Your SMiLE mix...for the fun of it

[Cam Mott]

Anybody have the Chuck Britz quote about a two sided H&V?  I can't find my copy of the book.  Thanks.

[Bicyclerider]

With Me Tonught - no known sessions until June, so it's really a Smiley Smile song.  Three versions in 2 or 3 days while they were working on Smiley's Vegetables, then later rerecorded with the final Smiley version with organ.

Tones and IDK - it's a shame Carl and Dennis were never asked about these songs.  With Brian struggling to finish tracks for Smile and the single, perhaps his brothers were trying to step in and contribute tracks to help finish the album.  Alternatively they were inspired by Brian's creativity and, with Carl in particular attending and participating in many of the sessions, they felt they could produce music with the wrecking crew in a similar fashion and wanted to try it.  It wouldn't be until 1968 that they attempted to produce session musicians again.

He Gives Speeches  - don't see how this would fit into the Wonderful recorded in August, doesn't lend itself to this as a tag or as an insert, I just see this as an early Brian Van Dyke song that was abandoned but later salvaged for its parts.  Backing vocals recycled for the Sunshine tag that was later used for the Heroes cantina tag, the rest recycled in She's Going Bald.  Like how the verse of Look became the middle 8 of Child and the chorus was used for the last break (the vocal arrangement) in Good Vibrations.  Brian rarely wasted musical ideas!

[Mujan, 8@$+@Rc| of a Blue Wizard]

With Me Tonught - no known sessions until June, so it's really a Smiley Smile song.  Three versions in 2 or 3 days while they were working on Smiley's Vegetables, then later rerecorded with the final Smiley version with organ.

Tones and IDK - it's a shame Carl and Dennis were never asked about these songs.  With Brian struggling to finish tracks for Smile and the single, perhaps his brothers were trying to step in and contribute tracks to help finish the album.  Alternatively they were inspired by Brian's creativity and, with Carl in particular attending and participating in many of the sessions, they felt they could produce music with the wrecking crew in a similar fashion and wanted to try it.  It wouldn't be until 1968 that they attempted to produce session musicians again.

He Gives Speeches  - don't see how this would fit into the Wonderful recorded in August, doesn't lend itself to this as a tag or as an insert, I just see this as an early Brian Van Dyke song that was abandoned but later salvaged for its parts.  Backing vocals recycled for the Sunshine tag that was later used for the Heroes cantina tag, the rest recycled in She's Going Bald.  Like how the verse of Look became the middle 8 of Child and the chorus was used for the last break (the vocal arrangement) in Good Vibrations.  Brian rarely wasted musical ideas!

Thanks so much for answering!

Good to know about WMT. My impression was it was like HGS--something that came up in the beginning, got shelved, came back for Smiley. I figured thats why it was on bootlegs and the boxset. So it was really a pure Smiley song huh? That definitely changes my opinion on it and how it fits in. Namely, that it doesnt.

Thats my interpretation too, that they were taking some initiative and finishing some songs to add since they could tell the album wasnt really progressing and some songs like the Elements seemed to be dead for all intents and purposes. I think Tones couldve been a good song if it were finished, I really wanna know what the lyrics were, but it doesnt fit on SMiLE by virtue of the fact that its not from the mind of Brian. SMiLE is Brian's baby, with VDP focusing his thoughts to words, featuring the Beach Boys as vocalists in my interpretation.

I could be wrong (im not musically trained) but the melodies for HGS and Wonderful sound similar to my ears. The lyrics for HGS seem to be about a guy and his relationship with a woman. I know a lot of people here say they always put those two tracks together. I may be stretching it, but I see the "hawaiian sounds" in the later insert kinda mimicking the HGS backing vocals too, and I can see both fitting with additional "pretty baby wont you rock with me henry" dubs. Its almost total speculation, but I think if Wonderful was always supposed to have an insert or tag, HGS was a working version of it. It doesnt work with what we have because they both sound so disjointed, but if you rerecorded HGS on the Harpsichord or a gentler piano like Wonderful I think it might've sounded nice. It wouldve given the song more depth, as the male and female perspectives of a relationship that ultimately didnt pan out, and the baby imagery in HGS (little hands shadowed on the ceiling) couldve possibly tied it into that Life/Childhood suite. Wonderful just seems so short and so not-modular compared to everything else, plus we can tell from the sessions and Smiley he wanted an insert from early on if not the very beginning. I think the lyrics for HGS were meant to be a counterpoint to the main lyrics in Wonderful but were never rerecorded in such a way that they fit nicely and by Smiley they became their own thing. This change wasnt rectified in BWPS because nothing was--BWPS is more "lets take the fragments we have and put them in such a way that they make sense" rather than "what EXACTLY was the plan in '66, and lets painstakingly work to make that happen" as evidenced by the prior discussions about Fire's new intro, the new third suite, etc.

