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1966 single by the Beach Boys

"Wouldn't Information technology Be Prissy"
Wouldn't It Be Nice.png
Single by the Beach Boys
from the album Pet Sounds
B-side "God Just Knows"
Released July 18, 1966 (1966-07-eighteen)
Recorded January 22 – April 1966
Studio Gold Star and Columbia, Hollywood
Genre
  • Rock[1] [ii]
  • progressive pop[3]
  • power pop[iv] [five]
  • avant-pop[6]
Length 2:33
Label Capitol
Songwriter(s)
  • Brian Wilson
  • Tony Asher
  • Mike Love
Producer(s) Brian Wilson
The Beach Boys singles chronology
"Sloop John B"
(1966) 		"Wouldn't It Be Squeamish"
(1966) 		"Good Vibrations"
(1966)
Licensed audio
"Wouldn't Information technology Be Nice" on YouTube
Sound sample
  • file
  • help

"Wouldn't It Be Overnice" is a song by the American stone band the Beach Boys and the opening rail from their 1966 anthology Pet Sounds. Written by Brian Wilson, Tony Asher, and Mike Dearest, it is distinguished for its sophisticated Wall of Sound-style arrangement and refined vocal performances, and is regarded among the band's finest songs. With its juxtaposition of joyous-sounding music and melancholic lyrics, it is considered a formative work of power pop,[4] and with respect to musical innovation, progressive pop.[3]

The song was inspired by Wilson's confused infatuations for his sis-in-law, who projected an "innocent aura" that he wished to capture in "Wouldn't It Be Nice". Lyrically, the vocal describes a immature couple who feel empowered by their monogamous relationship and fantasize about the romantic liberty they would earn equally adults. Like the other tracks on Pet Sounds, it subverted listeners' expectations, every bit past Beach Boys songs had normally celebrated superficial conceits such as material possessions and casual flings.

Wilson produced the record betwixt January and April 1966 with his band and sixteen studio musicians who variously played drums, timpani, glockenspiel, trumpet, saxophones, accordions, guitars, pianos, and upright bass. The harp-like instrument heard in the introduction is a 12-cord mando-guitar plugged directly into the recording console. 1 department of the song engages in a ritardando, a device that is rarely used in popular music. The band struggled to sing the multiple vocal parts to Wilson'due south satisfaction, and the song ultimately took longer to record than any other rail on the album.

"Wouldn't It Be Dainty" was released as a single in July and peaked at number viii on the Billboard Hot 100. It has occasionally appeared in the soundtracks of films such as the 1989 documentary Roger & Me, where it was used to underscore visuals of economic devastation. As of 2021[update], information technology is the band's virtually streamed song on Spotify, and it is listed among the thou-nearly highest rated songs of all time on Acclaimed Music.

Background [edit]

"Wouldn't It Be Squeamish" is ane of the eight songs that Brian Wilson and Tony Asher wrote for the Pet Sounds anthology. Wilson's (since-discredited) 1991 memoir suggested that he was inspired to write the song after having sexual fantasies almost the Honeys' singer Diane Rovell, his sister-in-police.[7] [viii] [9] While discussing the song, Asher supported that Wilson was "definitely infatuated by her" and "this innocent aura that she seemed to possess. Brian was really just and so naive."[10] Wilson repeatedly brought up the subject while they composed the songs on Pet Sounds, as Asher remembered, "He'd stop in the centre of writing a song or a conversation or whatever and start going on almost Diane, about how innocent, sweetness, and beautiful she was. I'd exist thinking, 'Huh! Your wife's in the next room, and you're talking about her sister!'"[11]

