Many words have been said.
And written: mountains of articles, of reviews.
There was even a monographic box set (4 CDs) dedicated to it, which features takes that would allow one to follow its tortuous development phases.
But in the end, for us, 38 years later, how does this album sound?
Well-known, because ultimately it has been overtaken on the right by its numerous subsequent clones, or still fresh and therefore a "masterpiece" as acclaimed by many?
Let's say it right away: it's not something new and unheard.
One would need to isolate from the listening of the last 20-25 years for it to be so.
Ignore small bands like XTC and BLUR, and trifles like "Soft Bulletin" by Flaming Lips or "Deserter Songs" by Mercury Rev - just to list the first little things that come to mind.
But then, it's precisely by reflecting on who/what we just mentioned that one realizes the greatness of the disc in question, the precursor of all that goodness.
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.
But this is actually an album to be listened to multiple times, to discover its nuances and the remarkable complexity of arrangement, which, however - and here's the greatness of it all - keeps the music light and, indeed, singable.
What POP should be.
And if this is the material that interests you, you already know what to do.
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.
If God had recorded an album, it would have been Pet Sounds.
'God Only Knows'... Such a refined melody led Sir McCartney to pronounce it the greatest song ever.