Album Review: CCR's "Willy and The Poor Boys"

The year is 1969, and it was a defining year for one roots rock band in particular. Creedence Clearwater Revival released three albums that year, all well-regarded by critics. So, I figured I had to check some out for my upcoming radio show. I listened to "Green River", and while it had a few songs I liked on there, it wasn't quite good enough to play on my show. But, I knew I might like "Willy and the Poor Boys". With its upbeat rock style and effective political messaging, this album lives on over 50 years later as a staple of the classic rock era. So, what does this album do well, and why am I likely to play it on my upcoming show? Well, let's dive into the album!

CCR pulls off a Sgt. Pepper as they pretend to be "Willy and the Poor Boys".

The opening track is an attention-grabber, with an iconic guitar riff that plays throughout the song. That song is "Down on the Corner", where CCR takes on the persona of "Willy and the Poor Boys". As I mentioned, it is quite reminiscent of The Beatles pretending to be "Sgt. Pepper's Lonely Hearts Club Band". With CCR, you can believe them to be Willy and the Poor Boys. Despite being from California, they take on the redneck persona quite well. You can just imagine John Fogerty, AKA "Willy", taking nickels on the street for playing his kazoo. Meanwhile, his hick buddy is playing the "gut bass", an instrument I didn't exactly know existed. In any case, "Down on the Corner" is a fantastic opener.

You know your band doesn't have a great budget when the kazoo is an instrument.

The next track, "It Came Out of The Sky", shows CCR's first serious political foray. The satirical song describes some mysterious object landing on a farmer's property. All the contemporary politicians and leaders try to use the incident to their advantage. The best lyric is probably how "Populist Ronnie says it was a communist plot". Populist Ronnie of course refers to the then-governor of California, Ronald Reagan. The song also pokes fun at religion, with the Vatican using the mysterious object as evidence that "the Lord has come". Not only is the song brilliant lyrically, it is also an upbeat rocker that's worthy of following up the excellent opening track. "Cotton Fields" follows it, and is a traditional folk song written by Huddie Ledbetter (most songs on the album were written by Fogerty). "Cotton Fields" features some sweet harmonies, reminiscing about life in Louisiana.

 

"Populist Ronnie" would've found a way to use the "sky" incident to his advantage.

What follows is probably the most filler-centric section of the album. "Poorboy Shuffle" is a simple harmonica instrumental, as the band truly takes on the redneck image in that ditty. It's a fine little tune, but certainly nothing notable. Then the shuffle leads directly into "Feelin' Blue", a forgettable five-minute track wherein Fogerty says he's "Feelin' Blue" about a million times. If you want to skip it, I can't say I blame you. But you certainly can't skip the beginning of Side Two, "Fortunate Son". Some people claim this short political burst of a song is overplayed in Vietnam War movies. Well, I don't watch many movies, and it's not played in the most important Vietnam War movie, anyway. So frankly, I don't care. "Fortunate Son" perfectly sums up the righteous anger at scummy politicians, sending kids younger than me off to fight in Vietnam. But some people were born with "Star Spangled eyes". Some people were born with a silver spoon in their mouth. 

CCR makes it clear that "this ain't them".

After a decent track in "Don't Look Now (It Ain't Your Or Me)", the next song is another one of CCR's most famous. "The Midnight Special" is a traditional folk song that apparently originated with prisoners from the South. As is the case with oral tradition, the lyrics have been changed plenty of times, and this arrangement certainly has the John Fogerty touch. As is the case with plenty of Southern songs, it's about a train (The Midnight Special), and a prisoner who wants to take that train to get out of jail. Yes, Willie and the Poor Boys are really Californians, but they sound like true Southern rockers here, singing of trains and prison. The song is followed up by the better of the album's two instrumental tracks, "Side 'o the Road". With an infectious rhythm and lead guitar, this instrumental manages to actually be worth a listen. Then the album ends with one last interesting political song, "Effigy". It's a six-and a half minute tune, so strap in for it. But the solid guitar keeps it chugging along, and its lyrics truly are interesting. CCR drummer Doug Clifford says the song was about "pointing the finger at the Nixon administration". Fogerty called the president a "schmuck", as Nixon completely dismissed the anti-Vietnam War protests from millions around the world. The message may be more interesting than the song itself, but the six-minute finale is still worth your time.

