Good Vibrations

This article is about the 1966 song by the Beach Boys. For other uses, see Good Vibrations (disambiguation).

"Good Vibrations"
Song
B-side	"Let's Go Away for Awhile"

"Good Vibrations" is a song composed and produced by Brian Wilson with words by Mike Love for the American rock band the Beach Boys. Released as a single in October 1966, it was an immediate critical and commercial hit, topping record charts in several countries including the US and UK. Characterized by its complex soundscapes, intricate harmonies, and exotic instrumentation, "Good Vibrations" later became widely acknowledged as one of the greatest masterpieces of rock music.

Initiated during the sessions for the album Pet Sounds (1966), it was not taken from or issued as a lead single for an album, but rather as a stand-alone single, with the Pet Sounds instrumental "Let's Go Away For Awhile" as a B-side. It was considered for the Smile project, but instead appeared on the album Smiley Smile (1967). Most of the song was developed as it was recorded. Its title derived from Wilson's fascination with cosmic vibrations, after his mother once told him as a child that dogs sometimes bark at people in response to their "bad vibrations". He used the concept to suggest extrasensory perception, while Love's lyrics were inspired by the Flower Power movement that was then burgeoning in Southern California.

Building upon the layered production approach he had previously formulated on Pet Sounds, Wilson recorded "Good Vibrations" in piecemeal using several Los Angeles studios throughout the course of eight months, resulting in a cut-up mosaic of several musical episodes marked by discordant key and modal shifts. Band publicist Derek Taylor dubbed the work a "pocket symphony", as it features an array of exotic instruments considered unusual for a popular song of its time, including jaw harp and Electro-Theremin, along with standard instruments played in ways novel to a pop hit, such as its cello and string bass which play a bowed tremolo over the song's chorus. Its making was unprecedented in any kind of recording, with a total production cost estimated between $50,000 and $75,000 (today $470,000 and $700,000), the highest of any music single ever produced.

For "Good Vibrations", Wilson is credited with further developing the use of the recording studio as an instrument. The single revolutionized rock music from live concert performances to studio productions which could only exist on record, heralding a wave of pop experimentation and the onset of psychedelic and progressive rock. Its success earned the Beach Boys a Grammy nomination for Best Vocal Group performance in 1966; the song was eventually inducted into the Grammy Hall of Fame in 1994. It has featured highly in many charts, being voted number one in the Mojo Top 100 Records of All Time chart in 1997 and number six on Rolling Stone's list of the "500 Greatest Songs of All Time". The Rock and Roll Hall of Fame included "Good Vibrations" in its list of the "500 Songs that Shaped Rock and Roll".

Background

The Beach Boys' leader Brian Wilson was largely responsible for the track's composition and its vocal arrangement, with his cousin and bandmate Mike Love contributing lyrics and the "I'm picking up good vibrations / she's giving me excitations" vocal riff in the chorus. During the recording sessions for Pet Sounds (1966), Wilson began changing his writing process. Rather than going to the studio with a completed song, he would record a track containing a series of chord changes he liked, take an acetate disc home, and then write the song's melody and lyrics. For "Good Vibrations", Wilson explains, "I had a lot of unfinished ideas, fragments of music I called 'feels.' Each feel represented a mood or an emotion I'd felt, and I planned to fit them together like a mosaic." Most of the song's structure and arrangement was written as it was recorded.

Inspiration and lyricism

Brian explained that the song was inspired by his mother: "[She] used to tell me about vibrations. I didn't really understand too much of what it meant when I was just a boy. It scared me, the word 'vibrations'. She told me about dogs that would bark at people and then not bark at others, that a dog would pick up vibrations from these people that you can't see, but you can feel." Brian first enlisted Pet Sounds lyricist Tony Asher for help in putting words to the idea. When Brian presented the song on piano, Asher thought that it had an interesting premise with the potential for hit status, but could not fathom the end result due to Brian's primitive piano playing style. Asher remembers: "Brian was playing what amounts to the hook of the song: 'Good, good, good, good vibrations'. He started telling me the story about his mother. ... He said he’d always thought that it would be fun to write a song about vibes and picking them up from other people. ... So as we started to work, he played this little rhythmic pattern – a riff on the piano, the thing that goes under the chorus." Brian wanted to call the song "Good Vibes", but Asher advised that it was "lightweight use of the language," suggesting that "Good Vibrations" would sound less "trendy." The two proceeded to write a lyric for the verses, later to be discarded, in what was then the most basic section of the song.

From the start, Wilson envisioned a theremin for the track. AllMusic reviewer John Bush pointed out: "Radio listeners could easily pick up the link between the title and the obviously electronic riffs sounding in the background of the chorus, but Wilson's use of the theremin added another delicious parallel – between the single's theme and its use of an instrument the player never even touched." At that time, theremins were most associated with the 1945 Alfred Hitchcock thriller Spellbound, but its most common presence was in the theme music for the television sitcom My Favorite Martian. Sound engineer Chuck Britz speculates: "He just walked in and said, 'I have this new sound for you.' I think he must have heard the sound somewhere and loved it, and built a song around it."

Brian has credited his brother and bandmate Carl for suggesting the cello as an instrument to use. He also stated that its triplet beat on the chorus was his own idea, and that it was based on the Phil Spector production "Da Doo Ron Ron". Alternatively, multi-instrumentalist songwriter Van Dyke Parks says that he suggested having the celloist play triplets for Brian. Parks believes that having Brian exploit the cello "to such a hyperbolic degree" was what encouraged the duo to immediately collaborate on the ultimately unfinished album Smile. At some point, Brian asked Parks to pen lyrics for the song, although Parks declined.

