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For God Knows What You Need

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1966 vocal by the Beach Boys

"God Only Knows"
God Only Knows single cover.png
Single past the Beach Boys
from the album Pet Sounds
A-side "Wouldn't It Exist Overnice"
Released July 18, 1966 (1966-07-18)
Recorded March 10 – April 11, 1966
Studio Western and Columbia, Hollywood
Genre
  • Baroque stone[one] [two]
  • avant-popular[iii]
Length 2:55
Label Capitol
Songwriter(s)
  • Brian Wilson
  • Tony Asher
Producer(s) Brian Wilson
The Beach Boys singles chronology
"Sloop John B"
(1966) 		"God But Knows"
(1966) 		"Good Vibrations"
(1966)
Licensed audio
"God Only Knows" on YouTube
Sound sample
  • file
  • help

"God But Knows" is a song by American rock band the Beach Boys from their 1966 album Pet Sounds. Written past Brian Wilson and Tony Asher, information technology is a Baroque-manner dear song distinguished for its harmonic innovation and its subversion of typical pop music formula. It is often praised as ane of the greatest songs ever written and as the Beach Boys' finest record.

The song's musical sophistication is demonstrated by its multiple contrapuntal song parts and weak tonal centre (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 but be fathomed by God—an entity that had been considered taboo to name in the title or lyric of a popular song. Information technology marked a departure for Wilson, who attributed the impetus for the song to Asher's analogousness for standards such as "Stella by Starlight". Some interpretations of the lyrics project a suicidal inclination onto the narrator, although Asher said that such impressions were unintentional.

With atomic number 82 vocals past his blood brother Carl, Brian produced the tape betwixt March and April 1966, enlisting virtually xx session musicians who variously played drums, sleigh bells, plastic orangish juice cups, clarinets, flutes, strings, French horn, accordion, guitars, upright bass, harpsichord, and a tack piano with its strings taped. The song ends with a series of repeating vocal rounds, another device that was uncommon for popular music of the era.

"God Only Knows" was issued as the B-side of "Wouldn't It Exist Nice" in July 1966 and peaked at number 39 on the Billboard Hot 100. In other countries, it was the single'due south A-side, reaching the top 10 in the United kingdom of great britain and northern ireland, Canada, Norway, and kingdom of the netherlands. Many songwriters take cited "God Merely Knows" as their personal favorite vocal, including Paul McCartney and Jimmy Webb. In 2004, it was included in the Rock and Roll Hall of Fame's "500 Songs That Shaped Rock and Gyre". In 2021, it was ranked number eleven in Rolling Stone 'southward listing of the greatest songs of all time.

Inspiration [edit]

"God Only Knows" is among the several songs that Brian Wilson and Tony Asher wrote for the Beach Boys' Pet Sounds anthology. Asher felt that it was the pair's most effortless collaboration, remembering that Wilson "spent more time tweaking the instrumental part than nosotros did writing the words!"[4] Recalling "God Only Knows", Wilson acknowledged that he had "not written that kind of song" before and said, "I remember Tony had a musical influence on me somehow. After almost ten years, I started thinking about it deeper ... And I remember him talking about [the 1944 standard] 'Stella past Starlight' and he had a certain love for archetype songs."[v] Asher concurred that he felt he inspired Wilson to write the song.[vi]

Wilson'southward 1991 memoir states that the melody for "God But Knows" derived from "a John Sebastian vocal I had been listening to".[7] When presented with this information, Asher and Sebastian said they were unaware of such a connection. Biographer Mark Dillon speculated that, if the claim was truthful, then Wilson'south inspiration would likely have been the vocal layering on "You Didn't Have to Be So Nice", a recent striking by Sebastian'southward band the Lovin' Spoonful.[8] [nb one] In later interviews, Wilson said that he wrote "God Simply Knows" as an try to match the standard of the Beatles' album Prophylactic Soul (released in December 1965).[10] [eleven] [12] In his recollection, he was under the influence of marijuana and was "so blown away" with the anthology that he sabbatum at his piano and began writing the song.[10]