It was one of just two songs on Pet Sounds in which Asher wrote words to a melody that Wilson had already finalized, the other being "You Still Believe in Me".[12] According to Asher, "Over a period of days, Brian kept saying that he was working on a melody, simply he didn't desire to play it for me until he had the structure finished. 1 day, he said, 'It's done.'"[thirteen] Wilson had decided on its subject thing: the "innocence of ... being also young to become married", a topic that "seemed to exist immensely appealing to him."[fourteen] Asher said that, afterwards he had begun writing the lyrics, Wilson started "microanalyzing the individual words" to Asher'southward annoyance.[13] Post-obit Asher's complaints, Wilson agreed to let Asher take a record of the song abode and write the words alone.[13] Asher then returned with a set up of lyrics, which the pair refined.[15] It was a less integrated and collaborative process than the one for the songs they wrote afterward.[13]

Mike Love's co-writing credit was not officially recognized until 1994, when he successfully sued for writing credits on 35 Beach Boys songs, including "Wouldn't It Exist Squeamish". During the proceedings, Love'due south attorney proposed that, since Love had non been physically nowadays when Asher and Wilson were writing the song, it may have been possible that Wilson consulted Love by telephone during occasional bath breaks. Asher later said it was an "absurd" argument.[16] Asked in a 1996 interview to enumerate Love'south contributions, Asher responded, "None, any."[17] However, under oath, he stated that it consisted of the line "good nighttime my babe / sleep tight, my baby" and possible minor vocal arrangement.[18]

Lyrics [edit]

I can remember in "Wouldn't It Be Overnice" that we'd both had the experience of existence too young to have what the residue of the earth would telephone call a serious relationship with a girl and nevertheless wanting to be able to accept it taken seriously. ... information technology was autobiographical from the point of view of both of us. We were writing about what we both knew and had experienced.

—Tony Asher, 1996[19]

The lyrics describe a immature couple fantasizing about the romantic freedom they would earn equally adults,[20] including the benefits of being able to "hold each other close the whole night through" and to "say goodnight and stay together".[21] As Asher explained, "It's a song that people who are immature and in honey tin can appreciate and reply to, because it revolves around the things they've always wanted to do: live together, sleep together, wake upwards together—do everything together. [twenty]

In a 1976 radio interview, Wilson said the song expresses "the need to have the liberty to alive with somebody ... The idea is, the more we talk almost it, the more than we desire it, but allow'southward talk about it anyway. Permit's talk it over, let's talk about what we might take if we really got downward to it."[18] [22] In 1996, he reflected, "'Wouldn't Information technology Exist Nice' was non a real long song, but it's a very 'up' song. It expresses the frustrations of youth, what you can't accept, what yous actually want and you accept to await for information technology."[23]

Wilson had previously written a song with similar subject area matter, "We'll Run Away", on All Summer Long (1964). He had likewise produced a rendition of the doo-wop standard "I'yard So Young" for The Embankment Boys Today! (1965).[24] [nb 1] Journalist Nick Kent felt that, although Wilson had captured similar "teen angst dialogue" before: "This fourth dimension [he] was out to eclipse these previous sonic lather operas, to transform the subject's sappy sentiments with a God-like grace so that the song would become a veritable pocket symphony."[24] Musicologist Phillip Lambert called the themes "a pregnant twist" on the lyrics of Wilson'due south past songs, "which fantasized about material possessions ... feats of physical skill ... and 1-nighttime stands ... At present the immature lovers just desire to be monogamous and draw strength and happiness from each other, 'in the kind of earth where nosotros vest.'"[21]

Composition [edit]

"Wouldn't Information technology Be Nice" begins with an eight-vanquish introduction in the key of A major. Following a single drum hit, the song shifts to the remote apartment submediant key of F.[26] Classical composer John Adams chosen this primal alter "nil new in the classical or jazz world, simply actualization hither in the context of a standard stone-and-gyre vocal, it felt novel and fresh. More than whatsoever other songwriter of that era, Brian Wilson understood the value of harmonic surprise."[27]

The verse bass line was inspired by the Ronettes' "Be My Infant" (1963). Asked about the vocal'south bass line, Wilson, explained, "It'due south merely a experience you get. I sort of experience my manner through the line. I can't explain how it's done, in terms of words. [The verses are] similar to the Phil Spector-type bass. It'south a one-note walking bass that goes [singing with triplet experience:] 'Bom-buh-bum-bah, bom-buh-bum-bah...' Information technology keeps going one calibration tone upwards ['bah'], then down like a walking bass."[28]

