Your SMiLE mix...for the fun of it

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

Click here for the Vosse Fusion scans: http://smileysmile.net/board/index.php/topic,17157.msg430386.html#msg430386

Many thanks, I'll read it tonight sometime.

Is it really not in LLVS tho? Seems like a huge omission

[Sheriff John Stone]

I sincerely don't believe that either sides of the LP would start with any other tracks than Heroes And Villains and Good Vibrations. They were the singles selected at that time (see all the press coverage in 1966) and Brian started sides with the singles.

Considering that these were the songs mainly recorded by Brian from Early August to late December 1966 (when the LP was conceived as a full entity, according to Michael Vosse):

(song with partial and/or complete mixes are highlighted)

Good Vibrations
Wind Chimes
Look
Wonderful
He Gives Speeches
Holidays
Cabin Essence
Prayer
Child Is Father Of The Man
Im' In Great Shape
Heroes And Villains
Do You Like Worms
Barnyard
Surf's Up
Psychedelic Sounds
Talking Horns
Vegetables
My Only Sunshine
Vegetables arguments
The Elements pt 1: Fire
I Wanna Be Around/Friday Night
You're Welcome

And considering that 2004 Ear Candy interview with Brian from after the release of BWPS:

E.C.: Also in "Beautiful Dreamer" you said - "We touched up the first two movements and we created a third movement. Now we have a rock opera - a three movement rock opera." Did you originally think of SMiLE as a "rock opera" or was that a recent…

Brian Wilson: We thought of it as 2-movement rock opera. Then we added a third then we called it a 3-movement rock opera.

"We added a third." Bingo. So, imo, there is a good possibility that side A and B were the Americana and Life suites presented on BWPS with a few alterations and with 12 "banded" tracks as Van Dyke Parks once confirmed.

I wanted to include both Look and Holidays so parts 3 & 4 of The Elements are Holidays mixed with the Psychedelic Sounds. Maybe not what The Elements track of 1966 would have been, but as with Im' In Great Shape there is so little that we know about the backing tracks both these tracks that imo it's up for grabs for anyone to mix them:

Side A (Americana Suite) 20:00

Prayer (first 15 seconds)
Heroes and Villains (Cantina version until distortion - then Barnyard)
Do You Like Worms (with added lead vocals)
Im' In Great Shape (Eggs And Grit/I Wanna Be Around/Friday Night)
Vegetables (Vegetables demo/Vegetables arguments/Smiley smile version ending from ''I know you'll feel better'')
The Elements (Mrs. O' Leary's Cow/Holidays/Psychedelic Sounds "Down On The Ocean Floor" and "Breathing")
The Old Master Painter (My Only Sunshine Pt. 1 & 2 with "Barnshire" fade)
Cabin Essence

Side B (Life Suite) 17:45

Good Vibrations
Wonderful/hard edit into Look
Wind Chimes (piano tag with "Moaning & Laughing" Psychedelic Sounds)
Child Is Father Of The Man (3 minute BW edit with added lead vocals)
Surf's Up (Smile Sessions version of part 1/Bruiteur mix with strings for part 2/"Talking Horns" mixed with part 3 and ending on the demo piano version fade)

Total LP running time: 37:45

http://www69.zippyshare.com/v/qqotF7ya/file.html

I disagree about H&V and GV tho. This was supposed to be a very innovative little record, even then. Not the 3 movement symphony it became, but still a groundbreaking experiment recorded modularly, with humor worked in and with meaningful groupings along the sides of vinyl. I see no reason one of the rules broken couldn't be starting off with the singles.

To SOME extent, this could also be a description of Smiley Smile, and, what songs opened Side 1 and Side 2?

[Cam Mott]

It is a bit baffling. I'm not sure if he still subscribes to it, but I like Cam's theory (apologies if I misrepresent it here) that the b side of H&V was at one point to be a sampler for the album - Smile in microcosm - featuring small fragments that reference the larger songs.

I think what Vosse and Britz say about a two sided H&V is supported by the documentation. Two sides of an H&V single would take two masters and beginning in January H&V has two concurrent master numbers and two concurrent titles: H&V #57020 and H&V Part 2 #57045 which are noted according to their separate titles and master numbers. The fact that the H&V Part 2 #57045 with its separate master number is for a second side of H&V is confirmed by a note on a H&V Part 2 master #57045 recording identifying it as "Side 2".

