Brian's production tricks: things over looked in BWPS and many Smile playlists

[The Song Of The Grange]

Surprisingly, I have been thinking about Smile lately.

And lately I have been studying Brian's inventive production tricks used in the Smile and Smiley Smile era.  It seems to me that in BWPS pretty much repeats verbatim the available unfinished  Smile recordings that are floating around, the box set releases in particular.  This has only extended the idea that these recordings are the way the songs were meant to be in 1967.  But I think what is missing is Brian's production tricks.

Look at the material from the Smile and Smiley Smile era that was actually released or finished but not released.  Nearly every track has some very unique and experimental production tricks.  All the bootlegs and official releases post-67' are missing this final touch.  Decades later when BWPS was made, these production tricks were ignored, save for what was already on tape (for instance the tape feed back in I'm In Great Shape).

It is telling that nearly EVERYTHING Brian actually mixed in this era is full of these special studio effects and tricks.  It is a consistent tool, not just a once-in-awhile gimick.  Many times these tricks and effects were used for transitions between to sections of music.  Lots of creative work happened at the mix stage, which we never see on all these unmixed songs.

Good Vibrations--the ultimate studio production ever (in my opinion) ends with some very creative editing and dynamic shifts not present on the session tapes alone.

Heroes and Villains Cantina version (the only Smile era mix we have) is full of studio effects.  Abrupt edits, sound effects, a random voice shouting "your under arrest", the big tape feedback build up before the fade etc.

Vegetables (the April version from box set) is not a finished Brian mix, but was cobbled together for the box set.  However, listening to text mixes of the song Brian did one can hear him experimenting with a big reverb wash at the end of each verse section.

Heroes and Villains (45 single version) has lots of abrupt edits and changes in dynamics that were very much Brian's style at the time.

Smiley Smile the LP is a treasure trove of Brian's bag of studio tricks.

Vegetables has narrative sound effects like water pouring, chomping, a guy saying "oh yeah" as he enjoys a carrot or something.
Fall Breaks also has lots of sound effects and odd percussion.
She's Going Bald has a rising pitch tape speed trick as well as many abrupt section changes.
Little Pad has sawing sound effects and lots of little diced up sections.
Wind Chimes has a big anti-melodic noise made from the sound of the tape being rewound, and also uses slowed tape speed to make the low "ting-a-ling" voices.
Getting Hungry has many abrupt edits and also uses tape speed effects on the last deep "getting huuungry" voice.
Wonderful features some odd dissonant sound effects as well as party noise on the break.

And moving into later recordings with a Smile spirit:
Diamond Head and Cool Cool Water have water sound effects.  Diamond Head has a thunder sound effect made by hitting or shaking a spring reverb unit.

I believe Smile would have actually had more of these studio effects than Smiley Smile etc, being that Smile was being made in state of the art studios with more gear options. 

I want to put forth the idea that all those other tracks on the box set would have had similar tricks, as would Surf's Up, Child is Father, Look, Holidays, Great Shape etc.  Adding historical re-creations of these effects to the box set tracks etc would get us closer to the true spirit of the 1967 Smile.  The Box set versions of Worms, Wonderful, Windchimes, even the 69' version of Cabinessence, maybe even the 71' Surf's Up are not telling the whole story of what these tracks would have sounded like.

[Roger Ryan]

While it was everyone's intention to replicate the existing SMiLE sessions on BWPS, there were still additional attempts to include "production tricks" in the manner described in the above post. Nicky's pirate rap ("On A Holiday") is certainly an odd unpredictable inclusion as are the bizarre treated backing vocals on "In Blue Hawaii" (similar to "I Wanna Be Around"). The crossfade from "On A Holiday" to "Wind Chimes" is a production trick that Brian wouldn't have done in '66/'67.

[sofonanm]

Sort of related: I wish that for CIFOTM on BWPS they included the wave of high harmonies in the chorus that cascade over the "chi-chi-child" bits. Oh, and that booming bass sound high in the mix. BWPS is tame compared to lots of the original.

