{"id":109,"date":"2026-05-17T21:05:28","date_gmt":"2026-05-17T21:05:28","guid":{"rendered":"https:\/\/relocationobserver.com\/?p=109"},"modified":"2026-05-17T21:05:28","modified_gmt":"2026-05-17T21:05:28","slug":"happy-60th-birthday-pet-sounds-beach-boys-mike-love-al-jardine-and-bruce-johnston-recall-the-making-and-aftermath-of-one-of-rocks-greatest-albums","status":"publish","type":"post","link":"https:\/\/relocationobserver.com\/?p=109","title":{"rendered":"Happy 60th Birthday, \u2018Pet Sounds\u2019: Beach Boys Mike Love, Al Jardine and Bruce Johnston Recall the Making and Aftermath of One of Rock\u2019s Greatest Albums"},"content":{"rendered":"
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\n\tOnce upon a time, \u201cPet Sounds\u201d seemed like the runt of the Beach Boys\u2018 litter, at least on the record company ledger, if hardly by artistic reputation. But as the album turns 60 years old this weekend, it\u2019s thought of less of a cult record, as it was considered for years or even decades after its release, than it is as a landmark work with virtual household-name recognition. Who doesn\u2019t revisit this virtually symphonic song cycle about lonely adolescence without considering it one of the 10 best records ever made? Or, if you don\u2019t, would you dare admit that in polite company?<\/p>\n

Read more \u2018A Girl\u2019s Story\u2019 Review: Judith Godr\u00e8che\u2019s Assured Feature Debut Tells a Bitter Tale of Sexual Initiation in 1950s France<\/a><\/p>\n

\n\tThe 60th anniversary of the May 16, 1966 release is being celebrated in multiple ways. For starters, there are fresh vinyl reissues of the original \u201cPet Sounds\u201d album, in everything from the visually fun zoetrope picture-disc format to a far pricier, individually numbered \u201cone step\u201d edition aimed at the most serious audiophiles, along with more standardized choices that exist between those extremes. There is also the separate release on vinyl, CD and streaming formats of \u201cThe Pet Sounds Sessions Highlights,\u201d breaking out vocal-only tracks or alternate takes that put a spotlight on what both the vocalizing Boys and the instrumental Wrecking Crew were up as they channeled music that still seems more divine than human-made, even when we\u2019re hearing the evidence in stems.<\/p>\n

\n\tAnother way to celebrate: getting to talk with the individual surviving Beach Boys about the making and aftermath of a masterwork. This past week, a party was held at the (soon to officially reopen) Capitol Tower in Hollywood to commemorate the anniversary, with Mike Love, Al Jardine and Bruce Johnston in attendance to accept 60 years\u2019 worth of good will on behalf of themselves and the three Wilson brothers who are no longer with us. Green-and-yellow cake was shared along with champagne, extended family members came to toast, and a \u201cPet Sounds\u201d flag was erected over the building at Hollywood & Vine.<\/p>\n

\nVariety<\/em> spoke with Jardine, Johnston and Love at the reception and over subsequent days. We\u2019ve combined excerpts from those separate interviews for the condensed and edited Q&A, below. As I talked with Jardine, he noted the presence of seagulls flying around outside the Hollywood landmark\u2019s upper-story windows, a sign that maybe even the Pacific was offering its blessing on an album that just maybe was<\/em> made for these times.<\/p>\n

\nAt the Capitol party, UMe president <\/strong>Bruce Resnikoff said \u201cPet <\/strong><\/em>Sounds\u201d was the first album he ever bought, and, without wanting to insult any other artists he might work with, strongly implied he thought it was the best of all time. But clearly no one in the Capitol Tower in the \u201960s was making those kinds of claims. Could you even have imagined a fete like this a few decades ago?<\/strong><\/p>\n

\nMike Love:<\/strong> No way. I mean, I don\u2019t think any modern artist thinks in terms of celebrating their album 60 years down the road. It\u2019s pretty amazing. and I want to thank UMe and Capitol Records and Iconic [the Beach Boys\u2019 current management] for getting this celebration together this year.<\/p>\n

