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1966 song by the Embankment Boys

"God Only Knows"
God Only Knows single cover.png
Unmarried by the Embankment Boys
from the album Pet Sounds
A-side "Wouldn't It Be Nice"
Released July 18, 1966 (1966-07-18)
Recorded March ten – April 11, 1966
Studio Western and Columbia, Hollywood
Genre
  • Baroque rock[1] [two]
  • avant-popular[3]
Length 2:55
Label Capitol
Songwriter(due south)
  • Brian Wilson
  • Tony Asher
Producer(s) Brian Wilson
The Beach Boys singles chronology
"Sloop John B"
(1966) 		"God Only Knows"
(1966) 		"Adept Vibrations"
(1966)
Licensed audio
"God Simply Knows" on YouTube
Audio sample
  • file
  • help

"God Only Knows" is a song past American stone ring the Beach Boys from their 1966 album Pet Sounds. Written past Brian Wilson and Tony Asher, it is a Bizarre-manner love song distinguished for its harmonic innovation and its subversion of typical pop music formula. It is often praised as one of the greatest songs ever written and as the Beach Boys' finest record.

The vocal's musical sophistication is demonstrated past its multiple contrapuntal vocal parts and weak tonal center (competing between the keys of E and A). Lyrically, the words are expressed from the perspective of a narrator who asserts that life without their lover could only exist fathomed by God—an entity that had been considered taboo to name in the title or lyric of a pop song. Information technology marked a departure for Wilson, who attributed the impetus for the song to Asher'southward affinity for standards such every bit "Stella by Starlight". Some interpretations of the lyrics project a suicidal inclination onto the narrator, although Asher said that such impressions were unintentional.

Wilson produced the record betwixt March and April 1966, enlisting about xx session musicians who variously played drums, sleigh bells, plastic orange juice cups, clarinets, flutes, strings, French horn, accordion, guitars, upright bass, harpsichord, and a tack pianoforte with its strings taped. His brother Carl Wilson sang lead, a vocal performance that became regarded equally Carl's best ever, with Brian himself and Bruce Johnston providing additional harmonies. The song ends with a series of repeating vocal rounds, another device that was uncommon for popular music of the era.

"God Merely Knows" was issued equally the B-side of "Wouldn't Information technology Be Overnice" in July 1966 and peaked at number 39 on the Billboard Hot 100. In other countries, information technology was the single's A-side, reaching the top 10 in the UK, Canada, Norway, and kingdom of the netherlands. Many songwriters, including Paul McCartney and Jimmy Webb, have cited "God Only Knows" every bit their favorite vocal of all time. In 2004, it was included in the Rock and Curlicue Hall of Fame'south "500 Songs That Shaped Rock and Roll". In 2021, it was ranked number 11 in Rolling Stone 's list of the greatest songs in history.

Inspiration [edit]

"God Only Knows" is among the several songs that Brian Wilson and Tony Asher wrote for the Embankment Boys' Pet Sounds album. Asher felt that it was the pair's nigh effortless collaboration, remembering that Wilson "spent more time tweaking the instrumental part than we did writing the words!"[4] Recalling "God Only Knows", Wilson acknowledged that he had "not written that kind of song" before and said, "I think Tony had a musical influence on me somehow. Later on most 10 years, I started thinking about it deeper ... And I retrieve him talking well-nigh [the 1944 standard] 'Stella past Starlight' and he had a certain love for classic songs."[5] Asher concurred that he felt he inspired Wilson to write the song.[6]

Wilson's 1991 memoir states that the melody for "God Only Knows" derived from "a John Sebastian song I had been listening to".[vii] When presented with this information, Asher and Sebastian said they were unaware of such a connectedness. Biographer Mark Dillon speculated that, if the claim was truthful, then Wilson's inspiration would likely have been the song layering on "You lot Didn't Have to Be Then Nice", a recent striking past Sebastian'south band the Lovin' Spoonful.[viii] [nb i] In later interviews, Wilson said that he wrote "God Simply Knows" as an endeavour to match the standard of the Beatles' anthology Prophylactic Soul (released in Dec 1965).[10] [11] [12] In his recollection, he was under the influence of marijuana and was "so blown away" with the album that he sat at his piano and began writing the song.[10]

Asked almost Pet Sounds in various interviews, Wilson frequently emphasized the anthology'southward spiritual qualities, proverb that he had held prayer sessions with his brother Carl and "kind of fabricated [the album] a religious ceremony."[xiii] At the time of the vocal'southward writing, he was married to singer Marilyn Rovell. Writing in his volume about the album, Jim Fusilli noted a closing phrase Wilson had once written to his wife in 1964: "Yours 'til God wants us apart."[xiv] In a 1976 radio interview, Wilson said that the vocal was not written for anyone in particular.[15] Marilyn, who felt that much of the lyrical content on Pet Sounds was aimed at herself, commented of the vocal, "I'm the only 1 here, so it must be almost me. Then I would think, 'No it wasn't.'"[16]

Lyrics [edit]

The kickoff time I heard information technology, Brian played it for me at the pianoforte. And I went, "Oh my god, he's talking about God in a record." Information technology was pretty daring to me. And information technology was another fourth dimension I idea to myself, "Oh, boy, he's really taking a chance." I thought it was almost likewise religious. Too foursquare.

