Pet Sounds
Pet Sounds is the 11th studio album by the American rock band the Beach Boys, released May 16, 1966 on Capitol Records. It initially met with a lukewarm critical and commercial response in the United States, peaking at number 10 on Billboard Top LPs chart, lower than the band's preceding albums. In the United Kingdom, the album was hailed by critics and peaked at number 2 in the UK Top 40 Albums Chart, remaining among the top ten positions for six months. Promoted as "the most progressive pop album ever", Pet Sounds attracted recognition for its ambitious recording and sophisticated music. It is widely considered to be among the most influential albums in the history of music.[1]
| Pet Sounds | ||||
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| Studio album by | ||||
| Released | May 16, 1966 | |||
| Recorded | July 12, 1965 – April 13, 1966 | |||
| Studio | Western, Gold Star, Columbia, and Sunset Sound, Hollywood | |||
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| Length | 35:57 | |||
| Label | Capitol | |||
| Producer | Brian Wilson | |||
| The Beach Boys chronology | ||||
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| Singles from Pet Sounds | ||||
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The album was produced, arranged, and almost entirely composed by Brian Wilson with guest lyricist Tony Asher. It was recorded largely between January and April 1966, a year after Wilson quit touring with his bandmates. His goal was to create "the greatest rock album ever made"—a cohesive work with no filler tracks. It is sometimes considered a Wilson solo album and a refinement of the themes and ideas he introduced with The Beach Boys Today! (1965). Lead single "Caroline, No" was issued as his official solo debut. It was followed by two singles credited to the group: "Sloop John B" and "Wouldn't It Be Nice" (backed with "God Only Knows").
Wilson's Wall of Sound-based orchestrations mixed conventional rock set-ups with elaborate layers of vocal harmonies, found sounds, and instruments never before associated with rock, such as bicycle bells, French horn, flutes, Electro-Theremin, string sections, and beverage cans. The album consists mainly of introspective songs like "I Know There's an Answer", a critique of LSD users, and "I Just Wasn't Made for These Times", the first use of a theremin-like instrument on a rock record. Its unprecedented total production cost exceeded $70,000 (equivalent to $550,000 in 2019). In October, the leftover song "Good Vibrations" followed as a single and became a worldwide hit. In 1997, a "making-of" version of Pet Sounds was overseen by Wilson and released as The Pet Sounds Sessions, containing the album's first true stereo mix.
Pet Sounds is regarded by musicologists as an early concept album that advanced the field of music production, introducing non-standard harmonies and timbres and incorporating elements of pop, jazz, exotica, classical, and the avant-garde. The album could not be replicated live and was the first time a group departed from the usual small-ensemble electric rock band format for a whole LP. Combined with its innovative music, which was perceived as a wholly self-conscious artistic statement (or "concept"), the record furthered the cultural legitimization of popular music and was crucial to the development of psychedelic music and progressive/art rock. In 2003 and 2012, Rolling Stone ranked Pet Sounds second on its lists of the greatest albums of all time. In 2004, it was preserved in the National Recording Registry by the Library of Congress for being "culturally, historically, or aesthetically significant."
Background
The July 1964 release of the Beach Boys' sixth album All Summer Long marked an end to the group's beach-themed period. From then, their recorded material took a significantly different stylistic and lyrical path.[2] While on a December 23 flight from Los Angeles to Houston, Brian Wilson suffered a panic attack only hours after performing with the group on the musical variety series Shindig! [3] The 22-year-old Wilson had already skipped several concert tours by then, but the airplane episode proved devastating to his psyche.[4] To focus his efforts on writing and recording, Wilson resigned from live performances for an indefinite period of time.[3][5] The rest of the group – Brian's brothers Carl and Dennis, their cousin Mike Love, and their friend Al Jardine – continued to tour without Wilson, who was replaced on the road by Bruce Johnston of Bruce & Terry.[6]
Wilson immediately showcased great advances in his musical development with the 1965 albums The Beach Boys Today! and Summer Days (And Summer Nights!!).[7][8] Released in March, Today! signaled a departure from the Beach Boys' previous records with its orchestral approach, intimate subject matter, and abandonment of themes related to surfing, cars, or superficial expressions of love.[9] Wilson also directed his new lyrical approach toward the autobiographical, with his songs written from the perspective of vulnerable, neurotic, and insecure narrators.[10] Summer Days followed three months later and represented a bridge between Wilson's progressive musical conceptions and the group's traditional pre-1965 approach.[11]
In April, after consuming a full dose of LSD, Wilson had what he considered to be "a very religious experience" and claimed to have seen God.[12] A week after his first LSD trip, he began suffering from auditory hallucinations[13] and for the remainder of the year experienced considerable paranoia.[14] In addition to worsening his mental state, Wilson's progressive drug habits exacerbated the strain on his recent marriage to 18-year-old singer Marilyn Rovell.[15] He believed that LSD influenced the writing of Pet Sounds because it "brought out some of the insecurities in me, which I think went into the music."[16] Wilson also attributed his greater sense of creative freedom to his use of marijuana.[17]
On July 12, Wilson recorded a backing track for "Sloop John B", but after laying down a rough lead vocal, he set the song aside for some time, concentrating on the recording of what became their next LP, the informal studio jam Beach Boys' Party!, in response to their record company Capitol's request for a Beach Boys album for the Christmas 1965 market.[18] In October, Wilson and his wife moved from a rented apartment in West Hollywood to a home on Laurel Way in Beverly Hills,[19] where he said he spent the proceeding months contemplating "the new direction of the group".[20] He devoted the last three months of 1965 to polishing the vocals of "Sloop John B" and recording six new original compositions.[21][nb 1]
"The Little Girl I Once Knew", released as a standalone single in November, was the last original Beach Boys song issued before any Pet Sounds tracks.[22] In December, Capitol issued the Party! track "Barbara Ann" as a single without the group's knowledge or approval. Brian expressed to reporters that the song was not a "produced" record and should not be considered indicative of the group's upcoming music.[23] From January 7 to 29, the rest of the band went away on a concert tour of Japan and Hawaii.[24]
Writing sessions
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While at a recording studio in Los Angeles in 1965, Wilson met Tony Asher, a 26-year-old lyricist and copywriter working in jingles for an advertising agency.[25][nb 2] The two exchanged ideas for songs, and soon after, Wilson heard of Asher's writing abilities from mutual friend Loren Schwartz.[25] In December, Wilson contacted Asher about a possible lyric collaboration, wanting to do something "completely different" with someone he had never written with before.[27][nb 3] Asher accepted the offer, and within ten days, they were writing together.[25] Wilson played some of the music he had recently recorded and gave a cassette to Asher containing the backing track to a piece called "In My Childhood". The result of Asher's tryout was "You Still Believe in Me", and the success of the piece convinced Wilson that Asher was the wordsmith he had been looking for.[29] Asked why he felt Asher was the right collaborator, Wilson responded that he "thought he was a cool person" and was impressed that Asher had known Schwartz, "a very brainy guy, a real verbal type person."[30]
Wilson and Asher wrote together over a two-to-three week period at Wilson's home, likely between January and February 1966.[31][nb 4] A typical writing session started either with Wilson playing a melody or chord patterns that he was working on, by discussing a recent record that Wilson liked the feel of, or by discussing a subject that Wilson had always wanted to write a song about.[25] They referred to their rough musical sketches as "feels", per the vernacular of the time.[32] The lyrics to their songs were finished before the recording of any backing tracks (except for "You Still Believe in Me") and recording started as soon as the compositions were written.[31]
—Tony Asher[25]
Asher maintained that he served mainly as a source of second opinion for Wilson as he worked out possible melodies and chord progressions, although the two did trade ideas as the songs evolved.[25] Contrary to the popular conception that Wilson composed all of the music to Pet Sounds, Asher claimed significant musical contributions to "I Just Wasn't Made for These Times", "Caroline, No", and "That's Not Me".[33] On his role as co-lyricist, he said, "The general tenor of the lyrics was always his ... and the actual choice of words was usually mine. I was really just his interpreter."[34] He said that he conceived the title and subject matter of three of their eight songs.[35]
In Marilyn's recollection, Brian worked on Pet Sounds virtually nonstop, and that when he was home, "he was either at the piano, arranging, or eating."[36] Wilson wrote two more songs with other collaborators. "I Know There's an Answer", which predated the collaboration with Asher, was co-written by Wilson with the Beach Boys' road manager Terry Sachen.[37] In 1994, Mike Love was awarded co-writing credits on "Wouldn't It Be Nice" and "I Know There's an Answer",[38] but with the exception of his co-credit on "I'm Waiting for the Day", his songwriting contributions are thought to have been minimal.[39]
After their songs were completed, Asher visited a few of the recording sessions, most of which were string overdub dates.[40] In later years, he reflected on his interactions with Wilson and his bandmates as an "embarrassing" experience. He remembered that Wilson "exhibit[ed] this awful taste. His choice of movies, say, was invariably terrible. ... every four hours we'd spend writing songs, there'd be about 48 hours of these dopey conversations about some dumb book [about mysticism] he'd just read. Or else he'd just go on and on about girls."[41][nb 5]
Style
Pet Sounds incorporates elements of pop, jazz, classical, exotica, and avant-garde music.[43] In addition, Johnston identified "a tremendous amount" of doo-wop and R&B influence on the music.[44] According to biographer Jon Stebbins, "Brian defies any notion of genre safety ... There isn't much rocking here, and even less rolling. Pet Sounds is at times futuristic, progressive, and experimental. ... there's no boogie, no woogie, and the only blues are in the themes and in Brian's voice."[43] Genres attributed to the album include progressive pop,[45][46][47][48][49][50][51] chamber pop,[52][53][54][55] psychedelic pop,[56][57][58][59] and art rock.[60][61][62] Wilson himself thought of the album as "chapel rock ... commercial choir music. I wanted to make an album that would stand up in ten years."[63][nb 6]
Concept and inspiration
Commentators and historians frequently cite Pet Sounds as a concept album.[76][nb 7] Academic Carys Wyn Jones attributes this to the album's "uniform excellence" rather than a lyrical theme or musical motif.[77] Brian described Pet Sounds as an "interpretation" of Phil Spector's Wall of Sound production technique.[78] He stated: "If you take the Pet Sounds album as a collection of art pieces, each designed to stand alone, yet which belong together, you'll see what I was aiming at. ... It wasn't really a song concept album, or lyrically a concept album; it was really a production concept album."[79]
For Pet Sounds, Brian desired to make "a complete statement", similar to what he believed the Beatles had done with their newest album Rubber Soul, released in December 1965.[77] The version of the album that he heard was the alternate US edition that was configured by Capitol to have a cohesive folk rock sound.[80] Wilson was impressed that the album appeared to lack filler tracks, a feature that was mostly unheard of at a time when 45 rpm singles were considered more noteworthy than full-length LPs.[81][82] Many albums up until the mid-1960s lacked a cohesive artistic goal and were largely used to sell singles at a higher price point.[81][nb 8] Wilson found that Rubber Soul subverted this by having a wholly consistent thread of music.[81][82][nb 9] Inspired, he rushed to his wife and proclaimed, "Marilyn, I'm gonna make the greatest album! The greatest rock album ever made!"[85] Wilson later said of his reaction to Rubber Soul: "It didn't make me want to copy them but to be as good as them. I didn't want to do the same kind of music, but on the same level."[86][nb 10] He credited it as his "main motivator" for Pet Sounds.[87][nb 11]
Comparing Pet Sounds to Rubber Soul, author Michael Zager wrote that Pet Sounds has more in common with Spector's productions, and that the album recycles many of Spector's Wall of Sound production watermarks.[91] Wilson frequently discussed Spector's influence on his work, having learned how to produce records through attending his sessions.[92] He said that he was especially fascinated by the process of combining sounds "to make another" and sought to emulate those aspects of Spector's productions.[93] In a 1988 interview, Wilson said that the goal of Pet Sounds was to "extend" Spector's music, as he believed that, "in one sense of the word", the Beach Boys "were his messengers".[92][nb 12] In 2009, he said that although "Rubber Soul didn't clarify my ideas for Pet Sounds", the Beatles' use of sitar inspired his choice of instrumentation for the album.[89]