\nAl Jardine:<\/strong> It\u2019s unbelievable. It\u2019s just dawned on me that this is also the rebirth of the tower, so this is their way of celebrating the tower in a way, as they finish renovating. The last time we did anything like this was about 30 years ago, in \u201996, when they brought a sand lot in.<\/p>\n

\nLove:<\/strong> The promotion and marketing people back then didn\u2019t know what to do with it because it was so different and so unique. It was completely thematic. The tracking was amazing, and the vocals were as well. And it was one of the first albums, I think, that really got people thinking about being more coherent and more thematic in their albums. You know, McCartney has said that \u201cPet Sounds\u201d is his favorite album \u2014 \u201cGod Only Knows\u201d is the perfect recording \u2014 and Sir Paul knows a thing or two about writing great records, that\u2019s for sure. The Beatles with their \u201cSgt. Pepper\u2019s\u201d album and future albums as well got more serious about doing a comprehensive album. Whereas, before, a hit single record or two would give rise to the creating of an album to take advantage of the popularity of the 45s. This was the reverse. We wanted to create an album that was comprehensive in nature and then come out with it, but it was so different than our Top 40 records that led up to it, so it was a bit much for Capitol at the time to know what to do with it.<\/p>\n

\nIt\u2019s just been certified double-platinum now, but it did not even go gold until the year 2000. Some say it would have been earlier if the label had submitted it earlier. But anyway, that is some delayed gratification, for a classic.<\/strong><\/p>\n

\nBruce Johnston:<\/strong> What went gold while \u201cPet Sounds\u201d should have been going gold was when I went to the dentist and had some fillings.<\/p>\n

\n\tI think other albums came along that required the promotion money. Like, the bean counters probably loved the fact that the first volume of the Beach Boys\u2019 greatest hits eventually sold three and a half million copies. After all, it is a business. But I look at it more as\u2026 the lack of the success that we had hoped for kind of slowed Brian down. You know? He was very disappointed in that.<\/p>\n

\nBrian really was down afterward about how the album was received?<\/strong><\/p>\n

\nLove:<\/strong> He put so much into it, so much effort, that yes, he had to be depressed at the reception that Capitol Records gave it. Maybe not what John and Paul gave it overseas, but yeah, it\u2019s not great when your record company doesn\u2019t understand what to do with your newest product. So I\u2019m certain he was not happy about the way they treated the album.<\/p>\n

\nAs most fans know, at the point in time \u201cPet Sounds\u201d was being done, Brian had retired from the road, and he would stay home and write and then have material ready to record when everyone got back from tour. There had been so many albums in quick succession, too \u2014 three in 1965 alone. Do you remember whether this material felt seriously different, once you got back to L.A. to learn and record it, or whether you were just too busy to sense it feeling like a left turn?<\/strong><\/p>\n

\nJardine:<\/strong> We had been in Japan and only had a day of rest or so before he asked us to come in and listen, and it was pretty monumental. We had to adjust our sights, but that\u2019s what we always did. We\u2019d come back from touring for three weeks or a month, and he\u2019d have something new generally. He was always composing and coming up with ideas, and he wanted to share them with us. He missed the guys, you know? He missed us because we were his feedback. In this case, where \u201cPet Sounds\u201d is concerned, he really didn\u2019t seem to need the band to be around because he had the Wrecking Crew, of course, by then, but he was still really looking forward to our coming home. We were always very good in the studio. It was just a matter of turning us on to the music.<\/p>\n

\n\tBut the subject matter was melancholy. It wasn\u2019t a fun, fun, fun<\/em> album. It had a lot of deep, moving, romantic and soulful moments. And that took a while for us to get around.<\/p>\n

\nJohnston:<\/strong> Hit-wise, I just thought, \u201cWell, okay, what are the hits on this album? Probably \u2018God Only Knows.’\u201d Wrong! Great, great recording. \u201cAnd \u2018Wouldn\u2019t It Be Nice’\u201d \u2014 right. [\u201cGod Only Knows\u201d was released as the B-side to \u201cWouldn\u2019t It Be Nice,\u201d but never issued as an A-side on its own. \u201cWouldn\u2019t It Be Nice\u201d peaked at No. 8 on the Hot 100.]<\/p>\n