An overall great performance from CCR on this album.

Creedence Clearwater Revival truly establish themselves as rock legends with this album. Call it roots rock, Southern rock, country rock, whatever you want to call it. To me, CCR's mostly upbeat album could best be described as just good old rock 'n roll. It has clear misses and filler, and the longer tracks might not capture your attention for the full time. But the album's three main hits in "Down on the Corner", "Fortunate Son", and "The Midnight Special" help carry it to its status as one of the great rock albums of the era. As does "It Came Out of The Sky", a rock 'n roll song that builds off of Chuck Berry rhythms. Message-wise, the album talks of a time when the political left in this country was more gutsy and wrote great protest songs. It's still unbelievable to me that a band playing Southern rock could criticize the governor of California for being conservative. Think about that... the times have changed. The left has lost touch with rural America, it's a shame. We wouldn't see an album like "Willy and the Poor Boys" today. Overall, I am very pleased with this album, and I would rate it at 8/10. Expect to hear it sometime during the school year on my radio show!

Making Musical Mount Rushmores!

We've all heard of Mount Rushmore, right? The only notable tourist attraction in the Dakotas, Mount Rushmore honors four legendary presidents. Those being George Washington, Thomas Jefferson, Abraham Lincoln, and Theodore Roosevelt. As a history nerd, those are quality selections. Mount Rushmore has now become synonymous with compiling four of the greatest at, well... just about anything. For example, someone might say the Mount Rushmore of NFL quarterbacks is Tom Brady, Peyton Manning, Joe Montana, and Johnny Unitas. So, I'm now going to create a few musical Mount Rushmores to honor different genres. Some of these were quite easy for me, some of them... I really had to deliberate on which heads to put on the mountain. Let's start with one of the easy ones.

Country Mount Rushmore: Jimmie Rodgers, Hank Williams, Dolly Parton, Johnny Cash

The father of country music, Jimmie Rodgers, gets a worthy shoutout. Without his T.B. Blues and Blue Yodels, there is no country music. That's why he's where Washington is on the mountain. I have already covered Hank Williams and Johnny Cash extensively on the blog, but they are the two truest country legends in my opinion. Cash is the all-time GOAT in my opinion, which is why he's in Lincoln's position. But we of course have to give a spot to the queen of country, Dolly Parton, as well. With iconic songs like "Jolene" and "I Will Always Love You", she has cemented herself as a legend. And through recent activities, we know she has a great heart as well. Marty Robbins would be the fifth head on the mountain, and with songs like "El Paso", may have even better high points than Dolly. But Dolly is a living legend, and Marty... we'll just say wasn't quite the good soul that Dolly is.

Rock 'n Roll Mount Rushmore: Elvis Presley, Little Richard, Chuck Berry, Buddy Holly

George Washington is America's foremost founding father, and though he didn't want to be a king, Elvis definitely was one. He is joined by three other rock 'n roll stars of the 1950s on this mountain as the true legends who laid down the pure rock 'n roll sound, influencing generations to come. All four were inaugural members of the Rock 'N Roll Hall of Fame. I talked about Little Richard on last week's blog, and how Paul McCartney could impersonate, but not duplicate, his sound. Chuck was a true guitar wizard, and his debut song "Maybellene" may be my favorite song that's purely rock 'n roll. Finally, we have to acknowledge the guy from Lubbock, Texas... the one I've been told I kinda look like. Buddy Holly was a huge influence on The Beatles, and the man is a legend despite his tragically short life. My fifth head for the mountain would have to be Roy Orbison.

