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{{Short description|1966 single by the Beach Boys}}
{{About|the 1966 song by the Beach Boys|other uses|Good Vibrations (disambiguation)}}
{{good article}}
{{Infobox song
| name       = Good Vibrations
| cover      = Good Vibrations single.jpg
| caption    = U.S. picture sleeve
| alt        =
| type       = single
| artist     = [[the Beach Boys]]
<!-- Do not add a "from album" parameter. "Good Vibrations" was issued as a standalone single and as such is not considered from the album Smiley Smile.-->
| B-side     = [[Let's Go Away for Awhile]] 
| released   = {{Start date|1966|10|10}}{{sfn|Badman|2004|p=150}}
| recorded   = {{nowrap|{{Start date|17|02}}}}{{snd}}{{nowrap|{{Start date|1966|09|21}}}}
| studio     = [[United Western Recorders|Western]], [[CBS Columbia Square|Columbia]], and [[Gold Star Studios|Gold Star]], Hollywood
| genre      = {{hlist|
 | [[Progressive pop]]<ref>{{cite book |last1=Coryton |first1=Demitri |title=Hits of the ʼ60s: The Million sellers |date=1990 |publisher=B.T. Batsford |page=145 |isbn=9780713458510 |url=https://archive.org/details/hitsof60smillion0000cory/page/144/ |url-access=registration}}</ref><ref name="progpopguide">{{cite web |last1=Reed |first1=Ryan |title=A Guide to Progressive Pop |url=https://tidal.com/magazine/article/a-guide-to-progressive-pop/1-57187 |website=Tidal |date=November 20, 2019}}</ref>
 | [[psychedelic rock]]{{sfn|Greene|2010|p=156}}{{sfn|Shephard|Leonard|2013|p=182}}
 | {{nowrap|[[art pop]]}}<ref>{{cite web|last1=Masley|first1=Ed|title=Nearly 45 years later, Beach Boys' 'Smile' complete|url=http://archive.azcentral.com/thingstodo/music/articles/20111020beach-boys-smile-album-cd-complete-finished.html|publisher=Arizona Central|date=October 28, 2011}}</ref><ref>{{cite web|last1=Christensen|first1=Thor|title=Concert review: Former Beach Boy Brian Wilson shines with 11-member band at the Verizon Theatre|url=http://www.guidelive.com/music/2015/06/25/concert-review-brian-wilson-verizon-theatre|publisher=Guide Live|date=June 25, 2015}}</ref>
 | [[acid rock]]{{sfn|Greene|2010|p=156}}{{sfn|Romano|2010|p=17}}
 | [[psychedelic pop]]{{sfn|Hoskyns|2009|p=128}}<ref name="BB2016">{{cite magazine|last1=Unterberger|first1=Andrew|title=The Beach Boys' 'Good Vibrations' at 50: A Masterpiece of Emotion as Much as Science|url=http://www.billboard.com/articles/columns/pop/7534270/beach-boys-good-vibrations-50th-anniversary|magazine=[[Billboard (magazine)|Billboard]]|date=October 10, 2016}}</ref>
 | {{nowrap|[[avant-pop]]}}<ref name="daytoremember"/><ref>{{cite web|last1=Davidson|first1=Chris|title=Forever Changeless: The Beach Boys, The Smile Sessions|url=http://therumpus.net/2012/04/forever-changeless-the-beach-boys-the-smile-sessions/|website=[[The Rumpus]]|date=30 April 2012 }}</ref>
 | [[rhythm and blues|R&B]]{{sfn|Hickey|2011|p=120}}{{sfn|Priore|2005|p=48}}
 | [[sunshine pop]]<ref>{{cite web|url=https://woodsonrva.com/2021/07/21/best-sunshine-pop-singles-of-the-60s/|title=Best Sunshine Pop Singles of the 60s|date=21 July 2021 |access-date=September 2, 2023|publisher=DJ DAVE'S MUSICAL MUSINGS}}</ref>}}
| length     = {{Duration|m=3|s=35}}
| label      = [[Capitol Records|Capitol]]
| writer     = * [[Brian Wilson]]
* [[Mike Love]]
| producer   = Brian Wilson
| chronology = [[The Beach Boys]]
| prev_title = [[Wouldn't It Be Nice]]
| prev_year  = 1966
| next_title = [[Heroes and Villains]]
| next_year  = 1967
| misc       = {{External music video|{{YouTube|apBWI6xrbLY|"Good Vibrations"}}}}
{{Audio sample
 | type        = single
 | file        = Beach_Boys - Good_Vibrations.ogg
}}
}}

"'''Good Vibrations'''" is a song by the American [[rock music|rock]] band [[the Beach Boys]] that was composed by [[Brian Wilson]] with lyrics by [[Mike Love]]. It was released as a single on October 10, 1966 and was an immediate critical and commercial hit, topping [[record chart]]s in several countries including the United States and the United Kingdom. Characterized by its complex soundscapes, episodic structure and subversions of [[pop music]] formula, it was the most expensive single ever recorded. "Good Vibrations" later became widely acclaimed as one of the finest and most important works of the rock era.<ref>{{harvnb|Moskowitz|2015|p=44}}; {{harvnb|Harrison|1997|p=34}}; {{harvnb|Candelaria|2014|p=130}}; {{harvnb|Brend|2005|p=18}}</ref>

Also produced by Wilson, the title derived from his fascination with [[Energy (esotericism)|cosmic vibrations]], as his mother would tell him as a child that dogs sometimes bark at people in response to their "bad vibrations". He used the concept to suggest [[extrasensory perception]], while Love's lyrics were inspired by the nascent [[Flower Power]] movement. The song was written as it was recorded and in a similar fashion to other compositions from Wilson's ''[[Smile (The Beach Boys album)|Smile]]'' period. It was issued as a standalone single, backed with "[[Let's Go Away for Awhile]]", and was to be included on the never-finished album ''Smile''. Instead, the track appeared on the September 1967 release ''[[Smiley Smile]]''.

The making of "Good Vibrations" was unprecedented for any kind of recording. Building on his approach for ''[[Pet Sounds]]'', Wilson recorded a surplus of short, interchangeable musical fragments with his bandmates and a host of [[session musician]]s at four different [[Hollywood, Los Angeles|Hollywood]] studios from February to September 1966, a process reflected in the song's several dramatic shifts in [[key (music)|key]], [[texture (music)|texture]], instrumentation and mood. Over 90 hours of tape was consumed in the sessions, with the total cost of production estimated to be in the tens of thousands of dollars. Band publicist [[Derek Taylor]] dubbed the unusual work a "[[pocket symphony]]". It helped develop the use of the [[recording studio as an instrument|studio as an instrument]] and heralded a wave of [[experimental pop|pop experimentation]] and the onset of [[psychedelic rock|psychedelic]] and [[progressive rock]]. The track featured a novel mix of instruments, including [[jaw harp]] and [[Electro-Theremin]], and although the latter is not a true [[theremin]], the song's success led to a renewed interest and sales of theremins and [[synthesizer]]s.

"Good Vibrations" received a [[Grammy Award|Grammy]] nomination for Best Vocal Group performance in 1967 and was inducted into the [[Grammy Hall of Fame]] in 1994.<ref name="BBCsoldonsong">{{cite web|title=Sold on Song|url=http://www.bbc.co.uk/radio2/soldonsong/songlibrary/indepth/goodvibrations.shtml|publisher=BBC.co.uk}}</ref> The song was voted number one in ''[[Mojo (magazine)|Mojo]]''{{'}}s "Top 100 Records of All Time"<ref name="BBCsoldonsong"/> and number 6 on ''Rolling Stone''{{'}}s 2004 and 2010 editions of its "[[Rolling Stone's 500 Greatest Songs of All Time|500 Greatest Songs of All Time]]" lists, re-ranked to number 53 in the 2021 iteration. It was also included in the [[Rock and Roll Hall of Fame]]'s list of the "[[500 Songs that Shaped Rock and Roll]]".<ref name="Shaped">{{cite web|title=500 Songs That Shaped Rock|url=https://rockhall.com/exhibits/one-hit-wonders-songs-that-shaped-rock-and-roll/|publisher=[[Rock and Roll Hall of Fame]]|access-date=November 15, 2014}}</ref> In later years, the song has been cited as a forerunner to [[the Beatles]]' "[[A Day in the Life]]" (1967) and [[Queen (band)|Queen]]'s "[[Bohemian Rhapsody]]" (1975). A 1976 [[cover version]] by [[Todd Rundgren]] peaked at number 34 on the ''Billboard'' Hot 100. The Beach Boys followed up "Good Vibrations" with another single pieced from sections, "[[Heroes and Villains]]" (1967), but it was less successful.

==Inspiration and writing==
===Concept and early lyrics===
{{Quote box|
|quote=We got so into it that the more we created, the more we ''wanted'' to create&nbsp;... there was no real set direction we were going in.
|source=—Brian Wilson, quoted in 1997<ref name="ARP"/>
|width  = 25%
}}

[[The Beach Boys]]' leader, [[Brian Wilson]], was responsible for the [[musical composition]] and virtually all of the [[arrangement]] for "Good Vibrations".<ref>{{cite web|title=Mike Love interview|url=http://www.mayonews.ie/index.php?option=com_content&view=article&id=9400:in-full-mike-love-interview&catid=52:going-out&Itemid=146 |access-date=7 March 2012 |archive-url=https://web.archive.org/web/20101228235937/http://www.mayonews.ie/index.php?option=com_content&view=article&id=9400%3Ain-full-mike-love-interview&catid=52%3Agoing-out&Itemid=146 |archive-date=28 December 2010 |url-status=dead}}</ref><ref name="PHK">{{cite web|url=http://www.phawker.com/2012/06/14/incoming-mike-love-not-war/|title=MIKE LOVE NOT WAR: Q&A With A Beach Boy, 2012.|publisher=Phawker.com |access-date=18 July 2013 |url-status=dead |archive-url=https://web.archive.org/web/20120705215233/http://www.phawker.com/2012/06/14/incoming-mike-love-not-war/ |archive-date=July 5, 2012}}</ref> Most of the song's structure and arrangement was written as it was recorded.{{sfn|Badman|2004|p=148}}{{refn|group=nb|Keith Badman reported that "[[Here Today (The Beach Boys song)|Here Today]]" from ''Pet Sounds'' was a reworking of the earliest "Good Vibrations" session, conducted less than a month later, and that phrases originating from "Here Today" would reappear in subsequent recordings for "Good Vibrations".{{sfn|Badman|2004|p=122}} Musicologist Philip Lambert said that a resemblance between the two songs is "apparent, especially in their opening bars".{{sfn|Lambert|2007|p=248}} Lambert also observed some stylistic overlap in "[[Look (Song for Children)]]", another Brian Wilson composition written, composed, and recorded between sessions for "Good Vibrations". Lambert speculates that the ending [[choral singing|choral]] [[fugato]] of "Good Vibrations" could have originated directly from a similar melodic section in "Look".{{sfn|Lambert|2007|p=268}} }}  During the recording sessions for the 1966 album ''[[Pet Sounds]]'', Wilson began changing [[Musicianship of Brian Wilson#Process|his writing process]].{{sfn|Harrison|1997|p=42}} For "Good Vibrations", Wilson said, "I had a lot of unfinished ideas, fragments of music I called 'feels.' Each feel represented a mood or an emotion I'd felt, and I planned to fit them together like a mosaic."{{sfn|Harrison|1997|p=42}} Engineer [[Chuck Britz]] is quoted saying that Wilson considered the song to be "his whole life performance in one track".{{sfn|Hoskyns|2009|p=128}} Wilson stated: "I was an energetic 23-year-old. ... I said: 'This is going to be better than [the [[Phil Spector]] production] "[[You've Lost That Lovin' Feelin']].{{"'"}}{{sfn|Badman|2004|p=117}}

Wilson said that "Good Vibrations" was inspired by his mother: "[She] used to tell me about vibrations. I didn't really understand too much of what it meant when I was just a boy. It scared me, the word 'vibrations.' She told me about dogs that would bark at people and then not bark at others, that a dog would pick up vibrations from these people that you can't see, but you can feel."{{sfn|Badman|2004|p=117}} Brian first enlisted ''Pet Sounds'' lyricist [[Tony Asher]] for help in putting words to the idea. When Brian presented the song on piano, Asher thought that it had an interesting premise with the potential for hit status, but could not fathom the end result due to Brian's primitive piano playing style.{{sfn|Priore|2005|pp=46–47}} Asher remembered: {{blockquote|Brian was playing what amounts to the hook of the song: "Good, good, good, good vibrations." He started telling me the story about his mother. ... He said he’d always thought that it would be fun to write a song about vibes and picking them up from other people. ... So as we started to work, he played this little rhythmic pattern—a riff on the piano, the thing that goes under the chorus."{{sfn|Priore|2005|p=46}}}}

Wilson wanted to call the song "Good Vibes", but Asher advised that it was "lightweight use of the language", and suggested that "Good Vibrations" would sound less "trendy".{{sfn|Priore|2005|p=46}} The two proceeded to write lyrics for the verses that were ultimately discarded.{{sfn|Priore|2005|page={{page needed|date=December 2021}}}}

===Theremin and cello===
{{listen
| filename     = Epro theremin middle bach.ogg
| title        = The sound of a theremin
| description  = Wilson thought of the [[theremin]] as "a woman's voice or a [[violin bow]] on a carpenter's [[saw]]".{{sfn|Brend|2005|p=18}}
}}

From the start, Wilson envisioned a [[theremin]] for the track.{{sfn|Brend|2005|p=18}} [[AllMusic]] reviewer John Bush pointed out: "Radio listeners could easily pick up the link between the title and the obviously electronic riffs sounding in the background of the chorus, but Wilson's use of the theremin added another delicious parallel—between the single's theme and its use of an instrument the player never even touched."<ref name=Allmusicreview />

"Good Vibrations" does not technically feature a theremin, but rather an [[Electro-Theremin]], which is physically controlled by a slider that turns a knob inside the instrument. It was dubbed a "theremin" simply for convenience.{{sfn|Brend|2005|p=16}} At that time, theremins were most often associated with the 1945 [[Alfred Hitchcock]] film ''[[Spellbound (1945 film)|Spellbound]]'', but their most common presence was in the theme music for the television [[sitcom]] ''[[My Favorite Martian]]'', which ran from 1963 to 1966.{{sfn|Priore|2005|pages=47-48}} Britz speculates: "He just walked in and said, 'I have this new sound for you.' I think he must have heard the sound somewhere and loved it, and built a song around it."{{sfn|Priore|2005|page=48}} It is unclear whether Wilson knew that the instrument was not a real theremin.{{sfn|Brend|2005|p=18}}