—Wilson's then-wife Marilyn[16]

At the fourth dimension the vocal was written, referencing "God" in a title or lyric was generally considered a taboo for popular music, and at that place had been at least one recent example of a record being banned from radio for having words such as "hell" or "damn".[17] Asher said that he and Wilson had "lengthy conversations" about the lyric, "because unless y'all were Kate Smith and y'all were singing 'God Bless America', no one thought you could say "'God' in a song.... He said, 'We'll just never get any air play."[xviii] [nb ii] He believed that Wilson agreed to the title after existence told by other people that it was "an opportunity to exist actually far out [considering] it would cause some controversy, which he didn't mind."[17] Dillon wrote that referring to God may have also been viewed every bit "a square motion" due to the nascent decline of traditional organized religion in the United States.[20]

In the lyrics, the narrator anticipates the dissolution of their romantic relationship, and asserts that life without their lover could merely be fathomed by God.[xiii] The deceptive opening line, "I may not always beloved you lot" was the bailiwick of another argument betwixt the songwriters. According to Asher, "I liked that twist, and fought to beginning the vocal that way. Working with Brian, I didn't accept a whole lot of fighting to practise, but I was certainly willing to fight for the cease for that."[21] In the next line, the narrator reassures that they will exist with their lover "so long as there are stars higher up y'all".[22] Marilyn interpreted the opening lines as autobiographical from Wilson'southward indicate of view: "he knew that I was there and I would never leave him, so he knew that he could corruption me, even though he didn't try to. I was never number one, I was e'er two or three. But if I would leave in some kind of a way, he would get totally distraught."[16]

Of the songs on Pet Sounds, "God Only Knows" is the almost lyrically ambiguous.[21] Commentators have sometimes attributed a suicidal quality to the protagonist.[23] In the second verse, the narrator declares that "life would become on... should y'all ever leave me", just if that result were to occur, then "what good would living do me?"[22] The suggested implication is that they would terminate their life without their lover—an estimation that Asher said was not intended by himself or Wilson.[23] Among other interpretations, writer James Perone, who referred to the vocal as "i of the more unusual expressions of love in a 1960s' pop song", believed that there is "a hint that function of [the grapheme's] 'love' may be self-serving and function of a cycle of codependency."[24] Cash Box described the vocal every bit a "slow-shufflin' tender, romantic ode about a guy who is so much in love that he doesn't call back that he could go on without his gal."[25]

Asher stated that the intended expression of the song's lyrics was "'I'll love you til the sunday burns out, so I'm gone,' ergo 'I'm gonna love you forever.'"[21] Wilson commented that song was based around "existence blind but in beingness blind, you tin see more. You shut your optics; you're able to see a place or something that's happening."[xiii]

Composition [edit]

Cardinal ambiguity and motifs [edit]

It's non actually in whatever one primal. It's a foreign song. That's just the way it was written.... It's the only song I've ever written that'southward not in a definite key, and I've written hundreds of songs.

—Brian Wilson, 2008[26]

"God Merely Knows" contains a weak tonal center that is closest to E major and, in other sections, A major.[27] [28] Adding to this, well-nigh all of the chords are inverted.[29] An E major triad with its bass note in the root position is never invoked, and instead, the 6
4 position is favored.[27] Of the tracks on Pet Sounds, information technology is the only one that lacks a strongly established primary key center (others employ key ambiguity to a lesser caste), and the simply one that modulates its key upwards a 4th interval (others descend by a third).[28]

In his book near Pet Sounds, Charles Granata writes that some of the musical devices that "God Merely Knows" employs are usually "rather ordinary" past themselves.[xxx] [nb 3] Withal, in this case, they were executed in a manner that was "far more sophisticated than anything the Beach Boys—or any other modern pop vocal group—had done before."[30] Co-ordinate to musicologist James Garratt, the "tonal plasticity" made the song innovative not just in pop music, but besides for the Baroque style it is emulating.[33] He credits the sense of "expansiveness" evoked by the slice to this quality, emphasized by the disuse of accurate cadences and root-position tonics.[ane] Lambert states that "a clear sense of key" eludes the listener "for the entire experience—that in fact, the idea of 'key' has itself been challenged and subverted".[22]

The vocal contains a recurring melodic motif that is reinforced by the atomic number 82 vocal and the line played on French horn.[34] Musician Andy Gill identified the verse and chorus melodies as variations on the aforementioned line, and added that this type of melodic variation was "very" similar to the technique as it is used in classical pieces such as Delibes' Lakmé.[35] To Lambert, the song's apply of song counterpoints evoked the sacred traditions of a cantata past Bach or an oratorio by Handel.[36] He likened the use of sustained strings to those employed by Wilson on the Pet Sounds tracks "Don't Talk (Put Your Caput on My Shoulder)" and "I'm Waiting for the Day".[22]

Musicologist John Howland argues that it is the anthology's only rails that can be accurately described as "baroque-popular", an often-specious term that was not used in critical discussions nearly Pet Sounds until rock critics in the 1990s began adopting the phrase in reference to artists that the album had influenced.[37] Howland commented that some "classicistic gestures" are present in the orchestration for "God Simply Knows", however, listeners must proceed in mind that "orchestral instruments do non e'er signify baroque/classicistic textures".[38]

