Good Vibrations
"Good Vibrations" | ||||
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Single by the Beach Boys | ||||
B-side | "Let's Go Away for Awhile" | |||
Released | October 10, 1966[1] | |||
Recorded | February 17 – September 21, 1966 | |||
Studio | Western, Columbia, and Gold Star, Hollywood | |||
Genre | ||||
Length | 3:35 | |||
Label | Capitol | |||
Songwriter(s) | ||||
Producer(s) | Brian Wilson | |||
The Beach Boys singles chronology | ||||
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Music video | ||||
"Good Vibrations" on YouTube | ||||
Audio sample | ||||
"Good Vibrations" is a song by the American rock band the Beach Boys that was composed by Brian Wilson with lyrics by Mike Love. It was released as a single on October 10, 1966 and was an immediate critical and commercial hit, topping record charts in several countries including the United States and the United Kingdom. Characterized by its complex soundscapes, episodic structure and subversions of pop music formula, it was at the time the most expensive single ever recorded. "Good Vibrations" later became widely acclaimed as one of the finest and most important works of the rock era.[16]
Also produced by Wilson, the title derived from his fascination with
The making of "Good Vibrations" was unprecedented for any kind of recording. Building on his approach for
"Good Vibrations" received a
Inspiration and writing
Concept and early lyrics
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.
—Brian Wilson, quoted in 1997[19]
Wilson said that "Good Vibrations" 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."[27] 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.[28] Asher remembered:
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."[29]
Wilson wanted to call the song "Good Vibes", but Asher advised that it was "lightweight use of the language", and suggested that "Good Vibrations" would sound less "trendy".[29] The two proceeded to write lyrics for the verses that were ultimately discarded.[30]
Theremin and cello
From the start, Wilson envisioned a theremin for the track.[31] 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."[32]
"Good Vibrations" does not technically feature a theremin, but rather an Electro-Theremin, which is physically controlled by a slider that turns a knob inside the instrument. It was dubbed a "theremin" simply for convenience.[33] At that time, theremins were most often associated with the 1945 Alfred Hitchcock film Spellbound, but their most common presence was in the theme music for the television sitcom My Favorite Martian, which ran from 1963 to 1966.[34] 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."[14] It is unclear whether Wilson knew that the instrument was not a real theremin.[31]
Brian credited his brother and bandmate
Influences and final lyrics
Wilson's cousin and bandmate
Love said that he wrote the words while on the drive to the studio.[41] Feeling that the song could be "the Beach Boys' psychedelic anthem or flower power offering,"[42] 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 as "just a flowery poem. Kind of almost like 'If you’re going to San Francisco be sure to wear flowers in your hair.'"[21] Writing in his 1975 book The Beach Boys: Southern California Pastoral, 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.[43]
Capitol Records executives were worried that the lyrics contained psychedelic overtones, and Brian was accused of having based the song's production on his LSD experiences.[44][45][46] Brian clarified that the song was written under the influence of marijuana, not LSD.[42] He explained: "I made ‘Good Vibrations’ on drugs; I used drugs to make that. ... I learned how to function behind drugs, and it improved my brain ... it made me more rooted in my sanity."[47] In Steven Gaines's 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."[48]
Wilson said in 2012 that the song's "gotta keep those good vibrations" bridge was inspired by Stephen Foster.[42] Bandmate Al Jardine compared that section to Foster and the Negro spiritual "Down by the Riverside".[42] 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 Wilson elected to cut off the line to highlight the bass track linking into the chorus.[49]
Recording and production
Modular approach
"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
For instrumentation, Wilson employed the services of "the Wrecking Crew", the nickname for a conglomerate of session musicians active in Los Angeles at that time.[9] Production for "Good Vibrations" spanned more than a dozen recording sessions at four different Hollywood studios, at a time when most pop singles were typically recorded in a day or two.[52][nb 3] It was reported to have used over 90 hours of magnetic recording tape, with an eventual budget estimated in the tens of thousands,[42] making it the costliest single recorded to that date.[54] Biographer Peter Ames Carlin wrote that Wilson was so puzzled by the arranging of "Good Vibrations" that he would often arrive at a session, consider a few possibilities, and then leave without recording anything, which exacerbated costs.[55]
One estimate of the overall production expenses is between $50,000 and $75,000 (equivalent to $470,000 and $700,000 in 2023),[56][42] By comparison, the whole of Pet Sounds had cost $70,000 ($660,000), itself an unusually high cost for an album.[57] In 2018, Wilson disputed the $50,000 figure for "Good Vibrations", saying that the overall expenses were closer to $25,000.[58]
Contemporary advertisements reported $10,000 ($94,000) as the track's total production costs.[59] Domenic Priore wrote that the track cost between $10,000 and $15,000 ($141,000).[60] When asked in a 2005 interview if it was true that the Electro-Theremin work alone cost $100,000, Wilson replied "No. $15,000."[61]
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."
