JUKEBOX: Come to the Sunshine
H
appy springtime, REBEAT readers! Even if it’s only 50 degrees outside, I think we can agree, those first few glimpses of blue skies and sunshine are always glorious after months of heavy snow and single-digit temperatures. For me personally, the longer days and warmer weather not only bring to mind the typical spring tropes, like flowers, rain showers, baby animals, and whatnot, but also one of my favorite types of music: sunshine pop.
The exact definition of “sunshine pop” seems to vary, but most sources agree that it’s a sub-genre of light, upbeat music from the late-1960s. While it’s often associated with California, hippies, and psychedelia, sunshine pop is more complex than it may seem on the surface. Some of its defining characteristics include layered, chorus-like harmonies, elaborate studio arrangements, and a pleasant, easy-going tone that might actually contradict the song’s lyrical content. Although the genre does overlap with psychedelic rock, sunshine pop generally seems to be more commercial and easy-listening oriented.
Another common trend among sunshine pop songs is that many of them are literally about the sun, sunshine, or enjoying a nice, sunny afternoon, which is something I’m sure we’d all like to be doing as soon as possible. So to prepare ourselves for brighter days ahead, let’s take a look at some classic tunes from this unique period in music history.
1) “Twelve Thirty (Young Girls Are Coming to the Canyon),” The Mamas and The Papas (1968)
It seems only right to begin with sunshine pop’s most famous faces. The Mamas and the Papas played a major role in bringing this brand of music to the mainstream, with such unforgettable hits as “California Dreamin'” and “I Saw Her Again.” Even people who know nothing about sunshine pop have probably been exposed to it through at least one of the group’s songs, which always strike the perfect balance between catchy melodies and thoughtful, sometimes even sad lyrics. Most any of their singles would fit perfectly on this list, but in my opinion, no Mamas & Papas song better embodies the genre than “Twelve Thirty.” From its sweeping vocals to its subject matter, the hippie mecca of Laurel Canyon, this is the quintessential sunshine pop tune.
2) “California My Way,” The 5th Dimension (1967)
Although they’re more often sorted into the soul category, the 5th Dimension were responsible for some of the most spellbinding harmonies in all of sunshine pop. “California My Way” is a fairly under-appreciated example of this, but its sunshine pop qualities become especially clear when you compare the 5th Dimension’s cover to the more distinctly R&B flavored versions that the Main Ingredient and the song’s writer, Willie Hutch, would produce in the early ’70s. However, nobody tops Marilyn McCoo’s heavenly voice, or those emphatic horn lines. In the 5th Dimension’s hands, this song flawlessly evokes the paradisaical view of California life that sunshine pop helped to promote.
3) “Windy,” The Association (1967)
Few songs can strike instant joy into my heart like this brilliant composition. Even if “Windy” had been the only thing Ruthann Friedman ever wrote, it would still be enough for me to consider her a musical genius. Everything that makes sunshine pop awesome is right here: beautiful, complex harmonies, an infectious hook, a happy-go-lucky mood, and that flute solo. I’m not sure exactly why, but many of the greatest songs of the ’60s involved flutes (even “Wild Thing” had one!). Sunshine pop acts were apparently the biggest fans of this instrument though, probably because of its naturally light, pleasant sound, and the Association was no exception. They used flutes in a number of their recordings, further proving that sunshine pop and flutes are a truly magical combination.
3) “The Rain, the Park, and Other Things,” The Cowsills (1967)
Although I would hesitate to call the Cowsills a strictly sunshine pop group, these proto-Partridges had one of the genre’s biggest and best hits in “The Rain, the Park, and Other Things.” This song could have easily come off as a corny caricature of hippie culture, but it’s so well-constructed that it actually works extremely well. Maybe it’s the Cowsills’ genuine sweetness and innocence that allow them to pull it off, or maybe it’s just that catchy raindrop-esque organ and xylophone combo. Whatever the case, this one’s not to be missed.
4) “Yellow Balloon,” The Yellow Balloon (1967)
I never noticed it before making this list, but the production on “Yellow Balloon” sounds eerily similar to “The Rain, the Park, and Other Things,” with an organ and xylophone once again being used to imitate rain. To be fair though, the innate cheeriness of these instruments makes them perfectly suited to the sunshine pop genre, so why wouldn’t they have been used over and over again? Even more interesting is the comparison to Jan & Dean’s less successful version of “Yellow Balloon,” which was actually recorded before the Yellow Balloon’s and, ironically, did not feature Jan Berry on the track. Basically the song’s composer, Gary Zekley, decided he didn’t like that first rendition and took his tune elsewhere for a sunshine pop revamp. While the Jan & Dan version is good in its own right, the Yellow Balloon definitely amped it up with a slightly faster tempo and a brighter, peppier mood.
5) “Back on the Street Again,” The Sunshine Company (1967)
Is there a better name for a sunshine pop band than the Sunshine Company? Though they’re known more for “Happy,” this song is my favorite entry in the group’s catalog. The original version by Steve Gillette is a depressing ’60s folk song through and through, but the Sunshine Company put a cool twist on it, giving “Back On the Street Again” a wonderfully melancholy feel by trading out the acoustic guitar and stripped-down solo singer for a sweet symphony and swelling harmonies.