Intro, poesy, and refrain [edit]

A visual representation of the chord progression and melodic structure for the verse (top) and refrain (bottom)

"God Simply Knows" starts with an A major chord accompanied by the sounds of accordions, harpsichord, and French horn, which are soon joined by bass, tambourine, and sleigh bells. At this betoken, the listener may hear the vocal equally being in the key of A, although office of the line played on French horn includes a notation (D ♯ ) outside of that key. According to Lambert, "The ear wants to hear the music in the key of A, and is just starting to feel that information technology's okay to dismiss the horn note [until the proceeding verse section]."[22]

The verses begin with a D 6
four chord, weakening the impression of an A fundamental center, and is followed by a B minor6 chord, which does non strongly suggest the dominant (v) chord of Eastward.[22] [27] As the poetry develops, it gravitates closer to the fundamental of East on the lines "you never need to doubt it / I'll make yous so certain nearly it" before entering the hook line, "God only knows what I'd be without y'all", which begins with a return to an A major chord on the "God merely" portion.[22] The poetry and refrain then repeats, this time with the addition of a cord ensemble, before entering the next section of the limerick.[22]

Music theorist Daniel Harrison describes the progression as "highly chromatic" and writes, "in the absence of a strong East tonic, A major seems to fill up the vacuum at the tonal eye, since it is the chord that begins the refrain, and since information technology receives a strong tonic accuse upon the resolution of the chord preceding the refrain. In addition, the opening chords of the verse, while nondiatonic to the nominative E major tonic, are diatonic to A."[27] Lambert writes that the terminate of the refrain "call back[southward] the chord progression of the introduction but... with an fifty-fifty slighter sense of tonal security."[22] In a 2011 interview, Wilson commented that the melody of "I may not ever love yous" resembled the "I hear the sound of music" line from "The Sound of Music".[39]

Break and coda [edit]

Like many of Wilson's compositions, "God Simply Knows" subverted the then-standard 32-bar A-A-B-A popular song format.[40] Following the 2nd refrain, information technology segues into an instrumental linking passage, described by Dillon as an "avant-garde and unusually jarring transition for a tender love vocal"[41] Lambert characterizes the passage as "a whirlwind of chord relations... based on wedging-together instrumental lines".[22]

The vocal proceeds to repeat the progression of the poesy and refrain, nonetheless, transposed up by a fourth and with the addition of new vocals.[22] Multiple vocal parts are sung in counterpoint, a technique that is distinguished from the "oos" and "ahhs" style of vocals for which the Beach Boys are known.[40] Lambert identifies this section every bit a "choral fantasy" of wordless voices that "climax[es] on a dramatic diminished chord".[22] Music teacher Richard Battista, referring to this climax as a "sigh" from the singers, said that it is "totally unique in pop music. He didn't infringe that from the Four Freshmen, or the Everly Brothers, or the Coasters. That sigh is pure Brian Wilson."[42] It concludes once again with the hook line, after which there is a repetition of the 2d poetry.[22]

According to Harrison, "The competition between E and A for tonic command is made clear during the suspension between poetry two and the recapitulation of verse 1 lyrics.... the allusion to the harmonic structure of the verse is fabricated subtle both past the transposition and past different melodic activity. Only when the music of the now A-major refrain is encountered do the voices return to their familiar words."[27] [nb 4] Garratt writes, "While the idea of presenting the verse harmonies in the subdominant in the span was not new, what is striking here is the smoothness with which the vocal drops back into the original key – a moment rendered even more arresting by the truncated iii-measure phrase that precedes it."[ane] Fusilli remarked that Wilson well-nigh "wr[ote] himself into a dead end", elaborating that "when the song returns to D Major, it must do so from B minor, which is kind of a static change, particularly when the next chord is a B minor with only a slight variation in the bass."[43]

The vocal ends with a terminal coda[22] that features repeating vocal rounds[30]—a centuries-old technique that was highly unusual for pop music of the era—[44] with triplet fills played on a drum kit.[41] Wilson's 2022 memoir states, "I liked all those old songs that used rounds, like 'Row, Row, Row Your Gunkhole' and 'Frère Jacques'. I liked rounds considering they made it seem like a song was something eternal."[45] At its conclusion, Lambert writes, "we hear A major chords that desire to provide harmonic stability, but as before, the chords and vocal lines surrounding them make us want to think otherwise."[22]

Recording [edit]

Bankroll track [edit]

Carl Wilson (pictured 1969) sang pb song and played 12-string guitar.

