Deep diving "Good Vibrations": the revolutionary genius of Brian Wilson
Looking back at Brian Wilson’s creative approach to the track and its lasting legacy on modern music production
Few artists have reshaped the landscape of pop music quite like Brian Wilson. A maverick in the studio with a gift for melodic arrangements and something akin to an “ear tuned to God”, Wilson, along with The Beach Boys, created era-defining music that is as timeless as it is revolutionary.
Originally a surf-oriented band, The Beach Boys subverted the genre’s conventions. Rather than adopting the reverb-laden guitar approach popularised by guitarist Dick Dale, they prioritised vocal harmonies orchestrated by Wilson, harmonies that have since become synonymous with the surf genre. Not only that, but they continued to go against the grain by performing songs entirely written by the band, which was fairly uncommon at the time.
Their magnum opus, Pet Sounds, solidified the band’s place in the pop and rock canon. A feat of musical production fuelled by a desire to create a record that stood out against commercial pop, Pet Sounds blurred the boundaries between classical and contemporary. Its lush orchestration, complex chord structures and celestial harmonies created a seminal album that inspired artists ranging from The Beatles to Bob Dylan and David Bowie, and continues to leave musicians and fans in awe to this day.
But if there’s one song in The Beach Boys’ discography that could be considered the ultimate representation of Brian Wilson’s creativity, “Good Vibrations” is a strong contender. Released in 1966, this iconic track was the "the Pet Sounds track that got away, but became something greater. Not only marked a creative high point for Wilson and the band, but also revolutionised how music could be written, recorded, and produced. On what would have been his 83rd birthday, we’re taking a look at the song “Good Vibrations”, uncovering Brian Wilson’s innovative music production methods that changed the landscape of music making forever.
Experimenting with modular songwriting
“Good Vibrations” was originally slated to appear on Pet Sounds, and the hallmarks of that 1966 album’s sound were further explored during the song’s production. In the studio, Brian Wilson saw no limitations to how sound could be shaped, warped, or transformed to match what he heard in his head. But this also caused tension: session musicians, engineers, and even bandmates often couldn’t understand his intentions, as many of his ideas existed only internally. Due to the song’s structural complexity and Brian’s evolving vision, the song ultimately took too long to complete and was left off the album.
During the production of "Good Vibrations”, Wilson developed some then-unconventional methods and studio recording techniques, essentially the beginning of a more modular way of recording. He would bring multiple ideas or “feels” (fragments of song ideas that he liked) into the studio to record, cut, paste, and merge into one final composition, like a musical mosaic.
This modular method of recording might feel very familiar to many songwriters and producers today; we can see Wilson’s approach as an early form of DAW editing. However, this was far from the standard that musicians, record labels, and production studios of the time were accustomed to. While modular music-making was great for creativity and imagination, in the mid-1960s, it was still a relatively unpracticed way of working. For musicians used to recording in single takes or reading full compositions from sheet music, Wilson’s methods were difficult to grasp.
Legendary bassist and session musician Carol Kaye recalls working with Wilson:
“Brian would turn up with the music written out, but like a high school student would write music – the stems were on the wrong side, and the sharps and flats were all over the place. He’d play the song at the piano so we’d get the feel, and he’d almost always go back to the booth and talk from there, and then we’d start playing. It could get frustrating because we’d only do one tune per three-hour session, while most did four or five tunes.”
Wilson was heavily influenced by the production methods of Phil Spector, particularly his trademark ‘Wall of Sound’ technique. Spector created densely textured soundscapes, layering “tone colors, resulting in a compression and chorusing effect”—something then unachievable through electronic means. That influence would shape Wilson’s own approach to music-making, so much so that he even employed the same team of session musicians Spector used, colloquially known as ‘The Wrecking Crew’, to help actualize his musical vision.
“Good Vibrations” was a turning point for Brian Wilson and The Beach Boys’ career trajectory and marked a significant shift in 1960s pop music production. The “pocket symphony,” as described by both English journalist Derek Taylor and Brian Wilson himself, took over six months to create in four different studios.
Known for his meticulous production methods and innate talent for sonic layering, Wilson elevated pop and rock music from something throwaway to something avant-garde. The track’s signature feel and sonic impact stem from Wilson’s modular method of splicing together different recordings, drawing influence from innovations in classical and avant-garde music of the time. As mentioned earlier, Wilson liked to work with sonic idea fragments he called “feels.” With his vision for the song’s instrumentation and signature vocal layering in mind, Wilson would guide session musicians and The Beach Boys toward realizing his creative direction.
Sonics and soundscaping
Meticulous in the studio with a penchant for perfectionism, Wilson’s use of multiple studios was also key to achieving the specific sounds he was chasing. Because of this, “Good Vibrations” was incredibly complex. At each studio, he would record particular instruments, then return to the main studio to layer in orchestral arrangements—cellos, tack piano, sleigh bells, harmonicas—which were further cut and spliced into the finished track. Costing upwards of a whopping $50,000 to produce, “Good Vibrations” pushed the limits not only of studio technology but also of what could be spent to create a pop song in that era.
