429:] grows as the song progresses, as it continues to reiterate its non-verbal message; and then, near then end, after the singer asks us simply to ‘listen’ and then fades into silence, the motive is woven throughout an affecting string meditation. As a symbol of the lovers' inexpressible passion, it is what we have been invited to hear. But the motive not only echoes the vocal line of this song, it also relates to other songs on the album, becoming a thread helping to bind the cycle together. To hear this, we need only expand the motive to include not simply the stepwise ascent but also the overall arch shape that results when it begins to step back down.
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446:, such as on the line "Listen to my heart beat", in which the Fender bass line evokes the sounds of a beating heart. In other parts of the song, timpani attacks further accentuate this effect. Himes supports, "When Brian sang in an intimate hush, 'Don't talk; take my hand and listen to my heartbeat. Listen! Listen! Listen!' the music demanded that you listen just as closely to its throbbing pulse." Moreover, he writes, "A string played the
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501:. When combined with the close harmonies in the lower register, this yields a rich, somber tone that meaningfully portrays the mood of the music. On this piece, Brian uses more violins, but the single viola takes the melodic lead. The low register instruments have the moving melodic line, while the violins sustains. He obviously wanted a certain texture and
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said, "I think I was in awe of the string arrangement, how so few strings could do so much. He had very small, 'baby' orchestras. He made everything sound like you could set it up in your living room and stand in the middle. And maybe add some echo later. He absolutely under-produced his sweetening."
331:
suggests that the lyrics can be interpreted as both "a peaceful meditation on romantic tranquility" and "a song of reunion for any loved ones." Conversely, author Jim
Fusilli felt that the lyrics suggest "the way you express your love for someone who is ready to go ... it's what you say when you know
294:
about nonverbal communication between lovers. In the lyrics, the narrator observes of his lover, "I can hear so much in your sighs / and I can see so much in your eyes / There are words we both can say / But don't talk, put your head on my shoulder". The narrator is generally celebratory of the time
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Asher remembered that he was "literally speechless" when he heard the completed track. He reflected, "I always thought this song was one hell of an example of Brian's musical sophistication ... I never realized that Brian had that kind of talent for serious arranging before I heard this recording."
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Wilson recorded a piano demo of "Don't Talk" in late 1965. Lambert identified several differences between the final composition; the piano rendition is "faster, more rhythmic, less contemplative has some additional bars between phrases ... different chord changes, in spots, and includes only the
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commented, "Brian Wilson’s chord progressions tell the most heartbreaking yet beautiful and silently intense story of the duality of life, all from a place of hope. The six bar intro of 'Don’t Talk (Put Your Head on My
Shoulder)' is worth a thousand books. I consider it to be one of the greatest
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opined that the lyrics demonstrated Wilson at his most "romantic", and that "ther people would have thought was sissyish, but he was very romantic, and that was just coming from two people just being close." In reference to the line "Listen to my heartbeat", Brian reflected, "I felt very deeply
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that the couple are spending together, although the line "let's not think about tomorrow" implies that he is also feeling a sense of desperation. According to Asher, "It's strange to sit down and write a song about not talking ... but we managed to do it and it came off well."
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Asked in 1996 if this had been Wilson's conscious intention for the piece, Asher responded that he could not remember, although he was "quite sure that line-- that lyric line was Brian's line, and very well he may have had that in his head when he was writing
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in the call-and-response melodies – one which ascends before the other descends – heard on the line "there are words we both could say". The resultant "arch figure" is then echoed by the instruments on every two bars. In his analysis, Lambert writes,
689:, Jim Esch praised "Don't Talk" as among "Brian Wilson's lushest romantic compositions" and "a hymn to love's tactile sensibility -- a gorgeous love song by any standard, and a triumph of Wilson's mature arranging powers."
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I wanted to be a girl in my voice, so I did. I wanted to sing like a girl. Not consciously, but it was all figured out in my brain, waiting for me to do it. So I went in there, put some beautiful music on tape ...
601:. Biographer Mark Dillon surmised that these recordings were experimental exercises in recording orchestras, and that Wilson "felt the need to hone his chops in that area" before recording "Don't Talk".
345:"Don't Talk" is among the most harmonically complex songs that Wilson ever composed. The key is ambiguous and unstable, lending difficulty to its identification. Although it most closely suggests
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Weeks after he had begun writing with Asher, on
February 11, 1966, Wilson recorded the basic track and vocal at Western Studios with assistance from eight session musicians, including drummer
685:, Norman Jopling described the song as having a "hymnal sound ... with a tremendous atmosphere ... of late night, very tired sitting on the rug at your girl's place." Reviewing the song for
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about that line. One of the sweetest songs I ever sang. I have to say I'm proud of it. The innocence of youth in my voice, of being young and childlike. I think that's what people liked."
