The album is very much split into two parts, not just by flipping the damn-thing over. What is, in my opinion, a brilliant way to structure the album's material, the more upbeat pop tunes are put on the first half, while the more matured ballad material is left on the album's second half. It creates a perfect mood dichotomy - one part you can dance, dance, dance to and the other you can listen to. Not to act as though the pop half has less merit, of course - Brian always aspired to be like Phil Spector, and I find the material on the first half to be the closest he ever to to replicating the sound. The cover of "Do You Wanna Dance?" that opens the album could've easily been produced by Spector with how effectively Brian emulates the style. The same can be said for a track like "Don't Hurt My Little Sister," although I've admittedly never been crazy about that song. Despite the pristine production across the album, a far step up from even All Summer Long, there are still some quarks that bog moments down - ignoring the fact that "Help Me, Ronda" has a superior single recording, the odd fading at the end of the song is just baffling. Other than those two previously mentioned songs, the entire first half is top-tier pop stuff. "Dance, Dance, Dance" is an incredibly fun ode to listening to the radio and dancing, clearly the work of Mike's uncanny ability to write simple-but-catchy pop lyrics. "When I Grow Up" is a great pop song, and one that would almost fit perfectly in-line with the second half thematically - the harmonies on the end are just excellent here. "Good to My Baby" has never been my absolute favorite, but it's still a damn good pop song, and one that carries the clean professionalism that the rest of the album's tracks have.
Now I can talk about my personal preference for this album - Side B. Admittedly, I've always had a pretty strong bias towards the Beach Boys' ballads, so an entire half of an album dedicated to them is right up my alley. Still, even compared to previous ballads like "The Warmth of the Sun" or "In My Room," the material on the second half of Today! is decisively the most mature they've recorded up to this point - the lyricism and composition are rich and heartfelt, and Brian sings each one as though he's pouring his soul into them. "Please Let Me Wonder," which opens the second half, is one of the most earnest tunes that Brian's ever sung, as he spews his thoughts about if a woman loves him or not. Realistically, I think that every song on the second half, save for the bizarre ending skit (but we'll get to that), is sheer brilliance. From the heartbreaking split and spellbinding harmonies on "Kiss Me, Baby" to the young desire for marriage and true love on "I'm So Young," to the insecure feelings that love will be lost on "In the Back of My Mind," every moment glimmers with genius from both a lyrical and production standpoint. Brian's ability to write music has only sharpened since 1964, and Mike Love is flexible enough to write matured, somber ballads - he can even write darker lyrical subjects like the obsessed jealousy and insecurity of "She Knows Me Too Well," which admittedly has some of my favorite harmonies on the entire album. The only rough in the diamond is the bizarre ending segment that follows "In the Back of My Mind" (I wonder if Dennis opening and closing the album was an intention decision). It's a casual interview with journalist Earl Leaf, taken from a 20-minute tape and cut down to 2 minutes. Rightfully so, it's considered an odd way to end, and while I find some parts of it endearing, I think it's safe to say that it's the weakest thing on the album.
While I compare the Beatles and Beach Boys a lot when re-reviewing the group's material, I think it's safe to say that it's an argument that's been a little overplayed. Nonetheless, if the argument is to be had, consider this my vote for the first time The Beach Boys beat the Beatles. Today! is such a cut above either group's previous material that it should stand to be commended. The Wilsons, Mike, and Al have all matured since the days of "Surfin' U.S.A," and let this album stand as the testament to that - old and new, perfectly melded. The pop charm and fun of the group is far from lost, and yet the group moves to a rich, matured sound that the Beatles could've only hoped for at this point - keep in mind that Help!, while managing to have a similar level of advancement and maturity, wouldn't release for another five months. It's just an excellent, beautiful pop album through and through; sometimes that's all you really need.
RATING: ✯✯✯✯✯✯✯✯✯✯
Listen to Today!
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