Corner:SQ Smile

SMiLE
The SMiLE is the most "legendary" unreleased album. It's modular design (album is made of small sections/fragments also described as "feels") and it's incompleteness makes it interactive and engaging (alive). It is perfection comes from it's imperfection/incompleteness and fantasizing what if.

I am just doing what we all must do: roll your own SMiLE, and thus keeping it alive.

Why I need to DIY
Because no SMiLE is good enough for me. :smile:

Brian Wilson Presents Smile and The Smile Sessions
BWPS was mainly made for live performances and even studio version respected some of it's changes. It is also influenced by Darian Sahanaja although he claim otherwise, he was definitely affecting Brian in someways, even if he did not wanted to.

> I mean, at the end of the day it was always Brian and Van Dyke Parks’ creation, and I merely facilitated their ideas.

Later the solution came in TSS but Brian lobbied hard for TSS to follow BWPS structure to prevent TSS in surpassing BWPS (the same way he deliberately sabotaged the H&V on Smiley Smile or did he?):

> According to Darian Sahanaja, "there was a discussion about whether to follow the 2004 sequence or completely present something new. In the end, of course, it all has to be approved by the Beach Boys themselves, and Brian lobbied hard for The Smile Sessions to follow the template of Brian Wilson Presents Smile."

Although some things were acknowledged to be fixed in TSS (egg. Vega-Tables fade).

There are also some interesting takes on this theme by soniclovenoize:

> That sequence was devised by The Brian Wilson Band musical director Darian Sahanaja for the purpose of the previous year’s SMiLE Tour, as an interesting live performance that showcased all of the known and popular SMiLE tracks. Furthermore, his vision of SMiLE seemed to be greatly influenced by sequences found on known bootlegs in the 1990s as well as fan fiction on their own SMiLE mixes. As a matter of fact, Brian Wilson himself has admitted that what we think of as the “finished SMiLE” is not what it would have sounded like in 1967; Wilson himself didn’t even know what it would have sounded like, even in 1967!

The whole concept of BWPS evolves around being gapless, but we it was unlikely to be like that in 1967. Or at least it would count in for two sides.


 * 1) A word on soniclovenoize reconstruction

Soniclovenoize reconstruction is self-called "extremely educated guess".

> After over fifteen years of research, I believe I have found a method to make an extremely educated guess to what the album contained and how it was structured. First and foremost, I offer that SMiLE would have been a singular, two-sided album of twelve banded pop-songs, just as Pet Sounds was; not three conceptual suites or movements; it would not have been a three-movement suite as it exists today. As much as we won’t want to imagine it, SMiLE is just an album. Anything more might be succumbing to mythos.

I would certainly like to praise soniclovenoize SMiLE reconstruction (at least for documentation), but it has varying fidelity (TODO: stereo?) and it simply just does not cut it for me unfortunately. But this is expected:

> If you find this reconstruct a bit hard to swallow, I don’t blame you; fifty years of SMiLE mythology has very much overshadowed the facts; hype has become reality.

All in all I believe that he's SMiLE is too radical and stuck in 1966 (a lot of times he references 1966 mixes, even though newer test mixes existed by BW himself; which are not always right, even if it were made in panic mode, but the truth lies in between) and he did not used (TODO: ???) any modern knowledge, as I believe some strokes from BWPS were "objectively" and historically the right one (Brian Wilson and Van Dyke Parks must have remembered some things correctly).


 * 1) Smiley Smile

Even though there is a lot of bad words thrown at Smiley Smile (looking at you Soniclovenoize)

> This frankly bizarre arrangement of "Wonderful" exemplifies Brian's attempt to completely deconstruct and invert SMiLE's intended majesty with unsettling ambiguity and a lo-fi aesthetic, as well as his tendency to bastardize and reappropriate melodic ideas from SMiLE into other post-SMiLE songs.

we still hear a lot of Smile fragments and ideas, so we can say it was on of the first Smile bootlegs :). Inside Smiley Smile is still Smile just more crazy smile.


 * 1) Meta (not the company, but the data)


 * 1) Runtime

The predecessor of SMiLE the Pet Sounds lasts cca. 36 min and SMiLEs greatest competitor Pepper lasts about 40 minutes. Thus I assume SMiLE would be longer than Pet Sounds this means runtime of about **40 minutes**, maximal 45 minutes / 22.5-minute per side (limit enforced by Capitol at the time) *which is also equal to c90 on double speed :wink: :wink:*.


 * 1) ____phonic

It is clear that Brian Wilson envisioned to be **Mono**phonic as all previous albums (albums were made mono-only until 1968). It is also easier to make mono and we also do not have multitracks for everything.