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being tapped with a brush. In White's description, the cymbal is struck "with clocklike rhythm"; the instrumentation, coupled with Wilson's "unrestrained" vocal, "invoked the milieu of a
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489:, he heard them in his head. That is evident in these chords, and the way they were voiced. It was unusual for pop music at that time." Violinist Nancy Ciminnisi commented,
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at close intervals, while the tympani boomed and a fat-toned electric bass drifted from the expected root note to create harmonic tensions within the lush sound."
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568:", a song that Wilson had co-authored. The tape of Wilson's demo was lost and later rediscovered in the 1990s; it was then included on the 1997 box set
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for which no other recordings from the tracking session could be found in 1996, thus, a "session highlights" excerpt could not be included on
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describes the song as a "ballad that featured Brian singing in a devotional high tenor about the romantic moment when words fail." Biographer
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Prior to "Don't Talk", Wilson had rarely used string sections in his work. In this song, he augmented the basic track with an overdubbed
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commented, "I heard 'Don't Talk (Put Your Head on My
Shoulder)' played on the cello. It sounded beautiful and sad, just as it does on
714:. So now you know, if all the record players in the world get broken tomorrow, these songs could be heard a hundred years from now."
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Excerpt of Wilson performing the basic chord patterns of "Don't Talk", albeit slightly different from the final recording.
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Wilson sang lead and produced the track in early 1966 with the aid of 14 session musicians who variously played guitars,
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1711:"The Beach Boys' Pet Sounds Celebrates its 50th Anniversary: Artists Pay Tribute to the Eternal Teenage Symphony"
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verses, with no hint of the 'listen' section at the end." He also noted similarities with the opening of
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that was ultimately discarded. Two days later, on
October 15, he recorded renditions of the standards "
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Inside the Music of Brian Wilson: The Songs, Sounds, and
Influences of the Beach Boys' Founding Genius
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The dark quality of "Don't Talk" is attributed to the lower-register of the violin, viola, and cello.
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402:(PØ7) appears on the line "I can see so much in your eyes", adding a sense of drama to the mood.
1986:
The
Nearest Faraway Place: Brian Wilson, the Beach Boys, and the Southern Californian Experience
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1759:"Johnny Depp and Jeff Beck Release Video from Joint Album for Depp-Written 'Hedy Lamarr' Song"
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The Beach Boys: The
Definitive Diary of America's Greatest Band, on Stage and in the Studio
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477:) in pursuit of a "dark, expressive" effect that Granata compares to "the sound favored by
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about nonverbal communication between lovers. Musically, the song is distinguished for its
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Lambert estimates that the closest precedents for this song in Wilson's catalog include "
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Lambert, Philip (2016). "Brian Wilson's
Harmonic Language". In Lambert, Philip (ed.).
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ambiguity. It is among the most harmonically complex songs that Wilson ever composed.
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where Wilson's lead vocal is not augmented with backing vocals, the other being "
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where he is the only Beach Boy featured. Acts who have covered the song include
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Wilson thought that "Don't Talk" had an overall mood similar to his 1963 song "
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Wouldn't It Be Nice: Brian Wilson and the Making of the Beach Boys' Pet Sounds
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the tape, on April 3, Wilson overdubbed the string sextet at the same studio.
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652:", and one of three tracks where he is the only Beach Boy performing. After
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Don't Talk (Put Your Head on My
Shoulder) (2001 Elvis Costello rendition)
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Don't Talk (Put Your Head on My Shoulder) (1993 Linda Ronstadt rendition)
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Good Vibrations: Brian Wilson and the Beach Boys in Critical Perspective
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On October 13, 1965, the same day Wilson produced the backing track of "
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When I Grow Up: The Development of the Beach Boys' Sound (1962-1966)
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Don't Talk (Put Your Head on My Shoulder) (1998 Fennesz rendition)
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On May 16, 1966, "Don't Talk" was released as the fourth track on
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1803:
Fifty Sides of the Beach Boys: The Songs That Tell Their Story
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365:, with a fifth in the root, furthering the tonal instability.
