Imagine, if you will, an entertainment event where every aspect comes together perfectly, just as the artist intended.

Such was the case at Copia last Saturday night where San Francisco singer/songwriter William Morin and friends unveiled “A Very Groovy Tribute to Burt Bacharach and the ’60s” for a small but appreciative crowd.

From song selection to mood-enhancing visuals of the era, from exceptional new arrangements of flower power hits to heartfelt performances of pop classics by the headliner and his band, the ’60s tribute was the very model of perfection.

If I were a producer, and if I could put that show in a bottle, I’d be on the road at this point, spreading joy and associated nostalgia across the land. Anyone who wants to bring back songs from an earlier time — to celebrate joy and sadness as well as icons and the passing scene of a bygone era — should seek out William Morin for advice. He left no stone unturned, no significant moment without mention.

Wearing an appropriate skinny tie and a Cheshire grin, the headliner, backed by a lively four-piece combo, kicked off the 90-minute show with an uptempo rendition of Bacharach’s “Close to You,” a No. 1 hit for the Carpenters.

And starting with the second number — Oliver’s feelgood folk rocker, “Good Morning Starshine” — the show incorporated myriad images of the era as musical backdrop.

The photos, all manner of product images and memorabilia snapshots, carried those who lived in the ’60s back to that period, and, for those not old enough to remember, painted a vivid picture of places, people and politics.

And sometimes it was painful, as with the reminders of JFK, Vietnam War protests and segregation struggles splashed across the theater screen, during a gooseflesh-raising rendition of the Hollies hit, “He Ain’t Heavy, He’s my Brother.”

That was not the only time tears welled up in the eyes. Morin’s honest emotion and heart-on-sleeve performance of the Bacharach/Hal David hit, “A House is Not a Home,” drove home the melancholy lyric, as the singer’s fragile tenor pierced our workaday veneer.

The success of this musical tribute is not due just to the talents of Morin, unless you include his ability to pick the best musicians for the job. The recent association with pianist/arranger John Steiner has elevated the singer’s efforts to an even higher plane. We needed little convincing — the aforementioned Hollies hit and a stellar arrangement of “Raindrops Keep Fallin’ on my Head” that actually gave meaning to the pop hit (which most singers toss off with little feeling) — a couple of songs and we were hooked.

Steiner didn’t do it alone. He crafted the surefire arrangements for the soaring trumpeting of Henry Hung and a dazzling rhythm section — bassist Lisa Mezzacappa and drummer/percussionist Randy Odell.

Morin cheated, but just slightly. He included a moving performance of the World War II-era ballad, “Skylark,” a haunting song that Hoagy Carmichael wrote from inspiration by cornetist Bix Beiderbecke. More gooseflesh.

Of course, the Beatles were represented with “If I Fell” and “Eleanor Rigby” and the headliner gave us a Puerto Rican-accented version of the Chris Montez hit, “The More I See You,” complete with excellent guitar playing. The one-hit wonder of Jesse Colin Young, the Youngbloods’ “Get Together,” and the Monkees’ “I’m a Believer” had the crowd singing along.

And what would a ’60s tribute be without a bit of psychedelia, delivered here with bright colors, balloons and big voices on “Aquarius” and “Let the Sunshine In” as finale.

This is a show Morin should take on the road, for Americans of all ages would eagerly climb on board to look back on the last time our nation was at war and how our country dealt with it — at least in song. This member of the audience was not only entertained but moved to laughter, tears and cheers. I wish more people had experienced it. Anybody know an approachable TV producer?