364:"You Still Believe in Me" was an interior monologue of self-doubt, exploring and debating Marilyn's patient capacity to forgive Brian's selfishness and creative absorption. Contrasting the rude force of their frequent breakups with the softer tone of their reconciliations, Brian admits the only time he feels in control of the relationship is when she's providing the stability, although he's unable to be what she wants him to be. There is no resolution of the problem, Brian concluding that he wants to "cry."
309:... The changes were the only thing that stayed the same." However, in a 1996 interview, Asher said, "Brian never let me hear the lyric to it. I didn't hear the vocals, but I could hear a little bit of some backgrounds and stuff that were leaking through other but I didn't really hear any melody to it." Later, Asher revised his story again, "If I remember correctly, the original melody sounded exactly the way it does on the album, and someone had already written lyrics."
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349:'You Still Believe In Me' was more of what I would call a man who would not be afraid to take all of his clothes off and sing like a girl because he had feelings for people from that perspective. I was able to close my eyes and go into a world and sing a little more effeminately and more sweet—which allows a lot more love to come down through me, you know what I mean?"
487:"This corresponds to the singer's descriptions of all the ways in which his lover continues to forgive him." Perone adds that "the use of a stepwise falloff of the interval of a third at the end of each verse" is a common device in Wilson's songs, one that often figures "in his introspective songs of alienation (e.g., '
345:, the subject matter of "You Still Believe in Me" derived from Asher and Wilson's intimate discussions regarding their experiences in life and romance. Wilson stated that the song is about a man who feels free to express love in a fashion associated with the opposite sex. He explained to an interviewer,
323:
I always thought wrote that with me in mind. He knew that he was not a good husband, and that I was very lonely, and really didn't get much back from him, and he made me cry all the time, because it was hard to understand that kind of life, what was going on for him. It was like there wasn't much of
337:
Biographer Mark Dillon described the lyrics of "You Still
Believe in Me" as "a musing about the ups and downs of adult romance". In the song, the narrator expresses appreciation for his lover's unwavering loyalty while confessing to his irresponsible behavior and unfaithfulness. He admits that he is
486:
Musicologist James Perone writes that the "snaky" melody in "I want to cry" represents one of the "high points" of the piece. He notes a contrast from the melody heard in prior sections, as the third phrase begins a step higher than the first two melodic phrases, which are identical. In his belief,
451:
compositionally embodies the unique manner in which Brian writes music. In a sense, Brian created a new way of using the scale. His progressions are always going up, then pausing before they go up again, like they're going towards God. As you'll hear clearly on this song, Brian doesn't come down in
603:
I love that melody. That kills me, that melody. That's my favorite, I think. The way that's arranged, where it goes away very quietly. I was in the car the other night, and I was telling the kids, saying, "wait, wait, here it comes." And then it comes back, and it's so beautiful right at the end,
312:
The result of Asher's tryout was "You Still
Believe in Me", and the success of the piece convinced Wilson that Asher was the wordsmith he had been looking for. In a 1996 interview, Wilson summarized "You Still Believe in Me" as a "little 'Boys Choir'-type song with me doing the soprano. Very, very
494:
Like "Wouldn't It Be Nice", there are tempo changes throughout the song. The ending, recorded before Asher rewrote the lyrics, features the sounds of a bicycle bell and horn, a remnant of the song's original childhood theme. Granata writes, "the imaginative use of bicycle bell, bicycle horn, and
523:
but a little more ethereal than that. I am plucking the strings by leaning inside the piano and Brian is holding down the notes on the keyboard so they will ring when I pluck them. I plucked the strings with paper clips, hairpins, bobby pins and several other things until Brian got the sound he
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The changes in the verses are contrasted with the more complex progression heard in the chorus ("You still be- -lieve in me"). At this point in the piece, Wilson's solo lead vocal is joined by full group vocals. Lambert characterizes the abrupt shift in harmonic complexity as evocative of a
295:
about a possible lyric collaboration, wanting to do something "completely different" with someone he had never written with before. Asher accepted the offer, and within ten days, they were writing together. Wilson played some of the music he had recently recorded and gave a cassette to Asher