I may be out of date but as far I remember all of the known recordings identified as Side 2's H&V Part 2 master #57045 are samples of album tracks. I guess they also are samples of album tracks that were also considered for inclusion in Side 1's H&V Master #57020.

Subject to correction.

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

I sincerely don't believe that either sides of the LP would start with any other tracks than Heroes And Villains and Good Vibrations. They were the singles selected at that time (see all the press coverage in 1966) and Brian started sides with the singles.

Considering that these were the songs mainly recorded by Brian from Early August to late December 1966 (when the LP was conceived as a full entity, according to Michael Vosse):

(song with partial and/or complete mixes are highlighted)

Good Vibrations
Wind Chimes
Look
Wonderful
He Gives Speeches
Holidays
Cabin Essence
Prayer
Child Is Father Of The Man
Im' In Great Shape
Heroes And Villains
Do You Like Worms
Barnyard
Surf's Up
Psychedelic Sounds
Talking Horns
Vegetables
My Only Sunshine
Vegetables arguments
The Elements pt 1: Fire
I Wanna Be Around/Friday Night
You're Welcome

And considering that 2004 Ear Candy interview with Brian from after the release of BWPS:

E.C.: Also in "Beautiful Dreamer" you said - "We touched up the first two movements and we created a third movement. Now we have a rock opera - a three movement rock opera." Did you originally think of SMiLE as a "rock opera" or was that a recent…

Brian Wilson: We thought of it as 2-movement rock opera. Then we added a third then we called it a 3-movement rock opera.

"We added a third." Bingo. So, imo, there is a good possibility that side A and B were the Americana and Life suites presented on BWPS with a few alterations and with 12 "banded" tracks as Van Dyke Parks once confirmed.

I wanted to include both Look and Holidays so parts 3 & 4 of The Elements are Holidays mixed with the Psychedelic Sounds. Maybe not what The Elements track of 1966 would have been, but as with Im' In Great Shape there is so little that we know about the backing tracks both these tracks that imo it's up for grabs for anyone to mix them:

Side A (Americana Suite) 20:00

Prayer (first 15 seconds)
Heroes and Villains (Cantina version until distortion - then Barnyard)
Do You Like Worms (with added lead vocals)
Im' In Great Shape (Eggs And Grit/I Wanna Be Around/Friday Night)
Vegetables (Vegetables demo/Vegetables arguments/Smiley smile version ending from ''I know you'll feel better'')
The Elements (Mrs. O' Leary's Cow/Holidays/Psychedelic Sounds "Down On The Ocean Floor" and "Breathing")
The Old Master Painter (My Only Sunshine Pt. 1 & 2 with "Barnshire" fade)
Cabin Essence

Side B (Life Suite) 17:45

Good Vibrations
Wonderful/hard edit into Look
Wind Chimes (piano tag with "Moaning & Laughing" Psychedelic Sounds)
Child Is Father Of The Man (3 minute BW edit with added lead vocals)
Surf's Up (Smile Sessions version of part 1/Bruiteur mix with strings for part 2/"Talking Horns" mixed with part 3 and ending on the demo piano version fade)

Total LP running time: 37:45

http://www69.zippyshare.com/v/qqotF7ya/file.html

I disagree about H&V and GV tho. This was supposed to be a very innovative little record, even then. Not the 3 movement symphony it became, but still a groundbreaking experiment recorded modularly, with humor worked in and with meaningful groupings along the sides of vinyl. I see no reason one of the rules broken couldn't be starting off with the singles.

To SOME extent, this could also be a description of Smiley Smile, and, what songs opened Side 1 and Side 2?

Fair point. I'm not sure how much influence he'd have on sequencing but VDP seemed the more intentionally avant-garde of the two. Depending on their relationship I think he'd have argued against following the trends and possibly convinced Brian.

The issue is, Smiley while a great album and really creative, did not really have many standout tracks that could supplant the singles either. SMiLE has a lot of worthy songs that could still get people's attention and kick things off with a bang. Also, I thought I read that Brian didn't want GV on Smiley but Capitol insisted. The non-single tracks all sound similar as well so in that case, putting H&V anywhere else would disrupt that albums flow whereas in SMiLE it can comfortably fit almost anywhere.  

