Wouldn't It Be Nice
|"Wouldn't It Be Nice"|
|Single by The Beach Boys|
|from the album Pet Sounds|
|B-side||"God Only Knows"|
|Released||July 18, 1966|
–April 11, 1966|
Gold Star Studios and CBS Columbia Square, Hollywood
|The Beach Boys singles chronology|
"Wouldn't It Be Nice" is the opening track on the 1966 album Pet Sounds by the American rock band the Beach Boys. It was composed, arranged, and produced by Brian Wilson with words largely by Tony Asher. Later, the song's credit was amended to include Mike Love for its coda's vocal arrangement and lyric. It was released as a single two months after the album's release with "God Only Knows" as its B-side.
The lyrics describe a couple in love lamenting about being too young to run off to get married, fantasizing about how nice it would be if they were adults. Like other tracks for Pet Sounds, Brian Wilson constructed the song's symphonic Wall of Sound arrangement using a variety of instruments not normally associated with pop music of its time, then overdubbing the instrumentation played by session musicians with a complex vocal arrangement sung by the group to Brian's exact specifications.
In the Endless Harmony documentary, Brian Wilson described the song as "what children everywhere go through ... wouldn't it be nice if we were older, or could run away and get married". Wilson added in 1996, "'Wouldn't It Be Nice' was not a real long song, but it's a very 'up' song. It expresses the frustrations of youth, what you can't have, what you really want and you have to wait for it." The song expresses "the need to have the freedom to live with somebody," according to Brian. "The idea is, the more we talk about it, the more we want it, but let's talk about it anyway. Let's talk it over, let's talk about what we might have if we really got down to it." The lyrics were written almost entirely by Tony Asher over the course of one or two days; Mike Love's single contribution was the ending couplet "Good night my baby / sleep tight my baby". Asher has said, "Brian was constantly looking for topics that kids could relate to. Even though he was dealing in the most advanced score-charts and arrangements, he was still incredibly conscious of this commercial thing. This absolute need to relate." In response, music journalist Nick Kent wrote:
To this effect, "Wouldn't It Be Nice", the song that would lead off their finished creation, was little more than a sophisticated lay-off on the old "We're too young to get married" teen angst dialogue that Wilson had already zeroed in on in "We'll Run Away", the song he'd written a year or so back with Gary Usher, not to mention his plaintively fulsome reinterpretation of the Four Teens' vintage heartbreaker "I'm So Young". But this time Brian Wilson was out to eclipse these previous sonic soap operas, to transform the subject's sappy sentiments with a God-like grace so that the song would become a veritable pocket symphony: two minutes of limpid harps imitating a teenage heartstrings in a tug of love, growling horns, joyous little bells, cascading strings, harmonies so complex they seemed to have more in common with a Catholic Mass than any cocktail lounge acappella doo-wop—in short, a fantasy island of the most exquisite musical longing imaginable.
Love's contributions are disputed by some. He has claimed that he revised or added other lyrics beyond the ending tag, while Asher asserted it was not possible due to Love's absence during songwriting sessions. Since he was touring with the group in Japan while the Pet Sounds album was being composed, Love's attorney proposed that it may have been possible that Brian consulted Love by telephone during occasional bathroom breaks. Asher, believing the argument was "so absurd," responded with incredulity.
The instrumental track was recorded at Gold Star Studios on January 22nd, 1966. The session was engineered by Larry Levine and produced by Brian Wilson. It took 21 takes of recording the instrumental track before Brian Wilson decided that it was good enough to be the master take. Highlights of these sessions can be heard on the 1997 box set The Pet Sounds Sessions as well as the master take. The full recording of the instrumental track, all 21 takes, can be heard on the bootleg Sea Of Tunes Unsurpassed Masters series Vol. 13 box set.
