surfin safari band

• classic rock
• Surfin' Safari
• The Beach Boys

The Story Behind “Surfin’ Safari” by The Beach Boys and How Two Crucial Changes Helped Make the Song a Hit

by Jay McDowell May 30, 2024, 6:30 am

After The Beach Boys tasted success with “Surfin'” on the Candix label, songwriter Brian Wilson’s father Murry set about getting the young group a proper record deal. He took a mortgage on his house and arranged several recording sessions. Brian wrote a couple of songs with Gary Usher, a pair with lead singer Mike Love, and a single song by himself. Armed with this new material, The Beach Boys went into World Pacific Studio and recorded these songs on February 8, 1962.

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The band would go on to record all of the songs again later, but those recordings were good enough to get Nick Venet of Capitol Records to sign The Beach Boys to a recording contract. Just over two months later, they went to Western Studios and rerecorded two of the songs—and both would enter the U.S. charts. Let’s take a look at the story behind one of them, “Surfin’ Safari” by The Beach Boys.

Let’s go surfin’ now Everybody’s learnin’ how Come on and safari with me (Come on and safari with)

The Record Deal

Murry Wilson was not confident in his son Dennis’s drumming abilities. Brian arranged for Gene Krupa to play the session. They wanted Dennis to provide vocals, but he stormed out of the studio when Krupa showed up. As the session continued, Krupa’s playing was not what they were looking for, and Dennis came back and played. On April 19, the band recorded “Surfin’ Safari” (written by Brian Wilson and Mike Love), “409,” and “Lonely Sea” (written by Brian Wilson and Gary Usher).

Murry Wilson took the tapes around to several labels with no success. He then reached out to his old friend Ken Nelson, the country music A&R man from Capitol Records. He put Murry in touch with 22-year-old Nick Venet. Murry, Brian, Usher, and Venet met at the Capitol Tower, and the young executive instantly believed “Surfin’ Safari” was a No. 1 single. Venet told author William McKeen, “Before eight bars had spun around, I knew it was a hit record. I wasn’t one to hide my feelings. I got all excited, and of course, [Murry] got excited because he wasn’t one to hide his feelings either. I knew the song was going to change West Coast music.” Capitol offered $300 per song master, plus 2.5% royalties, with proceeds split between Brian, Usher, and Murry.

Early in the mornin’, we’ll be startin’ out Some honeys will be comin’ along We’re loadin’ up our Woody with our boards inside And headin’ out singin’ our song

A New Guitarist

The only difference in personnel between the first and second recording was the guitarist. Al Jardine was on the earlier version, but just as the band was signing with Capitol Records, he decided to leave the group as he felt they had little chance of success. Wilson’s neighbor David Marks took over guitar duties and appeared on the second recording of “Surfin’ Safari.” Marks told author Keith Badman, “When Brian sat down at the piano and played ‘Surfin Safari’ and said this is our next hit, I got chills. Got goosebumps, man. We jumped around and pounded him on the back, ‘God, you’re a genius, man!'”

Come on, baby, wait and see (surfin’, surfin’ safari) Yes, I’m gonna take you surfin’ with me (surfin’, surfin’ safari) Come along, baby, wait and see (surfin’, surfin’ safari) Yes, I’m gonna take you surfin’ with me (surfin’, surfin’ safari)

Murry Suggests Two Changes

During the recording session at Western, Murry encouraged the band to move up the song’s key a whole step to make it younger-sounding. He also adjusted the guitar tone, rolling off the bass to give it more treble. Brian was pushing for more low-end, but Mike Love later attributed the record’s success to the thin-sounding guitars that cut through the airwaves.

“409”

The B-side was “409.” There have been conflicting accounts of whether or not Capitol wanted it to be on the A-side. Murry felt strongly about continuing the surfing theme but seemed to believe the record company was pushing for the hot-rod song to be the lead single. Venet later claimed, “If it was ‘409’ I was interested in, why did I have the group take pictures at the ocean with a surfboard?” Sales of “Surfin’ Safari” first spiked in New York and the midwest, rather than on the West Coast. Said Venet, “We were getting reports from spots like Phoenix, Arizona, where you couldn’t go surfing if you tried.”

