I Know There's an Answer

Last updated

If the message is to "seek answers within", then the song's opening line, "I know so many people who think they can do it alone" (which Mike didn't change), no longer makes sense as an argument to be refuted. In fact, the new message contends, those people are right, they can do it alone, by recognizing their self-worth and realizing their unexplored potential. [28]

Composition

"I Know There's an Answer" is structured in a verse/refrain/verse/refrain/bridge/refrain pattern. Unusually, the verses are divided by an eight-bar A section ("I know so many people ...") and a six-bar B section ("I know there's an answer ...". According to music historian Charles Granata, "The coupling of an eight- and a six-bar passage to create a fourteen-bar verse is rare (most verses are eight, twelve, or sixteen bars long); in this case, the listener isn't aware of the verse's compositional irregularity because the tune is so well-written." [2]

The song is in the key of B [33] and its lead melody spans two octaves. [28] Inverted chords are used just as they are in other Pet Sounds compositions. [34] Unlike other tracks on Pet Sounds, which modulate their respective keys down a minor third, the brief key change in "I Know There's an Answers" ascends a minor third (on the lyric "now what can you tell them"). [35] Granata identified the "aah, di-di-di-di-da" backing vocals and Love's "ba doo-be-doo-be-dooooo" vocal break as the album's "most striking bit of doo-wop". [36]

A bass harmonica solo, played by session musician Tommy Morgan, is featured during the instrumental break. [37] [nb 4] Morgan later commented, "Brian used instruments imaginatively. Not many people used bass harmonica at the time—Brian certainly used it before the Beatles. My solo ... was improvised, but whenever I played as part of the bass line, I played exactly what Brian told me to play." [37]

In Lambert's estimation, "This is one of Wilson's most vibrant instrumental conceptions, featuring organ, tack piano, harpsichord [ sic ], banjo, guitar, and bass harmonica. More so than any other song on the album, this one celebrates instruments and instrumental colours." [38] Session musician Carol Kaye commented, "Brian's putting us all on here with this royal 'blues' start and finally pretty song with its many facets of moods. He truly experimented on this." [39]

Recording

Al Jardine sang lead on "I Know There's an Answer" Al Jardine Pet Sounds.jpg
Al Jardine sang lead on "I Know There's an Answer"

Wilson produced the backing track for "I Know There's an Answer" (then slated and logged as "Let Go of Your Ego") on February 9, 1966 at Western Studio. [2] With the exception of an overdubbed banjo, played by Glen Campbell, the track was recorded live with an orchestra of 15 musicians. [40] Before one of the takes, Wilson jokingly referred to the song as "Let Go of Your Libido", mispronouncing "libido", [41] after which he asked if anyone had heard the 1959 comedy album How to Speak Hip . [42] He recorded a guide vocal for the track later that day. [20]

Vocal overdubs followed a week later, by which time the song had been renamed to "Hang On to Your Ego". [2] As the session began, Love struggled to sing the song and repeatedly mocked the lyrics, at one point singing the opening lines in the style of comedian Jimmy Durante and actor James Cagney. Jardine similarly encountered issues singing the vocals to Wilson's satisfaction and remarked, "Hey, Brian. This is a little tricky. ... I cannot hack this without your help. I mean it. I'm mentally destroyed." [12] Love continued to joke around and distract Jardine, causing Wilson to lose his patience and shout through the studio intercom, "Hey, you guys. Don't fuck around. Please, we've got to do it, Mike. Come on. ... Guys, let's cut this fucking thing!" [43] After Jardine's 14th take, Wilson announced that he had been satisfied with the performance, although Jardine felt that Wilson may have been "just accepting it". Jardine's vocal takes ultimately ran up to 18. [44]

On February 16, Wilson completed a mono mix of "Hang On to Your Ego". [45] The group later rerecorded the vocals to accommodate the song's reconfiguration as "I Know There's an Answer". [16] Except for the chorus, the final vocals were recorded on or around March 3 at Western. Further overdubs to the track, including the chorus vocals, were likely tracked on April 17 at Western. [40]

Critical reception

Reviewing the Pet Sounds album upon its release, Record Mirror 's Norman Jopling wrote that "'I Know There's An Answer' is a bell-like item and starts off Ronette-ishly. Prominent bass, dramatic vocal work. Like 'Don't Talk', there's a strong hymnal flavour on this one, but the only complaint is that the backing dominates the vocals. Sax break [ sic ], which is very unusual on Beach Boy records, and tambourines galore at the end." [46]

