Wouldn’t It Be Nice

You Still Believe In Me

That’s Not Me

Don’t Talk(Put Your Head On My Shoulder)

I’m Waiting For The Day

Let’s Go Away For Awhile

Sloop John B

God Only Knows

I Know There’s An Answer

Here Today

I Just Wasn’t Made For These Times

Pet Sounds

Caroline No

In December of 1965, I heard the album

RubbeR Soul by The Beatles. It was

definitely a challenge for me. I saw that

every cut was very artistically interesting and

stimulating. I immediately went to work on

the songs for PeT SouNDS.

I called in a collaborator named Tony Asher

and we spent two months working on and

off together. He proved to have the lyrical

ability to work with me. In January, I started

making the instrumental tracks for the album.

I made each track a sound experience of

its own. I was obsessed with explaining,

musically, how I felt inside. This, I thought,

could be the beginning of a new type of

sophisticated-feeling music. I definitely felt

the need to compete with The Beatles. After

doing twelve tracks and totally exhausting

some of my musical creativity, I proceeded

to play the tracks to the boys, who had just

gotten home from the road. They all flipped

for the tracks and the songs. I did most

of the singing on PeT SouNDS because I

needed to directly express my feelings to

people. It was a special project because the

music world had heard from me through The

Beach Boys, but I needed to get this one

album out to my fans and the public from my

heart and soul. I was in a loving mood for a

few months and it found its way to recorded

tape. My voice turned up sweet this time.

Caroline No was my favorite on this album.

The boys filled out the album with me and we

had a classic on our hands. I experimented

with sounds that would make the listener

feel loved. The album was artistically set out

in front of other albums and was, in truth, at

that time, my biggest and best production. It

was the first time I used more traditional and

inspired lyrics which emitted feelings from

my soul and not the usual “Beach Boys” kind

of an approach. PeT SouNDS was an album

alone. I think Don’t Talk was good for me to

make, giving me peace of mind and spiritual

satisfaction, knowing that many people

would feel like I did. That’s Not Me was so

great that I couldn’t get enough listens.

A voice or a song can be so comforting

to someone who really needs it. I have

always had an ear out for good voices.

When you make a great album, it is good

for your confidence and it tells you that you

can continue to record in that same spirit.

I really fulfilled a dream with this album.

Just before we did God only Knows, Carl

and I had prayer sessions asking the Lord

for guidance and maximum love vibes

for this crucial single. It was the first time

that anyone ever used the word “God” in

a commercial song... at least this is what

we were told. During the production of PeT

SouNDS, I dreamt I had a halo over my

head. This might have meant that the angels

were watching over PeT SouNDS.

This album is personally from me to you.

Brian Wilson

Los Angeles, CA / March 1990

Wouldn’t It Be Nice

Wouldn’t it be nice if we were olderThen we wouldn’t have to wait so long.

And wouldn’t it be nice to live togetherIn the kind of world where we belong.

You know it’s gonna make it that much betterWhen we can say goodnight and stay together.

Wouldn’t it be nice if we could wake upIn the morning when the day is new.And after having spent the day togetherHold each other close the whole night through.

What happy times together we’ve been spendingI wish that every kiss was never ending.Oh, wouldn’t it be nice.

Maybe if we think and wish and hope and pray it might come trueBaby then there wouldn’t be a single thing we couldn’t doOh, we could be married.

And then we’d be happy

Oh, wouldn’t it be nice.

You know it seems the more we talk about itIt only makes it worse to live without it

But lets talk about itOh, wouldn’t it be nice

(Good night, my baby.Sleep tight, my baby)

You Still Believe In Me

I know perfectly well I’m not where I should be.I’ve been very aware you’ve been patient with me.Every time we break up,You bring back your love to me.And after all I’ve done to you, how can it beYou still believe in me

I try hard to be more what you want me to beBut I can’t help how I actWhen you’re not here with meI try hard to be strong, but sometimes I fail myselfAnd after all I promised you, so faithfullyYou still believe in me

I want to cry

Don’t Talk(Put Your Head On My Shoulder)

I can hear so much in your sighs.And I can see so much in your eyesThere are words we both could say.But don’t talk, put your head on my shoulder.Come close, close your eyes and be still.Don’t talk, take my hand and let me hear your Heart... beat.

