36 Facts About Pet Sounds

Pet Sounds's goal was to create "the greatest rock album ever made"—a cohesive work with no filler tracks.

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, Brian 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.

Wilson said that he was especially fascinated by the process of combining sounds "to make another", and for Pet Sounds, sought to emulate those aspects of Spector's productions.

Pet Sounds explained that he wanted to create music "on the same level" as Rubber Soul, but was not interested in copying the Beatles' music style.

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Pet Sounds includes tempo changes, metrical ambiguity, and unusual tone colors that, in the opinion of author James Perone, remove the album from "just about anything else that was going on in 1966 pop music".

Pet Sounds cites the album's closer "Caroline, No" and its use of wide tessitura changes, wide melodic intervals, and instrumentation which contribute to this belief; Wilson's compositions and orchestral arrangements which experiment with form and tone colors.

Pet Sounds's using these things to make music in the way that he understood, rather than trying to appropriate the orchestra.

Pet Sounds's then-wife Marilyn felt that her relationship with Brian was a central reference within the album's lyrics, namely on "You Still Believe in Me" and "Caroline, No".

Pet Sounds is often considered within the canon of psychedelic rock.

Pet Sounds took advice and suggestions from his musicians and even incorporated apparent mistakes if they provided a useful or interesting alternative.

Pet Sounds is sometimes considered a Brian Wilson solo album, including by Wilson himself, who later referred to it as his "first solo album" and "a chance to step outside the group and shine".

Pet Sounds said that there was "not one person in the group that could come close to Brian's talent" and "couldn't imagine who" would have resisted Brian's leadership.

Similar to subsequent experimental rock LPs by Frank Zappa, the Beatles, and the Who, Pet Sounds featured countertextural aspects that called attention to the very recordedness of the album.

Pet Sounds had spent all this time making the album, and zip—dubbed it down in one day or something like that.

True stereophonic mix of Pet Sounds was not considered in 1966 largely because of mixing logistics.

Pet Sounds did this because he felt that mono mastering provided more sonic control over the final result, irrespective of the vagaries of speaker placement and sound system quality.

Jardine remembered that the Pet Sounds title had already been decided, and that until arriving to the photo shoot, he thought that "pet" referred to slang for making out .

Instrumentally ambitious, if vocally over-pretty, Pet Sounds has brilliantly tapped the pulse of the musical times.

Wilson later said that despite the positive reception afforded to the album in Britain, he felt deeply hurt when Pet Sounds did not sell as highly as he expected and interpreted the poor sales as the public's rejection of his artistry.

Pet Sounds argued that the album had changed "the course of popular music" and "a few lives in the bargain".

Sociomusicologist Simon Frith wrote in 1981 that Pet Sounds continued to be largely regarded by "the music world" as a "'weird' record".

Pet Sounds has since appeared in many "greatest records of all time" lists and has provoked extensive discourse regarding its musicianship and production.

In 1994, Pet Sounds was voted number 3 in Colin Larkin's All Time Top 1000 Albums, a book which surveyed the general public alongside hundreds of critics, musicians, record producers, songwriters, radio broadcasters, and music enthusiasts.

In Chris Smith's 2009 book 101 Albums That Changed Popular Music, Pet Sounds is evaluated as "one of the most innovative recordings in rock" and as the work that "elevated Brian Wilson from talented bandleader to studio genius".

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Music journalist Robert Christgau, writing in 2004, felt that Pet Sounds was a good record, but believed it had become looked upon as a totem.

Pet Sounds is recognized as an ambitious and sophisticated work that advanced the field of music production in addition to setting a higher standard in music composition and numerous precedents in its recording.

Records, supported that Pet Sounds likely contributed to a higher emphasis on studio artistry among West Coast artists.

In rock music, Pet Sounds marked the first occasion in which doubling was used for virtually every instrument, a technique previously limited to classical composers and orchestrators.

Pet Sounds credited Pet Sounds with spawning the majority of trends in post-1965 rock music.

Pet Sounds is often cited as one of the earliest entries in the canon of psychedelic rock.

Pet Sounds marked the origins of progressive pop, a genre that gave way to progressive rock.

Pet Sounds is viewed as the first work of art rock by Leaf, Jones, and Frith.

In 2010, Pet Sounds was listed in Classic Rock's "50 Albums That Built Prog Rock".

Pet Sounds said that the album was the primary impetus for Sgt.

Pet Sounds has had many different reissues since its release in 1966, including remastered mono and remixed stereo versions.