During the writing sessions, Asher and Wilson regularly introduced different albums and types of music to each other. In particular, Asher said that Wilson "was blown away" after being played jazz records including Duke Ellington's "Sophisticated Lady" and Lionel Hampton's rendition of "All the Things You Are".[96] In a March 1966 article, Wilson spoke of recent popular music trends, saying that they "helped the Beach Boys evolve. We listen to what's happening and it affects what we do too. The trends have influenced my work, but so has my own scene."[97] Marilyn recalled that Brian was consumed by thoughts of creating the greatest rock album ever: "He did not think about what music was there on the market, or what was happening in the industry."[98] In 1996, he said that he and Asher were "kind of like on our own little wavelength" and were not concerned with overtaking Phil Spector or Motown, "It was more what I would call exclusive collaboration not to specifically try to kick somebody's butt, but just to do it the way you really want it to be. That's what I thought we did."[30]
Orchestrations and composition
Pet Sounds refined the themes and complex arranging style Wilson had introduced with The Beach Boys Today!.[100][101] Writing in The Journal on the Art of Record Production, Marshall Heiser observed that the album's music distinguished itself from previous Beach Boys releases in several ways:
- "a greater sense of depth and 'warmth'"
- "more inventive use of harmony and chord voicings"
- "the prominent use of percussion [as] a key feature (as opposed to driving drum backbeats)"
- "the orchestrations, [which] at times, echo the quirkiness of 'exotica' bandleader Les Baxter, or the 'cool' of Burt Bacharach, more so than [Phil] Spector's teen fanfares."[102]
By contrast, musicologist Daniel Harrison contends that Wilson's advancement as a composer and arranger was marginal in relation to his past work. He wrote that Pet Sounds shows "comparatively little advance from what Brian had already accomplished or shown himself capable of accomplishing. Most of the songs use unusual harmonic progressions and unexpected disruptions of hypermeter, both features that were met in 'Warmth of the Sun' and 'Don't Back Down.'"[103][nb 13] Fussili offers that Wilson's tendency to "wander far from the logic of his composition only to return triumphantly to confirm the emotional intent of his work" is repeated numerous times in Pet Sounds, but never to "evoke a sense of unbridled joy" as Wilson recently had with "The Little Girl I Once Knew".[105] Wilson invokes his signature falsetto seven times on the album. With the exception of Today!, this was the most he had on a Beach Boys album since 1963's Surfer Girl.[106]
Pet Sounds includes tempo changes, metrical ambiguity, and unusual tone colors that, in the opinion of author James Perone, remove the album from "just about anything else that was going on in 1966 pop music".[108] He cites the album's closer "Caroline, No" and its use of wide tessitura changes, wide melodic intervals, and instrumentation which contribute to this belief; also Wilson's compositions and orchestral arrangements which experiment with form and tone colors.[109] Wilson's arrangements combined traditional rock set-ups with unconventional selections of instruments and complex layers of vocal harmonies.[82] His orchestrations, in terms of the choices of instruments themselves and the stylistic appropriation of foreign cultures, were similar to those by exotica producers such as Martin Denny, Les Baxter, and Esquivel.[110][nb 14] Many of the instruments were alien to rock music, including glockenspiel, ukulele, accordion, Electro-Theremin, bongos, harpsichord, violin, viola, cello, trombone, Coca-Cola bottles, and other odd sounds such as bicycle bells.[112]
The number of unique instruments for each track average to about a dozen.[113][nb 15] Electric and acoustic basses were frequently doubled, as was typical for the era's pop music, and played with a plectrum.[114] Two tracks are instrumentals: "Let's Go Away for Awhile" and "Pet Sounds". They were originally recorded as backing tracks for existing songs, but by the time the album neared completion, Wilson decided that the tracks worked better without vocals.[115] Arranger Paul Mertens, who collaborated with Wilson on live performances of the album, believed that although there are string sections on Pet Sounds, "what's special about that is not that Brian was trying to introduce classical music into rock & roll. Rather, he was trying to get classical musicians to play like rock musicians. He's using these things to make music in the way that he understood, rather than trying to appropriate the orchestra."[116][nb 16] Wilson tended to write vertically, in block chords, rather than in the horizontal manner of classical composition.[118]
In the estimation of musicologist Phillip Lambert, the album's "overall unity" is strengthened by "strong musical relationships among songs", for example, the use of 4-3-2-1 stepwise descents and the reverse.[119] Perone concurred that the album contains musical continuity. On "You Still Believe in Me", he references a "stepwise falloff of the interval of a third at the end of each verse" as a typically "Wilsonian" feature that recurs throughout the album, along with a "madrigal sigh motif" that can be heard in "That's Not Me", where the motif concludes each line of the verses.[117][nb 17] According to Lambert, one of the album's few recurring compositional features that did not reflect a recent trend in Wilson's songwriting were bass lines that descend from 1 to 5.[120][nb 18]
Only four tracks feature a single strongly established key.[107][nb 19] The rest feature a primary and secondary key or a weak tonal center.[107] Slash chords and tertian key modulations feature throughout the album and many of the choices of key signatures in themselves were unusual.[122][nb 20] For example, "You Still Believe in Me" is in B, which keyboardists avoid due to the number of sharps/flats, while "That's Not Me" is in F♯, the most distant key from C.[118] Submediants, major or minor, are invoked in a manner that Lambert calls "an important source of overall unity". With the exception of "God Only Knows", every composition on the album that shifts keys or has an ambiguous tonal center "uses essentially the same tonic–submediant relation."[124]
Lyricism
—Dennis Wilson[125]
Asher stated that Wilson aspired to create a collection of songs with subject matter that were relatable for adolescents: "Even though he was dealing in the most advanced score-charts and arrangements, he was still incredibly conscious of this commercial thing. This absolute need to relate."[126] Carl Wilson offered: "The disappointment and the loss of innocence that everyone had to go through when they grow up and find everything's not Hollywood are the recurrent themes on that album."[86]
For much of the lyric content, Wilson turned inward and probed his deep-seated self-doubts and emotional longings.[127] Brian's wife Marilyn felt that her relationship with Brian was a central reference within the album's lyrics, namely on "You Still Believe in Me" and "Caroline, No".[128] According to Asher, he and Wilson had many lengthy, intimate discussions centered around their "experiences and feelings about women and the various stages of relationships and so forth".[25] This included Wilson's doubts about his marriage, his "sexual fantasies", and "his apparent need to get with [his sister-in-law] Diane."[42][nb 21]
Critics Richard Goldstein and Nik Cohn noted a disparity between the album's music and lyrics: Cohn suggested that Pet Sounds was composed of "sad songs about happiness" and that they celebrate loneliness and heartache.[130] Rolling Stone editor David Wild compared the lyrics to the songs of Tin Pan Alley: "intelligent and moving, but they're not pretentious."[131] Journalist Seth Rogovoy said that Pet Sounds "upends and overturns every Beach Boys cliché, exposing the hollowness at their core." He compares the group's past celebrations of adolescence and teenage romance to "Wouldn't It Be Nice", which "starts right out with a 180-degree turn – 'Wouldn't it be nice if we were older.' What? Really? ... The songs pile up in this vein."[132]
According to AllMusic reviewer Jim Esch, "Wouldn't It Be Nice" inaugurates the album's pervasive theme: "fragile lovers buckling under the pressure of external forces they can't control, self-imposed romantic expectations and personal limitations, while simultaneously trying to maintain faith in one other."[133] Author Scott Schinder argued that Wilson and Asher crafted a song cycle about "the emotional challenges accompanying the transition from youth to adulthood."[134] He explained:
Lyrically, Pet Sounds encompassed the loss of innocent idealism ("Caroline, No"), the transient nature of love ("Here Today"), faith in the face of heartbreak ("I'm Waiting for the Day"), the demands and disappointments of independence ("That's Not Me"), the feeling of being out of step with the modern world ("I Just Wasn't Made for These Times"), and the longing for a happy, loving future ("Wouldn't It Be Nice"). The album also featured a series of intimate, hymn-like love songs, "You Still Believe in Me", "Don't Talk (Put Your Head on My Shoulder)", and "God Only Knows".[134]
It is sometimes suggested that the tracks follow a formal narrative that documents the unraveling of a romantic relationship.[135] Even though Pet Sounds has a somewhat unified theme in its emotional content, there was not a predetermined narrative.[136] Asher said that there were no conversations between him and Wilson that pertained to any specific album "concept," however, "that's not to say that he didn't have the capacity to steer it in that direction, even unconsciously."[25] Lambert argued that Wilson must have intended the album to have a narrative framework due to the likelihood of his familiarity with similar "theme albums" by Frank Sinatra and the Four Freshmen.[137]
Responding to the songwriters' denials of a conscious lyric theme, Nick Kent observed the album's lyrics show "the male participant's attempts at coming to terms with himself and the world about him" and that every song "pinpoints a crisis of faith in love and life" with the exception of "Sloop John B" and the two instrumental pieces.[138] Writing in his book The Making of Pet Sounds (2003), Charles Granata referenced "Sloop John B" and "Pet Sounds" as the tracks that undermine the album's "thematic thread" and supposed lyrical narrative, yet "contribute to the marvelous pacing".[139]
Psychedelia
The album is often considered within the canon of psychedelic rock.[64] The Encyclopedia Britannica states that the Beach Boys introduced psychedelic elements with the album, calling it "expansive" and "haunting".[141] Although Vernon Joyson felt the album contained acid rock gestures, he chose to omit the Beach Boys and Pet Sounds from his book The Acid Trip: A Complete Guide to Psychedelic Music on the basis that they "essentially predated the psychedelic era."[142] Bret Marcus of Goldmine believed that the album is psychedelic pop, even though most people hesitate to name the Beach Boys in discussions of psychedelic music.[57] Stebbins writes that the album is "slightly psychedelic—or at least impressionistic."[143] Psychedelic qualities that were common in the group's mid-1960s work were the invocation of "greater fluidity, elaboration, and formal complexity", "a cultivation of sonic textures", "the introduction of new (combinations of) instruments, multiple keys, and/or floating tonal centers", and the occasional use of "slower, more hypnotic tempos".[144]
Jim DeRogatis, author of a book about psychedelic music, surmised that Wilson's LSD use led him to write more introspective work, a contrast from the Beatles, who after taking LSD began addressing problems in the world around them.[127] According to academics Paul Hegarty and Martin Halliwell, Pet Sounds has a "personal intimacy" that sets it apart from the Beach Boys' contemporaries in psychedelic culture and the San Francisco Sound, but still retains a "trippy feel" that resulted from Wilson's experimental use of LSD. They attribute this to Wilson's "eclectic mixture of instruments, echo, reverb, and innovative mixing techniques learnt from Phil Spector to create a complex soundscape in which voice and music interweave tightly".[145] In 2016, Wilson acknowledged that psychedelic elements are present in a number of the songs, but believed "the album itself is mostly not psychedelic".[140]
DeRogatis compared the album's repeated listening value to a heightened psychedelic awareness, that its melodies "continue to reveal themselves after dozens of listens, just as previously unnoticed corners of the world reveal themselves during the psychedelic experience".[146] On the subject of psychedelic records in the 1960s, Sean Lennon stated that "psychedelic music is a term that pretty much refers to these sort of epic, ambitious long-form records ... the reason Pet Sounds is considered a psychedelic journey or whatever is because it's like opening a door and stepping through and entering another world and you're in that other world for a period of time and then you come back."[147]
Recording
Backing tracks
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With the exception of three tracks, Pet Sounds was recorded from January 18 to April 13, 1966 and spanned 27 session dates.[148][nb 22] Instrumental sessions were conducted at Western Studio 3 of United Western Recorders, except for a few tracks that were recorded at Gold Star Studios and Sunset Sound Recorders.[150][nb 23] Wilson produced the sessions with his usual engineer, Western's Chuck Britz.[153] Although Phil Spector created all of his recordings at Gold Star, Wilson preferred working at Western for the studio's privacy and for the presence of Britz.[154]
For the backing tracks, Wilson used an ensemble that included the classically trained session musicians frequently employed on Spector's records, a group later nicknamed "the Wrecking Crew".[155][82][nb 24] Wilson had been employing the services of session musicians due to the increasingly complex nature of his arrangements and because his bandmates were often away playing concerts.[156] Carl, who had occasionally played guitar alongside these musicians at Brian's sessions, commented that his contributions were not as significant as before and that "It really wasn't appropriate for us [the band] to play on those [Pet Sounds] dates—the tracking just got beyond us."[157]