—Electro-Theremin inventor Paul Tanner, recalling his first Pet Sounds session[31]
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.[62][nb 4] On that day's session log, it was given the name "#1 Untitled" or "Good, Good, Good Vibrations",[62] but on its master tape, Wilson distinctly states: "'Good Vibrations' ... take one."[citation needed] After twenty-six takes, a rough mono mix completed the session. Some additional instruments and rough guide vocals were overdubbed on February 23.[65] Brian and Carl shared vocals for this mix.[66]
The original version of "Good Vibrations" contained the characteristics of a "funky rhythm and blues number" and would not yet resemble a "pocket symphony".[56] 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".[62] 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.[nb 5] Brian then forwent additional instrumental tracking until early September, when it was decided to revisit the song's bridge section and apply Electro-Theremin overdubs.[53]
According to Brian's then-new friend
The first Beach Boy to hear "Good Vibrations" in a semi-completed form, other than Brian, was Carl. Following a performance with the touring group in North Dakota, he remembered: "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."[66][nb 8] 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.[72] 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."[72]
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.[53][nb 9] The episodic structure of the composition was continuously revised as the group experimented with different ideas.[76] 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.[42] 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."[36] Dennis Wilson was to have sung the lead vocal, but due to a bout of laryngitis, Carl replaced him at the last minute.[70] In early September, the master tapes for "Good Vibrations" were stolen. Mysteriously, they reappeared inside Brian's home two days later.[70]
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!'"[72][41]
Composition and analysis
Genre and dynamics
There are six unique
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![80]
He characterized the song as "advanced rhythm and blues". 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.[51]
According to historian Lorenzo Candelaria, "Good Vibrations" 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."
Comparing "Good Vibrations" to Wilson's previous work Pet Sounds, biographer Andrew Hickey said that the "best way of thinking about [the song] is that it's taking the lowest common denominator of '
According to academic Rikky Rooksby, "Good Vibrations" is an example of Brian Wilson's growing interest in
Verses and refrains (0:00–1:40)
"Good Vibrations" begins without introduction in a traditional verse/refrain format,
The refrain (0:25) begins in the newly
Episodic digressions
First episode (1:41–2:13)
The first episode (1:41+) begins disjunctively with an abrupt
Second episode (2:13–2:56)
Another tape splice occurs at 2:13, transitioning to an electric organ playing
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 [sic] own description of the song—a three-and-a-half-minute 'pocket symphony'—is a telling clue about his formal ambitions here.[77]
The slowed pace is complemented by the lyric ("Gotta keep those loving good vibrations a-happening with her"), sung once first as a solo voice, with the melody repeated an octave higher the second time with an accompanying harmony. This two-part vocal fades as a solo harmonica plays a melody on top of the persistent quarter-note bass line and maraca that maintain the only rhythm throughout Episode 2. The section ends with a five-part harmony vocalizing a whole-note chord that is sustained by reverb for a further four beats. Lambert calls it the song's "wake-up chord at the end of the meditation that transports the concept into a whole new realm: it's an iconic moment among iconic moments. As it rouses us from a blissful dream and echoes into the silence leading into the chorus, it seems to capture every sound and message the song has to say."[94]
Retro-refrain and coda (2:57–3:35)
A brief break at the end of the second musical digression creates tension which leads into the final sequence of the song. The refrain reappears for an additional five measures, marching through a transpositional structure that begins in B♭, repeats at A♭, and then ends at G♭ for an unexpectedly short single measure.[77] The section uses a descending progression, which mirrors the ascending progression of the previous two refrains. There follows a short section of vocalizing in three-part counterpoint that references the original refrain by reproducing upward transposition. However, this time it settles on A♭, the concluding key of the song.[77] By the end of "Good Vibrations," all seven scale degrees of the opening E♭-minor tonic are activated on some level.[77]
