In the Back of My Mind

Last updated

"In the Back of My Mind"
Song by the Beach Boys
from the album The Beach Boys Today!
ReleasedMarch 8, 1965
RecordedJanuary 13–19, 1965
Studio Western, Hollywood
Length2:09 (mono version)
2:11 (stereo version)
Label Capitol
Songwriter(s)
Producer(s) Brian Wilson
Audio sample

"In the Back of My Mind" 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 is a heavily orchestrated ballad composed in 6/8 time. Dennis Wilson largely sings lead solo though briefly during the middle eight, his brothers Brian and Carl sing two lines in unison.

Contents

Fans and critics regard the song as one of the band's "masterpieces". It is one of the group's songs that most heavily draw from the Tin Pan Alley style of songwriting, while the chord patterns were virtually unprecedented in Brian's music at the time. The song ends with a breakdown of its instruments playing out of sync from each other.

Overview

"In the Back of My Mind" is about someone who describes themselves as "blessed with everything", [1] yet has unfounded suspicions that his happy relationship will someday disintegrate. [2] Wilson wrote in his 2016 memoir that the melody was inspired by the Skyliners' "Since I Don't Have You". [3] It is one of the group's songs that most heavily draw from the Tin Pan Alley style of songwriting, [4] and in musicologist Phillip Lambert's assessment, the chord patterns "are virtually unprecedented in Brian's work." [1]

Drummer Dennis Wilson sang the lead vocal The Beach Boys TV (Dennis).jpg
Drummer Dennis Wilson sang the lead vocal

It is a heavily orchestrated ballad, composed in 6/8 time, with Dennis Wilson singing lead. [5] The arrangement lacks a groove and a traditional drum set. Instead, the rhythm is provided by acoustic guitars, vibraphone, and a Wurlitzer electric piano. There are also no vocal harmonies. [1] In the bridge, pizzicato strings underscore a passage in which the narrator expresses, "I try to run far away from thoughts I shouldn't try to keep away, but they just keep coming back to me". [6] His brothers Brian and Carl sing in unison during this section. [5] [1] In his book Yeah Yeah Yeah: The Story of Modern Pop, Bob Stanley remarked that the narrator's "emotions, whatever really was in the back of his mind, seemed to come out without any filter for what was deemed cool, or appropriate, or even musically acceptable". [7]

The song ends with a breakdown of its instruments playing out of sync from each other. [8] Biographer Peter Ames Carlin commented, "It's like the orchestra is falling apart. It's about the guy's wife, and that's the most intimate relationship you can have. It radiates the complexities in Brian's inner life and how that comes through in his music and how he expresses that in music." [9] Music historian Charles Granata described the track as "disturbing" and "the antithesis of any prescribed commercial formula—a curious experiment marking an extreme deviation from the band." [10] Howard similarly regarded its "stony lead vocal" and "warped string arrangement" as Wilson's "most ambitious arrangement to date." [11]

Recording

"In the Back of My Mind" was recorded over two dates at Western Studios, both produced, arranged and conducted by Brian Wilson. 40 takes of the instrumental track were recorded on January 13, 1965, with the 39th being deemed the master. The vocals were overdubbed at a session on January 19, 1965. [12] In a 1995 interview, Brian voiced dissatisfaction with Dennis' vocal, saying that it was not doubletracked well. [13]

Legacy and recognition

Fans and critics regard "In the Back of My Mind" as one of the band's "masterpieces". [1] Peter Doggett said of Dennis' performance, "he showed for the first time an awareness that his voice could be a blunt emotional instrument. ... his erratic croon cut straight to the heart, with an urgency that his more precise brothers could never have matched." [14] In his review for AllMusic, Matthew Greenwald offered praise of the song and its lyrics, saying that the choice of lead singer was good and that Dennis' performance is "wonderfully fragile." [15] Biographer David Leaf wrote, "Dennis’ soulful lead vocals helps bring out the jazzy feel of a song that is really unique in the Brian Wilson catalogue. The lush yet subtle orchestration (listen to the oboe) and percussion on this track hinted at what was to come on Pet Sounds ." [16]

1975 version

In 1975, Brian recorded a demo version of the song with himself on lead vocals and additional lyrics. It was released as a bonus track on the deluxe edition of his 2015 solo album No Pier Pressure . [17]

Personnel

Per band archivist Craig Slowinski. [12]

The Beach Boys

Session musicians and production staff

Related Research Articles

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

Pet Sounds is the eleventh studio album by 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 recognised for its ambitious production, sophisticated music, and emotional lyrical content. It is considered to be among the greatest and most influential albums in music history.

<span class="mw-page-title-main">California Girls</span> 1965 song by the Beach Boys

"California Girls" is a song by the American rock band the Beach Boys from their 1965 album, Summer Days . Written by Brian Wilson and Mike Love, the lyrics detail an appreciation for women across the world and a wish that they all lived in the band's home state, California. It was released as a single, backed with "Let Him Run Wild", and reached number 3 on the Billboard Hot 100. It was also a top 10 hit in several other countries, becoming one of the band's most successful songs globally.

<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 on 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.

<i>Carl and the Passions – "So Tough"</i> 1972 album by the Beach Boys

Carl and the Passions – "So Tough" is the 18th studio album by American rock band the Beach Boys, released May 15, 1972 on Brother/Reprise. The album is a significant musical departure for the band and is the first to feature the Flame's Blondie Chaplin and Ricky Fataar as additions to their official line-up. It sold poorly and was met with lukewarm reviews, but later gained stature as a cult favorite among fans.

