Wellity wellity wellity!
Back again, are you, for some in depth analysis or profoundly poetic musings on one of America's greatest bands? If so, this may be the wrong page for you! These analytical musings definitely fall somewhere in the middle of that particular spectrum, but if you are interested in learning about The Beach Boys and their history at what were arguably the most critical years for them as a group, both collectively and individually, and hearing the songs that were created at that time, then this is ... definitely a place for that! ... If nothing else ... (As before here is the complete playlist on Spotify.)
So without further ado, here are my selected tracks for 'Wild Honey' ...
The Beach Boys: Turn That Frown Upside Down, 1967-71 - II. Wild Honey
Wild Honey
- released 18 December 1967 Produced by The Beach Boys
Released exactly three months after 'Smiley Smile', 'Wild Honey' continued the generally lo-fi approach to recording that Brian Wilson had begun with the previous album but with more conventional song structures and lyrics. This album also had the strongest R&B flavor of any Beach Boys record up to that point. (They had previously covered Bobby Freeman's "Do You Wanna Dance?" featuring Dennis Wilson on lead vocals on the 1965 release 'Today!') Apart from writing and recording their own heavily R&B-influenced songs, the group also did a respectable cover of Stevie Wonder's "I Was Made to Love Her"--a No. 2 hit for Wonder the previous July.) 
Carl Wilson was a noted fan of Motown and, as such, sang more lead vocals than on any previous Beach Boys release with four lead and at least two co-lead vocals, a trend that began with 'Smiley Smile' and would only continue as Brian became less and less willing to contribute both musically and vocally. Brian would also, with this album, begin asking his youngest brother take on more production duties.
As mentioned in the previous post on 'Smiley Smile', "Mama Says" was originally part of the 'SMiLE' song, "Vegetables", but whereas both the 'SMiLE' and 'Smiley Smile' versions of the song were credited to Brian Wilson and Van Dyke Parks, "Mama Says" excluded any credit to Parks and credited Love instead. Regardless of whether "Mama Says" was properly credited or not, 'Wild Honey' marked the first time since 'Summer Days (And Summer Nights!!)' that Love had served as Brian's primary collaborator. (Of that album's 12 songs, Love was originally only credited on one song, but seven more credits were added after the 1990s court case brought by Love against Wilson that represented the climax of that particular battle but one that has left lasting scars on the group's legacy.*)
'Wild Honey' was also the first album since the aforementioned 'Summer Days' on which the Beach Boys served as primary instrumentalists and not since 'All Summer Long' (1964) had they played the bulk of the material themselves, although only Brian, Carl and maybe Dennis performed on most or all of the tracks. Bruce Johnston, who had joined the touring band as Brian's replacement in '64 and soon after became an official member, skipped the 'Smiley Smile' sessions entirely but would take on a greater role on subsequent albums; however, his absence from the previous album would represent the beginning of a trend in which each of the core members would have varying levels of involvement throughout future albums. (Dennis, for example, was only present on two songs for 1971's 'Surfs Up'.)
Most significantly, the harmonies for which the Beach Boys had become famous are largely absent on 'Wild Honey' with vocal arrangements that were leaner and looser. While on one hand, this approach was perhaps fitting in the R&B context of the album, it may also have been part of an attempt by the group to counter their reputation as "choir boys" or--as Jimi Hendrix quipped after the release of "Heroes and Villains"--a "psychedelic barbershop quartet."
Though 'Wild Honey' would attain a positive retrospective reassessment in the future, it was the Beach Boys worst selling album ever in the US at the time, underselling even their debut album 'Surfin' Safari' (1962). The album had its fans even then, however, including Jim Morrison of The Doors and producer Tony Visconti. Largely viewed as an inconsequential album at the time, 'Wild Honey' failed to turn the tide back in the Beach Boys' favor and their fortunes continued to dwindle as serious self-doubts, poor financial decisions and regrettable associations continued to dog them through the rest of the decade.
6. Aren't You Glad (B. Wilson/M. Love) 2:15
Sitting comfortably between the weirdness of 'Smiley Smile' and their earlier material, 'Aren't You Glad' is charming song that makes the best of the lo-fi style in which Brian was then working but with the addition of sessions musicians. (While it appears certain that Brian and Carl play on the track, it's not clear if any of the other Beach Boys did.) The odd guitar and organ parts in the pre-chorus ("I got a heart that just won't stop beating for you") bring to mind the music of the animated kid's show, Spongebob Squarepants--slightly discordant, imprecise, and childlike in execution but endearing for that very reason. And whatever qualms I may have with Mike Love's behavior and personality, he was doing some of his best singing in these years and this song is just one example.
7. A Thing Or Two (B. Wilson/M. Love) 2:40
Even more evocative of the music of Spongebob Squarepants is this song, "A Thing Or Two". Appropriately described by one music critic as a "sibling" to 'Smiley Smile's "Gettin' Hungry", it is still more conventional in its overall level of production and execution. I especially appreciate Carl's singing on the track and the odd juxtaposition of the "Spongbobian" verses with the heavy-albeit-sans-drums choruses. At the time, "A Thing Or Two" was about as rock'n'roll as the Beach Boys had ever gotten, and yet the drums are so minimal--consisting primarily of hi-hat--that I can't help but wonder if Dennis wasn't absent for this one. Regardless, the song works for me because of its minimal, carefree and oddly joyful quality, a quality that happily screams, "Drums? Drums?! We don't need no stinkin' drums!"
