[FLAC-EAC-CUE]The Beach Boys - Pet Sounds (1966)[colombo-bt.org]

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Pet Sounds is a 1966 album recorded by American pop group the Beach Boys. It has been widely ranked as one of the most influential record albums ever released, including The Mojo Magazine and New Musician Express, who both rank the album at number one in their all-time lists.

Essentially a solo project for Brian Wilson, Pet Sounds was created after he had quit touring with the band in order to focus his attention on writing and recording. In it, he wove elaborate layers of vocal harmonies, coupled with sound effects and unconventional instruments such as bicycle bells, buzzing organs, harpsichords, flutes, the Tannerin, and even dog whistles, along with the more usual keyboards and guitars
TRACKLIST:
1. Wouldn't It Be Nice
2. You Still Believe in Me
3. That's Not Me
4. Don't Talk (Put Your Head on My Shoulder)
5. I'm Waiting for the Day
6. Let's Go Away for Awhile
7. Sloop John B
8. God Only Knows
9. I Know There's an Answer
10. Here Today
11. I Just Wasn't Made for These Times
12. Pet Sounds
13. Caroline No
EAC LOGFILE:
EAC extraction logfile from 4. January 2006, 1:19 for CD
The Beach Boys / Pet Sounds Gold CD

Used drive : _NEC DVD_RW ND-3550A Adapter: 1 ID: 0
Read mode : Secure with NO C2, accurate stream, disable cache
Read offset correction : 48
Overread into Lead-In and Lead-Out : No

Used output format : Internal WAV Routines
44.100 Hz; 16 Bit; Stereo

Other options :
Fill up missing offset samples with silence : Yes
Delete leading and trailing silent blocks : No
Native Win32 interface for Win NT & 2000


Track 1
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Peak level 100.0 %
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Track 2
Filename C:\Documents and Settings\Owner\My Documents\My Music\eac to wave\02 - You Still Believe In Me.wav

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Peak level 100.0 %
Track quality 100.0 %
Test CRC C6E3515E
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Track 3
Filename C:\Documents and Settings\Owner\My Documents\My Music\eac to wave\03 - That's Not Me.wav

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Peak level 100.0 %
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Test CRC 384E3392
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Track 4
Filename C:\Documents and Settings\Owner\My Documents\My Music\eac to wave\04 - Don't Talk (Put Your Head On My Shoulder).wav

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Peak level 96.7 %
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Track 5
Filename C:\Documents and Settings\Owner\My Documents\My Music\eac to wave\05 - I'm Waiting For The Day.wav

Pre-gap length 0:00:00.86

Peak level 97.3 %
Track quality 100.0 %
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Track 6
Filename C:\Documents and Settings\Owner\My Documents\My Music\eac to wave\06 - Let's Go Away For A While.wav

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Track 7
Filename C:\Documents and Settings\Owner\My Documents\My Music\eac to wave\07 - Sloop John B.wav

Pre-gap length 0:00:01.16

Peak level 100.0 %
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Test CRC C48F8092
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Track 8
Filename C:\Documents and Settings\Owner\My Documents\My Music\eac to wave\08 - God Only Knows.wav

Pre-gap length 0:00:01.40

Peak level 100.0 %
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Track 9
Filename C:\Documents and Settings\Owner\My Documents\My Music\eac to wave\09 - I Know There's An Answer.wav

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Peak level 100.0 %
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Track 10
Filename C:\Documents and Settings\Owner\My Documents\My Music\eac to wave\10 - Here Today.wav

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Track 11
Filename C:\Documents and Settings\Owner\My Documents\My Music\eac to wave\11 - I Just Wasn't Made For These Times.wav

Pre-gap length 0:00:01.37

Peak level 100.0 %
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Track 12
Filename C:\Documents and Settings\Owner\My Documents\My Music\eac to wave\12 - Pet Sounds.wav

Pre-gap length 0:00:01.70

Peak level 96.7 %
Track quality 99.9 %
Test CRC F6895626
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Track 13
Filename C:\Documents and Settings\Owner\My Documents\My Music\eac to wave\13 - Caroline, No.wav

