The Beach Boys -SMiLE --Smile (sometimes stylized as SMiLE) is an unfinished album by the American rock band the Beach Boys that was intended to follow their 1966 album Pet Sounds. It was to be an LP of twelve tracks assembled from modular fragments, the same editing process used for their "Good Vibrations" single. Instead, after a year of recording, the album was shelved and the group released a downscaled version, Smiley Smile, in September 1967. Over the next four decades, few of the original Smile tracks were officially released, and the project came to be regarded as the most legendary unreleased album in popular music history. The album was produced and almost entirely composed by Brian Wilson with guest lyricist and assistant arranger Van Dyke Parks, both of whom conceived the project as a riposte to the British sensibilities that had dominated popular music of the era. Wilson touted Smile as a "teenage symphony to God" to surpass Pet Sounds. It was a concept album that was planned to feature word paintings, tape manipulation, more elaborate vocal arrangements, experiments with musical acoustics, themes of youth and innocence, and comedic interludes, with influences drawn from mysticism, pre-rock and roll pop, doo-wop, jazz, ragtime, musique concrète, classical, American history, poetry, spirituality, and cartoons. Over 50 hours of tape was recorded, ranging from musical and spoken word to sound effects and role-playing. The lead single would have been "Heroes and Villains", about the early history of California, or "Vega-Tables", a tongue-in-cheek promotion of organic food. Numerous issues, including legal entanglements with Capitol Records, Wilson's uncompromising perfectionism and mental instabilities, as well as Parks' withdrawal from the project in early 1967, prevented the album's completion. Most of the tracks were produced between August and December 1966, but few were ever finished, and the album's structure was never finalized. Afraid of the public's reaction to his work, Wilson blocked attempts to release Smile in the subsequent years. After the group issued a truncated version of "Heroes and Villains", they reworked some of the material into new songs, such as "Cool, Cool Water", and completed only three more tracks, "Our Prayer", "Cabinessence" and "Surf's Up". A mythology grew around the project, and its unfulfilled potential inspired many artists, especially those in indie rock, post-punk, electronic, and chamber pop genres. Smile had been estimated to be "50% done" by mid-1967. Since the 1980s, extensive session recordings have circulated widely on bootlegs, allowing fans to assemble hypothetical versions of a finished album, adding to its legacy as an interactive project. Responding to this, Capitol included a loose reconstruction of the album on the 1993 box set Good Vibrations. In 2004, Wilson, Parks, and Darian Sahanaja arranged a version of Smile for concert performances, billed as Brian Wilson Presents Smile, which Wilson then adapted into a solo album. He stated that this version differed substantially from his original vision. The 2011 compilation The Smile Sessions was the first official package devoted to the original Beach Boys' recordings and included an approximation of the completed album. It received universal acclaim and won Best Historical Album at the 55th Annual Grammy Awards in 2013.The Beach Boys Al Jardine - lead, harmony and backing vocals, vegetable chomping (on "Vega-Tables") Bruce Johnston - harmony and backing vocals Mike Love - lead, harmony and backing vocals, vegetable chomping (on "Vega-Tables") Brian Wilson - lead, harmony and backing vocals; grand piano (on "Child Is Father of the Man", "Surf's Up", "Vega-Tables", and "Wind Chimes"), harpsichord (on "Do You Like Worms?" and "Wonderful"), tack piano (on "Heroes and Villains", "Child Is Father of the Man", "Wind Chimes", and "Good Vibrations"), Baldwin organ (on "Heroes and Villains"), electric harpsichord (on "Heroes and Villains" and "Vega-Tables"), Fender bass (on "I'm in Great Shape"), temple blocks (on "Love to Say Dada"), tambourine (on "Good Vibrations"), vegetable chomping (on "Vega-Tables") Carl Wilson - lead, harmony and backing vocals; electric guitar (on "Child Is Father of the Man", "Wind Chimes" and "Good Vibrations"), Fender bass (on "Vega-Tables", "Holidays" and "Wind Chimes"), acoustic guitar (on "Cabin Essence"), castanet (on "Child Is Father of the