Pet Sounds, the eleventh studio album by the Beach Boys, was released in 1966 by Capitol Records and chiefly created by Brian Wilson with lyricist Tony Asher. This pioneering concept album expanded rock’s orchestral palette using innovative instruments like the Electro-Theremin and featured complex vocal harmonies. Initially met with mixed U.S. reviews, it found acclaim in the UK and significantly influenced genres such as progressive rock and orchestral pop. Praised for its groundbreaking production and use of the studio as a compositional tool, Pet Sounds has since been inducted into the National Recording Registry and ranks highly on Rolling Stone's list of greatest albums, cementing its legacy in music history.
Dec 31 2023
Apr 9 2017
Jul 21 2015
Dec 12 1997Background
The Beach Boys' sixth album, All Summer Long (July 1964), concluded their beach-themed period, after which their music shifted toward an increasingly divergent stylistic and lyrical direction.2 In January 1965, 22-year-old Brian Wilson, leader of the band, declared his withdrawal from touring to concentrate on songwriting and studio production.34 The rest of the group—Brian's brothers Carl and Dennis, cousin Mike Love, and friend Al Jardine—continued touring without him; session musician Glen Campbell initially filled his role, followed by Bruce Johnston, who, alongside Terry Melcher, had been a Columbia Records staff producer and member of the Ripchords and Bruce & Terry.5
Through 1965, Wilson showcased great advances in his musical development with the albums The Beach Boys Today! and Summer Days (And Summer Nights!!).67 Released in March, Today! departed from the group's earlier sound through orchestral arrangements, introspective themes, and a move away from surfing, car, and simplistic love motifs.8 Its lyrics adopted an autobiographical tone, portraying narrators as vulnerable, neurotic, and insecure,9 while the second half of the record contained five songs with a unified theme.10 Summer Days, issued three months later, bridged Wilson's progressive style with the band's pre-1965 approach.11
On July 12, Wilson began recording "Sloop John B" but temporarily shelved the track to focus on Beach Boys' Party!, an informal studio album created to meet Capitol Records' demand for a Christmas release.12 That October, he and his wife, 17-year-old Marilyn Rovell, moved from West Hollywood to a home on Laurel Way in Beverly Hills,13 where he later stated he spent subsequent months contemplating "the new direction of the group".14 Between October and December, he refined "Sloop John B" and recorded six new compositions, including "The Little Girl I Once Knew", which was released as a single in November.15 In December, Capitol issued "Barbara Ann" from Party! as a single without consulting the band; Wilson publicly dismissed it as unrepresentative of their upcoming work.16 From January 7 to 29, 1966, the bandmates toured Japan and Hawaii.17
Writing sessions
In 1965, Wilson met Tony Asher, a 26-year-old lyricist and advertising jingle writer, at a Los Angeles recording studio.1819 After exchanging song ideas, Wilson learned of Asher's abilities through mutual acquaintance Loren Schwartz.20 That December, Wilson proposed a lyric collaboration to Asher, seeking a new creative partnership "completely different" from his prior work.2122 Asher accepted, and their writing sessions began within ten days, starting with "You Still Believe in Me".23
Wilson and Asher collaborated over a two-to-three week period in early 1966, likely January through February, writing at Wilson's home.2425 Sessions typically started with Wilson introducing musical fragments—such as chord patterns or melodic ideas he had developed over time—discussing records for their distinctive feel, or proposing a lyrical theme.26 Their preliminary sketches, which they referred to as "feels",27 were developed with occasional marijuana use.2829 Lyrics were typically completed prior to recording sessions, which often commenced immediately after composition,30 though studio booking times were never planned in advance.31
Asher maintained that his primary role was to provide feedback on Wilson's developing melodies and chord progressions, though they exchanged ideas throughout the process.32 Regarding their lyrical collaboration, he explained, "The general tenor of the lyrics was always his [...] and the actual choice of words was usually mine. I was really just his interpreter."33 Asher later cited significant musical contributions to "I Just Wasn't Made for These Times", "Caroline, No", and "That's Not Me"34 and claimed conceptual input on three songs.35 He agreed to receive 25% of publishing royalties, a share he considered disproportionate to his contributions.36
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."37 Asher recalled, "I wish I could say Brian was totally committed [to writing the songs]. Let's say he was ... um, very concerned."38 After their songs were completed, Asher observed a few recording sessions, mostly those involving string overdubs.39
Wilson collaborated on two additional tracks. "I Know There's an Answer", written before working with Asher, was co-written with Beach Boys road manager Terry Sachen.40 In 1994, Mike Love received retroactive co-writing credits for "Wouldn't It Be Nice" and "I Know There's an Answer",41 though his contributions—aside from "I'm Waiting for the Day"—are generally regarded as minimal.42 The remaining two instrumental tracks, "Let's Go Away for Awhile" and "Pet Sounds", were composed by Wilson alone. They were originally recorded as backing tracks for existing songs, but by the time the album neared completion, he decided that the tracks were more effective without vocals.43
Concept, inspiration, and lyrics
Wall of Sound and Rubber Soul
Commentators frequently cite Pet Sounds as a concept album, with some considering it the first such work in rock music.4445 Wilson had sought to create "a complete statement" with Pet Sounds, inspired by the Beatles' Rubber Soul, released in December 1965.46 The American edition of Rubber Soul, reconfigured by Capitol to emphasize a cohesive folk rock sound,47 struck Wilson as a unified work free of filler tracks—uncommon at a time when albums primarily served to promote singles.484950 Contrasting the Beach Boys' earlier albums, which sometimes included lighter material,51 Wilson viewed Rubber Soul as a challenge to elevate his approach,52 declaring to his wife, "I'm gonna make the greatest album! The greatest rock album ever made!"53
Carl highlighted his brother's greater admiration for Phil Spector over the Beatles,54 with Brian frequently crediting Spector's methods as foundational to his own production style.5556 Brian identified Pet Sounds as an "interpretation" of Spector's Wall of Sound formula,57 with the production informing the album's intended "concept".58 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.59
Musicologist Michael Zager contrasted Pet Sounds with Rubber Soul, writing that the former more closely aligns with Spector's Wall of Sound through its incorporation of the technique's hallmarks.60 Wilson said that he was especially fascinated with combining color tones to create new textures, aiming to emulate those aspects of Spector's productions.61 In a 1988 interview, he framed the Beach Boys via Pet Sounds as "messengers" of Spector's work, stating his goal was to expand upon Spector's innovations.62
Wilson later credited Rubber Soul as his "main motivator" for Pet Sounds.6364 He explained that while inspired to create music "on the same level" as Rubber Soul, he was not interested in replicating the Beatles' sound.65 In 2009, Wilson said that although "Rubber Soul didn't clarify my ideas for Pet Sounds", the Beatles' use of sitar had inspired his choice of instrumentation for the album.66 In a 1966 interview, he contrasted their approaches, suggesting his arrangements would have expanded tracks like "Norwegian Wood" with orchestration, "background voices", and "a thousand [other] things".67
Other contemporary influences, jazz, and pre-rock 'n' roll pop
Asher disputed the notion that he and Wilson had followed templates set by the Beatles or rock in general, recalling Wilson aimed to craft "classical American love songs" akin to Cole Porter or Rodgers and Hammerstein.68 During their collaboration, they exchanged musical influences, with Asher introducing Wilson to jazz recordings, being promptly "blown away" by records such as Duke Ellington's "Sophisticated Lady" (1932) and Hampton Hawes' "All the Things You Are" (1955).6970 Asher remembered Wilson's limited familiarity with Tin Pan Alley songs and orchestral jazz structures: "He didn't know much about jazz or jazz standards, but he knew the Four Freshmen."71 Drawing from his own studio experience, Asher advocated for incorporating classical instruments like violins, cellos, and bass flutes into the arrangements.72
In 1966, Wilson likened his work to that of the Burt Bacharach and Hal David songwriting team.73 Nelson Riddle's orchestral arrangements also influenced Wilson's approach,74 and biographer Jon Stebbins felt Riddle's impact was more pronounced than Spector's on the album.7576 Reflecting in 1996, Wilson characterized his collaboration with Asher as operating on a "little wavelength", emphasizing artistic integrity over competition with contemporaries like Spector or Motown: "It was [...] to do it the way you really want it to be."7778
Spirituality and coming of age themes
During his first LSD trip in April 1965, Wilson had what he considered to be "a very religious experience" and claimed to have perceived God.79 Spirituality subsequently formed a core inspiration for the album.80 He frequently emphasized the album's spiritual qualities in interviews,81 later explaining that he and his brother Carl conducted prayer sessions, aimed at global healing,82 that transformed the studio atmosphere into "a religious ceremony."83 During these sessions, Carl proposed "a special album" following their spiritual practices.84 Brian explained in 1994, "We prayed for an album that would be a rival to Rubber Soul. It was like a prayer, but there was some ego there."85
Pet Sounds contrasted with the group's earlier celebrations of adolescence, exemplified through lyrics wishing to be older rather than younger ("Wouldn't It Be Nice").8687 Asher stated that Wilson sought to create songs relatable to 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."88 Carl reflected that the album recurrently explores themes of disillusionment and lost innocence associated with the realization that "everything's not Hollywood" in adulthood.89 Critics Richard Goldstein and Nik Cohn found that the album's melancholic lyrics sometimes jarred with its music,90 with Cohn describing it as "sad songs about loneliness and heartache; sad songs even about happiness."919293
Much of the album's pessimistic and dejected lyric content stemmed from Wilson's marital struggles,94 exacerbated by his drug use.9596 According to Asher, he and Wilson drew from extensive discussions about their experiences and feelings concerning women and relationship dynamics to inspire their songs.9798 Asher later clarified that their songwriting conversations remained "theoretical" rather than explicitly autobiographical, focusing on hypothetical scenarios such as "a kid who doesn't fit in".99
Perceived storyline
Pet Sounds is sometimes suggested to be a song cycle100101 portraying the unraveling of a romantic relationship.102103 Author Scott Schinder argued that Wilson and Asher had crafted a song cycle about "the emotional challenges accompanying the transition from youth to adulthood", paired with "a series of intimate, hymn-like love songs".104 Music historian Larry Star traced a thematic progression from "youthful optimism [...] to philosophical and emotional disillusionment" across its track sequencing.105
While Pet Sounds exhibits unified emotional themes, no deliberate narrative was planned.106 Asher stated that he and Wilson never discussed a specific concept, though he acknowledged Wilson's potential to unconsciously shape one.107108 Musicologist Philip Lambert argued that Wilson likely intended a narrative framework, influenced by his familiarity with similar "theme albums" by Frank Sinatra and the Four Freshmen.109110
Style and precursors
Differences from prior work
Building on the foundations of The Beach Boys Today!, Pet Sounds advanced Wilson's exploration of intricate arrangements and thematic cohesion.111112 Musicologist Marshall Heiser identified key distinctions in the album's sonic approach compared to the group's earlier output: a heightened spatial and textural dimensionality; "more inventive" chord progressions and voicings; rhythmic frameworks emphasizing percussion over conventional backbeats; and orchestrations drawing from Les Baxter's exotica "quirkiness" and Bacharach's "cool" pop sensibilities rather than Spector's "teen fanfares".113 Wilson seldom used string ensembles prior to Pet Sounds;114 the first documented instance was "The Surfer Moon" (1963).115
Musicologist Daniel Harrison contends that Wilson's development as a composer and arranger on Pet Sounds was incremental relative to his earlier work, maintaining that the album's unconventional harmonic progressions and hypermetric disruptions had extended techniques already demonstrated in songs such as "The Warmth of the Sun" and "Don't Back Down", both from 1964.116 Granata describes the album as a culmination of Wilson's songwriting artistry, although he had transitioned "from writing car and surf songs to writing studious ones" by 1965.117 Writers often refer to the second side of Today! as a precursor to Pet Sounds.118119 Musicologist John Covach identifies the "California Girls" single as anticipating "the more intensely experimental" approach of Pet Sounds,120 while Carl, Dennis, and Jardine later traced its B-side "Let Him Run Wild" as marking their recognition of Wilson's evolving production style leading into Pet Sounds.121122123
Genre, debate over categorization and psychedelia
Pet Sounds blends elements of pop, jazz, classical, exotica, and avant-garde music, according to Stebbins, who argues that the album defies singular categorization: "There isn't much rocking here, and even less rolling. Pet Sounds is at times futuristic, progressive, and experimental. [...] and the only blues are in the themes and in Brian's voice."124 Johnston heard persistent doo-wop and R&B influences.125 Further to the album's R&B heritage, music journalist Noah Berlatsky stated that several characteristics of the Beach Boys' sound "which seem coded white", such as "the fussy arrangements", "pure harmonies", and "childish vulnerability", had originated from a "pop R&B" tradition.126127
The album's classification as rock music has been challenged. Journalist D. Strauss argued that its quality and subversion of rock traditions was what contributed to its significance in rock history. He proposed that categorizing it as easy listening (or "elevator music") reveals the album as "historically grounded, if incredibly ambitious".128 Wilson drew from older popular music styles, as did Spector, and some of his innovations had precedents in incidental music and Muzak arrangements from the previous decade; Strauss added, "Teenagers were so busy sneering at their parent's music that they neglected to notice".129 Wilson's orchestrations also drew stylistic parallels to exotica producers such as Baxter, Martin Denny, and Esquivel, particularly through the incorporation of culturally diverse timbres.130131
Commentators have variously categorized the album as progressive pop,132133 the descriptor used in its initial marketing,134135 as well as chamber pop,136 psychedelic pop,137138 and art rock.139140141 "Baroque pop"142143 was absent from early critical discussions about Pet Sounds and emerged later in 1990s critiques of artists it influenced.144 The contemporary music press avoided the label, favoring "progressive" instead.145 Academic John Howland argued in 2021 that the album's "baroque-pop" traits were almost exclusive to "God Only Knows".146147
Pet Sounds is typically categorized among other pioneering psychedelic rock albums,148 although many commentators have been reluctant to name the Beach Boys in discussions of psychedelic music.149150 Stebbins writes that the album is "slightly psychedelic—or at least impressionistic."151 Wilson himself felt that while some songs contain psychedelic elements, the album overall was "not psychedelic".152 Academics Paul Hegarty and Martin Halliwell attribute the psychedelic sound to Wilson's production approach—eclectic instrumentation, echo, reverb, and Spector-inspired techniques—which created layered soundscapes where "voice and music interweave tightly".153154 Cultural historian Dale Carter cites dense sonic textures, structural complexity, novel instrument combinations, shifting tonal centers, and hypnotic rhythms as psychedelic qualities present in the Beach Boys' mid-1960s output.155156
Musical architecture
Orchestrations and arrangements
Pet Sounds incorporates tempo changes, metrical ambiguity, and uncommon tone colors that, according to musicologist James Perone, distinguish it from virtually "anything else [...] in 1966 pop music".157 His analysis highlights the closing track "Caroline, No" for its wide tessitura shifts, expansive melodic intervals, and choice of instruments, alongside Wilson's structural and textural innovations in composition and orchestration.158 Wilson combined standard rock instrumentation with intricate layers of vocal harmonies159 and many instruments which had rarely, if ever been used in rock.160 This included ukulele, sleigh bells, accordion, French and English horns, timpani, vibraphone, and tack piano161—all of which had appeared on Today!162—in addition to bass harmonica, güiro, bass clarinet, bongos, glockenspiel, banjo, bicycle horn, Coca-Cola cans, and Electro-Theremin.163
Arranger Paul Mertens, who later worked with Wilson on live renditions of the album, observed that Wilson's approach to orchestration involved adapting classical instrumentation to rock sensibilities rather than superimposing classical elements onto rock frameworks: "Brian was [not] trying to introduce classical music into rock & roll. Rather, he was trying to get classical musicians to play like rock musicians."164165
Tracks on Pet Sounds typically featured around a dozen unique instruments, ranging from the comparatively sparse "That's Not Me" (six instruments) to the expansive "God Only Knows" (over 15).166 Wilson frequently employed doubling—a technique where two instruments play the same melody—to reinforce structural clarity, enhance depth, and achieve a spacious sonic quality. Though it had been used for centuries in orchestral and classical arrangements, its use in contemporary rock was predominantly restricted to electric bass. He expanded the practice across diverse instruments, including violins and accordions.167 In Pet Sounds, electric and acoustic basses were also frequently doubled, and played with a hard plectrum.168 Drums were employed less for steady rhythm than for textural and tonal effects.169
Vocal harmonies
Compared to earlier Beach Boys albums, Pet Sounds contains fewer vocal harmonies, but greater complexity and variety.170 Instead of simple "oo" harmonies, the band shifted toward intricate vocal counterpoint and used doo-wop-style nonsense syllables more frequently than on previous releases.171 Wilson's signature falsetto appears seven times, his highest count on a Beach Boys album since Surfer Girl (1963), excluding Today!.172 His vocals dominate the album, with lead roles on five tracks, shared leads on two, and chorus contributions on two others.173 Wilson's voice occupies 16 minutes of the 36-minute runtime, three minutes more than the combined total of other members.174
Key ambiguity and forms
Wilson employed a vertical compositional approach using block chords rather than horizontal classical structures and often juxtaposed contrasting chords between hands, incorporating clashing notes that resulted in polytonality.175 The album predominantly features chords that are slashed, diminished, major seventh, sixths, ninths, augmented, or suspended,176 with augmented and ninth chords appearing less frequently.177178 Every track is in a major key,179 some of which are unusual choices; for instance, "You Still Believe in Me" uses B—a key with numerous sharps and flats that keyboardists typically avoid—while "That's Not Me" is in F♯, the key farthest from C.180
The album's harmonic structure features four tracks maintaining a single strongly established key: "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♭).181 Most other songs shift between primary and secondary keys or lack a definitive tonal center.182 Two tracks—"That's Not Me" and "Let's Go Away for Awhile"—begin and end in distinct keys; others integrate secondary key areas for phrases and sections—"Wouldn't It Be Nice" and "God Only Knows"—or momentary tonicizations ("Here Today", "Pet Sounds", and "Caroline, No").183
Song structures largely adhere to conventional forms: three tracks follow the AABA quatrain format, while eight use verse-chorus frameworks.184185 Exceptions include "That's Not Me", structured as a binary form with developmental repetition, and "Let's Go Away for Awhile", comprising two contrasting sections without reprise.186187 Three tracks—"You Still Believe in Me", "Let's Go Away for Awhile", and "Pet Sounds"—feature two distinct, non-repeating sections.188
Structural unity
Lambert posits that the album's "overall unity" is reinforced by shared musical elements that had evolved from Wilson's approaches on Today!,189 and that these elements, while subtle, were deliberate on Wilson's part, aligning with his aspiration for an album that "felt like it all belonged together".190 Techniques in Today!, such as recurring scale motifs that permeate arrangements and vocal lines, reached fuller realization in Pet Sounds tracks like "Don't Talk (Put Your Head on My Shoulder)", where ascending stepwise vocal phrases (G♭ to C♭) receive mirrored instrumental responses.191192 According to Lambert, this arch-shaped motif serves as a unifying thread throughout the album, appearing in the concluding organ phrase in "I Know There's an Answer" and the vibraphone progression during the second half of "Let's Go Away for Awhile", among other tracks.193194
Tertian modulations (by thirds) are frequent.195 Perone argued that the album's musical continuity stemmed from "Wilsonian" traits, such as a descending third interval concluding verses in "You Still Believe in Me" and a "madrigal sigh" motif in "That's Not Me" (where the motif punctuates each verse line), "Don't Talk", and "Caroline, No".196 Bass lines, often chromatic,197 prioritized melodic movement over tonic emphasis.198 Descending 1–5 patterns are a recurring device, one that Wilson had applied before, but not in work leading to Pet Sounds.199200 Recorded early in the sessions, the album's title track features a prominent bass descent from B♭ to F (through A♭, G, and G♭), which served as a foundational motivic element, becoming a structural inspiration for subsequent tracks.201202
The use of major and minor submediants, which establish tonic–submediant (I–vi/VI) relationships in all key-shifting tracks except "God Only Knows", is cited by Lambert as another "important source of overall unity".203204 Author Jim Fusilli observes that Wilson frequently departs from and returns to the composition's "logic" to cement "emotional intent", but never "unbridled joy", as he had with "The Little Girl I Once Knew".205 Lambert locates this technique in Wilson's use of diminished seventh chords, "almost always [appearing] at a dramatic moment", such as in "Don't Talk" (on the word "eyes" in "I can see so much in your eyes") and "God Only Knows" (on the words "sure about it" and "livin' do me").206
Production
Backing tracks