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said of this song, "Though might not have studied Brahms or
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679:. In his self-described "unbiased" review of the album for
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The string voicings on "Don't Talk" are close, and he uses
286:"Don't Talk (Put Your Head on My Shoulder)" was written by
1851:"The Last Beach Movie Revisited: The Life of Brian Wilson"
306:—Brian Wilson, speaking about the impetus for "Don't Talk"
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Don't Talk (Put Your Head on My Shoulder) (instrumental)
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332:it's the last time you'll hold her in your arms."
1856:The Dark Stuff: Selected Writings on Rock Music
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1911:(1). Cambridge University Press: 109–133.
859:List of cover versions of Beach Boys songs
505:, and the viola and cello brought it out."
79:February 11 – April 3, 1966
38:
2133:Don't Talk (Put Your Head on My Shoulder)
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191:Don't Talk (Put Your Head on My Shoulder)
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2326:(The Reverberation Appreciation Society)
2310:Sgt. Petsound's Lonely Hearts Club Band
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2385:Pet Sounds 50th Anniversary World Tour
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1558:"The Beach Boys: Pet Sounds (Capitol)"
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2367:Brian Wilson Presents Pet Sounds Live
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2289:Do It Again: A Tribute to Pet Sounds
1680:"Musicians on Brian: Elvis Costello"
1614:
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733:Per band archivist Craig Slowinski.
659:"Don't Talk" is the only track from
608:Unlike most of the other tracks on
32:Put Your Head on My Shoulder (song)
2543:Carl and the Passions – "So Tough"
2296:MOJO Presents Pet Sounds Revisited
2193:I Just Wasn't Made for These Times
1730:Richardson, Mark (March 1, 2002).
949:This chord reappears in two other
597:" with orchestral arrangements by
193:" is a song by American rock band
25:
2480:Summer Days (And Summer Nights!!)
1938:. University of Michigan Press.
1858:. Da Capo Press. pp. 1–74.
1555:Jopling, Norman (July 2, 1966).
550:Problems playing this file? See
532:
2466:The Beach Boys' Christmas Album
1101:"The Observers: Marilyn Wilson"
250:. It is one of three tracks on
1897:Lambert, Philip (March 2008).
1288:, pp. 141, 143, 145, 185.
1:
2663:Songs written by Brian Wilson
2620:That's Why God Made the Radio
2303:Pet Sounds: In the Key of Dee
1953:O'Regan, Jade Simone (2014).
1078:Surfin Safari / Surfin U.S.A.
725:chord changes ever written."
644:. It is one of two tracks on
581:", he recorded an eight-part
361:chord in the song appears in
1822:Granata, Charles L. (2003).
1709:Hart, Ron (April 12, 2016).
1640:"Comments by Bruce Johnston"
30:For the Paul Anka song, see
2658:Songs written by Tony Asher
2250:The Little Girl I Once Knew
1900:"Brian Wilson's Pet Sounds"
1369:"Interview with Tony Asher"
820:– 12-string electric guitar
770:– 12-string electric guitar
585:version of "Don't Talk" at
579:The Little Girl I Once Knew
27:1966 song by the Beach Boys
2684:
1524:. Endless Summer Quarterly
980:The other two tracks are "
856:
29:
2417:
1964:Queensland Conservatorium
1917:10.1017/S1478572208000625
1882:. Bloomsbury Publishing.
1441:"Pet Sounds/Disc by Disc"
1276:, pp. 141, 143, 145.
183:
170:
161:
2613:Stars and Stripes Vol. 1
2585:Keepin' the Summer Alive
2360:Brian Wilson is a genius
2179:I Know There's an Answer
2147:Let's Go Away for Awhile
959:Let's Go Away for Awhile
841:Ralph Schaeffer – violin
2564:The Beach Boys Love You
2391:The Pet Sounds Sessions
2324:A Tribute to Pet Sounds
2140:I'm Waiting for the Day
2119:You Still Believe in Me
1905:Twentieth-Century Music
1644:The Pet Sounds Sessions
1445:The Pet Sounds Sessions
1373:The Pet Sounds Sessions
1149:The Pet Sounds Sessions
1105:The Pet Sounds Sessions
832:Arnold Belnick – violin
665:The Pet Sounds Sessions
571:The Pet Sounds Sessions
438:In his 2003 book about
2243:How Deep Is the Ocean?
1776:Badman, Keith (2004).
938:In the Back of My Mind
835:Norman Botnick – viola
799:– acoustic grand piano
613:
595:How Deep Is the Ocean?
521:
507:
458:
431:
303:
197:from their 1966 album
2473:The Beach Boys Today!
1799:Dillon, Mark (2012).
1522:beachboysarchives.com
1196:on November 25, 2015.