Release and promotion
In a July 1966 advertisement for Pet Sounds in Billboard magazine, the band thanked the music industry for the sales of their album, and said 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.[95] 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."[63] Derek Taylor, who had recently been engaged as the band's publicist, is credited for coining the term a "pocket symphony" to describe the song.[87] In a press release for the single, he stated: "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."[96]
To promote the single, four different music videos were shot.[97] The first of these—which had Caleb Deschanel as cameraman—features the group at the former fire station Engine Co. No. 27 (now the Los Angeles Fire Department Museum and Memorial) in Hollywood, CA, sliding down the fire poles, riding on the fire trucks, and roaming the streets of Los Angeles in a fashion comparable to The Monkees.[1] The second features the group during vocal rehearsals at United Western Recorders. The third contains footage recorded during the making of The Beach Boys in London, a documentary by Peter Whitehead of their concert performances. The fourth clip is an alternative edit of the third.[97] Brian also made a rare television appearance on local station KHJ-TV for its Teen Rock and Roll Dance Program, introducing the song to the show's in-studio audience and presenting an exclusive preview of the completed record.[98]
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[99]
On October 15, 1966, Billboard predicted that the single would reach the top 20 in the
In the US,
The single achieved sales of over 50,000 copies in Australia, being eligible for the award of a Gold Disc.[111]
Influence and legacy
Historical reception
Virtually every pop music critic recognizes "Good Vibrations" as one of the most important compositions and recordings of the entire rock era.
The song served as an anthem for the counterculture of the 1960s.[117] According to Noel Murray of The A.V. Club, it also helped turn around the initially poor perception of Pet Sounds in the US, where the album's "un-hip orchestrations and pervasive sadness [had] baffled some longtime fans, who didn't immediately get what Wilson was trying to do."[118] Encouraged by the single's success, Wilson continued working on Smile, intending it as an entire album incorporating the writing and production techniques he had devised for "Good Vibrations". "Heroes and Villains", the Beach Boys' follow-up single, continued his modular recording practices, spanning nearly thirty recording sessions held between May 1966 and June 1967.[119]
In contrast to the acclaim lavished on the song, some of Wilson's pop and rock contemporaries have been tempered in their praise of "Good Vibrations".[10] When asked about the song in 1990, Paul McCartney 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."[120] Pete Townshend of the Who was quoted in the 1960s as 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." Townshend feared that the single would lead to a trend of overproduction.[121] In a 1966 issue of Arts Magazine, 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."[122] 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."[10][123]
Advancements
Recording and popular music
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[76]
"Good Vibrations" is credited for having further developed the use of recording studios as a musical instrument.[78][76][56][51] Author Domenic Priore commented that the song's making was "unlike anything previous in the realms of classical, jazz, international, soundtrack, or any other kind of recording".[124] A milestone in the development of rock music,[125] the song, together with the Beatles' Revolver, was a prime proponent in rock's transformation from live concert performances to studio productions that could only exist on record.[126] 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".[127] 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 [sic], 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.[46]
Writing for
Priore says that the song was a forerunner to works such as
Psychedelic and progressive rock
With "Good Vibrations", the Beach Boys ended 1966 as the only band besides the Beatles to have had a high-charting psychedelic rock song, at a time when the genre was still in its formative stages.
