Best track on the Beach Boys' SMiLE

Surf's Up

i mean yeah, there's really only one *right* answer here isn't there...but with a tracklist like that it's almost crazier that that's the case

Cabin Essence

I'm torn between 'Wonderful' and 'Cabin Essence', both excellent songs. I've heard 'Good Vibrations' way too many times, and I'm kinda bored of 'Surf's Up'.

Cabin Essence and Heroes & Villains are certainly the most "Smile-y" of the major tracks. Good Vibrations really feels like a tack-on when placed at the end of the album. Surf's Up stands on its own as a solid, maybe even transcendent in the right mood, but not particularly relevant, Four Freshmen throwback. Cabin Essence gets my vote for having the best combination of tight composition, memorable hooks and over-the-top experimental sounds. Heroes & Villains never really comes together as evidenced by the dozens of hours of studio effort spent trying to piece it into a proper followup to GV.

The ascending and descending background harmonies to the "who ran the iron horse?" bit is one of my favourite moments of the Smile tracks, especially when it gets repeated at the end for the outro.

I can only hear this album as a buildup to Good Vibrations

I can only hear this album as a buildup to Good Vibrations

I like the sequencing of Brian Wilson Presents Smile — within the context of Brian's career, it's fitting that his solo release of Smile should end on the redemptive note of 'Good Vibrations.' but I'm less satisfied with 'Good Vibrations's placement as the final track on the Smile Sessions reconstruction. the unfinished 1967 Smile sessions are so haunted and melancholy (both lyrically/musically and in terms of the role they play in the Beach Boys' mythology) that 'Surf's Up' is the only emotionally satisfying way to conclude the album. I actually prefer the running order of certain bootlegs (Mok's Smile and Ryan Guidry's Smile both do a decent job) to the Smile Sessions box.

(I also think Smile sounds much better in stereo, authenticity be damned)

Wind Chimes is my favorite arrangement so voting that.

good vibrations is objectively the greatest song ever but cabin essence

wld also vote for the song from walk hard that basically just a parody of this album

my shortlist would be windchimes, heroes & villians, vegetables and good vibrations

has anybody dug up the (probably apocryphal) 10+ minute version of good vibrations they made?

actually it was purported to be 15+ minutes long, ian penman referenced it in the wire iirc

there is no 15 minute version of "good vibrations". it's just that, you know, they did something like 75 hours of sessions for the single, and you can easily string together the existing sessions (all the vocal sessions for the tune are lost, so it's all backing track stuff) into 15 minutes or more of music (see: disc 5 of the "good vibrations" box set). you can do the same thing with "heroes and villains"- there's a fan edit that runs to 21:43, although it's obvious that the song was not intended as a side-long composition.

i want it to exist so bad!

We all did our edit back in the day (my own edit of H&V actually was 7 mins spot on, without trying to be)

Having said that, I believe this to be a perfect version of how it would have been:

http://albumsthatneverwere.blogspot.co.uk/2013/09/the-beach-boys-smile-1967.html

"Child Is Father Of The Man" - but I haven't heard the officially redone/released version.
the original on the Smile bootleg was the deepest most haunting cut, so that.

Obviously it's Surf's Up but I have so much time for this album. This has prob already been said but I don't really see it as a collection of individual songs, so much as a suite, so trying to discern favourites is futile. I like a lot of the 'Smiley Smile' versions of these songs too - especially the creepiness of Wind Chimes and Wonderful.

Never been a big fan of Heroes & Villains though, I must say. Something really clumsy and unsatisfying about that song.

u so crazy

Something very Roxy Music about "Heroes & Villains".

Yah rly. Although I can't put my finger on why. I could imagine them covering it.