The musicians present on the day of the instrumental recording were a group of Los Angeles session players commonly referred to as The Wrecking Crew. Wilson says, "Listen for the rockin' accordions and the ethereal guitars in the introduction. Tony and I had visualized a scene. We had a feeling in our hearts, like a vibration. We put it into music, and it found its way onto tape. We really felt good about that record." Accounts differ as to which specific instrument was employed on the song's distinctive, harp-like intro, with candidates including one or more 12-string electric guitars, an electric mandolin, or similar short-scale instrument, such as a Vox Mandoguitar.
The vocals were recorded over two sessions at Columbia engineered by Ralph Balantin. The first vocal session took place on March 10, which also saw vocal work on "I'm Waiting for the Day", "God Only Knows" and "I Just Wasn't Made for These Times". The next session around a month later on April 11 was most likely the session at which the lead vocal for the song was recorded. Vocals for "God Only Knows" were also worked on at that particular session. The backing vocal sessions were problematic, as Bruce Johnston recalled, "We re-recorded our vocals so many times, [but] the rhythm was never right. We would slave at Western for a few days, singing this thing, and [Brian would say], 'No, it's not right, it's not right.' One time, he had a 4-track Scully [tape recorder] sent to his home, but that didn't really work out." During sessions, Brian taught brother Dennis Wilson a recording technique involving cupping his hands over his mouth, elaborating: "Well, he had a lot of trouble singing on mike. He just didn't really know how to stay on mike. He was a very nervous boy. Very nervous person. So I taught him a trick, how to record and he said, 'Hey Brian. That works great. Thank you!' And I said, 'It's okay, Dennis: He was really happy. I showed him—not how to sing, but I showed him a way to get the best out of himself—just 'cup’ singing."
On July 18, "Wouldn't It Be Nice" was released backed with "God Only Knows" in the United States, which was the third single from the Pet Sounds album, released two months before. It entered the Billboard chart on July 30 and remained there for 11 weeks, peaking at number 8 in September 1966. The single also peaked at number 7 on the Cashbox chart and #5 in Record World. It also peaked at number 4 on Canada's RPM national chart. In Australia, the song was released in August 1966. It entered the charts on August 24 at number 39 and spent 17 weeks on the charts, peaking at number 2. In New Zealand, the single peaked at number 12.
In the United Kingdom, the song was released in July 1966 as the B-side of "God Only Knows", which reached number 2. The song was reissued in November 1966 in the UK on the God Only Knows EP. In July 1976 It was reissued again in the UK as the B-side of the re-issued "Good Vibrations" single. The single peaked at number 18.
|"Wouldn't It Be Nice (Live)"|
|Single by The Beach Boys|
|from the album Live In London|
|The Beach Boys singles chronology|
Live versions appear on two of the band's live albums. The 1970 release Live In London and the 1973 release The Beach Boys in Concert, the former was released as a single. On the 1986 Made in U.S.A. compilation, an alternate version with different vocals was used. That same version was also released on the 1989 Beach Boys album Still Cruisin'. In June 1990, a different recording of the song from 1966 that had appeared on the 1989 Still Cruisin' album was released in the United Kingdom as a single with the B-side featuring a "Beach Boys Medley" as well as the original recording of "I Get Around", which had also been released on the Still Cruisin' album.
The song appears on several occasions from different stages of the recording process and in different formats on The Pet Sounds Sessions box set, including the song in its original monophonic mix; the first ever original stereo mix of the song, which was remastered by Mark Linett; over seven minutes of highlights from the tracking date, which documents the progress of the recording of the instrumental track; the finished instrumental track; the stereo track with the background vocals; an a cappella mix of the song; and two alternate mixes of the song one of which has a slight difference lyrically. In it, the song begins with the line "wouldn't it be nice to live together, in the kind of world where we belong", instead of the finished version of the song which opens with the line "wouldn't it be nice if we were older, then we wouldn't have to wait so long" and follows with the aforementioned lyric. The 2001 stereo remix of the song restores Mike Love's original bridge vocal, utilizing a mono mix, which causes slight phasing and sound quality issues.
Sourced from liner notes included with the 1999 mono/stereo reissue of Pet Sounds, except where otherwise noted.