\n\tI just thought it was just like people wearing more formal, great-looking clothes, you know?<\/p>\n

\nLove:<\/strong> We knew the production quality was higher overall, per song. Listening to the tracks that Brian did with the Wrecking Crew, the greatest musicians in town at that time, they were unbelievable. I listened and said, \u201cHow did he come up with that?\u201d My mind was blown by the brilliance of the tracking. And then we went to work when we got back from touring on the vocals and worked our bums off on those vocals.<\/p>\n

\n\tSome of them were easier \u2014 like, Carl Wilson sang lead on \u201cGod Only Knows,\u201d and he sounded brilliant, and there weren\u2019t a whole lot of harmonies to do with it, but they supported it. But something like \u201cWouldn\u2019t It Be Nice,\u201d we must have done 25 or 30 takes of one part to get it perfect. I thought it was perfect along the way, but Brian said, \u201cNo, do it again.\u201d So he was a real taskmaster at that point in time. It\u2019s just that when we did 22 takes of one section of \u201cWouldn\u2019t It Be Nice,\u201d I didn\u2019t want to sit there and do the 23rd or 24th or 25th. That\u2019s when I called him \u201cdog ears.\u201d I said, \u201cYou\u2019re hearing the stuff that most human beings don\u2019t or can\u2019t.\u201d<\/p>\n

\n\u201cGod Only Knows\u201d didn\u2019t fit any classic Beach Boys formula.<\/strong><\/p>\n

\nJohnston:<\/strong> I love the whole album, but that song\u2026 Think of this: There are only 10 lines \u2014 two verses, five and five \u2014 of \u201cGod Only Knows,\u201d and then the third verse was like when Peter Noone of Herman\u2019s Hermits went, \u201cSecond verse, same as the first.\u201d Brian just had five lines of lyrics. But the harmonies, \u00a0the arrangement, it was fabulous. At the end of the day, it got a little top-heavy with too many people on it, so we wound up singing it with just three parts, like Crosby, Stills and Nash, me, Brian and Carl.<\/p>\n

\n\u201cPet Sounds\u201d is a great title. You were inspired to come up with that, Mike, by hearing the sounds of Brian\u2019s dogs that he was putting into the recording. And of course it\u2019s a double entendre or maybe even triple entendre, when you think of all the applications. But not everyone thought as highly of the actual album cover. Wasn\u2019t that the one thing Paul McCartney was kind of disparaging of?<\/strong><\/p>\n

\nLove:<\/strong> Well, we did have a conversation when we were India at Maharishi\u2019s place, and he said, \u201cHey, Mike. You really should take more care in your album covers.\u201d And I said, this is the guy who\u2019s the mastermind of the \u201cSgt. Pepper\u2019s Lonely Hearts Club Band\u201d album cover, which is brilliant\u2026 and our photograph was taken at the San Diego Zoo. That became our album cover. But what I said to him was, \u201cWell, Paul, you\u2019re absolutely right. But we always felt it was more important what went in the sleeve, than the sleeve itself.\u201d<\/p>\n

\nBruce, you are known for being the guy who actually first played the album for the Beatles\u2026 which supposedly had a big influence on what they did next.<\/strong><\/p>\n

\nJohnston:<\/strong> It\u2019s true, and that was 60 years ago this week. A young guy and I were going out to dinner \u2014 Keith Moon from the Who \u2014 and we were told Lennon and McCartney were waiting for me upstairs in my suite, and they wanted to hear \u201cPet Sounds.\u201d I happened to bring two monos with me, and back in those days, I had a record player in the room that came with the hotel in London. I played it for them twice, and they loved it. They dressed great. They were so polite and they just complimented us as a group on the singing. I was the only guy in the band there, for that playback for them. And later I heard that Paul used the vibe, if you will, of \u201cWouldn\u2019t It Be Nice\u201d for his harmonies for \u201cHere, There and Everywhere\u201d on the \u201cRevolver\u201d album.<\/p>\n