Recording for Pet Sounds primarily occurred between January 18 and April 13, 1966, across 27 sessions.207 Three tracks—"You Still Believe in Me", "Pet Sounds", and "Sloop John B"—were initiated earlier, with the latter partially recorded in July and December 1965.208 Most instrumental tracks were recorded at Western Studio 3 of United Western Recorders, while Gold Star Studios hosted sessions for "Good Vibrations" and the backing tracks of "Wouldn't It Be Nice" and "I Just Wasn't Made for These Times".209 Sunset Sound Recorders was used for the instrumental of "Here Today".210 Wilson produced the album largely with his usual engineer, Chuck Britz, a staff member at Western.211
Since the 1963 Surfer Girl sessions,212 Wilson had gradually integrated Spector's choice of studio musicians, a group later known as "the Wrecking Crew", into Beach Boys records.213214 Regular participants included 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).215 He relied on studio musicians to execute his increasingly complex arrangements, particularly as the band members were frequently touring,216 with Pet Sounds marking the first Beach Boys project in which he almost exclusively used these musicians for the backing tracks.217 Carl, who sporadically contributed guitar parts during sessions, later reflected that the technical demands of the recordings had exceeded the group's collective abilities: "It really wasn't appropriate for us to play on those [Pet Sounds] dates—the tracking just got beyond us."218
Backing track sessions typically lasted at least three hours, with Britz recalling that most time was spent refining sounds, as Wilson knew "exactly" which instruments he wanted and insisted on assembling all musicians simultaneously, despite the financial impracticality.219 By layering combinations of instruments (such as multiple types of keyboards) playing in unison, slight tuning discrepancies between them produced a chorusing effect, a phasing texture unattainable through electronic means.220
Wilson characterized himself as "sort of a square" around these musicians, starting with each instrument's sound individually, typically beginning with keyboards and drums, followed by violins if not overdubbed.221 Sessions lacked pre-rehearsals, and he usually arrived with only rudimentary musical drafts.222223 He typically composed full arrangements mentally but conveyed them through shorthand notation prepared by session musicians, with separate charts for different instrumental groups.224 His approach relied on the musicians' improvisational skills; instead of detailed written scores, he hummed or vocalized parts during recording.225 Blaine recalled using basic chord charts handwritten on standard paper, which Wilson photocopied for the group; they would adjust parts based on his feedback during takes.226 While maintaining creative control, he welcomed additional input from these musicians and occasionally retained their mistakes if he felt they enhanced the recording.227228
Compared to Spector's Wall of Sound, Wilson's productions achieved greater technical complexity through his use of four-track and eight-track recording.229 While Spector recorded live ensemble takes in mono on three-track machines,230 Wilson employed a Scully four-track 288 tape recorder for initial backing tracks,231 later transferring them to eight-track.232 Instruments were grouped across three tracks: drums, percussion, and keyboards; horns; and bass with additional percussion and guitar. A fourth track held temporary reference mixes, later replaced by overdubs like strings.233 Once Wilson was satisfied with a track, Britz provided a 7½ IPS tape copy for him to take home for further evaluation.234
Principal recording commenced on January 18 with the basic track for "Let's Go Away for Awhile" at Western Studio 3. Sessions for "Wouldn't It Be Nice" began at Gold Star Studio A on January 22, while "Caroline, No" was tracked at Western Studio 3 on January 31. February saw more activity: "I Know There's an Answer" (February 9), "Don't Talk" (February 11), "I Just Wasn't Made for These Times" (February 14 at Gold Star), and "That's Not Me" (February 15) were all recorded at Western Studio 3. March sessions included "I'm Waiting for the Day" (March 6) and "God Only Knows" (March 10) at Western, alongside "Here Today" (March 10 or 11 at Sunset Sound).235
Reactions from bandmates
Pet Sounds is sometimes considered a Brian Wilson solo album,236237238 including by Wilson himself, who later called it his "first solo album" and "a chance to step outside the group and shine".239 Except for Mike Love, who received phone previews of tracks from Wilson, other band members were not consulted during production,240 though Brian had played excerpts to Dennis and Carl during their time in Japan.241 Upon returning to the studio on February 9,242 the bandmates were presented with recordings that jarred with their expectations.243
Critiques among the band members focused on lyrics rather than music,244 with additional concerns about replicating the complex arrangements in live performances.245 In his 2016 memoir, Brian claimed Carl embraced the album while Love and Dennis initially did not.246 Dennis, in 1976, dismissed rumors of dissent as "interesting", insisting no member matched Brian's talent or opposed his vision.247 Carl rejected such reports as "bullshit", declaring universal affection for the project during its creation248 and later stating in 1996, "We knew that this was really good music."249 Love stated his sole objection targeted the original lyrics of "I Know There's an Answer".250251
Brian, in 1976, remembered arguments about the project being "too arty",252 while Marilyn later said that his bandmates had struggled "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."253 Asher stated the bandmates—"certainly Al, Dennis, and Mike"—frequently voiced objections such as "What the fuck do these words mean?" and "This isn't our kind of shit!", recalling "those were tense sessions."254 Notwithstanding such remarks, he added that the bandmates never "really challenged Brian" on his direction for the group because they had felt "they weren't talented enough" to make such judgments.255 He said Love's objections centered on the album's suitability for the Beach Boys' brand—reservations which Jardine shared256—rather than its artistic quality.257 Jardine recalled initial hesitance toward the stylistic shift, saying the material required adjustment258 but that he "grew to really appreciate it as soon as we started to work on it".259
According to Brian, his bandmates were concerned that he might depart for a solo career, as he dominated the album's artistic direction.260 He acknowledged their resistance to his vocal prominence, stating he "wanted people to know it was more of a Brian Wilson album than a Beach Boys album."261 Love later wrote that he had desired "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."262 Brian conceded that tensions eased when the group accepted the project "was still the Beach Boys" despite being "a showcase" for himself: "In other words, they gave in. They let me have my little stint."263264
Vocal overdubs
Vocal overdubs occurred at Western and CBS Columbia Square265 from February to April.266 The bandmates often arrived unprepared, with Britz recalling minimal rehearsal as they typically began singing immediately.267 Jardine explained that Brian individually coached each member on their vocal parts at a piano. Following nightly playback sessions, members occasionally opted to re-record sections they deemed improvable.268
The vocal sessions demanded unprecedented precision for the group,269 with Love recalling Brian's meticulous scrutiny of harmonies, often requiring multiple retakes for minor pitch deviations.270 Love affectionately nicknamed Brian "dog ears" at the sessions due to his acute auditory sensitivity271 and insisting on exacting tonal and rhythmic accuracy, sometimes discarding completed tracks the following day to re-record them.272
Recording employed Neumann U-47 (for Dennis, Carl, and Jardine) and Shure 545 microphones (for Brian's leads),273 with Love requiring an additional microphone for his lower register.274 Brian allocated six tracks for individual vocals to refine balance during mixing. Mono overdubs utilized eight-track recorders,275 reserving one channel for supplementary layers.276 Columbia Studios hosted five songs, being the sole Los Angeles facility equipped with eight-track technology during the sessions: "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".277
Mixdown, studio effects, and anomalies
Tape effects were limited to slapback echo and reverb. Mark Linett, who engineered Wilson's recordings after the 1980s, states that the reverb resembles plate reverb units more than echo chambers, explaining that the album's distinctive sound stems from reverb being applied during live recording sessions rather than added afterward, as is common in modern music production.278 Wilson often isolated reverb on the timpani, a technique audible in "Wouldn't It Be Nice", "You Still Believe in Me", and "Don't Talk".279
Late overdubs, such as strings for "Don't Talk" (April 3) and a final adjustment for "I Know There's an Answer" (around April 17), completed the album's principal recording.280 Mixing occurred within days in a single nine-hour session,281 initially planned for vocal overdubs on "Let's Go Away for Awhile" before Capitol redirected it to mixing.282 Most time was spent blending vocals with the pre-mixed mono instrumental track.283
The original mono mix featured numerous technical flaws that contrasted with its refined arrangements and performances,284 alongside countertextural aspects emphasizing its recorded nature.285 Among the most prominent examples: an audible tape splice occurs in "Wouldn't It Be Nice" between the chorus and Love's bridge vocal entrance, while a distant conversation was accidentally captured during the instrumental break of "Here Today" amid a vocal overdub.286 Biographer David Leaf characterized these imperfections as "not sloppy recording, [but] part of the music".287 Wilson's mixing process faced technical constraints, such as simultaneously recording overdubs while mixing existing tracks and combining multiple recordings into a single mono channel in real time, which risked unintended artifacts like noise or oversights due to limited monitoring. Granata posits Wilson "felt that performance and feeling outweighed technical perfection", akin to Spector's production ethos, and may have overlooked minor anomalies that were less noticeable on 1960s playback systems.288
A true stereo mix of Pet Sounds was not pursued in 1966 due to logistical constraints. Wilson deliberately mixed in mono, as Spector often did, believing it offered greater control over sound reproduction, unaffected by variables in speaker placement or playback systems. At the time, most consumer audio equipment and broadcasts were monophonic.289290 Another factor was Wilson's near-total deafness in his right ear.291 The unprecedented production costs totaled $70,000 (equivalent to $680,000 in 2024).292
Songs and instrumentals
Side one
"Wouldn't It Be Nice" portrays a young couple longing for adult independence.293 Asher cited it as the sole track for which he wrote lyrics to match Wilson's fully composed melody.294 Recording the band's vocals required more studio time than any other song, as the group struggled to meet Wilson's standards for their performance.295
"You Still Believe in Me" introduces introspective themes later echoed throughout the album,296 exploring self-awareness of personal shortcomings amid his partner's enduring devotion.297 Wilson characterized the song as depicting a man's emotional vulnerability through an effeminate perspective.298 He and Asher crafted its ethereal introduction by plucking piano strings with a bobby pin.299
"That's Not Me" features multiple key modulations and mood shifts,300 and is the track that most closely resembles a conventional rock song.301 Its lyrics depict a young man's journey toward self-realization, concluding that companionship outweighs solitary ambition.302 The track is distinguished as the only one on the album with most instrumental parts performed by the band members themselves.303
"Don't Talk (Put Your Head on My Shoulder)" is among the most harmonically complex songs that Wilson ever wrote,304 centering on non-verbal communication between lovers.305 Granata highlights the track's "exquisite use" of word painting, exemplified by a bassline mimicking a heartbeat on the lyric "Listen to my heart beat", reinforced by timpani accents.306 Departing from his earlier work, Wilson incorporated a string sextet (violins, viola, and cello) to achieve a "dark, expressive" tone that Granata likens to the style of Johannes Brahms.307
"I'm Waiting for the Day" follows a protagonist attempting to comfort a guarded, emotionally wounded love interest.308 It blends jazz chords with doo-wop progressions alongside orchestral instrumentation featuring timpani, English horn, flutes, and a string section interlude.309 Carl praised the arrangement's dramatic shifts between minimalist verses and harmonically rich choruses, calling it "perhaps one of the most dynamic moments in the album."310 Originally registered as Brian's solo composition in 1964, it was co-credited to Love, who made a minor adjustment to Brian's lyrics.311
"Let's Go Away for Awhile" is the first instrumental, featuring 12 violins, piano, four saxophones, oboe, vibraphones, and a Coca-Cola bottle used as a guitar slide.312 In 1966, Wilson considered the track to be "the finest piece of art" he had made up to that point, adding that every component of its production had "worked perfectly".313 Musicologist Larry Starr highlights the piece's unusual AABCC structure as an example of the album's occasional formal experimentation.314
Jardine proposed adapting the traditional Caribbean folk song "Sloop John B", which he knew from the Kingston Trio.315 Wilson's arrangement blended rock with marching band instrumentation, incorporating flutes, glockenspiel, bass saxophone, bass, guitar, and drums.316 Jardine likened the result to John Philip Sousa's marches.317 Wilson modified the original lyric from "this is the worst trip since I've been born" to "I've ever been on", a revision possibly alluding to psychedelic experiences.318319
Wilson included "Sloop John B" at Capitol's insistence, anticipating its commercial success following its single release.320 Commentators often refer to the track as diverging thematically from the album's introspective love songs and personal reflections, being the only composition not written by Wilson. Fusilli contends that its textural elements—including "chiming" guitars, doubled basses, and staccato rhythms—align with the album's sonic palette.[273] Perone and music historian Jim DeRogatis highlight its thematic consistency with the album's exploration of emotional displacement, particularly through lyrics expressing a longing to escape difficult circumstances.321322 The refrain "I want to go home" echoes motifs present in the title of "Let's Go Away for Awhile" and lyrics of the later track "Caroline, No".323
Side two
"God Only Knows" depicts a narrator contemplating the end of a romantic relationship, asserting that life without their partner could only be fathomed by God.324 It challenged pop music conventions of the mid-1960s by explicitly referencing "God" in its title and lyrics—an action then considered taboo, with at least one recent prior instance of a radio ban due to a song containing words such as "hell" and "damn".325 Wilson and Asher debated the risks of limited airplay, as well as the deceptive opening line, "I may not always love you".326 Wilson credited Asher with ultimately broadening his songwriting approach, inspiring the song through discussions of standards like "Stella by Starlight".327 Its harmonic structure features an ambiguous tonal center,328 an element cited by musicologist Stephen Downes as contributing to its innovation within pop music and the Baroque style it emulates.329
"I Know There's an Answer", initially titled "Let Go Your Ego" and "Hang On to Your Ego",330 portrays an individual reluctant to advise others on improving their lifestyle.331 Its lyrics sparked internal controversy over perceived allusions to drug culture.332333 Wilson later stated that the original chorus contained "an inappropriate lyric" which he dedicated "a lot of thought" before revising,334 resulting in a song he later described as rejecting escapist LSD culture.335 The track feature a bass harmonica solo performed by session musician Tommy Morgan.336 According to Lambert, "More so than any other song on the album, this one celebrates instruments and instrumental colours."337
"Here Today" is narrated from an ex-boyfriend's perspective338 warning of inevitable heartbreak in new relationships.339 Wilson described the track as an experiment in basslines, aiming to feature a bass guitar played an octave higher as the lead instrument.340 It was the last song written for the album.341342 Perone suggested that the high-register bass echoes elements of "God Only Knows", interpreting the narrator as cautioning the latter's protagonist about the impermanence of romantic promises.343
"I Just Wasn't Made for These Times" addresses social alienation.344 Wilson described the song as depicting someone like himself "crying because he thought he was too advanced" and might "leave people behind".345 The instrumentation incorporates harpsichord, tack piano, flutes, temple blocks, timpani, and an Electro-Theremin performed by its inventor Paul Tanner.346 Lambert called the chorus vocals, constructed through repeat overdubbing, emblematic of his "progressive vision for the album".347
"Run, James, Run" served as the working title for the second instrumental track, "Pet Sounds", initially intended for use in a James Bond film.348 Its percussion involved Coca-Cola cans and a güiro.349 Perone observes that while the piece emphasizes lead guitar—aligning with the Beach Boys' surf music background—its "elaborate arrangement", featuring layered "auxiliary percussion", "abruptly changing textures", and minimal use of traditional rock drumming, distinguishes it from a surf composition.350 Lambert interprets the track as a "musical synopsis" of the album's key themes and a reflective pause for the narrator following the emotional climax of "Here Today".351
"Caroline, No" grapples with lost innocence.352 Asher conceived the title as "Carol, I Know", which Wilson misheard as "Caroline, No"—a revision Asher deemed more impactful.353 Wilson considered the song "probably the best I've ever written", framing it as a melancholic reflection on irretrievable love.354 The track opens with the sound of a struck Sparkletts water cooler jug355 and concludes with a fade-out featuring Wilson's dogs barking alongside sounds of passing trains sampled from the 1963 sound effects album Mister D's Machine.356
Leftover tracks and outtakes
"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.357
On October 15, 1965, Wilson recorded an instrumental titled "Three Blind Mice" with a 43-piece orchestra; the piece was unrelated to the nursery rhyme of the same name and later debuted on the Beach Boys' 2011 compilation The Smile Sessions.358 That day, he also recorded instrumental renditions of "How Deep Is the Ocean?" and "Stella by Starlight".359 Leaf states the latter song was reportedly a coincidence, as it was a favorite of Asher.360 Biographer Mark Dillon surmised these recordings were experimental exercises in capturing orchestral sounds, possibly preparing for the string ensemble used in "Don't Talk (Put Your Head on My Shoulder)", and likely never intended for release.361 Another instrumental, "Trombone Dixie", was recorded on November 1.362 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."363 It was released as a bonus track on the album's 1990 CD reissue.364
During late 1965, portions of the Pet Sounds sessions were dedicated to experimental endeavors, including an extended a cappella rendition of "Row, Row, Row Your Boat" that highlighted its round structure.365 Granata described the track as "very low-key and relatively simple", praising its "effectively lavish layer of recorded vocal harmonies".366 As part of his experiments, Wilson recorded humorous skits and sound effects for a proposed psychedelic comedy album.367368 At least two of these sketches—"Dick" and "Fuzz"—survive, featuring Wilson, a woman named Carol, and the Honeys. The recordings remain officially unreleased.369370
Between February and March 1966, Wilson recorded "Good Vibrations", initially a co-authorship with Asher, who recalled the song originated from Capitol's demand for a new single.371 Wilson ultimately delivered "Sloop John B" to the label instead and excluded "Good Vibrations" from the album, despite objections from the band.372 Its replacement by the title track was documented in a March 3 Capitol memo.373
Sleeve design
The front cover depicts the band members—Carl, Brian, and Dennis, Love, and Jardine (left to right)—feeding apples to goats at the San Diego Zoo while wearing coats and sweaters.374 A green band header displays the artist name, album title, and track list,375 partially using the Cooper Black typeface.376377 Johnston, who had joined the band unofficially, is absent due to contractual restraints with Columbia Records.378 The back cover includes a monochrome montage of the touring band performing onstage, posing in samurai attire during their Japan tour, and two images of Brian.379
Jardine expressed disappointment with the zoo photo, stating he had wanted something "more sensitive and enlightening".380 Johnston dubbed it the "worst cover in the history of the record business",381 while biographer Peter Ames Carlin deemed the back cover's design "even worse" than the front.382 Author Peter Doggett contrasted its aesthetic with mid-1960s sophisticated cover art by contemporaries like the Beatles, Bob Dylan, and the Rolling Stones, calling it "a warning of what could happen when music and image parted company: songs of high romanticism, an album cover of stark banality."383
Title and cover photo
In his memoir, Love wrote that Capitol organized the cover shoot after proposing the album title Our Freaky Friends, with the animals representing the "freaky friends".384 When asked about the cover's origin in 2016, Wilson could not remember who suggested the zoo.385 Jardine recalled that Pet Sounds had already been selected as the title prior to the shoot, initially misunderstanding "pet" as slang for romantic encounters, and attributed the final concept to Capitol's art department.386 Though some sources cite Remember the Zoo as a working title,387 this originated as a 1990s fan-created hoax.388
The cover photo was taken on February 10, 1966, by photographer George Jerman.389 Local KFMB-TV reporters filmed the shoot; their footage was lost until 2021.390 A San Diego Union report stated the group visited the zoo for their album Our Freaky Friends, with zoo staff initially objecting to the title but relenting when told animals were popular with teenagers. The Beach Boys had aimed to capitalize on this trend before the rock band the Animals,391 who had released an album titled Animal Tracks months earlier.392 The zoo banned the group, accusing them of mishandling animals,393 though the ban was later lifted.394
During the March 1966 dog barking studio session for "Caroline, No", Brian proposed photographing Carl's horse at Western Studio, an exchange that was documented on tape.395396 Brian later told biographer Byron Preiss the album was named "after the dogs ... That was the whole idea".397 Love credited himself with coining the title Pet Sounds,398 a claim Wilson and Jardine endorsed in 2016.399 Love recalled suggesting the title in a studio hallway, inspired by the zoo photos and animal sounds on the record."400 Wilson consulted Asher, who disapproved, feeling that the title had "trivialized what we had accomplished".401
Carl stated in 1996 that he was uncertain who devised the title, but recalled that it originated from Brian's concept of compiling his favorite musical "pet sounds", remarking, "It was hard to think of a name for the album, because you sure couldn't call it Shut Down Vol. 3.402403 Brian also suggested the name paid homage to Phil Spector through shared initials (PS).404 Wilson's 1991 memoir claims the title was inspired by Love dismissively asking, "Who's gonna hear this shit? The ears of a dog?"405—a statement Love denied in 2016.406