- The Beach Boys
- Mike Love – lead and backing vocals
- Al Jardine – backing vocals
- Bruce Johnston – backing vocals
- Brian Wilson – lead vocals
- Carl Wilson – backing vocals
- Dennis Wilson – backing vocals
- Additional musicians
- Jerry Cole – guitar
- Bill Pitman – guitar
- Larry Knechtel – piano
- Al de Lory – piano
- Barney Kessel – mandolin
- Ray Pohlman – mandolin
- Carl Fortina – accordion
- Frank Marocco – accordion
- Roy Caton – trumpet
- Steve Douglas – tenor saxophone
- Plas Johnson – tenor saxophone
- Jay Migliori – baritone saxophone
- Carol Kaye – bass guitar
- Lyle Ritz – double bass
- Hal Blaine – drums
- Frank Capp – percussion, bells, tympani
|Australian Singles Chart||2|
|New Zealand Singles Chart||12|
|U.S. Billboard Hot 100||8|
|This section may require cleanup to meet Wikipedia's quality standards. The specific problem is: WP:SONGCOVER. (June 2014)|
- Anni-Frid Lyngstad in 1975 recorded a Swedish-language version called "Skulle de' va' skönt" (with Swedish lyrics by Marie Bergman) on her solo album Frida ensam.
- Mike Post in 1975
- Papa Doo Run Run on their 1985 album California Project
- Jeffrey Osborne on the 1997 tribute album Wouldn't It Be Nice: A Jazz Portrait Of Brian Wilson
- Force in 2003
- Foster The People at the 54th Grammy Awards as a tribute to the Beach Boys as a part of the 50th anniversary of the band.
- At the 2001 special An All-Star Tribute to Brian Wilson, Wilson performed a duet of the song with Elton John.
- Carucci, John (2012). "Review: Brian Wilson Writes New Beach Boys Album". The Big Story. Retrieved 26 April 2013.
- Elliott, Brad (August 31, 1999). "Pet Sounds Track Notes". beachboysfanclub.com. Retrieved March 3, 2009.
- Badman 2004, p. 142.
- Staff, Pitchfork (2006-08-18). "Staff Lists: The 200 Greatest Songs of the 1960s". Pitchfork. Retrieved 2012-01-08.
- The Pet Sounds Sessions: "The Making Of Pet Sounds" booklet
- Fornatale, Pete (November 3, 1976). "Interview with Brian Wilson" (MP3). NY Radio Archive. WNEW-FM 102.7.
- Kent, Nick. The Dark Stuff: Selected Writings on Rock Music. Da Capo Press. p. 17. ISBN 9780786730742.
- Carlin 2006.
- Doe, Andrew G. "GIGS66". esquarterly.com. Retrieved 27 July 2013.
- Unsurpassed Masters Vol.13 track listing
- "Beach Boys 1966 Recording Sessions". Archived from the original on 2012-06-30.[dead link]
- "Billboard Hot 100". Billboard (Nielsen Company) 78 (38): 26. 1966. Retrieved 10 May 2011.
- Abbott, Kingsley (2003), Back To The Beach, Helter Skelter Publishing, ISBN 1-900924-46-3
- New Zealand Single Charts
- "UK 1960's Singles Charts". Archived from the original on 2012-11-30.[dead link]
- Pet Sounds (CD Liner). The Beach Boys. Capitol Records. 1999.
- "Australian Single Charts". Retrieved 9 November 2007.
- "New Zealand Single Charts". Retrieved 9 November 2007.
- "US Singles Charts". Archived from the original on 2012-06-30. Retrieved 9 November 2007.
- Badman, Keith (2004). The Beach Boys: The Definitive Diary of America's Greatest Band, on Stage and in the Studio. Backbeat Books. ISBN 978-0-87930-818-6.
- Carlin, Peter Ames (2006). Catch a Wave: The Rise, Fall, and Redemption of the Beach Boys' Brian Wilson. Rodale. ISBN 978-1-59486-320-2.