Brian Wilson’s demise on Wednesday on the age of 82 heralds an finish to at least one thought of Southern California — because the temperate paradise of ascendant Americana. Exuberance and dreaminess, writerly sophistication and technical ambition, medication and insanity: Wilson’s beautiful craft captured all of it, together with his band the Seaside Boys forsaking a singularly ingenious and exultant physique of labor, one which scripted and embodied California to the world.

His huge catalog of incomparable achievement additionally contained thwarted hopes and despair amid his drug abuse and psychological sickness. It ought to be revisited in its full vary in the present day. These are a couple of of his hallmark accomplishments as a author, arranger and performer.

Surfer Woman (1963)Unbelievably, impossibly the primary single that Brian Wilson ever wrote. So refined and delicate in its moon-eyed teenage passions, filled with suave melodic strikes bolstered by the pure-water harmonies that will outline the group. The music that set the template for a SoCal subculture, and a band to ultimately rival the Beatles.

In My Room (1963)Completely captures the loneliness and sanctity of younger solitude over a beautiful doo-wop arpeggio. It’s a bracingly weak observe for a boy band to write down in any period of masculinity.

Heat of the Solar (1964)What an exquisite composition to come back proper within the wake of the Kennedy assassination. Soaked with loss, redeemed by these radiant chord adjustments exhibiting Wilson’s escalating ambitions as a author, right here with Mike Love.

Don’t Fear Child (1964)Riffing off the Ronettes’ hit the 12 months earlier than, this early lower served double obligation as a honest portrait of romantic consolation and security, and a reassurance for Wilson’s personal insecurities as a performer on stage and in life. The regal vocal right here proved it labored.

Please Let Me Surprise (1965)An absolute swoon. Wilson was ramping as much as the sonic innovations of “Pet Sounds,” however this era-transitional single captured the previous lovelorn magic and dreaminess in an more and more sturdy association.

California Ladies (1965)Written with Love after the Seaside Boys’ first European tour, this hallmark single is diabolical in its sincerity and craftsmanship, a gobsmacked appreciation for all of the world’s ladies that most likely did as a lot to construct the Golden State’s international popularity as Hollywood and the microchip.

Caroline, No (1966)It’s laborious to not pack this record with songs from “Pet Sounds,” however this one stands out for its poignancy about time passing and the grind of life altering a misplaced love. Wilson regarded it as one in every of his greatest, and with its placing instrumental palette of harpsichord and flutes, it’s straightforward to agree.

God Solely Is aware of (1966)From the opening bait-and-switch lyric to the quiet, tidal shifts in tone and that regal outro, it might be the emblematic Seaside Boys music. It is going to by no means lose its efficiency as a crowing assertion of devotion. Go get married to it, or ponder its existential desperation.

Good Vibrations (1966)Most likely the definitive Seaside Boys single in that it has completely every little thing they’re beloved for — compositional genius, technical invention and immaculate performances spliced from 4 totally different studios into one incandescent, emblematic single.

Darlin’ (1967)The Seaside Boys have been in decline by 1967 — in well being and hipness alike. Wilson revamped a music he wrote with Mike Love (for what turned Three Canine Evening). Now as a rollicking horn-driven soul quantity (with a fantastic vocal from Carl Wilson), it turned an surprising spotlight of this period for the band.

Cabin Essence (1969 and 2004)A core piece of the mangled, unfinished “Smile” classes, the music took Wilson 4 a long time to get proper and eventually launch as a part of his personal effort to complete the LP. It’s filled with concepts from everywhere in the American songbook — Aaron Copland and western people, run by means of with Wilson’s personal cracked impressionist view of life on the rails.

Surf’s Up (1971)“A blind class aristocracy, back through the opera glass you see / The pit and the pendulum drawn.” An elegy for the hopeful ‘60s, with a wry title that lays the band’s previous sunny optimism within the grave.

Til I Die (1971)A wrenching composition evoking a declining Wilson’s hopelessness and despair, all of the extra placing for its exuberant manufacturing. It feels even weightier on in the present day of all days — “How deep is the ocean, I’ve lost my way.”