8/9/2023 0 Comments Pet sounds sessions![]() 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. They could also just be random acoustic noises but as I recall they have some ambience that makes me think they are perhaps not electrical recording artifacts but I'm not sure (back to the headphones!).No matter where you’re at in life, stepping into Pet Sounds can feel like stepping back into childhood. The sounds are heard in the raw session tapes - I wonder if the compression in the mono mix makes them a little more prominent and slightly more jarring sounding due to the inherent sluggishness of the valve unit. I can imagine along with the visual cues that someone is basically casually conducting there (could be taps of the foot while also playing coupled with some other appropriate visual cues - maybe some eyebrow action). The 1& is where the players hit their final note that they hold throughout the last bar of that section. There's a click on the 1&, then the 3 and the 4. You mean the banjo and the bass harmonica, of course!Ĭlick to expand.I'm not 100% on it either but it would make sense musically to have someone indicating the beats of the bar as they hold their notes so that that the players who start the next section come in together. Not sure that's right - I wonder if the date on the AFM sheet is innacurate (not uncommon apparently) and the backing track and banjo overdub were both done on the 7th? with the banjo overdub being added on the 9th, the same session as when the vocals were added. * Keith Badman has the date for this backing track session as 7th Feb. Hal Blaine has "1/2" something noted by his name - maybe he gets a little extra for the overdub if he was the contractor (not noted here but he often performed that role). ![]() 1966), along with Stephen Kreisman (leader) and Charles Britz (engineer). Glen is noted on the AFM sheet as getting 1 hour of over time for the session (dated 9th* Feb. 13, Disc 1, Track 14 for the unedited banjo overdub in the right channel). It's Glen Campbell on the banjo overdub (see SOT Vol. ![]() Note that nothing was played on the banjo for the last chorus so that might help identify it in the earlier choruses. The organ overdub heard in the choruses only exists with vocals which is why it is absent from the backing track mix. I think the banjo is there just rather quietly somewhere in the middle - it appears slightly left of centre for the pre-strum before being panned to the right for the harmonica break (it is also audible in the first two choruses on the stereo backing track mix, followed by slightly different panning in the break). Click to expand.You mean the banjo and the bass harmonica, of course! ![]()
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