Good Vibrations



"Good Vibrations" is a song by American rock band the Beach Boys, released as a single in October 1966, and backed with the Pet Sounds instrumental "Let's Go Away For Awhile". The song was composed and produced by Brian Wilson with lyrics by Mike Love.[2]  Initiated during the sessions for the Pet Sounds album, it was not taken from or issued as a lead single for an album, but as a stand-alone single, although it would be later considered for the aborted Smile project. It would ultimately be placed on the album Smiley Smile eleven months after its release and was part of Wilson's 2004 performances of Smile.

Building upon the layered production approach he had previously formulated on Pet Sounds, Wilson famously labored over the song's production by recording it piece by piece using several Los Angeles studios throughout the course of a year, resulting in a cut-up mosaic of musical sections marked by several discordant key and modalshifts.[3]  Then-publicist for the band, Derek Taylor, dubbed the song's recording a "pocket symphony", featuring instruments considered unusual for a pop song, including prominent use of the cello, jaw harp, and an electro-theremin.[4] [5] [6]

For "Good Vibrations", Wilson is credited with further developing the use of the recording studio as an instrument.[3]  "Good Vibrations" earned The Beach Boys a Grammynomination for Best Vocal Group performance in 1966 and the song was eventually inducted into the Grammy Hall of Fame in 1994.[citation needed]  An early classic of thecounterculture era,[7]  it has featured highly in many charts, being voted number one in the Mojo Top 100 Records of All Time chart in 1997[citation needed]  and number six on Rolling Stone ' s list of the "500 Greatest Songs of All Time."[8]  The song "Good Vibrations" is part of the The Rock and Roll Hall of Fame's 500 Songs that Shaped Rock and Roll list.[9]



Contents
[hide]  *1 Composition  ==Composition<span class="mw-editsection" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;padding-right:0.25em;unicode-bidi:-webkit-isolate;font-family:sans-serif;">[edit] == <p style="margin-top:0.5em;line-height:22.399999618530273px;color:rgb(37,37,37);font-family:sans-serif;">Wilson has recounted the genesis of the title "Good Vibrations" numerous times over the years.<sup class="reference" id="cite_ref-10" style="line-height:1;unicode-bidi:-webkit-isolate;">[10]  When he was a child, his mother Audrey told him that dogs could pick up "vibrations" from people, meaning that the dog would bark at "bad vibrations".<sup class="reference" id="cite_ref-11" style="line-height:1;unicode-bidi:-webkit-isolate;">[11]  Wilson turned this into the general idea of limbic resonance and developed the song around it.
 * 2 Recording
 * 2.1 Instrumental tracking
 * 2.2 Vocal overdubs and assembly
 * 3 Release and reception
 * 3.1 Accolades
 * 3.2 Charts
 * 4 Personnel
 * 5 Other releases
 * 5.1 40th anniversary single
 * 5.2 Stereophonic mixes
 * 5.3 Solo Brian Wilson version
 * 6 See also
 * 7 Notes
 * 8 References
 * 9 External links

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:22.399999618530273px;color:rgb(37,37,37);font-family:sans-serif;">Musically, Wilson was largely responsible for the track's composition. Wilson himself has also stated that the triplet cello beat on the chorus was based on the Phil Spector-produced song "Da Doo Ron Ron".<sup class="reference" id="cite_ref-FOOTNOTERooksby200134-35_12-0" style="line-height:1;unicode-bidi:-webkit-isolate;">[12]  Other reports suggest that it was actually either Van Dyke Parks or Carl Wilson that had suggested the idea of a cello to Brian. Brian did the majority of the vocal arrangements for the song, with band mate Mike Love contributing the "I'm picking up good vibrations / she's giving me excitations" vocal riff in the chorus.<sup class="reference" id="cite_ref-PHK_13-0" style="line-height:1;unicode-bidi:-webkit-isolate;">[13]  According to academic Rikky Rooksby, "Good Vibrations" is an example of Wilson's growing interest in musical development within a composition, something antithetical to popular music of the time.<sup class="reference" id="cite_ref-FOOTNOTERooksby200134-35_12-1" style="line-height:1;unicode-bidi:-webkit-isolate;">[12]  The verses are set in E♭ minor while the refrain begins in the relative major, G♭. The song makes use of descending harmonic motions through scale degrees controlled by a single tonic and "radical disjunctions in key, texture, instrumentation, and mood", while refusing to develop into "any predictable formal pattern".<sup class="reference" id="cite_ref-FOOTNOTEBoone199741-46_3-2" style="line-height:1;unicode-bidi:-webkit-isolate;">[3]  It instead develops "under its own power", and "luxuriates in harmonic variety, exemplified by the fact that the song begins and ends not only in different keys but also in different modes".<sup class="reference" id="cite_ref-FOOTNOTEBoone199741-46_3-3" style="line-height:1;unicode-bidi:-webkit-isolate;">[3]

