# Be My Valentine, Charlie Brown (soundtrack)

Professional ratings :
| Review scores ||
| Source | Rating |
| All About Jazz | |
| Jazz Weekly | Favorable |
| Audiofile Audition | |
| eCoustics | Favorable |
Be My Valentine, Charlie Brown: Original Soundtrack Recording is a soundtrack album by American jazz pianist Vince Guaraldi released on January 17, 2025, in the U.S. by Lee Mendelson Film Productions. It is the soundtrack to the St. Valentine-themed television special of the same name first broadcast on CBS on January 28, 1975.

## Background

Following the passing of producer Lee Mendelson in December 2019, his children undertook an extensive search of archival materials in hopes of locating original music score recordings from the Peanuts television specials. During the COVID-19 lockdowns, they uncovered a collection of analog session tapes, recorded by Guaraldi for several of the specials. These recordings, long believed to be lost, comprised not only all of Guaraldi's music cues but also the arrangements by John Scott Trotter, including multiple alternate takes.
The session tapes preserve the complete, unedited recordings, which were originally captured and mixed in stereo. These analog recordings were carefully transferred to high-resolution digital format at 192 kHz/24-bit from the original 2-inch, 16-track stereo masters.

## Background and recording

The recording sessions for Be My Valentine, Charlie Brown took place at Wally Heider Studios in San Francisco on December 9, 17, 18, 23, and 30, 1974. The ensemble featured Guaraldi (acoustic piano, electric keyboards, clavinet, ARP String Ensemble, harpsichord, guitars), Seward McCain (electric bass) and Vince Lateano (drums). The sessions showcased Guaraldi's ability to blend structured composition with jazz improvisation. As his third-to-last score for the Peanuts specials, the music reflects themes of unrequited love while maintaining the lighthearted and whimsical nature of the series.
By the mid-1970s, Guaraldi was well established as the Peanuts composer but remained primarily known in Northern California. While regularly performing at venues like San Francisco's El Matador and Menlo Park's Butterfield's, he continued refining his jazz approach. This period of live performances influenced the relaxed yet intricate feel of the Be My Valentine soundtrack.
For this score, Guaraldi extensively utilized the Fender Rhodes Stage electric piano, chosen for its warm tone and subtle dynamic responsiveness, and which required a lighter touch to avoid distortion. He also incorporated the ARP String Ensemble, a pioneering polyphonic new synthesizer at the time, layering it to simulate a string section. This instrument is particularly prominent in "Valentine Interlude No. 1" and "Heartburn Waltz (5th Reprise)".
"Heartburn Waltz" appears throughout the special in multiple variations, serving as its main musical motif and emotional core. This mid-tempo waltz, characterized by its distinctive triplet motif, poignantly underscores Charlie Brown's enduring romantic disappointments. The arrangement undergoes subtle transformations across reprises, with "Charlie Brown's Wake-Up" offering a slower, introspective interpretation. The fifth reprise features an alternate drum take, with the original cleaner version preserved as a bonus track.
Guaraldi explored different time signatures and arrangements throughout the sessions. "There's Been a Change" was recorded in both $^6$ $_8$ and $^4$ $_4$ meters, each lending a unique rhythmic character. Similarly, "Jennie L." exists in two versions—one in $^4$ $_4$ and another in $^6$ $_8$—with distinct variations in harmonic progression and bass phrasing.
Drummer Vince Lateano recalled that the recording process was largely improvisational, with Guaraldi favoring a spontaneous and organic approach over rigidly structured compositions. This ethos is evident in "Woodstock's Mambo", which showcases Guaraldi's appreciation for Latin jazz. The piece is driven by syncopated percussion, with an emphasis on hi-hat 16th-note patterns and a prominent side-stick snare technique. The ARP synthesizer is utilized in a lead role, producing a playful melodic motif that interacts dynamically with the underlying rhythm section. The track's polyrhythmic structure, characterized by its triple metre feel against a duple metre groove, showcases Guaraldi's ability to seamlessly blend traditional jazz harmonies with Afro-Cuban influences. A bonus mix of "Woodstock's Mambo" reveals additional instrumental layers, including a previously unused guitar part and a wah-wah-inflected ARP passage. These elements further highlight Guaraldi's experimental tendencies during this period, as he explored novel textural combinations within the framework of his signature Peanuts sound. Though the cue is relatively brief in the special, its energy provides a compelling contrast to the more introspective themes found elsewhere in the score. The bonus mix unveils an unused guitar track and wah-wah effects, further illustrating Guaraldi's willingness to experiment with sonic textures.
"Paw Pet Overture" underscores Lucy's approach to Snoopy's puppet show, showcasing Guaraldi's rhythmic layering. The piece opens with a triple metre run set against a duple meter, creating subtle tension before transitioning into a boogie-woogie style reminiscent of earlier Peanuts compositions like "Linus and Lucy". This track prominently features interplay between the acoustic and electric piano, reinforcing Guaraldi's evolving approach to texture and rhythm. Notably, the recording includes a cowbell, adding a distinct percussive element that enhances the track's lively and theatrical feel. As part of the puppet show sequence, Guaraldi also recorded "Freddie's Mood", an adaptation of Frédéric Chopin's "Nocturne in E♭ major, Op. 9, No. 2", infused with jazz elements. To complement the vintage aesthetic of the scene, Guaraldi intentionally aged the recording with crackles and warbles, mimicking the sound of a 78 rpm shellac record being played on a spring-driven phonograph operated by Snoopy via a hand-crank mechanism. Additionally, Guaraldi's voice can be faintly heard saying, "One more minute coming up!" during the closing credits, an unusual inclusion that offers a rare glimpse into the recording process.
Among the lesser-known compositions from the sessions, "Woodstock's Revenge" captures the mischievous and unpredictable nature of Snoopy's avian companion. The track is characterized by an off-kilter rhythmic structure, playful piano runs, and interweaving ARP synthesizer lines. Sudden tempo shifts and syncopated percussion reinforce the composition's whimsical nature. Though not prominently featured in the final special, its inclusion in the expanded soundtrack offers insight into Guaraldi's penchant for humorous and unconventional musical phrasing.
Guaraldi offers a fresh take on the classic "Linus and Lucy" theme in this score. While the melody remains intact, the arrangement veers in unexpected directions with shifting harmonies, altered rhythms, and unconventional modulations. This version moves into $^3$ $_4$ metre, giving it a more fluid, dynamic feel. A call-and-response between electric and acoustic piano adds depth, while a later reprise returns to the more familiar $^4$ $_4$ structure but keeps Guaraldi's signature flourishes. The piece ends with a playful downward chromatic run, adding a touch of whimsy and showcasing Guaraldi's knack for reinventing his own work.

