Released in July 1988 as a single and featured on the soundtrack for the film Cocktail as well as the Beach Boys’ album Still Cruisin’ (1989), Kokomo is a vibrant, tropical pop hit that marked a surprising late-career resurgence for the band. Written by John Phillips, Scott McKenzie, Mike Love, and Terry Melcher, the song was produced by Terry Melcher and recorded in March and April 1988 at studios in Los Angeles. Featuring a core Beach Boys lineup—Mike Love, Al Jardine, Bruce Johnston, and Carl Wilson, with Brian Wilson notably absent from the recording—the track reached #1 on the Billboard Hot 100, the band’s first chart-topper since Good Vibrations in 1966, and hit #1 in Australia, cementing its global success.
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Kokomo arrived during a challenging period for the Beach Boys. By the late 1980s, the band was a nostalgia act, far from their 1960s peak, with internal strife, legal battles, and Brian Wilson’s limited involvement due to his mental health struggles and controversial management by therapist Eugene Landy. The song was commissioned for Cocktail, a Tom Cruise-starring romantic drama, offering a chance to reintroduce the Beach Boys to a new audience. Its sunny, escapist vibe, evoking the band’s early surf-pop hits like Surfin’ U.S.A., contrasted with their recent output, which included less successful albums like The Beach Boys (1985). The single’s success revitalized their career, leading to increased touring and a renewed focus on their classic sound.
The recording process was polished and collaborative, reflecting 1980s pop production trends. Terry Melcher, a longtime associate of the band, crafted a slick arrangement with steel drums, ukulele, and synthesized percussion, giving Kokomo a Caribbean flair. Mike Love’s lead vocal, backed by the band’s harmonies, exuded warmth, while session musicians, including Ry Cooder on guitar, added texture. The song’s release, timed with Cocktail’s summer 1988 debut, capitalized on the film’s popularity, and its music video, featuring beach scenes and the band performing, reinforced its tropical aesthetic.
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Kokomo had a significant cultural impact. It became a radio staple, covered by artists like Jimmy Buffett and featured in media like The Simpsons. Its idealized island imagery tapped into late-1980s escapism, resonating with audiences amid economic uncertainties. Critics, however, often dismissed it as a lightweight throwback, and some fans lamented Brian’s absence. The song’s male-centric romantic narrative aligns with 1980s pop norms, but its universal appeal ensures its enduring popularity, evoking a fantasy of paradise.
Inspiration and Creation
The inspiration for Kokomo stemmed from a blend of cinematic opportunity and the Beach Boys’ legacy of beach-themed music. John Phillips, of The Mamas & The Papas, wrote the initial melody and concept, envisioning a tropical love song for Cocktail’s soundtrack, which needed a track to underscore its romantic, beachside scenes. Phillips collaborated with Scott McKenzie, Mike Love, and producer Terry Melcher, who tailored the song to evoke the Beach Boys’ early hits while incorporating a Caribbean vibe inspired by Jimmy Buffett and calypso music. Mike Love suggested the name “Kokomo,” referencing a fictional island to create an exotic, universal destination, though a real Kokomo exists in Indiana, unrelated to the song’s imagery.
The creative process was driven by a desire to craft a commercial hit that aligned with the Beach Boys’ brand. Phillips and McKenzie sketched the melody, with its catchy, lilting chorus, while Love contributed lyrics filled with idyllic imagery—Aruba, Jamaica, and moonlit nights. Melcher, who had produced Surfin’ Safari in 1962, modernized the sound with 1980s production techniques, using synthesized drums and steel pans to evoke a tropical paradise. The song’s structure, with its repetitive chorus and breezy verses, was designed for radio play, ensuring instant memorability.
Recording sessions in spring 1988 were efficient, reflecting Melcher’s pop expertise. The band recorded at Melcher’s studio, with additional overdubs in L.A. facilities. Mike Love handled lead vocals, with Al Jardine and Bruce Johnston providing harmonies, while Carl Wilson’s vocal contributions added depth. Brian Wilson, sidelined by Landy’s control, did not participate, a point of contention among fans. Session musicians, including saxophonist Joel Peskin, enriched the track’s island sound. The production’s glossy finish, with its layered percussion and bright mix, contrasted with the rawer Pet Sounds era, aligning with 1980s hits like Toto’s Africa.
