BEACH BOYS "Help Me, Rhonda": Your Favorite Version? Thoughts, Myths, & Chartbustin'

I. Which version of this fine Beach Boys' song do you prefer, and why? Any preferences as far as different media- vinyl (LP vs. 45 single), cd? Comments, memories, opinions are all welcome.


A.) "Help Me, Ronda" (album track on "The Beach Boys Today!" LP; Version #1).

Recorded at Western Recorders, Studio 3, Hollywood, CA, on 1/8/1965 ( basic 'band' track, 31 takes), and on 1/19/65 ( reduction mix to a second-stage 3-track tape, two vocal tracks, plus double-tracking of vocals, and hand claps added to middle section). Produced by Brian Wilson, engineered by Chuck Britz.

Mono mixdown done by Brian Wilson in later-January 1965, for the "Today!" LP, released on March 1, 1965. This is the version with the (infamous) fade-outs/fade-ins near the end of the song.


B.) "Help Me, Rhonda" ( Alternate Single Version, included on the 1998 Capitol cd, "Endless Harmony"; Version #2c).

The backing 'band' track was recorded at Universal/Radio Recorders, Hollywood, CA, on 2/24/1965, and produced by Brian Wilson. A reduction mix to a second-stage tape was done at Western Recorders, on 3/3/1965, with 12-string lead guitar (played by Carl Wilson), organ, and tambourine simultaneous overdubs. The group's first attempt at vocal overdubs was sabotaged by Murray Wilson's notorious in-studio meltdown. The next day (3/4/65), one take was needed to score the first layer of vocals, followed by a second take for the doubling of vocals. On either March 21 (liner notes to the "Endless Harmony" cd, presumably written by Brad Elliott; and Keith Badman's book, "The Beach Boys- The Definitive Diary Of America's Greatest Band On Stage And In The Studio"), or March 25th (Craig Slowinski, on www.beachboysarchives.com), live instrumental and vocal overdubs were done during mixdown: castanets, 12-string guitar, piano, and a unique "wah-wah-wah" high harmony part sung by Brian Wilson (chronologically, this would have been overdub 'c'). This mix was actually labelled "final mono master" on the tape box, but Brian had second thoughts and rejected it.


C.) "Help Me, Rhonda" ( Hit 45 single mix; Version #2d).

This was the final mono mix done by Brian Wilson, with live overdubs of Al Jardine's lead vocal doubled on the intro; a piano solo by Brian; and an added 12-string lead guitar in the intro, ending, and solo in the middle- played by Carl Wilson (chronologically, this would have been overdub 'd'). The probable date for overdub 'd': on or before March 29th, 1965.

( These recording notes are based on Craig Slowinski's meticulous, comprehensive, and awesome presentation on www.beachboysarchives.com).


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II. Some Thoughts On The Three Versions

To fairly compare these different versions, I made a 'work cd-r' from a tape recorded on a 3-head deck, with matched output levels for each version. Then I did a lot of critical listening comparisons between the versions through speakers: version-by-version, intro-to-intro, constant A/B-ing.

A. Album Track Version (from "Today!" LP; version #1)

Never thought I'd say this, but after carefully listening to all three versions, this one- despite the fade-outs/fade-ins near the end of the song- is the one I like the best. Craig Slowinski says it best, on www.beachboysarchives.com:

"... Carl's guitar is doubled by Billy Strange's ukulele, Hal plays rolling fills on the timbales, and in a stroke of arranging brilliance, the tambourine and wooden claves don't enter until the second verse, giving these percussive instruments much more impact (the claves were apparently played by Spector session stalwart and future Baja Marimba Band leader Julius Wechter, and while the tambourinist's identity is unknown, it is almost certainly Beach Boy roadie Ron Swallow). ..."

It's those distinctive percussive effects- the timbales, the tambourine, and claves, and most notably, Hal Blaine's superb-sounding drums, riding higher in this mix, adding an effective snap/punch to the song- that make this version a winner for me. This version comes across as more dynamic, more natural-sounding to me. I can live with the goofy fades at the ending; heck, after 43 years, I'm used to it. If this version had Carl's 12-string guitar solo on the break- instead of the harmonica- it would be perfect for me. Also, I like the 10 second or so music intro, before Al Jardine starts his memorable lead vocals. Brian and Carl turn in smooth background harmonies on the first verse, with Mike and dennis chiming in on the chorus.