Tempted to vote "Fire," as hearing that at the record store Low Yo Yo Stuff in Athens was probably what got me to buy my first bootleg of this back in the day. But I have this a bit blurred together with another, earlier occasion when hearing "Vega-Tables" at a different Athens record store (Wuxtry) got my roommate to buy Smiley Smile. It's been literally years since I listened to anything but the Brian Wilson version (which I loved), but y'all are convincing me to sail back out into the Sea of Tunes tonight.

voted "Our Prayer"

"our prayer" is a noble vote...what do we think brian's primary influence was on that? what else can i check? i know he was crazy for gershwin at this time especially but i'm not sure i've heard anything of his that really reminds me of something like "prayer"

he was very into the Four Freshmen and other doo-wop/vocal groups, and the wordless intros and outros of songs like 'It's a Blue World' and 'Their Hearts Were Full of Spring' (which the Beach Boys covered during the Wild Honey sessions) were a likely influence on 'Our Prayer'.

https://www.youtube.com/watch?v=djDm2JVMm9Y

https://www.youtube.com/watch?v=iggWvFgp3KE

the unfinished 1967 Smile sessions are so haunted and melancholy (both lyrically/musically and in terms of the role they play in the Beach Boys' mythology) that 'Surf's Up' is the only emotionally satisfying way to conclude the album

OTM

I just can't do Smiley Smile. Talk about a depressing listen, knowing what it could have been.

hmm, the only track on Smiley Smile that depresses me is 'Wonderful'. Carl's lead vocal is appropriately plaintive, but the studio chatter is almost masochistic, as if Brian is punishing himself for his failed ambitions by desecrating one of his most affecting compositions with his own laughter. but a lot of the other tracks on Smiley Smile (Vegetables, She's Going Bald, Wind Chimes) were slightly goofy/incidental even in their Smile incarnations, so the Smiley Smile treatment isn't as jarring, and I can appreciate the band's impulse to loosen up for a change (and they at least had the good sense not to revisit 'Cabinessence' or 'Surf's Up'). Smiley Smile would have disappointed me enormously if I had been following the group in the '60s and anticipating a masterpiece, but viewed in retrospect as a laid-back companion to the Smile sessions, it isn't a particularly depressing listen. with all the Smile material available to us in 2015, we at least have a good approximation of 'what could have been', and I'm not particularly interested in speculating about how Smile would have been received it if had been fully realized in 1967 (or at any rate I don't think this knowledge would have much bearing on my enjoyment of the music).

So, after a fresh listen, I'm unexpectedly voting "Cabin Essence" as somehow the most Smile-ish track - we find the group at this really fascinating step just between the kind of genially fleshed-out sonics of Pet Sounds (themselves just this side of easy listening, but so much better), and the much much weirder, bad-trip abyss hinted at by "Fire" - there's something unsettling lurking in the "who ran the iron horse" section, and something lost and sad about the "over and over" part. My sense is that, as much as all the other factors, the gulf between those two worlds, which gives Smile a lot of its compelling quality as a listen, is a big reason for its not being completed, and also for the tantalizing but hard-to-imagine prospect of Brian Wilson being able to pull it all together, to make a whole of fantasia and phantasmagoria. "Surf's Up" does have the aching sense of distance and loss, but the only real hints of a personality pulled in two come with those great dissonant brass shudders, and in the version I have, those are a discrete passage just before the solo-piano song commences -- not really part of the piece.

https://www.youtube.com/watch?v=sTifX3mpnV4

i gave it a relisten this afternoon and "good vibrations" all the way

Smiley Smile is my favourite Beach Boys' album. Think I might have heard it in its entirety before Pet Sounds or Smile. I don't find it depressing at all. It's p much exactly what I want out of a lot of music I listen to.

"Surf's Up", though I prefer the overdubbed version that was eventually released on the like-titled album to the Smile version which still feels a bit incomplete.

Wow, love "It's a Blue World". Need to check out the Four Freshmen....

The Smiley Smile version of Wind Chimes is fantastically eerie. I wouldn't go as far as Dog Latin bt it's a v special album in its own right

i still forget in my mind that "Fall Breaks and Back to Winter" is not a Smile track. I wish they had done whole records like that track. It's like proto-residents.

Also, can we pause itt for a second to just say THE MOTHERFUCKING WRECKING CREW.

'Their Hearts Were Full of Spring' (which the Beach Boys covered during the Wild Honey sessions)

they were copying that well before '67

https://www.youtube.com/watch?v=WQFvobezpjI

Fall Breaks And Back To Winter is kind of a reconstruction of Fire/Mrs O'Leary's Cow though, no? I love it though.

https://www.youtube.com/watch?v=Lb8a-obj0xs

They did it on their first demo tape as well (1961)

?