[A Million Units In Jan!]

I've always felt that BWPS was a little bit too 'clean', if you will. Not that the 66/67 stuff was 'dirty', but there's just something about that distinct sound that you got from that old equipment, even though I know on BWPS they used the same kinds of mics that they did back in the day.

[sofonanm]

I've always felt that BWPS was a little bit too 'clean', if you will. Not that the 66/67 stuff was 'dirty', but there's just something about that distinct sound that you got from that old equipment, even though I know on BWPS they used the same kinds of mics that they did back in the day.

You know how the Ronettes and other groups re-recorded their old hits? That's kinda how I feel about BWPS. Or, it's kinda like... imagine if Smile was released in 67, and then in 2004 after the same merda happened Brian chose (or was made to) perform Smile live on tour like he did Pet Sounds. If Pet Sounds was re-recorded it would sound how BWPS does - good, but nothing on the original.

[Sheriff John Stone]

You know how the Ronettes and other groups re-recorded their old hits? That's kinda how I feel about BWPS. Or, it's kinda like... imagine if Smile was released in 67, and then in 2004 after the same merda happened Brian chose (or was made to) perform Smile live on tour like he did Pet Sounds. If Pet Sounds was re-recorded it would sound how BWPS does - good, but nothing on the original.

Exactly! BWPS always reminds me of one of those GREATEST HITS OF THE 60's compilation albums, with all of these great songs "performed by the original artist". The melodies, arrangements, and even the lead singers are the same, but the songs sounds completely different, losing all of the original "feel", because it's a re-recording. Usually the artists cash in on those albums because their career is fading or has faded; they can't make it anymore recording new material, so, they sell their soul for the money. Sad.

[sofonanm]

You know how the Ronettes and other groups re-recorded their old hits? That's kinda how I feel about BWPS. Or, it's kinda like... imagine if Smile was released in 67, and then in 2004 after the same merda happened Brian chose (or was made to) perform Smile live on tour like he did Pet Sounds. If Pet Sounds was re-recorded it would sound how BWPS does - good, but nothing on the original.

Exactly! BWPS always reminds me of one of those GREATEST HITS OF THE 60's compilation albums, with all of these great songs "performed by the original artist". The melodies, arrangements, and even the lead singers are the same, but the songs sounds completely different, losing all of the original "feel", because it's a re-recording. Usually the artists cash in on those albums because their career is fading or has faded; they can't make it anymore recording new material, so, they sell their soul for the money. Sad.

I've wondered whether BWPS was actually an attempt to generate more $$$ since Brian has always maintained that the wife and the managers told him it was time to do it. Don't seem too far fetched, does it?

I mean, I have nothing against him earning what he deserves for it but sometimes it seems that it was more of a marketing thing than a purely artistic "I have an ardent desire to complete my incomplete masterpiece".

That being said, I agree with you about the "feel" but it would be a mistake to lump BWPS in with a lot of shoddy BEST OF albums.

[Sheriff John Stone]

You know how the Ronettes and other groups re-recorded their old hits? That's kinda how I feel about BWPS. Or, it's kinda like... imagine if Smile was released in 67, and then in 2004 after the same merda happened Brian chose (or was made to) perform Smile live on tour like he did Pet Sounds. If Pet Sounds was re-recorded it would sound how BWPS does - good, but nothing on the original.

Exactly! BWPS always reminds me of one of those GREATEST HITS OF THE 60's compilation albums, with all of these great songs "performed by the original artist". The melodies, arrangements, and even the lead singers are the same, but the songs sounds completely different, losing all of the original "feel", because it's a re-recording. Usually the artists cash in on those albums because their career is fading or has faded; they can't make it anymore recording new material, so, they sell their soul for the money. Sad.

I've wondered whether BWPS was actually an attempt to generate more $$$ since Brian has always maintained that the wife and the managers told him it was time to do it. Don't seem too far fetched, does it?

I mean, I have nothing against him earning what he deserves for it but sometimes it seems that it was more of a marketing thing than a purely artistic "I have an ardent desire to complete my incomplete masterpiece".

