Episode Transcript
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Speaker 1 (00:00):
On this episode of an Adventures in Vinyl, Todd and
I discussed the eleven studio album by one of the
most critically acclaimed and commercially successful bands of all time.
An album originally aimed at beating the Beatles Rubber Soul
and ended up inspiring Sergeant Pepper's It has since taken
his place as one of the greatest and most influential
albums in music history. By a band that was inducted
into the Rock and Roll Hall of Fame in nineteen
(00:21):
eighty eight. That band is The Beach Boys, and the
album is pet Sounds. Whoo man, what's up, ladies and gentlemen?
Speaker 2 (00:56):
How are we doing today? Todd House things.
Speaker 3 (00:58):
Let's see, I flew to Philadelphia Monday afternoon, and then
I flew back Tuesday night.
Speaker 2 (01:03):
Okay, I'm in Northwest.
Speaker 3 (01:04):
Arkotsas this weekend, and I think I got a fly
somewhere next week. Maybe I'll decide that by tomorrow, and
then vacation is coming up. Then we got you know,
ac DC the week before. So I got a lot
of stuff going on in me.
Speaker 2 (01:15):
Yeah you do.
Speaker 3 (01:16):
I'm like, we got to get some podcast stuff going. Yeah,
like May is going to disappear. What about you, man,
what's been going with you? Just a lot of work,
taking the kids to all the things. School years winding down, No.
Speaker 1 (01:28):
Thank goodness, Yeah, no kidding, Oh man, wife's getting ready
to possibly take on another new venture. It's really the
same venture in a different venue. She might be teaching
at our kids' school. Yeah, I heard about that. That's
awesome for her. Yeah, the the CEO of the school
ask her to consider teaching an interior design class. It's
still still kind of in flux, but it would be
actually really helpful for us, and I know it'd be
(01:50):
helpful for the school as well as they have just
been exploding well.
Speaker 3 (01:53):
And I think the more you can get people opportunities
or students exposure to, you know, different at like stick
At least my work we're involved with STEM, especially with
Girl Scouts and Museum of Discovery very pad from one
of my personal passions is just building STEM. Any kind
of thing that allows to give kids an introduction.
Speaker 2 (02:13):
Into the more practical aspects of work environments.
Speaker 3 (02:16):
Yeah. Yeah, giving them the exposure at an early time
helps them build and hopefully it puts more they get
more effort in their education.
Speaker 2 (02:25):
Things like that and hopefully it helps the state. We'll see. Well,
they're also considering doing it as concurrent credit. Yeah, would
be a really big deal, like some AP credits and
things like that.
Speaker 1 (02:34):
Yeah, they're still they're working on the all the details
and nothing is in stone yet, but the conversations are
being had, so we'll see what happens, man, But everything's
good otherwise.
Speaker 2 (02:42):
Yeah. Yeah.
Speaker 3 (02:43):
So, Like one of the things I've been you know,
I've been trying to pull together what I did for
Record Store Day. And one of the things I forgot
to tell you is like one of my like the
band will Coo. I really like willco and got into
them when they were doing stuff in the two thousands,
things like that, like Yankee Hotel, Fox Trot. That's a
great album, but a Ghost is Born. Like part of
my record store Day grab was like a vinyl guy
(03:05):
had a vinyl copy of I was one of theirs.
They've got like a deluxe set that they just came out.
That's a collector thing, but I just really wanted the
vinyl because one of my great albums so far, song
of the Week. I was gonna pick something off my
record store the day like I did last week, with
better than Azra. So I picked, you know, one of
the tracks, not one of the main tracks from a
Ghost Is Born. But this is a handshake drugs from
(03:28):
Willco off the album Ghost is Born.
Speaker 1 (03:31):
Okay, It's been a long time since I've really heard
or listened to any will Co. Oh really, Yeah, they
were one of those bands I know they came out of.
It was them in sun Volt that spawned from I
can't remember with the name of the original band that
those guys were all in together.
Speaker 2 (03:47):
Yeah, but yeah, I went more the sun Vult direction.
Speaker 3 (03:50):
I like Sunvult too. Some Volt's a great band. I
just if you liked sun Vult, you should like Willco. Okay,
And the one thing I think we talked about said
you hadn't listened to this album. I think that's what
we're going to do next week. Yeah, just a little
tease of the next episode. But I really love this album.
I mean, it's got some couple of weird things in it,
but it'll be should be a good one to talk
about mix well.
Speaker 1 (04:10):
I mean, when you've been around as long as Jeff tweety, yeah, mean,
you got to make it interesting.
Speaker 2 (04:15):
You're not going to keep going back to the same thing.
Speaker 1 (04:17):
I think us as fans a lot of times we
start expecting musicians to go back to the formula that
made them famous to begin with. Yea, you expect them
to keep dipping back into that well. But at the
same time, they want to learn, they want to grow,
they want to expand, they want to do new things, which.
Speaker 3 (04:30):
Is a good transition to the album we're talking about
this week. Yeah, so what is What's your song?
Speaker 2 (04:34):
Week? Yeah?
Speaker 1 (04:35):
So, I don't remember how I came across this one.
I think it was like a shoegaze station that was
on Pandora. The algorithm brought up this song, which I
immediately gravitated to for the awesome bassline. The baseline I
think is actually like has been lauded over time as
one of the top fifty Stylist magazine I Think as
ad as number seventeen Top fifty baselines.
Speaker 2 (04:57):
Of all time.
Speaker 1 (04:59):
The man I Love song. Yeah, I've had this on
regular rotation lately. It's lyrically sparse but has lots of love.
In case you're wondering, the song is I Want to
Be Adored and the band is the Stone Roses.
Speaker 3 (05:10):
So good and you know I got when the iPod
came out.
Speaker 2 (05:15):
This is is actually good. I'm excited to talk about this.
When the iPod came out, you.
Speaker 3 (05:19):
Know, yeah, yeah, yeah, there's a that's like was a
resurgence of music for me where I got into a
lot of like individual songs and playlists and just different things, right,
And it kind of stemmed from that Napster mixed CD
type of things and all that. But I was like, no, no, no,
you don't understand all my music. I've always wanted to
(05:40):
carry because one of the things I was real portable
work and everything, and I was constantly carrying.
Speaker 2 (05:45):
Around so many CDs.
Speaker 3 (05:47):
And then when you could do MP three's, i'd put
lists of out like consolidated albums and max outisy.
Speaker 1 (05:52):
You'd get one of those CD players that could play
the the enhanced CD enhanced but the CDs that could.