The next department modulates down a minor third, to D major, and contains the return of a melodic figure from the intro.[29] [nb 2] After this section, the song repeats the finish of the verse melody,[21] but this time engages in a decrescendo and ritardando, a device that doesn't often announced in pop music, simply does in classical music.[31] At the end, the song returns to its original tempo and fades out.[21]

Recording [edit]

Backing track [edit]

Instrumental tracking for "Wouldn't It Be Nice" began at seven:00p.one thousand. on January 22, 1966 at Gold Star Studios.[7] Wilson produced the session with engineer Larry Levine.[7] The calliope-like instrument heard in the opening bars is an electrical 12-string guitar plugged direct into the recording panel.[32] [nb 3] Due to recording logistics, this created an unusual situation in which the actor had to perform the instrument in the control room, away from the rest of the musicians, who could not hear his playing in the regular recording space. The exception was drummer Hal Blaine, who wore headphones and was tasked with signaling the other musicians to play on cue.[35] All of the instruments were played live in a continuous take, with no overdubs.[36]

Much of the rails's rhythmic accompaniment was provided by two accordions playing a shuffle beat in a mode similar to the band's "California Girls" (1965).[37] Wilson recalled, "I had two piano accordion players playing at in one case, both playing the same thing and information technology just rang through the room, in the berth, and everyone was saying, 'What is that audio?'"[7] During the 2d bridge, the players performed a technique known as a "triple bellow milk shake" to make the accordions sound like a violin.[37]

Some of the charts that Wilson handed to his musicians were written in unlike keys from each other. Session musician Lyle Ritz, who was playing in D, mistook the arrangement as an error, as he recalled: "[The] balance of the ring was in another key. I knew that was wrong. So during a break, I looked at everybody else'southward music to run across if information technology was a mistake. Because you lot can't do that. But he [Brian] pulled it off."[38] Afterwards recording 21 takes of the instrumental track,[33] the session ended ateleven:30 p.m. with a lead vocal overdub by Wilson.[vii] Wilson did not use Gold Star for any other song on the anthology except "I Just Wasn't Made for These Times".[39]

Vocals and mixdown [edit]

The one song that sticks out in my heed the virtually is "Wouldn't It Be Nice." Brilliant parts. It was difficult to sing without getting tears in your eyes. We all seem to remember singing it a lot. Many times. Many days.

—Carl Wilson, 1996[xl]

The song sessions for Pet Sounds were the nigh challenging of the grouping's career, and their performance on "Wouldn't It Be Nice" took longer to tape than any other track on the album, as Wilson'south bandmates struggled to sing the multiple vocal parts to his satisfaction.[41] Al Jardine later said that the claiming of meeting Wilson's standards on the song "was painful across conventionalities for all of the states."[42] Carl Wilson remembered, "We actually tried to make a adept album. We wanted to take another step. 'Wouldn't Information technology Exist Nice' was the track that really brought that hope to all of us. Nosotros did at least ten sessions on that ane, and it however wasn't right. I nonetheless think we sang it a little rushed."[43]

Mike Love, who affectionately nicknamed Brian "the Stalin of the studio" during these sessions,[42] said, "We did one passage of 'Wouldn't It Be Nice' close to xxx times—and some of the tries were virtually perfect! But Brian was looking for something more than the actual notes or the alloy: he was reaching for something mystical—out of the range of hearing."[44] Bruce Johnston similarly likened Wilson to General Patton.[42] In his recollection, "Nosotros re-recorded our vocals for 'Wouldn't Information technology Be Nice' and then many times that the rhythm was never right. We'd slave ... singing this affair and and then Brian would say, 'No it'southward not right! It's only not right!'"[43]