Where else could HGS fit in? Had it been an early Heroes piece, I think we wouldve seen it revisited in '67. You could be right about it just being an early scrapped song, but is there any other instance of this? Thats part of why I asked about WMT. If that was bona fide Smiley, and theres no other scrapped pieces of SMiLE from the early sessions that didnt come back until Smiley, Im reluctant to dismiss HGS as just a one-off that didnt go anywhere. All the other fragmentary pieces came back in January/February if nothing else, as a potential section of Heroes. All the other one-offs like Look and Holidays seem to have a verse/chorus structure and the former had other sessions with vocals recorded. It just seems odd.

[zosobird]

With Me Tonught - no known sessions until June, so it's really a Smiley Smile song.  Three versions in 2 or 3 days while they were working on Smiley's Vegetables, then later rerecorded with the final Smiley version with organ.

Tones and IDK - it's a shame Carl and Dennis were never asked about these songs.  With Brian struggling to finish tracks for Smile and the single, perhaps his brothers were trying to step in and contribute tracks to help finish the album.  Alternatively they were inspired by Brian's creativity and, with Carl in particular attending and participating in many of the sessions, they felt they could produce music with the wrecking crew in a similar fashion and wanted to try it.  It wouldn't be until 1968 that they attempted to produce session musicians again.

He Gives Speeches  - don't see how this would fit into the Wonderful recorded in August, doesn't lend itself to this as a tag or as an insert, I just see this as an early Brian Van Dyke song that was abandoned but later salvaged for its parts.  Backing vocals recycled for the Sunshine tag that was later used for the Heroes cantina tag, the rest recycled in She's Going Bald.  Like how the verse of Look became the middle 8 of Child and the chorus was used for the last break (the vocal arrangement) in Good Vibrations.  Brian rarely wasted musical ideas!

Thanks so much for answering!

Good to know about WMT. My impression was it was like HGS--something that came up in the beginning, got shelved, came back for Smiley. I figured thats why it was on bootlegs and the boxset. So it was really a pure Smiley song huh? That definitely changes my opinion on it and how it fits in. Namely, that it doesnt.

Thats my interpretation too, that they were taking some initiative and finishing some songs to add since they could tell the album wasnt really progressing and some songs like the Elements seemed to be dead for all intents and purposes. I think Tones couldve been a good song if it were finished, I really wanna know what the lyrics were, but it doesnt fit on SMiLE by virtue of the fact that its not from the mind of Brian. SMiLE is Brian's baby, with VDP focusing his thoughts to words, featuring the Beach Boys as vocalists in my interpretation.

I could be wrong (im not musically trained) but the melodies for HGS and Wonderful sound similar to my ears. The lyrics for HGS seem to be about a guy and his relationship with a woman. I know a lot of people here say they always put those two tracks together. I may be stretching it, but I see the "hawaiian sounds" in the later insert kinda mimicking the HGS backing vocals too, and I can see both fitting with additional "pretty baby wont you rock with me henry" dubs. Its almost total speculation, but I think if Wonderful was always supposed to have an insert or tag, HGS was a working version of it. It doesnt work with what we have because they both sound so disjointed, but if you rerecorded HGS on the Harpsichord or a gentler piano like Wonderful I think it might've sounded nice. It wouldve given the song more depth, as the male and female perspectives of a relationship that ultimately didnt pan out, and the baby imagery in HGS (little hands shadowed on the ceiling) couldve possibly tied it into that Life/Childhood suite. Wonderful just seems so short and so not-modular compared to everything else, plus we can tell from the sessions and Smiley he wanted an insert from early on if not the very beginning. I think the lyrics for HGS were meant to be a counterpoint to the main lyrics in Wonderful but were never rerecorded in such a way that they fit nicely and by Smiley they became their own thing. This change wasnt rectified in BWPS because nothing was--BWPS is more "lets take the fragments we have and put them in such a way that they make sense" rather than "what EXACTLY was the plan in '66, and lets painstakingly work to make that happen" as evidenced by the prior discussions about Fire's new intro, the new third suite, etc.

