text:
Many medications can cause side effects. A side effect is an unwanted response to a medication when it is taken in normal doses. Side effects can be mild or severe, temporary or permanent. The side effects listed below are not experienced by everyone who takes this medication. If you are concerned about side effects, discuss the risks and benefits of this medication with your doctor.
The following side effects have been reported by at least 1% of people taking this medication. Many of these side effects can be managed, and some may go away on their own over time.
Contact your doctor if you experience these side effects and they are severe or bothersome. Your pharmacist may be able to advise you on managing side effects.
Although most of these side effects listed below don't happen very often, they could lead to serious problems if you do not check with your doctor or seek medical attention.
Check with your doctor as soon as possible if any of the following side effects occur:
Some people may experience side effects other than those listed. Check with your doctor if you notice any symptom that worries you while you are taking this medication.
Before you begin using a medication, be sure to inform your doctor of any medical conditions or allergies you may have, any medications you are taking, whether you are pregnant or breast-feeding, and any other significant facts about your health. These factors may affect how you should use this medication.
Dependence and withdrawal: Physical dependence (a need to take regular doses to prevent physical symptoms) has been associated with benzodiazepines such as diazepam. Severe withdrawal symptoms may occur if the dose is significantly reduced or suddenly discontinued. These symptoms include seizures, irritability, nervousness, sleep problems, agitation, tremors, diarrhea, abdominal cramps, vomiting, memory impairment, headache, muscle pain, extreme anxiety, tension, restlessness, and confusion. Reducing the dose gradually under medical supervision can help prevent or decrease these withdrawal symptoms.
Rebound anxiety may also occur if treatment with diazepam is stopped abruptly. Rebound anxiety is a transient syndrome where the symptoms that led to use of diazepam recur in an enhanced form.
Drowsiness/reduced alertness: Because diazepam causes drowsiness and sedation, do not engage in activities requiring mental alertness, judgment, and physical coordination (such as driving or operating machinery) while taking it. This is particularly true when first taking the medication and until you establish that diazepam does not affect you this way. Alcohol can increase the drowsiness effects and should be avoided.
Medical conditions: Diazepam is not recommended for use by people with depression or psychosis. People who have an addiction to alcohol or other medications should not take diazepam, except in rare situations under medical supervision.
Pregnancy: Diazepam should not be used during pregnancy unless the potential benefit justifies the risks.
Breast-feeding: Diazepam passes into breast milk. Breast-feeding mothers should avoid using it where possible.
Children: Diazepam is not recommended for use by children less than 6 months of age.
Seniors: Seniors may be at increased risk for the sedative and impaired coordination effects of this medication. They need to use extra caution, for example, when getting up during the night.
There may be an interaction between diazepam and any of the following:
If you are taking any of these medications, speak with your doctor or pharmacist. Depending on your specific circumstances, your doctor may want you to:
An interaction between two medications does not always mean that you must stop taking one of them. In many cases, interactions are intended or are managed by close monitoring. Speak to your doctor about how any drug interactions are being managed or should be managed.
Medications other than those listed above may interact with this medication. Tell your doctor or prescriber about all prescription, over-the-counter (non-prescription), and herbal medications that you are taking. Also tell them about any supplements you take. Since caffeine, alcohol, the nicotine from cigarettes, or street drugs can affect the action of many medications, you should let your prescriber know if you use them.
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text:
As the electronic scanner passed back and forth over his forged access badge, Scott Weiss figured he was sunk.
The 50-year-old West Los Angeles real-estate appraiser had bluffed his way down the red carpet at the 2008 Screen Actors Guild Awards, but he hit a snag at the entrance to the Shrine Exposition Center: his badge lacked the authentic electronic chip that was designed to keep party crashers like Weiss out of A-list Hollywood events.
But to Weiss's amazement, after several unsuccessful tries with the scanner, the security guard stopped and simply said, "OK, you're good."
Weiss's unauthorized entry into five major awards shows in 2007 and 2008 was filmed for the documentary "Crasher." He is Exhibit A for supporters of a bill awaiting California lawmakers as they return from summer recess on Monday.
The measure, AB451, would expand the current definition of trespassing to include the intentional, unapproved entry into an event clearly advertised as off-limits to the general public. First-time violators could face up to six months in jail or a $1,000 fine.
"Under AB451, if you're there an at event where you don't have a ticket, and you're asked to leave and you don't want to leave, you're trespassing," said its author, Anthony Portantino, a Pasadena Democrat.
The Screen Actors Guild, which sponsored the bill, described party crashing as a safety issue.
"Trespassing by its very nature puts people at risk," the labor union said in a statement to The Associated Press. "Illegal entry poses a threat to security and we feel that all event sponsors should have the full force of the law behind them in providing for the safety of their guests."
Weiss said harmless thrill-seekers like himself actually keep security personnel on their toes for real threats.
After completing their work on "Crasher" in 2009, he and his fellow filmmakers set up meetings with representatives from the various award shows to show
them the film and point out the flaws in their respective security systems.
"None of the producers were happy we did it, but they were really happy to see how we did it," Weiss said.
Portantino said he has heard concerns the measure would infringe on free speech by hampering media coverage of events or making peaceful protesters vulnerable to charges of trespassing. He said he will continue to fine-tune the bill language to make sure that doesn't happen.
"Our goal is to make it narrow enough to be about one-day sporting and entertainment events, and not have it be about political, free speech-type issues," he said. "We want to make sure there are no unintended consequences."
The bill is scheduled to come up for a Senate floor vote this month, but the date has not yet been set.
Weiss, who is retired from party crashing, said he'll be watching with interest.
"The whole concept of the law is designed to keep little people out of the events where they big shots are," he said. "And I frankly think some of the most interesting people at a party are the party crashers."
The Legislature may consider several other bills of note this week, including:

subset: commoncrawl


text:
Casa das Laranjeiras
Great Value!
A Casa das Laranjeiras is located in the historic city of Lagos, a few minutes walk to the beaches of the Costa d'Ouro and lively nightlife.
It is a former family home and was recently transformed into a housing unit licensed by the town of Lagos. Upstairs are four double rooms, two bathrooms, kitchen and lounge with internet use for guests.
We have two rooms with double beds, one with twin beds (standard twin private) and one with a bunk bed (basic twin private). On the second floor we have a room with a double bed with private bathroom, kitchenette and terrace. All our rooms are for 2 guests.
Our facilities include:
Linen and towels
Free Internet
Common Kitchen
Lounge area
Free map
Coffee and tee facilities
Please Note:
Check In: 14.00 pm
Check Out: 12.00 pm
Cash only accepted as payment upon arrival, we do not accept credit cards.
Pets are not allowed
Availability & RatesTo view availability and prices please select dates and click 'Update Dates'
B&B Facilities & Policies
- Board Games
- Book exchange
- Breakfast not included
- Cable TV
- Child Friendly
- Cots available
- Credit Cards Not Accepted
- Free City Maps
- Free Internet Access
- Free Wifi
- Hair Dryers
- Internet Access
- Kitchen
- Lounge
- Outdoor Terrace
- Tea/Coffee Making Facilities
- Towels Included


text:
If you install the utility Express Tools for AutoCAD Electrical ribbon tab does not appear
Sorry for my English
Please refer to the solution in the following post.
Let me know if it doesn't work.
Robin Shou
Quality Assurance
AutoCAD Electrical
Autodesk, Inc.
Thank you!
It worked!
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Start with some of our most frequented solutions to get help installing your software.
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text:
If you like to stay in small hotels, Hotel Les Rives De Notre Dame is perfect for you. The higher star rating ensures a comfortable stay combined with excellent facilities. Attractions close to this hotel include Odéon and Bastille. Your position in this area allows you to visit Ile de la Cite and Ile St.Louis, Jardin du Luxembourg and even Palais Royal easily. Within less than 2km (1.25mi) you can discover Pantheon. An entertaining option in the near vicinity, Le Parc de Bercy is worth a visit.
The services offered by Hotel Les Rives De Notre Dame include a laundry service, a concierge service and a dry cleaning/laundry service. Staying here does not have to be without your favorite little friend: your pet can come with you. The 10 rooms are appointed with all facilities you need during your stay in Paris.
The climate of Hotel Les Rives De Notre Dame is controlled with air-conditioning. Wireless high-speed Internet access (complimentary) makes sure you stay in the loop during your stay in Paris. The hotel conveniently includes useful facilities such as a bathroom amenities set and a designer toiletries set in the bathrooms. A coffee/tea maker provides convenience in the rooms.
Show reviews
|From 14:00 Check-out: Until 11:00
|Wireless high-speed Internet access (complimentary)
|Pet policy:
|Pets allowed
|General facilities:
|Note: It is the responsibility of the hotel chain and/or the individual property to ensure the accuracy of the photos displayed. We are not responsible for any inaccuracies in the photos.
Please provide this reference number to our customer service center representative on request, so we can help you better


text:
PISCATAWAY, N.J. — UConn had been able to stay fairly free of injuries through the season, but it was hit twice this week.
Omar Calhoun sprained his left ankle against Temple, and ended up sitting out the game at Rutgers on Saturday night. DeAndre Daniels went down awkwardly and sustained a high ankle sprain in the first half against Rutgers, but he returned in the second half.
"It was a high ankle sprain and anybody who has played basketball knows that's very, very painful," coach Kevin Ollie said. "He just gutted it out; that's the toughness we need to see."