R&B Mount Rushmore: Sam Cooke, The Temptations, Aretha Franklin, The Persuasions

Maybe it's controversial to include groups in spots where there's just supposed to be one head, but I'm going to completely throw that out the window when we get to doo wop groups, anyway. The point is, The Temptations deserve to be there, with classics like "Don't Look Back", "Cloud Nine", and "Runaway Child, Running Wild". But it's the Persuasions who are true GOATs of R&B. They get the Abe spot by being the greatest a capella group ever, with their rich harmonies never being replicated. But Sam Cooke gets the George Washington spot, as he is known as the true king of soul. As such, his foundations very much influenced The Persuasions. The queen of soul, on the other hand, is Aretha Franklin. With "Respect" being listed as the greatest song ever by Rolling Stone, you kinda have to respect that. My fifth head on the mountain would be Stevie Wonder.

Doo Wop Mount Rushmore: The Ink Spots, The Platters, The Five Satins, The Harptones

I certainly deliberated on this one! Only one choice was obvious for me, that being The Harptones. They get the Abe spot as the true greatest doo wop group of all time in my opinion; classics like "A Sunday Kind of Love", "Life Is But a Dream", and "My Memories of You" are hard to top. I didn't consider The Ink Spots at first, but figured they'd be perfect for the George Washington spot as the true "founding fathers" of doo wop. The Platters were polished and refined, and their lack of a street corner sound made me wonder whether they belonged on the mountain. But one simply cannot deny the talent the group has, and their incredible singer Tony Williams was hard to match (he should've been an honorable mention on my vocalists list). And if Teddy Roosevelt is a truly iconic American president, The Five Satins helped make the doo wop sound iconic with "In The Still of The Night". But for me personally, they earned this spot more because of songs like "Shadows", "Wonderful Girl", and "To The Aisle". The fifth head, or rather group of heads, could be a whole lot of options. I could go with Little Anthony and the Imperials, Frankie Lymon and The Teenagers, The Marcels, Dion and The Belmonts, or maybe a true street corner group like The Five Discs. But I think I'd have to go with The Moonglows.

Rock Bands Mount Rushmore: The Beach Boys, Queen, AC/DC, The Beatles

The rock 'n roll of the 50s went on to form the rock music of the 60s, 70s, and 80s. But rock music is a very broad term, isn't it? It's so broad that I can have The Beach Boys and AC/DC on the same mountain, because I happen to enjoy both of their sounds. No one really gets the George Washington spot here, because true founders and influencers of rock were mentioned in the aforementioned rock 'n roll mountain. But The Beach Boys were popular in America before The Beatles were, so I guess I'll throw them a bone. The Beatles are the obvious candidate for the Abe spot, I mean, I'm kinda a big fan of them. AC/DC gets the Teddy renegade spot. Although, Bon Scott didn't exactly follow Teddy's advice of "speak softly and carry a big stick". Well, certainly not the first part, anyway. Then there's Queen, as elegant and polished as Jefferson's Monticello. All of these groups, sans AC/DC, are distinguished for their beautiful vocal harmonies. But AC/DC makes it on for their killer guitar riffs. There are plenty of choices for the fifth band, including The Rolling Stones, Van Halen, Led Zeppelin, and The Doors. But I would go with Creedence Clearwater Revival.

21st Century Mount Rushmore: Eminem, Adele, Amy Winehouse, Meghan Trainor

I can sound like a real curmudgeon with my musical tastes. All the old music used to be so much better, right? Well, it is kinda true. I think new music is generally overly polished and overly produced. There's a gazillion songwriters on many new songs, and as they say, too many cooks spoil the pot. But, here is where I disagree with some of the boomer logic. People say there's no more talented artists anymore, and everyone is a talentless hack. These four artists prove that, well... that's simply not true. And so I honor them as some of my favorite artists of the last 20 years. Eminem gave a legendary Super Bowl halftime performance with his signature song, "Lose Yourself". That alone gets him on the mountain. Amy is dearly missed, given that her incredibly soulful voice influenced another singer on this mountain, Adele. If you're a fan of soulful singers as I am, you will certainly be a fan of these two. Amy's best songs include "Rehab" and "You Know I'm No Good". Adele's best include "Set Fire To The Rain" and "Someone Like You". And then of course, there's the woman in the Abe position... my girl Meghan Trainor. I will always be an MTrain truther, and am very much looking forward to her upcoming, retro album.