A group of Flower Power demonstrators, 1967

Mike Love submitted the final lyrics for "Good Vibrations", claiming to have written them on the drive to the studio. Love reacted upon hearing the unfinished backing track: "[It] was already so avant-garde, especially with the theremin, I wondered how our fans were going to relate to it. How's this going to go over in the Midwest or Birmingham? It was such a departure from 'Surfin' USA' or 'Help Me Rhonda'." Feeling that the song could be "the Beach Boys' psychedelic anthem or flower power offering", he based the lyrics on the burgeoning psychedelic music and Flower Power movements occurring in San Francisco and some parts of the Los Angeles area. He described the lyrics: "...just a flowery poem. Kind of almost like 'If you’re going to San Francisco be sure to wear flowers in your hair'." Writer Bruce Golden observed:

The new pastoral landscape suddenly being uncovered by the young generation provided a quiet, peaceful, harmonious trip into inner space. The hassles and frustrations of the external world were cast aside, and new visions put in their place. "Good Vibrations" succeeds in suggesting the healthy emanations that should result from psychic tranquility and inner peace. The word "vibrations" had been employed by students of Eastern philosophy and acid-heads for a variety of purposes, but Wilson uses it here to suggest a kind of extrasensory experience.

Capitol Records executives were worried that the lyrics contained psychedelic overtones, and Brian is said to have based the song's production on his LSD experiences. In 2012, Brian clarified that the song was written under the influence of marijuana, not LSD. In Steven Gaines' 1986 biography, Wilson is quoted on the lyrics: "We talked about good vibrations with the song and the idea, and we decided on one hand that you could say … those are sensual things. And then you'd say, 'I'm picking up good vibrations,' which is a contrast against the sensual, the extrasensory perception that we have. That's what we're really talking about." Brian claimed in 2012 that the song's "gotta keep those good vibrations" bridge was inspired by Stephen Foster. Al Jardine compared the section to Foster's "Down by the Riverside." According to Love, the lyric "'she goes with me to a blossom world' was originally meant to be followed by the words 'we find,'" but Brian elected to cut off the line in order to highlight the bass track linking into the chorus.

Composition and analysis

Formal and harmonic structure of "Good Vibrations"

There are six unique sections to the piece, as labelled by music theorist Daniel Harrison:

1. Verse
2. Refrain (chorus)
3. First episodic digression
4. Second episodic digression
5. Retro-refrain
6. Coda

Each section has a distinct musical texture, partly due to the nature of the song's recording. The track's instrumentation changes radically from section to section. Music journal Sound on Sound explains: "Typical pop songs of that era (or indeed any era) usually have a basic groove running throughout the track which doesn't change a great deal from start to finish ... pop records were either guitar, bass and drum combos or traditional orchestrated arrangements for vocalists … The exotic instruments, the complex vocal arrangements, and the many dynamic crescendos and decrescendos all combine to set this record apart from most pop music. In short, if there's an instruction manual for writing and arranging pop songs, this one breaks every rule." For the AM radio standards of late 1966, the song's final runtime (3 minutes 35 seconds) was considered a "very long" duration. Wilson is quoted in 1979:

It had a lot of riff changes ... movements ... It was a pocket symphony — changes, changes, changes, building harmonies here, drop this voice out, this comes in, bring this echo in, put the theremin here, bring the cello up a little louder here ... It was the biggest production of our lives!

He characterized the song as "advanced rhythm and blues," while its theremin and cello has been called the song's "psychedelic ingredient." In his book discussing music of the counterculture era, James Perrone stated that the song represented a type of impressionistic psychedelia, in particular for its cello playing repeated bass notes and its theremin. Professor of American history John Robert Greene named "Good Vibrations" among examples of psychedelic or acid rock. Stebbins wrote that the song was "replete with sunshine [and] psychedelia." Uncut wrote that "Good Vibrations" was "three minutes and thirty-six seconds of avant-garde pop." Steve Valdez says that, like Pet Sounds, Brian was attempting a more experimental rock style. It has since been marketed as pop music, "possibly because it comes across relatively innocent compared with the hard-edged rock we have since come to know," says historian Lorenzo Candelaria. Sound on Sound argues that the song "has as many dramatic changes in mood as a piece of serious classical music lasting more than half an hour". Tom Roland of American Songwriter described the piece: "with its interlocking segments – a sort of pop version of the classical sonata, consisting of a series of musical movements". New York Magazine compared it to "a fugue with a rhythmic beat". John Bush compared the track's fragmented cut-and-paste style to 1960s experimentalists such as William S. Burroughs.

According to academic Rikky Rooksby, "Good Vibrations" is an example of Brian's growing interest in musical development within a composition, something antithetical to popular music of the time. Suppressing tonic strength and cadential drive, the song makes use of descending harmonic motions through scale degrees controlled by a single tonic and "radical disjunctions" in key, texture, instrumentation, and mood while refusing to develop into a predictable formal pattern. It instead develops "under its own power," and "luxuriates in harmonic variety," exemplified by beginning and ending not only in different keys but also in different modes. Comparing "Good Vibrations" to Brian's previous work Pet Sounds, biographer Andrew Hickey has said: "[T]he best way of thinking about [the song] is that it's taking the lowest common denominator of 'Here Today' and 'God Only Knows' and turned the result into an R&B track. We have the same minor-key change between verse and chorus we've seen throughout Pet Sounds, the same descending scalar chord sequences, the same mobile bass parts, but here, rather than to express melancholy, these things are used in a way that's as close as Brian Wilson ever got to funky." Stebbins adds that "unlike Pet Sounds, the chorus of 'Good Vibrations' projects a definite 'rock and roll' energy and feel."

Verses and choruses

Verse chord progression, an Andalusian cadence, in the key of E phrygian. .

