The Beach Boys, "Pet Sounds"

The Beach Boys
"Pet Sounds"
Capitol (1966)
1000 Recordings to Hear Before You Die + 1001 Albums You Must Hear Before You Die

Paul McCartney, Eric Clapton, Pete Townshend, and Elton John all have two things in common. For one, all are music legends, some of the most respected representatives in rock 'n' roll history. Second, all agree that "Pet Sounds" by The Beach Boys is a landmark album. McCartney bought a copy for each of his children, saying "I figure no one is educated musically 'til they've heard that album." Clapton described it as "everything that's ever knocked me out and rolled it all into one." I'm not one to disagree with these guys.

Although "Pet Sounds" is listed under the name of The Beach Boys, it could just as easily be described as a Brian Wilson solo album. Wilson was so moved by The Beatles' "Rubber Soul" that he challenged himself to one-up it. The elder Wilson had always been the de facto leader of the group, but this album fully displays his self sufficiency (and his iron fist) as a band leader.

First, there's the basics: songwriting. There are two writers credited in the liner notes of "Pet Sounds:" Wilson and Tony Asher. Asher, previously a radio jingle writer, has openly stated that he served more as a translator for Wilson's thoughts than as an original lyricist. The childlike nature of Wilson's themes on tracks like "Wouldn't It Be Nice" and "You Still Believe in Me" summarize the musician's life story: a man who continually grasped for his youth, perhaps as a result of his father's rough treatment.

Wilson not only wrote the lyrics; he decided who got to sing them. The Beach Boys' trademark sound is its harmonies and multi-vocal parts, but Wilson would take no chances with his masterpiece. Four of the tracks on "Pet Sounds" feature only his voice, either by design ("Don't Talk (Put Your Head On My Shoulder)") or because he was simply frustrated with his fellow bandmates ("I'm Waiting For The Day"). He knew when he wasn't the best option however; he gave brother Carl Wilson the lead role on "God Only Knows," albeit after having tryouts for the part amongst everyone in the group.

"Pet Sounds" is most renowned for its role in the development of "baroque pop" however, pop music featuring large amounts of instruments and many layers. Every track on the album features at least ten credited musicians playing both standard and unusual instruments. Theremins, timpani, accordions, French horns and dozens of eccentric additions make appearances throughout. Perhaps the greatest indication of Wilson's arranging genius is how he places these musical touches as backdrops. Others might use a celeste as the cornerstone of a song due to its unique tone, but Wilson treats each part in the same way as a Baroque composer would treat each individual part of an orchestra. All have an equal role in a completing a song's perfection. Only three tracks on "Pet Sounds" break three minutes, meaning that Wilson was more interested in creating short bursts of perfection than epic pieces, as would become popular later during the decade.

Although Wilson readily multi-tracked vocals (especially if it meant he got multiple parts), songs like "God Only Knows" are interesting because they feature up to 23 studio musicians all playing in unison in the studio. In modern times, computers make the removal and re-addition of misplayed parts simple. In the '60s, one instrument being off meant everyone playing again, and Wilson was not afraid to execute dozens of takes.

Wilson, along with his friend and "wall of sound" pioneer Phil Spector, paved the way for dozens of "super producers," such as Rick Rubin. His desire to control every aspect of the recording process, and to add flourishes via minute details in every track, has actually had a bigger impact on hip-hop more than any other genre. His creative OCD is typified by mainstream rapper/producers like Kanye West and underground artists like El-P.

"Pet Sounds" served as the second part of a "friendly" rivalry between The Beach Boys and The Beatles, and part of what many would call three of the greatest records of all time (the other two being The Beatles' "Rubber Soul" and "Sgt. Pepper's Lonely Hearts Club Band"). That puts this album in some pretty elite company.

INTERESTING FACT: Despite the existence of stereophonic recording at the time of "Pet Sounds," Wilson chose to stick with monophonic recording, as the process was easier due to his being deaf in the right ear. It is rumored that Wilson lost hearing in the ear as the result of a beating from his abusive father and former Beach Boys' manager Murry Wilson.