Brian credited his brother and bandmate [[Carl Wilson|Carl]] for suggesting the use of a [[cello]] on the track.<ref name="TIM">{{cite journal|last1=McCulley|first1=Jerry|title=Trouble in Mind|journal=BAM|date=August 12, 1998|url=http://www.petsounds.com/bam.pdf |url-status=dead |archive-url=https://web.archive.org/web/19980630154219/http://www.petsounds.com/bam.pdf |archive-date=June 30, 1998}}</ref> He further stated that its [[Triplet (music)|triplet]] beat on the chorus was his own idea<ref name="TIM"/> and that it was based on [[the Crystals]]' "[[Da Doo Ron Ron]]" (1963), produced by Spector.{{sfn|Rooksby|2001|pp=34–35}} Conversely, arranger and session musician [[Van Dyke Parks]] said that it was himself who suggested having the cellist play triplets to Brian.{{sfn|Carlin|2006|p=91}} Parks believed that having Brian exploit the cello "to such a hyperbolic degree" was what encouraged the duo to immediately collaborate on the never-finished album ''[[Smile (The Beach Boys album)|Smile]]''.{{sfn|Priore|2005|p=42}} At some point, Wilson asked Parks to pen lyrics for "Good Vibrations", although Parks declined.{{sfn|Carlin|2006|p=92}}{{refn|group=nb|According to Parks, he was offered the opportunity to rewrite Love's lyrics because "[Brian] was embarrassed with the 'excitation' part Mike Love had insisted on adding. But I told Brian that I wouldn't touch it with a 10-foot pole and that nobody'd be listening to the lyrics anyway once they heard that music."<ref>{{cite news|last1=Holdship|first1=Bill|title=Heroes and Villains|work=[[The Los Angeles Times]]|date=April 6, 2000}}</ref>}}

===Influences and final lyrics===
[[File:Vietnamdem.jpg|thumb|A group of [[Flower Power]] demonstrators, 1967]]

Wilson's cousin and bandmate [[Mike Love]] submitted the final lyrics for "Good Vibrations" and contributed its bass-baritone vocals in the [[chorus (song)|chorus]].{{sfn|Carlin|2006|p=95}} He recalled that when he heard the unfinished backing track: "[It] was already so avant-garde, especially with the theremin, I wondered how our fans were going to relate to it. How's this going to go over in the Midwest or Birmingham? It was such a departure from '[[Surfin' U.S.A. (song)|Surfin' U.S.A.]]' or '[[Help Me, Rhonda]].'"<ref name="Uncut2012" />

Love said that he wrote the words while on the drive to the studio.{{sfn|Carlin|2006|p=95}} Feeling that the song could be "the Beach Boys' [[psychedelia|psychedelic]] anthem or [[flower power]] offering,"<ref name="Uncut2012" /> he based the lyrics on the burgeoning [[psychedelic music]] and Flower Power movements occurring in [[San Francisco]] and some parts of the [[Los Angeles]] area. He described the lyrics as "just a flowery poem. Kind of almost like '[[San Francisco (Be Sure to Wear Flowers in Your Hair)|If you’re going to San Francisco be sure to wear flowers in your hair]].'"<ref name="PHK"/> Writing in his 1975 book ''The Beach Boys: Southern California Pastoral'', [[Bruce Golden]] observed:

{{blockquote|The new [[pastoral]] landscape suddenly being uncovered by the young generation provided a quiet, peaceful, harmonious trip into [[Imagination|inner space]]. The hassles and frustrations of the external world were cast aside, and new visions put in their place. "Good Vibrations" succeeds in suggesting the healthy emanations that should result from psychic tranquility and [[inner peace]]. The word "[[Energy (esotericism)|vibrations]]" had been employed by students of [[Eastern philosophy]] and [[hippie|acid-heads]] for a variety of purposes, but Wilson uses it here to suggest a kind of [[Extrasensory perception|extrasensory experience]].{{sfn|Golden|1976|page={{page needed|date=October 2020}}}}}}

[[Capitol Records]] executives were worried that the lyrics contained psychedelic overtones, and Brian was accused of having based the song's production on his [[LSD]] experiences.{{sfn|Wilson|Gold|1991|p=145}}{{sfn|DeRogatis|2003|p=37}}<ref name=Scalluti1968 /> Brian clarified that the song was written under the influence of [[cannabis (drug)|marijuana]], not LSD.<ref name=Uncut2012/> He explained: "I made ‘Good Vibrations’ on drugs; I used drugs to make that. ... I learned how to function behind drugs, and it improved my brain ... it made me more rooted in my sanity."<ref name="Varga2016">{{cite news|last1=Varga|first1=George|title=Brian Wilson talks 'Pet Sounds,' 50 years later|url=http://www.sandiegouniontribune.com/news/2016/jun/26/brian-wilson-and-al-jardine-disucss-pet-sounds/|work=[[San Diego Union-Tribune]]|date=June 26, 2016}}</ref> In [[Steven Gaines]]'s 1986 biography, Wilson is quoted on the lyrics: "We talked about good vibrations with the song and the idea, and we decided on one hand that you could say ... those are sensual things. And then you'd say, 'I'm picking up good vibrations,' which is a contrast against the sensual, the extrasensory perception that we have. That's what we're really talking about."{{sfn|Gaines|1986|p=156–157}}

Wilson said in 2012 that the song's ''"gotta keep those good vibrations"'' bridge was inspired by [[Stephen Foster]].<ref name=Uncut2012/> Bandmate [[Al Jardine]] compared that section to Foster and the Negro spiritual "[[Down by the Riverside]]".<ref name=Uncut2012/> According to Love, the lyric "'she goes with me to a blossom world' was originally meant to be followed by the words 'we find'", but Wilson elected to cut off the line to highlight the bass track linking into the chorus.<ref name=Sharp1on1>{{cite web|last1=Sharp|first1=Ken|title=Mike Love of the Beach Boys: One-On-One (The Interview Part 1)|url=http://www.rockcellarmagazine.com/2015/09/09/mike-love-of-the-beach-boys-one-on-one-the-interview-part-1/2/#sthash.om8yj2AB.dpbs|publisher=Rock Cellar Magazine|date=September 9, 2015|access-date=September 10, 2015|archive-url=https://web.archive.org/web/20180612170213/https://www.rockcellarmagazine.com/2015/09/09/mike-love-of-the-beach-boys-one-on-one-the-interview-part-1/2/#sthash.om8yj2AB.dpbs|archive-date=June 12, 2018|url-status=dead}}</ref>

==Recording and production==
===Modular approach===
[[File:CBS ColumbiaSquare01.jpg|thumb|right|[[CBS Columbia Square]], where the song's final mix was mastered]]

"Good Vibrations" established a new method of operation for Wilson. Instead of working on whole songs with clear large-scale syntactical structures, Wilson limited himself to recording short interchangeable fragments (or "modules"). Through the method of [[tape splicing]], each fragment could then be assembled into a linear sequence, allowing any number of larger structures and divergent moods to be produced at a later time.<ref name="ARP">{{cite journal|last1=Heiser|first1=Marshall|title=SMiLE: Brian Wilson's Musical Mosaic|journal=The Journal on the Art of Record Production|date=November 2012|issue=7|url=http://arpjournal.com/smile-brian-wilson%E2%80%99s-musical-mosaic/|access-date=2016-02-26|archive-url=https://web.archive.org/web/20150415032648/http://arpjournal.com/smile-brian-wilson%E2%80%99s-musical-mosaic/|archive-date=2015-04-15|url-status=dead}}</ref> This was the same modular approach used during the sessions for ''[[Smile (The Beach Boys album)|Smile]]'' and ''[[Smiley Smile]]''.{{sfn|Harrison|1997|pp=42, 46}} To mask each tape edit, vast [[reverb]] [[fall time|decays]] were added at the mixing and sub-mixing stages.<ref name="SoundonSound" />

For instrumentation, Wilson employed the services of "[[the Wrecking Crew (music)|the Wrecking Crew]]", the nickname for a conglomerate of [[session musician]]s active in Los Angeles at that time.{{sfn|Hoskyns|2009|p=128}} Production for "Good Vibrations" spanned more than a dozen recording sessions at four different Hollywood studios, at a time when most pop singles were typically recorded in a day or two.{{sfn|Stebbins|2011|p=76}}{{refn|group=nb|[[United Western Recorders]], [[CBS Columbia Square]], [[Gold Star Studios]], and [[Sunset Sound Recorders]].<ref name="DoeGigs" />}} It was reported to have used over 90 hours of magnetic recording tape, with an eventual budget estimated in the tens of thousands,<ref name=Uncut2012/> making it the costliest single recorded to that date.{{sfn|Badman|2004|p=184}} Biographer [[Peter Ames Carlin]] wrote that Wilson was so puzzled by the arranging of "Good Vibrations" that he would often arrive at a session, consider a few possibilities, and then leave without recording anything, which exacerbated costs.{{sfn|Carlin|2006|p=90}}

One estimate of the overall production expenses is between $50,000 and $75,000 (equivalent to ${{formatnum:{{Inflation|US|50000|1966|r=-4}}}} and ${{formatnum:{{Inflation|US|75000|1966|r=-4}}}} in {{Inflation-year|US}}),{{sfn|Harrison|1997|pp=41–46}}<ref name=Uncut2012/> By comparison, the whole of ''Pet Sounds'' had cost $70,000 (${{formatnum:{{Inflation|US|70000|1966|r=-4}}}}), itself an unusually high cost for an album.{{sfn|Gaines|1986|p=146}}  In 2018, Wilson disputed the $50,000 figure for "Good Vibrations", saying that the overall expenses were closer to $25,000.<ref>{{cite AV media|year=2018|title=Good Vibrations: The Beach Boys|medium=Online video|url=https://www.professorofrock.com/portfolio/good-vibrations-the-beach-boys/|publisher=Professors of Rock}}</ref>

Contemporary advertisements reported $10,000 (${{formatnum:{{Inflation|US|10000|1966|r=-3}}}}) as the track's total production costs.{{sfn|Priore|1995|p=245}} [[Domenic Priore]] wrote that the track cost between $10,000 and $15,000 (${{formatnum:{{Inflation|US|15000|1966|r=-3}}}}).{{sfn|Priore|2005|p=106}} When asked in a 2005 interview if it was true that the Electro-Theremin work alone cost $100,000, Wilson replied "No. $15,000."<ref>{{cite web|url=http://www.theaquarian.com/2005/08/10/brian-wilson-interview-with-brian-wilson/|title=Interview with Brian Wilson|publisher=Theaquarian.com |access-date= 2009-11-22}}</ref>

===Development===
{{Quote box|align=right|salign=left
|quote=Brian came over to me and sang such and such a thing, and I said "Well, write it down and I'll play it," and he said "Write it down? We don't write anything down."
|source=—[[Electro-Theremin]] inventor [[Paul Tanner]], recalling his first ''Pet Sounds'' session{{sfn|Brend|2005|p=18}}
|width  = 25%
}}

The instrumental of the first version of the song was recorded on February 17, 1966, at [[Gold Star Studios]] and was logged as a ''Pet Sounds'' session.{{sfn|Carlin|2006|p=89}}{{refn|group=nb|A memo dated February 23 was sent to Capitol that "Good Vibrations" would be included on the ''Pet Sounds'' album.{{sfn|Sanchez|2014|p=85}} Sessions continued to be logged for ''Pet Sounds'' until after April.<ref name=DoeGigs /> According to Jardine, the group insisted on including "Good Vibrations" on ''Pet Sounds'', but Brian refused.<ref name=Goldmine2000>{{cite magazine|last1=Sharp|first1=Ken|title=Alan Jardine: A Beach Boy still riding the waves|magazine=[[Goldmine (magazine)|Goldmine]]|date=July 28, 2000|url=http://www.brianwilsonfans.com/page11.php |url-status=dead |archive-url=https://web.archive.org/web/20130109022135/http://brianwilsonfans.com/page11.php |archive-date=January 9, 2013}}</ref>}} On that day's session log, it was given the name "#1 Untitled" or "Good, Good, Good Vibrations",{{sfn|Carlin|2006|p=89}} but on its master tape, Wilson distinctly states: "'Good Vibrations'&nbsp;... take one."{{citation needed|date=December 2021}} After twenty-six takes, a rough [[monaural|mono]] mix completed the session. Some additional instruments and rough guide vocals were overdubbed on February 23.{{sfn|Badman|2004|p=118}} Brian and Carl shared vocals for this mix.{{sfn|Badman|2004|p=144}}

The original version of "Good Vibrations" contained the characteristics of a "funky rhythm and blues number" and would not yet resemble a "[[pocket symphony]]".{{sfn|Harrison|1997|pp=41–46}} There was no cello at this juncture, but the Electro-Theremin was present, played by its inventor, [[Paul Tanner]]. It was Brian's second ever recorded use of the instrument, just three days after the ''Pet Sounds'' track "[[I Just Wasn't Made for These Times]]".{{sfn|Carlin|2006|p=89}} Brian then placed "Good Vibrations" on hold in order to devote attention to the ''Pet Sounds'' album, which saw release on May 16. More instrumental sections for "Good Vibrations" were recorded between April and June.{{refn|group=nb|Additional sessions occurred on April 9; May 4, 24–27; June 2, 12, 16, and 18, 1966.<ref name=DoeGigs />}} Brian then forwent additional instrumental tracking until early September, when it was decided to revisit the song's [[bridge (music)|bridge]] section and apply Electro-Theremin overdubs.<ref name="DoeGigs"/>

According to Brian's then-new friend [[David Anderle]], during an early stage, Brian considered giving "Good Vibrations" to one of the black R&B groups signed with [[Warner Bros. Records]] such as [[Wilson Pickett]], and then at Anderle's suggestion{{sfn|Gaines|1986|p=157}} to singer [[Danny Hutton]].{{sfn|Carlin|2006|p=89}}{{sfn|Kent|Pop|2009|pp=34–35}} He thought about abandoning the track, but after receiving encouragement from Anderle, eventually decided on it as the next Beach Boys single.{{sfn|Gaines|1986|p=157}}{{refn|group=nb|Domenic Priore wrote: "Something also clicked with Brian Wilson when he saw Hutton's enthusiasm for the 'Good Vibrations' 45 project. Perhaps this wasn’t for someone else; this could be the song that clinched The Beach Boys’ headlong dive into the emergent psychedelic/pop/art world. 'We fixed it up,' said Wilson. 'Changed it, altered it.'{{sfn|Priore|2005|page=53}} }} In the meantime, he worked on writing and recording material for the group's forthcoming album, ''Smile''.{{sfn|Badman|2004|p=147}}{{refn|group=nb|Before the completion of "Good Vibrations", this included "[[Heroes and Villains]]", "[[Wind Chimes (song)|Wind Chimes]]", "[[Look (Song for Children)|Look]]", "[[On a Holiday|Holidays]]" and "[[Our Prayer]]".<ref name="DoeGigs"/>}}

