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

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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
Filename C:\Documents and Settings\Owner\My Documents\My Music\eac to wave\01 - Wouldn't It Be Nice.wav

Pre-gap length 0:00:02.00

Peak level 100.0 %
Track quality 100.0 %
Test CRC 45F275C5
Copy CRC 45F275C5
Copy OK

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

Pre-gap length 0:00:01.00

Peak level 100.0 %
Track quality 100.0 %
Test CRC C6E3515E
Copy CRC C6E3515E
Copy OK

Track 3
Filename C:\Documents and Settings\Owner\My Documents\My Music\eac to wave\03 - That's Not Me.wav

Pre-gap length 0:00:01.16

Peak level 100.0 %
Track quality 100.0 %
Test CRC 384E3392
Copy CRC 384E3392
Copy OK

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

Pre-gap length 0:00:01.49

Peak level 96.7 %
Track quality 99.9 %
Test CRC 5345196D
Copy CRC 5345196D
Copy OK

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 %
Test CRC 1A967772
Copy CRC 1A967772
Copy OK

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

Pre-gap length 0:00:01.10

Peak level 100.0 %
Track quality 100.0 %
Test CRC 4662A064
Copy CRC 4662A064
Copy OK

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 %
Track quality 100.0 %
Test CRC C48F8092
Copy 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 %
Track quality 100.0 %
Test CRC 1C9E6BA2
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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

Pre-gap length 0:00:00.89

Peak level 100.0 %
Track quality 100.0 %
Test CRC 62E47858
Copy CRC 62E47858
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Track 10
Filename C:\Documents and Settings\Owner\My Documents\My Music\eac to wave\10 - Here Today.wav

Pre-gap length 0:00:01.26

Peak level 100.0 %
Track quality 100.0 %
Test CRC CB008AE9
Copy CRC CB008AE9
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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 %
Track quality 99.9 %
Test CRC 05E4A11E
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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
Copy CRC F6895626
Copy OK

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
Copy 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 %
Test CRC CCC7B25C
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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 %
Test CRC 550FC22E
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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 the self-taught Wilson often had entire arrangements worked out in his head (which were usually written in a shorthand form for the other players by one of his session musicians), surviving tapes of his recording sessions show that he was remarkably open to input from his musicians, often taking advice and suggestions from them, and even incorporating apparent 'mistakes' if they provided a useful or interesting alternative.

In spite of the availability of complex multitrack recording, Wilson always mixed the final version of his recordings in mono, as did Phil Spector. He did this for several reasons; one of which was that he personally felt that mono mastering provided more sonic control over the final result that the listener heard, regardless of the vagaries of speaker placement and sound system quality. It was also motivated by the knowledge that, back then, radio and TV were broadcast in mono, and most domestic and automotive radios and record players were monophonic. Another and more personal reason for Wilson's preference of recording in mono was due to his being almost totally deaf in his right ear, rumored to be the result of childhood injury to his eardrum caused by a blow from his violent father Murry Wilson, although Wilson has claimed that he was born deaf in one ear.

On February 15 the group traveled to the San Diego Zoo to shoot the photographs for the cover of the new album, which had already been titled Pet Sounds. Two days later, Wilson was back in the studio with his session band, laying down the first takes for a new composition, "Good Vibrations". Around February 23, Wilson gave Capitol a provisional track listing for the new LP, which included both "Sloop John B" and "Good Vibrations." This contradicts the long held misconception that "Sloop John B" was a forced inclusion as the hit single at Capitol's insistence: in late February, the song was weeks away from release.

Wilson worked through February and into March fine-tuning the backing tracks. To the group's surprise, he also dropped "Good Vibrations" from the running order, telling them that he wanted to spend more time on it. Al Jardine remembers:
? At the time, we all had assumed that "Good Vibrations" was going to be on the album, but Brian decided to hold it out. It was a judgment call on his part; we felt otherwise but left the ultimate decision up to him. ?

However, a riff from "Good Vibrations" was incorporated into "Here Today".

Most of March and early April was devoted to recording the remaining backing tracks and to the crucial recording of vocals, a process which proved to be the most exacting work the group had hitherto undertaken, as Mike Love later recalled:
? We worked and worked on the harmonies and, if there was the slightest little hint of a sharp or a flat, it wouldn't go on. We would do it over again until it was right. [Brian] was going for every subtle nuance that you could conceivably think of. Every voice had to be right, every voice and its resonance and tonality had to be right. The timing had to be right. The timbre of the voices just had to be correct, according to how he felt. And then he might, the next day, completely throw that out and we might have to do it over again. ?