Speaker 3 (05:57):
Hold like and I would just do MP three And
that was the start. But when the iPod came out,
I had five gigs worth the storage, and all of
a sudden, like the music I had that I'd ripped,
it was like you could carry it. Everybody carry it everywhere,
and I was looking for new music and people were
talking about and because the iPod was really just a
(06:20):
cult phenomenon a lot of music and audio files. They
had a form website where forms really big, and his
iPad lounge and they had this great section of new music,
like looking for bands to listen to, and there was
this whole community and there's one guy was like, he
was constantly feeing great bands. He was like, no, no, no,
(06:40):
if you like this band, you'll love Stone Roses. If
you like this band, you'll love you know, Black Rebel
Motorcycle Club. Check these albums out. And so that was
how I got introduced to the Stone Roses. And it
was this was the song. He was like, this is
the first song you need to listen to, and it
just I was like, I love the Stone Roses. He's like,
but if you're going to buy a CD, buy the
best stuff, and that's the vinyl.
Speaker 2 (07:02):
I think we were at the Bible store. I was like, yeah,
I got it. I got it.
Speaker 3 (07:04):
And the reason why is that was the one that
guy recommended to get. The whole catalog is the very
best of the Stone Roses. So I was excited when
you picked this because I was like, oh, I think
I got a story nice and I love it. When
we have a story. It's a great song.
Speaker 1 (07:17):
I mean, it reached number eighteen on the Billboard Alternative
Play Charts. It was certified platinum as a single in
the UK and is pretty regular.
Speaker 2 (07:24):
On a lot of like the best of Indie musical lists.
Speaker 1 (07:27):
Yeah, yeah, yeah, man, so again, I want to be
adored by the Stone Roses from nineteen eighty nine.
Speaker 3 (07:32):
Yeah, that was such such a great song, and even
the album itself.
Speaker 2 (07:36):
Is really really good, really really good. All Right, are
you ready? Yep? Let's do this thing. All right?
Speaker 3 (07:43):
All right, it's another episode of the Ventures at Vinyl,
and that means another round of stump the baron on,
Stump the baron. I pick a random song from a
random genre. Give Adam a few clues, and with all
his collective knowledge of music, attempts to guess the artist,
album and song title. Hey, in honor of pet Sounds,
we're gonna pick an album or track from the nineteen sixties.
(08:05):
I picked this fifth track from this nineteen sixty five
album from this band from the British Invasion. Okay, And
to give you another clue, it is not the Rolling Stones, okay,
(08:25):
and probably this is my favorite sixties band.
Speaker 2 (08:31):
Do you understand. I want to say the animals.
Speaker 3 (08:35):
Yes, it's the Animals. I thought you'd get it on
the vocals.
Speaker 2 (08:41):
Yeah, I mean the vocals stand out instantly.
Speaker 3 (08:44):
I can't remember the name of this song, I know, yeah, yeah,
I know, I know you recognize it.
Speaker 2 (08:47):
So we'll listen to a little bit be misunderstood. Yeah,
I don't remember the name of the song, but I
know the song.
Speaker 3 (08:58):
Yeah, it's don't let Me be miss Understood and bess'm
yeah it's by the Animals. Thought the album Animal Tracks,
but as I was listening to kind of pep sounds
preparing for it, I kept thinking about the animals, and
I listened to the Animals a while, and then all
of a sudden, I started just getting into this. And
then you start listening like, man, the animals are really freaking.
Speaker 2 (09:17):
Goodcursor to the doors and a lot of yeah, but
it's a little more raw and bluesy, and it's like
ooh yeah.
Speaker 3 (09:26):
And then I started listening more and more animals. I
was like, okay, I'm I don't have to dig in
and just listen to more of their catalog. So I've
kind of been like, oh, that's an animal song, that's
an animal song and then you just know them for
House of the Rising Sun, and I was like, oh,
this is good, and I kind of like picking something
that's a theme within it because it's just I don't know, it's.
Speaker 1 (09:46):
Good for the episode. How's the Rising song too? Is
any one of those songs? It's just like classic timeless.
Speaker 3 (09:51):
I mean, and it's like you can't really do and
like for a band like Animals, I think you would
have to be like your top ten animal tracks by
band Animals, right, and then why that's significant or something
like that.
Speaker 1 (10:02):
Anyway, all right, man, Animals, Let's move into the the
album of the week.
Speaker 3 (10:06):
Oh it's time, It's time, It's time. Beach Boys, Penn
Beach Boys. Pet Sounds all right, Well.
Speaker 2 (10:16):
Are you ready? Yeah, that's all right, thing man.
Speaker 3 (10:18):
Pet Sounds is the eleventh studio album by the American
pop band Pop I Guess you can call Pop the
Beach Boys. Released by Kapitol Records on May sixteenth, nineteen
sixty six. Pet Sounds consist of thirteen tracks that clock
in for a total album length of thirty five minutes
and fifty seven seconds. Track Numero Uno is titled Wouldn't
(10:38):
It Be Nice? And it clocks in at a really
quick two minutes and twenty five seconds.
Speaker 2 (10:42):
So Adam, what's up with pet sounds?
Speaker 3 (10:44):
Yeah?
Speaker 1 (10:45):
So number eight on the Billboard Hot one hundred. It's
funny because God only knows what's the B side to this?
I know you want to talk about the best single ever.
I'm kind of like, how can you really beat that? Man,
the best B side ever to the best one of
the best A sides ever?
Speaker 2 (10:59):
But what now? Slute banger to start the album out with? Well,
it's instantly recognizable.
Speaker 3 (11:03):
I think that anyone like born past that album released Dance.
Speaker 1 (11:08):
I'll be honest, It's gonna be hard to get all
the content in here because all the songs are so short.
They don't outstay there, welcome No. But man like I
love this one. It showcases the musical genius of Brian Wilson,
who also produced the album. Now, one thing about the
album in particular, this is not the Beach Boys really, No,
this album is mostly Brian Wilson, with a few cameos
by Dennis and Carl Wilson and some vocals by Mike Love,
(11:30):
but mostly it's the Wrecking Crew. So, if you haven't
seen the documentary about The Wrecking Crew. It's this group
of musicians that, I mean pretty much played on anything
you heard in the sixties and seventies that required like
studio musicians. I mean, there's some really amazing musicians that
played on this album Good Grief. These guys like like
(11:52):
like bass player Carol Kay. Carol Kay is like, what
is it that song by Sonny and Cher The beat
goes on like the bassline for that I Got You Babe,
like she did so many brilliant, brilliant album albums out there.