Being here with you feels so right.We could live forever tonight.Let’s not think about tomorrow.And don’t talk, put your head on my shoulderCome close, close your eyes and be still.Don’t talk, take my hand, and listen to my Heart... beat...

Listen. listen. listen.

Don’t talk, put your head on my shoulder.Don’t talk, close your eyes and be still.(repeat)

That’s Not Me

I had to prove that I could make it alone, now,But that’s not me.I wanted to show how independent I’d grown, Now, but that’s not me

I could try to be big in the eyes of the world,What matters to me is what I could beTo just one girl.

I’m a little bit scared ‘cause I haven’t been home In a long time.You needed my love and I know that I left at theWrong time.

My folks when I wrote and told ‘em what I was up To said “that’s not me”.

I went through all kinds of changes, took a look at Myself and said that’s not meI miss my pad and the places I’ve known.And every night as I lay there alone I would dream

I once had a dream so I packed up and split For the city.I soon found out that my lonely life Wasn’t so pretty.I’m glad I went, now I’m that much more sure That we’re ready.

I once had a dreamso I packed up and split for The city.I soon found out that my lonely life Wasn’t so pretty.(repeat)

I’m Waiting For The Day

I came along when he broke your heart.That’s when you needed someone to help Forget about him.

I gave you love with a brand new startThat’s what you needed the mostTo set your broken heart free.I know you cried and you felt blueBut when I could, I gave strength to you.I’m waiting for the day, when you can love again.

I kissed your lips and when your face looked sadIt made me think about himAnd that you still loved him so.

But you know that pretty soon I made you feel gladThat you belonged to meAnd love began to show.

He hurt you then, but that’s all doneI guess I’m saying you’re the only oneI’m waiting for the day when you can love again

He hurt you then, but that’s all goneI guess I’m saying you’re the only oneI’m waiting for the day when you can love again

You didn’t think, that I could sit around andLet him workYou didn’t think, that I could sit around (back)And let him take youYou didn’t think, that I could sit around andWatch him goYou didn’t think, that I could sit back andLet you goYou didn’t think, that I could sit around andLet you go.

Sloop John B

We come on the Sloop John BMy grandfather and meAround Nassau town we did roamDrinking all nightGot into a fightWell I feel so broke upI want to go home

So hoist up the John B’s sailSee how the mainsail setsCall for the Captain ashoreLet me go home, let me go homeI wanna go home, yeah yeahWell I feel so broke upI wanna go home

The first mate he got drunkAnd broke in the Cap’n’s trunkThe constable had to come and take him awaySheriff John StoneWhy don’t you leave me alone, yeah yeahWell I feel so broke up I wanna go home

So hoist up the John B’s sailSee how the mainsail setsCall for the Captain ashoreLet me go home, let me go homeI wanna go home, let me go homeWhy don’t you let me go home(Hoist up the John B’s sail)Hoist up the John BI feel so broke up I wanna go homeLet me go home

The poor cook he caught the fitsAnd threw away all my gritsAnd then he took and he ate up all of my cornLet me go homeWhy don’t they let me go homeThis is the worst trip I’ve ever been on

So hoist up the John B’s sailSee how the mainsail setsCall for the Captain ashoreLet me go home, let me go homeI wanna go home, let me go homeWhy don’t you let me go home

God Only Knows

I may not always love you,But long as there are stars above you.You never need to doubt it,I’ll make you so sure about it.God only knows what I’d be without you.

If you should ever leave me,Though life would still go on believe me.The world could show nothing to me, so what Good would living do me?

God only knows what I’d be without you.

I Know There’s An Answer

I know so many people who think they can Do it aloneThey isolate their heads and stay in their Safety zonesNow what can you tell them?And what can you say that won’t make themDefensive?

I know there’s an answer.I know now but I have to find it by myself.

They come on like they’re peaceful,But inside they’re so uptight.They trip through their day and waste all their Thoughts at night.

Now how can I come on,And tell them the way That they live could be better

I know there’s an answer.I know now but I have to find it by myself.

Now how can I come on, and tell them the way That they live could be better

I know there’s an answer. I know now but I had to Find it by myself.

