Celebrating Brian Wilson
On what would’ve been his 83rd birthday, we explore some songs written by the pioneering producer, songwriter, and co-founder of The Beach Boys
From Californian coastlines to baroque pop brilliance
Brian Wilson was one of a handful of artists who have redefined the sound of popular music. As the sonic architect behind The Beach Boys, Wilson transformed sun-drenched surf pop into something far more ambitious, layering lush harmonies, unexpected chord changes, and groundbreaking production techniques into timeless songs. With a gift for melody rivaling the great classical composers who inspired him, and a bold vision that reshaped studio recording itself, Brian Wilson didn't just create hits—he changed what pop music could be.
As a contemporary composer, Brian Wilson was often held in such esteem as classical greats Bach, Beethoven, and Mozart, and was known to have been influenced by the work of Bach, Tchaikovsky, and Gershwin. “As a musician, I am completely self-taught. When I was growing up, I listened to a great deal of Bach and Tchaikovsky – that was my musical education.” (Gramophone.)
“The first piece of music I ever heard was George Gershwin’s ‘Rhapsody in Blue’. My grandmother and mother played it for me at my grandmother’s house. They laid me down on the floor by the record player, and they put Rhapsody in Blue on. I was too young to say ‘Oh, mom I love this music!’ but I just took it in – and it blew my mind!”
Taking that classical upbringing, and merging it with the growing teen culture of the Californian coastal life, in 1961, Brian, along with brothers Carl and Dennis, friend Al Jardine, and cousin Mike Love, came together to form the starting lineup of The Beach Boys. From the group’s garage rock origins, they soon developed into a band synonymous with the thriving California surf scene, although it was not met without resistance. At the time, Surf music was characterized by its heavy used of reverb-laden guitars, popularised by guitarist Dick Dale.
Where The Beach Boys lacked in reverb, they made up for it with their bespoke vocal harmonies, composed and recorded under the supervision of Brian Wilson. These quickly became a new trademark of the surf genre, and remain synonymous with it to this day. The Beach Boys also bucked the trend by performing songs entirely written by the band, unlike most acts of their time. The Beach Boys, with Brian Wilson at the helm, would prove to be one of the pioneering acts of the 60s, along with The Beatles, Bob Dylan, and many artists who were part of the countercultural movement of the time.
In honour of Brian Wilson’s birthday on June 20th, and to remember the late artist's most long-standing works after his passing on June 11th, 2025, we’re taking a look at some of his compositions, available to learn and play in the ROLI Learn app.
Wouldn't It Be Nice
For long-time listeners of the groundbreaking 1966 album Pet Sounds, the bright, lilting opening melody of the first track, “Wouldn’t It Be Nice", should be very familiar. Opening with an eight-beat intro in A major before bursting into life with a canon-like drum hit, the song shifts suddenly to F major. A trademark of Brian Wilson’s compositional style was to take these harmonic leaps, ones you’d anticipate in jazz or classical music, but maybe not a 1960s pop song. Wilson clearly understood how powerful harmonic surprise could be.
The bass line that anchors the verse has its roots in the Phil Spector-produced classic “Be My Baby” by The Ronettes. Wilson described it as a kind of intuitive, one-note walking bass line: steady, repetitive, and rhythmically rich. It’s played with a triplet feel (“bom-buh-bum-bah”), adding momentum without getting in the way of the vocal melodies.
Things shift again, this time down a minor third to D major, and a melodic motif from the intro reappears, tying the structure together. By subverting the typical pop structure—slowing down and softening the song where one would expect a climax, before abruptly returning to the original tempo for the song’s finale—Brian Wilson continued to employ techniques more often found in classical music than on the radio. The subtle tempo changes, graceful legato lines, and intricate rhythms give the song its lasting charm.
God Only Knows
The legendary, friendly rivalry between The Beatles and The Beach Boys has created some of the most influential albums of the rock and roll and pop music canon. In 1965, a then 23-year-old Brian Wilson would hear The Beatles’ latest release, Rubber Soul, and have his mind completely blown. “It had such a cool vibe, and I wanted to do something similar to it,” said Wilson. “That’s how I came up with Pet Sounds. When I heard Rubber Soul, I was so inspired, and somehow I came up with ‘God Only Knows’, I can’t really explain how it happened. It just came to me”. The track remains among one of the most beloved of Beach Boys songs to this day, and for good reason.
“God Only Knows” broke new ground for pop music both harmonically and lyrically. Written in E major but moving fluidly through related keys, the song features an unusual structure, stepping out of traditional verse-chorus form for a more circular progression. Wilson’s use of inverted chords, pedal tones, and rich vocal layering gives the song a celestial, timeless quality.
Carl Wilson’s lead vocal is delicate and emotionally direct, supported by intricate counterpoint in the backing vocals. French horns brought in a baroque sensibility, while the arrangement, as dense and colorful as anything in classical music, showcased Brian Wilson’s production genius. Lyrically, the song was also revolutionary, opening with the line “I may not always love you,” a strikingly honest beginning to what becomes one of the most moving love songs in pop history. Brian Wilson’s unique musical sensibility was so revered that even the great Paul McCartney once called it "the greatest song ever written."
Good Vibrations
Released in 1966, “Good Vibrations” marked a turning point not only for Brian Wilson’s career but for the very concept of what a pop single could be. Described by English journalist Derek Taylor Wilson as a “pocket symphony”, the song was constructed over six months in four different studios, using a modular recording approach that was ahead of its time. Wilson spliced together several distinct sections, each recorded separately, to create a nonlinear song structure that mirrored the innovations happening in classical and avant-garde music.
The production featured a groundbreaking use of the Electro-Theremin, giving the song its signature woozy, strange-yet-psychedelic, sliding tone. Orchestral arrangements including layered cellos, tack piano, sleigh bells, and harmonicas added to the sonic palette. “Good Vibrations” not only pushed the limits of studio technology but also cost an unprecedented $50,000 to produce, an astronomical figure at the time.
Musically, the song transitions seamlessly between major and minor tonalities. and a staggering 14 key changes, creating a push-and-pull emotional effect, while the lyrics captured the psychedelic optimism of the era, blending spiritual undertones with California cool. It topped charts around the world and confirmed Wilson as a visionary producer. “Good Vibrations” represented the culmination of Wilson’s ambitions in the studio and remains a cornerstone of experimental pop.
Era-defining impact and lasting legacy
Not only have The Beach Boys and Brian Wilson influenced scores of artists in generations that came after them, but they were pretty influential to their peers, too. Folk rock icon Bob Dylan voiced his admiration for Wilson’s natural gift for melody, “Jesus, that ear. He should donate it to the Smithsonian. The records I used to listen to and still love, you can’t make a record that sounds that way.”
Brian Wilson’s work continues to inspire musicians, producers, and composers across genres. His genius lay not only in his melodies and harmonies but in his ability to reimagine what pop music could sound like. On what would have been his 83rd birthday, we celebrate Brian Wilson not just as a founding member of The Beach Boys but as a visionary whose music shaped the past and still shapes the future.