Instrumental tracking for "God Only Knows" began at 12:30a.m. on March ten, 1966, at the Studio three room of Western Studios, Hollywood.[46] The studio space was relatively small for the 20-some musicians that were hired for the session.[41] Carl joined them on this occasion, playing 12-string electric guitar.[46] As usual, Brian produced the session with engineer Chuck Britz.[19] [46]

Amidst the distinguishing features of the organisation is an repeat-laden "clip-clop" percussion part, sleigh bells played on every beat, and a low-range melodic phrases played on flute during the latter sections of the vocal.[24] A strip of masking tape was placed over the strings of a pianoforte while the bottoms of two plastic orangish juice bottles were used for percussion.[47] Singer Danny Hutton was nowadays at the session, as he recalled, "[Brian] would hear something wrong, and bam 'One more than time.' I merely saturday there and didn't say a word. I had been in sessions where I thought to myself, they should do this and that. Not this time. I just shut up. What could I add together?"[48] Bruce Johnston, who joined the band a twelvemonth earlier, after said that he "didn't realize just how great" Pet Sounds was going to be until he witnessed this session.[19]

A full of 22 takes were attempted for the vocal.[49] The musicians struggled to play the instrumental break to Wilson's satisfaction. To address this issue, pianist Don Randi suggested to Wilson that they play the parts in staccato, rather than in full quarter notes. Wilson enjoyed the consequence and incorporated the change.[41] A string section was subsequently overdubbed onto take 20, marked as "best".[nineteen] [46] The session ended at 4:30a.m.[46] The three-track recording of the instrumental was bounced to one channel of an eight-track tape to let room for further overdubs.[50]

Vocals [edit]

The get-go round of song overdubs were recorded later that day at Columbia Studios.[nineteen] [nb 5] Brian sang the atomic number 82 vocal at this juncture,[51] [41] later on which he mixed rough edits of the song on March 13 and 22.[51] These early on mixes featured a discarded saxophone solo in its bridge and a different, a capella ending.[51] [nb 6] The ending was a fuller organisation that included the voices of Marilyn, her sis Diane, and Byrds producer Terry Melcher.[53] In Carl's recollection, "[E]everybody got in on it. It was like 'Come on out hither into the studio.' Brian would make upwards a little part. That was fun; nosotros listened to it endlessly."[54]

I gave the vocal to Carl because I was looking for a tenderness and a sugariness which I knew Carl had in himself as well as in his voice. He brought dignity to the song and the words, through him, became not a lyric, but existent words.

—Brian Wilson, August 1966[55]

On April 11, the band returned to Columbia to add further (and ultimately final) vocal overdubs. This time, Carl took on the lead.[56] Dillon suggested that Brian may take inverse his mind on the lead partly to address concerns over the large percentage of singing roles he was granting himself for the album.[41] According to Carl, Brian later told him that "God Only Knows" was written for his vocalization: "He says it fits my beautiful spirit. I know I shouldn't be embarrassed by a compliment but..."[56] Carl quoted the operation instructions he received from his brother: "Don't practice annihilation with it. Just sing information technology real directly. No effort. Have a breath. Let it go like shooting fish in a barrel."[40] He had rarely sung atomic number 82 on prior Embankment Boys songs.[57]

The coda was ultimately scaled down to iii lines sung past ii voices, Brian and Johnston.[58] Ane of Wilson'south lines duplicated the part that had been played on French horn.[53] Johnston recalled, "at the end of the session, Carl was really fried, and he went home.... in that location were just [me and Brian]. So in the fade, he'south singing two of the three parts. He sang the top and the lesser office and I sang in the middle."[58] Of Wilson'southward decision to pare downward the vocals, "It works because it acquired a perfect vocal-to-track balance, and it's not besides pinnacle-heavy. It'south bright—a fine case of 'less is more.'"[58]

The 1996 stereo mix of the vocal, created by Marking Linett for The Pet Sounds Sessions box set, does not feature the same singers on the fade-out. Linett explained in the liner notes, "Brian's vocal at the outset of the fade of 'God Simply Knows' is missing on the multi track having been sung by Carl sometime after the mix Brian used on the original tape had been created. The part doesn't exist separate from the track and then... it's non available for the stereo mix."[59]

Release [edit]

The Beach Boys (from left: Brian, Al Jardine, Carl) in the promotional film for the song (April 25, 1966)[60]

"God Only Knows" was start released on May xiv, 1966, equally the opening rail of side ii on Pet Sounds.[61] In its review of the album, Disc & Music Repeat referred to the song every bit "a standard gem with its hymnal experience."[62] Norman Jopling of Tape Mirror decreed that it had "a rollicking salvationist flavor only isn't going to convert anyone."[63] Spencer Davis, frontman of the Spencer Davis Group, praised the song equally the album'southward "most fantastic track" for a contemporaneous survey conducted by Melody Maker.[62] At the proffer of Johnston, Tony Rivers and the Castaways recorded a version of the song, which was issued about a week before the Embankment Boys released their version equally a single.[64]

Brian had wanted to issue "God Only Knows" as a solo record past Carl, but co-ordinate to Carl, "'Skilful Vibrations', which should have been our next unmarried, didn't plow out the style Brian wanted. We had to have another release then ['God Only Knows' came out as a Beach Boys single]."[65] On July 18, the vocal was issued every bit the B-side of the "Wouldn't Information technology Exist Prissy" single in the U.s..[65] Radio programmers ultimately hesitated to add the song to their playlists due to the word "God".[66] On September 24, it peaked in the Billboard charts separately from the A-side, at number 39. It was ultimately their last B-side to chart in that location.[65] Later reports suggest that the song was banned from radio in parts of the southern The states, a claim that is likely spurious.[67]