Murry Pulls It off

It’s well documented how many troubles came from Murry’s actions as The Beach Boys’ manager. However, when it came to getting a record deal, the senior Wilson pulled it off when Capitol Records began their long-term relationship with the band. The Beach Boys would have one of the most successful careers of any American band of their time. Unbeknownst to the Southern California teens, four long-haired fellows on the other side of the Atlantic Ocean released a song in England called “Love Me Do” just four days after “Surfin’ Safari debuted in America. The two bands would cross paths many times in the future, inspiring each other and pushing each side to higher levels.

They’re anglin’ in Laguna in Cerro Azul They’re kickin’ out in Doheny too I tell you, surfing’s mighty wild. It’s gettin’ bigger every day From Hawaii to the shores of Peru

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Surfin' Safari

The Surfin’ Safari Band is an exciting new group comprised of 5 experienced, talented, and versatile musicians who all share a passion for the ever popular Oldies and Golden Oldies music genres. The group is extraordinarily strong vocally.

The goal of this group is to present a different, exciting, and appealing entertainment experience…a significant change of pace that will appeal to audiences and customers over a broad range of ages; young, old, and in between.  This band exclusively performs the “Oldies” and “Golden Oldies”; that is, 50’s and 60’s music, DooWop, Surfin’ Music, Rockabilly, and more.

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The Beach Boys Hold ‘Family Reunion’ at ‘Surfin’ Safari’ Spot in Clip From Band’s Documentary

By Daniel Kreps

Daniel Kreps

The Beach Boys hold a “family reunion” at the same spot where their Surfin’ Safari was photographed in this exclusive clip from the upcoming Disney+ documentary about the trailblazing group.

In The Beach Boys clip from 2023 — and premiering on the 58th anniversary of the release of Pet Sounds — director Frank Marshall gathers the group’s Brian Wilson, Mike Love, and Al Jardine at California’s Paradise Cover, where the cover of their 1962 debut album was captured; Marshall even conjured up the original surfboard featured on the cover.

“The fact that this group came along and put lyrics and harmony to surf music, the Beach Boys sound is the sound of joy, so I thought it would be sort of poetic for the Beach Boys getting together where it all started,” Marshall says in the clip.

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SURFIN' SAFARI   Beach Boys Tribute Band from Glendale, CA

Will travel up to 3000 miles

• Member Since 2008
• 1 Award or Badge
• Starting at $ 2,000 per event

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SURFIN' SAFARI is a faithful recreation of what it would have been like to see The Beach Boys live, in concert, in their prime. This 5 member line up is unrivaled in their sound, presentation, and professionalism. There are NO BACKING TRACKS or extra musicians playing off-stage! SURFIN' SAFARI is as close as you will ever get to seeing the original 5 member line up of the Beach Boys. The incomparable beauty of their vocal harmonies, the crashing back beat of Dennis Wilson's drums, the soaring surf guitar of Carl Wilson, and the genius of Brian Wilson's music is all here. The uniband choreography, the Fender guitar line up, the famous custom striped shirts, right down to the black suede Beach Boys boots, it's all here. SURFIN' SAFARI has taken great care to preserve the honor and integrity of the music of the Beach Boys and delivers a show that will leave you with a mile wide smile, a jump in your step, and a feeling of joy in your heart. SURFIN' SAFARI was created out of a love for the Beach Boys and the happiness their music provides. Let us provide you with a great show, a great time, and fun, fun, fun til' our daddy takes the T-Bird away.