On February 16, Wilson created a rough mono mix of the song at United Western Recorders.[45] Another mono mix with different, incomplete vocals was made on March 11, using the eight-track console at Columbia Studio.[46] Farther song overdubs were taped on March 10, followed by more than rough mixes on March 22.[47] The final round of vocal overdubs were recorded at Columbia on April 11 and shortly thereafter.[34] According to Brian, "Ane of the features of this tape is that Dennis sings [his harmony parts] in a special mode, cupping his hands. I had thought for hours of the best mode to achieve the sound and Dennis dug the idea because he knew it would work."[48] Love developed the "Good night ... " couplet during the studio sessions.[13]

Similar other tracks on the album, "Wouldn't It Be Nice" contains a prominent technical flaw in the final mix, in which an aural record splice is heard between the chorus and Love's vocal entrance in the bridge.[49] The error was mended on the track's 1996 stereo mix created past Marker Linett for The Pet Sounds Sessions. Linett explained, "The abrupt edit ... was an edit that took an older mix with Mike Beloved singing and put it in the bridge. I didn't figure that out for years!"[fifty] The 1996 stereo mix features Wilson singing the span considering the tape with Love's singing was not available.[51]

Release [edit]

"Wouldn't It Be Nice" was first released on May fourteen, 1966 as the opening track on Pet Sounds.[52] In his self-described "unbiased" review of the album for Tape Mirror, Norman Jopling said that the song "starts off prettily, and develops into a complicated ponderous vanquish number taken at a reasonably fast tempo. It slows down one-half-way through only brightens up once again, and the lyric is pleasant. But non exceptional Beach Boys."[53] Billboard 'southward terse review of the anthology, published uncharacteristically late,[52] highlighted the track for its "potent unmarried potential".[54] Cash Box described the song every bit a "rhythmic, medium-paced, danceable sincere pledge of devotion."[55]

On July 18, the song was issued in the U.S. with the B-side "God Merely Knows" every bit the 3rd single from Pet Sounds.[56] In other countries, "Wouldn't It Be Squeamish" was issued as the B-side of "God Simply Knows".[56] Information technology debuted on the US Billboard Hot 100 at number 26 on August twenty, and it peaked at number 8 on September 17.[57] Also in September, it peaked at number four in Canada and number two in Commonwealth of australia.[58] In October, it peaked at number 12 in New Zealand.[59]

Live performances [edit]

External video
video icon "Wouldn't Information technology Be Nice" (Live in London)
video icon "Wouldn't It Exist Prissy" (The Beach Boys In Concert)

The Beach Boys adopted the vocal into their alive performances, typically with Al Jardine handling the lead vocal originally sung by Wilson. They did not initially comprise the tempo change into the live arrangement, and instead skipped that section entirely, equally can be heard on the 1968 recording released on the alive album Live in London (1970).[threescore] In 1971, this version was released as a single, issued betwixt "Cool, Cool H2o" and "Long Promised Road".[61] By the early 1970s, the group had begun playing the whole song in their live organisation, as demonstrated on 1973's The Beach Boys in Concert.[60]

Recognition and legacy [edit]

Writing in his 2012 volume Fifty Sides of the Beach Boys, biographer Marker Dillon describes "Wouldn't It Be Overnice" as peradventure the band's "nearly gloriously innocent song" and one of Wilson's "most adventurous" arrangements.[62] Kent declared the harmonies to be "so complex they seemed to have more in common with a Cosmic Mass than any cocktail lounge acappella doo-wop."[24]

The vocal was influential to the development of the power pop style. Writer Michael Chabon named it every bit a "founding document" of the genre, citing its "sadness and yearning ... smuggled into the melody, the harmonies, the lyrics, and even the title, which marks the cleaved place, the gap between the wish and the world."[4] Writing for Cleveland, Troy L. Smith said that information technology was one of the Pet Sounds tracks that "established the group as the forefathers of progressive pop", characterizing it as "a Wall of Sound manner single that contains some of the best harmonizing in the history of music."[63] Furthermore, he said that the vocal "was the first gustation of progressive pop that would be picked upward by the Beatles and the likes of Supertramp, Queen and others moving forrad."[3]