984:" and "Caroline, No".
826:The Sid Sharp Strings
607:
520:
456:
400:half-diminished chord
282:Background and lyrics
2653:Linda Ronstadt songs
2648:The Beach Boys songs
1145:"Song by Song Notes"
888:Anne Sofie von Otter
847:Tibor Zelig – violin
838:Joseph Saxon – cello
448:minor seventh chords
264:Anne Sofie von Otter
2257:Stella by Starlight
2236:Hang On to Your Ego
2112:Wouldn't It Be Nice
1660:cite AV media notes
1629:, pp. 154–155.
1596:on December 4, 2010
1545:, pp. 113–114.
1461:cite AV media notes
1389:cite AV media notes
1339:, pp. 117–118.
1252:, pp. 115–116.
1209:, pp. 253–254.
1121:cite AV media notes
591:Stella by Starlight
528:Wilson's piano demo
481:". Record producer
2606:Summer in Paradise
2578:L.A. (Light Album)
2487:Beach Boys' Party!
2452:Shut Down Volume 2
2445:Little Deuce Coupe
1972:10.25904/1912/2556
1784:. Backbeat Books.
1516:Slowinski, Craig.
844:Sid Sharp – violin
671:Critical reception
614:
522:
459:
341:Harmonic structure
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2629:
2397:Pet Sounds Studio
2216:
2215:
1945:978-0-472-11995-0
1889:978-1-4411-0748-0
1814:978-1-77090-198-8
1791:978-0-87930-818-6
1690:on March 26, 2009
1018:, pp. 93–94.
754:the Wrecking Crew
750:Session musicians
537:
499:diminished chords
370:AABA style ballad
323:Music journalist
187:
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16:(Redirected from
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2379:Love & Mercy
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1761:. June 9, 2022.
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368:The song is an
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2599:Still Cruisin'
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2424:Surfin' Safari
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1996:
1980:White, Timothy
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955:God Only Knows
942:
934:Guess I'm Dumb
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892:Elvis Costello
884:
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854:
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256:Linda Ronstadt
195:the Beach Boys
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1807:. ECW Press.
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897:For the Stars
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818:Billy Strange
816:
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805:– bass guitar
804:
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798:
797:Steve Douglas
795:
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768:Glen Campbell
766:
764:– ride cymbal
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634:Steve Douglas
631:
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626:Billy Strange
623:
622:Glen Campbell
620:, guitarists
619:
611:
606:
602:
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599:Dick Reynolds
596:
592:
588:
584:
580:
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573:
572:
567:
564:'s 1964 hit "
563:
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495:passing tones
490:
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463:string sextet
455:
451:
449:
445:
444:word painting
441:
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409:identifies a
408:
405:Musicologist
403:
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221:string sextet
218:
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206:
203:. Written by
202:
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127:Songwriter(s)
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40:
37:
33:
19:
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2576:
2571:M.I.U. Album
2569:
2562:
2555:
2548:
2541:
2534:
2527:
2520:
2513:
2506:
2501:Smiley Smile
2499:
2492:
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2457:
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2422:
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2323:
2317:Smiling Pets
2315:
2308:
2301:
2294:
2287:
2207:Caroline, No
2154:Sloop John B
2132:
2087:
1985:
1955:
1934:
1908:
1904:
1878:
1855:
1825:
1802:
1779:
1769:Bibliography
1753:
1741:. Retrieved
1735:
1725:
1714:
1704:
1692:. Retrieved
1688:the original
1683:
1674:
1643:
1634:
1627:Granata 2003
1622:
1610:
1598:. Retrieved
1594:the original
1587:
1577:
1567:– via
1562:
1550:
1543:Lambert 2008
1538:
1526:. Retrieved
1521:
1490:
1444:
1425:Lambert 2007
1408:Granata 2003
1403:
1372:
1363:
1356:Granata 2003
1337:Lambert 2008
1332:
1325:Lambert 2008
1320:
1313:Lambert 2016
1293:
1286:O'Regan 2014
1281:
1274:O'Regan 2014
1269:
1262:O'Regan 2014
1257:
1250:Lambert 2008
1245:
1238:Lambert 2007
1219:Lambert 2008
1214:
1202:
1191:the original
1186:
1180:"Surf Music"
1148:
1135:
1104:
1095:
1081:(CD Liner).
