Formed in Hawthorne, California in 1961, the original group comprised singer-musician-composer and bandleader Brian Wilson, his brothers Carl Wilson and Dennis Wilson, their cousin Mike Love, and friend Al Jardine. Wilson neighbor David Marks appeared on their first four albums and was a member from 1962 to 1963 as a temporary replacement for Jardine, who had left the group to pursue a career in dentistry.
On their first few studio albums, the group primarily played surf music, but this changed after 1964 as their songs became more sophisticated and autobiographical. The 1965 album Today! particularly represented this shift in sound. Bruce Johnston joined the group that same year. Session drummer Hal Blaine is quoted: "We all studied in conservatories; we were trained musicians. We thought it was a fluke at first, but then we realized Brian was writing these incredible songs. This was not just a young kid writing about high school and surfing."
Following their most esteemed work, Pet Sounds (1966), the band became symbols of psychedelic counterculture. The highly anticipated follow-up, Smile, was left unfinished, and Brian soon relinquished his creative hold on the group. A trilogy of lo-fi releases followed: Smiley Smile (1967), Wild Honey (1967), and Friends (1968). Brian would not be credited as a primary composer for any Beach Boys album until 1977's Love You, an album on the fringe of synth-pop, new wave, and punk.
In Brian's absence, the Beach Boys still managed to release music that was regarded favorably by fans and critics despite poor sales: Sunflower (1970) and Surf's Up (1971). South African musicians Blondie Chaplin and Ricky Fataar played and sang with the band on the next two albums: Carl & the Passions - So Tough (1972), and Holland (1973).
Many changes in both musical style and personnel have occurred in their sometimes-stormy career: Brian Wilson's mental illness and drug addiction; the deaths of Dennis Wilson in 1983 and Carl Wilson in 1998; and continuing legal battles among surviving members of the group. With the release of 1974's Endless Summer they became a more popular touring act, playing their greatest hits. They have recorded 36 Billboard Top 40 hits (including four number-one singles), have had over 100 million sales, and were inducted into the Rock and Roll Hall of Fame in 1988.
Official site: http://www.thebeachboys.com
Do You Like Worms (alternate v
The Beach Boys Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Plymouth rock, roll over
Rock, rock and roll
Plymouth rock, roll over
Bicycle rider, see see what you've done,
To the church of the American Indian ...
Rock, rock and roll
Plymouth rock, roll over
Plymouth rock, roll over
Wa halla loo lay
Wa halla loo lah
Keeny wok a poo lah
Wa halla loo lay
Wa halla loo lah
Keeny wok a poo lah
Wa halla loo lay
Wa halla loo lah
Keeny wok a poo lah
Wa halla loo lay
Wa halla loo lah
Keeny wok a poo lah
The lyrics to The Beach Boys' song "Do You Like Worms" contain a unique blend of seemingly disparate elements that come together to form a narrative about the founding of America and the treatment of Native American people. The repeated refrain of "Rock, rock and roll / Plymouth rock, roll over" is a play on words that combines the birthplace of America (Plymouth Rock) with the popular music genre of rock and roll. The combination of these two elements represents a sort of cultural collision between the traditional values of America's founding and the new wave of modern popular culture.
The verse that follows this refrain is more explicit in its references to Native American history. The lyric "Bicycle rider, see see what you've done, to the church of the American Indian" speaks to the destructive impact of European colonization on indigenous cultures. The mention of a bicycle rider adds a surreal touch to the lyric, but ultimately underscores the idea that the arrival of Europeans in America set off a chain of events that drastically altered the lives and traditions of Native American people.
The song concludes with a series of nonsensical phrases that nonetheless convey a sense of cultural displacement and disconnection. The repeated lines "Wa halla loo lay / Wa halla loo lah / Keeny wok a poo lah" serve as a sort of tongue-in-cheek embodiment of the confusion and loss of identity that comes with cultural assimilation.
Line by Line Meaning
Rock, rock and roll
Let's get the music going with some rock and roll!
Plymouth rock, roll over
A reference to the historic site of Plymouth Rock, suggesting that we 'roll over' or move on from the past and embrace new music.
Bicycle rider, see see what you've done,
A warning to someone (the 'bicycle rider') who has caused damage or harm - they need to take a good look at the consequences of their actions.
To the church of the American Indian ...
An allusion to the oppression and mistreatment of Native Americans in the United States, potentially criticizing those who have not given enough attention or respect to this history.
Wa halla loo lay
Nonsensical lyrics likely added for their sound and rhythm, without a clear or intended meaning.
Wa halla loo lah
More of the same nonsensical lyrics, likely meant to create a catchy sound or chant-like effect.
Keeny wok a poo lah
Additional nonsense syllables to help maintain the song's rhythm and energy.
Lyrics © Wixen Music Publishing
Written by: Brian Wilson, Van Dyke Parks
Lyrics Licensed & Provided by LyricFind
Andrew Moser
Oh damn, yeah that is most likely THE transition. Very well done on reinserting the Hawaiian guitar bit, all it's missing would be the melody Brian sings on the outtakes in the boxset (and maybe a few lyrics from BWPS, if that's even possible). The Smile research keeps getting better, maybe someday the second half of surf's up or the vocals for song for children will return (though a bit of that is sung at the end of GV).
Rob Dob
love this
yonder hillside
Thank you!
Bgb Strm
Always thinking: "had this been released in 1967..."
Bgb Strm
...."Plymouth roll over".... And then: is it: Bicycle villains...? or: Heroes and riders...? 😅 Incredible!!!