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Brian Wilson, co-founder of the Beach Boys, died on June 11, 2025, at age 82. His passing marked the end of a career that began with simple surf songs and grew into complex studio work. Over six decades, Brian Wilson wrote melodies that spoke to young listeners and pushed the boundaries of pop music.
Today, we look at ten songs that trace his journey, showing how his ideas evolved without using overly glowing language. Each song reflects a step in his growth, from teenage anthems to mature reflections.
10 songs to honor Brian Wilson's Legacy
“Surfin’ USA” brought surf rock to a nationwide audience
Released in March 1963, Surfin’ USA borrowed its tune from a Chuck Berry hit but added Brian Wilson's beachside lyrics. The simple guitar riff and catchy chorus painted an easy picture of California surfing.
As an early single, it helped the band reach young fans across America. The recording uses straightforward vocals and basic drums, keeping the mood light. Its success showed Wilson’s skill at writing songs that connected with listeners.
“Don’t Worry Baby” revealed a softer side of his writing
Issued as the B-side of I Get Around in May 1964, Don’t Worry Baby offers words of comfort and a gentle melody. Wilson’s lead vocal carries a feeling of care without heavy production.
The arrangement stays uncluttered, with soft guitar and background harmonies. Listeners hear a voice trying to soothe a friend after a risky drag race. This song highlighted Brian Wilson’s ability to blend emotion into a pop format.
“California Girls” experimented with richer sound layers
In 1965, Wilson and the Beach Boys released California Girls, a song that marked a new phase in his work. He added extra backing vocals to build richer harmony. He also tried more percussion instruments, such as tambourine and shakers, to add rhythmic detail.
The lyrics were simple, praising girls from all parts of California. Behind the scenes, this fuller production style showed that Brian Wilson was moving beyond surf riffs and treating the studio as a place to explore ideas.
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“Wouldn’t It Be Nice” opened a new creative chapter
As the opening song of Pet Sounds, Wouldn’t It Be Nice combines hopeful lyrics with a complex mix of instruments. Brian Wilson added strings, horns, and keyboards alongside guitars to create a warm, layered sound. The words describe the dream of two young people wishing to be together.
In this track, Wilson treated the studio itself as an instrument, carefully placing each harmony and musical element. The final effect feels more thoughtful and mature than earlier surf songs.
“God Only Knows” showed harmonic depth without extra frills
Also from Pet Sounds, God Only Knows centers on devotion and uses complex vocal harmonies. Despite its intricate layers, the song remains uncluttered in feeling. Lyrics focus on simple gratitude rather than grand statements.
Piano and soft instruments support the voices gently. This track demonstrated Wilson’s focus on honest expression over showy effects.
“Good Vibrations” combined experiments into a single song
Released in late 1966, Good Vibrations was assembled from recordings made in different studios. Brian Wilson gathered musical segments that included vocals, percussion, and a theremin. He explored new musical ideas.
He and his team then stitched the parts together in the control room, treating each take like a puzzle piece. The song shifts smoothly from its opening verse into a memorable bridge before returning. Its inventive recording process revealed his growing skill and confidence behind the mixing desk.
“Heroes and Villains” reflected his unfinished ambitions
Recorded during the stalled Smile project in 1967, Heroes and Villains shifts between contrasting sections. Parts feel playful while others sound more serious, hinting at a bigger plan.
Brian Wilson’s voice weaves through changing melodies, supported by layered backing vocals. The production remains busy but not overwhelming. This song shows a glimpse of ideas he could not fully complete at the time.
“Darlin’” embraced a soul-inspired pop style
Also released in 1967, “Darlin’” showcases a Motown-inspired rhythm and simple lyrics expressing genuine fondness. The track features a prominent bass line, steady drum patterns, and layered vocal harmonies that move smoothly without distracting embellishments.
Departing from the band’s earlier surf-focused topics, the song ventures into mainstream pop with a soulful touch. It's warm, relaxed groove invites listeners to sway along, highlighting Brian Wilson’s interest in exploring new musical styles.
“Don’t Let Her Know She’s an Angel” reused older ideas in a new context
On his 2004 solo album, Brian Wilson revisited a demo from the early ’90s with Don’t Let Her Know She’s an Angel. The finished version keeps his signature vocal layers but in a modern studio setting.
Lyrics focus on quiet praise for someone special. Simple guitar and harmony vocals carry the tune. This track highlights his lasting melodic sense.
“Isn’t It Time” showed ongoing creativity in later years
From the Beach Boys’ 2012 release That’s Why God Made the Radio, Isn’t It Time features ukulele, handclaps, and an easygoing rhythm. The lyrics reflect on patience and living in the moment.
Brian Wilson’s voice remains gentle, supported by light instrumentation. The arrangement feels uncluttered and approachable. This song proves he continued writing clear, melodic pieces decades after his start.
From 1963’s surf anthem to 2012’s reflective pop, these ten tracks mark different chapters in Brian Wilson’s life. Early hits relied on simple themes and guitar riffs, while mid-’60s work moved into richer studio territory.
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Personal struggles slowed the Smile project, but did not stop his creativity altogether. Later pieces revisited old ideas and explored new collaborations. Together, they offer a clear, basic guide to Brian Wilson's changing style and enduring impact.
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