Daniels, who played 21 minutes, getting seven points and five rebounds, fell over teammate Ryan Boatright near the baseline. He stayed on the floor for several minutes and was eventually helped off by athletic trainer James Doran and teammate Amida Brimah.
After the injury was diagnosed, Doran taped up Daniels' right leg.
"They asked me if I wanted to sit out," Daniels said, "I said, 'Nah, I just want to fight through it.' … I wanted to test it. I knew it was going to hurt me a lot running up and down the court."
Calhoun, who lost his starting job in December, has been playing off the bench. He sprained his left ankle on Tuesday.
"Omar tweaked it last game," Ollie said. "He came to shoot-around and he just didn't have the lateral movement, so we decided to sit him out tonight."
UConn has only one game between now and Feb. 6, a game against Houston on Thursday night, so there is some chance for the injuries to heal.
"Hopefully, Omar will be back for Houston," Ollie said, "and hopefully, DeAndre will be back for Houston. If not, we'll have to play who we've got. We'll have to play together."
Niels Giffey would probably start for Daniels at the forward spot.
Boatright Rises For Defense
Rutgers' leading scorer, Myles Mack, was held to six points, going 2-for-9 from the floor. Ryan Boatright had the task of guarding Mack, 5 feet 9, for most of the night.
"Shabazz took the game over on offense, and Ryan took the game over on defense," Niels Giffey said. "What did Mack have, six points? That shows you the type of defense Ryan played."
Mack was the only Rutgers three-point shooter who did not have a good night, going 2-for-7. The rest of the Knights were 6-for-11. And Mack did not get to the free throw line. ... Rutgers announced a crowd of 8,006, its largest of the season. UConn also drew the largest crowds of the year at Houston and SMU. "I just wish they could have been happier and more excited," Rutgers coach Eddie Jordan said. "We need to have more exciting plays, be able to get over the hump and take a game over." ... UConn won the rebounding edge for the fifth time in the past six games, this time 34-29. The Huskies also had nine turnovers, and outscored Rutgers in the paint, 34-12. "Anytime you see that many points in the paint, it means we're playing aggressive," Ollie said. ... Ollie also had praise for Phil Nolan's defense. Nolan had four points and one rebound in 15 minutes, "but he did a lot of things you won't see on the stat sheet," Ollie said, "with his defensive presence." … Former Husky standout Donyell Marshall was at the game, and was talking to players afterward. … UConn ended up with a 10-2 record in games at the RAC between 1996 and 2014, the period in which Rutgers was a Big East/AAC rival.


text:
DIV versus Table and CSS vs. XHTML, Compliancy. Debate?
Debate? Who wants to debate? I have work to do. Web designers and developers all have plenty of work and at the end of the day if progress is not made then you haven't accomplished anything or, do you have something you can be proud of?
This is all coming to you from having only slept four hours after a 24 hour work day, 14 hours of which were spent dealing with cross browser compatibility and the complexities of CSS.
This is not a new issue for me as I personally have been battling it for years. Until now ignoring CSS has worked for me as I felt it not mature enough for prime time or a worth the investment of my time. Now, with the introduction of "Web 2.0" the need for standards compliance is now on the fore front of web site development and CSS can no longer be ignored.
To this day I hand code all of my HTML and instead of writing <table> I find that <div> can be just as handy. Warning: CSS can also be a complete waste of time and a loss of your 14 hour sprint to get ahead. Can't XHTML and CSS get along?
Edit-X is currently rebooting our corporate web site and a portion of this project is moving from XHTML to CSS. I can not even begin to explain what a struggle this has been, although I am sure plenty of you have similar stories to share.
We have always had browser compatibility issues but not quite like this before. There is nothing like spending 2 hours on something seemingly small only to load another browser and find that none of your efforts were worthwhile and you're not done until its cross platform compatible. Another two hours later you have something you can be proud of. Reloading never felt so good.
So is this what we are left with? We get a nifty looking site that we can be proud of? I don't know about you but I prefer profitably to being proud any day. I am having a hard time wrapping my head around the amount of time it takes to build a CSS compliant site versus a perfectly equal XHTML site which both looks the same, acts the same and indexes keywords the same. I hear others claim that file size is an issue. Give me a break, none of my customers care about dial up users. Ok, ok so the code is cleaner when you view source. I only ask you which source? Take a look at that CSS file. You have only moved the amount of code to another, hidden, location.
It's the same looking at someone else's tables from 12 months ago as looking at someone's CSS from one month ago. Editing others code is always a problem. Neither CSS nor XHTML can fix that, only good commenting. Speaking of commenting how about that <!-- IE HACK --> throughout your CSS or <-- Opera FIX -->. They call it a hack because it is a hack and hacks are not a standard.
I am not here to bash CSS as it has been very valuable for us all of these years in doing what it was initially designed to do, a single location to make global site adjustments. But now using it to define every single pixel location of every object and the overall structure of the whole site? Have we gone too far? Created too many options? There are so many options that the browsers can't agree on thousands of parameters versus of a few hundred indifferences in years past.
Designers and Developers need to understand that it is not the need of the designer to communicate the artistic vision or the developer to have access to the object or code more efficiently as the issue. The problem is not the need to have full control or only getting a roughly similar display between browsers. CSS is a great concept and its development and growth are certainly necessary. The browsers interpretation of the options is what ruins everything and always has. See, Browser War. I will save this topic for another blog entry.
We have to magically take one piece of code, prepare it for two completely separate interpreters (browsers) with multiple versions and have them all display it the same to the end user. That's like taking an Adobe Creative Suite 3 PSD and trying to open it in Photoshop 7.0, Photoshop 6.0 some other comparable photo editor maybe Photo Impact and its various versions and viewing your design file in tact. All of this while being compliant with standards and delivering the project on time and on budget, which is impossible, no doubt.
How many times have you bid a site revision at one hour thinking it could be done in CSS quickly and it took you three? Did you ask the customer to compensate you for your additional time? How often does this happen? Start keeping track, you will be surprised.
Let's say you're my customer and you want a bid for a new five page static site for SEO link building. I ask you if you want XHTML or CSS compliant code. You say, what's the difference? I tell you that CSS is double the time and that means double the cost. Which do you choose? Of course that depends on the purpose of your project but for most, they will take the cheaper option. Why shouldn't they?
This isn't about old school or new school, right or wrong, designers versus developers or CSS versus XHTML. It is about the differences in web browsers and knowing when to use XHTML within your CSS. If you can get something done quicker using a <table>, DO IT, DO IT. Sure beats float left and float right for a three column layout.
I will leave you with the fact that CSS and XHTML are here to stay and CSS is no doubt the future and provides more control than XHTML. CSS also has a long way to go and the number browser compatibility issues are on the rise. Use your head and save yourself some time and frustration. XHTML is more stable and has seniority in web development. At the end of the day you must accomplish something to show progress and deliver your projects on time and on budget. Do you want to build web sites to be proud of them or make a profit?
Here are the links I used in my research...
• http://blogs.vertigo.com/personal/willa/Blog/Lists/Posts/Post.aspx?ID=5
• http://www.decloak.com/Dev/CSSTables/CSS_Tables_01.aspx
• http://www.stopdesign.com/articles/throwing_tables/
• http://www.imarc.net/communique/view/76/div_vs_table_battle_2k6
• http://csscreator.com/node/7509
• http://www.webmasterworld.com/forum83/9319.htm
• http://forums.digitalpoint.com/showthread.php?t=49097
• http://blogs.vertigo.com/personal/willa/Blog/Lists/Posts/Post.aspx?ID=5
• http://www.sitepoint.com/forums/showthread.php?threadid=224227
• http://www.sitepoint.com/article/tables-vs-css
• http://www.sitepoint.com/forums/showthread.php?t=171791&highlight=css+versus+tables
Keywords: div vs table, div versus table, css vs xhtml, css versus xhtml


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text:
By Cade Fowler - bio | email
WALB - Albany, GA -- A grass fire on the side of the Liberty Expressway snarled traffic Wednesday afternoon in Albany.
A sheriff's deputy and passerby spotted the flames burning alongside the Bypass near the Nottingham exit.
When we got to the scene the fire had already jumped and was burning in the median.
One lane of traffic had to be shut down while firefighters got the blaze under control.
It did create smoggy conditions as smoke lingered in the area.
Fire officials aren't sure how it started.
©2010 WALB News. All rights reserved.
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Albany, GA 31706
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text:
November 29, 2004
Camilla - There's a new program to help working families buy homes. The Camilla Housing Authority is accepting applications now.
It's called Home Again. The Camilla Housing Authority was chosen by the Department of Community Affairs to start building. Homes are already in the works and so are applications.
Janet Jones' dreams were finally unlocked. Jones smiles, "A dream come true." A full-time student and single mom who was living with her mother, until July first of this year. She got a home with a whole lot of help. Jones says, "It's yours, feels a relief."
And she's not the last one to get that sort of relief from the Camilla Housing Authority. Executive Director, Barbara Hilliard, says, "We are building four houses under the Department of Community Affairs."
Hilliard explains, "We are targeting working people who need a place to live."
People who are stuck between making too much to get assistance, but not enough to buy a house.
The $85,000 three bedroom brick homes will be sold for $78,000. Camilla and Mitchell County donated the vacant lots. Grant Coordinator, Mike Tabb, say, "Place a new homeowner and sell them and that puts them back on the tax base. It's good business for the City and County to do that."
