December 1965, "Rubber Soul" by the Beatles is released. The album marks a turning point in the discography of the quartet: the lyrics move away from the usual adolescent themes, and a frantic sound exploration begins, which will enchantingly culminate in Revolver and Sgt. Pepper.
Brian Wilson, inspired by listening to "Rubber Soul", begins to compose what some today call the greatest album of all time. Collaborating with Tony Asher for the lyrics and using session men to record his music, the leader of the Beach Boys moves away from the surf of their beginnings.
The result is what I would call, without fear, a celestial perfection. The masterpiece of the Californian group is imbued with a perennial sense of inner peace.
And in the masterpiece, we find the masterpiece: "God Only Knows". Such a refined melody led Sir McCartney to pronounce it the greatest song ever. And then there's that "Caroline No" that closes the game, perhaps too delicate to infinitely brush against its wonders.
Of course, the Pet Sounds was the Beach Boys album that sold the least of all; people were used to the usual easy-grab beach songs and did not immediately understand what on earth Brian Wilson had created. Now, forty years later, the album is simply considered one of the musical peaks of all time.
If God had recorded an album, it would have been Pet Sounds.
Here, there’s pop that wants to grow up, and indeed it succeeds, while retaining its characteristics of readily engaging music.
Two spins in the CD player and you’re already humming the various Wouldn’t It Be Nice, Sloop John B, God Only Knows, or Caroline No.
Pretend not to know what a nasty trick that man with the intensely wrinkled face played on the world by publishing—forty years ago (?)—the sacred text of pop of all time, "Pet Sounds"?
From pop tout-court to pop with prog nuances, everything that light song has always wanted, sought, experimented, desired, is born and dies in these grooves.