Daiana Feuer on May 19th, 2016

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On May 16, 1966, the Beach Boys released their 11th album, “Pet Sounds.” People were confused. It was not an album about surfer girls in the sunshine and Woodys. Some people got it. The Beatles got it. It inspired them to create “Sgt. Peppers.” Other people slept on it for a few years before realizing its magnitude.

“Pet Sounds” was a pop epic that resulted from Brian Wilson shacking up in a studio alone while his band toured the hits ’round the world. He had quit the road. He got high, got deep, and the resulting concept album has come to be appreciated as one of the most important albums of its time for its production and compositional experimentation, which includes the use of soda cans, barking dogs, bicycle horn, possibly Paul McCartney chewing celery (no one remembers for sure), and orchestral numbers performed by first-rate studio musicians.

To celebrate the 50th anniversary of “Pet Sounds,” bands selected by Honey Child ringleader Claire McKeown gathered on the Echo’s stage Sunday night to perform the album in full, plus a few bonus tunes, and writer Dominic Priore popping up to share historical facts with all his Beach Boys album clutched lovingly in his arms.

||| Photos by Alyson Camus

Choral duties were handled by the Bots and Honey Child, the latter adding strings, organ and horns to “God Only Knows.” Kolars gave a minimalist rock rendition of “Wouldn’t It Be Nice” with special guest Joy Bishop sharing vocals.

The Lemon Trees delivered a standout back-porch-vibes performance. This new trio, consisting of Leslie Stevens, Jamie Drake and Kathleen Grace, came together after being asked to sing a song at a friend’s wedding, upon discovering that their distinct voices blended together like honey and … lemons (add tequila and we’re talking delicious).

Some performers, like Eleni Mandell, took a stripped down, quiet approach to their covers. Watching Aaron Embry perform “I Just Wasn’t Meant For These Times” was so personal it felt like walking in on him in his living room in the dead of night.

Others went big. It was delightful to see the Beach Boys rendered as a full country band via Sam Morrow, and then as shoegaze psychedelia through Froth, who really felt like a wave coming in slow and crispy. Thee Commons took on one of two instrumental numbers, throwing so much energy around that it felt like they were possessed by a supernatural force. Feels rocked, as they do, with all three female members harmonizing. Another favorite from the night was the Henry Clay People, whose buttoned up punk took hold of the audience at the jugular.

By the time the program reached Side B of “Pet Sounds,” almost two hours into the night, the audience had diminished a bit. Despite arriving early and filling up the room, it was difficult to maintain their attention with each band performing a single song and the long breaks it took between to get one group off and the next on. Having each track from “Pet Sounds” interpreted by a unique band was awesome, but three hours for sixteen tunes took a lot of stamina.

That being said, those who waited were treated to Joel Jerome at the helm of an orchestra, Avi Buffalo and Sasami’s sweet sounds accompanied by Froth’s Joo-Joo Ashworth, and the mighty closing performance from Hawthorne native sons Dios, who packed the stage with their extended musical family.