The first Beach Boy to hear "Good Vibrations" in a semi-completed form, other than Brian, was Carl. Following a performance with the touring group in North Dakota, he remembered: "I came back up into my hotel room one night and the phone rang. It was Brian on the other end. He called me from the recording studio and played this really bizarre sounding music over the phone. There were drums smashing, that kind of stuff, and then it refined itself and got into the cello. It was a real funky track."{{sfn|Badman|2004|p=144}}{{refn|group=nb|Andrew Doe documents that the Beach Boys performed in North Dakota on August 15.<ref name="DoeGigs" /> Also in August, Brian recalls attending the session for [[the Rolling Stones]]' song "[[Between the Buttons|My Obsession]]", during which record producer [[Lou Adler]] gave him marijuana: "They got me all stoned, they laid all this stuff on me and I couldn't find the door. It wiped me out so much I didn't know where the door was to get out of the studio."{{sfn|Badman|2004|p=144}} Beach Boys press agent [[Derek Taylor]] also arranged meeting between himself, Brian, and [[Paul McCartney]] in August of 1966. During the meeting, Brian played an early [[acetate record]] of "Good Vibrations" for McCartney.<ref>{{cite web|last1=Taylor|first1=Derek|title=The Rock's Backpages Flashback: Paul McCartney Drops In On The Beach Boys|url=https://music.yahoo.com/blogs/rocks-backpages/the-rocks-backpages-flashback-paul-mccartney-drops-in-on-the-beach-boys.html|archive-url=https://archive.today/20140726095936/https://music.yahoo.com/blogs/rocks-backpages/the-rocks-backpages-flashback-paul-mccartney-drops-in-on-the-beach-boys.html|url-status=dead|archive-date=2014-07-26|year=1967}}</ref>}} In 1976, Brian revealed that before the final [[Audio mixing (recorded music)|mixdown]], he had been confronted with resistance by members of the group, whom Brian declined to name.<ref name="Felton"/> The subject of their worries and complaints was the song's length and "modern" sound: "I said no, it's not going to be too long a record, it's going to be just right. ... They didn't quite understand what this jumping from studio to studio was all about. And they couldn't conceive of the record as I did. I saw the record as a totality piece."<ref name="Felton"/>

{{listen
|pos=right
|filename=Good_Vibrations_alternate.ogg
|title=Unused "Good Vibrations" sequence
|description=One discarded alternate edit of "Good Vibrations" mastered on August 24, 1966. It included a faster bridge section, prominent [[fuzz bass]], and additional vocals.{{sfn|Hickey|2011|p=146}}{{sfn|Cunningham|1998|p=81}}
}}

The vocals for "Good Vibrations" were recorded at [[CBS Columbia Square]], starting on August 24 and continuing sporadically until the very last day of assembly on September 21.<ref name="DoeGigs">{{cite web|first=Andrew G.|last=Doe|url=http://www.esquarterly.com/bellagio/gigs66.html|title=Gigs66|publisher=Esquarterly.com |access-date= 18 July 2013}}</ref>{{refn|group=nb|[[Barry Miles]] speculates that the Beatles' ''[[Revolver (Beatles album)|Revolver]]'' (released in the US on August 8) acted as an impetus for Wilson to finish "Good Vibrations".<ref>{{cite magazine|last=Miles|first=Barry|author-link=Barry Miles|title=The Tripping Point|magazine=[[Mojo (magazine)|Mojo]]|date=July 2006|page=77}}</ref>}} The episodic structure of the composition was continuously revised as the group experimented with different ideas.{{sfn|Brend|2005|p=19}} Brian remembers that he began recording the "bop bop good vibrations" parts first, and that he came up with "the high parts" a week later.<ref name="Uncut2012" /> Mike Love recalled: "I can remember doing 25–30 vocal overdubs of the same part, and when I mean the same part, I mean same section of a record, maybe no more than two, three, four, five seconds long."{{sfn|Rooksby|2001|pp=34–35}} [[Dennis Wilson]] was to have sung the lead vocal, but due to a bout of [[laryngitis]], Carl replaced him at the last minute.{{sfn|Badman|2004|p=147}} In early September, the master tapes for "Good Vibrations" were stolen. Mysteriously, they reappeared inside Brian's home two days later.{{sfn|Badman|2004|p=147}}

On September 21, Brian completed the track after Tanner added a final Electro-Theremin overdub. In 1976 he elaborated on the event: "It was at Columbia. I remember I had it right in the sack. I could just feel it when I dubbed it down, made the final mix from the [[multitrack recording|16-track]] down to mono. It was a feeling of power, it was a rush. A feeling of exaltation. Artistic beauty. It was everything ... I remember saying, 'Oh my God. Sit back and listen to this!'"<ref name="Felton">{{cite magazine|last=Felton|first=David|title=The Healing of Brother Brian|magazine=Rolling Stone|date=November 1976|url=https://www.rollingstone.com/music/news/the-healing-of-brother-brian-the-rolling-stone-interview-with-the-beach-boys-19761104?page=5|archive-url=https://web.archive.org/web/20140407052945/http://www.rollingstone.com/music/news/the-healing-of-brother-brian-the-rolling-stone-interview-with-the-beach-boys-19761104?page=5|url-status=dead|archive-date=April 7, 2014|access-date=20 January 2014}}</ref>{{sfn|Carlin|2006|p=95}}

==Composition and analysis==
===Genre and dynamics===
[[File:Good Vibrations structure.png|thumb|Formal and harmonic structure of "Good Vibrations"]]

There are six unique [[section (music)|sections]] to the piece. [[music theory|Music theorist]] [[Daniel Harrison (music theorist)|Daniel Harrison]] refers to these sections individually as the [[Song structure (popular music)#Verse|verse]], the [[refrain]] (or chorus), the "first episodic digression", the "second episodic digression", the "retro-refrain", and the [[coda (music)|coda]].{{sfn|Harrison|1997|p=43}} Each has a distinct musical texture, partly due to the nature of the song's recording.{{sfn|Everett|2008|p=88}}<ref name="SoundonSound" /> The track's instrumentation changes radically from section to section,<ref name=SoundonSound /> and for the AM radio standards of late 1966, the song's final runtime (3 minutes 35 seconds) was considered a "very long" [[duration (music)|duration]].{{sfn|Everett|2008|p=326}} Wilson is quoted in 1979:

{{blockquote|It had a lot of riff changes ... movements ... It was a [[pocket symphony]]—changes, changes, changes, building harmonies here, drop this voice out, this comes in, bring this echo in, put the theremin here, bring the cello up a little louder here ... It was the biggest production of our lives!{{sfn|Preiss|1979|p=58}} }}

He characterized the song as "advanced rhythm and blues".{{sfn|Priore|2005|p=48}} Tom Roland of ''[[American Songwriter]]'' described the piece, "with its interlocking segments—a sort of pop version of the [[sonata|classical sonata]], consisting of a series of musical movements".<ref name=Roland /> ''[[New York Magazine]]'' compared it to "a [[fugue]] with a rhythmic beat".<ref name="NYM1972">{{cite journal|journal=[[New York (magazine)|New York]]|date=October 9, 1972|volume=5|issue=41|url=https://books.google.com/books?id=2uYCAAAAMBAJ|title=On Being 33, Middle-Class, and Confused|first=Herbert|last=London|publisher=New York Media, LLC|quote="Good Vibrations" by The Beach Boys is harmonically perfect, a fugue with a rhythmic beat.}}</ref> John Bush compared the track's fragmented [[cut-up technique|cut-and-paste style]] to 1960s experimentalists such as [[William S. Burroughs]].<ref name=Allmusicreview>{{cite web|last1=John|first1=Bush|title=Review|url=http://www.allmusic.com/song/good-vibrations-mt0028092523|website=[[AllMusic]]|access-date=November 16, 2014}}</ref> Music journal ''[[Sound on Sound]]'' argued that the song "has as many dramatic changes in mood as a piece of serious classical music lasting more than half an hour". It explained that the song subverts pop forms to a considerable degree: {{blockquote|Typical pop songs of that era (or indeed any era) usually have a basic groove running throughout the track which doesn't change a great deal from start to finish ...  pop records were either guitar, bass and drum combos or traditional orchestrated arrangements for vocalists ... The exotic instruments, the complex vocal arrangements, and the many dynamic crescendos and decrescendos all combine to set this record apart from most pop music. In short, if there's an instruction manual for writing and arranging pop songs, this one breaks every rule.<ref name=SoundonSound />}}

According to historian Lorenzo Candelaria, "Good Vibrations" has since been marketed as pop music "possibly because it comes across relatively innocent compared with the hard-edged rock we have since come to know."{{sfn|Candelaria|2014|p=130}}  ''[[Uncut (magazine)|Uncut]]'' called the song "three minutes and thirty-six seconds of [[avant-garde pop]]".<ref name=Uncut2012>{{cite journal|last1=Pinnock|first1=Tom|title=The Making of Good Vibrations|journal=Uncut|date=June 8, 2012|url=http://www.uncut.co.uk/features/the-making-of-the-beach-boys-good-vibrations-34867}}</ref> ''Mixdown'' described it as a "masterpiece of [[avant-pop music|avant-pop]]".<ref name="daytoremember">{{cite web|last1=Welby|first1=Augustus|title=A DAY TO REMEMBER|url=http://www.mixdownmag.com.au/day-remember-0|website=Mixdown|date=September 7, 2016}}</ref> The theremin and cello has been called the song's "[[psychedelic music|psychedelic]] ingredient".{{sfn|Henke|George-Warren|1992|p=195}} In his book discussing [[counterculture of the 1960s|music of the counterculture era]], James Perrone stated that the song represented a type of impressionistic psychedelia, in particular for its cello playing repeated bass notes and its theremin.{{sfn|Perrone|2004|p=22}} Professor of American history [[John Robert Greene]] named "Good Vibrations" among examples of [[psychedelic rock|psychedelic]] or [[acid rock]].{{sfn|Greene|2010|p=156}} Stebbins wrote that the song was "replete with sunshine [and] psychedelia".{{sfn|Stebbins|2011|p=76}} Steve Valdez says that, like ''Pet Sounds'', Brian was attempting a more [[experimental rock]] style.{{sfn|Valdez|2014|p=586}}

Comparing "Good Vibrations" to Wilson's previous work ''Pet Sounds'', biographer Andrew Hickey said that the "best way of thinking about [the song] is that it's taking the lowest common denominator of '[[Here Today (The Beach Boys song)|Here Today]]' and '[[God Only Knows]]' and turned the result into an R&B track. We have the same minor-key change between verse and chorus we've seen throughout ''Pet Sounds'', the same descending scalar chord sequences, the same mobile bass parts, but here, rather than to express melancholy, these things are used in a way that's as close as Brian Wilson ever got to [[funk music|funky]]."{{sfn|Hickey|2011|p=120}} Author [[Jon Stebbins]] adds that "unlike ''Pet Sounds'' the chorus of 'Good Vibrations' projects a definite '[[rock and roll]]' energy and feel."{{sfn|Stebbins|2011|p=77}}

According to academic Rikky Rooksby, "Good Vibrations" is an example of Brian Wilson's growing interest in [[musical development]] within a composition, something antithetical to popular music of the time.{{sfn|Rooksby|2001|pp=34–35}} Suppressing tonic strength and [[cadence (music)|cadential]] drive, the song makes use of descending harmonic motions through [[scale (music)|scale]] degrees controlled by a single tonic and "radical disjunctions" in [[key (music)|key]], texture, [[arrangement|instrumentation]], and mood while refusing to develop into a predictable [[Musical form|formal pattern]].{{sfn|Harrison|1997|pp=41–46}} It instead develops "under its own power" and "luxuriates in [[Harmonic rhythm|harmonic variety]]" exemplified by beginning and ending not only in different keys but also in different modes.{{sfn|Harrison|1997|pp=43–44}}

===Verses and refrains (0:00–1:40)===
[[File:Phrygian Andalusian cadence.png|thumb|right|295px|Verse [[chord progression]], an [[Andalusian cadence]], in the key of [[phrygian mode|E phrygian]].{{refn|group=nb|The verses of "Good Vibrations" are in the key of [[E-flat minor|E{{music|b}} minor]].{{sfn|Everett|2008|p=295}} }} {{audio|Simple Andalusian cadence.mid|Play}}.]]

[[File:Carl Wilson.jpg|thumb|left|150px|[[Carl Wilson]] (pictured in 1969) sings lead during the song's verses.]]

"Good Vibrations" begins without introduction in a traditional verse/refrain format,{{sfn|Harrison|1997|p=42}} opening with Carl Wilson singing the word "I", a triplet [[eighth note]] before the [[Downbeat and upbeat|downbeat]].<ref name="SoundonSound" /> The sparse first verse contains a repetition of chords played on a [[Hammond organ]] filtered through a [[Leslie speaker]]; underneath is a two-bar [[Fender bass]] melody. This sequence repeats once (0:15), but with the addition of two [[piccolo]]s sustaining over a falling [[flute]] line. For percussion, [[bongo drums]] double the bass rhythm and every fourth-beat is struck by either a tambourine or a bass-drum-and-snare combination, in alternation.{{sfn|Everett|2008|p=88}} The [[beat (music)|beat]] projects a triplet feel despite being in [[4/4 time|{{music|time|4|4}} time]]; this is sometimes called a "[[shuffle beat]]" or "threes over fours".<ref name="SoundonSound" /> The chord progression used is i–{{music|b}}VII–{{music|b}}VI–V, also called an [[Andalusian cadence]].{{sfn|Everett|2008|p=295}} Although the verses begin in the minor [[mode (music)|mode]] of [[E-flat minor|E{{music|b}}]], the mode is not used to express sadness or drudgery.{{sfn|Everett|2008|p=295}} Occurring at the very end of these verses is a [[passing chord]], D{{music|b}}.{{sfn|Harrison|1997|p=42}}

The refrain (0:25) begins in the newly [[tonic (music)|tonicized]] [[relative major]] [[G-flat major|G{{music|b}}]], which suggests {{music|b}}III.{{sfn|Everett|2008|p=295}} Providing a backdrop to the Electro-Theremin is a cello and [[string bass]] playing a [[bowed tremolo]] triplet, a feature that was an exceedingly rare effect in pop music.{{sfn|Everett|2008|pp=32, 89}} The Fender bass is steady at one note per beat while [[tom drums]] and tambourine provide a [[backbeat]]. This time, the rhythm is stable, and is split into four 4-bar sections which gradually build its vocals.<ref name="SoundonSound" /> The first section consists of only the [[couplet]] "I'm picking up good vibrations/she's giving me the excitation" sung by Mike Love in his bass-baritone register; the second repeats the lines and adds an "ooo bop bop" figure, sung in multiple-part harmony; the third time also adds a "good, good, good, good vibrations" in yet a higher harmony.<ref name="SoundonSound" /> This type of [[polyphony]] ([[counterpoint]]) is also rare in contemporary popular styles.{{sfn|Textbook Equity|2014|p=77}}  Each repeat of the vocal lines also [[transposition (music)|transposes]] up by a whole step, ascending from G{{music|b}} to A{{music|b}} and then B{{music|b}}.{{sfn|Everett|2008|p=295}} It then returns to the verse, thus making a [[perfect cadence]] back into E{{music|b}} minor.{{sfn|Everett|2008|p=295}}  The verse and refrain then repeat without any changes to the patterns of its instrumentation and harmony. This is unusual, in that normally, a song's arrangement adds something once it reaches the second verse.<ref name="SoundonSound" />