Release, promotion, and commercial performance
United States Capitol release
On March 7, Wilson's first solo record, the "Caroline No" single (B-side "Summer Means New Love" from Summer Days) was released,407 igniting speculation about his departure from the Beach Boys.408 It charted at number 32 during a seven-week stay.409 The Beach Boys' "Sloop John B" (B-side "You're So Good to Me" from Summer Days), issued March 21, reached number 3.410
After completing Pet Sounds, Wilson played the album for his wife, who later described the experience as profoundly moving and "spiritual", recalling they both cried, while he worried its complexity might alienate listeners.411 Capitol staff reacted with confusion to the album's unconventional style. Producer Nik Venet believed Wilson "was screwing up", claiming he was "no longer looking to make records" but seeking industry attention and antagonizing his father with unrelatable songs and melodies.412 Capitol A&R director Karl Engemann supported Wilson, later recalling that while he recognized the album's departure from the Beach Boys' earlier surf-themed hits, he was swayed by Wilson's enthusiasm. During a sales meeting, marketing personnel reportedly expressed disappointment.413414 The executives initially debated rejecting the album but approved it after several meetings, including one where Wilson used a tape recorder with pre-recorded answers to address their concerns.415
Pet Sounds was released on May 16, debuting at number 106 on the Billboard charts.416 It had initial sales of 200,000 copies.417 In the U.S., it peaked at number 10 on July 2 and remained on the chart for ten months, a moderate commercial performance compared to the band's earlier albums.418 Total sales were estimated at 500,000 units,419 but the RIAA did not grant it immediate gold certification—the first Beach Boys album since 1963 to lack this designation upon release.420
Granata described the promotional campaign as "halfhearted" and "self-serving",421 while journalist Peter Doggett disputed claims of deliberate sabotage, which he called "a pop myth", asserting Pet Sounds was promoted as heavily as the Beach Boys' prior releases.422 Capitol's campaign for the album included full-page Billboard ads and radio spots that maintained the group's established image without acknowledging the album's new direction. The radio spots featured comedy skits by the band that omitted musical excerpts, depending solely on their name recognition.423 Johnston and Carl424 later criticized Capitol's efforts, alleging insufficient promotion compared to past releases.425 Carl suggested the label relied on existing airplay instead.426 Some observers surmised Capitol viewed the album as commercially risky, targeting older general audiences over the band's core younger female demographic.427
Two months after the album's release, Capitol issued the compilation Best of the Beach Boys, which earned rapid RIAA gold certification428 and further hindered Pet Sounds' commercial performance429 According to Engemann, the label's marketing team had doubted Pet Sounds' commercial potential and sought to bolster quarterly sales.430 Contemporary reports state some stores received the compilation instead of Pet Sounds when ordered.431 On July 18, the single "Wouldn't It Be Nice" (B-side "God Only Knows") was released, peaking at number 8.432 Billboard later ranked the album at number 43 on its "Top Pop Albums of 1966" chart.433
In 2000, Pet Sounds was certified gold and platinum by the RIAA based on verifiable sales data, though Capitol estimated total sales exceeding two million copies.434435 Certification required documented shipment records, which Capitol struggled to provide due to lost or scattered paperwork from 1966 to 1985.436437
United Kingdom EMI release
Carl stated that while the Beach Boys recognized shifting music industry trends, Capitol had maintained a fixed perception of the group that conflicted with their desired artistic presentation.438 In March, the band hired Nick Grillo as their manager after switching management firms439 and recruited Derek Taylor, the Beatles' former press officer, as their publicist.440 Taylor's reputation helped provide a credible external perspective on the band's evolving image and activities.441 Responding to Brian's complaints regarding public perception of his talents,442 Taylor championed him as "a genius" as part of an effort to rebrand and legitimize the group.443
In the UK, the band experienced limited commercial success until March 1966, when "Barbara Ann" and Beach Boys Party! both reached number 2 on the Record Retailer charts.444 Two singles were issued in April: "Sloop John B" peaked at number 2, while "Caroline, No" did not chart.445 Capitalizing on their rising British popularity, the group filmed two music videos for Top of the Pops—one for "Sloop John B" and another for "God Only Knows"—with Taylor as director.446447 Though intended to incorporate excerpts from "Wouldn't It Be Nice" and "Here Today", the BBC slightly edited the "God Only Knows" video to reduce runtime. The "Sloop John B" video debuted on April 28.448
The band's British distributor EMI initially had no plans to release Pet Sounds in the UK as of late May but later scheduled its November release to coincide with the band's British tour.449 From May 16 to 21, Johnston and Taylor stayed at London's Waldorf Hotel to promote the album locally.450 Through London-based producer Kim Fowley's connections, musicians, journalists, and guests including Beatles John Lennon and Paul McCartney and Who drummer Keith Moon attended repeated album playbacks in their suite.451 Fowley likened the event to the Beatles' 1964 arrival at LaGuardia Airport, describing Johnston as "Jesus Christ in tennis shoes" and the album as "the Ten Commandments".452 Moon facilitated Johnston's exposure on British television and introduced him to Lennon and McCartney.453
EMI rush-released Pet Sounds in the UK on June 27 due to popular demand,454 where it peaked at number 2, behind the soundtrack album for The Sound of Music (1965),455 and remained in the top ten for six months.456 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.457 The music press there carried advertisements saying that Pet Sounds was "The Most Progressive Pop Album Ever!"458459 while Rolling Stones manager Andrew Loog Oldham—also the Beach Boys' UK publisher460—purchased a full-page Melody Maker advertisement declaring it "the greatest album ever made".461 The third UK single, "God Only Knows" (B-side "Wouldn't It Be Nice"), was released on July 22 and reached number 2.462
Pet Sounds became one of the five bestselling UK albums of 1966.463 Capitalizing on the success of Beach Boys singles like "Barbara Ann", "Sloop John B", and "God Only Knows", EMI issued multiple existing Beach Boys albums in the UK market, including Party!, Today!, and Summer Days.464 Best of the Beach Boys spent five weeks at number 2 through year's end.465 By the final quarter of 1966, the Beach Boys surpassed British acts like the Beatles as the UK's top-selling album artists.466
Initial reactions
In the U.S., early reviews of Pet Sounds varied from negative to cautiously favorable, according to Carlin.467 Billboard called the album an "exciting, well-produced LP" with "two superb instrumental cuts" and highlighted the "strong single potential" of "Wouldn't It Be Nice"468 in a belated review.469 Leaf, writing in 1978, said that while American critics had offered sporadic praise for the album, some fans spread word to avoid the "weird" new Beach Boys release.470
Conversely, British music journalists had an overwhelmingly favorable response,471472 a reception partly attributed to promotional efforts by Taylor, Johnston, and Fowley.473 Rolling Stone founder Jann Wenner later recalled that British fans viewed the Beach Boys as "years ahead" of the Beatles and hailed Wilson as a "genius".474 Disc and Music Echo critic Penny Valentine praised the album as "Thirteen tracks of Brian Wilson genius", describing it as "far more romantic" than the group's typical upbeat fare: "sad little wistful songs about lost love and found love and all-around love."475 Norman Jopling of Record Mirror reported that the LP had been "widely praised" and subjected to "no criticism". He prefaced his review as "unbiased", writing that his only "real complaint" with the album was the "terribly complicated and cluttered" arrangements,476 and speculated it would primarily appeal to existing fans.477 A contrasting review in Disc and Music Echo argued the album's "ambitious" instrumentation and contemporary relevance would attract "thousands of new fans", declaring it a "superb, important, and really exciting collection" that elevated the group's previously uneven output.478
Melody Maker surveyed musicians on whether Pet Sounds was revolutionary or "as sickly as peanut butter", concluding the album had a "considerable" impact on artists and industry figures.479 Three of nine respondents—Keith Moon, Manfred Mann's Mike d'Abo, and Scott Walker of the Walker Brothers—disagreed that the album was revolutionary. D'Abo and Walker preferred the Beach Boys' earlier work, as did journalist and television presenter Barry Fantoni, who favored Today! and said Pet Sounds was "probably revolutionary, but I'm not sure that everything that's revolutionary is necessarily good".480 Moon's bandmate Pete Townshend criticized the album as "too remote and way out" and tailored for "feminine" audiences,481 though he later praised "God Only Knows" as "simple", "elegant", and "stunning when it first appeared; it still sounds perfect".482
By contrast, Spencer Davis of the Spencer Davis Group stated he became "a fan" of the Beach Boys after repeated listens of the album, calling Wilson "a great record producer."483 Eric Clapton, then with Cream, said his band "loved the album" and deemed Wilson "without doubt a pop genius."484 Andrew Loog Oldham told the magazine: "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."485 In separate Melody Maker coverage, Mick Jagger of the Rolling Stones voiced his dislike of the album's songwriting, despite enjoying the record and its harmonies, while John Lennon acknowledged that Wilson was "doing some very great things".486 By late 1966, the magazine declared Pet Sounds and the Beatles' Revolver joint recipients of its "Pop Album of the Year" honor, explaining that its panel had deadlocked in debate before compromising on the dual selection.487
Aftermath, Smile, and spiritual successors
Wilson later stated that while Pet Sounds was well-received in Britain, he viewed its commercial underperformance in the U.S. as the collective public rejection of his artistry.488 His wife recalled that the tepid response "destroyed Brian", causing him to lose faith in music and others: "then when people would talk about it later, tell him how great it was, even if it was just a year later, he didn't want to hear about it. It reminded him of failing. And then he was more tortured."489 Reflecting on his brother's disappointment, Carl called the album "like going to church, a labor of love", and lamented that Brian missed experiencing its British success firsthand during the band's late 1966 UK tour, where its "full impact" became evident.490
Asher recalled that neither he nor Brian initially regarded Pet Sounds as a "masterpiece", stating he was primarily impressed by its production and viewed it as a way to demonstrate rock's potential as a mature art form to figures like his parents and advertising colleagues.491 In 1975, Taylor stated that Wilson remained unfazed by the album's commercial performance, instead focusing on surpassing contemporaries such as the Beatles and the Rolling Stones.492
Through the remainder of 1966, Wilson collaborated with lyricist Van Dyke Parks on Smile, an unfinished album Wilson described as "a teenage symphony to God" intended to surpass Pet Sounds.493 During its production, he revisited earlier psychedelic comedy concepts explored during Pet Sounds session outtakes.494 Released in October, the single "Good Vibrations" became a global hit.495 Murray suggested the single's success helped clarify Wilson's artistic ambitions for listeners initially perplexed by the "un-hip orchestrations and pervasive sadness" in Pet Sounds.496
As Wilson's mental health declined, his participation in the Beach Boys diminished, prompting the group to release subsequent albums that were less ambitious and received little critical attention.497 Wilson, in 1976, cited the band's 1968 release Friends as his second "solo album" after Pet Sounds.498 The album was a commercial failure, leading the group's fanbase to abandon "any hope that [he] would deliver a true successor", according to a Mojo contributor.499
Wilson attempted several professional comebacks in subsequent years, including the 1977 album The Beach Boys Love You,500 which marked his brief return as the group's primary songwriter and vocalist.501 He regarded Love You as a spiritual successor to Pet Sounds, citing its autobiographical lyrics,502 and his feeling of creative fulfillment regarding the work.503 In 1988, he released his debut solo album Brian Wilson, aiming to revisit the sensibilities of Pet Sounds. Co-producer Russ Titelman promoted it as "Pet Sounds '88".504 It included "Baby Let Your Hair Grow Long", a thematic follow-up to "Caroline, No".505
The Beach Boys rerecorded "Caroline, No" with Timothy B. Schmit, featuring a new multi-part vocal arrangement, for their 1996 album Stars and Stripes Vol. 1.506 Following the album's release, tentative plans emerged for a project biographer Mark Dillon dubbed Pet Sounds, Vol. 2, which would have involved the band collaborating with Sean O'Hagan of the High Llamas.507 Despite interest from record companies, the project remained unrealized.508 Later in the 1990s, Wilson and Asher resumed their songwriting partnership, composing at least four songs; only "This Isn't Love" and "Everything I Need" were released.509
Live performances
See also: Brian Wilson Presents Pet Sounds Live and Pet Sounds 50th Anniversary World Tour
In the late 1990s, Carl Wilson vetoed an offer for the Beach Boys to perform Pet Sounds in full for ten shows, citing the complexity of replicating the album's arrangements onstage and Brian's degraded vocal range.510 Brian ultimately performed the album live as a solo artist in 2000 with a different orchestra in each venue, and on three occasions without orchestra on his 2002 tour511 to a favorable critical reception.512 Recordings from Wilson's 2002 concert tour were released as Brian Wilson Presents Pet Sounds Live.513
In 2013, Wilson performed Pet Sounds at two shows, unannounced, also with Jardine as well as original Beach Boys guitarist David Marks.514 From 2016 through 2020, Wilson toured Pet Sounds across Australia, Japan, Europe, Canada and the U.S., planned as his final performances of the album.515 Writing in 2016, Rolling Stone's Dorian Lynskey credited Wilson's Pet Sounds performances with establishing a precedent for other artists to play "classic albums" in their entirety.516
Cultural impact and influence
Record production, popular music, and auteur perspective
Further information: Recording studio as an instrument
Pet Sounds is widely regarded as among the greatest and most influential albums in music history.517 Critical recognition typically emphasizes its ambition, innovative studio production techniques, and high compositional standards,518 solidifying Wilson's reputation for pioneering studio craftsmanship with its unprecedented attention to detail.519 Philip Lambert, a university music professor who had authored book-length analyses on Wilson and Charles Ives,520 later described the album as "an extraordinary achievement – for any musician, but especially for the 23-year-old Wilson".521 Larry Starr, in American Popular Music: From Minstrelsy to MP3 (2006), writes that Pet Sounds epitomized "state-of-the-art pop music in every sense", systematically crafted to challenge conventional creative limits through its "diverse and unusual instrumentation", "virtuosic vocal arrangements", "advanced harmonies", and "occasional formal experiments".522
Wilson wrote, arranged, and produced the album with meticulous control over every phase of its creation, an approach that Charles Granata—in his 2003 book covering the album's making—credits as redefining the role of record producers. While artists such as Les Paul, Sinatra, and Bob Dylan had previously functioned as their own producers, Wilson became the first major pop artist to comprehensively oversee all aspects of an album's production.523 Virgil Moorefield, in The Producer as Composer: Shaping the Sounds of Popular Music (2010), wrote that Wilson, building on the work of Leiber and Stoller, had sought to realize the full potential of the recording studio, effectively "composing at the mixing board" and using the studio itself as a musical instrument; as both songwriter and producer, he was involved in every detail of the sound production, making on-the-spot decisions about notes, articulation, and timbre, thereby merging the roles of composer, arranger, and producer—a model later adopted industry-wide.524
Despite limited initial commercial success, its impact was immediate and far-reaching,525526527528 later influencing artists across rock, pop, hip hop, jazz, electronic, experimental, and punk.529 Lenny Waronker, then a staff producer at Warner Bros. Records, said that Pet Sounds elevated studio artistry among West Coast artists: "Creative record-making took a giant step and it affected everybody who was caught up in it. It was a landmark record".530 In the UK, where it became a focal point in music circles, it signaled to songwriters that pop had ascended to a new level of creative ambition531 while numerous groups furthered their exploration of experimental recording techniques.532533 Historian John Robert Greene, in his 2010 book America in the Sixties, credits "God Only Knows" with redefining the popular love song;534 it is frequently praised as one of the greatest songs ever written.535
The album's production techniques remained foundational in modern music production through the 2010s.536 Composer Philip Glass, comparing its legacy to that of the Beatles' and Pink Floyd's recordings, felt that the album's "structural innovation", incorporation of classical elements in arrangements, and novel "production concepts", with hindsight, clarified its status as a defining work of its era.537 Atlantic contributor Jason Guriel wrote in a 2016 editorial—headlined "how Pet Sounds invented the modern pop album"—that Wilson's approach had anticipated contemporary methods reliant on digital tools and prefigured artists like Michael Jackson, Prince, and Radiohead, whose expansive studio projects echoed the album's ambition.538
Guriel argued that Wilson served as a precursor to modern producer-centric pop through Pet Sounds, marking popular music's first extended exploration of auteurism, from which Wilson "patented" the archetype of the reclusive studio-bound genius.539540 Wilson's delivery of a masterwork album, together with his subsequent decline and aborted follow-up, later served as the object of comparisons between Syd Barrett, original frontman of Pink Floyd, and Kevin Shields, frontman of My Bloody Valentine,541 whose 1991 album Loveless was described by journalist Paul Lester as "the Pet Sounds of UK avant-rock".542
Historical context and influence on Sgt. Pepper
Further information: Cultural impact of the Beatles
Discussions of the greatest albums of all time frequently cite Pet Sounds alongside the Beatles' Revolver and Bob Dylan's Blonde on Blonde, all released within four months in 1966. Liel Leibovitz described Pet Sounds and Blonde on Blonde as "two strands in the same conversation" that briefly transformed American popular music into "a religious movement".543 Geoffrey Himes argued that Wilson's innovative harmonies and timbres were as impactful as Dylan's incorporation of irony into rock lyrics.544 Velvet Underground co-founder John Cale commented, "What Brian came to mean was an ideal of naïveté and innocence [...] Pet Sounds was adult and childlike at the same time."[418]545
Rock historians also frequently link Pet Sounds to the Beatles' Sgt. Pepper's Lonely Hearts Club Band, released in May 1967.546547 Paul McCartney often cited Pet Sounds as his all-time favorite album548 and "God Only Knows" as "the greatest song ever written",549 declaring in 1990 that "no one is educated musically 'til they've heard that album."550551 He credited Pet Sounds as an influence on his increasingly melodic bass-playing style, his Revolver composition "Here, There and Everywhere", and Sgt. Pepper.552553554
Shared musical features adopted from Pet Sounds included upper-register bass lines, a larger emphasis on floor toms, and more eclectic and unorthodox combinations of instruments (including bass harmonica).555556557 George Martin stated that Wilson "gave the Beatles and myself quite a good deal to think about in trying to keep up with him",558 adding that "Without Pet Sounds [...] Sgt. Pepper wouldn't have happened."559560
Rock music, power pop, R&B, and synthesizer adoption
Pet Sounds established a new benchmark for production and musical sophistication in the rock genre, according to Covach.561 Greene identifies "Sloop John B" and the "psychedelic" title track as departures from rock's "casual" lyrics and melodies, pushing the genre into "uncharted territory" as part of the album's "astounding" level of "studio artistry"; he also positions Pet Sounds, alongside the Beatles' Rubber Soul and Revolver and the 1960s folk movement, as foundational to most trends in rock music after 1965.562563 Cue magazine reflected in 1971 that Pet Sounds made "the Beach Boys among the vanguard" and anticipated trends that were not widespread in rock music "until 1969–1970".564565
Wilson's pioneering use of doubling for virtually every instrument—a technique previously limited to classical music—marked its first occasion in rock music within Pet Sounds.566 Rock critic Ben Edmonds wrote in 1971 that the album's "most impressive" feature had been "the fully integrated use of orchestration, an area glossed over all too lightly in those days."567 "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 theremin-like sounds.568 The album is also cited as a precursor to synthesizer adoption; music writer Jeff Nordstedt contends that Wilson's layered instrumental combinations, achieved without electronic tools, foreshadowed and "fueled the drive toward" the synthesizer's capacity to unify organic tones into novel timbres: "Wilson maniacally synthesized sounds on Pet Sounds before such a device was available."569
Pet Sounds marked the first instance of a rock group abandoning the conventional small-ensemble electric band format for an entire album. Music journalist Tim Sommer suggests that while other artists had occasionally diverged from this format for individual songs, the Beach Boys' work was unprecedented in creating a full-length album that could not be replicated by a typical four- or five-member amplified group.570 Strauss posits that the Beach Boys were also the first major rock act to challenge prevailing musical trends "and declare that rock really didn't matter" by prioritizing introspective themes over conventional rock subject matter, exemplified in "I Know There's an Answer", and combining youth culture with a "pathological innocence and yearning".571
The juxtaposition of upbeat music with underlying moods of melancholy and longing, exemplified by "Wouldn't It Be Nice", became foundational to the power pop genre.572 Chicago Reader's Noah Berlatsky posited that the Beach Boys, together with "Wilson's brand of vulnerable genius", helped bridge a gap between the polished pop harmonizing and "melancholy" of the Drifters and the "psychedelic" experimentation of the Chi-Lites, influencing the development of smooth soul.573
Psychedelic music, orchestral pop, and soft rock/sunshine pop
