Oh, Pet Sounds, how I love you so.
Often noted as the first ever “concept album” of the 1960’s, my copy of this psychedelic art rock record is one of my most prized possessions. I remember when my parents were giving me their old record collections and my dad looked me dead in the eye and said, “this one. This one is special. You don’t lose, break or damage this one or you will be in for it”. I remember looking at the album and wondering why my father possessed such an affinity for it. But now, I couldn’t blame him.
One day, when I hopefully get to pass on this original record to my kid, I will totally threaten to kick their ass if they break it too.
Released in May of 1966, “Pet Sounds” is the 11th studio album by the American rock/pop band, The Beach Boys. In the early 1960’s, the group epitomized the All-American California surfer car-loving lifestyle. Essentially, they made surfer hits for white kids and stayed within their artistic comfort zones. This is by no means dissing or undermining early Beach Boys material for the record (ha!). The texture and harmonies on tracks such as “California Girls”, “I Get Around”, “In My Room”, “Barbara Ann” and “Help Me Rhonda!” are iconic pop staples. But when “Pet Sounds” came out, it blew everyone away.
This album has been the subject of critical acclaim by critics, musicians and audiophiles alike and it is noted as one of the most influential and greatest records of all time.
TID BIT OF TRIVIA:
Brian Wilson was inspired by The Beatles’ 1965 “Rubber Soul” record. Brian was then inspired to create Pet Sounds. The Beatles then heard Pet Sounds and were inspired to create the iconic Sgt. Pepper’s Lonley Hearts Club Band in 1967. Some of the greatest artists of all time all thriving off of each other for inspiration!
The album was produced by Beach Boy, Brian Wilson, who wrote and composed all of the tracks as well. Wilson’s arrangements wove together an assortment of unprecedented studio equipment such as bicycle bells, buzzing organs, harpsichords, flutes, an Electro-Theremin, dog whistles, train noises, Hawaiian-esque strings, Coca-Cola bottles to serve as percussion, barking dogs, and avant-garde sounding guitars and keyboards. Wilson was nothing short of a perfectionist when it came to crafting this record and reportedly irritated other members of the band (such as Mike Love) for making the most miniscule adjustments to sounds during the recording sessions. I feel as if Rolling Stone Magazine did an excellent job of discussing the emotional and sonic progression of the record when they wrote:
“The love songs of Pet Sounds begin with the gorgeous theme of frustrated mid-Sixties blueballed adolescence, “wouldn’t it be nice to stay together, hold each other close the whole night through?…” That question lays the entire premise of the album immediately in front of us. “You Still Believe In Me,” with Brian’s lovely harpsichord playing, carries the affair a little farther, through and past indescretion into the reconciliation of “Don’t Talk (Put Your Head on My Shoulder),” sung in Brians’ wrenching, melting butter falsetto with the gentle lyrics of Tony Asher, Brian’s major collaborator in this period, at the top of their form. There are also the perceptive songs of anxiety, malaise and self-doubt — “That’s Not Me,” “I’m Waiting For the Day,” a tribute to the larger-than-life echo chambers of Phil Spector, the striking choral ensemble of “God Only Knows” and the angst-laden “I Know There’s An Answer.” Each of these tunes has its own singular flavor, one little brilliant touch — the slur of a baritone saxophone or the luxuriant tintinnabulation of Brian’s omnipresent chimes — that puts it apart from the body of the whole record. ” – Rolling Stone Magazine, 1972. http://www.rollingstone.com/music/albumreviews/pet-sounds-19720622#ixzz3KirvWAWk
I, along with many others, could write about this cult album forever. I genuinely believe that this album, along with many from that time period, will stand the test of time and be around when I am all old and wrinkly. It was a pioneer by being the first concept album, it followed a lyrical pattern and emotional story format and ultimately, the detail oriented production is evident when you listen to it front to back.
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