Listening to too much Four Freshmen will make you realize why people were primed for the British invasion... definitely a good Brian Wilson primer though.

https://www.youtube.com/watch?v=l4NafK3NFhA

I love the fact that Smiley Smile is a far more uncommercial and strange record than the record it replaced!

hmm idk about that

if anything i think smiley smile is a good riposte to anybody who thinks that weirder = better

i still forget in my mind that "Fall Breaks and Back to Winter" is not a Smile track. I wish they had done whole records like that track. It's like proto-residents.
― demonic mnevice (Jon Lewis)

Yes, Residential, exactly! That one was also known as "Woody Woodpecker Symphony" right? Woody's "laugh" is in there.

"Wind Chimes" is inadvertently hilarious on Smiley Smile, dudes trippin on their wind chimes

Cabin Essence, Child is Father of the Man, Wonderful all mean more to me than Surf's Up, Good Vibrations, Heroes & Villains (all great songs)

it's weird, i first knew "wonderful" and "windchimes" in their SMILE arrangements via Baby Lemonade's mid 90s covers
http://cdn.discogs.com/02ohUR_Uu3OFgO39XqyaXOuE9pc=/fit-in/428x425/filters:strip_icc():format(jpeg):mode_rgb():quality(96)/discogs-images/R-1529903-1288556500.jpeg.jpg
i knew the smiley smile versions, and was shocked at how beautiful baby lemonade had made them -- without knowing then that they had covered the smile versions pretty much note for note.

I love the way he sings Wonderful on Smiley Smile, but that groovy party sound effects interlude is so pointless. If I ever stick that on a mix again I think I'll just snip it or stick some other song between the beginning and end.

i do think the 2004 version is the "real" version, but i also like the idea of _artificial_ versions of smile, like the 2004 version wouldn't have existed in 1967 but is "real" and canonical by dint of being finished and being the work of brian and van, so why should we limit ourselves to some hypothetical "would have happened" scenario? do it up _for want of a nail_ style where the whole thing is a production of Kramer Associates for the USM. do a version called _summer fun_ created in an alternate universe where there are flying cars and brian wilson is a trans woman named diane and the whole thing falls apart over the recording of a song about the donner party. (the discord server i run is currently doing a book club for that book, it's fucking rad, y'all should read it).

i got a thing called "heroes and villains: the complete reconstruction", which is 22 minutes long and rules. i got a nightcore version of the beach boys "love you" done before the word "nightcore" was invented. sometime before 2004 i put together a "real" smile version (taking more or less after the prokopy version using the apocryphal track list from the december 1966 back cover) and an alternate view, mostly compiled from random experiments i grabbed from the old "smile shop" message board:

smile promo ad
heroes and vegetables
the elements (fire/i wanna be around/love to say da da/country air)
i'm in great shape (/barnyard/with me tonight/mama says)
heroes and villains part 2
been way too long
can't wait too long

alt whistles (alternate version of "fire" intro)
who ran the iron horse? ('66 acetate "cabinessence")
the grand coulee dam ('66 acetate "cabinessence", conclusion)
surf's up (remix, basically psychedelic with elements of "george fell into his french horn" used as whalesong in part 2 and no "child is father of the man" vox at the end)
with me tonight
he gives speeches
do you dig worms?
cool cool water
you're welcome
brian speaks! (the bit of his appearance at ringo's birthday where he declares van dyke parks "the biggest butthole in the world" - i mean, orange crate art _was_ kind of a dick move, tbf)

the segue from "he gives speeches" into "do you dig worms" is kinda rad actually, i always forget about it

xp I used the 1969 "Cabinessence" and the 1971 "Surf's Up" too - IIRC, I leaned on the officially released stuff, including the previously unreleased stuff included on the 1993 Good Vibrations box set (which is a great box set, still holds up as the best one they've released IMO).

One thing the 2004 version had going for it is that everything feels tighter and performed better (with greater polish and precision). So on a few instrumental sections, I still used the 2004 version even when a bootleg was available because it played better for me.

This may be too much to post, but going by memory...

