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Pet Sounds is the eleventh studio album by the American rock band the Beach Boys, released on May 16, 1966 by Capitol Records. It was initially met with a lukewarm critical and commercial response in the United States, peaking at number 10 on the Billboard Top LPs chart. In the United Kingdom, the album was lauded by critics and reached number 2 on the Record Retailer chart, remaining in the top ten for six months. Promoted there as "the most progressive pop album ever", Pet Sounds was recognized for its ambitious production, sophisticated music, and emotional lyrics. It is considered to be among the greatest and most influential albums in music history.[1]
Pet Sounds revolutionized music production and the role of professional record producers, especially through Wilson's pioneering studio-as-instrument praxis. The record helped inspire the cultural legitimization of popular music, a greater public appreciation for albums, the popularity of synthesizers, and the development of psychedelic music and progressive/art rock. It also introduced novel approaches to orchestration, chord voicings, and structural harmonies; for example, most of the compositions feature a weak tonal center, rendering their key signatures ambiguous. Although it had been widely revered by industry insiders, the album was obscure to mass audiences before being reissued in the 1990s, after which it topped several critics' and musicians' polls for the best album of all time, including those published by NME, Mojo, Uncut, and The Times. In 2004, it was inducted into the National Recording Registry by the Library of Congress. An expanded reissue, The Pet Sounds Sessions, was released in 1997 with isolated vocals and instrumental versions, session highlights, and the album's first true stereo mix. Pet Sounds is certified platinum by the RIAA, indicating over one million units sold, and has ranked consistently as the highest rated album on Acclaimed Music since 2004. .mw-parser-output .toclimit-2 .toclevel-1 ul,.mw-parser-output .toclimit-3 .toclevel-2 ul,.mw-parser-output .toclimit-4 .toclevel-3 ul,.mw-parser-output .toclimit-5 .toclevel-4 ul,.mw-parser-output .toclimit-6 .toclevel-5 ul,.mw-parser-output .toclimit-7 .toclevel-6 ul{display:none}
On July 12, Wilson recorded a backing track for "Sloop John B", but after laying down a rough lead vocal, he set the song aside for some time, concentrating on the recording of what became their next LP, the informal studio jam Beach Boys' Party!, in response to their record company Capitol's request for a Beach Boys album for the Christmas 1965 market.[11] In October, Wilson and his wife, 17-year-old singer Marilyn Rovell, moved from a rented apartment in West Hollywood to a home on Laurel Way in Beverly Hills,[12] where he said he spent the subsequent months contemplating "the new direction of the group".[13]
With Pet Sounds, Wilson desired to make "a complete statement", similar to what he believed the Beatles had done with their newest album Rubber Soul, released in December 1965.[40] The version of the album that he heard was the alternate American edition, whose track listing had been configured by Capitol to have a cohesive folk rock sound.[43] Wilson was impressed that the album appeared to lack filler, a feature that was mostly unheard of at a time when more attention was afforded to 45 rpm singles than to full-length LPs.[44][45] Most albums up until the mid-1960s were largely used to sell singles at a higher price point.[44][nb 8] Wilson found that Rubber Soul subverted this by having a wholly consistent thread of music.[44][45][nb 9] Inspired, he rushed to his wife and proclaimed, "Marilyn, I'm gonna make the greatest album! The greatest rock album ever made!"[48]
According to biographer Jon Stebbins, "Brian defies any notion of genre safety [...] There isn't much rocking here, and even less rolling. Pet Sounds is at times futuristic, progressive, and experimental. [...] there's no boogie, no woogie, and the only blues are in the themes and in Brian's voice."[77] Bruce Johnston identified "a tremendous amount" of noticeable doo-wop and R&B influences.[99] Journalist D. Strauss challenged the notion of whether Pet Sounds should be regarded as rock music. He argued that the album's quality and subversion of rock traditions is "what created its special place in rock history; there was no category for its fans to place it in [...] But placed within the Easy Listening genre-i.e., elevator music-it becomes a historically grounded, if incredibly ambitious, release."[100]
