"Be with Me"

The lead vocals in "Be with Me" are doubled-tracked except for a single line about halfway through the song.  The left-panned voice sings, "It could set us free," but the right-panned voice sings, "It could set you free."  Up to that point, the voices had been singing the same lyrics, so they're bound together to some degree, but the divergence here matches being "set... free."

"Do It Again"

I listened to the two-albums-on-one-CD re-issue of Friends and 20/20 this morning and noticed that, appropriate for the retrospective theme, the lyrics of "Do It Again" contain the titles of a couple previous Beach Boys songs:  "California Girls" in the second verse ("With sun-tanned bodies and waves of sunshine / California girls and a beautiful coast line") and "Lonely Sea" in the bridge ("And with a girl the lonely sea looks good with moonlight").

"Cotton Fields (The Cotton Song)"

I was thinking about "Cotton Fields (The Cotton Song)" again yester-day and had an-other small realization about it:  coinciding with the phrase "rock me in the cradle" in the introduction, the bass register of the piano starts alternating between two notes (I think they're A flats an octave apart).  This figure gives a musical impression of that "rock[ing]."

"Cotton Fields (The Cotton Song)"

Recently, the Reelin' in the Years Archive posted a video from 1969 in which the Beach Boys mime to "Cotton Fields (The Cotton Song)":

I realized that while most couplets are linkt by perfect rhymes ("rotten" with "cotton" and "warm ya" with "California") or assonance ("in a fix" and "lickety split"), this isn't the case for the lines "Came along a nice old man with- he had a hat on / 'A-wait a minute, mister; can you give me some direction.'"*  There's no strong relationship between "hat on" and "direction."  To some degree, this break from the established structure matches how the narrator has left familiar roads.

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*I'm not entirely confident in my transcription.  I referenced some lyrics websites (which I'm always skeptical of), and they all have "a nice old man, well, he had a hat on," but I think what I have is more accurate.  In any case, the ends of the lines are the salient point here.

"Little Deuce Coupe"

While reading The Beach Boys yester-day, I ran across the phrase "Deuce Coupe" (on page 287, Dennis mentions a ballet with this name, inspired by the Beach Boys' music).  In thinking about the song "Little Deuce Coupe" afterwards, I realized that the second half of the line "Well, I'm not braggin', babe, so don't put me down" is sung to a descending melody ("so don't put me down" is sung to the notes Db C Ab Ab Ab), so while the expression is used more metaphorically and is negated, there's a musical sense of "put[ting]... down."

"Spirit of America"

Months ago, I had a small realization about "Spirit of America," but it wasn't until recently that I was able to articulate it.

The phrase "half airplane, half auto" is sung to a melody something like this:

"Half airplane" is sung to notes that total five beats, and "half auto" is sung to notes that total six beats, so it's not quite exact, but there is a sort of musical balance that matches this "half" and "half."

This balance is also present in the lyrics alone:  the two phrases have the same number of syllables, and there's a parallelism in the initial letters of the words.

"California Girls"

I also had a small realization about "California Girls" yester-day.  The line "The midwest farmers' daughters really make you feel alright" may be a slight nod to the song "Farmer's Daughter" from Surfin' U.S.A.

"That's Not Me"

This morning, I read the lyrics from "That's Not Me" in The Beach Boys (page 211), and I had a small realization about the line "I went through all kinds of changes, took a look at myself, and said, 'That's not me.'"  The line exhibits internal rhyme ("took a look"), and this matches the introspection that the line itself describes.

"You Still Believe in Me"

I've been slowly reading The Beach Boys (the band's only official book, from 2023), and lately, I've been reading about the songs on Pet Sounds.  Yester-day, I read the lyrics to "You Still Believe in Me" (on page 205, with a bit of "I Know There's an Answer" accidentally included).  I noticed that in the line "Ev'ry time we break up, you bring back your love to me," "ev'ry time" is sung to notes of all different pitches (B E F#), providing something of a sense of entirety.

"Surf's Up"

I recently found a note from last month that I forgot to write about here.  In the Beach Boys' Instagram stories, I'd heard a clip of "Surf's Up," and I realized that in the first section (roughly until ~1:36), the bass plays mostly on the up-beats, perhaps in order to emphasize the "up" in the title phrase.  Here's the notation for the first verse (with the standard disclaimer that I may have something wrong):

Aside from the last two measures, the bass part in the second verse is the same.

"Funky Pretty"

Off and on over the last three months or so, I transcribed the lyrics from the liner notes of my edition of Holland into Google Documents for each of the songs so that they're easier to reference.  When I transcribed "Funky Pretty" this morning, I noticed a significant structural change in the third verse.

There are two vocal parts in the verses.  Each sings different lyrics, but they converge on the last word in each line, which is either the same or a perfect rhyme ("romance" and "romance," "glance" and "dance," and "dance" and "glance" in the first verse, "gold" and "gold," "old" and "bold," and "told" and "told" in the second).  This structure is broken in the third verse, though, where these simultaneously sung words are "ours" and "hours," "hours" and "stars," and "stars" and "powers."  This difference in the structure matches the theme of some of the lyrics in that verse:  "Her calendar is not like ours" and "The hieroglyphs mark changing hours."

"Help Me, Rhonda"

I was thinking about "Help Me, Rhonda" yester-day, and I realized that the line "She was gonna be my wife, and I was gonna be her man" contains a sort of chiasm (she | my || I | her).  This structure reflects the reciprocity that this relationship had before "she let another guy come between us."

While referencing the recording to verify the lyrics, I also noticed that "fine" in the line "Well, Rhonda, you look so fine" is sung with a melisma (C# B# A# in the lead vocals), giving a sense of degree (for "so").

These features are also present in the version on Today! ("Help Me, Ronda").