Pre-gap length 0:00:01.56

Peak level 95.9 %
Track quality 100.0 %
Test CRC B3DBD1F9
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Track 14
Filename C:\Documents and Settings\Owner\My Documents\My Music\eac to wave\14 - Conclusion.wav

Peak level 78.7 %
Track quality 100.0 %
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Track 15
Filename C:\Documents and Settings\Owner\My Documents\My Music\eac to wave\15 - Hang On To Your Ego (Earlier version of I Know There's An Answer).wav

Pre-gap length 0:00:08.33

Peak level 87.8 %
Track quality 100.0 %
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No errors occured


End of status report

History

The track "Sloop John B" predated the recording of the rest of the LP by some months, but it proved to be a pivotal point in the album's development. It was a traditional Caribbean folk song that had been suggested to Wilson by group member Al Jardine. Wilson recorded a backing track on July 12, 1965, but after laying down a rough lead vocal, he set the song aside for some time, concentrating on the recording of what became their next LP, the 'live in the studio' album Beach Boys' Party!.

The real catalyst for Pet Sounds was the US version of The Beatles' new LP Rubber Soul, which was released in December 1965. Wilson later recalled his first impressions of the groundbreaking album:
? I really wasn't quite ready for the unity. It felt like it all belonged together. Rubber Soul was a collection of songs ... that somehow went together like no album ever made before, and I was very impressed. I said, "That's it. I really am challenged to do a great album." ?

In early January Wilson contacted Tony Asher, a young lyricist and copywriter who had been working on advertising jingles, and whom Wilson had met in a Hollywood recording studio months earlier. Within ten days they were writing together. Wilson played him some of the music he had been recording, and gave him a cassette of the finished backing track for a piece with the working title "In My Childhood"; it had lyrics, but Wilson refused to show them to Asher, who took the music away and wrote new lyrics. The result was eventually retitled "You Still Believe in Me" and the success of the piece convinced Wilson that Tony Asher was the collaborator he was looking for.

"The general tenor of the lyrics was always his," Asher later recalled, "and the actual choice of words was usually mine. I was really just his interpreter."

[edit] Writing

Most of the songs on the album were written during December 1965 and January 1966. While most were composed with Tony Asher, one song was co-written by another new associate, Terry Sachen.

Mike Love is co-credited on the album's opening track, "Wouldn't It Be Nice", and on "I Know There's an Answer" (the only song with lyrics by Terry Sachen) but with the exception of his co-credit on "I'm Waiting for the Day," (originally copyrighted in February 1964, to Wilson alone) his contributions are thought to have been minimal. The exact degree of Love's contribution to "Wouldn't It Be Nice" is still hazy, but under oath in a court of law, Tony Asher has stated that it consisted of the tag "Good night my baby/Sleep tight, my baby".

Numerous sources have indicated that Love--in addition to Dennis Wilson and Al Jardine--were taken aback by Brian's new sound (and Asher's lyrics) when they returned from touring the Far East to record their vocals. Love in particular was nonplussed that Brian had completely thrown the tried-and-true formula of writing about fast cars, cute girls, and sunny beaches out the proverbial window. In fairness, Love had developed into an effective frontman by this time, and he may have recognized that the new material would alienate a portion of their audience, which up to that time had been composed of younger, screaming females. Love's reticence is reflected in the photo on the cover sleeve. There, Jardine and the Wilson brothers feed apples slices to goats as Love watches over their shoulders. With the exception of Love, each smiling band member is feeding an animal with an uplifted right hand. Love isn't smiling and his hands, presumably at his sides (or in his pockets) are unseen.

Love's main influence on "I Know There's an Answer" is reputed to have consisted of his strenuous opposition to the song's original title, "Hang On to Your Ego", and his insistence that it be partially rewritten and retitled. The original lyrics created quite a stir within the group. "I was aware that Brian was beginning to experiment with LSD and other psychedelics," explained Love. "The prevailing drug jargon at the time had it that doses of LSD would shatter your ego, as if that were a positive thing... I wasn't interested in taking acid or getting rid of my ego." Jardine recalled that the decision to change the lyrics was ultimately Wilson's. "Brian was very concerned. He wanted to know what we thought about it. To be honest, I don't think we even knew what an ego was... Finally Brian decided, 'Forget it. I'm changing the lyrics. There's too much controversy.'" Terry Sachen, who co-wrote the revised lyrics to this song, was the Beach Boys' road manager in 1966.

