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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 by The Beach Boys

Songfacts®:

• Many of the early Beach Boys songs were about surfing, which was their niche (their first record label named the band; they were almost The Surfers). Only their drummer, Dennis Wilson, surfed, but they could fake it in photos and songs. "Surfin' Safari" is a travelogue of popular surf spots in California: Huntington, Malibu, Doheny State Beach, Rincon, Laguna Beach. They also mention Cerro Azul in Peru. Released June 4th 1962, this was the Beach Boys' first major hit. In his 1990 autobiography Brian Wilson said it sold 900,000 copies, and more overseas: #1 in Sweden, #13 in New Zealand, and a hit too in Italy and France, where it attracted cover versions.
• In the first verse, the band grabs some honeys and loads up the woody with some boards, setting the stage for the surfin' safari with some hip lingo. A woody is a funny looking wood-paneled vehicle popular with surfers. It also gets a mention in " Surfer Girl " with the line, "In my woody I would take you everywhere I go."
• Written by Wilson and lead singer Mike Love , this was the first recording to display the distinctive counterpoint harmonies for which the group became famous. The recording was also self-produced, and taken to Capitol complete with its B-side "409" which was a minor hit. This precedent made the Beach Boys the first total, self-contained artists of the rock era, not to be matched for many years to come.
• When the Chrysler corporation conducted a survey in 2004 on "What is the best song to cruise to?" - this won. >> Suggestion credit : Gary - Auckland, New Zealand, for above 3
• This was the second Beach Boys single, and their first with Capitol Records. Their first single, " Surfin' ," was issued on the independent label Candix Records. Group patriarch Murry Wilson sold the masters of "Surfin' Safari," along with two other songs, "Lonely Sea" and " 409 ," to Capitol for $100 each, with a 2.5% royalty for the group. With "409" issued as the B-side, the single proved successful, and Capitol signed the band. The group had already done a lot of work on their debut album by the time they got the deal.
• On the DVD Brian Wilson Songwriter 1962 - 1969 , Mike Love credits Murry Wilson - father of Brian, Carl and Dennis of The Beach Boys - with the distinctive treblelly guitar sound on this track. When Brian Wilson would leave the control room to record his bass parts, Murry, who fancied himself a producer, would switch the sounds on the guitars to the treble he preferred. Love feels that guitar sound really cut through and helped "Surfin' Safari" sell.
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Comments: 6

• John from Cleveland "This precedent made the Beach Boys the first total, self-contained artists of the rock era, not to be matched for many years to come." self-contained: "Not dependent on others; self-sufficient." Despite the massive effort that came from within included production, since studio musicians recorded a great deal of their music, I do not think this description is accurate, particularly when contrasted against bands that played all of their own parts.
• Tim from San Mateo In response to the comment about different lyrics between the Candix era version and the version released by Capitol: those lyrics were obviously changed before Capitol ever heard the newer version, so insinuating that Capitol objected to "honeys will be making the scene" is complete rubbish. There are numerous examples where lyrics to Brian Wilson penned tunes get revised, usually by Mike Love, when they are being recorded. My guess is that Mike with Brian changed it to "some honeys will be coming along" since it just flows better.
• Steve Dotstar from Los Angeles, Ca Spencer-Brian Wilson opens the song with his high voice stacked on the top of harmonies "let's go surfin'now"...etc..then when the solo voice comes on,it's Mike Love.("early in the morning,.."etc)
• Boogiespencer from Bethesda, Md who opens with lead vocals on this track?
• Gary from Auckland, New Zealand This has been sales-ranked above known 1962 million-sellers 'Return to Sender' and 'Twistin' the Night Away' by the analysis of Classicbands.com. It broke Capitol sales records in New York City, was ranked #1 in LA, San Diego and the Twin Cities, #3 in San Francisco, #5 in Chicago, etc, etc -- but only #14 by Billboard. This might have been partly because it wasn't guaranteed as much airplay as Dick Clark favorites the Four Seasons, but probably mainly because each regional market was left to take it up individually -- its flip, '409', was first promoted by Capitol as the A-side. 'Surfin' Safari's regional chart runs extended over a period of nine months, from June 1962 to February 1963, not falling all within three months as national hits normally do.
• Rick from San Juan, United States The early Candix version began with the phrase "some honeys will be makin' the scene" ... ". It was watered-down by Capitol as "some honeys will be coming along" to avoid controversy that would affect airplay and sales.