===Episodic digressions===

====First episode (1:41–2:13)====

The first episode (1:41+) begins disjunctively with an abrupt [[tape splice]]. The refrain's B{{music|b}}, which had received a [[dominant (music)|dominant]] (V) charge, is now maintained as a tonic (I). There is harmonic ambiguity, in that the chord progression may be either interpreted as I–IV–I (in B{{music|b}}) or V–I–V (in E{{music|b}}).{{sfn|Harrison|1997|p=42}} Stebbins says that this section "might be called a bridge under normal circumstances, but the song's structure takes such an abstract route that traditional labels don't really apply."{{sfn|Stebbins|2011|p=77}} A new sound is created by [[tack piano]], [[jaw harp]], and bass relegated to strong beats which is subsequently (1:55) augmented by a new electric organ, [[bass harmonica]], and [[sleigh bell]]s shaken on every beat.{{sfn|Everett|2008|p=89}}  The lone line of vocals (aside from [[Non-lexical vocables in music|non-lexical harmonies]]) is "I don't know where, but she sends me there" sung in Mike Love's upper-register baritone.  This section lasts for ten measures (6 + 2 + 2), which is unexpectedly long in light of previous patterns.{{sfn|Harrison|1997|p=42}}

====Second episode (2:13–2:56)====
[[File:Hammond B3, Museum of Making Music.jpg|thumb|right|A [[Hammond organ]] similar to the one heard in "Good Vibrations"]]

Another tape splice occurs at 2:13, transitioning to an electric organ playing [[sustained chord]]s set in the key of F{{sfn|Harrison|1997|p=43}} accompanied by a maraca shaken on every beat.{{sfn|Everett|2008|pp=20, 89}} ''Sound on Sound'' highlights this change as the "most savage edit in the track ... most people would go straight into a big splash hook-line section. Brian Wilson decided to slow the track even further, moving into a 23-bar section of church organ ... Most arrangers would steer clear of this kind of drop in pace, on the grounds that it would be chart suicide, but not Brian."<ref name="SoundonSound" /> Harrison says: {{blockquote|The appearance of episode 1 was unusual enough but could be explained as an extended break between verse and refrain sections. Episode 2 however, makes that interpretation untenable, and both listener and analyst must entertain the idea that "Good Vibrations" develops under its own power, as it were, without the guidance of overdetermined formal patterns. Brian’s {{sic}} own description of the song—a three-and-a-half-minute 'pocket symphony'—is a telling clue about his formal ambitions here.{{sfn|Harrison|1997|p=43}}}}

The slowed pace is complemented by the lyric ("Gotta keep those loving good vibrations a-happening with her"), sung once first as a solo voice, with the melody repeated an octave higher the second time with an accompanying harmony. This two-part vocal fades as a solo harmonica plays a melody on top of the persistent quarter-note bass line and maraca that maintain the only rhythm throughout Episode 2. The section ends with a five-part harmony vocalizing a whole-note chord that is sustained by reverb for a further four beats. Lambert calls it the song's "wake-up chord at the end of the meditation that transports the concept into a whole new realm: it's an iconic moment among iconic moments. As it rouses us from a blissful dream and echoes into the silence leading into the chorus, it seems to capture every sound and message the song has to say."{{sfn|Lambert|2007|p=260}}

===Retro-refrain and coda (2:57–3:35)===

A brief [[Drop (music)|break]] at the end of the second musical digression creates [[Tension (music)|tension]] which leads into the final sequence of the song.  The refrain reappears for an additional five measures, marching through a transpositional structure that begins in B{{music|b}}, repeats at A{{music|b}}, and then ends at G{{music|b}} for an unexpectedly short single measure.{{sfn|Harrison|1997|p=43}}  The section uses a descending progression, which mirrors the ascending progression of the previous two refrains.  There follows a short section of vocalizing in three-part counterpoint that references the original refrain by reproducing upward transposition. However, this time it settles on A{{music|b}}, the concluding key of the song.{{sfn|Harrison|1997|p=43}} By the end of "Good Vibrations," all seven scale degrees of the opening E{{music|b}}-minor tonic are activated on some level.{{sfn|Harrison|1997|p=43}}

==Release and promotion==
[[File:Good Vibrations Single Advertisement - October 1966.jpg|thumb|Advertisement for "Good Vibrations" published in [[Billboard (magazine)|Billboard]] magazine in October 1966]]
In a July 1966 advertisement for ''Pet Sounds'' in ''[[Billboard (magazine)|Billboard]]'' magazine, the band thanked the music industry for the sales of their album, and said that "We're moved over the fact that our Pet Sounds brought on nothing but Good Vibrations." This was the first public hint of the new single.{{sfn|Badman|2004|p=139}} Later in the year, Brian told journalist Tom Nolan that the new Beach Boys single was "about a guy who picks up good vibrations from a girl" and that it would be a "monster". He then suggested: "It's still sticking pretty close to that same boy-girl thing, you know, but with a difference. And it's a start, it's definitely a start."{{sfn|Sanchez|2014|p=85}} [[Derek Taylor]], who had recently been engaged as the band's publicist, is credited for coining the term a "pocket symphony" to describe the song.{{sfn|Stebbins|2011|p=77}} In a press release for the single, he stated: "Wilson's instinctive talents for mixing sounds could most nearly equate to those of the old painters whose special secret was in the blending of their oils. And what is most amazing about all outstanding creative artists is that they are using only those basic materials which are freely available to everyone else."<ref>{{cite web|url=http://s351.photobucket.com/user/marcus1970/media/hit%20parader%201966/HitParaderp5October1966.jpg.html|title=Taylor, Derek. October 5, 1966. Hit Parader, p12.|publisher=Photobucket |access-date= 18 July 2013}}</ref>

To promote the single, four different [[music video]]s were shot.{{sfn|Badman|2004|pp=150–51}} The first of these—which had [[Caleb Deschanel]] as cameraman—features the group at the former fire station Engine Co. No. 27 (now the [[Los Angeles Fire Department Museum and Memorial]]) in Hollywood, CA, sliding down the fire poles, riding on the fire trucks, and roaming the streets of Los Angeles in a fashion comparable to ''[[The Monkees (TV series)|The Monkees]]''.{{sfn|Badman|2004|p=150}} The second features the group during vocal rehearsals at [[United Western Recorders]]. The third contains footage recorded during the making of ''The Beach Boys in London'', a documentary by [[Peter Whitehead (filmmaker)|Peter Whitehead]] of their concert performances. The fourth clip is an alternative edit of the third.{{sfn|Badman|2004|pp=150–51}} Brian also made a rare television appearance on local station [[KCAL-TV|KHJ-TV]] for its ''Teen Rock and Roll Dance Program'', introducing the song to the show's in-studio audience and presenting an exclusive preview of the completed record.{{sfn|Sanchez|2014|p=42}}

{{Quote box|align=left|salign=left
|quote=Penned by Brian Wilson and Mike Love, group has a sure-fire hit in this off-beat and intriguing rhythm number. Should hit hard and fast.
|source=—''Billboard'', October 15, 1966<ref name="Billboard1066"/>
|width  = 25%
}}
On October 15, 1966, ''Billboard'' predicted that the single would reach the top 20 in the [[Billboard Hot 100|''Billboard'' Hot 100]] chart.<ref name="Billboard1066">{{cite magazine|title=Pop Spotlights|magazine=[[Billboard (magazine)|Billboard]]|date=October 15, 1966|url=https://books.google.com/books?id=8CgEAAAAMBAJ&pg=PA16|issn=0006-2510|volume=78|issue=42}}</ref> "Good Vibrations" was the Beach Boys' third US number one hit, after "[[I Get Around]]" and "[[Help Me, Rhonda]]", reaching the top of the Hot 100 in December. It was also their first number one in Britain.{{sfn|Badman|2004|p=155-56}} The single sold over 230,000 copies in the US within four days of its release and entered the ''[[Cashbox (magazine)|Cash Box]]'' chart at number 61 on October 22.<ref>{{cite web|url=http://www.cashboxmagazine.com/archives/60s_files/19661022.html|title=Cash Box Top 100 10/22/66 |access-date=18 July 2013 |url-status=dead |archive-url=https://web.archive.org/web/20081120201518/http://www.cashboxmagazine.com/archives/60s_files/19661022.html |archive-date=November 20, 2008}}</ref> ''[[Record World]]'' described it as "highly imaginative."<ref>{{cite magazine|title=Single Picks of the Week|magazine=Record World|date=October 15, 1966|page=1|accessdate=2023-07-11|url=https://worldradiohistory.com/Archive-All-Music/Record-World/60s/66/RW-1966-10-15.pdf}}</ref> In the UK, the song sold over 50,000 copies in the first 15 days of its release.<ref>
{{cite magazine|title=Billboard 4 March 1967|magazine=Billboard|url=https://books.google.com/books?id=CykEAAAAMBAJ&q=beach+boys&pg=PA64|editor=Danyel Smith|publisher=Nielsen Business Media, Inc.|year=1967|issn=0006-2510 |access-date= 18 July 2013}}</ref> "Good Vibrations" quickly became the Beach Boys' first million-selling single.<ref>{{cite web|url=https://digital.library.unt.edu/ark:/67531/metadc19796/m1/|title=The Rubberization of Soul|publisher=UNT Digital Library |access-date= April 9, 2011}}</ref> In December 1966, the record was their first single certified gold by the [[Recording Industry Association of America|RIAA]] for sales of one million copies.{{sfn|Sanchez|2014|p=86}} On March 30, 2016, the [[digital single]] was certified platinum by the RIAA for the same sales level.<ref>{{cite press release|author=<!--Staff writer(s); no by-line.-->|title=RIAA GOLD & PLATINUM AWARDS|url=https://www.riaa.com/wp-content/uploads/2016/04/RIAA_March2016.pdf|agency=[[RIAA]]|date=March 2016| access-date  = July 7, 2016}}</ref>{{refn|group=nb|In 1989 the RIAA lowered the requirement for platinum awards for singles to one million units.}}

In the US, ''[[Cash Box]]'' said that it is a "catchy, easy-driving ditty loaded with the Boys’ money-making sound."<ref name=cb>{{cite magazine|title=CashBox Record Reviews|date=October 15, 1966|page=14 |access-date=2022-01-12|url=https://worldradiohistory.com/Archive-All-Music/Cash-Box/60s/1966/CB-1966-10-15.pdf|magazine=Cash Box}}</ref>  In Britain, the single received favorable reviews from the ''[[New Musical Express]]'' and ''[[Melody Maker]]''.{{sfn|Badman|2004|p=155-56}} Soon after, the Beach Boys were voted the number one band in the world in the ''NME'' readers' poll, ahead of the Beatles, [[the Walker Brothers]], the Rolling Stones, and [[the Four Tops]].{{sfn|Sanchez|2014|pp=86–87}} ''Billboard'' said that this result was probably influenced by the success of "Good Vibrations" when the votes were cast, together with the band's recent tour, whereas the Beatles had neither a recent single nor had they toured the UK throughout 1966; the reporter added that "The sensational success of the Beach Boys, however, is being taken as a portent that the popularity of the top British groups of the last three years is past its peak."<ref>{{cite magazine|title=It's Beach Boys Over Beatles: Reader Poll|magazine=[[Billboard (magazine)|Billboard]]|date=December 10, 1966|volume=78|issue=50|page=10|url=https://books.google.com/books?id=0CIEAAAAMBAJ&pg=PA21|issn=0006-2510}}</ref> In a readers' poll conducted by a Danish newspaper, Brian Wilson won the "best foreign-produced recording award", marking the first time that an American had won in that category.<ref>{{cite magazine|title=Danish Paper Cites Wilson|magazine=[[Billboard (magazine)|Billboard]]|date=April 29, 1967|volume=79|issue=17|url=https://books.google.com/books?id=CCgEAAAAMBAJ&pg=PA8|location=Los Angeles|issn=0006-2510}}</ref>

The single achieved sales of over 50,000 copies in Australia, being eligible for the award of a Gold Disc.<ref>{{cite book|title=[[The Go Set Chart Book, Australia's First National Charts]] page 13, ISBN 978-1-387-71246-5}}</ref>

==Influence and legacy==
===Historical reception===
[[File:Brian wilson good vibrations 2017.png|thumb|330x330px|[[Brian Wilson]] performing "Good Vibrations" with [[Al Jardine]] in 2017]]
Virtually every pop music critic recognizes "Good Vibrations" as one of the most important compositions and recordings of the entire rock era.{{sfn|Moskowitz|2015|p=44}} It is a regular fixture on "greatest of all-time" song lists<ref name="BB2016"/> and is frequently hailed as one of the finest pop productions of all time.{{sfn|Brend|2005|p=18}} In 2004<ref>{{Cite magazine|last=|first=|last2=|first2=|date=2003-12-11|title=500 Greatest Songs of All Time|url=https://www.rollingstone.com/music/music-lists/500-greatest-songs-of-all-time-151127/|access-date=2022-02-19|magazine=Rolling Stone|language=en-US}}</ref> and 2010,{{CN|date=December 2023}} ''[[Rolling Stone]]'' magazine ranked "Good Vibrations" at number 6 in its "[[The 500 Greatest Songs of All Time]]", the highest position of seven Beach Boys songs cited in the list; it descended to number 53 in the 2021 edition, no longer the band's highest ranked song due to "[[God Only Knows]]" being placed at number 11.{{CN|date=December 2023}} In 2001, the song was voted 24th in the RIAA and NEA's [[Songs of the Century]] list.<ref>{{cite press release|title=RIAA, NEA Announce Songs of the Century|date=March 2001|publisher=Recording Industry Association of America (RIAA)|url=https://www.riaa.com/newsitem.php?id=B3DB4887-39EE-F70A-8C7A-3B81B66B2C44 |access-date=3 March 2013 |archive-date=March 24, 2012 |url-status=unfit |archive-url=https://web.archive.org/web/20120324105252/http://www.riaa.com/newsitem.php?id=B3DB4887-39EE-F70A-8C7A-3B81B66B2C44}}</ref> ''[[The Guardian]]'' and ''[[Paste (magazine)|Paste]]'' both ranked the song number one on their lists of the greatest Beach Boys songs.<ref>{{cite web|url=https://www.theguardian.com/music/2022/jan/27/the-beach-boys-40-greatest-songs-ranked|title=The Beach Boys' 40 greatest songs – ranked!|first=Alexis|last=Petridis|work=[[The Guardian]]|date=January 27, 2022|accessdate=March 2, 2022}}</ref><ref>{{cite web|url=https://www.pastemagazine.com/music/the-20-best-beach-boys-songs/|title=The 20 Best Beach Boys Songs|first=Max|last=Blau|work=[[Paste (magazine)|Paste]]|date=May 16, 2011|accessdate=March 2, 2022}}</ref>