Asked about Pet Sounds in various interviews, Wilson oft emphasized the anthology'southward spiritual qualities, proverb that he had held prayer sessions with his brother Carl and "kind of made [the album] a religious ceremony."[13] At the time of the song's writing, he was married to vocalizer Marilyn Rovell. Writing in his book nearly the anthology, Jim Fusilli noted a closing phrase Wilson had once written to his wife in 1964: "Yours 'til God wants us autonomously."[14] In a 1976 radio interview, Wilson said that the song was non written for anyone in detail.[15] Marilyn, who felt that much of the lyrical content on Pet Sounds was aimed at herself, commented of the song, "I'yard the only one here, so it must be about me. So I would think, 'No it wasn't.'"[16]

Lyrics [edit]

The start time I heard it, Brian played it for me at the pianoforte. And I went, "Oh my god, he's talking about God in a tape." It was pretty daring to me. And it was another time I thought to myself, "Oh, boy, he'southward really taking a take a chance." I thought it was nearly too religious. Likewise square.

—Wilson'south then-wife Marilyn[xvi]

At the time the song was written, referencing "God" in a title or lyric was generally considered a taboo for pop music, and there had been at least ane contempo example of a record beingness banned from radio for having words such equally "hell" or "damn".[17] Asher said that he and Wilson had "lengthy conversations" almost the lyric, "because unless you were Kate Smith and you were singing 'God Bless America', no one thought yous could say "'God' in a vocal.... He said, 'Nosotros'll just never get whatsoever air play."[xviii] [nb 2] He believed that Wilson agreed to the title after being told by other people that it was "an opportunity to be really far out [because] information technology would cause some controversy, which he didn't mind."[17] Dillon wrote that referring to God may have also been viewed as "a square move" due to the nascent decline of traditional 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 but be fathomed by God.[13] The deceptive opening line, "I may non always love y'all" was the subject of another argument between the songwriters. According to Asher, "I liked that twist, and fought to kickoff the song that way. Working with Brian, I didn't have a whole lot of fighting to do, just I was certainly willing to fight for the terminate for that."[21] In the side by side line, the narrator reassures that they volition be with their lover "and then long as at that place are stars above you".[22] Marilyn interpreted the opening lines every bit autobiographical from Wilson's bespeak of view: "he knew that I was there and I would never leave him, so he knew that he could abuse me, even though he didn't attempt to. I was never number one, I was always ii or 3. Simply if I would leave in some kind of a manner, he would go totally distraught."[16]

Of the songs on Pet Sounds, "God Merely Knows" is the nearly lyrically ambiguous.[21] Commentators have sometimes attributed a suicidal quality to the protagonist.[23] In the 2nd verse, the narrator declares that "life would go on... should you always leave me", but if that effect were to occur, then "what good would living do me?"[22] The suggested implication is that they would end their life without their lover—an interpretation that Asher said was not intended by himself or Wilson.[23] Amid other interpretations, writer James Perone, who referred to the vocal as "one of the more than unusual expressions of dear in a 1960s' pop song", believed that there is "a hint that part of [the graphic symbol's] 'love' may be self-serving and office of a cycle of codependency."[24] Cash Box described the song every bit a "tiresome-shufflin' tender, romantic ode about a guy who is so much in honey that he doesn't remember that he could go on without his gal."[25]

Asher stated that the intended expression of the song'south lyrics was "'I'll honey you lot til the sunday burns out, so I'm gone,' ergo 'I'1000 gonna love you forever.'"[21] Wilson commented that vocal evolved from "a vision" that they had, "Information technology's like being blind but in beingness bullheaded, you can see more. Y'all close your optics; you're able to see a place or something that'south happening."[13]

Composition [edit]

Key ambiguity and motifs [edit]

It'south not really in any ane key. It's a strange song. That's simply the way information technology was written.... It's the only song I've ever written that'due south non in a definite key, and I've written hundreds of songs.

—Brian Wilson, 2008[26]

"God Only Knows" contains a weak tonal center that is closest to Eastward major and, in other sections, A major.[27] [28] Adding to this, almost 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 half dozen
4 position is favored.[27] Of the tracks on Pet Sounds, it is the just one that lacks a strongly established chief central center (others utilize key ambivalence to a bottom degree), and the simply one that modulates its key up a quaternary interval (others descend by a third).[28]