\nYou probably weren\u2019t consciously thinking, \u201cOK, the Beatles are gonna pick up a thing or two from what we\u2019ve been doing.\u201d<\/strong><\/p>\n

\nJohnston:<\/strong> I don\u2019t think it\u2019s that at all. I think we\u2019re two equal bands, from parallel planets, at the same time, you know? It\u2019s only 12 notes in a scale. I mean, it\u2019s just how you arrange it.<\/p>\n

\nMike, you\u2019ve been supportive of \u201cPet Sounds\u201d over the years and certainly play a lot of that material live to this day. But there was a rumor that you said \u201cdon\u2019t mess with the formula,\u201d or something to that effect, when you heard how different what Brian was writing was.<\/strong> You\u2019ve denied that.<\/strong>\n<\/p>\n

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\nLove:<\/strong> Well, it was simply not true. I never said that. But the funny thing about being in a group is, some people are disparaging of an individual member, when it takes a village, you know? The whole is greater than the sum of its parts. People have said that John Lennon is<\/em> the Beatles, and, well, what\u2019s up with Sir Paul, I\u2019d like to know? Anyway, there was a tendency by some people to focus on a person and deify them and denigrate the others. And I was a victim of that too, to a small degree for a little bit of time.<\/p>\n

\n\tI came up with the album title. And I went with Brian to Capitol Records to present it to our A&R person. And he simply told us, \u201cHey, this is great, you guys, but can\u2019t you come up with something more like \u2018California Girls\u2019 or \u2018I Get Around\u2019 or that kind of thing?\u201d We did come up with \u201cGood Vibrations\u201d a few months later, and that went to No. 1. But it took quite a while for \u201cPet Sounds\u201d to get the recognition from the public. From the beginning, it was admired by the other recording acts.<\/p>\n

\nThis was not a \u201cfun, fun, fun\u201d album, as you said, yet you brought some of that in, Al, when you brought \u201cSloop John B\u201d to Brian, and that ended up being added to the album.<\/strong> [Issued as a single two months before the release of \u201cPet Sounds,\u201d \u201cSloop John B\u201d was the most successful hit associated with the album, peaking at No. 3 on the Hot 100.]<\/strong><\/p>\n

\nJardine:<\/strong> You\u2019re right. That was from the very first day Brian and I decided to have a band. I said, \u201cI wanna do a couple of folk songs.\u201d And of course we got derailed really quickly by Dennis Wilson, who was our sex-symbol surfer, and then the Carl era, and then the other eras. And pretty soon I didn\u2019t think we were ever going to do a folk song. But, I said, \u201cBrian, let\u2019s add a chord [to \u201cThe Wreck of the John B,\u201d as it was previously known]. We\u2019ve got one or two different chords\u2026 we can stretch out the harmonies. I think we can turn this folk song into a Beach Boys song.\u201d<\/p>\n

\n\tAnd thank you, Capitol Records, for having the Kingston Trio [who recorded \u201cThe Wreck of the John B\u201d in 1958] on your label, because it really, really helped motivate me to have this great opportunity. A lot of their bands here were harmony bands. Not really rock \u2018n\u2019 roll, but more like the Four Preps doing \u201c26 Miles Across the Sea\u201d and all that stuff [\u201c26 Miles (Santa Catalina)\u201d]. They had the Four Freshmen, and then they came on with Beach Boys.<\/p>\n

\nIs there a sleeper track on the album for you, Mike?<\/strong><\/p>\n

\nLove:<\/strong> Yeah. For years we\u2019ve done \u201cGod Only Knows,\u201d \u201cSloop John B\u201d and \u201cWouldn\u2019t It Be Nice\u201d on our shows, but lately we\u2019ve added \u201cI\u2019m Waiting for the Day.\u201d So many people have said they\u2019ve lost a love and it\u2019s taken a while for them to be able to get back to believing in a relationship again, and that\u2019s the whole premise of \u201cI\u2019m Waiting for the Day\u201d: when you can love again. I think it\u2019s a great song.<\/p>\n