The song served as an anthem for the [[counterculture of the 1960s]].{{sfn|Guinn|2014|p=130}} According to Noel Murray of ''[[The A.V. Club]]'', it also helped turn around the initially poor perception of ''Pet Sounds'' in the US, where the album's "un-hip orchestrations and pervasive sadness [had] baffled some longtime fans, who didn't immediately get what Wilson was trying to do."<ref name=AVPrimer>{{cite news|last1=Murray|first1=Noel|title=A beginner's guide to the sweet, stinging nostalgia of The Beach Boys|url=http://www.avclub.com/article/beginners-guide-sweet-stinging-nostalgia-beach-boy-210390|newspaper=[[The A.V. Club]]|date=October 16, 2014}}</ref> Encouraged by the single's success, Wilson continued working on ''Smile'', intending it as an entire album incorporating the writing and production techniques he had devised for "Good Vibrations". "[[Heroes and Villains]]", the Beach Boys' follow-up single, continued his modular recording practices, spanning nearly thirty recording sessions held between May 1966 and June 1967.{{sfn|Sanchez|2014|p=113}}

In contrast to the acclaim lavished on the song, some of Wilson's pop and rock contemporaries have been tempered in their praise of "Good Vibrations".<ref name="BB2016" /> When asked about the song in 1990, [[Paul McCartney]] responded: "I thought it was a great record. It didn't quite have the emotional thing that ''Pet Sounds'' had for me. I've often played ''Pet Sounds'' and cried. It's that kind of an album for me."<ref>{{cite AV media notes|first=David|last=Leaf|author-link=David Leaf|chapter=The Observers: Paul McCartney|title=The Pet Sounds Sessions|others=[[The Beach Boys]]|year=1997|publisher=[[Capitol Records]]|type=Booklet|chapter-url=http://albumlinernotes.com/Paul_McCartney_Comments.html}}</ref> [[Pete Townshend]] of [[the Who]] was quoted in the 1960s as saying, "'Good Vibrations' was probably a good record but who's to know? You had to play it about 90 bloody times to even hear what they were singing about." Townshend feared that the single would lead to a trend of [[Overproduction (music)|overproduction]].{{sfn|Badman|2004|p=156}} In a 1966 issue of ''[[Arts Magazine]]'', [[Jonathan King]] said: "With justification, comments are being passed that 'Good Vibrations' is an inhuman work of art. Computerized pop, mechanized music. Take a machine, feed in various musical instruments, add a catch phrase, stir well, and press seven buttons. It is long and split. ... impressive, fantastic, commercial—yes. Emotional, soul-destroying, shattering—no."<ref>{{cite journal|title=The Beach Boys|journal=[[Arts Magazine]]|date=1966|volume=41;54|issue=1–5|page=24|url=https://books.google.com/books?id=L7BUAAAAMAAJ|publisher=Art Digest Incorporated}}</ref> In the 2000s, record producer [[Phil Spector]] criticized the single for depending too much on tape manipulation, negatively referring to it as an "edit record ... It's like ''[[Psycho (1960 film)|Psycho]]'' is a great film, but it's an 'edit film.' Without edits, it's not a film; with edits, it's a great film. But it's not ''[[Rebecca (1940 film)|Rebecca]]'' ... it's not a beautiful story."<ref name="BB2016" /><ref>{{cite AV media|people=[[Vikram Jayanti|Jayanti, Vikram]] (Director)|year=2009|title=The Agony and the Ecstasy of Phil Spector|medium=[[Documentary film]]}}</ref>

===Advancements===
====Recording and popular music====
{{Quote box|align=right|salign=left
|quote=Other artists and producers, notably [[the Beatles]] and [[Phil Spector]], had used varied instrumentation and multi-tracking to create complex studio productions before. And others, like [[Roy Orbison]], had written complicated pop songs before. But "Good Vibrations" eclipsed all that came before it, in both its complexity as a production and the liberties it took with conventional notions of how to structure a pop song.
|source=—Mark Brend, ''Strange Sounds: Offbeat Instruments and Sonic Experiments in Pop''{{sfn|Brend|2005|p=19}}
|width  = 25%
}}
"Good Vibrations" is credited for having further developed the [[Recording studio as an instrument|use of recording studios as a musical instrument]].{{sfn|Everett|2008|p=88}}{{sfn|Brend|2005|p=19}}{{sfn|Harrison|1997|pp=41–46}}<ref name="SoundonSound">{{cite web|title=Making Arrangements—A Rough Guide To Song Construction & Arrangement, Part 1|url=http://www.soundonsound.com/sos/1997_articles/oct97/arranging1.html|work=Sound on Sound |access-date=8 May 2014|date=October 1997 |url-status=dead |archive-url=https://web.archive.org/web/20140508082609/http://www.soundonsound.com/sos/1997_articles/oct97/arranging1.html |archive-date=8 May 2014}}</ref> Author [[Domenic Priore]] commented that the song's making was "unlike anything previous in the realms of classical, jazz, international, soundtrack, or any other kind of recording".{{sfn|Priore|2005|p=55}} A milestone in the development of rock music,{{sfn|Stuessy|Lipscomb|2009|p=71}} the song, together with the Beatles' ''Revolver'', was a prime proponent in rock's transformation from live concert performances to studio productions that could only exist on record.{{sfn|Ashby|2004|p=282}} Musicologist [[Charlie Gillett]] called it "one of the first records to flaunt studio production as a quality in its own right, rather than as a means of presenting a performance".{{sfn|Gillett|1984|p=329}} In a 1968 editorial for ''[[Jazz & Pop]]'', [[Gene Sculatti]] predicted:

{{blockquote|style=overflow:inherit;|"Good Vibrations" may yet prove to be the most significantly revolutionary piece of the current rock renaissance; executed as it is in conventional Beach Boys manner, it is one of the few organically complete rock works; every audible note and every silence contributes to the whole three minutes, 35 seconds, of the song. It is the ultimate in-studio production trip, very much rock 'n' roll in the emotional sense and yet un-rocklike in its {{sic|nolink=y|spacial}}, dimensional conceptions. In no minor way, "Good Vibrations" is a primary influential piece for all producing rock artists; everyone has felt its import to some degree, in such disparate things as [[The Yellow Balloon (band)|the Yellow Balloon]]'s "[[Yellow Balloon]]" and [[the Beatles]]' "[[A Day in the Life]]," in groups as far apart as (recent) [[Grateful Dead]] and [[the Association]], as Van Dyke Parks and [[the Who]].<ref name="Scalluti1968">{{cite journal|last=Sculatti|first=Gene|author-link=Gene Sculatti|url=http://www.teachrock.org/resources/article/villains-and-heroes-in-defense-of-the-beach-boys/|title=Villains and Heroes: In Defense of the Beach Boys|journal=Jazz & Pop|date=September 1968|access-date=10 July 2014|url-status=dead|archive-url=https://web.archive.org/web/20140714191639/http://www.teachrock.org/resources/article/villains-and-heroes-in-defense-of-the-beach-boys/|archive-date=14 July 2014}}</ref>}}

Writing for ''[[Popmatters]]'' in 2015, Scott Interrante stated: "'Good Vibrations' changed the way a pop record could be made, the way a pop record could sound, and the lyrics a pop record could have."<ref name="12songs2015">{{cite magazine|last1=Interrante|first1=Scott|title=The 12 Best Brian Wilson Songs|url=http://www.popmatters.com/post/193278-the-12-best-brian-wilson-songs/|magazine=[[Popmatters]]|date=May 20, 2015}}</ref> The recording contains previously untried mixes of instruments, and it was the first pop hit to have cellos in a juddering rhythm.{{sfn|Brend|2005|pp=18–19}} [[Microtonal]] composer Frank Oteri said that it "sounds like no other pop song recorded up to that point".<ref name="Oteri2011">{{cite web|last1=Oteri|first1=Frank J.|date=December 8, 2011|title=SOUNDS HEARD: THE BEACH BOYS—THE SMILE SESSIONS|url=https://nmbx.newmusicusa.org/sounds-heard-the-beach-boys-the-smile-sessions/ |access-date=March 14, 2016|website=New Music Box |archive-url=https://web.archive.org/web/20210226175940/https://nmbx.newmusicusa.org/sounds-heard-the-beach-boys-the-smile-sessions/ |archive-date=26 February 2021 |url-status=dead}}</ref> According to Stebbins: "This signature sound would be duplicated, cloned, commercialized, and re-fabricated in songs, commercials, TV shows, movies, and elevators to the point of completely diluting the genius of the original. But 'Good Vibrations' was probably the quintessential '[[sunshine pop]]' recording of the century."{{sfn|Stebbins|2011|p=80}} He added that the single "vaulted nearly every other rock act in their delivery of a Flower Power classic. It was just strange enough to be taken seriously, but still vibrant, happy, accessibly Beach Boys-esque pop."{{sfn|Stebbins|2011|pp=79-80}} John Bush wrote that the single "announced the coming era of pop experimentation with a rush of riff changes, echo-chamber effects, and intricate harmonies".<ref name=Allmusicreview /> Gillett noted: "For the rest of the sixties, countless musicians and groups attempted to represent an equivalently blissful state, but none of them ever applied the intense discipline and concentration that Wilson had devoted to the recording."{{sfn|Gillett|1984|p=329}}

Priore says that the song was a forerunner to works such as [[Marvin Gaye]]'s ''[[What's Going On (Marvin Gaye album)|What's Going On]]'' (1971) and [[Isaac Hayes]]' ''[[Shaft (Isaac Hayes album)|Shaft]]'' (1971) which presented [[soul music]] in a similar, multi-textured context imbued with ethereal sonic landscapes.{{sfn|Priore|2005|p=48}} In his appraisal for ''American Songwriter'', Roland cites the song's "format" as the model for recordings by [[Wings (band)|Wings]] ("[[Band on the Run (song)|Band on the Run]]"), the Beatles ("A Day in the Life"), and [[Elton John]] ("[[Funeral for a Friend/Love Lies Bleeding]]").<ref name="Roland">{{cite magazine|last1=Roland|first1=Tom|title=BRIAN WILSON: An Impact on Pop Culture|url=http://www.americansongwriter.com/2002/11/brian-wilson-an-impact-on-pop-culture/|magazine=[[American Songwriter]]|date=November 1, 2002}}</ref> The song's approach was repeated in [[Queen (band)|Queen's]] 1975 single "[[Bohemian Rhapsody]]", which was similarly pieced together using different sections.<ref>{{cite web|last1=McAlpine|first1=Fraser|title=10 Things You May Not Know About Queen's 'Bohemian Rhapsody'|url=http://www.bbcamerica.com/anglophenia/2015/10/10-things-you-may-not-know-about-queens-bohemian-rhapsody|website=[[BBC America]]|date=October 10, 2015}}</ref> Wilson praised Queen's effort, calling it "the most competitive thing that's come along in ages" and "a fulfillment and an answer to a teenage prayer—of artistic music".<ref>{{cite journal|last=Cromelin|first=Richard|title=Pet Sounds & The California Consciousness|journal=Sounds|date=7 August 1976|url=http://www.rocksbackpages.com/Library/Article/brian-wilson-part-2}}</ref>

====Psychedelic and progressive rock====
{{Main|Psychedelic rock|Progressive rock}}
With "Good Vibrations", the Beach Boys ended 1966 as the only band besides the Beatles to have had a high-charting psychedelic rock song, at a time when the genre was still in its formative stages.{{sfn|Shephard|Leonard|2013|p=182}} Writing in 2009, [[Barney Hoskyns]] deemed it to be the era's "ultimate [[psychedelic pop]] record" from Los Angeles.{{sfn|Hoskyns|2009|p=128}} Interrante adds: "Its influence on the ensuing psychedelic and [[progressive rock]] movements can’t be overstated, but its legacy as a pop hit is impressive as well."<ref name="12songs2015"/> Former [[Atlantic Records]] executive [[Phillip Rauls]] recalled: "I was in the music business at the time, and my very first recognition of [[acid rock]]—we didn't call it progressive rock then—was, of all people, the Beach Boys and the song 'Good Vibrations' ... That [theremin] sent so many musicians back to the studio to create this music on acid."{{sfn|Romano|2010|p=17}} Author [[Bill Martin (philosophy)|Bill Martin]] suggested that the Beach Boys were clearing a pathway toward the development of progressive rock, writing: "The fact is, the same reasons why much progressive rock is difficult to dance to apply just as much to 'Good Vibrations' and 'A Day in the Life.'"{{sfn|Martin|1998|p=40}}

====Use of theremin====
{{Main|Theremin|Electro-Theremin}}
{{Further|Electronics in rock music}}
[[File:Paul Tanner with Electro-Theremin.jpg|thumb|right|[[Paul Tanner]] with the [[Electro-Theremin]]]]
Although the song does not technically contain a theremin, "Good Vibrations" is the most frequently cited example of the instrument's use in pop music.{{sfn|Brend|2005|p=16}} Upon release, the single prompted an unexpected revival in theremins and increased the awareness of [[analog synthesizer]]s.{{sfn|Pinch|Trocco|2009|pp=102–103}} The notion that "Good Vibrations" features a theremin has been erroneously repeated in books, CD liner notes, and quotes from the recording's participants. While having a similar sound, a theremin is an aerial-controlled instrument, unlike the Electro-Theremin.{{sfn|Brend|2005|p=18}}

When the Beach Boys needed to reproduce its sound onstage, Wilson first requested that Tanner play the Electro-Theremin live with the group, but he declined due to commitments. Tanner recalls saying to Wilson, "I've got the wrong sort of hair to be on stage with you fellas", to which Wilson replied: "We'll give you a [[Prince Valiant]] wig."{{sfn|Brend|2005|p=19}} The Beach Boys then requested the services of [[Walter Sear]], who asked [[Robert Moog|Bob Moog]] to design a [[ribbon controller]], since the group was used to playing the fretboards of a guitar. Sear remembers marking fretboard-like lines on the ribbon "so they could play the damn thing." Moog began manufacturing his own models of theremins. He later noted: "The pop record scene cleaned us out of our stock which we expected to last through Christmas."{{sfn|Pinch|Trocco|2009|pp=102–103}}

In [[Steven M. Martin]]'s 1993 documentary ''[[Theremin: An Electronic Odyssey]]'', in which Wilson makes an appearance, it was revealed that the attention being paid to the theremin due to "Good Vibrations" caused Russian authorities to exile its inventor, [[Leon Theremin]].{{sfn|Priore|2005|page=188}}