Glenn Campbell, hal Blaine on drums, Mike Melvoyn, who if
you remember hearing about Jimmy Chamberlain getting somebody killed with heroin,
(12:15):
it was his son, Jonathan Melvoyn, who was the key
key touring keys player for Smashing Pumpkins. Wendy Melvoys, who's
Anna melvoy both like famous strings players. But man, this
song is fantastic, great way to lead off the album. Lyrically,
it's inspired by Brian Wilson. Wilson's infatuation with his sister
in law, which he insists isn't the case, but the
(12:35):
co songwriter Tony Asher was like, Eh, that's kind.
Speaker 2 (12:37):
Of what it was. He gunheaded thing.
Speaker 1 (12:41):
Yeah, so you still believe in me? Track number two, Yeah, man,
this one has a really unique melody to it. It's
sparse musically compared to other tracks on the album, but
the vocal harmonies really carry this song.
Speaker 3 (12:55):
So.
Speaker 1 (12:55):
Tony Asher is a guy that Brian Wilson brought in
to help write lyrics because that wasn't Brian's specialty necessarily.
He would see lyrics and he would like be able
to kind of help get them where he wanted them,
but he was not really a lyrics.
Speaker 2 (13:08):
Who's Tony Asher.
Speaker 1 (13:09):
He's basically just a lyricist that Brian kind of picked
to work with and they worked really well together. Tony
did the vast majority of the songs on this album.
He was a lyricist.
Speaker 2 (13:18):
Lyricist, and then Brian Wilson did more of all the music,
all the composition of the music.
Speaker 3 (13:22):
And I started watching Love and Mercy as you know,
trying to understand a little bit because I, I mean,
for me, I recognized the Beach Boys, you know, like
they've been recognizable for me growing up, but I never
really listened to this album.
Speaker 2 (13:38):
Whereas I grew up on them, like my dad was
a massive.
Speaker 3 (13:41):
Yeah, so like for me, they're far away. It's like
me like a mayonnaise, which is like I just don't
like Manning. So I don't know if I like Beach
Boys or not. But the story is really interesting because
he kind of had this like they were touring a
lot is when like they were at the heyday of
the surf rocky type of stuff.
Speaker 2 (13:58):
They were one of the few bands to serve for
the British invasion.
Speaker 3 (14:01):
Yeah really yeah, well, and they had their own following,
and it seemed that something happened to Brian Wilson.
Speaker 1 (14:10):
I don't know if it was very overbearing, like like
physically abusive at times. Yeah, it's so you know, kind
of had he was into LSD as a way to
free his ego. Yeah, he kind of called it the
death of his ego LSD. But big LSD influence on
this album.
Speaker 3 (14:24):
Yeah, I mean it's really kind of psychedelic poppy and
it's a lot of different sounds.
Speaker 2 (14:29):
The instrumentation really lends into that.
Speaker 3 (14:31):
Yeah yeah, yeah, and it's there's a you could tell
that's a lot of it, but it's how he had to.
Speaker 2 (14:37):
I felt the story was very sad, Yeah, it was.
Speaker 1 (14:40):
It was very sad, Yeah, because he was kind of
damaged forever through a lot of his drug use in
the abuse that he suffered in this day, like he
still has issues, but it's a great song.
Speaker 2 (14:50):
You still believe in me.
Speaker 1 (14:51):
It's just it's not the standout, but it's really set
apart by Brian Wilson's fearlessness to break the standard pop track.
Speaker 2 (14:57):
Bold Yeah, the pomming clown.
Speaker 1 (15:01):
And this is also the song that Tony Asher got
the job with. He was given this track by Brian Wilson,
helped write the lyrics and Brian was like, that's my guy.
Speaker 2 (15:10):
Cool. So yeah, man, all right on to the next one.
That's not me clocks him in two minutes of twenty
eight seconds. It's a third track off the album. Yeah.
Speaker 1 (15:19):
So this one's got the traditional beach boy harmonies kind
of sporadically in there.
Speaker 2 (15:23):
Mike Love is on vocals.
Speaker 1 (15:25):
Again, shortened to the point it's funny. Tony Asher said
he actually thought he missed the mark on this one
with the lyrics.
Speaker 2 (15:31):
He didn't really feel like they were his strongest effort.
Speaker 1 (15:34):
But what I will do here is I want to
take a kind of a chance to talk a little
bit about this album and his placed in history. So
the Library of Congress actually made this one of the
they preserved it in the Library of Congress. Is culturally,
historically or aesthetically significant. In two thousand and four, it
was named the greatest album of all time by New
Music Experience, The Times and The Times in Britain, and
(15:57):
then Uncut Magazine. It was number three on Colin Larkins
All Time Top one thousand Albums, and it's in the
Grammy Hall of Fame as of nineteen ninety eight, so
very influential album it was. It was given five stars
or four stars, the most stars you can get by
All Music, Blender, Chicago Sun Times, Chicago Tribune, The Encyclopedia,
Popular Music, Entertainment Weekly, Q, Rolling Stone, and Slant Magazine.
(16:20):
I mean, that's a lot of credibility right there. If
you want to see all the accolades for this album,
Wikipedia's got a whole list of them.
Speaker 2 (16:29):
I mean, over a thirty year period. Go check it out.
Speaker 1 (16:31):
The album reached number ten in the US Billboard Top LPs.
It was number two on the UK Record retailer LPs.
It also charted in the US and the UK in
nineteen seventy two nineteen ninety, nineteen ninety five, two thousand
and one, two thousand and eight, twenty fifteen, and twenty sixteen.
Speaker 3 (16:47):
That's pretty prominent. I mean over a twenty plus year, thirty.
Speaker 2 (16:50):
Forty year period.
Speaker 3 (16:52):
Well, and why do you think eighty years? So why
do you think it draws so much acclaim right? Like
I understand.
Speaker 1 (16:58):
I think it's because modern musicians will cite it as
an influence. A lot of famous modern musicians like Paul
McCartney calls it his fate, one of his favorite albums.
Speaker 3 (17:06):
Ever, and is amazing it because in terms of it's
the album for people who could pill his music. Because
the one thing when listening to it, I was like, Okay,
this is different.
Speaker 1 (17:18):
The composition was different from anything you put it in
nineteen sixty six terms. The composition of this was different
from anything else out there. Yeah, it ever come arong
around it.
Speaker 3 (17:26):
And when I kind of listening to it, I'm like, Okay, well,
this isn't some this is a an everyday listen for me.
I get that, Like it's not but it was interesting. Yeah,
let's move on to the next one.
Speaker 2 (17:40):
Man. Yeah, we could talk about that for oh for sure,
for a long time.
