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- As 1966 whirled to a close, it seemed as if Brian had realized his most audacious visions. [...] It was everything he'd ever wanted—commercial popularity, unbelievable artistic freedom, unimaginable acclaim from his peers. All the rules were gone now, all the expectations shaken into dust. Able to finally transcend pop's norms and his own limitations, anything could happen. Anything, it seemed, except what did. (en)
- At its best, the Beach Boys' music evokes a naiveté without falsity, giving shape and depth to a kind of American disposition—enterprise unencumbered by skepticism—and grants it a kind of dignity in the process. It's the last part that seems to confound a lot of people. But I can hear it in "Good Vibrations" as much as in "Surfin' USA." (en)
- I wanted to write a song with more than one level. Eventually, I would like to see longer singles—so that the song can be more meaningful. A song can, for instance, have movements—in the same way as a classical concerto—only capsulized. (en)
- 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! (en)
- 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. (en)
- "Good Vibrations" may yet prove to be the most significantly revolutionary piece of the current rock renaissance [...] everyone has felt its import to some degree, in such disparate things as the Yellow Balloon's "Yellow Balloon" and the Beatles' "A Day in the Life," in groups as far apart as Grateful Dead and the Association, as Van Dyke Parks and the Who. (en)
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