That’s a great analysis. Such a difference when you watch someone who actually knows something about music.

Rick doesn’t usually talk about percussion, so I guess I will. The rhythm part of “God Only Knows” is just as interesting and as unusual as the rest of the song. It’s all completely intentional to achieve the ends of the song. It’s structured to highlight emotional beats rather than to “drive” the song as standard percussion does in most rock songs. Sometimes the percussion just disappears altogether and then resumes to highlight and elevate a phrase.

Sleigh bells in the intro and first verse make the song feel like stepping into a shimmery fantasy. The distinctive “clopping” sound in the song (perhaps coconut shells or wood blocks?) mimics a soft horse-hoof rhythm that makes one think of pastoral ease, of falling asleep in a meadow and awakening in a transformed world. Those sleigh bells I mentioned earlier make their return subtly during the instrumental interlude (just before the final chorus) and propel the fade-out, adding a soothing, ethereal sparkle. Sparse drum hits highlight repeated vocal phrases. Timpani rolls add drama and make the song feel orchestral rather than rock-like without overwhelming the progression and becoming overwrought.

Even drum phrases that might typically repeat do not. Instead, they shift and respond to the vocal lines. Check the end of the song particularly. Not one is precisely the same and all work exactly with the vocal part.

Most songs do not get better as you deconstruct them. “God Only Knows” does, though. There’s just so much in it. And it all fits perfectly.