Split Record Review: ‘Pet Sounds’

What a sunny day for the fellas at Split Record Review to cover the Beach Boys’ magnum opus. The claim that they’re the goats of music is solidified by their 1966 album, “Pet Sounds.” Many writers in the Life section are long-time Beach Boys fans, but not James, so will his and Henry’s reviews offer similar perspectives, or will James’ first exposure to “The Boys” be his last? 

Henry’s Review:  

If you’ve ever wondered what John Lennon and Paul McCartney would be like if they coalesced into one American man, look no further than Brian Wilson. The famous ad campaign touting “Brian Wilson is a genius” was more than just a flashy headline to draw attention to the Beach Boys’ latest effort. What many may not know is the depth at which Wilson’s creative prowess materialized in “Pet Sounds.”  

Often considered the band’s masterpiece, “Pet Sounds” was released in 1966, and performed somewhat worse than their previous records, despite many surrounding the band hailing it as the penultimate piece of pop music. Many were unsure of how to label the record, with its layered vocals cascading over a vast orchestra. The record would garner the label of progressive pop, creating the blueprint for countless progressive rock and chamber pop bands to come. 

Wrecking Crew played most of the instrumentals. They are also the most successful collective of studio musicians in recording history. Most of the arrangements were written by Wilson himself, entirely in his head and with the help of various orchestra members. While “Pet Sounds” doesn’t alienate the common listener, it’s incredibly complex, which made many of Wilson’s fellow Beach Boys wary of its ability to commercially perform.  

Of course, it’s impossible to talk about this record without talking in detail about its maestro, Wilson. Infamously, he spiraled out of control into drug and mental health issues in the years following this record’s release. A follow-up was planned, called “Smile,” yet it was never completed due to Wilson’s worsening mental state. He returned to songwriting and the Beach Boys various times in the following decade. However, he wouldn’t make a full return to the public eye for nearly 40 years after the release of “Pet Sounds.” 

The opener, “Wouldn’t It Be Nice,” has become one of the band’s most recognizable singles. The track strikes a delicate balance between being melodically intricate while maintaining the bubbly and catchy energy of a quintessential 1960s pop hit. “You Still Believe in Me” drenches the listener with lush orchestration, along with dense vocal harmonies. Timpani, sleigh bells and harps, all soundtracking Wilson’s signature falsetto voice.  

“Don’t Talk (Put Your Head on my Shoulder)” lulls the listener into relaxation and descends into orchestral bliss. The swell at the back of the track is a beautiful example of Wilson’s ability to craft incredible melodies with ease. 

“Let’s Go Away for a While” is the first instrumental on the album, switching between 4/4 and 3/4 waltz. The orchestra is cut by saxophones, providing an incredible mix of texture. The captivating nature of the track encapsulates the listener, causing them to forget almost entirely about the lack of lyrics.  

“Sloop John B” is one of the more upbeat songs on the record. An interpretation of a classic folk song from the Bahamas, the track oozes sailor charm. This song would become one of the bigger hits off the record, with its bouncy instrumental and joyous vocals from the group.  

“God Only Knows” might be the closest the album has to a centerpiece. Lyrically, the track is a heartfelt and heartbreaking dirge for a lover. Musically, the track is incredibly paradoxically complex. Switching keys several times and borrowing chords even more, the complexity isn’t reflected in the listening experience. 

It’s a rare talent to be able to craft intricate pieces of music without alienating the common listener, but this track does it flawlessly. Wilson’s tyrannical father and manager, Murry Wilson, infamously panned the track. Nearly 60 years later, “God Only Knows” is still hailed as one of the greatest songs of the 20th century, ranked at number 11 on Rolling Stone’s “500 Greatest Songs of All Time.” 

“I Just Wasn’t Made for These Times” showcases Wilson’s ability as a lyricist just as much as a musician. The song mixes childlike wonder with a seeming cry for help, over a strange and whimsical arrangement full of flutes and theremins.  

