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Mr. Bungle lore?? 🤯 Was obsessed with them years ago. California in particular is still in my playlist decades later. Latecomer to appreciating mature Beach Boys (a chance hearing last year of "You Still Believe In Me" was a revelation). Was not expecting the Mr. Bungle connection. But also makes sense 🤔 Now I wanna study more! Which I think is a sign that you're a great teacher. Thank you for the lesson, Tim!

Would love you to do Melt Away. You’re the only one I trust to get it right.

I like how you showed a picture of Mike Love at 1:46 haha

great video. really nice to see the chords spelled out like this! thx

Thanks Tim for the fantastic articulate look into the greatest of recordings, (btw it's steve from Sea)

Unbelievable video like always, I wanted to mention that the "The people I know don't wanna be where I'm at" backing vocal layer is actually a split between falsetto and tenor (or whatever the actual terms are), "The people I know don't wanna be" is in falsetto whereas "where I'm at" goes back into a tenor so that it better harmonizes and backs the "very sad" part of the main chorus line; it's an unbelievable production choice that acts as a double for the main chorus line towards the end. Another thing I was hoping would be covered in this video is the cantina section of the song which appears throughout the chorus (albeit super drowned in the mix). I'm not sure if you've seen it, but Devin Lawrence on KZfaq has a superb piano cover of the whole song where the chorus uses the cantina section, I feel like that is a fantastic point to bring up when mentioning that sections feel in terms of production. Which speaking of production, I have to note that I think reducing Brians adoption of the "Wall of Sound" to primarily using different sets of instruments in comparison to Specter is undervaluing the actual improvements he made to it. Phil Specter invented the "Wall of Sound" to layer energy for his productions so that the end result would be significantly more energetic/dramatic. Brian took this approach and used it to build atmospheres of emotion with non-primary instruments providing more nuanced details of the story whilst the front and center instruments paint the backdrop. The main difference I would say is that it's like a movie, Phil Specters "Wall of Sound" has just a bunch of background actors so that the scene feels more full, Brian Wilson's "Wall of Sound" has background actors so that the scene feels more alive and natural; background actors just doing mock actions vs background actors actually interacting with each other and doing things.

Thank you so much for this lesson. I appreciate the time you put into these. Please may you do a harmonic analysis on Todd Rundgren, unarguably one of the most gifted songwriters alongside Wilson and Steely Dan

one of the best channels around! I come here everydays! hugs from Brazil.

I didn't know there's two bass lines in this. I just found your channel, loved the Mr Bungle one too, thank you for sharing your knowledge with the rest of us, Tim!

Haha. (Cat Stevens on a house boat trip when 5 years old.) For me it was also being 5, when my older siblings played it on an 8 track boom box during a 2 day family road trip to Florida. 😂 Great break down video btw. ✌

Do girls on the beach please

Do a lesson about the keys used in Good Vibrations because there is 4 different sections using 4 different keys and 4 different time signatures which is very unusual

At first I thought the G/A was an A9 sus sound but when you isolated Carol Kaye’s bass she definitely plays a C note in there so your analysis makes more sense as part of an odd sounding Andalusian cadence as an Am 11 add 9 sound. Thanks for interpreting my favorite song.

'Where have I heard that before?' at c 9.35. Where I have heard it before or something very close is John Barry's theme tune to On Her Majesty's Secret Service.

Don't Let Me Be Misunderstood and Walk, Don't Run are a couple more Andalusians.

I love the Spanish lyric: ' (¿Cuándo seré?) (Un día seré)

stairway does not really use the Andalusian Cadence, its descending bassline starts out chromatic and invokes more the sound of Amin - E#5/G# - C/G - D/F# - Amin/F or Fmaj7 which is much more like this song's descending bassline than you give it credit for. The outro solo does use Amin - G - F - G but a key feature of the Andalusian cadence to me is the F to E sound. Still a great video though