External factors shaped the song’s creation. The Cocktail soundtrack, featuring pop hits like Bobby McFerrin’s Don’t Worry, Be Happy, demanded a radio-friendly track to boost the film’s appeal. The late 1980s music scene, with its mix of synth-pop, hair metal, and retro revivals, made Kokomo’s throwback vibe a savvy move, appealing to both nostalgic Baby Boomers and younger listeners. Released in July 1988, during summer, the song tapped into a cultural craving for escapism, resonating with audiences dreaming of tropical getaways.
Themes and Conveyed Content
Lyrically, Kokomo is a romantic ode to a tropical paradise, inviting a lover to escape to an idyllic island. The narrator lists exotic destinations—“Aruba, Jamaica, ooh I wanna take ya”—promising “tropical drinks” and “love in the moonlight.” The chorus, “Kokomo, we’ll get there fast and then we’ll take it slow,” evokes a carefree, sensual getaway, with the fictional island symbolizing ultimate relaxation. Mike’s smooth vocal, paired with the band’s harmonies, amplifies the song’s inviting, dreamy tone, making it feel like a musical vacation.
The song’s themes reflect late-1980s escapism and romantic idealism. Amid economic pressures and Cold War anxieties, Kokomo offers a fantasy of abandoning responsibilities for a sun-soaked paradise, echoing the Beach Boys’ earlier celebrations of California’s beaches. The focus on romance, with a lover as the narrator’s companion, taps into universal desires for connection and adventure. Unlike Pet Sounds’ introspective depth, Kokomo is lighthearted, prioritizing fun over complexity, aligning with the era’s pop trends and Cocktail’s breezy narrative.
Musically, Kokomo conveys joy and relaxation. The mid-tempo rhythm, driven by steel drums and ukulele, evokes a Caribbean sway, while the harmonies and saxophone flourishes create a warm, inviting atmosphere. The production’s glossy sheen, with its layered percussion and synthesized effects, mirrors the song’s polished fantasy, contrasting with the rawer Surfin’ U.S.A. era. The repetitive chorus and catchy hook ensure sing-along appeal, reinforcing the song’s communal, vacation-like vibe.
Culturally, Kokomo reinforced the Beach Boys’ legacy as purveyors of sunny escapism, updating their California myth for a global, tropical context. For listeners, it painted a fantasy of island bliss, boosting tourism imagery and influencing cruise-line commercials. Its male-centric romantic narrative, typical of 1980s pop, reflects the era’s norms, but its universal appeal mitigates critique. The song’s enduring charm lies in its ability to transport listeners to a carefree paradise, evoking the timeless allure of summer and love.
Lyrics
Aruba, Jamaica, ooh I wanna take ya
Bermuda, Bahama, come on pretty mama
Key Largo, Montego, baby why don’t we go
Jamaica
Off the Florida Keys, there’s a place called Kokomo
That’s where you wanna go to get away from it all
Bodies in the sand, tropical drink melting in your hand
We’ll be falling in love to the rhythm of a steel drum band
Down in Kokomo
Aruba, Jamaica, ooh I wanna take ya
Bermuda, Bahama, come on pretty mama
Key Largo, Montego, baby why don’t we go
Ooh I wanna take you down to Kokomo
We’ll get there fast and then we’ll take it slow
That’s where we wanna go, way down in Kokomo
Martinique, that Montserrat mystique
We’ll put out to sea and we’ll perfect our chemistry
By and by we’ll defy a little bit of gravity
Afternoon delight, cocktails and moonlit nights
That dreamy look in your eye, give me a tropical contact high
Way down in Kokomo
Aruba, Jamaica, ooh I wanna take ya
Bermuda, Bahama, come on pretty mama
Key Largo, Montego, baby why don’t we go
Ooh I wanna take you down to Kokomo
We’ll get there fast and then we’ll take it slow
That’s where we wanna go, way down in Kokomo
Port au Prince, I wanna catch a glimpse
Everybody knows a little place like Kokomo
Now if you wanna go and get away from it all
Go down to Kokomo
Aruba, Jamaica, ooh I wanna take ya
Bermuda, Bahama, come on pretty mama
Key Largo, Montego, baby why don’t we go
Ooh I wanna take you down to Kokomo
We’ll get there fast and then we’ll take it slow
That’s where we wanna go, way down in Kokomo
Ooh I wanna take you down to Kokomo
We’ll get there fast and then we’ll take it slow
That’s where we wanna go, way down in Kokomo