Untitled Document
The Beach Boys
Kokomo
So my post over there in the "Food" section regarding the Mall of America's vaguely tropical nightmare restaurant Kokomo's lead me, obviously, to link to a video of the Beach Boys' nightmare anthem, "Kokomo." Funny, right? But then I watched the video, tried to ignore the shots of a sexy young Tom Cruise slinging drinks in Coctail, and just listened to the song. And, you know, if you ignore the corny reverbed percussion, the corny sax solo, the corny steel drums, the corny hats, the corny flowered shirts, the corny lyrics, and Mike Love, you're left with a pretty damn sensational song. The way the verse melody continually descends... the chord change at the 5th bar... the "baby why don't we go" melody appearing on top of the low vocals at the end of the chorus... it's all classic Beach Boys. And the "That's where we want to go..." line? Just imagine that being sung by the 1964 Beach Boys instead of the 1988 ones. It's fantastic, in theory. In theory.

This leads me to another point, something I read the other day that I'm totally down with. It was a Rolling Stone Q&A interview with Sting (yes, Sting), which was mostly stingingly annoying, but he threw out one gem that just makes me say, "Yes!" To paraphrase, he said, "A great pop song has to surprise you every 8 bars." He really summed up something I've been trying to verbalize for a long time now. I'd even go further, and say it needs to surprise you every 4 bars. After 4 bars, you're naturally ready for something to happen. Either those 4 bars repeat themselves, or something changes. It could be the chord progression, the melody, the addition of a new aural component, something. In "Kokomo", for instance, after 4 bars, you're expecting it to go back to bar 1 and repeat the melody. But instead, the chord shifts down to a minor (or minor 7th?), and it feels as if you're on a roller coaster that just dipped when you thought it would zig. It surprised you. The Beach Boys were masters of this, as were the Beatles (as was Harry Nilsson and as is Jon Brion). But I'm just surprised that reading Sting say it is the first time I've truly seen the concept articulated. It seems so obvious.
Untitled Document
The Beach Boys
Wild Honey
I'm not going to sit here and make some outlandish claim about how Wild Honey is better than Pet Sounds or something like that, but man--I just love it. All the songs seem to just end after two minutes or so, and it probably could've used another couple months of tightening up in the recording studio, but it's fresh and fun and lightweight and there's not a bad tune to be found on the entire record. "Darlin'" might even be my all-time favorite Beach Boys song, aside from, well, "God Only Knows," "Caronline No," "Wouldn't It Be Nice," "Surfs Up," "Good Vibrations," "Don't Talk (Put Your Head On My Shoulder," and "I Know There's An Answer." But beyond those, it's #1.