Pet Sounds [Mono + Stereo] [Remaster] (CD - 1966)

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. minimize