And good for people like Janet Jones. Without extra help this 25-year-old and her 7-year-old would be home with her Mom and Dad.
So far, 15 people have applied for the Home Again Program. The homes should be up for sale in the Spring.
To sign up for the Home Again Program visit the Workforce Development Center in Camilla.
They can help you with your application. If approved, they will also offer credit counseling.
posted at 5:37PM email@example.com
P.O. Box 3130
Albany, GA 31706
(229) 446-1010
FCC Public File
(229) 446-4005
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text:
Only with the joined forces of the globe's greatest superheroes can the evils of the world be stopped in this game based on the comic book series from DC Comics. Featured superheroes include Superman, Batman, The Flash, Wonder Woman, Green Lantern, Martian Manhunter, and Zatanna. Each hero possesses an array of character-specific, upgradeable superpowers resulting in unique controls and fighting-styles. Engaging in one-to-two player cooperative combat, gamers will be able to customize and master these superpowers as they travel through interactive and destructible environments spanning the farthest corners of the universe.
Justice League Heroes is an Action/Adventure video game for PlayStation 2 developed by Snowblind Studios and published by Eidos Interactive on October 30, 2006. It's rated Teen by the ESRB and 52 of our users have voted it 4.1 out of 5 stars.
Our newest cheats for Justice League Heroes were added September 29, 2008. We also have the game available on Xbox, Nintendo DS, PSP, in addition to PS2.
Hold L1, L2, R1, R2. Then press Up, Down, Right, Up.
Left, Right, Left, Right while holding all four back buttons.
At the pause menu, hold down all 4 L and R buttons. Left, Down, Right, Up, Left, Down, Right, Up
During the game, press pause and hold all the L R buttons and press down, right, down, left.
Pause the game and all the L R buttons and press down, down, right, right, up, up, left, left.
At the game press pause hold L1, RL, L2, R2, and press up, up, down, left, up, up, down, right.
Do this while holding down all four back bottons Down, Left, Up, Right
Right, Down, Right, Down while holding down the back four buttons
Up, Up, Down, Down while holing the back 4 buttons
If you were looking for Justice League Heroes for PS2 cheats, then you might also want cheats for:


text:
Spotted and captured by INFphoto.com the two main star of the upcoming chick flick movie "Spring Breakers" Vanessa Hudgens [Unlink] and Selena Gomez.
The former Disney stars showed off some serious skin while riding their Vespas around town in neon bikinis. Selena wore a turquoise bikini top with blue hot pants and Vanessa sported neon green.
Very young and sexy!
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The Huntington School Board spoke mostly in favor of a plan last week to revise its seasonal facility use schedule as a means to raise extra revenue — although some warned the change might cause a negative reaction from a few local groups.
If approved, three-month seasonal useage rates for gymnasiums, classrooms, libraries, outdoor playing fields, tennis courts and locker rooms would be affected at Huntington High School, Finley Middle School, Jack Abrams, Woodhull Intermediate and primary schools.
The schedule revision would allow profitability and flexibility while keeping Huntington in line with rates of other districts, according to Superintendent Jim Polansky.
Fees for groups which serve the primary benefit of Huntington students would be waived.
"I don't think you'd want to take the ability to use our facilities away from any groups out there who serve kids, particularly those non-profit organizations and those serving our own kids," said Polansky at a meeting at March 19.
Board President Emily Rogan and Trustee Jen Hebert spoke in favor of the resolution at the meeting.
"For the most part, I am really comfortable with this," said Hebert.
"I think this is going to benefit the district," said Rogan.
Trustee Kim Brown, seemingly in favor of the plan, questioned facility usage fees paid by the Town of Huntington.
District Assistant Superintendent of Finance David Grackin said a discounted flat fee is currently being paid by the town to the school district for facility usage — although the town charges the school board full price for facility usage of their facilities.
Discussions regarding use fees between the town and school board are ongoing, according to Grackin.
"It's not been a productive conversation to this point," said Polansky.
Trustee Rich McGrath warned that reaction from groups currently paying no facility use fees could pose a problem in the future.
"I predict we may underestimate some of those situations," said McGrath. "I don't think you are going to like the reaction."
If approved, the plan is expected to take affect July 1, the first day of the new school year.
The school board meets Monday at Jack Abrams school at 7:30 p.m. Agenda


text:
Chapter 2 Due diligence monitoring and end use of funds
The public and those donating to charity should have confidence that money donated is used for legitimate purposes and is reaching its intended beneficiaries.
This chapter aims to make all trustees aware of their legal duties and responsibilities in carrying out appropriate due diligence checks on those individuals and organisations that give money to, receive money from or work closely with their charity, and to identify and manage any associated risks. It also gives trustees practical advice on carrying out proper monitoring and verification of the end use of funds where charities give money to local partners and beneficiaries.
Chapter 2 Tool 7 Suspicious donations log.
Download PDF (52 Kb)
Chapter 2 Tool 9 Verification of proposed partner form.
Download PDF (63 Kb)
Chapter 2 Tool 11 Grant monitoring report: declaration by partner organisations.
Download PDF (65 Kb)
Chapter 2 Tool 14 Monitoring visit log.
Download PDF (63 Kb)


text:
Pet Sounds
|Pet Sounds
|Studio album by The Beach Boys
|May 16, 1966
|July 12, 1965
–April 13, 1966 ,
United Western Recorders, Gold Star Studios, CBS Columbia Square, and Sunset Sound Recorders, Hollywood
|Psychedelic rock, baroque pop, psychedelic pop, art rock
|Brian Wilson
|The Beach Boys chronology
|Singles from Pet Sounds
Pet Sounds is the eleventh studio album by the American rock band the Beach Boys, released May 16, 1966, on Capitol Records. It has since been recognized as one of the most influential records in the history of popular music and one of the best albums of the 1960s. It features songs such as "Wouldn't It Be Nice" and "God Only Knows". Pet Sounds was created several months after Brian Wilson had quit touring with the band in order to focus his attention on writing and recording. In it, he wove elaborate layers of vocal harmonies, coupled with sound effects and unconventional instruments such as bicycle bells, buzzing organs, harpsichords, flutes, Electro-Theremin, dog whistles, trains, Hawaiian-sounding string instruments, Coca-Cola cans and barking dogs, along with the more usual keyboards and guitars.[1][2][3]
A heralding album in the emerging psychedelic rock style, Pet Sounds has been championed and emulated for its dramatic and revolutionary baroque pop instrumentation.[4][not in citation given] It signaled an aesthetic trend within rock by transforming it from dance music into music that was made for listening to,[5][6] elevating itself to the level of art rock.[7][8] Largely viewed as one of the first rock concept albums, Pet Sounds has been suggested to follow a lyrical song cycle format,[9][10] although Wilson has maintained that the album's real unified theme lies within its cohesive production style.[11] Writer Bill Martin said that within Pet Sounds, "[The Beach Boys] brought expansions in harmony, instrumentation (and therefore timbre), duration, rhythm, and the use of recording technology. Of these elements, the first and last were the most important in clearing a pathway toward the development of progressive rock."[12]
Although Pet Sounds was met with strong sales abroad, reaching number two in the UK, it charted lower in the US than the majority of the band's preceding albums, peaking at number ten on the Billboard Top LPs chart.[13] In 1993, it was named the greatest album of all time by NME magazine and The Times,[14][15] and in 1995 by Mojo magazine.[16] In 2003, Rolling Stone ranked it second on its list of the 500 greatest albums of all time.[17] Pet Sounds was preserved in the National Recording Registry in 2004 by the Library of Congress for being "culturally, historically, and aesthetically significant."[18]
- 1 Background
- 2 Music and lyrics
- 3 Concept and title
- 4 Recording and production
- 5 Promotional films
- 6 Commercial performance
- 7 Critical reception
- 8 Live performances
- 9 Release history
- 10 Track listing
- 11 Personnel
- 12 Charts
- 13 Accolades
- 14 Notes
- 15 References
- 16 Bibliography
- 17 External links
The track "Sloop John B", a folk rock song,[19] predated the rest of the LP by some months, but it proved to be a pivotal point in the album's development. It was a traditional Caribbean folk song that had been suggested to Wilson by group member Al Jardine (one could hear Jardine playing the opening guitar riff on the recording session for the previous album, "Party!". That particular recording is in their 2013 "Made in California" compilation). Al updated the chord progression by having the IV, D♭ major, move to its relative minor, B♭ minor before returning to the tonic, A♭. He expected to collaborate further with Wilson on the arrangement, but was pleasantly surprised by what Brian accomplished on his own.[19][20] Wilson recorded a backing track on July 12, 1965, 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 "live in the studio" album, Beach Boys' Party!, in response to their record company's request for a Beach Boys album for the Christmas 1965 market. Wilson devoted the last three months of 1965 to polishing the vocals of "Sloop John B" and recording six new original compositions.[nb 1] What would become Pet Sounds could not be finished in time for Christmas 1965.