"Good Vibrations" begins without introduction in a traditional verse/refrain format, opening with Carl Wilson singing the word "I", a triplet quaver before the downbeat. The sparse first verse contains a repetition of chords played on a Hammond organ filtered through a Leslie speaker; underneath is a two-bar Fender bass melody. This sequence repeats once (0:15), but with the addition of two piccolos sustaining over a falling flute line. For percussion, bongo drums double the bass rhythm and every fourth-beat is struck by either a tambourine or a bass-drum-and-snare combination, in alternation. The beat projects a triplet feel despite being in 4/4 time; this is sometimes called a "shuffle beat" or "threes over fours". The chord progression used is i – ♭VII – ♭VI – V, also called an Andalusian cadence. Although the verses begin in the minor mode of E♭, the mode is not used to express sadness or drudgery.

The refrain (0:25) begins in the newly tonicized relative major G♭, which suggests ♭III. Providing a backdrop to the Electro-Theremin is a cello and string bass playing a bowed tremolo triplet, a feature that was an exceedingly rare effect in pop music. The Fender bass is steady at one note per beat while tom drums and tambourine provide a backbeat. This time, the rhythm is stable, and is split into four 4-bar sections which gradually build its vocals. The first section consists of only the line "I'm picking up good vibrations"; the second adds an "ooo bop bop" figure; the third adds a "good, good, good, good vibrations" higher harmony. This type of polyphony (counterpoint) is also rare in contemporary popular styles. Meanwhile, the song transposes up by two whole steps, ascending from G♭ to A♭ and then B♭. It then returns to the verse, thus making a perfect cadence back into E♭ minor. Unusually, when the verse and chorus are repeated, there are no changes to the patterns of its instrumentation and harmony. Normally, a song's arrangement adds something once it reaches the second verse.

Episodic digressions

The first episode (1:41+) begins disjunctively. The refrain's B♭, which had received a dominant (V) charge, is now maintained as a tonic (I). There is harmonic ambiguity, where the chord progression may be either interpreted as I – IV – I (in B♭) or V – I – V (in G♭). Biographer Jon Stebbins says that this section "might be called a bridge under normal circumstances, but the song's structure takes such an abstract route that traditional labels don't really apply." A new sound is created by tack piano, jaw harp, and bass relegated to strong beats which is subsequently (1:55) augmented by a new electric organ, bass harmonica, and sleigh bells shaken on every beat. This section lasts for ten measures (6 + 2 + 2), which is unexpectedly long in light of previous patterns.

Another tape splice occurs at 2:13, transitioning to an electric organ playing sustained chords set in the key of F accompanied by a maraca shaken on every beat. Sound on Sound highlights this change as the "most savage edit in the track ... most people would go straight into a big splash hook-line section. Brian Wilson decided to slow the track even further, moving into a 23-bar section of church organ ... Most arrangers would steer clear of this kind of drop in pace, on the grounds that it would be chart suicide, but not Brian." Harrison says: "The appearance of episode 1 was unusual enough but could be explained as an extended break between verse and refrain sections. Episode 2 however, makes that interpretation untenable, and both listener and analyst must entertain the idea that 'Good Vibrations' develops under its own power, as it were, without the guidance of overdetermined formal patterns. Brian’s own description of the song — a three-and-a-half-minute 'pocket symphony' — is a telling clue about his formal ambitions here."

Recording and production

Modular approach

CBS Columbia Square, where the song's final mix was mastered

"Good Vibrations" established a new method of operation for Wilson. Instead of working on whole songs with clear large-scale syntactical structures, Wilson limited himself to recording short interchangeable fragments (or "modules"). Through the method of tape splicing, each fragment could then be assembled into a linear sequence, allowing any number of larger structures and divergent moods to be produced at a later time. This was the same modular approach used during the sessions for Smile and Smiley Smile. In order to mask each tape edit, vast reverb decays were added at the mixing and sub-mixing stages.

For instrumentation, Wilson employed the services of "the Wrecking Crew", nickname for the conglomerate of session musicians active in Los Angeles at that time. Wilson later stated regarding the song's production: "We got so into it that the more we created, the more we wanted to create…there was no real set direction we were going in." Most pop singles of the time were typically recorded in a day or two, but production for "Good Vibrations" spanned more than a dozen recording sessions at four different Hollywood studios. It was reported to have used over 90 hours of magnetic recording tape, with an eventual budget estimated between $50,000 and $75,000 ($470,000 and $700,000 today), at that time the largest sum ever spent on a single. In comparison, the whole of Pet Sounds had cost $70,000 ($660,000), itself an unusually high cost for an album. According to Wilson, the Electro-Theremin work alone cost $15,000 ($140,000). It's said that Wilson was so puzzled by "Good Vibrations" that he would often arrive at a session, consider a few possibilities, and then leave without recording anything, which exacerbated costs.

Development

Brian came over to me and sang such and such a thing, and I said "Well, write it down and I'll play it," and he said "Write it down? We don't write anything down."

—Paul Tanner, recollecting his first Pet Sounds session

The instrumental of the first version of the song was recorded on February 17, 1966 at Gold Star Studios and was logged as a Pet Sounds session. On that day's session log, it was given the name "#1 Untitled" or "Good, Good, Good Vibrations", but on its master tape, Wilson distinctly states "'Good Vibrations'... take one." After twenty-six takes, a rough mono mix completed the session. Some additional instruments and rough guide vocals were overdubbed on March 3.

The original version of "Good Vibrations" contained the characteristics of a "funky rhythm and blues number" and would not yet resemble a "pocket symphony." There was no cello at this juncture, but the Electro-Theremin was present, played by its inventor Paul Tanner. It was Brian's second ever recorded use of the instrument, just three days after the Pet Sounds track "I Just Wasn't Made for These Times". Brian then placed "Good Vibrations" on hold in order to devote attention to the Pet Sounds album, which saw release on May 16. More instrumental sections for "Good Vibrations" were recorded between April and June. Brian then forewent additional instrumental tracking until early September, when it was decided to revisit the song's bridge section and apply Electro-Theremin overdubs.