Retrospectively, music journalist D. Strauss remarked that "I Know There's an Answer" demonstrated how Pet Sounds made the Beach Boys "the first major rock group to look music trends firmly in the eye and declare that rock really didn't matter . Rock is supposed to be about, you know, fucking, and Brian Wilson was recording a song ('I Know There's an Answer') that was originally entitled 'Get Rid of Your Libido.' [ sic ]" [47] Consequence writer Ben Kaye described "I Know There's an Answer" as an "ode to finding yourself", while praising the harmonies and the song's unique place within the band's catalogue. [48] In 2015, Mojo ranked it as the 20th-greatest Beach Boy song, describing it as a "fried treatise on how LSD separates the turned-on 'us' from the uptight 'them'." [49] The same year, the French edition of Rolling Stone magazine ranked it the band's 19th greatest song.[ citation needed ]

Personnel

Per band archivist Craig Slowinski. [40]

The Beach Boys

Session musicians (later known as "the Wrecking Crew")

Technical staff

Frank Black version

"I Know There's an Answer"
Song by the Beach Boys
from the album Pet Sounds
ReleasedMay 16, 1966 (1966-05-16)
RecordedFebruary 9 c.April 17, 1966
Studio Western, Hollywood
Genre Psychedelic pop
Length3:08
Label Capitol
Songwriter(s)
Producer(s) Brian Wilson
Licensed audio
"I Know There's an Answer" on YouTube
"Hang On to Your Ego"
Frank Black - Hang On to Your Ego.jpg
Single by Frank Black
from the album Frank Black
Released1993 (1993)
Recorded1992
Length3:23
Label
Songwriter(s)
  • Brian Wilson
  • Terry Sachen
Producer(s)
Frank Black singles chronology
"Los Angeles"
(1993)
"Hang On to Your Ego"
(1993)
"Frank Black"
(1993)
Music video
"Frank Black - Hang On To Your Ego (Official Video)" on YouTube

Credited to his moniker Frank Black, Pixies member Charles Thompson recorded a cover version of "Hang On to Your Ego" that was issued as a single from his first solo album, Frank Black (1993). It was one of the first tracks recorded for the LP, which had originally been planned as a covers album. [50] His bandmate Joey Santiago guested on lead guitar. [51] Pixies biographer John Mendelssohn remarked that Thompson's rendition "could be played in actual discotheques – the kind in which men in tight-fitting shirts with extremely pointed collars try to persuade women with big hair and ankle bracelets to have sex with them – without there being a stampede for the exits!" [52]

The music video for the song was created on a budget estimated between $60,000 and $65,000. It was the second music video directed by They Might Be Giants' John Flansburgh and featured cameo appearances from Tony Asher and Charles' younger brother Parker Thompson. According to a contemporary report, "The video treatment for 'Hang On to Your Ego' juxtaposes the concept of not loving yourself too much against images of people caught in the act of self-loving, says Flansburgh. The clip combines hi-tech, pop-art effects with a low-tech video portrait inspired by amateur public-access shows." [53]

Wilson's 2016 memoir briefly references this cover version, stating only that "Someone played me a song once by Frank Black. He was in the Pixies, a band I don't know very well, and then he had some solo albums. On one of them he did a cover of 'I Know There's an Answer' where he put the original lyrics back in ..." [4] In 2012, Thompson's version was ranked at number 10 on Paste magazine's list of "The 25 Best Beach Boys Covers". [51]

CD single track listing
No.TitleWriter(s)Length
1."Hang On to Your Ego"Wilson, Sachen3:23
2."The Ballad of Johnny Horton"Thompson4:22
3."Surf Epic"Thompson10:12
Total length:17:57

Other versions

Notes

  1. The memoir goes on to say that he had only taken LSD once to this point. [11]
  2. It is also one of only two tracks that Wilson wrote with a collaborator other than Asher, sharing the distinction with "I'm Waiting for the Day". [14] [12]
  3. Love was also awarded credit for "Hang On to Your Ego", which, if counted, would boost the number to 36. [25]
  4. During the session, Wilson instructed Morgan to "wail on that baby for the instrumental break. ... Try to wail. Do a thing—you know." [37]

Related Research Articles

<span class="mw-page-title-main">Brian Wilson</span> American musician (born 1942)

Brian Douglas Wilson is an American musician, singer, songwriter, and record producer who co-founded the Beach Boys. Often called a genius for his novel approaches to pop composition, extraordinary musical aptitude, and mastery of recording techniques, he is widely acknowledged as one of the most innovative and significant songwriters of the 20th century. His best-known work is distinguished for its high production values, complex harmonies and orchestrations, layered vocals, and introspective or ingenuous themes. Wilson is also known for his formerly high-ranged singing and for his lifelong struggles with mental illness.

