Following the passing of producer Lee Mendelson in December 2019, his children undertook an extensive search of archival materials in hopes of locating original music score recordings from the Peanuts television specials. During the COVID-19 lockdowns, they uncovered a collection of analog session tapes, recorded by Guaraldi for several of the specials. These recordings, long believed to be lost, comprised not only all of Guaraldi's music cues but also the arrangements by John Scott Trotter, including multiple alternate takes.[3]
The session tapes preserve the complete, unedited recordings, which were originally captured and mixed in stereo. These analog recordings were carefully transferred by Penguin Recording to high-resolution digital format at 192kHz/24-bit from the original 2-inch, 16-track stereo masters.[3]
In a 2024 in-depth discussion on Cereal at Midnight, Sean Mendelson emphasized the significance of discovering not only the original mix-down masters but also the complete session tapes, which included studio dialogue and full performances by Guaraldi and his sidemen. He noted that while the music was originally mixed to support the visuals, the archival recordings revealed that Guaraldi's compositions could stand alone as jazz works in their own right.[4] His brother Jason added, "Only one of the songs has ever been released before. So that is part of the fun—it is 50 years old but also brand new".[4]
Recording
Guaraldi in January 1974
The recording sessions for Be My Valentine, Charlie Brown took place at Wally Heider Studios in San Francisco on December 9, 17, 18, 23, and 30, 1974. The ensemble featured Guaraldi (acoustic piano, electric keyboards, clavinet, ARP String Ensemble, harpsichord, guitars), Seward McCain (electric bass) and Vince Lateano (drums).[1] The sessions showcased Guaraldi's ability to blend structured composition with jazz improvisation. As his third-to-last score for the Peanuts specials, the music reflects themes of unrequited love while maintaining the lighthearted and whimsical nature of the series.[5]
By the mid-1970s, Guaraldi was well established as the Peanuts composer but remained primarily known in Northern California. While regularly performing at venues like San Francisco's El Matador and Menlo Park's Butterfield's, he continued refining his jazz approach. This period of live performances influenced the relaxed yet intricate feel of the Be My Valentine soundtrack.[6]
For this score, Guaraldi extensively utilized the Fender RhodesStage electric piano, chosen for its warm tone and subtle dynamic responsiveness. He also incorporated the ARP String Ensemble, a pioneering polyphonic synthesizer at the time, layering it to simulate a string section. This instrument is particularly prominent in "Valentine Interlude No. 1" and "Heartburn Waltz (5th Reprise)".[5][6] According to Sean Mendelson, "The ARP was a synthetic toy, but [Guaraldi] used it beautifully, creating the impression of a string orchestra. It gives the score an innocent feel".[4]
Composition and musical themes
"Heartburn Waltz" appears throughout the special in multiple variations, serving as its main musical motif and emotional core. This mid-tempo waltz, characterized by its distinctive triplet motif, poignantly underscores Charlie Brown's enduring romantic disappointments. The arrangement undergoes subtle transformations across reprises, with "Charlie Brown's Wake-Up" offering a slower, introspective interpretation. The fifth reprise features an alternate drum take, with the original cleaner version preserved as a bonus track.[5][6] Sean described the recurring waltz as "an art form unto itself. The idea of taking a simple theme and redesigning it ten different ways—in a minor key, different instrumentation, different feel—and making it fresh every time. That is Vince".[4]
Guaraldi explored different time signatures and arrangements throughout the sessions. "There's Been a Change" was recorded in both 6 8 and 4 4 meters, each lending a unique rhythmic character. Similarly, "Jennie L." exists in two versions—one in 4 4 and another in 6 8—with distinct variations in harmonic progression and bass phrasing.[5][6]
Drummer Vince Lateano recalled that the recording process was largely improvisational, with Guaraldi favoring a spontaneous and organic approach over rigidly structured compositions. This ethos is evident in "Woodstock's Mambo", which showcases Guaraldi's appreciation for Latin jazz. The piece is driven by syncopated percussion, with an emphasis on hi-hat16th-note patterns and a prominent side-stick snare technique. The ARP synthesizer is utilized in a lead role, producing a playful melodic motif that interacts dynamically with the rhythm section. The track's polyrhythmic structure, characterized by its triple metre feel against a duple metre groove, reflects Guaraldi's ability to blend traditional jazz harmonies with Afro-Cuban influences. A bonus mix of "Woodstock's Mambo" reveals additional instrumental layers, including a previously unused guitar part and a wah-wah-inflected ARP passage.[5][6]