Where else could HGS fit in? Had it been an early Heroes piece, I think we wouldve seen it revisited in '67. You could be right about it just being an early scrapped song, but is there any other instance of this? Thats part of why I asked about WMT. If that was bona fide Smiley, and theres no other scrapped pieces of SMiLE from the early sessions that didnt come back until Smiley, Im reluctant to dismiss HGS as just a one-off that didnt go anywhere. All the other fragmentary pieces came back in January/February if nothing else, as a potential section of Heroes. All the other one-offs like Look and Holidays seem to have a verse/chorus structure and the former had other sessions with vocals recorded. It just seems odd.

on what real was HGS found? iirc it was unlabeled, but what else was it with? did it ever appear on a comp real?

also, does anyone know the track listing of any known comp reals? im curious as to whether they contained fragments or complete songs and whether they were mono bounces or multitracks. my understanding is bw mixes like wind chimes, wonderful,  dylw, cifotm, and the feb h&v were on some of those reals. if they contained complete songs and if wonderful is on them, but hgs is not (only a multitrack exists of hgs, whereas only the mono comp version of wonderful exists, right?), then wouldnt that be an argument that they were not linked in song form, since those sessions occured during the same time?

[Mujan, 8@$+@Rc| of a Blue Wizard]

With Me Tonught - no known sessions until June, so it's really a Smiley Smile song.  Three versions in 2 or 3 days while they were working on Smiley's Vegetables, then later rerecorded with the final Smiley version with organ.

Tones and IDK - it's a shame Carl and Dennis were never asked about these songs.  With Brian struggling to finish tracks for Smile and the single, perhaps his brothers were trying to step in and contribute tracks to help finish the album.  Alternatively they were inspired by Brian's creativity and, with Carl in particular attending and participating in many of the sessions, they felt they could produce music with the wrecking crew in a similar fashion and wanted to try it.  It wouldn't be until 1968 that they attempted to produce session musicians again.

He Gives Speeches  - don't see how this would fit into the Wonderful recorded in August, doesn't lend itself to this as a tag or as an insert, I just see this as an early Brian Van Dyke song that was abandoned but later salvaged for its parts.  Backing vocals recycled for the Sunshine tag that was later used for the Heroes cantina tag, the rest recycled in She's Going Bald.  Like how the verse of Look became the middle 8 of Child and the chorus was used for the last break (the vocal arrangement) in Good Vibrations.  Brian rarely wasted musical ideas!

Thanks so much for answering!

Good to know about WMT. My impression was it was like HGS--something that came up in the beginning, got shelved, came back for Smiley. I figured thats why it was on bootlegs and the boxset. So it was really a pure Smiley song huh? That definitely changes my opinion on it and how it fits in. Namely, that it doesnt.

Thats my interpretation too, that they were taking some initiative and finishing some songs to add since they could tell the album wasnt really progressing and some songs like the Elements seemed to be dead for all intents and purposes. I think Tones couldve been a good song if it were finished, I really wanna know what the lyrics were, but it doesnt fit on SMiLE by virtue of the fact that its not from the mind of Brian. SMiLE is Brian's baby, with VDP focusing his thoughts to words, featuring the Beach Boys as vocalists in my interpretation.

