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.
The Beach Boys: Mike Love , Brian Wilson (vocals); Dennis Wilson .
Additional personnel: Jerry Cole, Bill Pitman (guitar); Ray Pohlman, Barney Kessel (mandolin); Carl Fortina (accordion); Al DeLory (piano); Larry Knechtel (organ); Lyle Ritz (upright bass); Carol Kaye (electric bass); Hal Blaine (drums); Frank Capp (timpani, percussion, bells).
Thanks to the surprising success of the compilation Endless Summer, the Beach Boys entered the studio in 1975 for the first time in almost three years. The album that followed, 15 Big Ones, balanced covers of rock and doo wop standards with seven new Beach Boys songs (including five Brian Wilson compositions). Most of the covers are mistakes, part of a misguided attempt by the aging Beach Boys to recapture the energy of their youth. The "contemporary" production techniques and overly polished sound do nothing for these oldies, and effectively sap them of any energy they might once have had. And the choices -- including Chuck Berry's "Rock and Roll Music," the Dixie Cups' "Chapel of Love," Fats Domino's "Blueberry Hill," Freddy Cannon's "Palisades Park" -- are simply too well known to be reworked effectively, by anyone. The only one that succeeds is the closer, the lesser-known Righteous Brothers hit "Just Once in My Life," given an emotional reading by Carl and Brian. Of the band originals, the good-time standard "It's OK" and the quirky, endearing "Had to Phone Ya" are excellent, reminiscent of Brian's odd pop songs on late-'60s albums like Friends and 20/20. Most of the other originals are quite inferior though, including the silly history-of-music salute "That Same Song," Al Jardine's "Susie Cincinnati," and the meditation primer "T M Song." [In 2000, 15 Big Ones was made available on the two-fer compilation 15 Big Ones/Love You.] ~ John Bush
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. ~ Richie Unterberger
There's little arguing that Pet Sounds is one of the greatest albums in rock & roll, and its cult, if anything, has only grown in the decades since its intial release. Part of the fascination with Pet Sounds lies in its detailed, multi-layered arrangements, in which all the parts blend together into a symphonic whole. The richness of the music is one of the reasons hardcore fans have desired a set like The Pet Sounds Sessions, a four-disc box that presents an abundance of working mixes, alternate takes, instrumental tracks, and rarities, as well as the first true stereo mix of the album. Certainly, a set this exacting is only of interest to serious fans, and even they might find the endless succession of work tracks tedious. Nevertheless, there's something fascinating about hearing the album broken down to its individual parts; after hearing horn lines, vocals, and percussion tracks out of their original context, the scope and originality of Brian Wilson's vision becomes all the more impressive. (Make no mistake about it, Pet Sounds is entirely Wilson's project, despite what Mike Love states in his self-serving liner notes.) The original mono mix of Pet Sounds (included here in a minature, cardboard record sleeve) remains the best way to appreciate Wilson's gifts, but for fans already convinced of his genius, The Pet Sounds Sessions is a fascinating, educational listen, even if it's not necessarily indispensable. ~ Stephen Thomas Erlewine
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.
DVD Features:
The Making Of Pet Sounds and more minimize