From right out of the gate, the Bay Area-based Beau Brummels scored a Top 20 entry with the markedly English-influenced "Laugh, Laugh." Guided by Declan Mulligan's conspicuous mouth harp, the track adopted a rural feel informed by the budding folk-rock synthesis, possibly foreshadowing the pastoral direction that the combo members' music -- specifically Ron Elliot -- would take over the next few years. The relatively straightforward melody and compact harmonies blended perfectly with the onslaught of British Invasion acts, who all but dominated the airwaves and singles charts when "Laugh, Laugh" was issued in late 1964. An apparent element separating the Beau Brummels from most of their one-hit wonder contemporaries was the quality of Elliot's writing. On this selection, he has adopted the typical boy/girl subtext and adeptly tweaked the lyrics to be a kind of open-letter "I told you so" to a former amour whose role as "the jilter" has changed to becoming "the jilted." However, the harshest sentiment is saved for the undeniably catchy chorus of "Laugh, laugh, I thought I'd cry/It seemed so funny to me/Laugh, laugh you met a guy/Who taught you how it feels to be lonely." Also notable is the unique rhyme of "me" with "be," leaving the resolution for the following measure. This flies in the face of the conventional method of quaintly fitting all the words into the anticipated A-B-A-B pattern. The discernibly sad tone, coupled with the prominent mournful harmonica wail, added to the tune's distinctiveness, during a time when all pop sounded pretty much alike. Another force that may have given the title a competitive edge was the production skills of Sylvester Stewart (aka Sly Stone), who was a staff engineer at the Beau Brummels' Autumn Records label. Almost a year after its release, both the quintet and "Laugh, Laugh" were immortalized on the December 5, 1965, Shinrock-A-Go-Go episode of The Flintstones. Under the guise of "the Beau Brummlestones," the bandmembers made an appearance on the teen dance show "Shinrock" -- a takeoff of the program Shindig -- where they sang the song. Two worthwhile covers include the hard to find R. Stevie Moore version from the album Crises (1983) as well as an amiable reading by the Astronauts.