Among the artists that take afforded praise to "Wouldn't Information technology Exist Prissy", Zooey Deschanel performed the vocal regularly at concerts with her band She & Him and said, "On the surface, it'south a really well-crafted pop song, but and so information technology has then many layers: production-wise, songwriting-wise, and lyrically. It's a perfect record."[64] She added that her mind was "blown" by the vocals-simply track included on The Pet Sounds Sessions box set.[65] Singer Taylor Swift selected it equally the song she would play for walking down the aisle in the event that she would ever go married.[39] A 1977 live rendition by Alex Chilton – in which he jokingly introduces it every bit "a vocal by Charlie Manson" – was included on the posthumous release Body of water Club '77 (2015).[66]

As of 2021[update], "Wouldn't It Be Nice" is the Beach Boys' most streamed song on Spotify[67] [ better source needed ] and information technology is listed as the 965th highest rated vocal of all fourth dimension on Acclaimed Music.[68] In 2006, Pitchfork ranked information technology number seven on its list of "The 200 Best Songs of the 1960s". Contributor Joe Tangari wrote in its entry: "'Wouldn't It Exist Nice' has everything you honey about the Beach Boys in spades ... Information technology's the ultimate starry-eyed teenage symphony to God, and it perfectly captures the hostage devotion we merely seem capable of in a modest window of years."[69] In 2008, Popdose staff members ranked it the 22nd-best single of the previous 50 years, writing that "no other song ... and then perfectly captures the idea of innocent love."[lxx] National Review ranked it number five on a 2006 list of the greatest politically conservative rock songs, where it was described as "pro-abstinence and pro-marriage".[two] In 2021, it was ranked number 297 on Rolling Stone's list of "The 500 Greatest Songs of All Time".[71]

Cultural responses [edit]

The song has occasionally appeared in the soundtracks of films such as Shampoo (1975), 50 Beginning Dates (2004), and It's Complicated (2009).[39] In the 1989 documentary Roger & Me, it was used to underscore visuals of the economical devastation acquired by the closure of several auto plants in Flint, Michigan.[39] Critic Anthony Kaufman highlighted the scene as an specially constructive slice of "ironic counterpoint".[72] The band's movie-themed compilation Still Cruisin' (1988) included the vocal for its appearance in The Big Chill (1983),[73] although the compilers accidentally used an alternate mix of the rail with a dissimilar song have.[ commendation needed ]

In 1990, the political drawing strip Doonesbury ran a controversial story arc involving the character Andy Lippincott and his terminal battle with AIDS. It concludes with Lippincott expressing his admiration for Pet Sounds and, in the concluding panels, depicts the character's expiry while listening to "Wouldn't It Be Squeamish", as well equally his final written words, the line "Brian Wilson is God" scrawled on a notebook (a reference to the line "Clapton is God"). Co-ordinate to cultural theorist Kirk Curnett in 2012, the console "remains one of the most iconic in Doonesbury 's forty-three year history, often credit[ed] with helping humanize AIDS victims when both gay and straight sufferers were severely stigmatized."[74] [nb four] Curnett also noted that while "[i]t may overstate the case to depict [the song] equally a gay anthem", information technology had been used at recent LGBT rallies.[76]

Personnel [edit]

Per band archivist Craig Slowinski.[34]

The Beach Boys

  • Mike Love – bridge and outro atomic number 82 vocals, backing vocals
  • Al Jardine – backing vocals
  • Bruce Johnston – backing vocals
  • Brian Wilson – atomic number 82 vocals, backing vocals
  • Carl Wilson – backing vocals
  • Dennis Wilson – backing vocals