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:22.399999618530273px;color:rgb(37,37,37);font-family:sans-serif;">In early 1966, Wilson first enlisted Pet Sounds lyricist Tony Asher for help in putting words to the idea. Several months later, Wilson asked his then-new writing partner Van Dyke Parks to pen lyrics for the song, although Parks declined. Ultimately Mike Love submitted the final lyrics for "Good Vibrations", claiming to have written the final lyrics on the drive to the studio in August 1966. According to Love, the lyrics were inspired by the impending flower power movement occurring in San Francisco and some parts of the Los Angeles area.<sup class="reference" id="cite_ref-PHK_13-1" style="line-height:1;unicode-bidi:-webkit-isolate;">[13]  Writer Bruce Golden observed: <p style="margin-top:0.5em;line-height:inherit;">The new pastoral landscape suddenly being uncovered by the young generation provided a quiet, peaceful, harmonious trip into 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 "vibrations" had been employed by students of Eastern philosophy and acid-heads for a variety of purposes, but Wilson uses it here to suggest a kind of extrasensory experience.<sup class="reference" id="cite_ref-FOOTNOTEGolden1976_14-0" style="line-height:1;unicode-bidi:-webkit-isolate;">[14] <p style="margin-top:0.5em;line-height:22.399999618530273px;color:rgb(37,37,37);font-family:sans-serif;">Reportedly, Capitol Records executives were worried that the lyrics contained psychedelic overtones, and Wilson is said to have admitted to basing the song's production on his LSD experiences.<sup class="reference" id="cite_ref-FOOTNOTEWilsonGold1991145_15-0" style="line-height:1;unicode-bidi:-webkit-isolate;">[15] <sup class="reference" id="cite_ref-FOOTNOTEDeRogatis200337_16-0" style="line-height:1;unicode-bidi:-webkit-isolate;">[16]  According to friend David Anderle, Wilson at an early point considered giving "Good Vibrations" to an undecided black rhythm-and-blues group signed with Warner Bros. Records, and then to singer Danny Hutton, before eventually confiding in it as the next Beach Boys single.<sup class="reference" id="cite_ref-FOOTNOTEKentPop200934-35_17-0" style="line-height:1;unicode-bidi:-webkit-isolate;">[17] ==Recording<span class="mw-editsection" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;padding-right:0.25em;unicode-bidi:-webkit-isolate;font-family:sans-serif;">[edit] == Further information: Pet Sounds, Smile (The Beach Boys album) and Wall of Sound<p style="margin-top:0.5em;line-height:22.399999618530273px;color:rgb(37,37,37);font-family:sans-serif;">The recording and production style used on the "Good Vibrations" single established Wilson's new method of operation: the recording and re-recording of specific sections of music, followed by rough mixes of the sections edited together, further recording as required, and the construction of the final mix from the component elements. This was the modular approach to recording that was used during the sessions for Smile, and to a slightly lesser degree, Pet Sounds. For "Good Vibrations", Wilson also applied the Wall of Sound formula to his arrangements. ===Instrumental tracking<span class="mw-editsection" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;padding-right:0.25em;unicode-bidi:-webkit-isolate;">[edit] === <p style="margin-top:0.5em;line-height:22.399999618530273px;color:rgb(37,37,37);font-family:sans-serif;">The instrumental of the first version of the song was recorded on February 17, 1966. It was described in the session log as "#1 Untitled" (or as "Good, Good, Good Vibrations"), though on the tape Brian Wilson distinctly says "Good Vibrations, Take One". After 26 takes, a rough mono mix completed the session. Rough guide vocals were recorded the following day. The original version of "Good Vibrations" places the track as a "funky rhythm-and-blues number" and would not yet resemble the appearance of a "pocket symphony".<sup class="reference" id="cite_ref-FOOTNOTEBoone199741-46_3-4" style="line-height:1;unicode-bidi:-webkit-isolate;">[3]  There was no cello, but the distinctive high-pitched sliding electronic sound in the choruses and at the end of the track was present from the beginning. This sound was created with an Electro-Theremin, played by Paul Tanner, and first used by Wilson on the Pet Sounds track "I Just Wasn't Made for These Times" three days before. By February 25, Wilson had placed the recording on hold in order to devote attention to the Pet Sounds album.

