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Author Topic: TSS - All things Surf's Up  (Read 33503 times)
desmondo
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« on: October 28, 2011, 08:14:21 AM »

All version welcome here
« Last Edit: November 02, 2011, 03:38:44 AM by desmondo » Logged

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Richard
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« Reply #1 on: October 31, 2011, 05:55:46 AM »

Just listened to the 67 version - just beautiful - a fantastic version fragile beyond belief

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« Reply #2 on: October 31, 2011, 07:37:07 AM »

I only heard the begining of it on Brian Wilson's facebook. It's beautiful.

Now a question: how many fan-mixes will try to sync it with the "1st movement" backing track ?

IMO, this would be a mistake. This 67 version seems to be so perfect in every ways. Maybe an over-produced backing would spoil its beauty...
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« Reply #3 on: October 31, 2011, 11:03:06 AM »

JESUS, MARY AND JOSEPH. SU 1967 just ruined me. SO GOOD
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« Reply #4 on: October 31, 2011, 03:58:53 PM »

Now a question: how many fan-mixes will try to sync it with the "1st movement" backing track ?

IMO, this would be a mistake. This 67 version seems to be so perfect in every ways. Maybe an over-produced backing would spoil its beauty...

They're in different keys + the earlier demo works a lot better anyway.
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« Reply #5 on: October 31, 2011, 08:17:01 PM »

So many great versions on the box it's hard to choose just one - guess I don't have to, but it's an interesting thing to debate.

Love the new "album" mix with Brian's '66 vocals flown in.  The extra reverb added to his voice at just the right moments really sends tingles down my spine.  I like that they kept a few of Carl's parts in there too, it gives the track a more complete feel, and it's nice being able to hear the brothers sing again in a way we hadn't heard before.

The '67 demo is mindblowing, as just about everyone else who has heard it has said.  Such a raw and understated vocal from Brian, and the Wild Honey-era piano, while a bit jarring at first, really works.  I'm positive that this is one of the tracks that will be in heaviest rotation for me in the upcoming days/weeks/months.

Overall though, I still prefer the '66 "demo" above all others.  It's Brian's peak, as far as I'm concerned, and continues to inspire me no matter how many times I listen to it. 
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« Reply #6 on: November 01, 2011, 03:35:07 PM »

Really blown away by this. Especially during the verses.
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« Reply #7 on: November 01, 2011, 05:04:24 PM »

The 67 version just so happens to be my favorite version of the song now. Possibly one of my favorite BW vocals as well.

Beautiful.
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« Reply #8 on: November 01, 2011, 05:14:44 PM »

Both Surf's Ups are really enjoyable to me.

The more I listen to '67, the more it makes sense that SU be orchestrated subtly--simplicity benefits the song very much.  I think I can hear how a "full band" "Part 2" would sound now.  Interesting how good Brian's high F is too, better supported than the earlier vocal.
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« Reply #9 on: November 01, 2011, 05:59:48 PM »

I thought that the 'album mix' on disc 1 was really great...the falsetto during 'columnated ruins domino' blew me away. It's a fitting mix to one of the more epic songs of the 60s, and I could see Brian's vocals growing on me and becoming as grandiose as the 71 mix.
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« Reply #10 on: November 01, 2011, 08:57:28 PM »

The 67 version just so happens to be my favorite version of the song now. Possibly one of my favorite BW vocals as well.

Beautiful.

It might be my favorite too, at least for now.  When I heard about a Wild Honey-era "Surf's Up," I thought, "ok, interesting curio."  But OMG.  One of his best vocal performances ever IMO.  Definitely the best surprise for me on this whole set.
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« Reply #11 on: November 01, 2011, 09:15:21 PM »

Every time I hear Surf's Up it basically makes me stop in my tracks. I doubt Brian has written a better song.
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« Reply #12 on: November 02, 2011, 02:34:26 AM »

hello all,
this may have been discussed before so sorry if it has, but now we have 2 versions of brian running through surfs up as a full take, and each time he doesn't sing "canvas the town.." on the first verse, i for one now assume that he never intended to sing it there in the first place.
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« Reply #13 on: November 02, 2011, 06:47:08 AM »

hello all,
this may have been discussed before so sorry if it has, but now we have 2 versions of brian running through surfs up as a full take, and each time he doesn't sing "canvas the town.." on the first verse, i for one now assume that he never intended to sing it there in the first place.