The only exception are Cabinessence and Surf's Up (as the source albums are in stereo)

What should go to the Right speaker, what should go to the Left speaker? Capitol engineers have their own solution to that problem: duophonic stereo aka. fake stereo. That is also the reason why Brian Wilson started giving "True Stereo" mixes to Capitol. Season multitracks are in "stereo" but were meant to be fold down and were not recorded with stereo in mind so just using those multitracks will not give you real stereo mixes, smile fan-mixers, Stereo is composed of mono baseline on both speakers and then some spatial stuff thrown in the mix.


 * 1) My Random goals

- full analog version that could be assembled from analog only sources (Good Vibrations box set = GV, The Smile Sessions = TSS) or if not possible present alternative for future full analog mix

- use TSS as core foundation but understand where choices were diverged

- documented decisions (because soniclovenoize did not document his decisions fully)

- pointed out missing stuff based on BWPS (maybe provide vocaloid filler)

- be between TSS and soniclovenoize

the more I am doing the more I am diverging from goals.

So many pieces so little space, there ought to be many left on cutting floor. Just look at Good Vibrations an what was left behind on cutting floor. The solution is to stay true to original intention but be rich in extra tracks.


 * 1) *Analog notes*

* GV is full featured in cassette tape box while TSS has only two disc on vinyl. All those track are MONO written in stereo. GV box-set was even mastered in analog, while TSS is super-high digital 88.1kHz and 24bit.*


 * 1) Psychedelic Sounds

> Limit the Psychedelic Sounds material to just the Veggie Fight and George Fell. As much as I love Taxi Cabber, Smog and Ice Cream Man, I dont think Brian would have used them on the album anymore. Upon taking a closer listen last summer when writing my essays, it's clear to me now that those two were the only ones Brian was serious about. -Mujan

> I like the idea of using George Fell as a lead-in to Surf's Up as opposed to an unlisted closer (in the extended cut of the session, on Unsurpassed Masters 17, one of the musicians/horns says "wait till they hear the next track!") and then ending the whole album with Prayer as Vosse attests was the plan. (I know Brian called it "intro to the album" in a session, but that's been done to death and as far as I know, no one's done it Vosse's way yet.)

One of the sounds that must be included is also underwater chant as is't the water and one of the best skits in the bag of tricks.


 * 1) Track list (1+12)

Here is the original track-list ([source]( https://smilealbum.tripod.com/shotsmi.html )):

- Do You Like Worms

- Wind Chimes

- Heroes and Villains

- Surfs Up

- Good Vibrations

- Cabin Essence

- Wonderful

- I'm In Great Shape

- Child Is Father of the Man

- The Elements

- Vega-tables

- The Old Master Painter

The track list is believed to be ordered by completeness of tracks, so we need to figure out our own ordering for album, although as the tracks are not using crossing and are all having own fades, the ordering is not really important. Heck, even I reordered some stuff in PS. `Our Prayer` is known to be first and hidden track, with `Heroes and Villains` following it on most of mixes (even Smiley Smile). If you look at Pet Sounds the hit is at the start and at the end of every side, so I assume something similar would go for SMiLE. `Good Vibrations` would be placed in the middle (as `Sloop John B` is in Pet Sounds). What is interesting for both songs, that they are said to be included based on Capitol request and are out of flow, so they deserve same placement. The placement of `Good vibrations` on Smiley Smile is also interesting as it seems that it was added later (side B that starts with `Good Vibrations` is longer than side A for runtime of `Good Vibrations`) and we also know Brian was against the inclusion of it. From Pet Sounds (this is also true for Wild Honey album) the single L contained first track from every album side (`Wouldn't It Be Nice` & `God Only Knows`) and for SMiLE this was intended for `Heroes And Villains` and later for `Vega-Tables`. `Surf's Up` was noted by both Vosse and Van Dyke Parks himself as to close the SMiLE album. So we just got the openers and closers.

> Pet Sounds track list:

>

> Side A:

>

> 1. **Wouldn't It Be Nice**

> 2. You Still Believe In Me

> 3. That's Not Me

> 4. Don't Talk (Put Your Head On My Shoulder)

> 5. I'm Waiting For The Day

> 6. Let's Go Away For Awhile

> 7. **Sloop John B**

>

> Side B

>

> 8. **God Only Knows**

> 9. I Know There's An Answer

> 10. Here Today

> 11. I Just Wasn't Made For These Times

> 12. Pet Sounds

> 13. **Caroline, No**

The flow is similar to TSS but only to be on two sides. Smiley Smile placing is also considered.