Use of theremin
Although the song does not technically contain a theremin, "Good Vibrations" is the most frequently cited example of the instrument's use in pop music.[33] Upon release, the single prompted an unexpected revival in theremins and increased the awareness of analog synthesizers.[136] The notion that "Good Vibrations" features a theremin has been erroneously repeated in books, CD liner notes, and quotes from the recording's participants. While having a similar sound, a theremin is an aerial-controlled instrument, unlike the Electro-Theremin.[31]
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. Tanner 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."[76] The Beach Boys then requested the services of Walter Sear, who asked Bob Moog to design a ribbon controller, since the group was used to playing the fretboards of a guitar. Sear remembers marking fretboard-like lines on the ribbon "so they could play the damn thing." Moog began manufacturing his own models of theremins. He later noted: "The pop record scene cleaned us out of our stock which we expected to last through Christmas."[136]
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 due to "Good Vibrations" caused Russian authorities to exile its inventor, Leon Theremin.[137]
Cover versions
The song has been covered by artists such as
In 2004, Wilson re-recorded the song as a solo artist for his album
In 2012, Wilson Phillips, a trio consisting of Wilson's daughters Carnie and Wendy, and John Phillips' daughter Chynna, released an album containing covers of songs by the Beach Boys and the Mamas & the Papas titled Dedicated.[144] Their version of "Good Vibrations", with Carnie Wilson on lead vocals, was released as a single from the album and peaked at number 25 on Billboard's A/C chart.[145]
"Good Vibrations" was also interpolated on Beyoncé's song "Ya Ya," released March 28, 2024 on the album Cowboy Carter.[146]
In popular culture
- In 1996, experimental rock group His Name Is Alive released an homage titled "Universal Frequencies" on their album Stars on E.S.P. Warren Defever reportedly listened to "Good Vibrations" repeatedly for a week before deciding that the song "needed a sequel"; he added: "'Good Vibrations' is one of the first pop hits where you can actually hear the tape edits and I think that's wonderful."[147]
- The song's lyrics "I'm picking up good vibrations" are quoted in Cyndi Lauper's 1984 single "She Bop".[148]
- In 2001, the song was used prominently in a scene with Tom Cruise, Tilda Swinton, and Kurt Russell in the psychological thriller Vanilla Sky.[149][150]
- A live version of the song, from the album Live in London, appears as a playable track in the 2010 video game Rock Band 3.[151]
- In 2019, the song was used prominently in a scene for Jordan Peele's psychological horror thriller film Us.[152][153]
Release history
"Good Vibrations" | |
---|---|
Song by The Beach Boys | |
from the album The Smile Sessions | |
Released | October 31, 2011 |
Length | 4:15 |
Label | Capitol |
Songwriter(s) | |
Producer(s) | Brian Wilson |
In early 2011, the single was remastered and reissued as a four-sided
Stereo version
Due to the loss of the original multi-track tape, there had never been an official true stereo release of the final track until the 2012 remastered version of Smiley Smile. The stereo mix was made possible through the invention of new digital technology by Derry Fitzgerald, and received the blessing of Brian Wilson and Mark Linett. Fitzgerald's 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 reissue of Smiley Smile.[155][156]
40th Anniversary Edition
Good Vibrations: 40th Anniversary Edition | ||||
---|---|---|---|---|
EP by | ||||
Released | June 27, 2006 | |||
Recorded | 1966 | |||
Length | 24:31 | |||
Label | Capitol | |||
Producer | Brian Wilson | |||
The Beach Boys chronology | ||||
|
In celebration of its 40th year, the Good Vibrations: 40th Anniversary Edition EP was released. The EP includes "Good Vibrations", four alternate versions of the song, and the stereo mix of "Let's Go Away for Awhile".[157] The EP artwork recreates that of the original 7-inch single sleeve. In 2016, the EP was reissued as a 12" record for the single's 50th anniversary.