Speaker 3 (17:45):
Uh, don't talk. Put your head on my shoulders. The
four track off the album clocks in at two minutes
and fifty three seconds.
Speaker 1 (17:52):
Yeah, So just and kind of a wrap up to
on the legacy this thing. It originally only went platinum
in the US and two times platinum in the UK,
but it's now after fifty sixty almost sixty years of
being in existence, it's seven times platinum. So over time,
like I think, it gained more and more appreciation. And
this was kind of was that you mentioned the Wrecking Crew. Now,
(18:13):
was this like the first album that the Wrecking Crew
kind of all did together. No, they had been working
on albums before, but I think this was the first
time that they were so prominently brought.
Speaker 3 (18:23):
In, Oh he's the best, he's and this was the
first time they were all together well, and that they
were given the credit as being largely like the main
force behind the album, right, And I think it was
also one of the first times when you had a band,
a true band, but.
Speaker 1 (18:40):
Their lead singer and kind of their their musical composer.
Brian Wilson said, I'm not even going to use my band.
I'm going to use these guys because I can tell
them what I want, and they are fully capable of
executing on it, whereas my band is a bunch of
you know, like rock and roll kids. In mine, they're
only like twenty four years old at this point. Brian
was I think twenty four when he wrote this album. Yeah,
(19:03):
and all the guys were in their twenties, and so
they were still relatively early in their overall musical careers, right,
So he felt like these guys could execute better than
his own band, and they kind of got the credit
for that. Like, he wasn't shy about the fact that
he used the Wrecking Crew, but about this particular song.
I mean, if you haven't noticed, this obviously isn't your
traditional Beach Boys album, you know, Welcome to the show.
(19:26):
But one thing that Brian used in this song was
a string cesstet. He used four violins, a viola, and
a cello to kind of give the song this darker mood.
He uses the bass guitar and the timpanie to mimic
a heartbeat when the lyric listen to my Heartbeat comes on,
which is really interesting, like it's they call it. It
(19:47):
was like painting with music, I think is the name
of you.
Speaker 3 (19:49):
Yeah, well, like you listen, there's some movies that have
soundtracks and Interstellar, yes, or Dunkirk Christopher Nolan movies, he
does that like that, That's what listening to this it
was almost like I was listening to a film soundtrack.
Speaker 1 (20:05):
Yeah, and it's just funny because there is one song
that he wrote hoping it would make it on a
certain sound there.
Speaker 2 (20:09):
Yeah, we'll get there.
Speaker 3 (20:10):
Yeah, And that was kind of my overall listing experience.
It was like, Okay, I'm listening to a movie soundtrack.
That's kind of what it felt like. Yeah, I totally
get that. All right, man, let's move on to the
next track. To believe this is number five on the album, right,
Oh yeah, I'm waiting for the Day. Clocks in at
three minutes and five seconds, just another kind of three
(20:35):
you know, in that three sec three minute mark, all
of them are, and it moves really quick, like like
I was surprised at listening through how like it moves
fast as soon as you're like wow that like the
last some songs seem a little bit slow, but it's
because of the.
Speaker 1 (20:51):
Tempo of the song. Yeah, but the transition's really nice. Yeah,
they really do transition nicely. From one song to another. Yeah, so,
by the way, to correct myself, the it's not it's
called word painting. That's that word that like what Christopher
Nolan did and we mentioned with the Hostellar and Dunkirk.
But yeah, so Don't Talk and I'm Waiting for the
(21:12):
Day are both examples of that technique. When the music's
programmed in a way that reflects the literal mirroring meaning's
for you to say, adam of the song's lyrics. So
if you listen to the lyrics of the song and
pay attention to the way the music progresses relative to them,
you'll kind of get an idea of how Brian uses
the music to illustrate the lyrics. Okay, I mean we're
(21:32):
obviously away past three to four chord surf songs.
Speaker 3 (21:34):
Now, yeah, yeah, this is a This isn't hey, let's
take those three chords. This is there's some ton fun
fun fun fun to your daddy takes the t bird away.
Speaker 2 (21:43):
This is not that. This is definitely more. This is
not surfing USA by any means.
Speaker 1 (21:48):
No, No, all right, men, let's get move on to
the next one.
Speaker 3 (21:51):
All right, let's go away for a while. Is hopefully
what I'm gonna do may on vacation.
Speaker 2 (21:56):
Yeah, buddy.
Speaker 3 (21:57):
It clocks in at you know, really quick sub three song.
It's a two minutes in eighteen seconds. This one is
purely instrumental.
Speaker 1 (22:05):
Yeah, apparently it was influenced by the music of one
Bert bacarac So. Brian had apparently thought about composing a
lyric set for this, but after listening to it kind
of realized they didn't really need one. You just didn't
feel like lyrics were necessary. Here some really unique instrumentation
on this track. It's got twelve violins, yeah, a piano,
(22:29):
four saxes, and obo the vibes well.
Speaker 3 (22:33):
And I feel like I'm like watching like this is
the intro to like a sixties, late sixties seventies type of.
Speaker 2 (22:43):
Movie, you know, like a beach themed our drama.
Speaker 3 (22:48):
Yeah, it's a romantic movie or some drama comedy type
of thing, and or like then it's got a little
bit of drama in it, like Pink Panther.
Speaker 2 (22:56):
Kind of like that. Yeah.
Speaker 3 (22:58):
Yeah.
Speaker 1 (22:58):
One of the things he did, he one thing he
does with this for the percussion as he uses right here,
he's using a coke bottle on the strings to kind
of give almost like a steal effect, which is really interesting.
There's two bass guitars in this song.
Speaker 3 (23:13):
I mean it's so well because maybe you want both octaves.
You want to be playing on different octaves right, or
a different key, or there's two one kind of muted.
Speaker 1 (23:21):
You hear a lot of that in Beach Boys songs,
kind of the muted bass. And then you'll have one
that's a little bit more prominent. Like Brian Wilson, he played,
he was the bass player player band. Yeah, he was
the bass player until until Bruce Johnson took over turn
for him touring.
Speaker 2 (23:32):
I believe he was the bass player.
Speaker 1 (23:34):
So all right, man, let's move on to uh, the
last track on sad Ay Yeah, which is Sloop John
B which.
Speaker 3 (23:41):
Is the second single and seventh track off the album.
It clocks in at two minutes and fifty eight seconds.
I actually like this one. It's a good one man one.
Speaker 2 (23:48):
Yeah.
Speaker 1 (23:49):
So this one was number three on the US Billboard
Hot one hundred and number two on the UK Singles Chart.