Well, those were six musical Mount Rushmores for your viewing pleasure. Where do you agree or disagree with my mountains? Let me know in the comments. Also, I guess I should note my overall musical Mount Rushmore. It would probably be Johnny Cash, The Persuasions, The Beach Boys, and The Beatles.

The Beatles cover, or the original? Deciding which is better!

From 1962 to 1965, the Beatles already had quite the distinctive sound, but weren't yet fully developed as songwriters. As such, many of their earlier tunes were covers. So, the question with these 24 covers is... did the Beatles play it better than the original? Well, I have attempted to answer that question for each and every song they have covered! I am going to give a quick synopsis here detailing my opinion for each song the Beatles covered. And I will place each song into 5 different categories: Beatles version vastly superior, Beatles version better, Original vastly superior, Original better, or... a tie if I really can't decide. Without further ado, let's begin with one of the first songs the Beatles covered on record.

Here are the lads in 1963, right as their career was about to explode.

Anna (Go to Him): We start off with a fantastic performance for both the original and the Beatles' cover. Arthur Alexander recorded this song in 1962, and his soulful rendition is really worth a listen. But the Beatles' beautiful harmonies make their version just as triumphant. It's one of the best songs on their first album, Please Please Me. Final verdict: It's a tie!

Arthur Alexander and The Beatles both did a stellar job with this song.

Chains: The Beatles were true fans of the girl group sound, as we'll see throughout this list. They took this 1962 song from The Cookies. And while George Harrison did a fine job singing lead on the Beatles' cover, the jazzy original wins out for me. Although, I do have to mention John Lennon's epic opening harmonica solo. Final verdict: Original version better

Boys: Maybe I'm crazy in saying this, but I swear Ringo is underrated as a vocalist. In this song, they take a solid Shirelles original, and add the charisma we know the Beatles are capable of. Ringo's vocal is full of energy, and I love how he kicks off the guitar solo with "All right, George!". There may be saxophone on the 1960 original, but that's still not enough. Final verdict: Beatles version better

Baby It's You: This time the Shirelles do it better than the Beatles. The Beatles version, though decent, is one of the more flat performances on their sizzling opening album. The Shirelles, in comparison, have a haunting quality to each "sha la la la la la". Their 1961 original also features an organ solo which adds to the tension of the song. Final verdict: Original version better

The Beatles were clearly fans of The Shirelles, covering two of their songs.

A Taste of Honey: Paul's cheesy vocal helps makes this the worst song off "Please Please Me", as John Lennon aptly called their cover "A Waste of Money". So, was the 1962 Lenny Welch original any better? Yes, quite so. Welch delivers each line with a Roy Orbison-esque smoothness, and is backed up with some sparkling harmony. It's still the same cheesy song at its core, but with a much better delivery. Final verdict: Original vastly superior

Twist and Shout: Originally this was recorded by the Top Notes, but since their version was not a hit, we're going off the Isley Brothers (since that's likely the one the Beatles heard). And no disrespect to the Isley Brothers' 1962 version, but it's hard to top John Lennon's iconic vocal on their fantastic cover. There's a reason it's the Beatles' version in Ferris Bueller's Day Off. Final verdict: Beatles vastly superior

Till There Was You: This song was popularized by The Music Man in 1957, but the first recording came right before that. It was done by 17-year old Sue Raney, and what a pretty rendition it is. Filled with lush orchestration, it was a typical traditional pop song of the time. I slightly prefer The Beatles' more Latin-flavored cover, where Paul of course does a great job on vocal. Final verdict: Beatles version better

Sue Raney recorded a very sweet original version of this song. 