No. | Title | Writer(s) | Length |
---|---|---|---|
1. | "Good Vibrations" (2001 Remaster) |
| 3:37 |
2. | "Good Vibrations" (Various Sessions) (2006 Digital Remaster) |
| 6:56 |
3. | "Good Vibrations" (Alternate Take) (2006 Digital Remaster) |
| 3:34 |
4. | "Good Vibrations" (Instrumental) |
| 3:53 |
5. | "Good Vibrations" (Live Concert Rehearsal) (2001 Digital Remaster) |
| 4:09 |
6. | "Let's Go Away for Awhile" (1996 Stereo Remaster) | Wilson | 2:22 |
Total length: | 24:31 |
Personnel
The details in this section are adapted from The Smile Sessions liner notes, which includes a sessionography compiled by band archivist Craig Slowinski,[158] and the website Bellagio 10452, maintained by music historian Andrew G. Doe.[53]
Single edit
The Beach Boys
- Al Jardine – backing vocals
- Bruce Johnston – backing vocals
- Mike Love – lead and backing vocals
- Brian Wilson – lead and backing vocals, tack piano (choruses), overdubbed tambourine (choruses)
- Carl Wilson – lead and backing vocals, electric rhythm guitar (choruses and chorus fade), shaker (second bridge)
- Dennis Wilson – backing vocals, Hammond organ (second bridge)
Additional players
- Hal Blaine – drums (verses and choruses), timpani (choruses), shaker (second bridge)
- upright bass(first bridge)
- Frank Capp – bongos with sticks
- Gary Coleman – sleigh bells (third bridge and chorus fade)
- Steve Douglas – tenor flute (verses and first bridge)
- Jesse Ehrlich – cello
- Jim Gordon – drums (third bridge and chorus fade)
- Bill Green – contra-clarinet, bass saxophone
- Jim Horn – piccolo (first bridge)
- Larry Knechtel – Hammond organ (verses)
- Plas Johnson – piccolo (verses and chorus fade), flutes (chorus fade)
- Al De Lory – tack piano
- Mike Melvoin – upright piano (chorus fade)
- Jay Migliori – flutes (verses and chorus fade)
- jaw harp, harmonica
- Bill Pitman – Danelectro bass (first bridge, third bridge, and chorus fade)
- Fender bass(verses and first bridge)
- electric harpsichord
- Lyle Ritz – upright bass (verses and second bridge), Fender bass (choruses)
- Paul Tanner – Electro-Theremin
- Terry (surname unknown, possibly Terry Melcher) – tambourine (verses)
- Arthur Wright – Fender bass (third bridge and chorus fade)
- unknown (possibly Hal Blaine) – tambourine (first bridge)
Technical staff
- Chuck Britz – engineer
- Cal Harris – engineer
- Jim Lockert – engineer
Partial sessionography
- February 17 – Gold Star (this session produced the verses heard in the final master)
- Hal Blaine – drums
- Frank Capp – bongos with sticks (cups instead of bongos on some takes)
- Al Casey – electric rhythm guitar
- Steve Douglas – tenor flute
- Bill Green – contra-clarinet
- Larry Knechtel – Hammond organ
- Plas Johnson – piccolo
- Jay Migliori – flute (verses and first bridge)
- Ray Pohlman – Fender bass (fuzz bass in chorus)
- Don Randi – grand piano (piano with taped strings on earlier takes)
- Lyle Ritz – upright bass
- Billy Strange – 12-string electric rhythm guitar (lead on earlier takes)
- Paul Tanner – Electro-Theremin
- Terry (surname unknown, possibly Terry Melcher) – tambourine
- Tony (surname unknown, possibly Tony Asher) – sleigh bells
- March 3 – Gold Star (discarded overdubs recorded on February 17 backing track)
- Brian Wilson – vocals
- Carl Wilson – vocals
- unknown (possibly Carl Wilson) – Fender bass (choruses)
- unknown (possibly Tony Asher) – jaw harp
- April 9 – Gold Star (discarded alternate version)
- Hal Blaine – drums
- Frank Capp – bongos with sticks
- Steve Douglas – tenor flute
- Carl Fortina – accordion
- Bill Green – contra-clarinet
- Carol Kaye – 12-string electric guitar
- Larry Knechtel – Hammond organ
- Al de Lory – piano with taped strings
- Mike Melvoin – tack piano
- Jay Migliori – flute
- Tommy Morgan – bass harmonica
- Ray Pohlman – Fender bass (fuzz bass in chorus)
- Lyle Ritz – upright bass
- Arthur C. Smith – piccolo, ocarina
- Paul Tanner – Electro-Theremin
- May 4 – Western ["First Chorus", "Second Chorus", and "Fade"] (this session produced the first bridge heard in the final master)