It's a great way to end side A. You kind
of start with a catchy banger and wouldn't it be nice?
And then you end with another one.
Speaker 3 (23:58):
Well, in this kind of sounds like more before pet sounds.
Speaker 2 (24:03):
The track it does go back to that. That's one
of the reasons for that.
Speaker 1 (24:06):
It's actually a Bahamian folk song from Nasa al Bahamas.
It was originally recorded by the Kingston Trio in nineteen
fifty eight, and it apparently directly influenced Al Jardine, who
was a big like traditional like folk song music, to
convince Brian to record it. Brian didn't actually want to
record this song, but all kind of changed up the
(24:28):
song a bit to make it more appealing to Brian.
Speaker 2 (24:31):
He made some.
Speaker 1 (24:31):
Chord changes, some lyrical changes, and once he brought those
changes to Brian, Brian was like, okay, you know, like
I couldn't do this, we can do this one.
Speaker 2 (24:39):
This one actually has a.
Speaker 1 (24:40):
Little bit more of the Beach Boys involved in it
than some of the other tracks, but it's still largely
the Wrecking Crew, just like all of.
Speaker 2 (24:49):
Them, more vocally. Tuba in the background. Yeah, it's very faint,
but you're like, wait a minute, that dude put a
freaking tuba in there.
Speaker 1 (24:58):
And then I hear the Carol came bassline. Yeah, like
she always had the most innovative and unique basslines, and
they were always very active.
Speaker 2 (25:07):
And I think that there's a triangle.
Speaker 1 (25:09):
And she actually taught Gene Simmons, like gave him bass lessons.
After Gene Simmons had been famous for years, he went
to Carol Kay and say, hey, I think I can
get better.
Speaker 2 (25:19):
Can you help me? And it's funny because she said, yeah,
you're kind.
Speaker 1 (25:21):
Of hopeless to Gene Simmons from Kids of all things.
Speaker 2 (25:26):
But man, this is a great song. I grew up
on this song.
Speaker 1 (25:29):
Absolutely loved this song, but not as much as the
beginning of side.
Speaker 2 (25:33):
By, which is a God only knows. Yeah. Man, we're
gonna move right into that one. Yeah.
Speaker 3 (25:39):
So it's a two minutes fifty one seconds, still in
that kind of sub three class and it opens up
side B.
Speaker 2 (25:45):
Yeah.
Speaker 1 (25:45):
This is one of my very favorite songs of all time,
and it's considered by many to be one of the
best songs of all time period.
Speaker 2 (25:52):
Yeah. I really like this. Yeah. So this one did well.
Speaker 1 (25:55):
It was number two on the UK Charts, number three
on the Billboard I'm thirty nine, I'm Sorry on the
US Billboard, Hot one under it. It was certified platinum as
a single in the UK, which is interesting because the
Beach Boys were, like I mentioned in the intro, trying
to outdo Rubber Soul with this. Like Brian had was
very influenced by the Beatles Rubber Soul, and he was like,
I can do better.
Speaker 2 (26:14):
I can do better than that, and he so he
wrote Pet Sounds.
Speaker 1 (26:18):
Paul McCartney, apparently Bruce Johnston from the Beach Boys went
to Europe, went to London, hung out with Keith Moon,
who then brought him into a room with with Lennon
and McCartney and said, and Keith said, hey, you really
need to hear this, guys, and they put on a
copy of Pet Sounds and McCartney and Lennon were blown
out of the water. They listened to it apparently for
(26:40):
like four hours and then after that like this song
in particular. Paul McCartney says, this is his very favorite
song of all time.
Speaker 2 (26:48):
It's an amazing song. Well, if you look at it,
it's dynamic. Oh, it's very dynamic.
Speaker 1 (26:52):
I mean Rolling Stone named at number eleven on their
five hundred Greatest Songs of All Time. Again, it's in
the Rock and Roll Hall of Fames five hundred Songs
shaped rock and Roll. It's got a baroque influence to it,
and that it's got elements of both rock and classical.
It's very complex musically. There were twenty studio musicians contributing
to the song, and it's actually considered Carl Wilson's, who's
(27:15):
singing lead right now, his best vocal work. Yeah, I
can see that. Yeah, I mean, it really doesn't get
much better than this. I can listen to this over
and over again and it just doesn't get old.
Speaker 2 (27:24):
Can you name the dude who is on Full House?
Speaker 3 (27:27):
It was on the Who's Drummer? John S John Stamos,
Yeah he did. He's a huge Beach Boys fan. He
actually toured with him.
Speaker 1 (27:34):
Yeah, yeah, yeah, and yeah I remember them popping in there.
Speaker 3 (27:37):
And I just saw him on Drummo. John Staves was
featured on Drummo and he did like some some other tune,
like it was something he'd never listened before, but the
way he picked it up was like and you just
don't think that, like John Stamo Like he totally could
have been a session drummer.
Speaker 2 (27:54):
Yeah, he's He's a very talented musician. All right, let's
move on to the next one. Moving on to.
Speaker 3 (27:59):
The next one, is I know there's an answer it's
the ninth track and it's a little over three minutes,
three minutes and nine seconds.
Speaker 1 (28:06):
So this one is about Brian Wilson's experience with LSD.
Speaker 3 (28:11):
No, it's about just LSD or the weed he spoke
before he took the LSD both because he kind of like,
I think he preloaded coming up with a lot.
Speaker 2 (28:21):
Of the weed was the gateway drug. Yeah, I mean
I was like, wow, he got baked and then he well.
Speaker 1 (28:26):
So the funny thing is is that this one, it
was one of the few tracks that lyrically was not
co written by Tony Asher. The guy that helped write
this one was Brian's road manager slash drug dealer, Terry Sashin.
It's about using LSD to go deeper into yourself and.
Speaker 2 (28:43):
Eliminate your ego.
Speaker 1 (28:44):
Mike Love actually completely rejected the first draft of the
lyrics because he didn't want anything to do with that
whole drug culture. He was like, no, I'm fine with
talking about like killing your ego, even though I have
a huge ego and I don't.
Speaker 2 (28:57):
Want to kill my ego. Yeah, which if you've seen
Mike Love, he is very big eagle. Yeah.
Speaker 1 (29:02):
But musically this one is very complex It's got a
lot of instrumentation, interesting chord and progression elements to it.
There's even instrumental break the figures that features I'm sorry,
a bass harmonica. I didn't even know that was a thing.
Speaker 3 (29:14):
There's different types of harmonicas and different keys. I didn't
even realize there was a bass harmonica. I knew there
was multiple keys, but I didn't know they had a
bass harmonica.