[guitarfool2002]

The issue I mentioned before is a simple one: Was Vosse wrong on any of the musical descriptions? Anyone can fact-check what he said back in '68 with material from the Sessions box or other sources, and I cannot think of a point where he got it wrong. I think some of what he heard is in fact stuff that no longer exists, may have been lost or wiped over, or was simply a fleeting moment in time that was replaced by something else in the process.

Point is, if the guy in that article got it so right, I'd say well into the 90's percentage wise, and he was there firsthand, then if he says there was a H&V "single" in the works with a 3-minute A side and B-side, then I believe it.

It's the whole "preview of the album" deal I don't agree with...if we're assuming, I'd assume it would be a shorted and more tighter edit of something like "H&V Sessions" on the GV box set.

Oh wait, I already said that. 

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

It is a bit baffling. I'm not sure if he still subscribes to it, but I like Cam's theory (apologies if I misrepresent it here) that the b side of H&V was at one point to be a sampler for the album - Smile in microcosm - featuring small fragments that reference the larger songs.

I think what Vosse and Britz say about a two sided H&V is supported by the documentation. Two sides of an H&V single would take two masters and beginning in January H&V has two concurrent master numbers and two concurrent titles: H&V #57020 and H&V Part 2 #57045 which are noted according to their separate titles and master numbers. The fact that the H&V Part 2 #57045 with its separate master number is for a second side of H&V is confirmed by a note on a H&V Part 2 master #57045 recording identifying it as "Side 2".

I may be out of date but as far I remember all of the known recordings identified as Side 2's H&V Part 2 master #57045 are samples of album tracks. I guess they also are samples of album tracks that were also considered for inclusion in Side 1's H&V Master #57020.

Subject to correction.

That's really fascinating and something I'd like to look into further. I don't have my copy of TSS on me but next time I visit my parents I'd like to check that out. Are the master numbers listed in that sessionography or is there a different source I should look up?

[Cam Mott]

The issue I mentioned before is a simple one: Was Vosse wrong on any of the musical descriptions? Anyone can fact-check what he said back in '68 with material from the Sessions box or other sources, and I cannot think of a point where he got it wrong. I think some of what he heard is in fact stuff that no longer exists, may have been lost or wiped over, or was simply a fleeting moment in time that was replaced by something else in the process.

Point is, if the guy in that article got it so right, I'd say well into the 90's percentage wise, and he was there firsthand, then if he says there was a H&V "single" in the works with a 3-minute A side and B-side, then I believe it.

It's the whole "preview of the album" deal I don't agree with...if we're assuming, I'd assume it would be a shorted and more tighter edit of something like "H&V Sessions" on the GV box set.

Oh wait, I already said that. 

From what can be identified with the Part 2/Side 2 master number it could be both at the same time because those known samples are both associated with album tracks and the H&V Side 1 master number.

[guitarfool2002]

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.

[Cam Mott]

That's really fascinating and something I'd like to look into further. I don't have my copy of TSS on me but next time I visit my parents I'd like to check that out. Are the master numbers listed in that sessionography or is there a different source I should look up?

I don't remember if the master numbers are on TSS or not. My info on it might be outdated now since C-man's landmark work on TSS.

Maybe C-man will happen by with some input on that and how/why tracks associated with LTSDD got grouped the way they did.

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

That's really fascinating and something I'd like to look into further. I don't have my copy of TSS on me but next time I visit my parents I'd like to check that out. Are the master numbers listed in that sessionography or is there a different source I should look up?

I don't remember if the master numbers are on TSS or not. My info on it might be outdated now since C-man's landmark work on TSS.

Maybe C-man will happen by with some input on that and how/why tracks associated with LTSDD got grouped the way they did.

Can anyone else confirm or deny then?