In his book about Pet Sounds, Charles Granata writes that some of the musical devices that "God Merely Knows" employs are usually "rather ordinary" by themselves.[xxx] [nb iii] Nevertheless, in this case, they were executed in a fashion that was "far more sophisticated than annihilation the Embankment Boys—or any other modern pop vocal group—had done before."[30] According to musicologist James Garratt, the "tonal plasticity" made the song innovative non just in pop music, but too for the Baroque fashion it is emulating.[33] He credits the sense of "expansiveness" evoked past the piece to this quality, emphasized past the disuse of authentic cadences and root-position tonics.[1] Lambert states that "a clear sense of key" eludes the listener "for the unabridged experience—that in fact, the thought of 'cardinal' has itself been challenged and subverted".[22]

The vocal contains a recurring melodic motif that is reinforced by the lead 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 information technology is used in classical pieces such equally Delibes' Lakmé.[35] To Lambert, the vocal's apply of vocal counterpoints evoked the sacred traditions of a cantata past Bach or an oratorio by Handel.[36] He likened the utilize of sustained strings to those employed past Wilson on the Pet Sounds tracks "Don't Talk (Put Your Head on My Shoulder)" and "I'm Waiting for the Solar day".[22]

Musicologist John Howland argues that it is the album's only runway that can exist accurately described as "baroque-pop", 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 nowadays in the orchestration for "God Only Knows", however, listeners must proceed in listen that "orchestral instruments do not always signify bizarre/classicistic textures".[38]

Intro, verse, and refrain [edit]

A visual representation of the chord progression and melodic structure for the verse (superlative) and refrain (lesser)

"God But Knows" starts with an A major chord accompanied by the sounds of accordions, harpsichord, and French horn, which are presently joined past bass, tambourine, and sleigh bells. At this indicate, the listener may hear the vocal as existence in the primal of A, although function of the line played on French horn includes a annotation (D ♯ ) outside of that key. According to Lambert, "The ear wants to hear the music in the primal of A, and is but starting to feel that information technology'due south okay to dismiss the horn note [until the proceeding verse section]."[22]

The verses begin with a D 6
4 chord, weakening the impression of an A key centre, and is followed by a B minor6 chord, which does not strongly suggest the dominant (v) chord of East.[22] [27] Every bit the poesy develops, it gravitates closer to the key of Due east on the lines "y'all never need to doubtfulness it / I'll brand you and so certain about it" before entering the hook line, "God just knows what I'd be without yous", which begins with a return to an A major chord on the "God simply" portion.[22] The verse and refrain then repeats, this time with the add-on of a cord ensemble, before entering the adjacent section of the composition.[22]

Music theorist Daniel Harrison describes the progression as "highly chromatic" and writes, "in the absenteeism of a stiff E tonic, A major seems to fill the vacuum at the tonal center, 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 stop of the refrain "recall[s] the chord progression of the introduction only... 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 y'all" resembled the "I hear the audio of music" line from "The Sound of Music".[39]

Break and coda [edit]

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

The song proceeds to repeat the progression of the verse and refrain, however, transposed up by a 4th 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" fashion of vocals for which the Beach Boys are known.[xl] Lambert identifies this section equally a "choral fantasy" of wordless voices that "climax[es] on a dramatic macerated chord".[22] Music teacher Richard Battista, referring to this climax as a "sigh" from the singers, said that information technology is "totally unique in pop music. He didn't borrow that from the Four Freshmen, or the Everly Brothers, or the Coasters. That sigh is pure Brian Wilson."[42] It concludes again with the hook line, subsequently which in that location is a repetition of the second poetry.[22]

Co-ordinate to Harrison, "The competition betwixt E and A for tonic control is made articulate during the break between poetry ii and the recapitulation of verse 1 lyrics.... the allusion to the harmonic construction of the poetry is made subtle both by the transposition and by different melodic activity. But when the music of the at present A-major refrain is encountered practice the voices return to their familiar words."[27] [nb iv] Garratt writes, "While the idea of presenting the poesy harmonies in the subdominant in the span was not new, what is striking here is the smoothness with which the song drops back into the original key – a moment rendered fifty-fifty more than arresting past the truncated three-measure phrase that precedes it."[1] Fusilli remarked that Wilson nearly "wr[ote] himself into a dead end", elaborating that "when the song returns to D Major, it must exercise then from B pocket-sized, which is kind of a static change, especially when the next chord is a B minor with only a slight variation in the bass."[43]

The song ends with a concluding coda[22] that features repeating vocal rounds[30]—a centuries-former technique that was highly unusual for popular music of the era—[44] with triplet fills played on a drum kit.[41] Wilson'southward 2016 memoir states, "I liked all those old songs that used rounds, like 'Row, Row, Row Your Boat' and 'Frère Jacques'. I liked rounds because 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]

Backing runway [edit]

Carl Wilson (pictured 1969) sang atomic number 82 vocal and played 12-string guitar.

