In truth, the billing is rather misleading as the only Beach Boy to play an instrument on the album was creative genius, Brian Wilson. Under the direction of Brian, a host of renowned session musicians, provided the main musical accompaniment while the rest of The Beach Boys laid down the vocal tracks. However it was recorded and produced, the album has regularly featured in a variety of music polls as the best, or at least one of the best albums, of the 20th century and it has often been hailed as the album that inspired The Beatles to spend more time in the studio in the making of their 'masterpiece', 'Sgt Pepper's Lonely Hearts Club Band'. Ironically, Brian Wilson claimed that he himself had been influenced to create 'Pet Sounds' after hearing The Beatles' 'Rubber Soul'.
The sessions for 'Pet Sounds' began as early as July 1965 when work commenced on the instrumental parts of the West Indian traditional song, 'Sloop John B'. (It was originally known as 'The John B Sails'). The idea for recording this song had been brought to Brian Wilson by fellow Beach Boy, Al Jardine. Despite work starting in July, the vocals would not be added until November of that year and work on the remainder of 'Pet Sounds' would not begin in earnest until between January and March of 1966. The musicians involved in these sessions are simply too numerous to mention here and no accurate record exists as to who played on which session. Also it should be remembered that these musicians were the absolute cream of the L.A. music scene at that time and as such they were much in demand and consequently played on scores of sessions during the 1960's. Most of them have therefore been unable to recall which 'Pet Sounds' sessions they were involved with.
Yet it is the instrumentation of this album which really sets it apart from others which were being recorded and released at that time. Forsaking the basic line up of guitars, bass and drums, 'Pet Sounds' features an array of orthodox and very unorthodox musical instruments and sounds ranging from whistles to bicycle bells to Coca-Cola cans. Coupled with the superb production, this makes for a very different sounding album to what people had been listening to.
Lyrically also, this album was different from previous Beach Boys records. The sensitive Brian Wilson had grown tired of and was no longer satisfied with writing the youthful, hedonistic surfing songs they had become famous for. Consequently he began writing more about his own emotional experiences resulting in his collaboration with British born Tony Asher, who Wilson had met in the summer of 1965. Wilson would focus more on the music with Asher inclined to take the lead lyrically, but ideas were shared by both of them. Freed from the gruelling responsibility of touring with The Beach Boys live, Wilson was able to give his full attention to recreating the sounds in the studio that he heard inside his head.
The results were truly remarkable! Indeed, Paul McCartney declared in 1990 that the album blew him out of the water and that no one was educated musically until they had heard that album. High recommendation indeed!
And so to the songs themselves:-
Wouldn't It Be Nice
Written by Brian Wilson, Tony Asher and Mike Love this is lyrically an adolescent teenager's dream of wishing to be old enough to wake up next to his sweetheart. Musically the song goes through numerous changes of tempo. Beginning with a gentle guitar, harp intro, the feeling is shattered by a thunderous drum beat and the listener is instantly transported into the bouncy first verse. The backing tracks were recorded at Gold Star Recording Studios, Hollywood on 22 January 1965 while the problematic vocal tracks were recorded during March and April 1966 at Columbia Recording Studios, Hollywood.
You Still Believe In Me
Originally known as 'In My Childhood' this song is far more restrained than the album opener. The childhood theme of the original song is reflected in the bicycle bell and horn that are used as sound effects. Because these sounds were merged with some of the instrumentation, they proved impossible to remove and were consequently included in what became a more mature song. The instrumental parts were recorded at Western Recorders, Hollywood on 1 November 1965 and January 24 1966, while vocals were added at the same studios through January and February. While the mono version features double tracked vocals by Brian, the stereo mix has a single vocal line.
That's Not Me
The lead vocal on this sensitive song is taken by Mike Love. The words could hardly be further removed from the fun, sun loving Beach Boys of earlier recordings. Here they reveal deep feelings of insecurity. The song which does not feature any strings or wind instruments, was recorded at Western Recorders during February and March 1966.
Dont' Talk (Put Your Head On My Shoulder)
While Wilson and Asher talked about dating experiences they hit upon the idea of writing a song which focused upon the non-verbal side of communication between two lovers. The result was this song which is beautifully sung by Wilson without any vocal support from the other group members. When Wilson sings 'listen to my heartbeat, listen, listen, listen', the following bass line from Carol Kaye, replicates the sound of a heart beating. This amazing song was recorded in February 1966 with string overdubs added on 3 April, all at Western Recorders, Hollywood.
