It’s fair to say that no one who bought the Beach Boys debut single in 1961 would have realised they were in the presence of genius. Surfin’ sounded exactly like what it was: one of dozens of cheap, hastily-recorded singles released on a tiny independent label to cash in on the burgeoning craze for surf music, albeit a regionally-successful example of type. You might easily have expected to never hear of the band who made it again.
But the 19-year-old Brian Wilson was determined – he was the taskmaster that had relentlessly drilled his unwilling younger brothers Carl and Dennis into learning to harmonise – and a quick learner. The leap in quality between Surfin’ and its 1962 follow-up Surfin’ Safari was striking. The leap between Surfin’ Safari and Wilson’s glorious re-write of Chuck Berry’s Sweet Little Sixteen, Surfin’ USA – released nine months later – was staggering. Surfin’ USA was a pivotal record in the Beach Boys’ career, the moment where they began selling the world an idealised notion of Californian youth as a carefree, sun-kissed paradise of beauty, athleticism and unending material luxury. It was set to music that was still essentially primitive – three chords; guitars, bass and drums with only a brief splash of reedy organ for colour – but so thick with beautifully arranged harmony vocals, it felt weirdly sumptuous.