Instrumental tracking for "God Merely Knows" began at 12:30a.g. on March x, 1966, at the Studio 3 room of Western Studios, Hollywood.[46] The studio space was relatively small for the twenty-some musicians that were hired for the session.[41] Carl joined them on this occasion, playing 12-cord electric guitar.[46] As usual, Brian produced the session with engineer Chuck Britz.[19] [46]

Among the distinguishing features of the arrangement is an echo-laden "prune-clop" percussion part, sleigh bells played on every beat, and a low-range melodic phrases played on flute during the latter sections of the song.[24] A strip of masking tape was placed over the strings of a piano while the bottoms of ii plastic orange juice bottles were used for percussion.[47] Singer Danny Hutton was present at the session, every bit he recalled, "[Brian] would hear something wrong, and bam 'One more fourth dimension.' I just saturday there and didn't say a give-and-take. I had been in sessions where I thought to myself, they should do this and that. Not this fourth dimension. I just shut up. What could I add?"[48] Bruce Johnston, who joined the band a year earlier, later said that he "didn't realize simply how dandy" Pet Sounds was going to be until he witnessed this session.[19]

A total of 22 takes were attempted for the song.[49] The musicians struggled to play the instrumental break to Wilson's satisfaction. To address this effect, pianist Don Randi suggested to Wilson that they play the parts in staccato, rather than in full quarter notes. Wilson enjoyed the effect and incorporated the change.[41] A cord section was subsequently overdubbed onto have xx, marked equally "best".[19] [46] The session ended at iv:thirtya.thousand.[46] The three-rail recording of the instrumental was bounced to one channel of an eight-rails tape to permit room for farther overdubs.[50]

Vocals [edit]

The outset round of vocal overdubs were recorded later that day at Columbia Studios.[19] [nb 5] Brian sang the lead vocal at this juncture,[51] [41] after which he mixed rough edits of the vocal on March 13 and 22.[51] These early on mixes featured a discarded saxophone solo in its bridge and a unlike, a capella ending.[51] [nb 6] The ending was a fuller arrangement that included the voices of Marilyn, her sister Diane, and Byrds producer Terry Melcher.[53] In Carl'south recollection, "[E]everybody got in on it. Information technology was like 'Come on out here into the studio.' Brian would make upwards a little part. That was fun; we listened to it endlessly."[54]

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

—Brian Wilson, August 1966[55]

On April eleven, the ring returned to Columbia to add together farther (and ultimately terminal) song overdubs. This time, Carl took on the atomic number 82.[56] Dillon suggested that Brian may accept inverse his mind on the lead partly to accost concerns over the large percentage of singing roles he was granting himself for the anthology.[41] According to Carl, Brian after told him that "God Only Knows" was written for his vox: "He says it fits my beautiful spirit. I know I shouldn't exist embarrassed by a compliment but..."[56] Carl quoted the performance instructions he received from his blood brother: "Don't exercise anything with information technology. Just sing it real straight. No effort. Take a breath. Let information technology go easy."[xl] He had rarely sung lead on prior Beach Boys songs.[57]

The coda was ultimately scaled downwards to 3 lines sung past two voices, Brian and Johnston.[58] Ane of Wilson'due 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.... there were just [me and Brian]. So in the fade, he'southward singing two of the iii parts. He sang the tiptop and the lesser role and I sang in the middle."[58] Of Wilson's determination to pare downwardly the vocals, "It works because it caused a perfect vocal-to-rail balance, and it'due south non too top-heavy. It's brilliant—a fine example of 'less is more.'"[58]

The 1996 stereo mix of the song, created by Mark Linett for The Pet Sounds Sessions box set up, does not feature the same singers on the fade-out. Linett explained in the liner notes, "Brian'due south song at the get-go of the fade of 'God Merely Knows' is missing on the multi track having been sung by Carl erstwhile after the mix Brian used on the original record had been created. The part doesn't exist separate from the runway then... information technology's not available for the stereo mix."[59]

Release [edit]