Brian said that he "was sort of a square" with the Wrecking Crew, starting his creative process with how each instrument sounded one-by-one, moving from keyboards, drums, then violins if they were not overdubbed.[30] Although he often had entire arrangements worked out in his head, they were usually written in a shorthand form for the other players by one of his session musicians.[30][nb 25] On notation and arranging, Wilson explained: "Sometimes I'd just write out a chord sheet and that would be for piano, organ, or harpsichord or anything. ... I wrote out all the horn charts separate from the keyboards. I wrote one basic keyboard chart, violins, horns, and basses, and percussion."[30] A backing track session would last for three hours at minimum. Britz remembered how most of the time was spent perfecting individual sounds: "[Brian] knew basically every instrument he wanted to hear, and how he wanted to hear it. What he would do is call in all the musicians at one time (which was very costly), but still, that's the way he would do it."[159] Surviving tapes of these sessions show that he was open to his musicians, often taking advice and suggestions from them and even incorporating apparent mistakes if they provided a useful or interesting alternative.[82]
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Discussing Spector's Wall of Sound technique, Wilson identified the tack piano and organ mix in "I Know There's an Answer" as one example of himself applying the method.[155] Compared to Spector, Brian produced tracks that were of greater technical complexity by using state-of-the-art four-track and eight-track recorders.[160][nb 26] Most backing tracks were recorded onto a Scully four-track 288 tape recorder[150] before being later dubbed down (in mono) onto one track of an eight-track machine.[162] Wilson typically divided instruments by three tracks: drums–percussion–keyboard, horns, and bass–additional percussion–guitar. The fourth track usually contained a rough reference mix used during playback at the session, later to be erased for overdubs such as a string section.[160] "Once he had what he wanted," Britz said, "I would give Brian a 7-1/2 IPS [tape] copy of the track, and he would take it home."[163]
Group infighting
Pet Sounds is sometimes considered a Brian Wilson solo album,[164][165][166] including by Wilson himself, who later referred to it as his "first solo album" and "a chance to step outside the group and shine".[167] When the other Beach Boys returned to the studio on February 9,[168] they were presented with a substantial portion of a new album, with music that was in many ways a jarring departure from their earlier style.[169][nb 27] Jardine explained that "it took us quite a while to adjust to [the new material] because it wasn't music you could necessarily dance to—it was more like music you could make love to."[170] Adding to their concerns was the album's complexity and the implausibility of recreating the music in their live performances.[171]
According to various reports, the group fought over the new direction.[172] Wilson recalled that the group "liked [the new music] but they said it was too arty. I said, 'No, it is not!"[37] Marilyn said: "When Brian was writing Pet Sounds, it was difficult for the guys to understand what he was going through emotionally and what he wanted to create. ... they didn't feel what he was going through and what direction he was trying to go in."[173] Tony Asher remembered: "All those guys in the band, certainly Al, Dennis, and Mike, were constantly saying, 'What the fuck do these words mean?' or 'This isn't our kind of shit!' Brian had comebacks, though. He'd say, 'Oh, you guys can't hack this.'... But I remember thinking that those were tense sessions."[174]
Most of the objections pertained to the lyrical content; the band members did not dislike the music itself.[176] Mike Love said "some of the words were so totally offensive to me that I wouldn't even sing 'em because I thought it was too nauseating."[177] On Love's reaction to the album, Jardine commented: "Mike was very confused ... Mike's a formula hound – if it doesn't have a hook in it, if he can't hear a hook in it, he doesn't want to know about it. ... I wasn't exactly thrilled with the change, but I grew to really appreciate it as soon as we started to work on it. It wasn't like anything we'd heard before."[178] Carl Wilson said: "I loved every minute of it. He [Brian] could do no wrong. He could play me anything, and I would love it."[179] Dennis denied that the group disliked Pet Sounds, calling the rumors "interesting". He said that there was "not one person in the group that could come close to Brian's talent" and "couldn't imagine who" would have resisted Brian's leadership.[180][nb 28]
In defense of Love, Asher said that "he never was critical about what [the album] was, he was just saying it wasn't right for the Beach Boys."[182] He said that Jardine voiced the same concerns.[183] Brian believed the band was worried about him separating from the group, and elaborated: "it was generally considered that the Beach Boys were the main thing ... with Pet Sounds, there was a resistance in that I was doing most of the artistic work on it vocally".[184][nb 29] Love wrote that he "would have liked to have had a greater hand in some of the songs and been able to incorporate more often my 'lead voice,' which we'd had so much success with."[186] Brian acknowledged that he had took up most of the vocals "because I thought, in a way, I wanted people to know it was more of a Brian Wilson album than a Beach Boys album."[187] He said the conflicts were resolved when his bandmates "figured that it was a showcase for Brian Wilson, but it's still the Beach Boys. In other words, they gave in. They let me have my little stint."[184][188]
Vocals
Vocal overdubs were tracked at Western and CBS Columbia Square.[189] The Beach Boys rarely knew their parts before arriving in the studio. Britz: "Most of the time, they were never ready to sing. They would rehearse in the studio. Actually, there was no such thing as rehearsal. They'd get on mike right off the bat, practically, and start singing."[163] According to Jardine, each member was taught their individual vocal lines by Brian at a piano. He explains, "Every night we'd come in for a playback. We'd sit around and listen to what we did the night before. Someone might say, well, that's pretty good but we can do that better."[190] This process proved to be the most exacting work the group had undertaken yet. During recording, Mike Love often called Brian "dog ears", a nickname referencing a canine's ability to detect sounds far beyond the limits of human hearing.[191] Love later summarized:
We worked and worked on the harmonies and, if there was the slightest little hint of a sharp or a flat, it wouldn't go on. We would do it over again until it was right. [Brian] was going for every subtle nuance that you could conceivably think of. Every voice had to be right, every voice and its resonance and tonality had to be right. The timing had to be right. The timbre of the voices just had to be correct, according to how he felt. And then he might, the next day, completely throw that out and we might have to do it over again.[192]
For microphones, they used two Neumann U-47s for Dennis, Carl and Jardine and a Shure 545 for Brian's leads.[163] Love sang most of the album's bass vocals, and necessitated an extra microphone due to his low volume range.[191] By the time of Pet Sounds, Wilson was using up to six of the eight tracks on the multitrack master so that he could record the voice of each member separately, allowing him greater control over the vocal balance in the final mix.[160] After mixing down the four-track to mono for overdubbing via an eight-track recorder, six of the remaining seven tracks were usually dedicated to each of the Beach Boys' vocals.[160] The last track was usually reserved for additional elements such as extra vocals or instrumentation.[39] The vocals for five of the album's songs were recorded at Columbia because it was the only facility in Los Angeles with an eight-track recorder.[193][nb 30]
Effects and mixdown
Similar to subsequent experimental rock LPs by Frank Zappa, the Beatles, and the Who, Pet Sounds featured countertextural aspects that called attention to the very recordedness of the album.[194] Tape effects were limited to slapback echo and reverb. Archivist Mark Linett notes: "to my ears, it sounds more like the plate [reverberators] rather than chambers. It should be mentioned that you get a significantly different sound from a chamber when you record it 'live' as opposed to doing it off tape, and one reason these records sound the way they do is that the reverb was being printed as part of the recording – unlike today where we'll record 'dry' and add the effects later."[150] One of Wilson's favorite techniques was to apply reverb exclusively to a timpani, as can be heard in "Wouldn't It Be Nice", "You Still Believe in Me", and "Don't Talk".[195]
—Saxophonist Steve Douglas recalling the album's draft mix[196]
On April 13, 1966, the album's final vocal overdubbing session, for "Here Today", concluded a ten-month-long recording period that had begun with "Sloop John B" in July 1965.[197] The album was mixed three days later in a single nine-hour session.[166][nb 31] Most of the session was spent mixing down the vocals to fit with the instrumentals, which had already been locked into one mono track.[199] The album's original mono master ultimately featured many technical flaws that contrast the refined arrangements and performances.[199] One of the most prominent examples occurs in "Wouldn't It Be Nice", where an audible tape splice is heard between the chorus and Mike Love's vocal entrance in the bridge. A similar anomaly is heard in the instrumental break of "Here Today", where a distant conversation was accidentally captured during a vocal overdub.[200] In David Leaf's view, "It's not sloppy recording, it's part of the music."[201]
A true stereophonic mix of Pet Sounds was not considered in 1966 largely because of mixing logistics.[160] In spite of whether a true stereo mix was possible, Wilson intentionally mixed the final version of his recordings in mono (as did Spector). He did this because he felt that mono mastering provided more sonic control over the final result, irrespective of the vagaries of speaker placement and sound system quality.[160][nb 32] Another and more personal reason for Brian's preference for mono was his almost total deafness in his right ear.[202] At the end, the total cost of production amounted to a then-unheard of $70,000 (equivalent to $550,000 in 2019).[130]
Contents
Side one
"Wouldn't It Be Nice"
"Wouldn't It Be Nice" describes a young couple fantasizing about the romantic freedom they would earn as adults.[131] Journalist Nick Kent felt that, although Wilson had captured similar "teen angst dialogue" with "We'll Run Away" two years before: "This time [he] was out to eclipse these previous sonic soap operas, to transform the subject's sappy sentiments with a God-like grace so that the song would become a veritable pocket symphony."[126] Asher said that it was the only song on the album in which he wrote words to a melody that Brian had already finalized.[203] The exact degree of Love's contribution was never fully determined, but under oath in a court of law, Asher stated it consisted of the line "good night my baby / sleep tight, my baby" and possible minor vocal arrangement.[39]
The calliope-like instrument heard in the opening bars is an electric 12-string guitar plugged directly into the recording console.[204] Due to recording logistics, this created an unusual situation in which the player had to perform the instrument in the control room, away from the rest of the musicians, who could not hear his playing in the regular recording space.[205] Much of the track's rhythmic accompaniment is provided by two accordions playing a shuffle beat in a manner similar to "California Girls" (1965). During the bridge, the players performed a technique known as a "triple bellow shake" to make the accordions sound like a violin.[206]
"You Still Believe in Me"
"You Still Believe in Me" contains the first expression of introspective themes that pervade the rest of the album.[117] The lyric discusses a narrator who, while acknowledging their irresponsible behavior and unfaithfulness, is impressed by the unwavering loyalty of their lover.[207] In Wilson's words, the song was about a man who feels free to express his love for people from the perspective of a girl.[208] Like "Wouldn't It Be Nice", there are tempo changes throughout the song.[209] Wilson and Asher created the song's ethereal intro by plucking a piano's strings with a bobby pin.[210] The ending features the sounds of a bicycle bell and horn, a remnant of the song's original childhood theme.[211]
"That's Not Me"
"That's Not Me" contains multiple key modulations and mood shifts[212] and is the only track that resembles a conventional rock song.[213] The lyric illustrates a young man in his path toward self-discovery, with the realization that he is better living with a lover than pursuing a life of solitude in service to his dream.[214]
"Don't Talk (Put Your Head on My Shoulder)"
"Don't Talk (Put Your Head on My Shoulder)" is about non-verbal communication between lovers. According to Asher, "It's strange to sit down and write a song about not talking ... but we managed to do it and it came off well."[215] The track features a string sextet and passing tones within diminished chords.[216] It is among the most harmonically complex songs that Wilson ever wrote.[217]
"I'm Waiting for the Day"
"I'm Waiting for the Day" features jazz chords, a doo-wop progression, timpani blasts, English horn, flutes, and a string section interlude.[218] Carl Wilson praised the arrangement, saying, "The intro is very big, then it gets quite small with the vocal in the verse with a little instrumentation and then, in the chorus, it gets very big again, with the background harmonies against the lead. It is perhaps one of the most dynamic moments in the album."[219]