Asher's lyrics brought a new level of nuance and maturity to Wilson's work and complemented the music and arrangements he was creating. Additionally, it should be noted that Pet Sounds is indubitably a concept album, since its songs, while not united in the traditional sense, tell the story of a tumultuous relationship that reflected Wilson's personal concerns with the difficult transition from youth to adulthood in 1960s America, the exciting but often fleeting nature of love, and the yearning for a better future.

These concerns are mirrored by Asher's lyrics, which contain many elements written in the negative, in future tense or in future conditional tense ? evidenced in titles like "Wouldn't It Be Nice", "You Still Believe in Me", "I Just Wasn't Made for These Times" and "Caroline, No."

The album also included two sophisticated instrumental tracks ? the wistful "Let's Go Away for Awhile" - with a working parenthetical title of "And Then We'll have World Peace" - and the brittle brassy surf of the title track, "Pet Sounds" (originally "Run James, Run", the suggestion being that it would be offered for use in a James Bond movie). Both had been recorded as backing tracks for existing songs, but by the time the album neared completion Wilson had decided that the tracks worked better without vocals and so left them as such. A third instrumental, called "Trombone Dixie," had been fully recorded, but it remained in the vaults until its inclusion on the album's 1990 (remastered) CD release.

[edit] Recording

With writing well under way, Wilson worked rapidly through January and early February 1966, recording six backing tracks for the new material. When the other Beach Boys returned from a three-week tour of Japan and Hawaii, they were presented with a substantial portion of a new album, with music that was in many ways a radical departure from their earlier attempts. Both Asher and Wilson state that there was resistance to the project from within the group, but on this occasion, Wilson's belief in his new work convinced the other members of the group.

All the backing tracks for Pet Sounds were recorded over a four-month period, using major Los Angeles studios (Gold Star, Western Recorders and Sunset Sound) and an ensemble that included some highly regarded session musicians, including jazz guitarist Barney Kessel, bassist Carol Kaye, and session drummer Hal Blaine. All tracks were produced and arranged by Brian Wilson. He also wrote or co-wrote every track except for Sloop John B.

Wilson had developed his production methods over several years, bringing them to their zenith with the recording of Pet Sounds during late 1965 and early 1966. Wilson's approach was in some respects a refinement and development of the famous "Wall of Sound" technique created by his mentor and rival Phil Spector. Armed with new Ampex 8-track recorders, Wilson produced tracks of great complexity using his regular team of 'first call' players, sometimes known collectively as "The Wrecking Crew".

Wilson's typical production method on Pet Sounds was to record the instrumental backing tracks for each song as an ensemble performance, performed live and taped direct onto a 4-track recorder. His engineer Larry Levine has reported that he [Wilson] also typically mixed these backing tracks live, as they were being taped. Like Spector, Wilson was a pioneer of the 'studio as instrument' concept, exploiting novel combinations of sounds that sprung from the use of multiple electric instruments and voices in an ensemble and combining them with echo and reverberation. He often doubled bass, guitar and keyboard parts, blending them with reverberation and adding other unusual instruments to create startling new sound blends. The deceptive simplicity of Brian's music often veiled the fact that his arrangements were more musically adventurous and complex than one would expect in pop music.

These backing tracks were then dubbed down onto one track of an 8-track recorder (at Columbia studio, the only facility in LA with an 8-track), and although much of the fine detail in the arrangements was often covered by the group's rich vocal harmonies, Wilson's arrangements ensured that they interacted effectively with the vocal tracks ? often to the surprise of the musicians who performed them.

Six of the remaining seven tracks were usually dedicated to each of the Beach Boys' vocals (the five-piece group was by then being regularly augmented by singer Bruce Johnston, who later became a permanent member). The last track was usually reserved for additional vocals and/or instruments and other 'sweetening' elements.

Although t

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