<i>Pet Sounds</i> 1966 studio album by the Beach Boys

Pet Sounds is the eleventh studio album by the American rock band the Beach Boys, released on May 16, 1966 by Capitol Records. It was initially met with a lukewarm critical and commercial response in the United States, peaking at number 10 on the Billboard Top LPs chart. In the United Kingdom, the album was lauded by critics and reached number 2 on the Record Retailer chart, remaining in the top ten for six months. Promoted there as "the most progressive pop album ever", Pet Sounds was recognized for its ambitious production, sophisticated music, and emotional lyrics. It is now considered to be among the greatest and most influential albums in music history.

<i>Sunflower</i> (The Beach Boys album) 1970 studio album by the Beach Boys

Sunflower is the 16th studio album by the American rock band the Beach Boys, released on August 31, 1970, and their first on Reprise Records. It received favorable reviews, but sold poorly, reaching number 151 on the US record charts during a four-week stay and becoming the lowest-charting Beach Boys album to that point. "Add Some Music to Your Day" was the only single that charted in the US, peaking at number 64. In the UK, the album peaked at number 29.

<i>The Beach Boys Today!</i> 1965 album by the Beach Boys

The Beach Boys Today! is the eighth studio album by the American rock band the Beach Boys, released March 8, 1965 by Capitol Records. It signaled a departure from their previous records with its orchestral sound, intimate subject matter, and abandonment of car or surf songs. Side one features an uptempo sound, while side two consists mostly of introspective ballads. Supported by this thematic approach, the record became an early example of a rock concept album and established the group as album artists rather than just a singles band. It has since become regarded as one of the greatest albums of all time.

<span class="mw-page-title-main">God Only Knows</span> 1966 song by the Beach Boys

"God Only Knows" is a song by American rock band the Beach Boys from their 1966 album Pet Sounds. Written by Brian Wilson and Tony Asher, it is a Baroque-style love song distinguished for its harmonic innovation and complexity, its unusual instrumentation, and its subversion of typical popular music conventions, both lyrically and musically. It is often praised as one of the greatest songs of all time and as the Beach Boys' finest record.

Anthony D. Asher is an American songwriter and advertising copywriter who is best known for his collaborations with Brian Wilson and Roger Nichols in the 1960s. Asher co-wrote eight songs on the Beach Boys' 1966 album Pet Sounds, including the singles "God Only Knows", "Wouldn't It Be Nice", and "Caroline, No". According to Asher, he mainly served as a lyricist for Wilson's songs, but in some cases also contributed musical ideas. Asher also composed jingles, such as Mattel's slogan "You can tell it's Mattel—it's swell!", and contributed songs to The Partridge Family.

<span class="mw-page-title-main">Wouldn't It Be Nice</span> 1966 single by the Beach Boys

"Wouldn't It Be Nice" is a song by the American rock band the Beach Boys and the opening track from their 1966 album Pet Sounds. Written by Brian Wilson, Tony Asher, and Mike Love, it is distinguished for its sophisticated Wall of Sound-style arrangement and refined vocal performances, and is regarded among the band's finest songs. With its juxtaposition of joyous-sounding music and melancholic lyrics, it is considered a formative work of power pop, and with respect to musical innovation, progressive pop.

"You Still Believe in Me" is a song by American rock band the Beach Boys from their 1966 album Pet Sounds. Initially conceived as "In My Childhood", it was the first songwriting collaboration between Brian Wilson, the group's de facto leader, and songwriter Tony Asher. Wilson sang the lead vocal.

"Don't Talk (Put Your Head on My Shoulder)" is a song by American rock band the Beach Boys from their 1966 album Pet Sounds. Written by Brian Wilson and Tony Asher, it is a ballad about nonverbal communication between lovers. Musically, the song is distinguished for its chromaticism, the use of a string sextet, and its key ambiguity. It is among the most harmonically complex songs that Wilson ever composed.

"That's Not Me" is a song by the American rock band the Beach Boys from their 1966 album Pet Sounds. Written by Brian Wilson and Tony Asher, it is distinguished for its sophisticated harmonic structure and its sudden shifts in mood and instrumental textures. Owing to its relatively sparse orchestration, it is the track on Pet Sounds that most closely resembles a conventional rock song.

<span class="mw-page-title-main">Caroline, No</span> 1966 song by Brian Wilson and the Beach Boys

"Caroline, No" is a song by American musician Brian Wilson that was released as his first solo record on March 7, 1966 and, two months later, reissued as the closing track on the Beach Boys' album Pet Sounds. Written with Tony Asher, the lyrics describe a disillusioned man who reflects on his former love interest and the loss of her innocence. Musically, it is distinguished for its jazz chords and unusual combination of instruments, including bass flutes, 12-string electric guitar, and muted harpsichord.