Speaker 1 (29:22):
It makes sense regardless. It's a great song. Really showcases
the care that Brian put into the music.
Speaker 2 (29:29):
In each track. Yeah, so let's move on man.
Speaker 3 (29:33):
All right here today and definitely not gone Tomorrow is
the tenth track off the album, and it's two minutes
and fifty four seconds.
Speaker 1 (29:41):
So this one is fun in that it is written
from the perspective of an ex boyfriend speaking to the
current boyfriend and kind of warning him, Hey, man, watch
out for your heart, dude, because it's probably.
Speaker 2 (29:53):
Gonna get broken. Oh wow. Yeah, so this is about
a skeezy girl, Yeah kind of. Yeah.
Speaker 1 (29:59):
I mean we don't really you know the character of
the woman, but one would assume based on Brian's observations here.
Speaker 2 (30:04):
That's instance the way this is going to go.
Speaker 1 (30:06):
Another musically complex song, a lot of really non linear
structure here. If you read up on this one and
read about it, there's like apparently very famous composers and
such that look at this song and they go he
was doing things that we would never even think to do.
Speaker 3 (30:23):
No, I think for the time. He brought multiple genres
together and turned it into a very pop He.
Speaker 2 (30:33):
Brought it into the Beach Boys.
Speaker 1 (30:34):
He took all the influences that they had and basically
brought them front and center with the Beach Boys sound
all the way through.
Speaker 3 (30:43):
It's really genius how he did it well, and they
did it because they were already established. Yeah, they didn't
really have to worry about it at this point.
Speaker 1 (30:51):
This is Brian Wilson too, without the pressure of the
rest of the Beach Boys, and with his label understanding
this guy's a genius. We're just gonna leave him alone
freedom to do whatever he wanted. Yeah, I mean that
was one thing with Capitol Records. I thought they did,
Like when you read it when watching Love and Mercy,
because it goes through kind of the recording process.
Speaker 2 (31:11):
Capitol Records really had his back.
Speaker 3 (31:13):
They did, like, that's a lot of studio time, it's
a lot of producing time like this expensive album back.
Speaker 1 (31:20):
Three months with the best studio musician group in the
record crew that you could ask for.
Speaker 2 (31:25):
I mean that's a lot of money invested in it.
Speaker 3 (31:27):
That means that they did see genius in Brian Wilson,
all that much faith and trust in him.
Speaker 2 (31:32):
Yeah, I mean a lot of capital. This is a
fun track.
Speaker 1 (31:34):
Despite its weirdness, it still stands out on the album.
Speaker 3 (31:37):
Yeah, all right, let's move on, man, I just wasn't
made for these times. Clocks in at three minutes and
twelve seconds and it is the eleventh track off the album.
Speaker 2 (31:47):
So you know the song good Vibrations, Yeah right.
Speaker 1 (31:52):
You know they have in there the thereman, which is
the instrument where like you kind of go up and
rub up and down it and.
Speaker 3 (31:57):
Yeah, yeah, well it's a you basically the theram and
produces electromagnetic field, and when you place an object in
that field, it disrupts the frequency and so that sounds
you hears the disruption of that magnetic field being picked up.
Speaker 1 (32:11):
I love that, you know that? Yeah, you know that's
I love not sarcastically. I love that you know that
because it's a great description of it makes it a
very complex and difficult instrument to play.
Speaker 2 (32:22):
I'm the fusion of engineering and art. Well, there you go.
Speaker 1 (32:26):
So this is the first time that an electrotheram in
first of all, was featured in the solo, but also
it's the first time that the instrument was used in
a rock record of any kind on this sound song.
The vocal harmony words are hard today the vocal harmonies.
The vocal harmonies are fantastic. As always, words are hard.
(32:48):
The lyrics reflect the song's title. It's a theme that
reflects Brian Wilson's personal life and how he felt like
he just didn't really fit into society at the time,
which when you do enough drugs, yes, that's probably gonna happen.
It's a good song, I think, one we can kind
of all identify with at times.
Speaker 2 (33:06):
Yeah.
Speaker 3 (33:06):
Theme, Yeah, Well what I found this song in particular,
there's a lot of little things going on and man,
it's really hard for me to.
Speaker 2 (33:16):
Like, you can't lazer in on one flat. Yeah, it's
just it to me. Well, it's a good song.
Speaker 3 (33:22):
It comes off as a lot of noise when I
listened to it, just because.
Speaker 1 (33:25):
There's a lot going on there. Yeah, there is a
lot going on it's hard for me to follow. That's fair,
I understand that. All right, let's move on to pet Sounds,
the song.
Speaker 3 (33:33):
Yeah, the instrumental namesake of the album. Clock's in in
two minutes to twenty two seconds. So what was the
point of the song? I know the answer, but let's
see if you know that.
Speaker 2 (33:44):
Yeah.
Speaker 1 (33:44):
So Brian wrote it with the intent for it to
be used as the theme in a James Bond.
Speaker 2 (33:48):
Movie, and I think that's totally cool. Yeah.
Speaker 1 (33:51):
I mean he saw Thunderball. Yeah, and he gave it
the original title of Run James Run. Yeah, this is
just Brian in the studio, musician. There is not another
beach boy to be found.
Speaker 2 (34:03):
Man, there's some really interesting musical elements here.
Speaker 1 (34:05):
They use a percussive element. They played through two empty
Coca Cola cans. There's bongos, an electric guitar run through
a rotary Leslie speaker.
Speaker 2 (34:17):
It's just it's weird. Well, it's cool.
Speaker 3 (34:20):
And this theme seems it would be like a Caribbean
James Bond movie.
Speaker 2 (34:24):
So you gotta look at you.
Speaker 3 (34:25):
Know, Casino Royale like but not Casino Royal, but not
Casino roy I'm kind of thinking it would be like,
you know, think of the Elvis type of beach movie,
but with a spy theme. You know, you know, that's
kind of what I was like, if that was going
to be a James Bond theme, it'd have to be said,
but I don't even know what the title of that
movie would be, right, So then I'm like, if he
(34:47):
intended it to be a James Bond theme, what kind
of freaking James Bond movie would it be?
Speaker 2 (34:51):
Yes, Like, because James Bond goes on vacation, that's what
it would be.