1. "Our Prayer/Gee" was from the 1993 box set. But the trombone segue sounded better to me on the 2004 album (it sounded almost trumpet-like)...couldn't use every bit of it due to the crossfade into the "Heroes and Villains," so I basically started with the 2004 horn, then as it plays the last elongated note, crossfaded it into the 1993 track of the same horn note. It actually was kind of cool how the tonality changed with that crossfade. Then I overlapped this on to the beginning of "Heroes and Villains."
2. "Heroes and Villains" mostly the alternate version from the 1993 box set, but I remember needing a section from the single version to match what was on the 2004 album.
3. "Roll Plymouth Rock" (aka "Do You Like Worms?") I think this was on the 1993 set, in which case I took that recording then spliced in the verse parts from the 2004 album since those lyrics didn't exist then.
4/5. "Barnyard," "Old Master Painter," "You Are My Sunshine" were probably bootlegs, unreleased back then.
6. "Cabin Essence" the 1969 release found on the 1993 set
7. "Wonderful" also from the 1993 set
8. "Song for Children" - the opening (which segued in from "Wonderful") was from the then-still-unreleased boot, but when the tempo picks up, I actually used the 2004 set. I remember the boot sounding a bit off in the performance, and the weird tap-dance-like break felt like a misguided choice that wasn't in the 2004 version.
9. "Child Is Father of the Man" the bootleg (unlike "Roll Plymouth Rock," the new 2004 verses were sung by Brian alone, and I wanted to avoid that as much as possible so I didn't splice them in.) The ending segue came from the 2004 album though.
10. "Surf's Up" the 1971 version
11. "I'm in Great Shape/I Wanna Be Around/Workshop" - bootleg
12. "Vegetables" opening segue may have been flow in from the 2004 album. But the track was mostly the 1993 set...but I remember doing a few major edits to it. Too complicated to recall the sources, but I remember where I did the edits due to some nice details that popped out (like a whistle shooting up on one edit and needing to overlap one section before an edit with a sped up a capella part).
13. "Holiday" was mostly the bootlegs, but I think I took the slow outro from the 2004 set where the harmonies sounded better - really sounded gorgeous as a better recording. Doing so also brought in the segue that was needed too.
14. "Wind Chimes" was the 1993 track. I remember editing it to the opening segue on a bass note that sounded DEEP. The "doo doo doo-ya doo doo" part on the back end came from the 2004 album - I remember making the edit somewhere in the piano break, and it was cool how the sound of piano notes changed with that edit.
15. "Mrs. O'Leary's Cow" was mainly from the 2004 album because the vintage recording sounded less intense and less energetic than the 2004 recording. But I think the opening may have been taken from a vintage recording from the 1993 set.
16. "In Blue Hawaii" was from the 2004 album because the album wouldn't sound finished any other way. Then I closed with "Our Prayer" from the 1993 set, but I used the whole version (minus "Gee") because I gave the album complete, symmetric closure that way. I didn't think "Good Vibrations" was essential, it was more like a really great footnote or bonus.
17. "Good Vibrations" but from the DCC gold CD of Endless Summer because they fade out later and I like that extra bit.
18. after 20 seconds, "You're Welcome," which kind of played like a hidden track à la Sgt. Pepper's runout groove.

"the best of both worlds, just to have a 'finished' but mostly vintage album"

This is the way to do it!

I played the shit out of the 2004 recording and now the original bootlegs sound wrong to me!

I think I value the unity over the singing quality, I guess. What I really miss is the reverb/echo

Do you like the 2004 versions of "Cabinessence" and "Surf's Up" better than the 1969/71 recordings?

In the context of the record, yeah, I prefer it. If I was just gonna play the isolated track, I'd 100% chose the old one

One of the nice things about the re-recording is how it doesn't sound egregiously modern. I guess using one of the studios Brian preferred back in the day helps (the acoustics are probably very close if not exactly the same as they were before), but also having the same echo chamber(s) intact and a vintage tube console makes a huge difference. There is noticeably less echo on the vocals, but with Brian's current voice, it feels like the better choice - it's like their owning the fact that it's not the same voice anymore rather than trying to unsuccessfully hide it by burying it in reverb.

