Pet_Sounds

Hello journal, my old friend, I've come to talk with you again.

I had a ton of homework this week thanks to the new semester going 0-60 in just under two weeks, and as a result, the desire and time to explore and write about new music properly hasn't been there. However, I have been overdosing on David Bowie. And loving it. Here are my five favourite songs, if anyone's interested.

#5 - Young Americans


Bowie could belt out soul just as well as rock and roll, as he demonstrates here. Nice sampling of The Beatles "A Day in the Life". That glissando in the intro always gets my head bobbing.

#4 - Life on Mars?


I really have no idea what David is going on about, but as a pianist, this has a special appeal to me. A damned good TV show was based around it, too.

#3 - Starman


The essential piece of Ziggy Stardust, in my opinion, as well as the best song on the album. The chorus always gives me chills.

#2 - Space Oddity


Three years later, the producer on "Space Oddity", Gus Dudgeon also worked on Elton John's "Rocket Man". You could base a three hour sci-fi around this song. I especially love the chaotic liftoff and crash sequences. Canadian astronaut Chris Hadfield did a pretty cool acoustic version while floating around the International Space Station.

#1 - Changes


There are very few songs I consider perfect. This one of them. The lyrics really describe David Bowie's entire career. And that's the Thin White Duke himself on the sax.

And since it is Valentine's Day, after all, here's a bonus for all you starry-eyed lovers!

"Heroes"


Happy Valentine's day to all of you, and a special thank-you to the two people who were thoughtful enough to send me a lovedump. Even if one of them was a turd.

__________________
Everybody's dying just to get the disease

Pet_Sounds

In late 2013, I had Googled "the beatles vs the beach boys". The top result was from a music forum. I'd clicked on it to discover that a user called DriveYourCarDownToTheSea was making song-by-song comparisons of the two bands, throughout their careers. I read a few pages, made a mental note to return, and promptly forgot about it, but the arrival in the mail of a CD from each group brought the thread to the front of my mind. I performed the same search, found the forum, and promptly signed up.

The username I chose was taken from an album that, at the time, I considered both my favourite and the greatest ever made.


For some time, Brian Wilson hadn't been touring with The Beach Boys. Instead he'd been working in the studio, writing and recording new music, while the rest of the band spread the word. In December 1965, Brian heard The Beatles' Rubber Soul for the first time. It absolutely blew him away. As he told his wife, Marilyn, it inspired him to create "the greatest rock album ever made."

To celebrate my one-year anniversary of joining Music Banter, I'm going to review Pet Sounds, just as I first heard it--on the 1990 CD mono remaster. I haven't listened the entire album yet this year. In fact, I rather overdosed on it last year, so I'm curious to see if it sounds just as good a year later....


The album opens on a strong note with the twelve-string guitar intro of "Wouldn't It Be Nice", which is both my favourite Beach Boys song and one of their most famous.

"You Still Believe In Me" is another favourite, although somewhat obscure. It's more downtempo, with some harpsichord (I think--hard to tell what Brian's doing!), bicycle bells, and a false ending. Here, the album's primary theme of melancholy disillusionment with oneself makes its debut.

Mike Love makes his first lead vocal appearance and the pace picks up again with "That's Not Me", which further explores the theme brought up in the previous track. It's a catchy tune with some stunning a cappella key changes--fine examples of the Boys' vocal prowess. The '60s slang ("split", "pad", etc.) dates this one a bit.

Brian returns to the mic and gives us a taste of his amazing falsetto with "Don't Talk (Put Your Head on My Shoulder)", a slow, jazzy love song backed by strings. The chord progression is incredibly complex--trust me, it's not a tune to sight-read!

Pounding timpani begin "I'm Waiting For the Day". There are some incredible dynamic and energetic contrasts--it's unpredictable. Also some lovely flute and oboe.

Next is an instrumental, the unhummable "Let's Go Away For Awhile". It has a grammatical mistake in the title! This really deserves to be heard at full volume. The tumbling drums make the track. It was originally intended to have vocals, which brings up an important fact about Pet Sounds--all the backing tracks are this complex.

The Caribbean folk song, "Sloop John B", closes out what would be Side 1 of the album if I was listening on vinyl. It is a great song, but does stand out a little from the rest of the tracks. In fact, it was only included for commercial purposes. I think Carl Wilson sings the third verse--at least, that's how they did it in concert. Another stunning a cappella bridge.

Side B opens with the accordion/French horn hook of arguably the Boys' greatest tune, "God Only Knows". Carl's vocal is perfect. Screw that, the whole song's perfect. Some incredible harmony between Carl, Brian, and Bruce Johnston in the fadeout.