In other countries, the sides of the single were reversed, with "God Only Knows" equally the A-side. On July 22, it was released as the group'southward third Pet Sounds single in the Great britain, debuting at number xxx on the Record Retailer chart. It peaked at number ii on August 27, behind the Beatles' "Yellow Submarine" / "Eleanor Rigby".[65] In September, "God Just Knows" reached number 4 in Canada's RPM nautical chart and number 24 on French republic'south Music Media Monthly chart.[68] In Oct, the single peaked at number xi in the Netherlands and number vi in Norway.[69] In Nov, coinciding with the band's first tour of the UK, a God Simply Knows EP was issued there. It independent the title track, "Here Today", "Sloop John B", and "Wouldn't It Be Nice".[70]

Responding to the grouping'southward growing popularity amidst the British, a promotional film for the vocal, directed by band publicist Derek Taylor, was filmed for the UK'southward Top of the Pops on April 25.[60] The film featured the group (minus Johnston) at Lake Arrowhead, flailing around in grotesque horror masks and playing Quondam Maid.[71] The clip originally ran for five minutes and incorporated excerpts of "Wouldn't Information technology Be Nice", "Here Today", and "God Only Knows". Due to concerns from the BBC over the horror masks, the prune was later trimmed and re-cut to feature only "God Only Knows".[72] It premiered on BBC-1 on Baronial 4, with a repeat airing on September ane.[lx]

Live performances [edit]

One of the few joys of seeing the Beach Boys in concert... was to hear Carl sing "God Merely Knows." Even after adding a few backing musicians, the group really couldn't replicate Pet Sounds in a alive setting with their limited instrumentation. But... he would offer a sugariness, understated "God Merely Knows" that would be the musical high point of the plan.

—Jim Fusilli, The Embankment Boys' Pet Sounds (2005)[73]

The Embankment Boys started adding the song to their live setlists on July 28, 1966, at a concert in Massachusetts.[74] Reviewing their tardily 1966 European tour, Melody Maker critic Mike Henessey decreed that the live arrangement "sounded a little thin compared with the recorded [version]."[75] Ray Coleman of Disc & Music Echo mentioned that performances of the song, all the same, yet drew an "expected huge adulation".[76]

On August 25, 1967, the band (with Brian and minus Johnston) performed "God Only Knows" at a filmed concert in Hawaii. Footage of them playing the vocal at this show was afterwards included in the 1984 documentary An American Ring.[77] On September xi, 1967, the band recorded some other studio version of the song for a discarded, nominal alive album known equally Lei'd in Hawaii. It was after released on the 1998 compilation Countless Harmony Soundtrack.[78]

During their 50th-anniversary reunion tour, in 2012, the group played along to a pre-recorded song track taken from Carl'south 1980 performance of the song at Knebworth. Mike Love said of Carl in a contemporary report, "Nobody e'er could or will sing 'God Only Knows' as beautifully equally he did. It's miserable that he'southward non there with us. Carl was the real stickler for making the band sound as absolutely perfect equally could exist. That influence is still felt to this twenty-four hours."[79] The original operation was released on the 2002 live album Expert Timin': Live at Knebworth England 1980.

Recognition and legacy [edit]

"God Only Knows" is often praised as 1 of the greatest songs always written,[33] as the Embankment Boys' finest record,[80] equally Carl'south best vocal performance,[81] and equally Brian's well-nigh quintessential work.[13] Writing in his book America in the Sixties (2010), historian John Robert Greene identified the vocal as "one of the nearly circuitous—and beautiful—songs in the annals of American pop music" and credited it with remaking "the platonic of the pop love song.[82] Granata deemed "God Just Knows" a musically and technically impressive accomplishment that Wilson and the Beach Boys never repeated on their subsequent records.[fourscore] In 2012, music journalist Dan Caffrey argued that the descriptor "teenage symphony to God", originally reserved for the band's Smiling album, was amend suited for "God Only Knows". He wrote that the song "has resonated with generations of music fans simply because of its concept", before concluding, "The entire world volition listen to it for years to come."[83]

Among Wilson'southward associates, Asher reflected, "This is the ane that I idea would exist a hit tape, considering it was and then incredibly beautiful... I guess that in the finish, [it] is the vocal that most people remember, and love the near."[21] Carl referred to it as "the classic example [of Brian's writing] that takes it to a new plateau."[34] Johnston opined that the song marked Carl's finest song operation: "Carl's song doubling is splendid—particularly when he sings 'O what skillful would living exercise me?' He goes up a major third there, and it'south only as make clean every bit a whistle."[40] The Wilsons' mother Audree commented, "What can you say about it? I notwithstanding call back it'due south one of his greatest pieces. I dearest it. And then many times, I have idea how incredible it is that it'south my son, my sons who did that."[84] Don Randi remarked of the song, "That one, they should give to every music form, and say 'Here, do this ane. Do it a capella.' Give 'em a key note and run into what happens. There'll be a lot of suicides."[85]