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:22.399999618530273px;color:rgb(37,37,37);font-family:sans-serif;">The track was revisited on May 24, and worked on until June 18, at which time he put it aside again until August 24. The various sections of the song were then edited together by Wilson into an innumerable amount of sound collages. The production of the song spanned seventeen recording sessions at four different recording studios. The recording is reported to have used over 90 hours of magnetic recording tape, with an eventual budget estimated between $50,000 and $75,000.<sup class="reference" id="cite_ref-FOOTNOTEBoone199741-46_3-5" style="line-height:1;unicode-bidi:-webkit-isolate;">[3]  According to Wilson, the Electro-Theremin work alone cost $15,000.<sup class="reference" id="cite_ref-18" style="line-height:1;unicode-bidi:-webkit-isolate;">[18] ===Vocal overdubs and assembly<span class="mw-editsection" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;padding-right:0.25em;unicode-bidi:-webkit-isolate;">[edit] === <p style="margin-top:0.5em;line-height:inherit;">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.

“”—Mike Love<sup class="reference" id="cite_ref-FOOTNOTERooksby200134-35_12-2" style="line-height:1;unicode-bidi:-webkit-isolate;">[12] <p style="margin-top:0.5em;line-height:22.399999618530273px;color:rgb(37,37,37);font-family:sans-serif;">Recording of the vocals for "Good Vibrations" took place at Columbia studio between August 24 and September 1.<sup class="reference" id="cite_ref-19" style="line-height:1;unicode-bidi:-webkit-isolate;">[19]  The lead vocal in the verses is largely sung by Carl Wilson with Brian taking over for the "…I hear the sound of a…" and "…when I look in her eyes…" falsetto parts. The two bridges and chorus bass vocal are sung by Mike Love with Brian on top of the harmony stack during the "good, good, good vibrations" part of the chorus. Brian later recalled that prior to mixing down "Good Vibrations", he attended a session for the Rolling Stones song "My Obsession" when record producer Lou Adler gave him marijuana, explaining: "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."<sup class="reference" id="cite_ref-FOOTNOTEBadman2004144_20-0" style="line-height:1;unicode-bidi:-webkit-isolate;">[20]  Around this time, he also suffered through an incident where the master tapes for "Good Vibrations" had been stolen by an unknown party for three days.<sup class="reference" id="cite_ref-21" style="line-height:1;unicode-bidi:-webkit-isolate;">[21]  Speaking to Rolling Stone's David Felton, in 1976, Brian elaborated on the group's participation and the track's final mixdown. <p style="margin-top:0.5em;line-height:inherit;">FELTON: Did everybody support what you were trying to do?

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:inherit;">BRIAN: No, not everybody. There was a lot of "oh you can't do this, that's too modern" or "that's going to be too long a record." I said no, it's not going to be too long a record, it's going to be just right.

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:inherit;">FELTON: Who resisted you? Your manager? The record company?

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:inherit;">BRIAN: No, people in the group, but I can't tell ya who. We just had resisting ideas. 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.

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:inherit;">FELTON: Do you remember the time you realized you finally had it?

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:inherit;">BRIAN: I remember the time that we had it. 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 16 track down to mono. It was a feeling of power, it was a rush. A feeling of exaltation. Artistic beauty. It was everything.

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:inherit;">FELTON: Do you remember saying anything?

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:inherit;">BRIAN: I remember saying, "Oh my God. Sit back and listen to this!"<sup class="reference" id="cite_ref-22" style="line-height:1;unicode-bidi:-webkit-isolate;">[22] ==Release and reception<span class="mw-editsection" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;padding-right:0.25em;unicode-bidi:-webkit-isolate;font-family:sans-serif;">[edit] == <p style="margin-top:0.5em;line-height:inherit;">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.