<i>15 Big Ones</i> 1976 album by the Beach Boys

15 Big Ones is the 20th studio album by the American rock band the Beach Boys, released July 5, 1976 on Brother/Reprise. It includes a mix of original songs and renditions of rock 'n' roll and R&B standards. The LP was the band's first album with production credited solely to Brian Wilson since Pet Sounds (1966). As such, its release was accompanied by a controversial media campaign that declared his comeback as an active member of the Beach Boys' recording and touring group.

<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.

"I Know There's an Answer" is a song by American rock band the Beach Boys from their 1966 album Pet Sounds. Written by Brian Wilson, Terry Sachen, and Mike Love, the song was inspired by Wilson's experience with the drug LSD and his struggle with ego death. Musically, it is distinguished for its colorful arrangement, unorthodox structure, and bass harmonica solo. The instrumentation also includes guitars, tack piano, banjo, clarinets, flutes, electric keyboards, and timpani. Wilson, Love, and Al Jardine trade the lead vocal, for which the melody spans two octaves.

"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 the group's de facto leader, Brian Wilson, and advertising copywriter Tony Asher. Wilson sang the lead vocal.

"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 aged, 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">Kiss Me, Baby</span> 1965 single by The Beach Boys

"Kiss Me, Baby" is a song by the American rock band the Beach Boys from their 1965 album The Beach Boys Today!. Written by Brian Wilson and Mike Love, it was issued as the B-side of the group's "Help Me, Rhonda" single on April 5.

<span class="mw-page-title-main">Please Let Me Wonder</span> 1965 single by the Beach Boys

"Please Let Me Wonder" is a song by the American rock band the Beach Boys from their 1965 album The Beach Boys Today!. Written by Brian Wilson and Mike Love, it was the first song Wilson wrote under the influence of marijuana. The lyrics are about a man who does not know if a girl loves him and is afraid of learning the answer, and so he prefers to fantasize that she does. On February 15, the song was issued as the B-side to their "Do You Wanna Dance?" single before the album's release.

<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">When I Grow Up (To Be a Man)</span> 1964 single by the Beach Boys

"When I Grow Up " 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, the lyrics describe a boy who is anxious of when he stops being a teenager, pondering such questions as "Will I love my wife for the rest of my life?" The song was first issued as a single, with the B-side "She Knows Me Too Well", on August 24, 1964. It peaked at number 9 in the US, number 27 in the UK, and number 1 in Canada.

"Good to My Baby" is a song composed by Brian Wilson with words by Mike Love for the American rock band The Beach Boys.

"Don't Hurt My Little Sister" is a song by the American rock band the Beach Boys from their 1965 album The Beach Boys Today!. Written by Brian Wilson with additional lyrics by Mike Love, it was inspired by Wilson's interactions with sisters Marilyn, Diane, and Barbara Rovell. It was produced on June 22, 1964, making it the earliest-recorded song on the album.

"The Warmth of the Sun" is a song written by Brian Wilson and Mike Love for the American rock band The Beach Boys. It was released on their 1964 album Shut Down Volume 2 and as the B-side of the "Dance, Dance, Dance" single, which charted at number eight in the United States and number twenty four in the United Kingdom. Brian Wilson produced the song, and the rest of the album.

"Let Him Run Wild" is a song by the American rock band the Beach Boys from their 1965 album Summer Days . Written by Brian Wilson and Mike Love, it was issued as the B-side to "California Girls" and was one of the first songs that Wilson wrote while under the influence of marijuana.

<i>Summer Days (And Summer Nights!!)</i> 1965 studio album by the Beach Boys

Summer Days is the ninth studio album by American rock band the Beach Boys, released on July 5, 1965, on Capitol. The band's previous album, The Beach Boys Today!, represented a departure for the group through its abandonment of themes related to surfing, cars, and teenage love, but it sold below Capitol's expectations. In response, the label pressured the group to produce bigger hits. Summer Days thus returned the band's music to simpler themes for one last album, with Brian Wilson combining Capitol's commercial demands with his artistic calling.

<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.

References

Citations

  1. 1 2 3 4 5 Interrante, Scott (June 16, 2014). "When I Grow Up: The Beach Boys - "In the Back of My Mind"". PopMatters .
  2. O'Regan 2014, pp. 209, 315.
  3. Wilson & Greenman 2016, p. 173.
  4. O'Regan 2014, p. 219.
  5. 1 2 Hickey, Andrew (2011). The Beach Boys On CD vol 1: 1961 - 1969.
  6. O'Regan 2014, p. 144.
  7. Stanley 2013, pp. 219–220.
  8. Carlin 2006, p. 69.
  9. Chrome Dreams (2010). Brian Wilson: Songwriter 1962-1969 (Documentary). United States: Sexy Intellectual.
  10. Granata 2003, p. 63.
  11. Howard 2004, p. 58.
  12. 1 2 Slowinski, Craig (2007). "The Beach Boys - The Beach Boys Today!" (PDF). Retrieved October 27, 2012.
  13. Benci, Jacopo (January 1995). "Brian Wilson interview". Record Collector. UK (185).
  14. Doggett 1997, p. 164.
  15. Greenwald, Matthew. "In the Back of My Mind - The Beach Boys". AllMusic. Retrieved 2012-06-11.
  16. Leaf, David (1990). Today/Summer Days (And Summer Nights!!) (Media notes). The Beach Boys. California: Capitol Records. 72435-27945-2-2.
  17. Goldenberg, Joel (March 20, 2015). "Demos are sometimes best versions of songs". The Suburban . Archived from the original on November 19, 2015. Retrieved November 18, 2015.

Bibliography