The Wrecking Crew anchors this version so superbly. Joining Hal Blaine (drums, timbales) on the rhythm section is Ray Pohlman on bass. On the intro, Billy Strange strums a ukulele, while Bill Pitman plays lead guitar, joined by Carl Wilson on rhythm guitar. Glen Campbell adds texture/tone with his 12-string acoustic rhythm guitar. That double-reed harmonica that helps carry the break is played by Billy Riley. Adding mid-range warmth is Leon Russell on acoustic grand piano. Tenor saxes are played by Steve Douglas and Plas Johnson; Jay Migliori handles the baritone saxophone. What a group of great musicians! ( details based on Craig Slowinski, www.beachboysarchives.com).

B.) Alternate Single Version (included on the 1998 "Endless Harmony" Capitol cd; Version #2c)

This version has some different instrumental backing at the start. The most distictive differences are Carl Wilson's 12-string guitar overdubs, and of course Brian Wilson's stratospheric falsetto 'wah-wah-wah' vocals. This is an interesting variation, but I can see why Brian rejected it: it doesn't quite jell.

C.) Hit 45 Single Mix

The main difference early in this version, compared to the album version, is that the vocals come right in at the song's start- there's no 'music-only' intro. There are also variations/changes in the song's lyrics. Carol Kaye's electric bass starts out strong, then it's shelved sharply or mixed lower. The vocals really dominate after this, with Mike handling the low-end "bow-bow-bow-bow-bow" part.

This 45 hit single mix features no less than four (!!) keyboard-piano instruments: an acoustic grand piano (? Leon Russell), a Wurlitzer electric piano (Larry Knechtel), a Hohner pianet or cembalet (? Don Randi), and a Hammond B-3 organ ( Brian on an overdub; details again from Craig Slowinski's site, www.beachboysarchives.com).

To me, as superb as this version sounds- led by The Beach Boys' superb vocal arrangements with intricate harmonies and individual vocal parts, all blended expertly by Brian Wilson- it sounds somewhat synthetic, 'manufactured', or just too polished. Hal Blaine's great drums are, for the most part, way back in the mix, and the tambourines are really buried in the mix, at least until the end. This is especially true with the version on the "Summer Days (And Summer Nights!!) album 2001 two-fer cd. The 45 single mix presented on "Greatest Hits, Volume 1" ( 1999 Capitol cd, CDP 7243) has less bass at the start of the song, but the tambourines are more audible, and Carl Wilson's 12-string guitar solo sounds stronger ( this 1999 cd was mastered by 'our' Andrew Sandoval, along with Ron McMaster, using the original mono single masters, in June 1999). Mastering differences? Different source tapes?

I don't know what it is, but- as great as this version sounded back in '65 on an AM car radio- it sounds somewhat muddled/murky on a decent home stereo now. I don't know if it was the mics, the boards/consoles, or just the studio ambience of Universal/Radio Recorders that contributed to this- Steve? Or maybe it was the preponderance of piano-keyboard instruments? Or, maybe it was just the way the final mix came out.

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III. Some Myths De-bunked

***Myth #1: That "The song was only ever considered to be an album cut; however, radio stations began to play the track and a single version was recorded soon after. ..." (http://en.wikipedia.org/wiki/Help_Me,_Rhonda). Based on the timelines, it's hard to see how this was true: the "Today!" LP was released on 3/1/65- after Brian Wilson had decided to re-record the song, and after the backing band track had been recorded at Universal/Radio Recorders on 2/24/65. It is true that the reduction mixdown (3/3/65) for the single version, and follow-up instrumental and vocal overdubs (3/25-3/29/65) were done after the album had been released. That was still beside the point. If any Beach Boys' experts have evidence to the contrary, please chime in and correct me. My understanding is that Brian Wilson- supported by Capitol- was the driving force behind the decision to re-record "Help Me, Rhonda" and release it as a Beach Boys' single.

It's also true that station KIMN in Denver started playing and charting "Ronda" (the album version) on March 15th, 1965: first as a 'KC' pic, then it charted at #45 the next week. KIMN actually charted "Ronda" for four weeks total as an album track, and had it at #27 by 4/12/65- based obviously on requests. Surprisingly, there is no mention of the "Today!" LP on LA's KFWB's Top 5 album listings in March 1965 to support this theory, although "Ronda" might have received airplay off the album in that market, among others. Any memories on this point, Steve? Any airplay of "Ronda" in March of '65 as an album cut would have reinforced/vindicated Brian Wilson's previous decision to re-record it and release it as a single.


