Pet Sounds [LP 2008]

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Performer: The Beach Boys
Artist: Glen Campbell; Leon Russell; Frankie Capp; Barney Kessel; Tommy Tedesco; Hal Blaine; Billy Strange
Distributor: EMI Music Distribution

Notes: This issue of PET SOUNDS contains three previously unreleased tracks: "Unreleased Backgrounds" is a snippet of a vocal overdub sung by Brian Wilson, "Hang On To Your Ego" is the original version of "I Know There's An Answer" and "Trombone Dixie" is an instrumental not included on the original album. The Beach Boys: Brian Wilson, Carl Wilson, Dennis Wilson, Mike Love (vocals); Bruce Johnston (background vocals); Al Jardine. Additional personnel: Glen Campbell, Tommy Tedesco, Jerry Cole, Billy Strange, Barney Kessel (guitar); The Sid Sharpe Strings (strings); Tommy Morgan (harmonica); Carl Fortina, Frank Marocco (accordion); Steve Douglas, Jay Migliori, Roy Caton, Lou Backburn (horns); Leon Russell, Al De Lory, Don Randi (piano); Ray Pohlman, Carole Kaye, Lyle Ritz, Julius Wechter, Bill Pitman (bass); Hal Blaine (drums); Gene Estes, Frank Capp, Jim Gordon (percussion). Reissue producer: Mark Linett. Principally recorded at Gold Star Studios, Western Studios and Sunset Sound Studios, Hollywood, California between July 12, 1965 and April 13, 1966. Originally released on Capitol (T-2458). Includes liner notes by Brian Wilson, David Leaf and Mark Linett. Available on the 2-fer 15 BIG ONES/BEACH BOYS LOVE YOU. Remastered from the original master tapes by Joe Gastwirt. Beach Boys: Brian Wilson, Carl Wilson, Dennis Wilson, Mike Love, Al Jardine, Bruce Johnston. Additional personnel: Tommy Tedesco, Jerry Cole, Billy Strange, Barney Kessel, Glen Campbell (guitar); The Sid Sharpe Strings (strings); Tommy Morgan (harmonica); Carl Fortina, Frank Marocco (accordion); Steve Douglas, Jay Migliori, Roy Caton, Lou Backburn (horns); Al De Lory, Don Randi, Leon Russell (piano); Ray Pohlman, Carole Kaye, Lyle Ritz, Julius Wechter, Bill Pitman (bass); Hal Blaine (drums); Gene Estes, Frank Capp, Jim Gordon (percussion). Recorded at Gold Star Studios, Western Studios and Sunset Sound Studios, Hollywood, California between July 12, 1965 and April 13, 1966. Originally released on Capitol (T-2458). Includes liner notes by Brian Wilson. Remastered by Steve Hoffman (April 1993). All songs written or co-written by Brian Wilson, except "Sloop John B" (Traditional). This four-disc box set includes the first true stereo mix of the Beach Boys' 1966 album PET SOUNDS on one disc, and a new mono mix of the album on another. The mono mix was remastered using 24-bit High Density Compatible Digital (HDCD) technology. Another disc is highlighted by a cappella mixes of 11 songs from PET SOUNDS. The set also features outtakes, alternate versions, demos and a variety of instrumental mixes of the album's 13 songs. THE PET SOUNDS SESSIONS box includes a 120-page full color book. The Beach Boys: Brian Wilson, Carl Wilson, Dennis Wilson, Mike Love, Bruce Johnston, Al Jardine. Compilation producers: David Leaf, Brian Wilson. Recorded in 1965 & 1966. Includes liner notes by Brian Wilson, The Beach Boys, Paul McCartney and George Martin. All tracks have been digitally remastered using HDCD technology. THE PET SOUNDS SESSIONS: A 30TH ANNIVERSARY COLLECTION was nominated for the 1999 Grammy Award for Best Historical Album. This edition of PET SOUNDS contains both the original mono version of the album as well as a stereo version and bonus track. It is also available as part of THE PET SOUNDS SESSIONS box set. The Beach Boys: Brian Wilson, Carl Wilson, Dennis Wilson, Mike Love, Bruce Johnston, Al Jardine. Additional personnel: Glen Campbell, Tommy Tedesco, Jerry Cole, Billy Strange, Barney Kessel (guitar); The Sid Sharpe Strings (strings); Tommy Morgan (harmonica); Carl Fortina, Frank Marocco (accordion); Steve Douglas, Jay Migliori, Roy Caton, Lou Backburn (horns); Leon Russell, Al De Lory, Don Randi (piano); Ray Pohlman, Carole Kaye, Lyle Ritz, Julius Wechter, Bill Pitman (bass); Hal Blaine (drums); Gene Estes, Frank Capp, Jim Gordon (percussion). Producer: Brian Wilson. Reissue producer: Cheryl Pawelski. Engineers include: Larry Levine, Chuck Britz, Bruce Botnick. Recorded at Gold Star Recording Studios, Western Recorders, Sunset Sound, Hollywood, California in 1965 & 1966. Includes liner notes by Brad Elliot and Brian Wilson. This