Further information: California Sound
The Beach Boys' rivalry with the Beatles played a significant role in advancing psychedelic music, as both groups pushed the boundaries of rock's stylistic and compositional range, inspiring later artists.574 Scholar Philip Auslander supports that, although psychedelic music is not typically associated with the Beach Boys, the album's "odd directions" and "experiments" were instrumental in creating opportunities for acts like Jefferson Airplane to achieve broader recognition.575 DeRogatis places the album among the earliest psychedelic masterpieces, alongside Revolver and The Psychedelic Sounds of the 13th Floor Elevators (October 1966).576 Psychedelic albums sometimes regarded as "the British Pet Sounds" include the Zombies' Odessey and Oracle (1968)577 and Billy Nicholls' Would You Believe (1968).578
Pet Sounds influenced numerous artists and producers in Los Angeles' orchestral pop scene. According to music writer Noel Murray, while the Beach Boys' music diverged from the subsequent sunshine pop movement—a retrospective label for music originally categorized as "soft pop"579 or "soft rock"580—the record's orchestration techniques were widely emulated by producers.581 Music historian and Saint Etienne founder Bob Stanley identifies Pet Sounds and Sgt. Pepper as foundational to soft rock, citing their use of instrumentation, found sounds, and avoidance of traditional rock dynamics. He writes that acts like Harpers Bizarre, the Association, and the Mamas and the Papas expanded this approach; their styles informed subsequent groups such as the 5th Dimension and Free Design, whose music was later termed "sunshine pop".582 Jimmy Webb, who penned songs for several of these groups, cited Pet Sounds as a benchmark work for musicians, engineers, and songwriters, declaring, "There's no way I can overemphasize its importance to us, in terms of inspiration and our development."583
Love's 1967 album Forever Changes, according to Hoskyns, is an "interesting" example within an "orchestral LA pop" lineage spanning "Spector through Pet Sounds to Jimmy Webb", characterizing Love's work as "acid punk with strings" that extended the "ornate style" to its zenith.584585 Collaborating with former Beach Boys lyricist Gary Usher, Association producer Curt Boettcher applied the Pet Sounds aesthetic to Sagittarius' 1968 release Present Tense, whose recording also involved Bruce Johnston, Terry Melcher, and Glen Campbell.586587
The album's impact extended to the mid-1970s soft rock subgenre later dubbed "yacht rock", a term retroactively applied to music characterized by jazz-influenced arrangements, introspective lyrics, and apolitical themes; in particular, the track "Sloop John B" is frequently cited as a precursor to the genre's occasionally nautical-themed lyrics.588
Progressive music, art rock, and album format
Further information: Album era and Proto-prog
See also: Classificatory disputes about art
Pet Sounds is recognized for its role in the emergence of progressive pop, a genre that preceded progressive rock.589 It is also cited as a pivotal work in establishing the album as a primary format for rock music.590591592 Though Rubber Soul had recently popularized the idea of cohesive albums over collections of singles, it largely maintained fidelity to the live ensemble sound. Wilson expanded its "album-centered" approach by crafting music that wholly transcended traditional rock instrumentation.593594 Doggett, in his 2016 book Electric Shock, called Pet Sounds "teenage pop's first viable rival to the thematic records of Jean Shepard and Frank Sinatra",595 while Howard identified it as pop's first true song-cycle.596597 The Los Angeles Times reported in 1968 that Wilson had become a leading figure in "art rock" following the album's release.598599 Journalist Troy Smith later referred to "Wouldn't It Be Nice" as "the first taste of progressive pop" subsequently elaborated upon by bands such as the Beatles, Queen, and Supertramp.600
Ryan Reed, writing for Tidal, highlighted the album's incorporation of non-rock instruments, alongside intricate key changes and vocal harmonies, as foundational to progressive pop.601602 Bill Martin, an author of books about progressive rock, described the album as a turning point in rock's evolution from dance-oriented music to a more complex listening experience, marked by innovations in harmony, instrumentation, and studio technology.603 Covach observed that Pet Sounds and subsequent recordings by the Beach Boys and the Beatles legitimized rock as a serious art form, prompting record labels to enable more experimental approaches among other artists: "Because these bands were so successful, Capitol and EMI gave them a certain freedom to experiment. When these experiments produced hit singles and albums, other groups were given greater license as well."604 Its influence extended to Pink Floyd bassist Roger Waters,605 producer Tony Clarke's orchestral-rock fusion on the Moody Blues' Days of Future Passed (1967),606 and Nick Drake's Bryter Layter (1971).607
By the early 1970s, the LP had become rock's primary medium, a shift Starr attributes partly to Pet Sounds.608 This coincided with a growing cultural preference for self-contained artists over collaborative processes, as orchestration became increasingly associated with older generations.609610 By the mid-1970s, more melody-focused songwriters adapted the progressive rock genre for mainstream radio, leading to a progressive pop resurgence.611 Musician and journalist Andy Gill suggested that Pet Sounds ultimately inspired rock bands to "get clever" and experiment with orchestration and time signatures, remarking: "Before you know it, you've got Queen."612 Eric Woolfson of the Alan Parsons Project remarked that the Beach Boys became "the classic example of a band moving [...] to phenomenally progressive stuff."613 Composer and journalist Frank Oteri recognized the album as a "clear precedent" to the birth of album-oriented rock and progressive rock.614 By 2010, Pet Sounds was listed in Classic Rock's "50 Albums That Built Prog Rock".615616
Indie pop, chamber pop, emo, and continued impact
By the 1990s, Pet Sounds had become a seminal influence on indie pop,617 with Wilson recognized as a "godfather" to a generation of indie musicians influenced by his melodic sensibilities, studio experimentation, and chamber-pop orchestrations.618 "Chamber pop" also emerged as a distinct genre modeled on the musical template established by Pet Sounds.619620
During the mid-1990s, underground artists including Cardinal, the High Llamas, Yum-Yum, and members of the Elephant 6 collective drew inspiration from the album's arrangements, spurring a movement termed "ork-pop".621 Sean O'Hagan of the High Llamas, characterized by DeRogatis as "the most Pet Sounds-obsessed" of these musicians,622 channeled its orchestrated approach in works such as Gideon Gaye (1994) and Hawaii (1995).623 Robert Schneider of the Apples in Stereo and Jim McIntyre of Von Hemmling founded Pet Sounds Studio, which served as the venue for numerous Elephant 6 projects by Neutral Milk Hotel624 and the Olivia Tremor Control.625626
Radiohead's OK Computer (1997) was intended to evoke an initially "shocking" quality similar to that of Pet Sounds, according to Thom Yorke, who praised the Beach Boys' work as "an incredibly amazing pop record, but [...] also an album."627 Collaborating with O'Hagan and Elephant 6 members, Cornelius' Fantasma, released a few months later, was created as an explicit homage to Pet Sounds.628 By 1998, Lester reported that the album had experienced a resurgence in popularity, writing that "today's most interesting acts – The High Llamas, Air, Kid Loco, Saint Etienne, Stereolab, Lewis Taylor – are using the Brian Wilson songbook as a resource for their forays into the realms of electronic pop."629
Pet Sounds has been cited as a precursor to emo music, with writer Sean Cureton identifying parallels in the introspective themes of Weezer's Pinkerton (1996) and Death Cab for Cutie's Transatlanticism (2003).630 Music critic Ernest Simpson and Wild Nothing's Jack Tatum have called Pet Sounds "the first emo album",631 with Simpson proposing Wilson as "the godfather of emo", highlighting "I Just Wasn't Made for These Times" in particular.632633 Weezer frontman Rivers Cuomo recalled being immersed in Pet Sounds during the early 1990s; it later served as the direct inspiration for his band's OK Human (2021), recorded with a 39-piece orchestra.634
One of the earliest tribute albums dedicated to Pet Sounds is the Japanese release Smiling Pets (1998), including contributions from Seagull Screaming Kiss Her Kiss Her and Melt Banana.635636 In 2007, producer Bullion created a J Dilla mashup of the album, Pet Sounds: In the Key of Dee.637638 By 2007, there had been at least three books dedicated to Pet Sounds.639640 In Japan, Jim Fusilli's book was translated by the novelist Haruki Murakami.641 In 2014, the biopic film Love & Mercy included a substantial depiction of the album's making, with Wilson portrayed by Paul Dano.642
To honor the album's 50th anniversary, 26 artists contributed to a Pitchfork retrospective on its enduring influence, including comments from members of Talking Heads, Yo La Tengo, Chairlift, and Deftones, among others.643 That year, PopMatters contributor Danilo Castro acknowledged the album had "restructured the landscape of modern music in its image", with its influence extending to David Bowie, the Flaming Lips, Frank Ocean, Fleet Foxes, Bruce Springsteen, and Kanye West.644645
Retrospective assessments and legacy
Before the 1990s
The initial acclaim for Pet Sounds was immediately diverted by the Beatles' successive releases.646647 John Gilliland, in his 1969 Pop Chronicles series, stated that the album was almost overshadowed by Revolver, released August 1966, and that "a lot people failed to realize that Brian Wilson's production was as unique in its own way as the Beatles'".648 Melody Maker journalist Richard Williams, in a 1971 reappraisal, wrote that although the album had "defied criticism" and briefly "dwarfed all the rest of pop music", its critical attention was redirected when the Beatles released Sgt. Pepper twelve months later.649
Pet Sounds received no 1967 Grammy Award nomination.650651 Geoffrey Cannon wrote in his late 1967 column for Listener that the Beach Boys were "lesser than the Beatles" due to the album's "juvenile or specious" ballads and lack of cohesive artistic vision, though his critique was withheld from publication by The Listener's editor.652 Williams later echoed this sentiment, attributing the album's muted reception, relative to the Beatles, to a perceived narrower range of influences.653 Gene Sculatti, writing in Jazz & Pop magazine in 1968, recognized the album's debt to Rubber Soul and called it "revolutionary only within the confines of the Beach Boys' music" despite also serving as a "final statement of an era and a prophecy that sweeping changes lay ahead."654
From the late 1960s onward, Pet Sounds underwent critical reevaluation, with a 1976 NME feature, cited by author Johnny Morgan, as particularly impactful.655 Ben Edmonds of Circus observed in 1971 that the album's "beauty" had endured amid "the turbulence of the past few years", adding that "many consider it not only the Beach Boys' finest achievement, but a milestone in the progression of contemporary rock as well."656 Stephen Davis wrote in a 1972 Rolling Stone review that the album represented Wilson's pinnacle as an artist, likening the emotional resonance of its "trenchant cycle of love songs" to "a shatteringly evocative novel". He argued that the album had changed "the course of popular music" and "a few lives in the bargain".657 Melody Maker critic Josh Ingham wrote in 1973 that while initially "ignored by the public", Pet Sounds had inspired many critics to label Wilson a genius, "not least for being a year ahead of Sgt Pepper in thinking." Ingham concluded that, "With hindsight, of course, Pet Sounds has become the classic album."658
After going out of print in 1974, Pet Sounds entered a period of obscurity with prolonged placement in discount bins.659 Sociomusicologist Simon Frith wrote in 1981 that the album remained widely perceived as "a 'weird' record" within music circles.660 Dave Marsh's 1979 review in The Rolling Stone Record Guide (1979) awarded four stars (out of a possible five), characterizing it as a "powerful, but spotty" collection where the least experimental songs proved to be the best.661 By 1985, he wrote that the album was now considered a "classic" while contrasting its perceived disconnect from listeners with the Beatles' contemporaneous work.662 Granata wrote that upon its 1990 CD reissue, the album remained a "quasi-cult classic" primarily embraced by devoted fans.663
Ascendance to universal acclaim
Professional ratings (1990s–2000s)Pet Sounds has since been widely ranked among the greatest albums of all time and extensively analyzed for its musical and production innovations.674 By the 1990s, three British critics' polls placed it at or near the top of their rankings.675 Publications such as NME, The Times, and Uncut have each ranked it as the greatest album of all time.676677678 In 1994, Colin Larkin's All Time Top 1000 Albums, which surveyed the public and a wide range of critics, musicians and industry figures, listed Pet Sounds at number 3;679 a revised 2000 edition of the book repositioned it at number 18.680
In 1998, Pet Sounds was inducted into the Grammy Hall of Fame by the National Academy of Recording Arts and Sciences.681 Historian Michael Roberts suggested that the album's canonical status solidified following the 1997 release of its expanded reissue, The Pet Sounds Sessions.682 Crawdaddy founder Paul Williams, writing in 1998, declared Pet Sounds a 20th-century classic comparable to James Joyce's Ulysses, Stanley Kubrick's 2001: A Space Odyssey, and Pablo Picasso's Guernica.683 In Music USA: The Rough Guide (1999), Richie Unterberger and Samb Hicks deemed the album a "quantum leap" from the Beach Boys' earlier work and highlighted its arrangements as among "the most gorgeous" in rock history.684
In 2004, the Library of Congress preserved Pet Sounds in the National Recording Registry for its being "culturally, historically, or aesthetically significant."685 By 2006, over 100 domestic and international publications had recognized the album as one of the greatest ever recorded.686 Chris Smith's 2009 book 101 Albums That Changed Popular Music characterized it as "one of the most innovative recordings in rock" and a work that transformed Wilson from "talented bandleader to studio genius."687
Luis Sanchez, in his 2014-published 33⅓ book about Smile, described Pet Sounds as "the score to a film about what rock music doesn't have to be", praising its "inward-looking sentimentalism" and Wilson's "sui generis" vision.688 Music critic Tim Sommer considered it the greatest album of all time, "probably by about 20 or 30 lengths", and distinguished it as the only one among frequently cited masterpieces like Jethro Tull's Thick as a Brick (1972), Pink Floyd's The Dark Side of the Moon (1973), and OK Computer written from a teenage or adolescent perspective.689
Totemic status and criticism
Prominent public figures continued frequently to commend Pet Sounds as a work of significant artistic merit through the 2000s.690 In 2000, Pitchfork founder Ryan Schreiber rated the album's latest reissue 7.5/10 and decreed that although Pet Sounds had been "groundbreaking enough to permanantly [sic] alter the course of music", its "straight-forward pop music" had become "passé and clichéd" compared to albums like The Dark Side of the Moon, Loveless, and OK Computer.691 For the 2006 40th Anniversary edition, Pitchfork contributor Dominique Leone awarded the album 9.4, affirming its enduring acclaim but expressing a preference for the Beach Boys' post-Pet Sounds recordings. Leone highlighted its "hymnal" qualities and themes as having retained their emotional potency, observing that generations of listeners treat admiration for the album as a litmus test for musical sincerity.692
In a 2004 essay, Robert Christgau described Pet Sounds as a "good record, but a totem".693 Jeff Nordstedt's essay in the 2004 book Kill Your Idols critiqued the album's legacy, arguing that discussions often prioritized its influence over substantive analysis of its music. Nordstedt considered the album's hit songs to be "disjointed" and the remaining tracks "downright insane", criticizing its perceived role in fostering the overproduction apparent in 1980s popular music and questioning its artistic authenticity, citing its "inoffensive aesthetics", absence of "visceral charge", and collaborative origins with a commercial jingle writer: "it offends every notion of truth that I hold dear about rock 'n' roll"694. Stereogum writer Ryan Leas observed in 2016 that Pet Sounds had grown to be "arguably even more of a totemic presence than Revolver".695
The television series Portlandia (2011–2018) featured a character, portrayed by comedian Fred Armisen, based on his observations of recording engineers fixated on Pet Sounds and vintage studio equipment, whom he likened to 1950s car enthusiasts in their technical obsession.696 Musician Atticus Ross, who composed the score to Love & Mercy, acknowledged "an element of cliché that's grown around" the album, exemplified in Portlandia: "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.'"697
Reissues and expanded editions
See also: The Pet Sounds Sessions
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.698
- In 1967, Capitol issued Pet Sounds as part of a three-LP set with Today! and Summer Days, called "The Beach Boys Deluxe Set".699
- In 1972, Reprise packaged Pet Sounds as a bonus LP with the Beach Boys' latest album Carl and the Passions – "So Tough".700
- In 1974, Reprise issued Pet Sounds as a single disc, which became the album's last reissue until 1990.701
- 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".702 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.703 It became one of the first CDs to sell more than a million copies.704
- 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.705 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."706
- 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.707
- 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.708
- 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.709 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.710
- 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.711
- In 2023, a Dolby Atmos remix was created by Giles Martin, who closely followed Linett's 1996 stereo mix.712
Track listing
Side one| No. | Title | Writer(s) | Lead vocal(s) | Length |
|---|---|---|---|---|
| 1. | "Wouldn't It Be Nice" | Brian Wilson, Tony Asher, Mike Love | Brian Wilson and Mike Love | 2:25 |
| 2. | "You Still Believe in Me" | Wilson, Asher | B. Wilson | 2:31 |
| 3. | "That's Not Me" | Wilson, Asher | Love with B. Wilson | 2:28 |
| 4. | "Don't Talk (Put Your Head on My Shoulder)" | Wilson, Asher | B. Wilson | 2:53 |
| 5. | "I'm Waiting for the Day" | Wilson, Love | B. Wilson | 3:05 |
| 6. | "Let's Go Away for Awhile" | Wilson | instrumental | 2:18 |
| 7. | "Sloop John B" | traditional, arr. Wilson | B. Wilson and Love | 2:58 |
| Total length: | 18:38 | |||
| No. | Title | Writer(s) | Lead vocal(s) | Length |
|---|---|---|---|---|
| 1. | "God Only Knows" | Wilson, Asher | Carl Wilson with B. Wilson and Bruce Johnston | 2:51 |
| 2. | "I Know There's an Answer" | Wilson, Terry Sachen, Love | Love and Al Jardine with B. Wilson | 3:09 |
| 3. | "Here Today" | Wilson, Asher | Love | 2:54 |
| 4. | "I Just Wasn't Made for These Times" | Wilson, Asher | B. Wilson | 3:12 |
| 5. | "Pet Sounds" | Wilson | instrumental | 2:22 |
| 6. | "Caroline, No" | Wilson, Asher | B. Wilson | 2:51 |
| Total length: | 17:19 35:57 | |||
Notes
- Mike Love was not originally credited for "Wouldn't It Be Nice" and "I Know There's an Answer". His credits were awarded after a 1994 court case.713
- Al Jardine's contribution to the arrangement of "Sloop John B" remains uncredited.714
- Vocal credits sourced from Alan Boyd and Craig Slowinski.715
Personnel
Per band archivist Craig Slowinski.716
The Beach Boys
- Al Jardine – vocals
- Bruce Johnston – vocals
- Mike Love – vocals
- Brian Wilson – vocals; 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 L. 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
1966 weekly chart performance for Pet Sounds
| 2008 weekly chart performance for Pet Sounds
|
Certifications
Certifications for Pet Sounds| Region | Certification | Certified units/sales |
|---|---|---|
| United Kingdom (BPI)741 | 2× Platinum | 600,000‡ |
| United States (RIAA)742 | Platinum | 1,000,000^ |
^ Shipments figures based on certification alone.‡ Sales+streaming figures based on certification alone. | ||
Accolades
Rankings for Pet Sounds| Year | Organization | Accolade | Rank |
|---|---|---|---|
| 1993 | The Times | The 100 Best Albums of All Time743 | 1 |
| New Musical Express | New Musical Express Writers Top 100 Albums744 | 1 | |
| 1995 | Mojo | Mojo's 100 Greatest Albums of All Time745 | 1 |
| 1997 | The Guardian | 100 Best Albums Ever746 | 6 |
| Channel 4 | The 100 Greatest Albums747 | 33 | |
| 2000 | Virgin | The Virgin Top 100 Albums748 | 18 |
| 2001 | VH1 | VH1's Greatest Albums Ever749 | 3 |
| 2002 | BBC | BBC 6 Music: Best Albums of All Time750 | 11 |
| 2003 | Rolling Stone | The 500 Greatest Albums of All Time | 2 |
| 2006 | Q | Q Magazine's 100 Greatest Albums Ever751 | 12 |
| The Observer | The 50 Albums That Changed Music752 | 10 | |
| 2012 | Rolling Stone | The 500 Greatest Albums of All Time753 | 2 |
| 2015 | Platendraaier | Top 30 Albums of the 60s754 | 7 |
| 2016 | Uncut | 200 Greatest Albums of All Time755 | 1 |
| 2017 | Pitchfork | The 200 Best Albums of the 1960s756 | 2 |
| 2020 | Rolling Stone | The 500 Greatest Albums of All Time757 | 2 |
| 2023 | Rolling Stone | The 500 Greatest Albums of All Time758 | 2 |
| 2024 | Paste | The 300 Greatest Albums of All Time759 | 10 |
Notes
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- Lambert, Philip (2007). Inside the Music of Brian Wilson: The Songs, Sounds, and Influences of the Beach Boys' Founding Genius. Bloomsbury Publishing. ISBN 978-1-4411-0748-0.
- Lambert, Philip (March 2008). "Brian Wilson's Pet Sounds". Twentieth-Century Music. 5 (1). Cambridge University Press: 109–133. doi:10.1017/S1478572208000625. S2CID 162871617.
- Lambert, Philip (2016). Lambert, Philip (ed.). Good Vibrations: Brian Wilson and the Beach Boys in Critical Perspective. University of Michigan Press. doi:10.3998/mpub.9275965. ISBN 978-0-472-11995-0. S2CID 192796203.
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- Umphred, Neal (1997). "Let's Go Away for Awhile: The Continuing Saga of Brian Wilson's Pet Sounds". In Abbott, Kingsley (ed.). Back to the Beach: A Brian Wilson and the Beach Boys Reader. Helter Skelter. ISBN 978-1-90092-402-3.
- Unterberger, Richie; Hicks, Samb (1999). Music USA: The Rough Guide. Rough Guides. ISBN 978-1-85828-421-7.
- White, Timothy (1996). The Nearest Faraway Place: Brian Wilson, the Beach Boys, and the Southern Californian Experience. Macmillan. ISBN 0333649370.
- Williams, Paul; Hartwell, David G. (2000). The 20th Century's Greatest Hits: A Top 40 List (1st ed.). New York: Forge. ISBN 978-0312873912.
- Wilson, Brian (2002). "Foreword". 1000 Days That Shook the World (The Psychedelic Beatles – April 1, 1965 to December 26, 1967). London: Mojo Special Limited Edition. OCLC 155990822.
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- Zager, Michael (2012). Music Production: for Producers, Composers, Arrangers, and Students (2nd ed.). Lanham, Md.: Scarecrow Press. ISBN 978-0-8108-8201-0.
- Zak, Albin (2001). Poetics of Rock: Cutting Tracks, Making Records. University of California Press. ISBN 978-0-520-92815-2.
External links
- Pet Sounds at Discogs (list of releases)
- "Tony Asher Interview". April 4, 1996.
- Crowe, Jerry (November 1, 1997). "'Pet Sounds Sessions': Body of Influence Put in a Box". Los Angeles Times. Archived from the original on November 7, 2012. Retrieved March 3, 2009.