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

"God Only Knows" was beginning released on May 14, 1966, equally the opening runway of side two on Pet Sounds.[61] In its review of the album, Disc & Music Repeat referred to the song equally "a standard gem with its hymnal feel."[62] Norman Jopling of Record Mirror decreed that information technology had "a rollicking salvationist flavour but isn't going to convert anyone."[63] Spencer Davis, frontman of the Spencer Davis Grouping, praised the song every bit the album'due south "most fantastic track" for a contemporaneous survey conducted past Tune Maker.[62] At the suggestion of Johnston, Tony Rivers and the Castaways recorded a version of the song, which was issued about a week before the Beach Boys released their version as a unmarried.[64]

Brian had wanted to upshot "God But Knows" as a solo tape by Carl, only according to Carl, "'Good Vibrations', which should have been our next single, didn't turn out the way Brian wanted. We had to have another release and then ['God But Knows' came out every bit a Beach Boys single]."[65] On July 18, the song was issued every bit the B-side of the "Wouldn't It Be Overnice" single in the US.[65] Radio programmers ultimately hesitated to add the song to their playlists due to the discussion "God".[66] On September 24, it peaked in the Billboard charts separately from the A-side, at number 39. It was ultimately their terminal B-side to nautical chart there.[65] Afterwards reports propose that the song was banned from radio in parts of the southern Us, a claim that is probable spurious.[67]

In other countries, the sides of the single were reversed, with "God Only Knows" as the A-side. On July 22, it was released as the group's 3rd Pet Sounds single in the UK, debuting at number 30 on the Record Retailer nautical chart. It peaked at number 2 on August 27, behind the Beatles' "Yellow Submarine" / "Eleanor Rigby".[65] In September, "God Only Knows" reached number 4 in Canada's RPM chart and number 24 on France's Music Media Monthly chart.[68] In Oct, the single peaked at number eleven in the Netherlands and number 6 in Norway.[69] In November, congruent with the band's beginning tour of the United kingdom of great britain and northern ireland, a God Only Knows EP was issued in that location. It contained the title track, "Here Today", "Sloop John B", and "Wouldn't It Be Squeamish".[lxx]

Responding to the grouping's growing popularity amid the British, a promotional film for the song, directed past band publicist Derek Taylor, was filmed for the United kingdom of great britain and northern ireland's Summit of the Pops on April 25.[threescore] The picture show featured the group (minus Johnston) at Lake Arrowhead, flailing around in grotesque horror masks and playing Old Maid.[71] The clip originally ran for five minutes and incorporated excerpts of "Wouldn't Information technology Exist Squeamish", "Here Today", and "God Simply Knows". Due to concerns from the BBC over the horror masks, the clip was later trimmed and re-cut to feature just "God Simply Knows".[72] It premiered on BBC-1 on August iv, with a repeat airing on September 1.[60]

Alive performances [edit]

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

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

The Beach Boys started adding the song to their alive setlists on July 28, 1966, at a concert in Massachusetts.[74] Reviewing their late 1966 European tour, Melody Maker critic Mike Henessey decreed that the live system "sounded a fiddling thin compared with the recorded [version]."[75] Ray Coleman of Disc & Music Echo mentioned that performances of the song, however, still drew an "expected huge applause".[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 song at this evidence was afterwards included in the 1984 documentary An American Band.[77] On September xi, 1967, the band recorded some other studio version of the vocal for a discarded, nominal alive anthology known as Lei'd in Hawaii. It was later released on the 1998 compilation Endless Harmony Soundtrack.[78]

During their 50th-anniversary reunion tour, in 2012, the group played along to a pre-recorded vocal track taken from Carl'south 1980 performance of the song at Knebworth. Mike Love said of Carl in a contemporary report, "Nobody ever could or will sing 'God Only Knows' as beautifully every bit he did. It's miserable that he'due south non there with us. Carl was the existent stickler for making the band sound as absolutely perfect every bit could be. That influence is still felt to this day."[79] The original performance was released on the 2002 alive anthology Good Timin': Live at Knebworth England 1980.