You're preaching to the choir, brother. Hey, where have you been the last couple of years?

Seriously, this has been discussed in numerous threads and I've repeated my opinion(s) several times, but, it's still a controversial topic, and I always appreciate reading other opinions, especially when they coincide with mine.

So, Sofonanm, here goes - again. I had no problem when Melinda, David Leaf, and other associates of Brian thought it was a good idea to perform some version of SMiLE live. In fact, I welcomed it. Yeah, it was done to save a fading solo career which actually never took off, but, it's one thing to say, "Here are some songs that I think you'll like to hear performed live" and another thing to re-record those songs and say "we finished it/them." Especially when we're talking about the SMiLE songs. This ain't no "Meant For You" or "Keep An Eye On Summer". This is SMiLE, arguably the greatest popular music ever recorded. That's where I draw the line.

If they just would've left it a live performance piece, even releasing it as a live CD/DVD.... But, no, somebody (I wonder who?) saw $$$$$$$, took the EXACT SAME LIVE PRESENTATION, NOTE FOR NOTE, re-recorded the songs (not nearly as good as the orignals), and proclaims SMiLE as finished. Disgusting and revolting. All for money, to resurrect a career, for publicity. I don't buy for a minute it was to exorcise demons; Brian didn't care enough for that. He stopped caring a long time ago.

[Sam_BFC]

While I think it naiive to say the $ played no part, I also think it a little cynical to suggest it was the only factor...the response to the project by Brian and band does seem genuine.

If Brian no longer cared why does he continually veto a box set??

[John Manning]

You know how the Ronettes and other groups re-recorded their old hits? That's kinda how I feel about BWPS. Or, it's kinda like... imagine if Smile was released in 67, and then in 2004 after the same merda happened Brian chose (or was made to) perform Smile live on tour like he did Pet Sounds. If Pet Sounds was re-recorded it would sound how BWPS does - good, but nothing on the original.

Exactly! BWPS always reminds me of one of those GREATEST HITS OF THE 60's compilation albums, with all of these great songs "performed by the original artist". The melodies, arrangements, and even the lead singers are the same, but the songs sounds completely different, losing all of the original "feel", because it's a re-recording. Usually the artists cash in on those albums because their career is fading or has faded; they can't make it anymore recording new material, so, they sell their soul for the money. Sad.

I've wondered whether BWPS was actually an attempt to generate more $$$ since Brian has always maintained that the wife and the managers told him it was time to do it. Don't seem too far fetched, does it?

I mean, I have nothing against him earning what he deserves for it but sometimes it seems that it was more of a marketing thing than a purely artistic "I have an ardent desire to complete my incomplete masterpiece".

You're preaching to the choir, brother. Hey, where have you been the last couple of years?

Seriously, this has been discussed in numerous threads and I've repeated my opinion(s) several times, but, it's still a controversial topic, and I always appreciate reading other opinions, especially when they coincide with mine.

So, Sofonanm, here goes - again. I had no problem when Melinda, David Leaf, and other associates of Brian thought it was a good idea to perform some version of SMiLE live. In fact, I welcomed it. Yeah, it was done to save a fading solo career which actually never took off, but, it's one thing to say, "Here are some songs that I think you'll like to hear performed live" and another thing to re-record those songs and say "we finished it/them." Especially when we're talking about the SMiLE songs. This ain't no "Meant For You" or "Keep An Eye On Summer". This is SMiLE, arguably the greatest popular music ever recorded. That's where I draw the line.

If they just would've left it a live performance piece, even releasing it as a live CD/DVD.... But, no, somebody (I wonder who?) saw $$$$$$$, took the EXACT SAME LIVE PRESENTATION, NOTE FOR NOTE, re-recorded the songs (not nearly as good as the orignals), and proclaims SMiLE as finished. Disgusting and revolting. All for money, to resurrect a career, for publicity. I don't buy for a minute it was to exorcise demons; Brian didn't care enough for that. He stopped caring a long time ago.

