Kevin Bronson on March 2nd, 2015

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It took more than a village to re-create the Beatles’ “White Album” on Saturday night at the sold-out Alex Theatre in Glendale — it took an army of more than 75 musicians who, in the name of charity, exuberantly and painstakingly covered the Fab Four’s 1968 double-LP bricolage of rock, balladry, satire and experimentation.

The occasion was a benefit for the Autism Think Tank staged by the L.A. collective the Wild Honey Orchestra. Hosted by Chris Carter (KLOS’s “Breakfast With the Beatles”), the event featured a rotating case of pop and rock luminaries backed by a string section, a horn section and a seven-member vocal group. Organized by music fanatic Paul Rock (whose son is severely autistic) and under the musical direction of Rob Laufer, the concert brought an estimable parade of guests — among them Vicki and Debbi Peterson from the Bangles, Fountains of Wayne’s Chris Collingwood, XTC’s Dave Gregory, Mitch Easter, Iain Mathews (Fairport Convention), Gary Wright, Alain Johannes, the Muffs, the Three O’Clock, Translator, Steven McDonald (OFF!, Redd Kross), John Easdale (Dramarama), Thomas Walsh (Pugwash), John and Susan Cowsill and Anna Waronker and Rachel Haden of That Dog.

And speaking of dogs, a couple of canines got cameos too — Jules Shear’s Cosmo [top photo] and Syd Straw’s Carol Burnett (“my manager,” she said) joined the fray onstage.

In all, it was a Boomer’s dream, especially if you were familiar with a lot of the lesser-known players involved. Here are my Top 5 moments from the benefit:

► “Dream Weaver” Gary Wright, once a confidant of George Harrison, led a spine-tingling rendition of “While My Guitar Gently Weeps,” with guitarist Lyle Workman slaying the solo that was played on the album by Eric Clapton. It inspired one of the few — and definitely most emphatic — standing ovations of the night. As with most of the performances Saturday night, it was faithful almost to the note. And that was fine.

► The most ambitious moment on an ambitious night came from Jim Mills and Heidi Servey of the indie band Extra, who teamed up with pianist Debbie Shair and some high technology to re-create the calamitous sound collage “Revolution 9.” Shame on those who used this moment as a restroom break; it was truly inspired. The performance involved using tape loops created mostly by Darian Sahanaja, inserting them into Ableton and controlling them with faders, and marrying them with the song’s sound effects, which were triggered by a sampler. The “No. 9” vocal was delivered by Alan Friedenthal (who earned the right to do it with a big donation to the charity) and then looped. And the song was played out in front of a glowing white orb backed by Julia Ewan’s visual projections. It’s here. Mind-blowing.

► Shear nailed the melodically tricky “Sexy Sadie,” while the vocal group provided perfect background “wah-wah-wahs.” It should be pointed out here that the Wild Honey Orchestra neglected almost no “White Album” detail. There was the landing jetliner before Collingwood [pictured at left] launched into “Back in the U.S.S.R.;” the backing birdsongs as Laufer gave a melting rendition of “Blackbird;” Steve Stanley’s megaphoned vocals on “Honey Pie;” and Nelson Bragg’s shouted “ho-ho-ho-ho” during “Ob-La-Di, Ob-La-Da.” And happy ever after.

► Resurgent Paisley Underground band the Three O’Clock gave a sterling rendition of Harrison’s “Savoy Truffle.” That song was kinda meant for them.

► And That Dog’s Waronker and Haden harmonized sublimely on the album closer “Good Night,” a lullaby John Lennon wrote for his son Julian. It was, indeed a good night.

After the main event’s 30 songs, the encore brought five more, with the dark-dressed Easdale looking very guilty while nailing “Not Guilty” (a Harrison song that didn’t make the “White Album” but eventually appeared on his 1979 solo effort) and with everybody (and we mean everybody) onstage to close out the three-plus-hour show for a “Hey Jude” sing-along [below] led by Christine Collister.