Here Today

It starts with just a little glance, now.Right away you’re thinking ‘bout romance now.You know you oughtta take it slowerBut you just can’t wait to get to know her.

A brand new love affair is such a beautiful thing.But if you’re not careful think about the pain it Can bring.

It makes you feel so bad.It makes your heart feel sad.It makes your days go wrong.It makes your nights so long.You’ve got to keep in mind

Love is here today,And it’s gone tomorrowIt’s here and gone so fast.

Right now, you think that she’s perfection.This time is really an exception.Well you know I hate to be a downer.But I’m the guy she left before you found her.

Well, I’m not saying you won’t have A good love with herBut I keep on rememberin’ things like they were

She made me feel so bad.She made my heart feel sad.She made my days go wrong.And made my nights so long.You’ve got to keep in mind Love is here today,And it’s gone tomorrowIt’s here and gone so fast.

Keep in mind Love is here today,And it’s gone tomorrowIt’s here and gone so fast.

Love is here today,And it’s gone tomorrowIt’s here and gone so fast.

I Just Wasn’t Made For These Times

I keep looking for a place to fit in,Where I can speak my mind.And I’ve been trying hard to find the peopleThat I won’t leave behind.They say I got brains, but they ain’t doin’Me no good.I wish they couldEach time things start to happen againI think I got something good going for myself butWhat goes wrong?

Sometimes I feel very sad (repeat 3 times)(Background vocal: Ain’t found the right thing Ican put my heart and soul into)I guess I just wasn’t made for these times.

Every time I get the inspirationTo go change things around.No one wants to help me look for placesWhere new things might be found.

Where can I turn when my fair weather friends Cop out?What’s it all about?

Each time things start to happen again.I think I got something good going for myself but What goes wrong?

Sometimes I feel very sad (repeat 3 times)(Background vocal: Ain’t found the right thing Ican put my heart and soul into)I guess I just wasn’t made for these times.

I guess I just wasn’t made for these times.(repeat to fade)

Caroline No

Where did your long hair go?Where is the girl I used to know?How could you lose that happy glow?Oh, Caroline, no.

Who took that look away?I remember how you used to say.You’d never change, but that’s not true.Oh Caroline you

Break my heart,I wanna go and cryIt’s so sad to watch a sweet thing dieOh Caroline why?

Could I ever find in you againThe things that made me love you so much then?

Could we ever bring ‘em back once they have gone?Oh, Caroline, no.

All lyrics © 1966 Irving Music. All Rights Reserved.Used by permission. Except Sloop John B

published by New Executive Music

The Beach Boys’ PeT SouNDS album was originally releasedon May 16, 1966 as Capitol album T-2458. It entered the BILLBOARD® “Top LPs” chart on May 28, 1966, was on thechart for 39 weeks, and peaked at #10 on July 2, 1966.

All tracks produced and arranged by Brian Wilson.All tracks engineered by Chuck Britz, except as noted.

[Credits followed by “?” could not be verified.]

Wouldn’t It Be Nice(brian Wilson – Tony Asher – Mike love)

LEAD VOCALS: Brian on the verses, Mike on the bridge

DRUMS: Hal BlaineBELLS, TYMPANI, PERCUSSION: Frank CappSTRING BASS: Lyle RitzELECTRIC BASS: Carol KayeGUITARS: Jerry Cole, Bill PitmanMANDOLINS: Barney Kessel, Ray PohlmanPIANO: Al de LoryORGAN: Larry KnechtelACCORDIONS: Carl Fortina, Frank MaroccoSAxOPHONES: Steve Douglas, Plas Johnson, Jay MiglioriTRUMPET: Roy Caton

Instrumental track recorded Jan. 22, 1965 at Gold Star Recording Studios, Hollywood, CA; engineered by Larry Levine • Vocals recorded March-April 1966 at Columbia Studios, Hollywood, CA; engineered by Ralph Balantin • Released July 18, 1966 as Capitol single 5706 • Entered bIllboARD “Hot 100” July 30, 1966; on chart 11 weeks; peaked at #8 Sept. 17, 1966

You Still Believe In Me(brian Wilson – Tony Asher)