291:, "Brian already had a set of lyrics that fit with the tune's sweet vaguely melancholy sound and quirky textural effects (a bicycle horn and bell). But he didn't like his lyrics anymore and wanted to adapt the tune to another concept." In December 1965, Wilson contacted jingle writer
433:, the repetition in the verse progression appears to reflect "the constancy of the girl's faith and spirit", whereas the simplistic melodies and overall mood of the piece "captures the guy's immaturity". After the first two sections, the progression rests on a G
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Given the tight chronology of their collaboration, Lambert writes, "Asher seem to have learned a lot about Brian's inner feelings after only one day of discussions, and perhaps he knew some of Brian's earlier songs that develop similar themes, like
515:. On January 24, 1966, the introduction to the song, now titled "You Still Believe in Me", was recorded at Western. Wilson and Asher created the backing track of this section by plucking a piano's strings with a bobby pin. Asher explained:
247:
The lyrics are about a man who, while acknowledging his irresponsible behavior and unfaithfulness, is impressed by the unwavering loyalty of his lover, who is left shouldering the stability of their relationship. Wilson's then-wife
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that something new and wonderful was happening to pop music" and referred to the ending coda as the "moment that you realize that something in pop music has irrevocably crossed the line and merged with a classical sensibility."
528:
Group vocals were overdubbed on or before
February 16 at Western. Lead vocals were partially redone at a later date; the double-tracking for Wilson's lead was recorded live-to-tape during the mono mixdown. This meant that when
188:
377:': fragile lovers buckling under the pressure of external forces they can't control, self-imposed romantic expectations and personal limitations, while simultaneously trying to maintain faith in one other."
372:
that contains such introspective themes which pervade the rest of the album. Commenting on its placement on the record, music critic Jim Esch said the song develops "a theme inaugurated and suggested by
982:... not because anybody thought it was a good idea to keep it because it was mixed down into a track. You didn't have twenty-four tracks in those days, and you mixed some tracks that would lock in."
338:"not where I should be", and though he puts forth effort in the relationship, he has occasionally "fail myself". The relationship's stability is thus shouldered by the more mature partner.
186:
533:
was first remixed for stereo in 1996, this double-tracked vocal could not be isolated. Instead, only the single-tracked vocal was used on the stereo remix included with
187:
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The Beach Boys performed "You Still
Believe in Me" at their live concerts during the early 1970s. One of these performances was included on the band's 1973 album
299:
There are discrepancies from Asher as to whether "In My
Childhood" had a recorded vocal or a different melody at this juncture. Quoted in the 1978 biography
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The inside of a piano. To create the harpsichord sound heard at the beginning of the song, Asher plucked piano strings with a bobby pin.
413:, and the first of only five tracks on the album that does not modulate or waver into other keys. The song features frequent use of the
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944:. There's an example of a guy who has a fairly masculine sounding voice. 'You Still Believe In Me' was quite the opposite."
287:"You Still Believe in Me" was originally conceived by Wilson as a song titled "In My Childhood". According to biographer
615:, similarly praised "You Still Believe in Me" as his favorite song on the album. Schneider said, "It's just so beautiful
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unknown – additional engineers (possibly Ralph
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comes surging back in these multi-colored harmonies. Sends shivers up my spine. That's one of my favorite tracks.
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561:... a delicate backing which thank heavens doesn't interfere with the complicated but smoothflowing [
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similarly attributed an autobiographical element to the song as viewed through Brian's perspective. He writes,
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in New York. Wilson, who attended the show, later remarked of this performance, "it blew my fucking mind".
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Wilson produced the first session for the instrumental track, logged as "Untitled", on
October 14, 1965 at
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surmised that this choice of subject matter was indebted to the couple's marital struggles at the time.
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Inside the Music of Brian Wilson: The Songs, Sounds, and
Influences of the Beach Boys' Founding Genius
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279:. Wilson and Asher created the song's ethereal intro by plucking a piano's strings with a bobby pin.