*** Myth #2: This was an innocent tall tale started by Al Jardine, that because Gary Usher- who hit with "Little Honda" by The Hondells in the summer of '64- planned to release his own version of "Rhonda", Brian Wilson decided to re-record the song and beat him to the punch. I've looked through discographys for Gary Usher and The Hondells, and have never seen "Rhonda" listed anywhere. There simply is no evidence that Gary Usher ever recorded the song. More "Little Honda" clarification: Brian Wilson was not in favor of releasing it as a Beach Boys' single in the first place, thus allowing Gary Usher an opening to release The Hondells' hit version. The fact that Usher scored a Top 10 hit with one of his ( and Mike Love's) songs was probably not forgotten by Brian, who made a rare error in gauging the commercial potential of a Beach Boys' song.


*** Myth #3: That The Beach Boys' version of "Help Me, Rhonda" was made in response to The Rip Chords (unreleased) version. Considering that The Rip Chords' version was recorded on 3/24/65- a full month after The Beach Boys' started re-recording "Rhonda" for single release (2/24/65)- this would have been impossible. I do find it interesting that The Rip Chords' version was recorded right around the same time as Brian Wilson was doing final mono mixdowns, and doing live overdubs ("c", and "d"). Since many of the same musicians played on both The BB's and RC's versions, and the pop recording industry in LA back then was fairly tight/inter-connected, this was probably not a surprising development.

What really happened here? Terry Melcher heard the original album version of "Ronda" from the "Today!" LP. Melcher's impression: "... It wasn't very well recorded, but I loved the song. And I made a record of it that was gonna be either a Bruce and Terry or a Rip Chords' version. ..." ( Interview by Al Quaglieri for Sundazed Music; in liner booklet to the 1998 Sundazed cd, "The Best Of Bruce And Terry," SC 11052). According to Melcher, "And then Brian came into the office; this was when we actually became friends. He came in and said, 'I have re-recorded this and it's going to be a Beach Boys' single.' I (already) had my version on release at Columbia. The singles were pressed, the adds shot and Brian said, "I'm going to put this out myself, so what can you do for me?' I said, 'Well, I'll kill the release.'" (Liner notes by Stephen J. McParland, to the 1996 Sundazed cd, The Rip Chords, "Three Window Coupe," SC 6099). In the later interview with Al Quaglieri, Melcher claimed that, "... out of respect for his (Brian Wilson's) talent, I pulled the record, although I think we had the essence of it." (parentheses mine).

It's clear that Brian Wilson and Capitol Records were waiting for the current Beach Boys' hit single, "Do You Wanna Dance" (released as Capitol single 5372 on 2/15/65) to fade from the charts, while "Rhonda" was perfected in the studio and released as the new BB's single. "Dance" took eight weeks to peak on Cashbox at #13 on 3/27/65. Just over a week later, on April 5, 1965, Capitol released "Help Me, Rhonda" ( on Billboard, "Dance' would peak slightly later, on 4/10/65, at #12). The stage was set for....

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IV. ***** Chartbustin' with "Help Me, Rhonda" (Brian Wilson,melody;Mike Love, lyrics) *****

Released on April 5th, 1965 as Capitol single 5395.

It sure didn't take long for this new single version of "Rhonda" to get noticed: WABC in NYC had tabbed her as a 'Pick Hit' one day after the release date, showing that those Capitol Records promo guys were doing their job on the East Coast- and that the WABC DJ's had good ears.... . The next week, "Rhonda" was a 'Hot Prospect' on that landmark AM giant, in that major market (4/13/65). She was turning heads early!

Early local breakouts occurred in Pittsburgh, on KQV, where "Help Me, Rhonda" made its' debut at #32, on 4/13/65. At virtually the same time (4/14/65), "Rhonda" broke into Detroit's WKNR charts at #27. The Beach Boys' new single also charted on WMCA (NYC again) at #56, and in Grand Rapids, Michigan (WLAV) at #31 on the same date. The early clincher occurred on Miami's adventurous WQAM, where "Rhonda" had been a 'Pic' on 4/10/65. A week later, it crashed their Top 50 at #39, while it was making moves in Minneapolis-St.Paul (KDWB, #26, 4/17/65).