Agreed but you have to admit most of us were begging for it!

Trouble is, Brian, we still are!

[Sheriff John Stone]

While I think it naiive to say the $ played no part, I also think it a little cynical to suggest it was the only factor...the response to the project by Brian and band does seem genuine.

If Brian no longer cared why does he continually veto a box set??

I have absolutely no doubt that Brian's band was into it. They're fans, brilliant musicians, of course they loved playing those songs. But, from the beginning, I've questioned the amount/percentage of Brian's participation in the project, compared to everybody else, especially Darian. And Beautiful Dreamer did nothing to change that opinion.

While $$$$$$ might not have been the only factor, without being too radical, I would put it at over 95%. Keep in mind I'm talking about re-recording the songs into BWPS, not just the live performance. The live performance I would put at 90%, but that's OK, like I said, I had no problem with performing your back catalogue in concert, any part of it.

I didn't know Brian WAS vetoing a boxed set of the SMiLE sessions. I never knew the project was presented to him. Was it? But, I wasn't surprised that a boxed set didn't come out in the ensuing 4-5 years after BWPS. It would've exposed BWPS for what it is.

[sofonanm]

What's your take on BWPS's running order? As in, who sequenced it and for what exact purpose, etc.

[Wirestone]

Oh blah, blah, blah.

They did it for the money? Please. If money was the only factor, Smile would have been released decades ago.

BWPS as some sort of fakery? Most of the original tracks have been released. And let's face it -- are the original Fire, CIFTTM, Holiday and Look really so awesome as to make the people who liked BWPS slap their foreheads and gasp: "We've been sold a lie"?

[Sheriff John Stone]

What's your take on BWPS's running order? As in, who sequenced it and for what exact purpose, etc.

I think BWPS is Darian's vision or his fanmix - for a live performance. And that is important , it was put together for a live performance. I think Darian put it together and ran it by Brian, who probably, IMO, responded "Sounds good", or "that's great", or "No, don't use that".

Basically, I like a lot of the sequence. Seriously, much of it flows nicely. However, I have two basic objections, First, I would've flip-flopped the second and third movements. No way would I end with "Good Vibrations", instead I would've closed with "Surf's Up". But, I know why he/they chose "Good Vibrations"; because, in a live performance, "Good Vibrations" is a climax song; you almost couldn't top it, it would've been hard to follow it.

Second, in linking all of the tracks together, they sacrificed all of Brian's great fades. That was part of his genius, especially with the SMiLE songs. By "choosing" to go with links and movements, you basically compromised some great parts. I don't think Brian would've ever done that in 1966-67. Do you? And, again, that was another revolting part of turning the live performance of BWPS into "the finished SMiLE". Finished? They hatcheted it. 

[Sheriff John Stone]

And let's face it -- are the original Fire, CIFTTM, Holiday and Look really so awesome as to make the people who liked BWPS slap their foreheads and gasp: "We've been sold a lie"?

Yes.

And, Brian wasn't married to Melinda decades ago.

[the captain]

I love it. And it's better than I could do. 

[Mahalo]

Sort of related: I wish that for CIFOTM on BWPS they included the wave of high harmonies in the chorus that cascade over the "chi-chi-child" bits. Oh, and that booming bass sound high in the mix. BWPS is tame compared to lots of the original.

I love that wave of high harmonies...I would love it even more if we got an official version released instead of Love Songs of the Summer or whatever in Sam Hell's name we are getting this year.

Also, there is the instrumental version of CITFOTM that indicates that there would've been two verses. Sigh.

[A Million Units In Jan!]

I love it. And it's better than I could do. 