<span class="mw-page-title-main">I'm Waiting for the Day</span> 1966 song by the Beach Boys

"I'm Waiting for the Day" is a song by the American rock band the Beach Boys from their 1966 album Pet Sounds. Written primarily by Brian Wilson, the lyrics describe a man who is "waiting for the day" when the woman he loves will be ready to commit to a relationship with him. Wilson, alongside co-author Mike Love, are the only Beach Boys who appear on the recording.

<span class="mw-page-title-main">Here Today (The Beach Boys song)</span> 1966 song by the Beach Boys

"Here Today" is a song by the American rock band the Beach Boys from their 1966 album Pet Sounds. Written by Brian Wilson and Tony Asher, the lyric warns the listener of inevitable heartbreak before the narrator reveals himself to be the ex-boyfriend of the listener's newfound love. Musically, the song features an uncommon formal structure, the use of electric bass guitar as a lead instrument, and a 20-bar length instrumental break.

<span class="mw-page-title-main">When I Grow Up (To Be a Man)</span> 1964 single by the Beach Boys

"When I Grow Up (To Be a Man)" is a song by American rock band the Beach Boys from their 1965 album The Beach Boys Today!. Written by Brian Wilson and Mike Love, it was first issued as a single on August 24, 1964, paired with the B-side "She Knows Me Too Well". It peaked at number 9 in the U.S., number 27 in the UK, and number 1 in Canada.

"Wonderful" is a song by the American rock band the Beach Boys from their 1967 album Smiley Smile and their unfinished Smile project. Written by Brian Wilson and Van Dyke Parks, it was their only collaboration that resulted in a love song, telling the story of a young girl's sexual awakening and its disruption of her devotion to God and her parents.

"Vegetables" is a song by American rock band the Beach Boys from their 1967 album Smiley Smile and their unfinished Smile project. Written by Brian Wilson and Van Dyke Parks, the song was conceived by Wilson as a tongue-in-cheek promotion of organic food. Another reported inspiration for the song was a humorous comment Wilson heard about the effect of marijuana turning him and his friends into a "vegetative" state.

"Do You Like Worms?" is a song by American rock band the Beach Boys from their unfinished album Smile. Written by Brian Wilson and Van Dyke Parks, the song is about the recolonization of the American continent and contains references to the Sandwich Islands and "Bicycle Rider Back" playing cards. None of the lyrics appear to mention worms; asked about the title, Parks said he could not remember where it came from.

<i>Adult/Child</i> Unreleased Beach Boys album

Adult/Child is an unreleased studio album by the American rock band the Beach Boys that was produced in early 1977. Similar to the release it was meant to follow, The Beach Boys Love You, the album is essentially a semi-autobiographical solo effort by the band's chief songwriter and producer, Brian Wilson. The title refers to a theory that one's personality can be split into "adult" and "child" modes of thinking.

<span class="mw-page-title-main">I Just Wasn't Made for These Times</span> 1966 song by the Beach Boys

"I Just Wasn't Made for These Times" is a song by American rock band the Beach Boys from their 1966 album Pet Sounds. Written by Brian Wilson and Tony Asher, the lyrics describe the disillusionment of someone who struggles to fit into society. Musically, it is distinguished for its melodic bass guitar, layered vocals, and Electro-Theremin solo, marking the first time the instrument was used in popular music and the first time theremin-like sounds were used on a rock record.

<i>Pet Sounds</i> 50th Anniversary World Tour 2016–19 concert tour by Brian Wilson

The Pet Sounds 50th Anniversary World Tour was a worldwide concert tour by American musician Brian Wilson held to commemorate the 50th anniversary of the Beach Boys' album Pet Sounds (1966). Scheduled for more than 100 dates, it marks Wilson's final performance of the album.