"God Merely Knows" has occasionally appeared in other media. It served every bit a musical cue in the films Boogie Nights (1997) and Dearest Really (2003).[86] Author Thomas Pynchon paid homage to the song by incorporating information technology into the closing paragraphs of his Wilson-inspired novel Inherent Vice (2009).[87] The 2013 video game BioShock Space contains a turn-of-the-century barbershop quartet that sings the vocal while floating past the player on an airship.[88] The song was also used in the opening credits of the HBO series, Big Dearest.[89]

Other songwriters [edit]

Many songwriters, including Paul McCartney and Jimmy Webb, take cited "God Only Knows" as their personal favorite vocal.[80]

  • McCartney proclaimed that it was "the greatest vocal always written".[91] His ain "Dizzy Beloved Songs" (1976) incorporated a build-upwards of vocal counterpoints in the aforementioned style as "God Just Knows".[xc] Wilson felt uncomfortable with the praise and said in 1976 that if McCartney'south "greatest song" assertion was truthful, "[then] what was at that place left for me to exercise?"[92] [nb vii] In 2002, Wilson and McCartney performed the song every bit a duet at the Adopt-A-Minefield Benefit Gala in Los Angeles. McCartney later said that he was and then overwhelmed by Wilson'south presence that he "broke down" during the soundcheck rehearsals.[94]
  • Bono remarked that the string organization was "fact and proof of angels."[95]
  • Barry Gibb said that it "blew the top of my head off... My beginning thought was, oh honey, I'm wasting my time, how can I ever compete with that? We've [the Bee Gees] been competing with that ever since."[95]
  • Margo Guryan said that the song inspired her to pursue a career in pop music instead of jazz pianoforte. She said, "I freaked [when a friend played me the song]. I thought information technology was just gorgeous. I bought the tape and played it a 1000000 times, and so saturday downwards and wrote 'Call back of Rain.'"[96]
  • John Lennon, co-ordinate to Rolling Stone co-founder Jann Wenner, "said he really dug [the song] and the world perked up".[97]
  • Pete Townshend said, "'God Only Knows' is simple and elegant and was stunning when it first appeared; it however sounds perfect".[95]
  • Webb enjoyed its Baroque influence and felt that it "represents the whole tradition of liturgical music that I feel is a spiritual part of Brian's music. And Carl'south singing is pretty much at its pinnacle—as proficient as information technology ever got."[80]

Accolades and polls [edit]

As of 2021[update], "God Just Knows" is listed as the 16th highest rated vocal of all time on Acclaimed Music.[98]

  • In 2004, it was ranked number 25 in Rolling Rock 'due south list of the "500 Greatest Songs of All Time".[86]
  • In 2006, it topped Pitchfork 'south list of the finest songs of the 1960s. Dominique Leone contributed for its entry, "if you need a tie into the legacy of 1960s youth culture, glance no further than the naïve but strained optimism locked inside this vocal."[99]
  • In 2008, Popdose staff members ranked it the best single of the previous l years, writing, "Information technology is simply one of the nearly beautifully equanimous and bundled songs in the history of not just popular music, merely Western music. To place 'God Only Knows' in its proper context is to [place information technology with] 1836 Frédéric Chopin."[100]
  • In 2011, Paste ranked the song number two on their list of the 20 greatest Embankment Boys songs.[101]
  • In a 2012 reader'due south poll conducted by Rolling Stone, it was voted the best Embankment Boys song; the editors wrote that it had won "by a significant margin" and added that information technology was "one of the virtually heart-melting dear songs ever penned... gorgeous in its form and sentiment".[102]
  • In 2012, it topped Consequence of Sound 'south list of the "100 Greatest Songs of All Time".[83]
  • In 2016, information technology topped Paste 'due south list of "The 100 Best Songs of the 1960s".[103]
  • In 2021, information technology was re-ranked number 11 in Rolling Stone 'due south list of the "500 Greatest Songs of All Time".[104]
  • In 2022, The Guardian 's Alexis Petridis ranked the song number eight on his list of the twoscore greatest Beach Boys songs.[105]

Cover versions [edit]

External video
video icon God Only Knows (Brian Wilson Tribute) - Lyle Lovett - 2007 Kennedy Eye Honors

"God Only Knows" has been covered past a broad variety of artists that includes Andy Williams, Neil Diamond, Olivia Newton-John, Glen Campbell, David Bowie, Joss Stone, Mandy Moore, Michael Stipe, Rivers Cuomo, JR JR, and Taylor Swift.[86] In 2007, Lyle Lovett performed a rendition of the vocal during Wilson's Kennedy Center Honor commemoration. Wilson later said information technology was "the best version I ever heard, including the Beach Boys."[106]

BBC Music version [edit]

"God Only Knows"
God-Only-Knows-BBC-Music.jpg
Unmarried by Brian Wilson and various artists
Released October 7, 2014 (2014-10-07)
Recorded 2014
Length 2:25
Label BBC Music
Songwriter(south)
  • Brian Wilson
  • Tony Asher
Producer(due south) Ethan Johns
Brian Wilson singles chronology
"The Like in I Love Yous"
(2011) 		"God But Knows"
(2014) 		"The Right Time"
(2015)
Music video
"God Simply Knows – BBC Music" on YouTube