Lyrically, it is about a boy who falls in love with a broken-hearted girl who is reluctant to commit herself to another relationship.[215] The song was copyrighted by Brian as a solo composition in February 1964, indicating that it predated the album's sessions by some years. It was co-credited to Love, who made a minor adjustment to Wilson's lyrics.[218]
"Let's Go Away for Awhile"
"Let's Go Away for Awhile" is an instrumental that features 12 violins, piano, four saxophones, oboe, vibraphones, and a Coca-Cola bottle used as a guitar slide.[221] In 1966, Wilson considered the track to be "the finest piece of art" he had made up to that point, and said that every component of its production "worked perfectly".[115] The piece had the working title "Let's Go Away for Awhile (And Then We'll Have World Peace)", a reference to one of Wilson's favorite comedy recordings, John Brent and Del Close's How to Speak Hip (1959).[39]
Asher wrote lyrics to the piece that went unused.[222] Perone writes, "There are melodic features but no tune to speak of. As an instrumental composition, this gives the piece an atmospheric feel; however, the exact mood is difficult to define. ... To the extent that the listener hears 'Let's Go Away for Awhile' as an incomplete piece, it is possible to understand it as a reflection of the alienation—the sense of not quite fitting in—of the bulk of Tony Asher's lyrics in the songs on Pet Sounds."[108]
"Sloop John B"
At the suggestion of Al Jardine, Wilson arranged a version of "Sloop John B", a traditional Caribbean folk song that Jardine had learned from listening to the Kingston Trio.[223] His arrangement blended rock and marching band instrumentation with the use of flutes, glockenspiel, baritone saxophone, bass, guitar, and drums.[224] Jardine likened the result to John Philip Sousa.[225] Wilson elected to change the original lyrics from "this is the worst trip since I've been born" to "this is the worst trip I've ever been on". This may have been done as a deliberate reference to acid trips.[226][227]
Brian included "Sloop John B" on Pet Sounds to appease Capitol Records, who voiced concerns that the album required the inclusion of a hit single in order to sell.[225] The song is often said to disrupt the album's lyrical flow, as author Jim Fusilli explains: "It's anything but a reflective love song, a stark confession or a tentative statement of independence like the other songs on the album. And it's the only song on Pet Sounds Brian didn't write."[228] However, Fusilli posits that the track fits musically with the album, citing the track's chiming guitars, doubletracked basses, and staccato rhythms.[228] Noting that a sense of self-doubt, concern for the future of a relationship, and melancholy pervades Pet Sounds, Perone says the song successfully portrays a sailor who feels "completely out of place in his situation", a quality that is "fully in keeping with the general feeling of disorientation that runs through so many of the songs."[108]
Side two
"God Only Knows"
"God Only Knows" is often praised as one of the greatest songs ever written.[231] Wilson reflected: "I think Tony had a musical influence on me somehow. After about ten years, I started thinking about it deeper ... because I had never written that kind of song. And I remember him talking about 'Stella by Starlight' and he had a certain love for classic songs."[30] Asher said that he and Wilson had "lengthy conversations" about the invocation of God in the title and lyric, "because unless you were Kate Smith and you were singing 'God Bless America', no one thought you could say "'God' in a song. ... He said, 'We'll just never get any air play."[232]
The musical structure contains an ambiguous tonal center and non-diatonic chords.[103] Musicologist Philip Lambert cites its "choral fantasy" section to contain complex key changes that elude the listener "for the entire experience—that in fact, the idea of 'key' has itself been challenged and subverted".[233] According to musicologist Stephen Downes, this quality made the song innovative not just in pop music, but also for the Baroque style it is emulating.[231] Another odd feature was the use of multiple vocal parts sung in counterpoint, a technique that is distinguished from the "oos" and "ahhs" style of vocals for which the Beach Boys are known.[234] The song closes with perpetual rounds, a centuries-old technique that was highly unusual for pop music of the era.[235]
"I Know There's an Answer"
"I Know There's an Answer", originally titled "Hang On to Your Ego", is about a protagonist who hesitates to tell people the way that they live could be better.[236] Wilson's response when asked about LSD and "Hang On to Your Ego" was: "I had taken a few drugs, and I had gotten into that kind of thing. I guess it just came up naturally."[30][nb 33] Loren Schwartz, who introduced Wilson to LSD, recounted that Wilson's first trip was on 125 micrograms of "pure Owsley" and said that Wilson "had the full-on ego death. It was a beautiful thing."[238] The song features an improvised bass harmonica solo played by Tommy Morgan at Wilson's request.[210]
The original lyrics created a stir within the group. Mike Love was opposed to drugs such as LSD and did not wish for the Beach Boys to be associated with its culture.[239] Jardine said that "Brian was very concerned" and asked the rest of the band for their opinions: "To be honest, I don't think we even knew what an ego was ... Finally Brian decided, 'Forget it. I'm changing the lyrics. There's too much controversy.'"[39] In 1999, Wilson explained: "It was an inappropriate lyric. ... I just thought that to say 'Hang on to your ego' was an ego statement in and of itself, which I wasn't going for, so I changed it. I gave it a lot of thought."[240] In the verses, "How can I come on when I know I'm guilty" was modified to "how can I come on and tell them the way that they live could be better",[236] but despite concerns over the song's drug references, the key lyric "they trip through the day and waste all their thoughts at night" went unchanged.[241][242]
"Here Today"
"Here Today" is told from the perspective of an ex-boyfriend narrator[198] who warns the listener of the inevitable heartbreak that will result from a newfound love.[241] The track was an experiment in basslines, as Brian recalled, "I wanted to conceive the idea of a bass guitar playing an octave higher than regular, and showcase it as the principal instrument on the track."[243] Perone noted that the high-pitched electric bass guitar bring to mind similar parts in "God Only Knows", culminating in what sounds like the vocal protagonist of "Here Today" warning the protagonist of "God Only Knows" that what he sings stands no chance at longevity.[244]
"Pet Sounds"
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"Run, James, Run" was the working title for the instrumental "Pet Sounds", the suggestion being that it would be offered for use in a James Bond movie.[30] According to Perone, the track represents the Beach Boys' surf heritage more than any other track on the album with its emphasis on lead guitar, however, it is not truly a surf composition due to the elaborate arrangement involving countless auxiliary percussion parts, abruptly changing textures, and de-emphasis of a traditional rock band drum set.[244] Lambert describes the track as a "musical synopsis" of the album's "primary musical themes" that functions as a respite for the narrator following the realizations of "Here Today".[246]
"I Just Wasn't Made for These Times"
"I Just Wasn't Made for These Times" features lyrics about feeling alienated by society.[247] Brian said: "It's about a guy who was crying because he thought he was too advanced, and that he'd eventually have to leave people behind. All my friends thought I was crazy to do Pet Sounds."[248] For the track, he employed harpsichord, tack piano, flutes, temple blocks, timpani, banjo, harmonica, Fender bass, and most unusually, an Electro-Theremin performed by the instrument's inventor Paul Tanner.[249] According to Lambert, the strongest musical indication of Wilson's progressive vision for the album is heard in the cumulative vocal layering in the chorus, with each line sung by Wilson via overdubs.[250]
"Caroline, No"
"Caroline, No" is about the loss of innocence.[251] Asher conceived the title as "Carol, I Know". When spoken, however, Brian heard this as "Caroline, No", which Asher thought was "a much stronger and more interesting line than the one I had in mind."[252] Brian considered the song "probably the best I've ever written", summarizing, "It's a pretty love song about how this guy and this girl lost it and there's no way to get it back. I just felt sad, so I wrote a sad song."[253] The track is introduced by the sound of a plastic Sparkletts water cooler jug being hit with a hard percussion mallet.[224] As the song fades, it segues into a recorded excerpt of Brian's dogs barking accompanied by a sample of passing trains taken from the 1963 sound effects LP Mister D's Machine.[254]
Leftover material
"The Little Girl I Once Knew"
"The Little Girl I Once Knew", which may be considered part of the Pet Sounds sessions, was not included on the album. Writer Neal Umphred speculated that the song might have been considered for the LP and would have probably been included had the single been more commercially successful.[255]
Instrumentals
On October 15, 1965, Wilson went to the studio with a 43-piece orchestra to record an instrumental piece entitled "Three Blind Mice", which bore no musical connection to the nursery rhyme of the same name.[254][nb 34] On the same day, he recorded instrumental versions of the standards "How Deep Is the Ocean" and "Stella by Starlight".[256] According to Leaf, it was a coincidence that the latter turned out to be a favorite of Asher's.[83]
Another instrumental, "Trombone Dixie", was recorded on November 1, the same date as the backing track of "You Still Believe in Me".[257] According to Wilson, "I was just foolin' around one day, fuckin' around with the musicians, and I took that arrangement out of my briefcase and we did it in 20 minutes. It was nothing, there was really nothing in it."[258] It was released as a bonus track on the album's 1990 CD reissue.[257]
"Good Vibrations"
In February and March 1966, Wilson began recording an unfinished song he wrote with Asher, "Good Vibrations", between sessions for "I Just Wasn't Made for These Times" and "God Only Knows".[259] Asher recalled that the song was conceived in response to Capitol's demand for a new single.[253] Brian ultimately delivered "Sloop John B" to the label instead, and to the band's disappointment, chose not to include "Good Vibrations" on the album.[260] The track was replaced by "Pet Sounds" as indicated by a Capitol Records memo dated March 3.[261] Johnston and Jardine later expressed regrets with Wilson's decision, as they felt that including "Good Vibrations" would have bolstered the sales of Pet Sounds.[262] However, the song was not completed until many months later, in September, after much reworking.[263]
Other recordings
In late 1965, Wilson devoted some Pet Sounds sessions to experimental indulgences such as an extended a cappella run-through of the children's song "Row, Row, Row Your Boat" that exploited the song's use of rounds.[254] Granata called the piece "very low-key and relatively simple", but an "effectively lavish layer of recorded vocal harmonies".[264] Humorous skits and sound effects were also recorded in an attempt to create a psychedelic comedy album.[254] At least two sketches survive, "Dick" and "Fuzz", which feature Brian, a woman named Carol, and the Honeys, a girl group that included Marilyn. These recordings remain unreleased.[256]
"Dick" involves an exchange between Brian and Carol: "What's long and thing and full of skin and heaven knows how many holes it's been in?" "Dick?" "No, a worm."[256] The participants then burst into forced laughter. According to documentarian Keith Badman, "Just as with his music, Brian insists on perfection for 'Dick' and [six] further takes are made by Carol to tell the joke."[256] "Fuzz" involves a similar joke: "What's black and white and has fuzz inside?" "A lorry?" "A police car."[256] Carol then asks Wilson if he has hemorrhoids: "No." "Well let me shake your hand." "Why?" "It's really great knowing a perfect asshole."[256]
Title and artwork
The front sleeve depicts a snapshot of the band – from left, they are Carl, Brian, and Dennis Wilson; Mike Love; and Al Jardine – feeding pieces of apples to seven goats at the zoo.[265] Bruce Johnston, who joined the band one year earlier, does not appear on the cover due to contractual restraints from Columbia Records.[266] The photo was taken on February 10, 1966, when the group traveled to the San Diego Zoo accompanied by the photographer George Jerman.[267] The sleeve's header was written in the Cooper Black typeface.[268][269]
According to a May 1966 news piece published by the San Diego Union, the group "came down from Hollywood to take a cover picture for their forthcoming album Our Freaky Friends. ... Zoo officials were not keen about having their beloved beasts connected with the title of the album, but gave in when the Beach Boys explained that animals are an 'in' thing with teenagers. And that the Beach Boys were rushing to beat the rock and roll group called The Animals."[270][nb 35] During the previous September, the Animals had released an album called Animal Tracks.[271] Writing in his memoir, Love said that Capitol planned the cover shoot after conceiving the title Our Freaky Friends, with the animals representing the group's "freaky friends".[272][nb 36] When questioned about the cover in 2016, Wilson could not recall who thought of going to the zoo.[265] Jardine remembered that the Pet Sounds title had already been decided, and that until arriving to the photo shoot, he thought that "pet" referred to slang for making out ("petting"). He credited Capitol's art department with the idea.[273]
