The sixties were an experimental time for musicians, none more so than The Beatles in the UK, and The Beach Boys over in the U.S. Although The Beach Boys began life as a surf rock band, under the stewardship of chief songwriter Brian Wilson they evolved into a far more sophisticated outfit during the mid-late sixties. Albums such as the legendary Pet Sounds are excellent examples of their experimental forays into other styles including psychedelia, jazz and doo-wop.
‘Good Vibrations’ was released as a stand-alone single in October 1966 at the height of The Beach Boys’ popularity. The song was predominantly written by lead songwriter Brian Wilson, with lyrical contributions from Mike Love. It has an unusual structure for pop songs of the time and is regarded as a key example of Wilson’s developing compositional skills. There were many recording sessions for the song, with parts being re-recorded multiple times. It is estimated that over $50,000 were spent on its recording, making it at the time the most expensive song to have ever been recorded. The final version was eventually pieced together from the many different takes that were available.
The song has two recorded bass parts, one upright bass part and one electric bass part. The upright part was performed by Lyle Ritz and is very low in the mix, making it practically inaudible. The electric part was performed by Carol Kaye.
When learning this piece, you might find the following courses (all included in the monthly subscription cost) useful:
A transcription (with TAB and without) is available for this course. To download it, please visit the Free Stuff page.
This course is 25 MINUTES long and contains the following videos, each of which can be selected from the video player above:
This video is a demonstration of the song’s bassline performed on a Fender Precision bass strung with flatwound strings.
This video provides an overview of the song. It also covers Carol Kaye’s bass tone on the recording and offers advice on how you can achieve something similar.
This song covers the opening verse section, which features an unusual upper register bass part. This line is heavy on chord tones, perfectly reflecting the harmony.
This lesson covers the chorus sections, which are underpinned by a simple walking bassline that follows the ascending chord progression.
This lesson will show you how to play the first interlude section, which has a very simple bass part. The bass plays ‘pedal tones’ here, whilst the chords change above.
This video covers the second Interlude section, which has a more active quarter note bassline. Again, this line is very simple to play.
This final video covers the outro section of the song. This line is essentially a repeat of the walking bassline that was used during the earlier chorus sections.