Please Mr. Postman: The Marvelletes' 1961 original was really good, no doubt about it. But by the time the Beatles made "With The Beatles", John Lennon was absolutely killing it with his vocals. You can tell the Beatles lived the "Mr. Postman" life, with their ventures in Germany not too long in the past. This is close to a tie, but I gotta give a slight nod to the lads. Final verdict: Beatles version better

Roll Over Beethoven: This is a tough one. As a guitarist, Chuck Berry was one of the Beatles' idols. But as a vocalist, let's be real... The Beatles were better, and that includes George Harrison. The rhythm on the Beatles' version, along with George's vocal, is infectious. But we know Chuck was a guitar virtuoso, and his solo on the 1956 rock 'n roll original definitely tops George's. I like both for different reasons. Final verdict: It's a tie!

Chuck Berry's rock 'n roll was a huge inspiration to The Beatles.

You Really Got a Hold on Me: No disrespect towards Smokey Robinson and the Miracles, but... John Lennon and George Harrison harmonizing on this one is just fantastic. Also, fifth Beatle George Martin captures your attention with that opening piano. The Beatles were truly evolving from their sound in the first album, doing better than even their Motown idols (whose original is also great). Final verdict: Beatles version better

Devil in Her Heart: The 1962 original was by a girl group, so it was actually called "Devil in His Heart". The little known group, known as the Donays, sang this obscure B-side that the Beatles appreciated. And, the Donays do better than the Beatles on this one! Lead singer Yvonne Symington's passion beats out George Harrison's more flat performance here. Final verdict: Original version better

The only picture I could find of The Donays... and they did better than The Beatles here!

Money (That's What I Want): Barrett Strong's original was good, no doubt about it. The 18-year old was backed up by quite the jazzy band. But the Beatles just take it to new heights. That includes George Martin's infectious piano, John's scream and ballsy lead vocals, and Paul and George doing a fantastic job backing him up with "That's... what I want!". I love their cover. Final verdict: Beatles vastly superior

Long Tall Sally: As a young man, Paul was known as the best Little Richard impersonator in Liverpool. But he was just that, an impersonator. And when it comes to Little Richard, nothing quite tops the original man himself. In terms of piano riff, then "woooo!", Little Richard was simply the best. So despite Paul's best efforts, I gotta give it to the 1956 original. Final verdict: Original version better

The Beatles meet their idol, Little Richard, in 1962. Notice how happy Paul looks!

Slow Down: Well, I know I like John Lennon's vocal better than the Larry Williams original on this one. But literally everything else about the Larry Williams version is better. The Beatles rhythm section is just sloppy on their cover, with an abysmal guitar solo from George somehow making the cut. Compare that to the epic sax solo on Larry's 1958 version, and I gotta give it to him. Final verdict: Original version better

Matchbox: The rhythm on both the Beatles' and Carl Perkins's 1957 original are very, very similar. So, what could possibly be the tiebreaker? Well, I'm gonna say it again, Ringo is an underappreciated vocalist! His energy on this performance truly outshines Perkins. So in spite of Carl's rockabilly twang, I'm gonna have to go with Ringo's Liverpudlian-ness here. Final verdict: Beatles version better

Ringo had a penchant for covering songs with a Western vibe.

Rock and Roll Music: This 1957 rock 'n roll classic once again comes again from Chuck Berry. And his vocals are... rather uninspiring in my opinion. Compare that to the incredibly energetic performance from The Beatles. And I mean both John Lennon's vocal, as well as a frantic band backing him up. It's just better than Chuck in every way, in this case. Final verdict: Beatles vastly superior

Mr. Moonlight: Dr. Feelgood and the Interns recorded this song originally in 1962. Both The Beatles' and the original recording are... just okay. The Beatles' version is more distinguished for John's incredible high note to open the song, but also panned for Paul's cheesy organ solo, which critic Ian MacDonald describes as "ghastliness". Nothing really to check out on both sides. Final verdict: Meh... it's a tie.

Kansas City/Hey Hey Hey Hey: Well, this one is complicated. "Kansas City" was originally recorded by Little Willie Littlefield, while "Hey Hey Hey Hey" was originally recorded by Little Richard. Paul's rockin' vocals certainly topped Littlefield here, but they may have even topped Little Richard as well. This medley was quite the strong performance. Final verdict: Beatles version better

Words of Love: Buddy Holly recorded this tender song in 1957, and it's a pretty product that is reminiscent of his song "Everyday". But the Beatles outdo their late hero and icon, as the magic of the Lennon-McCartney harmony makes this quite the underrated track. Not to mention, the jangly guitar from George fits right in as well. Final verdict: Beatles version better

The Beatles outperform the rock 'n roll legend on "Words of Love".