A taped conversation from the March 1966 dog barking session for "Caroline, No" reveals that Brian considered photographing a horse belonging to Carl in Western Studio 3 for the album cover.[274] Brian asked Britz: "Hey, Chuck, is it possible we can bring a horse in here without ... if we don't screw everything up?", to which a clearly startled Britz responds, "I beg your pardon?", with Brian then pleading, "Honest to God, now, the horse is tame and everything!"[275] Wilson told biographer Byron Preiss that the album was named "after the dogs ... That was the whole idea".[276]
Love credited himself with titling the album Pet Sounds,[272] a claim supported by Wilson and Jardine in a 2016 interview.[265] In 1996, Love recounted that he came up with the name after the dog noises for "Caroline, No" were recorded: "We were standing in the hallway in one of the recording studios, either Western or Columbia, and we didn't have a title. ... We had taken pictures at the zoo and ... there were animal sounds on the record, and we were thinking, well, it's our favorite music of that time, so I said, 'Why don't we call it Pet Sounds?'"[191]
In the 1990s, Brian credited Carl with the title.[277][192] Carl said with uncertainty that the name might have come from Brian: "The idea he [Brian] had was that everybody has these sounds that they love, and this was a collection of his 'pet sounds.' It was hard to think of a name for the album, because you sure couldn't call it Shut Down Vol. 3."[179] Brian commented that the title was a "tribute" to Spector by matching his initials (PS).[278] In his 1991 memoir Wouldn't It Be Nice: My Own Story, it was written that the title was inspired by Love asking "Who's gonna hear this shit? The ears of a dog?"[279] In 2016, Love denied that claim.[280]
Asher did not have a favorable reaction to the title. He remembered that Brian showed him "some proofs of the pictures they'd done at the zoo, and he told me they were thinking of calling the album Pet Sounds. I thought it was a goofy name for an album – I thought it trivialized what we had accomplished."[29] Jardine expressed disappointment with the cover and said he had "wanted a more sensitive and enlightening cover."[273] Author Peter Doggett writes that the design was at odds with the increasingly sophisticated cover portraits used on releases by artists such as the Beatles, the Rolling Stones and Bob Dylan over 1965–67.[281] He highlights it as "a warning of what could happen when music and image parted company: songs of high romanticism, an album cover of stark banality."[281]
Release
Reformed image
—Brian Wilson to Melody Maker, March 1966[97]
In March 1966, the Beach Boys hired Nick Grillo as their personal manager following a move from Cummins & Currant to Julius Lefkowitz & Company.[282] The band also recruited Derek Taylor, former press officer for the Beatles, as their publicist.[283] According to Carl Wilson, although the band were aware that trends and the music industry were shifting, "Capitol had a very set picture" of the group that remained incongruous with how they wished to present themselves.[179]
For updating the band's image with firsthand accounts of their latest activities, Taylor's prestige was crucial in offering a credible perspective to those outside Wilson's inner circle.[284] Taylor said he was hired to take the band to "a new plateau", and to that end, he invented the tagline "Brian Wilson is a genius".[285]
Capitol promotion and US sales
On March 7, the single "Caroline No" (B-side "Summer Means New Love"), was released as Wilson's solo debut,[286] leading to speculation that he was considering leaving the band.[287] The single peaked at number 32 during a seven-week stay.[286] On March 21, "Sloop John B" (B-side "You're So Good to Me") was released as a single, credited to the Beach Boys, and reached number 3. [152] After Pet Sounds was assembled, Brian brought a complete acetate to Marilyn, who remembered, "It was so beautiful, one of the most spiritual times of my whole life. We both cried. Right after we listened to it, he said he was scared that nobody was going to like it. That it was too intricate."[173] Capitol executives were less impressed and discussed plans to scrap the album when they heard it. Following several meetings – the last of which had Brian appearing with a tape recorder and responding to their questions with eight pre-recorded responses – Capitol accepted the album as the Beach Boys' next LP.[288]
Pet Sounds was released on May 16 and debuted on the Billboard charts at 106.[289] It sold 200,000 copies shortly thereafter.[290] Compared to their previous albums in the US, Pet Sounds achieved somewhat less commercial success, peaking at number 10 on the Billboard LP chart, on July 2, during a ten-month stay.[291] Although total sales were estimated at around 500,000 units.[292] Pet Sounds was not initially awarded gold certification by the Recording Industry Association of America (RIAA) – a first for the group since 1963.[290] In February 2000, it was presented with gold and platinum awards based on sales that could be documented, although Capitol Records estimated it may have sold over two million copies.[293]
For the album's promotion in the US, Capitol ran full-page advertisements in Billboard that did not distinguish the record from earlier Beach Boys offerings and relied on the group's familiar public image instead of rebranding.[283] This was also true for the promotional spots that were recorded by the Beach Boys themselves and disseminated to radio stations. Like they had done for previous spots, the members performed a comedy skit without any indication of what the record they were promoting sounded like. Instead, they relied on their name recognition.[294] Johnston blamed Capitol for the album's underwhelming sales and alleged that the label did not promote the album as heavily as previous releases.[295] Carl shared this view and said that Capitol did not feel a need to promote the band since they were getting so much airplay.[179] Others assumed that the label considered the album a risk, appealing more to an older demographic than the younger, female audience the Beach Boys built their commercial standing on.[296]
Brian felt hurt when Pet Sounds did not sell as highly as he expected and interpreted the poor sales as the public's rejection of his artistry.[30] To his dismay, within two months, Capitol assembled the group's first greatest hits compilation, Best of the Beach Boys, which was quickly certified gold by the RIAA.[297] Capitol A&R director Karl Engemann theorized that because the marketing department "didn't believe that Pet Sounds was going to do that well, they were probably looking for some additional volume in that quarter."[298] There were reports that when record shops ordered copies of Pet Sounds, they instead received Best Of.[299] On July 18, "Wouldn't It Be Nice" (B-side "God Only Knows") was released as a single, peaking at number 8 on September 2.[300]
United Kingdom EMI release
In the UK, the band had little commercial success until March 1966, when "Barbara Ann" and Beach Boys Party! rose to number 2 on the nation's respective Record Retailer charts.[152] In April, two singles were released: "Caroline, No" (no chart showing) and "Sloop John B" (number 2).[302] In response to the band's growing popularity among the British, two music videos were filmed set to "Sloop John B" and "God Only Knows" for the UK's Top of the Pops, both directed by Taylor.[303][nb 37] The "Sloop John B" video premiered on April 28.[303]
EMI planned to release the record in November to coincide with the band's tour of Britain.[301][nb 38] From May 16 to 21, Bruce Johnston and Derek Taylor holidayed at central London's Waldorf Hotel with the intention of promoting the album around local music scenes.[290] Thanks to the connections of London-based producer Kim Fowley, a number of musicians, journalists, and other guests (including John Lennon, Paul McCartney and Keith Moon) gathered in their hotel suite to listen to repeated playbacks of the album.[305] Fowley said that they had arranged "a horde of press, so it looked like the Beatles had just arrivated at La Guardia airport in 1964. Bruce Johnston was like Jesus Christ in tennis shoes, and Pet Sounds represented the Ten Commandments."[306] Moon himself involved Johnston by helping him gain coverage in British television circuits, and connecting him with Lennon and McCartney.[295]
Due to popular demand, EMI rush-released Pet Sounds on June 27.[301] It peaked at number 2, and remained in the top-ten positions for six months.[307] Taylor is widely recognized as having been instrumental in this success, due to his longstanding connections with the Beatles and other industry figures in the UK.[308] The music press there carried advertisements saying that Pet Sounds was "The Most Progressive Pop Album Ever!"[51][309] On July 22, "God Only Knows" (B-side "Wouldn't It Be Nice") was released as the third UK single, peaking at number 2.[300]
Pet Sounds was one of the five best-selling UK albums of 1966.[301] In response to the success of the Beach Boys' singles "Barbara Ann", "Sloop John B." and "God Only Knows", EMI flooded the market with other albums by the band, including Party!, Today! and Summer Days.[310] In addition, Best of the Beach Boys was number 2 there for five weeks through to the end of the year.[311] The Beach Boys became the strongest selling album act in the UK for the final quarter of 1966, dethroning the three-year reign of native bands such as the Beatles.[312]
Contemporary reviews
Early reviews for the album in the U.S. ranged from negative to tentatively positive.[292] Billboard's terse review, published uncharacteristically late,[290] called it an "exciting, well-produced LP" with "two superb instrumental cuts", and highlighted the "strong single potential" of "Wouldn't It Be Nice".[289] Biographer David Leaf wrote in 1978 that the album received "scattered" instances of praise from American reviewers. The group's fans initially considered Pet Sounds too challenging, and "quickly passed the word to 'stay away from the new Beach Boys album, it's weird.'"[313] The record was not nominated for the 1967 Grammy Awards.[291][nb 39]
By contrast, the reception from music journalists in the UK was highly favourable[314][315] due in part to the promotional efforts of Taylor, Johnston, and Fowley.[314] Rolling Stone founding editor Jann Wenner later recalled that fans in the UK identified the Beach Boys as being "years ahead" of the Beatles and declared Wilson a "genius"[316] Penny Valentine of Disc and Music Echo admired Pet Sounds as "Thirteen tracks of Brian Wilson genius ... The whole LP is far more romantic than the usual Beach Boys jollity: sad little wistful songs about lost love and found love and all-around love."[317] Writing in Record Mirror, Norman Jopling reported that the LP had been "widely praised",[318] yet he predicted: "It will probably make their present fans like them even more, but it's doubtful whether it will make them any new ones."[319] A reviewer in Disc and Music Echo disagreed: "this should gain them thousands of new fans. Instrumentally ambitious, if vocally over-pretty, Pet Sounds has brilliantly tapped the pulse of the musical times. ... A superb, important and really exciting collection from the group whose recording career so far has been a bit of a hotchpotch."[301]
Melody Maker ran a feature in which many pop musicians were asked whether they believed that the album was truly revolutionary and progressive, or "as sickly as peanut butter".[301] The author concluded that "the record's impact on artists and the men behind the artists has been considerable."[301] Among the musicians contributing to the 1966 Melody Maker survey: Spencer Davis of the Spencer Davis Group said: "Brian Wilson is a great record producer. I haven't spent much time listening to the Beach Boys before, but I'm a fan now and I just want to listen to this LP again and again."[301] Then a member of Cream, Eric Clapton, reported that everyone in his band loved the album, adding that Wilson was "without doubt a pop genius".[301] Rolling Stones manager Andrew Oldham said: "I think that Pet Sounds is the most progressive album of the year in as much as Rimsky-Korsakov's Scheherazade was. It's the pop equivalent of that, a complete exercise in pop music."[301][nb 40] Biographer Peter Ames Carlin wrote that Oldham took out a full-page advertisement in Melody Maker in which he lauded Pet Sounds as "the greatest album ever made".[321]
Three of the nine people who are quoted in the Melody Maker survey (Keith Moon, Manfred Mann's Michael D'Abo, and the Walker Brothers' Scott Walker) did not agree that the album was revolutionary. D'Abo and Walker favored the Beach Boys' earlier work, as did journalist and television presenter Barry Fantoni, who expressed a preference for Beach Boys' Today! and stated that Pet Sounds was "probably revolutionary, but I'm not sure that everything that's revolutionary is necessarily good".[322] Pete Townshend of the Who opined that "the Beach Boys new material is too remote and way out. It's written for a feminine audience."[301][nb 41]
In other issues of Melody Maker, Mick Jagger stated that he disliked the songs but enjoyed the record and its harmonies, while John Lennon said that Wilson was "doing some very great things".[324] At the end of 1966, the magazine crowned Pet Sounds and the Beatles' Revolver as the joint "Pop Album of the Year". The paper's spokesman wrote, "We argued, argued and argued and still the MM pop panel couldn't agree which was the Pop Album of the Year. The voting was evenly divided ... Cups of coffee were drunk and sheets of paper were torn up before we finally agreed to compromise and vote for both The Beatles and Beach Boys on top."[325] Writing in Jazz & Pop magazine in 1968, Gene Sculatti recognized the album's debt to Rubber Soul, saying that Pet Sounds was "revolutionary only within the confines of the Beach Boys' music", although later in the piece he commented: "Pet Sounds was a final statement of an era and a prophecy that sweeping changes lay ahead."[326]
Aftermath