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• FUN,FUN,FUN | BEACH BOYS
• SURFIN' SAFARI | BEACH BOYS
• LITTLE DUECE COUPE | BEACH BOYS
• SURFER GIRL | BEACH BOYS
• SHUTDOWN | BEACH BOYS
• 409 | BEACH BOYS
• IN MY ROOM | BEACH BOYS
• DON'T BACK DOWN | BEACH BOYS
• LITTLE HONDA | BEACH BOYS
• SURFIN' | BEACH BOYS
• BARBARA ANN | BEACH BOYS
• CATCH A WAVE | BEACH BOYS
• HAWAII | BEACH BOYS
• ALL SUMMER LONG | BEACH BOYS
• SURFIN' U.S.A. | BEACH BOYS
• LITTLE OLD LADY FROM PASADENA | Jan and Dean
• WENDY | BEACH BOYS
• DON'T WORRY BABY | BEACH BOYS
• DANCE,DANCE,DANCE | BEACH BOYS
• THEN I KISSED HER | BEACH BOYS
• HELP ME RHONDA | BEACH BOYS
• WHEN I GROW UP | BEACH BOYS
• WARMTH OF THE SUN | BEACH BOYS
• I GET AROUND | BEACH BOYS
• PLEASE LET ME WONDER | BEACH BOYS
• BE TRUE TO YOUR SCHOOL | BEACH BOYS
• THE WANDERER | Dion and the Belmonts
• LONG TALL SALLY | Little Richard
• WOULDN'T IT BE NICE | BEACH BOYS
• SLOOP JOHN B. | BEACH BOYS
• SAIL ON SAILOR | BEACH BOYS
• GOD ONLY KNOWS | BEACH BOYS
• GOOD VIBRATIONS | BEACH BOYS
• CALIFORNIA GIRLS | BEACH BOYS
• DO IT AGAIN | BEACH BOYS
• KOKOMO | BEACH BOYS
• YOU'RE SO GOOD TO ME | BEACH BOYS
• PA PA OOM MOW MOW | The Rivingtons
• JOHNNY B. GOODE | Chuck Berry
• GIRL DON'T TELL ME YOU'LL WRITE | BEACH BOYS
• and more.......

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Music / Surfin' Safari

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Surfin' is the only life The only way for me Now surf Surf With me — Opening lyrics of Surfin'

Surfin' Safari is the first album released by The Beach Boys back in 1962. This album came out after the californian band's first single Surfin' which was the first step in establishing the surfing music they would be known for (among other themes related to California and the US as a whole).

Following the release of Surfin' , Murry Wilson (father of 3 members Brian , Dennis and Carl , and uncle of lead singer Mike Love ) took on his role as the band's manager/producer/publisher. Founding member and family friend Al Jardine left the band in order to study dentistry, which left a seat available for another family friend, David Marks, to take rhythm guitar duties and become a Beach Boy. Touring across the US ensued.

Surfin' Safari was recorded after Capitol Records' executive producer Nik Venet saw potential in the band and considered it "teenage gold". While Nik was the album's producer (as well as Murry who produced 409 and Surfin' Safari ), biographers would recall that Brian (who co-wrote a majority of the songs along with Mike and Gary Usher) had a major involvement in the album's recording. Themes include surfing, hot-rods , girls, and hands or tails . Brian wanted to write about novelty subjects on top of surfing.

While Surfin' Safari remains historically important as the first LP in their career, deeper discussion about the album is rare. Aside from concert staples like 409 and the title track, the band would not revisit other songs as often.

• "Surfin' Safari" (2:05)
• "County Fair" (2:15)
• "Ten Little Indians" (1:26)
• "Chug-A-Lug" (1:59)
• "Little Girl (You're My Miss America)" (2:04)
• "409" (1:59)
• "Surfin'" (2:10)
• "Heads You Win - Tails I lose" (2:17)
• "Summertime Blues" (2:09)
• "Cuckoo Clock" (2:08)
• "Moon Dawg" (2:00)
• "The Shift" (1:52)

Principal Members:

• Al Jardine - double-bass
• Mike Love - lead vocals, saxophone
• David Marks - rhythm Guitar
• Brian Wilson - lead vocals, bass,
• Carl Wilson - lead vocals, guitar
• Dennis Wilson - lead vocals, drums

Let's go tropin' now, everybody's learning how, come on and trope with me :