SIDE A [20:00]

0. Our Prayer [1:05]

1. **Heroes And Villains** [3:40]

2. Do You Like Worms? [4:00]

3. I’m In Great Shape [2:06]

4. The Old Master Painter [1:55]

5. Cabin Essence [3:35]

6. **Good Vibrations** [3:39]

SIDE B [20:30]

7. **Vega-Tables** [3:45]

8. Wonderful [2:03]

9. Child Is Father Of The Man [4:00]

10. Wind Chimes [2:42]

11. The Elements [4:00]

12. **Surf’s Up** [4:00]

13. BONUS TRACK You Are Welcome [1:08]


 * 1) Our Prayer [1:05]

`Our Player` was finished for 20/20 so all others make it de facto the only version used (there are some small differences in some overdubs, but I do not care as I always skip it). Finalizing according to Behind The Smile essay:

> Hurting for Brian Wilson-penned material for The Beach Boys' 20/20 album (as well as pressure from Capitol Records to use some of the then-mythical SMiLE recordings), Carl & Dennis went back and assembled the track, adding additional vocal overdubs in November 1968. The finished track was included on the album.

* Use TSS as it has the best sounding mono version.*


 * 1) Heroes And Villains [4:00]

Firstly I want to say how important is this song for the album. Nearly every song for SMiLE was at some point part of H&V. But those modules later evolved into their own songs. We really need some H&V centric SMiLE where every song would show it's roots in H&V, so whole album would be songs interconnected into H&V. H&V = SMiLE.

> "Heroes and Villains" sent me on a whole trip. I couldn't do it. ... I went on a two-month bummer over that record. —Brian Wilson, 1995


 * 1) Smile

The Cantina mix of Heroes and Villains, that is sometimes [referred as part 1]( https://www.reddit.com/r/thebeachboys/comments/nw3hyn/whats_the_cantina_mix_of_heroes_and_villains_and/ ) is final as per soniclovenoize (he used TSS version of H&V part 1):

> the Cantina mix of “Heroes and Villains”—this was the specific keystone track. Brian mixed it at the time. It was bonkers. It was beautiful. It was bombastic. I hadn’t heard anything like it before. This is what all of SMiLE should have sounded like if he had gotten his way!

and

> On February 10th, the whole group assembled into Columbia Studios and added group vocals to the segments, and Brian made what I believe was his only finished version of "Heroes and Villains" from the SMiLE sessions. After stealing the 'Fade' from the separate track "The Old Master Painter/"You Were My Sunshine", the structure now featured:

>

> Verse 1 / a capella verse / In The Cantina / My Children Were Raised / Verse 2 / Whistling Bridge / Fade

>

> This alternate version only survives as a mono master and has appeared on several releases, notably on the Good Vibrations box-set from 1993. While Brian probably turned this master into Capitol as his final “Heroes and Villains” single, he unfortunately changed his mind several days later...

I do not believe Capitol would hesitate to published finished song without permissions (as they did this before), so BW probably did NOT turned it to Capitol.


 * 1) Smiley Smile work

Latter H&V was finished for Smiley Smile, but as other songs it was different H&V:

> The only remnant of the earlier Smile recordings that made it into the final edit was portions of the backing track that had been recorded in October 1966. The final edit featured a complex vocal arrangement, unusual formal juxtapositions, tempo changes, and other novel elements. It starts at a fast tempo, alternates between a slower chorus, and at the end, shifts to an out-of-tempo a capella section that leads abruptly into the chorus fade-out.

> Wilson's bandmates did not feel that his final edit was as good as his earlier versions, and according to biographer David Leaf, "all those who heard the original" believed that the released version was missing crucial sequences that Wilson originally intended for the song. Jardine expressed dissatisfaction with the mix, describing it as "a pale facsimile" of Wilson's original vision, and suggested that Wilson deliberately sabotaged the song at the last minute. He blamed the record's lack of "sonic energy" on the limited recording equipment and felt that the mastering was probably engineered improperly, commenting, "I could hear the difference. I could hear the edge was gone.

But on the other side we can see Brian wilson to believe in H&V:

> Biographer Steven Gaines wrote that "Heroes and Villains" was the only track prepared for the forthcoming Smiley Smile album that Wilson "really cared about". Jim Lockhert, the engineer for the Smiley Smile sessions, recalled: "We had the complete song, but they just wanted to use part of it. Brian wanted to change what had been done on the rest of it. I think he wanted instrumentally and vocally to make it more complex. I think he wanted to finish the song, it was a challenge to him."