Man"), shaker (on "Good Vibrations"), vegetable chomping (on "Vega-Tables") Dennis Wilson - lead, harmony and backing vocals, drums (on "Vega-Tables" and "Holidays"), percussion (on "Vega-Tables"), Hammond organ (on "Good Vibrations"), xylophone (on "Vega-Tables"), vegetable chomping (on "Vega-Tables") Guests Gene Gaddy - "You're under arrest!" Van Dyke Parks - piano with taped strings (on "I'm In Great Shape", "Do You Like Worms?", and "Holidays"), upright piano (on "Cabin Essence"), tack piano (on "Heroes and Villains", "Barnyard", and "Do You Like Worms?"), marimba (on "Wind Chimes") Session musicians Charles C. Berghofer - upright bass Hal Blaine - drums, percussion Jimmy Bond Jr. - upright bass James Burton - dobro Frank Capp - percussion, bongos, drums, glockenspiel, hi hat, stick, tambourine, temple blocks, vibraphone Jerry Cole - guitar Al De Lory - piano, tack piano Joseph DiFiore - viola Jesse Ehrlich - cello Gene Estes - percussion, Hammond organ, marimba, percussion, piano, recorder, shaker, triangle, vibraphone, whistle Carl Fortina - accordion Sam Glenn - saxophone Jim Gordon - drums, conga drums, tambourine William Green - clarinet, flute, alto flute, piccolo, bass saxophone, tenor saxophone, whistle Jim Horn - clarinet, flute, kazoo, piccolo, slide whistle, percussion Armand Kaproff - cello Alfred Lustgarten - violin Arthur Maebe - French horn Carol Kaye - bass guitar, banjo Larry Knechtel - grand piano, organ Jay Migliori - saxophone Oliver Mitchell - trumpet Tommy Morgan - harmonica, bass harmonica, jew's-harp Bill Pitman - guitar Ray Pohlman - bass guitar Don Randi - piano, harpsichord Dorothy Remsen - harp Lyle Ritz - upright bass Billy Strange - guitar Paul Tanner - Electro-Theremin Don Randi - celeste, electric harpsichord, grand piano, tack piano Tommy Tedesco - guitar, bouzouki Alan Weight - trumpet
"Further, the contention that the track order is how it was back then is highly debatable. The linking sections and segues work just fine, but a few years ago, when I asked, let's just say 'someone-who-should-know' about the format of SMILE as envisioned in 1966, I was told that it was going to be a single LP of 12-14 separate tracks, banded as such, no linking sections, no cross-fading EXCEPT for 'The Elements' which would be so configured." - author Andrew G. Doe, who later confirmed that 'someone-who-should-know' was Van Dyke Parks. Given how integral Van Dyke was to the concepts of Smile up until spring of '67, I take his word as gospel. Additionally, Capitol printed up 466,000 record sleeves for Smile with a list of twelve titles printed on the back cover. Of course, they had yet to be ordered, but the same practice had been done for prior LPs such as Beatles VI and Shut Down Volume 2. Taking all of that into account, Smile would have most likely been those twelve tracks on a ~35 minute album, like Pet Sounds. Brian has never expressed an interest in double albums; If anything, he seems to aim for brevity whenever possible. That being said, some cool ideas here, and thanks for contributing to the world of fan mixes.
Sublime track listing. This has become my go-to for Smile. A smart entrance. Some style juxtapositions that really work and overall a super feel of quizzical imagination, humour, wisdom and pathos. The voice as instrument of music and an orchestration post Gill Evans.
all i hoped in this upload is that it would reach the sort of folk that love music. because although this mix of vegetables is a little choppy and the overall volume of video seems to be getting quieter with time, it is also my own favorite way of hearing SMiLE. took forever to get heroes & villains to be this balanced, all in mono of course. no ai either. this version has practically all the parts, minus the "you're welcome" outro recorded by brian's new band.
@@SammersonBridge The reason I mention Gill Evans is because of his orchestrations; small ensembles with plenty of texture and dynamic. Brian's orchestration has some of these qualities. Sketches of Spain... The measure of your mix captures the playful ambience that coexisted with the rigour. The jump cuts between tracks take it closer to a 67 concept record. All really good. Putting Good Vibrations early sets the tone and stops the sense of drag with the current beginning. Keeping off AI is excellent and accepting changes of tone and construction a real strength. Brian would surely want to hear your Green Smile.