“”—Derek Taylor, Hit Parader, October 1966<sup class="reference" id="cite_ref-23" style="line-height:1;unicode-bidi:-webkit-isolate;">[23] <p style="margin-top:0.5em;line-height:22.399999618530273px;color:rgb(37,37,37);font-family:sans-serif;">"Good Vibrations" was the Beach Boys' third US number one hit after "I Get Around" and "Help Me, Rhonda", reaching the top of the Billboard Hot 100 chart in December 1966, as well as being their first British chart-topper. It sold over 230,000 copies in the US during its first four days of its release and entered the Cash Box chart at number 61 on October 22.<sup class="reference" id="cite_ref-24" style="line-height:1;unicode-bidi:-webkit-isolate;">[24]  It eventually became their first "million-selling single" topping the Billboard charts in 1966.<sup class="reference" id="cite_ref-25" style="line-height:1;unicode-bidi:-webkit-isolate;">[25]  In the UK, the song sold over 50,000 copies in the first 15 days of its release.<sup class="reference" id="cite_ref-26" style="line-height:1;unicode-bidi:-webkit-isolate;">[26]  The record proceeded to reach number-one on the British charts, and both the New Musical Express and Melody Maker gave positive reviews at the time of the single's release.<sup class="reference" id="cite_ref-FOOTNOTEBadman2004155-56_27-0" style="line-height:1;unicode-bidi:-webkit-isolate;">[27]  Encouraged by the success of the song, Wilson continued working on the Smile project, intended it as an entire album using the writing and production techniques devised for "Good Vibrations".

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:22.399999618530273px;color:rgb(37,37,37);font-family:sans-serif;">Praise was not universal, however, and Pete Townshend of the Who was quoted at the time 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", and feared that the single would lead to over-produced records in general.<sup class="reference" id="cite_ref-FOOTNOTEBadman2004156_28-0" style="line-height:1;unicode-bidi:-webkit-isolate;">[28]

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:22.399999618530273px;color:rgb(37,37,37);font-family:sans-serif;">"Good Vibrations" prompted an unexpected revival in theremins. When the Beach Boys needed to reproduce the sound of the theremin onstage, they requested the servioes of Walter Sear, who then asked Bob Moog to design a ribbon controller, since the group was used to playing the fretboards of a guitar. Sears remembers marking fretboard-like lines on the ribbon "so they could play the damn thing". Moog then set out to manufacture his own models of theremins, but ultimately noted: "The pop record scene cleaned us out of our stock which we expected to last through Christmas."<sup class="reference" id="cite_ref-FOOTNOTEPinchTrocco2009102-3_29-0" style="line-height:1;unicode-bidi:-webkit-isolate;">[29]

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:22.399999618530273px;color:rgb(37,37,37);font-family:sans-serif;">The song later inspired the title of French duo Air's fifth LP: Pocket Symphony, released in 2007.

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:22.399999618530273px;color:rgb(37,37,37);font-family:sans-serif;">Rolling Stone magazine ranked "Good Vibrations" at No. 6 in "The 500 Greatest Songs of All Time", the highest position of seven Beach Boys songs cited in the list. It outranked The Beatles's highest ranking song, "Hey Jude", which was placed at number eight. The song was also voted number 24 in the RIAA and NEA's listing of Songs of the Century. "Good Vibrations" is currently ranked as the number three song of all time in an aggregation of critics' lists at acclaimedmusic.net.<sup class="reference" id="cite_ref-30" style="line-height:1;unicode-bidi:-webkit-isolate;">[30] ===Accolades<span class="mw-editsection" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;padding-right:0.25em;unicode-bidi:-webkit-isolate;">[edit] === ===Charts<span class="mw-editsection" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;padding-right:0.25em;unicode-bidi:-webkit-isolate;">[edit] === ==Personnel<span class="mw-editsection" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;padding-right:0.25em;unicode-bidi:-webkit-isolate;font-family:sans-serif;">[edit] == ==Other releases<span class="mw-editsection" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;padding-right:0.25em;unicode-bidi:-webkit-isolate;font-family:sans-serif;">[edit] == <p style="margin-top:0.5em;line-height:22.399999618530273px;color:rgb(37,37,37);font-family:sans-serif;">Smiley Smile marks "Good Vibrations" first album appearance, with no differences from the single version. The song was also published in 1993 on the Good Vibrations: Thirty Years of The Beach Boys box set, and in extended form in 2011 on The Smile Sessions box set. Both box sets include extracts and highlights from the "Good Vibrations" sessions.
 * The Beach Boys
 * Al Jardine – harmony and backing vocals
 * Bruce Johnston – harmony and backing vocals
 * Mike Love – lead, harmony and backing vocals
 * Brian Wilson – lead, harmony and backing vocals; organ
 * Carl Wilson – lead, harmony and backing vocals; bass guitar; percussion
 * Dennis Wilson – harmony and backing vocals; Hammond organ
 * Additional musicians and production staff
 * Hal Blaine – drums, percussion
 * Jimmy Bond – double bass
 * Al De Lory – tack piano
 * Jesse Ehrlich – cello
 * Jim Gordon – drums
 * Mike Melvoin – Hammond organ
 * Tommy Morgan – harmonica
 * Bill Pitman - guitar
 * Ray Pohlman – bass guitar
 * Don Randi – harpsichord
 * Lyle Ritz – double bass
 * Paul Tanner – Electro-Theremin

