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Stories in Beat that you’ll love, handpicked by our team.
'20/20'
"Do It Again" the track that would ultimately open the Beach Boys final album on Capitol Records which was released on February 10th 1969 had originally been released as a single in August of 1968. The track was the first of many post-Pet Sounds era throwbacks to the early Beach Boys sound which would become continually more cliched and eventually lead the Beach Boys to the level of self-parody they would eventually succumb to in the 1980s while their closest contemporaries The Beatles nearing the end of their run in 1969 would go on to be viewed as the most influential band of all time. However, the song itself is not bad on its surface, and it opens with a futuristic sounding (for 1969) drumbeat captured by then-Beach Boys engineer Stephen Desper using tape delays on the drums performed by Dennis Wilson and John Guerin. The song has been re-recorded numerous times over the years on various Beach Boys-related projects most notably the 2011 re-recording at Capitol studios featuring the five surviving Beach Boys at the time backed instrumentally by various members of both the Brian Wilson Band and Mike Loves touring "Beach Boys" to promote the then upcoming Beach Boys 50th Anniversary reunion tour in 2012. The hammering and power drill sound at the end of the song was an excerpt from a track called "Workshop" that was to be a part of the uncompleted "SMiLE" album.
By Sean Callaghan6 days ago in Beat
I’ll Sing to That
“Days of Wine and Roses” is a song that was written by Henry Mancini with lyrics by Johnny Mercer. It received the Academy Award for Best Original Song and the 1964 Grammy for Record of the Year and Song of the Year. It was recorded by the American singer Andy Williams, and his version charted on the Billboard Hot 100 and Adult Contemporary charts. My favorite version has always been the one recorded by the Bee Gees member Robin Gibb.
By Rasma Raistersabout a month ago in Beat
Rock The Menorah! 20 Rock Stars Who Are Jewish
Judaism has a rich musical history and tradition, so it shouldn't be a surprise that some of the most predominant rock stars in history are Jewish. In Jewish culture, music is used to celebrate, to reflect, and share scripture and prayer.
By Jenika Enoch26 days ago in Beat
Ukrainian Anti-War Songs
I've been meaning to compile this list for a long time. With a four-year marking point of the war approaching in February 2026 and the anti-war songs in Ukrainian music ever expanding, I wanted to present an essential list of the songs I listen to frequently.
By Lana V Lynx2 months ago in Beat
'Smiley Smile'
After the relatively disappointing sales of Pet Sounds in May of 1966 and the subsequent release of the Best of The Beach Boys compilation a few months later. One would think Brian Wilson would have taken the advice of Capitol Records executives and return to churning out more hits about Surfing, cars and other creatively stifling teenage themed subject matter. Thankfully, That wasn't Brian's way. Instead he followed his muse into even more adventurous and unique sounds. He was at first very successful at this spending most of the summer of 1966 at various Los Angeles Studios recording what he called his "Pocket Symphony". Various sections of music were recorded at many different studios and assembled into a final piece. While Pet Sounds lyricist Tony Asher did attempt an early draft of lyrics for the song ultimately titled "Good Vibrations". Ultimately Brian's most frequent collaborator, Bandmate and cousin Mike Love dictated to his wife while driving to the studio one day the final lyrics. He also added the vocal hook of the song based on the songs bassline (A fact he will never tire of pointing out.) Carl Wilson would sing the ethereal verses of the song. The song featured extensive use of the Electro-Theremin instrument designed and played by Paul Tanner which had briefly appeared on the Pet Sounds track "I Just Wasn't Made For These Times." The outro features a thumping cello part suggested by Carl Wilson. The final song was finally edited together for release in October of 1966. It went on to become The Beach Boys second number one hit and a defining piece of 60s popular culture. At the end of the year a poll in a British music publication saw the Beach Boys top the Beatles in their home country as the biggest vocal band in the world. Unfortunately after this Brian and the Beach Boys winning streak would come to a bitter end following the non-release of their next planned album SMiLE originally slated to be released in January 1967 to follow Good Vibrations. Now the story of the SMiLE album will be featured in a separate future article because it is way more complicated than can be addressed here. Brian had been working with lyricist Van Dyke Parks on the songs for SMiLE during the fall of 1966 and spring of 1967. However due to a combination of the resentment of his fellow bandmates (Mike Love in particular.) and uncertainty about how to finish the final edit along with drug exacerbated mental health problems. Brian would abandon the project in the Spring of 1967. Still contractually obligated to deliver a new album. The band re-grouped at Brian's new house with his wife at the time Marilyn on Bellagio Road in Beverly Hills. The resulting album called Smiley Smile, whose name was suggested by Brian's young cousin Barry Turnbull, was recorded mostly by the band doing all the instrumental and vocal parts themselves as well as sharing the final production credit. This would be the first Beach Boys album since Surfin' USA not to feature Brian Wilsons credit as sole producer. It was released in the fall of 1967 to a world still in thrall from The Beatle's Sgt. Peppers Lonely Hearts Club Band album earlier in the summer and the Monterey Pop Festival which the Beach Boys famously pulled out of at the last minute which would permanently taint their reputation with the burgeoning counterculture.
By Sean Callaghan3 months ago in Beat
Mercury rising
It doesn’t feel like the Mercury Music Prize deserves all that much praise for finally lifting its gaze beyond the M25. Yes, it’s nice that the music industry is apparently aware that there’s more to life than London. But it’s taken 33 years to reach that far-from-groundbreaking conclusion.
By Andy Potts3 months ago in Beat
Songs That Should Not Exist
There are so many songs I could add to this list. 1. “Friday” – Rebecca Black Listen here “Friday” is the aural equivalent of stepping barefoot on a Lego. Every note is a testament to what happens when ambition meets no discernible talent. The autotuned vocals are robotic, the lyrics read like a diary of a caffeinated thirteen-year-old, and the beat is an unrelenting metronome of despair. Listening to this song is simply unpleasant. It is an experience of existential torment wrapped in a pop veneer.
By Tim Carmichael4 months ago in Beat
My 5 Favourite Albums Ever
For those of you who are Facebook friends, you may see certain songs featured on my story from time to time. I don’t usually share my music taste unless you’re a close mate and so, consider yourself a close mate. I’m actually writing the majority of this on my phone and I’m hoping to keep it short.
By Annie Kapur4 months ago in Beat