• Heroes & Villains • 00:01 Our Prayer 01:07 Gee !! 01:55 Heroes & Villains 06:44 Good Vibrations 10:53 Vegetables • Discover America • 15:37 Ya Like Worms? 18:35 Cabin Essence 20:30 The Great Shape I'm In 20:57 Barnyard 21:43 Sunshine 23:35 Workshop 24:57 The Grand Coulee 25:59 Lily Pad • Elements Of The Earth 27:34 Coral Boys 31:16 Mrs O'Leary's Cow 36:17 Windchimes • Symphony Sequence • 41:03 Wonderful 43:25 On Holiday 45:57 Child, Lookout !! 48:25 Father Of The Man 51:03 Surf's Up
I think it's interesting and I honestly believe that's what one should go for when it comes to doing a SMiLE mix/rearrangement: something a bit different. We already have versions of the album that are "accurate to how it would've been then" or whatever it is people say. The album could've been just snippets, short fragments of songs in a random order or it could've just been a regular ten track album. I love how some tracks just HAPPEN (namely most of the tracks in the Discover America section). That's something I always tried to do on my own SMiLE mixes. I very much like this arrangement :)
some very interesting ideas. I like how you tried tightening smile as a tapestry of different sounds and textures. I feel like the structure of some songs really suffer for it though, like with the intro for vegetables. A bit too jarring and choppy for my taste, but a good attempt. liked how you chopped up cabinessence though. It does betray the intention of the original but in a way that I think is cool and refreshing. You definitely have your own vision for smile, i think you could probably take some stuff off (lily pad) and change around the stuff that's left. liked!!!!!
somehow at some point within the past week, the audio of this upload has become quieter and the mix is muffled/tonally inconsistent compared to when i initially uploaded it. the master audio to this video sounds just as good as it ever did before i uploaded it so surely youtube is to blame. bummed. not sure whats up.
Its good, but probably not what SMiLE would of looked like, Capital records only did single disk albums in the 1960s so at max it would of been 45 or so minutes long. Little pad was also never planed to be on SMiLE. The Elements was not planed to be its own section of the album, it was planed to be one big 8 or 9 minute song. which would of included 4 or 5 parts, fire as part 1, then there would of possibly been i wanna be around and workshop in the elements too, Carol Kaye stated that it was supposed to be the rebuilding after the fire. it is also speculated that love to say dada could of been brian trying to finish the elements. Also Barnyard, My only sunshine, and im in great shape were either gonna be there own suite or part of heroes and villains.
considering the beach boys were the second (then third) best selling pop artist for capital records at the time, having in mind how they were pushing SMiLE to be this grand gallery of sound and story, it is absolutely possible that capital was prepared to give american listeners a two-disk album with roughly 15 minutes of music per side, more or less. side one disk one might've been called Heroes & Villains ; side two disk one might've been called Discover America ; side one disk two might've been called Elements ; side two disk two might've been called something more clever than i'm calling it here in the tracklisting above. the rest are based one direct phrases and titles that brian said himself.
![เปิดบ้าน โคตรสวย ป๋องกพล รู้จักตั้งนาน เพิ่งรู้ว่ารวย!!! l [Nickynachat]](http://i.ytimg.com/vi/tmgCF_2HfYI/mqdefault.jpg)
The Beach Boys -SMiLE --Smile (sometimes stylized as SMiLE) is an unfinished album by the American rock band the Beach Boys that was intended to follow their 1966 album Pet Sounds. It was to be an LP of twelve tracks assembled from modular fragments, the same editing process used for their "Good Vibrations" single. Instead, after a year of recording, the album was shelved and the group released a downscaled version, Smiley Smile, in September 1967. Over the next four decades, few of the original Smile tracks were officially released, and the project came to be regarded as the most legendary unreleased album in popular music history.