In mid-1966, Brian began writing songs with lyricist Van Dyke Parks for a new album tentatively called Dumb Angel (later Smile) that was never finished but would have included "Good Vibrations".[328] Wilson touted the album as a "teenage symphony to God" that would have surpassed Pet Sounds.[329] During the project's sessions, Wilson revisited the idea of a psychedelic comedy album, previously explored with the "Dick" and "Fuzz" outtakes from Pet Sounds.[254] In October, "Good Vibrations" was issued as a single and became an immediate worldwide hit.[330]
As Wilson's mental health deteriorated, his involvement with the Beach Boys reduced, and the group instead released follow-up records that were less ambitious and largely ignored by critics.[331] The Beach Boys Love You (1977) saw Wilson's brief reemergence as the band's principal songwriter and singer,[332] becoming a spiritual successor to Pet Sounds.[333] In 1988, Wilson released his first solo album, Brian Wilson, which was an attempt to recapture the sensibilities of Pet Sounds (co-producer Russ Titelman touted the album as Pet Sounds '88). The record was well received by fans but sold poorly.[334]
In the late 1990s, Wilson and Asher rekindled their writing partnership and wrote at least four songs together. Only two were released: "This Isn't Love" and "Everything I Need".[335][nb 42]
Reappraisal
Period of obscurity
According to author Johnny Morgan, a "process of reevaluation" of Pet Sounds was underway from the late 1960s onward, with a 1976 NME feature proving especially influential.[319] In his 1969 Pop Chronicles series, John Gilliland stated that the album was almost overshadowed by the Beatles' Revolver, released two months later, and that "a lot people failed to realize that Brian Wilson's production was as unique in its own way as the Beatles'".[316] Noel Murray of The A.V. Club, writing in 2014, theorized that the success of "Good Vibrations" helped turn around the perception of Pet Sounds, in that the album's "un-hip orchestrations and pervasive sadness baffled some longtime fans, who didn't immediately get what Wilson was trying to do."[336]
In a 1972 review for Rolling Stone, Stephen Davis called Pet Sounds "by far" Brian Wilson's best album and said that its "trenchant cycle of love songs has the emotional impact of a shatteringly evocative novel".[337] He argued that the album had changed "the course of popular music" and "a few lives in the bargain".[337] After 1974, Pet Sounds went out-of-print. In Granata's description, the album subsequently "fell into obscurity" and was "relegated to the cutout bins" for decades.[338]
Writing in the first edition of The Rolling Stone Record Guide (1979), Dave Marsh gave the album four stars (out of a possible five) and described it as a "powerful, but spotty" collection on which the least experimental songs proved to be the best.[339] In 1985, he wrote that the album was now considered a "classic", elaborating: "Pet Sounds wasn't a commercial flop, but it did signal that the group was losing contact with its listeners (a charge that could not be leveled against the Beatles during the same period)".[340] Granata offered that, by the time the album reappeared on compact disc in 1990, it was "embraced by hard-core fanatics" yet "still considered an insider's record—a quasi-cult classic".[341]
Acclaimed status
Pet Sounds has since appeared in many "greatest records of all time" lists and has provoked extensive discourse regarding its musicianship and production.[352] Writing in 1997, The New York Observer's D. Strauss said that the album's quality and subversion of rock traditions is "what created its special place in rock history; there was no category for its fans to place it in ... But placed within the Easy Listening genre-i.e., elevator music-it becomes a historically grounded, if incredibly ambitious, release."[353] In Music USA: The Rough Guide (1999), Richie Unterberger and Samb Hicks deemed the album a "quantum leap" from the Beach Boys' earlier material, and "the most gorgeous arrangements ever to grace a rock record".[354] Author Luis Sanchez views the album as "the score to a film about what rock music doesn't have to be. For all of its inward-looking sentimentalism, it lays out in a masterful way the kind of glow and sui generis vision that Brian aimed to expand in a radical way with Smile."[275]
Music critic Tim Sommer, referencing other albums that are often labeled "masterpieces", such as OK Computer (1997), The Dark Side of the Moon (1973) or Thick as a Brick (1972), commented that "only Pet Sounds is written from the teen or adolescent point of view."[355] It has been viewed by some writers as the best pop rock album of all time,[356] including Sommer, who deemed it "the greatest album of all time, probably by about 20 or 30 lengths".[357] Singer-songwriter Jimmy Webb described it as "a musician's album", "an engineer's album", and "a songwriter's album".[358]
By the 1990s, three British critics' polls featured Pet Sounds at or near the top of their lists.[359] Those who deemed it "the greatest album of all time" included the writing staffs of NME,[360] The Times,[361] and Uncut.[362] In 1998, the National Academy of Recording Arts and Sciences inducted the album into the Grammy Hall of Fame.[363] In 2000, Pet Sounds was voted number 18 in the third edition of Colin Larkin's All Time Top 1000 Albums.[364] In 2004, Pet Sounds was preserved in the National Recording Registry by the Library of Congress for being "culturally, historically, or aesthetically significant."[365] That year, Pet Sounds also overtook Revolver as the top album on Acclaimed Music, a website that statistically aggregates hundreds of published lists.[366] It has maintained this ranking ten-plus years on.[367] As of 2006, more than 100 domestic and international publications and journalists have lauded Pet Sounds as one of the greatest albums ever recorded.[368]
Music journalist Robert Christgau, writing in 2004, felt that Pet Sounds was a good record, but believed it had become looked upon as a totem.[369] Composer Atticus Ross referred to "an element of cliché that's grown around it", exemplified in a comedy sketch from the television show Portlandia in which "your classic hipster musicians ... are building a studio and everything is like 'this is the mike they used in Pet Sounds.' This is exactly the same as Pet Sounds.'"[370] In 2006, Dominique Leone wrote a 9.4 (out of 10) review of its 40th Anniversary edition for Pitchfork stating: "Certainly, regardless of what I write here, the impact and 'influence' of the record will have been in turn hardly influenced at all. I can't even get my dad to talk about Pet Sounds anymore. ... The hymnal aspect of many of these songs seems no less pronounced, and the general air of deeply heartfelt love, graciousness and the uncertainty that any of it will be returned are still affecting to the point of distraction."[110]
In Chris Smith's 2009 book 101 Albums That Changed Popular Music, Pet Sounds is evaluated as "one of the most innovative recordings in rock" and as the work that "elevated Brian Wilson from talented bandleader to studio genius".[112] In 2016, commentator C.W. Maloney mused: "The songs on Pet Sounds are great, but you have to wonder, given all the hype and mythology and our love of shallow nostalgia, what we mean when we call it a classic or Wilson a genius. Consider what [Frank] Zappa was doing in 1966, to say nothing of Miles [Davis]. Wilson's high reputation is evidence of our obsession with childlike innocence and the victory of boring poptimism."[371] Wilson himself felt bemused by the album's continued acclaim. In a 2002 documentary about the album, he commented, "It keeps going back to Pet Sounds here in my life, and I'm going, 'What about this Pet Sounds? Is it really that good an album?' It's stood the test of time, of course, but is it really that great an album to listen to? I don't know."[372]
Influence and legacy
Innovations
Pet Sounds is recognized as an ambitious and sophisticated work that advanced the field of music production in addition to setting numerous precedents in its recording.[373] Phillip Lambert, a professor of music at the Graduate Center in New York, wrote that the album was "an extraordinary achievement – for any musician, but especially for the 23-year-old Wilson".[374] Writing in his 2012 book Music Producer: for Producers, Composers, Arrangers, and Students, Michael Zager stated that the album's production techniques remained in use forty-six years later.[375]
Although not originally a big seller, Pet Sounds has been "enormously" influential since it was released.[112] To explain why the album "was one of the defining moments of its time", composer Philip Glass referred to "its willingness to abandon formula in favor of structural innovation, the introduction of classical elements in the arrangements, [and] production concepts in terms of overall sound which were novel at the time".[376] In 1971, publication Beat Instrumental & International Recording wrote: "Pet Sounds took everyone by surprise. In terms of musical conception, lyric content, production and performance, it stood as a landmark in a music genre whose development was about to begin snowballing."[377] That same year, Cue magazine reflected that "in the year and a half that followed Pet Sounds, the Beach Boys were among the vanguard ... anticipating changes that rock didn't accomplish until 1969–1970."[378]
—Music critic Jeff Straton, 2000[379]
The album informed the developments of genres such as pop, rock, hip hop, jazz, electronic, experimental, and punk.[380] It was the first time that a group departed from the usual small-ensemble electric rock band format for an entire album,[355] and many British groups reacted by making records with a higher level of studio experimentation.[307] According to D. Strauss, the Beach Boys were also the first major rock group "to look music trends firmly in the eye and declare that rock really didn't matter. Rock is supposed to be about, you know, fucking, and Brian Wilson was recording a song ('I Know There's an Answer') that was originally entitled 'Get Rid of Your Libido'."[353] "I Just Wasn't Made for These Times" was the first piece in popular music to incorporate the Electro-Theremin as well as the first in rock music to feature a theremin-like instrument.[381]
In rock music, Pet Sounds marked the first occasion in which doubling was used for virtually every instrument, a technique previously limited to classical composers and orchestrators.[382] Professor of American history John Robert Greene stated that "God Only Knows" remade the ideal of the popular love song, while "Sloop John B" and "Pet Sounds" broke new ground and took rock music away from its casual lyrics and melodic structures into what was then uncharted territory.[383] Many Los Angeles record producers imitated the album's orchestral style, which became a component to the sunshine pop acts that followed.[384] Decider wrote that the album "almost single-handedly created the idea of 'baroque pop'."[385] Discussing the smooth soul genre, Chicago Reader's Noah Berlatsky argued that the Beach Boys helped bridge a gap between the polished pop harmonizing of the Drifters and the experimentation of the Chi-Lites, particularly with "Sloop John B", whose "fussy" arrangements, "pure" harmonies, and "childish vulnerability" he says "come out of a tradition of pop R&B".[386] "Wouldn't It Be Nice" was similarly influential to power pop with respect to its "happy"-sounding music underpinned by a sense of yearning and longing.[387]
Pet Sounds is often cited as one of the earliest entries in the canon of psychedelic rock.[64] Scholar Philip Auslander explains that even though psychedelic music is not normally associated with the Beach Boys, the "odd directions" and experiments in Pet Sounds "put it all on the map. ... basically that sort of opened the door—not for groups to be formed or to start to make music, but certainly to become as visible as say Jefferson Airplane or somebody like that."[388] DeRogatis said that it was one of the first psychedelic rock masterpieces, along with The Psychedelic Sounds of the 13th Floor Elevators (1966) and Revolver.[66]
Artist-producers
Wilson was the first artist of his stature to write, arrange, and produce an album on the scale of Pet Sounds. Granata said that Wilson's "authoritative approach affected his contemporaries" and thus "redefined" the role of the producer.[389] Wilson also originated the trope of the "reclusive genius" among studio-oriented musical artists.[84] In 2016, Jason Guriel of The Atlantic drew comparisons with the albums of Michael Jackson, Prince, and Radiohead, and said that Wilson "certainly anticipated the modern pop-centric era, which privileges producer over artist and blurs the line between entertainment and art".[84]
Prog-rock and recognition of popular music
—Journalist Joel Freimark, January 2016[390]
Pet Sounds marked the origins of progressive pop, a genre that gave way to progressive rock. Tidal contributor Ryan Breed cited the album's "non-rock instrumentation (strings, brass, Theremin, harpsichord, tack piano), dizzying key changes and complex vocal harmonies" as features that informed prog-pop.[45] The album also furthered the "rock as art" concept heralded by Rubber Soul.[326] Along with Rubber Soul, Revolver, and the 1960s folk movement, Greene credited Pet Sounds with spawning the majority of trends in post-1965 rock music.[383]
Composer and journalist Frank Oteri recognized Pet Sounds as a "clear precedent" to the birth of album-oriented rock and progressive rock.[391] Bill Martin, an author of books about prog-rock, felt that the album represented a turning point for prog as the Beach Boys and the Beatles transformed rock music from dance music into music that was made for listening to, bringing "expansions in harmony, instrumentation (and therefore timbre), duration, rhythm, and the use of recording technology".[392] Gang of Four's Andy Gill argued that "so many rock bands took it as a green light to get clever—to start playing with the time signatures, to go prog. You know, 'Let's put a french horn in there!' Before you know it, you've got Queen."[393]
