History NightmareFuel / TheBeachBoys

** The coda of "Wind Chimes" is arguably the prettiest moment on the entire record, but it's mixed so quietly that you have to crank the volume to hear it.....only for the [[JumpScare screeching organ]] that opens the following track "Gettin' Hungry" to shatter your eardrums.

** The coda of "Wind Chimes" is arguably the prettiest moment on the entire record, but it's mixed so quietly that you have to significantly crank the volume to hear it.....only for the [[JumpScare screeching organ]] that opens the following track "Gettin' Hungry" to shatter your eardrums.

** The revamped "Heroes and Villains" that was finally issued as a single on July 1967 is the track that opens this record. The song starts on a rather lighthearted manner, with first two verses being a bouncy ode to the Old West; its tone reminiscent of the good clean fun typical of early Beach Boys songs, and its surging rhythm evoking the dynamics of "Good Vibrations". It seems like a song full of groundbreaking promise: an attempt to surpass "Good Vibrations" as pop music's greatest achievement as planned; enticing us to eagerly anticipate what surprises Music/BrianWilson has in store for us. Only to fade out. And then... without warning, the CHORUS JUMPS AT US. But unlike earlier, we are subjected to a chorus so sad, so melancholic, it comes off as jarring. "Heroes and villains... just see what you done....," the Boys lament. They chant not once, but twice, and we are left with a sense of despair and helplessness. What did these heroes and villains do? And then it hits you, Are *we* the heroes and villains of the title? "Na na na naaa na...," they sing with unnervingly childish inflection as though they are taunting us for our actions. And as we begin to contemplate over our enforced guilt, the song JUMPS AGAIN to the bouncy verse. There's a slow rendition of the verse that follows it, and the music box-like instrumentation gives it a gentle feel at first. However, it then descends into disturbing territory, as the barbershop-style vocalizations become more ominous. Just before it could become creepy, it abruptly halts. Fading in is a "soothing" a capella reprise of the first verse. The sound quality is significantly different this time around, being of low fidelity. The hisses from the background are so dissonant on a sonic level, the idea that it could be a cult recording from a dark basement is not far off. And before the last couplet "I'm fit with the stuff to ride in the rough / and sunny down snuff, I'm all right by the heroes and villains" could be completed, it CUTS RIGHT OFF TO THE CHORUS for a second time and fading out to uncertainty. It's as though Brian gave up on the whole thing.
** "Fall Breaks and Back to Winter (W. Woodpecker Symphony)" is a strange, repetitive little soundscape that's quite gloomy and sinister on its own accord... and that's ''without'' knowing of its origins as the above-mentioned "Fire". Whatever those strange noises heard throughout the song are, they are surely not human...
** "With Me Tonight" has an unsettlingly creepy organ undercurrent running through the entire song. It doesn't help that the organ begins right after an unidentified dark voice says "GOOD" (some have theorized it to be an archival recording of [[AbusiveParents Murry Wilson]], which does ''not'' help things). And then there's the song itself, which, what with its repetitiveness of variations of "you're with me tonight," borders on creepy obsession.
** "Wind Chimes". It's unsettling enough that the song has a calm yet dark vibe, then once the last verse is about to end, there is a dissonant, unidentifiable noise that blares out of nowhere. Could count as a [[LastNoteNightmare middle note nightmare]]. And the next section alternates between a heavenly falsetto and a dark bass that keeps on getting darker in pitch for every line...
** "Wonderful", in its sparse arrangement of piano and sustained organ, benefits from a sinister vocal turn by Carl Wilson (transforming what was a song about [[TheirFirstTime losing consensual innocence]] feel like a song about being an unsuspecting target of a prowling rapist, making it all the more creepy). The seemingly-jovial interlude is dissonant at first, [[FridgeHorror but makes a lot of sense when put to context, heightening the listener's fears]]. The mood is somber and gloomy, resembling a funeral dirge - as though we are mourning for the untimely demise of the poor girl's virginity. Not something to smile about.
** "Whistle In" is a repetitive koan-like song that never resolves itself... it just goes on, and on, and on, and on about the importance of remembering the day and remembering the night, all night along... and then, [[FadeToBlack nothing]]. What makes this worse is knowing about Brian's tendencies towards obsession with repetitive song ideas. It's a glimpse into his mind, people.

** "Wonderful", in its sparse arrangement of piano and sustained organ, benefits from a sinister vocal turn by Carl Wilson (transforming what was a song about [[TheirFirstTime losing consensual innocence]] feel like a song about being an unsuspecting target of a prowling rapist, making it all the more creepy). The seemingly-jovial interlude is dissonant at first, [[FridgeHorror but makes a lot of sense when put to context, heightening the listener's fears]]. The mood is somber and gloomy, resembling a funeral dirge - as though we are mourning for the untimely demise of the poor girl's virginity. Not something to [[JustForPun smile]] about.

* The beginning of "Deidre" sounds very eerie, especially if you heard the song ''VideoGame/EarthBound'' sampled for "Cave of the Past".

* The cover art of ''Surf's Up''. If you just glanced over it without seeing the title plaque, chances are your immediate assumption would be that this is some freakin' heavy metal right here. And without having heard the songs themselves, titles like "Don't Go Near the Water" just sound creepy and ominous.

* The original ending to "Surf's Up". Wordless vocals continue to go on until the song gradually fades.

* The intro to "Wouldn't It Be Nice?" can be this for some. The carnival-like melody being played sounds just a little...off.