• Album Title Drop : On the outro of the Title Track .
• Car Song : "409".
• While "Ten Little Indians" is written by Brian and his friend Gary Usher, it is based on the children's rhyme of the same name.
• Covers Always Lie : It is known among Beach Boys fans that Dennis was the only Beach Boy who actually practiced surfing (and was an inspiration for the song "Surfin'"). Seeing Brian and Mike holding the surfing board (especially Brian who had some sort of phobia about the ocean) is the biggest hypocrisy here.
• Demoted to Extra : Al Jardine only plays double-bass on "Surfin'". Since he left the band after that song's recording, he is not featured on the rest of the album (and wouldn't come back until a year later on "Shut Down Volume 2".
• Downer Ending : County Fair is about a guy who wants to earn a prize for his girlfriend at a county fair. He doesn't win anything and her girlfriend goes away with a stronger guy.
• In addition, some themes on the album seem extremely trivial and wouldn't reappear on other Beach Boys albums (particularily "Heads You Win - Tails I lose" and "Cuckoo Clock").
• Face on the Cover : Even though this is The Beach Boys' first album, the cover shows the second lineup which has David Marks replacing Al Jardine.
• Fixing the Game : "Heads You Win - Tails I Lose": I'm going to make some changes with this gambling game From now on I'm the dealer and I'll do the same I'll load my dice and stack the deck and fix the odds again So if you want to flip to see who's right I know I'll win
• Heads or Tails? : Heads You Win, Tails I Lose : Every time We have a fight We flip a coin To see who's right
• Hollywood Natives : "Ten Little Indians" didn't age well with its lyrics referencing typical native american stereotypes.
• Instrumental : "Moon Dawg".
• One-Word Title : "Chug-a-lug" and "409"
• Product Placement : Chevrolet's "409" gets a nice promotion as a Beach Boys song which would turn out to become a classic concert staple for the band.
• Serious Business : "Surfin'" opens up with " Surfin' is the only life, the only way for me."
• Special Guest : David's aunt Andrea acts as the girlfriend on County Fair
• Spoken Word in Music : "County Fair" has a county fair barker and a girlfriend speaking during an interlude and through the outro.
• Step Up to the Microphone : Dennis sings lead on "Little Girl" while Carl (and what could possibly be Nik Venet) sing on "Summertime Blues".
• Title Track
• 12-Bar Blues : On "409".
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Surfin Safari Band

sat 26 jun 4:00 pm sat 9:00 pm Surfin Safari Band

Event Details

Surfin Safari Band will play. Food trucks ,Local Wine to drink, Relaxation,Fun for the family.

(Saturday) 4:00 pm - 9:00 pm

Wilde Prairie Winery

48052 259th St, Brandon, South Dakota 57005

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martes, 21 de enero de 2020

The beach boys - surfin' safari (1962 us).

4 comentarios:

Pass: katetoskopio/thebeachboys

"Pero ahora me doy cuenta que no hay un solo disco de ellos en nuestra santa casa. Vamos a subsanar este fallo ahora mismo". Pues sí, Kateto. Ya era hora de que en este magnífico blog apareciera este maravilloso grupo. Para mí, uno de los mejores de la historia. Saludossssssssssssssss

Buenas compañero del metal, qué placer verte por aquí. He estado 3-4 meses medio desconectado del tema PC, pero creo que lo vuelvo a coger con fuerza. Y Toto-Vaca es uno de esos sitios distintos que no se pueden dejar de ver. Un abrazo, bab kk

Lástima de los enlaces y todo es por compartir música de la buena... saludos afectuosos

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The original 30-track retrospective will be augmented with another 50 beloved songs.

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A year-long celebration of the Beach Boys ’ 60th anniversary will be launched in June by UMe. The campaign will include new music releases, official new music videos for classic songs, immersive Dolby Atmos mixes, and more. It begins with Capitol/UMe’s June 17 release of a newly remastered and expanded edition of the group’s career-spanning greatest hits collection, Sounds Of Summer: The Very Best Of The Beach Boys .

The album was first released in 2003, when it reached the US Top 20 and was on the Billboard 200 chart for exactly two years. on the chart for 104 weeks. It was certified platinum in 2004, double platinum in 2005, and triple in 2012. It will now feature a vastly expanded tracklist and improved audio quality.

The original 30-track retrospective will be augmented with another 50 beloved songs for a total of 80 tracks, embracing the Beach Boys’ earliest hits and fan favorite deeper cuts, spanning their 1962 debut LP Surfin’ Safari to 1989’s Still Cruisin’. The group’s total worldwide sales now stand at over 100 million records. The collection is previewed today with the new stereo mix of “Good Vibrations,” now streaming and available for immediate download.

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The Beach Boys say in a statement: “It’s hard to believe it’s been 60 years since we signed to Capitol Records and released our first album, Surfin’ Safari . We were just kids in 1962 and could have never dreamed about where our music would take us, that it would have such a big impact on the world, still be loved, and continue to be discovered by generation after generation. This is a huge milestone that we’re all very honored to have achieved. And to our incredible fans, forever and new, we look forward to sharing even more throughout the year.”