According to Brian's then-new friend David Anderle, during an early stage, Brian considered giving "Good Vibrations" to one of the black rhythm and blues groups signed with Warner Bros. Records such as Wilson Pickett, and then at Anderle's suggestion to singer Danny Hutton. He thought about junking the track, but after receiving encouragement from Anderle, eventually decided on it as the next Beach Boys single. In the meantime, he worked on writing and recording material for the group's forthcoming album Smile. The first Beach Boy to hear "Good Vibrations" in a semi-completed form was Carl Wilson, who had previously participated in rough guide vocals with Brian for the initial February mix. Following a performance with the touring group in North Dakota: "I came back up into my hotel room one night and the phone rang. It was Brian on the other end. He called me from the recording studio and played this really bizarre sounding music over the phone. There were drums smashing, that kind of stuff, and then it refined itself and got into the cello. It was a real funky track."

Carl Wilson (pictured in 1970) sings lead on the song's final recording

The vocals for "Good Vibrations" were recorded at CBS Columbia Square, starting on August 24 and continuing sporadically until the very last day of assembly on September 21. Evidently the episodic structure of the composition was continuously revised as the group experimented with different ideas. Brian remembers that he began recording the "bop bop good vibrations" parts first, and that he came up with "the high parts" a week later. Mike Love recalled: "I can remember doing 25–30 vocal overdubs of the same part, and when I mean the same part, I mean same section of a record, maybe no more than two, three, four, five seconds long." Dennis Wilson was to have sung the lead vocal, but due to a bout of laryngitis, Carl replaced him at the last minute. In early September, the master tapes for "Good Vibrations" were stolen. Mysteriously, they reappeared inside his home two days later.

In 1976, Brian revealed that before the final mixdown, he had been confronted with resistance by members of the group whom Brian declined to name. The subject of their worries and complaints was the song's length and "modern" sound: "I said no, it's not going to be too long a record, it's going to be just right. … They didn't quite understand what this jumping from studio to studio was all about. And they couldn't conceive of the record as I did. I saw the record as a totality piece."

On September 21, Brian completed the track after Tanner added a final Electro-Theremin overdub. In 1976 he elaborated on the event: "It was at Columbia. I remember I had it right in the sack. I could just feel it when I dubbed it down, made the final mix from the 16-track down to mono. It was a feeling of power, it was a rush. A feeling of exaltation. Artistic beauty. It was everything … I remember saying, 'Oh my God. Sit back and listen to this!'" Engineer Chuck Britz is quoted saying that Brian considered the song to be his "whole life performance in one track."

Timeline

Session dates, track distinctions, studios, and notes adapted from Andrew Doe.

Session date	Used	Distinction	Studio	Note(s)
February 17	Partial	"#1–Untitled"	Gold Star Studios	Pet Sounds session; only verse backing track in final mix
March 3		"Good Vibrations"	United Western Recorders	Pet Sounds session; vocal overdubs
April 9		"Good Vibrations"	Gold Star Studios	Pet Sounds session
May 4	?	"First chorus"		{{{1}}}
		"Second chorus"		"First episode" in final mix
		"Fade"		{{{1}}}
May 24	?	"Parts 1–4"	Sunset Sound Recorders	{{{1}}}
May 25		"Good Vibrations"		{{{1}}}
May 27		"Part C"	United Western Recorders	{{{1}}}
	?	"Chorus"		{{{1}}}
	?	"Fade Sequence"		{{{1}}}
June 2 (1)	?	(Inspiration) "Parts 1–4"		{{{1}}}
June 2 (2)	?	(Inspiration) "Parts 1–4"		{{{1}}}
June 12	?	(Inspiration) "Parts 1–4"		{{{1}}}
June 16 (1)		"Part 1"		This session was filmed
		"Part 2"
		"Part 3"
June 16 (2)		"Verse"		This session was filmed
June 18		"Part 1"		{{{1}}}
		"Part 2"		{{{1}}}
August 24		"Good Vibrations"	Sunset Sound Recorders	Overdubs and early mix
August ??		"Good Vibrations"	CBS Columbia Square	Vocal overdubs, between August 24 and September 1
August ??		"Good Vibrations"
September 1		(Persuasion)	United Western Recorders	A session may have also occurred for "He Gives Speeches".
		"New Bridge"		"Second episode" in final mix
September ??	?	"Good Vibrations"		Editing
September 12	?	"Good Vibrations"	CBS Columbia Square	Vocal overdubs; filming
September 21		"Good Vibrations"		Vocal and theremin overdubs; final mixdown; filming

Personnel

The Beach Boys

• Mike Love – co-lead vocals
• Brian Wilson – vocals, production, mixing
• Carl Wilson – lead vocals
• Dennis Wilson – Hammond organ during 2:14–2:56

Additional musicians and production staff

• Carol Kaye - electric bass
• Hal Blaine – timpani, other percussion
• Al De Lory – piano, harpsichord
• Jesse Ehrlich – cello
• Larry Knechtel – organ in verses and choruses
• Paul Tanner – Electro-Theremin

Promotion

In July 1966, an ad was placed in Billboard for the Pet Sounds album which thanked the industry for the sales of their latest album, and that, "We're moved over the fact that our Pet Sounds brought on nothing but Good Vibrations." This was the first public hint of the new single. Later in the year, Brian told journalist Tom Nolan that the new Beach Boys single was "about a guy who picks up good vibrations from a girl" and that it would be a "monster". He then suggested: "It's still sticking pretty close to that same boy-girl thing, you know, but with a difference. And it's a start, it's definitely a start." Newly employed band publicist Derek Taylor is credited for originally coining the work a "pocket symphony". He promoted the single stating: "Wilson's instinctive talents for mixing sounds could most nearly equate to those of the old painters whose special secret was in the blending of their oils. And what is most amazing about all outstanding creative artists is that they are using only those basic materials which are freely available to everyone else."