References

  1. 1 2 Nolan, Tom (November 27, 1966). "The Frenzied Frontier of Pop Music". Los Angeles Times West Magazine.
  2. 1 2 3 4 5 Granata 2003, p. 105.
  3. Badman 2004, pp. 82, 114.
  4. 1 2 Wilson & Greenman 2016, p. 179.
  5. 1 2 "Interview with Brian Wilson". The Pet Sounds Sessions (Booklet). The Beach Boys. Capitol Records. 1997.{{cite AV media notes}}: CS1 maint: others in cite AV media (notes) (link)
  6. Carlin 2006, pp. 174–175.
  7. Daro, Lorren (May 28, 2012). "BRIAN AND LSD". Collapse Board. Retrieved November 20, 2020.
  8. Granata 2003, p. 55.
  9. Granata 2003, p. 55–56.
  10. Wilson & Greenman 2016, pp. 179–180.
  11. Wilson & Greenman 2016, p. 169.
  12. 1 2 3 Badman 2004, p. 114.
  13. Lambert 2007, p. 236.
  14. 1 2 Granata 2003, p. 80.
  15. Granata 2003, p. 103.
  16. 1 2 3 4 5 6 Granata 2003, p. 104.
  17. 1 2 Love 2016, p. 132.
  18. "Good Vibrations? The Beach Boys' Mike Love gets his turn". Goldmine . September 18, 1992.
  19. Love 2016, pp. 105, 131–132.
  20. 1 2 Elliott, Brad (August 31, 1999). "Pet Sounds Track Notes". beachboysfanclub.com. Retrieved March 3, 2009.
  21. 1 2 "Comments by Al Jardine". The Pet Sounds Sessions (Booklet). The Beach Boys. Capitol Records. 1997.{{cite AV media notes}}: CS1 maint: others in cite AV media (notes) (link)
  22. Fusilli 2005, p. 89.
  23. Holdship, Bill (January 2007). "The Beach Boys: The Making of Pet Sounds" . Mojo .
  24. Doe & Tobler 2009, pp. 22, 25.
  25. 1 2 Doe, Andrew G. "Album Archive Part 2: 1966-1973". Bellagio 10452. Retrieved November 10, 2020.
  26. "Comments by Bruce Johnston". The Pet Sounds Sessions (Booklet). The Beach Boys. Capitol Records. 1997.{{cite AV media notes}}: CS1 maint: others in cite AV media (notes) (link)
  27. 1 2 3 4 Fusilli 2005, p. 90.
  28. 1 2 3 4 5 6 Lambert 2007, p. 237.
  29. Brackett 2008, p. 35.
  30. "The Observers: Marilyn Wilson". The Pet Sounds Sessions (Booklet). The Beach Boys. Capitol Records. 1997.{{cite AV media notes}}: CS1 maint: others in cite AV media (notes) (link)
  31. 1 2 Valania, Jonathon (August–September 1999). "Bittersweet Symphony". Magnet .
  32. DeRogatis 1996, p. 36.
  33. Lambert 2008, p. 116.
  34. Lambert 2007, p. 238.
  35. Lambert 2007, pp. 237–238.
  36. Granata 2003, p. 35.
  37. 1 2 3 Granata 2003, p. 150.
  38. Lambert 2008, p. 128.
  39. "Carol Kaye". The Pet Sounds Sessions (Booklet). The Beach Boys. Capitol Records. 1997.{{cite AV media notes}}: CS1 maint: others in cite AV media (notes) (link)
  40. 1 2 3 Slowinski, Craig. "Pet Sounds LP". beachboysarchives.com. Endless Summer Quarterly. Retrieved April 5, 2021.
  41. Albanese, Paul J. (2002). The Personality Continuum and Consumer Behavior. Quorum Books. p. 183. ISBN   978-1-56720-558-9.
  42. Chapman, Rob (February 2002). "Brian Wilson: Unfinished Symphony" . Mojo .
  43. Badman 2004, pp. 114–115.
  44. Badman 2004, p. 115.
  45. Badman 2004, p. 117.
  46. Jopling, Norman (July 2, 1966). "The Beach Boys: Pet Sounds (Capitol)" . Record Mirror .
  47. Strauss, D. (December 8, 1997). "Pet Sounds : It's Not Rock 'n' Roll, But We Like It". The New York Observer .
  48. Kaye, Ben (2016-05-31). "The Beach Boys premiere alternative mix of "I Know There's an Answer" -- listen". Consequence. Retrieved 2023-01-03.
  49. "The Beach Boys' 50 Greatest Songs". MOJO . April 24, 2015. Retrieved June 1, 2016.
  50. Wild, Matt (October 3, 2013). "Sifting through the many solo albums (and names) of Frank Black/Black Francis". The A.V. Club.
  51. 1 2 Stiernberg, Bonnie (April 26, 2012). "The 25 Best Beach Boys Covers". Paste.
  52. Mendelssohn, John (2009). Gigantic: The Story Of Frank Black And The Pixies. Omnibus Press. p. 127. ISBN   978-0-85712-116-5.
  53. Russell, Deborah (March 8, 1993). "Artist Takes Vid Crew on 'Ego' Trip". Billboard.

Bibliography