Album: “Pet Sounds [Remaster]”

Description

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 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.