I could be wrong (im not musically trained) but the melodies for HGS and Wonderful sound similar to my ears. The lyrics for HGS seem to be about a guy and his relationship with a woman. I know a lot of people here say they always put those two tracks together. I may be stretching it, but I see the "hawaiian sounds" in the later insert kinda mimicking the HGS backing vocals too, and I can see both fitting with additional "pretty baby wont you rock with me henry" dubs. Its almost total speculation, but I think if Wonderful was always supposed to have an insert or tag, HGS was a working version of it. It doesnt work with what we have because they both sound so disjointed, but if you rerecorded HGS on the Harpsichord or a gentler piano like Wonderful I think it might've sounded nice. It wouldve given the song more depth, as the male and female perspectives of a relationship that ultimately didnt pan out, and the baby imagery in HGS (little hands shadowed on the ceiling) couldve possibly tied it into that Life/Childhood suite. Wonderful just seems so short and so not-modular compared to everything else, plus we can tell from the sessions and Smiley he wanted an insert from early on if not the very beginning. I think the lyrics for HGS were meant to be a counterpoint to the main lyrics in Wonderful but were never rerecorded in such a way that they fit nicely and by Smiley they became their own thing. This change wasnt rectified in BWPS because nothing was--BWPS is more "lets take the fragments we have and put them in such a way that they make sense" rather than "what EXACTLY was the plan in '66, and lets painstakingly work to make that happen" as evidenced by the prior discussions about Fire's new intro, the new third suite, etc.

Where else could HGS fit in? Had it been an early Heroes piece, I think we wouldve seen it revisited in '67. You could be right about it just being an early scrapped song, but is there any other instance of this? Thats part of why I asked about WMT. If that was bona fide Smiley, and theres no other scrapped pieces of SMiLE from the early sessions that didnt come back until Smiley, Im reluctant to dismiss HGS as just a one-off that didnt go anywhere. All the other fragmentary pieces came back in January/February if nothing else, as a potential section of Heroes. All the other one-offs like Look and Holidays seem to have a verse/chorus structure and the former had other sessions with vocals recorded. It just seems odd.

on what real was HGS found? iirc it was unlabeled, but what else was it with? did it ever appear on a comp real?

also, does anyone know the track listing of any known comp reals? im curious as to whether they contained fragments or complete songs and whether they were mono bounces or multitracks. my understanding is bw mixes like wind chimes, wonderful,  dylw, cifotm, and the feb h&v were on some of those reals. if they contained complete songs and if wonderful is on them, but hgs is not (only a multitrack exists of hgs, whereas only the mono comp version of wonderful exists, right?), then wouldnt that be an argument that they were not linked in song form, since those sessions occured during the same time?

I cant answer, but of course Id love to know too. I reiterate my theory is all speculation here, but it just seems weird that there exists this completely un-modular main track and an abandoned song. You can mention Holidays and Look being abandoned too, but again those have verse/chorus/fade structures while HGS seems like a fragment. Maybe it couldve been part of IIGS/Barnyard suite? Either way, why is Barnyard, IIGS, Look and Holidays on BWPS and the TSS tracklist but not HGS? Why is this one particular piece of '66 SMiLE so marginalized?

[Bicyclerider]

To be honest, IMO the reason it's been marginalized is it's not very good.  I think She's Goin' Bald was a big improvement on the song, as heretical as that may seem to Smilephiles.

The obvious answer to why it remained a fragment is that Brian may have intended more for the song but abandoned it.  So it probably was intended as a section of a complete song, but he never got around to finishing it.  Like he never finished The Elements, or Barnyard Suite. 

[Mujan, 8@$+@Rc| of a Blue Wizard]

To be honest, IMO the reason it's been marginalized is it's not very good.  I think She's Goin' Bald was a big improvement on the song, as heretical as that may seem to Smilephiles.

The obvious answer to why it remained a fragment is that Brian may have intended more for the song but abandoned it.  So it probably was intended as a section of a complete song, but he never got around to finishing it.  Like he never finished The Elements, or Barnyard Suite. 

I guess. I personally dont think its all that great either, but neither is WMT or IWBA really. I mean, they are, just not in comparison to the other stuff being recorded at that time. I do agree SGB is better.