It felt like it all belonged together. Rubber Soul was a collection of songs ...that somehow went together like no album ever made before, and I was very impressed. I said, "That's it. I really am challenged to do a great album."[nb 2]
Halfway through the Pet Sounds sessions, Wilson reportedly became enthralled with the Beatles' album Rubber Soul, which was released that December. The British version of Rubber Soul was edited prior to its release in the US to emphasise a folk rock feel that critics attributed to Bob Dylan and the Byrds. Wilson found Rubber Soul to lack filler tracks, which was mostly unheard of at a time when 45 rpm singles were considered more noteworthy than full-length LPs. Many albums up until the late-1960s lacked a cohesive artistic goal and were largely used to sell singles at a higher price point. Wilson's previous habits evident in the LPs Today! and Summer Days (And Summer Nights!!) were to fill the first side of the album with superficial themes and the second with tracks of a more ambitious nature.[22] Wilson found that Rubber Soul subverted this by having a wholly consistent thread of music.[22] Inspired, he rushed to his wife and proclaimed, "Marilyn, I'm gonna make the greatest album! The greatest rock album ever made!".[24]
In late 1965, Wilson met Tony Asher while working at a recording studio in Los Angeles, a young lyricist and copywriter who had been working on advertising jingles. While together, the two exchanged ideas for songs. Soon after, Wilson heard of Asher's writing abilities from mutual friends, proceeded to contact him about a possible lyric collaboration, and within ten days, they were writing together. Wilson played him some of the music he had been recording and gave him a cassette of the backing track for a piece with the working title "In My Childhood". It had lyrics, but Wilson refused to show them to Asher. The result of Asher's tryout was eventually retitled "You Still Believe in Me" and the success of the piece convinced Wilson that Asher was the wordsmith he had been looking for.[25]
Music and lyrics[edit]
Lyrics in Pet Sounds are linked by their introspective narratives centered around Wilson's personal experiences and by his affinity for Phil Spector's Wall of Sound productions. "Wouldn't It Be Nice" introduces the album with a sound described by Nick Kent as "limpid harps imitating a teenage heartstrings in a tug of love" with it followed by "growling horns, joyous little bells, cascading strings, [and] harmonies so complex they seemed to have more in common with a Catholic Mass than any cocktail lounge acappella doo-wop."[26]
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According to music journalist Jim DeRogatis, Pet Sounds is a psychedelic rock album,[27] while the Journal Sentinel called its music psychedelic pop.[28] The Associated Press, on the other hand, said that the album is a baroque pop work,[4] while author Domenic Priore referred to it simply as symphonic rock.[29] Professor Kelly Fisher Lowe referred to Pet Sounds as an "experimental rock record."[30] According to biographer John Stebbins, the album's innovative soundscape incorporates elements of pop, jazz, classical, exotica, and avant-garde music.[31] The instrumentation is stylistically appropriated from a wide variety of cultures, with some relating it to exotica and associated producers Martin Denny,[32][33][34] Les Baxter,[33] and Esquivel.[35] It is the first rock record to incorporate the Electro-Theremin, an easier-to-play version of the theremin. Its inventor Paul Tanner performs the instrument on the song "I Just Wasn't Made For These Times".[36] "God Only Knows" is the first pop song to have "God" in its title, a decision Wilson feared would be blasphemous.[26][37]
"God Only Knows" is reputed for its subtle complexity, and has been cited as an example of how lyrical meaning can be supported and enhanced by a chord progression.[38] Tony Asher has said of his contributions, "The general tenor of the lyrics was always his…and the actual choice of words was usually mine. I was really just his interpreter."[39]
In addition to busy orchestrations layered underneath close harmony vocals, Pet Sounds contains numerous instrumental breaks directly inspired by the works of classical composers such as J.S. Bach.[40] "Here Today" has been described by AllMusic as one of Wilson's most ambitious arrangements, featuring "swooping harmonies [that] duel and soar in and around a Wall of Sound backing track full of blaring saxophones and percolating keyboards" along with "jazzy drumming" that blends the "complexity of an orchestral piece with the immediacy of a good pop tune".[41]
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Professors John Covach and Graeme M. Boone have written that "In terms of the structure of the songs themselves, there is 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 hypermeter, both features that were met in 'Warmth of the Sun' and 'Don't Back Down.'"[5] Journalist Nick Kent felt similarly for lyrics of Pet Sounds, considering "Wouldn't It Be Nice" to be "teen angst dialogue" that Wilson had already achieved with "We'll Run Away" the year before. However: "This time Brian Wilson was out to eclipse these previous sonic soap operas, to transform the subject's sappy sentiments with a God-like grace so that the song would become a veritable pocket symphony."[26] Fussili observed that Wilson's nuance to "wander far from the logic of his composition only to return triumphantly to confirm the emotional intent of his work" is repeated numerous times in Pet Sounds, but never to "evoke a sense of unbridled joy" as Wilson recently had with the November 1965 single "The Little Girl I Once Knew".[42][page needed] Such occurs within "God Only Knows", which contains an ambivalent key and non-diatonic chords.[5][38]
According to Wilson, his writing process at the time involved going to the piano and finding "feels," which he described as "brief note sequences, fragments of ideas," and that "once they're out of my head and into the open air, I can see them and touch them firmly. They're not 'feels' anymore."[43] Asher maintains that his contribution to the music itself was minimal, serving 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.[25] On Wilson's creative process, Asher remembers that "one of the things that I really enjoyed, was that first time I'd hear him hunting for a chord change and I'd think 'Man, he's just gone right off the edge because he's not ever gonna get close. He's way out there in some area that's just—he'll never get back. And if he's successful, gets out of there, people are going to say, I've lost my tone center, don't know where the hell I am and stuff. And then, eventually, he'd figure out what it was he wanted to do. A lot of it was just hunting and pecking, the way some of us type."[25]
The album included two sophisticated instrumental tracks composed by Wilson. One of them: the wistful "Let's Go Away for Awhile", with a working parenthetical title of "And Then We'll Have World Peace";[36][44] the other: the title track, "Pet Sounds". The subtitle of "Let's Go Away for Awhile" was a catchphrase from one of Wilson's favorite comedy recordings, John Brent and Del Close's How To Speak Hip (1959).[36] Both titles had been recorded as backing tracks for existing songs, but by the time the album neared completion Wilson had decided that the tracks worked better without vocals.[43]
While most songs were composed with Tony Asher, "I Know There's an Answer" was co-written by another new associate, the Beach Boys' road manager Terry Sachen.[36][45][46] Mike Love is co-credited on the album's opening track, "Wouldn't It Be Nice", and on "I Know There's an Answer" but with the exception of his co-credit on "I'm Waiting for the Day",[36] his songwriting contributions are thought to have been minimal. The exact degree of Love's contribution to "Wouldn't It Be Nice" was never fully determined, but under oath in a court of law, Asher stated it consisted of the tag "Good night my baby/Sleep tight, my baby" and possible minor vocal arrangement.[36] Love's influence on "I Know There's an Answer" is reputed to have stemmed from his opposition to the song's original title, "Hang On to Your Ego", and his belief that it be partially rewritten and retitled. The original lyrics created a stir within the group. "I was aware that Brian was beginning to experiment with LSD and other psychedelics," explained Love. "The prevailing drug jargon at the time had it that doses of LSD would shatter your ego, as if that were a positive thing... I wasn't interested in taking acid or getting rid of my ego." Jardine recalled that the decision to change the lyrics was ultimately Wilson's. "Brian was very concerned. He wanted to know what we thought about it. To be honest, I don't think we even knew what an ego was... Finally Brian decided, 'Forget it. I'm changing the lyrics. There's too much controversy.'"[36]
According to academics Paul Hegarty and Martin Halliwell, Pet Sounds has a "personal intimacy" that sets it apart from the Beach Boys' contemporaries in psychedelic culture and the San Francisco Sound, but still retains a "trippy feel" that resulted from Wilson's experimental use of LSD. They attribute this to Wilson's "eclectic mixture of instruments, echo, reverb, and innovative mixing techniques learnt from Phil Spector to create a complex soundscape in which voice and music interweave tightly".[47] Brian was publicly effused with the drug during the mid-1960s and was using it to further his creative process, an admitted example being the 1965 single "California Girls". Throughout the latter half of the decade, Wilson was repeatedly been shown to have become interested in Eastern philosophy and the psychedelic experience, often pointing to ego loss as the key to a better way of living.[48][49][verification needed] During the spring of 1965, Wilson had what he considered to be "a very religious experience" after consuming a full dose of LSD. He stated, "I learned a lot of things, like patience, understanding. I can't teach you, or tell you what I learned from taking it."[50] In light of his intellectual pursuits and self-described "crucial" interest in metaphysics, Wilson's response when asked about LSD and "Hang On To Your Ego" was that "Yeah, I had taken a few drugs, and I had gotten into that kind of thing. it just came up naturally".[48] Despite the change from "Hang On To Your Ego" to "I Know There's An Answer", the psychedelic lyrics "they trip through their day and waste all their thoughts at night" were kept in the song. Similarly for "Sloop John B", Wilson's lyric change from "this is the worst trip since I've been born" to "this is the worst trip I've ever been on" has been suggested by some to be another subtle nod to acid culture.[51][52][53] Elsewhere within Pet Sounds lyrical content, Brian turned inward and probed his deep-seated self-doubts and emotional longings; Pet Sounds did not address the problems in the world around them, unlike other groups.[53]
Concept and title[edit]
It felt like we were writing an autobiography, but oddly enough, I wouldn't limit it to Brian's autobiography.…We were working in a somewhat intimate relationship, and I didn't know him at all, so he was finding out who I was, and I was finding out who he was.
