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'Pet Sounds' masterpiece recreated
By Nick Hanson
Published:
Thursday, April 7, 2005
Media Credit: Matthew Kaster
Listening to The Beach Boys "Pet Sounds" is one thing. Seeing it performed live is another.
"Pet Sounds" is not a pop album. Nor is it rock 'n' roll. It's a symphonic score.
Watching an orchestra of 21 musicians rotate through at least twice as many instruments in just under an hour will bring you to that realization.
Local music group Collective Unconscious and ringleader/director Jeff Engholm are bringing that vision to life at the Pioneer Place on Fifth. The group is performing a start to finish cover of "Pet Sounds" live through Saturday.
And any fan of music - Beach Boys enthusiast or not - should see it. One must experience this triumphant masterpiece composed by the Beach Boys' leader/producer/basket case Brian Wilson (aren't all great artists just a little bit off kilter?).
Even if you don't already appreciate "Pet Sounds" for its upbeat tempo, melodic harmonies and lyrical genius, after seeing it live, you will credit the album for sheer depth, at the bare minimum.
Ask your favorite rock star, or any talented musician for that matter, and they'll probably tell you that "Pet Sounds" is a masterpiece. Hell, Paul McCartney credits the record as his inspiration for creating "Sergeant Peppers Lonely Hearts Club Band" - coming in first place as Rolling Stones' greatest album of all time (situated comfortably alongside "Pet Sounds" in second).
Unlike other musicians, however, Engholm took his dedication to the next level by deciding to cover the behemoth.
The project comes on the heels of an "Abbey Road" cover that Collective Unconscious performed in 2003. The two years it took for Engholm and crew to complete the "Pet Sounds" project, however, paid off in the end.
Every detail, instrument and vocal was given the utmost attention.
Yes, that means that at one point Engholm actually beat an emptied out water jug to duplicate a drumming echo, exactly as Wilson did while recording "Pet Sounds," the title track. Of course, a banjo, xylophone, cello, flute, harmonica, mandolin, organ, various keyboards and a barrage of other instruments were played and manipulated, just as Wilson demanded during production of the original.
From the start of "Wouldn't It Be Nice," the playful tone of the album immediately resonates throughout the building.
Often, you forget that you're listening to a live band. Highlights include the classic "Sloop John B" and love ballad "God Only Knows."
Although Collective Uncon-scious aims to closely imitate the recording, they allow themselves a few liberties, such as sax solos on "I'm Waiting for the Day" and "Let's Go Away For Awhile," an extended horn section on "I Know There's An Answer" and a percussion solo on "Pet Sounds," achieving a true live effect.
The peak of the concert arrives at the finale after "Caroline, No" the last track on "Pet Sounds." Originally intended for inclusion on Sounds, but ultimately pulled in the final cut, Collective Unconscious pulls off "Good Vibrations" flawlessly.
The "Wow, I can't believe we really pulled this off," astonished look constantly plastered on Engholm's face throughout the entire show exemplifies that not only did the crew work hard to put the show together, they had fun preparing and performing it too. That feeling radiates from the band and into the audience, making it hard to hide an ear-to-ear grin.
A quick listen, or even multiple listens of "Pet Sounds," do not deem it justice. The casual listener and the musically inept will probably never understand the breadth and complexity of "Pet Sounds." Truthfully, most people never will. Yet, with this opportunity, at least we'll have a chance.
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