References
Abjorensen 2017, p. 40. - Abjorensen, Norman (2017). Historical Dictionary of Popular Music. Rowman & Littlefield Publishers. ISBN 978-1-5381-0215-2. https://books.google.com/books?id=6ZyrDgAAQBAJ&pg=PA40 ↩
Bogdanov, Woodstra & Erlewine 2002, pp. 72–73. - Bogdanov, Vladimir; Woodstra, Chris; Erlewine, Stephen Thomas, eds. (2002). All Music Guide to Rock: The Definitive Guide to Rock, Pop, and Soul. Backbeat Books. ISBN 978-0-87930-653-3. https://books.google.com/books?id=1-pH4i3jXvAC ↩
Sanchez 2014, pp. 63–64. - Sanchez, Luis (2014). The Beach Boys' Smile. Bloomsbury Publishing. ISBN 978-1-62356-956-3. https://books.google.com/books?id=FC0_AwAAQBAJ ↩
Carlin 2006, p. 59. - Carlin, Peter Ames (2006). Catch a Wave: The Rise, Fall, and Redemption of the Beach Boys' Brian Wilson. Rodale. ISBN 978-1-59486-320-2. https://books.google.com/books?id=eYyovo_AbqAC ↩
Badman 2004, p. 89. - Badman, Keith (2004). The Beach Boys: The Definitive Diary of America's Greatest Band, on Stage and in the Studio. Backbeat Books. ISBN 978-0-87930-818-6. https://archive.org/details/beachboysdefinit0000badm ↩
Schinder 2007, pp. 111–112. - Schinder, Scott (2007). "The Beach Boys". In Schinder, Scott; Schwartz, Andy (eds.). Icons of Rock: An Encyclopedia of the Legends Who Changed Music Forever. Westport, Connecticut: Greenwood Press. ISBN 978-0-313-33845-8. https://books.google.com/books?id=chj91X0dWzUC&pg=PT101 ↩
Granata 2003, pp. 59–61, 66–67. - Granata, Charles L. (2003). Wouldn't it Be Nice: Brian Wilson and the Making of the Beach Boys' Pet Sounds. Chicago Review Press. ISBN 978-1-55652-507-0. https://books.google.com/books?id=eduXp1caQ4YC ↩
Granata 2003, pp. 60–61. - Granata, Charles L. (2003). Wouldn't it Be Nice: Brian Wilson and the Making of the Beach Boys' Pet Sounds. Chicago Review Press. ISBN 978-1-55652-507-0. https://books.google.com/books?id=eduXp1caQ4YC ↩
Kent 2009, p. 13. - Kent, Nick (2009). "The Last Beach Movie Revisited: The Life of Brian Wilson". The Dark Stuff: Selected Writings on Rock Music. Da Capo Press. ISBN 9780786730742. https://books.google.com/books?id=bPMO0CtuBAsC&pg=PA12 ↩
Guriel, Jason (May 16, 2016). "How Pet Sounds Invented the Modern Pop Album". The Atlantic. Archived from the original on May 20, 2022. https://www.theatlantic.com/entertainment/archive/2016/05/how-pet-sounds-invented-the-modern-pop-album/482940/ ↩
Granata 2003, p. 65. - Granata, Charles L. (2003). Wouldn't it Be Nice: Brian Wilson and the Making of the Beach Boys' Pet Sounds. Chicago Review Press. ISBN 978-1-55652-507-0. https://books.google.com/books?id=eduXp1caQ4YC ↩
Carlin 2006, pp. 66–67. - Carlin, Peter Ames (2006). Catch a Wave: The Rise, Fall, and Redemption of the Beach Boys' Brian Wilson. Rodale. ISBN 978-1-59486-320-2. https://books.google.com/books?id=eYyovo_AbqAC ↩
Badman 2004, p. 101. - Badman, Keith (2004). The Beach Boys: The Definitive Diary of America's Greatest Band, on Stage and in the Studio. Backbeat Books. ISBN 978-0-87930-818-6. https://archive.org/details/beachboysdefinit0000badm ↩
Granata 2003, pp. 72–73. - Granata, Charles L. (2003). Wouldn't it Be Nice: Brian Wilson and the Making of the Beach Boys' Pet Sounds. Chicago Review Press. ISBN 978-1-55652-507-0. https://books.google.com/books?id=eduXp1caQ4YC ↩
Badman 2004, pp. 101–105. - Badman, Keith (2004). The Beach Boys: The Definitive Diary of America's Greatest Band, on Stage and in the Studio. Backbeat Books. ISBN 978-0-87930-818-6. https://archive.org/details/beachboysdefinit0000badm ↩
Badman 2004, p. 105. - Badman, Keith (2004). The Beach Boys: The Definitive Diary of America's Greatest Band, on Stage and in the Studio. Backbeat Books. ISBN 978-0-87930-818-6. https://archive.org/details/beachboysdefinit0000badm ↩
Badman 2004, pp. 108, 111. - Badman, Keith (2004). The Beach Boys: The Definitive Diary of America's Greatest Band, on Stage and in the Studio. Backbeat Books. ISBN 978-0-87930-818-6. https://archive.org/details/beachboysdefinit0000badm ↩
"Interview with Tony Asher". The Pet Sounds Sessions (Booklet). The Beach Boys. Capitol Records. 1997. Archived from the original on April 27, 2022.{{cite AV media notes}}: CS1 maint: others in cite AV media (notes) (link) http://albumlinernotes.com/Tony_Asher_Interview.html ↩
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.[19] ↩
"Interview with Tony Asher". The Pet Sounds Sessions (Booklet). The Beach Boys. Capitol Records. 1997. Archived from the original on April 27, 2022.{{cite AV media notes}}: CS1 maint: others in cite AV media (notes) (link) http://albumlinernotes.com/Tony_Asher_Interview.html ↩
Carlin 2006, p. 76. - Carlin, Peter Ames (2006). Catch a Wave: The Rise, Fall, and Redemption of the Beach Boys' Brian Wilson. Rodale. ISBN 978-1-59486-320-2. https://books.google.com/books?id=eYyovo_AbqAC ↩
December 1965 is the date given by Carlin.[20] Asher recalled that Wilson called him when the rest of the band were out of the country.[21] ↩
"Interview with Tony Asher". The Pet Sounds Sessions (Booklet). The Beach Boys. Capitol Records. 1997. Archived from the original on April 27, 2022.{{cite AV media notes}}: CS1 maint: others in cite AV media (notes) (link) http://albumlinernotes.com/Tony_Asher_Interview.html ↩
Granata 2003, p. 81. - Granata, Charles L. (2003). Wouldn't it Be Nice: Brian Wilson and the Making of the Beach Boys' Pet Sounds. Chicago Review Press. ISBN 978-1-55652-507-0. https://books.google.com/books?id=eduXp1caQ4YC ↩
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.[22] Carlin dates the start of the writing sessions to December 1965.[23] In 2009, Wilson himself recalled that he may have been writing with Asher as early as November 1965.[24] ↩
"Interview with Tony Asher". The Pet Sounds Sessions (Booklet). The Beach Boys. Capitol Records. 1997. Archived from the original on April 27, 2022.{{cite AV media notes}}: CS1 maint: others in cite AV media (notes) (link) http://albumlinernotes.com/Tony_Asher_Interview.html ↩
Granata 2003, p. 84. - Granata, Charles L. (2003). Wouldn't it Be Nice: Brian Wilson and the Making of the Beach Boys' Pet Sounds. Chicago Review Press. ISBN 978-1-55652-507-0. https://books.google.com/books?id=eduXp1caQ4YC ↩
Dillon 2012, p. 91. - Dillon, Mark (2012). Fifty Sides of the Beach Boys: The Songs That Tell Their Story. ECW Press. ISBN 978-1-77090-198-8. https://archive.org/details/fiftysidesofbeac0000dill/ ↩
Wilson's writing process, as he described in 1966, started with finding a basic chord pattern and rhythm that he termed "feels", or "brief note sequences, fragments of ideas". He explained, "once they're out of my head and into the open air, I can see them and touch them firmly. They're not 'feels' anymore."[27] ↩
Granata 2003, p. 81. - Granata, Charles L. (2003). Wouldn't it Be Nice: Brian Wilson and the Making of the Beach Boys' Pet Sounds. Chicago Review Press. ISBN 978-1-55652-507-0. https://books.google.com/books?id=eduXp1caQ4YC ↩
Dillon 2012, p. 93. - Dillon, Mark (2012). Fifty Sides of the Beach Boys: The Songs That Tell Their Story. ECW Press. ISBN 978-1-77090-198-8. https://archive.org/details/fiftysidesofbeac0000dill/ ↩
"Interview with Tony Asher". The Pet Sounds Sessions (Booklet). The Beach Boys. Capitol Records. 1997. Archived from the original on April 27, 2022.{{cite AV media notes}}: CS1 maint: others in cite AV media (notes) (link) http://albumlinernotes.com/Tony_Asher_Interview.html ↩
Kent 2009, p. 16. - Kent, Nick (2009). "The Last Beach Movie Revisited: The Life of Brian Wilson". The Dark Stuff: Selected Writings on Rock Music. Da Capo Press. ISBN 9780786730742. https://books.google.com/books?id=bPMO0CtuBAsC&pg=PA12 ↩
Gaines 1986, p. 145. - Gaines, Steven (1986). Heroes and Villains: The True Story of The Beach Boys. New York: Da Capo Press. ISBN 0306806479. https://archive.org/details/heroesvillainsth00gain ↩
Granata 2003, p. 88. - Granata, Charles L. (2003). Wouldn't it Be Nice: Brian Wilson and the Making of the Beach Boys' Pet Sounds. Chicago Review Press. ISBN 978-1-55652-507-0. https://books.google.com/books?id=eduXp1caQ4YC ↩
Carlin 2006, p. 79. - Carlin, Peter Ames (2006). Catch a Wave: The Rise, Fall, and Redemption of the Beach Boys' Brian Wilson. Rodale. ISBN 978-1-59486-320-2. https://books.google.com/books?id=eYyovo_AbqAC ↩
Granata 2003, p. 75. - Granata, Charles L. (2003). Wouldn't it Be Nice: Brian Wilson and the Making of the Beach Boys' Pet Sounds. Chicago Review Press. ISBN 978-1-55652-507-0. https://books.google.com/books?id=eduXp1caQ4YC ↩
Kent 2009, p. 19. - Kent, Nick (2009). "The Last Beach Movie Revisited: The Life of Brian Wilson". The Dark Stuff: Selected Writings on Rock Music. Da Capo Press. ISBN 9780786730742. https://books.google.com/books?id=bPMO0CtuBAsC&pg=PA12 ↩
Granata 2003, p. 114. - Granata, Charles L. (2003). Wouldn't it Be Nice: Brian Wilson and the Making of the Beach Boys' Pet Sounds. Chicago Review Press. ISBN 978-1-55652-507-0. https://books.google.com/books?id=eduXp1caQ4YC ↩
Badman 2004, p. 114. - Badman, Keith (2004). The Beach Boys: The Definitive Diary of America's Greatest Band, on Stage and in the Studio. Backbeat Books. ISBN 978-0-87930-818-6. https://archive.org/details/beachboysdefinit0000badm ↩
Doe & Tobler 2009, pp. 22, 25. - Doe, Andrew; Tobler, John (2009). "The Beach Boys – Pet Sounds – May 1966". In Charlesworth, Chris (ed.). 25 Albums that Rocked the World. Omnibus Press. ISBN 978-0-85712-044-1. https://books.google.com/books?id=TGreXZIq1RgC&pg=PT19 ↩
Elliott, Brad (August 31, 1999). "Pet Sounds Track Notes". beachboysfanclub.com. Archived from the original on January 24, 2009. Retrieved March 3, 2009. http://www.bradelliott.com/writings/ps2.html ↩
"Brian Pop Genius!". Melody Maker. May 21, 1966. Archived from the original on February 24, 2021. http://i1218.photobucket.com/albums/dd420/kwan_dk/MMMay211966.jpg ↩
Lambert 2007, p. 249. - Lambert, Philip (2007). Inside the Music of Brian Wilson: The Songs, Sounds, and Influences of the Beach Boys' Founding Genius. Bloomsbury Publishing. ISBN 978-1-4411-0748-0. https://books.google.com/books?id=3sGoAwAAQBAJ ↩
Author Carys Wyn Jones attributes this characterization to the record's "uniform excellence" rather than an explicit narrative or musical motif,[41] while Lambert acknowledges the album's "unifying threads of melodic figures and harmonic devices".[42] ↩
Jones 2008, p. 44. - Jones, Carys Wyn (2008). The Rock Canon: Canonical Values in the Reception of Rock Albums. Ashgate Publishing, Ltd. ISBN 978-0-7546-6244-0. https://books.google.com/books?id=rdC3n62ArX8C ↩
Granata 2003, p. 72. - Granata, Charles L. (2003). Wouldn't it Be Nice: Brian Wilson and the Making of the Beach Boys' Pet Sounds. Chicago Review Press. ISBN 978-1-55652-507-0. https://books.google.com/books?id=eduXp1caQ4YC ↩
Fusilli 2005, p. 80. - Fusilli, Jim (2005). Beach Boys' Pet Sounds. Bloomsbury Publishing. ISBN 978-1-4411-1266-8. https://books.google.com/books?id=xVIx8qes4V8C ↩
Schinder 2007, p. 114. - Schinder, Scott (2007). "The Beach Boys". In Schinder, Scott; Schwartz, Andy (eds.). Icons of Rock: An Encyclopedia of the Legends Who Changed Music Forever. Westport, Connecticut: Greenwood Press. ISBN 978-0-313-33845-8. https://books.google.com/books?id=chj91X0dWzUC&pg=PT101 ↩
The absence of a single on the North American release further reinforced its identity as an artistic whole.[46] ↩
Fusilli 2005, p. 80. - Fusilli, Jim (2005). Beach Boys' Pet Sounds. Bloomsbury Publishing. ISBN 978-1-4411-1266-8. https://books.google.com/books?id=xVIx8qes4V8C ↩
Schinder 2007, p. 114. - Schinder, Scott (2007). "The Beach Boys". In Schinder, Scott; Schwartz, Andy (eds.). Icons of Rock: An Encyclopedia of the Legends Who Changed Music Forever. Westport, Connecticut: Greenwood Press. ISBN 978-0-313-33845-8. https://books.google.com/books?id=chj91X0dWzUC&pg=PT101 ↩
Carlin 2006, p. 75. - Carlin, Peter Ames (2006). Catch a Wave: The Rise, Fall, and Redemption of the Beach Boys' Brian Wilson. Rodale. ISBN 978-1-59486-320-2. https://books.google.com/books?id=eYyovo_AbqAC ↩
Himes, Geoffrey. "Surf Music" (PDF). Rock and Roll: An American History. teachrock.org. Archived from the original (PDF) on November 25, 2015. /wiki/Geoffrey_Himes ↩
Granata 2003, pp. 120–121. - Granata, Charles L. (2003). Wouldn't it Be Nice: Brian Wilson and the Making of the Beach Boys' Pet Sounds. Chicago Review Press. ISBN 978-1-55652-507-0. https://books.google.com/books?id=eduXp1caQ4YC ↩
Lambert 2007, p. 225. - Lambert, Philip (2007). Inside the Music of Brian Wilson: The Songs, Sounds, and Influences of the Beach Boys' Founding Genius. Bloomsbury Publishing. ISBN 978-1-4411-0748-0. https://books.google.com/books?id=3sGoAwAAQBAJ ↩
"INTERVIEW WITH BRIAN WILSON OF THE BEACH BOYS IN EARLY 1980'S". Global Image Works. Archived from the original on July 26, 2014. Retrieved July 18, 2014. https://web.archive.org/web/20140726074318/http://www.globalimageworks.com/clip-brian-wilson-interview-beach-boys-1874_023?id=45092 ↩
Tunbridge 2010, pp. 173–174. - Tunbridge, Laura (2010). The Song Cycle. Cambridge University Press. ISBN 978-0-521-89644-3. https://books.google.com/books?id=DS8VesiqWFcC ↩
Tunbridge 2010, pp. 173–174. - Tunbridge, Laura (2010). The Song Cycle. Cambridge University Press. ISBN 978-0-521-89644-3. https://books.google.com/books?id=DS8VesiqWFcC ↩
Zager 2012, p. 218. - Zager, Michael (2012). Music Production: for Producers, Composers, Arrangers, and Students (2nd ed.). Lanham, Md.: Scarecrow Press. ISBN 978-0-8108-8201-0. https://archive.org/details/musicproductionf0000zage ↩
Moorefield 2010, pp. 16–17. - Moorefield, Virgil (2010). The Producer as Composer: Shaping the Sounds of Popular Music. MIT Press. ISBN 978-0-262-13457-6. https://books.google.com/books?id=PZ0R4_Oxr-4C&pg=PA18 ↩
Lambert 2007, p. 225. - Lambert, Philip (2007). Inside the Music of Brian Wilson: The Songs, Sounds, and Influences of the Beach Boys' Founding Genius. Bloomsbury Publishing. ISBN 978-1-4411-0748-0. https://books.google.com/books?id=3sGoAwAAQBAJ ↩
Cunningham 1998, p. 76. - Cunningham, Mark (1998). Good Vibrations: A History of Record Production. London: Sanctuary. ISBN 978-1-860742422. https://books.google.com/books?id=AeUIAQAAMAAJ ↩
Asher recalled Wilson playing him the album and declaring a desire to surpass it,[56] while Johnston remembered Wilson praising its thematic cohesion after a Christmas 1965 listening session.[57] 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.[58] Conversely, he told David Leaf in 1996 that he believed he was introduced to the LP by Asher.[59] In 2009, he said he wrote "God Only Knows" with Asher the morning after listening to the album for the first time.[24] ↩
Himes, Geoffrey. "Surf Music" (PDF). Rock and Roll: An American History. teachrock.org. Archived from the original (PDF) on November 25, 2015. /wiki/Geoffrey_Himes ↩
Carlin, Peter Ames (September 12, 2009). "Brian Wilson on the Beatles' Rubber Soul". The Times Online.[dead link] /wiki/Peter_Ames_Carlin ↩
Granata 2003, p. 72. - Granata, Charles L. (2003). Wouldn't it Be Nice: Brian Wilson and the Making of the Beach Boys' Pet Sounds. Chicago Review Press. ISBN 978-1-55652-507-0. https://books.google.com/books?id=eduXp1caQ4YC ↩
Carlin 2006, p. 77. - Carlin, Peter Ames (2006). Catch a Wave: The Rise, Fall, and Redemption of the Beach Boys' Brian Wilson. Rodale. ISBN 978-1-59486-320-2. https://books.google.com/books?id=eYyovo_AbqAC ↩
Granata 2003, p. 139. - Granata, Charles L. (2003). Wouldn't it Be Nice: Brian Wilson and the Making of the Beach Boys' Pet Sounds. Chicago Review Press. ISBN 978-1-55652-507-0. https://books.google.com/books?id=eduXp1caQ4YC ↩
Asher also shared standards like "Stella by Starlight", believing their harmonic complexity would appeal to Wilson's interest in unconventional progressions, such as those in "The Warmth of the Sun" (1964).[62] /wiki/The_Warmth_of_the_Sun ↩
Granata 2003, pp. 138–139. - Granata, Charles L. (2003). Wouldn't it Be Nice: Brian Wilson and the Making of the Beach Boys' Pet Sounds. Chicago Review Press. ISBN 978-1-55652-507-0. https://books.google.com/books?id=eduXp1caQ4YC ↩
Dillon 2012, p. 93. - Dillon, Mark (2012). Fifty Sides of the Beach Boys: The Songs That Tell Their Story. ECW Press. ISBN 978-1-77090-198-8. https://archive.org/details/fiftysidesofbeac0000dill/ ↩
Priore 2005, p. 64. - Priore, Domenic (2005). Smile: The Story of Brian Wilson's Lost Masterpiece. London: Sanctuary. ISBN 1-86074-627-6. https://books.google.com/books?id=81YIAQAAMAAJ ↩
Toop 1999, p. 134. - Toop, David (1999). Exotica: Fabricated Soundscapes in a Real World: Fabricated Soundscapes in the Real World (1st ed.). London: Serpent's Tail. ISBN 978-1852425951. ↩
Stebbins 2011, pp. 74–75. - Stebbins, Jon (2011). The Beach Boys FAQ: All That's Left to Know About America's Band. Backbeat Books. ISBN 978-1-4584-2914-8. https://books.google.com/books?id=8T3ivyKmSQwC ↩
Musician Jim Irvin agreed that the "dense, lush arrangements" were indebted "at least as much to Nelson Riddle" as they were to Spector's arranger, Jack Nitzsche.[66] /wiki/Jim_Irvin ↩
"Interview with Brian Wilson". The Pet Sounds Sessions (Booklet). The Beach Boys. Capitol Records. 1997. Archived from the original on April 27, 2022.{{cite AV media notes}}: CS1 maint: others in cite AV media (notes) (link) http://albumlinernotes.com/Interview_w_Brian_Wilson.html ↩
In a March 1966 interview, Wilson acknowledged contemporary music trends' influence on his work,[67] though Marilyn later stated he was singularly focused on creating "the greatest rock album ever", unconcerned with industry developments.[68] ↩
Badman 2004, pp. 87, 136. - Badman, Keith (2004). The Beach Boys: The Definitive Diary of America's Greatest Band, on Stage and in the Studio. Backbeat Books. ISBN 978-0-87930-818-6. https://archive.org/details/beachboysdefinit0000badm ↩
Beets, Greg (July 21, 2000). "Pet Sounds Fifteen Minutes With Brian Wilson". Austin Chronicle. https://www.austinchronicle.com/music/2000-07-21/77984/ ↩
Lambert 2007, p. 244. - Lambert, Philip (2007). Inside the Music of Brian Wilson: The Songs, Sounds, and Influences of the Beach Boys' Founding Genius. Bloomsbury Publishing. ISBN 978-1-4411-0748-0. https://books.google.com/books?id=3sGoAwAAQBAJ ↩
Badman 2004, p. 102. - Badman, Keith (2004). The Beach Boys: The Definitive Diary of America's Greatest Band, on Stage and in the Studio. Backbeat Books. ISBN 978-0-87930-818-6. https://archive.org/details/beachboysdefinit0000badm ↩
Lambert 2007, p. 244. - Lambert, Philip (2007). Inside the Music of Brian Wilson: The Songs, Sounds, and Influences of the Beach Boys' Founding Genius. Bloomsbury Publishing. ISBN 978-1-4411-0748-0. https://books.google.com/books?id=3sGoAwAAQBAJ ↩
Badman 2004, p. 102. - Badman, Keith (2004). The Beach Boys: The Definitive Diary of America's Greatest Band, on Stage and in the Studio. Backbeat Books. ISBN 978-0-87930-818-6. https://archive.org/details/beachboysdefinit0000badm ↩
Was, Don (1995). Brian Wilson: I Just Wasn't Made for These Times (Documentary film). /wiki/Don_Was ↩
Lambert 2007, p. 234. - Lambert, Philip (2007). Inside the Music of Brian Wilson: The Songs, Sounds, and Influences of the Beach Boys' Founding Genius. Bloomsbury Publishing. ISBN 978-1-4411-0748-0. https://books.google.com/books?id=3sGoAwAAQBAJ ↩
Rogovoy, Seth (June 14, 2016). "'Pet Sounds' On The Road: Revisiting The Sad Genius Of Brian Wilson". WBUR. Archived from the original on May 21, 2022. http://www.wbur.org/artery/2016/06/14/pet-sounds-brian-wilson ↩
Kent 2009, p. 17. - Kent, Nick (2009). "The Last Beach Movie Revisited: The Life of Brian Wilson". The Dark Stuff: Selected Writings on Rock Music. Da Capo Press. ISBN 9780786730742. https://books.google.com/books?id=bPMO0CtuBAsC&pg=PA12 ↩
Himes, Geoffrey. "Surf Music" (PDF). Rock and Roll: An American History. teachrock.org. Archived from the original (PDF) on November 25, 2015. /wiki/Geoffrey_Himes ↩
Gaines 1986, p. 146. - Gaines, Steven (1986). Heroes and Villains: The True Story of The Beach Boys. New York: Da Capo Press. ISBN 0306806479. https://archive.org/details/heroesvillainsth00gain ↩
Gaines 1986, p. 146. - Gaines, Steven (1986). Heroes and Villains: The True Story of The Beach Boys. New York: Da Capo Press. ISBN 0306806479. https://archive.org/details/heroesvillainsth00gain ↩
O'Hagan, Sean (January 5, 2002). "A Boy's Own Story". The Guardian. Archived from the original on March 14, 2021. /wiki/Sean_O%27Hagan_(journalist) ↩
Rolling Stone editor David Wild characterized the lyrics as "intelligent and moving, but [...] not pretentious", comparing them to Tin Pan Alley's craftsmanship.[79] /wiki/David_Wild ↩