Brian sings lead on "I Know There's an Answer", which showcases more incredible dynamic changes and the tracemark bass harmonica.

"Here Today" is Pet Sounds' only weak song. The mono mix gives the background vocals and instruments. The chorus feels a bit chaotic and a bit overdone. Note, I would never skip (and have never skipped) any songs on the album. It's just not up to the others' high standards.

"I Just Wasn't Made For These Times" is an incredible sound collage. It feels like a musical blanket--isolating the listener from all ambient noises. It's the trippiest song on the album, with an Electro-Theremin solo. They would later use the instrument on their smash hit, "Good Vibrations".

Another instrumental is up in "Pet Sounds", the title track. It was originally titled "Run James Run" and intended for a Bond movie. That atmosphere is definitely present.

Pet Sounds closes with "Caroline, No". It serves as the perfect bookend--the album opens with youthful romance and ends in disillusionment and the question, "Where is the girl I used to know?" Then we hear a passing train, heralded by Brian Wilsons true "pet sounds"--his dogs, Louie and Banana.


It had been a few months since I heard Pet Sounds in its entirety. However, I still love it just as much as I did a year ago. Although I wouldn't consider it the "greatest" record of all time, hands down, it's my favourite. It's my namesake. And it's what brought me here in the first place.

__________________
Everybody's dying just to get the disease

Pet_Sounds

Kill two birds with one stone, feed the homeless to the hungry.

- Ray Bradbury

I selected that Ray Bradbury quote only because I'm doing a double entry tonight.

"Tomorrow Never Knows" is a weird song. It's got sitar, tape loops, a backwards guitar solo, and surreal lyrics. It's also got my favourite drum beat of any Beatles song. I can't describe it adequately--it's one of those songs that just have to be heard to be understood.

Fun fact: That seagull sound at the beginning is actually Paul McCartney laughing, with many effects applied.

In my opinion, this is the most glaring omission from the 1962-1966 greatest hits album. It would have made a perfect closer.




There's something satisfying about a simple two-minute pop song, when it's done right. Although it's not very high on my list, I've never tired of "And I Love Her", and it's the only song I've ever requested a musician to play.

Actually, I did go up to a piano player once and say, "Play it, Sam. Play it once again for old times' sake. Play 'As Time Goes By'," so I suppose it's not the only song I've ever requested. However, it's the only song I've ever seriously requested.

Paul performs a lovely vocal, Ringo contributes some claves and (I think) congas, George changes the key with his solo, and John delivers what I consider his standout rhythm track.

__________________
Everybody's dying just to get the disease

Pet_Sounds

A good novel tells us the truth about its hero, but a bad novel tells us the truth about its author.

- G. K. Chesterton, Heretics

These lyrics are real. Having spent the past fourteen-plus years with a freelance journalist and small-time author, I can speak for the fact.

"Paperback Writer" is also notable for being the first UK Beatles single not about romance. Despite that, it reached number one in five different countries. Recorded in 1966, during the Revolver sessions, it was held off the album due to The Beatles' policy of not including pre-released singles.

I love how the song begins with a cappella vocal harmonies, then Paul's distorted guitar riff kicks in. Paul also plays an excellent bassline. The backing vocals on verses three and four are singing "Frere Jacques", believe it or not.

__________________
Everybody's dying just to get the disease

Bulldog

I've never really been a huge fan of the original Space Oddity track, it kinda veers towards being a bit overproduced to me. It's acoustic re-recording from 1979 features in every Bowie top 5 I dream up, so all said and done it's still technically one of my favourites of his songs.

If I had to fill out the rest of that top 5 right now off the top of my head, I'd probably go for I Pray, Ole, the Secret Life Of Arabia, No Control and Afraid...I could spend the better part of a day trying to be more precise about it though.

Great journal by the way, I'm really liking how off-kilter it all seems. Keep it up eh - I'll be keeping an eye on this one

Pet_Sounds

Your choices are certainly more obscure than mine. It's a trend for me that, even with artists whose discographies I know inside out, my favourite songs are almost always the hits. Nice pick on "Afraid"; that's another favourite of mine.

Thanks, that means a lot, especially coming from someone who's been around as long as you have.

__________________
Everybody's dying just to get the disease

Pet_Sounds

On March 9th, 2014, I had the pleasure of seeing Billy Joel perform at the Air Canada Centre in Toronto. Besides being my first rock concert, it was the only time I've been in the same building as another Music Banter member--both Burning Down and zombie kid were at the show. My discography reviews kick off just in time to celebrate the anniversary of that event.