The album was produced and almost entirely composed by Brian Wilson with guest lyricist and assistant arranger Van Dyke Parks, both of whom conceived the project as a riposte to the British sensibilities that had dominated popular music of the era. Wilson touted Smile as a "teenage symphony to God" to surpass Pet Sounds. It was a concept album that was planned to feature word paintings, tape manipulation, more elaborate vocal arrangements, experiments with musical acoustics, themes of youth and innocence, and comedic interludes, with influences drawn from mysticism, pre-rock and roll pop, doo-wop, jazz, ragtime, musique concrète, classical, American history, poetry, spirituality, and cartoons. Over 50 hours of tape was recorded, ranging from musical and spoken word to sound effects and role-playing. The lead single would have been "Heroes and Villains", about the early history of California, or "Vega-Tables", a tongue-in-cheek promotion of organic food.
Numerous issues, including legal entanglements with Capitol Records, Wilson's uncompromising perfectionism and mental instabilities, as well as Parks' withdrawal from the project in early 1967, prevented the album's completion. Most of the tracks were produced between August and December 1966, but few were ever finished, and the album's structure was never finalized. Afraid of the public's reaction to his work, Wilson blocked attempts to release Smile in the subsequent years. After the group issued a truncated version of "Heroes and Villains", they reworked some of the material into new songs, such as "Cool, Cool Water", and completed only three more tracks, "Our Prayer", "Cabinessence" and "Surf's Up". A mythology grew around the project, and its unfulfilled potential inspired many artists, especially those in indie rock, post-punk, electronic, and chamber pop genres.
Smile had been estimated to be "50% done" by mid-1967. Since the 1980s, extensive session recordings have circulated widely on bootlegs, allowing fans to assemble hypothetical versions of a finished album, adding to its legacy as an interactive project. Responding to this, Capitol included a loose reconstruction of the album on the 1993 box set Good Vibrations. In 2004, Wilson, Parks, and Darian Sahanaja arranged a version of Smile for concert performances, billed as Brian Wilson Presents Smile, which Wilson then adapted into a solo album. He stated that this version differed substantially from his original vision. The 2011 compilation The Smile Sessions was the first official package devoted to the original Beach Boys' recordings and included an approximation of the completed album. It received universal acclaim and won Best Historical Album at the 55th Annual Grammy Awards in 2013.The Beach Boys
Al Jardine - lead, harmony and backing vocals, vegetable chomping (on "Vega-Tables")
Bruce Johnston - harmony and backing vocals
Mike Love - lead, harmony and backing vocals, vegetable chomping (on "Vega-Tables")
Brian Wilson - lead, harmony and backing vocals; grand piano (on "Child Is Father of the Man", "Surf's Up", "Vega-Tables", and "Wind Chimes"), harpsichord (on "Do You Like Worms?" and "Wonderful"), tack piano (on "Heroes and Villains", "Child Is Father of the Man", "Wind Chimes", and "Good Vibrations"), Baldwin organ (on "Heroes and Villains"), electric harpsichord (on "Heroes and Villains" and "Vega-Tables"), Fender bass (on "I'm in Great Shape"), temple blocks (on "Love to Say Dada"), tambourine (on "Good Vibrations"), vegetable chomping (on "Vega-Tables")
Carl Wilson - lead, harmony and backing vocals; electric guitar (on "Child Is Father of the Man", "Wind Chimes" and "Good Vibrations"), Fender bass (on "Vega-Tables", "Holidays" and "Wind Chimes"), acoustic guitar (on "Cabin Essence"), castanet (on "Child Is Father of the Man"), shaker (on "Good Vibrations"), vegetable chomping (on "Vega-Tables")
Dennis Wilson - lead, harmony and backing vocals, drums (on "Vega-Tables" and "Holidays"), percussion (on "Vega-Tables"), Hammond organ (on "Good Vibrations"), xylophone (on "Vega-Tables"), vegetable chomping (on "Vega-Tables")
Guests
Gene Gaddy - "You're under arrest!"