Recognition and legacy [edit]

"God But Knows" is often praised every bit one of the greatest songs ever written,[33] as the Beach Boys' finest tape,[80] as Carl's all-time vocal operation,[81] and equally Brian's nigh quintessential work.[13] Writing in his volume America in the Sixties (2010), historian John Robert Greene identified the song as "ane of the most complex—and beautiful—songs in the annals of American popular music" and credited it with remaking "the platonic of the popular love song.[82] Granata deemed "God Only Knows" a musically and technically impressive accomplishment that Wilson and the Beach Boys never repeated on their subsequent records.[80] In 2012, music announcer Dan Caffrey argued that the descriptor "teenage symphony to God", originally reserved for the band'south Smiling album, was amend suited for "God Only Knows". He wrote that the song "has resonated with generations of music fans but because of its concept", earlier concluding, "The entire earth will listen to information technology for years to come."[83]

Amongst Wilson'south assembly, Asher reflected, "This is the one that I thought would exist a hit tape, because information technology was so incredibly cute... I guess that in the end, [it] is the vocal that most people retrieve, and dear the most."[21] Carl referred to it equally "the classic case [of Brian's writing] that takes it to a new plateau."[34] Johnston opined that the song marked Carl's finest vocal operation: "Carl's vocal doubling is excellent—especially when he sings 'O what practiced would living do me?' He goes upwards a major third at that place, and it'southward just equally clean as a whistle."[40] The Wilsons' female parent Audree commented, "What can you say about it? I still think it's i of his greatest pieces. I dearest information technology. So many times, I have thought how incredible it is that it'south my son, my sons who did that."[84] Don Randi remarked of the song, "That i, they should give to every music class, and say 'Here, do this i. Do it a capella.' Give 'em a key notation and see what happens. There'll exist a lot of suicides."[85]

"God Only Knows" has occasionally appeared in other media. It served as a musical cue in the films Boogie Nights (1997) and Love Actually (2003).[86] Writer Thomas Pynchon paid homage to the song by incorporating it into the closing paragraphs of his Wilson-inspired novel Inherent Vice (2009).[87] The 2013 video game BioShock Infinite contains a plough-of-the-century barbershop quartet that sings the song while floating past the histrion on an balloon.[88] The song was too used in the opening credits of the HBO series, Big Honey.[89]

Other songwriters [edit]

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

  • McCartney proclaimed that information technology was "the greatest song ever written".[91] His own "Silly Love Songs" (1976) incorporated a build-upwards of vocal counterpoints in the same style every bit "God Simply Knows".[90] Wilson felt uncomfortable with the praise and said in 1976 that if McCartney's "greatest song" assertion was true, "[then] what was in that location left for me to exercise?"[92] [nb 7] In 2002, Wilson and McCartney performed the song as a duet at the Adopt-A-Minefield Benefit Gala in Los Angeles. McCartney afterward said that he was so overwhelmed by Wilson's presence that he "broke down" during the soundcheck rehearsals.[94]
  • Bono remarked that the cord organization was "fact and proof of angels."[95]
  • Barry Gibb said that information technology "blew the summit of my head off... My commencement idea was, oh dear, I'm wasting my time, how tin I e'er compete with that? We've [the Bee Gees] been competing with that always since."[95]
  • Margo Guryan said that the song inspired her to pursue a career in pop music instead of jazz piano. She said, "I freaked [when a friend played me the vocal]. I thought it was just gorgeous. I bought the record and played it a million times, then sat down and wrote 'Call back of Rain.'"[96]
  • John Lennon, according to Rolling Rock co-founder Jann Wenner, "said he actually dug [the vocal] and the world perked upwardly".[97]
  • Pete Townshend said, "'God Only Knows' is simple and elegant and was stunning when information technology first appeared; it still 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's singing is pretty much at its pinnacle—every bit good every bit information technology ever got."[lxxx]

Accolades and polls [edit]

As of 2021[update], "God But Knows" is listed as the 16th highest rated song of all fourth dimension on Acclaimed Music.[98]

  • In 2004, it was ranked number 25 in Rolling Stone 's list of the "500 Greatest Songs of All Time".[86]
  • In 2006, information technology topped Pitchfork 's list of the finest songs of the 1960s. Dominique Leone contributed for its entry, "if you need a necktie 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 50 years, writing, "It is just ane of the nearly beautifully composed and arranged songs in the history of not just pop music, only Western music. To identify 'God Only Knows' in its proper context is to [place it with] 1836 Frédéric Chopin."[100]
  • In a 2012 reader'southward poll conducted by Rolling Stone, information technology was voted the all-time Embankment Boys song; the editors wrote that it had won "by a significant margin" and added that it was "one of the most center-melting love songs always penned... gorgeous in its course and sentiment".[101]
  • In 2012, information technology topped Consequence of Audio 'south listing of the "100 Greatest Songs of All Time".[83]
  • In 2016, it topped Paste 's list of "The 100 All-time Songs of the 1960s".[102]
  • In 2021, it was re-ranked number eleven in Rolling Rock 's list of the "500 Greatest Songs of All Fourth dimension".[103]