UMe president & CEO Bruce Resnikoff says: “The Beach Boys have created some of the most iconic and beloved music of all time. An indelible and important part of America’s cultural fabric, their timeless music has been a ubiquitous soundtrack for generations and continues to influence, inspire, and delight. We at UMe remain honored to further the Beach Boys’ legendary catalog and look forward to celebrating them all year long along with their millions of fans around the world.”

Sounds Of Summer has been assembled by Mark Linett and Alan Boyd, the team behind 2013’s Grammy-winning SMiLE Sessions and last year’s acclaimed Feel Flows – The Sunflower and Surf’s Up Sessions 1969-1971 . The upcoming set includes nearly every US Top 40 hit of the group’s career, including “California Girls,” “I Get Around,” “Surfer Girl,” “Surfin’ U.S.A.,” “Fun, Fun, Fun,” “God Only Knows,” “Good Vibrations,” “Be True To Your School,” “Wouldn’t It Be Nice,” “Kokomo,” “Barbara Ann,” “Help Me, Rhonda,” “In My Room,” and many more.

The 50 additional tracks are a broad mix from the Beach Boys’ wide-ranging catalog, such as “All Summer Long,” “Disney Girls,” “Forever,” “Feel Flows,” “Friends,” “Roll Plymouth Rock,” “Sail on Sailor,” “Surf’s Up,” and “Wind Chimes.”

There are 24 new mixes in the set including two in stereo for the first time, plus 22 new, improved stereo mixes. Some feature the latest digital stereo extraction technology, so that the team were able to separate the original mono backing tracks for the first time.

The expanded Sounds Of Summer will be available digitally, in a 3CD softpack, and as a Super Deluxe Edition 6LP vinyl boxed set on 180 gram black vinyl. The latter comes in both a standard set and a numbered, limited edition version featuring a rainbow foil slipcase and four collectible lithographs. Both will feature color printed sleeves replicating the original “Capitol Catalog” sleeves that highlight the entire Beach Boys discography.

All of the formats will include a booklet with new liner notes and updated photos. The original 30-track edition will also be available in newly remastered and upgraded form on single CD, double gatefold LP on standard weight vinyl, or as a higher-end limited edition numbered version pressed on 180 gram vinyl with a tip-on jacket and a lithograph.

All 30 tracks on disc 1 of Sounds Of Summer have been mixed in immersive Dolby Atmos. This follows the release for the past holiday season of the group’s Christmas Album mixed in spatial audio, and continues the initiative to present their catalog in the new, enveloping audio format.

The Beach Boys’ music will also be featured in several innovative official new music videos now in the works, as well as a collection of lyric videos and visualizers.

The next phase of the celebrations will feature Capitol/UMe’s release in the fall of two less celebrated but pivotal albums, 1972’s Carl and the Passions – “So Tough” and 1973’s Holland . The surviving Beach Boys are also participating in a feature-length documentary now being made, as well as a tribute special, exhibitions and events, brand partnerships, and much more.

Pre-order Sounds Of Summer: The Very Best Of The Beach Boys – Expanded Edition , which is released on June 17.

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The Beach Boys and Director Frank Marshall on the Band’s Disney+ Doc: ‘We May Not Have Been Great Surfers, but We Sang About It Really Well’

By Chris Willman

Chris Willman

Senior Music Writer and Chief Music Critic

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If Memorial Day weekend is the unofficial start of summer on most Americans’ calendars, then it makes sense that the real tentpole kicking off tent season for a lot of people is not “Furiosa” or “Garfield” but “The Beach Boys ,” a streaming documentary devoted to the least wintery group of all time.

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What was the instigation of this project? Because there have been, in the far distant past, a Beach Boys mini-series and some documentaries, but we’re talking like the ‘80s or 2000 for the last time we saw anything significant. Was there a desire to say, we need to have a really definitive documentary, and a timely one?

Marshall: No, I think it was kind of my fault, that Thom Zimny and I were sitting around after we did Johnny Cash [“The Gift: The Journey of Johnny Cash,” which they also co-directed, released in 2019] and talking about what musical doc would we like to do together next. He started talking about the Beach Boys, and I said, “Well, I grew up in Newport, yeah, I love them.” And then as life does, things change; he did something else, I did something else. [When not directing music docs like “The Bee Gees: How Can You Mend a Broken Heart,” Marshall is a producer of major Hollywood and Broadway projects.] But we still kept at it.