To promote the single, four different music videos were shot. The first of these—with Caleb Deschanel as cameraman—features the group at a fire station, sliding down its pole, and roaming the streets of Los Angeles in a fashion comparable to The Monkees. The second features the group during vocal rehearsals at United Western Recorders. The third is footage recorded during the making of The Beach Boys in London, a documentary by Peter Whitehead of their concert performances. The fourth is an alternative edit of the third. Brian also made a rare personal appearance on local television station KHJ-TV for its Teen Rock and Roll Dance Program, introducing the song to its in-studio audience and presenting an exclusive preview of the completed record.

Critical reaction and sales

Penned by Brian Wilson and Mike Love, group has a sure-fire hit in this off-beat and intriguing rhythm number. Should hit hard and fast.

—Billboard, October 15, 1966

On October 15, 1966, Billboard predicted that the single would reach the top 20 in the Billboard Hot 100 chart. "Good Vibrations" was the Beach Boys' third US number one hit after "I Get Around" and "Help Me, Rhonda", reaching the top of the Hot 100 in December, as well as being their first number one in Britain. It sold over 230,000 copies in the US during its first four days of its release and entered the Cash Box chart at number 61 on October 22. In the UK, the song sold over 50,000 copies in the first 15 days of its release. "Good Vibrations" quickly became the Beach Boys' first million-selling single. In December 1966, the record was their first single certified gold by the RIAA. After the criteria for a gold record was modified, the RIAA failed to correct the listing, despite "Good Vibrations" being eligible for status as a platinum record today.

Both New Musical Express and Melody Maker gave positive reviews at the time of the single's release. Soon after, the Beach Boys were voted the number one band in the world in a readers' poll conducted by NME, ahead of the Beatles, the Walker Brothers, the Rolling Stones, and the Four Tops. Billboard speculated that this was influenced by the success of "Good Vibrations", and that "The sensational success of the Beach Boys, however, is being taken as a portent that the popularity of the top British groups of the last three years is past its peak." In a Danish newspaper, readers' polls voted Brian the winner of its "best foreign-produced recording award" for the single, its first that the publication awarded to an American. A 1972 New York Magazine article would call the song "harmonically perfect".

When asked about the song in 1990, Paul McCartney of the Beatles responded "I thought it was a great record. It didn't quite have the emotional thing that Pet Sounds had for me. I've often played Pet Sounds and cried. It's that kind of an album for me." Pete Townshend of the Who was quoted in the 1960s saying "'Good Vibrations' was probably a good record but who's to know? You had to play it about 90 bloody times to even hear what they were singing about," and feared that the single would lead to a trend of overproduction. In an Arts Magazine issue published in 1966, Jonathan King said: "With justification, comments are being passed that 'Good Vibrations' is an inhuman work of art. Computerized pop, mechanized music. Take a machine, feed in various musical instruments, add a catch phrase, stir well, and press seven buttons. It is long and split. ... impressive, fantastic, commercial—yes. Emotional, soul-destroying, shattering—no." In the 2000s, record producer Phil Spector criticized the single for depending too much on tape manipulation, negatively referring to it as an "edit record ... It's like Psycho is a great film, but it's an 'edit film.' Without edits, it's not a film; with edits, it's a great film. But it's not Rebecca ... it's not a beautiful story."

To the counterculture of the 1960s, "Good Vibrations" served as an anthem. Stebbins writes that the single "vaulted nearly every other rock act in their delivery of a Flower Power classic. It was just strange enough to be taken seriously, but still vibrant, happy, accessibly Beach Boys-esque pop." The A.V. Club theorized that the song helped turn around the perception of Pet Sounds; that the "un-hip orchestrations and pervasive sadness baffled some longtime fans, who didn't immediately get what Wilson was trying to do." Encouraged by the success of the song, Brian continued working on the Smile project, intending it as an entire album using the writing and production techniques devised for "Good Vibrations". "Heroes and Villains", a follow-up single, continued Brian's modular recording practices, spanning nearly thirty recording sessions between May 1966 and June 1967.

Legacy

See also: Cultural impact of the Beach Boys

Recording

Other artists and producers, notably the Beatles and Phil Spector, had used varied instrumentation and multi-tracking to create complex studio productions before. And others, like Roy Orbison, had written complicated pop songs before. But "Good Vibrations" eclipsed all that came before it, in both its complexity as a production and the liberties it took with conventional notions of how to structure a pop song.

—Mark Brend, Strange Sounds: Offbeat Instruments and Sonic Experiments in Pop

"Good Vibrations" is acknowledged to have further developed the use of recording studios as a musical instrument. Author Domenic Priore noted that the song's making was "unlike anything previous in the realms of classical, jazz, international, soundtrack, or any other kind of recording". A milestone in the development of rock music, it was a prime proponent in revolutionizing rock music from live concert performances to studio productions which could only exist on record. Musicologist Charlie Gillett called it "one of the first records to flaunt studio production as a quality in its own right, rather than as a means of presenting a performance".

Regularly hailed as one of the finest pop productions of all time, Popmatters wrote: "'Good Vibrations' changed the way a pop record could be made, the way a pop record could sound, and the lyrics a pop record could have." It contained previously untried mixes of instruments, and was the first pop hit to have cellos in a juddering rhythm. Microtonal composer Frank Oteri agreed that it "sounds like no other pop song recorded up to that point". In a 1968 editorial for Jazz & Pop, Gene Sculatti predicted:

"Good Vibrations" may yet prove to be the most significantly revolutionary piece of the current rock renaissance; executed as it is in conventional Beach Boys manner, it is one of the few organically complete rock works; every audible note and every silence contributes to the whole three minutes, 35 seconds, of the song. It is the ultimate in-studio production trip, very much rock 'n' roll in the emotional sense and yet un-rocklike in its spacial, dimensional conceptions. In no minor way, "Good Vibrations" is a primary influential piece for all producing rock artists; everyone has felt its import to some degree, in such disparate things as the Yellow Balloon's "Yellow Balloon" and the Beatles' "A Day in the Life", in groups as far apart as (recent) Grateful Dead and the Association, as Van Dyke Parks and the Who.