LEAD VOCAL: Brian

DRUMS: Hal BlainePERCUSSION: Jerry WilliamsTYMPANI, LATIN PERCUSSION: Julius WechterSTRING BASS: Lyle RitzELECTRIC BASS: Carol KayeGUITARS: Jerry Cole, Barney Kessel, Billy StrangeHARPSICHORD: Al de LoryCLARINET: Steve DouglasBASS CLARINET: Jay MiglioriSAxOPHONES: Bill Green, Jim Horn, Plas Johnson

Instrumental track recorded Nov. 1, 1965 at Western Recorders, Hollywood, CA • Engineered by Chuck Britz • Instrumental introduction recorded Jan. 24, 1966 at Western Recorders, Hollywood, CA • Vocals recorded January-February 1966 at Western Recorders, Hollywood, CA

That’s Not Me(brian Wilson – Tony Asher)

LEAD VOCAL: Mike on the verses (with Mike and Brian on the choruses)

DRUMS: Dennis WilsonGUITAR: Carl WilsonORGAN: Brian Wilson

overdubbed at a later sessionSTRING BASS: Lyle RitzELECTRIC BASS: Carol Kaye12-STRING ELECTRIC GUITAR: Glen CampbellPERCUSSION: Frank Capp?

Basic track recorded Feb. 15, 1966 at Western Recorders, Hollywood, CA • Engineered by Chuck Britz • Additional instrumentation recorded February or March 1966 at Western Recorders, Hollywood, CA • Vocals recorded February or March 1966 at Western Recorders, Hollywood, CA

(NOTE: The AFM contract for this date lists Brian, Carl, Dennis, Alan and Bruce as having played on this track. However, on the surviving session tape, only Brian, Carl and Dennis are clearly audible on the basic track, which includes just drums, organ, one guitar and tambourine. As Brian was on the studio floor, Bruce was in the control booth, helping Chuck Britz direct the session. The tambourine apparently was played by Alan Jardine or an uncredited Terry Melcher; Brian has named the latter on at least one occasion.)

Don’t Talk(Put Your Head On My Shoulder) (Brian Wilson – Tony Asher)

LEAD VOCAL: Brian

DRUMS: Hal BlainePERCUSSION: Steve DouglasVIBRAPHONE, TYMPANI: Frank CappSTRING BASS: Lyle RitzELECTRIC BASS: Carol KayeGUITARS: Glen Campbell, Billy StrangeORGAN: Al de Lory

overdub sessionVIOLINS: Arnold Belnick, Ralph Schaeffer, Sid Sharp, Tibor ZeligVIOLA: Norman Botnick CELLO: Joseph Saxon

Instrumental track and lead vocal recorded Feb. 11, 1966 at Western Recorders, Hollywood, CA; engineered by Chuck Britz • String overdub recorded April 3, 1966 at Western Recorders, Hollywood, CA; engineered by H. Bowen David

SESSIONOGRAPHY

God Only Knows (brian Wilson – Tony Asher)

LEAD VOCAL: Carl(with Brian and Bruce on the tag)

DRUMS: Hal BlainePERCUSSION: Jim GordonSTRING BASS: Lyle RitzELECTRIC BASS: Carol KayeDANELECTRO BASS: Ray PohlmanPIANO: Don RandiORGAN: Larry KnechtelACCORDIONS: Carl Fortina, Frank MaroccoCLARINET, BASS CLARINET: Leonard HartmanFLUTES: Bill Green, Jim HornFRENCH HORN: Alan RobinsonBARITONE SAxOPHONE: Jay MiglioriVIOLINS: Leonard Malarsky, Sid Sharp VIOLA: Darrel Terwilliger CELLO: Jesse Erlich

Instrumental track recorded March 10, 1966 at Western Recorders, Hollywood, CA; engineered by Chuck Britz • Vocals recorded March-April 1966 at Columbia Studios, Hollywood, CA; engineered by Ralph Balantin • Released July 18, 1966 as the B-side of Capitol single 5706 (Wouldn’t It be Nice) • Entered BILLBOARD “Hot 100” Aug. 12, 1966; on chart 8 weeks; peaked at #39 Sept. 24, 1966