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:22.399999618530273px;color:rgb(37,37,37);font-family:sans-serif;">A version with only Tony Asher's lyrics can be heard as a bonus track on the "twofer" CD which pairs Smiley Smile and Wild Honey. ===40th anniversary single<span class="mw-editsection" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;padding-right:0.25em;unicode-bidi:-webkit-isolate;">[edit] === <p style="margin-top:0.5em;line-height:22.399999618530273px;color:rgb(37,37,37);font-family:sans-serif;">In celebration of its 40th year, the Good Vibrations: 40th Anniversary Edition single was released. The single includes five versions of "Good Vibrations" including:

<p style="margin-top:0.5em;line-height:22.399999618530273px;color:rgb(37,37,37);font-family:sans-serif;">Except as indicated, all tracks are in mono. ===Stereophonic mixes<span class="mw-editsection" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;padding-right:0.25em;unicode-bidi:-webkit-isolate;">[edit] === <p style="margin-top:0.5em;line-height:22.399999618530273px;color:rgb(37,37,37);font-family:sans-serif;">There had never been an official true stereo release of the final track until the 2012 remastered version of Smiley Smile, although numerous fan-created stereo mixes have been attempted over the Internet. In 2002 DSP (Disky Special Products) released in the Netherlands a various artist compilation CD named Radio 192 - The Radio's on – 40 Echte radio hits which contains a stereo mix of this song, possibly using the stereo instrumental track mixed with the mono vocals. It has been said that not enough stems exist to actually create a new stereo mix, something echoed by Mark Linett's 1988 rough mixes of the Smile material. This is due to the vocal tracks being currently missing. Bruce Johnston has stated that he believes they were accidentally destroyed in 1967 during a "spring cleaning" of the Columbia studio.<sup class="Template-Fact" style="line-height:1;white-space:nowrap;">[citation needed]  However, a stereo version of the instrumental backing track was issued in 2006 on the 40th anniversary "Good Vibrations" EP.
 * the original single version
 * various session takes
 * an alternate take (previously released on the Beach Boys' Rarities album)
 * instrumental track in stereo
 * a live concert rehearsal (from Hawaii 08/1967).
 * also included is the original B-side of the single, "Let's Go Away for Awhile" (stereo-mix).

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:22.399999618530273px;color:rgb(37,37,37);font-family:sans-serif;">The 2012 stereo mix was made possible by newly invented digital technology by Derry Fitzgerald, with the blessings of Brian Wilson and Mark Linett. This 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 now appears on the re-issue of Smiley Smile.<sup class="reference" id="cite_ref-50" style="line-height:1;unicode-bidi:-webkit-isolate;">[50] ===Solo Brian Wilson version<span class="mw-editsection" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;padding-right:0.25em;unicode-bidi:-webkit-isolate;">[edit] === Vinyl release of "Good Vibrations" from Brian Wilson Presents Smile.<p style="margin-top:0.5em;line-height:22.399999618530273px;color:rgb(37,37,37);font-family:sans-serif;">In 2004, a re-recorded version of Smile was finally completed by Wilson, Parks, and Darian Sahanaja, with Wilson's touring band in place of the other Beach Boys and studio musicians. It was released in September of that year, to widespread critical acclaim. "Good Vibrations" was released as a single prior to the album, also featuring a live version of the song.

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:22.399999618530273px;color:rgb(37,37,37);font-family:sans-serif;">According to Wilson, when he re-recorded "Good Vibrations", his wife, Melinda, suggested he use the original lyrics written by Tony Asher. However, it was necessary to augment Asher's lyrics with Mike Love's, which include the opening line ("I, I love the colorful clothes she wears,") the chorus couplet ("I'm pickin' up good vibrations / She's givin' me the excitations") and the two bridges (the "I don't know where but she sends me there" section, and the "Gotta keep those lovin'-good vibrations happenin' with her" section.) Accordingly, Love was also credited on the 2004 album version, along with Asher.<sup class="reference" id="cite_ref-51" style="line-height:1;unicode-bidi:-webkit-isolate;">[51]

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:22.399999618530273px;color:rgb(37,37,37);font-family:sans-serif;">In addition to incorporating most of the original Tony Asher lyrics, the Smile version also includes the "Hum-Be-Dum" harmony section not included in the 1966 release.