In any case, I wish we had isolated main vocals from HGS to be able to at least try them as part of a hypothetical Wonderful insert. I recall asking this board if anyone had them to share but got no bites. Im aware of the Smile Mixer's toolkit, but as wonderful as that resource is, it doesnt have usable HGS vocals either

[Summertime Blooz]

I think He Gives Speeches is a worthy inclusion in any Smile album mix based on the strength of the lyrics alone. Sure, it doesn't have much of a melody (intentionally, I think) but Parks' cryptic lyrics always draw me in. "Little hands shadowed on the ceiling". Too weird! How do you not love that?

[Mujan, 8@$+@Rc| of a Blue Wizard]

I think He Gives Speeches is a worthy inclusion in any Smile album mix based on the strength of the lyrics alone. Sure, it doesn't have much of a melody (intentionally, I think) but Parks' cryptic lyrics always draw me in. "Little hands shadowed on the ceiling". Too weird! How do you not love that?

Out of curiousity, whats your stance on the whole HGS v SGB preference?

And while I agree with you those vocals are undoubetedly Parks', it should still be noted he claims no authorship of them.

[zosobird]

I think He Gives Speeches is a worthy inclusion in any Smile album mix based on the strength of the lyrics alone. Sure, it doesn't have much of a melody (intentionally, I think) but Parks' cryptic lyrics always draw me in. "Little hands shadowed on the ceiling". Too weird! How do you not love that?

Out of curiousity, whats your stance on the whole HGS v SGB preference?

And while I agree with you those vocals are undoubetedly Parks', it should still be noted he claims no authorship of them.

He may not remember writing them, or referring to SGB, which may have bastardized his original lyrics (what's the quote??)... btw, he also claims he had nothing to do with Old Master Painter (which contradicts other accounts) and said Surf's Up was the first song he wrote with Brian (which it was not..H&Vs was)... time passes, memories fade

[Mujan, 8@$+@Rc| of a Blue Wizard]

I think He Gives Speeches is a worthy inclusion in any Smile album mix based on the strength of the lyrics alone. Sure, it doesn't have much of a melody (intentionally, I think) but Parks' cryptic lyrics always draw me in. "Little hands shadowed on the ceiling". Too weird! How do you not love that?

Out of curiousity, whats your stance on the whole HGS v SGB preference?

And while I agree with you those vocals are undoubetedly Parks', it should still be noted he claims no authorship of them.

He may not remember writing them, or referring to SGB, which may have bastardized his original lyrics (what's the quote??)... btw, he also claims he had nothing to do with Old Master Painter (which contradicts other accounts) and said Surf's Up was the first song he wrote with Brian (which it was not..H&Vs was)... time passes, memories fade

Indeed. I dont believe him when it comes to HGS either. Those lyrics couldnt have come from Brian or Mike--they have VDP's hallmarks all over them

[Micha]

Where else could HGS fit in?

Well, even though I'm 100% certain that Brian never intended HGS to sit at this spot, I've put it here and I like it. HGS starts at 1:39.

[Micha]

imo, the nature of the cornucopia version of Vege-Tables works as a demo, because of it's drastically simplified arrangements as compared to literally every other track for SMiLE.  Also, wasn't it just Brian and no one else?  Why no additional work put into it afterwards?

Maybe V-T was intended as the "I'm Bugged At My Old Man" of SMiLE. Since I like the cornucopia lyric and prefer Mike's silly vocal rendition to Al's tired sounding lead on the "single version", I have constructed a little Frankenstein Vega-Tables mix from the TSS stuff.

[Micha]

I'd still like to try Prayer after Surfs Up sometime for curiosity's sake, but there's no reason that the "Amen" need be a literal church choir or prayer.

Works very well for me.

A
1. You're Welcome
2. H&V (including IIGS and OMP/MOS)
3. Cabin Essence
4. DYLW
5. Holidays
6. Wonderful
7. Song For Children

B
8. CIFOTM
9. The Elements (V-T - LTSDD - WC - MOLC)
10. Surf's Up
11. Prayer
12. GV (single version, no humbedums)

There you go, 12 tracks, each LP side by sheer coincidence 22:30 minutes long.

I couldn't find a good way to fit IWBA/Woodshop, so I left it off and don't miss it.

[Micha]

5) He Gives Speeches, featuring the lyric "he fell into her friendly persuasion", is recorded the same day as the Good Vibrations "Persuasion" takes.