The concept album form received a resurgence of popularity in the late 1960s among pop artists, when many rock releases including Pet Sounds presented a set of thematically-linked songs. Other rock music artists, such as Frank Zappa and the Mothers of Invention, the Beatles and The Who subsequently released concept albums. Pet Sounds was a musical portrayal of Brian Wilson's private/public state of mind at the time.[54] Even though Pet Sounds has a somewhat unified theme in its emotional content, Wilson and Asher said repeatedly that it was not necessarily intended to be a narrative. Asher explained that they had "truly spontaneously generated a lot of those songs" from lengthy, intimate discussions centered around their "experiences and feelings about women and the various stages of relationships and so forth".[25] Wilson stated: "If you take the Pet Sounds album as a collection of art pieces, each designed to stand alone, yet which belong together, you'll see what I was aiming at."[55] Sonically, it was structured as an interpretation of Phil Spector's Wall of Sound, something Wilson further clarified by saying: "It wasn't really a song concept album, or lyrically a concept album; it was really a production concept album."[3][56] Brian's then-wife, Marilyn Wilson-Rutherford, believed that her relationship with Brian was a central reference within the album's lyrics; namely on "You Still Believe in Me" and "Caroline, No".[57] Keeping the songwriter's intentions in mind, Kent observed:
Beginning with "Wouldn't It Be Nice" and its glorification of the two young lovers' star-crossed longings, the album documents the male participant's attempts at coming to terms with himself and the world about him. Each song pinpoints a crisis of faith in love and life: confusion ("That's Not Me"), disorientation (the staggeringly beautiful "I Just Wasn't Made for These Times"), recognition of love's capricious impermanence ("Here Today") and finally, the grand betrayal of innocence featured in "Caroline, No". Then again, bearing in mind this conceptual bent, there are certain incongruous factors about the album's construction. The main one is the inclusion of the hit single "Sloop John B", as well as of two instrumental pieces.[58]
On February 15, the group traveled to the San Diego Zoo to shoot the photographs for the cover, which had already received its title.[59][60] George Jerman was credited for taking the cover photo.[61] According to the liner notes, "The photos of The Beach Boys feeding an assortment of goats was a play on the album's chosen title, Pet Sounds." Both the origin and meaning of the album title Pet Sounds are uncertain. Wilson claimed at one point that the title was "a tribute" to Spector by matching his initials.[62] Carl Wilson later spoke about the album title: "The idea he had was that everybody has these sounds that they love, and this was a collection of his 'pet sounds.' It was hard to think of a name for the album, because you sure couldn't call it Shut Down Vol. 3," referencing the artistic disparity between Pet Sounds and their earlier works, adding "It was just so much more than a record; it had such a spiritual quality. It wasn't going in and doing another top ten. It had so much more meaning than that."[63] Mike Love also laid claim to the title. "We were standing in the hallway in one of the recording studios, either Western or Columbia, and we didn't have a title," he recounted. "We had taken pictures at the zoo and…there were animal sounds on the record, and we were thinking, well, it's our favorite music of that time, so I said, 'Why don't we call it Pet Sounds?'"[59] At another time, Brian credited the album title to Carl.[20]
Recording and production[edit]
With writing well under way, Wilson recorded six backing tracks for the new material.[nb 3] The backing tracks for Pet Sounds were recorded over a period lasting several months, using major Los Angeles studios and an ensemble that included the highly regarded session musicians later known as the Wrecking Crew. Although the self-taught Wilson often had entire arrangements worked out in his head, they were usually written in a shorthand form for the other players by one of his session musicians.[20][nb 4] Surviving tapes of his recording sessions show that he was open to his musicians, often taking advice and suggestions from them and even incorporating apparent mistakes if they provided a useful or interesting alternative.[20][36] Wilson said of his creative process with the Wrecking Crew:
I was sort of a square, you know? 1 got there and I go, "Oh, let's see, um uh—Yeah!" We would try each one separately. We usually started with keyboards—you know, the basic, keyboards. Then we'd go to drums. Then we'd go to horns, then violins if they were live. We usually didn't do live violins. We'd overdub the violins. … Sometimes I'd just write out a chord sheet and that would be for piano, organ, or harpsichord or anything. … I wrote out all the horn charts separate from the keyboards. I wrote one basic keyboard chart, violins, horns, and basses, and percussion. I'd say—we'd start with Julius Wechter. "'Can I please hear the sleigh bells?" (choo, choo, choo, choo) "Nah, throw 'em away. Let's hear—how 'bout some tambourine, maybe? Let's hear a tambourine. Yeah, that's it! We'll take a tambourine."[20]
Brian Wilson often experimented with many recording techniques during the 1960s, including the method of filtering sound input through a Leslie speaker. He recycled this method for the use of lead guitar on the title track "Pet Sounds".[65] Other quirks from this recording also include Coca-cola cans and a güiro as percussion.[36]
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Wilson had developed his production methods over several years, reaching a peak with Pet Sounds during late 1965 and early 1966. Wilson's approach was in some respects a refined interpretation of the famous Wall of Sound technique created by Phil Spector. Equipped with newest state-of-the-art Ampex 8-track recorders, Wilson produced tracks of great complexity using his regular team of first call players. Wilson's typical production method on Pet Sounds was to record the instrumental backing tracks for each song as a live ensemble performance direct onto 4-track recorders. His engineer Larry Levine reported that Wilson also typically mixed these backing tracks live, as they were being taped, subsequently transferring the sounds onto 8-track machines.[66] Like Spector, Wilson was a pioneer of the studio-as-an-instrument concept, exploiting novel combinations of sounds that sprang from the use of multiple electric instruments and voices in an ensemble and combining them with tape delay and reverberation. He often doubled bass, guitar and keyboard parts, blending them with reverberation and adding other unusual instruments.[67]
In spite of the availability of sophisticated multitrack recording, Wilson mixed the final version of his recordings in mono, as did Phil Spector. He did this because he felt that mono mastering provided more sonic control over the final result, regardless of the vagaries of speaker placement and sound system quality. In that era radio and TV were broadcast in mono and most domestic and automotive radios and record players were monophonic. Another and more personal reason for Wilson's preference for mono was due to his almost total deafness in his right ear.[nb 5] These backing tracks were then dubbed down onto one track of an 8-track recorder.[nb 6] Six of the remaining seven tracks were usually dedicated to each of the Beach Boys' vocals.[nb 7] The last track was usually reserved for additional elements such as extra vocals or instrumentation.[36]
When the other Beach Boys returned from a three-week tour of Japan and Hawaii, they were presented with a substantial portion of a new album, with music that was in many ways a radical departure from their earlier attempts.[60] Both Asher and Wilson state that there was resistance to the project from within the group, but on this occasion, Wilson's conviction convinced the other members.[59] According to various reports, the group fought over the radical direction Brian had presented with Pet Sounds.[69][70] One of the biggest issues was the album's complexity, and how the touring Beach Boys would be able to perform its music live.[71] Rumors of group infighting were denied by Dennis Wilson in later years,[72] but corroborated by Love, who admitted an active refusal to sing certain lines.[73] Brian expressed:
I think they thought it was for Brian Wilson only. They knew that Brian Wilson was gonna be a separate entity, something that was a force of his own, and it was generally considered that the Beach Boys were the main thing. So with Pet Sounds, there was a resistance in that I was doing most of the artistic work on it vocally, and for that reason there was a little bit of intergroup struggle. It was resolved in the fact that they figured that it was a showcase for Brian Wilson, but it's still the Beach Boys. In other words, they gave in. They let me have my little stint.[74]
We worked and worked on the harmonies and, if there was the slightest little hint of a sharp or a flat, it wouldn't go on. We would do it over again until it was right. [Brian] was going for every subtle nuance that you could conceivably think of. Every voice had to be right, every voice and its resonance and tonality had to be right. The timing had to be right. The timbre of the voices just had to be correct, according to how he felt. And then he might, the next day, completely throw that out and we might have to do it over again.