Right! I mean, the fact that any official version came out at all is amazing-and I sat there at the BWPS concert with tears in my eyes during 'Surf's Up', because it was beautiful. Still, that doesn't change the fact that when I listen to SMiLE, I listen to the 'non-official' versions that I picked up here and there 

[Mahalo]

While it was everyone's intention to replicate the existing SMiLE sessions on BWPS, there were still additional attempts to include "production tricks" in the manner described in the above post. Nicky's pirate rap ("On A Holiday") is certainly an odd unpredictable inclusion as are the bizarre treated backing vocals on "In Blue Hawaii" (similar to "I Wanna Be Around"). The crossfade from "On A Holiday" to "Wind Chimes" is a production trick that Brian wouldn't have done in '66/'67.

That crossfade rules.

Part of me feels that much of the "new' stuff on BWPS was part of Brian's original ideas. After all, we treat him as some sort of Rock genius one second and then a washed up - has been another. Who knows. It's just that much the new lyrics and ideas work too smoothly.

[Wilsonista]

Oh blah, blah, blah.

They did it for the money? Please. If money was the only factor, Smile would have been released decades ago.

BWPS as some sort of fakery? Most of the original tracks have been released. And let's face it -- are the original Fire, CIFTTM, Holiday and Look really so awesome as to make the people who liked BWPS slap their foreheads and gasp: "We've been sold a lie"?

Gosh, because Sheriff John Stone found some more people who agree with his idiotic "BWPS Is a FRAUD" viewpoint, I'm going to throw out my 2 CD copies, my vinyl and my DVD!!!! I can't believe I was bamboozled by Brian, Van Dyke, Darian, and that EVIL Melinda!!!!!

[Chris Brown]

I'm not quite as cynical as you, Sheriff, but you make a lot of good points that I agree with. 

I guess my main problem is that BWPS is treated as a completed version of Smile when it is essentially a live performance translated into a studio recording.  The sequence was done with the intent to perform it live, not to "finish" the album.  I do like the sequence quite a bit in parts, but the two points you raised about ending with "Good Vibrations" and the (in my opinion, tragic) loss of Brian's brilliant fades took the words right out of my mouth.

I realize that even Brian probably couldn't articulate his initial "vision" for Smile if you asked him, but I don't think BWPS captures very much of it.  The recording is, as others have mentioned, very "clean," whereas the original tracks are full of vibrant innovation.  I find it difficult to put into words, but I'm sure you all know what I mean.  There was a dark and "weird" quality in the original sessions that disappeared on BWPS. 

The loss of fades really bothers me too Sheriff...Brian was master of the fade, and he devised some brilliant ones for Smile.  Even if some of them were used on BWPS, they lose their effect when they cross-fade immediately into another song.  Even the ones that end the movements ("Cabinessence," "Surf's Up," and "Good Vibrations") don't have their intended effect.  I know it's just personal preference, but those tags just don't work when they end cold.

And of course, ending with "Good Vibrations" was, as you pointed out Sheriff, a move for live performance.  I can't imagine Brian would have ended Smile with it...the fade to "Surf's Up" or a reprise of "Prayer" would have been absolutely perfect.  I really wouldn't have had a problem leaving "GV" off the album at all, actually.  I just don't think it fits anywhere.  In '66-'67 I think it would have opened side 2, but obviously in 2004 that effect is totally lost.  I actually somewhat enjoy the BWPS version, I just don't like it for BWPS, if that makes any sense. 

[sofonanm]

Oh blah, blah, blah.

They did it for the money? Please. If money was the only factor, Smile would have been released decades ago.

BWPS as some sort of fakery? Most of the original tracks have been released. And let's face it -- are the original Fire, CIFTTM, Holiday and Look really so awesome as to make the people who liked BWPS slap their foreheads and gasp: "We've been sold a lie"?

Gosh, because Sheriff John Stone found some more people who agree with his idiotic "BWPS Is a FRAUD" viewpoint, I'm going to throw out my 2 CD copies, my vinyl and my DVD!!!! I can't believe I was bamboozled by Brian, Van Dyke, Darian, and that EVIL Melinda!!!!!

haha, i don't think it's a fraud, i just don't think it holds up to the 66/67 tapes. i also don't see it as unlikely that the album was used, as Sheriff said, to boost a poor solo career. what could do that better than unearthing a legendary lost album and "finishing" it?

it's the little things about it that don't move me as strongly as the originals. take the piano/bass segment of Child - in the old tapes the bass booms out with a really ominous feel, on BWPS it's just a little thud in the background. it doesn't carry the same emotion at all. i also miss dearly the extra banjo (was it a banjo?) at the end of Cabinessence... it feels naked without it, ESPECIALLY live when the one guy is playing the banjo part and the slide guitar part can't be performed either at the same time.

it's all those little things that hot me hooked on the smile tapes in the first place.

