Brian Wilson spent hours listening to The Four Freshmen and playing the piano. He studied the harmonies and mapped them out on his keyboard. He soaked up early rock ‘n’ roll, rhythm & blues, and doo-wop records, adding to his arsenal of musical weapons. He would teach his brothers the vocal parts.
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For his 16th birthday, Wilson received a reel-to-reel tape recorder and experimented with overdubbing. He would stack his brother Carl’s voice on top of his mother Audree’s and his own. Wilson was constantly chasing the sounds he heard in his head. He would go on to prove himself as one of the best producers in the world, but when his brothers, cousin, and neighborhood friend recorded their first album, Nick Venet was in the producer’s seat. It wasn’t until their third album that Wilson would take over that role. Let’s look at the story behind “Little Deuce Coupe” by The Beach Boys.
Little deuce coupe
You don’t know what I got
Little deuce coupe
You don’t know what I got
The Car
“Little Deuce Coupe” was based on a Ford Model 18. A “deuce coupe” was from 1932. Murry Wilson, The Beach Boys’ manager and the Wilson boys’ father, heard Buffalo DJ Roger Christian talking about “409,” leading to a collaboration. Christian had moved to Southern California in 1959, saved his money, and bought a cherry deuce coupe. Christian told radio DJ Bob Shannon, “Everyone wanted one because deuce coupes had great lines, and you could make street rods out of them that looked so pretty.”
Well, I’m not braggin’, babe, so don’t put me down
But I’ve got the fastest set of wheels in town
When something comes up to me, he don’t even try
‘Cause if I had a set of wings, man, I know she could fly
She’s my little deuce coupe
You don’t know what I got
(My little deuce coupe)
(You don’t know what I got)
“You Still Got that Song?”
Said Christian in the 1990 Little Deuce Coupe liner notes, “[Beach Boys singer/songwriter] Mike Love brought up the subject of deuce coupes because he owned one. Mike told Brian that he thought it would be great to do a song about it. So Brian came back and said, ‘You still got that song about the deuce coupe?’ I said, ‘Sure,’ and gave it to him.”
Just a little deuce coupe with a flat head mill
But she’ll walk a Thunderbird like (she’s) it’s standing still
She’s ported and relieved, and she’s stroked and bored.
She’ll do a hundred and forty with the top end floored
She’s my little deuce coupe
You don’t know what I got
(My little deuce coupe)
(You don’t know what I got)
Adding One Very Important Line
Wilson wrote the music and arranged the production, adding the lyrics Christian provided, And one more thing, I got the pink slip, Daddy (referring to the ownership paperwork.) Christian felt Wilson needed a collaborator who pushed him: “Two creative people get together, and they bring out the best in each other. [But] he did a lot of things by himself. Brian was the most talented creator I’ve ever worked with. Brian would do it all. He would write the words, write the music, teach the guys the harmony, produce the record [but] as confident as he was, or as he should have been because he was a master, he still needed someone to encourage him and give him confidence. Brian was up and down. One day he knew he had it made, and the world was digging what he did. And the next day one little thing would happen and put him on a downer. When he was happy, he produced great stuff. It was easy for me to see that and encourage him.”
She’s got a competition clutch with the four on the floor
And she purrs like a kitten ’till the lake pipes roar
And if that ain’t enough to make you flip your lid
There’s one more thing. I got the pink slip, daddy
Separate Microphones
Recording engineer Chuck Britz remembered the recording process: “We did everything live. After we did the instrumental track, I just set three mikes out there, and I’d put Carl, Dennis [Wilson], and Al [Jardine] on one, and I’d put Brian on one. And Brian would either sing into the lead mic when it was his lead or into the background when Mike sang lead. Mike was always on a separate mic. Brian always doubled the lead; there were times he would sing it so right on that it was hard to figure out whether there was a delay or not.”
And comin’ off the line when the light turns green
Well, she blows ’em outta the water like you never seen
I get pushed out of shape, and it’s hard to steer
When I get rubber in all four gears
In 2015, Mike Love talked about the process Wilson used to hear the song on the radio: “‘Little Deuce Coupe’ was finished in the studio, and we’d drive a couple of blocks down the street to the radio station and have them play it, much to the chagrin of the record company who would like to press it up and have it available for sale. But he wanted to hear it on the radio that night, so it played at like 1:00 a.m. for the first time on the radio.”
She’s my little deuce coupe
You don’t know what I got
(My little deuce coupe)
(You don’t know what I got)
She’s my little deuce coupe
You don’t know what I got
(My little deuce coupe)
(You don’t know what I got)
She’s my little deuce coupe
You don’t know what I got
“Little Deuce Coupe” appeared on the album Surfer Girl, and three weeks later, it was the title track of their next album. Brian Wilson later said, “We loved doing ‘Little Deuce Coupe!’ It was a good shuffle rhythm, which was not like most of the rhythms of the records on the radio in those days. It had a bouncy feel to it. Like most of our records, it had a competitive lyric. This record was my favorite Beach Boys car song.”
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Photo by Michael Ochs Archives/Getty Images