Pet Sounds is viewed as the first work of "art rock" by Leaf[61] and Jones.[60] Rolling Stone writers described the album as heralding the art rock of the 1970s.[394] Sommer writes that "Pet Sounds proved that a pop group could make an album-length piece comparable with the greatest long-form works of Bernstein, Copland, Ives, and Rodgers and Hammerstein."[75] Bill Holdship said that it was "perhaps rock's first example of self-conscious art".[395] According to Jim Fusilli, author of the 33⅓ book on the album, it raised itself to "the level of art through its musical sophistication and the precision of its statement",[396] while academic Michael Johnson said that the album was one of the first documented moments of ascension in rock music.[397] In 2010, Pet Sounds was listed in Classic Rock's "50 Albums That Built Prog Rock".[398][399]
Connections to contemporary works
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Discussions of the greatest albums of all time frequently mention Pet Sounds with the Beatles' Revolver and Bob Dylan's Blonde on Blonde, which were all released within four months of each other.[401] Journalist Liel Leibovitz called Pet Sounds and Blonde on Blonde "two strands in the same conversation, the one that turned American popular music, for one fleeting moment of one year in the middle 1960s, into a religious movement".[402] Author Geoffrey Himes said that "Brian's introduction of non-standard harmonies and timbres proved as revolutionary" as Dylan's introduction of "irony into rock'n'roll lyrics".[86]
Rock historians also frequently link Pet Sounds to the Beatles' Sgt. Pepper's Lonely Hearts Club Band (May 1967).[403] Paul McCartney later credited Pet Sounds as an influence on his increasingly melodic bass-playing style and cited "God Only Knows" as "the greatest song ever written".[404] He said that the album was the primary impetus for Sgt. Pepper[403] and influenced his Revolver composition "Here, There and Everywhere".[405] Among the distinguishing musical features of Pet Sounds that the Beatles adopted throughout Sgt. Pepper were the upper-register bass lines, a larger emphasis on floor toms, and more eclectic and unorthodox combinations of instruments (including bass harmonica).[406][nb 43] Lambert writes that "the overall key relations" on Pet Sounds resemble the patterns found on Sgt. Pepper, particularly with the invocation of B♭ as a tonic.[124]
Alternative music
Pet Sounds was influential to indie pop musicians in the 1990s[394] as Wilson became "godfather" to an era of indie musicians who were inspired by his melodic sensibilities, studio experimentation, and chamber pop orchestrations.[401] Chamber pop itself became a genre that was based on the musical template of Pet Sounds,[409] In the mid-1990s, Robert Schneider of the Apples in Stereo and Jim McIntyre of Von Hemmling founded Pet Sounds Studio, which served as the venue for many Elephant 6 projects such as Neutral Milk Hotel's In the Aeroplane Over the Sea,[410] and the Olivia Tremor Control's Dusk at Cubist Castle[411] and Black Foliage.[410]
The album's influence on early 2000s emo music, according to writer Sean Cureton, is evident on Weezer's Pinkerton (1996) and Death Cab for Cutie's Transatlanticism (2003).[412] Treblezine's Ernest Simpson and Wild Nothing's Jack Tatum additionally characterize Pet Sounds as the first emo album.[380][413]
Continued impact
In 1995, a panel of numerous musicians, songwriters and producers assembled by MOJO voted Pet Sounds as the greatest album among them.[414] For the album's 50th anniversary, 26 artists contributed to a Pitchfork retrospective on its influence, which included comments from members of Talking Heads, Yo La Tengo, Chairlift, and Deftones. The editor noted that the "wide swath of artists assembled for this feature represent but a modicum of the album's vast measure of influence. Its scope transcends just about all lines of age, race, and gender. Its impact continues to broaden with each passing generation."[380] Hip-hop producer Questlove recalled that for "black teenagers coming of age in the 1980s", the Beach Boys were out of fashion, and that in the late 1990s, he was ridiculed by "J Dilla, Common, Proof, and a whole bunch of east-side Detroit cats" for enjoying Pet Sounds. Later, "Dilla was like, 'Yeah, you're right man, they had some shit on there.'"[415]
Tribute albums include Do It Again: A Tribute to Pet Sounds (2005), The String Quartet Tribute to the Beach Boys' Pet Sounds (2006), MOJO Presents Pet Sounds Revisited (2012), and A Tribute to Pet Sounds (2016).[416] In 2007, record producer Bullion created a J Dilla mashup of the album, Pet Sounds in the Key of Dee.[417]
In 1990, the political cartoon strip Doonesbury ran a controversial story arc involving the character Andy Lippincott and his terminal battle with AIDS. It concludes with Lippincott expressing his admiration for Pet Sounds, and in the last panels, depicts the character's death while listening to "Wouldn't It Be Nice", as well as his last written words, the line "Brian Wilson is God" scrawled on a notebook (a reference to the line "Clapton is God"). According to cultural theorist Kirk Curnett in 2012, the panel "remains one of the most iconic in Doonesbury's forty-three year history, often credit[ed] with helping humanize AIDS victims when both gay and straight sufferers were severely stigmatized."[418] He also noted that "in recent years", "Wouldn't It Be Nice" had been performed at LGBT rallies.[419]
Pet Sounds also motivated film producer Bill Pohlad to direct the 2014 biopic on Brian Wilson, Love & Mercy. The film includes a substantial depiction of the album's making, with actor Paul Dano portraying Wilson.[420]
Live performances
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After its release, several selections from Pet Sounds became staples for the group's live performances, including "Wouldn't It Be Nice", "Sloop John B" and "God Only Knows". Other songs were performed, albeit sporadically and infrequently through the years, and the album was never performed in its entirety with every original group member. In the late 1990s, Carl Wilson vetoed an offer for the Beach Boys to perform Pet Sounds in full for ten shows, reasoning that the studio arrangements were too complex for the stage, and that Brian could not possibly sing his original parts.[421]
As a solo artist, Brian performed the entire album live in 2000 with a different orchestra in each venue, and on three occasions without orchestra on his 2002 tour.[422] The concerts received favorable reviews, however, critics focused on Wilson's "trancelike" demeanor and odd interview responses.[423] Recordings from Wilson's 2002 concert tour were released as Brian Wilson Presents Pet Sounds Live.[424] Rolling Stone's Dorian Lynskey says that the shows helped establish the now-ubiquitous practice of artists playing "classic albums" in their entirety.[425]
In 2013, Wilson performed the album at two shows, unannounced, also with Jardine as well as original Beach Boys guitarist David Marks.[426] In 2016, Wilson performed the album at several events in Australia, Japan, Europe, Canada and the United States. The tour was planned as his final performances of the album,[427] but occasional shows have been performed or announced through 2020.
Reissues and expanded editions
Pet Sounds has had many different reissues since its release in 1966, including remastered mono and remixed stereo versions.
- In 1966, Capitol issued a Duophonic (fake stereo) version of the album that was created through equalization and phasing.[341]
- In 1968, Capitol issued Pet Sounds as part of a three-LP set with Today! and Summer Days.[341]
- In 1972, Reprise packaged Pet Sounds as a bonus LP with the Beach Boys' latest album Carl and the Passions – "So Tough".[341]
- In 1974, Reprise issued Pet Sounds as a single disc, which became the album's last reissue until 1990.[341]
- In 1990, Pet Sounds debuted on CD with the addition of three previously unreleased bonus tracks: "Unreleased Backgrounds" (an a cappella demo section of "Don't Talk" sung by Wilson), "Hang On to Your Ego", and "Trombone Dixie".[428] The edition was prepared from the original 1966 mono master, by Mark Linett, who used Sonic Solutions' No Noise processing to mitigate damage that the physical master had accrued.[429] It became one of the first CDs to sell more than a million copies.[430]
- In 1995, DCC issued a 20-bit audiophile version that was mastered by engineer Steve Hoffman. It was created from a safety copy of the original master.[431] According to Granata, this version "garnered numerous accolades, and some feel it comes closest to capturing the spirit and punch of Brian's original 1966 mix."[432]
- In 1997,The Pet Sounds Sessions was released as a four-disc box set. It included the original mono release of Pet Sounds, the album's first stereo mix (created by Linett and Wilson), backing tracks, isolated vocals, and session highlights. It was received with controversy among audiophiles who felt that a stereo mix of Pet Sounds was sacrilege against the original mono recording.[433]
- In 2001, Pet Sounds was issued with mono and "improved" stereo versions, plus "Hang On to Your Ego" as a bonus track, all on one disc.[434]
- On August 29, 2006, Capitol released a 40th Anniversary edition, containing a new 2006 remaster of the original mono mix, DVD mixes (stereo and Surround Sound), and a "making of" documentary.[368] The discs were released in a regular jewel box and a deluxe edition was released in a green fuzzy box. A two-disc colored gatefold vinyl set was released with green (stereo) and yellow (mono) discs.[368]
- In 2016, a 50th anniversary edition box set presented the remastered album in both stereo and mono forms alongside studio sessions outtakes, alternate mixes, and live recordings. Of the 104 tracks, only 14 were previously unreleased.[435]
Track listing
| No. | Title | Writer(s) | Lead vocal(s) | Length |
|---|---|---|---|---|
| 1. | "Wouldn't It Be Nice" | Brian Wilson and Mike Love | 2:25 | |
| 2. | "You Still Believe in Me" |
| B. Wilson | 2:31 |
| 3. | "That's Not Me" |
| Love with B. Wilson | 2:28 |
| 4. | "Don't Talk (Put Your Head on My Shoulder)" |
| B. Wilson | 2:53 |
| 5. | "I'm Waiting for the Day" |
| B. Wilson | 3:05 |
| 6. | "Let's Go Away for Awhile" | Wilson | instrumental | 2:18 |
| 7. | "Sloop John B" | traditional, arranged by Wilson | B. Wilson and Love | 2:58 |
| Total length: | 18:38 | |||
| No. | Title | Writer(s) | Lead vocal(s) | Length |
|---|---|---|---|---|
| 1. | "God Only Knows" |
| Carl Wilson with B. Wilson and Bruce Johnston | 2:51 |
| 2. | "I Know There's an Answer" |
| Love and Al Jardine with B. Wilson | 3:09 |
| 3. | "Here Today" |
| Love | 2:54 |
| 4. | "I Just Wasn't Made for These Times" |
| B. Wilson | 3:12 |
| 5. | "Pet Sounds" | Wilson | instrumental | 2:22 |
| 6. | "Caroline, No" |
| B. Wilson | 2:51 |
| Total length: | 17:19 | |||
Vocals according to Alan Boyd and Craig Slowinski.[113] Mike Love's writing credits for "Wouldn't It Be Nice" and "I Know There's an Answer" were only awarded after a 1994 court case.[38] Al Jardine's contribution to the arrangement of "Sloop John B" remains uncredited.[436]
Personnel
Per band archivist Craig Slowinski.[113]
The Beach Boys
- Al Jardine – vocals
- Bruce Johnston – vocals
- Mike Love – vocals
- Brian Wilson – vocals; producer; plucked piano strings on "You Still Believe in Me"; bass guitar, Danelectro bass, and organ on "That's Not Me"; piano on "Pet Sounds"; overdubbed organ or harmonium on "I Know There's an Answer"
- Carl Wilson – vocals; lead guitar and overdubbed 12-string electric guitar on "That's Not Me"; 12-string electric guitar on "God Only Knows"
- Dennis Wilson – vocals; drums on "That's Not Me"
Guests
- Tony Asher – plucked piano strings on "You Still Believe in Me"
- Steve Korthof – tambourine on "That's Not Me"
- Terry Melcher – tambourine on "That's Not Me" and "God Only Knows"
- Marilyn Wilson – additional vocals on "You Still Believe in Me" introduction (uncertain)
- Tony (surname unknown) – tambourine on "Sloop John B"
Session musicians (also known as "the Wrecking Crew")
- Chuck Berghofer – string bass
- Hal Blaine – bicycle horn, drums, percussion, sleigh bells, timpani
- Glen Campbell – banjo, guitar
- Frank Capp – bells, beverage cup, timpani, glockenspiel, tambourine, temple blocks, vibraphone
- Al Casey – guitar
- Roy Caton – trumpet
- Jerry Cole – electric guitar, guitar
- Gary Coleman – bongos, timpani
- Mike Deasy – guitar
- Al De Lory – harpsichord, organ, piano, tack piano
- Steve Douglas – alto saxophone, clarinet, flute, piano, temple blocks, tenor saxophone
- Carl Fortina – accordion
- Ritchie Frost – drums, bongos, Coca-Cola cans
- Jim Gordon – drums, orange juice cups
- Bill Green – alto saxophone, clarinet, flute, güiro, tambourine
- Leonard Hartman – bass clarinet, clarinet, English horn
- Jim Horn – alto saxophone, clarinet, baritone saxophone, flute
- Paul Horn – flute
- Jules Jacob – flute
- Plas Johnson – clarinet, güiro, flute, piccolo, tambourine, tenor saxophone
- Carol Kaye – electric bass, guitar
- Barney Kessel – guitar
- Bobby Klein – clarinet
- Larry Knechtel – harpsichord, organ, tack piano
- Frank Marocco – accordion
- Gail Martin – bass trombone
- Nick Martinis – drums
- Mike Melvoin – harpsichord
- Jay Migliori – baritone saxophone, bass clarinet, bass saxophone, clarinet, flute
- Tommy Morgan – bass harmonica
- Jack Nimitz – baritone saxophone, bass saxophone
- Bill Pitman – guitar
- Ray Pohlman – electric bass
- Don Randi – tack piano
- Alan Robinson – french horn
- Lyle Ritz – string bass, ukulele
- Billy Strange – electric guitar, guitar, 12-string electric guitar
- Ernie Tack – bass trombone
- Paul Tanner – Electro-Theremin
- Tommy Tedesco – acoustic guitar
- Jerry Williams – timpani
- Julius Wechter – bicycle bell, tambourine, timpani, vibraphone
The Sid Sharp Strings
- Arnold Belnick – violin
- Norman Botnick – viola
- Joseph DiFiore – viola
- Justin DiTullio – cello
- Jesse Erlich – cello
- James Getzoff – violin
- Harry Hyams – viola
- William Kurasch – violin
- Leonard Malarsky – violin
- Jerome Reisler – violin
- Joseph Saxon – cello
- Ralph Schaeffer – violin
- Sid Sharp – violin
- Darrel Terwilliger – viola
- Tibor Zelig – violin
Engineers
- Bruce Botnick
- Chuck Britz
- H. Bowen David
- Larry Levine
- Other engineers may have included Jerry Hochman, Phil Kaye, Jim Lockert, and Ralph Valentine.