Honey Don't: It's round two of Carl Perkins vs. Ringo, and Carl wins this round. Rockabilly twang is well-suited to this ditty. Again, the rhythm section is quite similar on both songs, but I prefer the Sun Records vibes of the 1956 original. In terms of his style at the time, Carl was basically Elvis-lite. Final verdict: Original version better

Everybody's Trying to Be My Baby: Another Carl Perkins song! Again, the Beatles didn't change much in their cover, except for the fact that George Harrison is singing instead. Their carbon copy means it's hard to really tell any differences. Both are solid, if not spectacular performances. Final verdict: It's a tie!

Bad Boy: This time it's round two of John Lennon vs. Larry Williams. Once again, Lennon's voice shines, as he rocks on about the life of a juvenile delinquent. But also once again, Larry's original is suited to R&B, with its shuffling sax. The original also punctuated each line with "He's a... bad boy". This is another one where I like them for different reasons. Final verdict: It's a tie!

Larry Williams, a rock 'n roller that John Lennon was a huge fan of.

Act Naturally: Ringo once again plays the role of a country/western singer, this time singing the 1963 Buck Owens song. Owens felt hip with the youth when he heard that The Beatles had covered one of his songs, and his original version turned out to be better. He had a country twang that Ringo obviously didn't have, so while The Beatles' cover is spirited, it's not quite as good. Final verdict: Original version better

Dizzy Miss Lizzy: The Beatles were big fans of Larry Williams, as seen with this being their third cover of his. Much like with "Slow Down", John Lennon's vocal is a bit better, but everything else about Larry's version is better. On The Beatles version, the repetitive guitar lick becomes a headache, rather dizzying you could say. But on Larry's version, it blends in with the epic sax in the back. Final verdict: Original version better

Well, that just about ends my list! The final tally is: 

• 1 song where The Beatles were completely outplayed
• 8 songs where the covers were better
• 5 ties, where I couldn't decide whose was better
• 7 songs where the Beatles were better
• 3 songs where the Beatles completely outplayed the original.

Do you agree or disagree with my assessments? Let me know in the comments.

10 Underrated Gems From The Beach Boys Pre-Pet Sounds Era

The Beach Boys' Pet Sounds is considered one of the greatest albums of all time, and rightfully so in my opinion. The album includes "Wouldn't It Be Nice", "Sloop John B", and "God Only Knows" just to name a few. But, there's something special about the Beach Boys' pre-Pet Sounds era as well. After all, when most people think of the Beach Boys, they think of clean-cut surf rockers. Their early career was loaded with plenty of great hits, like "Surfin' USA", "Surfin' Safari", "I Get Around", and "California Girls". And among these hits were also beautifully tender ballads like "Surfer Girl", "In My Room", and "Don't Worry Baby", songs that charted well in their own right. Well, what about all the album tracks that were deep cuts? Many are pretty forgettable filler, as that was what Brian Wilson tried to avoid when he created Pet Sounds. These 10 tracks, however, are not filler. I sorted through all the filler so you don't have to! Here are 10 underrated early Beach Boys songs that are worth a listen.

1.) Farmer's Daughter

I'll admit, the harmonies on this song are pretty rudimentary. But, the Beach Boys were still in their early stages when they released this song, as it was off their early 1963 album "Surfin' USA". Brian's soaring falsetto carries this song, and I think the melody is very pretty. The song was actually inspired by The Beach Boys touring out in the midwest and hooking up with actual farmer's daughters. Specifically, it was inspired by their 14-year old rhythm guitarist David Marks (later replaced by Al Jardine). Of course, the Beach Boys would reference "the midwest farmer's daughter" in "California Girls" just a few years later, so they were definitely fans of chicks from the farmland. 