\nSpeaking of beautiful songs, you were instrumental, Mike, in having \u201cHang On to Your Ego\u201d turn into \u201cI Know There\u2019s an Answer.\u201d [The original draft is included on the \u201cPet Sounds Sessions\u201d collection.] You didn\u2019t care for the original lyrics, right?<\/strong><\/p>\n

\nLove: <\/strong>Yeah. At the time, there was a lot of stuff going on with LSD, maybe not so much in the group, but all around, and I thought those lyrics were a bit drug-oriented, at the time, just because of the the hyperbole going on about drugs, in particular LSD. So yeah, I thought \u201cI Know There\u2019s an Answer\u201d would be more upbeat without those connotations.<\/p>\n

\nLet\u2019s talk about future plans. Mike, you will be with the touring edition of the Beach Boys at the Hollywood Bowl this summer\u2026<\/strong><\/p>\n

\nLove:<\/strong> It\u2019s with the Hollywood Bowl Orchestra, and we have our symphonic (charts) that we can take with us to whatever place around the world. We\u2019ve done it in Washington, D.C.; we\u2019ve done it in London. so it\u2019s pretty darn neat to hear some of these songs accompanied by an orchestra. I love hearing it that way, so it\u2019ll be special, those three nights, the 2nd 3rd and 4th of July at the Bowl.<\/p>\n

\nAl, you continue to play \u201cPet Sounds\u201d material with your touring band, which mostly consists of Brian\u2019s former touring band\u2026<\/strong><\/p>\n

\nJardine:<\/strong> I\u2019ve been listening to the album again recently because we\u2019re reimagining it now with some new singers and new players, since Brian\u2019s gone, of course. So we have to bring it up to speed and, in a sense, relearn some of the phrasing, getting everybody on the same level. Some of the guys are gone \u2014 they\u2019ve passed away from Brian\u2019s band \u2014 but we still have the kernel. The nucleus is still there. And man, are they good.<\/p>\n

\nAl, your focus with your touring band this past year has been more on the \u201cThe Beach Boys Love You\u201d album from 1977, performing that in its entirety for the first time. And there was promotion around the great boxed set that came out earlier this year commemorating that album [\u201cWe Gotta Groove: The Brother Studio Years\u201d].<\/strong>\n<\/p>\n

\nJardine:<\/strong> Wait till you hear it live.<\/p>\n

\nOh, we did see your tour this year\u2026<\/strong><\/p>\n

\nJardine: <\/strong>No, I mean the album we recorded live (of the Jardine band performing \u201cBeach Boys Love You\u201d). I just heard it the other day, and it\u2019s a monster. So we\u2019re gonna try to get it out there for Record Store Day (Black Friday), if we can just squeeze it under the deadline.<\/p>\n

\nAll right, we had no idea there\u2019d been a live record made of the \u201cLove You\u201d material.<\/strong><\/p>\n

\nJardine:<\/strong> It\u2019s astounding. It makes the actual recording that we did then (in 1976-77) sound primitive. All the synth gear we have now is unbelievable, and it makes Brian\u2019s compositional skills come across even brighter.<\/p>\n

\nBruce, your history with the band is an interesting one, timeline-wise. At the Capitol party, people were joking, still, about you being the \u201cnewcomer\u201d in the group. You had come on in 1965, not so very long before \u201cPet Sounds\u201d was recorded, although it was not your first album with the band. Still, you were relatively fresh out of a label gig.<\/strong><\/p>\n

\nJohnston:<\/strong> Well, I was an A&R man, back at Columbia Records. And Mike called me, because I knew everybody. He said, \u201cGlen Campbell\u2019s been sitting in, as you know, Bruce, but he\u2019s not available, and Brian\u2019s not available.\u201d And I said, \u201cI\u2019ll make some calls.\u201d I called 12 people and nobody was available, so I said, \u201cLook, I\u2019ll come down right now to New Orleans\u201d \u2014 April 9, \u201965 \u2014 \u201cand I\u2019ll just sit in on the two shows for the weekend.\u201d And then when I went back home, they requested me back out again, and I realized that maybe I should be doing that instead of wearing a suit to the office.<\/p>\n

