"California Girls"

In the two live versions of "California Girls" on 1967: Sunshine tomorrow, one line is "The midwest farmers' daughters, well, they all make you feel alright" (instead of "The midwest farmers' daughters really make you feel alright" as it is in the studio version).  "They" is grammatically unnecessary, but the redundancy that it creates with "daughters" hints at this entirety ("all").

"Country Air"

The line "Mother Nature, she fills my eyes" in "Country Air" contains a pleonasm, and while "she" isn't necessary grammatically, the redundancy that it creates with "Mother Nature" matches the abundance implied by "fills."

"Aren't You Glad"

I recently listened to 1967: Sunshine tomorrow again and noticed a handful of small points.

In "Aren't You Glad," some of the notes in the bass part highlight the meaning of the lyrics, specifically in these sections:

You know that I've been a long time needin' you

You say that you've been a long time needin' me

And don't you know that there's so much more to come

You know that I'll be a long time lovin' you

I hope that you'll be a long time lovin' me

And don't you know that there's so much more to come

Under these, the bass plays something like:

The notes beneath each "long" and "so" are longer than the surrounding notes, and these greater values give a sense of duration (for "long") and degree (for "so").

"Mama Says"

Yester-day, I was thinking about "Mama Says" and noticed some significant points just in the lyrics.

Most of the lines have the same structure, with "a lot" occurring at the end ("Eat a lot / Sleep a lot... Run a lot / Do a lot"), and this repetition (technically called "epistrophe") matches the great quantity that the phrase itself indicates.  The song contains repetition on a broader scale, too, since the same verse recurs throughout, just with melodic differences.

In "Eat a lot," however, "a lot" could function as either a direct object ("eat an abundance") or an adverb ("eat frequently"), and this duality of possible meanings also hints at a large amount.  Similarly, with "Sleep a lot," "a lot" could indicate duration ("sleep for a long time") or frequency ("sleep often").

"Their Hearts Were Full of Spring"

I'm unsure of the specific pitches, but in the title line of "Their Hearts Were Full of Spring," "spring" is sung with various melismas, providing a sense of the abundance of being "full."  In the last instance of the line, "full" itself is also sung with a melisma, illustrating this plenty.

"Here Comes the Night"

As with "so sweet" in "Aren't You Glad," the repetition involved in the alliterative "so strong" in "Here Comes the Night" ("It's never ever felt so strong") lends some sense of degree.

"Aren't You Glad"

The repetition involved in the alliterative "so sweet" in "Aren't You Glad" ("You're so sweet") provides a slight sense of degree.

"Vegetables"

I listened to the two-albums-on-one-CD combination of Smiley Smile and Wild Honey yester-day and noticed a handful of features.

In the line "If you brought a big, brown bag of them home" in "Vegetables," the repeated initial plosives in "big, brown bag" lend a slight sense of this large size, and since each occurs on a downbeat, there's an additional musical emphasis.

"Palisades Park"

I listened to 15 Big Ones (and Love You) last week because it was the fiftieth anniversary of its release (on 5 July 1976), and I noticed a couple points in "Palisades Park."  I wanted to compare the Beach Boys' version to the original by Freddy Cannon before writing about it, though, and it took me a while to track down my copy of Cannon's recording.

The lines "You never know how great a kiss can feel / Until you stop at the top of a Ferris wheel" contain the highest pitches in the lead vocal (Es), giving a sense of the height of "at the top."

Cannon's version is a half step higher (Ab major), so the pitches there are Fs, but the feeling is the same.  Unless I'm mistaken, the lyric is a bit different, though:  "You'll never know how great a kiss can feel / When you stop at the top of a Ferris wheel."

In the line "And around like a merry-go-round," "around" is sung with a melisma (D E D), giving a slight sense of this movement.  This articulation isn't in Cannon's version.

"Drive-In"

A couple days ago, I was thinking about the line "A big, buttered popcorn and a extra large coke" in "Drive-In."  Last year, I noted that the numerous plosives in the phrase "big, buttered popcorn" give some sense of this large size, but I realized recently that the rhythm contributes, too:  the words' initial syllables all fall on down-beats, giving these plosives some extra emphasis.

"Take a Load off Your Feet"

I was thinking about "Take a Load off Your Feet" this morning and noticed a small ambiguity.  In the liner notes (at least in those of the CD re-issue where Sunflower and Surf's Up are combined), one line is rendered as "One, then the other too," but it could also be understood as "One and the other, two," with "two" as an appositive rather than "too" as an adverb.

"I Know There's an Answer"

I listened to Pet Sounds yester-day to mark the sixtieth anniversary of its release, and I noticed a small point in "I Know There's an Answer."  "Better" in the line "And tell them the way that they live could be better" is sung with a melisma (G Eb C Bb), and this articulation lends a sense of the comparative nature of the adjective (more notes for a greater degree).

Later, I noticed that "day" and "night" in the line "They trip through the day and waste all their thoughts at night" form something of a temporal merism.