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Credit: Far Out \/ Caribou Records \/ Public Domain<\/p>\n
Tue 28 July 2026 22:00, UK <\/p>\n
In the mid 1960s<\/a>, the world was marvelling at The Beatles\u2019 endless pursuit of songwriting and brazenly claimed that not a single person in the world was writing music as good as them.<\/p>\n I\u2019m not here to argue with that. As a Beatles fan, there\u2019s no part of me that is going to start on one of the most annoying crusades in all of music: the false narrative that The Beatles were, in some shape or form, overrated. But the idea that no one was writing music like them is something I take umbrage with, for there was one name who quietly guided The Beatles into their state of experimental genius.\u00a0<\/p>\n The year was 1966, and The Beatles were slowly shifting to their more innovative musical state while simultaneously looking to call time on their touring careers<\/a>. Revolver was a triumphant introduction to that and may have just been the album of the year, if it wasn\u2019t for The Beach Boys releasing Pet Sounds.\u00a0<\/p>\n Their symphonic masterpiece represented the very peak of songwriting arrangement and even now, over half a century on, hasn\u2019t really been topped. It was the blueprint for The Beatles\u2019 \u201867 record Sgt Pepper\u2019s Lonely Hearts Club Band, and ultimately did away with this idea that only they could create magic; suddenly, the idea was flipped on its head, and Wilson was the songwriter penning songs no one else would dare.<\/p>\n With something as unique as \u2018God Only Knows\u2019, Wilson established a style for himself that no one could ever top, not even Paul McCartney<\/a>. While he drove himself absolutely insane arranging the song and Pet Sounds as a whole, there was something innate about the melody, almost like it fell from the sky. <\/p>\n Wilson, despite all of his idiosyncrasies, had suddenly become the master writer of the love song. But it was through the lens of Pet Sounds that fans could suddenly go back and reimagine some of The Beach Boys\u2019 songwriting to realise that there are multiple songs which feel unique to Wilson.<\/p>\n Like \u2018Please Let Me Wonder\u2019, which was even more unashamed about romance than anything on Pet Sounds. \u201cI recorded that at four o\u2019clock in the morning in 1964,\u201d Wilson remembered, two years before his opus.<\/p>\n Further reading: From The Vault<\/p>\n He continued, \u201cI finished it at 7:30 in the morning\u2026 At the very end, I went, \u2018I love you\u2019, at the end of the song. Hardly anybody in the world ever says, I love you on record, you know? So that was an original idea of mine. Yeah, it was spontaneous. I just thought of doing it, real spontaneous.\u201d<\/p>\n Wilson\u2019s process shows he was already developing signs of experimentalism. While \u2018Please Let Me Wonder\u2019 was largely conventional and had nothing of the Pet Sounds ambition<\/a>, the very fact that Wilson identified that musicians were refusing to include \u2018I love you\u2019 as a phrase, he saw a unique opportunity. Thereafter, the floodgates opened, and the music world was soon treated to one of the most influential albums of all time.<\/p>\n<\/p>\n
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<\/a> The Far Out Beatles Newsletter<\/p>\n