In 1974, Billy Joel had released a single titled "The Entertainer". In it, he sang,

I am the entertainer,
The idol of my age.
I make all kinds of money when I go on the stage.
You see me in the papers, I been in the magazines,
But if I go cold, I won't get sold,
I get put in the back in the discount rack
Like another can of beans.

It seemed his prophecy was coming true. After minor success with the single "Piano Man" and its accompanying album, Billy had released two commercial flops. His self-produced, piano-centred sound desperately needed a change. That's when Phil Ramone entered the picture.

Ramone brought a new sound to Billy's music--backing vocalists, horn sections, and a smooth pop rock punch. The Stranger was a smash hit, reaching #2 on the charts for six weeks.

The album begins with the fuzzy guitar lick of "Movin' Out (Anthony's Song)". Ramone's production is evident here. It's an upbeat, catchy tune and a promising start. "He's trading in his Chevy for a Cadillac-ack-ack-ack-ack-ack!"

"The Stranger" introduces a change of pace, with its jazzy whistled intro. It fades into the meat of the song, a pop rock reflection on our dual personalities. The intro is also used as an outro, which provides a rather haunting contrast.

"Just the Way You Are" continues with the jazzy sound. It's a very cheesy piece and overplayed to the point of annoyance, but there's still a beautiful melody and some smooth saxophone.

With the next four, the album really takes off. "Scenes From an Italian Restaurant" is an epic. It begins as a piano ballad and touches on Dixieland before morphing into a straightforward piano rock tune, which then returns to the original theme. Billy displays his incredible skill on the keys for the first time here with an incredible solo.

Side two kicks off with "Vienna", a song I never appreciated until I heard it performed live. It's now my favourite Joel tune. Interestingly enough, it's also his. Lovely piano intro and accordion solo. I have recorded a cover, in fact, but I'm a little too ashamed to post it. I had a sore throat at the time.

"Only the Good Die Young" is about a guy who tries to convince a Catholic girl (named Virginia!) to "come out". Its lyrical content caused some radio stations to ban it. Despite that, Billy closes all his concerts with it, and its infectious shuffle beat makes it one of his catchiest tunes.

When I saw Billy, he performed everybody's upbeat favourites--"Uptown Girl", "You May Be Right", and of course "Piano Man", to name a few--but it was the quietest song that stole the show. "She's Always a Woman" is his most beautiful ballad, featuring piano arpeggios and an understated flute line.

"Get It Right the First Time" returns to the upbeat sound of "Movin' Out". This is the album's weakest track, in my opinion. Mind you, there isn't a single bad song.

The Stranger closes on an introspective note with "Everybody Has a Dream", which sounds like an early (and superior) version of "Honesty". Its soulful chorus fades into a reprise of the title track's whistled theme--the perfect way to end a fantastic listening experience.

Phil Ramone's production might have been the key factor in The Stranger's commercial success, but it merely served as a vehicle for what Billy Joel already had--evocative, story-telling lyrics; catchy melodies, whether upbeat or downtempo; and above all, an unisputed talent for playing the 88 keys of a Steinway grand piano.

__________________
Everybody's dying just to get the disease

Bulldog

Can't say that Billy Joel has ever really been on my radar. He's a man I've heard of plenty of times, just never really felt moved to try out any of his material.

That was until I saw your last update here of course. Very good writing sir - you've got a real way of making all this new info very accessible. Definitely gonna be checking this album out when I can. That Vienna track sounds particularly promising. Something about a good accordion in a track that instantly qualifies it as one I'd like, kinda like how much of a sucker I am for a good vocal harmony.

Keep this up eh, I'll be reading as you do

Pet_Sounds

That's both high praise and exactly what I'm trying to accomplish with these reviews. Thanks, Bulldog.

I'm also a sucker for good vocal harmony, not to mention being turned off if it's sub-par.

__________________
Everybody's dying just to get the disease

Pet_Sounds

It's March Break, which means I'm playing a lot of road hockey, tuning up my bicycle, and enjoying the early spring. I always feel restless around this time of year--the season is changing and I often run into people I haven't seen in ages.

It's been a while since I posted, so I thought I'd share three tunes that I listened to today and particularly enjoyed.

Steely Dan are my latest musical addiction, this track in particular. The organ solo reminds me of The Doors.



Speaking of The Doors, one of my favourites was playing on the car radio this evening. I'd forgotten what an incredible song it is. The memory of hearing it for the first time is still vivid: I flicked on the radio and heard "Riders on the Storm", followed by this. At the time, I was familiar with "Light My Fire", but none of their other work. Those three songs established my love for The Doors.



And finally, here's the song that best sums up my mood at the moment. The Cars' biggest hit, from 1984's Heartbeat City…

__________________
Everybody's dying just to get the disease