The lengthy chart profession of the Seaside Boys has included a number of singles that weren’t hits at house, however turned huge successes with their large and dependable viewers in Nice Britain. 1967’s “Then I Kissed Her,” “Cottonfields” (1970), and 1979’s “Lady Lynda” have been all substantial Prime 10 singles within the UK that missed the US countdown altogether.
A number of different Seaside Boys singles have been significantly better favored by British followers than by their American counterparts. On July 27, 1968, the group entered the US chart at No.88 with “Do It Again,” a brand new single from the hit album they’d launched earlier that yr, 20/20. It made cheap progress all through August, however possibly it was the marginally extra progressive, throbbing beat of the Brian Wilson-Mike Love composition that hampered its progress in America.
Nonetheless, “Do It Again” had the acquainted hovering harmonies that had lengthy been the group’s trademark, to not point out a lyric with a nostalgic nod to their unique inspirations. “Well I’ve been thinking ’bout all the places we’ve surfed and danced and all the faces we’ve missed,” sang Love, “so let’s get back together and do it again.” Their British admirers cherished it.
Even higher vibrations
So it was that whereas “Do It Again” stopped at No.20 on the Billboard Scorching 100 in September, by then it had accomplished one thing solely “Good Vibrations” had accomplished earlier than it for the Seaside Boys, spending per week because the UK’s No.1 single. It was a outstanding new success, particularly as Bruce Johnston instructed the NME’s end-of-year annual version that the track didn’t symbolize the Seaside Boys’ musical route of the time in any respect.
“It was really just a time-trick!” he laughed. “Everyone else was going back to the basics at that time. The Stones were playing in their old style with ‘Jumping Jack Flash’ and The Beatles came up with a kind of mock-rock, ‘Lady Madonna.’ We decided to follow the general pattern with some pseudo surfing. It wasn’t really serious and [was] never intended to indicate our present musical development.”
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