it was part of Denny's, Carl's and his youth." Surf's Up was the first album for which the group printed the lyrics of each song on the record sleeve. In 1974, Rieley stated that his growing involvement with the songwriting process attracted the ire of Love, Johnston, and Al Jardine, who "tried to force me to march into Mo Ostin's and sell him on their 1969 track 'Loop De Loop'". I refused and Brian, Dennis, and Carl backed me up." Due to Brian's reduced involvement, the vocal arrangements were not as dense as those for Sunflower. Johnston recalled, "It was strange to be doing vocal arrangements to make it sound like the Beach Boys when we were the Beach Boys. That's a little weird to me." Songs "Long Promised Road" and "Feel Flows" were Carl's first significant solo compositions and were recorded almost entirely by himself. "Student Demonstration Time" (a topical reworking of Jerry Leiber and Mike Stoller's R&B classic "Riot in Cell Block Number 9") and the environmental anthem "Don't Go Near the Water" found Love and Jardine embracing the group's new socially conscious direction. "Til I Die" was a song Brian had been working on since mid-1970. It was written while he was suffering from an existential crisis, and he took weeks to refine the arrangement, using an electronic drum machine and crafting a harmony-driven, vibraphone and organ-laden background. "A Day in the Life of a Tree", written by Brian and Rieley, is about a tree succumbing to the effects of environmental pollution; the accompaniment includes harmonium, an antique pump organ, and a smaller pipe organ. Johnston said that he wrote "Disney Girls (1957)" "because I saw so many kids in our audiences being wiped out on drugs" and wanted to capture the feeling of an era in which people were "a little naive but a little healthier." Jardine also contributed "Take a Load Off Your Feet", a Sunflower outtake, and "Lookin' at Tomorrow (A Welfare Song)", both co-written with longtime friend Gary Winfrey. Biographer Timothy White wrote that the latter song was "a poignant mini-soliloquy from a jobless rounder, seems like a coda to 'Long Promised Road,' the pioneer busted in his starry-eyed ambitions but still 'looking at tomorrow' for a fresh potential." Jardine said that it was "actually an old folk song" to which he "rewrote the lyrics to reflect the times". Rieley had asked Brian