Most of March and early April 1966 was devoted to recording the remaining backing tracks and to the crucial recording of vocals, a process which proved to be the most exacting work the group had hitherto undertaken. According to Jardine, each member was taught their individual vocal lines by Brian at a piano. He explains, "[E]very night we'd come in for a playback. We'd sit around and listen to what we did the night before. Someone might say, well, that's pretty good but we can do that better … We always sang the same vocal intervals. I was the part under Brian, Carl would be under me, and Mike or Dennis or both would be under that. As soon as we heard the chords on the piano we'd figure it out pretty easily. If there was a vocal move he envisioned, he'd show that particular singer that move. We had somewhat photographic memory as far as the vocal parts were concerned so that never a problem for us."[75] Brian recounted a cupping-the-microphone technique he taught his brother Dennis for recording vocals, elaborating: "Well, he had a lot of trouble singing on mike. He just didn't really know how to stay on mike. He was a very nervous boy. Very nervous person. So I taught him a trick, how to record and he said, 'Hey Brian. That works great. Thank you!' And I said, 'It's okay, Dennis: He was really happy. I showed him—not how to sing, but I showed him a way to get the best out of himself—just 'cup' singing."[20]
Unreleased material[edit]
On October 15, 1965, Wilson went to the studio to record an instrumental piece entitled "Three Blind Mice", bearing no musical connection to the nursery rhyme of the same name. It's not known what the piece's purpose was to be, but it was inexplicably included as part of the Beach Boys' 2011 release of The Smile Sessions. By February 1966, Wilson was in the studio with his session band laying down the first takes for a new composition, "Good Vibrations".[59] During that month, Wilson gave Capitol a provisional track listing for the new LP, which included both "Sloop John B" and "Good Vibrations." This contradicts the long held misconception that "Sloop John B" was a forced inclusion as the hit single at Capitol's insistence: in late February, the song was weeks away from release.[59][76] Wilson worked through February and into March fine-tuning the backing tracks. To the group's surprise he also dropped "Good Vibrations" from the running order, telling them that he wanted to spend more time on it. Al Jardine remembered: "At the time, we all had assumed that "Good Vibrations" was going to be on the album, but Brian decided to hold it out. It was a judgment call on his part; we felt otherwise but left the ultimate decision up to him."[59] A third instrumental, called "Trombone Dixie", had been fully recorded, but it remained in the vaults until its inclusion on the album's 1990 remastered CD release. According to Brian, "I was just foolin' around one day, fuckin' around with the musicians, and I took that arrangement out of my briefcase and we did it in 20 minutes. It was nothing, there was really nothing in it."[77]
Wilson devoted some Pet Sounds sessions to avant-garde indulgences such as an extended a cappela run-through of the children's song "Row, Row, Row Your Boat" exploiting the song's use of rounds via tape delay and overdubbing. At least half an hour of tape reels exist which involve Brian and friends attempting to create a psychedelic comedy album, foreshadowing much of his work on Smile, which was set to have followed Pet Sounds.[78] The only product of these sessions present in Pet Sounds was an excerpt of Brian's dogs barking accompanied by a sampled recording of passing trains[36] taken from the 1963 sound effects LP Mister D's Machine.[citation needed] About a year later Brian had moved on to burning wood in the studio.
Promotional films[edit]
Two music videos were filmed set to "Sloop John B" and "God Only Knows" for the UK's Top of the Pops, both directed by newly employed band publicist Derek Taylor. The first was filmed at Brian's Laurel Way home with Dennis acting as cameraman, the second near Lake Arrowhead. While the second film — containing footage of the group minus Bruce flailing around in grotesque horror masks and playing Old Maid — was intended to be accompanied by excerpts from "Wouldn't It Be Nice", "Here Today", and "God Only Knows", slight edits were made by the BBC to reduce the film's length.[79]
Commercial performance[edit]
In 1966, they [the Beach Boys] were received by the British people very, very highly, they were received very warmly. And the people over there seemed to have had an affinity with our music. But, actually, I was very heartsick. I was very, very, very upset that it didn't sell like I thought it would.…Pet Sounds was something that was absolutely different. Something I personally felt. That one album that was really more me than Mike Love and the surf records and all that, and "Kokomo". That's all their kind of stuff, you know?
"Caroline, No" was released as a single; it was credited to Brian Wilson alone, leading to speculation that he was considering leaving the band.[80] The single reached number 32 in the US.[81] It was followed by "Sloop John B", which was extremely successful, credited to the Beach Boys, and reached number three in the US[81] and number two in Great Britain.[82] "Wouldn't It Be Nice" reached number eight in the US where it was treated as the A-side.[81] Its flip side, "God Only Knows," was featured as the A-side in Europe, peaking at number two in Britain,[82] as a B-side in the US, it reached number 39.[81]
By mid-April 1966, Pet Sounds was fully assembled, and released on May 16. The LP broke into the top 10 in the US, belying its reputation as a commercial failure there. However, compared to the previous Beach Boys' Party!, Pet Sounds earned less commercial success. Its initial release in the US peaked at number 10, which disappointed Wilson.[20] Much of the blame has been placed with Capitol Records, which did not promote the album as heavily as previous releases.[citation needed] Its initial release was not awarded gold certification by the Recording Industry Association of America (RIAA) despite eligibility beginning in mid–1967.[83] Pet Sounds eventually was presented with gold and platinum awards in 2000.[84]
Its greatest success was in the UK, where it reached number two.[82] Its success was aided by support from the British music industry, who embraced the record; Paul McCartney spoke often about the album's influence on the Beatles. Bruce Johnston stated that he flew to London in May 1966 and played the album for John Lennon and McCartney.[85] Although it has been claimed that the Rolling Stones manager Andrew Oldham helped Derek Taylor publicize unsolicited advertisements lauding the album in British music papers, a search of the UK pop press for 1966 fails to uncover any such advertisement.[86][87]
In Australia, the album was released under the title The Fabulous Beach Boys on the Music for Pleasure label.
Critical reception[edit]
|Professional ratings
|Retrospective reviews
|Review scores
|Chicago Tribune
|Entertainment Weekly
|The Rolling Stone Album Guide
|Slant Magazine
Pet Sounds is frequently cited by both critics and musicians as the greatest rock album of all time. Advocates include Mojo magazine and Paul McCartney, who acknowledges that it was the primary impetus for the Beatles' 1967 album Sgt. Pepper's Lonely Hearts Club Band.[96] Although not originally a big seller, Pet Sounds has been influential since it was released.[97] According to music journalists Stephen Davis and Nick Kent, it was the first rock concept album.[58] In the former's 1972 Rolling Stone review, Davis called it "by far" Brian Wilson's best album and said that its "trenchant cycle of love songs has the emotional impact of a shatteringly evocative novel".[9]
Music journalist Robert Christgau was less enthusiastic and felt that Pet Sounds was a "good record, but a totem".[98] In Gene Scalutti's 1968 editorial "In Defense of the Beach Boys", he commented that Wilson was "one of the all-time great composers of melody in rock" along with Lennon-McCartney, John Phillips, and Smokey Robinson, yet, "Pet Sounds was by no means a revolutionary work in that it inspired or influenced the rock scene in a big way. It was revolutionary only within the confines of the Beach Boys' music." However, later in the piece he affirmed: "Pet Sounds was a final statement of an era and a prophecy that sweeping changes lay ahead."[99]
In a retrospective review, Yahoo! Music's Bill Holdship said that Pet Sounds was "perhaps rock's first example of self-conscious art ... a beautiful reflection of romanticism in the modern world".[96] According to Jim Fusilli, author of the 33⅓ book on the album, it "[raised itself] to the level of art through its musical sophistication and the precision of its statement",[100] while academic Michael Johnson said that the album was one of the first documented moments of ascension in rock music.[101] Pet Sounds is viewed by writer David Leaf as a herald of art rock genre.[102] The album has inspired many progressive rock bands, being later named as one of Classic Rock magazine's "50 Albums That Built Prog Rock".[103][104] Writer Bill Martin felt that it aided in the development of progressive rock at a time when the Beach Boys "brought expansions in harmony, instrumentation (and therefore timbre), duration, rhythm, and the use of recording technology".[105] Music journalist Jim DeRogatis said that it was one of the first psychedelic rock masterpieces, along with The Psychedelic Sounds of the 13th Floor Elevators (1966) and the Beatles' 1966 album Revolver.[27] Pet Sounds helped cement The Beach Boys as the founders of California-based rock,[106] incorporated forward-thinking values, and continued to perpetuate the American teenage fantasy of that era.[107]
...by God if this little record didn't change only the course of popular music, but the course of a few lives in the bargain. . .nobody was prepared for anything so soulful, so lovely, something one had to think about so much.
In 1995, a panel of top musicians, songwriters and producers assembled by MOJO magazine voted Pet Sounds as the #1 greatest album among them.[citation needed] Artists and musicians have revered the album as a remarkable milestone in the history of popular music.[108][109][110] These have included the Beach Boys' contemporaries Pink Floyd,[111] Cream,[112] The Who,[nb 8] and The Beatles.[96][115][116] McCartney has frequently stated his affinity with the album, citing "God Only Knows" as his favorite song of all-time, and accrediting his uniquely melodic bass-playing style to the album.[109] In the 2005 documentary The Devil and Daniel Johnston, it was reported that singer/songwriter Daniel Johnston was enraptured with Pet Sounds and it immediately led him to buy the rest of the Beach Boys discography. He later recorded his own version of "God Only Knows",[117] a song which also inspired songwriter Margo Guryan to reevaluate her career, saying "I thought it was just gorgeous. I bought the record and played it a million times, then sat down and wrote 'Think of Rain.' That's really how I started writing that way. I just decided it was better than what was happening in jazz."[118] Seattle-based folk band, the Fleet Foxes have often been seen paying tribute to the album.[119] Thurston Moore of Sonic Youth — who has covered both "Here Today" and "I Know There's an Answer" from the album — has commented: "I would look at the cover of Pet Sounds and think... these guys with with these sheep. I mean, what's going on here?"[120]
Novelist Thomas Pynchon was played Pet Sounds by journalist Jules Siegel shortly after the album's release; at the time, Pynchon was unaware why the journalist had been interested in covering the group. After listening, Pynchon was reportedly in a "stunned pleasure," sighing softly before saying, "Ohhhhh, now I understand."[121]
According to Thom Yorke, portions of the album OK Computer were based on the atmosphere of Pet Sounds.[122] The album strongly also influenced the Beatles' 1966 album Revolver.[123] Arranger Robert Kirby claims that English singer-songwriter Nick Drake intended the instrumentals on his 1970 album Bryter Layter to evoke Pet Sounds.[124] Kevin Shields of the Irish shoegazing group My Bloody Valentine referenced Pet Sounds as an example toward why their 1991 album Loveless was recorded in mono.[125] R.E.M.'s song "At My Most Beautiful" from their 1998 album Up was written as a "gift" from Michael Stipe to his bandmates fond of Pet Sounds.[126] When Animal Collective co-founder Noah Lennox was asked about critics comparing his 2007 solo album Person Pitch to Pet Sounds, Lennox responded: "For me, Pet Sounds wouldn't be the first thing I would compare my album with…first, because it would be kind of arrogant."[127]
Pet Sounds inspired tribute albums such as Do It Again: A Tribute To Pet Sounds, The String Quartet Tribute to the Beach Boys' Pet Sounds and Mojo Presents: Pet Sounds Revisited. Many songs from Pet Sounds have also appeared on general-themed Beach Boy and Brian Wilson tribute albums like Making God Smile and Smiling Pets, which feature cover versions by various artists including Sixpence None the Richer and Seagull Screaming Kiss Her Kiss Her.[128] Other artists include They Might Be Giants, David Bowie, Black Francis, Peter Thomas, Rivers Cuomo, Patrick Wolf, Tim Burgess, Saint Etienne and the Flaming Lips.
