Brian Wilson in the context of "The Beach Boys"

Sunshine pop (originally called soft pop and soft rock) is a loosely defined form of pop music that was first associated with early soft rock producers and songwriters based in Los Angeles, California, during the mid- to late 1960s. Its studio-centric sound was primarily rooted in folk rock and easy listening, typically featuring rich harmony vocals and progressive elements, while lyrics combined idyllic imagery with a subtle awareness of societal change, melancholic undertones, and countercultural themes. It was among the dominating music styles heard in television, film, and commercials of the era.

Branching from the nascent California sound, the movement initially straddled multiple styles among many groups who existed briefly while adapting to evolving music trends, resulting in much crossover with bubblegum, folk-pop, garage rock, baroque pop, and psychedelia. Most groups were less successful sound-alikes of acts such as the Mamas & the Papas, led by John Phillips, and the 5th Dimension, whose songs were initially helmed by Jimmy Webb. Curt Boettcher produced numerous key records for the Association, Eternity's Children, his band the Millennium, and with collaborator Gary Usher (Sagittarius). Though the Beach Boys rarely approached the style, Brian Wilson's production of their 1966 album Pet Sounds was a foundational influence on this milieu, as were the arrangements of Burt Bacharach.

The California sound is a popular music aesthetic that originates with American pop and rock recording artists from Southern California in the early 1960s. At first, it was conflated with the California myth, an idyllic setting inspired by the state's beach culture that commonly appeared in the lyrics of commercial pop songs. Later, the sound was expanded outside its initial geography and subject matter and was developed to be more sophisticated, often featuring studio experimentation.

The sound was originally identified for harnessing a wide-eyed, sunny optimism attributed to Southern California teenage life in the 1960s. Its imagery is primarily represented by Brian Wilson and the Beach Boys, who are credited for the sound's instigation via their debut single "Surfin'" in 1961. Along with Jan and Dean, the Beach Boys encapsulated surfing, hot rod culture, and youthful innocence within music which transformed a local lifestyle into American mythology. Other proponents included songwriters and/or record producers Gary Usher, Curt Boettcher, Bruce Johnston, Terry Melcher, and Roger Christian.

Curtis Roy Boettcher (January 7, 1944 – June 14, 1987), sometimes credited as Curt Boetcher or Curt Becher, was an American singer, songwriter, arranger, musician, and record producer from Wisconsin. He was a pivotal figure in what is now termed "sunshine pop", working with the Association, the Millennium, Sagittarius, Paul Revere and the Raiders, Tommy Roe, Bobby Jameson, Elton John, Gene Clark, Emitt Rhodes, Tandyn Almer, the Beach Boys, and others.

The New York Times wrote of Boettcher: "If his life had gone just a bit differently, [he] might have been another Brian Wilson. ... As it stands, Boettcher — a pop-music producer whose heyday was the late '60s — now survives in rock history mostly as a liner-note credit. He could have been, but never was. Yet he enjoys a godlike status among a select group of music fans, for whom obscurity is more enticing than fame."

Pet Sounds is the eleventh studio album by the American rock band the Beach Boys, released on May 16, 1966, by Capitol Records. It was produced, arranged, and primarily composed by Brian Wilson with guest lyricist Tony Asher. Recorded largely between January and April 1966, it furthered the orchestral sound introduced in The Beach Boys Today! (1965). Initially promoted as "the most progressive pop album ever", Pet Sounds is recognized for its ambitious production, sophisticated harmonic structures, and coming of age themes. It is widely regarded as among the greatest and most influential albums in music history.

Wilson viewed Pet Sounds as a solo album and attributed its inspiration partly to marijuana use and an LSD–rooted spiritual awakening. Galvanized by the work of his rivals, he aimed to create "the greatest rock album ever made", surpassing the Beatles' Rubber Soul (1965) and extending Phil Spector's Wall of Sound innovations. His orchestrations blended pop, jazz, exotica, classical, and avant-garde elements, combining rock instrumentation with layered vocal harmonies, found sounds, and instruments not normally associated with rock, such as French horn, flutes, Electro-Theremin, bass harmonica, bicycle bells, and string ensembles. Featuring the most complex and challenging instrumental and vocal parts of any Beach Boys album, it was their first in which studio musicians, such as the Wrecking Crew, largely replaced the band on their instruments, and the first time any group had departed from their usual small-ensemble pop/rock band format to create a full-length album that could not be replicated live. Its unprecedented total production cost exceeded $70,000 (equivalent to $680,000 in 2024).