Wilson spent almost a half-million 2015 dollars producing the record to his definition of musical and sonic perfection, mixing it to mono, his preferred format, in part due to his hearing in mono. I went into this listening session believing that the Carl and the Passions "twofer" offered the best sound. I came away thinking that this new one from "Analogue Productions was overall the very best, though in a few small ways the Carl and the Passions "twofer" was at least as good in some ways, better in some and not as good in others. Universal International Music B.V. Gerrit Van Der Veenlaan 4, 3743 DN, Baarn, Netherlands. BIEM/SDRM. LC 01846. 00602547822291.

The Beach Boys – Pet Sounds (1995, Vinyl) - Discogs The Beach Boys – Pet Sounds (1995, Vinyl) - Discogs

And then there are the vocals that include Brian’s most poignant ever performance on the sublime, ‘Caroline No’, Mike Love on ‘Here Today’, as well as Carl Wilson’s heart-stopping tour de force – ‘God Only Knows’. The fourth CD features a capella versions of the songs on the album and this is where The Beach Boys collectively shine. The soaring harmonies of ‘Wouldn’t It Be Nice’, the beautiful harmonic counterpoint of ‘I Know There’s An Answer’, and ‘I Just Wasn’t Made For These Times’ are all surf-soul music Absolutely phenomenal in all regards. Great soundstage, wonderful bass response…. all in all a very well balanced and emotionally gripping recording. Over at Hoffman's forums there are serious rumblings of discontent towards Acoustic Sounds/Analog Productions owner Chad Kassem, and even one consumer who professed to be a fan of Kassem's products suggesting that he needs to administered some "tough love" by his customers, and referred to Mr.Kassem as "A Greedy Bugger". Seriously, it’s just Pet Sounds, what are you talking about. Yes, that’s the statement I’ve wanted to make for nearly fifty years now, though I don’t, as I fear the pitchforked mob that would storm my castle late into the night, smash my rather expensive stereo and distribute my precious record collection among themselves.

Credits (7)

When people discuss the mixing of Pet Sounds, there's often an objectivity to the remarks - they say Stereo is definitively superior because you can hear more of the instruments than mono. However, this is missing the rather spiritual experience of listening to music, and instead taking it as an analytical "this MUST be better" stance. i agonized over which pressing to get for years...until the AP came out. thanks in part to this review! The best album with one of the worst covers ever (well, at least of that era), has only grown in stature since it was first released in the Spring of 1966. It has a crazy dated and needless LH (Large Hole) 1 1/2" die-cut finish, what's wrong with a 4 prong OC (optional Centre) Dinked Centre ( Didn't EMI-Bovema finally realise the needless USA Large Hole die-cuts and go with Dinked OC centres!) Capitol Records – T 2458, Capitol Records – T-2458, Capitol Records – B0024728-01, UMe – B0024728-01

Pet Sounds (2017, 200 Gram, Gatefold, Vinyl The Beach Boys – Pet Sounds (2017, 200 Gram, Gatefold, Vinyl