> Wilson held onto the final mix of the song for about a month. On the evening of July 11, 1967, he was told by his astrologer (a woman named Genevelyn) that the time was right for the record to be heard by the public. Without informing Capitol, Wilson called his bandmates and, accompanied by producer Terry Melcher, traveled by limo to personally deliver a vinyl cut of the record to KHJ Radio. According to Melcher, as Wilson excitedly offered the record for radio play, the DJ refused, citing program directing protocols. Melcher recalled: "Brian almost fainted! It was all over. He'd been holding onto the record and had astrologers figuring out the correct moment. It really killed him. Finally they played it, but only after a few calls to the program director or someone, who screamed, 'Put it on, you idiot!' But the damage to Brian had already been done.

Brian also did not want to discredit released H&V on his BWPS:

> When Darian Sahanaja and Brian were arranging their SMiLE tour in 2003, the pair decided to create a new "Heroes and Villains" that included elements of both the Smiley Smile version and the fan-favorite Feb 10 "Cantina" mix. This compromise, although certainly not concise, was a happy medium and seemed to regain some of the magic of the SMiLE sessions. This is how the song finally appeared on The SMiLE Sessions.

Verse 1 / Verse 2 / bicycle rider / valley verse / a capella verse (to you) / My Children Were Raised / Snuff / Bicycle rider


 * 1) Lei'd in Hawaii

There where also three live takes of H&V in Hawaii that were meant for Lei'd in Hawaii album, and later rerecord the entire performance as a "live-in-the-studio" album.


 * 1) Next Live Hero

Next public performance of H&V was on An All-Star Tribute to Brian Wilson in Radio City Music Hall 2001: < https://youtu.be/AcuaxOnZ8fI?t=766 >

Structure: Verse 1 / bicycle rider / valley verse / a capella verse (to you) / My Children Were Raised / Verse 2 (snuff ) / Whistling Bridge / Prelude to Fade


 * 1) The Mistake / The rock

Some people believe that H&V would not be commercially successful, mostly duet to changing tempo being that mistake.

> Bruce Johnston, who was visiting Britain at the time, witnessed the record's debut at The Speakeasy Club in London, recalled, "Everyone really got up to dance. But when the tempo changed, I knew we'd blown it with that record.

Live version of H&V from 70s has very noticeable tempo changes < https://www.youtube.com/watch?v=e3ILQgJg4Y8 >

PS Good Vibrations also is not danceable but it was still BOOM.


 * 1) Part 2

Well we know that BW did not want to revel to much with single released so maybe he did a collage (now known as Centina mix) which had fade crossed out on tapebox < https://forums.stevehoffman.tv/threads/missing-66-67-smile-tapes.56327/ >. Even if acknowladge master nuber theory < https://endlessharmony.boards.net/thread/183/case-heroes-villains-sides-revised > part2 was to be lower prodaction (another h&V variation) that did not revel to much. Album would then have ultimate part 1 mix.


 * 1) The Work

So for the main structure we wil use the Cantina mix of “Heroes and Villains” (in TSS labeled as H&V part 1). Some parts will be replaced with other version that have better fidelity. We weill use bicycle rider with heroes and villans overdubs from smiley smile for normal section.

Choruses will be Part 2 iterations (they sound similar to great vegetables fade).

Verse 1 / Verse 2 (dued 'll do) / a capella verse / In The Cantina / My Children Were Raised / Verse 3 (three score five) / Whistling Bridge (explosion tape ending) / Verse 4 (valey) / Part 2 revisited / Barber shop / Tag to part 1

14-04 is a start verse

* As for analog, TSS also includes singles LP with H&V part 1 (= GV H&V alternate edit) and part 2.*


 * 1) Do You Like Worms? [4:00]

I believe that BWPS has come pretty close on what the final product would be structured, but as said in an essay:

> Historically, the song remained a great mystery for SMiLE enthusiasts until 1988, when Mark Linett was tasked to plow through the vaults and compile a SMiLE release. Using Brian's December 21st rough mix as a template, Linett reconstructed the song for the project, and then again (in better fidelity) in 1993 for the Good Vibrations box-set. Brian & Darian Sahanaja used the same template as well for Brian Wilson Presents SMiLE in 2003, but took it a step further: they literally called up Van Dyke Parks and asked him what the unrecorded verse lyrics were from 1966! Astute listeners will observe that this modern vocal from Brian Wilson Presents SMiLE has a different melody and rhythm as compared to what was heard off-mic on October 18th

(in essay it is stated that they called Van Dyke Parks and asked him what the unrecorded verse lyrics were, but they already have lyric-sheet, although they were not able to read his handwriting) but:

> Sahanaja believed that there were two exceptions in which Wilson clearly recalled ideas that he had originally conceived for the Smile album. One was the verse melody of "Do You Like Worms?"

but this doesn't apply to my mixes as we have no verse vocal overdubs of the beach boys.


