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In January 1961 Mel Blanc (the voice of Bugs Bunny) and former Warner Brothers executive producer John Burton started a commercial production company called Mel Blanc Associates. Although the other driver sustained only minor injuries, Blanc broke nearly every bone in his body, lost nine pints of blood, and was in a coma for three weeks. Two years later, KFWB disc-jockey Roger Christian, who had written some hotrod lyrics for the Beach Boys (including "Little Deuce Coupe") wrote a car racing song for Jan Berry of the pop dual Jan & Dean. The general theme was the danger and excitement of street racing and the song ends with the protagonist nearly getting himself killed in a violent crash here in Dead Man's Curve. By the time the record "Dead Man's Curve" had been released, this part of Sunset Boulevard had been re-aligned by the Los Angeles department of streets, and fatal car wrecks here were (by and large) a thing of the past. This used to be negatively banked because UCLA would not give up land for fill and the City was too cheep to build a retaining wall.
But before the shift could ignite in their favor, however, a new friendship — born out of a like-minded desire to record music about a cultural phenomenon — had to take shape. 1 hit single “Surf City,” Torrence takes us back to the early days of surf music.Goldmine: What is your first memory of meeting Brian Wilson?
Most of the time that we played, the buyer – that was buying us for a certain show – would have to hire a self-contained band as our opening act. The opening band would play their own set, but then – part of the deal was – they had to back up Jan & Dean. Remember, these were mostly hops, so your average live set was probably 20 to 30 minutes at the most. The band would learn the three major Jan & Dean doo-wop hits, and then we’d collectively figure out some classics that we could all sing together.

That’s exactly what the function of The Beach Boys were that particular time when we first met. I would sing the falsetto and Jan would sing the bass on either side of the harmonies, and it was absolutely perfect. The audience seemed to absolutely love it, and we ended up re-singing “Surfin’” and “Surfin’ Safari,” which were the records that the Beach Boys had just released at that time. We knew the songs well enough to fill in the harmony parts, and Mike or Brian would sing the lead, and we just became background vocalists.
I think at that moment a light bulb went off and we knew we needed to move into doing those beach culture and West Coast culture songs.
Wilson is credited with co-writing “Surf City,” “She’s My Summer Girl,” “Drag City,” “Surf Route 101,” “Gonna Hustle You,” “New Girl in School,” “Dead Man’s Curve” and “Ride The Wild Surf.” In 1965, Dean Torrence joined The Beach Boys in the studio and sang falsetto alongside Brian Wilson on The Beach Boys’ No. I’m not sure how much Brian looked at it at that point because I wasn’t in on that part of it. At that point I re-looked at it and caught some stuff in it that I felt that we kind of needed to tweak. I asked him if he wanted to rewrite it, and he said, “No, no … you go ahead and cross out what you want to cross out. You write it.” I crossed out what I felt should be changed, and that what was the version that was used. I’d say Brian wrote at least half of it, Jan wrote around 35 percent and I wrote about 15 percent-ish. Jan wrote out all the arrangements, which were brilliant, so we had a great track to work with.

We knew we had a damn good song there.GM: As someone who participated as a collaborator, have you ever felt cheated?
Jan knew the mechanics of all that stuff; he knew what recording heads were being used, he knew which microphones made your voice sound warmer or colder. Jan knew all of that, and he was more than happy to pass it on to Brian if he was interested.
Once Brian heard all of that stuff, he became very interested in knowing more about the studio. Brian was more into writing the song, getting the song the way he liked it, and then working out the harmony parts. When we started pointing out that Brian could use studio musicians to knock the stuff out, then his stuff became exponentially better.GM: What does the 50th anniversary of “Surf City” mean to you?
Whatever Brian brought to the table – like showing up for “Drag City” and coming up with the falsetto part – it was always the icing. If he had time and wanted to come by … we always knew it would be the icing, the whip cream and the cherry on top.

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