yes---I too wanted to make a 60s-'04 Smile, though I didn't think it out like yall did, I just wanted to put thee olde Boys vocals around latter-day Brian, in most cases, or maybe leave Wonder Mints audible as supporting harmonists in some cases, with Carl & co. up front (but benefiting from '04 singers' skills).
The main thing about the Nonesuch album was that I felt I really got Brian's original intention, or maybe it was there more (consciously, specifically) as he and Parks finished it: that he was struggling, and his subject was that struggle, with American fantasy, all the stuff that a middle class white kid in 50s-60s suburban Southern California (among others) might find his head fed with, by himself and others, as he looks back across the West, for instance (Wilsons prev from Illinois), and out in projection and refraction to "Blue Hawaii" (also title of an Elvis movie). And the voice! As I wrote at the time, "He's the Old Boy In The Bubble, he just keeps rollin' along."
Thought of this again when I recently read one of Joan Diddion's late works, Where I Was From, past tense because she's come to realize and struggle with her own California Children of the Pioneers mythos, of Rugged Individualism in an artificial paradise of water and land politics, plugged into and dependent on Big Gov in a lot of ways, like Cold War military contracts supporting your little town, blank check even, for quite a while, 'til after the gold rush--)
Oh yeah, the Nonesuch Smile does give me a lot of different facets to play with, like this 2004 interpretation reminded me of Brian saying that "Good Vibrations" came from something his mother told him, regular grassroots wisdom from way before the hippie era, another part of the heritage, like folk remedies (if COVID had showed up earlier, would have had some of the same solutions)(thinking of some groovy friends' parents now too)

Which associations don't mean that his Mom was wrong!

I'm conditioned because I've lived so long with the '71 edit of "Surf's Up", but no matter how correct it actually is, having "Child Is..." as a separate track placed <before> "Surf's Up" just feels totally wrong to me.

Also: recently I was listening to the '70s Reprise vinyl edition of 20/20 and had 'a moment' with "Cabinessence" sounding so massive even over my bookshelf speakers, sitting there slack-jawed contemplating how mere mortal human beings made this, achieving those sounds--it still feels like it was made tomorrow.

Wow, I would love to hear some of these assembly edits. I love the completed Wondermints version (and saw the tour, which brought me to tears a few times) but there is such electricity and magic in the original vocals that I miss them despite the Wondermints' great talents.

Also: recently I was listening to the '70s Reprise vinyl edition of 20/20 and had 'a moment' with "Cabinessence" sounding so massive even over my bookshelf speakers, sitting there slack-jawed contemplating how mere mortal human beings made this, achieving those sounds--it still feels like it was made tomorrow.

I listened to Smile for the first time in years a couple weeks ago and was struck by how the effect of the Who Ran the Iron Horse section, especially between the cello and fuzz base, sounds almost like a synth.

xp If the original vocals still existed on isolated tracks, it would have been cool if they had recorded the 2004 album around them.

i also like the idea of _artificial_ versions of smile, like the 2004 version wouldn't have existed in 1967 but is "real" and canonical by dint of being finished and being the work of brian and van, so why should we limit ourselves to some hypothetical "would have happened" scenario?

^gets it

a 60s-‘04 Smile

That’s what the 2011 Smile basically already is, ffs

need to know more about this nightcore “Love You”

found it referenced on RYM, mediafire link is still active:

http://www.mediafire.com/download.php?1tnjnyqcomm

Never had one download automatically before.

a 60s-‘04 Smile

Wiki:

It features comprehensive session highlights and outtakes, as well as an approximation of what the completed album might have sounded like, using the 2004 version as a model.

nah it's all '66-'67 recordings, there _are_ fan reconstructions using a combo of them for the unfinished tracks (like In Blue Hawaii) but the official release is all vintage

if you search "soniclovenoize smile" it turns up a triple disc fan compilation which offers how it might have been in 67, an assembly of original sessions conformed to the 2004 Wondermints version, and a disc of reconstructed tracks. The second disc is *amazing*, better than the other reconstructions I've heard. The link is missing from the main post but lossy and lossless reuploads are linked in the comments.

this is that: http://albumsthatneverwere.blogspot.com/2018/12/the-beach-boys-smile-upgrade.html

and here's the liner notes for the second disc: http://albumsthatneverwere.blogspot.com/2013/09/the-beach-boys-smile-2004.html

I thought of this guy when I first saw "reconstruction," but knew that all his links had vanished a while back. And the ones I found in comments on this 'un lead to The account that created this link has been terminated due to multiple violations of our Terms of Service. Just like his others, but I already had most of what I wanted.