- Jimmy Bond – upright bass
- Frank Capp – bongos with sticks, tambourine, overdubbed sleigh bells
- Al Casey – electric guitar
- Jerry Cole – electric guitar
- Jim Gordon – overdubbed sleigh bells
- Bill Green – bass saxophone
- Jim Horn – piccolo
- Al de Lory – tack pianos (including overdub)
- Tommy Morgan – bass harmonica, overdubbed jaw harp
- Ray Pohlman – Fender bass
- Bill Pitman – Danelectro bass (with fuzz tone)
- Paul Tanner – Electro-Theremin
- unknown (possibly Hal Blaine) – tambourine
- May 24 – Sunset Sound ["Part 1", "Part 2", "Part 3", and "Part 4"] (discarded bridge and choruses)
- Gary Coleman – castanets, sleigh bells, clavs
- Steve Douglas – tambourine
- Jim Gordon – drums, timpani
- Bill Green – alto flute
- Jim Horn – flute, piccolo (bridge)
- Carol Kaye – Danelectro bass
- Al de Lory – pianos with taped strings (including overdub)
- Jay Migliori – flute (bridge), kazoos (including overdub)
- Lyle Ritz – upright bass
- Paul Tanner – Electro-Theremin
- Carl Wilson – Fender bass
- May 25 – Sunset Sound ["Part 1", "Part 2", "Part 3", and "Part 4"] (discarded overdubs recorded on May 24 backing tracks)
- Arthur "Skeets" Herfurt – clarinet
- Jim Horn – piccolo
- Abe Most – clarinet
- May 27 – Western ["Part C", "Chorus", and "Fade Sequence"] (this session produced the third bridge and chorus fade heard in the final master)
- Gary Coleman – timpanis ("Part C"), sleigh bells ("Chorus")
- Steve Douglas – tambourine
- Jim Gordon – drums
- Jim Horn – piccolos, flutes
- Plas Johnson – piccolos, flutes
- Mike Melvoin – upright piano, overdubbed piano with taped strings
- Bill Pitman – Danelectro bass (including fuzz tone)
- Emil Richards – overdubbed vibraphones
- Lyle Ritz – upright bass (arco in "Part C")
- Paul Tanner – Electro-Theremin
- Carl Wilson – electric rhythm guitar (chorus fade)
- Arthur Wright – Fender bass
- June 2 – Western ["Inspiration"] (this session produced the first, second and third choruses heard in the final master, as well as a discarded bridge)
- Hal Blaine – drums, overdubbed tambourine (bridge), timpani, cups (bridge)
- Bill Pitman – Danelectro bass (with fuzz tone)
- Don Randi – electric harpsichord
- Lyle Ritz – Fender bass
- Brian Wilson – tack piano (choruses), overdubbed tambourine (choruses)
- Carl Wilson – electric rhythm guitar
- June 12 – Western ["Inspiration"] (overdubs recorded on June 2 backing tracks)
- Hal Blaine – tambourine (bridge)
- Jesse Ehrlich – cello (choruses)
- Paul Tanner – Electro-Theremin (bridge)
- June 16 – Western ["Part 1", "Part 2", "Verse", and "Part 3"] (discarded alternate verse, chorus, and bridge)
- Hal Blaine – overdubbed drums ("Part 1"), drums with sticks ("Part 2")
- Steve Douglas – grand piano, overdubbed soprano saxophone ("Part 1" and "Part 2")
- Jim Horn – overdubbed clarinet ("Part 1" and "Part 2")
- Al de Lory – electric harpsichord
- Mike Melvoin – Hammond organ
- Jay Migliori – overdubbed bass clarinet ("Part 1" and "Part 2")
- Tommy Morgan – overdubbed bass harmonica ("Part 1"), overdubbed harmonica ("Part 2")
- Bill Pitman – Danelectro bass (with fuzz tone in chorus and bridge)
- Lyle Ritz – upright bass
- Paul Tanner – Electro-Theremin
- Carl Wilson – Fender bass
- unknown (possibly Brian Wilson) – tambourine ("Part 1")
- June 18 – Western ["Part 1" and "Part 2"] (as above)
- Bill Green – clarinet
- Plas Johnson – clarinet
- Carol Kaye – Fender bass
- Al de Lory – tack piano ("Part 1"), Hammond organ ("Part 2")
- Jay Migliori – clarinet
- Tommy Morgan – bass harmonica ("Part 1"), harmonica ("Part 2")
- Bill Pitman – Danelectro bass (with fuzz tone in bridge)
- Paul Tanner – Electro-Theremin
- Brian Wilson – upright bass
- Carl Wilson – electric guitar
- c. August 24 through September 1 – Columbia (two vocal sessions; incomplete documentation due to missing tape)
- Dennis Wilson – lead vocal
- September 1 – Western ["Inspiration" and "Persuasion"] (this session produced the second bridge heard in the final master)
- Hal Blaine – shaker