 * 1) Work

GV version has some wired pitch/tempo issues. Some lyrics missing but they are on some sessions (Do You Like Worms? part 1 at mark 3:18) so I inserted those. Signal wave form was very useful for sync especially with drums backing Brian's singing. and "To the church of the american indian" is also recorded in bicycle rider overdubs on TSS Disc 3, Track 5

so we only have two issues to discuss in TSS version:

Soniclovenoize used bicycle rider twice in his mix as BWPS uses ribbon of concrete firstly and then bicycle rider for the second time, but The Smile Sessions have just backing track of ribbon of concrete. Soniclovenoize used it twice because in his stereo mix bicycle rider goes from L to R. This is certainly not part of "educated guess" on how SMiLE would sound like in 1967, but other lines are the same, so maybe for now do as in TSS, but later the ribbon of concrete could be extracted from BWPS and modified or rerecorded or just partly used as it is sharing lyrics with bicycle rider, but let's stick to TSS here.

The other decisions that has to be made is the end. BWPS and TSS have vocal ending while GV version, many bootlegs, Soniclovenoize reconstruction and even ant-bees version from 'With My Favorite "Vegetables" & Other Bizarre Muzik' has the verse ending. Both BWPS and TSS are now doing cross-fades, that were surly not part of SMiLE, so let's stick to majority as we live in democracy. The fade is taken from GV (hiss problem is negatable but is eq is muffled added additional fade feel ??? as bicycle rider from DYLW part 4 is sharp TODO: beware of fade of half rider)

* Use TSS Do You Like Worms with extended ending from GV sessions (also known as Bicycle Rider part 4).*


 * 1) I’m In Great Shape [3:00]

Soniclovenoize did interesting job here with inclusion of Barnyard and I Wanna Be Around / Workshop. The inclusion of barnyard is suggested in TSS and demo tapes of H&V, the inclusion of workshop is suggested in BWPS. In my opinion BWPS did very bad job here with letting Darian doing some weird intro. The song has also some unheard sections on VDP acetate ([original]( https://youtu.be/ffwd8458Lcg?t=180 ), [reconstruction]( https://www.youtube.com/watch?v=vBp0C7UZh-4 )), but we do not have them in high fidelity.

On [forum]( https://endlessharmony.boards.net/thread/620/great-shape-acetate-overdubs ) it is suggested this order: I Wanna Be Around->Friday Night (Workshop)->I'm in Great Shape title section->Barnyard

Interestingly Workshop sounds (Bicycle Rider Chronicles 12-15) ends with organ outro that sounds the same as organ overdub on H&V from Smiley Smile at outro of first (Bicycle rider) chorus.

* KISS so only I'm in Great Shape title section->Barnyard with some psychedelia I'm in Great Shape somewhere between.*


 * 1) Great shape


 * 1) Barnyard

We need to repair frankenstein monster and use full potential of barnyard, meaning that we should do it ourself. The question is is splitting vocal like done in TSS correct as it contradicts the acetate that has layed backing vocals looped till the end. Mok version is probably very close to final but just a little short on fidelity.


 * 1) The Old Master Painter [2:00]

> It is of note that the original version of "The Old Master Painter" featured lyrics, and Brian even sings them to a cello player off-mic during the tracking sessions; it is unknown if Brian & The Beach Boys simply never got around to recording the vocals, or if it was always intended as an instrumental.

Those lyrics can be found on TSS 6/3 at 2min mark.

Apparently the song is without proper ending:

> In looking for material to finish "Heroes and Villains" on February 10th, Brian stole the Fade for "Old Master Painter" and reappropriated it into “Heroes and Villains”, recording new backing vocals for it (as heard on the February 10th Cantina mix). That unfortunately left "The Old Master Painter" with no ending, which could explain why the title is listed last, noted with parenthesis and later crossed out on the memo to Capitol Records listing the tracks for SMiLE

According to Michael Vosse The Old Master Painter is connected to Barnyard ("Barnshine") and was probably part of barnyard suite alongside with "I Wanna Be Around"/"Workshop" (that also keeps all covers together):

> Vosse said, "And it hit him, man, right then that he wanted a barn yard—he wanted Old MacDonald's farm—he wanted all that stuff. So he immediately got Van Dyke over and they did a chart for 'You were my sunshine'". Although Vosse admitted that his memory may be wrong, since Wilson "changed things so much", he recalled that the arrangement then "developed into an instrumental thing with barnyard sounds—people sawing—he had people in the studio sawing on wood—and Van Dyke being a duck—and it was marvelous." Asked about Wilson's rendition of "You Are My Sunshine" in 2004, Parks could not remember having been involved with it.