[Wilsonista]

So  basically you guys dont' like it because it's not the SMiLE that you wanted.

To me, SMiLE IS finished. I've said this time and time again. If Van had not been brought in to add the additonal lyrics, I might have more sympathy for the dissenting views (and would probably agree with those views too). But bringing Van in changed everything in the process.


I also never got the "original recordings were more dark and that's something the new tracks lack" opinion. Weren't the new tracks dissed for being too close to the original arrangements? I never, ever got those lines of thinking.


Whether or not he did the grunt work (and that is a fair subject to debate), this is the version that Brian and VDP approved. And the one that stands to me.

[Chris Brown]

Whether or not he did the grunt work (and that is a fair subject to debate), this is the version that Brian and VDP approved. And the one that stands to me.

Sure they approved it, but the point of view I take is that there is no way that a 24-year-old Brian Wilson would have approved it.  His solo career makes it quite clear that the standards of 62-year-old Brian are significantly lower than those of the guy who created Pet Sounds and Smile.  So I don't put much stock in the fact that he approved BWPS when so much of his original vision was lost.

[Sheriff John Stone]

I'm not quite as sinnicle as you, Sheriff....

Chris, I respect your opinion(s) and I enjoy your posts, but I don't think I'm being cynical.

I honestly believe that in 2003, Melinda, along with David Leaf and other Brian Wilson "associates" sat down and planned Brian's next career move. And I believe it became a process of elimination.

How about something like this? "Let's see, what do we do next? We need something new to play live. Nobody wants to hear Brian's solo stuff; I Just Wasn't Made For These Times and Imagination proved that. Then we went the live route. Live At The Roxy covered a lot of Brian's best songs, but if we continue playing Beach Boys' hits, we're no different than Mike Love. We just finished Pet Sounds Live, so what's left? Well, there's still a lot of interest in SMiLE; maybe we can put something together. You can't lose with songs like "Surf's Up", "Cabinessence", "Heroes And Villains", "Vegetables", "Our Prayer", and "Good Vibrations". People will eat that stuff up, and think of all the publicity we'll get."

And there's nothing wrong with that. As I said, it's only a live performance. Although, there was probably more financial merit than artistic merit behind the motivation to do it.

Now, how about this? The next brainstorming meeting. "Hey, look at Brian's album sales; pretty disappointing. He's now been a solo artist for 15 years and it's been disappointing to say the least. BW 88, Imagination, Getting In Over My Head - not exactly successes. We don't even have a record contract! Look, we got a lot of positive reviews with the SMiLE presentation, why don't we keep it goin' and just record the songs and release it as an album. Think of all the publicity it'll get - Brian Wilson finishes SMiLE. We can't lose. It's bound to sell, maybe we'll get some record companies interested in Brian again, maybe get a new recording contract. Hey, we have these SMiLE songs just sitting there; they're his best stuff. Let's take advantage of them, let's get something out of them. It's all we have left; we've already covered most of Brian's back catalogue."

Now, should I include in those meetings/conversations - "Let's approach this project as a work of art; Brian's still a genius; he's just bored; he can really sink his teeth into a project like this. Brian has a lot to add to these new sessions, a lot of ideas. He's been waiting 37 years to finish this project. And, besides, it'll be good for him; he can finally put some demons to rest. And, he'll be happy for the attention. He'll have plenty to keep him busy - interviews, traveling, rehearsals, and concerts."

No, I won't include that.

Somewhere I feel that SMiLE went from an expression of Brian's art (1966-67) to a way to cash in.