is more than just an album by a great American band; it's THE great American pop album, an ambitious foray into the intricacies of harmony and melody. Masterminded by Brian Wilson, it changed the rules in rock & roll. Wilson's production brought record-making to a new level. He perfected Phil Spector's wall-of-sound into a more complex, stunning approach. He was inspired by the Beatles' RUBBER SOUL, and PET SOUNDS was, in turn, an inspiration for SGT. PEPPER. The devoutly romantic "God Only Knows" and the hopeful "Wouldn't It Be Nice" reflect an innocent time of yearning post-adolescence. From the complex upward progressions of "You Still Believe In Me" to the heartbeat bass of "Don't Talk (Put Your Head On My Shoulder)," Wilson paid attention to every nanosecond of sound. The traditional folk song "Sloop John B," with its thickly interwoven vocals, was a major hit for the band, but PET SOUNDS' astonishing power comes from its less familiar songs. The shifting moods and devious instrumentation of "I'm Waiting For The Day" and the revealing "I Just Wasn't Made For These Times" are further testaments to Wilson's tortured genius. Wilson has said that angels were overseeing the production of PET SOUNDS; there is no doubt about it. This is more than just an album by a great American band; it's THE great American pop album, an ambitious foray into the intricacies of harmony and melody. Masterminded by Brian Wilson, it changed the rules in rock & roll. Wilson's production brought record-making to a new level. He perfected Phil Spector's wall-of-sound into a more complex, stunning approach. He was inspired by the Beatles' RUBBER SOUL, and PET SOUNDS was, in turn, an inspiration for SGT. PEPPER. The devoutly romantic "God Only Knows" and the hopeful "Wouldn't It Be Nice" reflect an innocent time of yearning post-adolescence. From the complex upward progressions of "You Still Believe In Me" to the heartbeat bass of "Don't Talk (Put Your Head On My Shoulder)," Wilson paid attention to every nanosecond of sound. The traditional folk song "Sloop John B," with its thickly interwoven vocals, was a major hit for the band, but PET SOUNDS' astonishing power comes from its less familiar songs. The shifting moods and devious instrumentation of "I'm Waiting For The Day" and the revealing "I Just Wasn't Made For These Times" are further testaments to Wilson's tortured genius. Wilson has said that angels were overseeing the production of PET SOUNDS; there is no doubt about it. When it comes to landmark albums, it's hard to beat the Beach Boys 1966 masterwork, PET SOUNDS. Not only was it the direct inspiration for the following year's SGT. PEPPER, and for countless other works by '60s psychedelic groups; its influence was strong enough more than three decades after its release to warrant this 4-disc box set. In the nineties, the orchestral pop of acts such as Eric Matthews, The High Llamas and Epic Soundtracks owed its brass to Brian Wilson's brainchild. Over the course of four jam-packed discs, PET SOUNDS SESSIONS offers vocal-only and instrumental-only mixes of all the original tracks. In additional to the familiar version of the album, there are also alternate performances as well as alternate and mono mixes, working versions sketched out in the studio, and songs that never made it onto the original release. The box comes with a lavish book filled with photos and inside info on the sessions. This set provides a rare glimpse into the inner workings of one of pop music's most innovative minds, and the process by which he and his bandmates made musical history. This is more than just an album by a great American band; it's THE great American pop album, an ambitious foray into the intricacies of harmony and melody. Masterminded by Brian Wilson, it changed the rules of rock & roll. Wilson's production brought record-making to a new level. He perfected Phil Spector's wall-of-sound into a more complex, stunning approach. He was inspired by the Beatles' RUBBER SOUL, and PET SOUNDS was, in turn, an inspiration for SGT. PEPPER. The devoutly romantic "God Only Knows" and the hopeful "Wouldn't It Be Nice" reflect an innocent time of yearning post-adolescence. From the complex upward progressions of "You Still Believe In Me" to the heartbeat bass of "Don't Talk (Put Your Head On My Shoulder)," Wilson paid attention to every nanosecond of sound. The traditional