Van Dyke Parks - piano with taped strings (on "I'm In Great Shape", "Do You Like Worms?", and "Holidays"), upright piano (on "Cabin Essence"), tack piano (on "Heroes and Villains", "Barnyard", and "Do You Like Worms?"), marimba (on "Wind Chimes")
Session musicians
Charles C. Berghofer - upright bass
Hal Blaine - drums, percussion
Jimmy Bond Jr. - upright bass
James Burton - dobro
Frank Capp - percussion, bongos, drums, glockenspiel, hi hat, stick, tambourine, temple blocks, vibraphone
Jerry Cole - guitar
Al De Lory - piano, tack piano
Joseph DiFiore - viola
Jesse Ehrlich - cello
Gene Estes - percussion, Hammond organ, marimba, percussion, piano, recorder, shaker, triangle, vibraphone, whistle
Carl Fortina - accordion
Sam Glenn - saxophone
Jim Gordon - drums, conga drums, tambourine
William Green - clarinet, flute, alto flute, piccolo, bass saxophone, tenor saxophone, whistle
Jim Horn - clarinet, flute, kazoo, piccolo, slide whistle, percussion
Armand Kaproff - cello
Alfred Lustgarten - violin
Arthur Maebe - French horn
Carol Kaye - bass guitar, banjo
Larry Knechtel - grand piano, organ
Jay Migliori - saxophone
Oliver Mitchell - trumpet
Tommy Morgan - harmonica, bass harmonica, jew's-harp
Bill Pitman - guitar
Ray Pohlman - bass guitar
Don Randi - piano, harpsichord
Dorothy Remsen - harp
Lyle Ritz - upright bass
Billy Strange - guitar
Paul Tanner - Electro-Theremin
Don Randi - celeste, electric harpsichord, grand piano, tack piano
Tommy Tedesco - guitar, bouzouki
Alan Weight - trumpet
"Further, the contention that the track order is
how it was back then is highly debatable. The
linking sections and segues work just fine, but
a few years ago, when I asked, let's just say
'someone-who-should-know' about the format
of SMILE as envisioned in 1966, I was told that it was going to be a single LP of 12-14 separate tracks, banded as such, no linking sections, no cross-fading EXCEPT for 'The Elements' which would be so configured." - author Andrew G. Doe, who later confirmed that 'someone-who-should-know' was Van Dyke Parks.
Given how integral Van Dyke was to the concepts of Smile up until spring of '67, I take his word as gospel. Additionally, Capitol printed up 466,000 record sleeves for Smile with a list of twelve titles printed on the back cover. Of course, they had yet to be ordered, but the same practice had been done for prior LPs such as Beatles VI and Shut Down Volume 2. Taking all of that into account, Smile would have most likely been those twelve tracks on a ~35 minute album, like Pet Sounds. Brian has never expressed an interest in double albums; If anything, he seems to aim for brevity whenever possible. That being said, some cool ideas here, and thanks for contributing to the world of fan mixes.
I'd pin this if only TH-cam would let me. A menu pops up saying I have to send them my ID or some nonsense like that.
@SammersonBridge Lol no worries, glad you found it informative!
Good Vibrations, the best PRODUCED song ever (Bohemian Rhapsody, second). A mini-symphony. Love.
Amen to that. I always saw Good Vibrations as the precursor to Bo-rap.
Sublime track listing. This has become my go-to for Smile. A smart entrance. Some style juxtapositions that really work and overall a super feel of quizzical imagination, humour, wisdom and pathos. The voice as instrument of music and an orchestration post Gill Evans.
all i hoped in this upload is that it would reach the sort of folk that love music. because although this mix of vegetables is a little choppy and the overall volume of video seems to be getting quieter with time, it is also my own favorite way of hearing SMiLE. took forever to get heroes & villains to be this balanced, all in mono of course. no ai either. this version has practically all the parts, minus the "you're welcome" outro recorded by brian's new band.
@@SammersonBridge The reason I mention Gill Evans is because of his orchestrations; small ensembles with plenty of texture and dynamic. Brian's orchestration has some of these qualities. Sketches of Spain... The measure of your mix captures the playful ambience that coexisted with the rigour. The jump cuts between tracks take it closer to a 67 concept record. All really good. Putting Good Vibrations early sets the tone and stops the sense of drag with the current beginning. Keeping off AI is excellent and accepting changes of tone and construction a real strength. Brian would surely want to hear your Green Smile.