* The ''Good Vibrations'' box set includes the ''Adult/Child'' outtake "It's Over Now". Problem is, due to some sort of error, the speed and thus pitch has been lowered, rendering Music/CarlWilson's voice unfamiliar and difficult to place. So now, out of nowhere you have this voice you don't entirely recognize singing this hopeless, bleak song about what sounds like the worst break-up ever... shades of blue and purple aren't gonna be the only things haunting you!

'''''Music/SurfsUp'''''

** "Cotton Fields(The Cotton Song)" was originally written in 1940 by Huddie Ledbetter, who in 1918 killed a relative named Will Stafford, although he was pardoned by Texas Governer Pat Norris Neff in 1925.

** "Wonderful", in its sparse arrangement of piano and sustained organ, benefits from a sinister vocal turn by Carl Wilson (transforming what was a song about [[TheirFirstTime losing consensual innocence]] feel like a song about being an unsuspecting target of prowling rapist, making it all the more creepy). The seemingly-jovial interlude is dissonant at first, [[FridgeHorror but makes a lot of sense when put to context, heightening the listener's fears]]. The mood is somber and gloomy, resembling a funeral dirge - as though we are mourning for the untimely demise of the poor girl's virginity. Not something to [[JustForPun smile]] about.

* "In My Room" is about Brian hiding from abuse and the pressures of fame. Knowing what we know now about what Murry Wilson and Mike Love did to him, the pressure Capitol and the band members put on him, and his subsequent mental issues, it's a tragic piece of music. It remains beautiful, however.

* The ''Good Vibrations'' box set includes the ''Adult/Child'' outtake "It's Over Now". Problem is, due to some sort of error, the speed and thus pitch has been lowered, rendering Carl's voice unfamiliar and difficult to place. So now, out of nowhere you have this voice you don't entirely recognize singing this hopeless, bleak song about what sounds like the worst break-up ever... shades of blue and purple aren't gonna be the only things haunting you!

* [[https://spectator.imgix.net/content/uploads/2016/11/Beachboys.jpg?auto=compress,enhance,format,redeye&crop=faces,entropy,edges&fit=crop&w=620&h=413 This picture.]] Behold, Mike Love's NightmareFace. Or, if you want to see it in motion, his version of ''[[https://www.youtube.com/watch?v=np-XhFH3wOM Monster Mash]].''

'''''Music/{{Smile}}'''''

%% Please see thread to discuss a new image.

* The cover art of ''Surf's Up'', our page image. If you just glanced over it without seeing the title plaque, chances are your immediate assumption would be that this is some freakin' heavy metal right here. And without having heard the songs themselves, titles like "Don't Go Near the Water" just sound creepy and ominous.

[[quoteright:300:https://static.tvtropes.org/pmwiki/pub/images/surfsup_5310.png]]
[[caption-width-right:300:[[LessDisturbingInContext Don't Go Near the Water.]]]]

* Not related to the band's music but what is surely a terrifying thought is that Music/DennisWilson had the freaking '''''Manson family''''' living in his home for a while!

** "I Can Hear Music" was co-written by Phil Spector for the American girl band "The Ronettes" in 1966. In 2003, Phil Spector would kill actress Lana Clarkson in his California mansion, and in 2009 Spector would be found guilty of second-degree murder, and sentenced to nineteen years to life in prison, where he remains to this day.

** "Cotton Fields(The Cotton Song) was originally written in 1940 by Huddie Ledbetter, who in 1918 killed a relative named Will Stafford, although he was pardoned by Texas Governer Pat Norris Neff in 1925.

** While on this subject, the second disc of the ''Good Vibrations'' box set features what is ostensibly a small snippet of "Heroes and Villains"... then wham! Out of nowhere, it's "Fire"! And what's worse, it remains unknown whether this was a printing mistake, or some sort of creepy mind game...

** The revamped "Heroes and Villains" that was finally issued as a single on July 1967 is the track that opens this record. The song starts on a rather lighthearted manner, with first two verses being a bouncy ode to the Old West; its tone reminiscent of the good clean fun typical of early Beach Boys songs, and its surging rhythm evoking the dynamics of "Good Vibrations". It seems like a song full of groundbreaking promise: an attempt to surpass "Good Vibrations" as pop music's greatest achievement as planned; enticing us to eagerly anticipate what surprises Music/BrianWilson has in store for us. Only to fade out. And then... without warning, the CHORUS JUMPS AT US. But unlike earlier, we are subjected to a chorus so sad, so melancholic, it comes off as jarring. "Heroes and villains... just see what you done....," the Boys lament. They chant not once, but twice, and we are left with a sense of despair and helplessness. What did these heroes and villains do? And then it hits you, Are *we* the heroes and villains of the title? "Na na na naaa na...," they sing with unnervingly childish inflection as though they are taunting us for our actions. And as we begin to contemplate over our enforced guilt, the song JUMPS AGAIN to the bouncy verse, only for it to jump back to the the chorus again. There's a slow rendition of the verse that follows it, and the music box-like instrumentation gives it a gentle feel at first. However, it then descends into disturbing territory, as the barbershop-style vocalizations become more ominous. Just before it could become creepy, it abruptly halts. Fading in is a "soothing" a capella reprise of the first verse. The sound quality is significantly different this time around, being of low fidelity. The hisses from the background are so dissonant on a sonic level, the idea that it could be a cult recording from a dark basement is not far off. And before the last couplet "I'm fit with the stuff to ride in the rough / and sunny down snuff, I'm all right by the heroes and villains" could be completed, it CUTS RIGHT OFF TO THE CHORUS for a second time and fading out to uncertainty. It's as though Brian gave up on the whole thing.