Stebbins reflected that: "This signature sound would be duplicated, cloned, commercialized, and re-fabricated in songs, commercials, TV shows, movies, and elevators to the point of completely diluting the genius of the original. But 'Good Vibrations' was probably the quintessential 'sunshine pop' recording of the century." John Bush wrote that the single "announced the coming era of pop experimentation with a rush of riff changes, echo-chamber effects, and intricate harmonies." Gillett noted: "For the rest of the sixties, countless musicians and groups attempted to represent an equivalently blissful state, but none of them ever applied the intense discipline and concentration that Wilson had devoted to the recording."

Priore argued that the song served as a forerunner to later works such as Marvin Gaye's What's Going On (1971) and Isaac Hayes' Shaft (1971) which presented soul music in a similar, multi-textured context imbued with ethereal sonic landscapes. Tom Roland believed that the song's "format" would later be "borrowed" by Wings ("Band on the Run"), the Beatles ("A Day in the Life"), and Elton John ("Funeral for a Friend/Love Lies Bleeding"). Wilson considered the single a "Modern" record. Others continued to acknowledge the work as such.

Psychedelic and progressive rock

Further information: Psychedelic rock and Progressive rock

Barney Hoskyns proclaimed it the "ultimate psychedelic pop record" from Los Angeles in its time. Popmatters added: "Its influence on the ensuing psychedelic and progressive rock movements can’t be overstated, but its legacy as a pop hit is impressive as well." Former Atlantic Records executive Phillip Rauls is quoted saying, "I was in the music business at the time, and my very first recognition of acid rock — we didn't call it progressive rock then — was, of all people, the Beach Boys and the song 'Good Vibrations'." Author Bill Martin suggested that the Beach Boys were clearing a pathway toward the development of progressive rock, writing: "The fact is, the same reasons why much progressive rock is difficult to dance to apply just as much to 'Good Vibrations' and 'A Day in the Life'."

Use of theremin

Further information: Theremin and Electro-Theremin

A Moog Etherwave theremin designed by Bob Moog

Even though the song does not technically contain a theremin, "Good Vibrations" is the most frequently cited example of the instrument in pop music. Upon release, the single prompted an unexpected revival in theremins increasing awareness of analog synthesizers.

When the Beach Boys needed to reproduce its sound onstage, Wilson first requested that Tanner play the Electro-Theremin live with the group, but he declined due to commitments. He recalls saying to Wilson, "I've got the wrong sort of hair to be on stage with you fellas," to which Wilson replied, "We'll give you a Prince Valiant wig." The Beach Boys then requested the services of Walter Sear, who then asked Bob Moog to design a ribbon controller, since the group was used to playing the fretboards of a guitar. Sears remembers marking fretboard-like lines on the ribbon "so they could play the damn thing". Moog then set out to manufacture his own models of theremins. He ultimately noted: "The pop record scene cleaned us out of our stock which we expected to last through Christmas."

In Steven M. Martin's 1993 documentary Theremin: An Electronic Odyssey, in which Wilson makes an appearance, it was revealed that the attention being paid to the theremin after the release of "Good Vibrations" caused Russian authorities to exile the inventor Leon Theremin.

Cover versions

See also: List of cover versions of Beach Boys songs

The song has been covered by a range of artists including Groove Holmes, the Troggs, Charlie McCoy, and Psychic TV. John Bush argued "'Good Vibrations' was rarely reprised by other acts, even during the cover-happy '60s. Its fragmented style made it essentially cover-proof."

In 1976, a nearly identical cover version was released as a single by Todd Rundgren for his album Faithful. When asked for an opinion, Brian responded: "Oh, he did a marvelous job, he did a great job. I was very proud of his version." The single peaked at 34 on the Billboard Hot 100 Pop Singles. Rundgren explained: "I used to like the sound of the Beach Boys, but it wasn't until they began to compete with the Beatles that I felt that what they were doing was really interesting – like around Pet Sounds and "Good Vibrations" ... when they started to shed that whole surf music kind of burden and start to branch out into something that was a little more universal. ... I tried to do [the song] as literally as I could because in the intervening 10 years, radio had changed so much. Radio had become so formatted and so structured that that whole experience was already gone."

In 2004, Wilson rerecorded the song as a solo artist for his album Brian Wilson Presents Smile. It was placed as the album's closer, immediately following the track "In Blue Hawaii". It is the only track on the album that eschewed the modular recording method. Its verses and chorus were recorded as part of one whole take, and were not spliced. In addition, the arrangement differs from the original by including an extra "hum-be-dum" harmony section based on a bridge outtake recorded in September 1966. Prior to the album's release, it was issued as a single, where "In Blue Hawaii" served as its B-side. A different issue of the single included a live version of "Good Vibrations".

In popular culture

See also: The Beach Boys in popular culture

In 1996, experimental rock group His Name Is Alive recorded an homage entitled "Universal Frequencies" on their album Stars on ESP. Reportedly, Warren Defever listened to "Good Vibrations" repeatedly for one week before deciding that the song "needed a sequel," explaining that: "'Good Vibrations' is one of the first pop hits where you can actually hear the tape edits and I think that's wonderful." "Good Vibrations" inspired the title of French duo Air's fifth LP: Pocket Symphony, released in 2007. The song's lyrics "I'm picking up good vibrations" are quoted in Cyndi Lauper's 1984 single "She Bop".

Release history

"Good Vibrations"
Song

Smiley Smile marks "Good Vibrations"'s first album appearance, with no differences from the single version. Both Good Vibrations: Thirty Years of The Beach Boys (1993) and The Smile Sessions (2011) box sets contain extracts and highlights from the song's extensive recording sessions. In early 2011, the single was remastered and reissued as a four-sided 78 rpm vinyl for Record Store Day as a teaser to the forthcoming The Smile Sessions box set. It contained "Heroes and Villains" as a B-side along with previously released alternate takes and mixes. It was the first single issued by the group since "I Just Wasn't Made for These Times" in 1996.