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

  • Hal Blaine – drums
  • Frank Capp – timpani, jingle stick, glockenspiel
  • Roy Caton – trumpet
  • Jerry Cole – 12-string pb guitar
  • Steve Douglas – tenor saxophone
  • Carl Fortina – piano accordion
  • Plas Johnson – tenor saxophone
  • Ballad Kaye – bass guitar
  • Barney Kessel – 12-string mando-guitar
  • Larry Knechtel – tack piano
  • Al de Lory – k pianoforte
  • Frank Marocco – accordion
  • Jay Migliori – baritone saxophone
  • Nib Pitman – acoustic rhythm guitar
  • Ray Pohlman – Danelectro 6-cord bass
  • Lyle Ritz – string bass

Technical staff

  • Larry Levine – engineer (instrumental session)
  • Ralph Valentin – engineer (vocal session)
  • Don T. — 2nd engineer (vocal session)

Charts and certifications [edit]

Notes [edit]

  1. ^ The same album included "Don't Hurt My Petty Sis", another song inspired by Wilson'southward infatuation with his sister-in-laws.[25]
  2. ^ The same key change occurs in "Let's Go Away for Awhile", another Wilson composition from Pet Sounds.[xxx]
  3. ^ Some sources mistake this equally a harp.[33] It is really a mando-guitar, a specialized electric 12-cord guitar.[34]
  4. ^ Comic book creative person Ty Templeton said that the song "made me sob like a babe for years considering of Andy's human relationship to that song. It no longer belongs to Brian Wilson and the Beach Boys ... Information technology's Andy's."[75]

References [edit]

