9/18/2023 0 Comments Pet sounds sessionsThe original title was "Run James Run." 6. Wilson wrote the instrumental track “Pet Sounds” with the intention that it would be used in a James Bond movie. THE TITLE TRACK WAS WRITTEN FOR A JAMES BOND MOVIE. It took a full week to record the voice track on “Wouldn’t it be Nice.” Wilson was so demanding that Mike Love began referring to him as " Dog Ears" and joked that Wilson was able to hear things that normal human beings could not-including "an impure thought." 5. Once the rest of the band returned from international touring, Wilson had them come into the studio to put vocals down on top of his compositions. IT TOOK AN ENTIRE WEEK TO RECORD THE VOCALS FOR "WOULDN'T IT BE NICE." Wilson had unprecedented control over Pet Sounds, and he was just 23 years old at the time. He arranged, composed, and produced the album and conducted an army of L.A.'s best studio musicians, a.k.a. Throughout 1965, while the rest of band toured, Wilson worked on his new project. WHILE THE BAND TOURED IN 1965, BRIAN WILSON STAYED AT HOME AND WORKED ON PET SOUNDS. But it's going to be well worth it, because I'm going to write you some good songs." 3. He called a meeting with the rest of the band and said, "Listen, I'm going to have to quit the touring group. He had to return to California, where he recovered and realized that he could tour no longer. In December of 1964, while on a flight to Houston to start yet another Beach Boys tour, Brian Wilson had a panic attack, which led to him collapsing in the plane's aisle and sobbing. That's all folks.' I said, 'I'm going to make an album that's really good, I mean really challenge me.' I mean, I love that f*cking album, I cherish that album." 2. "When I heard Rubber Soul, I said, 'That's it. Pet Sounds is a reminder that the core of courage is innocence, and that just because you can’t change the past doesn’t mean it doesn’t still hurt." Rubber Soul blew my mind," Brian Wilson once said. But you can hear him trying to excavate feelings buried so deep in the underbrush of shame and memory that seeking them out is an adventure on par with any. Wilson’s experiments with LSD aren’t obvious in any garish, cartoonish way. Of all Pet Sounds’ legacies, the most profound is the idea that pop music-something accessible and extroverted-could be used to express deep internal worlds. And as sacred as the album’s mood is (Wilson called his next project, Smile, a “teenage symphony to God”), it makes sense that its co-lyricist, Tony Asher, had come from advertising: No matter how ambitious he got, he also knew he needed to project something neat, immediate, and universal. At a mid-’60s moment when bands like The Velvet Underground were starting to use pop to explore rough, bracing realities, Pet Sounds reached back to the fantasies of ’30s pop and ’50s exotica, of old Hollywood and early television. Wilson was a child of Southern California and Disney, of the great suburban myths that shaped America after World War II: The joke is that his brother Dennis was the only Beach Boy who actually surfed, while the rest just held boards to sell a story. Brian Wilson’s arrangements brought a complexity to rock music that nobody had heard before, but they also captured a simple, poetic point: When you’re young, everything hits with the weight of an orchestra. There are moments of wonder and excitement (“Wouldn’t It Be Nice”) and moments of profound pain (“I Just Wasn’t Made for These Times”). The colors are brighter, the scale bigger. No matter where you’re at in life, stepping into Pet Sounds can feel like stepping back into childhood.
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