Let’s Go Away For Awhile (brian Wilson)

INSTRUMENTAL

DRUMS: Hal BlaineTYMPANI, VIBRAPHONE: Julius WechterSTRING BASS: Lyle RitzELECTRIC BASS: Carol KayeGUITARS: Al Casey, Barney KesselPIANO: Al de LoryTENOR SAxOPHONES: Steve Douglas,Plas JohnsonBARITONE SAxOPHONES: Jim Horn, Jay MiglioriTRUMPET: Roy Caton

overdub sessionVIOLINS: Arnold Belnick, James Getzoff,William Kurasch, Leonard Malarsky, Jerome Reisler, Ralph Schaeffer,Sid Sharp, Tibor ZeligVIOLAS: Joseph DiFiore, Harry HyamsCELLI: Justin DiTullio, Joseph SaxonFLUTES: Steve Douglas, Jules Jacob

Recorded Jan. 18, 1966 at Western Recorders, Hollywood, CA • Engineered by Chuck Britz • String and flute overdubs recorded Jan. 19, 1966 at Western Recorders, Hollywood, CA • Released Oct. 10, 1966 as the B-side of Capitol single 5676 (Good Vibrations)

Sloop John B (Traditional; arranged by brian Wilson)

LEAD VOCALS: Brian and Mike

DRUMS: Hal BlaineTAMBOURINE: Ron Swallow?STRING BASS: Lyle RitzELECTRIC BASS: Carol KayeGUITARS: Al Casey, Jerry Cole, Billy StrangeORGAN: Al de LoryGLOCKENSPIEL: Frank CappCLARINET: Jay MiglioriFLUTES: Steve Douglas, Jim HornBARITONE SAxOPHONE: Jack Nimitz

overdub session12-STRING ELECTRIC GUITAR: Billy Strange

Instrumental track recorded July 12, 1965 at Western Recorders, Hollywood, CA; engineered by Chuck Britz • Vocals recorded Dec. 22, 1965 at Western Recorders, Hollywood, CA • New lead vocals and 12-string electric guitar overdub recorded Dec. 29, 1965 at Western Recorders, Hollywood, CA • High harmony lead and additional backing vocals recorded January 1966 at Western Recorders, Hollywood, CA • Released March 21, 1966 as Capitol single 5602 • Entered BILLBOARD “Hot 100” April 2, 1966; on chart 11 weeks; peaked at #3 May 7, 1966

HISTORICAL NOTE: As was the record industry custom at the time, even though Sloop John B was not recorded specifically for the PeT SouNDS album, it was included because it was The Beach Boys’ current hit single.

I’m Waiting For The Day (brian Wilson – Mike love)

LEAD VOCAL: Brian

DRUMS: Jim Gordon TYMPANI, BONGOS: Gary ColemanELECTRIC BASS: Carol KayeGUITAR: Ray PohlmanUKULELE: Lyle RitzPIANO: Al de LoryORGAN: Larry KnechtelFLUTES: Bill Green, Jim Horn, Jay MiglioriENGLISH HORN: Leonard Hartman

overdub sessionVIOLINS: William Kurasch, Leonard Malarsky,Ralph Schaeffer, Sid SharpVIOLA: Harry HyamsCELLO: Justin DiTullioSTRING BASS: Lyle Ritz

Instrumental track and string overdub recorded March 6, 1966 at Western Recorders, Hollywood, CA; engineered by H. Bowen David • Vocals recorded March 1966 at Columbia Studios, Hollywood, CA; engineered by Ralph Balantin

I Know There’sAn Answer (brian Wilson – Terry Sachen – Mike love)

LEAD VOCALS: Mike and Alan(with Brian on the choruses)

DRUMS: Hal BlainePERCUSSION: Julius WechterSTRING BASS: Lyle RitzELECTRIC BASS: Ray PohlmanGUITARS: Glen Campbell, Barney KesselTACK PIANO: Al de LoryORGAN: Larry KnechtelHARMONICA: Tommy MorganTENOR SAxOPHONES: Steve Douglas, Jim Horn, Paul Horn, Bobby KleinBARITONE SAxOPHONE: Jay Migliori