White 1996, p. 251. - White, Timothy (1996). The Nearest Faraway Place: Brian Wilson, the Beach Boys, and the Southern Californian Experience. Macmillan. ISBN 0333649370. https://archive.org/details/nearestfarawaypl0000whit/ ↩
Granata 2003, pp. 48, 53, 56–57. - Granata, Charles L. (2003). Wouldn't it Be Nice: Brian Wilson and the Making of the Beach Boys' Pet Sounds. Chicago Review Press. ISBN 978-1-55652-507-0. https://books.google.com/books?id=eduXp1caQ4YC ↩
Soon after his first LSD experience, Brian began suffering from auditory hallucinations[83] and significant paranoia throughout the year.[84] He attributed LSD's influence to it "[bringing] out the insecurities in me, which I think went into the music",[85] and credited marijuana with encouraging his creative growth.[86] /wiki/Auditory_hallucination ↩
"Interview with Tony Asher". The Pet Sounds Sessions (Booklet). The Beach Boys. Capitol Records. 1997. Archived from the original on April 27, 2022.{{cite AV media notes}}: CS1 maint: others in cite AV media (notes) (link) http://albumlinernotes.com/Tony_Asher_Interview.html ↩
These discussions encompassed Wilson's doubts about his marriage, his "sexual fantasies", and his "apparent" attraction to his sister-in-law, Diane.[87] His wife interpreted songs like "You Still Believe in Me" and "Caroline, No" as directly addressing their marriage.[88] ↩
Granata 2003, p. 107. - Granata, Charles L. (2003). Wouldn't it Be Nice: Brian Wilson and the Making of the Beach Boys' Pet Sounds. Chicago Review Press. ISBN 978-1-55652-507-0. https://books.google.com/books?id=eduXp1caQ4YC ↩
Schinder 2007, pp. 114–115. - Schinder, Scott (2007). "The Beach Boys". In Schinder, Scott; Schwartz, Andy (eds.). Icons of Rock: An Encyclopedia of the Legends Who Changed Music Forever. Westport, Connecticut: Greenwood Press. ISBN 978-0-313-33845-8. https://books.google.com/books?id=chj91X0dWzUC&pg=PT101 ↩
Howard 2004, p. 64. - Howard, David N. (2004). Sonic Alchemy: Visionary Music Producers and Their Maverick Recordings (1 ed.). Milwaukee, Wisconsin: Hal Leonard. ISBN 978-0-63405-560-7. https://books.google.com/books?id=O0VMAgAAQBAJ ↩
Doe & Tobler 2009, p. 21. - Doe, Andrew; Tobler, John (2009). "The Beach Boys – Pet Sounds – May 1966". In Charlesworth, Chris (ed.). 25 Albums that Rocked the World. Omnibus Press. ISBN 978-0-85712-044-1. https://books.google.com/books?id=TGreXZIq1RgC&pg=PT19 ↩
Lambert 2007, p. 249. - Lambert, Philip (2007). Inside the Music of Brian Wilson: The Songs, Sounds, and Influences of the Beach Boys' Founding Genius. Bloomsbury Publishing. ISBN 978-1-4411-0748-0. https://books.google.com/books?id=3sGoAwAAQBAJ ↩
Schinder 2007, pp. 114–115. - Schinder, Scott (2007). "The Beach Boys". In Schinder, Scott; Schwartz, Andy (eds.). Icons of Rock: An Encyclopedia of the Legends Who Changed Music Forever. Westport, Connecticut: Greenwood Press. ISBN 978-0-313-33845-8. https://books.google.com/books?id=chj91X0dWzUC&pg=PT101 ↩
Starr 2007, p. 265. - Starr, Larry (2007) [2006]. American Popular Music: From Minstrelsy to MP3 (2nd ed.). New York: Oxford University Press. ISBN 9780195300536. https://archive.org/details/americanpopularm0000star_k8g4/ ↩
Tunbridge 2010, p. 173. - Tunbridge, Laura (2010). The Song Cycle. Cambridge University Press. ISBN 978-0-521-89644-3. https://books.google.com/books?id=DS8VesiqWFcC ↩
"Interview with Tony Asher". The Pet Sounds Sessions (Booklet). The Beach Boys. Capitol Records. 1997. Archived from the original on April 27, 2022.{{cite AV media notes}}: CS1 maint: others in cite AV media (notes) (link) http://albumlinernotes.com/Tony_Asher_Interview.html ↩
Responding to the songwriters' denials of a conscious lyric theme, journalist Nick Kent observed that the album's lyrics predominantly depict a male protagonist's struggles with self-identity and crises of faith in love and life, excluding "Sloop John B" and the instrumentals.[95] Granata writes that while these tracks disrupt the album's "thematic thread", they enhance its pacing.[96] /wiki/Nick_Kent ↩
Lambert 2008, pp. 116–117. - Lambert, Philip (March 2008). "Brian Wilson's Pet Sounds". Twentieth-Century Music. 5 (1). Cambridge University Press: 109–133. doi:10.1017/S1478572208000625. S2CID 162871617. https://www.academia.edu/17300178 ↩
Lambert distinguishes "theme albums"—collections of songs linked by shared lyrical content but lacking musical cohesion—from concept albums, which integrate recurring melodic, harmonic, or structural elements into a unified artistic presentation.[42] With regards to the issue of authorial intent, he felt that artists' commentaries on their work may reflect external agendas or lack objectivity, and that the artwork itself should remain the primary basis for analysis.[98] ↩
Granata 2003, pp. 61–63. - Granata, Charles L. (2003). Wouldn't it Be Nice: Brian Wilson and the Making of the Beach Boys' Pet Sounds. Chicago Review Press. ISBN 978-1-55652-507-0. https://books.google.com/books?id=eduXp1caQ4YC ↩
Smith 2009, p. 37. - Smith, Chris (2009). One Hundred and One Albums that Changed Popular Music. Oxford University Press. ISBN 978-0-19-537371-4. https://books.google.com/books?id=G4mP7u6mPdkC ↩
Heiser, Marshall (November 2012). "SMiLE: Brian Wilson's Musical Mosaic". The Journal on the Art of Record Production (7). Archived from the original on April 15, 2015. Retrieved April 8, 2015. https://web.archive.org/web/20150415032648/http://arpjournal.com/smile-brian-wilson%E2%80%99s-musical-mosaic/ ↩
Granata 2003, p. 154. - Granata, Charles L. (2003). Wouldn't it Be Nice: Brian Wilson and the Making of the Beach Boys' Pet Sounds. Chicago Review Press. ISBN 978-1-55652-507-0. https://books.google.com/books?id=eduXp1caQ4YC ↩
Murphy 2015, p. 289. - Murphy, James B. (2015). Becoming the Beach Boys, 1961-1963. McFarland. ISBN 978-0-7864-7365-6. https://books.google.com/books?id=273eCQAAQBAJ ↩
Harrison 1997, p. 39. - Harrison, Daniel (1997). "After Sundown: The Beach Boys' Experimental Music" (PDF). In Covach, John; Boone, Graeme M. (eds.). Understanding Rock: Essays in Musical Analysis. Oxford University Press. pp. 33–57. ISBN 978-0-19-988012-6. http://www.lipscomb.umn.edu/rock/docs/Harrison1997_BeachBoys.pdf ↩
Granata 2003, p. 59. - Granata, Charles L. (2003). Wouldn't it Be Nice: Brian Wilson and the Making of the Beach Boys' Pet Sounds. Chicago Review Press. ISBN 978-1-55652-507-0. https://books.google.com/books?id=eduXp1caQ4YC ↩
O'Regan 2014, p. 62. - O'Regan, Jody (2014). When I Grow Up: The Development of the Beach Boys' Sound (1962–1966) (PDF) (Thesis). Queensland Conservatorium. doi:10.25904/1912/2556. https://research-repository.griffith.edu.au/bitstream/handle/10072/367243/O%27Regan_2014_02Thesis.pdf?sequence=1&isAllowed=y ↩
Music journalist Alice Bolin characterized Today! as bridging the group's doo-wop roots with "the lush and orchestral" style of Pet Sounds,[107] while Scott Interrante highlighted Wilson's early experimentation with blending ballad and uptempo structures, adding that Today! had reflected the optimism of adolescence in contrast to Pet Sounds' melancholic tone.[108] Leaf identified the Today! outtake[109] "Guess I'm Dumb", later produced as a 1965 single for Glen Campbell, as a leap in Wilson's development, being "one of the first records that consolidated all [Brian's] ideas into a coherent sound" that culminated in Pet Sounds[110] Howard referenced "Please Let Me Wonder" as further signaling Wilson's progression toward his subsequent project.[111] ↩
Covach 2015, p. 202. - Covach, John Rudolph (2015) [2006]. What's That Sound? An Introduction to Rock and Its History (4th ed.). New York: W. W. Norton & Company. ISBN 9780393937251. https://archive.org/details/whatsthatsoundin0000cova_c9t1/ ↩
"Comments by Carl Wilson". The Pet Sounds Sessions (Booklet). The Beach Boys. Capitol Records. 1997. Archived from the original on April 27, 2022.{{cite AV media notes}}: CS1 maint: others in cite AV media (notes) (link) http://albumlinernotes.com/Comments_by_Carl_Wilson.html ↩
Felton, David (November 4, 1976). "The Healing of Brother Brian: The Rolling Stone Interview With the Beach Boys". Rolling Stone. https://www.rollingstone.com/music/news/the-healing-of-brother-brian-the-rolling-stone-interview-with-the-beach-boys-19761104 ↩
"Comments by Al Jardine". The Pet Sounds Sessions (Booklet). The Beach Boys. Capitol Records. 1997.{{cite AV media notes}}: CS1 maint: others in cite AV media (notes) (link) http://albumlinernotes.com/Comments_by_Al_Jardine.html ↩
Stebbins 2011, pp. 151–152. - Stebbins, Jon (2011). The Beach Boys FAQ: All That's Left to Know About America's Band. Backbeat Books. ISBN 978-1-4584-2914-8. https://books.google.com/books?id=8T3ivyKmSQwC ↩
Granata 2003, p. 35. - Granata, Charles L. (2003). Wouldn't it Be Nice: Brian Wilson and the Making of the Beach Boys' Pet Sounds. Chicago Review Press. ISBN 978-1-55652-507-0. https://books.google.com/books?id=eduXp1caQ4YC ↩
Berlatsky, Noah (July 1, 2016). "Brian Wilson, Pet Sounds, and the categorical denial of the sensitive black genius". Chicago Reader. Archived from the original on November 26, 2021. http://www.chicagoreader.com/chicago/pitchfork-festival-2016-brian-wilson-pet-sounds-sufjan-twigs/Content?oid=22681115 ↩
Berlatsky argued that while Pet Sounds is rarely regarded as an R&B album and, in some respects, is seen as a counter to R&B traditions, this perception had been shaped by prevailing stereotypes about race, authenticity, and vulnerability, particularly regarding soul music, typically viewed "as less important—or more often just forgotten altogether."[118] /wiki/Soul_music ↩
Strauss, D. (December 8, 1997). "Pet Sounds : It's Not Rock 'n' Roll, But We Like It". The New York Observer. Archived from the original on February 24, 2021. https://observer.com/1997/12/pet-sounds-its-not-rock-n-roll-but-we-like-it/ ↩
Strauss, D. (December 8, 1997). "Pet Sounds : It's Not Rock 'n' Roll, But We Like It". The New York Observer. Archived from the original on February 24, 2021. https://observer.com/1997/12/pet-sounds-its-not-rock-n-roll-but-we-like-it/ ↩
Leone, Dominique (September 8, 2006). "The Beach Boys: Pet Sounds: 40th Anniversary". Pitchfork. Archived from the original on July 2, 2014. Retrieved July 22, 2014. /wiki/Dominique_Leone ↩
Denny's former bandmember Julius Wechter contributed percussion to the album,[121] and Wilson indicated in his second memoir that he had enjoyed Baxter's "big productions that sounded sort of like Phil Spector",[122] but stated an unfamiliarity with Denny and "exotica music" in a 2017 phone interview.[123] ↩
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Leaf 1978, pp. 87–88. - Leaf, David (1978). The Beach Boys and the California Myth. New York: Grosset & Dunlap. ISBN 978-0-448-14626-3. https://archive.org/details/beachboyscalifor00leaf ↩
Sanchez 2014, p. 81. - Sanchez, Luis (2014). The Beach Boys' Smile. Bloomsbury Publishing. ISBN 978-1-62356-956-3. https://books.google.com/books?id=FC0_AwAAQBAJ ↩
Lynch, Joe (June 13, 2016). "Following Tragedy, Brian Wilson Provides Some Peace With 'Pet Sounds' Concert at Northside Fest". Billboard. Archived from the original on March 21, 2021.DeVille, Chris (September 26, 2016). "Ex Reyes – "Only You" Video". Stereogum. Archived from the original on March 21, 2021.King, Kevin (April 12, 2017). "Masterpieces set to be performed". Winnipeg-Sun. Archived from the original on March 21, 2021.Thomas, Fred. "Review: Bécs – Fennesz". AllMusic. Archived from the original on April 24, 2017. Retrieved April 25, 2017. http://www.billboard.com/articles/columns/pop/7401413/brian-wilson-pet-sounds-northside-festival ↩
Sacher, Andrew (February 9, 2016). "Beach Boys Albums Ranked Best to Worst". Brooklyn Vegan. Archived from the original on June 12, 2017. Retrieved April 21, 2017.Staff. "The Nine Best Concerts in Phoenix Next Weekend". The New Phoenix Times. Archived from the original on April 21, 2017. Retrieved April 21, 2017.Levy, Piete (October 24, 2013). "Brian Wilson; Chris Tomlin; Blue October; Kate Nash; Limousines; Jacuzzi Boys; City and Colour". Journal Sentinel. Milwaukee. Archived from the original on November 19, 2018. Retrieved May 4, 2014. http://www.brooklynvegan.com/beach-boys-albu/ ↩
Marcus, Jeff (September 18, 2012). "Psychedelic era yielded great music, but fewer picture sleeves". Goldmine. Archived from the original on April 17, 2021. http://www.goldminemag.com/article/psychedelic-era-yielded-great-music-but-fewer-picture-sleeves ↩
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Leaf 1978, p. 74. - Leaf, David (1978). The Beach Boys and the California Myth. New York: Grosset & Dunlap. ISBN 978-0-448-14626-3. https://archive.org/details/beachboyscalifor00leaf ↩
Foster, Patrick; Lenaham, Jim (May 20, 2016). "Dad Rock still believes in 'Pet Sounds' at 50". USA Today. Archived from the original on June 22, 2021. https://www.usatoday.com/story/life/music/2016/05/20/dad-rock-pet-sounds/84681028/ ↩
Semley, John (August 9, 2012). "Where to dive into Frank Zappa's weird, unwieldy discography". The A.V. Club. Archived from the original on September 23, 2018. Retrieved August 14, 2016. http://www.avclub.com/article/where-to-dive-into-frank-zappas-weird-unwieldy-dis-83545 ↩
Carucci, John (June 4, 2012). "Beach Boys 'That's Why God Made the Radio' Review: Brian Wilson Writes 50th Anniversary Album". The Huffington Post. Archived from the original on March 10, 2016. Retrieved October 22, 2013. https://web.archive.org/web/20160310074307/http://www.huffingtonpost.com/2012/06/04/beach-boys-thats-why-god-made-the-radio_n_1569368.html ↩
Howland 2021, pp. 210–217. - Howland, John (2021). Hearing Luxe Pop: Glorification, Glamour, and the Middlebrow in American Popular Music. University of California Press. ISBN 978-0-520-30010-1. https://books.google.com/books?id=Yu0lEAAAQBAJ&pg=PA217 ↩
Howland 2021, p. 217. - Howland, John (2021). Hearing Luxe Pop: Glorification, Glamour, and the Middlebrow in American Popular Music. University of California Press. ISBN 978-0-520-30010-1. https://books.google.com/books?id=Yu0lEAAAQBAJ&pg=PA217 ↩
Howland 2021, pp. 210–217. - Howland, John (2021). Hearing Luxe Pop: Glorification, Glamour, and the Middlebrow in American Popular Music. University of California Press. ISBN 978-0-520-30010-1. https://books.google.com/books?id=Yu0lEAAAQBAJ&pg=PA217 ↩
While Spector similarly employed dense orchestration, baroque pop distinguished itself through melancholy first-person Romantic narratives, intimate string arrangements, and classical-influenced melodies with reduced blues elements.[140] Other genres attributed to the album have included pop rock,[141] psychedelic rock,[142][143][144] experimental rock,[145][146] avant-pop,[147][148] experimental pop,[149] symphonic rock,[150] and folk rock.[151] /wiki/Romantic_music ↩
Maddux, Rachael (May 16, 2011). "Six Degrees of The Beach Boys' Pet Sounds". Wondering Sound. Archived from the original on March 4, 2016. https://web.archive.org/web/20160304124623/http://www.wonderingsound.com/connections/six-degrees-of-the-beach-boys-pet-sounds/ ↩
Marcus, Jeff (September 18, 2012). "Psychedelic era yielded great music, but fewer picture sleeves". Goldmine. Archived from the original on April 17, 2021. http://www.goldminemag.com/article/psychedelic-era-yielded-great-music-but-fewer-picture-sleeves ↩
Vernon Joyson, in his book The Acid Trip: A Complete Guide to Psychedelic Music, recognized the album's psychedelic elements, but excluded it from significant coverage, arguing that the band had "essentially predated the psychedelic era".[152] /wiki/Psychedelic_era ↩
Stebbins 2011, p. 152. - Stebbins, Jon (2011). The Beach Boys FAQ: All That's Left to Know About America's Band. Backbeat Books. ISBN 978-1-4584-2914-8. https://books.google.com/books?id=8T3ivyKmSQwC ↩
Ruskin, Zach (May 19, 2016). "You Still Believe in Me: An Interview with Brian Wilson". Consequence. Archived from the original on May 21, 2022. https://consequence.net/2016/05/you-still-believe-in-me-an-interview-with-brian-wilson/ ↩
Hegarty & Halliwell 2011, p. 23. - Hegarty, Paul; Halliwell, Martin (2011). Beyond and Before: Progressive Rock Since the 1960s. Continuum International Publishing. ISBN 978-0-8264-4483-7. https://books.google.com/books?id=taA2AqdCAJ0C&pg=PT23 ↩
DeRogatis, in his book about psychedelic rock, contrasts the album's introspective tone with the Beatles' post-LSD focus on societal issues.[155] Hegarty and Halliwell also describe Pet Sounds as combining "personal intimacy" with a "trippy feel" linked to Wilson's LSD use, distinguishing it from contemporaneous psychedelic music such as the San Francisco sound.[154] ↩
Lambert 2016, p. 178. - Lambert, Philip (2016). Lambert, Philip (ed.). Good Vibrations: Brian Wilson and the Beach Boys in Critical Perspective. University of Michigan Press. doi:10.3998/mpub.9275965. ISBN 978-0-472-11995-0. S2CID 192796203. https://www.fulcrum.org/concern/monographs/nv935376j ↩
Among other reasons given for the album's perceived psychedelic quality, DeRogatis argued that its layered melodies mirror the gradual revelations of a psychedelic experience, unfolding new details with repeated listens.[157] Musician Sean Lennon suggested that psychedelic music often involves epic, ambitious records, and likened experiencing Pet Sounds in full to temporarily "entering another world", akin to an LSD trip.[158] ↩
Perone 2012, p. 28. - Perone, James E. (2012). The Album: A Guide to Pop Music's Most Provocative, Influential, and Important Creations. ABC-CLIO. ISBN 978-0-313-37907-9. https://books.google.com/books?id=gzl1lBFXKhQC&pg=RA2-PT28 ↩
Perone 2012, p. 28. - Perone, James E. (2012). The Album: A Guide to Pop Music's Most Provocative, Influential, and Important Creations. ABC-CLIO. ISBN 978-0-313-37907-9. https://books.google.com/books?id=gzl1lBFXKhQC&pg=RA2-PT28 ↩
Schinder 2007, p. 114. - Schinder, Scott (2007). "The Beach Boys". In Schinder, Scott; Schwartz, Andy (eds.). Icons of Rock: An Encyclopedia of the Legends Who Changed Music Forever. Westport, Connecticut: Greenwood Press. ISBN 978-0-313-33845-8. https://books.google.com/books?id=chj91X0dWzUC&pg=PT101 ↩
Smith 2009, p. 38. - Smith, Chris (2009). One Hundred and One Albums that Changed Popular Music. Oxford University Press. ISBN 978-0-19-537371-4. https://books.google.com/books?id=G4mP7u6mPdkC ↩
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Slowinski, Craig. "Pet Sounds LP". beachboysarchives.com. Endless Summer Quarterly. Archived from the original on September 24, 2018. Retrieved September 24, 2018. http://www.beachboysarchives.com/page10 ↩
Appelstein, Mike (July 20, 2016). "Brian Wilson's Latest Tour May Be Your Last Chance to Hear Him Perform Pet Sounds Live". Riverfront Times. Archived from the original on February 7, 2017. http://www.riverfronttimes.com/stlouis/brian-wilsons-musical-director-paul-mertens-talks-about-pet-sounds/Content?oid=3086082 ↩
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."[165] ↩
Slowinski, Craig. "Pet Sounds LP". beachboysarchives.com. Endless Summer Quarterly. Archived from the original on September 24, 2018. Retrieved September 24, 2018. http://www.beachboysarchives.com/page10 ↩
Granata 2003, p. 158. - Granata, Charles L. (2003). Wouldn't it Be Nice: Brian Wilson and the Making of the Beach Boys' Pet Sounds. Chicago Review Press. ISBN 978-1-55652-507-0. https://books.google.com/books?id=eduXp1caQ4YC ↩
Granata 2003, pp. 160, 162. - Granata, Charles L. (2003). Wouldn't it Be Nice: Brian Wilson and the Making of the Beach Boys' Pet Sounds. Chicago Review Press. ISBN 978-1-55652-507-0. https://books.google.com/books?id=eduXp1caQ4YC ↩
O'Regan 2014, p. 130. - O'Regan, Jody (2014). When I Grow Up: The Development of the Beach Boys' Sound (1962–1966) (PDF) (Thesis). Queensland Conservatorium. doi:10.25904/1912/2556. https://research-repository.griffith.edu.au/bitstream/handle/10072/367243/O%27Regan_2014_02Thesis.pdf?sequence=1&isAllowed=y ↩
O'Regan 2014, p. 281. - O'Regan, Jody (2014). When I Grow Up: The Development of the Beach Boys' Sound (1962–1966) (PDF) (Thesis). Queensland Conservatorium. doi:10.25904/1912/2556. https://research-repository.griffith.edu.au/bitstream/handle/10072/367243/O%27Regan_2014_02Thesis.pdf?sequence=1&isAllowed=y ↩
O'Regan 2014, pp. 277–278, 315. - O'Regan, Jody (2014). When I Grow Up: The Development of the Beach Boys' Sound (1962–1966) (PDF) (Thesis). Queensland Conservatorium. doi:10.25904/1912/2556. https://research-repository.griffith.edu.au/bitstream/handle/10072/367243/O%27Regan_2014_02Thesis.pdf?sequence=1&isAllowed=y ↩
Lambert 2016, p. 157. - Lambert, Philip (2016). Lambert, Philip (ed.). Good Vibrations: Brian Wilson and the Beach Boys in Critical Perspective. University of Michigan Press. doi:10.3998/mpub.9275965. ISBN 978-0-472-11995-0. S2CID 192796203. https://www.fulcrum.org/concern/monographs/nv935376j ↩