Cover versions [edit]

"God Only Knows" has been covered by a wide 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 song during Wilson's Kennedy Center Honor commemoration. Wilson later on said it was "the best version I ever heard, including the Embankment Boys."[104]

BBC Music version [edit]

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

To commemorate the launch of BBC Music, a embrace version of the song was simulcast across BBC television and radio channels on October 7, 2014. It featured an assortment of artists (including Wilson himself) that were collectively credited equally the Impossible Orchestra. The music video, directed by François Rousselet, showed the artists in lavish, fantastical estimator generated settings.[105] The track was released the following day as a charity single for Children in Need 2014.[106]

Wilson said: "All of the artists did such a beautiful job ... I can't give thanks them plenty, I'm simply honored that 'God Simply Knows' was called. 'God Simply Knows' is a very special song. An extremely spiritual song and 1 of the best I've ever written."[107] However, the promotion drew much of the same criticisms that were afforded to the BBC's 1997 version of "Perfect Day".[105] [nb 8]

Accompanied by the BBC Concert Orchestra, each of the post-obit performers are listed in order of appearance, singing vocals unless otherwise specified:[110]

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

Lauren Laverne, Gareth Malone, and Zane Lowe also appear in the video.[111]

Personnel [edit]

Per ring archivist Craig Slowinski.[46]

The Embankment Boys

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

Invitee

  • Terry Melcher – tambourine

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

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

The Sid Abrupt Strings

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

Technical staff

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

Charts [edit]

Notes [edit]

  1. ^ The band were touring with the Beach Boys in March 1966.[ix]
  2. ^ Although it has been suggested that information technology was the kickoff pop vocal to mention "God" in the title,[xix] another song with a like lyrical message called "God Only Knows" was recorded in 1954 by the doo-wop combo the Capris.[xiii]
  3. ^ Some also appear in Wilson's earlier songs. For case, "California Girls" avoids a root-position tonic and suppresses a cadential drive,[31] while "Kiss Me, Babe" featured complicated vocal layering.[32]
  4. ^ He declared, "There is no moment in rock music more harmonically and formally subtle than this transition. It is the apex of Brian Wilson's get-go catamenia of formal experimentation."[27]
  5. ^ A session in which the band besides worked on "I'm Waiting for the Day", "Wouldn't It Be Nice", and "I Just 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, "Similar, if 'God Only Knows' is the greatest song ever written, then I'll never write anything as good over again! And if I never write anything every bit good, and so I'm finished. I'm a has-been and a wash-up, just like everyone keeps saying."[93]
  8. ^ Adam Sherwin wrote in The Independent: "With its message, that the BBC 'owns' the entire musical waterfront and licence-fee payers would do well to remember that, information technology is the kind of propaganda moving picture an autocratic regime sensing that its legitimacy is aging might produce."[108] Writing for The Guardian, Alex Petridis observed "At that place's clearly something a trivial self-aggrandising about the BBC getting a raft of stars to sing an unambiguous song of undying devotion apparently to the corporation itself.... maybe we should forgive them three minutes of self-congratulation, particularly when information technology's raising money for charity."[109]

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Bibliography [edit]

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Further reading [edit]

  • Sellars, Jeff, ed. (2015). God Only Knows: Faith, Hope, Dear, and The Embankment Boys. Wipf and Stock Publishers. ISBN978-1-4982-0767-6.

External links [edit]

  • Lyrics
  • Brian Wilson and George Martin dissect The Embankment Boys' 'God Only Knows' dorsum in 1997
  • God Simply Knows (Instrumental Stereo Mix) on YouTube
  • God Only Knows (Live At Michigan Country University/1966) on YouTube
  • God Only Knows ("Lei'd In Hawaii" / Studio Stereo Mix) on YouTube
  • The Beach Boys - God Only Knows (From "Skillful Timin: Alive At Knebworth" DVD) on YouTube
  • God Simply Knows (Alive At Jamaican Earth Music Festival, Montego Bay, Jamaica/1982) on YouTube
  • Brian Wilson "God Only Knows" - Late Show #PlayAtHome on YouTube

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

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