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The Beach Boys Pet Sounds Free FREE THE BEACH BOYS PET SOUNDS PDF Jim Fusilli | 128 pages | 01 Jul 2014 | Bloomsbury Publishing PLC | 9780826416704 | English | London, United Kingdom Pet Sounds - The Beach Boys | Songs, Reviews, Credits | AllMusic It The Beach Boys Pet Sounds met with a lukewarm critical and commercial response in the United States, peaking at number 10 on Billboard Top LPs chart, lower than the band's preceding albums. In the United Kingdom, the album was favorably received by critics and peaked at number 2 in the UK Top 40 Albums Chartremaining in the top ten for six months. Promoted there as "the most progressive pop album ever", Pet Sounds attracted recognition for its ambitious recording and sophisticated music. It is considered to be among the most influential albums in music The Beach Boys Pet Sounds. The album was produced, arranged, and almost entirely composed by Brian Wilson with guest lyricist Tony Asher. It was recorded largely between January and Aprila year after Wilson quit touring with his bandmates. His goal was to create "the greatest rock album The Beach Boys Pet Sounds made"—a cohesive work with no filler tracks. It is sometimes considered a Wilson solo album and a refinement of the themes The Beach Boys Pet Sounds ideas he introduced with The Beach Boys Today! Lead single " Caroline, No " was issued as his official solo debut. Wilson's Wall of Sound -based orchestrations mixed conventional rock set-ups with elaborate layers of vocal harmoniesfound soundsand instruments never before associated with rock, such The Beach Boys Pet Sounds bicycle bells, French horn, flutes, Electro-Thereminstring sections, and beverage cans. In October, the leftover song " Good Vibrations " followed as a single and became a worldwide hit. Ina " making-of " version of Pet Sounds was overseen by Wilson and released as The Pet Sounds Sessionscontaining the album's first true stereo mix. Pet Sounds is regarded by musicologists as an early concept album that advanced the field of music productionintroducing non-standard harmonies and timbres and incorporating elements of popjazzexoticaclassicaland the avant-garde. The album could not be replicated live and was the first time a group departed from the usual small-ensemble electric rock band format for a The Beach Boys Pet Sounds LP. SinceRolling Stone has consistently ranked Pet Sounds second on lists of the greatest albums of all time. Init was preserved in the National Recording Registry by the Library of Congress for being "culturally, historically, or aesthetically significant. The The Beach Boys Pet Sounds release of the Beach Boys' sixth album All Summer Long marked an end to the group's beach-themed period. From then, their recorded material took a significantly different stylistic and lyrical path. Wilson immediately showcased great advances in his musical development with the albums The Beach Boys Today! In April, after consuming a full dose of LSDWilson had what he considered to be "a very religious experience" and claimed to have seen God. On July 12, Wilson recorded a backing track for " Sloop John B ", 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 informal studio jam Beach Boys' Party! Brian expressed to reporters that the song was not a "produced" record and should not be considered indicative of the group's upcoming music. While The Beach Boys Pet Sounds a recording studio in Los Angeles inWilson The Beach Boys Pet Sounds Tony Ashera year-old lyricist and The Beach Boys Pet Sounds working in jingles for an advertising agency. The result of Asher's tryout was " You Still Believe in Me ", and the success The Beach Boys Pet Sounds the piece convinced Wilson that Asher was the wordsmith he had been looking for. Wilson and Asher wrote together over a two-to-three week period at Wilson's home, likely between January and February Asher maintained that he served mainly as a source of second opinion for Wilson as he worked out possible melodies and chord progressions, although the two did trade ideas as the songs evolved. I was really just his interpreter. In Marilyn's recollection, Brian worked on Pet Sounds virtually nonstop, and that when he was home, "he was either at the piano, arranging, or eating. Let's say he was After their songs were completed, Asher visited a few of the recording sessions, most of which were string overdub dates. He remembered that Wilson "exhibit[ed] this awful taste. His choice of movies, say, was invariably terrible. Or else he'd just go on and on about girls. Then he'd fall apart and start crying during play-backs of certain tracks. Pet Sounds incorporates elements of popjazzclassicalexoticaand avant-garde music. There isn't much rocking here, and even less rolling. Pet Sounds is at times futuristic, progressive, and experimental. I wanted to make an album that would stand up in ten years. Commentators and historians frequently