Pet Sounds Fan Letter Feb. 1967, "Don't Mess With The Formula"

[guitarfool2002]

I copied this letter from "Hit Parader" magazine, the February 1967 issue. It reminded me of conversations I've had with Beach Boys fans from the 60's who felt much the same way about the music made after Brian began using more session players than band members on his records, and to my eyes as a rabid fan of Brian's work from 1966-67, a letter like this still seems odd in our context in the year 2011. Pet Sounds has been accepted as one of the most important and influential albums in rock history, placing at or near the top of almost every "Top Albums", "Most Influential Albums", etc.  type of polls for two decades. Yet here is a reality check in the form of one fan letter (representative of just how many others we can only guess...), suggesting what Brian was doing really was "controversial", it took a lot of artistic/commercial courage to change the band's sound and switch to studio players with more sophisticated arrangements, and it was in fact a point of debate among his and the Beach Boys fans. Not to mention certain bandmates, his record company, his father, etc etc etc.

Notice this fan's letter specifically mentions Brian's arrangements, and at that point in time there was no doubt Brian was the producer/songwriter/arranger/Svengali behind the sounds because it was all over the music magazines of that era. I believe as much as there were fans of the band, I think a lot of people were fans of Brian's arrangements too, which may or may not have been an influence on the "Caroline No" single release, which still seems odd. Selling to Brian's fan base in 1966 on the strength of his arrangements and productions, similar to all the Mancini/Riddle/Bacharach/George Martin orchestral records? Who knows at this point.

It's also interesting to consider the sentiments of this letter as "ammunition" when the discussions about Brian's music as it related to the Beach Boys as a band were raised in meetings and family/band discussions during and after Smile. More Denny on drums, more Carl on guitar...Ok, I'll ditch Hal Blaine and the guys and give you Smiley Smile! Wild Honey! Band albums which sold far less than the stuff with the session guys. Ironic to note this same issue features the lyrics to "Good Vibrations" and praises that song as the best record of the year, mentioning the 6 months it took to record.

The phrase "road to jazz" describing Rubber Soul is interesting as well...Apart from some diminished chord runs and a mellow guitar solo in "Michelle", is there any jazz on Rubber Soul? I've never heard it unless "jazz" is a code word for "stoned".

I just saw this magazine letter by accident and thought it would be of interest.

[bgas]

I copied this letter from "Hit Parader" magazine, the February 1967 issue. It reminded me of conversations I've had with Beach Boys fans from the 60's who felt much the same way about the music made after Brian began using more session players than band members on his records, and to my eyes as a rabid fan of Brian's work from 1966-67, a letter like this still seems odd in our context in the year 2011. Pet Sounds has been accepted as one of the most important and influential albums in rock history, placing at or near the top of almost every "Top Albums", "Most Influential Albums", etc.  type of polls for two decades. Yet here is a reality check in the form of one fan letter (representative of just how many others we can only guess...), suggesting what Brian was doing really was "controversial", it took a lot of artistic/commercial courage to change the band's sound and switch to studio players with more sophisticated arrangements, and it was in fact a point of debate among his and the Beach Boys fans. Not to mention certain bandmates, his record company, his father, etc etc etc.

Notice this fan's letter specifically mentions Brian's arrangements, and at that point in time there was no doubt Brian was the producer/songwriter/arranger/Svengali behind the sounds because it was all over the music magazines of that era. I believe as much as there were fans of the band, I think a lot of people were fans of Brian's arrangements too, which may or may not have been an influence on the "Caroline No" single release, which still seems odd. Selling to Brian's fan base in 1966 on the strength of his arrangements and productions, similar to all the Mancini/Riddle/Bacharach/George Martin orchestral records? Who knows at this point.

It's also interesting to consider the sentiments of this letter as "ammunition" when the discussions about Brian's music as it related to the Beach Boys as a band were raised in meetings and family/band discussions during and after Smile. More Denny on drums, more Carl on guitar...Ok, I'll ditch Hal Blaine and the guys and give you Smiley Smile! Wild Honey! Band albums which sold far less than the stuff with the session guys. Ironic to note this same issue features the lyrics to "Good Vibrations" and praises that song as the best record of the year, mentioning the 6 months it took to record.

The phrase "road to jazz" describing Rubber Soul is interesting as well...Apart from some diminished chord runs and a mellow guitar solo in "Michelle", is there any jazz on Rubber Soul? I've never heard it unless "jazz" is a code word for "stoned".

I just saw this magazine letter by accident and thought it would be of interest.

There are no accidents in life, everything happens for a reason! 
You were destined to find this letter, the better to enlighten others. 

[Jason]

I'm surprised that the cavalry hasn't come to deny the letter and that the writer was Michael in disguise.