===Cover versions===
{{See also|List of cover versions of Beach Boys songs}}
The song has been covered by artists such as [[Groove Holmes]], [[the Troggs]], [[Charlie McCoy]], and [[Psychic TV]]. John Bush commented: "'Good Vibrations' was rarely reprised by other acts, even during the cover-happy '60s. Its fragmented style made it essentially cover-proof."<ref name=Allmusicreview/> In 1976, a nearly identical [[cover version]] was released as a single by [[Todd Rundgren]] for his album ''[[Faithful (Todd Rundgren album)|Faithful]]''. When asked for his opinion, Brian said: "Oh, he did a marvelous job, he did a great job. I was very proud of his version."<ref>{{cite journal|last1=Cromelin|first1=Richard|title=Surf's Up! Brian Wilsom Comes Back From Lunch|journal=Creem|date=October 1976|url=http://i730.photobucket.com/albums/ww302/bgasnow/scan0001-16.jpg}}</ref> Rundgren's single peaked at number 34 on the ''Billboard'' Hot 100.<ref name="Rundgrenchart">{{cite magazine|url={{AllMusic|class=artist|id=p5322|pure_url=yes}} | title=allmusic ((( Todd Rundgren &gt; Charts & Awards &gt; Billboard Singles )))| magazine=Billboard| access-date=2011-12-17}}</ref> Rundgren explained: "I used to like the sound of the Beach Boys, but it wasn't until they began to compete with the Beatles that I felt that what they were doing was really interesting—like around ''Pet Sounds'' and 'Good Vibrations' ... when they started to shed that whole [[surf music]] kind of burden and start to branch out into something that was a little more universal. ...  I tried to do [the song] as literally as I could because in the intervening 10 years, radio had changed so much. Radio had become so formatted and so structured that that whole experience was already gone."<ref>{{cite web|last1=Gleason|first1=Paul|title=Todd Rundgren's Current 'State' of Mind (Interview)|url=http://www.rockcellarmagazine.com/2013/04/02/todd-rundgren-interview-state-album-tour/#sthash|publisher=Rock Cellar Magazine|date=April 2, 2013}}</ref>

In 2004, Wilson re-recorded the song as a solo artist for his album ''[[Brian Wilson Presents Smile]]''. It was sequenced as the album's closing track, following "[[In Blue Hawaii]]". In this version, "Good Vibrations" was the project's only track that eschewed the modular recording method. The song's verses and chorus were recorded as part of one whole take, and were not spliced together.<ref>{{cite web|last=Bell|first=Matt|title=The Resurrection of Brian Wilson's Smile|url=http://www.soundonsound.com/sos/Oct04/articles/smile.htm|work=Sound on Sound|publisher=soundonsound.com|access-date=16 July 2013|date=October 2004}}</ref><!-- In addition, the arrangement differs from the original by including an extra ''"hum-be-dum"'' harmony section based on a bridge outtake recorded in September 1966.{{citation needed|date=October 2014}} Before the album's release, it was issued as a single, with "In Blue Hawaii" as its B-side. A different issue of the single included a live version of "Good Vibrations".{{citation needed|date=November 2014}}-->{{refn|group=nb|According to Wilson, his wife Melinda suggested that he use the original lyrics written by Tony Asher.{{sfn|Carlin|2006|p=315}} Love was also credited on the 2004 version, along with Asher.<ref>''Brian Wilson presents Smile'' (Sheet music folio), Rondor Music International, {{ISBN|0-634-09289-8}}</ref> }}

In 2012, [[Wilson Phillips]], a trio consisting of Wilson's daughters [[Carnie Wilson|Carnie]] and [[Wendy Wilson|Wendy]], and [[John Phillips (musician)|John Phillips]]' daughter [[Chynna Phillips|Chynna]], released an album containing covers of songs by the Beach Boys and [[the Mamas & the Papas]] titled ''Dedicated''.<ref>{{cite magazine|url=http://www.billboard.com/articles/chartbeat/497072/wilson-phillips-still-holding-on-with-new-album-tv-show-exclusive-video|title=Wilson Phillips: 'Still Holding On' With New Album, TV Show (Exclusive Video)|magazine=Billboard |access-date=2016-09-29}}</ref> Their version of "Good Vibrations", with Carnie Wilson on lead vocals, was released as a single from the album and peaked at number 25 on ''Billboard''{{'}}s [[Adult Contemporary (chart)|A/C]] chart.<ref>{{cite magazine|url=http://www.billboard.com/artist/431449/wilson-phillips/chart?page=1&f=341|title=Wilson Phillips – Chart history|magazine=Billboard |access-date=2016-09-29}}</ref>

===In popular culture===
*In 1996, experimental rock group [[His Name Is Alive]] released an homage titled "Universal Frequencies" on their album ''[[Stars on E.S.P.]]'' [[Warren Defever]] reportedly listened to "Good Vibrations" repeatedly for a week before deciding that the song "needed a sequel"; he added: "'Good Vibrations' is one of the first pop hits where you can actually hear the tape edits and I think that's wonderful."<ref>{{cite news|last1=Gladstone|first1=Neil|title=His Name Is Alive|url=http://www.citypaper.net/articles/082296/article024.shtml |access-date=9 July 2014|newspaper=City Paper|date=August 24, 1996|location=Philadelphia |url-status=dead |archive-url=https://web.archive.org/web/20130924134947/http://www.citypaper.net/articles/082296/article024.shtml |archive-date=24 September 2013}}</ref> 
*The song's lyrics "I'm picking up good vibrations" are quoted in [[Cyndi Lauper]]'s 1984 single "[[She Bop]]".<ref>{{cite web|last1=Gratz|first1=Alan M.|title=Opinion: 'Checking e-mail' takes on new meaning|url=http://utdailybeacon.com/opinion/columns/untitled-column-by-alan-m-gratz/1997/apr/11/checking-e-mail-takes-on-new-meaning/|access-date=August 3, 2014|date=April 11, 1997|url-status=dead|archive-url=https://archive.today/20140806095238/http://utdailybeacon.com/opinion/columns/untitled-column-by-alan-m-gratz/1997/apr/11/checking-e-mail-takes-on-new-meaning/|archive-date=August 6, 2014}}</ref> 
*In 2001, the song was used prominently in a scene with [[Tom Cruise]], [[Tilda Swinton]], and [[Kurt Russell]] in the psychological thriller ''[[Vanilla Sky]]''.<ref>{{Cite web |last=Handler |first=Rachel |date=2020-05-21 |title=Cameron Crowe Is Finally Ready to Tell Us Vanilla Sky's Secrets |url=https://www.vulture.com/2020/05/cameron-crowes-vanilla-sky-easter-eggs.html |access-date=2022-08-02 |website=Vulture |language=en-us}}</ref><ref>{{Cite web |last=Shoaff |first=Brandon |date=2022-02-08 |title=The Ending Of Vanilla Sky Explained |url=https://www.looper.com/760449/the-ending-of-vanilla-sky-explained/ |access-date=2022-08-02 |website=Looper.com |language=en-US}}</ref> 
*A live version of the song, from the album ''[[Live in London (The Beach Boys album)|Live in London]]'', appears as a playable track in the 2010 video game ''[[Rock Band 3]]''.<ref>{{cite web|url=http://www.rockband.com/zine/rock-band-3-full-setlist|title=Rock Band 3 Full Setlist! Including 83 Songs from Jimi Hendrix, Avenged Sevenfold, Paramore, Ozzy Osbourne, Lynyrd Skynyrd, and Many More!|publisher=[[Harmonix]]|date=August 25, 2010 | access-date = June 18, 2018 | archive-date = August 16, 2011 | archive-url = https://web.archive.org/web/20110816182511/http://www.rockband.com/blog/rock-band-3-full-setlist | url-status = dead}}</ref>
*In 2019, the song was used prominently in a scene for [[Jordan Peele]]'s psychological horror thriller film ''[[Us (2019 film)|Us]]''.<ref>{{cite web|last1=Flint|first1=Hanna|title=Mood music: how a jaunty pop song can ramp up movie terror|website=[[TheGuardian.com]] |url=https://www.theguardian.com/film/2019/mar/22/horror-films-pop-songs-jordan-peele-us|access-date=October 8, 2019|date=March 22, 2019}}</ref><ref>{{cite web|last1=Willman|first1=Chris|title=Jordan Peele's 'Us' Music: How the Beach Boys and N.W.A Came to Anchor a Great Horror Playlist|url=https://variety.com/2019/music/news/jordan-peeles-us-music-festival-how-the-beach-boys-and-n-w-a-came-to-anchor-a-great-horror-playlist-1203171071/|access-date=October 8, 2019|date=March 24, 2019}}</ref>

==Release history==
{{Infobox song
| name     = Good Vibrations
| cover    =
| alt      =
| border   = yes
| caption  = Cover art for April 2011 [[Record Store Day]] [[78 rpm]] vinyl reissue
| type     =
| artist   = [[The Beach Boys]]
| album    = [[The Smile Sessions]]
| released = {{Start date|2011|10|31}}
| recorded =
| studio   =
| venue    =
| genre    =
| length   = {{Duration|m=4|s=15}}
| label    = [[Capitol Records|Capitol]]
| writer   = {{flatlist|
* [[Brian Wilson]]
* [[Mike Love]]}}
| producer = Brian Wilson
}}

In early 2011, the single was remastered and reissued as a four-sided [[78 rpm]] vinyl for [[Record Store Day]], as a teaser for the forthcoming ''The Smile Sessions'' box set. It contained "Heroes and Villains" as a B-side, along with previously released alternate takes and mixes.<ref>{{cite web|title=Good Vibrations/Heroes & Villains|url=http://recordstoreday.com/SpecialRelease/4950|website=recordstoreday.com|access-date=20 June 2014}}</ref>

===Stereo version===
Due to the loss of the original multi-track tape, there had never been an official true stereo release of the final track until the 2012 remastered version of ''Smiley Smile''. The stereo mix was made possible through the invention of new digital technology by Derry Fitzgerald, and received the blessing of Brian Wilson and Mark Linett. Fitzgerald's software extracted individual instrumental and vocal stems from the original mono master—as the multi-track vocals remained missing—to construct the stereo version that appears on the 2012 reissue of ''Smiley Smile''.<ref>{{cite web|title=Six One News: Irish engineer remixes Beach Boys Classic|publisher=Rte.ie |access-date= 2012-11-10|url=https://www.rte.ie/news/player/2012/1009/3411277-irish-engineer-remixes-beach-boys-classic/}}</ref><ref>{{Cite web|url=https://www.youtube.com/watch?v=hyk9GKFasjY |archive-url=https://ghostarchive.org/varchive/youtube/20211221/hyk9GKFasjY |archive-date=2021-12-21 |url-status=live|title=Good Vibrations: Beach Boys hit remixed in stereo|website=[[YouTube]] }}{{cbignore}}</ref>

===''40th Anniversary Edition''===
{{Infobox album
| italic_title = no
| name         = Good Vibrations: 40th Anniversary Edition
| type         = EP
| artist       = [[the Beach Boys]]
| cover        =
| alt          =
| released     = {{Start date|2006|6|27}}
| recorded     = 1966
| venue        =
| studio       =
| genre        =
| length       = {{Duration|m=24|s=31}}
| label        = [[Capitol Records|Capitol]]
| producer     = Brian Wilson
| prev_title   = [[Songs from Here & Back]]
| prev_year    = 2006
| next_title   = [[The Warmth of the Sun (album)|The Warmth of the Sun]]
| next_year    = 2007
}}

In celebration of its 40th year, the ''Good Vibrations: 40th Anniversary Edition'' [[extended play|EP]] was released. The EP includes "Good Vibrations", four alternate versions of the song, and the stereo mix of "Let's Go Away for Awhile".<ref>{{cite web|title=Good Vibrations: 40th Anniversary Edition|url=http://www.allmusic.com/album/good-vibrations-40th-anniversary-edition-mw0000428013|website=[[AllMusic]]|access-date=November 14, 2014}}</ref> The EP artwork recreates that of the original 7-inch single sleeve. In 2016, the EP was reissued as a 12" record for the single's 50th anniversary.

{{tracklist
| headline        = ''Good Vibrations: 40th Anniversary Edition''
| total_length    = {{Duration|m=24|s=31}}
| title1          = Good Vibrations
| note1           = 2001 Remaster
| writer1         = {{hlist|Brian Wilson|Mike Love}}
| length1         = 3:37
| title2          = Good Vibrations
| note2           = Various Sessions) (2006 Digital Remaster
| writer2         = {{hlist|Wilson|Love}}
| length2         = 6:56
| title3          = Good Vibrations
| note3           = Alternate Take) (2006 Digital Remaster
| writer3         = {{hlist|Wilson|Love|Tony Asher}}
| length3         = 3:34
| title4          = Good Vibrations
| note4           = Instrumental
| writer4         = {{hlist|Wilson|Love}}
| length4         = 3:53
| title5          = Good Vibrations
| note5           = Live Concert Rehearsal) (2001 Digital Remaster
| writer5         = {{hlist|Wilson|Love}}
| length5         = 4:09
| title6          = [[Let's Go Away for Awhile]]
| note6           = 1996 Stereo Remaster
| writer6         = Wilson
| length6         = 2:22
}} {{clear}}

==Personnel==
<!--- 

Please explain your changes in the edit summary before amending this list, or your edit will likely be reverted.

