I believe he was one of the members of the "Wrecking Crew" band that did studio work for/with the Beach Boys. As I recall- he was a bass player. I am not sure- but I recall someone saying that he did some studio vocals for them as well.

Dont cheat on your Full Sail homework lol

Brian Wilson (vocals, keyboards, bass)

Carl Wilson (vocals, guitar, bass)

Dennis Wilson (drums, vocals, keyboards)

Mike Love (vocals)

Al Jardine (vocals, guitar)

Bruce Johnston (vocals, keyboards, bass)

Dave Marks (guitar, vocals)

April 19, 1962.

Could be.

Hawthorne California in 1961. Their first chart was Surfin which peaked at number 75 in February, 1962

Nevver been kissed with drew barrymore

There are various answers to this question, including the usual, really stupid one that says TWO -- Good Vibrations which was awarded a RIAA gold disc in December 1966, and I Get Around which was awarded a RIAA gold disc in 1982, 18 years after it was released.

But Capitol had a policy of not awarding gold discs for singles, unless they were for the Beatles. In 1963 Surfin' USA was assessed as the no.1 selling single of the year by Billboard - and it didn't sell a million

Within weeks of release of Sloop John B in May 1966 it was greeted by the most authoritative observers at the 11th Beach Boy single to sell a million in the US. In March 1970 when they were about to tiur New Zeakland and Australia, they were advertised to have 30 million-selling singles, obviously a worldwide total. I would put the US total to date at 22, and world total at 32.

Some people would answer this differently depending on if yer referring to just studio albums, live albums, comps etc.

The best answer would be : essentially- 24

Surfin Safari (62), Surfin USA, Surfer Girl, Little Deuce Coupe (63), Shut Down Vol2, All Summer Long (64), Today, Summer Days (65), Pet Sounds (66), Smiley Smile, Wild Honey (67), Friends (68), 20/20 (69), Sunflower (70), Surfs Up (71), Holland (72/73), 15 Big Ones (76), Love You (77), MIU Album (78), LA Light Album (79), Keepin the Summer Alive (80), The Beach Boys (85), Summer In Paradise (92), and That's Why God Made the Radio (2012)

others-

Concert (64), Party (65), Live In London (68/70/76), Carl and the Passions: So Tough (72), In Concert (73), Endless Summer (74), Spirit of America (75), Made in USA (86), Still Cruisin (89),,, and countless comps.

It was what a one record producer penned them as he sent one of their demos to a record label, the name was never intentional by the actual Beach Boys. They were originally going by "The Pendletons."

It's not all that clear because there were quite a few people in the beach boys who made a number of songs with different members. It's best to say 'lots' considering the actual number is debatable. In the links section I'll put a link to a list of all their songs.

No - as of April 2011, Brian Wilson is still alive and performing gigs.

The song 409 was originally recorded by The Beach Boys. The band members were Gary Usher, Brian Wilson and Mike Love. It was released in 1962 on their album Surfin' Safari.

It varies slightly but I clocked it at an average tempo of 121.3.

The answer requires some clarification. The one car, Super Stock Dart (413), is referenced incorrectly. Mopar made a 413 CI engine for Chrysler, Dodge, and Plymouth (as well as Imperial). That engine was unofficially known as "Max Wedge" and can be had in the full size and intermediate Plymouth (called "Super Stock") and Dodge intermediate (known as "Ram Charger"). With this in mind, the song quotes "Super Stock Dart," which is incorrect as the Dart was a model of Dodge. Had the quote been "Super Stock Savoy" (or Belvedere or Fury or even just plain Plymouth) then it would have been accurate.

That being said, the other car, the Corvette Stingray, was probably a 1962 or 1963 model with the Chevy 327 CI engine. The song references "Fuel Injected Stingray" so most likely it had the optional Rochester fuel injected version of the 327 CI, which topped out at 360 hp. This is probably the referenced engine as it is unlikely a lesser powered engine could even keep up with the dual quad, monster Mopar.

The likely side-by-side candidates were: 1. 1962 or 1963 Plymouth "Super Stock" (engine: 413 CI "Max Wedge" with dual 4-barrel carbs, good for 400+ HP); vs. 2. 1962 or 1963 Chevy Corvette Stingray (engine: 327 CI with Rochester fuel injection good for 360 HP).

The likely winner: It's hard to imagine Mopar losing this race, given that both cars weighted the same, and you factor in the HP difference. However, the song references the Stingray having "slicks" (racing tires); so it's reasonable to expect that the Vette could win, assuming the Mopar was a grocery getter on the side :)

The membership has changed over the years, but the "classic" original band line up was:

Brian Wilson

Carl Wilson

Dennis Wilson

Mike Love

Al Jardine

When Brian stopped touring with the band, he was replaced (briefly) by Glen Campbell and then by Bruce Johnston.

brian wilson: 'smile' album, mrs oleary's cow instrumental

bruce johnston: 'i write the songs' : composer

Georgie boy.

"Catch A Wave" came first. "Sidewalk Surfin'" was a sort-of parody of it, about skateboarding.

October 29, 1966

Fathers and Sons

In reality there are just a few notes difference between the range of a bass, baritone and tenor. Mike Love's lower notes certainly have timbre which sounds more 'bassy' than an average person's. In reality his lower notes rarely go lower than the F above bottom C. But that is often because the notes he has to hit to harmonize with the others tend to be around F, G or A. He hits an E on Lady Linda (the 'me' on 'come along with me' and either a D above bottom C or the bottom C itself on 'Steam boat' from the Holland album. The main point is the quality of the sound. The G in 'Good Vibrations' with his vocal chords sounds better when sung by most people of a slightly lighter voice who tend to really struggle to get the note. His bass is also particularly resonant towards the end on "Be true to your School" and the bass notes he gets on "California Calling" from the 1985 album which are probably around the E or F above bottom C but which he comfortably gets.

As Mike sang the lead to a lot of their songs in a mid to high baritone range he probably best fits the descirption, "dark baritone" as true basses are usually quite comfortable singing bottom C (but then would be unlikely to be as comfortable singing Beach Boys' leads!).