David Marks, the forgotten Beach Boy that helped inspire this song.

2.) Lonely Sea

Brian's earliest masterpiece, this deep cut is the best song off the "Surfin' USA" album. Yes, better than the commercial title track and its B-side "Shut Down" (both of which are also pretty awesome, by the way). But while the Mike Love-led surf rock and hot rod songs got the airplay, the haunting "Lonely Sea" lurked under the radar. The opening chord progression sucks you right into its beautiful yet dark melody. Brian was the genius behind this song, though he co-wrote it with Gary Usher. His falsetto once again lifts the song to incredible heights, but when the boys back him up halfway through the song, it creates quite a chilling effect. This is one I would definitely recommend checking out. It's more musically intriguing than anything the Beatles were making at the time, and I obviously don't say that lightly.

Surfin' USA is an album with a lot of filler, but also unheralded gems like "Lonely Sea". 

3.) Surfers Rule

The Beach Boys' drummer Dennis Wilson wasn't exactly the most talented singer in the group, but his attitude definitely lifts up this underrated surfing tune. As the only actual surfer in the Beach Boys, his heart is truly in it when he sings about "a woody full of surfers". The more famous upbeat songs from the Surfer Girl album include "Catch a Wave" and "Little Deuce Coupe", but this energetic song is arguably better than both of them. And while Denny is the main vocalist, Brian joins in on the chorus and the outro. Ah yes, the outro on this song is the stuff of legends. Because this song is about how "surfers rule", the Beach Boys dig at their rival group, singing "Four Seasons, you better believe it". All the while, Brian is singing the falsetto line from "Walk Like a Man". You gotta love the pettiness!

Dennis puts in a solid effort on lead vocals with this one.

4.) Your Summer Dream

"Surfer Girl" may be one of the most uneven albums I've ever listened to in terms of what's good and what's not. There is incredibly forgettable filler songs, yes... but then there's this! And it's not even the best Brian-led ballad on Surfer Girl, as there's also the title track and "In My Room". But, let's not forget about this song, with its serene imagery of a guy walking on the beach with his girl. Brian effortlessly soars through this song's gorgeous melody, And, even though it's a Beach Boys song, it is just Brian who is singing. Backing vocalists, who needs 'em? "Surfer Girl" was the first album where Brian was also acting as sole producer, and the 21-year old's musical genius was already clearly shining on tracks like this.

A young Brian with his guitar in the studio.

5.) In The Parkin' Lot

Beach Boys fans tend to hate on Mike Love for a variety of reasons, but let's throw him a bone. We can actually thank Mike for the group's doo wop flavor, which is definitely present on this song. For being an upbeat song about making out with your girl in the car, there are actually some fantastic harmonies on here. Quite honestly, part of me is surprised this song wasn't released as a single. It could've been the B-side to "Fun, Fun, Fun", rather than their meh cover of "Why Do Fools Fall in Love". But I digress. The song has an interesting beginning and end, with a distinctly Beach Boys "ooo" sound. And throughout much of the song, the boys back up Mike with "doo run, doo run". Yes, the doo wop influence is clear!

This song is on Shut Down Volume 2... quite the interesting album.

6.) The Warmth Of The Sun

Hold on, I know what you must be thinking! "I've heard of this song... how could it be underrated?". I'll give you two reasons. First of all, let's look at how it was treated in 1964. It was buried as the B-side to the vastly inferior "Dance, Dance, Dance". While a lot of Beach Boys' B-sides charted at the time, this one didn't. Now, let's look at how it's treated now. Okay fine, the critics like it. It shows up on a lot of lists like this! But here's the thing, they don't like it enough. For me, this song is in the Good Vibrations/God Only Knows tier of Beach Boys songs. This absolute masterpiece was originally on yet another uneven album in "Shut Down Vol. 2". It outshone even songs like "Don't Worry Baby", in my opinion. Brian's beautiful melody put a unique twist on the traditional 50s chord progression. And its haunting image of lost love was actually somewhat inspired by the recent assassination of JFK. I do give Mike some credit for helping write the simple yet tragic lyrics like "The love of my life, she left me one day". But, it's Brian's beautifully pure voice that carries this incredible song. Hope I've gotten my point across with this one!