--->
The details in this section are adapted from ''The Smile Sessions'' liner notes, which includes a sessionography compiled by band archivist Craig Slowinski,<ref>{{cite AV media notes|title=The Smile Sessions |title-link=The Smile Sessions|others=[[The Beach Boys]]|year=2011|first=Craig|last=Slowinski|type=booklet|publisher=[[Capitol Records]]}}</ref> and the website ''Bellagio 10452'', maintained by music historian Andrew G. Doe.<ref name="DoeGigs" />
===Single edit===

'''The Beach Boys'''
* [[Al Jardine]] – backing vocals
* [[Bruce Johnston]] – backing vocals
* [[Mike Love]] – lead and backing vocals
* [[Brian Wilson]] – lead and backing vocals, [[tack piano]] (choruses), overdubbed tambourine (choruses)
* [[Carl Wilson]] – lead and backing vocals, electric rhythm guitar (choruses and chorus fade), [[shaker (musical instrument)|shaker]] (second bridge)
* [[Dennis Wilson]] – backing vocals, [[Hammond organ]] (second bridge)

'''Additional players'''
{{div col}}
* [[Hal Blaine]] – drums (verses and choruses), timpani (choruses), shaker (second bridge)
* [[Jimmy Bond (musician)|Jimmy Bond]] – [[upright bass]] (first bridge)
* [[Frank Capp]] – [[Bongo drum|bongos]] with sticks
* [[Gary L. Coleman|Gary Coleman]] – sleigh bells (third bridge and chorus fade)
* [[Steve Douglas (musician)|Steve Douglas]] – tenor flute (verses and first bridge)
* Jesse Ehrlich – cello
* [[Jim Gordon (musician)|Jim Gordon]] – drums (third bridge and chorus fade)
* Bill Green – contra-clarinet, bass saxophone
* [[Jim Horn]] – piccolo (first bridge)
<!---
  Carol Kaye is not on this track. As indicated in the section below, Kaye played on three "Good Vibrations" sessions, none of which made the final cut.
--->
* [[Larry Knechtel]] – Hammond organ (verses)
* [[Plas Johnson]] – [[piccolo]] (verses and chorus fade), flutes (chorus fade)
* [[Al De Lory]] – tack piano
* [[Mike Melvoin]] – upright piano (chorus fade)
* [[Jay Migliori]]  – flutes (verses and chorus fade)
* [[Tommy Morgan]] – [[bass harmonica]], overdubbed [[jaw harp]], harmonica
* [[Bill Pitman]] – [[Danelectro]] bass (first bridge, third bridge, and chorus fade)
* [[Ray Pohlman]] – [[Fender bass]] (verses and first bridge)
* [[Don Randi]] – [[electric harpsichord]]
* [[Lyle Ritz]] – upright bass (verses and second bridge), Fender bass (choruses)
* [[Paul Tanner]] – [[Electro-Theremin]]
* Terry (surname unknown, possibly [[Terry Melcher]]) – tambourine (verses)
* Arthur Wright – Fender bass (third bridge and chorus fade)
* unknown (possibly Hal Blaine) – tambourine (first bridge)
{{div col end}}

'''Technical staff'''
* [[Chuck Britz]] – engineer
* Cal Harris – engineer
* Jim Lockert – engineer

===Partial sessionography===
{{div col}}
* '''February 17 – Gold Star''' (this session produced the verses heard in the final master)
** Hal Blaine – drums
** Frank Capp – bongos with sticks (cups instead of bongos on some takes)
** Al Casey – electric rhythm guitar
** Steve Douglas – tenor flute
** Bill Green – contra-clarinet
** Larry Knechtel – Hammond organ
** Plas Johnson – piccolo
** Jay Migliori  – flute (verses and first bridge)
** Ray Pohlman – Fender bass ([[fuzz bass]] in chorus)
** Don Randi – grand piano (piano with taped strings on earlier takes)
** Lyle Ritz – upright bass
** Billy Strange – 12-string electric rhythm guitar (lead on earlier takes)
** Paul Tanner – Electro-Theremin
** Terry (surname unknown, possibly Terry Melcher) – tambourine
** Tony (surname unknown, possibly [[Tony Asher]]) – sleigh bells

* '''March 3 – Gold Star''' (discarded overdubs recorded on February 17 backing track)
** Brian Wilson – vocals
** Carl Wilson – vocals
** unknown (possibly Carl Wilson) – Fender bass (choruses)
** unknown (possibly Tony Asher) – jaw harp

* '''April 9 – Gold Star''' (discarded alternate version)
** Hal Blaine – drums
** Frank Capp – bongos with sticks
** Steve Douglas – tenor flute
** Carl Fortina – accordion
** Bill Green – contra-clarinet
** [[Carol Kaye]] – 12-string electric guitar
** Larry Knechtel – Hammond organ
** Al de Lory – piano with taped strings
** Mike Melvoin – tack piano
** Jay Migliori  – flute
** Tommy Morgan – bass harmonica
** Ray Pohlman – Fender bass (fuzz bass in chorus)
** Lyle Ritz – upright bass
** Arthur C. Smith – piccolo, [[ocarina]]
** Paul Tanner – Electro-Theremin

* '''May 4 – Western ["First Chorus", "Second Chorus", and "Fade"]''' (this session produced the first bridge heard in the final master)
** Jimmy Bond – upright bass
** Frank Capp – bongos with sticks, tambourine, overdubbed sleigh bells
** Al Casey – electric guitar
** Jerry Cole – electric guitar
** Jim Gordon – overdubbed sleigh bells
** Bill Green – bass saxophone
** Jim Horn – piccolo
** Al de Lory – tack pianos (including overdub)
** Tommy Morgan – bass harmonica, overdubbed jaw harp
** Ray Pohlman – Fender bass
** Bill Pitman – [[Danelectro]] bass (with fuzz tone)
** Paul Tanner – Electro-Theremin
** unknown (possibly Hal Blaine) – tambourine

* '''May 24 – Sunset Sound ["Part 1", "Part 2", "Part 3", and "Part 4"]''' (discarded bridge and choruses)
** Gary Coleman – castanets, sleigh bells, clavs
** Steve Douglas – tambourine
** Jim Gordon – drums, timpani
** Bill Green – alto flute
** Jim Horn – flute, piccolo (bridge)
** Carol Kaye – Danelectro bass
** Al de Lory – pianos with taped strings (including overdub)
** Jay Migliori  – flute (bridge), [[kazoo]]s (including overdub)
** Lyle Ritz – upright bass
** Paul Tanner – Electro-Theremin
** Carl Wilson – Fender bass

* '''May 25 – Sunset Sound ["Part 1", "Part 2", "Part 3", and "Part 4"]''' (discarded overdubs recorded on May 24 backing tracks)
** Arthur "Skeets" Herfurt – clarinet
** Jim Horn – piccolo
** Abe Most – clarinet

* '''May 27 – Western ["Part C", "Chorus", and "Fade Sequence"]''' (this session produced the third bridge and chorus fade heard in the final master)
** Gary Coleman – timpanis ("Part C"), sleigh bells ("Chorus")
** Steve Douglas – tambourine
** Jim Gordon – drums
** Jim Horn – piccolos, flutes
** Plas Johnson – piccolos, flutes
** Mike Melvoin – upright piano, overdubbed piano with taped strings
** Bill Pitman – Danelectro bass (including fuzz tone)
** Emil Richards – overdubbed [[vibraphone]]s
** Lyle Ritz – upright bass (''arco'' in "Part C")
** Paul Tanner – Electro-Theremin
** Carl Wilson – electric rhythm guitar (chorus fade)
** Arthur Wright – Fender bass

* '''June 2 – Western ["Inspiration"]''' (this session produced the first, second and third choruses heard in the final master, as well as a discarded bridge)
** Hal Blaine – drums, overdubbed tambourine (bridge), timpani, cups (bridge)
** Bill Pitman – Danelectro bass (with fuzz tone)
** Don Randi – electric harpsichord
** Lyle Ritz – Fender bass
** Brian Wilson – tack piano (choruses), overdubbed tambourine (choruses)
** Carl Wilson – electric rhythm guitar

* '''June 12 – Western ["Inspiration"]''' (overdubs recorded on June 2 backing tracks)
** Hal Blaine – tambourine (bridge)
** Jesse Ehrlich – cello (choruses)
** Paul Tanner – Electro-Theremin (bridge)

* '''June 16 – Western ["Part 1", "Part 2", "Verse", and "Part 3"]''' (discarded alternate verse, chorus, and bridge)
** Hal Blaine – overdubbed drums ("Part 1"), drums with sticks ("Part 2")
** Steve Douglas – grand piano, overdubbed soprano saxophone ("Part 1" and "Part 2")
** Jim Horn – overdubbed clarinet ("Part 1" and "Part 2")
** Al de Lory – electric harpsichord
** Mike Melvoin – Hammond organ
** Jay Migliori  – overdubbed [[bass clarinet]] ("Part 1" and "Part 2")
** Tommy Morgan – overdubbed bass harmonica ("Part 1"), overdubbed harmonica ("Part 2")
** Bill Pitman – Danelectro bass (with fuzz tone in chorus and bridge)
** Lyle Ritz – upright bass
** Paul Tanner – Electro-Theremin
** Carl Wilson – Fender bass
** unknown (possibly Brian Wilson) – tambourine ("Part 1")

* '''June 18 – Western ["Part 1" and "Part 2"]''' (as above)
** Bill Green  – clarinet
** Plas Johnson  – clarinet
** Carol Kaye – Fender bass
** Al de Lory – tack piano ("Part 1"), Hammond organ ("Part 2")
** Jay Migliori  – clarinet
** Tommy Morgan – bass harmonica ("Part 1"), harmonica ("Part 2")
** Bill Pitman – Danelectro bass (with fuzz tone in bridge)
** Paul Tanner – Electro-Theremin
** Brian Wilson – upright bass
** Carl Wilson – electric guitar

* '''{{circa|August 24 through September 1}} – Columbia''' (two vocal sessions; incomplete documentation due to missing tape)
** Dennis Wilson – lead vocal

* '''September 1 – Western ["Inspiration" and "Persuasion"]''' (this session produced the second bridge heard in the final master)
** Hal Blaine – shaker
** Tommy Morgan – harmonica, overdubbed bass harmonica
** Lyle Ritz – upright bass
** Carl Wilson – shaker
** Dennis Wilson – Hammond organ

* '''September 12 – Columbia''' (this session produced part of the vocals heard in the final master)
** Al Jardine – backing vocals
** Bruce Johnston – backing vocals
** Mike Love – lead and backing vocals
** Brian Wilson – lead and backing vocals
** Carl Wilson – lead and backing vocals
** Dennis Wilson – backing vocals

* '''September 21 – Columbia''' (this session produced part of the vocals and part of the Electro-Theremin heard in the final master)
** Al Jardine – backing vocals
** Bruce Johnston – backing vocals
** Mike Love – lead and backing vocals
** Paul Tanner – Electro-Theremin
** Brian Wilson – lead and backing vocals
** Carl Wilson – lead and backing vocals
** Dennis Wilson – backing vocals
{{div col end}}

==Charts==
{{col-begin}}
{{col-2}}

===Weekly charts===
'''Original release'''
{|class="wikitable sortable"
|-
!Chart (1966–1967)
!Peak<br />position
|-
|Australia ''[[Go-Set]]'' National Top 40<ref>{{cite web|url=http://www.poparchives.com.au/gosetcharts/1966/19661221.html|title=Go-Set's National Top 40|publisher=poparchives.com.au/ |access-date=July 11, 2017 |archive-date=September 5, 2007 |archive-url=https://web.archive.org/web/20070905102417/http://www.poparchives.com.au/gosetcharts/1966/19661221.html |url-status=dead}}</ref>
| style="text-align:center;"|2
|-
{{singlechart|Austria|9|artist=The Beach Boys|song=Good Vibrations}}
|-
{{singlechart|Flanders|6|artist=The Beach Boys|song=Good Vibrations}}
|-
|Canadian [[RPM (magazine)|''RPM'' Top Singles]]<ref>{{cite web|url=http://www.collectionscanada.gc.ca/rpm/028020-119.01-e.php?&file_num=nlc008388.5769&type=1&interval=20&PHPSESSID=u9874ano8k0c5b6bkp4r8qrbp3|title=Good vibrations in Canadian Top Singles Chart|publisher=[[Library and Archives Canada]] |access-date= 18 July 2013 |archive-url= https://web.archive.org/web/20141020114900/http://www.collectionscanada.gc.ca/rpm/028020-119.01-e.php?&file_num=nlc008388.5769&type=1&interval=20&PHPSESSID=u9874ano8k0c5b6bkp4r8qrbp3 |archive-date= 20 October 2014 |url-status= dead}}</ref>
| style="text-align:center;"|2
|-
|Finland ([[The Official Finnish Charts|''Soumen Virallinen'']])<ref>{{cite book |last=Nyman |first=Jake |title=Suomi soi 4: Suuri suomalainen listakirja |publisher=Tammi |year=2005 |isbn=951-31-2503-3 |edition=1st |location=Helsinki |page=96|language=fi}}</ref>
|style="text-align:center;"|5
|-
|[[Irish Singles Chart]]<ref>{{cite web|url=http://www.irishcharts.ie/search/placement|title=Good vibrations in Irish Chart|publisher=IRMA |access-date=18 July 2013 |url-status=dead |archive-url=https://web.archive.org/web/20100105231849/http://www.irishcharts.ie/search/placement |archive-date=5 January 2010}} 2nd result when searching "Good vibrations"</ref>
| style="text-align:center;"|3
|-
|[[Malaysia]]n Singles Chart<ref>{{cite book|first=Domenic|last=Priore|title=Look! Listen! Vibrate! Smile!|year=1997|page=27|publisher=Last Gasp |isbn=0-86719-417-0}}</ref>
| style="text-align:center;"|1
|-
{{singlechart|Dutch40|4|artist=The Beach Boys|song=Good Vibrations}}
|-
{{singlechart|Dutch100|4|artist=The Beach Boys|song=Good Vibrations}}
|-
{{singlechart|Italy|15|artist=The Beach Boys|song=Good Vibrations}}
|-
|New Zealand (''[[New Zealand Listener|Listener]]'')
| style="text-align:center;"|1
|-
{{singlechart|Norway|2|artist=The Beach Boys|song=Good Vibrations}}
|-
|[[Singapore]]an Singles Chart<ref>{{cite magazine|title=Billboard Hits of the World|date=April 15, 1967|url=https://books.google.com/books?id=oCIEAAAAMBAJ&q=%22good+vibrations%22+%22singapore%22&pg=PA58|editor=Danyel Smith|magazine=[[Billboard (magazine)|Billboard]]|publisher=Nielsen Business Media, Inc.|page=58|issn=0006-2510 |access-date= 18 July 2013}}</ref>
| style="text-align:center;"|2
|-
|[[South Africa]]n Chart<ref name="Billboard Hits of the World">{{cite magazine|title=Billboard Hits of the World|date=January 21, 1967|url=https://books.google.com/books?id=JikEAAAAMBAJ&q=%22good+vibrations%22+%22south+africa%22&pg=RA1-PA66|editor=Danyel Smith|magazine=[[Billboard (magazine)|Billboard]]|publisher=Nielsen Business Media, Inc.|page=66|issn=0006-2510 |access-date= 18 July 2013}}</ref>
| style="text-align:center;"|3
|-
|[[Spain|Spanish]] Chart<ref name="Billboard Hits of the World"/>
| style="text-align:center;"|1
|-
|UK ([[Official Charts Company]])<ref name="UK">{{cite web|url=http://www.officialcharts.com/artist/_/beach%20boys/|title=Beach Boys|publisher=Official Charts Company |access-date= 18 July 2013}}</ref>
| style="text-align:center;"|1
|-
|US [[Billboard Hot 100|''Billboard'' Hot 100]]<ref>{{cite web|url=http://www.allmusic.com/artist/the-beach-boys-mn0000041874/awards|title=The Beach Boys awards on AllMusic|publisher=Rovi Corporation |access-date= 18 July 2013}}</ref>
| style="text-align:center;"|1
|-
{{singlechart|West Germany|8|artist=The Beach Boys|song=Good Vibrations|songid=6725|year=1966|access-date=19 February 2019}}
|}

{{col-2}}
'''1976 reissue'''
{|class="wikitable"
|-
!Chart (1976)
!Peak<br />position
|-
|UK ([[Official Charts Company]])<ref name="UK"/>
| style="text-align:center;"|18
|}

'''Todd Rundgren version (1976)'''
{|class="wikitable"
|-
!Chart (1976)
!Peak<br />position
|-
|US [[Billboard Hot 100|''Billboard'' Hot 100]]<ref name="Rundgrenchart"/>
| style="text-align:center;"|34
|}

