After an acrimonious split with their original record label at the end of the 1960s, the Beach Boys moved over to Warner Bros., ostensibly to capitalize on their phenomenal early successes. But the move also coincided with band founder\u002Fcreative genius Brian Wilson's burgeoning health problems and subsequent artistic abdication. That the boys were able to come up with what remain two of their more interesting albums is an enduring testament to the band's willpower. Sunflower, originally released in 1970, was a drastically revamped version of an unreleased album called Landlocked, and has an upbeat consistency that both built on the band's vocal strengths and somehow overcame schmaltzy pop and even the embarrassing, halting espanole of At My Window. Perhaps the album's greatest revelation is the brief flowering of Dennis Wilson as a writing and singing talent, especially on the lovely Forever. With Dennis largely succumbing to older brother Brian's demons, '71's Surf's Up is marred by cloddish efforts at agit-prop hipsterism (Mike Love's Student Demonstration Time) and a nascent environmentalism that ranges from the na?ve (Don't Go Near the Water) to the bizarre (A Day in the Life of a Tree). Carl Wilson rescues the collection somewhat with Long Promised Road and Feel Flows, but the album's twin jewels are both salvaged Brian Wilson efforts--the title track was one of the centerpieces of the unreleased Smile (cowritten by lyricist Van Dyke Parks and here given that album's Child Is Father to the Man as a glorious coda), while Til I Die hails from the scrapped Landlocked and remains one of Brian's most hauntingly introspective works. Both albums have been remastered on a single disc and include new liner notes by Wilson biographer Timothy White.