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from the root, is similar to the other songs on the album which do change key, albeit from down a
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The
Nearest Faraway Place: Brian Wilson, the Beach Boys, and the Southern Californian Experience
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232:. Initially conceived as "In My Childhood", it was the first songwriting collaboration between
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Definitive Diary of America's Greatest Band, on Stage and in the Studio
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The Album: A Guide to Pop Music's Most Provocative, Influential, and Important Creations
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finger cymbals evoke a juvenile air that the immature attitude projected by lyric."
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Lambert, Philip (2016). "Brian Wilson's Harmonic Language". In Lambert, Philip (ed.).
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chord changes" further solidifies the contrast between the verses. The resolution to
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Mavericks of Sound: Conversations with Artists Who Shaped Indie and Roots Music
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On May 16, 1966, "You Still Believe in Me" was released as the second track on
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chord (VI), occurring on the line "love to me", and is followed shortly by the
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Wouldn't It Be Nice: Brian Wilson and the Making of the Beach Boys' Pet Sounds
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Catch a Wave: The Rise, Fall, and Redemption of the Beach Boys' Brian Wilson
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We were trying to do something that would sound sort of, I guess, like a
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Good Vibrations: Brian Wilson and the Beach Boys in Critical Perspective
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Good Vibrations: Brian Wilson and the Beach Boys in Critical Perspective
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599:. In a 1990 interview, McCartney stated of "You Still Believe in Me":
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quoted an unnamed "classically-trained musician" discussing the song:
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2003:
O'Regan, Jadey (2016). "When I Grow Up". In Lambert, Philip (ed.).
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reviewer Jim Esch decreed that the song "signalled to listeners of
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felt that Brian had based the song on their marriage. Biographer
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Fifty Sides of the Beach Boys: The Songs That Tell Their Story
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551:. In his self-described "unbiased" review of the album for
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A Google Designer Visualizes The Beach Boys' Pop Ecstasy
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for part of the percussion in "You Still Believe in Me".
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401:"You Still Believe in Me" is the only composition on
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978:Asher said, "The bicycle bell part—that was kept
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652:– at a Brian Wilson tribute concert held at the
1654:: CS1 maint: others in cite AV media (notes) (
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725:– additional vocals in intro (uncertain credit)
61:October 14, 1965 – February 1966
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2121:You Still Believe in ME (1993 live version)
2110:You Still Believe in Me (1973 live version)
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1961:(1). Cambridge University Press: 109–133.
1695:: CS1 maint: location missing publisher (
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862:List of cover versions of Beach Boys songs
623:, really it's this song I bring to mind".
2227:Don't Talk (Put Your Head on My Shoulder)
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1853:"The Beach Boys – Pet Sounds – May 1966"
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2404:Sgt. Petsound's Lonely Hearts Club Band
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2383:Do It Again: A Tribute to Pet Sounds
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800:– double-tracked 12-string electric
664:Per band archivist Craig Slowinski.
626:
255:One of the first songs produced for
694:– lead vocal; plucked piano strings
640:In 2001, the song was performed by
13:
2637:Carl and the Passions – "So Tough"
2390:MOJO Presents Pet Sounds Revisited
2287:I Just Wasn't Made for These Times
1885:. New York: Grosset & Dunlap.
1002:Miers, Jeff (September 29, 2016).
967:I Just Wasn't Made for These Times
940:Wilson went on to say, "It's like
417:(six uninterrupted repeats of I–ii
222:" is a song by American rock band
14:
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2574:Summer Days (And Summer Nights!!)
2102:
1534:Elliott, Brad (August 31, 1999).
855:
2009:. University of Michigan Press.
1988:. University of Michigan Press.
1855:. In Charlesworth, Chris (ed.).
1599:Jopling, Norman (July 2, 1966).
1354:
2560:The Beach Boys' Christmas Album
1857:25 Albums that Rocked the World
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1562:"Notes on Recording and Mixing"
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1171:"The Observers: Marilyn Wilson"
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2132:You Still Believe In Me (2018
1947:Lambert, Philip (March 2008).
995:
429:7). According to musicologist
393:. This tool was paired with a
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267:, 12-string electric guitars,
244:. Wilson sang the lead vocal.