To commemorate the launch of BBC Music, a cover version of the song was simulcast across BBC tv set and radio channels on Oct seven, 2014. It featured an assortment of artists (including Wilson himself) that were collectively credited as the Impossible Orchestra. The music video, directed past François Rousselet, showed the artists in lavish, fantastical computer generated settings.[107] The rails was released the following day equally a charity single for Children in Need 2014.[108]

Wilson said: "All of the artists did such a beautiful job ... I can't thank them enough, I'm just honored that 'God Only Knows' was called. 'God Only Knows' is a very special song. An extremely spiritual song and 1 of the all-time I've ever written."[109] However, the promotion drew much of the aforementioned criticisms that were afforded to the BBC's 1997 version of "Perfect Day".[107] [nb 8]

Accompanied past the BBC Concert Orchestra, each of the following performers are listed in guild of advent, singing vocals unless otherwise specified:[112]

  • Martin James Bartlett – celeste
  • Pharrell Williams
  • Emeli Sandé
  • Elton John (the just creative person who also performed on the 1997 version of "Perfect 24-hour interval")
  • Lorde
  • Chris Martin
  • Brian Wilson
  • Florence Welch
  • Kylie Minogue
  • Stevie Wonder – vocals, harmonica
  • Eliza Carthy
  • Nicola Benedetti – violin
  • Jools The netherlands – piano
  • Brian May – electrical guitar
  • Jake Bugg
  • Katie Derham – violin
  • Tees Valley Youth Choir
  • Alison Balsom – piccolo trumpet
  • One Direction
  • Jaz Dhami
  • Paloma Faith
  • Chrissie Hynde
  • Jamie Cullum
  • Baaba Maal
  • Danielle de Niese
  • Dave Grohl
  • Sam Smith

Lauren Laverne, Gareth Malone, and Zane Lowe as well announced in the video.[113]

Personnel [edit]

Per ring archivist Craig Slowinski.[46]

The Beach Boys

  • Bruce Johnston – backing vocals
  • Brian Wilson – backing vocals
  • Carl Wilson – lead vocals, 12-cord electrical guitar

Guest

  • Terry Melcher – tambourine

Session musicians (also known as "the Wrecking Crew")

  • Hal Blaine – drums and sleigh bells
  • Carl Fortina – accordion
  • Jim Gordon – plastic orangish juice cups
  • Bill Green – flute and alto flute
  • Leonard Hartman – clarinet and bass clarinet
  • Jim Horn – flute and alto flute
  • Ballad Kaye – 12-string electrical guitar
  • Larry Knechtel – harpsichord
  • Jay Migliori – clarinet
  • Frank Morocco – accordion
  • Ray Pohlman – electric bass guitar
  • Don Randi – tack piano with taped strings
  • Alan Robinson – French horn
  • Lyle Ritz – upright bass

The Sid Sharp Strings

  • Jesse Erlich – cello
  • Leonard Malarsky – violin
  • Sid Sharp – violin
  • Darrel Terwilliger – viola

Technical staff

  • Chuck Britz – engineer (track)
  • Ralph Valentin – engineer (vocals)
  • "Don T." (uncertain) – second engineer (vocals)

Charts [edit]

Certifications [edit]

Notes [edit]

  1. ^ The band were touring with the Beach Boys in March 1966.[ix]
  2. ^ Although it has been suggested that it was the first pop song to mention "God" in the title,[19] another song with a like lyrical bulletin chosen "God But Knows" was recorded in 1954 by the doo-wop philharmonic the Capris.[13]
  3. ^ Some also appear in Wilson'south earlier songs. For example, "California Girls" avoids a root-position tonic and suppresses a cadential drive,[31] while "Kiss Me, Baby" featured complicated vocal layering.[32]
  4. ^ He declared, "There is no moment in stone music more harmonically and formally subtle than this transition. It is the apex of Brian Wilson'southward outset period of formal experimentation."[27]
  5. ^ A session in which the ring also worked on "I'k Waiting for the Solar day", "Wouldn't It Be Nice", and "I Merely Wasn't Made for These Times".[nineteen]
  6. ^ Granata surmised that the solo was based on the Four Seasons' music.[52]
  7. ^ Journalist Nick Kent quoted Wilson, "Like, if 'God Just Knows' is the greatest song ever written, then I'll never write anything as good over again! And if I never write annihilation as practiced, so I'm finished. I'k a has-been and a wash-up, just like everyone keeps maxim."[93]
  8. ^ Adam Sherwin wrote in The Independent: "With its bulletin, that the BBC 'owns' the entire musical waterfront and licence-fee payers would practice well to recollect that, it is the kind of propaganda movie an autocratic regime sensing that its legitimacy is crumbling might produce."[110] Writing for The Guardian, Alex Petridis observed "There's conspicuously something a trivial cocky-aggrandising about the BBC getting a raft of stars to sing an unambiguous vocal of undying devotion plain to the corporation itself.... perhaps nosotros should forgive them 3 minutes of self-congratulation, particularly when it'southward raising money for charity."[111]

References [edit]

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  9. ^ Badman 2004, pp. 122, 124.
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Bibliography [edit]