Speaker 3 (34:56):
Like, Hey, James Bond, this is the La Suctor. I
just you know, was swimming notion coming off the beach
and it's like, you know, you're not doing a spire
and Jaws attacked me. Yeah. Yeah, I'm kind of like
like it didn't have that spy field. It really does,
but it but it also made me think of maybe
it's one of those campy action and so what's the
(35:18):
movie that it had, like pop like the Sharon Tate
who'd like a stat like Sharon Tate in it Helter Skelter, No, no,
well because she almost she was murdered, right, But Sharon
Tate was in a movie and it was featured in
that Quentin Tarantino movie. Oh yeah, I remember, yeah, yeah,
(35:40):
but the movie she was in and it started like
Tony Bennett, not Tony Bennett, but the Dean Martin.
Speaker 2 (35:45):
Dean Martin.
Speaker 3 (35:46):
That's the movie where it was very like sixties where
they're wearing all the weird little clothes.
Speaker 2 (35:52):
That would be the soundtrack.
Speaker 1 (35:54):
Okay, all right, all right, saw onto the last song
and number one single, I should say, the first single.
Speaker 3 (35:59):
Yeah, the first single off the album, and wrapping it
up with track number thirteen is Caroline.
Speaker 1 (36:05):
No, which apparently he thought. I guess there was a
there was a gal that Brian had had a crush on.
I think her name was Carol Mountain. Yeah, and that somebody,
somehow miscontrud misconstrued that to think that he was saying
Caroline No. And that's why I ended up making the
(36:26):
name of this track Caroline No. He considers this his
favorite track on pet Sounds and one of the best
he ever wrote in his opinion. I would disagree with that,
but that's you know, er genius. He's of course entitled
to his opinion.
Speaker 2 (36:40):
Yeah, I mean I kind of was like whatever on
this one.
Speaker 1 (36:44):
Sure, it was interesting that this was the lead single.
It didn't do as well as they'd exce well, and
it was it was written.
Speaker 3 (36:50):
It was actually released as a solo just thing, and
then it was included in the albums. It was like
released on March seventh, nineteen sixty six, as a single,
and the B side was another track called The Summer
Means Nude Love.
Speaker 2 (37:04):
Yeah. Yeah, yeah.
Speaker 1 (37:05):
So the lyrics deal with the loss of innocence that
comes with age and how age kind of hardens people.
One thing here that was really cool was that there's
a percussive element that is a water cooler jug hit
from the bottom with a mallet.
Speaker 2 (37:18):
I'm not surprised.
Speaker 1 (37:19):
Yeah, there's flutes, harpsichord, bass flutes, which again I didn't
know that was a thing.
Speaker 2 (37:24):
Yeah, and it's a base flute.
Speaker 3 (37:25):
And throughout this whole album, like you're sitting there listen
to the track, then all of a sudden there's this
like weird dunk all yeah, or like it it's like
when you leave your phone on a notification, right, and
you're like, if.
Speaker 1 (37:43):
We all didn't know what that sound was, it would
probably fit in a Beach Boys something.
Speaker 3 (37:46):
Yeah.
Speaker 2 (37:46):
I like literally like that's what throughout this whole album.
Speaker 3 (37:49):
I was like, where these guys get that's different phone notifications. Yeah,
so like it's obviously influential. Yes, it's obvious, you know,
highly regarded. So you know, is this a ten?
Speaker 2 (38:07):
Is it a nine? Yeah? So like how do you
classify an album?
Speaker 1 (38:10):
Before I get there, I do want to point folks
out there to there's a ensemble version of God Only
Knows out there. I don't know if you've seen this
or not, but there's a whole host of musicians, Dave Grohl,
Paul McCartney, several pop singers, Elton John, you name it.
I think Beyonce was in there. But it's a version
(38:32):
of God Only Knows. It's a music video that was
done with all these musicians singing a line in a verse. Yeah,
and go out there and find it. I think Brian
does the very final God only Knows what I'd be
without you in the track.
Speaker 2 (38:44):
But it's worth watching. It's very good.
Speaker 1 (38:48):
It's kind of done in like a carnival setting. I
would definitely recommend it. So for many years I only
really listen to the main singles off of this album,
God Only Knows Sleep John b.
Speaker 2 (38:58):
Wouldn't it be nice. That's really all ILIC do for
a long time.
Speaker 1 (39:01):
But in recent years I started listening to the album
as a whole and I realized kind of the gravity
of what Brian Wilson did in the studio on this album.
And you watch like Love and Mercy. There was a
Beach Boys series that came out man probably thirty years
ago now, I think.
Speaker 2 (39:14):
It was on ABC. It was cool, it was really good.
Speaker 1 (39:20):
There's been several biopics about Brian Wilson, about the band,
et cetera, so you kind of know, like you get
an idea of the way their dad was and how
Brian came out the way that he is. But what
he did in the studio on this album is nothing
short of amazing. I mean again, gone are the very
basic lyrics about girls, cars, surfing, the beach school spirit,
(39:40):
et cetera. When you take into account how groundbreaking and
massively influential this album was and how many other very
famous musicians laud this album is one of the very
best ever, and just how accessible it is as a whole. Again,
nothing whears that it's welcome. If you don't like it,
wait a couple of minutes, it's going to be gone.
It's hard not to give this one a ten for me, Yeah,
(40:01):
but in a ten in a very different way from
like Loveless instance.
Speaker 3 (40:04):
Well, I think albums when we talk about kind of
tens like like for me personally, I have no ranking
for the album, right, I mean different about it through
the listening. So it's like, but while I find the
story of the Beach Boys, you know, really interesting, their
influence on music I appreciate, I'm just not a fan
(40:26):
of the surf rock, really poppy stuff. And you know,
when I started kind of prepping for the album, I
kind of was lost in it watching some of the stuff,
and I was just like, man, I don't really have
an opinion.
Speaker 2 (40:39):
It's just a really sad story. It was amazing to me.
Speaker 1 (40:43):
It's it's got good elements to it, yea a ton
of success, but there was also a lot of tragedy
in that family, and so took out.
Speaker 2 (40:50):
My opinion of this album.
Speaker 3 (40:52):
While it's very, very good, I think it shows where
Brian Wilson was at the time, based on the mental
and physical abuse and leading the escaping that through drugs.
Speaker 2 (41:08):
And diving into the music almost to the music as
an escape from that.
Speaker 3 (41:14):
You get and you see that when people go to
such extremes, they create things that are game changing for people.
I think this is what that is. It's sad that
it takes something like that in order to influence multiple
genres of music and have a fan base, but it
(41:36):
just shows you just the talent and like just think
if there was positive encouragement and he didn't have to
go through all that, what he could use. So I
find this overall albums. I know that's going to be,
you know, a non popular opinion, but that's kind of
what I got a lot of appreciation for the album,
but a lot of also empathy, I think for Brian
(41:57):
Wilson after you know, reading a bunch of stuff, watching
Love and Mercy. Yeah, empathy. But I think based on
the influence, you have to classify it as one of
those ten grade of ten albums.