Based on this early chart action in New York City, Michigan, Pittsburgh, Miami, and the Twin Cities, "Help Me, Rhonda" was the top-debutting single on Cashbox's Top 100 on April 17th, 1965, scoring at #74. The Beach Boys had to be smiling at that point, sensing that they had a future monster hit on their hands.

In Miami, on WQAM's 'Tiger Radio,' "Rhonda's" climb was meteoric: #5 in only its' third week (!!!, 5/1/65), #1 the following two weeks! On Chicago's WLS, The Beach Boys' new single broke a bit later, in its' third week of airplay, at #18, on 5/7/65. The next, second week, it shot up to #5! Similar hot chart action happened in Detroit, on WKNR, where "Rhonda" had blasted into the Top 10 in only its' third week (#8, 4/28/65). It then spent the next four weeks in their Top 5 ( three weeks at #4!).

The top major market that drove "Rhonda's" rapid national ascent was NYC: on WMCA, it had zoomed all the way up to #5 in only its' fourth week (5/5/65), while it was doing almost as well on rival WABC (#7, 5/4/65).

Surprisingly, in the local LA market, "Help Me, Rhonda" was a little behind in charting, entering KFWB's (#36) and KRLA's (#43) charts at virtually the same time (4/24, 4/25/65). On KRLA, this later entry was compensated by the single's swift climb to #2 in only its' fourth week (5/16 and 5/23/65).

Right after zooming up to #1 on WQAM in Miami (5/8 and 5/15/65), "Rhonda" hit the top spot on Pittsburgh's KQV, also for two consecutive weeks (5/11, and 5/18/65). In Louisville, Kentucky, on WKLO, "Rhonda" made a trophy run, smashing through to #1 on 5/14/65- in only three weeks! In Chicago, on WLS, "Rhonda" was riding high at #5 in only its' second week (5/14/65).

About the same time, "Rhonda" continued to do well in the Big Apple, reaching #2 on WABC on 5/18/65, and just as impressively, staying at that spot for three weeks in a row. On WMCA, "Rhonda" had hit #3 on 5/12/65.

With all this strong chart action around the country, it was not surprising that "Help Me, Rhonda" enjoyed quick success on the national charts: on Cashbox, in only its' fourth week, it cracked the Top 10 at #8 (5/8/65), and registered another bulletted gain to #3 the following week (5/15/65).

Top 5 charting in the top three major markets of NYC, LA, and Chicago over the last half of May and the first week of June '65- along with excellent sales throughout the rest of the country- propelled "Help Me, Rhonda" to #2 on Cashbox for the last two weeks of May. On June 5th, 1965, "Rhonda" reached #1 on Cashbox, knocking the Supremes ("Back In My Arms Again") from the top spot. On Billboard, "Rhonda" was perched at #1 at the same time, knocking The Beatles ("Ticket To Ride") off the pinnacle.

At the same time, in the Midwest, "Rhonda" continued to surge upward, reaching #1 in Cleveland (KYW, 5/28/65), #1 in Cincinnati (WSAI, 5/29/65), #2 in Columbus, Ohio (WCOL, 5/24/65), while it peaked in Chicago (#2, WLS, 5/28/65) and Minneapolis-St.Paul (KDWB, #2, 6/5/65). In the Big Apple, "Help Me Rhonda" also peaked at the beginning of June (#2, for the third consecutive week, on WABC, 6/1/65; #4, on WMCA, for the third straight week).The Beach Boys' hit single crested as well in LA at virtually the same period (#4 peak on KFWB, 5/29/65; #2 peak on KRLA on 5/23/65).

As "Rhonda" started its' inevitable slow fade down the national charts- The Four Tops ("Can't Help Myself") knocked The Beach Boys from the #1 spot on 6/12/65, to #4 on Cashbox- continued robust sales throughout the country kept them in the national Top 40 almost through mid-July. In the heartland, "Rhonda" broke later (#30 on KXOK in St.Louis on 5/8/65), but strong, steady chart progress in that market gave The Beach Boys a solid 4th quarter surge: thirteen weeks of charting (5/8/65-7/31/65), with a peak of #2 on 6/19/65. and an amazing seven weeks in KXOK's top 10!

Reviewing local chart activity for "Help Me, Rhonda", some of the best tallys were turned in on WABC in NYC ( twelve weeks overall, ten weeks in the Top 20, eight weeks in the Top 10, and six weeks in their Top 5), and on Pittsburgh's KQV (thirteen weeks overall, ten weeks in their Top 20, eight weeks in their Top 10, and an impressive six weeks in their Top 5- including two weeks at #1!).

