Skip to main content

How the Beach Boys Created Their Pop Masterpieces: “Good Vibrations,” Pet Sounds, and More

If you ever decide to listen through the Beach Boys’ entire studio discography, one album per week, it will take about six months. I know because I just finished doing it myself, beginning with their simple celebration/exploitation of early-60s youth beach-and-car culture Surfin’ Safari and ending, six months yet half a century later, with the lushly elegiac That’s Why God Made the Radio. Between those points, of course, came the songs everyone knows, the hits that made the Beach Boys “America’s Band.” But as many times as we happen to have heard them, how well do we really know, say, “Good Vibrations” or “God Only Knows” — let alone the definitive artistic statement of an album that is Pet Sounds?

We can get to know them better through the work of the music-oriented video essayists of Youtube, who in recent years have turned their attention to the Beach Boys catalog. Not that true pop-music obsessives ever really turned away from it: surely, at some point in your life, you’ve met the kind of exegete intent on convincing you of the artistic glories of the miniature symphonies to teenage longing composed by the band’s mastermind Brian Wilson. But today they can incorporate visuals into their argument, as well as passages from and elements of the music itself, to more clearly reveal the formidable inspiration and craftsmanship that went into these ostensibly straightforward odes to love and good times.

Whether in 1966 or today, even an inattentive listener can sense the scale of ambition present in a song like “Good Vibrations.” As noted in Polyphonic’s analysis, its production cost between $50,000 and $75,000 ($370,000-$550,000 today), making it the most expensive single recording to date. But in its three minutes and 39 seconds, “Brian Wilson managed to put together a song dense enough that you could teach an entire course on it, all while maintaining a devotion to radio-friendly, ear-catching hooks.” The motivation to do this, so the legend has it, came from the Beatles, who earlier that year had redefined the very form of the album with Revolver — a response in part to Pet Sounds, itself fired by the earlier innovations of the Beatles’ Rubber Soul.

This friendly (if high-stakes) competition constitutes the background of the normally Beatles-oriented channel The HollyHobs‘ video essay on “God Only Knows,” a song so glorious that even Paul McCartney names it among the best of all time. And it counts as but one of the highlights on Pet Sounds, an overview of which you can hear in this Pitchfork “Liner Notes” video. That video emphasizes Wilson’s central role in the production, something that would be difficult to over-emphasize: when former Beatles publicist Derek Taylor signed on with with Beach Boys, he based his whole campaign on the claim that “Brian Wilson is a genius.”

What makes that true is the subject of the video above by music-and-film Youtuber Jeffrey Stillwell (He’s also created another video looking at the “lost years,” when a psychologically struggling Wilson began to withdraw from the band, but kept on making music.) Only those who listen to the the entire Beach Boys discography can fully appreciate what Wilson brought to the band, and perhaps more importantly, how his work was enriched by the contributions of the other members. These include, among others, the original core of Wilson’s brothers Carl and Dennis, Al Jardine, and even the oft-vilified yet ultimately indispensable Mike Love — not that “Kokomo” is going to inspire a video essay any time soon.

Related Content:

Enter Brian Wilson’s Creative Process While Making The Beach Boys’ Pet Sounds 50 Years Ago: A Fly-on-the Wall View

Hear the Beach Boys’ Angelic Vocal Harmonies in Four Isolated Tracks from Pet Sounds: “Wouldn’t It Be Nice,” “God Only Knows,” “Sloop John B” & “Good Vibrations”

John Belushi and Dan Aykroyd Get Brian Wilson Out of Bed and Force Him to Go Surfing, 1976

The Story of “Wipe Out,” the Classic Surf Rock Instrumental

How “Strawberry Fields Forever” Contains “the Craziest Edit” in Beatles History

Based in Seoul, Colin Marshall writes and broadcasts on cities, language, and culture. His projects include the Substack newsletter Books on Cities, the book The Stateless City: a Walk through 21st-Century Los Angeles and the video series The City in Cinema. Follow him on Twitter at @colinmarshall, on Facebook, or on Instagram.

How the Beach Boys Created Their Pop Masterpieces: “Good Vibrations,” Pet Sounds, and More is a post from: Open Culture. Follow us on Facebook, Twitter, and Google Plus, or get our Daily Email. And don't miss our big collections of Free Online Courses, Free Online Movies, Free eBooksFree Audio Books, Free Foreign Language Lessons, and MOOCs.



from Open Culture https://ift.tt/2GVNGR0
via Ilumina

Comments

Popular posts from this blog

Board Game Ideology — Pretty Much Pop: A Culture Podcast #108

https://podtrac.com/pts/redirect.mp3/traffic.libsyn.com/secure/partiallyexaminedlife/PMP_108_10-7-21.mp3 As board games are becoming increasingly popular with adults, we ask: What’s the relationship between a board game’s mechanics and its narrative? Does the “message” of a board game matter? Your host Mark Linsenmayer is joined by game designer Tommy Maranges , educator Michelle Parrinello-Cason , and ex-philosopher Al Baker to talk about re-skinning games, designing player experiences, play styles, game complexity, and more. Some of the games we mention include Puerto Rico, Monopoly, Settlers of Catan, Sorry, Munchkin, Sushi Go, Welcome To…, Codenames, Pandemic, Occam Horror, Terra Mystica, chess, Ticket to Ride, Splendor, Photosynthesis, Spirit Island, Escape from the Dark Castle, and Wingspan. Some articles that fed our discussion included: “ The Board Games That Ask You to Reenact Colonialism ” by Luke Winkie “ Board Games Are Getting Really, Really Popular ” by Darron Cu...

Ishkur’s Guide to Electronic Music: An Interactive, Encyclopedic Data Visualization of 120 Years of Electronic Music

In a very short span of time, the descriptor “electronic music” has come to sound as overly broad as “classical.” But where what we (often incorrectly) call classical developed over hundreds of years, electronic music proliferated into hundreds of fractal forms in only decades. A far steeper quality curve may have to do with the ease of its creation, but it’s also a factor of this accelerated evolution. Music made by machines has transformed since its early 20th-century beginnings from obscure avant-garde experiments to massively popular genres of global dance and pop. This proliferation, notes Ishkur—designer of Ishkur’s Guide to Electronic Music —hasn't always been to the good. Take what he calls “trendwhoring,” a phenomenon that spawns dozens of new works and subgenera in short order, though it’s arguable whether many of them should exist. Ishkur, describes this process below in an excerpt from his erudite, sardonic “Frequently Unasked Questions”: If fart noises were sudde...

How Led Zeppelin Stole Their Way to Fame and Fortune

When Bob Dylan released his 2001 album  Love and Theft , he lifted the title from a  book of the same name by Eric Lott , who studied 19th century American popular music’s musical thefts and contemptuous impersonations. The ambivalence in the title was there, too: musicians of all colors routinely and lovingly stole from each other while developing the jazz and blues traditions that grew into rock and roll. When British invasion bands introduced their version of the blues, it only seemed natural that they would continue the tradition, picking up riffs, licks, and lyrics where they found them, and getting a little slippery about the origins of songs. This was, after all, the music’s history. In truth, most UK blues rockers who picked up other people’s songs changed them completely or credited their authors when it came time to make records. This may not have been tradition but it was ethical business practice. Fans of Led Zeppelin, on the other hand, now listen to their...