The last two tracks are perhaps the greatest on the album. The title track, “Pet Sounds” is another instrumental full of odd sounds and inventive arrangements. The song could be played at a summer gathering with friends or a Christmas party and not sound out of place in the slightest. The warbly main guitar line sounds otherworldly, cutting through the warm orchestra and sleigh bells.  

“Caroline, No” is half love song and half dirge. An emotional number about love and heartbreak, Wilson’s vocals take center stage here. The whole album takes clear inspiration from classical composers like Johann Sebastian Bach and Igor Stravinsky, though this is especially evident on this track. The album fades out into layered recordings of dogs barking and train horns blowing, a humorous nod to the album’s title. 

There’s not much to be said about “Pet Sounds” that hasn’t already been said. Entire books have been written analyzing every line written and every note played. Paul McCartney even said that the record energized the Beatles to go further with their experimentation, leading to albums like “Sgt. Pepper’s Lonely Hearts Club Band” and the colloquially-known “White Album.” While Brian Wilson sadly never had the chance to outdo himself with “Smile,” this record will remain one of the greatest pieces of pop music ever written.  

Rating: 5/5 

James’ Review: 

“Wouldn’t It Be Nice” establishes the immaculate vibes as lead vocalist Brian Wilson sings the titular phrase and Mike Love refrains “Run, run” as the group did on “Little Saint Nick” two years prior.  

“You Still Believe in Me” is essential baroque pop with a similar sound to Scott Walker’s “My Death” except less ominous. The final minute includes a bicycle bell and later a humorous horn that interrupts the composition, giving it some character even though it’s a divisive inclusion.  

I began to really start vibing with “Don’t Talk (Put Your Hand on my Shoulder)” and “I’m Waiting for the Day.” The former stunts the sunshine pop direction the album was heading into as Wilson regretfully states, “I can hear so much in your sighs, and I can see so much in your eyes” with a depressing backdrop. The timpani hit beginning “I’m Waiting for the Day” is akin to that on Martin Rev’s “I Heard Your Name,” and then the positivity is brought back, at least sonically, as Wilson claims, “He hurt you then, but that’s all done. I guess I’m saying you’re the only one.”  

“Sloop John B” hit hard when I listened with Life Editor Ben in his car after copyediting the newspaper Monday night, and equally so on the second listen. “This is the worst trip I’ve ever been on” contrasts the jolly mood of much of the song because, from experience, a vacation can go awfully even when it’s intended to be a fun time away from home.  

“God Only Knows” is the only track on the Spotify general release to have been remastered in 1996, at least based on the title. It’s essential that the refrain “God only knows what I’ve been without” is heard with headphones as the boys repeat it in the left and right audio channels for much of the song. 

“I Know There’s An Answer” contains a nice harmonium solo ending at the two-minute mark. The moods fluctuate during the composition, with clarinets bringing it down a notch. “Here Today” features despondent verses from Wilson as the saxophones keep the mood at a steady medium. This song is where the vocal comparisons with other artists began to hit me, namely with Of Montreal vocalist Kevin Barnes. 

“I Just Wasn’t For These Times” is an ironic sentiment echoed throughout the song considering the Beach Boys helped define the sound of the 1960s and beyond. Isolating them as people. However, it’s easy to feel out of place in the current generation, notably in the 21st century when things are moving too fast. It’s enlightening to know Wilson and others, like Scott Weinrich on Saint Vitus’ “Born Too Late” felt this way in the prior century, though. 

The title track, the second and final instrumental, with the first being the slightly inferior “Let’s Go Away For Awhile” is an interesting listen with what sounds like a glockenspiel. “Caroline, No” sounds like it went on to influence “Venus in Furs” by the Velvet Underground & Nico, yet this one’s a bit more peaceful before the final 40 seconds. The album’s ending with a rambunctious dog barking and a train bell is chaotic compared to the rest of the cuts 

Overall, I’m still not sold on the high-pitched harmonizing in the background of many songs on “Pet Sounds,” but I’ll admit this album’s replay value will be high in the future due to the abundance of instrumental and vocal layers on each track. Nevertheless, I can understand how the Beach Boys, and specifically “Pet Sounds,” influenced popular music from the 1960s onward. 

Rating: 4.25/5