  1. ^ Adams 2011, p. 41.
  2. ^ a b Miller, John J. (May 26, 2006). "Rockin' the Right: The 50 greatest conservative stone songs". National Review. Archived from the original on February seven, 2007.
  3. ^ a b c Smith, Troy L. (Feb 28, 2018). "250 greatest Rock & Curlicue Hall of Fame Songs: Part three (#150-101)". Cleveland . Retrieved November 10, 2020.
  4. ^ a b c Chabon, Michael. "Tragic Magic: Reflections on Power Pop". Archived from the original on April 11, 2013. Retrieved March 30, 2013.
  5. ^ Scott, Jason (November 22, 2019). "Backside The Song: The Embankment Boys, "Wouldn't Information technology Be Squeamish"". American Songwriter.
  6. ^ Carlin, Peter Ames (September 5, 2008). "That Lucky Old Brian Wilson". Oregon Alive.
  7. ^ a b c d e Badman 2004, p. 111.
  8. ^ Dillon 2012, p. 104.
  9. ^ Lambert 2007, pp. 233–234.
  10. ^ Kent 2009, p. 18.
  11. ^ Carlin 2006, p. 76.
  12. ^ Granata 2003, pp. 54, 91.
  13. ^ a b c d due east Granata 2003, p. 91.
  14. ^ Kent 2009, pp. 17–18.
  15. ^ Dillon 2012, p. 105.
  16. ^ Carlin 2006, p. 278.
  17. ^ Asher, Tony (4 Apr 1996). "Tony Asher Interview" (Interview). Interviewed past Mike Wheeler. Cabin Essence. Retrieved Oct 9, 2020.
  18. ^ a b Elliott, Brad (August 31, 1999). "Pet Sounds Track Notes". beachboysfanclub.com. Retrieved March 3, 2009.
  19. ^ "Interview with Tony Asher". The Pet Sounds Sessions (Booklet). The Beach Boys. Capitol Records. 1997. {{cite AV media notes}}: CS1 maint: others in cite AV media (notes) (link)
  20. ^ a b Granata 2003, p. xc.
  21. ^ a b c d Lambert 2007, p. 234.
  22. ^ Fornatale, Pete (November 3, 1976). "Interview with Brian Wilson" (MP3). NY Radio Archive. WNEW-FM 102.7.
  23. ^ "Interview with Brian Wilson". The Pet Sounds Sessions (Booklet). The Beach Boys. Capitol Records. 1997. {{cite AV media notes}}: CS1 maint: others in cite AV media (notes) (link)
  24. ^ a b c Kent 2009, p. 17.
  25. ^ Bolin, Alice (July 8, 2012). "The Embankment Boys Are Still Looking at an Incommunicable Futurity". PopMatters.
  26. ^ Adams 2011, p. 40.
  27. ^ Adams 2011, pp. 40–41.
  28. ^ Turner, Dale (June–July 2000). "The Depression Down on the Low Stop". Bassics.
  29. ^ Lambert 2007, pp. 227, 234.
  30. ^ Lambert 2007, p. 227.
  31. ^ Dillon 2012, p. 110.
  32. ^ Granata 2003, pp. 145, 149.
  33. ^ a b Dillon 2012, p. 106.
  34. ^ a b c Slowinski, Craig. "Pet Sounds LP". beachboysarchives.com. Endless Summer Quarterly. Retrieved September 24, 2018.
  35. ^ Granata 2003, p. 145.
  36. ^ Linett, Marker (1997). "Notes on Recording and Mixing". The Pet Sounds Sessions (Booklet). The Beach Boys. Capitol Records.
  37. ^ a b Granata 2003, pp. 145–147.
  38. ^ "Musician Comments: Lyle Ritz". The Pet Sounds Sessions (Booklet). The Beach Boys. Capitol Records. 1997. {{cite AV media notes}}: CS1 maint: others in cite AV media (notes) (link)
  39. ^ a b c d Dillon 2012, p. 109.
  40. ^ "Comments by Carl Wilson". The Pet Sounds Sessions (Booklet). The Embankment Boys. Capitol Records. 1997. {{cite AV media notes}}: CS1 maint: others in cite AV media (notes) (link)
  41. ^ Granata 2003, pp. 168, 172.
  42. ^ a b c Love 2016, p. 131.
  43. ^ a b Badman 2004, p. 126.
  44. ^ Granata 2003, p. 168.
  45. ^ Badman 2004, p. 117.
  46. ^ Badman 2004, p. 120.
  47. ^ Badman 2004, pp. 120, 122.
  48. ^ Granata 2003, p. 172.
  49. ^ Granata 2003, pp. 179–180.
  50. ^ Granata 2003, p. 223.
  51. ^ Granata 2003, pp. 223–224.
  52. ^ a b Badman 2004, p. 134.
  53. ^ Jopling, Norman (July two, 1966). "The Embankment Boys: Pet Sounds (Capitol)". Tape Mirror.
  54. ^ Billboard 'due south Review Panel (May 28, 1966). "Album Reviews". Billboard. Vol. 78, no. 21. p. 68. Retrieved 19 April 2016. {{cite magazine}}: CS1 maint: multiple names: authors listing (link)
  55. ^ "CashBox Tape Reviews" (PDF). Cash Box. July 16, 1966. p. 36. Retrieved 2022-01-12 .
  56. ^ a b Badman 2004, p. 142.
  57. ^ Badman 2004, pp. 142, 144.
  58. ^ a b c Badman 2004, p. 145.
  59. ^ a b Badman 2004, p. 156.
  60. ^ a b Dillon 2012, p. 107.
  61. ^ Badman 2004.
  62. ^ Dillon 2012, pp. 105–106.
  63. ^ Smith, Troy L. (May 24, 2016). "50 greatest album-opening songs". cleveland.com.
  64. ^ Dillon 2012, pp. 107, 110.
  65. ^ Dillon 2012, p. 108.
  66. ^ Valish, Frank (August 10, 2015). "Reissued and Revisited: Alex Chilton Alex Chilton: Ocean Club '77 (Norton)". Under the Radar.
  67. ^ "The Beach Boys". Spotify.
  68. ^ "The Embankment Boys Wouldn't It Be Nice". Acclaimed Music. Retrieved March 14, 2021.
  69. ^ "The 200 All-time Songs of the 1960s". Pitchfork. August eighteen, 2006. Retrieved October 5, 2020.
  70. ^ Popdose Staff (Nov 24, 2008). "The Popdose 100: Our Favorite Singles of the Last l Years". Popdose.
  71. ^ "The 500 Greatest Songs of All Time: Wouldn't It Be Prissy". Rolling Stone . Retrieved September 23, 2021.
  72. ^ Strachan, Jessica (August 24, 2011). "Film critic labels Michael Moore's 'Roger & Me' every bit i of the most 'politically effective' films". Michigan Alive . Retrieved Oct 10, 2020.
  73. ^ Withal Cruisin' (Liner notes). The Beach Boys. Capitol Records. 1989. {{cite AV media notes}}: CS1 maint: others in cite AV media (notes) (link)
  74. ^ Lambert 2016, pp. 20–21.
  75. ^ Lambert 2016, p. 20.
  76. ^ Lambert 2016, pp. xx, 30.
  77. ^ Badman 2004, p. 144.
  78. ^ "Cash Box Top 100 nine/10/66". Tropicalglen.com. 1966-09-10. Archived from the original on 2015-05-30. Retrieved 2016-09-30 .
  79. ^ Whitburn, Joel (2015). The Comparing Book Billboard/Cash Box/Record Globe 1954-1982. Sheridan Books. ISBN978-0-89820-213-7.
  80. ^ Whitburn, Joel (1999). Pop Almanac. Menomonee Falls, Wisconsin: Record Inquiry Inc. ISBN0-89820-142-X.
  81. ^ Whitburn, Joel (2015). The Comparison Volume. Menonomee Falls, Wisconsin: Record Research Inc. p. 35. ISBN978-0-89820-213-vii.
  82. ^ "British single certifications – Beach Boys – Wouldn't It Be Prissy". British Phonographic Industry. Retrieved Nov 20, 2020.