• Heroes & Villains •
00:01 Our Prayer
01:07 Gee !!
01:55 Heroes & Villains
06:44 Good Vibrations
10:53 Vegetables
• Discover America •
15:37 Ya Like Worms?
18:35 Cabin Essence
20:30 The Great Shape I'm In
20:57 Barnyard
21:43 Sunshine
23:35 Workshop
24:57 The Grand Coulee
25:59 Lily Pad
• Elements Of The Earth
27:34 Coral Boys
31:16 Mrs O'Leary's Cow
36:17 Windchimes
• Symphony Sequence •
41:03 Wonderful
43:25 On Holiday
45:57 Child, Lookout !!
48:25 Father Of The Man
51:03 Surf's Up
3:22 LALALA LALALALALALA LALALALALALALALALALALALALALALALALALALAAA
not sure what to do about youtube making this video so much more quiet when uploaded.
I think it's interesting and I honestly believe that's what one should go for when it comes to doing a SMiLE mix/rearrangement: something a bit different. We already have versions of the album that are "accurate to how it would've been then" or whatever it is people say. The album could've been just snippets, short fragments of songs in a random order or it could've just been a regular ten track album.
I love how some tracks just HAPPEN (namely most of the tracks in the Discover America section). That's something I always tried to do on my own SMiLE mixes. I very much like this arrangement :)
assuming your version is on this account's channel i'd love to hear yours.
some very interesting ideas. I like how you tried tightening smile as a tapestry of different sounds and textures. I feel like the structure of some songs really suffer for it though, like with the intro for vegetables. A bit too jarring and choppy for my taste, but a good attempt. liked how you chopped up cabinessence though. It does betray the intention of the original but in a way that I think is cool and refreshing. You definitely have your own vision for smile, i think you could probably take some stuff off (lily pad) and change around the stuff that's left. liked!!!!!
@@user-og1tk1yi5c i agree, vegetables here just ain't workin'.
somehow at some point within the past week, the audio of this upload has become quieter and the mix is muffled/tonally inconsistent compared to when i initially uploaded it. the master audio to this video sounds just as good as it ever did before i uploaded it so surely youtube is to blame. bummed. not sure whats up.
Its good, but probably not what SMiLE would of looked like, Capital records only did single disk albums in the 1960s so at max it would of been 45 or so minutes long. Little pad was also never planed to be on SMiLE. The Elements was not planed to be its own section of the album, it was planed to be one big 8 or 9 minute song. which would of included 4 or 5 parts, fire as part 1, then there would of possibly been i wanna be around and workshop in the elements too, Carol Kaye stated that it was supposed to be the rebuilding after the fire. it is also speculated that love to say dada could of been brian trying to finish the elements. Also Barnyard, My only sunshine, and im in great shape were either gonna be there own suite or part of heroes and villains.
Fascinating!
Love to say dada was written a while after the elements was scrapped, it was about a baby.
considering the beach boys were the second (then third) best selling pop artist for capital records at the time, having in mind how they were pushing SMiLE to be this grand gallery of sound and story, it is absolutely possible that capital was prepared to give american listeners a two-disk album with roughly 15 minutes of music per side, more or less. side one disk one might've been called Heroes & Villains ; side two disk one might've been called Discover America ; side one disk two might've been called Elements ; side two disk two might've been called something more clever than i'm calling it here in the tracklisting above. the rest are based one direct phrases and titles that brian said himself.
Thats actually pretty solid. Now give your mix a proper name! :)
i should have. i'll think of something. glad its reached the sort that appreciates brian's work.
2011 tracklist is ultimate. it sounds terrible tho lol, nice mixing here
ddin't you just steal this from Dae Lims presents? cmon now
bleh i strongly dislike that version
@@SammersonBridge Is this not the exact same thing?
oh nevermind its not
@@SammersonBridge curious why you dislike that version though, I thought it sounds excellent
@@SammersonBridge Thought I was the only person who didn't like the DL one lol :)
yeah i agree with the extremely overwritten second comment. Take credit for this as your own version of Smile, don’t title it as the exact thing
i called it a "(fan arrangement)" because that's what it is.