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The Beach Boys - Surfin' Safari / Surfin' USA
Music CD CoverArtist: The Beach Boys Edition: Music CD Audio: English (Original Language) Format: Extra tracks, Original recording reissued, Original recording remastered CD Release Date: 2001-03-13 Music Label: Capitol Soundtracks: - Surfin' Safari - (mono)
- County Fair - (mono)
- Ten Little Indians - (mono)
- Chug-a-Lug - (mono)
- Little Girl (You're My Miss America) - (mono)
- 409 - (mono)
- Surfin' - (mono)
- Heads You Win Tails I Lose - (mono)
- Summertime Blues - (mono)
- Cuckoo Clock - (mono)
- Moon Dawg - (mono)
- Shift, The - (mono)
- Surfin' U. S. A. - (stereo)
- Farmer's Daughter - (stereo)
- Misirlou - (stereo)
- Stoked - (stereo)
- Lonely Sea - (stereo)
- Shut Down - (stereo)
- Noble Surfer - (stereo)
- Honky Tonk - (stereo)
- Lana - (stereo)
- Surf Jam - (stereo)
- Let's Go Trippin' - (stereo)
- Finders Keepers - (stereo)
- Cindy Oh Cindy - (mono, bonus track)
- Baker Man, The - (mono, bonus track)
- Land Ahoy - (stereo, bonus track)
Free Music Notes for Surfin' Safari / Surfin' USAFree Music Review: "In the beginning . . ." Hit: 5 Stars
There is something about listening to a band's first album that is quite revealing. Get and play "Please Please Me," then listen to "Let it Be." Or Get "Boy," then play "All That You Can't Leave Behind." Bands evolve, and bands grow, but with the first album there is a universe of possibilities. Some of these possibilities are abandoned, but some of the roads are taken and added upon. These albums give you a glimpse into the early work of the Beach Boys, and hear the different sound that Brian Wilson was experimenting around with.There was a lively surf music scene, with Dick Dale and the Del Tones, the Ventures, and Jan and Arnie (later Jan and Dean). The Beach Boys started working in this genre as this disc indicates-Moon Dawg, The Shift, Surfin' Safari, Surfin' USA, and the two Dick Dale covers. But the Beach Boys had something different. Not quite a different sound, since they just had Chuck Berry rock and roll riffs combined with the Four Freshman harmonies. But you can feel the soul of their music, specifically Brian Wilson's soul shine through in tracks such as Cuckoo Clock and Farmers Daughter. And Lonely Sea is really the first "Pet Sounds" track, indicating the direction Brian Wilson could and did go. Yes, music has progressed (somewhat) since these two LPS were recorded, and bands (some at least) have gotten better, but these tracks are engraved moments in time. You see the Beach Boys starting out as just another surf band, but with the seeds of something different. You get shadows of "Pet Sounds" with this music. On the SURFIN' SAFARI album, there are several track of note. The first is "County Fair," which prefigures "Amusement Parks USA," which was a sideways tribute to "Palisades Parks." "Heads you win, tails I loose" is one of my favorites, due to the theme and the wit of the lyrics. Libretto-ing was Brian Wilson's weakest point, and he relied primarily on Mike Love to put words to his hymn-melodies. Mike Love (or whomever) came up with some catchy words that would make the Beatles (Please Pease Me, She Said She Said, Hello Goodbye) envious. The gem on "Surfin Safari" is "Mr. America." What would be a nominal top-ten hit for another band takes on a luminous quality as rough-voiced Denny Wilson croons the lead. This is his first solo recoding and he does exceptionally and memorably well. We see the beginning of such songs as "Forever," "Celebrate the News," "Slip on Through," and "Fourth of July." SURFIN' USA also has gems. "Finders Keepers" has catch music and an interesting thematic development. It's nice, clean, feel-good music. The album has some weak covers (rehashes?) of two Dick Dale and the Deltones classics-Misrilou, which was made famous by the "Pulp fiction" Soundtrack, and "Let's Go Trippin." The Concert Album indicated that they still played this song on their tours, and frankly they, especially Carl Wilson, did a better job of it live. They were still perceived as just another surf band with the inclusion of "Surf Jam," and "Stoked," which is another one of my favorites. It conjures up an opium den or some drug house. I don't know . . . Plain and simple "Lonely Sea" is worth the price of the CD. It is a classic Wilson ballad, with absolutely heavenly guitar work and an angelic choir. In fact, the Beach Boys singing a capella makes me weep. I am surprised that this track hasn't caught on in movie soundtracks since it is perfect make-out music. One of the bonus tracks is "Land Ahoy," an out-take from Surfin Safari, and was originally released on "Beach Boys Rarities." It is nice to have this one back.
Surfin' Safari / Surfin' USA Poster Beach Boys Photos More from The Beach Boys  Little Deuce Coupe/ All Summer Long |  Pet Sounds |  20 Good Vibrations, The Greatest Hits |  Good Vibrations: Thirty Years of The Beach Boys |  Endless Harmony |  Today/ Summer Days (and Summer Nights) | Seeking to Capitol-ize on their local L.A. indie-label novelty hit, "Surfin'," the Beach Boys and their nascent sound (tales of innocent SoCal hedonism set to equal parts doo-wop vocal influences and Chuck Berry licks) were produced on these initial releases by the A&R exec who signed them, Nik Venet. But if Brian Wilson's production genius was yet untapped, his songwriting knack, trademark arrangements, and soaring falsetto were already coming to the fore, even on Surfin' Safari, the band's hastily recorded, low-budget debut album--"Surfin'," "Surfin' Safari," and "409" are ample testament to his hitmeister potential. Released just five months later, Surfin' USA both insured the band's national appeal and testified to the rapid development of their harmonies on cuts such as "Farmer's Daughter" and "Lana." The band sounds more confident throughout, and Wilson hints at the greatness to come with the moody ballad "The Lonely Sea." The flip side to Wilson's fragile emotionalism is, of course, Mike Love's nasal, fun-seeking twang; those voices revolving--often tensely--around a hub of incomparable harmony became one of rock's most indelible archetypes. These are the humble, charmingly awkward beginnings of that legend. Three unreleased bonus cuts are also featured: "Cindy, Oh Cindy," "The Baker Man" (a nursery rhyme take on the Olympics' "Hully Gully"), and the nautical "Land Ahoy." The latter two tracks are notable as Brian's official producing debut. This twofer edition features comments by Brian and the astute liner notes of music historian David Leaf. --Jerry McCulley
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