Bibliography [edit]

  • Adams, John (2011). Hallelujah Junction: Composing an American Life. Faber & Faber. ISBN978-0-571-26089-8.
  • Badman, Keith (2004). The Beach Boys: The Definitive Diary of America's Greatest Band, on Stage and in the Studio . Backbeat Books. ISBN978-0-87930-818-6.
  • Carlin, Peter Ames (2006). Catch a Wave: The Rise, Fall, and Redemption of the Beach Boys' Brian Wilson. Rodale. ISBN978-1-59486-320-2.
  • Dillon, Marking (2012). Fifty Sides of the Beach Boys: The Songs That Tell Their Story. ECW Press. ISBN978-1-77041-071-8.
  • Granata, Charles L. (2003). Wouldn't it Be Nice: Brian Wilson and the Making of the Beach Boys' Pet Sounds. Chicago Review Press. ISBN978-1-55652-507-0.
  • Kent, Nick (2009). "The Last Embankment Movie Revisited: The Life of Brian Wilson". The Night Stuff: Selected Writings on Rock Music. Da Capo Press. ISBN9780786730742.
  • Lambert, Philip (2007). Within the Music of Brian Wilson: The Songs, Sounds, and Influences of the Beach Boys' Founding Genius. Bloomsbury Publishing. ISBN978-one-4411-0748-0.
  • Lambert, Philip, ed. (2016). Good Vibrations: Brian Wilson and the Beach Boys in Critical Perspective. Academy of Michigan Press. doi:10.3998/mpub.9275965. ISBN978-0-472-11995-0.
  • Love, Mike (2016). Expert Vibrations: My Life as a Beach Boy. Penguin Publishing Grouping. ISBN978-0-698-40886-9.

External links [edit]

  • Making of the studio recording
  • Wouldn't It Exist Dainty (Instrumental Stereo Mix) on YouTube
  • Wouldn't It Be Nice (Live At Michigan State University/1966) on YouTube
  • Wouldn't It Be Nice (Alive In Hawaii / 8/25/67) on YouTube
  • Wouldn't It Be Overnice (Live At Daughters Of The American Revolution Constitution Hall, Washington DC/1967) on YouTube

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Source: https://en.wikipedia.org/wiki/Wouldn%27t_It_Be_Nice

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