On LA's KRLA, "Rhonda" spent an impressive twelve weeks in their Top 50, ten weeks in their Top 20, seven weeks in their Top 10, with three weeks in the Top 5 Tunedex. The ultimate longevity award for "Rhonda" goes to KDWB in the Twin Cities: 15 weeks total (4/17/65-7/24/65), twelve weeks in their Top 20, seven weeks in their Top 10 (nine weeks in their Top 11!).

For sheer quality, it was tough to beat "Rhonda's" success on Cleveland's KYW: seven weeks in their Top 5, including a #1 on 5/28/65! We can't forget "Rhonda's" dazzling performance on Miami's WQAM: eleven weeks overall, nine weeks in the Top 20, with a stunning six weeks in that station's Top 5- including two weeks at #1!

Overall, The Beach Boys' second #1 national hit single turned in an excellent performance on the Cashbox Top 100: thirteen weeks overall (4/17/65-7/10/65), ten weeks in the Top 30, seven weeks in the Top 10, and a superb five weeks in the Cashbox Top 5. For the year, "Help Me, Rhonda" ranked a respectable #30 on the Cashbox 1965 Top 100 Singles.

In Canada, "Help Me, Rhonda" broke a tad later, near the end of April '65, but enjoyed similar stunning success. On Vancouver's C-FUN, "Rhonda" spent a total of nine weeks on their charts, six of them in the Top 10, with a peak of #2 on 5/29/65. On Toronto's inflential CHUM, "Rhonda" enjoyed a cool long fourteen-week run, spending nine weeks in their Top 20, and an amazing six weeks in CHUM's Top 5, peaking at #2 for two consecutive weeks (6/7-6/14/65).

Brian Wilson was right again.

"HELP ME, RHONDA"

 

I'm surprised neither of you included Johnny Rivers' version of "Rhonda"! Michael Boyce

 

I saw them play this live in October 1964.. One of several unreleased Today songs they played that night. I always liked the original. Mr Hoffman in entitled to his opinion, but that doesn't mean he always right. Wimpy my eye! Of course the 45 is totally rockin'. The weird fade on th lp version is one of those things that made some of us really love the Beach Boys, and Brian's unique production. The Endless Harmony one just showed how much thought was put into at least some of the Beach Boys efforts. The cd bonus tracks have unearthed some great alternated versions. Brian was really hitting his stride around this time, and was creating music unlike anyone else...

 

Which actually had Brian singing along with Johnny Rivers...

Have to hand it to DynoGuy for some excellent research. For years, decades really, I never paid much attention to the LP version of Help Me Ronda. Like Steve said, kind of wimpy sound.

I've changed my mind over time. I really love the vocals, especially Al Jardine's lead, on the LP version. I think Al did a better job on the LP version.

Still, the single version is definitive in my book. Even with the polished sheen, it just hooks you in and everything about it, the vocal innovations over the Lp version (beefing up Mike Love's bass parts and the backing vocals) really pumped up the energy over the Today! version, and that stinging little lead guitar break seals the deal. One of the greatest pop records of the year, and of all time.

Dale

 

Yeah, was gonna roll it out in sections, then decided to put it out as one whole. Hope the modular approach helps- that way folks can check out whatever parts they're interested in.

Interesting points, Steve.

Steve: do you remember hearing the album cut version on the LA airways back in the day, before the final single release? Any thoughts on the effect that the different studios might have had on the sound of the different versions? How about memories from when you first heard "Rhonda"?

Have to confess: "Help Me, Rhonda" is a chartbustin' guy's dream come true!

 

Cool- very interesting info. I was wondering about when The Beach Boys started playing "Rhonda" live, and the effect that the crowd reaction had on Brian's decision to re-record it, and push for a single release. Any further thoughts?

That must have been truly amazing, hearing the BB's play "Rhonda" live back in October '64.

 

Amazing research on this, dyno guy!

My favorite is the "Wah Wah" version on Endless Harmony. My second favorite is the single version also on Summer Days (And Summer Nights!!). I agree with Steve that the DCC Gold Endless Summer have the best recording of this version.

"Help Me, Ronda" on the Today album is a lifesaver to me though. I get so excited and out of breath listening to "Do You Wanna Dance?", "Good To My Baby", "Don't Hurt My Little Sister" and "When I Grow Up (To Be A Man)": four incredible songs in a row that it's nice to have a relatively boring track to calm me down.