Granata 2003, p. 189. - Granata, Charles L. (2003). Wouldn't it Be Nice: Brian Wilson and the Making of the Beach Boys' Pet Sounds. Chicago Review Press. ISBN 978-1-55652-507-0. https://books.google.com/books?id=eduXp1caQ4YC ↩
Granata 2003, p. 189. - Granata, Charles L. (2003). Wouldn't it Be Nice: Brian Wilson and the Making of the Beach Boys' Pet Sounds. Chicago Review Press. ISBN 978-1-55652-507-0. https://books.google.com/books?id=eduXp1caQ4YC ↩
Granata 2003, p. 141. - Granata, Charles L. (2003). Wouldn't it Be Nice: Brian Wilson and the Making of the Beach Boys' Pet Sounds. Chicago Review Press. ISBN 978-1-55652-507-0. https://books.google.com/books?id=eduXp1caQ4YC ↩
O'Regan 2014, pp. 193–194, 314. - O'Regan, Jody (2014). When I Grow Up: The Development of the Beach Boys' Sound (1962–1966) (PDF) (Thesis). Queensland Conservatorium. doi:10.25904/1912/2556. https://research-repository.griffith.edu.au/bitstream/handle/10072/367243/O%27Regan_2014_02Thesis.pdf?sequence=1&isAllowed=y ↩
O'Regan 2014, p. 314. - O'Regan, Jody (2014). When I Grow Up: The Development of the Beach Boys' Sound (1962–1966) (PDF) (Thesis). Queensland Conservatorium. doi:10.25904/1912/2556. https://research-repository.griffith.edu.au/bitstream/handle/10072/367243/O%27Regan_2014_02Thesis.pdf?sequence=1&isAllowed=y ↩
This contrasted with the Beach Boys' reliance on simple triads on earlier albums.[174] /wiki/Triad_(music) ↩
Lambert 2007, p. 326. - Lambert, Philip (2007). Inside the Music of Brian Wilson: The Songs, Sounds, and Influences of the Beach Boys' Founding Genius. Bloomsbury Publishing. ISBN 978-1-4411-0748-0. https://books.google.com/books?id=3sGoAwAAQBAJ ↩
Granata 2003, p. 141. - Granata, Charles L. (2003). Wouldn't it Be Nice: Brian Wilson and the Making of the Beach Boys' Pet Sounds. Chicago Review Press. ISBN 978-1-55652-507-0. https://books.google.com/books?id=eduXp1caQ4YC ↩
Lambert 2008, p. 116. - Lambert, Philip (March 2008). "Brian Wilson's Pet Sounds". Twentieth-Century Music. 5 (1). Cambridge University Press: 109–133. doi:10.1017/S1478572208000625. S2CID 162871617. https://www.academia.edu/17300178 ↩
Lambert 2008, pp. 115–116. - Lambert, Philip (March 2008). "Brian Wilson's Pet Sounds". Twentieth-Century Music. 5 (1). Cambridge University Press: 109–133. doi:10.1017/S1478572208000625. S2CID 162871617. https://www.academia.edu/17300178 ↩
Lambert 2008, pp. 116–117. - Lambert, Philip (March 2008). "Brian Wilson's Pet Sounds". Twentieth-Century Music. 5 (1). Cambridge University Press: 109–133. doi:10.1017/S1478572208000625. S2CID 162871617. https://www.academia.edu/17300178 ↩
Lambert 2008, pp. 115–117. - Lambert, Philip (March 2008). "Brian Wilson's Pet Sounds". Twentieth-Century Music. 5 (1). Cambridge University Press: 109–133. doi:10.1017/S1478572208000625. S2CID 162871617. https://www.academia.edu/17300178 ↩
"I'm Waiting for the Day" extends a verse-refrain structure through three repetitions before concluding with unrelated thematic material.[180] ↩
Lambert 2008, p. 115. - Lambert, Philip (March 2008). "Brian Wilson's Pet Sounds". Twentieth-Century Music. 5 (1). Cambridge University Press: 109–133. doi:10.1017/S1478572208000625. S2CID 162871617. https://www.academia.edu/17300178 ↩
Lambert 2016, p. 145. - Lambert, Philip (2016). Lambert, Philip (ed.). Good Vibrations: Brian Wilson and the Beach Boys in Critical Perspective. University of Michigan Press. doi:10.3998/mpub.9275965. ISBN 978-0-472-11995-0. S2CID 192796203. https://www.fulcrum.org/concern/monographs/nv935376j ↩
Lambert 2016, p. 145. - Lambert, Philip (2016). Lambert, Philip (ed.). Good Vibrations: Brian Wilson and the Beach Boys in Critical Perspective. University of Michigan Press. doi:10.3998/mpub.9275965. ISBN 978-0-472-11995-0. S2CID 192796203. https://www.fulcrum.org/concern/monographs/nv935376j ↩
Lambert 2008, p. 117. - Lambert, Philip (March 2008). "Brian Wilson's Pet Sounds". Twentieth-Century Music. 5 (1). Cambridge University Press: 109–133. doi:10.1017/S1478572208000625. S2CID 162871617. https://www.academia.edu/17300178 ↩
Lambert 2007, p. 227. - Lambert, Philip (2007). Inside the Music of Brian Wilson: The Songs, Sounds, and Influences of the Beach Boys' Founding Genius. Bloomsbury Publishing. ISBN 978-1-4411-0748-0. https://books.google.com/books?id=3sGoAwAAQBAJ ↩
Lambert 2008, p. 117. - Lambert, Philip (March 2008). "Brian Wilson's Pet Sounds". Twentieth-Century Music. 5 (1). Cambridge University Press: 109–133. doi:10.1017/S1478572208000625. S2CID 162871617. https://www.academia.edu/17300178 ↩
"Kiss Me Baby" had featured a four-note titular motif transformed through choral interplay and instrumental reinforcement, while "Good to My Baby" constructed its melodic framework around persistent stepwise patterns mirroring lyrical themes of emotional ambivalence.[182] /wiki/Kiss_Me_Baby ↩
Lambert 2008, p. 118. - Lambert, Philip (March 2008). "Brian Wilson's Pet Sounds". Twentieth-Century Music. 5 (1). Cambridge University Press: 109–133. doi:10.1017/S1478572208000625. S2CID 162871617. https://www.academia.edu/17300178 ↩
A reversed version appears in the closing of "Wouldn't It Be Nice", the instrumental accompaniment throughout "I'm Waiting for the Day", while interlocking standard/inverted bassline forms in "God Only Knows", with chromatically altered variants emerging in the first half of "Let's Go Away for Awhile".[184] ↩
Granata 2003, p. 141. - Granata, Charles L. (2003). Wouldn't it Be Nice: Brian Wilson and the Making of the Beach Boys' Pet Sounds. Chicago Review Press. ISBN 978-1-55652-507-0. https://books.google.com/books?id=eduXp1caQ4YC ↩
Perone 2012, pp. 28, 30. - Perone, James E. (2012). The Album: A Guide to Pop Music's Most Provocative, Influential, and Important Creations. ABC-CLIO. ISBN 978-0-313-37907-9. https://books.google.com/books?id=gzl1lBFXKhQC&pg=RA2-PT28 ↩
Lambert 2016, p. 90. - Lambert, Philip (2016). Lambert, Philip (ed.). Good Vibrations: Brian Wilson and the Beach Boys in Critical Perspective. University of Michigan Press. doi:10.3998/mpub.9275965. ISBN 978-0-472-11995-0. S2CID 192796203. https://www.fulcrum.org/concern/monographs/nv935376j ↩
O'Regan 2014, p. 185. - O'Regan, Jody (2014). When I Grow Up: The Development of the Beach Boys' Sound (1962–1966) (PDF) (Thesis). Queensland Conservatorium. doi:10.25904/1912/2556. https://research-repository.griffith.edu.au/bitstream/handle/10072/367243/O%27Regan_2014_02Thesis.pdf?sequence=1&isAllowed=y ↩
Lambert 2008, pp. 118–120. - Lambert, Philip (March 2008). "Brian Wilson's Pet Sounds". Twentieth-Century Music. 5 (1). Cambridge University Press: 109–133. doi:10.1017/S1478572208000625. S2CID 162871617. https://www.academia.edu/17300178 ↩
Lambert 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 (the American version of Help!).[190] /wiki/Surfin%27_Safari ↩
Lambert 2008, p. 118. - Lambert, Philip (March 2008). "Brian Wilson's Pet Sounds". Twentieth-Century Music. 5 (1). Cambridge University Press: 109–133. doi:10.1017/S1478572208000625. S2CID 162871617. https://www.academia.edu/17300178 ↩
For example, "Here Today" employs a similar descending bass line (1–♭7–6–♭6–5) but substitutes a secondary dominant on ♭7 for the ♭VII chord used in "Pet Sounds". Wilson later highlighted this motif by drawing attention to the trombone in the choruses. The opening of "I Just Wasn't Made for These Times" begins with another descending bass progression, while "Let's Go Away for Awhile" incorporates a harmonically varied descent.[189] /wiki/Secondary_dominant ↩
Lambert 2008, p. 116. - Lambert, Philip (March 2008). "Brian Wilson's Pet Sounds". Twentieth-Century Music. 5 (1). Cambridge University Press: 109–133. doi:10.1017/S1478572208000625. S2CID 162871617. https://www.academia.edu/17300178 ↩
This pattern begins in "Wouldn't It Be Nice", modulating from F to D, and recurs in tracks like "That's Not Me" (A to F♯ major) and "Let's Go Away for Awhile" (F to D). Side B continues the motif: "Pet Sounds" shifts to G major within B♭ while "Here Today" and "Caroline No" employ minor submediants. The sole exception is "God Only Knows", which modulates up a fourth instead of using submediant relations.[178] Lambert adds that while submediant key relations were new to Wilson's "intra-album thematic" approach, earlier Beach Boys albums had featured diverse tonal shifts—one "specific precedent" being "Your Summer Dream" (1963)—and similar techniques had occasionally appeared in contemporaneous pop; however, for Wilson, influenced by jazz harmony, such progressions were habitual.[182] ↩
Fusilli 2005, p. 75. - Fusilli, Jim (2005). Beach Boys' Pet Sounds. Bloomsbury Publishing. ISBN 978-1-4411-1266-8. https://books.google.com/books?id=xVIx8qes4V8C ↩
Lambert 2016, p. 91. - Lambert, Philip (2016). Lambert, Philip (ed.). Good Vibrations: Brian Wilson and the Beach Boys in Critical Perspective. University of Michigan Press. doi:10.3998/mpub.9275965. ISBN 978-0-472-11995-0. S2CID 192796203. https://www.fulcrum.org/concern/monographs/nv935376j ↩
Badman 2004, p. 126. - Badman, Keith (2004). The Beach Boys: The Definitive Diary of America's Greatest Band, on Stage and in the Studio. Backbeat Books. ISBN 978-0-87930-818-6. https://archive.org/details/beachboysdefinit0000badm ↩
Badman 2004, p. 108. - Badman, Keith (2004). The Beach Boys: The Definitive Diary of America's Greatest Band, on Stage and in the Studio. Backbeat Books. ISBN 978-0-87930-818-6. https://archive.org/details/beachboysdefinit0000badm ↩
Badman 2004, pp. 112, 115, 117. - Badman, Keith (2004). The Beach Boys: The Definitive Diary of America's Greatest Band, on Stage and in the Studio. Backbeat Books. ISBN 978-0-87930-818-6. https://archive.org/details/beachboysdefinit0000badm ↩
Badman 2004, p. 122. - Badman, Keith (2004). The Beach Boys: The Definitive Diary of America's Greatest Band, on Stage and in the Studio. Backbeat Books. ISBN 978-0-87930-818-6. https://archive.org/details/beachboysdefinit0000badm ↩
Granata 2003, pp. 130–131. - Granata, Charles L. (2003). Wouldn't it Be Nice: Brian Wilson and the Making of the Beach Boys' Pet Sounds. Chicago Review Press. ISBN 978-1-55652-507-0. https://books.google.com/books?id=eduXp1caQ4YC ↩
Dillon 2012, pp. 24–25. - Dillon, Mark (2012). Fifty Sides of the Beach Boys: The Songs That Tell Their Story. ECW Press. ISBN 978-1-77090-198-8. https://archive.org/details/fiftysidesofbeac0000dill/ ↩
Moorefield 2010, p. 16. - Moorefield, Virgil (2010). The Producer as Composer: Shaping the Sounds of Popular Music. MIT Press. ISBN 978-0-262-13457-6. https://books.google.com/books?id=PZ0R4_Oxr-4C&pg=PA18 ↩
Schinder 2007, p. 114. - Schinder, Scott (2007). "The Beach Boys". In Schinder, Scott; Schwartz, Andy (eds.). Icons of Rock: An Encyclopedia of the Legends Who Changed Music Forever. Westport, Connecticut: Greenwood Press. ISBN 978-0-313-33845-8. https://books.google.com/books?id=chj91X0dWzUC&pg=PT101 ↩
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Slowinski, Craig (2006). "Introduction". beachboysarchives.com. Endless Summer Quarterly. Retrieved May 14, 2022. http://www.beachboysarchives.com/page2 ↩
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"In the Studio". The Pet Sounds Sessions (Booklet). The Beach Boys. Capitol Records. 1997. Archived from the original on April 27, 2022.{{cite AV media notes}}: CS1 maint: others in cite AV media (notes) (link) http://albumlinernotes.com/In_The_Studio.html ↩
Granata 2003, p. 158. - Granata, Charles L. (2003). Wouldn't it Be Nice: Brian Wilson and the Making of the Beach Boys' Pet Sounds. Chicago Review Press. ISBN 978-1-55652-507-0. https://books.google.com/books?id=eduXp1caQ4YC ↩
"Interview with Brian Wilson". The Pet Sounds Sessions (Booklet). The Beach Boys. Capitol Records. 1997. Archived from the original on April 27, 2022.{{cite AV media notes}}: CS1 maint: others in cite AV media (notes) (link) http://albumlinernotes.com/Interview_w_Brian_Wilson.html ↩
Granata 2003, p. 139. - Granata, Charles L. (2003). Wouldn't it Be Nice: Brian Wilson and the Making of the Beach Boys' Pet Sounds. Chicago Review Press. ISBN 978-1-55652-507-0. https://books.google.com/books?id=eduXp1caQ4YC ↩
Wilson retained his musical ideas mentally until recording sessions and rehearsed individual sections rather than full arrangements, leaving the musicians unfamiliar with complete songs until tracking began. Accordionist Frank Marocco recalled the process as initially chaotic, though Wilson consistently unified the elements to match his vision by the session's conclusion. Despite the seemingly improvised workflow, Wilson adhered to pre-session plans developed during hours of solitary piano work.[203] /wiki/Frank_Marocco ↩
"Interview with Brian Wilson". The Pet Sounds Sessions (Booklet). The Beach Boys. Capitol Records. 1997. Archived from the original on April 27, 2022.{{cite AV media notes}}: CS1 maint: others in cite AV media (notes) (link) http://albumlinernotes.com/Interview_w_Brian_Wilson.html ↩
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Granata 2003, p. 140. - Granata, Charles L. (2003). Wouldn't it Be Nice: Brian Wilson and the Making of the Beach Boys' Pet Sounds. Chicago Review Press. ISBN 978-1-55652-507-0. https://books.google.com/books?id=eduXp1caQ4YC ↩
Schinder 2007, p. 114. - Schinder, Scott (2007). "The Beach Boys". In Schinder, Scott; Schwartz, Andy (eds.). Icons of Rock: An Encyclopedia of the Legends Who Changed Music Forever. Westport, Connecticut: Greenwood Press. ISBN 978-0-313-33845-8. https://books.google.com/books?id=chj91X0dWzUC&pg=PT101 ↩
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Linett, Mark (1997). "Notes on Recording and Mixing". The Pet Sounds Sessions (Booklet). The Beach Boys. Capitol Records. Archived from the original on April 27, 2022. /wiki/Mark_Linett ↩
Buskin, Richard (April 2007). "CLASSIC TRACKS: The Ronettes 'Be My Baby'". Sound on Sound. Archived from the original on June 20, 2016. Retrieved August 19, 2014. http://www.soundonsound.com/sos/apr07/articles/classictracks_0407.htm ↩
Smotroff, Mark (June 1996). "Pet Project" (PDF). EQ. Vol. 7, no. 6. Archived from the original (PDF) on December 3, 2014. https://web.archive.org/web/20141203195535/http://lukpac.org:8080/~lukpac/public/EQ%20decrypted.pdf ↩
Moorefield 2010, p. 18. - Moorefield, Virgil (2010). The Producer as Composer: Shaping the Sounds of Popular Music. MIT Press. ISBN 978-0-262-13457-6. https://books.google.com/books?id=PZ0R4_Oxr-4C&pg=PA18 ↩
Linett, Mark (1997). "Notes on Recording and Mixing". The Pet Sounds Sessions (Booklet). The Beach Boys. Capitol Records. Archived from the original on April 27, 2022. /wiki/Mark_Linett ↩
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Slowinski, Craig. "Pet Sounds LP". beachboysarchives.com. Endless Summer Quarterly. Archived from the original on September 24, 2018. Retrieved September 24, 2018. http://www.beachboysarchives.com/page10 ↩
Hoskyns 2009, p. 106. - Hoskyns, Barney (2009). Waiting for the Sun: A Rock 'n' Roll History of Los Angeles. Backbeat Books. ISBN 978-0-87930-943-5. https://books.google.com/books?id=w7oB2UKVxgQC ↩
Bogdanov, Woodstra & Erlewine 2002, p. 72. - Bogdanov, Vladimir; Woodstra, Chris; Erlewine, Stephen Thomas, eds. (2002). All Music Guide to Rock: The Definitive Guide to Rock, Pop, and Soul. Backbeat Books. ISBN 978-0-87930-653-3. https://books.google.com/books?id=1-pH4i3jXvAC ↩
Doe & Tobler 2009, p. 20. - Doe, Andrew; Tobler, John (2009). "The Beach Boys – Pet Sounds – May 1966". In Charlesworth, Chris (ed.). 25 Albums that Rocked the World. Omnibus Press. ISBN 978-0-85712-044-1. https://books.google.com/books?id=TGreXZIq1RgC&pg=PT19 ↩
Umphred 1997, p. 31. - Umphred, Neal (1997). "Let's Go Away for Awhile: The Continuing Saga of Brian Wilson's Pet Sounds". In Abbott, Kingsley (ed.). Back to the Beach: A Brian Wilson and the Beach Boys Reader. Helter Skelter. ISBN 978-1-90092-402-3. https://archive.org/details/backtobeachbrian0000unse/ ↩
White 1996, p. 254. - White, Timothy (1996). The Nearest Faraway Place: Brian Wilson, the Beach Boys, and the Southern Californian Experience. Macmillan. ISBN 0333649370. https://archive.org/details/nearestfarawaypl0000whit/ ↩
Badman 2004, p. 111. - Badman, Keith (2004). The Beach Boys: The Definitive Diary of America's Greatest Band, on Stage and in the Studio. Backbeat Books. ISBN 978-0-87930-818-6. https://archive.org/details/beachboysdefinit0000badm ↩
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Gaines 1986, p. 149. - Gaines, Steven (1986). Heroes and Villains: The True Story of The Beach Boys. New York: Da Capo Press. ISBN 0306806479. https://archive.org/details/heroesvillainsth00gain ↩
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Wilson, Dennis (November 1976). "WNEW-FM" (Interview: Audio). Interviewed by Pete Fornatale. New York City.; Dennis Wilson – Pete Fornatale Interview 1976 on YouTube https://www.youtube.com/watch?v=cVItbEJBkJM ↩
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Love 2016, p. 131. - Love, Mike (2016). Good Vibrations: My Life as a Beach Boy. Penguin Publishing Group. ISBN 978-0-698-40886-9. https://books.google.com/books?id=ioG0CwAAQBAJ ↩
Jardine described Love as "very confused" by the album's direction, calling him a "formula hound" dependent on clear hooks.[226] /wiki/Hook_(music) ↩
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Carlin 2006, p. 83. - Carlin, Peter Ames (2006). Catch a Wave: The Rise, Fall, and Redemption of the Beach Boys' Brian Wilson. Rodale. ISBN 978-1-59486-320-2. https://books.google.com/books?id=eYyovo_AbqAC ↩
Kent 2009, p. 22. - Kent, Nick (2009). "The Last Beach Movie Revisited: The Life of Brian Wilson". The Dark Stuff: Selected Writings on Rock Music. Da Capo Press. ISBN 9780786730742. https://books.google.com/books?id=bPMO0CtuBAsC&pg=PA12 ↩
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Leaf, David (Director) (2004). Beautiful Dreamer: Brian Wilson and the Story of Smile (Documentary). /wiki/Beautiful_Dreamer:_Brian_Wilson_and_the_Story_of_Smile ↩
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Cromelin, Richard (October 1976). "Surf's Up! Brian Wilson Comes Back From Lunch". Creem. /wiki/Creem ↩
Umphred 1997, p. 32. - Umphred, Neal (1997). "Let's Go Away for Awhile: The Continuing Saga of Brian Wilson's Pet Sounds". In Abbott, Kingsley (ed.). Back to the Beach: A Brian Wilson and the Beach Boys Reader. Helter Skelter. ISBN 978-1-90092-402-3. https://archive.org/details/backtobeachbrian0000unse/ ↩
Love 2016, p. 135. - Love, Mike (2016). Good Vibrations: My Life as a Beach Boy. Penguin Publishing Group. ISBN 978-0-698-40886-9. https://books.google.com/books?id=ioG0CwAAQBAJ ↩
Cromelin, Richard (October 1976). "Surf's Up! Brian Wilson Comes Back From Lunch". Creem. /wiki/Creem ↩
Leaf 1978, pp. 85–86. - Leaf, David (1978). The Beach Boys and the California Myth. New York: Grosset & Dunlap. ISBN 978-0-448-14626-3. https://archive.org/details/beachboyscalifor00leaf ↩
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Loren Schwartz, who introduced Wilson to LSD, later reflected that Wilson experienced "the full-on ego death. It was a beautiful thing."[281] /wiki/Ego_death ↩
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Asher said, "'Here Today' contains a little more of me both lyrically and melodically than Brian."[29] ↩
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Lambert 2008, p. 130. - Lambert, Philip (March 2008). "Brian Wilson's Pet Sounds". Twentieth-Century Music. 5 (1). Cambridge University Press: 109–133. doi:10.1017/S1478572208000625. S2CID 162871617. https://www.academia.edu/17300178 ↩
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Elliott, Brad (August 31, 1999). "Pet Sounds Track Notes". beachboysfanclub.com. Archived from the original on January 24, 2009. Retrieved March 3, 2009. http://www.bradelliott.com/writings/ps2.html ↩
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Umphred 1997, p. 36. - Umphred, Neal (1997). "Let's Go Away for Awhile: The Continuing Saga of Brian Wilson's Pet Sounds". In Abbott, Kingsley (ed.). Back to the Beach: A Brian Wilson and the Beach Boys Reader. Helter Skelter. ISBN 978-1-90092-402-3. https://archive.org/details/backtobeachbrian0000unse/ ↩
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Badman 2004, p. 102. - Badman, Keith (2004). The Beach Boys: The Definitive Diary of America's Greatest Band, on Stage and in the Studio. Backbeat Books. ISBN 978-0-87930-818-6. https://archive.org/details/beachboysdefinit0000badm ↩
