RARE UK 1969 Orig "20/20" THE BEACH BOYS BRIAN WILSON "Masterpiece" filled A+

$

28

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1969  ORIGINAL U.K. ((Rainbow )) Capitol  ~ CLEAN FIRST PRESS

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          the Beach Boys

              20/20

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        "Made In England" ~ RAINBOW CAPITOL - E-ST 133~

The Beach Boys are one of the stranger phenomena of rock. In 1963, they were responsible for some of the best rock by whites before the Beatles. They created a style, now dated, more sociologically than musically. The style has altered (improved, even), though not as much as the music itself.

SCARCE 1969 BRITISH (laminated) GATEFOLD, always ben one of the hardest Beah Boys albums to find. "20/20" was recorded along the time-zone as the Manson Family involvement with the band, especially Dennis Wilson (Manson Family members basically took over his home.) 

Original ... 1969 (unipack gatefold) and very scarce (one of their hardest to find, especially clean since the cover is highly prone to wear.) Here is a very nice minty clean 49 year old original!

This is a Very underrated LP: features "Never Learn Not To Love" a song nicked from Charles Manson, the title and lyrics altered, but clearly the Charlie composition...perhaps a factor that set his henchman on their legendary death spree.

The "20/20" album is a collage of several different phases of the group’s career. “Do It Again” is the best California rock song they’ve done since “Help Me, Rhonda,” an authentic lyric, fine hand-clap drum, lush in a more disciplined way than on Pet Sounds. “I Can Hear Music” has an interesting alto chorus, a balance of strong vocals rather than, as on most of the other cuts, a solo with backing. Almost, but not quite, tight enough. “Bluebirds Over the Mountain” is distinguished by subtle, even humorous, but nonetheless driving piano (here, as throughout their later stuff, Brian’s piano is the central instrument, rather than guitar). The chorus here is nasal, and is a disadvantage. The “psychedelic” guitar is seemingly out of place, but undeniably good.

“Be With Me,” by Dennis Wilson, uses woodwinds effectively, with heavy emphasis on brass that is, but for a couple of notes, quite tasteful. Again, this is reminiscent of Pet Sounds, where the major influence on Brian seemed to be Motown — a creative influence that, however, also fit right in with the temptation to over-sentimentalize the music. The fade-out on this piece is the highlight, a Space Odyssey-like distortion of strings and vocals. “All I want to Do,” with fine piano and a simple but perfect bass line, uses guitar better than anywhere else on the album. The vocal is, ultimately, convincing. “The Nearest Faraway Place” is an alternately interesting and richly complex instrumental.

The second side has the record’s two best pieces, one being the first band, “Cotton Fields” (that “Cotton Fields”), on which piano gives depth to harpsichord, the vocal is superb, the arrangement tight, and echo used better and more tastefully than by anyone since Phil Spector.

“I Went to Sleep” is not rock at all, but pop well-arranged. “Time to Get Alone” resolves the contradictions between pop and rock, with a real balancing of vocals tied together by simple but effective drums; violin, the most abused of all rock instruments, is employed with restraint. “Never Learn Not to Love” is a fine vocal, though the material itself is an uncertain mixture of pop and soul influences. “Our Prayer” is a nice prayer, but undemanding.

“Cabinessence,” the last cut on the second side, is one of the finest things Brian has ever done, a product of the Smiley Smile collaboration with Van Dyke Parks, whose extraordinary gift it is to make a cliche grow into a world: “Lost and found you still remain there/I’ll find a meadow filled with reindeer —/I’ll build you a home on the range.” The totally orchestrated cacophony was an innovation in rock when they used it in Smiley Smile, and is still done here better than anywhere else. Piano imitates ukulele, and the solo vocal is gentle, but brilliant.

1. Do It Again 2:24

   I Can Hear Music 2:38

   Bluebirds Over The Mountains 2:58

   Be With Me 3:16

   All I Want To Do 2:02

   The Nearest Faraway Place 2:36

   Cotton Fields 2:18

   I Went To Sleep 1:32

   Time To Get Alone 2:40

   Never Learn Not To Love 2:34

   Our Prayer 1:05

   Cabinessence 3:33

CONDITION: The cover: Rated: VG+(+) and better...which is almost GREAT for this highly wear-prone laminated gatefold ... has some light handling crinkles at seam/spine and light abrasion on lamination but clearly no wear in terms of the "ring wear" type. Pretty much hard to find in any condition. There are no delete marks, no split seams, no bends, and no writing ...

The vinyl: Rated: "EX (excellent) expect to play with excellent audio levels, the pressing is weight heavy and pretty much full of bright shine. Both rainbow Capitol labels are also clean, no writing, dirt or soil

All the writing credits were taken from the gatefold sleeve.
There is a discrepancy for track A2 as on the label it credits Spector—Barry—Greenwich but on the sleeve credits only Jeff Barry

On the sleeve:
E-ST 133
Capitol Records a Company of the EMI Group
EMI Records (The Gramophone Company Ltd.) Hayes • Middlesex • England
Made and printed in Great Britain
Printed and made by Ernest J. Day & Co. Ltd., London, W.11.

On the labels:
E-ST 133
? 1969 except tracks A1, A3 & B4 ? 1968
Made by Electrical & Musical Industries Limited in Gt. Britain
Sold in the U.K. subject to price conditions, see price lists
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First issued in March, the debut pressing with the rainbow label has two different sleeves: the internal gatefold was pasted either way, Thus, Brian is depicted either on the left or right side,

SEE: SELLERS OTher items for similar cool sounds for "head" people..

EFFICIENT/CAREFUL GRADING

All imperfections are noted both cover & record