BEACH BOYS Surfin' USA VG 1963 Capitol T-1890 1ST PRESS BRIAN WILSON Rare Cred

$

20

Vinyl: VG Play Graded. Sounds Very Good!  Capitol Labels are Clean except for a name written lightly on the colorblind of side 2.  This is the 1963 Capitol 1ST PRESSING!  T-1890.   On this just their second album Brian Wilson has made an even richer sophomore effort, leading the group into the deep waters, deepening the complexity of arrangements but still making first rate Rock 'n Roll and Surf Music.  Instant Surf Party!   all music gives it 4 stars!!!

See Review Below!!

In the dead wax:  Side 1:  T-1-1890-D3
Side 2:  T-1-1890-D3
Cover: VG+ (see photos; name and a stain on back cover)  This cover has the RARE credit to John Severson of Surfer Magazine for the badass front cover shot.  After the first pressing, his name was removed.  Here, we proudly give John Severson all the credit he deserves!!!
Goldmine Standards.   I play test every album that I sell on eBay as I have found you can't rate an LP accurately by just visually inspecting an album.  I wipe the dust off of every cover with clean, unscented baby wipes.  I professionally clean the vinyl.

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Why buy a first or early pressing and not a re-issue or a ‘re-mastered’ vinyl album? 
First and early pressings are pressed from the first generation lacquers and stampers. They usually sound vastly superior to later issues/re-issues (which, in recent times, are often pressed from whatever 'best' tapes or digital sources are currently available) - many so-called 'audiophile' new 180g pressings are cut from hi-res digital sources…essentially an expensive CD pressed on vinyl.  Why  experience the worse elements of both formats?  These are just High Maintenance CDs, with mid-ranges so cloaked with a veil as to sound smeared.  They are nearly always compressed with murky transients and a general lifelessness in the overall sound.  There are exceptions where re-masters/re-presses outshine the original issues, but they are exceptions and not the norm. 

First or early pressings nearly always have more immediacy, presence and dynamics. The sound staging is wider.  Subtle instrument nuances are better placed with more spacious textures. Balances are firmer in the bottom end with a far-tighter bass. Upper-mid ranges shine without harshness, and the overall depth is more immersive.  Inner details are  clearer.  

 On first and early pressings, the music tends to sound more ‘alive’ and vibrant.  The physics of sound energy is hard to clarify and write about from a listening perspective, but the best we can describe it is to say that you can 'hear' what the mixing and mastering engineers wanted you to hear when they first recorded the music.    

AllMusic Review by Richie Unterberger

The real breakthrough, as Brian Wilson asserts himself in the studio as both songwriter and arranger on a set of material that was much stronger than Surfin' Safari. Besides the hit title track and its popular drag-racing flip side ("Shut Down"), this has a lovely, heartbreaking ballad ("Lonely Sea") and a couple of strong Brian Wilson originals ("The Noble Surfer" and "Farmer's Daughter"). There are also a surprisingly high quotient of instrumentals (five) that demonstrate that, before session musicians took over most of the parts, the Beach Boys could play respectably gutsy surf rock as a self-contained unit. Indeed, the album as a whole is the best they would make, prior to the late '60s, as a band that played most of their instruments, rather than as a vehicle for Brian Wilson's ideas. The LP was a huge hit, vital to launching surf music as a national craze, and one of the few truly strong records to be recorded by a self-contained American rock band prior to the British Invasion.