* Use TSS version with gapless $hit removed from start.*


 * 1) Cabin Essence [3:30]

Cabin Essence was finished for 20/20 so TSS is good enough according to Behind The Smile essay:

> Just like "Our Prayer", Dennis & Carl dusted off the multitracks to "Cabin Essence" in 1968 for their 20/20 album, under pressure from the label to revive some of the abandoned SMiLE material that had so heavily been hyped the year before. Using Brian's test mixes and Van Dykes' lyric sheets as a template, the song was reconstructed and Carl recorded his lead vocal for the verses (with Mike adding a counterpoint lyric to the second chorus). Released as the final track on 20/20, it remains a highlight of The Beach Boys’ late-60s discography

TODO: Parks stated that, when people asked him for his thoughts on the release of The Smile Sessions, "I tell them with how happy I am to see the lads finally eat that crow over the cornfield."

TSS has maybe to clean vocals (to clear), but GV has muddier sounds which makes it more like in Cabin Essence.

> Verses and choruses are a fold-down from one channel of the 20/20 mix (due to missing lead vocals on the multitracks), "grand coulee" half of the tag is a new mix, "crow" half of the tag is sourced from an original 1966 mono mix.

read: < https://www.reddit.com/r/thebeachboys/comments/ed53k5/comment/fbfzjpy/ >

* GV box and 20/20 (2001 remaster) have both same "fell" with 20/20 having better fidelity what you expect from digital stereo. For analog use GV or original 20/20.*


 * 1) Good Vibrations [3:35]

GV contains original version of Good Vibrations that was released as a single before SMiLE, which is already perfect (although I personally love hum-be-dum section):

> On September 21, Brian completed the track after Tanner added a final Electro-Theremin overdub. In 1976 he elaborated on the event: "It was at Columbia. I remember I had it right in the sack. I could just feel it when I dubbed it down, made the final mix from the 16-track down to mono. It was a feeling of power, it was a rush. A feeling of exaltation. Artistic beauty. It was everything ... I remember saying, 'Oh my God. Sit back and listen to this!'"

We source it from Analogue Productions Smiley Smile (Mono) as it sounds the closes to the original analog.


 * 1) Vega-Tables [3:00]

Soniclovenoize did worsen product here:

> My construction removes the third verse as I thought it was lyrically redundant and disrupted the gradual ‘winding-down’ flow of the song. The mono mix is edited from The Smile Sessions


 * 1) Fade

> One of the most brilliant moments of SMiLE was recorded at the following session, on April 12th: the Fade to "Vege-Tables". This dreamy sequence featured ukulele, castanets, dual upright and electric bass, vibraphone and a string trio. Following, the Beach boys worked their magic and recorded a complex yet wordless multi-part vocal for the Fade, creating a stunning coda to a song about vegetables.

But we get the first preview of fade before on 10th April coupled with wonderful, something similar that was latter released on Smiley Smile.

Ahm:

>After the demise of SMiLE and it's rebirth as Smiley Smile, Brian cut a brand new fourth version of "Wonderful" at his home studio in June. After abandoning a piano-based version, Brian resolved on a delicate but slightly disturbing organ-based arrangement with a series of haunting vocal overdubs. Oddly enough, this new version featured a middle section stolen from the February 20th "Heroes and Villains: Part 2" iterations!

TODO check Heroes and Villains: Part 2 (revisited)


 * 1) Structure

is The April Assembly final?

> Verse 1 / Verse 2 & 3 (playing simultaneously) / breakdown Chorus (natural ending from Verse) / wordless Verse / Chorus from the 7th / Chorus from the 14th

Smiley smile

> Verse 1 / Verse 2 / wordless verse / Vocal Insert / Ballad Insert / Verse 3

modern:

> Linett presented a better mix for the Good Vibrations box set that featured more unused sections with a structure seemingly of his own design (as Brian would never have used a crossfade between the Chorus and Fade):

>

> Verse 1 / Verse 2 / Chorus from the 7th / wordless verse / Vocal Insert / Verse 3 / Chorus from the 14th / Fade

>

> This rather concise version featured a structure similar to Linett's 1993 construction, but lacked the Fade—probably because it was too difficult to perform:

>

> Verse 1 / Verse 2 / Chorus from the 14th / wordless verse with Vocal insert overlayed on the final lines / Ballad Insert

>

> A final revision was made — by Brian's request — to "Vege-Tables" for its SMiLE Sessions construction in

2011:

>

> Verse 1 / Verse 2 / Chorus from the 10th / wordless verse / Chorus from the 14th / Ballad Insert / Verse 3 / Vocal Insert / Fade

This should probably be:

> Verse 1 / Verse 2 / Chorus from the 10th / wordless verse / Chorus from the 14th / Ballad Insert / Verse 3 / Vocal Insert / Fade


 * 1) Wonderful [2:03]

BW suggested paring wonderful and Look:

> Sahanaja believed that there were two exceptions in which Wilson clearly recalled ideas that he had originally conceived for the Smile album. One was the verse melody of "Do You Like Worms?"; the other was the pairing of "Wonderful" and "Look". Regarding the latter, Sahanaja said that "Brian just butted those two together and said, 'Yeah, that's it! That's how it goes!'" When he asked Parks if an idea was part of the original concept, Parks would only respond with, "It was inevitable."