  • Badman, Keith (2004). The Beach Boys: The Definitive Diary of America's Greatest Ring, on Phase and in the Studio . Backbeat Books. ISBN978-0-87930-818-6.
  • Dillon, Mark (2012). Fifty Sides of the Beach Boys: The Songs That Tell Their Story. ECW Printing. ISBN978-i-77041-071-8.
  • Fusilli, Jim (2005). Beach Boys' Pet Sounds. Bloomsbury Publishing. ISBN978-ane-4411-1266-viii. Archived from the original on January vii, 2016. Retrieved Jan 12, 2016.
  • Garratt, James (2014). "Values and Judgments". In Downes, Stephen (ed.). Aesthetics of Music: Musicological Perspectives. Routledge. ISBN978-ane-136-48691-iii. Archived from the original on May one, 2016. Retrieved January 12, 2016.
  • Granata, Charles L. (2003). Wouldn't information technology Be Nice: Brian Wilson and the Making of the Beach Boys' Pet Sounds. Chicago Review Printing. ISBN978-1-55652-507-0.
  • Greene, John Robert (2010). America in the Sixties. Syracuse University Press. ISBN978-0-8156-5133-8. Archived from the original on May 13, 2016. Retrieved January 12, 2016.
  • Harrison, Daniel (1997). "Afterwards Sundown: The Beach Boys' Experimental Music" (PDF). In Covach, John; Boone, Graeme Thousand. (eds.). Agreement Stone: Essays in Musical Analysis. Oxford University Press. pp. 33–57. ISBN978-0-19-988012-half-dozen. Archived (PDF) from the original on May 24, 2015. Retrieved October 8, 2014.
  • Howland, John (2021). Hearing Luxe Pop: Glorification, Glamour, and the Middlebrow in American Pop Music. University of California Printing. ISBN978-0-520-30010-1. Archived from the original on June 28, 2021. Retrieved June xxx, 2021.
  • Kent, Nick (2009). "The Last Beach Movie Revisited: The Life of Brian Wilson". The Dark Stuff: Selected Writings on Stone Music. Da Capo Press. ISBN9780786730742. Archived from the original on May 18, 2021. Retrieved Oct seven, 2020.
  • Lambert, Philip (2007). Within the Music of Brian Wilson: The Songs, Sounds, and Influences of the Beach Boys' Founding Genius. Bloomsbury Publishing. ISBN978-1-4411-0748-0. Archived from the original on November 9, 2020. Retrieved Oct vii, 2020.
  • Leaf, David (1978). The Embankment Boys and the California Myth . New York: Grosset & Dunlap. ISBN978-0-448-14626-iii.
  • Lambert, Philip (March 2008). "Brian Wilson's Pet Sounds". Twentieth-Century Music. Cambridge Academy Press. 5 (ane): 109–133. doi:x.1017/S1478572208000625. S2CID 162871617. Archived from the original on October ii, 2021. Retrieved Oct 7, 2020.
  • Perone, James East. (2012). The Album: A Guide to Pop Music's Most Provocative, Influential, and Important Creations [four volumes]: A Guide to Pop Music's Most Provocative, Influential, and Important Creations. ABC-CLIO. ISBN978-0-313-37907-9. Archived from the original on May 13, 2016. Retrieved January 12, 2016.
  • Wilson, Brian; Gilt, Todd (1991). Wouldn't It Be Nice: My Own Story . New York: HarperCollins. ISBN978-0-06018-313-iv.
  • Wilson, Brian; Greenman, Ben (2016). I Am Brian Wilson: A Memoir. Da Capo Printing. ISBN978-0-306-82307-7. Archived from the original on July 26, 2020. Retrieved Oct 14, 2016.
  • Kirkey, Christopher (2019). "Adept Authentic Vibrations: The Beach Boys, California, and Pet Sounds". In Lovell, Jane; Hitchmough, Sam (eds.). Authenticity in Due north America: Place, Tourism, Heritage, Civilisation and the Pop Imagination. Taylor & Francis. pp. 41–60. ISBN978-0-429-80234-8. Archived from the original on December ii, 2020. Retrieved November 20, 2020.
  • Zollo, Paul (2016). More than Songwriters on Songwriting. Hachette Books. ISBN978-0-306-81799-1. Archived from the original on April 26, 2021. Retrieved April 26, 2021.

Farther reading [edit]

  • Sellars, Jeff, ed. (2015). God Merely Knows: Faith, Hope, Love, and The Beach Boys. Wipf and Stock Publishers. ISBN978-one-4982-0767-6.

External links [edit]

  • Lyrics
  • Brian Wilson and George Martin dissect The Beach Boys' 'God Only Knows' back in 1997
  • God Only Knows (Instrumental Stereo Mix) on YouTube
  • God But Knows (Live At Michigan State University/1966) on YouTube
  • God Only Knows ("Lei'd In Hawaii" / Studio Stereo Mix) on YouTube
  • The Beach Boys - God Only Knows (From "Proficient Timin: Alive At Knebworth" DVD) on YouTube
  • God Just Knows (Alive At Jamaican World Music Festival, Montego Bay, Jamaica/1982) on YouTube
  • Brian Wilson "God Just Knows" - Late Prove #PlayAtHome on YouTube

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Source: https://en.wikipedia.org/wiki/God_Only_Knows

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