What peaked at number 12 on the Billboard Hot 100?
In July, two singles were issued on the Brother imprint: "Heroes and Villains" and "Gettin' Hungry". The former peaked at number 12 on the Billboard Hot 100. The latter was not credited to the Beach Boys, but instead to Brian Wilson and Mike Love.  On September 18, 1967, Smiley Smile  was released in the US. The LP peaked at number 41 on the Billboard charts, making it their worst-selling album to that date. It spent most of its 21-week chart time bubbling under 100 and 197. When released in the UK in November, it performed better, reaching number 9 of the UK Albums Chart.Critics and fans were generally underwhelmed by the album and controversy involving whether the band was to be taken as a serious rock group ensued. A review in Hit Parader praised the album for "probably [having] more a cappella harmony than on any album since the fall of the singing-group era in the late 1950s", but that they "still like Pet Sounds better". NME wrote of the album: "By the standards which this group has set itself, it's more than a grade disappointing." Hi Fidelity said: "... they are making the psychedelic route ... perhaps in the unforgettable city of Fresno. Until they reach the San Francisco Bay Bridge or return to the shores of Malibu ... their work can only receive partial approval." Rolling Stone referred to it as a "disaster" and an "abortive attempt to match the talents of Lennon and McCartney." On December 14, 1967, the magazine's editor and co-founder Jann Wenner printed an influential article that denounced Wilson's "genius" label, which he called a "promotional shuck", and the Beach Boys themselves, which he called "one prominent example of a group that has gotten hung up on trying to catch The Beatles". He wrote that "for some reason, [Smiley Smile] just doesn't make it ... [the songs] just don't move you. Other than displaying Brian Wilson's virtuosity for production, they are pointless."The Milwaukee Sentinel praised the LP as "probably the most valuable contribution to rock since the Beatles Revolver" and for being unlike anything the Beatles had done. The magazine Cheetah gave the album a rave review, observing that "the mood is rather childlike (not childish)—the kind of innocence that shows on the album cover, with its Rousseau-like animals and forest, and the smoke from the cabin chimney spelling out the title. ... The expression that emerges from this music is very strange: it's a very personal mood." Journalist Richard Goldstein remembered his review for The New York Times: "I was struck by its fragile melodies and their relationship to sacred music; those familiar ride-the-curl voices, now 'hushed with wonder,' reminded me of the Fauré Requiem, but they were utterly American."
Heroes and Villains