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==== ''Pet Sounds'' ==== [[File:Brian Wilson,1960s.jpg|thumb|207x207px|[[Brian Wilson]] in 1966]] Wilson collaborated with [[jingle]] writer [[Tony Asher]] for several of the songs on the album ''[[Pet Sounds]]'', a refinement of the themes and ideas that were introduced in ''Today!''.<ref name=Bolin2012>{{cite web |last1=Bolin |first1=Alice |title=The Beach Boys Are Still Looking at an Impossible Future |url=https://www.popmatters.com/feature/160169-when-i-grow-up-to-be-a-man/P1/ |work=[[PopMatters]] |date=July 8, 2012 |access-date=April 21, 2020 |archive-date=October 18, 2017 |archive-url=https://web.archive.org/web/20171018171858/http://www.popmatters.com/feature/160169-when-i-grow-up-to-be-a-man/P1/ |url-status=live }}</ref> In some ways, the music was a jarring departure from their earlier style.{{sfn|Kent|2009|pp=21β23}}{{sfn|Gaines|1986|p=149}} Jardine explained that "it took us quite a while to adjust to [the new material] because it wasn't music you could necessarily dance toβit was more like music you could make love to".{{sfn|Granata|2003|p=166}} In ''The Journal on the Art of Record Production'', Marshall Heiser writes that ''Pet Sounds'' "diverges from previous Beach Boys' efforts in several ways: its sound field has a greater sense of depth and 'warmth;' the songs employ even more inventive use of harmony and chord voicings; the prominent use of percussion is a key feature (as opposed to driving drum backbeats); whilst the orchestrations, at times, echo the quirkiness of '[[exotica]]' bandleader [[Les Baxter]], or the 'cool' of [[Burt Bacharach]], more so than Spector's teen fanfares".<ref name="ARP">{{cite journal |last1=Heiser |first1=Marshall |title=SMiLE: Brian Wilson's Musical Mosaic |journal=The Journal on the Art of Record Production |date=November 2012 |issue=7 |url=http://arpjournal.com/smile-brian-wilson%E2%80%99s-musical-mosaic/ |access-date=May 13, 2018 |archive-url=https://web.archive.org/web/20150415032648/http://arpjournal.com/smile-brian-wilson%E2%80%99s-musical-mosaic/ |archive-date=April 15, 2015 |url-status=dead }}</ref> [[File:Cashbox27unse 40 0013.jpg|thumb|left|The Beach Boys (Brian, Dennis, and Carl Wilson, Mike Love, Al Jardine, and Bruce Johnston), with [[Terry Melcher]] and engineer [[Chuck Britz]], during the ''[[Pet Sounds]]'' sessions, 1966]] For ''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.{{sfn|Jones|2008|p=44}} Brian was immediately enamored with the album, given the impression that it had no [[Filler (media)|filler tracks]], a feature that was mostly unheard of at a time when 45 rpm singles were considered more noteworthy than full-length LPs.{{sfn|Fusilli|2005|p=80}}{{sfn|Schinder|2007|p=114}} He later said: "It didn't make me want to copy them but to be as good as them. I didn't want to do the same kind of music, but on the same level."<ref name=HimesSurf/> Thanks to mutual connections, Brian was introduced to the Beatles' former press officer [[Derek Taylor]], who was subsequently employed as the Beach Boys' publicist. Responding to Brian's request to reinvent the band's image, Taylor devised a promotion campaign with the tagline "[[Brian Wilson is a genius]]", a belief Taylor sincerely held.<ref>{{harvnb|Sanchez|2014|p=92}}; {{harvnb|Kent|2009|p=27|loc=Taylor's belief}}</ref> Taylor's prestige was crucial in offering a credible perspective to those on the outside, and his efforts are widely recognized as instrumental in the album's success in Britain.<ref>{{harvnb|Sanchez|2014|pp=91β93|loc="credible perspective"}}; {{harvnb|Kent|2009|p=27|loc=origins, "single most prestigious figure"}}; {{harvnb|Love|2016|p=146}}; {{harvnb|Gaines|1986|p=152|loc=British success}}</ref> {{Listen |pos=right |filename= The Beach Boys - God only knows.ogg |title="God Only Knows" (1966) |description= "[[God Only Knows]]" conditions its [[tonality]] between the keys of [[E major|E]] and [[A major]], which according to musicologist Stephen Downes, was innovative even in the context of the song's [[Baroque music|Baroque]] antecedents. It is often praised as one of the greatest songs ever written.{{sfn|Downes|2014|pp=36β38}} }} Released on May 16, 1966, ''Pet Sounds'' was widely influential and raised the band's prestige as an innovative rock group.{{sfn|Bogdanov|Woodstra|Erlewine|2002|p=72}} Early reviews for the album in the US ranged from negative to tentatively positive, and its sales numbered approximately 500,000 units, a drop-off from the run of albums that immediately preceded it.{{sfn|Carlin|2006|p=85}} It was assumed that Capitol considered ''Pet Sounds'' a risk, appealing more to an older demographic than the younger, female audience upon which the Beach Boys had built their commercial standing.{{sfn|Jones|2008|p=47}} Within two months, the label capitulated by releasing the group's first [[greatest hits]] compilation album, ''[[Best of the Beach Boys]]'', which was quickly certified gold by the [[RIAA]].{{sfn|Carlin|2006|pp=85β86}} By contrast, ''Pet Sounds'' met a highly favorable critical response in Britain, where it reached number 2 and remained among the top-ten positions for six months.{{sfn|Gillett|1984|p=329}} Responding to the hype, ''[[Melody Maker]]'' ran a feature in which many pop musicians were asked whether they believed that the album was truly revolutionary and [[progressive music|progressive]], or "as sickly as peanut butter". The author concluded that "the record's impact on artists and the men behind the artists has been considerable".{{sfn|Badman|2004|p=139}}
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