"Paw Pet Overture" underscores Lucy's approach to Snoopy's puppet show, showcasing Guaraldi's rhythmic layering. The piece opens with a triple metre run set against a duple meter, creating subtle tension before transitioning into a boogie-woogie style reminiscent of earlier Peanuts compositions like "Linus and Lucy". This track prominently features interplay between the acoustic and electric piano. Notably, the recording includes a cowbell, adding a distinct percussive element. As part of the puppet show sequence, Guaraldi also recorded "Freddie's Mood", a bossa nova adaptation of Frédéric Chopin's "Nocturne in E♭ major, Op. 9, No. 2", infused with jazz elements. To complement the vintage aesthetic, Guaraldi intentionally aged the recording with crackles and warbles, mimicking a 78 rpm shellac record played on a spring-driven phonograph. Guaraldi's voice can also be faintly heard saying, "One more minute coming up!" during the closing credits.[5][6]
Among the lesser-known compositions from the sessions, "Woodstock's Revenge" captures the mischievous and unpredictable nature of Snoopy's avian companion. The track features off-kilter rhythmic structures, playful piano runs, and interweaving ARP synthesizer lines. Sudden tempo shifts and syncopated percussion reinforce its whimsical tone. Though not prominently featured in the special, its inclusion in the expanded soundtrack offers insight into Guaraldi's humorous and unconventional musical phrasing.[5][6]
Guaraldi presented a markedly different take on "Linus and Lucy", focusing solely on the bridge section and omitting the boogie-woogie segment. This version shifts into 3 4 metre, featuring new harmonies and modulations. A call-and-response between electric and acoustic piano adds depth, while a later reprise returns to 4 4 but retains Guaraldi's distinctive flourishes. The piece ends with a playful downward chromatic run. Jason Mendelson called the latter version "a gem. It starts, picks up in the middle, and ends abruptly. It is just what was on the tape". Sean added that bassist Seward McCain may have used an eight-string bass with a double stop technique—playing two notes simultaneously—which added a "warm, rich sound".[6][4]
Release
Be My Valentine, Charlie Brown: Original Soundtrack Recording 50th Anniversary Extended Edition was released on January 17, 2025, in CD, vinyl, and digital download formats. Two exclusive vinyl editions were included in the release: a "Heartburn Red" 12" variant, designated as a Record Store Day Indie Exclusive, and a "Puppy Love Pink" 12" variant, available at Barnes & Noble. To minimize the carbon footprint, the records use BioVinyl, a material that replaces petroleum in S-PVC with recycled cooking oil or industrial waste, achieving a 100 percent reduction in CO2 emissions while preserving acoustic and visual quality.[1]
Be My Valentine, Charlie Brown: Original Soundtrack Recording was met with critical acclaim upon its release, with critics praising Guaraldi's ability to blend jazz, classical elements, and contemporary sounds of the 1970s into a cohesive and emotionally resonant soundtrack.
Joshua Weiner of All About Jazz highlights the album's rich instrumental palette, noting that it "certainly sounds like [it was released in 1975], thanks to the expanded palette of instruments available to Guaraldi". Weiner emphasizes the standout track, "Charlie Brown's Wake-Up", calling it "distinctive enough to earn its own name" and a highlight of the album. Weiner further praises Guaraldi's ability to evoke emotion through melody, stating, "It is hard to imagine anyone's heart not being pierced by Cupid's arrow upon hearing this music".[7]
Jazz Weekly's George W. Harris underscores the evolution of Guaraldi's style, pointing out that the pianist incorporated electric piano, clavinet, ARP Strings, electric harpsichord, and even guitar, a departure from his earlier, more traditional jazz trio work. Harris describes the album's tone as shifting toward a more "synthy" aesthetic, particularly on tracks like "Valentine Interlude" and "Paw Pet Overture", and notes that pieces such as "Jennie L." and "Woodstock's Mambo" adopt a "bar mitzvah mood", reflecting a kitschier approach compared to Guaraldi's more swinging early Peanuts scores.[8]
Audiophile Audition's Robbie Gerson commends Guaraldi for crafting another "memorable soundtrack" and identifies "Heartburn Waltz" as its emotional core. He highlights Guaraldi's stylistic versatility, pointing out the "Latin-infused funkiness" of "Paw Pet Overture" and the "bluesy reverie" of "Never Again". Gerson also praises the debut recording of "Last Call For Love", calling it a "rolling bluesy trio number" that showcases the trio's cohesion and improvisational chemistry.[9]
YouTube vinyl reviewer Giggens similarly praised the release as "a Peanuts album like no other", highlighting its melancholic tone and emotional depth. He singled out "Heartburn Waltz" as the standout track for its expressive brush drumming, melodic Moog lines, and sparkling ARP synths. Giggins also noted the inventive reinterpretation of "Linus and Lucy" and praised the album's variety, from bossa nova shuffles to synth-funk, calling it a thoughtful, emotionally rich jazz record.[12]
Legacy
Be My Valentine, Charlie Brown premiered on CBS on January 28, 1975, resonating with audiences due to its themes of unrequited love. Guaraldi's melancholic yet playful score complemented the storyline, leading to an influx of valentines sent to Charles M. Schulz's studio on behalf of Charlie Brown. Musically, the score is distinguished by its introspective quality and innovative use of the ARP synthesizer.
Track listing
All tracks are written by Vince Guaraldi, except where noted.
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