I used the mega nz one, a few days ago, worked fine; I hope I didn't break it!

there's some more recent links in the comments that still work yeah

Hum I couldn’t find a working link for the 67 reconstruction

http://albumsthatneverwere.blogspot.com/2018/12/the-beach-boys-smile-upgrade.html?showComment=1646491845433#c5694448617647941503

Got it, thanks !

This is the one that they say Darian used as a reference for the 2004 release. It kicks ass.
https://www.youtube.com/watch?v=aMJ-asYwzYU

This is the one I listen to the most. It adds in cool dialog from the sessions and stuff.
https://drive.google.com/drive/folders/1S-J-pVPCbsmJHxTPrCH6h-Pmcjv52hpS

all four parts of the "purple chick" mix are on yt that's just part one above

The entire Beautiful Dreamer documentary is apparently on YouTube:
https://www.youtube.com/watch?v=0SriaRRcA6w

Surprised we don't have a dedicated thread for "Smile" other than this.

Anyway, I came here to say the 2004 Brian Wilson is the definitive version

cosign, there's a certain mystique to "unfinished works" but there's this idealist counterfactual narrative. wilson and parks finished smile. that is the album. whether or not it _would_ have been the album in 1967 doesn't matter. obviously the '66-'67 recordings have _value_, they're _great_, but the album literally exists and the stuff on the smile sessions box isn't the album.

2004 doesnt have the otherworldly alien feel like the og sessions do

that's true. i own the box, i listen to the original recording sessions, honestly, i probably listen to fragments of the original sessions more often than i listen to the completed album. i guess what gets me is when people try to speculate about the "real album". i mean there is a certain sense of, i mean, to me it's not like wilson and parks just threw everything they had into it. it's a record from a long time ago, some other folks who had the bootlegs put them together and played around with things and eventually came up with something that wilson and parks could look at and say "yeah, ok, we can release that". if the '66-'67 sessions are a result of a singular vision, well, two singular visions maybe, the 2004 record isn't that. but insomuch as there is a "real album", that's it.

doing what the _smile sessions_ box does, taking all the tracks that they re-recorded for the 2004 set and sequencing them in their unfinished form, i mean, it's interesting but it's hugely anachronistic. and i guess to me that's the disappointing thing, the extent to which the "fan mixes" since 2004 seem like just different ways of putting the stuff used in the 2004 mixes together. i like fucking around, you know, just doing weird shit. somebody put together a mix of "heroes and vaillans" that's more than 20 minutes long. back before the record came out, you know, everybody was trying to fit things into the format of that random-ass tracklist full of songs that didn't actually exist. i did a version with an edit of "country air" in there, it's anachronistic sure but i still think it sounds good.

idk maybe people are still fucking around and i'm just not plugged in to how it's going, or maybe, you know, it was just a limited time thing

i haven't read _glimpses_ but i have read _summer fun_, fall of '22, it was a dark, traumatizing read. _smile_ has always been a bit of a fucked vibe. a lot of it is my memory of, in 2000, playing "holidays" for this girl i was at the new jersey shore with, super fucked situation, and her saying it was really sad music that sounded like it was trying really hard to be happy. anyway, yeah, i mean ultimately if you're going to do riff on _smile_ you can change it around quite a lot. shit, why not do that, fuck around with the _smile_ backing tracks, add and remove shit until you have something that approximates the way _summer fun_ is described in the book. that would be interesting. because there aren't any _lyrics_ to _summer fun_, they weren't recorded. it was all backing tracks.

some other folks who had the bootlegs put them together and played around with things and eventually came up with something that wilson and parks could look at and say "yeah, ok, we can release that". if the '66-'67 sessions are a result of a singular vision, well, two singular visions maybe, the 2004 record isn't that.

idk BriWi seems to have had some intentions, particularly regarding how the modules fit together, that eluded the nerds and bootleggers for decades. it's revelatory. certain movements and passages that feel very disconnected and fragmentary in fan mixes suddenly cohere.

it's also, yes, anachronistic. it's interesting that where the Beach Boys revisited and developed (or curtailed) that material in the 70's, , he seems to regard those later versions as definitive. so you get the abridged Surf's Up, and he insists on using the "Cool Cool Water" intro for "Love to say dada". iirc the 3 movement structure is a modern reconstruction.

it's a real mixture of intentions that are native to the original sessions, but that nobody who heard the recordings had a clue about. some songs that Carl & the Beach Boys reworked and completed in the 70's that are sort of frozen in that period, and then some additional material that was created for the 2004 release, and some new perspectives.