cite Pet Sounds as a concept album. It wasn't really a song concept album, or lyrically a concept album; it was really a production concept album. For Pet SoundsBrian desired to make "a complete statement", similar to what he believed the Beatles had done with their newest album Rubber Soulreleased in December The greatest rock album ever made! Discussing the framework of their songwriting, Asher disputed the notion that their aspirations were modeled after the Beatles or rock music in general. Rather, "Brian had defined it as wanting to write something closer to classical American love songs, like Cole Porter or Rodgers and Hammerstein. In a March article, Wilson spoke of recent popular music trends, saying that they had influenced his work and the group's evolution, "but so has my own scene. That's what I thought we did. By contrast, musicologist Daniel Harrison contends that Wilson's advancement as a composer and arranger was marginal in relation to his past work. He wrote that Pet Sounds shows "comparatively little advance from what Brian had already accomplished or shown himself capable of accomplishing. Most of the songs use unusual harmonic progressions and unexpected disruptions of hypermeterboth features that were met in ' Warmth of the Sun ' and ' Don't Back Down. Pet Sounds includes tempo changes, metrical ambiguity, and unusual tone colors that, in the opinion of author James Perone, remove the album from "just about anything else that was going on in pop music". The number of unique instruments for each track average to about a dozen. They were originally recorded as backing tracks for existing songs, but by the time the album neared completion, Wilson decided that the tracks worked better without vocals. Rather, he was trying The Beach Boys Pet Sounds get classical musicians to play like rock musicians. He's using these things to make music in the way that he understood, rather than trying to appropriate the orchestra. In the estimation of musicologist Phillip Lambert, the album's "overall unity" is strengthened by "strong musical relationships among songs", for example, the use of stepwise descents and the reverse. On "You Still Believe in Me", he references a "stepwise falloff of the interval of a third at the end of each verse" as a typically "Wilsonian" feature that recurs throughout the album, along with a "madrigal sigh motif " that can be heard in "That's Not Me", where the motif concludes each line of the verses. An overwhelming majority of the chords used on the album are slasheddiminishedmajor seventhsixthsninths. Simple major or minor triad chords are invoked minimally. Only four tracks feature a single strongly established key. With the exception of "God Only Knows", every composition on the album that shifts keys or has an ambiguous tonal center "uses essentially the same tonic—submediant relation. Compared to previous Beach Boys albums, Pet Sounds contains less instances of vocal harmonies, but the types of vocal harmonies themselves are more complex and varied. With the exception of Today! Asher stated that Wilson aspired to create a collection of songs with subject matter that were relatable for adolescents: "Even though he was dealing in the most advanced score-charts and arrangements, he was still incredibly conscious of this commercial thing. This absolute need to relate. For much of the lyric content, Wilson turned inward and probed his deep-seated self-doubts and emotional longings. Critics Richard Goldstein and Nik Cohn noted a disparity The Beach Boys Pet Sounds the album's music and lyrics: Cohn suggested that Pet Sounds was composed of "sad songs about happiness" and that they celebrate loneliness and heartache. The songs pile up in this vein. According to AllMusic reviewer Jim Esch, "Wouldn't It Be Nice" inaugurates the album's pervasive theme: "fragile lovers buckling under the pressure of external forces they can't control, self-imposed romantic expectations and personal limitations, while simultaneously trying to maintain faith in one other. Lyrically, Pet Sounds encompassed the loss of innocent idealism "Caroline, No"the transient nature of love "Here Today"faith in the face of heartbreak "I'm Waiting for the Day"the demands and disappointments of independence "That's Not Me"the feeling of being out of step with the modern world "I Just Wasn't Made for These Times"and the longing for a happy, loving future "Wouldn't It Be Nice". It is sometimes suggested that the tracks follow a formal narrative that documents the unraveling of a romantic relationship. Responding to the songwriters' denials of a conscious lyric theme, Nick Kent observed the album's lyrics show "the male participant's attempts at coming to terms with himself and the world about him" and that every song "pinpoints a crisis of faith in love and life" with the exception of "Sloop John B" and the two instrumental pieces.
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