Anyway, I got around to reading the Fusion article today. Honestly, Im not sure why certain people have such a holier-than-thou attitude against me for not having read it before, since there's nothing there that disproves any of what I've been saying. I was always meaning to read it and Im glad I finally forced myself to do so, but I think I heard most of what's in here before through quotes on this board and corroborated by other sources, so aside from one or two factoids I didnt learn much. Still a great read and I agree with Guitarfool that I believe what Vosse says 100%. I gotta say tho, most of what's presented here seemed to support the theories I had had already. Namely:

1-Humor was a very big part of the album and its inspiration. Brian equated it to religious epiphanies and thought that if you were laughing you were vulnerable and thus more open to be enlightened or taught. This doesnt necessarily mean humor skits on the album, but with the other evidence Ive cited ad nauseum it adds up to a bigger picture. He also says sound effects and other experimental oddities would be on the album

2-Going off that, he mentions the cover and booklet photos being intentionally badly done, that is to say, very simplistic and crude for the former and unflattering and "out of their element" for the latter. Ive brought this up before, how the cover ties the whole idea of the music and PS together. Its that idea of subverting expectations, hearing about this great new experimental album, this symphony to God...and its bundled in a drawing your 10 year old couldve made. These guys who are synonymous with the hot beaches...are floating on a boat in the chilly rivers of Boston--the last place you'd expect. Aside from the obvious tie-ins to the climactic "childrens song" at the end and Cycle of Life themes, Vosse mentions Brian specifically wanted people to laugh at them. I propose then that if he wanted people to laugh at the cover and booklet, it stands to reason he would want people to laugh at certain points in the music too. For the hundredth time, the Cantina Edit, Smiley Smile and contemporaneous quotes from the man himself corroborate this. The very existence of the PS themselves is pretty strong evidence too. Combined with Vosse's insight about the packaging and Brian's intent at self-deprecating humor it really isnt as far fetched as some of you make it out to be that some comedy skits, or funny elements of some kind, would be worked into the music itself.

3-The album, he (Vosse) believes, existed as a fully conceptualized entity in ~November or so. I tend to lean the same way. Obviously specifics were changing week to week, month to month, and as I said in a reply to Guitarfool before, there's unanswered questions about every single track much less the sequence or inclusion of PS. But there was an *outline* a general "skeleton" which had only to be fully fleshed out and put to tape, before late December and 1967.

4-He specifically mentions Elements as a four part suite, but the implication is clearly that it was all one song. He also mentions the Tag of Wind Chimes very specifically but as its own thing, outside of the Elemental context. Again, as with Anderle, I have to believe that if Wind Chimes--even just the tag of it--was Air, Vosse would say that. More especially since he goes out of his way to talk about both and STILL doesnt make the connection/distinction.

5-He mentions Brian and Van fighting, Brian asserting dominance over Van and the latter resenting him for it. But he also specifically mentions Mike and Brian fighting often, and the band in general in a sort of fragmented state with two camps complaining about the other here and there. This, to me, proves that while the band didnt kill SMiLE (which is pretty commonly accepted now) the tension was still very real. Far more than the revisionist "all Mike did was innocently ask about CE one time" position. THAT BEING SAID the arguments between B&VDP were almost certainly more significant and it seems according to Vosse that the others only felt comfortable bashing him openly because Brian more or less already was.

6-The songs were very fluid, and CE/Worms were originally pieces of 2 or 3 songs each combined. This shows that the same was almost certainly true of Heroes and IIGS too. If two fragments called "Who Ran the Iron Horse" and "Home on the Range" could be cobbled together into one song, who's to say the same isnt true of H&V, IIGS? BUT...would that really mean just straightforward one section/another section/another section structures? What I mean is, those two CE fragments REPEAT. One part became the verse, the other the chorus. Another section, Grand Coulee Dam, became the fade. Now this is more speculation that anything, but I think this lends precedent to my earlier idea about IIGS: that Do A Lot was originally the chorus to that song, and GS as we know it would be the verses. Maybe Barnyard wouldve been the fade? Can someone more talented than me try that? An IIGS track that goes maybe: Do A Lot/GS/Do A Lot/GS with tape explosion/Barnyard