But the problem was that the Beach Boys were not one unit. If you went to get the rights or approvals on everything, it would’ve taken forever. But then Irving Azoff and Iconic Artists brought them all together — one-stop shopping — and then I said, “I know Irving. I’m going in.” And that’s how it happened.

Love: We owe a lot of gratitude to Irving and to Frank for picking up the gauntlet.

Marshall : And now there’s a book, and everything’s coming together to celebrate this music that’s had such an impact on the world for so many years. 

Love: Genesis, they make some beautiful books, and they did one for us [“The Beach Boys by the Beach Boys”] and it’s amazing.

It’s literally the heaviest book I own.

Love: The big one is, like, literally 11 pounds. I weighed it with my little weighing thing because, you know, if you go on Southwest Airlines, you can only have 50 pounds.

Jardine: Only Mike would know. He wants to read about himself.

Looking at the book, there are thousands of pictures, which would lead somone to believe the archives are really well-kept. Was that the same case with film clips for the doc, or were there any hurdles to overcome?

Marshall: No, it’s always a challenge because, first of all, there have been so many articles, books, movies, and I always try to find stuff that’s never been seen before. But once I got to know everybodyand say, “Have you got any home movies under (the bed)?” And sure enough, there’d be a shoebox with 8mm film, and that’s how we got Dennis. Both Carl and Dennis’s families were great in helping us represent their dad and their husband in the right way. So it was like a little treasure hunt where there’s gold bullions every once in a while.

It’s easy to forget, until this film reminds you, that Glen Campbell was briefly in the group, before he had to take off and got replaced by Bruce Johnston.

Jardine: Glen had a burgeoning career about ready to happen, so he had to leave the band early. I think he only did one summer with us while Brian was out of action. And then I think you (Love) found Bruce…

Love: We called 12 people to find somebody who could play bass. Bruce could sing high, but he didn’t play bass and we needed the bass player, so he said, “Oh, I play bass.” And he went and learned it, you know…

Jardine: …on the way to the airport…

Love: Kind of!

Is there anything that you dug up archivally that was a little bit surprising, or just that you hadn’t seen in a long time, that you’re kind of delighted is in the documentary?

Love: Well, I hadn’t seen certain people’s home movies. Why would I have, you know? The Wilson stuff, yes, the Love stuff, yes. But the Jardines, the Marks, the other people involved…

Jardine: How about the photo of Bruce and Keith Moon? Those are the ones I went, “I can’t believe that.” And you know, nobody knows that story, really.

Love: Derek Taylor, the Beatles’ publicist who came to America and became our publicist, actually set up Bruce with about 15 interviews in England and introduced him to Keith Moon, who introduced Bruce to Paul McCartney and John Lennon. They were in Bruce’s suite, and Bruce was able to play them the “Pet Sounds” album before it even came out in Great Britain, and they played it through twice. So those guys became our promotion men.

The Beatles/Beach Boys “rivarly” circa 1966 has been talked about so much over the years, but someone in the film makes the statement that it wasn’t a rivalry so much as a collaboration, in a way.

Jardine: It was a mutual adoration, I think. And they inspired each other, because I don’t think we’d have “Sgt. Pepper’s” without “Pet Sounds,” and I don’t think we’d have “Pet Sounds” without “Rubber Soul.”

Frank, you said that growing up in Newport helped your love of the Beach Boys develop in the early ‘60s. Can you talk about what your first point of connection was?

Of course it’s part of the Beach Boys’ legend that Dennis Wilson was the only real surfer in the group. In those first years, Mike and Al, did either of you guys think, gosh, maybe we need to try a little harder to do this, just so we fit in and actually live the lifestyle we’re singing about?

Love: Well, a couple of the guys never surfed at all. A few of us tried to do it. But it’s harder than Chinese arithmetic. I mean, it really is. So I really appreciate the fact that those guys would get up and before class go surfing and then go to school and then after school they’d surf until it got dark. That was a way of life. [He quotes the lyrics to “Surfin’,” from 1962.] “Surfing is the only life, the only way for me now, now surf, surf [claps hands] with me.”