Speaker 1 (42:13):
Yeah, yeah, I would definitely agree with that. It is
unfortunate that so much tragedy had to occur for Brian
to be able to get to the place that generated
this album.
Speaker 2 (42:22):
Yeah, but I.
Speaker 1 (42:23):
Also think back to look at all the songs that
were written that are just not as complex but just
incredibly fun that they released in the you know the
six years before. I mean I think they broke in
like sixty or sixty one, and this was recording sixty
six and they were eleven albums deep in six year period.
Speaker 2 (42:41):
I mean that's a lot. That's a lot.
Speaker 1 (42:43):
And all the different B sides they did, all the
covers that they did, Yeah, and I remembered all of that,
like the especially in the ABC mini series that came
out while we were kids.
Speaker 2 (42:53):
Like that was.
Speaker 3 (42:55):
Seeing the Beach Boys come up and then the Turn
and those guys would push so so hard. Yeah, and
it broke Murray Wilson was merciless with him. I mean
he pushed and pushed. It pushed broke Brian Wilson. Yeah,
broken as an individual, and you know, I think led
to a lot of like Carl Wilson's drug and alcohol
problems that ultimately kind of ended up ending his life.
Speaker 1 (43:16):
Yeah, I think it was in nineteen eighty but uh,
I mean or not Carl, Dennis Wilson, Dennis Wilson, the drummer.
Speaker 2 (43:23):
But yeah, it's sad that they it took that that
situation for.
Speaker 1 (43:27):
Him to get here. But man, at the same time,
to me, it's just a masterpiece of No.
Speaker 3 (43:33):
But I can't disagree, Like I have no argument whether
I mean, I understand where it comes from, but like
I'm like, yeah, you cannot not call it a ten
you know, whatever you compare it to, just because the
data it holds up, it holds it.
Speaker 2 (43:48):
Yeah, the data holds it. The data holds up, you know.
Speaker 3 (43:50):
And if you haven't listened pet sounds or you haven't
looked at it from a different perspective, ither recommend you
do it.
Speaker 2 (43:54):
I know it it. It kind of like will Co.
Speaker 3 (43:59):
What's in the background, was like, hey, I kind of
want this is weird. Why did they want to make
me listen to Woco? Why do you want to make it?
Kind of drove me towards some other I would say,
not obscure artists, but like some other things that visited
early mainstream. Yeah, not necessarily mainstream. And you know that's
the positive influence I got of it. But it was
it was hard. This one was hard.
Speaker 2 (44:19):
It was it.
Speaker 1 (44:21):
I was like, wow, that was I'll say this one
was a lot of preparation for me. Yeah, I spent
more hours than normal preparing for this one. That's also
just because I hold this one in very high respect,
because it was very influential to me, especially the singles,
just because I grew up with them, and I grew
up with the Beach Boys.
Speaker 3 (44:36):
The Beach Boys were my very well, and it was
banned when I was a Kain and like, you're it's
kind of they're just if you grew up, you know,
if you were born in the seventies eighties, you were
exposed to the Beach Boy because your parents listened to it, yep,
even or they came on the radio all the time,
or it was featured in a movie, or you know,
all this stuff was kind of going on, this was
really cool?
Speaker 2 (44:57):
Or or on what was that? U was the show?
What was the wast John Stamos and the Girls, Full House,
Full House?
Speaker 3 (45:04):
And then if you watch Full House in the nineties,
then you got reintroduced to the free Beach Boys, whether
you wanted to or not, because you're sitting there, you know,
watching the Tanners, and you're you're watching the next thing.
Speaker 2 (45:15):
You know, John who was the dad? Who is the dad?
Speaker 3 (45:18):
Uh Bob Sack and you see like the most you know,
vulgar comedian, be the best TV show.
Speaker 2 (45:28):
Dad, super mild neuter TV dad.
Speaker 3 (45:31):
Yeah, and then you've got Dave Koyer, who's like, you know, Canada,
you know, just Canadian commedy, Anadian comedian doing all his
voices and each and then you have John Stamos and
what a weird coming, what a weird company.
Speaker 2 (45:43):
But it worked, you know, it worked.
Speaker 3 (45:45):
And then like you know, the Beach Boys got you know,
probably a little bit more popular.
Speaker 2 (45:50):
In Uncle Jesse's wedding. That really broke him big.
Speaker 3 (45:52):
I mean, you know, I mean, well you look at
the second wave. I mean, who the hell's gonna know
who the Beach Boys are unless it won.
Speaker 2 (45:58):
For full house, can't really argue with And you know
that's where we go.
Speaker 3 (46:01):
Hey, just like that, we are at the close of
another episode of Adventures in Vinyl. If you like the
music featured on this episode, hey, you can check out
the website, you know, the show episode website that's on
Apple Music or Spotify. We have links to all the
tracks featured the album and you know the Sumpti Barian
songs of the song of the week stuff. So if
you're like, hey, I like that song, I want to
listen to it, Hey, check that out. Hey, if you
(46:24):
want more information about the band, the Beach Boys, will
their websites out there at www dot the Beach Boys
dot com. Imagine that and if you enjoyed this podcast,
be sure to check us out on our website at
www Dot Adventures in Vinyl dot com, where you can
find links to all of our episodes. Through the sports section,
you can find a place to order your very own
Adventures at Vinyl t shirt. We're on Instagram at Adventures
(46:44):
dot n dot Vinyl, and be sure to subscribe to
the podcast and leave a review follow that. I'm on
Instagram at eat dot prey dot armbar and myself at
Todd David Ward with that on top board and I'm
Adam Baron and we will see you next time for
another thrilling yet opinionated.
Speaker 2 (47:02):
Episode of Adventures and vital will see next time. There'll
be some fine armchair quarterbacking, I promise.
Speaker 3 (47:08):
Oh yes, we will dive into so much things that
no one really cares about.
Speaker 2 (47:13):
There you go.
Speaker 1 (47:14):
That's kind of what we do, isn't it. I guess
we've been doing it for you know, a couple of
years now, right, you know, July is like two years.
We're gonna have to have like a two year episode
or something.
Speaker 2 (47:24):
That episode might have to include beer.
Speaker 3 (47:26):
You know that episode may have to be a special
episode where we do like a playlist.
Speaker 2 (47:29):
I'm good with that. Yeah, but we'll see you next time.