I don't know because the canvas the town that he does sing IS the same melody that Carl sings after the first verse in the 71 version.
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adam78
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« Reply #14 on: November 02, 2011, 07:17:49 AM »

hello all,
this may have been discussed before so sorry if it has, but now we have 2 versions of brian running through surfs up as a full take, and each time he doesn't sing "canvas the town.." on the first verse, i for one now assume that he never intended to sing it there in the first place.

I don't know because the canvas the town that he does sing IS the same melody that Carl sings after the first verse in the 71 version.

That's a very good point! I wonder now wether they listened to this 67 run through before finishing it in 71 and took the idea from there? Brian could easily ad lib a change like that on a run though. Then again, maybe he ran through it with the others with both parts sung in each place. I do look to why if you're doing a complete run through, would you leave out a line...twice in the same place? Going as far as doing a double tracked vocal for the piano version and not singing in there both times!?

Has this been topic of discussion in the past that i've missed? I never really thought too much of it on the first piano only demo, but adding the 67 version now, just stood out too much for me as his intention.
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« Reply #15 on: November 02, 2011, 07:39:30 AM »

The new version with Brian's lead is simply stupendous - the best version IMHO
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« Reply #16 on: November 02, 2011, 01:17:17 PM »

Both Surf's Ups are really enjoyable to me.

The more I listen to '67, the more it makes sense that SU be orchestrated subtly--simplicity benefits the song very much.  I think I can hear how a "full band" "Part 2" would sound now.  Interesting how good Brian's high F is too, better supported than the earlier vocal.

Well due to the key change, it's actually "only" a high E.. Perhaps that's the threshold of his comfortable falsetto.
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« Reply #17 on: November 02, 2011, 02:11:40 PM »

I much prefer the his 'Columnated ruins domino..' on the 66 version. His phrasing is a lot better on that one, and he is more in pitch. The 67 version is a nice curiosity though Smiley
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« Reply #18 on: November 02, 2011, 04:11:12 PM »

The 1967 version sounds so poignant to me. Having read some of the liner notes, where it mentions that Brian's greatest music was trapped in his soul, never getting a full release, then the late 67 version must have been another attempt by Brian to get some of this stuff out. Imagine writing Surf's Up (Surf's Up for Christssake!) and not releasing it! No one the man became depressed.

Each version of Surf's Up (66 demo, SMiLE version, 67 demo, 71 version) has some quality unique to it, added to the mystique and meaning(s), but having heard the 67 demo for the first time, it really blew me away.
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« Reply #19 on: November 02, 2011, 06:10:00 PM »

Both Surf's Ups are really enjoyable to me.

The more I listen to '67, the more it makes sense that SU be orchestrated subtly--simplicity benefits the song very much.  I think I can hear how a "full band" "Part 2" would sound now.  Interesting how good Brian's high F is too, better supported than the earlier vocal.

Well due to the key change, it's actually "only" a high E.. Perhaps that's the threshold of his comfortable falsetto.

Yeah, I realized that after I typed this up--that could be only as high up to as he felt good.  Perhaps that's why he brought it down and incorporated the key change.  And not to dredge up an old debate, but I still believe that Brian is in modal voice there, not falsetto.
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« Reply #20 on: November 02, 2011, 06:54:13 PM »

I love this 1967 version, but all the glitches in the sound detract from the quality and can be distracting at times.  Otherwise?  Gorgeous.
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« Reply #21 on: November 02, 2011, 09:31:13 PM »

I love this 1967 version, but all the glitches in the sound detract from the quality and can be distracting at times.  Otherwise?  Gorgeous.

no glitches on my version.
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« Reply #22 on: November 02, 2011, 09:41:16 PM »

Both Surf's Ups are really enjoyable to me.