- Tommy Morgan – harmonica, overdubbed bass harmonica
- Lyle Ritz – upright bass
- Carl Wilson – shaker
- Dennis Wilson – Hammond organ
- September 12 – Columbia (this session produced part of the vocals heard in the final master)
- Al Jardine – backing vocals
- Bruce Johnston – backing vocals
- Mike Love – lead and backing vocals
- Brian Wilson – lead and backing vocals
- Carl Wilson – lead and backing vocals
- Dennis Wilson – backing vocals
- September 21 – Columbia (this session produced part of the vocals and part of the Electro-Theremin heard in the final master)
- Al Jardine – backing vocals
- Bruce Johnston – backing vocals
- Mike Love – lead and backing vocals
- Paul Tanner – Electro-Theremin
- Brian Wilson – lead and backing vocals
- Carl Wilson – lead and backing vocals
- Dennis Wilson – backing vocals
Charts
Weekly chartsOriginal release
|
1976 reissue
Todd Rundgren version (1976)
Year-end charts
|
Certifications
Region | Certification | Certified units/sales |
---|---|---|
United Kingdom (BPI)[177] | Platinum | 600,000‡ |
United States (RIAA)[178] | Platinum | 1,000,000‡ |
‡ Sales+streaming figures based on certification alone. |
Awards and accolades
Year | Organization | Accolade | Result |
---|---|---|---|
1967 | National Academy of Recording Arts and Sciences
|
Grammy Award for Best Performance by a Vocal Group[179] | Nominated |
Best Contemporary (R&R) Group Performance, Vocal or Instrumental[179] | Nominated | ||
Best Contemporary (R&R) Recording[179] | Nominated | ||
Grammy Award for Best Arrangement Accompanying a Vocalist(s) or Instrumentalist(s)[179] | Nominated | ||
1994 | Grammy Hall of Fame Award[17]
|
Won | |
2006 | Rock and Roll Hall of Fame | Songs that Shaped Rock and Roll[18] | Inducted |
Notes
- fugato of "Good Vibrations" could have originated directly from a similar melodic section in "Look".[25]
- ^ According to Parks, he was offered the opportunity to rewrite Love's lyrics because "[Brian] was embarrassed with the 'excitation' part Mike Love had insisted on adding. But I told Brian that I wouldn't touch it with a 10-foot pole and that nobody'd be listening to the lyrics anyway once they heard that music."[40]
- ^ United Western Recorders, CBS Columbia Square, Gold Star Studios, and Sunset Sound Recorders.[53]
- ^ A memo dated February 23 was sent to Capitol that "Good Vibrations" would be included on the Pet Sounds album.[63] Sessions continued to be logged for Pet Sounds until after April.[53] According to Jardine, the group insisted on including "Good Vibrations" on Pet Sounds, but Brian refused.[64]
- ^ Additional sessions occurred on April 9; May 4, 24–27; June 2, 12, 16, and 18, 1966.[53]
- ^ Domenic Priore wrote: "Something also clicked with Brian Wilson when he saw Hutton's enthusiasm for the 'Good Vibrations' 45 project. Perhaps this wasn’t for someone else; this could be the song that clinched The Beach Boys’ headlong dive into the emergent psychedelic/pop/art world. 'We fixed it up,' said Wilson. 'Changed it, altered it.'[69]
- ^ Before the completion of "Good Vibrations", this included "Heroes and Villains", "Wind Chimes", "Look", "Holidays" and "Our Prayer".[53]
- acetate record of "Good Vibrations" for McCartney.[71]
- ^ Barry Miles speculates that the Beatles' Revolver (released in the US on August 8) acted as an impetus for Wilson to finish "Good Vibrations".[75]
- ^ The verses of "Good Vibrations" are in the key of E♭ minor.[89]
- ^ In 1989 the RIAA lowered the requirement for platinum awards for singles to one million units.
- ^ According to Wilson, his wife Melinda suggested that he use the original lyrics written by Tony Asher.[142] Love was also credited on the 2004 version, along with Asher.[143]
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External links
External videos | |
---|---|
Brian Wilson talks about "Good Vibrations", YouTube video |
- Greg Panfile's Musical Analysis of "Good Vibrations" Archived 2009-06-02 at the Wayback Machine
- "Good Vibrations: The Lost Studio Footage (1966)" on YouTube