1:
2752:Songs written by Brian Wilson
2714:That's Why God Made the Radio
2397:Pet Sounds: In the Key of Dee
1277:"Interview with Brian Wilson"
989:
688:– bass vocals, backing vocals
282:
2134:Royal Philharmonic Orchestra
1900:Granata, Charles L. (2003).
1669:Ensminger, David A. (2014).
773:Bill Green – contra-clarinet
659:
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498:
452:the middle of a progression.
7:
2757:Songs written by Tony Asher
2344:The Little Girl I Once Knew
2082:I Am Brian Wilson: A Memoir
1950:"Brian Wilson's Pet Sounds"
953:The other four tracks are "
16:1966 song by the Beach Boys
10:
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1734:Wilson & Greenman 2016
1500:. Endless Summer Quarterly
859:
443:in the chorus. Biographer
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2024:Perone, James E. (2012).
1967:10.1017/S1478572208000625
1932:. Bloomsbury Publishing.
1630:"Paul McCartney Comments"
1357:"You Still Believe in Me"
848:– engineer (instrumental)
634:The Beach Boys in Concert
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167:"You Still Believe in Me"
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24:"You Still Believe in Me"
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2707:Stars and Stripes Vol. 1
2679:Keepin' the Summer Alive
2454:Brian Wilson is a genius
2273:I Know There's an Answer
2241:Let's Go Away for Awhile
1536:"Pet Sounds Track Notes"
963:I Know There's an Answer
901:
2658:The Beach Boys Love You
2485:The Pet Sounds Sessions
2418:A Tribute to Pet Sounds
2234:I'm Waiting for the Day
2213:You Still Believe in Me
1955:Twentieth-Century Music
1634:The Pet Sounds Sessions
1566:The Pet Sounds Sessions
1281:The Pet Sounds Sessions
1175:The Pet Sounds Sessions
1146:The Pet Sounds Sessions
1057:The Pet Sounds Sessions
955:I'm Waiting for the Day
719:– plucked piano strings
536:The Pet Sounds Sessions
341:As with other songs on
240:leader, and songwriter
220:You Still Believe in Me
2337:How Deep Is the Ocean?
1775:Badman, Keith (2004).
1747:"For the Stars review"
1538:. beachboysfanclub.com
1053:"Tony Asher interview"
770:– acoustic grand piano
606:
526:
508:
454:
398:
366:
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275:, pianos, basses, and
226:from their 1966 album
192:
2747:Psychedelic pop songs
2567:The Beach Boys Today!
1824:Dillon, Mark (2012).
1498:beachboysarchives.com
1449:Doe & Tobler 2009
917:She Knows Me Too Well
654:Radio City Music Hall
601:
517:
506:
475:VI (G major), down a
449:
388:
362:
321:
191:
2742:The Beach Boys songs
1908:. A Cappella Books.
1712:, pp. 289, 332.
1675:. Lanham, Maryland.
1318:, pp. 249, 252.
1142:"Song by Song Notes"
929:You're So Good to Me
880:Anne Sofie von Otter
613:the Apples in Stereo
329:—Wilson's then-wife
2351:Stella by Starlight
2330:Hang On to Your Ego
2206:Wouldn't It Be Nice
1650:cite AV media notes
1297:cite AV media notes
1191:cite AV media notes
1073:cite AV media notes
375:Wouldn't It Be Nice
2700:Summer in Paradise
2672:L.A. (Light Album)
2581:Beach Boys' Party!
2546:Shut Down Volume 2
2539:Little Deuce Coupe
1799:Carlin, Peter Ames
1783:. Backbeat Books.
1492:Slowinski, Craig.
1342:, pp. 28, 30.
543:Critical reception
509:
399:
352:Brian's then-wife
193:
2767:Chamber pop songs
2724:
2723:
2491:Pet Sounds Studio
2310:
2309:
2093:978-0-306-82307-7
2086:. Da Capo Press.
2037:978-0-313-37907-9
2016:978-0-472-11995-0
1995:978-0-472-11995-0
1939:978-1-4411-0748-0
1892:978-0-448-14626-3
1866:978-0-85712-044-1
1859:. Omnibus Press.