Overdub sessionGuitar: Glen Campbell

Instrumental track recorded Feb. 9, 1966 at Western Recorders, Hollywood, CA; engineered by Chuck Britz • Vocals recorded February-March 1966 at Western Recorders, Hollywood, CA

Here Today (brian Wilson – Tony Asher)

LEAD VOCAL: Mike

DRUMS: Nick MartinisPERCUSSION: Frank CappTAMBOURINE: Terry MelcherSTRING BASS: Lyle RitzELECTRIC BASS: Carol KayeGUITARS: Al Casey, Mike DeasyPIANO: Don RandiORGAN: Larry KnechtelBARITONE SAxOPHONES: Jay Migliori, Jack NimitzTROMBONE: Gail MartinBASS TROMBONE: Ernie Tack

Instrumental track recorded March 11, 1966 at Sunset Sound, Hollywood, CA; engineered by Bruce Botnick • Vocals recorded March 25, 1966 at Columbia Studios, Hollywood, CA; engineered by Ralph Balantin

I Just Wasn’t MadeFor These Times(brian Wilson – Tony Asher)

LEAD VOCAL: Brian

DRUMS, TYMPANI, BONGOS: Hal BlaineTYMPANI, LATIN PERCUSSION: Frank CappSTRING BASS: Chuck BerghoferELECTRIC BASS: Ray PohlmanGUITARS: Glen Campbell, Barney KesselPIANO: Don RandiHARPSICHORD: Mike MelvoinTHEREMIN: Paul TannerHARMONICA: Tommy MorganTENOR SAxOPHONES: Steve Douglas,Plas Johnson, Bobby KleinBARITONE SAxOPHONE: Jay Migliori

Instrumental track recorded Feb. 14, 1966 at Gold Star Recording Studios, Hollywood, CA; engineered by Larry Levine • Vocals recorded March-April 1966 at Columbia Studios, Hollywood, CA; engineered by Ralph Balantin

Pet Sounds(brian Wilson)

INSTRUMENTAL

DRUMS: Ritchie FrostPERCUSSION: Ritchie Frost, Bill Green,Plas JohnsonSTRING BASS: Lyle RitzELECTRIC BASS: Carol KayeACOUSTIC GUITAR: Tommy TedescoELECTRIC GUITARS: Jerry Cole, Billy StrangePIANO: Brian WilsonTENOR SAxOPHONES: Bill Green, Jim Horn, Plas JohnsonBARITONE SAxOPHONE: Jay MiglioriTRUMPET: Roy Caton

Recorded Nov. 17, 1965 at Western Recorders, Hollywood, CA • Engineered by Chuck Britz

Caroline No (brian Wilson – Tony Asher)

LEAD VOCAL: Brian

DRUMS: Hal BlaineVIBRAPHONE: Frank CappELECTRIC BASS: Carol KayeGUITARS: Glen Campbell, Barney KesselUKULELE: Lyle RitzHARPSICHORD: Al de LoryFLUTES: Bill Green, Jim Horn, Plas Johnson, Jay Migliori

overdub sessionDRUMS: (in vamp) Hal BlaineELECTRIC BASS: Carol KayeHARPSICHORD: Al de LoryTENOR SAxOPHONE: Steve Douglas

Recorded Jan. 31, 1966 at Western Recorders, Hollywood, CA • Engineered by Chuck Britz • Released March 7, 1966 as Capitol single 5610 (by Brian Wilson) • Entered bIllboARD “Hot 100” March 26, 1966; on chart 7 weeks; peaked at #32April 30, 1966

NOTE: The session information is a revised version of what appears in THe PeT SouNDS SeSSIoNS box set. Since this session information is derived largely from musicians’ union contracts, it is not possible to totally guarantee its accuracy (AFM session contracts are created simply to ensure payment to union members). Some of the contracts for PeT SouNDS include persons who didn’t play on a given session (for example, engineer Chuck Britz), as well as musicians who weren’t at the session. Furthermore, while the contracts contain the session date, the hours booked and a song title, none was required to be precisely accurate, and the date was often changed to comply with union requirements regarding prompt reporting of sessions.

bIllboARD® chart positions and debut dates courtesy of BPI Communications and Joel Whitburn’s Record Research Publications.