I'm Waiting For The Day
Written by Brian Wilson and Mike Love, this is the oldest original song to feature on the album. Originally written in early 1964 with different lyrics it opens with a heavy drummed introduction from Hal Blaine but settles down as Wilson sings 'I came along when he broke your heart'. Numerous tempo changes add to the sense of unease in this song yet it is beautifully sung by Wilson. Ironically this was a vocal performance that he remained unhappy with. Recorded on 6 March 1966 at Western Recorders, the vocals were added at Columbia Studios, Hollywood later that same month.
Let's Go Away For A While
This beautiful instrumental track would have closed side one of the album had Columbia Records not decided to include 'Sloop John B' as the closer. Brian Wilson referred to this track as the most satisfying piece of music he ever made and one can understand why when listening to this wonderfully crafted work. Gentle vibes open before a simple melody is played by saxophones and lush strings. Once again there are tempo changes and some great percussive effects used towards the end. The track was recorded on 18 and 19 January 1966 at Western Recorders, Hollywood.
Sloop John B
While musically this fine arrangement of an old folk song, fits perfectly well onto the album, lyrically it seems a little out of place. The guitar lines were picked out by session player Billy Strange. The recording commenced on 12 July 1965 and was completed in January 1966 at Western Recorders.
God Only Knows
If one song was to demonstrate the sheer brilliance of Brian Wilson as a writer and orchestrator, this must surely be it. In under three minutes, he creates the absolute perfect 'pop song'. Lyrically Wilson acknowledges 'I may not always love you', but he continues to declare that he has no idea what he would be without the person he is addressing. Musically the strings and saxophones are supported by an array of vocals, sleigh bells, accordions, French horns and percussion. And throughout, lead vocalist Carl Wilson sings sublimely with just the right degree of tenderness required. While the vocal round at the end of the song features Brian and Mike Love in the mono version as Brian sings both his and Carl's parts, the stereo version features Carl's voice in its rightful place.
The song was recorded at Western Recorders between 10 March and April 1966.
I Know There's An Answer
This song was written before Brian Wilson began his collaboration with Tony Asher. Originally titled 'Hang Onto Your Ego' , the idea stemmed from Brian's association with the drug LSD. Written by Brian with Mike Love and Beach Boys road manager, Terry Sachen, Brian decided to change the lyrics of the chorus, hence the change in title. The original version can still be heard as it is included in some CD re-issues of 'Pet Sounds'. The lead vocals are split between Brian, Mike Love and Al Jardine.
The track was recorded between 9 February and March 1966 at Western Recorders.
Here Today
This was the final song commenced during the album recording sessions. Recorded during March 1966, the lead vocals are taken by Mike Love with vocal support from the other Beach Boys. During the instrumental break an unusual conversation can be heard about cameras however this is not included in the stereo mix of the album.
I Just Wasn't Made For These Times
Recorded between February and April 1966, Brian takes lead vocal on this track in which he sums up his feelings that he does not entirely fit in with normal society. The line 'Sometimes I feel very sad' is repeated several times before he declares that he wasn't made for these times. The feeling of being an alien is reinforced by the effective use of the theremin, possibly the first time the device had been used on a pop record and certainly a full year before Captain Beefheart used it on 'Safe As Milk'.
Pet Sounds
The title track is the second instrumental to feature on the album and dates back to November 1965 when Brian was first developing a variety of percussive sounds. Woodblocks feature predominately in the mix as do two Coca-Cola cans played by percussionist Ritchie Frost.
Caroline No
On any other album, this would probably have been the standout track, but 'Pet Sounds' also features 'God Only Knows', thus relegating 'Caroline No' to a close second. In terms of performance this is a 'solo' project by Brian, the song being a bittersweet reflection on love that has gone wrong. Tony Asher took away Brian's ideas on the song and came back with a lyric that said 'Oh Carol, I know' which Wilson heard and preferred as 'Caroline no'. The track was recorded at Western Recorders on 31 January 1966.
The album then closes with the sound of Brian's dogs barking, mixed with a sound effect tape of a train.
Upon release, the front cover of the album showed a photo of The Beach Boys feeding goats at San Diego Zoo. On 2 July 1966, it peaked at number 10 in the US album chart. Although respectable, this was not exactly the kind of success the band had achieved with some of their earlier releases. Nevertheless in August that year, John Lennon and Paul McCartney sat down in a room in New York's Waldorf Hotel. They listened to 'Pet Sounds' twice without speaking and then left promising to 'tell everyone'. At the end of that month, The Beatles played their final live show at Candlestick Park in San Francisco and thereafter concentrated all their efforts on writing and recording. The result would be heard the following summer with 'Sgt Pepper's Lonely Hearts Club Band'.
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