section_path: 1962–1966: Peak years/Pet Sounds and Smile
section_name: Pet Sounds and Smile
paragraph_text: Pet Sounds and Smile
  
  Wilson recalled that after relocating to his Beverly Hills home, he experienced an unexpected surge of creativity, working for hours to develop new musical ideas. He acknowledged heavy drug use, stating, "I was taking a lot of pills, and it fouled me up for a while. It got me really introspective". Over five months, he planned an album that would elevate his music to "a spiritual level".
  
  In December 1965, Wilson enlisted jingle writer Tony Asher as his lyricist for the Beach Boys' next album, Pet Sounds (May 1966). He produced most of the album between January and April 1966 across multiple Hollywood studios, mainly employing his bandmates for singing vocal parts and session musicians for the backing tracks. Reflecting on the album, Wilson highlighted the instrumental " Let's Go Away for Awhile " as his "most satisfying piece of music" at the time and " I Just Wasn't Made for These Times " as a partially autobiographical song "about a guy who was crying because he thought he was too advanced". In a 1995 interview, he called " Caroline, No " "probably the best I've ever written".
  
  The thing that I remember the most is that when Pet Sounds wasn't as quickly a hit or as huge or an immediate success, it really destroyed Brian. He just lost a lot of faith in people and music.
  
  The album's lead single, "Caroline, No", released in March 1966, became Wilson's first solo credit, sparking speculation about his potential departure from the Beach Boys. Wilson later said, "I explained to, 'It's OK. It is only a temporary rift I wanted to step out a little bit. ' " The single peaked at number 32, while Pet Sounds reached number 10. Wilson was "mortified" that his artistic growth had failed to translate into a number-one album. Marilyn stated, "When it wasn't received by the public the way he thought it would be received, it made him hold back.... but he didn't stop. He couldn't stop. He needed to create more."
  
  Wilson met Derek Taylor, the Beatles' former press officer, who became the Beach Boys' publicist in 1966. At Wilson's request, Taylor launched a media campaign to elevate his public image, promoting him as a "genius". Taylor's reputation and outreach bolstered the album's critical success in the UK. However, Wilson later expressed resentment toward the "genius" label, which he felt heightened unrealistic expectations for his work. Bandmates including Mike Love and Carl Wilson also grew frustrated as media coverage increasingly centered on Wilson, overshadowing the group's collaborative efforts.
  
  Through late 1966, Wilson worked extensively on the Beach Boys' single " Good Vibrations ", which topped the U.S. charts in December, and began collaborating with session musician Van Dyke Parks on Smile, the planned follow-up to Pet Sounds. Wilson touted Smile as a "teenage symphony to God" and his expanding circle increasingly influenced his business and creative affairs. Parks said that, eventually, "it wasn't just Brian and me in a room; it was Brian and me... and all kinds of self-interested people pulling him in various directions." Television producer David Oppenheim, who visited Wilson's home while filming the 1967 documentary Inside Pop: The Rock Revolution, characterized the attended scenes as "a playpen of irresponsible people".
  
  Wilson recalled that after relocating to his Beverly Hills home, he experienced an unexpected surge of creativity, working for hours to develop new musical ideas. He acknowledged heavy drug use, stating, "I was taking a lot of pills, and it fouled me up for a while. It got me really introspective". Over five months, he planned an album that would elevate his music to "a spiritual level".
  
  In December 1965, Wilson enlisted jingle writer Tony Asher as his lyricist for the Beach Boys' next album, Pet Sounds (May 1966). He produced most of the album between January and April 1966 across multiple Hollywood studios, mainly employing his bandmates for singing vocal parts and session musicians for the backing tracks. Reflecting on the album, Wilson highlighted the instrumental " Let's Go Away for Awhile " as his "most satisfying piece of music" at the time and " I Just Wasn't Made for These Times " as a partially autobiographical song "about a guy who was crying because he thought he was too advanced". In a 1995 interview, he called " Caroline, No " "probably the best I've ever written".
  
  The thing that I remember the most is that when Pet Sounds wasn't as quickly a hit or as huge or an immediate success, it really destroyed Brian. He just lost a lot of faith in people and music.
  
  The album's lead single, "Caroline, No", released in March 1966, became Wilson's first solo credit, sparking speculation about his potential departure from the Beach Boys. Wilson later said, "I explained to, 'It's OK. It is only a temporary rift I wanted to step out a little bit. ' " The single peaked at number 32, while Pet Sounds reached number 10. Wilson was "mortified" that his artistic growth had failed to translate into a number-one album. Marilyn stated, "When it wasn't received by the public the way he thought it would be received, it made him hold back.... but he didn't stop. He couldn't stop. He needed to create more."
  
  Wilson met Derek Taylor, the Beatles' former press officer, who became the Beach Boys' publicist in 1966. At Wilson's request, Taylor launched a media campaign to elevate his public image, promoting him as a "genius". Taylor's reputation and outreach bolstered the album's critical success in the UK. However, Wilson later expressed resentment toward the "genius" label, which he felt heightened unrealistic expectations for his work. Bandmates including Mike Love and Carl Wilson also grew frustrated as media coverage increasingly centered on Wilson, overshadowing the group's collaborative efforts.
  
  Through late 1966, Wilson worked extensively on the Beach Boys' single " Good Vibrations ", which topped the U.S. charts in December, and began collaborating with session musician Van Dyke Parks on Smile, the planned follow-up to Pet Sounds. Wilson touted Smile as a "teenage symphony to God" and his expanding circle increasingly influenced his business and creative affairs. Parks said that, eventually, "it wasn't just Brian and me in a room; it was Brian and me... and all kinds of self-interested people pulling him in various directions." Television producer David Oppenheim, who visited Wilson's home while filming the 1967 documentary Inside Pop: The Rock Revolution, characterized the attended scenes as "a playpen of irresponsible people".