Brian and Mike, known for their contentious relationship, made a great collaboration here.

7.) Hushabye

Doo wop fans will be familiar with this one, as it was originally released by the Mystics in 1959. And the Beach Boys were clearly fans of doo wop, doing an okay job on the aforementioned "Why Do Fools Fall in Love", and butchering the Regents' great song "Barbara Ann". But "Hushabye" was no act of butchery, as it's one of the strongest tracks on their 1964 album "All Summer Long". The harmonies are sublime, not detracting too much from the original Mystics version, while also putting the Beach Boys' own spin on it. As you might imagine by now, Brian's falsetto is a key contributor on this song. But, it's Mike that does a great job with singing the "lullabye, and good night" line. An unusual role for him, considering he usually sings the upbeat songs, but it works. This cover is worthy, and dare I say, better than the Mystics' original!

Here are the Mystics, who sang the doo wop original.

8.) We'll Run Away

Times were different in 1964 versus today. Brian's song about a very young couple running away and getting married was, as it turns out, quite real for him. Whereas people wait a long time to get married nowadays (or just don't get married at all), people went straight at it in 1964. Brian was the very young age of 22 when he married his wife Marilyn in 1964... and Marilyn was the much younger age of 16. Not quite Jerry Lee Lewis levels of creepiness, but not good either, Brian. Anyway, why do I bring up this story? Well, just listen to the opening line of this song, "We know they're right when they say we're not ready, but all we care is how we feel right now". Brian was singing about his lived experience here, and so he delivers this song quite passionately. He wanted to prove doubters like his father wrong, both musically and in his personal life.

Brian with his first wife, Marilyn.

9.) I'm So Young

It's another song about marrying young, and another doo wop cover! This time, the original comes from the Students in 1958. Their version is a true doo wop classic, and a lot of 60s groups covered it. The Ronettes did a version of it, but it was overproduced gobbledygook that really detracts from the doo wop original. So, did the Beach Boys do this song justice? Well it's on the list, so yes they did! The Beach Boys keep it simple here, no complex orchestration like on the Ronettes' cover. But Brian's production still adds a unique twist from the Students' version, as the harmonies feel more lush than they do street corner. And the drums on the bridge help give the "I'm... I'm... I'm... so young" line some extra intensity. I still (slightly) prefer the Students' original version, but it's really close.

The Students, the doo wop group that sang the original. 

10.) Amusement Parks U.S.A.

By 1965's album "Summer Days (And Summer Nights)", the Beach Boys were in a transition between their early sound and Pet Sounds. The transition may have actually been even more evident on their previous album, "The Beach Boys Today!". But, this album combines the Beach Boys' traditional message of cars and girls with Brian's increasingly complex musicality and experimentation. And this amusing song about roller coasters at the amusement park is complete with screaming, a carnival barker, and a list of different locations (à la "Surfin' USA). The song is definitely not for everyone, with one critic dismissing it as a "subpar effort" that's a throwback "to the empty-headed summer filler of previous days". But I find this song's goofiness rather charming, and it actually ends by saying that "at first you'll be a chicken" on a ride, "but you'll do it with a girl sittin' right by your side". Those lyrics remind me of the time I went on Steel Force in 6th grade only because I didn't want to look like a chicken to my crush! So, "Amusement Parks U.S.A." certainly speaks to me more than it does the average person. 

Here is Steel Force, which I will never ride again no matter how much I like someone.

So overall, "Amusement Parks U.S.A." might not be one you want to check out. But there are certainly some I'd recommend you look at. I already discussed "Lonely Sea". But if you're a doo wop fan, definitely check out "Hushabye" and "I'm So Young"... see how you like them compared to the originals. "Your Summer Dream" is a truly underrated ballad worthy of your attention. And if for some reason you've never heard "The Warmth of the Sun", stop living under a rock and listen to it now!