Skip to main content

Paul McCarney vs. Brian Wilson: A Rivalry That Inspired Pet Sounds, Sgt. Pepper, and Other Classic Albums

One could argue that the album as we know it didn’t exist before the mid-1960s. As a medium of recorded music, the “long-playing” 33 1⁄3 rpm record was introduced in 1948, and the market proved quick to take it up. A great many musicians recorded LPs over the following decade and a half, but these were produced and consumed primarily as bundles of individual songs. The heyday of radio, which lasted into the 1950s, imbued the single — especially the hit single — with enormous cultural power. Through that zeitgeist rose the Liverpudlian quartet known as the Beatles, the very band who would go promptly on to transcend it.

In this version of music history, the first true album was the Beatles’ Rubber Soul. When it came out in 1965, it introduced to a vast listening public the possibilities of the LP as a coherent art form in itself. At that point the Beatles had already been making hit records for a few years, as, on the other side of the pond, had a southern Californian singing group called the Beach Boys.

Given each act’s ever-growing prominence and the unprecedented internationalization of pop culture then underway, it was only a matter of time before their musical worlds would collide. Decades later, Beach Boys mastermind Brian Wilson would remember his first listen to Rubber Soul as follows: “It just totally took my mind away” — a sensation back then sought along many avenues, chemical as well as cultural.

Though Paul McCartney has credited the effervescence of the 1960s to “drugs, basically,” the music he and fellow Beatles made was also enhanced by friendly competition with the Beach Boys, as detailed in the Jeffrey Stillwell video essay above. To Rubber Soul the Beach Boys responded with Pet Sounds. “Oh dear me, this is the album of all time,” McCartney later recalled thinking upon hearing it. “What the hell are we going to do?” Their return volley took the form of Sgt. Pepper’s Lonely Heart’s Club Band, which in turn sent Wilson into an Icarus-like flight toward the ill-fated Smile project. More than half a century later, some say we live in a post-album era. Even if so, the heights of ambition to which the Beatles and the Beach Boys put each other inspire artists still today — and their fruits will be listened to as long as recorded music exists in any form at all.

Related Content:

The Beatles’ 8 Pioneering Innovations: A Video Essay Exploring How the Fab Four Changed Pop Music

How the Beach Boys Created Their Pop Masterpieces: “Good Vibrations,” Pet Sounds, and More

The Beach Boys’ Brian Wilson & Beatles Producer George Martin Break Down “God Only Knows,” the “Greatest Song Ever Written”

How The Beatles’ Sgt. Pepper’s Lonely Hearts Club Band Changed Album Cover Design Forever

The Making (and Remaking) of the Beach Boys’ Pet Sounds, Arguably the Greatest Rock Album of All Time

Based in Seoul, Colin Marshall writes and broadcasts on cities, language, and culture. His projects include the Substack newsletter Books on Cities, the book The Stateless City: a Walk through 21st-Century Los Angeles and the video series The City in Cinema. Follow him on Twitter at @colinmarshall or on Facebook.

Paul McCarney vs. Brian Wilson: A Rivalry That Inspired Pet Sounds, Sgt. Pepper, and Other Classic Albums is a post from: Open Culture. Follow us on Facebook and Twitter, or get our Daily Email. And don't miss our big collections of Free Online Courses, Free Online Movies, Free eBooksFree Audio Books, Free Foreign Language Lessons, and MOOCs.



from Open Culture https://ift.tt/3C0kBum
via Ilumina

Comments

Popular posts from this blog

Board Game Ideology — Pretty Much Pop: A Culture Podcast #108

https://podtrac.com/pts/redirect.mp3/traffic.libsyn.com/secure/partiallyexaminedlife/PMP_108_10-7-21.mp3 As board games are becoming increasingly popular with adults, we ask: What’s the relationship between a board game’s mechanics and its narrative? Does the “message” of a board game matter? Your host Mark Linsenmayer is joined by game designer Tommy Maranges , educator Michelle Parrinello-Cason , and ex-philosopher Al Baker to talk about re-skinning games, designing player experiences, play styles, game complexity, and more. Some of the games we mention include Puerto Rico, Monopoly, Settlers of Catan, Sorry, Munchkin, Sushi Go, Welcome To…, Codenames, Pandemic, Occam Horror, Terra Mystica, chess, Ticket to Ride, Splendor, Photosynthesis, Spirit Island, Escape from the Dark Castle, and Wingspan. Some articles that fed our discussion included: “ The Board Games That Ask You to Reenact Colonialism ” by Luke Winkie “ Board Games Are Getting Really, Really Popular ” by Darron Cu

How Led Zeppelin Stole Their Way to Fame and Fortune

When Bob Dylan released his 2001 album  Love and Theft , he lifted the title from a  book of the same name by Eric Lott , who studied 19th century American popular music’s musical thefts and contemptuous impersonations. The ambivalence in the title was there, too: musicians of all colors routinely and lovingly stole from each other while developing the jazz and blues traditions that grew into rock and roll. When British invasion bands introduced their version of the blues, it only seemed natural that they would continue the tradition, picking up riffs, licks, and lyrics where they found them, and getting a little slippery about the origins of songs. This was, after all, the music’s history. In truth, most UK blues rockers who picked up other people’s songs changed them completely or credited their authors when it came time to make records. This may not have been tradition but it was ethical business practice. Fans of Led Zeppelin, on the other hand, now listen to their music wi

Moral Philosophy on TV? Pretty Much Pop #32 Judges The Good Place

http://podtrac.com/pts/redirect.mp3/traffic.libsyn.com/partiallyexaminedlife/PMP_032_2-3-20.mp3 Mark Linsenmayer, Erica Spyres, and Brian Hirt discuss Michael Schur's NBC TV show . Is it good? (Yes, or we wouldn't be covering it?) Is it actually a sit-com? Does it effectively teach philosophy? What did having actual philosophers on the staff (after season one) contribute, and was that enough? We talk TV finales, the dramatic impact of the show's convoluted structure, the puzzle of heaven being death, and more. Here are a few articles to get you warmed up: "The Good Place’s Final Twist" by Karthryn VanArendonk "The Good Place Was a Metaphor All Along" by Sophie Gilbert "The Two Philosophers Who Cameoed in the Good Place Finale on What They Made of Its Ending" by Sam Adams "5 Moral Philosophy Concepts Featured on The Good Place" by Ellen Gutoskey If you like the show, you should also check out The Official Good Place Podca