Not exactly a smash when it was first released a half century ago, “Pet Sounds” has since been heralded as one of rock music’s crowning achievements — a big turn for a band known for simple surf songs that opened the door for all kinds of mad studio experimentations, orchestral collaborations and unusual sound effects that would help define the psychedelic ’60s, and continue to some degree today.
More than that, its odd instrumentation and time signatures were in service of some of the most nakedly vulnerable lyrics in pop — a wrenching examination of growing up and losing love, a sadness and loss that also was reflected in the genius at the helm, Brian Wilson whose bandmates in the Beach Boys seemed at first to only be humoring him in his leaps of musical boldness.
“Pet Sounds” today is pop excellence, a chamber classic, deserving to be played by orchestras worldwide into its second half century.
So why was Wilson pretty much apologizing for it during his concert billed as his final tour for the work?
The Music Hall at Strathmore in Bethesda was sold out for weeks by fans jumping on the chance to hear “Pet Sounds” recreated so well by the large and enthusiastic band surrounding Wilson.
There was no need for the affable bandleader, now 74, to preface the full performance of the 1966 album with the qualifier “Now we’re going to do something very musical” and “very moving and emotional.” “Pleasant music,” he called it, but he warned, “not rock ’n’ roll.” When it was over, he promised, “then we’ll rock ’n’ roll for 20 minutes.” As if he had to convince people to stay.
Of all the people in the theater, perhaps Wilson was the only one who doubted the lasting appeal of “Pet Sounds.”
Yes, he’s had some mental health issues over the years, but seems to be doing fine. But shouldn’t someone in his band clue him in: “Hey Brian, they came for this. it’s a masterpiece that doesn’t get played that often live.” Or this well.
From the expertly miked drums of Mike D’Amico (echoing the booming Hal Blaine original), and the wayout guitar of Nicky Wonder (approximating that underwater sound of the title track), to the bass harmonica of Paul Von Mertens, percussionist Nelson Bragg’s bicycle bell and Probyn Gregory on the Theremin, this was thrilling “Pet Sounds” come to life like never before (except the other two dedicated tours of it this century). Only the closing sounds of a passing locomotive and dog barks — like enigmatic notes at the end of a Chekov play — seemed to be on tape.
There were adjustments vocally, as one might expect. While Wilson sang lead on most of the original recording, he was aided on the tour by not only by Darian Sahanaja and his band the Wondermints, whose inventiveness and musical prowess allowed the album to be reproduced at all, but by a Beach Boy original in Al Jardine, who took the lead on “Sloop John B” and especially his son, Matt Jardine, who took the falsetto thrillingly on a number of songs. As the album went on, the vocals shifted, depending on what key they were in, from Brian to Al to Matt and back. Backed by the sheer number of backing harmonizers on stage — fully seven of the 10 on stage with Wilson sang — it all worked pretty well (though it must have taken a lot of time to perfect).
There was a 12th presence on stage — Blondie Chaplin, the well traveled rocker who toured many times with the Rolling Stones and was a full fledged member of the Beach Boys for exactly one year, long enough to turn in the lead vocals for the classic late period “Surf’s Up,” which he sang in the effervescent first half. He also sang lead on one of the newest songs of the night, “Sail Away,” from Wilson’s latest solo album, “Pier Pressure” and “Wild Honey” from “Smiley Smile.”
(During “Pet Sounds” he paraded on stage once to play tambourine and simply be a part of it).
He brought a little rock attitude to the proceedings which might otherwise be seen as too pristine and reverent. He’s swoop around the stage to different edges and when he approached Wilson at the center piano, the bandleader never looked up.
Whatever accommodations Wilson has made for touring, he hasn’t quite nailed showmanship. He’d regularly pad off the stage when his last vocal turn was over, in the first two parts of the concert, and start introducing songs while applause was still going for the last one.
That made the first set of show so speedy you’d think someone had to feed the meter. These cheerful California ditties were already fast, but they way they ran through them was almost like the Ramones. Still, you’ve never heard what some might term an “oldies” show played with such verve and exuberance. The band was loving playing these timeless things, and showed it.
They picked a few more obscure things — from the 90-second “Wake the World” from “Friends” leading into “Add Some Music to Your Day”; to the peppy “Salt Lake City” from “Summer Days..and Summer Nights.” They’ve been switching “Cotton Fields,” which Jardine noted was a hit everywhere else in the world but the U.S., with “California” from the “California Saga” on tour; we got the Lead Belly song.
It was a nice touch, though, that some of the hits in the set, from “In My Room” to “Don’t Worry Baby,” hit on themes of loneliness and self-doubt that would be more fully explored in “Pet Sounds.”
And as rapt as the audience was to every reverent touch of “Pet Sounds,” it was Wilson who’d play around with a phrasing, or denigrate those splendid, dreamy instrumentals with the urgent warning that “The next song has no singing! No singing at all!” Worst of all, he got everybody to sing a round of “Row, Row, Row Your Boat” in the middle of the album’s presentation because he thought there needed to be something upbeat.
It was interesting to hear subtle changes in the lyrics here and there. Jardine, in a backing vocal of “I Just Wasn’t Made for These Times,” shifted perspective, singing “He just wasn’t made for these times” instead, referring to Brian. Similarly, he capsized “Sloop John B” by noting “This is the best trip I’ve ever been on,” possibly talking about his time in the Beach Boys, instead of the recorded line, “This is the worst trip…”
And to prove Brian wasn’t locked in some crazed tower of the past, he changed a line in his lovely, benedictive “Love and Mercy” at the end of the six song encore, from “a lot of people out there hurtin’ and it really scares me” to “a lot of people getting shot and it scares the hell out of me.”
The setlist for Brian Wilson Tuesday was:
- “California Girls”
- “Dance, Dance, Dance”
- “I Get Around”
- “Shut Down”
- “Little Deuce Coupe”
- “Little Honda”
- “In My Room”
- “Surfer Girl”
- “Don’t Worry Baby”
- “Salt Lake City”
- “Wake the World”
- “Add Some Music to Your Day”
- “Cotton Fields”
- “Darlin’”
- “Sail Away”
- “Wild Honey”
- “Sail On, Sailor”
“Pet Sounds”
- “Wouldn’t It Be Nice”
- “You Still Believe In Me”
- “That’s Not Me”
- “Don’t Talk (Put Your Head on My Shoulder)”
- “I’m Waiting for the Day”
- “Let’s Go Away for Awhile”
- “Sloop John B”
- “God Only Knows”
- “I Know There’s an Answer”
- “I Just Wasn’t Made for These Times”
- “Here Today”
- “Pet Sounds”
- “Caroline, No”
- “Good Vibrations”
- “Help Me, Rhonda”
- “Barbara Ann”
- “Surfin’ U.S.A.”
- “Fun, Fun, Fun”
- “Love and Mercy”