1839:978-1-77090-198-8
1816:978-1-59486-320-2
1790:978-0-87930-818-6
1463:, pp. 77–78.
730:Session musicians
627:Live performances
415:ii–V–I turnaround
324:a relationship .
289:Peter Ames Carlin
216:
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189:
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2473:Love & Mercy
2429:Related articles
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896:Transistor Radio
743:, finger cymbals
706:– backing vocals
700:– backing vocals
682:– backing vocals
676:– backing vocals
618:
609:Robert Schneider
570:
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2553:All Summer Long
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2017:
1996:
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1574:Capitol Records
1555:
1551:
1541:
1539:
1532:
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1520:
1513:
1503:
1501:
1494:"Pet Sounds LP"
1490:
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1435:
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1423:
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1367:on May 9, 2012.
1353:
1346:
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1289:Capitol Records
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642:Wilson Phillips
629:
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567:] harmonies
558:
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40:from the album
17:
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5:
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2754:
2749:
2744:
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2696:
2693:Still Cruisin'
2689:
2686:The Beach Boys
2682:
2675:
2668:
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2647:
2640:
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2528:
2525:Surfin' U.S.A.
2521:
2518:Surfin' Safari
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2441:The Beach Boys
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2414:
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2393:
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2365:Trombone Dixie
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2103:External links
2101:
2099:
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2046:White, Timothy
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2015:
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1726:
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1638:The Beach Boys
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1591:
1589:, p. 134.
1579:
1570:The Beach Boys
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1285:The Beach Boys
1263:
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1214:
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1179:The Beach Boys
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1061:The Beach Boys
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921:Guess I'm Dumb
906:
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876:Elvis Costello
872:
869:Kirsty MacColl
857:
856:Cover versions
854:
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836:
835:
825:Julius Wechter
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723:Marilyn Wilson
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680:Bruce Johnston
677:
668:The Beach Boys
661:
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593:Paul McCartney
585:
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541:
513:Western Studio
500:
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431:Philip Lambert
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273:finger cymbals
236:, the group's
224:the Beach Boys
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2056:. Macmillan.
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1450:
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1096:
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1036:
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1024:
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975:
968:
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926:
925:Kiss Me, Baby
922:
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885:For the Stars
881:
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814:
812:
811:bass clarinet
808:
805:
803:
802:mando-guitars
799:
798:Barney Kessel
796:
794:
793:electric bass
790:
787:
784:
781:
778:
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772:
769:
768:Steve Douglas
766:
764:
760:
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753:Glen Campbell
751:
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734:
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704:Dennis Wilson
702:
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358:Timothy White
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2677:
2670:
2665:M.I.U. Album
2663:
2656:
2649:
2642:
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2607:
2600:
2595:Smiley Smile
2593:
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2537:
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2500:
2483:
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2417:
2411:Smiling Pets
2409:
2402:
2395:
2388:
2381:
2301:Caroline, No
2248:Sloop John B
2212:
2181:
2133:
2081:
2051:
2030:. ABC-CLIO.
2026:
2005:
1984:
1958:
1954:
1928:
1903:
1880:
1856:
1849:Tobler, John
1827:
1804:
1778:
1768:Bibliography
1754:. Retrieved
1750:
1741:
1729:
1717:
1705:
1671:
1664:
1633:
1611:– via
1606:
1594:
1582:
1565:
1558:Linett, Mark
1552:
1540:. Retrieved
1529:
1522:Granata 2003
1502:. Retrieved
1497:
1473:Granata 2003
1468:
1456:
1444:
1437:Granata 2003
1432:
1408:Lambert 2007
1403:
1396:Lambert 2016
1381:Lambert 2008
1365:the original
1335:
1323:
1311:
1280:
1259:O'Regan 2016
1254:
1247:Lambert 2008
1242:
1235:Lambert 2007
1205:
1174:
1145:
1122:Granata 2003
1102:
1095:Granata 2003
1056:
1030:
1018:
1007:
1004:"Sound plan"
997:
974:
959:Sloop John B
949:
942:Kenny Rogers
936:
910:
895:
883:
839:
838:
829:bicycle bell
820:upright bass
807:Jay Migliori
783:Plas Johnson
741:bicycle horn
729:
728:
710:
709:
692:Brian Wilson
667:
666:
663:
639:
632:
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400:
395:bicycle bell
391:bicycle horn
369:
367:
363:
351:
342:
340:
336:
327:
322:
313:spiritual."