Release

By mid-April Pet Sounds was finished and had been submitted to Capitol. "Caroline, No," released as a solo single; interestingly, it was credited to Brian Wilson alone, leading to speculation that he was considering leaving the band. The single reached #32 in the United States.

"Sloop John B" was extremely successful, scoring a #3 hit in the U.S. and #2 in Great Britain. "Wouldn't It Be Nice" reached #8 in the U.S. Its flip side, "God Only Knows," was another #2 single in Britain, but reached only #39 in the States. The LP broke into the Top Ten in the U.S., belying its reputation as a commercial failure there. In Australia, the album was only released under the title The Fabulous Beach Boys on the Music for Pleasure label.

Pet Sounds' greatest success was in the UK, where it reached #2 in the LP charts. Its success there was aided by considerable support from the British music industry, who embraced the record warmly; Paul McCartney spoke often about the album's influence on The Beatles. But although it's been claimed that the Rolling Stones manager Andrew Loog Oldham placed unsolicited advertisements lauding the album in British music papers, a trawl of the UK pop press for 1966 fails to uncover any such advert.

However, like Beach Boys' Party!, Pet Sounds failed to reach gold status on its initial release, which deeply disappointed Wilson. Much of the blame for its lukewarm commercial fortunes has been laid with Capitol Records, which did not promote the album as heavily as the band's earlier releases. Pet Sounds eventually went gold and platinum in 2000.

Reception

Although not a big seller for the band originally, Pet Sounds has been influential since the day it was released. Rapturously received in Britain, it was lauded in the music press and championed by many top pop stars. The Beatles, for example, have said that Pet Sounds was a major influence on their album Sgt. Pepper's Lonely Hearts Club Band, and Paul McCartney has repeatedly named it as one of his favorite albums (with "God Only Knows" as his favorite song) ? completing a circle begun by the Beatles' influence on Wilson (see "the beginning of Pet Sounds", above). McCartney stated that:
? It was Pet Sounds that blew me out of the water. I love the album so much. I've just bought my kids each a copy of it for their education in life ... I figure no one is educated musically 'til they've heard that album ... I love the orchestra, the arrangements ... it may be going overboard to say it's the classic of the century ... but to me, it certainly is a total, classic record that is unbeatable in many ways ... I've often played Pet Sounds and cried. I played it to John [Lennon] so much that it would be difficult for him to escape the influence ... it was the record of the time. The thing that really made me sit up and take notice was the bass lines ... and also, putting melodies in the bass line. That I think was probably the big influence that set me thinking when we recorded Pepper, it set me off on a period I had then for a couple of years of nearly always writing quite melodic bass lines. "God Only Knows" is a big favourite of mine ... very emotional, always a bit of a choker for me, that one. On "You Still Believe in Me", I love that melody - that kills me ... that's my favourite, I think ... it's so beautiful right at the end ... comes surging back in these multi-coloured harmonies ... sends shivers up my spine. ?

Other artists have also cited Pet Sounds as one of the all time classic albums. Eric Clapton stated that "I consider Pet Sounds to be one of the greatest pop LPs to ever be released. It encompasses everything that's ever knocked me out and rolled it all into one."

Elton John thinks that "Pet Sounds is a landmark album. For me to say that I was enthralled would be an understatement. I had never heard such magical sounds, so amazingly recorded. It undoubtedly changed the way that I, and countless others, approached recording. It is a timeless and amazing recording of incredible genius and beauty."

Beatles producer George Martin stated that "Without Pet Sounds, Sgt. Pepper wouldn't have happened... Pepper was an attempt to equal Pet Sounds."[1] After Sgt. Pepper was released, Wilson was so despondent that he went to bed for months.[2]

Bob Dylan has said of Brian Wilson's talents, "That ear - I mean, Jesus, he's got to will that to the Smithsonian."[1]

In 1995, nearly thirty years after its release, a panel of top musicians, songwriters and producers assembled by MOJO magazine voted it "The Greatest Album Ever Made." In 2006 Q magazine readers voted it the 18th greatest album of all time; critics of German magazine Spex voted it the best album of the 20th Century; in 2001 the TV network VH1 placed it at #3. It also placed #2 on Rolling Stone's list of the 500 greatest albums of all time behind only Sgt. Pepper's Lonely Hearts Club Band by The Beatles. In 2004, it was one of 50 recordings chosen by the Library of Congress to be added to the National Recording Registry. According to Acclaimedmusic.net, Pet Sounds is the most acclaimed pop album of all time by music journalists.[3]

In 2006, the album was chosen by TIME Magazine as one of the 100 best albums of all time.

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