6) “Will You Be Staying After Sunday,” The Peppermint Rainbow (1969)
Melancholy pop songs are some of my all-time favorites. There’s something so emotionally gripping about a tune that hits the sweet spot between happy and sad, and this group knew just how to do it. With a name that nobody would have taken seriously outside sunshine pop’s brief window of popularity, the Peppermint Rainbow released a few nice tunes in their time, including “Don’t Wake Me Up In the Morning, Michael” and “Pink Lemonade.” But this was by far their best, sounding like a cool hybrid of Spanky & Our Gang and the Seekers.
7) “Groovy Summertime,” The Love Generation (1967)
Although they were probably definitely just trying to cash in on the counterculture, the Love Generation weren’t a half bad studio-only band. One of their better songs was “Groovy Summertime,” which happened to be the first taste of success for founding brothers John and Tom Bahler, who would go on to write, sing, and arrange background vocals for the Partridge Family. With that fact in mind, the cheerful harmonies that form the backbone of “Groovy Summertime” become a clear sign of quality bubblegum to come.
8) “Love So Fine,” The Small Circle of Friends (1968)
I really like this tune for its deviation from the typical sunshine pop sound, which usually tends to feature deeper, throatier harmonies. On this track, however, the smooth, high-voiced female vocalists, combined with the classy brass section, seem to create a more polished, Brasil ’66 type sound than a hippie-tastic Mamas and Papas vibe. I would say it’s still definitely sunshine pop, but in a bit of a different style. Although you’ll notice the xylophone is still intact. Gotta have that xylophone.
9) “Come to the Sunshine,” Harper’s Bizarre (1967)
Harper’s Bizarre, best known for their cover of the Simon & Garfunkel classic “The 59th Street Bridge Song,” tried their hand at a number of other artists’ compositions, including this Van Dyke Parks original. The band’s version actually isn’t that drastically different from Parks’, and they even had him play keyboard on the studio recording. But in my opinion, Harper’s Bizarre wins out by just a hair for their full harmonies and, of course, that irresistible xylophone.
10) “Good Vibrations,” The Beach Boys (1966)
Yes, even the Beach Boys dipped their toes into the sun-soaked genre during the mid to late ’60s. While “Good Vibrations” stands in pretty stark contrast to the other songs on this list, I believe it qualifies for its complex harmonies, upbeat feel, and elaborate musical arrangements, all while showing the more creative side of sunshine pop.
11) “Lazy Day,” Spanky & Our Gang (1967)
Admittedly, I used to discount Spanky & Our Gang as just another singing group trying to be the Mamas and the Papas. But Elaine “Spanky” McFarlane’s voice really is quite lovely and distinct, and the Gang put out some great songs to prove they were more than just cheap copy-cats. “Sunday Will Never Be the Same” and “Like to Get to Know You” are timeless classics that everybody knows and loves, but I have a particular preference for “Lazy Day.” Like the Lovin’ Spoonful’s “Daydream,” this is the ideal soundtrack for a sunny day off when you’ve got nothing to do but enjoy the weather and listen to some feel-good music.
12) “Walking In Different Circles,” The Elves (1969)
All I have to say about this is shout out to Ronnie James Dio for betraying all the pretentious metalheads by being in a ’60s sunshine pop band that covered a song by Goldie & the Gingerbreads. No really.
13) “Sunshine Girl,” The Parade (1967)
Onto yet another lost gem of a band! I absolutely love the slightly eerie intro of “Sunshine Girl” and how it quickly explodes into the upbeat chorus. Sadly, this was the Parade’s only hit, even though their other singles, “Radio Song” and “She Sleeps Alone,” were honestly pretty darn cool. Maybe they were simply a casualty of the counterculture’s fleeting relevance, but many sunshine pop groups seem to have experienced very little success in their unfortunately short careers.
14) “Mister Sunshine Man,” The Shannons (1968)
Next, we have an all-female group that proves the ladies knew how to get their sunshine pop on, too. “Mister Sunshine Man” has such a sweet sound, thanks to this trio’s amazing voices and the addition of an enchanting harpsichord. It’s a real shame that the band didn’t release many songs other than this one. Their style is very reminiscent of the girl groups who defined the first half of the decade, and it’s cool to hear that earlier sound melded with the sunshine pop motif.
15) “Kites Are Fun,” The Free Design (1967)
https://www.youtube.com/watch?v=rPaAb3F_d6M
Behold. You are in the presence of sunshine pop royalty. The Free Design had a highly distinct, other-worldly sound that practically puts them in a new genre all their own, but their music’s carefree, ethereal atmosphere and vocal-based arrangements are sunshine pop to a T. “Kites Are Fun” is probably their most popular tune, but if this is your first exposure to this remarkable group, I’d recommend following it up with “Love You” and “Bubbles.”
16) “Let’s Go to San Francisco,” The Flower Pot Men (1967)
I’ll be honest. I have a little trouble taking these guys seriously. I mean, come on, “the Flower Pot Men”? Even if it is referencing an old TV show, the name is still a little too on-the-nose for me. I’m also willing to doubt this British band ever actually set foot in San Francisco, especially since they were formed after the song became a hit (because that’s just how record labels rolled in the ’60s). But I have to admit, this is a very cool Beach Boys-inspired tune. Not bad for a bunch of faceless session musicians! Okay, all joking aside, “Let’s Go to San Francisco” nicely sums up the sunshine pop movement for the end of our list and makes a memorable anthem for a memorable time in pop music.
What are some of your favorite sunshine pop tunes? Share them in the comments below, and check out even more songs in our Spotify playlist!