1077:
1067:
1055:
1048:Lambert 2007
1033:Granata 2003
1016:Granata 2003
1011:
1004:Lambert 2008
999:
976:
966:
950:
945:
928:
911:
895:
881:
871:Winter Light
869:
825:
824:
813:upright bass
749:
748:
743:Brian Wilson
736:
735:
732:
716:
711:
705:
691:
680:
676:
674:
664:
660:
658:
650:Caroline, No
645:
615:
609:
582:
576:
569:
562:Jan and Dean
558:
492:
460:
439:
437:
424:
422:
413:
404:
379:
367:
355:, the only G
344:
322:
310:
304:
299:
288:Brian Wilson
285:
251:
240:upright bass
229:
217:chromaticism
205:Brian Wilson
198:
190:
188:
157:Brian Wilson
136:Brian Wilson
71:May 16, 1966
59:
36:
2557:15 Big Ones
2438:Surfer Girl
2373:Chamber pop
2352:discography
1646:(Booklet).
1582:Esch, Jim.
1495:Dillon 2012
1483:Badman 2004
1447:(Booklet).
1375:(Booklet).
1151:(Booklet).
1141:Leaf, David
1107:(Booklet).
1073:Leaf, David
908:Johnny Depp
483:Phil Ramone
434:Arrangement
392:ride cymbal
372:written in
336:Composition
276:Johnny Depp
244:ride cymbal
152:Producer(s)
92:, Hollywood
2643:1966 songs
2637:Categories
2508:Wild Honey
2494:Pet Sounds
2342:Tony Asher
2200:Pet Sounds
2186:Here Today
2089:Pet Sounds
1997:0333649370
1962:(Thesis).
1865:0306806460
1846:Kent, Nick
1298:White 1996
1207:White 1996
992:References
982:Pet Sounds
951:Pet Sounds
857:See also:
803:Carol Kaye
791:Hammond B3
787:Al de Lory
778:vibraphone
774:Frank Capp
762:Hal Blaine
722:Yuka Honda
718:Cibo Matto
712:Pet Sounds
677:Pet Sounds
661:Pet Sounds
646:Pet Sounds
638:Carol Kaye
632:, pianist
630:Frank Capp
618:Hal Blaine
610:Pet Sounds
583:a cappella
552:media help
503:tone color
440:Pet Sounds
313:Lonely Sea
292:Tony Asher
252:Pet Sounds
232:vibraphone
223:, and its
211:, it is a
209:Tony Asher
200:Pet Sounds
141:Tony Asher
61:Pet Sounds
2536:Surf's Up
2529:Sunflower
1925:162871617
1737:Pitchfork
1732:"Fennesz"
1716:Pitchfork
1615:Kent 1995
1600:April 28,
1060:Kent 1995
953:tracks: "
904:Jeff Beck
809:Lyle Ritz
729:Personnel
706:Musician
702:Influence
642:Lyle Ritz
510:Recording
272:Jeff Beck
2221:Outtakes
2164:Side two
2104:Side one
1982:(1996).
1876:(2007).
1848:(1995).
1694:March 3,
1589:AllMusic
1143:(1997).
1075:(1990).
687:AllMusic
654:bouncing
473:, and a
411:stepwise
358:♭
350:♭
76:Recorded
68:Released
2550:Holland
2515:Friends
2052:YouTube
2041:YouTube
2030:YouTube
2019:YouTube
1654:. 1997.
1455:. 1997.
1383:. 1997.
1115:. 1997.
957:" and "
936:" and "
902:2022 –
886:2001 –
878:Fennesz
876:1998 –
864:1993 –
782:timpani
745:– vocal
593:" and "
497:within
467:violins
396:requiem
317:Marilyn
260:Fennesz
248:strings
236:timpani
178:YouTube
119:Capitol
90:Western
1994:
1942:
1923:
1886:
1862:
1834:
1811:
1788:
1743:May 8,
469:, one
465:(four
270:, and
246:, and
213:ballad
97:Length
85:Studio
2522:20/20
2408:Smile
2097:Songs
1960:(PDF)
1921:S2CID
1194:(PDF)
1183:(PDF)
920:Notes
882:Plays
793:organ
487:Ravel
475:cello
471:viola
415:motif
398:". A
388:metre
353:major
274:with
266:with
114:Label
1992:ISBN
1940:ISBN
1884:ISBN
1860:ISBN
1832:ISBN
1809:ISBN
1786:ISBN
1745:2022
1696:2009
1666:link
1602:2011
1530:2018
1467:link
1395:link
1127:link
971:it".
906:and
890:and
640:and
624:and
290:and
242:, a
207:and
48:Song
2050:on
2039:on
2028:on
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