Wouldn't It Be Nice: Brian Wilson and the Making of the Beach Boys' Pet Sounds

From Publishers Weekly
In 1966, Brian Wilson and the Beach Boys released a revolutionary rock album that would influence the Beatles' Rubber Soul as well as the music of the Who, Eric Clapton and the Rolling Stones. As music historian Granata points out in this often passionate, sometimes pedantic history of Pet Sounds, U.S. audiences turned a cold shoulder to this album because it represented such a departure from the pleasing surf melodies that had made the Beach Boys famous. In spite of such a reception, the album showcases the soaring musical genius of Wilson, argues Granata, in what was perhaps truly the first ever "concept album." The innovative combination of folk, blues and jazz blended into the gorgeous harmonies of the Beach Boys. Granata traces the evolution of the album from its writing, mostly by Wilson and Tony Asher, to the long nights of production in the studio. He analyzes dispassionately each song on the album, from the jangly 12-string guitar chords of "Wouldn't It Be Nice?," which open the album, to the closing harmonies of "Caroline, No" that close it. Granata chronicles Wilson's well-known disappearance from the musical scene not long after the album's release to battle the demons of paranoid schizophrenia, as well as his recent solo appearances performing the songs from Pet Sounds. Granata devotedly tells a story whose contours are already well known, so the book at times appears to be a set of liner notes allowed to grow too large. Copyright 2003 Reed Business Information, Inc.


From Booklist
In 1965, before anyone thought rock music could be ambitious, let alone artful, Beach Boys leader Brian Wilson set out to record "the greatest rock album ever made." Many fans feel to this day that Pet Sounds , the resulting record, which applied the Boys' jazz-influenced vocal harmonies to Wilson's new, sophisticated songs and inventive arrangements, realized his lofty aspirations. Quite simply, though a flop when originally released, the album, which spearheaded the transition from the single to the LP as rock's primary format, is an enduring popular-music masterpiece. Granata recounts its genesis in a song-by-song rundown with Wilson's cowriter, Tony Asher, and its recording sessions through the eyes of the other Beach Boys and additional participating musicians. Bracketing this detailed examination are concise accounts of the group's pre- and post-Pet Sounds careers. Troubled by emotional problems exacerbated by drug use, Brian Wilson never surpassed Pet Sounds . He has enjoyed its constant critical and commercial rediscovery, however, and listeners who have caught up to his magnum opus should appreciate learning more about it. Gordon Flagg
Copyright © American Library Association. All rights reserved


Bruce Johnston, former member of the Beach Boys
"Wouldn't It Be Nice is intelligently researched and beautifully written."


Blender
"Applies close musical and cultural analysis to the Beach Boys’ 1966 masterpiece . . . as heartbreaking as the songs on Pet Sounds."


Q Magazine
"Granata’s book is a simple masterpiece that does justice to the album."


Relix
"Painstakingly researched."


Chicago Sun–Times
"Chicago Review Press’s Vinyl Frontier series sure beats VH1’s ‘Behind the Music.’"


MSNBC’s Winter Book Guide
"This book is a treasure."


Richieunterberger.com
"Its factual research and critical analysis are extremely in-depth."


Book Description
This illuminating book offers unique insight into the making of the seminal album Pet Sounds, revealing the intimate processes that went into its creation and featuring brand-new interviews with key players. From conception and composition to arrangement and production, the ways in which Pet Sounds changed the face of American popular music are chronicled. While Pet Sounds carries the tag of being a Beach Boys record, this lively exposé reveals just how little input the rest of the band had in its recording. Illustrating Brian Wilson's prodigious talent, the book chronicles his ability to turn his back on the protest songs and folk-rock of his contemporaries, and even on the bright surf sound of his own creation, in order to reach deep within himself to make music that struck an emotional chord and touched people's souls. Wilson's ability to embrace the rapidly advancing recording technology of the 1960s and to expertly blend rock 'n' roll, rhythm and blues, and jazz sounds with velvety harmonies and sensitive melodies to create a brand-new studio sound are discussed. An intimate portrait of Wilson's family, breakdown, and drug use is included.


About the Author
Charles L. Granata is a record producer, music historian, and the author of the award-winning Sessions with Sinatra: Frank Sinatra and the Art of Recording. He lives in Livingston, New Jersey. Tony Asher is a lyricist who collaborated with Brian Wilson on Pet Sounds. He lives in Los Angeles.


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Painstakingly researched.


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