folk song "Sloop John B," with its thickly interwoven vocals, was a major hit for the band, but PET SOUNDS' astonishing power comes from its less familiar songs. The shifting moods and devious instrumentation of "I'm Waiting For The Day" and the revealing "I Just Wasn't Made For These Times" are further testaments to Wilson's tortured genius. Wilson has said that angels were overseeing the production of PET SOUNDS; there is no doubt about it. This is more than just an album by a great American band--it's THE great American pop album, an ambitious foray into the intricacies of harmony and melody. Masterminded by Brian Wilson, PET SOUNDS changed the rules of rock & roll. Once upon a time, rock and pop albums consisted of an artist's hit singles and the remainder was mostly filler. Wilson's production brought the concept of recording an album to a new level. He refined Phil Spector's wall-of-sound production style into a more complex, stunning approach. The result was inspired by the Beatles' RUBBER SOUL, and was, in turn, an inspiration for SGT. PEPPER. The devoutly romantic "God Only Knows" and the hopeful "Wouldn't It Be Nice" reflect an innocent time of yearning post-adolescence. From the complex upward progressions of "You Still Believe In Me" to the heartbeat bass of "Don't Talk (Put Your Head On My Shoulder)," Wilson paid attention to every nanosecond of sound. The traditional folk song "Sloop John B," with its thickly interwoven vocals, was a major hit for the band, but astonishing power comes from the less familiar songs too. The shifting moods and devious instrumentation of "I'm Waiting For The Day" and the contemplative, revealing "I Just Wasn't Made For These Times" are further testaments to Wilson's tortured genius. Wilson has said that angels were overseeing the production of PET SOUNDS--there is no doubt about it. The best Beach Boys album, and one of the best of the 1960s. The group here reached a whole new level in terms of both composition and production, layering tracks upon tracks of vocals and instruments to create a richly symphonic sound. Conventional keyboards and guitars were combined with exotic touches of orchestrated strings, bicycle bells, buzzing organs, harpsichords, flutes, Theremin, Hawaiian-sounding string instruments, Coca-Cola cans, barking dogs, and more. It wouldn't have been a classic without great songs, and this has some of the group's most stunning melodies, as well as lyrical themes which evoke both the intensity of newly born love affairs and the disappointment of failed romance (add in some general statements about loss of innocence and modern-day confusion as well). The spiritual quality of the material is enhanced by some of the most gorgeous upper-register male vocals (especially by Brian and Carl Wilson) ever heard on a rock record. "Wouldn't It Be Nice," "God Only Knows," "Caroline No," and "Sloop John B" (the last of which wasn't originally intended to go on the album) are the well-known hits, but equally worthy are such cuts as "You Still Believe in Me," "Don't Talk," "I Know There's an Answer," and "I Just Wasn't Made for These Times." It's often said that this is more of a Brian Wilson album than a Beach Boys recording (session musicians played most of the parts), but it should be noted that the harmonies are pure Beach Boys (and some of their best). Massively influential upon its release (although it was a relatively low seller compared to their previous LPs), it immediately vaunted the band into the top level of rock innovators among the intelligentsia, especially in Britain, where it was a much bigger hit. [Capitol issued an LP edition in 2008.] ~ Richie Unterberger

Rolling Stone (12/11/03, p.86) - Ranked #2 in Rolling Stone's "500 Greatest Albums Of All Time" - "...Its luxurious sound conveys a heartbreaking wistfulness..." Rolling Stone (6/22/72, p.56) - "...Brian Wilson's evolutionary compositional masterpiece....This trenchant cycle of love songs has the emotional impact of a shatteringly evocative novel..." Rolling Stone (6/22/72, p.56) - "...Brian Wilson's evolutionary compositional masterpiece....This trenchant cycle of love songs has the emotional impact of a shatteringly evocative novel..." Rolling Stone (6/22/72, p.56) - "...Brian Wilson's evolutionary compositional masterpiece....This trenchant cycle of love songs has the emotional impact of a shatteringly