1/1/2024 0 Comments Beach boys surfs upSupported by Windows with software player from JRiver, KORG MediaGate.High-End Network-Streaming players and few D/A Converter's (DAC).Studio Master: DSD (Direct-Stream Digital) Supported by Apple OS with software player from Amarra, Audirvana, PureMusic).For users, using Apple/iTunes and a few Network Streaming players.Studio Master: ALAC (Apple Lossless Audio Coding) Supported by Apple OS with software player from Amarra, Audirvana, PureMusic, Songbird.Supported by Windows with software player from Media Monkey, JRiver, JPLAY).Widely compatible with Network Streaming players and D/A Converter's (DAC). ![]() Studio Master: FLAC (Free Lossless Audio Codec) HighRes-Studio Master files are lossless at various sample rates from 44.1 kHz up to 384 kHz or 1-bit (2.8224 MHz) for DSD. Recorded November–December 1966, January 1970 and March–July 1971 at Sunset Sound Recorders, United Western Studios, CBS Columbia Square, and Brian Wilson's home studio, Los Angeles Wrapped up in a mess of contradictions, Surf's Up defined the Beach Boys' tumultuous career better than any other album.“ (John Bush, AMG)Ĭarl Wilson, vocals, keyboards, fuzz guitar Carl gives a soulful performance despite the surreal wordplay, and Brian's coda is one of the most stirring moments in his catalog. The album closer, "Surf's Up," is a masterpiece of baroque psychedelia, probably the most compelling track from the SMiLE period. The second, "'Til I Die," isn't the love song the title suggests it's a haunting, fatalistic piece of pop surrealism that appeared to signal Brian's retirement from active life. The first, "A Day in the Life of a Tree," is simultaneously one of Brian's most deeply touching and bizarre compositions he is the narrator and object of the song (though not the vocalist co-writer Jack Rieley lends a hand), lamenting his long life amid the pollution and grime of a city park while the somber tones of a pipe organ build atmosphere. Those songs are enjoyable enough, but the last three tracks are what make Surf's Up such a masterpiece. The album is a virtual laundry list of each uncommon intricacy that made the Beach Boys' forgotten decade such a bittersweet thrill - the fluffy yet endearing pop (od)ditties of Brian Wilson, quasi-mystical white-boy soul from brother Carl, and the downright laughable songwriting on tracks charting Mike Love's devotion to Buddhism and Al Jardine's social/environmental concerns. Surf's Up could well be the definitive example, beginning with the cloying "Don't Go Near the Water" and ending a bare half-hour later with the baroque majesty of the title track (originally written in 1966). „The Beach Boys' post-1966 catalog is littered with LPs that barely scraped the charts upon release but matured into solid fan favorites despite - and occasionally, because of - their many and varied eccentricities. Carl Wilson emerged as a fine composer (Long Promised Road), "Till I Die' showed Brian Wilson's gifts intact, and the result was an artistic triumph, enabling the group to progress unfettered by artistic preconceptions. The ecological tenor of several tracks was politically shrewd and by opting to revive the title song from the unit's fabled Smile project, the Beach Boys reminded the outside world of their innovative past. ![]() The group's harmonies are as peerless as ever, their grasp of evocative melody unerring, particularly on Bruce Johnston's 'Disney Girls'. Surf's Up established the Beach Boys as an 'albums' band without sacrificing their individuality.
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