The two songs that showcased Brian Wilson’s genius, according to David Gilmour
There are some artists whose genius status feels universally agreed upon. It’s a position that isn’t up for debate or argument as their talent is undeniable, and pioneering efforts are impossible to ignore. The Beatles exist in that realm, as does Bob Dylan and, according to David Gilmour, so does Brian Wilson.
Gilmour joins a long list of other icons who have spoken at length about the importance of the Beach Boys leader. Dylan once said Wilson had such an ear for music that he should “donate it to the Smithsonian.” McCartney declared, “I figure no one is educated musically ’til they’ve heard Pet Sounds.” Even Stevie Wonder, a musician who is regularly considered to be one of the most talented and skilled individuals around, spoke about Wilson’s essential role in inspiring a whole new generation of artists.
It’s a broadly understood fact that Wilson exists as one of the forefathers of modern music. To people who have never dove beneath the surface of The Beach Boys’ music and may only know ‘Surfin’ U.S.A’ or some other twee-bopper classic, it would be easy not to understand their position in music history. But for those who have, their impact is heard far and wide.
To better appreciate Wilson’s contribution to music, Pink Floyd’s David Gilmour implores ears to hear two essential tracks. To him, these established his genius status early as proof that he was destined to be a game changer.
“Even in those very early days of the Beach Boys, songs like ‘In My Room’ and ‘Don’t Worry Baby’ were giving indications that Brian Wilson wanted to paint with a much more colourful palette than was offered by the surf music that he was so adept at,” Gilmour said. Sitting on two of the band’s earliest albums when they were never seen without a surfboard in hand as the music industry desperately branded them as California’s coolest kids despite the fact that none of them knew how to catch a wave, the songs go way beyond the limited scope of their early cultural presence.
Gilmour’s first example, ‘In My Room’, is a prime one. Written in the key of B major and featuring a flat VII A major chord, its craft is so unusual for a pop song. It was catchy enough to be a hit for the band, but its strange and sombre build saw the band push themselves into new and experimental territories.
‘Don’t Worry Baby’ follows the same pattern of the band crafting hits without succumbing to boring cliches or limiting themselves. Instead, it’s packed with their signature harmonies as Wilson merged the doo-wop sounds of his youth with a new countercultural ear.
To Gilmour, these two tracks were the start of something special that would build and build towards the band’s masterpiece. “His brilliance leapt from strength to strength over a very short period,” he said. “In a little over four years, he mastered the art of songwriting, record production, orchestral arrangements and every form of studio trickery to culminate with the wonderful songs on Pet Sounds”.