Pet Sounds is often considered to be psychedelic rock,[86] but many commentators hesitate to name the Beach Boys in discussions of psychedelic music.[82] For example, in his book The Acid Trip: A Complete Guide to Psychedelic Music, Vernon Joyson agreed that Pet Sounds contained psychedelic gestures, but chose not to devote significant coverage to the album because he felt that the Beach Boys had "essentially predated the psychedelic era".[105] In the belief of cultural historian Dale Carter, the album's psychedelic qualities are proven through rich "sonic textures", "greater fluidity, elaboration, and formal complexity", "the introduction of new (combinations of) instruments, multiple keys, and/or floating tonal centers", and the occasional use of "slower, more hypnotic tempos".[106]
Among other reasons given for the album's perceived psychedelic quality, DeRogatis writes that the repeated listening value is similar to a heightened psychedelic awareness, elaborating that its melodies "continue to reveal themselves after dozens of listens, just as previously unnoticed corners of the world reveal themselves during the psychedelic experience".[110] Musician Sean Lennon opined that "psychedelic music is a term that pretty much refers to these sort of epic, ambitious long-form records [...] the reason Pet Sounds is considered a psychedelic journey or whatever is because it's like opening a door and stepping through and entering another world and you're in that other world for a period of time and then you come back."[111]
It is sometimes suggested that Pet Sounds tells a story about the unraveling of a romantic relationship.[136] Author Scott Schinder argued that Wilson and Asher crafted a song cycle about "the emotional challenges accompanying the transition from youth to adulthood", supplemented with "a series of intimate, hymn-like love songs".[137] Even though Pet Sounds has a virtually unified theme in its emotional content, there was no intended narrative.[138] Asher said that there were no conversations between him and Wilson that pertained to any specific album "concept", however, "that's not to say that [Brian] didn't have the capacity to steer it in that direction, even unconsciously."[18] Musicologist Philip Lambert argued that Wilson must have intended the album to have a narrative framework due to the likelihood of his familiarity with similar "theme albums" by Frank Sinatra and the Four Freshmen.[139]
Pet Sounds is sometimes considered a Brian Wilson solo album,[177][178][179] including by Wilson himself, who later referred to it as his "first solo album" and "a chance to step outside the group and shine".[180] With the exception of Mike Love, who had been previewed tracks over the phone by Wilson, the other members were not consulted on any aspect of the record.[181][nb 29] When they returned to the studio on February 9,[182] they were presented with a substantial portion of the album, with music that was in many ways a jarring departure from their earlier style.[183]
Another concern among his bandmates, according to Brian, was whether he would leave the group and pursue a solo career. Brian said, "it was generally considered that the Beach Boys were the main thing [...] with Pet Sounds, there was a resistance in that I was doing most of the artistic work on it vocally".[198][nb 32] Love wrote that he "would have liked to have had a greater hand in some of the songs and been able to incorporate more often my 'lead voice,' which we'd had so much success with."[200] Brian acknowledged that he had taken up most of the vocals "because I thought, in a way, I wanted people to know it was more of a Brian Wilson album than a Beach Boys album."[201] He said the conflicts were resolved when his bandmates "figured that it was a showcase for Brian Wilson, but it's still the Beach Boys. In other words, they gave in. They let me have my little stint."[198][202]
"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.[257]
In late 1965, Wilson devoted some Pet Sounds sessions to experimental indulgences such as an extended a cappella run-through of the children's song "Row, Row, Row Your Boat" that exploited the song's use of rounds.[256] Granata called the piece "very low-key and relatively simple", but an "effectively lavish layer of recorded vocal harmonies".[267] Humorous skits and sound effects were also recorded in an attempt to create a psychedelic comedy album.[256] At least two sketches survive, "Dick" and "Fuzz", which feature Brian, a woman named Carol, and the Honeys, a girl group that included Marilyn. These recordings remain unreleased.[59]
"Dick" involves an exchange between Brian and Carol: "What's long and thin and full of skin and heaven knows how many holes it's been in?" "Dick?" "No, a worm."[59] The participants then burst into forced laughter. According to documentarian Keith Badman, "Just as with his music, Brian insists on perfection for 'Dick' and [six] further takes are made by Carol to tell the joke."[59] "Fuzz" involves a similar joke: "What's black and white and has fuzz inside?" "A lorry?" "A police car."[59] Carol then asks Wilson if he has hemorrhoids: "No." "Well let me shake your hand." "Why?" "It's really great knowing a perfect asshole."[59] 2b1af7f3a8