|
Post by Mr. FOLLARD on Aug 26, 2021 22:16:38 GMT
oh YOU
|
|
|
Post by DayoRemix on Aug 26, 2021 22:16:47 GMT
Even if the Daydream album is most likely my 5th favorite SY, it's still better than anything by the Beach Boys
|
|
|
Post by clive gash on Aug 26, 2021 22:19:14 GMT
|
|
Sneelock
god
my bay-buh
Posts: 8,527
Member is Online
|
Post by Sneelock on Aug 26, 2021 22:26:47 GMT
well I prefer the gleam in their mother's eyes before they were born!
|
|
|
Post by Reactionary Rage on Aug 27, 2021 9:15:26 GMT
Surf's Up, along with Cabin Essence, really demonstrates what Smile could have been if Wilson had finished it back in the day. It’s one of those songs that really creates its own world, a song to become utterly obsessed by, a song to really live in. It’s truly magical stuff, both musically and lyrically and like Cabin Essence it really combines the best of Wilson and Parks unique lyrics in a spectacular way. Wilson’s melody is sublime, those chords – whatever the fuck they are – are weird and odd, uniquely Wilsonian but they ebb and flow so beautifully that they feel as natural and obvious as breathing. Listen to the arching melodic beauty that accompanies the “columnated ruins domino” line. Man ain’t that something! The “dove nested towers” middle section has a hushed, twilight beauty all of its own (“Carriage across the fog” is such an evocate line!) but then he throws in a slight curveball with the tumbling rhythm of the line, “The glass was raised, the fired rose, The fullness of the wine, the dim last toasting” that instantly conjures up images of intimate seaside bars, sailors dancing with women of ill repute and maybe a heartbroken cabin boy or two drunkenly shedding a tear over some lass in a far flung port. Yeah? And that final verse! Christ when Brian sings, “I heard the word, wonderful thing, a children's song…” you should be getting goosebumps by now and when the “child is father of the man” fade kicks in you can feel something cosmic stir in your soul: the singular merging with the whole; a moment of hope and beauty expressed in the very 60s line about a “children’s song” that has such an innocent candour it’s hard not be moved by the sincerity of its sentiment. That’s the stuff lads.
But what is it all about and what the hell was Van Dyke Parks on when he was writing this stuff? The passage of time (those ghostly “bygone, bygone” moments…damn!)? Does the title signify death or maybe some kind of spiritual rebirth? Is it about watching some kind of stage performance and being transported into a dream (“hung velvet overtaken me..”?). Its beauty is that it manages to tread that fine line between poetic obliqueness and abstract meaning but still manages to create something powerful and transcendent. It’s funny how people on here quote the “columnated ruins” line like it’s fucking, “she loves you, yeah yeah yeah” or something. That’s a helluva neat trick!
When you are coming up against shit on this level I think it’s easy to understand BEACH BOYS FETISHISTS. One of the ways you can measure greatness is how something impacts on people…the level of obsession, the fall out. On Surf’s Up, like A Day In The Life or Good Vibrations or See Emily Play etc you can really sense the birth of a new Pop world that was briefly glimpsed through awestruck eyes for a short period in the mid 60s.
It is a masterpiece and, frankly, if you think Teenage Riot is anywhere near this level then you are not the kind of person I want to know. Hell I wouldn’t even want to sit next to you on a fucking bus mate.
I assume ya’ll have heard this….close your eyes and listen, listen…
|
|
|
SU vs TR
Aug 27, 2021 9:19:08 GMT
via mobile
Post by tory on Aug 27, 2021 9:19:08 GMT
Sonic Youth can just fuck off
|
|
loveless
god
Bringing ballet to the masses. Sticking to the funk.
Posts: 2,784
|
Post by loveless on Aug 28, 2021 12:11:36 GMT
I like "Teenage Riot" just fine, but it's hardly in the same league.
It's reductive to summarize my appreciation to "Surf's Up, loads gets left out, but...I think it was Coan who once described some track as "It's got ghosts", and I guess "Surf's Up" summons a similar appraisal from me.
There's a salient, deeply palpable darkness there that might have been disturbing to anyone who was hearing it just a few weeks after "Good Vibrations". The SOUND of the 1966 solo Brian version (or the instrumental track from 1966) is its own thing, but of course the chords/changes/melody/feel/starkness/lyrics all working together in conjunction - there's this empty, desolate despair...shit, by the time he reprises the B section with "Surf's Up, mmm hmm...", it's as if he's letting you know "Yeah, shit's like THIS now...". You can't really separate it completely from things you know about SMiLE, Brian, "the end of the 60s" (which, to me, is everywhere in the best music of that time).
|
|