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In "Dick", Carol asks Wilson, "What's long and thin and full of skin and heaven knows how many holes it's been in?", then responds to Wilson's guess ("Dick?") with, "No, a worm", followed by both individuals bursting into forced laughter. Wilson requested six retakes.[69] ↩
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Zevely, Jeff (February 9, 2021). "Discovered: Lost footage of Beach Boys at the San Diego Zoo in 1966". Archived from the original on April 18, 2021. Retrieved March 31, 2021. https://www.cbs8.com/article/news/local/zevely-zone/lost-footage-beach-boys-san-diego-zoo/509-2a90313f-8b22-425a-80f5-a12c381deceb ↩
Granata 2003, p. 165. - Granata, Charles L. (2003). Wouldn't it Be Nice: Brian Wilson and the Making of the Beach Boys' Pet Sounds. Chicago Review Press. ISBN 978-1-55652-507-0. https://books.google.com/books?id=eduXp1caQ4YC ↩
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 an audibly startled Britz responds, "I beg your pardon?", with Brian then pleading, "Honest to God, now, the horse is tame and everything!"[322] ↩
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In the 1990s, Brian attributed the title to Carl.[325][238] ↩
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Kent 2009, p. 23. - Kent, Nick (2009). "The Last Beach Movie Revisited: The Life of Brian Wilson". The Dark Stuff: Selected Writings on Rock Music. Da Capo Press. ISBN 9780786730742. https://books.google.com/books?id=bPMO0CtuBAsC&pg=PA12 ↩
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"The Observers: Marilyn Wilson". The Pet Sounds Sessions (Booklet). The Beach Boys. Capitol Records. 1997. Archived from the original on April 27, 2022.{{cite AV media notes}}: CS1 maint: others in cite AV media (notes) (link) http://albumlinernotes.com/Marilyn_Wilson_Comments.html ↩
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According to Love, "I was with Brian when we went up to Capitol to play the album for Karl. He was a heck of a nice guy, and even though he liked Pet Sounds a lot, he asked if we couldn't make more records like the old [surf] stuff."[330] ↩
Badman 2004, p. 131. - Badman, Keith (2004). The Beach Boys: The Definitive Diary of America's Greatest Band, on Stage and in the Studio. Backbeat Books. ISBN 978-0-87930-818-6. https://archive.org/details/beachboysdefinit0000badm ↩
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Butler 2012, pp. 231–232. - Butler, Jan (2012). "The Beach Boys' Pet Sounds and the Musicology of Record Production". In Frith, Simon; Zagorski-Thomas, Simon (eds.). The Art of Record Production: An Introductory Reader for a New Academic Field. Ashgate Publishing. ISBN 978-1-4094-0678-5. https://books.google.com/books?id=KZjVCQAAQBAJ&pg=PA231 ↩
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Boehlert, Eric (March 10, 2000). "Lost Paperwork to Blame for 'Pet Sounds' Meager Sales Numbers". Rolling Stone. New York, New York. Archived from the original on November 4, 2018. Retrieved December 21, 2016. https://www.rollingstone.com/music/news/lost-paperwork-to-blame-for-pet-sounds-meager-sales-numbers-20000310 ↩
Capitol executive Mike Etchart speculated the album had likely reached double-platinum status (two million sales) in the U.S., attributing discrepancies to incomplete archival records and complications from licensing agreements with Warner Bros. in the late 1960s.[344] /wiki/Warner_Bros._Records ↩
Boehlert, Eric (March 10, 2000). "Lost Paperwork to Blame for 'Pet Sounds' Meager Sales Numbers". Rolling Stone. New York, New York. Archived from the original on November 4, 2018. Retrieved December 21, 2016. https://www.rollingstone.com/music/news/lost-paperwork-to-blame-for-pet-sounds-meager-sales-numbers-20000310 ↩
The label initially withdrew its certification request when unable to locate historical sales figures but later submitted partial data from the prior 15 years, resulting in a gold certification for approximately 670,000 units sold. RIAA awarded account for shipments to retailers, differing from SoundScan's tracking of individual sales, which reported 210,000 copies sold between 1991 and 2000.[344] /wiki/SoundScan ↩
"Comments by Carl Wilson". The Pet Sounds Sessions (Booklet). The Beach Boys. Capitol Records. 1997. Archived from the original on April 27, 2022.{{cite AV media notes}}: CS1 maint: others in cite AV media (notes) (link) http://albumlinernotes.com/Comments_by_Carl_Wilson.html ↩
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Badman 2004, pp. 130–131. - Badman, Keith (2004). The Beach Boys: The Definitive Diary of America's Greatest Band, on Stage and in the Studio. Backbeat Books. ISBN 978-0-87930-818-6. https://archive.org/details/beachboysdefinit0000badm ↩
The first video was shot at Brian's Laurel Way residence with Dennis as cameraman; the second, filmed near Lake Arrowhead, depicted the band (excluding Johnston) wearing grotesque horror masks while playing Old Maid.[351] /wiki/Lake_Arrowhead,_California ↩
Badman 2004, pp. 130–131. - Badman, Keith (2004). The Beach Boys: The Definitive Diary of America's Greatest Band, on Stage and in the Studio. Backbeat Books. ISBN 978-0-87930-818-6. https://archive.org/details/beachboysdefinit0000badm ↩
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Dillon 2012, p. 100. - Dillon, Mark (2012). Fifty Sides of the Beach Boys: The Songs That Tell Their Story. ECW Press. ISBN 978-1-77090-198-8. https://archive.org/details/fiftysidesofbeac0000dill/ ↩
Dillon 2012, pp. 102, 104. - Dillon, Mark (2012). Fifty Sides of the Beach Boys: The Songs That Tell Their Story. ECW Press. ISBN 978-1-77090-198-8. https://archive.org/details/fiftysidesofbeac0000dill/ ↩
Dillon 2012, pp. 107. - Dillon, Mark (2012). Fifty Sides of the Beach Boys: The Songs That Tell Their Story. ECW Press. ISBN 978-1-77090-198-8. https://archive.org/details/fiftysidesofbeac0000dill/ ↩
Lambert 2007, p. 324. - Lambert, Philip (2007). Inside the Music of Brian Wilson: The Songs, Sounds, and Influences of the Beach Boys' Founding Genius. Bloomsbury Publishing. ISBN 978-1-4411-0748-0. https://books.google.com/books?id=3sGoAwAAQBAJ ↩
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Comerford, Will (May 10, 2000). "Brian Wilson To Perform Pet Sounds With Symphony Orchestra". MTV. Archived from the original on March 26, 2022. https://web.archive.org/web/20220326214150/http://www.mtv.com/news/871917/brian-wilson-to-perform-pet-sounds-with-symphony-orchestra/ ↩
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Greene, Andy (October 16, 2013). "Brian Wilson Pulls Off a Surprise 'Pet Sounds' Show in New York". Rolling Stone. Archived from the original on December 15, 2018. Retrieved October 28, 2013. https://www.rollingstone.com/music/news/brian-wilson-pulls-off-a-surprise-pet-sounds-show-in-new-york-20131016 ↩
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Lynskey, Dorian (May 16, 2016). "Brian Wilson Entrances Bristol on Eve of 'Pet Sounds' 50th Anniversary". Rolling Stone. Archived from the original on December 28, 2021. https://www.rollingstone.com/music/live-reviews/brian-wilson-entrances-bristol-on-eve-of-pet-sounds-50th-anniversary-20160516 ↩
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English record producer Bobby Irwin echoed that Wilson's integration of songwriting, arranging, and studio experimentation set a new precedent, stating that "no one was doing what Brian was doing" in the contemporary pop landscape.[406] /wiki/Bobby_Irwin ↩
Greene 2010, p. 155. - Greene, John Robert (2010). America in the Sixties. Syracuse University Press. ISBN 978-0-8156-5133-8. https://books.google.com/books?id=RY5JKjL7VBEC ↩
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Guriel, Jason (May 16, 2016). "How Pet Sounds Invented the Modern Pop Album". The Atlantic. Archived from the original on May 20, 2022. https://www.theatlantic.com/entertainment/archive/2016/05/how-pet-sounds-invented-the-modern-pop-album/482940/ ↩
Guriel further characterizes the work as a catalyst to the concept of high-stakes, album-length statements, exemplified by artists such as Kanye West, whose releases had generated widespread cultural discourse: "Wilson brought an ambition to pop that it hadn't previously known and helped make heroes out of producers."[10] ↩
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Charlie Gillett observed that the album's "naïve innocence" diverged from the skepticism permeating contemporary works by Dylan, the Beatles, and the Stones,[411] whereas Jon Savage saw that Pet Sounds preserved emotional sincerity amid cultural shifts, contrasting the Rolling Stones' "icy mod cool" with its tender vulnerability.[362] /wiki/Charlie_Gillett ↩
Jones 2008, p. 57. - Jones, Carys Wyn (2008). The Rock Canon: Canonical Values in the Reception of Rock Albums. Ashgate Publishing, Ltd. ISBN 978-0-7546-6244-0. https://books.google.com/books?id=rdC3n62ArX8C ↩
According to Jones, the interplay between the two bands during this era remains one of the most noteworthy episodes in rock history.[421] ↩
Howard 2004, p. 64. - Howard, David N. (2004). Sonic Alchemy: Visionary Music Producers and Their Maverick Recordings (1 ed.). Milwaukee, Wisconsin: Hal Leonard. ISBN 978-0-63405-560-7. https://books.google.com/books?id=O0VMAgAAQBAJ ↩
Granata 2003, pp. 197–199, 227. - Granata, Charles L. (2003). Wouldn't it Be Nice: Brian Wilson and the Making of the Beach Boys' Pet Sounds. Chicago Review Press. ISBN 978-1-55652-507-0. https://books.google.com/books?id=eduXp1caQ4YC ↩
Zak 2001, p. 209. - Zak, Albin (2001). Poetics of Rock: Cutting Tracks, Making Records. University of California Press. ISBN 978-0-520-92815-2. https://books.google.com/books?id=DJM6FgvlWw0C ↩
Jones 2008, p. 74. - Jones, Carys Wyn (2008). The Rock Canon: Canonical Values in the Reception of Rock Albums. Ashgate Publishing, Ltd. ISBN 978-0-7546-6244-0. https://books.google.com/books?id=rdC3n62ArX8C ↩
Granata 2003, pp. 194, 197–199, 227. - Granata, Charles L. (2003). Wouldn't it Be Nice: Brian Wilson and the Making of the Beach Boys' Pet Sounds. Chicago Review Press. ISBN 978-1-55652-507-0. https://books.google.com/books?id=eduXp1caQ4YC ↩
Jones 2008, p. 57. - Jones, Carys Wyn (2008). The Rock Canon: Canonical Values in the Reception of Rock Albums. Ashgate Publishing, Ltd. ISBN 978-0-7546-6244-0. https://books.google.com/books?id=rdC3n62ArX8C ↩
According to Larry Starr, the "historical importance" of Pet Sounds is "certified" by McCartney's admission that it served as "the single greatest influence" on Sgt. Pepper.[93] John Covach states that "Pet Sounds "prodded the Beatles to experiment more radically" with Sgt. Pepper,[408] while David Howard writes, "Undeniably, the song-cycle construction of Pet Sounds was the catalyst" for the Beatles' album.[91] ↩
Granata 2003, pp. 197–199. - Granata, Charles L. (2003). Wouldn't it Be Nice: Brian Wilson and the Making of the Beach Boys' Pet Sounds. Chicago Review Press. ISBN 978-1-55652-507-0. https://books.google.com/books?id=eduXp1caQ4YC ↩
Brend 2005, p. 122. - Brend, Mark (2005). Strange Sounds: Offbeat Instruments and Sonic Experiments in Pop. Backbeat. ISBN 9780879308551. https://books.google.com/books?id=m6KRDxYOp4UC ↩
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'."[429] 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."[374] Lambert observes that the structural key relationships in Pet Sounds parallel those Walter Everett identified in Sgt. Pepper, particularly the recurring use of B♭ as a tonic key in four of six songs within the album's latter half.[178] /wiki/With_a_Little_Help_from_My_Friends ↩
Granata 2003, p. 198. - Granata, Charles L. (2003). Wouldn't it Be Nice: Brian Wilson and the Making of the Beach Boys' Pet Sounds. Chicago Review Press. ISBN 978-1-55652-507-0. https://books.google.com/books?id=eduXp1caQ4YC ↩
Badman 2004, p. 135. - Badman, Keith (2004). The Beach Boys: The Definitive Diary of America's Greatest Band, on Stage and in the Studio. Backbeat Books. ISBN 978-0-87930-818-6. https://archive.org/details/beachboysdefinit0000badm ↩
George Harrison reflected that the group had felt threatened by the album.[431] Asked in 1966 for the musical person he most admired, Lennon named Wilson.[432] Singer Tony Rivers recalled "talking to John for about 20 minutes at the NEMS Enterprises Christmas party one year. And the main part of the conversation was the Beach Boys, and how great they were."[419] ↩
Covach 2015, pp. 200–202. - Covach, John Rudolph (2015) [2006]. What's That Sound? An Introduction to Rock and Its History (4th ed.). New York: W. W. Norton & Company. ISBN 9780393937251. https://archive.org/details/whatsthatsoundin0000cova_c9t1/ ↩
Greene 2010, p. 155. - Greene, John Robert (2010). America in the Sixties. Syracuse University Press. ISBN 978-0-8156-5133-8. https://books.google.com/books?id=RY5JKjL7VBEC ↩
Greene further cites songs such as "Good Vibrations", Jefferson Airplane's "White Rabbit" and Jimi Hendrix's "Purple Haze" as later works influenced by the experimental trajectories initiated by Pet Sounds and the Beatles' "Tomorrow Never Knows".[433] /wiki/White_Rabbit ↩
"Pet Sounds". Cue. 40 (27). 1971. https://books.google.com/books?id=EwgwAQAAIAAJ ↩
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."[435] ↩
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Stanley 2013, pp. 178–179. - Stanley, Bob (2013). Yeah Yeah Yeah: The Story of Modern Pop. Faber & Faber. ISBN 978-0-571-28198-5. https://books.google.com/books?id=9emZAAAAQBAJ&pg=PT221 ↩
Granata 2003, p. 238. - Granata, Charles L. (2003). Wouldn't it Be Nice: Brian Wilson and the Making of the Beach Boys' Pet Sounds. Chicago Review Press. ISBN 978-1-55652-507-0. https://books.google.com/books?id=eduXp1caQ4YC ↩
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Forever Changes was recorded at Sunset Sound, the same studio that hosted the recording for "Here Today", and shared much of the same personnel as Pet Sounds, including the Wrecking Crew and studio staff engineer Bruce Botnick.[451] ↩
Hoskyns 2009, p. 127. - Hoskyns, Barney (2009). Waiting for the Sun: A Rock 'n' Roll History of Los Angeles. Backbeat Books. ISBN 978-0-87930-943-5. https://books.google.com/books?id=w7oB2UKVxgQC ↩
Hoskyns described Present Tense as "a psych-pop masterpiece" with a "weirdness" parallel to Forever Changes.[450] ↩
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Reed, Ryan (November 20, 2019). "A Guide to Progressive Pop". Tidal. Archived from the original on March 8, 2022. https://tidal.com/magazine/article/a-guide-to-progressive-pop/1-57187 ↩
Stanley 2013, p. 214. - Stanley, Bob (2013). Yeah Yeah Yeah: The Story of Modern Pop. Faber & Faber. ISBN 978-0-571-28198-5. https://books.google.com/books?id=9emZAAAAQBAJ&pg=PT221 ↩
Starr 2007, p. 330. - Starr, Larry (2007) [2006]. American Popular Music: From Minstrelsy to MP3 (2nd ed.). New York: Oxford University Press. ISBN 9780195300536. https://archive.org/details/americanpopularm0000star_k8g4/ ↩
According to critic Gary Graff, the album was pivotal in ushering in the "album era" of the late 1960s, alongside Dylan's Highway 61 Revisited (1965) and Blonde on Blonde,[455] whereas Stanley cites Pet Sounds alongside The Freewheelin' Bob Dylan (1963) and Rubber Soul.[453] /wiki/Gary_Graff ↩
Sommer, Tim (May 16, 2016). "This Is Your Brain on 'Pet Sounds'". The Observer. Archived from the original on May 10, 2021. /wiki/Tim_Sommer ↩
Hoskyns contrasted Pet Sounds with Rubber Soul, stating that while the latter signaled pop music's maturation, Pet Sounds represented a "quantum leap into the unknown".[456] ↩
Doggett 2016, p. 372. - Doggett, Peter (2016). Electric Shock: From the Gramophone to the iPhone: 125 years of Pop Music. London: Vintage. ISBN 9780099575191. https://archive.org/details/electricshockfro0000dogg_d7a6/ ↩
Howard 2004, p. 64. - Howard, David N. (2004). Sonic Alchemy: Visionary Music Producers and Their Maverick Recordings (1 ed.). Milwaukee, Wisconsin: Hal Leonard. ISBN 978-0-63405-560-7. https://books.google.com/books?id=O0VMAgAAQBAJ ↩
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."[151] According to Fusilli, it raised itself to "the level of art through its musical sophistication and the precision of its statement".[457] /wiki/Leonard_Bernstein ↩
Nolan, Tom (February 18, 1968). "How Goes It Underground?". Los Angeles Times. https://www.rocksbackpages.com/Library/Article/how-goes-it-underground ↩
Asked in a 1968 interview about the Beatles' role in rock's "progress toward an art form", Led Zeppelin founder Jimmy Page responded, "I think the Beach Boys tried to do it first. I think there were lots of Beach Boy things on the Revolver album. Especially, the vocal harmony. Wilson really said a lot in his Pet Sounds album."[459] Pet Sounds is viewed as the first work of art rock by Leaf,[134] Jones,[133] and Frith.[460] Rolling Stone writers described the album as heralding the art rock of the 1970s.[461] Academic Michael Johnson said that the album was one of the first documented moments of ascension in rock music.[462] Bill Holdship said that it was "perhaps rock's first example of self-conscious art".[463] /wiki/Led_Zeppelin ↩
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Reed also noted Wilson's fusion of symphonic arrangements with "breezy melodies", inspired by Spector, and acknowledged the Beatles' contributions through works like Sgt. Pepper.[126] ↩
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According to Stanley, though works such as Pet Sounds, Sgt. Pepper, and Webb's "MacArthur Park" (1968) had offered potential blueprints for 1970s music, their approaches were later "junked" by the music world at large.[470] /wiki/MacArthur_Park ↩
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Leas, Ryan (August 5, 2016). "Tomorrow Never Knows: How 1966's Trilogy Of Pet Sounds, Blonde On Blonde, And Revolver Changed Everything". Stereogum. Archived from the original on April 15, 2022. http://www.stereogum.com/1892600/tomorrow-never-knows-how-1966s-trilogy-of-pet-sounds-blonde-on-blonde-and-revolver-changed-everything/franchises/sounding-board/ ↩
Mervis, Scott (August 26, 2016). "Concert review: Brian Wilson and company re-create the magic of 'Pet Sounds'". Pittsburgh Post-Gazette. Archived from the original on November 18, 2018. http://www.post-gazette.com/ae/music/2016/08/26/Brian-Wilson-and-Company-expertly-re-create-the-classic-Pet-Sounds-pittsburgh/stories/201608260188 ↩
In addition to "chamber pop", critics and enthusiasts have sometimes described the orchestral-rock fusion style epitomized by Pet Sounds using terms such as symphonic pop and ork-pop (short for "orchestral pop").[478] /wiki/Symphonic_pop ↩
DeRogatis 2003, p. 39. - DeRogatis, Jim (2003). Turn On Your Mind: Four Decades of Great Psychedelic Rock. Hal Leonard Corporation. ISBN 978-0-634-05548-5. https://books.google.com/books?id=U7cQmRsLgN8C ↩
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Hart, Ron (April 12, 2016). "The Beach Boys' Pet Sounds Celebrates its 50th Anniversary: Artists Pay Tribute to the Eternal Teenage Symphony". Pitchfork. Archived from the original on March 9, 2022. http://pitchfork.com/features/article/9870-the-beach-boys-pet-sounds-celebrates-its-50th-anniversary-artists-pay-tribute-to-the-eternal-teenage-symphony/ ↩
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Further tribute albums have included 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).[492] /wiki/Do_It_Again:_A_Tribute_to_Pet_Sounds ↩
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Hip-hop producer Questlove recalled that the Beach Boys had been unfashionable among black teenagers in the 1980s, and in the late 1990s, Detroit hip-hop artists including J Dilla mocked his admiration for Pet Sounds before later recognizing its merits.[494] /wiki/Questlove ↩
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Hart, Ron (April 12, 2016). "The Beach Boys' Pet Sounds Celebrates its 50th Anniversary: Artists Pay Tribute to the Eternal Teenage Symphony". Pitchfork. Archived from the original on March 9, 2022. http://pitchfork.com/features/article/9870-the-beach-boys-pet-sounds-celebrates-its-50th-anniversary-artists-pay-tribute-to-the-eternal-teenage-symphony/ ↩
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Additional musicians who have praised Pet Sounds have included Burt Bacharach, Carole King, Roger McGuinn, Randy Newman, Jeff Beck, David Gilmour, Daryl Hall, Elton John, Alice Cooper, Jackson Browne, Eric Carmen, Lindsey Buckingham, Ann Wilson, Tom Petty, Stephen Bishop, Elvis Costello, Billy Idol, and Gustavo Dudamel.[499] /wiki/Carole_King ↩
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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".[334] /wiki/The_Anita_Kerr_Singers ↩
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