Pet Sounds tribute parodies include Punk Sounds by the Huntingtons.[129] Track-for-track mash-ups include Sgt. Petsound's Lonely Hearts Club Band a blend of Pet Sounds with Sgt. Pepper. It was released under the pseudonym "The Beachles".[130]
In the mid-1990s, Robert Schneider of The Apples in Stereo and Jim McIntyre of Von Hemmling founded Pet Sounds Studio, which served as the venue for many Elephant 6 projects such as Neutral Milk Hotel's In the Aeroplane Over the Sea, and the Olivia Tremor Control's Dusk at Cubist Castle and Black Foliage.
Live performances[edit]
After its release, several selections from Pet Sounds became staples for the group's live performances, including "Wouldn't It Be Nice", "Sloop John B" and "God Only Knows". Other songs were performed, albeit sporadically and infrequently through the years, and the album was never performed in its entirety with every original group member.[131]
As a solo artist, Brian Wilson performed the entire album live on three occasions on his 2002 and 2006 "Pet Sounds" tours, which included fellow band member Al Jardine at several shows. He also performed it twice on his 2013 tour, which again included Jardine as well as original Beach Boys guitarist David Marks.[132][133] Recordings from Wilson's 2002 concert tour were released as Brian Wilson Presents Pet Sounds Live.[134]
Release history[edit]
Pet Sounds has had many different reissues since its release in 1966, including remastered mono and stereo versions. Its first reissue was in 1972, when it was packaged as a bonus LP with the Beach Boys' latest album Carl and the Passions – "So Tough". The first release of the album on CD came in 1990, when it was released with the addition of three bonus tracks: "Unreleased Backgrounds"[nb 9], "Hang On to Your Ego" and "Trombone Dixie" all of which were described as unreleased.[135]
In 1997, The Pet Sounds Sessions box set was released. It included the original mono release of Pet Sounds, the very first stereo release, and three discs of unreleased material.[136] The stereo mix was reissued in 1999 on vinyl and on CD. In 2001, Pet Sounds was rereleased with the mono and improved stereo versions, plus "Hang on to Your Ego" as a bonus track, all on one disc.[136][137] On August 29, 2006, Capitol released the 40th Anniversary edition. The new compilation contains a new 2006 remaster of the original mono mix, DVD mixes (stereo and Surround Sound), and a "making of" documentary.[108] The discs were released in a regular jewel box and a deluxe edition was released in a green fuzzy box. A two disk colored gatefold vinyl set was released with green (stereo) and yellow (mono) disks. On September 2, 2008, Capitol reissued a single LP version replicating the original artwork and the inner sleeve with the original mono mix on 180 gram vinyl.[138]
Track listing[edit]
All songs written and composed by Brian Wilson and Tony Asher except where noted.
|Side one
|Lead vocals
|"Wouldn't It Be Nice" (B. Wilson/Asher/Love)
|B. Wilson and Love
|"You Still Believe in Me"
|B. Wilson
|"That's Not Me"
|Love with B. Wilson
|"Don't Talk (Put Your Head on My Shoulder)"
|B. Wilson
|"I'm Waiting for the Day" (B. Wilson/Love)
|B. Wilson
|"Let's Go Away for Awhile" (B. Wilson)
|"Sloop John B" (trad. arr. B. Wilson/Jardine)
|B. Wilson and Love
|Side two
|Lead vocals
|"God Only Knows"
|C. Wilson
|"I Know There's an Answer" (B. Wilson/Terry Sachen/Love)
|Love and Jardine with B. Wilson
|"Here Today"
|"I Just Wasn't Made for These Times"
|B. Wilson
|"Pet Sounds" (B. Wilson)
|"Caroline, No"
|B. Wilson
|1990 CD reissue bonus tracks
|Lead Vocals
|"Unreleased Backgrounds" (B. Wilson)
|The Beach Boys
|"Hang on to Your Ego" (B. Wilson/Sachen/Love)
|B. Wilson
|"Trombone Dixie" (B. Wilson)
|2001 CD reissue bonus track
|Lead Vocals
|"Hang on to Your Ego" (B. Wilson/Sachen/Love)
|B. Wilson
|"Vocals on "Wouldn't It Be Nice" (hidden track at the end of the Stereo of "Caroline, No")" (B. Wilson/Asher/Love)
|The Beach Boys
- Notes
- Al Jardine's contributions to the arrangement of Sloop John B remain uncredited.[20]
The majority of the groups, session musicians and engineers information has derived largely from musician union contracts, web sources and books stating information about the record. This means that some of the information isn't certain or accurate. Furthermore, while contracts contain the session date, song title and hours booked, none was required to be precisely accurate. The date on the contracts were often changed to comply with union requirements.
According to Russ Waspensky,[139] Laura Tunbridge[140][page needed] and Brad Elliott,[36] except as noted.
- The Beach Boys
- Al Jardine – lead, harmony and backing vocals, tambourine
- Bruce Johnston – harmony and backing vocals
- Mike Love – lead, harmony and backing vocals
- Brian Wilson – lead, harmony and backing vocals, producer, arranger, conductor, organ, piano, dog whistle, train whistle, sound effects incl. barking dogs
- Carl Wilson – lead, harmony and backing vocals, guitar, twelve-string guitar
- Dennis Wilson – harmony and backing vocals, drums
- Additional musicians and production staff
- Ralph Balantin – engineer
- Arnold Belnick – violin
- Chuck Berghofer – upright bass
- Hal Blaine – drums, percussion, bongos, tympani, temple blocks*[141]
- Bruce Botnick – engineer
- Norman Botnick – viola
- Chuck Britz – engineer
- Glen Campbell – guitar, twelve string guitar
- Frank Capp – percussion, bells*, vibraphone, timpani
- Al Casey – guitar
- Ray Caton – trumpet
- Jerry Cole – guitar
- Kyle Burkett – guitar
- Andrew Maxson – bass
- Gary Coleman – percussion, bongos
- H. Bowen David – engineer
- Mike Deasy – guitar
- Al De Lory – piano, harpsichord, organ, tack piano[142]
- Joseph DiFiore – viola
- Justin DiTullio – cello
- Steve Douglas – saxophones, clarinet, percussion, flute
- Jesse Erlich – cello
- Ritchie Frost – drums, percussion, Coca-Cola cans[36]
- Carl Fortina – accordion
- James Getzoff – violin
- Jim Gordon – drums, percussion
- Bill Green – saxophone, flute, percussion
- Leonard Hartman – english horn, clarinets
- Jim Horn – saxophones, flute
- Paul Horn – saxophone
- Harry Hyams – viola
- Jules Jacob – flute
- Plas Johnson – saxophones, percussion
- Carol Kaye – electric bass
- Barney Kessel – mandolin, guitar
- Bobby Klein – saxophone
- Larry Knechtel – hammond organ[143]
- William Kurasch – violin
- Larry Levine – engineer
- Leonard Malarsky – violin
- Frank Marocco – accordion
- Gail Martin – trombone
- Nick Martinis – drums
- Terry Melcher – tambourine*
- Mike Melvoin – harpsichord
- Jay Migliori – saxophones, clarinets, flute
- Tommy Morgan – harmonica
- Jack Nimitz – saxophone
- Bill Pitman – guitar
- Ray Pohlman – mandolin, electric guitar, six string bass
- Don Randi – piano
- Jerome Reisler – violin
- Lyle Ritz – double bass, ukulele
- Alan Robinson – french horn
- Leon Russell – piano
- Joseph Saxon – cello
- Ralph Schaffer – violin
- Sid Sharp – violin
- Chris Shepard – trombone
- Billy Strange – guitar, twelve-string electric guitar
- Ron Swallow – tambourine
- Ernie Tack – trombone
- Paul Tanner – electro-theremin
- Darrel Terwilliger – viola
- Tommy Tedesco – guitar
- Julius Wechter – percussion
- Jerry Williams – percussion
- Tibor Zelig – violin
(*) denotes uncertainty where or if the musician plays the instrument on the album.
