I’ve been busy and a little negligent, I confess, but no worries, I am still around. Here is a little something, something I wrote for a class I’m taking. It’s a dissection/review of the song “God Only Knows” by The Beach Boys. I’ve always found this song to be somewhat subversive, and my assignment was to choose a popular song and dissect it – figure out what makes it tick, so to speak. Pitchfork Media named “God Only Knows” as the greatest song to come out of the ’60s, and that’s a pretty high ranking for a song that suggest the singer will kill himself if his lover doesn’t reciprocate his feelings. Of course, that’s all hyperbole – a product of young, naïve love – but the song is still darker than it appears, which I think is worth exploring a little bit.
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Pet Sounds is often cited as one of the best albums ever recorded, with “God Only Knows” often pointed to as the best song on the album (or, according to Pitchfork Media, the entire ’60s decade). On the surface, it’s a pretty simple love song with some great harmonies and a typically lush score from producer Brian Wilson. However, like many nursery rhymes before it, the truth is not as rosy as those sunny piano chords would suggest.
THE STRUCTURE:
intro | verse 1 | chorus | verse 2 | chorus | instrumental/vocal break | chorus |
repeat verse 2 | repeat chorus until fade
THE MUSIC:
“God Only Knows” is heavily layered with everything from French horns to a three part string arrangement to an accordion. However, every instrument is used sparingly, and, for the most part, they serve only as accents to Carl Wilson’s lead vocal performance.
The French horn opens the piece playing a short melody (also used for an upper vocal harmony line near the end of the song) over a two chord piano line, sleigh bells and a bass, with a short flute line leading into the first verse. Carl’s vocals are doubled to sound fuller, giving them a sort of dream-like, other-worldly quality, the cause of which isn’t immediately identifiable. Percussive elements and orchestral elements are added and taken away to give the impression of both movement and space in the piece, showing clearly where each section of the song begins and ends.
The hook lies pretty squarely in the chorus. It’s only one line, but the sort of sad but sweet melody, mixed with a powerful, striking sentiment leaves a lasting impression.
The complex harmonies – a Beach Boys staple – come in after the second chorus, with Brian Wilson and Bruce Johnston singing some “ah,” “bah’s” and “do’s,” before moving into the third chorus and last verse. The chorus is repeated until the end of the piece with high, mid and low harmonies mixed with Carl’s original melody line.
Although the orchestration certainly adds to the allure of “God Only Knows,” the song can remain just as effective with a much more spare arrangement (even a capella) because the melody and lyrics are so effective.
THE LYRICS:
I may not always love you,
But long as there are stars above you,
You never need to doubt it.
I’ll make you so sure about it.
God only knows what I’d be without you.
If you should ever leave me,
Though life would still go on, believe me,
The world could show nothing to me,
So what good would living do me?
God only knows what I’d be without you.
(Instrumental break)
God only knows what I’d be without you.
If you should ever leave me,
Though life would still go on, believe me,
The world could show nothing to me,
So what good would living do me?
(Chorus repeats until end)
I’ve always found this song to be sort of dark. The sentiment is from a man so in love with someone that he can’t see the point in living if that person leaves him. Invoking God in the title only adds to the gravity of this man’s love, and speaks to a sort of devotional state of mind, making him seem perhaps dangerously obsessed (but maybe I am projecting?).
The opening line, “I may not always love you,” is a fake out, as the rest of the verse reveals that he’ll only love the subject until the universe ends (which is to say, forever). It’s a great, unconventional way to hook the listener in, making them unsure about the subject matter from the very beginning.
It isn’t until the second verse that the lyrics start to seem dark to me. “. . . The world could show nothing to me / So what good would living do me?” brings to mind thoughts of suicide, which is only romantic if you are trapped in a Shakespearean tragedy. However, this is a pretty common romantic trope, and it’s the type of hyperbole that people can easily grasp. Everyone has felt that obsessive love at some point – whether it’s directed at a romantic partner or a movie star or even a work of art, people can understand and relate to something all-encompassing.
It’s also interesting to note that the entire piece only takes into consideration the singer’s point of view. This isn’t unusual for a love song, of course, but it does lend itself to being an anthem for stalkers (see the movie Enduring Love for a creepy example of this) and other undesirable obsessives. In fact, the object of the singer’s affections is almost trapped in this relationship because, if they were to ever leave, they might be inadvertently responsible for someone’s death.
At the time that this single came out, the choice of putting the word “God” in the title was controversial. Writers Tony Asher and Brian Wilson were worried that it would be too non-commercial. The word “God” has an inherent gravity to it, bringing with it social, religious and personal meanings. If the line went, “Nobody knows what I’d be without you,” it simply would not carry the same weight – it’s too unspecific. The invocation of God implies a deeper connection between these two people, suggesting that their love is both earthly and divine. Ultimately, the risk paid off for The Beach Boys, giving them both a hit and a song with some theological weight to it.
So this may not be the sweet love song it appears to be upon first, fifth or even tenth listen, but it’s probably this strong devotional tenor that makes it as well-loved as it is. It doesn’t hold back, and it makes no apologies for its expression of love. Also, it’s extremely well put together, with some soaring harmonies and fun orchestration. “God Only Knows” is certainly worth the praise it’s given, but I still don’t think I’d play it at my wedding reception.