The Beach Boys’ music prior to the Pet Sounds album was youthful and all about fun-in-the-sun. The formula contained girls, surfing, and cars. The Beach Boys had a reputation for fun and were not really expected to produce anything of substance. I offer this observation as an antithesis to a quote from David Howard, referring to the development of Brian Wilson’s songwriting and production abilities; “Wilson was clearly beginning to move away from simple teen-aged anthems towards something far more mature and emotionally complex” (Howard, 2004, p. 57).

I think the Beach Boys’ had a reputation for being innocent, naive or unaware as part of their image prior to Pet Sounds.  Brian Wilson stated he wanted Pet Sounds to be, “…something more introspective” (Wilson, 2012).

Brian Wilson took a leadership role early in the Beach Boys’ career.  He had a clear vision for the music and realized he would need to take control to bring his musical vision to fruition.  Although his father was managing and always vying for control, Brian managed to pioneer production control at an unprecedented young age.  Eventually he fired his father as manager also, taking control of many aspects of the Beach Boys’ management.

Brian Wilson was also clearly in charge of the creative branch of the Beach Boys franchise.  Pet Sounds was completed with collaborator/ Lyricist Tony Asher (not a Beach Boy) while the Beach Boys, minus Brian, were touring.  The rest of the Beach Boys were presented their parts for the entire Pet Sounds album on return from touring.

Brian Wilson’s first big influence toward music production came from a gift on his 16th birthday.  He was given a reel-to-reel tape recorder and in his ensuing obsession with the recorder, “…Brian Wilson discovered his passion and realized it coincided with rare God-given talent” (Howard, 2004).

Brian Wilson was influenced by the Beatles in a sort of album-by-album friendly competition of one-upmanship.  Perhaps when the Beatles started singing about more mature themes, about the time of their Rubber Soul and Revolver albums, Brian became a little more serious in the competition and this influenced his attitude toward the intellectual and emotional content of his songwriting.

He was also influenced by Phil Spector’s “wall of sound”, which he first heard in the song Be My Baby by the Ronettes. Brian Wilson put a lot of time into analyzing and emulating Phil Spector’s production techniques.

The amount and variety of instruments used in the Pet Sounds album gave it a unique quality.  Brian Wilson used the “Wrecking Crew” responsible for Phil Spector’s “wall of sound” and there were generally many layers.  The remastered versions of the Pet Sounds songs in stereo present the album in a whole new light.  Hearing the backing vocal harmonies spread across the panorama spectrum is incredible, especially in Wouldn’t It Be Nice and Sloop John B.  It’s amazing how many instruments are given a prominent part in stereo without detracting from the song.   The low saxophone part in Sloop John B is hardly discernible in the mono mix.  God Only Knows takes on a new life when the percussion, such as wood blocks, sleigh bells, and tambourine are given their own place in the panorama spectrum.

Another key characteristic of Pet Sounds is the appearance of a story line in an LP.  Brian Wilson tells us in Pet Stories (Wilson, 2012), the album represents the journey through life and making an inspection or taking inventory.

My first impression of Pet Sounds as a listener is to be somewhat put off by it not sounding like the stereotypical Beach Boys music.  When I take in the whole of it, considering the lyrics, it becomes more a work of art and seems more crafted than prior Beach Boys material.

My professional impression lends to dismantling Pet Sounds and seeing what makes it tick, and I know Brian Wilson would appreciate the sentiment.