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Surfin' Safari

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The official Beach Boys Gallery offers a peek into The Beach Boys' world of unseen moments, historic events, intimate working sessions at home and in the studio, along with the band’s love of fun and their unique journey through the world together. From the innocence of their first commercial photo shoot at Paradise Cove near Malibu, CA with the legendary Ken Veeder (then Head of Photography at Capitol Records) in July 1962, to the worldly Earl Leaf capturing the band on their first trip to Europe, this uniquely curated collection has been drawn together from extensive research, exclusive access to the archives of the band, Capitol Records and the photographers who captured this history. The official gallery has been made possible with the assistance of the band and those that know them best. All sales made directly through The Beach Boys Gallery will generate a donation to the Surfrider Foundation . Surfrider is a nonprofit grassroots organization dedicated to the protection and enjoyment of our world’s ocean, waves and beaches for all people through a powerful activist network. Founded in 1984 by a handful of visionary surfers in Malibu, California, the Surfrider Foundation now maintains over one million supporters, activists and members, with more than 200 volunteer-led chapters and student clubs in the U.S., and more than 800 victories protecting our coasts. The band have been long time supporters.

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Surfin' Safari

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<templatestyles src="Module:Infobox/styles.css"></templatestyles>

Surfin' Safari is the debut studio album by American rock band the Beach Boys , released on October 1, 1962 on Capitol Records . The official production credit went to Nick Venet , though it was Brian Wilson with his father Murry who contributed substantially to the album's production; Brian also wrote or co-wrote nine of its 12 tracks. [1] The album peaked at number 32 in its 37-week run on the US charts.

The album was preceded by two singles: " Surfin' " and " Surfin' Safari ", which charted at numbers 75 and 14, respectively. The success of "Surfin' Safari" helped secure a full album for the group while an additional single, " Ten Little Indians ", was issued, charting at number 49.

• 1 Background
• 2 Cover artwork
• 4 Reception
• 5 Live performances
• 6 Track listing
• 7 Personnel
• 9 References

Background [ ]

<templatestyles src="Template:Blockquote/styles.css" />

The group is mainly Template:Sic people from Hawthorne, California, named Wilson … there’s Brian, Dennis, Carl, and their Dad, Murry Wilson, a long-time songwriter who acts as manager for the outfit. Then there’s the boys' talented cousin, Mike Love … who sings both the lead tenor and deep bass parts in their unusual vocal arrangements. … [and] young David Marks, a neighbor of the Wilsons who plays a driving rhythm guitar. Brian, the oldest of the Wilson boys, is the group’s leader and vocal arranger. Carl is the very accomplished lead guitarist, while brother Dennis sings and plays the drums. None of them, incidentally, had any formal training, but they all grew up in an atmosphere where music was a regular part of their lives. —  excerpt taken from the album's original liner notes [1]

In the autumn of 1961, cousins Brian Wilson and Mike Love composed a song on surfing, titled " Surfin' " at the behest of Brian's younger sibling, Dennis Wilson . They quickly formed a band, bringing in the youngest Wilson brother Carl on lead guitar and Brian's high school friend Al Jardine on rhythm guitar. Brian took up bass, Dennis the drums and Mike would be the frontman, while they all would harmonize vocals arranged by Brian. Released that December, produced by Hite Morgan, and backed by "Luau", "Surfin'" made number 75 in the US Top 100 in early 1962.

Father Murry Wilson became the band's manager. He submitted a professionally recorded demo tape to Capitol Records that spring. The Beach Boys were signed and " Surfin' Safari " b/w " 409 " (from the April 1962 demo tape) was released as a single that June. Al Jardine left the band after the recording of the song "Surfin'" but before the demo session and album session, replaced by Wilson-family friend David Marks — Jardine would rejoin to form a six-member band in the fall of 1963, appearing on the third studio album . With both "Surfin' Safari" and "409" becoming hits (the former reaching US number 14), Capitol Records approved a full album. Brian Wilson, who regularly collaborated with Mike Love and Gary Usher , contributed the songs that made up the bulk of the LP.

The second single, " Ten Little Indians ", was less successful, reaching only number 49, with Brian feeling that "Chug-A-Lug" would have made a better follow-up. [1] Though Mike and Brian are the most prominent singers, Dennis makes his first vocal appearance on "Little Girl (You're My Miss America)" (shown as "Little Miss America" on the album cover).

Cover artwork [ ]

The front cover of Surfin' Safari features a yellow pickup truck and surfboard, with band mates David Marks (on hood), Dennis Wilson (driver), Mike Love (front roof), Brian Wilson (back roof) and Carl Wilson . [1] The photo was taken on the beach at Paradise Cove, north of Malibu . The picture was taken by in-house Capitol photographer Ken Veeder, in a photo shoot that would also produce the cover for the band's 1963 album Surfer Girl . Template:Original research?

Release [ ]

The album was released through Capitol on October 1, 1962, and peaked at number 32 [1] in its 37-week run on the US charts. In the UK, the album was not released until April 1963, and failed to chart. [ citation needed ]

Reception [ ]

Richie Unterberger, in a retrospective review for AllMusic, feels that most of the songs are substandard, but that as the album was recorded by the Beach Boys themselves rather than session musicians it does offer an opportunity to hear what the band sounded like in the studio. [2]

Live performances [ ]

4 of the 12 songs on the album have been performed live in concert by the Beach Boys. "Surfin' Safari" and "409" are regulars in set lists while "Surfin'" and "Summertime Blues" have been played with varying frequency. [3]

Track listing [ ]

Some reissue pressings omit "Surfin'" and "Cuckoo Clock", and move "Chug-A-Lug" onto Side two after "Heads You Win".