The track features layered bass lines: a double bass recalls the classical element, while a Fender Jazz Bass was played clean and with fuzz effects, pushing the song toward a more contemporary pop-rock sound. Arguably, one of the most memorable parts of the track is the eerie, almost alien-esque sound of the Electro-Theremin (no, not like Airwave). Inspired by the idea of vibrations and frequencies—central to the song’s lyrics—Wilson contrasted the cello’s low register with the Electro-Theremin’s higher, sliding tones, once again, he subverted pop expectations by playing with the types of sound one would expect to hear on a hit.
With over 90 hours of tape, no section was recorded straight through; some segments were even copied and pasted identically, with reverb used to mask the edits between takes. To do all of this manually on tape with analogue mixing desks was an incredible feat at the time. A stark contrast to finding a preset or sample and dragging it into place at the click of a mouse.
Brian Wilson’s genius lay in his studio creativity and his ability to challenge conventional pop and rock construction, blending classical influences and guided by a musical ear like no other. Bob Dylan once said:
“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, he made all his records with four tracks, but you couldn’t make his records if you had a hundred tracks today.”
Even more modulation: Chord progressions
If the production techniques weren’t challenging enough, the song’s chord progression is a pop music triumph in itself. It transitions seamlessly between major and minor tonalities and a whopping 14 key changes. Modulating chords and repeating motifs are quite prevalent in Wilson’s songwriting, and “Good Vibrations” has this in spades.
Structurally, we’re introduced to the song’s main motifs through a familiar verse–chorus–verse–chorus pattern, shifting between contrasting minor and major melodies. The verses follow a descending E♭ minor pattern, while the choruses contrast with an ascending relative G♭ major progression.
But it’s not long before that conventional pop structure is broken: two interludes appear suddenly, drastically changing the feel of the song. The first interlude continues the momentum of the chorus. By contrast, the second interlude’s drop in tempo and instrumentation provides an impactful “fake-out” before the chorus explodes back into life. However, unlike the first two choruses, this final chorus descends in G♭ major. By the time the Electro-Theremin riff wails throughout the outro, we’ve covered all degrees of the E♭ minor scale in just one song.
Yet, despite the cut-and-paste construction and constant changes, it never feels disjointed. Instead, it keeps listeners engaged through cyclical changes and an emotional push-and-pull. This mirrors the lyrics—a story of the protagonist’s effort to navigate a relationship with their lover. The song was also Wilson’s attempt to transmit “good vibrations” through music itself:
“It scared me, the word ‘vibrations’… A dog would pick up vibrations from these people that you can’t see but you can feel. And the same thing happened with people… This is a very spiritual song, and I want it to give off good vibrations.”
A true achievement in pop music composition, its success also proved that pop music could be complex and accessible. It’s disputed, but some have called “Good Vibrations” Brian Wilson’s greatest work by many standards. However, it’s undeniable that what Wilson achieved with this song set a precedent for pop music to come.
Contemporary influence and legacy
Recalling the experience of writing “Good Vibrations”, Wilson once said:
“The situation with 'Good Vibrations'; I don’t think it was a funny record. It didn’t make me laugh; it made me cry. When you take classical instruments and place them in a rock and roll environment, you have refined music. You have rock and roll brought to a height.”
Contemporary musicians and production methods owe a great deal to the pioneering techniques Wilson developed in the studio during the mid-60s. He was such a visionary that he developed friendly rivalries with his contemporaries—most famously, The Beatles. Legend has it that after the release of Rubber Soul, Wilson was so inspired by its distinct aesthetic that he set out to create something equally impactful.
“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.”
Following Pet Sounds, The Beatles and producer George Martin responded with Sgt. Pepper’s Lonely Hearts Club Band, a record often viewed as a direct attempt to equal The Beach Boys’ accomplishment.
After news of Wilson’s passing on June 11th, the extent of his influence was underscored by an outpouring of tributes. Paul McCartney said:
“Brian had that mysterious sense of musical genius that made his songs so achingly special. The notes he heard in his head and passed to us were simple and brilliant at the same time.”
John Cale of The Velvet Underground echoed the sentiment:
“To me, Brian Wilson was not merely about surf music, rather a true musical genius toiling away at melding pop into startling sophistication.”
Not only did Wilson garner the reverence of his peers, but his influence can be traced across generations of alternative, pop, and rock musicians. Pet Sounds and The Beach Boys are frequently cited as a touchstone in landmark albums like The Soft Bulletin by The Flaming Lips, Merriweather Post Pavilion by Animal Collective, and In the Aeroplane Over the Sea by Neutral Milk Hotel—recorded, fittingly, at their own Pet Sounds Studios.
Brian Wilson saw the future of music production. He saw and heard no limitations when it came to sound, and most importantly, he had a hunger to create the best possible music he could. Chasing the sounds that came to him like a gift from God, he used everything within his means, and when that wasn’t enough, invented new ways to elevate pop music and revolutionised the genre. That spirit of creativity and innovation is something that runs through all who feel that calling towards music, and undoubtedly, his ingenuity will continue to influence scores of artists for generations to come.