evocative novel..." Entertainment Weekly (12/12/97, p.84) - "...A commercial washout at the time of its release, the album has since grown in reputation to the point where pop aesthetes speak of it in hushed tones as the zenith of Brian Wilson's genius, a seamless masterwork that rewards deep, repeated listening....a wonderful collection of songs..." - Rating: A+ Entertainment Weekly (12/12/97, p.84) - "...A commercial washout at the time of its release, the album has since grown in reputation to the point where pop aesthetes speak of it in hushed tones as the zenith of Brian Wilson's genius, a seamless masterwork that rewards deep, repeated listening....a wonderful collection of songs..." - Rating: A+ Entertainment Weekly (12/12/97, p.84) - "...A commercial washout at the time of its release, the album has since grown in reputation to the point where pop aesthetes speak of it in hushed tones as the zenith of Brian Wilson's genius, a seamless masterwork that rewards deep, repeated listening....a wonderful collection of songs..." - Rating: A+ Q (2/91) - Voted the #1 Recorded Music Award for 1990. Q (7/00, p.140) - Included in Q's "The Best Male Angst Albums Of All Time" - "...12 impossibly lush songs that replace The Beach Boys' earlier high school ramalama with the unease and inner hurly-burly of early adulthood..." Q (2/91) - Voted the #1 Recorded Music Award for 1990. Q (7/96, p.133) - 5 Stars (out of 5) - "...A new stereo mix of PET SOUNDS...gives the songs a fantastic clarity, in effect smashing through the Wall Of Sound to bring up instrumental parts that have hitherto been hard to pick out..." Q (2/91) - Voted the #1 Recorded Music Award for 1990. Down Beat (9/90) - 5 Stars - Excellent - "...the music on PET SOUNDS flows as one....clearly demonstrates [that] the Beach Boys were capable of giving music lovers something they could feel very, very good about..." Down Beat (9/90) - 5 Stars - Excellent - "...the music on PET SOUNDS flows as one...clearly demonstrates [that] the Beach Boys were capable of giving music lovers something they could feel very, very good about..." Down Beat (9/90) - 5 Stars - Excellent - "...the music on PET SOUNDS flows as one...clearly demonstrates [that] the Beach Boys were capable of giving music lovers something they could feel very, very good about..." Vibe (12/99, p.162) - Included in Vibe's 100 Essential Albums of the 20th Century Vibe (12/99, p.162) - Included in Vibe's 100 Essential Albums of the 20th Century Musician (2/98, p.88) - "...presenting the landmark recording in a stereo environment for the first time is a revelation, with previouisly `hidden' parts suddenly leaping into the foreground....among the most stunning aspects of the remodeled PET SOUNDS is its dramatically improved fidelity..." Mojo (Publisher) (9/99, p.118) - "You may have heard of this promising combo. Here's one of their earlier albums, and word is it's quite good. The neat wrinkle is that you get the album twice, once in original mono and once in that new-fangled stereo everyone's talking about..." NME (Magazine) (10/2/93, p.29) - Ranked #1 in NME's list of the `Greatest Albums Of All Time.' NME (Magazine) (10/2/93, p.29) - Ranked #1 in NME's list of the 'Greatest Albums Of All Time.' NME (Magazine) (10/18/97, p.58) - 10 (out of 10) - "...THE PET SOUNDS SESSIONS is thunderously anal....a thoroughly bewitching experience....This, then, is PET SOUNDS: The Autopsy; each song's vital components carved out and slapped on the slab for inspection....A masterpiece..." NME (Magazine) (10/2/93, p.29) - Ranked #1 in NME's list of the 'Greatest Albums Of All Time.'

Admired for both their infectious surfer music and their sophisticated, multi-tracked pop productions, the Beach Boys created a lasting impression on popular music through their complex harmonies and Brian Wilson's genius for composition and arrangement. Their 1966 album, PET SOUNDS, is a baroque/psychedelic-pop masterpiece that easily ranks among the most influential albums of the rock era. Brian's emotional difficulties eventually prevented him from performing, but his brothers and buddies carried on without him, singing his songs and spreading that California sunshine all over the world. In 1999, Brian launched a solo world tour, showcasing his Beach Boys compositions, and has continued to perform live as well.

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