8. Darlin' (B. Wilson/M. Love) 2:11 - released as a single 18 December 1966
The most thoroughly produced track on 'Wild Honey' and the second single released for the album, the history of "Darlin'" is perhaps a telling one. Evolved from "Thinkin' Bout You Baby", originally written and produced for Sharon Marie, "Darlin'" was revised and rewritten by Brian as a track for the group Redwood (later Three Dog Night) along with "Time to Get Alone" (later releaser on the Beach Boys album '20/20'). The overall production on both tracks is of a noticeably higher quality; both songs utilized session players (such as long-time associate, drummer Hal Blaine) and a greater amount of time and attention to craft were clearly given to these songs in comparison to others on the album. Carl and Mike had urged--if not insisted--that Brian focus more of his energy on creating material for the Beach Boys rather than other artists. The fact that Brian was putting more effort into the work he was doing for groups or artists other than the Beach Boys suggests that he had lost interest in being a Beach Boy and would have preferred to do his own thing.
"Darlin'" is a solid track, also worth noting for being one of the few tracks to more prominently feature the group's trademark vocal harmonies. Many of the other songs feature only limited group vocals, some only individual vocal parts, but with almost all of the other songs apart from "Darlin'", the group vocals are generally more raw and less refined than had been typical of Brian's earlier productions.
9. I'd Love Just Once to See You (B. Wilson/M. Love) 1:48
The shortest song on the album, I have a hard time believing that Mike Love had anything to do with the writing of this song. Brian had in the past written a few songs which he was responsible for both the music and lyrics ("Surfer Girl", "The Little Girl I Once Knew", "Girl Don't Tell Me"--yes, there seems to be a theme emerging ...) and I expect that this was probably one as well.
It's a simple tune with a simple arrangement and straight forward, amusing lyrics. It's by no means a groundbreaking work from the creator of 'Pet Sounds' but it's very easy to enjoy. It's also one of only two songs that Brian sings the entire lead vocal on.
10. Here Comes the Night (B. Wilson/M. Love) 2:42
One of my favorite songs for its harmonically uncentered chorus, "Here Comes the Night" also has the unfortunate reputation for one of the Beach Boys' most ill-conceived tracks but only its re-recording on their 1979 'L.A. (Light Album)' album as an extended disco track. That version, which I won't subject you to (in its entirety--ha!), was the brainchild of the recently rejoined Bruce Johnston and co-producer Curt Becher and at nearly 11 minutes--a full quarter of the album--shows how desperate the Beach Boys would eventually become for material. But forget about that version and soak in the original--it's a cool song. "Here Comes the Night" is probably one of the funkiest songs the group ever did and they did a few over the next few years.
A final note: This is one I also doubt Mike having been involved in writing, though I'm less certain here. The main reason for this is that only the Wilson brothers (along with session player Ron Brown on bass) were involved in the recording. Mike, Bruce and Al were all absent.
11. Let the Wind Blow (B. Wilson/M. Love) 2:18
According to Wikipedia, "Let the Wind Blow" was written by Mike Love and "rearranged" by Brian. While I can't be entirely sure what "rearranged" means, I will say that in my opinion this surely stands as Mike Love's greatest contribution to the Beach Boys cannon. It's a one of the best on the album and, apart from the absence of Jardine and Johnston, it's pure Beach Boys--no session musicians.
12. How She Boogalooed It (M. Love/B. Johnston/A. Jardine/C. Wilson) 1:56
Although one of the least consequential songs on the album, it's still a fun little tune. More importantly, it's the first real song (apart from the instrumental "Denny Drum's") to be written and recorded by the group without input from Brian. It is a strange song. It doesn't really have a chorus. It lacks any of the typical Beach Boys harmonies. But it has a solid riff and drive to it, and Carl's vocals (probably utilizing vari-speed) hold it together. In any case, it would signal the beginning of the other Beach Boys contributing material to the group's records.
* * *
So, ok, forget about the debate about Love's contributions and just look at the songs themselves. Even among the Beach Boys' early hits, Brian collaborated with several people: Gary Usher, Roger Christian, Tony Asher, and Van Dyke Parks. So based on that alone, I find the emphasis on Love's contributions slightly disingenuous. But further considering that many of Love's contributions only came after the 90s court case and the extent of his contributions were in some cases very limited--on "I'm Waiting For the Day", Love apparently only revised eight (8!) words of Brian's original lyrics--I'm tempted to call BS ... but it doesn't really matter, does it? It's well-documented that Love had a tendency to complain about other people's lyrics and occasionally worm his way into a credit. "I Get Around" is one case in particular; Love called Brian's original lyrics "pussy lyrics"--the original verse was "Well there's a million little girls just waitin' around / But there's only so much to do in a little town / I get around from town to town"--which makes me just want to ask WTF Mike was talking about. So AGAIN Brian had already written lyrics to the song and Mike revised them, in that case, because he had forced--it would appear--his opinion of the original lyrics on Brian. Would it be any surprise Brian wanted to write with people other than Mike Love? Not if that's the kind of working relationship they had, it isn't.
Well, that's enough of that! Coming up will be my selected tracks for 'Friends', the failure of which was truly the beginning of the end for Brian Wilson as the band's main musical force; however, the album was also the beginning of the rest of the group making significant writing contributions. Dennis Wilson in particular began to develop his skills as a songwriter and singer, but the band's troubles would also continue and their previous level of success only slipped further away ...
Until next time!
- DH
