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A bubblegum pop recording masterclass


It’s a Sunshine Day” was originally released on 1972’s The Kids from the Brady Bunch, the third album featuring TV’s favorite children-of-remarried-parents. However, the song was most famously featured on Episode 16, Season 4 of The Brady Bunch, an unforgettable episode appropriately titled “Amateur Nite.”

This classic piece of television magic, originally aired in primetime on Jan. 26, 1973, found the Brady kids in desperate need of quick cash, which they of course earned on a local TV talent show, performing to hilarious effect (some might say unintentionally hilarious) as The Silver Platters.

“It’s a Sunshine Day” nevertheless includes stellar musicianship, raw and charming vocal performances, and one of the catchiest hooks of the 1970s. Broken down piece by piece, the song is much more than meets the eye… or ears.


Editor’s note: The identities of the session musicians from these recordings could not be confirmed.


Vocals:

Barry Williams — Greg Brady
Maureen McCormick — Marcia Brady
Christoper Knight — Peter Brady
Eve Plumb — Jan Brady
Mike Looklinland — Bobby Brady
Susan Olsen — Cindy Brady

Where do we even begin? From a purely nostalgic viewpoint, these vocal performances are downright charming. And if you like camp, well you’re in heaven.

The festivities begin with Eve Plumb and her lovable middle daughter character Jan Brady. Not a bad vocal performance at all! Keep in mind, although these were not professional singers, the Brady children were certainly professional performers, and they knew how to rise to the occasion.

Next we have Susan Olsen, the youngest Brady daughter Cindy. Interesting phrasing here but cute as can be. Was this a first take vocal? The thirty-first take? We may never know.

Moving on to the bridge, or as they call it in England the middle-eight, and this one is indeed eight measures long. Who did the powers-that-be trust to handle the vocals? None other than Mike Lookinland’s Bobby. The bridge actually happens twice and the performances seem to have been duplicated through editing the second time around. Or perhaps Bobby just nailed it both times.

And finally, the girl who stole so many childhood hearts, Maureen McCormick’s Marcia Brady has the last verse. Her signing is slightly more polished than the others and she turns out a darn fine performance. Strangely, her’s is the only verse that is doubled. Meaning she sang at least two takes, two of which you can hear on the track. This is an old studio technique used since the 1960s and is often associated with John Lennon. Perhaps they tried with the other kids as well but none could match the performance as well as Ms. McCormick.

Backing Vocals:

Were there session musicians used here? Quite possibly there were, however we may never know. It certainly sounds like you can pick out six “Brady kids”, but our minds play tricks on us sometimes. For sure it sounds like Barry Williams is handling the bass register, and we know he worked hard on his signing and probably had the most extensive vocal career of the whole gang, both on wax and in musical theater.

It’s worth noting that this is the Brady Bunch’s third studio album, so by this time they had a fair amount of experience in the studio. It only makes sense they would have gotten their chops up to a reasonably higher level.

Electric Guitar 1:

This is 1972, so thankfully someone called for a wah-wah pedal.

Electric Guitar 2:

An unknown session guitarist is heard here chugging along on Jimmy Reed-style chords for the verses, and snarling pick-harmonics for the bridge.

Piano

Purposely or not, the opening piano riff of this song is note-for-note lifted from the Sesame Street theme song from three years earlier. It’s interesting how similar the lyrics are as well.

Electric Piano: Hohner Clavinet

A funky Clavinet tailor-made for the children of America? Yes please! Thank you 1972.

Bass:

A fun bassline, recorded so hot that we hear a fair amount of analog tape saturation and distortion. This was not unheard of at the time, and sometimes was a deliberate production preference as heard on multiple Sly and the Family Stone albums.

Percussion: Congas

Congas? Absolutely, we got ’em.

Drums:

Recorded without any reverb or echo, this is a classic early ’70s drum sound. A very funky performance particularly in the bridge section by another unknown session musician. Note the fantastic kick drum work.


Released: August 3, 1993
Recorded at Larrabee Sound Studios
Produced By Jackie Mills

It’s a Sunshine Day – KORD-0013

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