## Release

Be My Valentine, Charlie Brown: Original Soundtrack Recording 50th Anniversary Extended Edition was released on January 17, 2025, in CD, vinyl, and digital download formats. Two exclusive vinyl editions were included in the release: a "Heartburn Red" 12" variant, designated as a Record Store Day Indie Exclusive, and a "Puppy Love Pink" 12" variant, available at Barnes & Noble. To minimize the carbon footprint, the records use BioVinyl, a material that replaces petroleum in S-PVC with recycled cooking oil or industrial waste, achieving a 100 percent reduction in CO$_2$ emissions while preserving acoustic and visual quality.

## Critical reception

Be My Valentine, Charlie Brown: Original Soundtrack Recording was met with critical acclaim upon its release, with critics praising Guaraldi's ability to blend jazz, classical elements, and contemporary sounds of the 1970s into a cohesive and emotionally resonant soundtrack.
Joshua Weiner of All About Jazz highlights the album's rich instrumental palette, noting that it "certainly sounds like [it was released in 1975], thanks to the expanded palette of instruments available to Guaraldi". Weiner emphasizes the standout track, "Charlie Brown's Wake-Up", calling it "distinctive enough to earn its own name" and a highlight of the album. Weiner further praises Guaraldi's ability to evoke emotion through melody, stating, "It is hard to imagine anyone's heart not being pierced by Cupid's arrow upon hearing this music".
Jazz Weekly's George W. Harris underscores the evolution of Guaraldi's style, pointing out that the pianist incorporated electric piano, clavinet, ARP Strings, electric harpsichord, and even guitar, a departure from his earlier, more traditional jazz trio work. Harris describes the album's tone as shifting toward a more "synthy" aesthetic, particularly on tracks like "Valentine Interlude" and "Paw Pet Overture", and notes that pieces such as "Jennie L." and "Woodstock's Mambo" adopt a "bar mitzvah mood", reflecting a kitschier approach compared to Guaraldi's more swinging early Peanuts scores.
Audiophile Audition's Robbie Gerson commends Guaraldi for crafting another "memorable soundtrack" and identifies "Heartburn Waltz" as its emotional core. He highlights Guaraldi's stylistic versatility, pointing out the "Latin-infused funkiness" of "Paw Pet Overture" and the "bluesy reverie" of "Never Again". Gerson also praises the debut recording of "Last Call For Love", calling it a "rolling bluesy trio number" that showcases the trio's cohesion and improvisational chemistry.

## Legacy

Be My Valentine, Charlie Brown premiered on CBS on January 28, 1975, resonating with audiences due to its themes of unrequited love. Guaraldi's melancholic yet playful score complemented the storyline, leading to an influx of valentines sent to Charles M. Schulz's studio on behalf of Charlie Brown. Musically, the score is distinguished by its introspective quality and innovative use of the ARP synthesizer.

## Track listing

All tracks are written by Vince Guaraldi, except where noted

## Personnel
### Original 1975 personnel
#### Vince Guaraldi Trio

* Vince Guaraldi – acoustic piano, electric keyboards, clavinet, ARP String Ensemble, harpsichord, guitars
* Seward McCain – electric bass
* Vince Lateano – drums

#### Additional

* John Scott Trotter – music supervisor

### 2025 release personnel

* Sean Mendelson – producer, liner notes
* Jason Mendelson – producer, liner notes
* Vinson Hudson – restoration and mastering
* Terry Carleton – remix engineer
* Megan Rible – layout art
* Derrick Bang – liner notes
* John Strother (Penguin Recording) – tape archiving

## Charts
### Weekly charts

Weekly chart performance for Be My Valentine, Charlie Brown :
| Chart (2025) | Peak position |
| US Traditional Jazz Albums (Billboard) | 7 |
| US Kid Albums (Billboard) | 18 |
| US Indie Store Album Sales (Billboard) | 9 |
| US Top Album Sales (Billboard) | 48 |
| US Top Holiday Albums (Billboard) | 2 |
| US Top Jazz Albums (Billboard) | 9 |