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"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 cosmic vibrations, as his mother would tell 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 nascent Flower Power movement. The song was written as it was recorded and in a similar fashion to other compositions from Wilson's Smile period. It was issued as a standalone single, backed with "Let's Go Away for Awhile", and was to be included on the never-finished album Smile. Instead, the track appeared on the September 1967 release Smiley Smile.
The making of "Good Vibrations" was unprecedented for any kind of recording. Building on his approach for Pet Sounds, Wilson recorded a surplus of short, interchangeable musical fragments with his bandmates and a host of session musicians at four different Hollywood studios from February to September 1966, a process reflected in the song's several dramatic shifts in key, texture, instrumentation and mood. Over 90 hours of tape was consumed in the sessions, with the total cost of production estimated to be in the tens of thousands of dollars. Band publicist Derek Taylor dubbed the unusual work a "pocket symphony". It helped develop the use of the studio as an instrument and heralded a wave of pop experimentation and the onset of psychedelic and progressive rock. The track featured a novel mix of instruments, including jaw harp and Electro-Theremin, and although the latter is not a true theremin, the song's success led to a renewed interest and sales of theremins and synthesizers.
"Good Vibrations" received a Grammy nomination for Best Vocal Group performance in 1967 and was inducted into the Grammy Hall of Fame in 1994.[17] The song was voted number one in Mojo's "Top 100 Records of All Time"[17] and number 6 on Rolling Stone's 2004 and 2010 editions of its "500 Greatest Songs of All Time" lists, re-ranked to number 53 in the 2021 iteration. It was also included in the Rock and Roll Hall of Fame's list of the "500 Songs that Shaped Rock and Roll".[18] In later years, the song has been cited as a forerunner to the Beatles' "A Day in the Life" (1967) and Queen's "Bohemian Rhapsody" (1975). A 1976 cover version by Todd Rundgren peaked at number 34 on the Billboard Hot 100. The Beach Boys followed up "Good Vibrations" with another single pieced from sections, "Heroes and Villains" (1967), but it was less successful.
The Beach Boys' leader, Brian Wilson, was responsible for the musical composition and virtually all of the arrangement for "Good Vibrations".[20][21] Most of the song's structure and arrangement was written as it was recorded.[22][nb 1] During the recording sessions for the 1966 album Pet Sounds, Wilson began changing his writing process.[26] For "Good Vibrations", Wilson said, "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."[26] Engineer Chuck Britz is quoted saying that Wilson considered the song to be "his whole life performance in one track".[9] Wilson stated: "I was an energetic 23-year-old. ... I said: 'This is going to be better than [the Phil Spector production] "You've Lost That Lovin' Feelin'."'"[27]
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: .mw-parser-output .templatequoteoverflow:hidden;margin:1em 0;padding:0 32px.mw-parser-output .templatequote .templatequoteciteline-height:1.5em;text-align:left;padding-left:1.6em;margin-top:0
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]
"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 Carl for suggesting the use of a cello on the track.[35] He further stated that its triplet beat on the chorus was his own idea[35] and that it was based on the Crystals' "Da Doo Ron Ron" (1963), produced by Spector.[36] Conversely, arranger and session musician Van Dyke Parks said that it was himself who suggested having the cellist play triplets to Brian.[37] Parks believed that having Brian exploit the cello "to such a hyperbolic degree" was what encouraged the duo to immediately collaborate on the never-finished album Smile.[38] At some point, Wilson asked Parks to pen lyrics for "Good Vibrations", although Parks declined.[39][nb 2]
Wilson's cousin and bandmate Mike Love submitted the final lyrics for "Good Vibrations" and contributed its bass-baritone vocals in the chorus.[41] He recalled that when he heard 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' U.S.A.' or 'Help Me, Rhonda.'"[42]
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]
"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.[19] This was the same modular approach used during the sessions for Smile and Smiley Smile.[50] To mask each tape edit, vast reverb decays were added at the mixing and sub-mixing stages.[51]
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