By 1965 Jan Berry’s single arrangements had become increasingly complex. Relations with the execs at Liberty Records were also stressed. The higher-ups couldn’t understand why the duo needed to hire expensive harpsichords, flutes, and other such orchestral additions for simple pop 45s. Nevertheless, Berry’s instance on pushing the medium endured. Having self-taught himself between his medical studies, Berry sought to showcase his arranging abilities in this collection of reimagined surf/hot rod songs.

Some standouts here are ‘Little Old Lady From Pasadena,’ which sheds its solid 4/4 beat and becomes a waltz. ‘Surf City’ gets a Chinese-tinged makeover. A quizzical bass clarinet takes over the spoken-word section of ‘Dead Man’s Curve.’ The duo's later singles, like ‘You Really Know How to Hurt A Guy’ and ‘It’s A Shame to Say Goodbye’ don’t change much as they were already heavily orchestrated.

There are plenty of meter changes, counterpoint, and polyphony on this, and many of the songs benefit from Berry’s unique settings. What is possibly most impressive about the album, however, is how Berry and Tipton are able not to allow the music to fall into bland MOR territory as many orchestrated albums of 60s pop songs did at the time (I'm looking at you, Hollyridge Strings). If you enjoy inventive orchestral music, then Pop Symphony No. 1 will certainly not disappoint.