Jardine: I used to take Dennis to the beach to go surfing. I had an old ‘49 or ’50 Ford, and he needed wheels. So we went down to El Porto in Manhattan Beach, and he taught me how not to surf. I hit the sand straight, the very first wave, right down to the bottom. That was probably my last experience. He was a natural athlete. He knew how to do it. And he wrote the story on surfing.

Love: Well, we may not have been great surfers, but we sang about it really well.

To ask about the interviews that were done for the film: Beyond the Beach Boys themselves, past and present, there’s just a very small list of people who you got for this. It’s a very tight film, so it’s for the best that you didn’t go out and interview 50 talking heads for it. You’ve got Marilyn, Brian’s first wife, who may be better to represent his feelings from back in the day that he could at this point…

Marshall: Yeah, she did. Good job, too.

How did that selection process go, picking interview subjects?

Marshall: One of the things that I love about documentaries is the freedom. You know, in my day job [producing dramatic feature films], I get a script and I know exactly where I am all the time. But it’s a team effort. I have archivists and I put it out there: OK, who’s talked about being influenced and inspired by the Beach Boys’ music? And then I’d have to narrow ’em down depending on where they were (growing up) — you know, Don Was was in Detroit, and Janelle Monae was in Kansas City, and Ryan Tedder was in Oklahoma, and he wanted to go someplace where it was warm. So they had different areas of influence, but they recognized the power and how brilliant the music was. So Thom and I split it up. Thom did a lot of the audio interviews, and then I came in with the camera and did the on-camera stuff.

With Brian, it was a useful workaround to have some good archival interviews as well as the little bit you have of him in the present day. Anyone who has interviewed him in recent years knows he is not loquacious, and the diagnosis that recently went public helps explain why he’s a man of fewer words.

Marshall: And that was kind of my dream come true. I had always wished as we were going along: Maybe I can get ’em together. And what a perfect spot, where the first album (cover was shot). But it wasn’t an interview. So Brian was able to just be himself, with the guys he spent 60 years with, and it was like a family reunion, laughing, crying, singing, telling stories. It was incredible. There wasn’t the pressure of “Tell me about when you did this or that.” So that was part of what made it special.

Jardine: Exactly. He doesn’t forget lyrics. We go way back and we’ll do songs like the stuff we did out at Paradise Cove. He remembers everything, just like that. The current stuff, not so much. But he’s got musical integrity, let’s put it that way.

Marshall: But you’re right about the interview. It was difficult.

When did you film the bit at the end with everyone together on the beach?

Marshall: In September.

Jardine: Maybe we’ll hear some more about it in part two.

Is there a story you wanted to tell with this film, where in any way you feel like the Beach Boys’ story isn’t totally understood? Some of us are a part of friend groups where it might be a natural thing to talk about the Beach Boys in any given week, but not the whole world is like that.

Love: I think that everybody doesn’t know the Beach Boys’ story, because it hasn’t been told comprehensively enough, giving enough attribution to various individual members and experiences. At one time we had two jets on tour , the non-smoking jet and the smoking jet, going on tour. Alan and I, along with Bruce, were on the non-smoking, and the Wilson boys were on the smoking, and that may be a euphemism for certain lifestyle choices. So, I mean, there was division, there was a schism, and all that stuff. But when it came time to get on stage together or get around the microphone together, then all those things disappeared. And what manifested was that harmony and that blend and that sound that’s known around the world.

Marshall: And I think one of the keys was that Brian didn’t like touring and came back here (to L.A.) and was just able to create, with none of the pressures of touring, and then their touring energy would come back and sing these parts, and that’s something that no other group did.

Love: There’s a huge amount of information, from pre-group to early group to Brian leaving, and then the two groups, the recording group and the touring group, and then the different changes and…

Marshall: You know, they’ve adapted at every turn. But then, you know, losing Carl and Dennis, it was a different sound.

Love:  So when people ask me, how do you feel (watching it)? I felt nostalgic, and I felt sad that a couple of the guys aren’t with us.

Marshall: Yeah. I wanted to celebrate “America’s band,” to be honest. And that was, in my opinion, one of their greatest performances, with 400,000 people in Washington, D.C. (at the National Mall). It was one of the best recorded performances we had, and they were all there, reunited, so I just felt, “That’s the way to go out.” It was kind of poetic, I thought.

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