Skip to main content

California Unplugged: “Barbara Ann” by The Beach Boys




There is something ironic about the fact that the Beach Boys’ only appearance in this list is with their most spontaneous and least thought-through record, not to mention that “Barbara Ann” also proved to be their big British breakthrough hit, much to the annoyance of some of the group (“I Get Around” had made the UK top ten in 1964, largely because the Beach Boys came to Britain to promote it, but their subsequent singles tended to stall in the mid-twenties under the presumption that they were “too American” for British ears).

“Barbara Ann” is the song which closes the Beach Boys’ Party! album. Capitol demanded new product for Christmas ’65 but Brian refused to be rushed into new material; they had already released a Christmas album and a live album and it was too early for a greatest hits compilation, so the compromise of a “party” record – which in the mid-sixties was unprecedented for a pop group – was reached. Actually the party was in the studio and aided with sound-effects, and was no more a real party or gig than the records that David Axelrod had got Cannonball Adderley and Lou Rawls to make for Capitol. But the good-time atmosphere worked for fans.

A third point of irony is that Brian had Pet Sounds and presumably the embryo of “Good Vibrations” in his head while making this record. Listening to their reading of the Regents’ 1961 doo-wop hit, however, this record isn’t really that far away from “Good Vibrations.” On the album it starts with some tuning-up and a chorus of “Baa Baa Black Sheep” before the group hits the song proper, with Brian doing the “baa baa baa”s and the visiting Dean Torrence taking the falsetto lead. The song then collapses, via ashtrays and laughter, into several one-more-once false endings. But the vibrations here are indeed good and the Beach Boys letting their hair down proved refreshing enough for “Barbara Ann” to appear here. Their subsequent work was loved in Britain and remains sorely misunderstood by American critics, concerned with remembering their youth rather than assessing the music honestly. There isn’t anything here to raise the suspicion that by the end of the same year they’d have overtaken the Beatles, although perhaps that carefree feeling was being steadily rubbed out by an uncomfortable soul. Still, even in this embryonic form, there lie the seeds of what is shortly to come; and, as Lena reminds me, there is no more radiant reminder of what it was like to grow up in late sixties/early seventies California than the music of the Beach Boys.

Date Record Made Number Two: 29 January 1966
Number Of Weeks At Number Two: 2
Records At Number One: “We Can Work It Out” by The Beatles and “My Love” by Petula Clark
UK Chart Position: 3

Comments

Popular posts from this blog

A Disaffection, Or Fight Against Same: “Baker Street” by Gerry Rafferty

Even as a young teenager growing up in Lanarkshire, I was always listening out for music that sounded out of kilter, whether it was George Crumb’s Makrokosmos III (the closing section of which I heard on a Saturday afternoon on Radio 3) or anything which “irrupted” the top forty. From the first time that I heard “Baker Street” on the radio – I think it was Dougie Donnelly on Radio Clyde – I was immediately hooked, mentally noting that this song seemed to go as much against the grain of a standard pop record as anything coming out of punk or New Wave, and was probably just as angry, if not angrier. For forty years I harboured the notion – and this was from a time when visiting London, never mind living and working in it, was still a distant pipedream – that the song encapsulated the situation of the displaced Scotsman, marooned in a world he doesn’t really like or perhaps even understand. Make no mistake, this is undeniably a Scottish record, and seemingly all about someone...

“I Would Have Thought In The Middle Of The Atlantic In The Middle Of The Night That Rockets Must Mean Trouble”: “I’m Not In Love” by 10cc

"watching for night, with absinthe eye cocked on the lone, late, passer-by." (Sylvia Plath, "Prospect," 1956) This story begins in 1954, before most people had really recognised anything called rock, and a pop record which is half-perfect. That record, which stayed at number one in our charts for ten weeks, was “Cara Mia” by David Whitfield with Mantovani and his Orchestra and Chorus. Now, Whitfield was never the most subtle of singers and his in-your-face bellowing is somewhat distracting – it is significant that he was the first British reality media star (not from television, because at that time Opportunity Knocks was only broadcast on Radio Luxembourg) since his climactic high C at the end of “Cara Mia” is like a display of gymnastics, or an athletic field event; can he do that triple loop or throw that javelin beyond the stadium? It proves that technical prowess can often render itself unlistenable. But the magic here lies in the extraordinary ...

Hey Now, Hey Now Now, Burn This Corrosion To Me: “Fire” by The Crazy World Of Arthur Brown

More so than “Born To Be Wild,” “Fire” marks the dividing line, where pop turns into rock, where psychedelia mutates into progressive, between fun for all the family and parents keep the hell out. Number one in Britain when I was four years old, it scared the shit out of me at the time. Even in a year which could already have been classified as pop in extremis – Dave Dee’s whip on “Legend Of Xanadu,” Jagger’s sympathetic Devil make-up on “Jumping Jack Flash” – Arthur Brown’s flaming colander crown and a Top Of The Pops performance of the song which appeared to show the band burning in forests of flame gave me genuine nightmares; not to mention the moment in the long-gone Vale Café in Tollcross when I accidentally pressed the wrong button on the jukebox and “I AM THE GOD OF HELLFIRE!” roared out. Now I already had cause enough to have nightmares in 1968, for reasons with which I shan’t bore you here. It wasn’t that pleasant a year, even from my juvenile perspective. But the...