Live versions appear on Live in London (1970), Endless Harmony Soundtrack (1998), Hawthorne, CA (2001), and Good Timin': Live at Knebworth England 1980 (2002).

Stereo version

There had never been an official true stereo release of the final track until the 2012 remastered version of Smiley Smile. It has been said that not enough stems exist to create a new stereo mix, something echoed by Mark Linett's 1988 rough mixes of the Smile material. This is due to the vocal tracks being currently missing. Bruce Johnston has stated that he believes they were accidentally destroyed in 1967 during a "spring cleaning" of the Columbia studio. The 2012 stereo mix was made possible by newly invented digital technology by Derry Fitzgerald, with the blessings of Brian Wilson and Mark Linett. This software extracted individual instrumental and vocal stems from the original mono master — as the multi-track vocals remained missing — to construct the stereo version that appears on the 2012 re-issue of Smiley Smile.

40th Anniversary Edition

Untitled

In celebration of its 40th year, the Good Vibrations: 40th Anniversary Edition EP was released. The EP includes five versions of "Good Vibrations" including the original single version; various session takes; an alternate take (previously released on Rarities); the instrumental track in stereo; a live concert rehearsal recorded in August 1967, Hawaii; and the initial B-side "Let's Go Away for Awhile".

Good Vibrations: 40th Anniversary Edition

No.	Title	Writer(s)	Length
1.	"Good Vibrations" (2001 - Remaster)	Brian Wilson, Mike Love	3:37
2.	"Good Vibrations" (Various Sessions) (2006 Digital Remaster)	Wilson, Love	6:56
3.	"Good Vibrations" (Alternate Take) (2006 Digital Remaster)	Wilson, Love, Tony Asher	3:34
4.	"Good Vibrations" (Instrumental)	Wilson, Love	3:53
5.	"Good Vibrations" (Concert Rehearsal) (Live) (2001 Digital Remaster)	Wilson, Love	4:09
6.	"Let's Go Away for Awhile" (The Stereo Mix) (1996 Digital Remaster)	Wilson	2:22
Total length:			24:31

Awards and accolades

In 2004, Rolling Stone magazine ranked "Good Vibrations" at number 6 in "The 500 Greatest Songs of All Time", the highest position of seven Beach Boys songs cited in the list. In 2001, the song was voted number 24 in the RIAA and NEA's listing of Songs of the Century. As of 2014, "Good Vibrations" is ranked as the number three song of all time in an aggregation of critics' lists at acclaimedmusic.net.

Year	Organization	Accolade	Result
1966	National Academy of Recording Arts and Sciences	Grammy Award for Best Performance by a Vocal Group	Nominated
		Grammy Award for Best Contemporary R&B Recording (Single or Album)	Nominated
		Grammy Award for Best Contemporary R&B Recording (Vocal or Instrumental)	Nominated
		Grammy Award for Best Arrangement Accompanying a Vocalist(s) or Instrumentalist(s)	Nominated
1994		Grammy Hall of Fame Award	Won
	Rock and Roll Hall of Fame	Songs that Shaped Rock and Roll	Inducted

Chart positions

Original release

Chart (1966–1967)	Peak position
Australia (Kent Music Report)	1
Austria (Ö3 Austria Top 40)	9
Belgium (Ultratop 50 Flanders)	6
Canadian RPM Top Singles	2
Finland (Suomen virallinen lista)	3
France (SNEP)	10
Invalid chart entered Germany2	8
Irish Singles Chart	3
Italy (FIMI)	12
Malaysian Singles Chart	1
Netherlands (Dutch Top 40)	4
Netherlands (Single Top 100)	4
New Zealand (RIANZ)	1
Norway (VG-lista)	2
Rhodesian Singles Chart	1
Singaporean Singles Chart	2
South African Chart	3
UK (Official Charts Company)	1
US Billboard Hot 100	1

1976 reissue

Chart (1976)	Peak position
UK (Official Charts Company)	18

Todd Rundgren version (1976)