===Year-end charts===
{| class="wikitable"
|-
!align="left"|Chart (1966)
! style="text-align:center;"|Rank
|-
|UK <ref>{{Cite web|url=http://www.sixtiescity.net/charts/66chart.htm#top100|title=Sixties City - Pop Music Charts - Every Week Of The Sixties|website=www.sixtiescity.net}}</ref>
| style="text-align:center;"|10
|-
|US ''[[Billboard (magazine)|Billboard]]'' [[Billboard Hot 100|Hot 100]]<ref>[http://www.musicoutfitters.com/topsongs/1966.htm Billboard Top 100 Songs of 1966]</ref>
| style="text-align:center;"|33
|-
|}
{{col-end}}

==Certifications==
{{Certification Table Top}}
{{Certification Table Entry|region=United Kingdom|type=single|artist=Beach Boys|title=Good Vibrations|award=Platinum|relyear=2004|certyear=2022|id=14238-1917-1|access-date=April 1, 2022}}
{{Certification Table Entry|region=United States|type=single|artist=The Beach Boys|title=Good Vibrations|award=Platinum|relyear=1966|certyear=2016|access-date=January 3, 2020}}
{{Certification Table Bottom|nosales=true|noshipments=true|streaming=true}}

==Awards and accolades==

{| class="wikitable"
|-
!Year
!Organization
!Accolade
!Result
|-
|rowspan="4"| [[9th Annual Grammy Awards|1967]]
|rowspan="5"| [[National Academy of Recording Arts and Sciences]]
|[[Grammy Award for Best Performance by a Vocal Group]]<ref name="Grammy Award">{{cite magazine|title=1967 Grammy Award Finalists|magazine=[[Billboard (magazine)|Billboard]]|date=February 18, 1967|volume=79|issue=7|page=6|issn=0006-2510}}</ref>
| {{nom}}
|-
|[[Grammy Award for Best Pop Performance by a Duo or Group with Vocals|Best Contemporary (R&R) Group Performance, Vocal or Instrumental]]<ref name="Grammy Award"/>
| {{nom}}
|-
|[[Grammy Award for Best Contemporary Song|Best Contemporary (R&R) Recording]]<ref name="Grammy Award"/>
| {{nom}}
|-
|[[Grammy Award for Best Arrangement, Instrumental and Vocals|Grammy Award for Best Arrangement Accompanying a Vocalist(s) or Instrumentalist(s)]]<ref name="Grammy Award"/>
| {{nom}}
|-
| 1994
| [[Grammy Hall of Fame Award]]<ref name="BBCsoldonsong"/>
| {{won}}
|-
| 2006
|[[Rock and Roll Hall of Fame]]
|[[Rock and Roll Hall of Fame#Songs that Shaped Rock and Roll|Songs that Shaped Rock and Roll]]<ref name="Shaped"/>
| {{included|Inducted}}
|}

==Notes==
{{Reflist|group=nb|30em}}

==References==
{{Reflist}}

==Bibliography==
{{Refbegin|30em}}
* {{cite book|editor-last=Ashby|editor-first=Arved Mark|title=The Pleasure of Modernist Music: Listening, Meaning, Intention, Ideology|url=https://books.google.com/books?id=Pit6yL_Few4C|year=2004|publisher=Boydell & Brewer|isbn=978-1-58046-143-6}}
* {{cite book|last=Badman|first=Keith|title=The Beach Boys, The Definitive Diary of America's Greatest Band on Stage and in the Studio|url=https://archive.org/details/beachboysdefinit0000badm|url-access=registration|publisher=Backbeat Books|isbn=0-87930-818-4|year=2004}}
* {{cite book|last1=Brend|first1=Mark|title=Strange Sounds: Offbeat Instruments and Sonic Experiments in Pop|date=2005|publisher=Backbeat|location=San Francisco, Calif.|isbn=9780879308551|edition=1.|url=https://books.google.com/books?id=m6KRDxYOp4UC}}
* {{cite book|last=Candelaria|first=Lorenzo|title=American Music: A Panorama, Concise|url=https://books.google.com/books?id=uMSiAgAAQBAJ|year=2014|publisher=Cengage Learning|isbn=978-1-305-16289-1}}
* {{cite book|first=Peter Ames|last=Carlin|author-link=Peter Ames Carlin|title=Catch a Wave: The Rise, Fall, and Redemption of the Beach Boys' Brian Wilson|url=https://books.google.com/books?id=eYyovo_AbqAC|year=2006|publisher=Rodale|isbn=978-1-59486-320-2}}
* {{cite book|last1=Cunningham|first1=Mark|title=Good Vibrations: a History of Record Production|date=1998|publisher=Sanctuary|isbn=9781860742422|url=https://books.google.com/books?id=AeUIAQAAMAAJ}}
* {{cite book|last=DeRogatis|first=Jim|author-link=Jim DeRogatis|title=Turn on Your Mind: Four Decades of Great Psychedelic Rock|url=https://books.google.com/books?id=U7cQmRsLgN8C|year=2003|publisher=Hal Leonard Corporation|isbn=978-0-634-05548-5}}
* {{cite book|last1=Everett|first1=Walter|author-link=Walter Everett (musicologist)|title=The Foundations of Rock: From "Blue Suede Shoes" to "Suite: Judy Blue Eyes"|date=2008|publisher=Oxford University Press|location=Oxford|isbn=9780199718702|url=https://books.google.com/books?id=p0p6jL-u3T4C}}
* {{cite book|last=Fusilli|first=Jim|title=The Beach Boys' Pet Sounds|url={{google books|plainurl=y|id=xVIx8qes4V8C}}|date=2005|publisher=Bloomsbury Publishing|isbn=978-1-4411-1266-8}}
* {{cite book|last=Gaines|first=Steven|author-link=Steven Gaines|title=Heroes and Villains: The True Story of The Beach Boys|url=https://books.google.com/books?id=-qkJvajmU4EC|year=1986|publisher=Da Capo Press|location=New York|isbn=0306806479|edition=1. Da Capo Press}}
* {{cite book|last=Gillett|first=Charlie|author-link=Charlie Gillett|title=The Sound of the City: The Rise of Rock and Roll|url=https://books.google.com/books?id=EzmhhXUwyt4C&pg=PA329|year=1984|publisher=Perseus Books Group|isbn=978-0-306-80683-4}}
* {{cite book|last=Golden|first=Bruce|author-link=Bruce Golden|title=The Beach Boys: Southern California Pastoral|url=https://books.google.com/books?id=nls5AQAAIAAJ|year=1976|publisher=Borgo Press|isbn=978-0-87877-202-5}}
* {{cite book|last=Greene|first=John Robert|author-link=John Robert Greene|title=America in the Sixties|url=https://books.google.com/books?id=RY5JKjL7VBEC|year=2010|publisher=Syracuse University Press|isbn=978-0-8156-5133-8}}
* {{cite book|last1=Guinn|first1=Jeff|title=Manson: The Life and Times of Charles Manson|date=2014|publisher=Simon and Schuster|isbn=9781451645170|url={{google books|plainurl=y|id=CU4dBAAAQBAJ}}}}
* {{cite book|last=Harrison|first=Daniel|author-link=Daniel Harrison (music theorist)|editor1-last=Covach|editor1-first=John|editor2-last=Boone|editor2-first=Graeme M.|title=Understanding Rock: Essays in Musical Analysis|date=1997|publisher=Oxford University Press|isbn=9780199880126|chapter-url=http://www.lipscomb.umn.edu/rock/docs/Harrison1997_BeachBoys.pdf|chapter=After Sundown: The Beach Boys' Experimental Music|pages=33–57}}
* {{cite book|last1=Henke|first1=James|last2=George-Warren|first2=Holly|editor1-last=DeCurtis|editor1-first=Anthony|title=The Rolling Stone Illustrated History of Rock & Roll: The Definitive History of the Most Important Artists and Their Music|date=1992|publisher=Random House|location=New York|isbn=9780679737285|edition=rev. & updated}}
* {{cite book|last1=Hickey|first1=Andrew|title=The Beach Boys On CD vol 1: The 1960s|date=2011|publisher=Lulu|isbn=9781447542339}}{{self-published source|date=February 2020}}
*{{cite book|last=Hoskyns|first=Barney|title=Waiting for the Sun: A Rock 'n' Roll History of Los Angeles|url=https://books.google.com/books?id=w7oB2UKVxgQC|access-date=2 August 2013|year=2009|publisher=Backbeat Books|isbn=978-0-87930-943-5}}
* {{cite book|last1=Kent|first1=Nick|last2=Pop|first2=Iggy|author-link1=Nick Kent|author-link2=Iggy Pop|title=The Dark Stuff: Selected Writings on Rock Music|url=https://books.google.com/books?id=bPMO0CtuBAsC|date=2009|edition=Updated|publisher=Perseus Books Group|isbn=978-0-7867-3074-2}}
*{{cite book|last=Lambert|first=Philip|title=Inside the Music of Brian Wilson: the Songs, Sounds, and Influences of the Beach Boys' Founding Genius|url=https://books.google.com/books?id=7XsZAQAAIAAJ|year=2007|publisher=Continuum|isbn=978-0-8264-1876-0}}
* {{citation|last=Martin|first=Bill|author-link=Bill Martin (philosophy)|title=Listening to the Future: The Time of Progressive Rock|year=1998|publisher=Open Court|location=Chicago|isbn=0-8126-9368-X}}
* {{cite book|editor-last=Moskowitz|editor-first=David V.|title=The 100 Greatest Bands of All Time: A Guide to the Legends Who Rocked the World|url=https://books.google.com/books?id=8XG9CgAAQBAJ|date=2015|publisher=ABC-CLIO|isbn=978-1-4408-0340-6}}
* {{cite book|last=Perrone|first=James E.|page=22|year=2004|title=Music of the Counterculture Era|publisher=[[Greenwood Publishing Group]]|isbn=0-313326-89-4}}
* {{cite book|last1=Pinch|first1=T. J|last2=Trocco|first2=Frank|title=Analog Days: The Invention and Impact of the Moog Synthesizer|url=https://books.google.com/books?id=CoUs2SSvG4EC|year=2009|publisher=Harvard University Press|isbn=978-0-674-04216-2}}
* {{cite book|last=Preiss|first=Byron|author-link=Byron Preiss|title=The Beach Boys|url=https://books.google.com/books?id=I0dWoXNvhkoC|year=1979|publisher=Ballantine Books|isbn=978-0-345-27398-7}}
* {{cite book|editor-last=Priore|editor-first=Domenic|editor-link=Domenic Priore|title=Look, Listen, Vibrate, Smile!|url=https://books.google.com/books?id=Oy4BAAAACAAJ|year=1995|publisher=Last Gasp|isbn=0-86719-417-0}}
* {{cite book|last=Priore|first=Domenic|author-link=Domenic Priore|title=Smile: The Story of Brian Wilson's Lost Masterpiece|url=https://books.google.com/books?id=81YIAQAAMAAJ|year=2005|publisher=Sanctuary|location=London|isbn=1860746276}}
* {{cite book|last1=Romano|first1=Will|title=Mountains Come Out of the Sky: The Illustrated History of Prog Rock|date=2010|publisher=Backbeat Books|location=Milwaukee, WI|isbn=978-0879309916|url=https://books.google.com/books?id=2lVMAgAAQBAJ}}
* {{cite book|last=Rooksby|first=Rikky|title=Inside Classic Rock Tracks: Songwriting and Recording Secrets of 100 Great Songs from 1960 to the Present Day|url=https://books.google.com/books?id=7TEIvaWpqdAC|year=2001|publisher=Backbeat Books|isbn=978-0-87930-654-0}}
* {{cite book|last1=Sanchez|first1=Luis|title=The Beach Boys' Smile|date=2014|publisher=Bloomsbury Publishing|isbn=9781623567996}}
* {{cite book|editor1-last=Shephard|editor1-first=Tim|editor2-last=Leonard|editor2-first=Anne|title=The Routledge Companion to Music and Visual Culture|date=2013|publisher=Routledge|location=New York, NY|isbn=9781135956462|url={{google books|plainurl=y|id=rbc3AAAAQBAJ}}}}
* {{cite book|last=Stebbins|first=Jon|author-link=Jon Stebbins|title=The Beach Boys FAQ: All That's Left to Know About America's Band|date=2011|isbn=9781458429148|url=https://books.google.com/books?id=8T3ivyKmSQwC|publisher=Backbeat Books}}
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* {{cite book|author=Textbook Equity|title=The Basic Elements of Music|url=https://books.google.com/books?id=QC9PBwAAQBAJ&pg=PA77|year=2014|publisher=Lulu.com|isbn=978-1-312-48694-2}}{{self-published source|date=February 2020}}
* {{cite book|last1=Valdez|first1=Steve|editor1-last=Henderson|editor1-first=Lol|editor2-last=Stacey|editor2-first=Lee|title=Encyclopedia of Music in the 20th Century|date=2014|publisher=Routledge|isbn=9781135929534|url=https://books.google.com/books?id=HcC2AgAAQBAJ&pg=PT1586}}
* {{cite book|last1=Wilson|first1=Brian|last2=Gold|first2=Todd|author-link1=Brian Wilson|title=Wouldn't It Be Nice: My Own Story|url=https://archive.org/details/wouldntitbenicem00wils|url-access=registration|year=1991|publisher=HarperCollins|isbn=978-0-06-018313-4}}
{{Refend}}

==External links==
{{external media
| float  = right
| video1 = [https://www.youtube.com/watch?v=cEFEG3oVG10 Brian Wilson talks about "Good Vibrations"], [[YouTube]] video
}}
* [http://www.surfermoon.com/essays/mob3.html Greg Panfile's Musical Analysis of "Good Vibrations"] {{Webarchive|url=https://web.archive.org/web/20090602082447/http://www.surfermoon.com/essays/mob3.html |date=2009-06-02 }}
* {{YouTube|id=uVlSVkzbJDA|title="Good Vibrations: The Lost Studio Footage (1966)"}}

{{Smiley Smile}}
{{The Smile Sessions}}
{{The Beach Boys singles}}
{{Brian Wilson}}
{{Todd Rundgren}}
{{Electronic rock}}

{{authority control}}

[[Category:1966 singles]]
[[Category:1966 songs]]
[[Category:2004 singles]]
[[Category:2011 singles]]
[[Category:Brian Wilson songs]]
[[Category:Psychic TV songs]]
[[Category:The Beach Boys songs]]
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[[Category:Capitol Records singles]]
[[Category:Grammy Hall of Fame Award recipients]]
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[[Category:Number-one singles in Australia]]
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[[Category:UK Singles Chart number-one singles]]
[[Category:Songs written by Brian Wilson]]
[[Category:Songs written by Mike Love]]
[[Category:Songs written by Tony Asher]]
[[Category:Song recordings produced by Brian Wilson]]
[[Category:Song recordings with Wall of Sound arrangements]]
[[Category:Acid rock songs]]
[[Category:Art pop songs]]
[[Category:Avant-pop songs]]
[[Category:Psychedelic pop songs]]
[[Category:American psychedelic rock songs]]
[[Category:American rhythm and blues songs]]
[[Category:Songs used as jingles]]
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