But Look will do better with being paired with the Child Is Father Of The Man which is also kept in the context.

Brian did four different versions with one of them being famous "Rock With Me Henry" version, but none of them were near finished as first version, which is also used on GV, BWPS and TSS.

> The first version of "Wonderful" recorded August 25th, 1966 was sparse and driven by a harpsichord and upright bass with a triumphant trumpet interjection. Its simplicity matched the elegance of the melody and lyric, and Brian tracked his own lead vocal on October 6th after slowing the tape down one whole step. The group's backing vocals were overdubbed on December 15th, master mixes were prepared and marked "FINAL" on the tape box.

Overall every version of Wonderful is wonderful (pun intended!) but the general consensus is that first version was really final.

EXTRA: rock with me henry

EXTRA: SMiley smile

* Use full TSS track for digital and GV for analog (as it is mastered in analog).*


 * 1) Child Is Father Of The Man [4:00]

It is better to get paired with Look, but still after Wonderful so we keep BWPS idea alive. Look's only release is on TSS (and is the always the same as just one session was spend on it), but BWPS has some lyrics with impact of wonderful (you) (that were written for BWPS), but there is "father of the sun"??? Well that are clearly not right lyrics.

Soniclovenoize mix of Child Is Father Of The Man follows original 1966 mix (that is available on Wake the world box-set), but with vocals added.

On 10th April the group recorded additional vocals around piano, which were used in TSS mix. 17-43 on bicycle rider chronicles, start show connection to first Vega-Tables maybe to suggest that it would become as part of Vega-Tables. The tag of this mix is also more beautiful than sam abruption at the end. The source is SOT unsurpassed master volume 16 in booklets it's clearly written to be glued together later (so not official assembly).

17-42 make two section 4

EXTRA: this ending is great


 * 1) Wind Chimes [3:00]

> One of the few SMiLE tracks that was actually finished during the original SMiLE recording sessions.

According to essay Behind The Smile, Wind Chimes was finished as it is on GV:

> Darian & Brain chose to drop the exquisite music box Ending from October 10th in favor of the natural ending from August 3rd's Take 5 (a keyboard breakdown followed by a reprise of the Chorus) for Brian Wilson Presents SMiLE, a choice made in the name of an exciting live performance. That arrangement decision carried over onto its construction on The SMiLE Sessions in 2011. Luckily, Brian's original intent for the song survives in his own 1966 rough mix and Mark Linett's modern remix on the Good Vibrations box set

But Soniclovenoize actually used TSS version until tag, which included instrumental intro, GV starts with lyrics right of a bat.

TL;DR: GV version has proper feel with instrumental intro.

EXTRA: maybe two choruses


 * 1) The Elements [6:00]

> "masterpiece" The Four Elements Suite

as said by Peter Brown

Soniclovenoize has good starting point (love to say dada inclusion) but I fell like the elements should be even longer maybe to max 8 min as Rio grande is similar masterpiece suite.

> "That's symbolism right? God cannot be conceived of, so therefore we give him a literal meaning, and he's in the sky so that people can understand what is being said." -Brian on "Rio Grande" in 1988

and there are even some speculations that

> Hounds of Bairro was undoubtedly Rio Grande with a bit of Mrs. O'Leary's Cow/Fall Breaks and Back to Winter

but it is also said that:

> This majestic, panoramic 8-minute suite with multiple parts stitched together was an attempt by Brian Wilson to return to the miniature conceptual pieces he was writing in the Smile era. It compares to "Heroes And Villains" and has a similar Wild West theme. Brian Wilson has said he had a particular love of Western movies and they were a great inspiration for all the band.

Somewhere was also said that The Elements is the only track that have cross-fades.


 * 1) Fire

For the intro the early intro from H&V is used on many bootlegs so on TSS. I think the TSS came with perfect fire but is missing fire FX.

> When Wilson was presented "Mrs. O'Leary's Cow", he began humming the melody from "Fall Breaks and Back to Winter", which was then incorporated into the piece

friday night was tracked right after fire session.