My least favorite "Help Me, Rhonda" is the version with Murry. He's obnoxious, but I can't tell that he's drunk, as usually reported. Does anyone know?

 

My preference is *slightly* for the single version, but don't mind the album version(if I were compiling a comp, it would be the 45 version, of course).

That said, the best song on the single, IMO, was the flip, "Kiss Me, Baby." Anyone else think so too?

 

I prefer the 45 version. I think you mentioned that the album version might have been played on KFWB, but I can't remember that. It doesn't mean it didn't happen, I just have no recollection of it. I didn't hear the album version until much later, and didn't care for it at all, with all the fading out and in.

I was pleasantly surprised when I heard the version on the Endless Harmony CD. I really liked it--as an alternative version. But nothing is better than the 45 version to me

 

I do.

 

Since they hadn't even recorded the first version at this point, it is a mystry. They opened with Do You Wanna Dance. I'm pretty sure they also played Please Let Me Wonder, and When I Grow Up... It's hard to remember. It was the first concert I ever went to. Imagine the Concert album, plus some All Summer Long tunes, and these four or five new ones! I had second row seat.

Carl was playing a Rickenbacker 12 string, and they had a back line of Dual Showman amps.

When I first saw the A-Bones, i had to tell Miriam she really remeinded me of Denny Wilson. She looked at me bug eyed and asked if I was on acid! She turned to Billy Miller and repeated what I had said. Then she turned back to me and said he was her favorite drummer and she had his autograph.

 

Yes, by far. "Kiss Me, Baby" is a truly amazing song.

 

Here's my favorite also - the 45 version.

 

I will always argue, Today is THE BEST Beach Boys album, ever. Musically, and lyrically it is the biggest leap in Brain's writing. It was the first album that I knew every word and they meant something to me, even though I was 12 years old at the time. If you knew me, you'd know I think the Beach Boys were simply the best. I had to convince many girl friends they weren't just a bunch of fat guys with beards!

 

Excellent points, Dale, and appreciate the kind words: it truly was a labor of love.

Agree about the guitar solo on the break, for the single version: awesome!

 

I would agree that Today is the best pre-SMiLE Beach Boys album. After that The Beach Boys albums became so different and varied it's almost pointless to compare.

 

Great post, Dyno! I dig the 45 version!!!

 

I love the guitar intro on the album version, but other than that the single version wins by a landslide.

 

My only complaint with the single version - and it's entirely due to the fact that they were recorded "live" during the mixing stage - is that the piano solo is too buried, and the guitar solo is too loud.

 

Great suff, Steve- thanks for sharing.

Once again, Steve, your memories about not hearing the LP version on the radio in LA back in the day is totally corroborated by the KFWB 'Top 5 Album' listings back in the Spring of '65: it never shows up! I poured over KFWB's album listings twice, not just for March '65, but for April and May, even after the 45 single of "Rhonda" hit, and the BB's "Today!" LP is never listed!

The Stones' "Now" LP; "Goldfinger", and Dylan are listed. Heck, even an "Alvin & The Chipmunks" LP is listed! What amazed me was that, even after the "Rhonda" single hit, the "Today!" LP was never listed.....???!!

I almost fell off my chair when, for the first time ever, I saw extensive charts for the 'Fabulous KIMN' out of Denver, during my chart research. Then I almost fell again when I saw them charting the LP cut of "Ronda" in March '65- well before the single was released. Incredible!

Of course, this was still the classic 'THE SINGLE RULES' Top 40 AM radio airplay era- unless you were The Beatles....then Dylan...then.... The .... .
It was a-changing.

 

I like the single version. The "bow bow bow bow . . . " part is absolutely crucial to the sound and energy of the track.

I remember being 12 years old, and they recruited a bunch of kids to be in he local high school production of "Oliver!" We were the "urchins." During the play, there were extended periods backstage waiting for call, and one of the high school kids decided to teach us all Beach Boys songs (figuring, I think, that we could handle all the high parts). He taught us all the harmonies to 4-5 of the hits, including "Help Me, Rhonda" where we tore into the "bow bow" part with gusto. It's a great memory, and it was really the beginning of me liking the Beach Boys. Year was 1982.

 

Thanks for the kudos, Will. Lots of research, but lots of fun.

The single 45 'hit' mix is winning by a landslide!