- Albums
|US Billboard 200 Albums Chart
|UK Top 40 Album Chart
|US Billboard 200 Albums Chart
|US Billboard 200 Albums Chart
|Top Internet Albums
- US Singles
|"Caroline, No"
|US Billboard Hot 100 Singles Chart
|"God Only Knows"
|US Billboard Hot 100 Singles Chart
|"Sloop John B"
|US Billboard Hot 100 Singles Chart
|"Wouldn't It Be Nice"
|US Billboard Hot 100 Singles Chart
- UK Singles
|"God Only Knows"
|UK Top 40 Single Chart
|"Sloop John B"
|UK Top 40 Single Chart
Chart information courtesy of Allmusic and other music databases.[13][144]
|The Times
|United Kingdom
|The 100 Best Albums of All Time[145]
|New Musical Express
|United Kingdom
|New Musical Express Writers Top 100 Albums[146]
|United Kingdom
|Mojo's 100 Greatest Albums of All Time[147]
|The Guardian
|United Kingdom
|100 Best Albums Ever[148]
|Channel 4
|United Kingdom
|The 100 Greatest Albums[149]
|Grammy Awards
|United States
|Grammy Hall of Fame Award[150]
|United Kingdom
|The Virgin Top 100 Albums[151]
|United Kingdom
|VH1's Greatest Albums Ever[152]
|United Kingdom
|BBC 6 Music: Best Albums of All Time[153]
|Rolling Stone
|United States
|The 500 Greatest Albums of All Time[154]
|Jim DeRogatis
|United States
|One Hundred and Ninety Eight Albums You Can't Live Without[155]
|Robert Dimery
|United States
|1001 Albums You Must Hear Before You Die[156]
|Time Magazine
|United States
|The All-TIME 100 Albums[157]
|United Kingdom
|Q Magazine's 100 Greatest Albums Ever[158]
|The Observer
|United Kingdom
|The 50 Albums That Changed Music[159]
(*) denotes an unordered list
- ^ "The Little Girl I Once Knew", "In My Childhood", "Don't Talk (Put Your Head On My Shoulder)", "Run, James, Run", "Trombone Dixie", and "Three Blind Mice".[21] "Run, James, Run" was the working title for the instrumental "Pet Sounds", the suggestion being that it would be offered for use in a James Bond movie).[20]
- ^ Wilson has said that the main difference between him and the Beatles is that the Beatles "will simplify to its skeletal form an arrangement," whereas Wilson would be "impelled to make it more complex," and that if he had arranged "Norwegian Wood", he would have "orchestrated it, put in background voices, [and] done a thousand things".[22]
- ^ Sessions begun on July 12, 1965 with "Sloop John B". After finishing the rushed Party! album, Wilson returned to the studio sporadically throughout November and December to finish "Sloop John B", and to begin work on "You Still Believe In Me". Fervent sessions devoted to the now-entitled Pet Sounds album were kicked off in January 1966, when Wilson began work on the instrumental tracks to "Let's Go Away for Awhile", "Wouldn't It Be Nice", and "Caroline, No".[21]
- ^ For his session of "I Just Wasn't Made for These Times", Paul Tanner remembered: "Brian came over to me and sang such and such a thing, and I said 'Well, write it down and I'll play it,' and he said 'Write it down? We don't write anything down—if you want it written down you have to write it down yourself."[64]
- ^ Wilson's deafness is rumored to be the result of childhood injury to his eardrum caused by a blow from his violent father Murry Wilson, although Wilson claimed that he was born deaf in one ear.[68]
- ^ This was done at Columbia, because it was the only facility in LA with an 8-track.[citation needed]
- ^ The five-piece group was by then being regularly augmented by singer Bruce Johnston, who later became a permanent member
- ^ Pete Townshend of The Who stated "'God Only Knows' is simple and elegant and was stunning when it first appeared; it still sounds perfect".[113] In May 1966, Bruce Johnston flew to London with copies of Pet Sounds and recalls Keith Moon loving the album.Template:Afn Keith later stated "Pet Sounds was too far removed from the style he loved".[114]
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- Lambert, Philip (2007-03-19). Inside the Music of Brian Wilson: The Songs, Sounds, and Influences of the Beach Boys' Founding Genius. Bloomsbury Publishing. ISBN 978-1-4411-0748-0.
- Leaf, David (1985). The Beach Boys. Courage Books. ISBN 978-0-89471-412-2.
- Leaf, David (1990). Pet Sounds (Liner notes) (Booklet). Capitol.
- Leaf, David (1997). The Pet Sounds Sessions (Liner notes ) (Booklet). Capitol.
- Lowe, Kelly Fisher (2007). The Words and Music of Frank Zappa. U of Nebraska Press. ISBN 0-8032-6005-9.
- Martin, Bill (1998), Listening to the Future: The Time of Progressive Rock, Chicago: Open Court, ISBN 0-8126-9368-X
- McGonigal, Mike (2007). My Bloody Valentine's Loveless. Bloomsbury Publishing. ISBN 978-1-4411-5067-7.
- Moorefield, Virgil (2005). The Producer as Composer: Shaping the Sounds of Popular Music - Virgil Moorefield - Google Boeken. MIT Press. ISBN 0-262-13457-8. Retrieved March 12, 2014.
- Priore, Domenic (2005). Smile: The Story of Brian Wilson's Lost Masterpiece. London: Sanctuary. ISBN 1860746276.
- Ryan, David Stuart (1984). John Lennon's Secret. London: Kozmik Press Centre. ISBN 0-905116-08-9.
- Schinder, Scott (2007). Icons of Rock. Greenwood Books.
- Stebbins, Jon (2011). The Beach Boys FAQ: All That's Left to Know About America's Band. Backbeat Books. ISBN 978-1-4584-2914-8.
- Tunbridge, Laura (2010). The Song Cycle. Cambridge University Press. ISBN 978-0-521-89644-3.
- Unterberger, Richie; Hicks, Samb (1999). Music USA: The Rough Guide. Rough Guides. ISBN 978-1-85828-421-7.
- White, Timothy (1996). The Nearest Far Away Place: Brian Wilson, the Beach Boys, and the Southern California Experience. Henry Holt (P). ISBN 978-0-8050-4702-8.
- Zager, Michael (2012). Music Production: for Producers, Composers, Arrangers, and Students (2nd ed. ed.). Lanham, Md.: Scarecrow Press. ISBN 0-8108-8201-9.
External links[edit]
- "List of Pet Sounds Accolades". Acclaimed Music. 2007. Retrieved July 5, 2011.
- "Pet Sounds". Rolling Stone. Retrieved July 8, 2011.
- "The 500 Greatest Albums of All Time". Rolling Stone. 2010. Retrieved May 24, 2010.
- 1966 albums
- The Beach Boys albums
- Baroque pop albums
- Capitol Records albums
- Concept albums
- English-language albums
- Grammy Hall of Fame Award recipients
- Psychedelic rock albums
- United States National Recording Registry recordings
- Albums produced by Brian Wilson
- Albums conducted by Brian Wilson
- Albums arranged by Brian Wilson
- Mobile Fidelity Sound Lab albums
- Albums certified platinum by the Recording Industry Association of America
- Albums certified gold by the Recording Industry Association of America


text:
Following a year full of lifetime achievement honors at IDFA, MoMA, and Silverdocs, maverick doc filmmaker Frederick Wiseman will be releasing his new film "Boxing Gym" theatrically via his distribution company, Zipporah Films, Inc. in conjunction with Michael Tuckman's mTuckman Media, which he worked with on his previous effort, "La danse - Le ballet de l'Opera de Paris." The film will open at New York City's IFC Center on October 22. A national rollout will follow.
"Boxing Gym" profiles Lord's Gym, an Austin, TX, institution in the boxing world, which was founded twenty years ago by Richard Lord, a former professional boxer. With its wildly diverse population of trainees, the film shows a true cross-section of American life, meeting to interact and train. On the making of his 38th film, Wiseman commented in a statement, "As soon as I walked into Lord's Gym, I knew I wanted to make a movie there. The variety of people working out, the friendly atmosphere, and the old posters on the wall added up to a terrific location for a film."
The film was produced by KO films, Inc. in association with the Independent Television Service and PBS.
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text:
Each dish and ingredient in osechi has meanings, such as good health, good harvest, happiness, prosperity, long life, and so on. It's said that yellow colored dishes and ingredients such as kazunoko (herring roe) symbolize prosperity and that various beans (mame) imply a wish for good health. Also, red/pink and white colored food, such as pink and white kamaboko (fish cake) slices represent celebration colors.
Traditionally, people finish preparing osechi dishes by New Year's Eve so that they have food for a couple days. Nowadays, many people buy ready-made osechi dishes at stores instead of cooking them at home. It can be time-consuming to cook so many kinds of dishes. It's even possible to order osechi-ryori packed in boxes at department stores, grocery stores, or convenience stores in Japan.


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Campus Map
Find Your Way Around Campus
Class Schedule
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Application and Forms
If you would like to be a Mentee in the Beating the Odds Peer Mentorship Program, please fill out an application. Here are the different ways an application can be submitted:
1. Click the following link to download an application: Application. Then either drop the application off to Beating the Odds Peer Mentorship's dropbox in Building 9, Rm 220. We are located right in the front of the Learning Center. The application can also be mailed to:
Cañada College
Attn: Trish Guevarra
4200 Farm Hill Blvd., Building 9, Rm 220
Redwood City, CA 94061
2. Fill out an online application by clicking here.
To request more information or to ask questions please contact the program services coordinator,Trish Guevarra at (650) 381-3528 or email@example.com.
Once we have received your completed application we will contact you by email to notify you if you have been accepted. Once accepted, an orientation will be scheduled and you will be matched with a BTO Peer Mentor!