 * 1) Air

Is the next element in avatar lifecycle.

Fluets in fire???

Love to say dada has some airy stuff

wind chimes from smiley smile has airy tag


 * 1) Water

I Love To Say Dada was put after The Elements: Fire on TSS, but here we incorporate it in the Elements Suite and underwater chant. SOmething like is done on soniclovenoize. Why was then worket as seperate song? When brian wilson became scared of fire he diceded to stri the elements to seperate songs???


 * 1) Earth

would there really be earth alament. it was romurede to be vegetables but we know it was not in the latter vision.


 * 1) Surf’s Up [4:00]

It's placing is defined multiple times and also connected to previous pieces:

> Biographer Byron Preiss wrote that the song was envisioned as part of "The Elements" and was "briefly considered" to be paired with "Love to Say Dada".

There are 4 version of Surf's Up that we know of:

1. Dec. 1966 studio demo (two takes ??)

2. Dec. 1966 home demo (Inside Pop)

3. 1967 home studio demo (found on reel with country air)

4. 1971 band overdub version

For this masterpiece the TSS would be good as:

> The later release featured a new mix of the song with Brian's original lead vocal from his 1966 piano version digitally flown into the instrumental backing track, a task SMiLE aficionados and fan-mixers had already been doing for a decade. A piece of Carl's 1971 vocal was left in, as Brian had not initially sung the lyric in 1966.

It's clear the close to final structure is 1967 home studio demo, but as the name says it demo (with proper single runtime of 3:40), so we stay chose studio versions instead.

* First part from jiggy, then AP stereo.*


 * 1) BONUS TRACK You're Welcome [1:08]

I do not know if there is anything else than TSS.

Will probably not be included


 * 1) Random talk


 * 1) Holy $hit, SMiLE is so big

A lot of people have written a lot about SMiLE. The biggest problem is that all knowledge is scatter across multiple forums, personal websites and mail-lists, some of which are now defunct. There is also a lot of contradicting truths in SMiLE-ology. The solution to this problem is aggregating all SMiLE knowledge into dense format. The goal of this wiki is to provide place for collection of objective and subjective SMiLE knowledge with support for collaboration through conversations, which is what is making SMiLE album special.

SMiLE is not just an album but the people that are connecting it.

TODO: create smile sources archive on archive.org

There is *no* definitive version, just endless possibilities. That's what makes it fun!


 * 1) Where is teenage symphony to God?

The SMiLE has subtitle a teenage symphony to God. While there are some playful (Vege-Tables), children (Look, Child Is Father Of The Man) songs others are more or way off. Is H&V about toys and children playing good and evil. What is bicycle rider than. Maybe SMiLE just overgrown (pun intended) it's own plan and thats why Brian could not finish it at all as it was always growing.

There are a lot of children song inspirations:

> In a self-penned 1969 article, former band associate Michael Vosse wrote that, during one night at Wilson's home, Wilson played a past-tense variation on "You Are My Sunshine" on piano that deviated into "this weird little riff". Vosse said, "And it hit him, man, right then that he wanted a barn yard—he wanted Old MacDonald's farm—he wanted all that stuff. So he immediately got Van Dyke over and they did a chart for 'You were my sunshine'". Although Vosse admitted that his memory may be wrong, since Wilson "changed things so much", he recalled that the arrangement then "developed into an instrumental thing with barnyard sounds—people sawing—he had people in the studio sawing on wood—and Van Dyke being a duck—and it was marvelous."


 * 1) Sources

Ordered based on usage

- Behind The SMiLE: Trivialities of a Teenage Symphony To God by soniclovenoize

- < https://albumsthatneverwere.blogspot.com/2018/12/the-beach-boys-smile-upgrade.html >

- < https://en.wikipedia.org/wiki/Brian_Wilson_Presents_Smile >

- < https://en.wikipedia.org/wiki/Smile_(The_Beach_Boys_album) >

- < https://www.soundonsound.com/people/resurrection-brian-wilsons-smile >

- < https://aquariumdrunkard.com/2011/10/12/the-ad-interview-darian-sahanaja-behind-the-smile-sessions/ >

- < https://smilealbum.tripod.com/archive.html >

- < http://goodhumorsmile.com/ >

- < https://www.reddit.com/r/thebeachboys/comments/d0ngh9/whats_that_repeating_sound_at_the_end_of_cifotm/ >

- < https://endlessharmony.boards.net/thread/362/mujans-complete-thesis-on-smile >

- < https://thecarbonfreeze.com/2019/11/24/smile-appendix-sources-for-further-reading/ >

- < http://bellagio10452.com/gigs66.html >