Ironically, given the love and respect that exists around the world for this album, the 1966 US release failed to achieve the kind of success that had been anticipated or the level of sales achieved by the band’s earlier albums. Pet Sounds made No.10 in the US. In the UK it fared far better, making No.2 on the album charts, the most successful of the band’s albums to that point. As for the stereo vinyl debuts of "The Beach Boys Today", "Summer Days...and Summer Nights", "Beach Boys Party" & "Smiley Smile", there is no reason why Capitol Records themselves couldn't offer those stereo mixes on vinyl. Capitol owns the recordings, after all. This record has so often been written about and reviewed that all I want to do here is get to the sound of this recent reissue mastered by Kevin Gray from the original analog tape, and compare it to previous issues. Before I get started, let me emphasize, that when I mention anything that I've seen posted on Steve Hoffman's forums, that i have not been a member of the forum for more than 4 years, therefore the opinions that I mention are not my opinions. You want me to heap praise? Here goes … Both recorded and released in 1966, this record evolves endlessly with each listen, perhaps the first record to be considered a concept, from beginning to end listeners are immersed in an intense linear personal vision arranged around the vagaries of love affairs, the painful introverted anxieties that are the gut wrenching precipitates of the unstable chemistry for most all emotional relationships, where this trenchant ebbing cycle of love songs blisters forth infused with the impact of a shatteringly evocative novel. What, you didn’t know all that? Or perhaps in knowing such details, the record would take on a much darker form.The big no no is the limited edition repro Holland EMI-Capitol 7" of God Only Knows/Wouldn't It Be Nice in yellow vinyl that has come out as a tie in/teaser 45 and is discounted when bought with the vinyl album. The five-disc Collector’s Edition is presented as a hardcover book and features the remastered original album in stereo and mono as well as session outtakes, alternate mixes and said live recordings. Band [The Beach Boys] – Al Jardine*, Brian Wilson, Bruce Johnston, Carl Wilson, Dennis Wilson (2), Mike Love Yes, I once declared the DCC Compact Classics edition best but I think that was before I heard the Carl and the Passions twofer! Now it's no contest. Flawless strings and brass and percussion and absolutely gut-churning bottom end with a tight and symphonic feel.

The Beach Boys - Pet Sounds | Releases | Discogs The Beach Boys - Pet Sounds | Releases | Discogs

So, I spent the better part of last evening comparing this latest mono mastering by Kevin Gray at his Cohearent Audio mastering facility, with: 1) a mint original Capitol issue, 2) the Brothers Records "twofer" with Carl and The Passions' So Tough (2MS 2083), 3) The Brothers Records stand-alone reissue (MS 2197), 4) The DCC Compact Classics reissue mastered by Steve Hoffman (cut by Kevin Gray) and the Capitol reissue of a few years ago. Analogue Productions – APP 067-45, Capitol Records – ST 2458, Universal Music Special Markets – B0019909-1 Acoustic Sounds' L.P.'s may feature heavier album covers than regular Capitol L.P.'s, but it's not the album cover that you play. As for the idea that Analog Productions' pressings area necessarily better than regular Capitol vinyl, that may not always be true. Some people on the Steve Hoffman forums who bought Analog Productions' mono vinyl reissue of "Pet Sounds" have reported off-center grooves on "Side One", and have stated that it is audible. Took awhile up here in Canada, but I finally got my copy. As you said, Michael, one need not be afraid of the stereo version. My copy is dead quiet, beautiful vinyl. The sound is easily the best for Per Sounds that I own: the mono reissue from 1977 green label Capitol and the recent Capitol Vault series release. And not just the bottom end, either; mids and highs are so much better...no harshness, smooth yet crisp. The blu-ray features the hi-res 5.1 surround sound mix, which has been out before of course, but additionally contains a new hi-res instrumental version of the albumThe more recent Capitol edition mastered by Ron McMaster definitely captures the spirit of the original, but the bass is soft and squishy and the distinct instrumental layers are softened and mushed together. On ‘God Only Knows’ it is just Carl, Brian and Bruce that are singing and on the acapella version, when they finish their vocal, a voice asks, “How was that? Was that cool?” It’s Bruce Johnston asking the question and it is the perfect coda for not just the song, but also the album, because Pet Sounds is arguably the coolest record of all time. This is the kind of record that makes life worth living, reaffirming the notion that pop music is the most admired art form in the world. With that being said, this mono reissue isn't the best sounding version of the album, technically. However, it's the one that connects with me most. I love the stereo version as well, however the mono mix intended by Brian Wilson has an almost magical property to it. The instruments blend together like a carpet strewn about a finely sanded off, glossy wood floor - this is including the beautiful vocals. I Just Wasn't Made For These Times has an absolutely cinematic feel in mono, where the vocals drown out the instruments to a point where it feels very grand and definitive. The instrumentals sound absolutely divine in mono, especially Pet Sounds, which I would say is actually better in mono rather than stereo's odd timing issues. Pet Sounds evokes something gorgeous within one, and whether it be stereo or mono, one thing's for certain: it's a classic for a reason.