I've been thinking whether this lyric is a reference to the novel (and movie) "Friendly Persuasion" much of which is set on a farm in the old west.

[Micha]

I think the "HV intro" that later got tacked in front of Fire was meant to symbolize the Hero arriving in the town by train from the city. I just had a little bit of fun by combining two things that I didn't even have to pitch shift to fit - notice the vocals and the piano change chords at the same time, while the organ does not:

HV intro with vocals

Nice train whistle at the end!

[Micha]

Then why in god's name is Vege-Tables listed separately from The Elements on the tracklist if they were meant to be together!?!?!?!?

Probably it's just confusion due to the lack of a completed concept prior to recording. As guitarfool stated, SMiLE was in a constant state of flux.

Enough posts from me for now!

[Cam Mott]

I think He Gives Speeches is a worthy inclusion in any Smile album mix based on the strength of the lyrics alone. Sure, it doesn't have much of a melody (intentionally, I think) but Parks' cryptic lyrics always draw me in. "Little hands shadowed on the ceiling". Too weird! How do you not love that?

Out of curiousity, whats your stance on the whole HGS v SGB preference?

And while I agree with you those vocals are undoubetedly Parks', it should still be noted he claims no authorship of them.

He may not remember writing them, or referring to SGB, which may have bastardized his original lyrics (what's the quote??)... btw, he also claims he had nothing to do with Old Master Painter (which contradicts other accounts) and said Surf's Up was the first song he wrote with Brian (which it was not..H&Vs was)... time passes, memories fade

Indeed. I dont believe him when it comes to HGS either. Those lyrics couldnt have come from Brian or Mike--they have VDP's hallmarks all over them

HGS could have come from Paul Robbins or someone.

[Mujan, 8@$+@Rc| of a Blue Wizard]

I think He Gives Speeches is a worthy inclusion in any Smile album mix based on the strength of the lyrics alone. Sure, it doesn't have much of a melody (intentionally, I think) but Parks' cryptic lyrics always draw me in. "Little hands shadowed on the ceiling". Too weird! How do you not love that?

Out of curiousity, whats your stance on the whole HGS v SGB preference?

And while I agree with you those vocals are undoubetedly Parks', it should still be noted he claims no authorship of them.

He may not remember writing them, or referring to SGB, which may have bastardized his original lyrics (what's the quote??)... btw, he also claims he had nothing to do with Old Master Painter (which contradicts other accounts) and said Surf's Up was the first song he wrote with Brian (which it was not..H&Vs was)... time passes, memories fade

Indeed. I dont believe him when it comes to HGS either. Those lyrics couldnt have come from Brian or Mike--they have VDP's hallmarks all over them

HGS could have come from Paul Robbins or someone.

what songs do we know he wrote?

[Cam Mott]

HGS could have come from Paul Robbins or someone.

what songs do we know he wrote?

"Paul J Robbins wrote words replacing Schuller."  Van Dyke Parks 4/27/01 re. his single "Number Nine" but I suppose that was more of a translation.

Edit: Are the lyrics of "Number Nine" a translation of the Schiller poem or are they original by Robbins?  Anyone done a comparison?

Robbins was hanging out with Brian and was political and a writer and music journo, so no proof but a not much considered possibility.

"Paul Robbins was a lovely person.... still is I assume.  A very bright man, sort of young stoner professor type, gregarious and hospitable...with all the mellow sensibilities of your prototype hippie but as on the move as any New Yorker one might summon to mind. Paul got a lot done. Wrote for the LA underground press, did radio, was
an Active political activist, studied a wide variety of things in depth, was extremely well read, and so on. A pretty honorable fellow."  "Paul was not a negative influence on Brian. Just the opposite. He helped Brian understand the actual ingredients of some widely diverse intellectual/religious/social disciplines. Like a tutor of sorts."    Michael Vosse 2/18/01

[Micha]

Hmm... actually I didn't expect to find my posts THAT uninteresting...

[doinnothin]

5) He Gives Speeches, featuring the lyric "he fell into her friendly persuasion", is recorded the same day as the Good Vibrations "Persuasion" takes.

