The Beach Boys - Shut Down Volume 2 (Hybrid SACD - Mono/Stereo) - Audiophile

The Beach Boys - Shut Down Volume 2 (Hybrid SACD, Mono & Stereo)

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[click here to see more vinyl featuring the Beach Boys]

Al Jardine - backing vocals, bass guitar, rhythm electric guitar 

Mike Love - lead vocals, backing vocals , tenor saxophone 

Brian Wilson – lead vocals , backing vocals, piano, Hammond organ

Carl Wilson – lead vocals, backing vocals, electric guitar

Dennis Wilson – lead vocals, backing vocals, drums, floor tom

Ray Pohlman – 6-string bass guitar, bass guitar

Hal Blaine – drums , tambourine, bell-tree , percussion, timpani 

Steve Douglas – tenor saxophone Jay Migliori – baritone saxophone 

Leon Russell – piano, tack piano

Bill Pitman – archtop acoustic guitar 

Tommy Tedesco – electric guitar

Jimmy Bond – double bass 

Frank Capp – glockenspiel, temple blocks, castanets

Al de Lory – piano

Plas Johnson – tenor saxophone

 

 

1  Hybrid SACD

Original analog Master tape : YES

Mono (13- 24) & Stereo (1-12)

Studio

Label : Analogue Productions

Original Label : Capitol

Recorded at January 1–10, February 19–20, 1964 at United Western Recorders and Gold Star Studios, Hollywood

Produced by Brian Wilson

Remastered by Kevin Gray at Cohearent Audio

Originally released in 1964

Reissued in 2014




Tracks :

  1. Fun, Fun, Fun
  2. Don't Worry Baby
  3. In The Parkin' Lot
  4. "Cassius" Love Vs "Sonny" Wilson
  5. The Warmth Of The Sun
  6. This Car Is Mine
  7. Why Do Fools Fall In Love
  8. Pom, Pom Play Girl
  9. Keep An Eye On Summer
  10. Shut Down, Part II
  11. Louie, Louie
  12. Denny's Drums
  13. Fun, Fun, Fun
  14. Don't Worry Baby
  15. In The Parkin' Lot
  16. "Cassius" Love Vs "Sonny" Wilson
  17. The Warmth Of The Sun
  18. This Car Is Mine
  19. Why Do Fools Fall In Love
  20. Pom, Pom Play Girl
  21. Keep An Eye On Summer
  22. Shut Down, Part II
  23. Louie, Louie
  24. Denny's Drums


    Reviews     :

    "These reissues restore whatever was really on the tapes — and given who was involved and where they were recorded, you can be sure the bass heard on these reissues was not added by Kevin Gray. ... As for the quality of these reissues, it's quite clear that, whether or not you like the sonic results, Analogue Productions sets the reissue standard. The company insists upon using analog master tapes (where available), not analog copies, it uses the best available artwork, and packages in 'Tip-on'TM jackets. It masters where the tapes are located using Kevin Gray in California, Ryan K. Smith in New York and Willem Makkee in Germany." — Michael Fremer, AnalogPlanet.com

    "Listening to the stereo version, I was struck by the separation, the wide soundscape, the detail, and the depth; I could imagine the voices filling a cathedral. ... The rich blending of the vocal harmonies on the stereo versions of 'Surfer Girl,' 'The Warmth of the Sun,' 'In My Room,' and other songs is praiseworthy ... the voices envelop you in a three-dimensional soundscape that can be mesmerizing." — Jeff Wilson, The Absolute Sound, October 2015

    "What I can say is that Kevin Gray has been able to extract every last bit of information from whatever tape is in the box, and present it in a way that is pleasing and natural to the ear. ... in my opinion, the Analogue Productions pressings are now THE definitive issue of each Beach Boys album, and will be my reference copies until if and when something better comes along — which may be never." — Lee Dempsey, Endless Summer Quarterly, Summer 2015 Edition

    « Another erratic early album from the Beach Boys; few other rock LPs have such a wide gap between the best and worst material. On the good side, you have absolute classics in the Chuck Berry-ish "Fun, Fun, Fun" and the superb "Don't Worry Baby," one of the most advanced pop productions of 1964 with its breathtaking harmonies and unusual lyric. "The Warmth of the Sun" is one of the most melodic (and melancholic) ballads they ever recorded, and "Why Do Fools Fall in Love" is one of their best oldies covers. Yet the rest reduces the oceanic scale of the classics to dishwater, whether they're throwaway hot rod tunes and instrumentals, innocuous high-school romantic ditties, or a soulless cover of "Louie Louie." When this album hit the racks in early 1964, the Beatles were proving that you could make LPs that were all killer, no filler; the Beach Boys would soon be forced to up their ante. » AllMusic Review by Richie Unterberger


    Ratings     : 

    Discogs : 4.44 / 5 


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