Charts and certifications
| Year | Chart | Position |
|---|---|---|
| 1966 | US Billboard Top LPs[437] | 10 |
| 1966 | UK Albums Chart[437] | 2 |
| 1972 | US Billboard Top LPs & Tape[438] | 50 |
| 1990 | US Billboard 200 Albums[438] | 162 |
| 1995 | UK Albums Chart[439] | 17 |
| Charts (1966) | Peak position |
|---|---|
| Australian Singles Chart | 17 |
| Austria (Ö3 Austria Top 40)[440] | 1 |
| Belgium (Ultratop 50 Flanders)[441] | 5 |
| Belgium (Ultratop 50 Wallonia)[442] | 39 |
| Canada RPM Singles Chart | 2 |
| Germany (Official German Charts)[443] | 1 |
| Ireland (IRMA)[444] | 2 |
| Netherlands (Single Top 100)[445] | 1 |
| Norway (VG-lista)[446] | 1 |
| UK Singles Chart[437] | 2 |
| US Billboard Hot 100[447] | 3 |
| U.S. Cash Box Top 100[448] | 5 |
| Chart (1966) | Peak position |
|---|---|
| Australian Singles Chart | 2 |
| Canadian Singles Chart[449] | 4 |
| New Zealand Singles Chart | 12 |
| U.S. Billboard Hot 100[450] | 8 |
| U.S. Cash Box Top 100[451] | 7 |
| Region | Certification | Certified units/sales |
|---|---|---|
| United Kingdom (BPI)[452] | Platinum | 300,000^ |
| United States (RIAA)[453] | Platinum | 1,000,000^ |
|
*sales figures based on certification alone | ||
Accolades
| Year | Organization | Accolade | Rank |
|---|---|---|---|
| 1993 | The Times | The 100 Best Albums of All Time[361] | 1 |
| New Musical Express | New Musical Express Writers Top 100 Albums[454] | 1 | |
| 1995 | Mojo | Mojo's 100 Greatest Albums of All Time[455] | 1 |
| 1997 | The Guardian | 100 Best Albums Ever[456] | 6 |
| Channel 4 | The 100 Greatest Albums[457] | 33 | |
| 2000 | Virgin | The Virgin Top 100 Albums[458] | 18 |
| 2001 | VH1 | VH1's Greatest Albums Ever[459] | 3 |
| 2002 | BBC | BBC 6 Music: Best Albums of All Time[460] | 11 |
| 2006 | Q | Q Magazine's 100 Greatest Albums Ever[461] | 12 |
| The Observer | The 50 Albums That Changed Music[462] | 10 | |
| 2012 | Rolling Stone | The 500 Greatest Albums of All Time[463] | 2 |
| 2015 | Platendraaier | Top 30 Albums of the 60s[464] | 7 |
| 2016 | Uncut | 200 Greatest Albums of All Time[362] | 1 |
Notes
- "The Little Girl I Once Knew", "In My Childhood", "Don't Talk (Put Your Head on My Shoulder)", "Run, James, Run", "Trombone Dixie", and "Three Blind Mice".[21]
- 1965 is the date given by most sources. Others state that Wilson had met Asher during a social gathering at Schwartz's house. Carlin dates the initial meeting between Asher and Wilson to early 1963.[26]
- December 1965 is the date given by Carlin.[27] Asher recalled that Wilson called him when the rest of the band were out of the country.[28]
- This is Charles Granata's rough estimation. As of 2003, most of the documentation that could have provided a more definitive chronology of the album's writing had been lost.[31]
- Asher added that his impression of Wilson was of "the single most irresponsible person" he had ever met, citing uncashed royalty checks of up to $100,000 laying around Wilson's house.[42]
- Other attributed genres are psychedelic rock,[64][65][66] baroque pop,[67][68] experimental rock,[69][70] avant-pop,[71][72] experimental pop,[73] symphonic rock,[74] and folk rock.[75]
- Even further, it is sometimes advanced as the first concept album in the history of rock music.[76]
- The lack of a hit single on the North American version of Rubber Soul added to the album's identity there as a self-contained artistic statement.[83]
- Wilson's previous habits, evident in Today! and Summer Days, were to sacrifice portions of an album with lesser, superficial material.[81] Today! also contained five songs with a unified theme located on the album's second side, similar to Wilson's endeavor for the whole of Pet Sounds.[84]
- In 1966, Wilson said that the "main difference" between him and the Beatles was that the Beatles relied on "skeletal" arrangements, whereas if he had arranged "Norwegian Wood", he would have "orchestrated it, put in background voices, [and] done a thousand things".[80]
- In a 2002 foreword for Mojo, Wilson wrote that although he had already begun working on some of the songs, the urge to express his feelings after hearing Rubber Soul led to his decision to seek out a new lyricist.[88] Conversely, he told David Leaf in 1996 that he believed he was introduced to the LP by Asher.[30] In 2009, he said he wrote "God Only Knows" with Asher the morning after listening to the album for the first time.[89] Asher recalled that Wilson played him Rubber Soul and said that he wanted "to do something that is better than this album."[22] Bruce Johnston remembered listening to the album at around Christmastime 1965 "with Terry Melcher and his mother (Doris Day) ... with us were Brian, Mike, and John Phillips (of The Mamas and The Papas). Brian said he thought that Rubber Soul was a great thematic pop album."[90]
- According to Wilson, Nelson Riddle taught him "a lot about arranging",[94] and Stebbins felt that the album's Riddle influence was more apparent than its Spector influence.[95]
- Granata referred to Pet Sounds as the culmination of Wilson's songwriting artistry, although his "transition from writing car and surf songs to writing studious ones" had already "exploded in 1965".[104]
- Pet Sounds percussionist Julius Wechter was a former member of Martin Denny's band.[111]
- The most minimal track on the album, "That's Not Me", employs 6-string guitar, 12-string guitar, electric bass, organ, a drum kit, and additional percussion. The most expansive track on the album, "God Only Knows", employs string bass, electric bass, guitar, tack piano, harpsichord, accordion, clarinet, bass clarinet, flute, violin, viola, cello, a drum kit, sleigh bells, tambourine and additional percussion.[113]
- Referring to "Wouldn't It Be Nice", Perone opined that the track sounded "significantly less like a rock band supplemented with auxiliary instrumentation ... than a rock band integrated into an eclectic mix of studio instrumentation."[117]
- This sighing motif reappears in "Don't Talk (Put Your Head on My Shoulder)" and "Caroline, No".[117]
- He speculated that Wilson's rekindled interest in this device, which he had used on Surfin' Safari and Surfin' U.S.A., may have been inspired by "I'll Be Back" from Beatles '65.[121]
- "You Still Believe in Me" (B), "I'm Waiting for the Day" (E), "Sloop John B" (A♭), and "I Just Wasn't Made for These Times" (B♭).[107]
- Two examples of its tertian shifts: "Wouldn't It Be Nice" shifts from A to F to D, while "That's Not Me" shifts from F♯ to A and back to F♯.[123]
- He said that Wilson "never asked me to interpret his feelings" and that the conversation were limited "to the theoretical", for example, "What if we write a song about a kid somewhere who doesn't fit in?"[129] And yet, Asher also said that they did not set out to write songs with a specific narrative.[35]
- Work was already started on "Sloop John B" (in July and December 1965), "You Still Believe in Me", and "Pet Sounds" (both in November 1965).[149]
- At Gold Star, Wilson tracked "Good Vibrations" and the instrumentals of "Wouldn't It Be Nice" and "I Just Wasn't Made for These Times";[151] at Sunset Sound, he tracked the instrumental of "Here Today".[152]
- The regulars were Hal Blaine (drums), Glen Campbell and Billy Strange (guitar), Al de Lory (piano), Steve Douglas (saxophone) Carol Kaye (Fender bass), Larry Knechtel (Hammond organ), Don Randi (piano), Lyle Ritz (upright bass), Ray Pohlman (bass and guitar), and Julius Wechter (percussion).[156]
- For his session of "I Just Wasn't Made for These Times", Paul Tanner remembered: "Brian came over to me and sang such and such a thing, and I said 'Well, write it down and I'll play it,' and he said 'Write it down? We don't write anything down—if you want it written down you have to write it down yourself."[158]
- Although Spector's trademark sound was aurally complex, many of the best-known Wall of Sound recordings were recorded on Ampex three-track recorders. Spector's backing tracks were recorded live, and usually in a single take. These backing tracks were mixed live, in mono, and taped directly onto one track of the three-track recorder.[161] The lead vocal was then taped, usually (though not always) as an uninterrupted live performance, recorded direct to the second track of the recorder. The master was completed with the addition of backing vocals on the third track before the three tracks were mixed down to create the mono master tape.[161]
- Brian had played Dennis and Carl excerpts of the new music over the phone while they were in Japan.[168]
- In his 2016 memoir, Brian wrote that Carl was enthused with the album, but Love and Dennis were not.[181]
- Of the 11 songs, Wilson sang lead on five, shares lead on two, and appears on the choruses of two more. Of the album's 36-minute runtime, his voice is heard for 16 minutes, three more than the rest of the band members.[185]
- "God Only Knows", "Here Today", "Wouldn't It Be Nice", "I Just Wasn't Made for These Times" , and "I'm Waiting for the Day".[193]
- In 1995, it emerged that this session was originally intended to add vocals to "Let's Go Away for Awhile", but Capitol insisted that the session date be used for the album's mixing.[198]
- In that era, radio and TV were broadcast in mono and most domestic and automotive radios and record players were monophonic.[160]
- Throughout the latter half of the 1960s, Wilson was repeatedly shown to have become interested in Eastern philosophy and the psychedelic experience.[237]
- It was included as part of the Beach Boys' 2011 release of The Smile Sessions.[254]
- The article continues to say that the group mishandled and discomforted many of the animals: "Before they left, said zoo public relations director Bill Seaton, the caged animals were 'about to crack up.'... The zoo superintendent John Muth, an ex marine sergeant major, said the Beach Boys are not welcome back and never will be."[17] Johnston referenced this, saying "The goats were horrible! ... The zoo said we were torturing the animals but they should have seen what we had to go through. We were doing all the suffering."[270]
- According to historian Brad Elliot, Pet Sounds was chosen as the album's title before its cover photo was taken.[192]
- The first was filmed at Brian's Laurel Way home with Dennis acting as cameraman, the second near Lake Arrowhead. While the second film, containing footage of the group minus Bruce flailing around in grotesque horror masks and playing Old Maid, was intended to be accompanied by excerpts from "Wouldn't It Be Nice", "Here Today" and "God Only Knows", slight edits were made by the BBC to reduce the film's length.[303]
- According to a late May 1966 report, there were initially no plans for the company to issue Pet Sounds in the UK.[304]
- At the same ceremony, the Anita Kerr Singers won Best Performance by a Vocal Group for an album that included a rendition of "Good Vibrations".[291]
- Oldham was the Beach Boys' publisher in England.[320]
- Townshend later stated: "'God Only Knows' is simple and elegant and was stunning when it first appeared; it still sounds perfect".[323]
- A piano-only rendition of "This Isn't Love" was issued on the 1997 compilation Songs Without Words, while a full-band live performance was released on Wilson's 2002 album Live at the Roxy Theatre. In 1997, "Everything I Need" appeared on The Wilsons, a project involving Wilson and his daughters Carnie and Wendy.[335]
- According to musician Lenie Colacino, McCartney "didn't start using the upper register on his Rickenbacker bass until after he heard Pet Sounds. The bass parts for 'Here Today' directly influenced the way Paul played on 'With a Little Help' and 'Getting Better'."[407] Granata writes that, by the time the Beatles recorded Magical Mystery Tour (November 1967), "it was clear they'd fully assimilated the essence of Brian's eclectic arranging style."[408]
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External links
- "Tony Asher Interview". April 4, 1996.
- Crowe, Jerry (November 1, 1997). "'Pet Sounds Sessions': Body of Influence Put in a Box". Los Angeles Times. Retrieved March 3, 2009.