[Jon Stebbins]

It's also interesting to consider the sentiments of this letter as "ammunition" when the discussions about Brian's music as it related to the Beach Boys as a band were raised in meetings and family/band discussions during and after Smile. More Denny on drums, more Carl on guitar...Ok, I'll ditch Hal Blaine and the guys and give you Smiley Smile! Wild Honey! Band albums which sold far less than the stuff with the session guys.

I appreciate you posting this letter as it is very revealing. There were a lot of fans who were not thrilled with Pet Sounds, absolutely. Sophistication can take time to penetrate. Pet Sounds is too good to be anything but timeless, but for many it took a while.

Regarding your point about "band albums" selling less. I think its more about the material, arrangement and production of Smiley Smile and Wild Honey than who played on them. Classic BB's tracks like Dance, Dance, Dance, When I Grow Up To Be A Man, I'm So Young, She Knows Me Too Well, Girl Don't Tell Me, You're So Good To Me, That's Not Me are all "band songs" with the Beach Boys playing the drums, guitars, keyboards etc... In fact most tracks from '65 have Carl's guitar on them. Its not as if Wrecking Crew dominated material completely outsold or outclassed band dominated material. Its really about equal until Pet Sounds. The DIY vibe on Smiley and Wild Honey are by design, that's what Brian wanted. If he'd wanted those LP's to have production polish ala the tracks I listed above, he could have.

[Blake Alan]

Sophistication can take time to penetrate. Pet Sounds is too good to be anything but timeless, but for many it took a while.

Well put. I believe there was a thread several months ago where a couple of people, lucky enough to have been around in '66, said they felt let down by the album, only to fall in love with it in the years that followed. As Mr. Stebbins so eloquently put it, "sophistication can take time to penetrate", but expectations can play just as much of a role in how an album is initially perceived (that is, what we think we're going to hear, as opposed to what we do eventually hear). If the sun is shining and you're anticipating a 'Fun, Fun, Fun' but get 'Caroline, No' instead, that could easily be seen as a let down, but time and separation from expectations tend to make that disappointment look pretty silly.

It's also worth noting that, in many accounts of the time, Capitol receives the blame for Pet Sounds' relative chart failure (often citing a lack of promotional efforts, release of 'Best of the Beach Boys', etc.), but I think it's just as significant, if not more so, to note that there were real feelings of disappointment among the fans.

[D409]

It would be very interesting to track down the writer of this letter and see if he'd given up on The Beach Boys after Pet Sounds or had grown to appreciate the album's magnificence over time.

[Amy B.]

Very interesting letter. Sometimes when my favorite artists are criticized, I remember that the public perception of something or someone can change dramatically over time. It's not necessarily the artist or their music that is problematic; sometimes, it's the people who haven't caught up yet.

[the captain]

It's not necessarily the artist or their music that is problematic; sometimes, it's the people who haven't caught up yet.

I'd say it's neither. Different audience members look for different things from different artists. Expectations don't match up, and presto. Somebody is following the wrong muse, missing the point, selling out, failing to connect, or whatever other stereotypical musical complaint one side has with the other.

[Cam Mott]

I think it is more preference than sophistication.

[Custom Machine]

Very interesting post, GuitarFool!  You have finally uncovered the real reason Brian decided to abandon Smile. 

Seriously, it's just one fan's printed opinion, but given the popularity of Hit Parader magazine at the time, coupled with the fact that the mag had run an article on The Beach Boys in the previous issue, it is very highly likely that each of the band members saw this letter.

Yes, Pet Sounds was a definite departure.  When Pet Sounds was released, the album cover looked so different to me that I waited a few months before I bought the album.  And a few months after that, it was having such a heavy effect on me that I actually temporarily traded it to a friend for the GOK/WIBN single, as I had decided I needed to take a mental break from it.  A few months later I was ready get back into the album, and it's been a constant listening staple ever since.

[guitarfool2002]

It is a very interesting case of timing, I think, because in that same Feb '67 Hit Parader issue as the letter they named Good Vibrations as the top record of the year, or something (I'll post that clipping as well when I can...), and they printed the lyrics to Good Vibrations so fans could sing along.

On one hand there were Brian's fans who lamented the new direction of his arrangements, on the other hand Brian was sitting on a number one record, being hailed as a genius, and his band was back on the top of the charts because of Brian's new sound.

For everyone who would show Brian the letter and argue he has to follow the wishes of those kinds of fans, Brian could also show them the charts with "Good Vibrations" topping most of them.

It is definitely a time filled with contradictions because both sides have a point, although a strong number one record can outweigh fan letters in the right debate.

NOTE: Hit Parader apparently post-dated issues as magazines still do today, so the Feb '67 issue may have come out one or several months prior to Feb. 67 and would reflect that news cycle rather than up-to-date for the issue's date.