In Sahanaja's recollection, "He'd be saying, 'Oh yeah, that's supposed to be a part of this song,' or 'Use that bit to connect these two songs here,' and it was really neat."[30] However, on another occasion, Sahanaja said that Wilson did not assert his original ideas for the album: "Brian Wilson is not going to tell you in October/November of 2003, 'No, this was supposed to be like this.'

it was really sad music that sounded like it was trying really hard to be happy

girl you were at the jersey shore with otm

The SMiLE Cabinessence vs the Smiley one is the one of the most o_O ?! choices in their career up there with Hey Little School Girl and Problem Child. The Smiley one is SO BAD. The og one is one of the best things ever produced by a human.

can’t remember what the 2004 one sounds like… the og/sea of tunes stuff is so fused into my mind

"CabinEssence" isn't on Smiley Smile, and the 20/20 version seems to be simply the original track with lead vocals overdubbed?

I'd say "Wind Chimes" is the most boldest Smiley Smile remake, and "Wonderful" the least successful. Never really liked "VegeTables" in any version.

The Smiley version of « wonderful » is sabotage

i'd love to hear a smiley smile version of cabinessence

the first times i heard Cabinessence were on a bootleg without the lead vocals and i imagined the prominent "doing! doing! doing!" vocals being sung by cartoon squirrels or beavers. the looney stuff connected with me most at that time and i always loved Vegatables. "if you brought a big brown bag of them home, i'd jump up and down and hope you'd toss me a carrot" !!! i mean come on

the thing about the sessions that the finished album with 3 movements kind of disguises imo is how Brian's ideation of the album evolves over the course of the dates, how the kind of album he wants to make is a rapidly moving target and he pivots when he gets excited about a new direction or theme. and like splitting it into 3 movements where the whole thing has this very moving emotional arc that wasn't apparent before, it just makes the constant readjustments seem very deliberate, like there was this master plan all along. and it's much more clear on the stack o tracks that this wasn't the case.

iow i think on the old bootlegs there's a sense that Brian can't keep up with the album itself, that it's overpowering him in quite a sinister way, that it has its own animus that can't be tamed and it's quite dangerous. and like, now we've harnessed that and we're in control of what it does, even though it feels like playing with fire at times

no pun intended

like i wondering if the 2004 version is definitive why the 2011 one is ultimately more satisfying in some way and maybe it's cause that one retains more of the sense of playing with fire, like this is some potent shit that we've revived and are messing with

like i don't wanna lump the sessions in the "the mystique of unfinished works" because there are unfinished works that just feel aborted or half baked, and this feels like it got the better of its composer and ate him alive?

Brian can't keep up with the album itself

Definitely. Even the way he keeps juggling the "bicycle rider" theme in different keys, tempi and arrangements suggest a kind of obsessive tinkering when you hear it in a dozen different places in the sessions tapes.

...and he kept at it until he wrote "Can't Wait Too Long", maybe my favourite Beach Boys song of all.

love this reading, Deflatormouse. and I'm a fan of the 2004 one! not sure I've ever heard the 2011 one. hmm.

transition from the huge 2011 mix O'Leary's Cow with 'Fall Breaks' vocals into Cool Cool Water intro is this moment of tremendous psychic relief that Love to Say Dada in its original form never achieved- deeply healing, the most satisfying possible resolution to everything that's come before. And then it goes abruptly into unfinished 'Love to Say DAda' without the "Blue Hawaii" stuff, the album once again has the upper hand and it undermines the resolution, it's just a deeply unsettling note to end the third act on.

2004 Smile doesn't give me that.

feel like I've read at least two Brian Wilson books but I can't remember anything about why The Old Master Painter? Is Brian Wilson the inventor of interpolation? And I could guess, but why The Old Master Painter?