\n\tI loved what I did up there at Columbia, but this was unique. I\u2019d never stood up and sung harmony in my life. I mean, I could sing harmony. When Terry (Melcher) and I were producing recordings together, we\u2019d do the four-part harmonies, between the two of us; it was easy. But I\u2019d never been in a group that sang harmony, and great harmony. This just had more chords, more sophistication, and I learned quickly how to do group singing. So \u201cPet Sounds\u201d was my third album that I recorded with Brian, and I loved the challenge of the chords, and it was wonderful.<\/p>\n

\nIt was recently announced that you were retiring from being a part of the current Beach Boys lineup led by Mike, as you had been for many, many years. What is in store for you?<\/strong><\/p>\n

\nJohnston:<\/strong> What am I doing? I\u2019m surfing. And I\u2019m finishing a really wonderful song. It\u2019s so nice it scares me. I said, \u201cDid I write that?\u201d You know, I have a rusty Grammy for songwriting from years ago [for composing Barry Manilow\u2019s hit \u201cI Write the Songs\u201d], so who knows what\u2019ll happen.<\/p>\n

\n\tI don\u2019t think I want to be unpacking once a day and packing again the next day and unpacking. I don\u2019t want to do that anymore. However, Mike, who\u2019s my buddy, says, \u201cYou make sure you join us in some high-profile concerts, and please play with us at the Hollywood Bowl.\u201d It\u2019s symphonic, which is great. And I wrote the overture.<\/p>\n

\nSo we\u2019ll hear that at the Bowl. What is the overture like?<\/strong><\/p>\n

\nJohnston:<\/strong> It\u2019s called \u201cThe Beach.\u201d Well, I wrote it 25 years ago, and we added it to our symphonic concerts. There\u2019s 14 songs in five minutes. And no one told me what to do or what I couldn\u2019t do. So I thought, \u201cGod, there\u2019s this climbing up part\u201d \u2014 \u201cda, da, da, da, da, da, da,\u201d from the song \u201cFriends\u201d \u2014 \u201cI\u2019ll put that in.\u201d I did all kinds of stuff that I liked.<\/p>\n

\n\tBut there\u2019s nothing wrong. I don\u2019t need time off. I need time to get back to work. I have stuff I have to do that I know I can do now, while I\u2019m still healthy. I\u2019m gonna finish my writing career. And I can surf more. I have no interest in being an artist. My kids are out of grad school \u2014 some of them are married now \u2014 and I do have a little more time to see them. And I\u2019ll probably come out to some of the Beach Boys shows, and it\u2019ll be all right.<\/p>\n

\nSo all these years we heard about how there really weren\u2019t actually very many surfers in the Beach Boys. But with you, it wasn\u2019t casting against type. You were a surfer then and you\u2019re still at it. How often do you go now?<\/strong><\/p>\n

\nJohnston:<\/strong> About three days a week. I live right at my surf spot in Santa Barbara.<\/p>\n

Read more Annette Bening on Going Head-to-Head With Beth and Rip on \u2018Dutton Ranch,\u2019 Perfecting That Accent and Wardrobe, and Bringing \u2018Vulnerability and Desperation\u2019 to Beulah<\/a><\/p>\n<\/div>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

As the Beach Boys’ ‘Pet Sounds’ turns 60, Mike Love, Al Jardine and Bruce Johnson remember Brian Wilson and the making of one of pop’s greatest albums.<\/p>\n","protected":false},"author":1,"featured_media":108,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[33],"tags":[132,133,134,135,136],"class_list":["post-109","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-music","tag-al-jardine","tag-brian-wilson","tag-bruce-johnston","tag-mike-love","tag-the-beach-boys"],"yoast_head":"\nHappy 60th Birthday, \u2018Pet Sounds\u2019: Beach Boys Mike Love, Al Jardine and Bruce Johnston Recall the Making and Aftermath of One of Rock\u2019s Greatest Albums - Relocation Observer<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/relocationobserver.com\/?p=109\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Happy 60th Birthday, \u2018Pet Sounds\u2019: Beach Boys Mike Love, Al Jardine and Bruce Johnston Recall the Making and Aftermath of One of Rock\u2019s Greatest Albums - 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