: “Good Vibrations,” 1966 • Transition—“Aah!” • Variations on B, “I’m picking up good vibrations…” • Full group texture • Overlapping vocals • Major key • Voices drop out • Cello and theremin

31. Smile • At the time Wilson was completing “Good Vibrations,” he was also at work on an album to be called Smile. • Eagerly anticipated for many months, Smile was abandoned in 1967. • Wilson returned to and completed Smile in 2004.