Review Summary: God only knows...
Well, here it is. In this reviewer's opinion, the greatest piece of music ever recorded. Pet Sounds had acquired a certain status amongst music fans. That being near untouchable acclaim. This is the cream of the crop. The highest of highs. Really it comes down to whether you prefer this or Sgt. Pepper, and there isn't a day where I wouldn't choose Pet Sounds.
Brian Wilson had set himself a task. To make the greatest album of all time. One that wasn't bogged down by filler and one that gave a statement. Hearing Rubber Soul by The Beatles had kicked Brian into gear and he was ready to outshine his British contemporaries. Wilson had already decided to opt out of touring with the group to instead focus on writing and recording in the studio, and with the group heading to Japan for a 3 week tour, he set out to record his masterpiece. Working with Phil Spector's in house recording group The Wrecking Crew and lyricist Tony Asher, Wilson crafted a set of lush, orchestral and deeply personal songs. However Wilson was lrepeared to go above and beyond. Like producer Joe Meek, Wilson is often credited with being one of the forefathers of studio playing. Using the studio itself as an instrument. Indeed, Pet Sounds is a record bathed in experimentation. While it may sound relatively normal to casual listeners, Pet Sounds is full of the unusual. Coke Cans, bike horns, train whistles and even the Theremin (an instrument Wilson used later on the group's smash hit Good Vibrations). Each song is brimming with subtle tidbits, every little space is filled, there's never a moment of boredom. The fact that Wilson, at the young age of 23, could compose such music astounds me. The playing from The Wrecking Crew is absolutely flawless, from Hal Blaine's bombastic drum crashes on 'I'm Waiting For The Day', Carol Kaye's thundering bass on 'Here Today' and Frank Capp's gentle Vibraphone on 'Caroline, No', every note falls perfectly into place. It's truly a sight to behold.
There's not a bad song here. I'm serious with that. What can I say? It's a masterpiece. Lyrically, it's an emotional rollercoaster. There's themes of young love, regret, social alienation, loss and loneliness. Everyone has felt like this at one point in life, and this is a record that encapsulates those moments.
The opener 'Wouldn't It Be Nice?' deals with the idea of actually growing up. Prior to Pet Sounds, the Beach Boys had idolised the endless summer. One where everyone stays young and invincible. But here we are, on the first track, directly subverting that ideal. Wouldn't it be nice if we were older so we wouldn't have to wait so long to get married? It's genius. The track employs a slow carnival organ sound at the start before exploding into orchestral beauty. 'You Still Believe In Me' uses taped piano strings to create this xylophone like sound and bike horns to capture this feeling of nostalgia. The grandiose coda, featuring a choir sound of the Boy's signature harmonies and Hal Blaine's booming drums. It's absolutely breathtaking. 'Don't Talk (Put Your Head On My Shoulder)' is similar, featuring a slow melancholy sound and some of Brian's most harmonic and tender delivery. There's the more rock-inspired tracks like the upbeat, keyboard riff lead 'I'm Waiting For The Day', featuring one of the group's best codas and 'I Know There's An Answer', a critique of LSD users. These tracks stand perfectly next to the more tearful songs on the record. Wilson experiments with Exotica on the title track using a guitar to sound like an animal shriek and ambient bongo playing to create a unique piece of World music. The folk rock 'Sloop John B' is an immensely fun and catchy adaption of a classic folk song, perfected by a masterful acapella break. Even on one of the record's "weaker" moments, the instrumental lounge track 'Let's Go Away For Awhile' is oozing with detail. It's a soothing, gorgeous track. While it maybe the weakest song on the record, it would still be the best track on any other record. And finally, there's the three emotional centrepieces of the album. The finale 'Caroline, No', an emotionally draining cool down, a track that is screaming in pain, even if we can't hear it. It's soft, delicate and lonely. 'I Just Wasn't Made For These Times' explored Brian's feelings of detachment and merges Spanish backing vocals with one of his most passionate vocal performances.
Then there's the big one. 'God Only Knows', a strong contender for greatest song of all time. Endlessly praised by nearly every single person who has heard it, God Only Knows may be the perfect pop song. Harmonically gorgeous, musically spectacularly and emotionally soaring, it's perfect in nearly every way, from the accordion opening to overlaying coda of Brian, Carl and Bruce's voices. It may be the most perfect song ever written. I say maybe because well Music Is subjective. But Pet Sounds has gotten me through some incredibly tough patches in my life. Breaking down in tears while listening to God Only Knows was something of a spiritual rebirth for me, as pretentious as that sounds. But it means that much to me. Brian Wilson is the greatest composer of the past 50 years, and this album of heart wrenching, psychedelic orchestral emo-pop is the best album of all time. A flawlessly crafted piece of art, comparable to the works of Mozart and Beethoven.
Standout tracks:
All of them
Standout lyrics:
"God only knows what I'd be without you" - God Only Knows
"Break my heart, I want to cry. It's so sad to watch a sweet thing die. Oh, Caroline why" - Caroline, No
"Come close, close your eyes and be still
Don't talk, take my hand and let me hear your heart beat
Being here with you feels so right
We could live forever tonight
Lets not think about tomorrow
And don't talk put your head on my shoulder" - Don't Talk (Put Your Head On My Shoulder)