The Beach Boys, "Smiley Smile"

The Beach Boys
"Smiley Smile"
Brother (1967)
1000 Recordings To Hear Before You Die

There are many adjectives that are abused in music journalism. One descriptor in particular catches my eye and my ire: "psychedelic." From the '60s onward, writers have used and overused the term to describe music that features any number of the following: funny wordplay, guitar effects, foreign instruments, odd time signatures, musicians known to do drugs even if it has no effect on the music itself, et cetera. When serving as the editor of my school paper, I did my best to cut the word from every review I read, because it was always an exaggeration (The Lonely Island, psychedelic, really?). Now that you know my feelings on the term, understand how sincere I am when I say that The Beach Boys' "Smiley Smile" is a total trip.

The history behind the album makes it the most controversial release from the Boys. Brian Wilson was looking to one-up both The Beatles' "Sgt. Pepper's" and its own "Pet Sounds" album. Moon describes how band leader Brian Wilson obsessed over the album's first single, "Good Vibrations," and it's quite possible that his studio intensity drove him off the deep end. Then again, if the tracks on "Smiley Smile" are any reflection of his state of mind, Wilson was already in an odd place.

A handful of tracks demonstrate in various ways just how weird The Beach Boys get here. Start with "Vegetables," a song that features Paul McCartney. On bass? No. The track involves the Beatles member and Wilson chewing vegetables as percussion. Instrumental "Fall Breaks and Back to Winter (W. Woodpecker Symphony)" combines woodblock percussion and evil laughs. "Wind Chimes" uses running water and the titular instrument for odd effect. All in all, it's not these odd touches that make this album psychedelic, however. If anything, it's the addition of the Beach Boys' trademark vocal style.

The group was renowned for its harmonies, and "Smiley Smile" is no exception. But here, the Boys use their skills for unsettling ends. Sometimes it's via a network of intertwining vocal parts ("Heroes and Villains"). Sometimes it's via eerie A cappella melodies ("Fall Breaks").

One track in particular accentuates both Wilson's penchant for experimentation and his oddball mental procedures. "She's Goin' Bald" can be broken down into four segments. It begins in typical Beach Boys' style, with multiple vocal parts describing a woman's hair. At :50, studio effects change the vocalists' pitches, ending with a Chipmunks-esque climax. At 1:10, Wilson's anxious voice takes a solo, describing (in the style of a '30s radio program) how the song's protagonist began dumping various chemicals on her scalp, and the track ends with a soul-style lament for the now missing hair.

It's only fair to spend at least a little time discussing "Good Vibrations," which Moon dedicates his entire passage to, and that he goes as far as to call "the highest expression of the art of the pop single." More than 90 hours of recording tape exists from the sessions for "Good Vibrations." Wilson spent $50,000 recording different instrumental and vocal parts, and in the end narrowed it down to 3:36. The range is impressive. He utilizes standard piano, harpsichord and Hammond organ, and both upright and electric bass. Most impressive however is the space age theremin that jumps in during the hook. If Wilson had the mental capacity to invest this much time and money into every track, "Smiley Smile" would have been the end-all of pop music.

The first time I listened to this record, it was just a hoot. After revisiting it several times, I found that the bizarre nature of the tracks can't hide Wilson's experimental genius nor The Beach Boys' fantastic harmonies.

INTERESTING FACT: We've established that Brian Wilson was a little odd. Part of this was the sandbox he had constructed in his home for writing music. Plopping a grand piano in a giant sand box is also one of the best tales of rock star excess I've ever heard.

(Yes, "Good Vibrations" is the best song on the album. But, you've already heard that song and I want you to experience the true feeling of "Smiley Smile.")

BONUS COVERAGE! Van Dyke Parks was Wilson's replacement for Tony Asher, his cowriter for much of "Pet Sounds." Parks' propensity for acid and general oddness helped alienate the rest of the group during "Smiley Smile" and the only-recently released "Smile." I had the chance to interview Parks for Ohio State's student newspaper. I must clarify that this is far from my best work. My secondary sources got cut from the online version and my writing just isn't at its best. However, you can get an idea for Parks' character from his colorful quotes. http://www.thelantern.com/a-e/wexner-center-welcomes-van-dyke-parks-1.1639768#.TzXatuNSRXc