Chart (1976)	Peak position
US Billboard Hot 100	34

Bibliography

• Ashby, Arved Mark, ed. (2004). The Pleasure of Modernist Music: Listening, Meaning, Intention, Ideology. Boydell & Brewer. ISBN 978-1-58046-143-6. {{cite book}}: Invalid |ref=harv (help)
• Badman, Keith (2004). The Beach Boys, The Definitive Diary of America's Greatest Band on Stage and in the Studio. Backbeat Books. ISBN 0-87930-818-4. {{cite book}}: Invalid |ref=harv (help)
• Brend, Mark (2005). Strange Sounds: Offbeat Instruments and Sonic Experiments in Pop (1. ed.). San Francisco, Calif.: Backbeat. ISBN 9780879308551. {{cite book}}: Invalid |ref=harv (help)
• Candelaria, Lorenzo (2014). American Music: A Panorama, Concise. Cengage Learning. ISBN 978-1-305-16289-1. {{cite book}}: Invalid |ref=harv (help)
• 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. {{cite book}}: Invalid |ref=harv (help)
• Cunningham, Mark (1998). Good Vibrations: a History of Record Production. Sanctuary. ISBN 9781860742422. {{cite book}}: Invalid |ref=harv (help)
• Doe, Andrew; Tobler, John (2009). "The Beach Boys – Pet Sounds – May 1966". In Charlesworth, Chris (ed.). 25 Albums that Rocked the World. Omnibus Press. ISBN 978-0-85712-044-1. {{cite book}}: Invalid |ref=harv (help)
• DeRogatis, Jim (2003). Turn on Your Mind: Four Decades of Great Psychedelic Rock. Hal Leonard Corporation. ISBN 978-0-634-05548-5. {{cite book}}: Invalid |ref=harv (help)
• Everett, Walter (2008). The Foundations of Rock: From "Blue Suede Shoes" to "Suite: Judy Blue Eyes". Oxford: Oxford University Press. ISBN 9780199718702. {{cite book}}: Invalid |ref=harv (help)
• Gaines, Steven (1986). Heroes and Villains: The True Story of The Beach Boys (1. Da Capo Press ed.). New York: Da Capo Press. ISBN 0306806479. {{cite book}}: Invalid |ref=harv (help)
• Gillett, Charlie (1984). The Sound of the City: The Rise of Rock and Roll. Perseus Books Group. ISBN 978-0-306-80683-4. {{cite book}}: Invalid |ref=harv (help)
• Golden, Bruce (1976). The Beach Boys: Southern California Pastoral. Borgo Press. ISBN 978-0-87877-202-5. {{cite book}}: Invalid |ref=harv (help)
• Greene, John Robert (2010). America in the Sixties. Syracuse University Press. ISBN 978-0-8156-5133-8. {{cite book}}: Invalid |ref=harv (help)
• Guinn, Jeff (2014). Manson: The Life and Times of Charles Manson. Simon and Schuster. ISBN 9781451645170. {{cite book}}: Invalid |ref=harv (help)
• Harrison, Daniel (1997). "After Sundown: The Beach Boys' Experimental Music" (PDF). In Covach, John; Boone, Graeme M. (eds.). Understanding Rock: Essays in Musical Analysis. Oxford University Press. pp. 33–57. ISBN 9780199880126. {{cite book}}: Invalid |ref=harv (help)
• Henke, James; George-Warren, Holly (1992). DeCurtis, Anthony (ed.). The Rolling Stone Illustrated History of Rock & Roll: The Definitive History of the Most Important Artists and Their Music (rev. & updated ed.). New York: Random House. ISBN 9780679737285. {{cite book}}: Invalid |ref=harv (help)
• Hickey, Andrew (2011). The Beach Boys On CD vol 1: The 1960s. Lulu. ISBN 9781447542339. {{cite book}}: Invalid |ref=harv (help)
• Hoskyns, Barney (2009). Waiting for the Sun: A Rock 'n' Roll History of Los Angeles. Backbeat Books. ISBN 978-0-87930-943-5. Retrieved 2 August 2013. {{cite book}}: Invalid |ref=harv (help)
• Kent, Nick; Pop, Iggy (2009). The Dark Stuff: Selected Writings on Rock Music (Updated ed.). Perseus Books Group. ISBN 978-0-7867-3074-2. {{cite book}}: Invalid |ref=harv (help)
• Lambert, Philip (2007). Inside the Music of Brian Wilson: the Songs, Sounds, and Influences of the Beach Boys' Founding Genius. Continuum. ISBN 978-0-8264-1876-0. {{cite book}}: Invalid |ref=harv (help)
• Martin, Bill (1998), Listening to the Future: The Time of Progressive Rock, Chicago: Open Court, ISBN 0-8126-9368-X {{citation}}: Invalid |ref=harv (help)
• Perrone, James E. (2004). Music of the Counterculture Era. Greenwood Publishing Group. p. 22. ISBN 0-313326-89-4. {{cite book}}: Invalid |ref=harv (help)
• Pinch, T. J; Trocco, Frank (2009). Analog Days: The Invention and Impact of the Moog Synthesizer. Harvard University Press. ISBN 978-0-674-04216-2. {{cite book}}: Invalid |ref=harv (help)
• Priore, Domenic (2005). Smile: The Story of Brian Wilson's Lost Masterpiece. London: Sanctuary. ISBN 1860746276. {{cite book}}: Invalid |ref=harv (help)
• Romano, Will (2010). Mountains Come Out of the Sky: The Illustrated History of Prog Rock. Milwaukee, WI: Backbeat Books. ISBN 978-0879309916. {{cite book}}: Invalid |ref=harv (help)
• Rooksby, Rikky (2001). Inside Classic Rock Tracks: Songwriting and Recording Secrets of 100 Great Songs from 1960 to the Present Day. Backbeat Books. ISBN 978-0-87930-654-0. {{cite book}}: Invalid |ref=harv (help)
• Sanchez, Luis (2014). The Beach Boys' Smile. Bloomsbury Publishing. ISBN 9781623567996. {{cite book}}: Invalid |ref=harv (help)
• Siegel, Jules (2011). Goodbye Surfing, Hello God!. Atavist Inc. ISBN 978-0-9834566-7-4. {{cite book}}: Invalid |ref=harv (help)
• Stebbins, Jon (2011). The Beach Boys FAQ: All That's Left to Know About America's Band. Backbeat Books. ISBN 9781458429148. {{cite book}}: Invalid |ref=harv (help)
• Stuessy, Joe; Lipscomb, Scott David (2009). Rock and Roll: Its History and Stylistic Development. Prentice Hall Higher Education. ISBN 978-0-13-601068-5. {{cite book}}: Invalid |ref=harv (help)
• Textbook Equity (2014). The Basic Elements of Music. Lulu.com. ISBN 978-1-312-48694-2. {{cite book}}: Invalid |ref=harv (help)
• Valdez, Steve (2014). Henderson, Lol; Stacey, Lee (eds.). Encyclopedia of Music in the 20th Century. Routledge. ISBN 9781135929534. {{cite book}}: Invalid |ref=harv (help)
• Wilson, Brian; Gold, Todd (1991). Wouldn't It Be Nice: My Own Story. HarperCollins. ISBN 978-0-06-018313-4. {{cite book}}: Invalid |ref=harv (help)

External links

External videos
Brian Wilson talks about "Good Vibrations", YouTube video

• Greg Panfile's Musical Analysis of "Good Vibrations"
• "Good Vibrations: The Lost Studio Footage (1966)" on YouTube