Personnel [ ]

• Mike Love – lead , harmony and backing vocals
• Al Jardine – harmony and backing vocals on " Surfin' "; acoustic bass on "Surfin'"
• David Marks – lead, harmony and backing vocals; rhythm guitar
• Brian Wilson – lead, harmony and backing vocals; bass guitar ; organ
• Carl Wilson – lead, harmony and backing vocals; lead guitar
• Dennis Wilson – lead, harmony and backing vocals; drums
• Nick Venet – harmony and backing vocals; electric guitar

References [ ]

• ↑ 1.0 1.1 1.2 1.3 1.4 Leaf, David (1990). Surfin Safari / Surfin U.S.A. (CD Liner). The Beach Boys . Capitol Records .
• ↑ 2.0 2.1 Surfin' Safari at AllMusic Allmusic review
• ↑ "The Beach Boys Tour Statistics" . setlist.fm . Retrieved 28 October 2013 .
• ↑ "Surfin' Safari - The Beach Boys: Awards" . AllMusic.

Template:Surfin' Safari Template:The Beach Boys main

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Surfin’ Safari By The Beach Boys Album Cover Location

Side One: Surfin’ Safari County Fair Ten Little Indians Chug-A-Lug Little Girl (You’re My Miss America) 409

Side Two: Surfin’ Heads You Win–Tails I Lose Summertime Blues Cuckoo Clock Moon Dawg The Shift

Mike Love – lead, harmony and backing vocals Al Jardine – backing vocals and double bass on “Surfin'” David Marks – lead, harmony and backing vocals; rhythm guitar Brian Wilson – lead, harmony and backing vocals; bass guitar; organ; snare drum on “Surfin'” Carl Wilson – lead, harmony and backing vocals; lead guitar; acoustic guitar on “Surfin'”, drums on “Moon Dawg” Dennis Wilson – lead, harmony and backing vocals; drums except “Surfin'” and “Moon Dawg”

Beach Boys Discography

Surfin’ Safari Released: October 1, 1962

Surfin’ U.S.A. Released: March 25, 1963

Surfer Girl Released: September 16, 1963

Little Deuce Coupe Released: October 7, 1963

Shut Down Volume 2 Released: March 2, 1964

All Summer Long Released: July 13, 1964

The Beach Boys’ Christmas Album Released: November 9, 1964

The Beach Boys Today! Released: March 8, 1965

Summer Days (And Summer Nights!!) Released: July 5, 1965

Beach Boys’ Party! Released: November 8, 1965

Pet Sounds Released: May 16, 1966

Smiley Smile Released: September 18, 1967

Wild Honey Released: December 18, 1967

Friends Released: June 24, 1968

20/20 Released: February 10, 1969

Sunflower Released: August 31, 1970

Surf’s Up Released: August 30, 1971

Carl and the Passions – “So Tough” Released: May 15, 1972

Holland Released: January 8, 1973

15 Big Ones Released: July 5, 1976

The Beach Boys Love You Released: April 11, 1977

M.I.U. Album Released: October 2, 1978

L.A. (Light Album) Released: March 19, 1979

Keepin’ the Summer Alive Released: March 24, 1980

The Beach Boys Released: June 10, 1985

Still Cruisin’ Released: August 28, 1989

Summer in Paradise Released: August 3, 1992

Stars and Stripes Vol. 1 Released: August 19, 1996

That’s Why God Made the Radio Released: June 5, 2012

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Roma communities in Perm Krai: historical and ethnical aspects

Two large groups of Roma are settled in the territory of Perm Krai, the Ruska Roma and Kalderari. Roma live both in cities and countryside. Roma living in the countryside keeps elements of traditional culture. In Perm Krai we can find different families of the Ruska [Russian] Roma: Gorbovichi, Nemzengery, Bashnengery, Polyaki, Sapuny, Gubany. In contrast to the Kalderari the community of Ruska Roma is based not only on family-territorial principle. Sometimes community is based on ethnic-territorial ground when the Ruska Roma living in an urban area despite family ties can be a part of the community. Traditional activity of Ruska Roma living in countryside is a seasonal grazing of livestock. One of the main sectors of activity is trading. Roma sell cars and jewelry. Kelderari live in compact groupings in Perm. They call themselves Moldavska Roma and consider themselves to be part of Ruvoni [wolf in Romani language] family. Traditional activity of Kelderari is metal work (especially tin-smith’s work) which impact also their modern business. The main work activity of men till now is working with metals such as base metal trading and metal items repair. Traditional women activity is fortune-telling. Bilingualism, traditional way of living, ethnic isolation, unique and particular material and spiritual culture are common for all of Roma. The main problems for Roma nowadays are safeguarding of ethnicity and as well as some educational and social issues.

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