I've been thinking whether this lyric is a reference to the novel (and movie) "Friendly Persuasion" much of which is set on a farm in the old west.

The Four Aces cover of that movie's theme song. Prelude to Fade vibes ...
https://www.youtube.com/watch?v=YExBiSw1Zlo

[Mujan, 8@$+@Rc| of a Blue Wizard]

Hmm... actually I didn't expect to find my posts THAT uninteresting...

Tell us about your hopes and dreams. What do you think of when you orgasm? Whats your definition of success? What in your opinion best ascribes meaning to this random chaotic universe?

[Mujan, 8@$+@Rc| of a Blue Wizard]

HGS could have come from Paul Robbins or someone.

what songs do we know he wrote?

"Paul J Robbins wrote words replacing Schuller."  Van Dyke Parks 4/27/01 re. his single "Number Nine" but I suppose that was more of a translation.

Edit: Are the lyrics of "Number Nine" a translation of the Schiller poem or are they original by Robbins?  Anyone done a comparison?

Robbins was hanging out with Brian and was political and a writer and music journo, so no proof but a not much considered possibility.

"Paul Robbins was a lovely person.... still is I assume.  A very bright man, sort of young stoner professor type, gregarious and hospitable...with all the mellow sensibilities of your prototype hippie but as on the move as any New Yorker one might summon to mind. Paul got a lot done. Wrote for the LA underground press, did radio, was
an Active political activist, studied a wide variety of things in depth, was extremely well read, and so on. A pretty honorable fellow."  "Paul was not a negative influence on Brian. Just the opposite. He helped Brian understand the actual ingredients of some widely diverse intellectual/religious/social disciplines. Like a tutor of sorts."    Michael Vosse 2/18/01

Very interesting. Only thing is, wasnt SGB credited partially to VDP? Could be a mistake...he wasnt credited for Mama Says later, and while I personally believe he had nothing to do with them, he claims the lyrics for Wind Chimes are his and he wasnt credited until BWPS.

If this other guy wrote HGS, thats enough of a reason to leave them off Wonderful and the album itself IMO. I have a very set bunch of standards for my SMiLE. Only Brian/VDP collaborations allowed for me. I was hesitant to even include OMP until very recently. Now, thats the lone exception to the rule.

[c-man]

Just to return to Dada for a second, where did the labeling of the Dec 1966 piano and Rhodes tracks Brian recorded originate? Was "Love To Say DaDa" on the 12/66 tape boxes? Because I don't think they were slated, yet they're labeled and grouped with the Dada tracks on the box set. When it was slated in the studio, for a full session, it was late January 1967 and titled "All Day". It was first slated "Love To Say Dada" in May 1967 after it got a second part and full instrumentation.

I mention this too because in between the taped piano recordings for "All Day", Brian says "In those spots we're going to have a bunch of talking, all of us together..." which adds another layer to what this fragment may have been as of January 1967.

Want to return to this again and ask again, where did these titles/labels come from?

I think somebody upthread mentioned the 12.22.66 tapes were labelled simply "Dada", and you're right in saying neither is slated on TSS. I think only C-Man can confirm what the December tapes say, unless it's mentioned in the booklet somewhere.

Sorry it's taken me so long to respond to this, but I literally just saw it the other day, and it's taken me awhile to dig out my 2011 TSS sessionography notes. But here goes:

The Columbia Studios 8-track tape for "Prayer" (dated 9-19-1966) was used for the 4-track to 8-track "dubup" of "Do You Like Worms", and vocals were added to that by all six Beach Boys (apparently on 12/21/66). The same hand that added the "Worms - Pt 1 w/ vocals" notation to that "Prayer" tape box track sheet also added notation for "Da Da  - (1) piano & perc (2) Rhodes & piano", leading one to conclude those pieces were recorded following the end of the 12/21 session (after midnight the morning of 12/22). Another, probably later notation reads "Check Da Da for poss. use (funky tack piano)" - likely referring to the piano with strings-taped sound evident on the first take of this 12/22 "Da Da".

So, to answer the question - while the title of the December '66 "Da Da" is not slated on the actual tape, it is labeled on the actual tape box track sheet.