311:
300:
298:
286:
277:bicycle horn
256:
254:
246:
237:
234:Brian Wilson
227:
219:
217:
178:Audio sample
151:Brian Wilson
130:Brian Wilson
53:May 16, 1966
41:
18:
2651:15 Big Ones
2532:Surfer Girl
2467:Chamber pop
2446:discography
1875:Leaf, David
1722:Badman 2004
1710:Badman 2004
1636:(Booklet).
1587:Badman 2004
1568:(Booklet).
1425:Perone 2012
1355:Esch, Jim.
1340:Perone 2012
1283:(Booklet).
1210:Dillon 2012
1177:(Booklet).
1148:(Booklet).
1138:Leaf, David
1059:(Booklet).
1035:Carlin 2006
1023:Carlin 2006
846:Chuck Britz
763:harpsichord
747:Chuck Britz
698:Carl Wilson
589:The Beatles
521:harpsichord
481:minor third
477:major third
405:set in the
381:Composition
261:harpsichord
146:Producer(s)
85:Chamber pop
74:, Hollywood
2737:1966 songs
2731:Categories
2602:Wild Honey
2588:Pet Sounds
2436:Tony Asher
2294:Pet Sounds
2280:Here Today
2183:Pet Sounds
2063:0333649370
1809:. Rodale.
1328:White 1996
1316:White 1996
990:References
860:See also:
789:Carol Kaye
785:– clarinet
779:– clarinet
759:Al de Lory
749:– engineer
737:Hal Blaine
717:Tony Asher
674:Al Jardine
621:Pet Sounds
597:Pet Sounds
577:Pet Sounds
549:Pet Sounds
531:Pet Sounds
489:In My Room
445:David Leaf
403:Pet Sounds
370:Pet Sounds
343:Pet Sounds
293:Tony Asher
283:Background
257:Pet Sounds
242:Tony Asher
229:Pet Sounds
135:Tony Asher
43:Pet Sounds
2630:Surf's Up
2623:Sunflower
1975:162871617
1691:cite book
1461:Leaf 1978
1107:Leaf 1978
816:Lyle Ritz
686:Mike Love
660:Personnel
584:Influence
499:Recording
467:jazzified
459:music box
265:clarinets
2315:Outtakes
2258:Side two
2198:Side one
2136:version)
2078:(2016).
2048:(1996).
1926:(2007).
1877:(1978).
1851:(2009).
1801:(2006).
1751:Allmusic
1560:(1997).
1542:March 3,
1361:AllMusic
1140:(1997).
927:,' and '
871:, single
777:Jim Horn
573:AllMusic
539:(1997).
472:♭
436:♯
426:♯
420:♯
238:de facto
58:Recorded
50:Released
2644:Holland
2609:Friends
2141:YouTube
2126:YouTube
2115:YouTube
1756:June 9,
1644:. 1997.
1291:. 1997.
1185:. 1997.
1067:. 1997.
965:" and "
892:M. Ward
890:2005 –
874:2001 –
867:1981 –
833:timpani
524:wanted.
411:B major
354:Marilyn
331:Marilyn
269:timpani
250:Marilyn
172:YouTube
113:Capitol
72:Western
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646:Carnie
617:
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461:being
317:Lyrics
307:
91:Length
67:Studio
2616:20/20
2502:Smile
2191:Songs
1971:S2CID
902:Notes
711:Guest
650:Wendy
571:..."
491:')."
108:Label
80:Genre
2088:ISBN
2058:ISBN
2032:ISBN
2011:ISBN
1990:ISBN
1934:ISBN
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1887:ISBN
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1834:ISBN
1811:ISBN
1785:ISBN
1758:2011
1697:link
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1544:2009
1506:2018
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96:2
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