The more I listen to '67, the more it makes sense that SU be orchestrated subtly--simplicity benefits the song very much.  I think I can hear how a "full band" "Part 2" would sound now.  Interesting how good Brian's high F is too, better supported than the earlier vocal.

Well due to the key change, it's actually "only" a high E.. Perhaps that's the threshold of his comfortable falsetto.

Explain the key change to me, I didn't quite pick it out (it's harder for me to find key changes when there's LESS going on, just vocals and piano in this case).  I've only listened to that song twice so far, though, but where does he change the key?

When I listened to it, I noticed he was HIGH.  I couldn't tell if it was the original key or not (from the year before, lol, 'original').  Towards the end, though, it sounds like he's higher than he wants to be, but he struggles through it a little bit and just kills the performance in my opinion.  Hell of a performance. 
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Ron
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« Reply #23 on: November 02, 2011, 09:50:12 PM »

Each version of Surf's Up (66 demo, SMiLE version, 67 demo, 71 version) has some quality unique to it, added to the mystique and meaning(s), but having heard the 67 demo for the first time, it really blew me away.

When I first heard the 71 version, I was blown away.  Get this. I was a casual fan, then a pet sounds fan, then a hardcore fan, then got into listening to some Smile bootlegs.  So I heard the Surf's up 'demo', and all the Smile stuff, and the "child" chants, etc....

I had never heard the "Surf's Up" album.  So keep in mind, my exposure to the song was first the demo.  So I bought "Surf's Up" at a record store, and listened through it.  When I got to Surf's up and Carl was singing it, I thought wow, so cool.  Then I heard how they spliced in Brian's demo, whoa, that's awesome.  When he got to the end, I already knew how it went.  So he goes up into the falsetto 'children's sonnnnnnnggggg'....  and then it's like a sonic tidal wave blew me away.  All the 'child' chants, the Children's song lyric, Mike's bass vox, Brian's falsetto STILL in the background over everybody from the demo, Brian's double timed piano part from the demo.... it was just mind blowing.  I had goosebumps on top of my goosebumps.

In THAT version, you hear in my opinion the dichotomy of what Brian heard in his head, and what he was able to show others.  So to the outside listener, they heard Brian singing the demo.  Piano, beautiful voice.  In Brian's head, though, were all the other harmonies and voices singing along with him, like they are at the end of that version.  So it goes from outside Brian's head, inside Brian's head when the boys all chime in with their incredible vocals at the end.

Now I know that's not the official version of the song or whatever, but the '71 version will always have a special place in my heart. 
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egon spengler
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« Reply #24 on: November 02, 2011, 10:18:37 PM »

Both Surf's Ups are really enjoyable to me.

The more I listen to '67, the more it makes sense that SU be orchestrated subtly--simplicity benefits the song very much.  I think I can hear how a "full band" "Part 2" would sound now.  Interesting how good Brian's high F is too, better supported than the earlier vocal.

Well due to the key change, it's actually "only" a high E.. Perhaps that's the threshold of his comfortable falsetto.

Explain the key change to me, I didn't quite pick it out (it's harder for me to find key changes when there's LESS going on, just vocals and piano in this case).  I've only listened to that song twice so far, though, but where does he change the key?

When I listened to it, I noticed he was HIGH.  I couldn't tell if it was the original key or not (from the year before, lol, 'original').  Towards the end, though, it sounds like he's higher than he wants to be, but he struggles through it a little bit and just kills the performance in my opinion.  Hell of a performance.  

from the beginning of the song up till part 2, it's all a half-step lower than the traditional versions we know and love. from the beginning of part 2 through "come about hard," it's a whole step lower.  from there through the ending, it's back to usual.  kind of a classic BW, Surfer Girl/Warmth of the Sun/I Get Around-style key change trick.
« Last Edit: November 02, 2011, 10:25:36 PM by egon spengler » Logged
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