Brian Wilson’s Five Best Songs – in chronological order
“Surfin’ Safari” from Surfin’ Safari, 1962
The Beach Boys’ second single (after “Surfin'") came out on June 4, 1962. The harmony which opens the song was anthemic – “Let’s go surfin’ now, everybody’s learning how – Come on and safari with me.” The layered voices on the chorus were adapted from the Four Freshmen.
Carl’s guitar break was borrowed from Chuck Berry. And all at once, a fully-realized new sound was in the musical bloodstream.
“Fun Fun Fun” from Shut Down, Volume 2, 1964.
“Fun Fun Fun” didn’t make it to number one on the Billboard pop chart. It stalled out at five. Later in 1964, the Beach Boys would get their first number one with “I Get Around.” I went back and forth between those two songs for this list. Ultimately, I settled on “Fun Fun Fun” in part because of the great Chuck Berry guitar riff that kicks it off and in part because I like how, amid a slew of teenage boy fantasies, it creates an independent teen girl who can also have fun.
Up ‘til then, if Brian Wilson or pretty much any other pop songwriter wrote about a girl, it was a love song as seen through the eyes of the boy. This one may end up that way, but I don’t think she is sticking with the singer (Mike Love, in this case) once she gets her T-Bird back. Plus, Brian plays a cool organ part.
“Wouldn’t It Be Nice” from Pet Sounds, 1966
Pet Sounds was Brian Wilson's response to all the revolutionary pop music being created mid-century. He opened it with one of his prettiest love songs that carried the Phil Spector wall of sound concept to its most romantic destination. Brian sings lead while the entire group provides the soaring harmonies.
He had an all-star team of session players from the Wrecking Crew build the remarkable sound.
“God Only Knows” from Pet Sounds, 1966
Then he opens side two of Pet Sounds with the B-side of “Wouldn’t It Be Nice.” “God Only Knows” is equally lovely, but the style is quite different. This time, Wilson is creating a recording of classical proportions, with a string quartet, harpsichord, and assorted horns and woodwinds. Yet it remains an utterly gorgeous pop song, sung by Carl, with Brian providing infectious vocal backing.
“Good Vibrations” non-album single, 1966 subsequently released on Smiley Smile, 1967
Hollywood’s fictional account of Brian Wilson’s mental health struggles – Love & Mercy – spends a good chunk of its run time dramatizing Wilson’s creation of “Good Vibrations.” It was his white whale – the only one he managed to subdue. It damaged his relationship with Mike Love and, to some extent, with his brothers. It took its toll.
But the result was spectacular. It was his most ambitious song to date – indeed, one of the most ambitious coming from any pop music artist. It was the Beach Boys' third (and for a long time, final) number one song. The only other chart topper the Beach Boys would enjoy came many years later, when Brian was no longer a part of the group.
Just as well. It was Brian Wilson’s towering achievement in a career of landmark hits.