The Sunrays were a band for a full five years before they were plucked from obscurity by former-Beach Boys manager Murry Wilson in 1964. Having attended the same high school as the Wilson brothers, there was a great deal of social cross-pollination between the Sunrays and Beach Boys, with Eddie Medora even supplying Carl Wilson with dates during their senior year. Though comparisons would be drawn between these two groups, the Sunrays possessed a strong musical identity that was invariably unique.

 

The band had released singles under names such as the Snowmen, Renegades, Dirt Riders, and Rangers between 1961-1964, but it was under Murray's leadership that the band transitioned from merely a surf cover band to a nationally charting pop vocal group. As drummer and leader Rick Henn would later remark, "We were an instrumental band that happened to sing in five-part harmony." The group's first single under the Sunrays name was 'Outta Gas' b/w 'Car Party,' which failed to chart. Their next release ('I Live For the Sun' #51) would distill the group's sound into the distinctive qualities that would characterize their later output; complex, brass-laden compositions with inventive chord patterns and tight vocal harmonies. Their second single 'Andrea' made it to #41. With the ill-advised release of the extremely weak follow-up single 'Still' (Murry Wilson's call), the band lost all momentum on the charts, and the remaining singles were all but ignored. The Andrea album was released in January 1966.

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'Andrea' is an excellent slice of mid-sixties pop with a soaring falsetto and punchy brass section including Roy Caton - trumpet), Oliver Mitchell (trumpet), Milton Bernhart (trombone), Lou Blackburn (trombone), Plas Johnson (sax), and John Kelson (sax). The forlorn 'A Little Dog and His Boy' is a heartwrenching commentary on the Vietnam War from the point of a pet. Rick Henn's voice perfectly matches the setting, and his vocal delivery pulls the most out of what could've been an odd premise. 'Have to Be By Myself' showcases the band's 'darker' sound compared with the output of Brian Wilson at this time. 'I Look, But I Can't See' is indicative of an edgier later-sixties pop sound that the Beach Boys declined to take part in. The ultra-sixties 'You Don't Phase Me' possesses every element which set the Sunrays apart from the many other pop vocal groups of the era. An exquisite arrangement (horns included) with glossy vocal overdubs overtop a backing track so bent on updating the early surf sound makes for a perfect combination. 'Still,' the single that caused the group's trajectory to nosedive, does its best to cover over the country sensibilities and is saved by the luscious wall of vocals. Perhaps the band's best-known single today, 'I Live For the Sun,' seems simplistic when weighed against the rest of the album. Nevertheless, it is perhaps the finest of later-60s surf tracks. Written for the girl he would later marry, Eddy Medora's 'Jo Ann' is another wonderfully executed number with fun backing parts. An alternate take of this song dug up in the 90s reveals just how improved these were compared with the original arrangement. The borderline narcissistic 'Better Be Good To Me' overcomes its self-indulgent premise with a heavenly array of 'oohs' and 'ahhs' from the group. The final guitar motif during the fadeout is also a clever addition. 'Bye Baby Bye' is breathtaking composition credited to Murry though reportedly ghost-written by Brian Wilson. Underneath the layers of strings, brass, and backing vocals, it has Brian written all over; if there ever was a great lost Wilson track, this is it. The brassy 'Tears in My Eyes' is another gem with a mega-surfy guitar break harkening back to the band's early days. Musically, 'Since My Finding You' is the most fringe track on the album sitting somewhere between surf and Northern Soul.

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The Sunrays never reached the height of their Hawthorne neighbors to which they are frequently compared, nor did the band ever reach its full potential. That fact should not dissuade you from seeking this collection out; on the contrary - you should do everything you can to unearth this jewel. The Sunrays had a rare musical cohesion that is unlike any group. The band would go on to record some excellent later-60s material such as 'Our Leader,' 'Don't Take Yourself Too Seriously,' 'Just Around the River Bend,' 'Loaded with Love,' 'Hi How Are You?' and my personal favorite, 'I Was A Loser.' Much more could be written about the Sunrays that could fit here. I'd highly recommend the excellent The Sunrays: For Collectors Only - Vintage Rays CD collection for interested parties.