7-Piggybacking off that, if the pieces of Americana were so undeniably fluid that they shuffled from one track to the next, that to me is further evidence they were meant to be together on the album. OMP, Barnyard and H&V are all together too at one point. IIGS is part of H&V, then its own track, then (if you buy my earlier hypothesis) part of that track goes into Veggies just as part of Worms goes into Heroes. This paints a picture of a very interrelated set of music, what we now call the Americana songs. It seems hard to argue against my assertion that these tracks should be placed together on the album when, ignoring the instrumental/thematic/lyrical/conceptual connections Ive been harping on for a year, each one was part of another song in that same group at some point or another. Anyway, Im not sure if the same can be said of the Cycle of Life tracks, but even so it's irrelevant. If you put all these tracks which shared pieces at various points on one side...what remains on the other are the Cycle of Life songs and The Elements anyway. I strayed from this structure with Romestamo but this is how I did it in Olorin. And now with this reasoning, and the numerology and astrology interpretations Ive put forth in the recent past...Im becoming more and more convinced I had it right before with that earlier mix. Perhaps just dial back on the PS and maybe fine tune the exact order a bit.

These next points werent ones Ive specifically mentioned before but that Id like to touch on:

8-Vosse mentions these water recordings were his idea. Again, while he talked about the Elements before in his article and undeniably spoke a great deal about these Water recordings with Brian (since it was his idea and hes the one who made them) he makes NO MENTION of this being the water element. He does mention Brian saying they could make a song out of them, since every musical note had been represented by the various water sounds in these tapes. But again, no clear indication this is water and it sounds to me like another off-the-cuff Brian idea that never panned out, much like his silverware idea.

9-The scene he describes with the I-Ching sounded like something out of a movie. Insanely prophetic although he himself didnt believe it to be so. Similarly I loved the idea about meetings in the swimming pool and didnt know Brian wanted to have a slide that went to his bed or that he painted his house pink.

10-It seems this idea of the album coming apart because "using the Wrecking Crew wasnt cool" and wanting the band to play on their own album might be overstated. Sounds more like Brian wasnt satisfied with their vocal performances and kept rerecording all the parts himself. This could explain the "lazier" or if you prefer, "laid back" production on Smiley, where they're all a group again and mistakes are intentionally left in. Seems possible SMiLE was a very personal album for Brian that had to be just so, and when he realized they couldnt do it--or his expectations were too high and it was killing the group--he realized it was more important to make a fun album with his band, imperfections and all. At least thats the feeling I got. "Dont think youre god, just be a cool guy"

11-Very interesting to hear there was more to the Inside Pop demo, with the gang all around a pool. I would literally kill to see what that was supposed to be. I loved the anecdote too about Murray trying to hog the spotlight by diving and badgering Brian to say good things about him to the cameras. Classic Murray.

12-He does mention a two sided, 6 minute H&V single. As I recall tho, he never said that was the intended edit or the one Brian really wanted, just that it was his personal favorite. He claims it was one of a dozen or so. I personally dont really have a stake in this H&V single debate. Im far more interested in the album, personally, and my thoughts on the H&V single basically amount to "waste of time; shouldve used a stripped down Surfs Up as heard on TV." Still, I do recall reading a quote from Brian during the sessions where he said he didnt want to reveal too much in the next single. Where he said the B-side would probably be something simple like himself at a piano. Obviously a sampler B-side would be the exact opposite of that, and even without the quote it seems crazy to reveal so much to people before they buy the album, and to your competition during a virtual arms race before youve actually won. I tend to believe H&V II wouldve been similar to what Ive proposed for IIGS the track--a mashup of the more tangential pieces of the H&V sessions. But where IIGS might be something like what I outlined above, H&V2 would be things like the various chants worked on ("a-Heroes, a-Heroes, a-Heroes and a-Villains"/"doot doot doot-Heroes and Villains!") intercut with a comedy section or two--All Day, with "lots of talking" in the pauses for example. Basically the scrap heap for all the sections that got sacrificed so that H&V I could be more commercial for the single. But again, I really dont feel comfortable throwing my support to either side fully. If what Cam says about the Track #s is true, that's some significant evidence that could throw a wrench in this idea. And again, I think it's more interesting and historically important to work out the most likely structure the album wouldve taken, not a b-side to a single that (IMHO) was doomed to come up short after GV anyway.

[Douchepool]

My current mix runs almost 89 minutes. By no means "historically accurate." Just an excuse for me to get all of the actual music in the most "finished" takes possible in one place in a listenable fashion. I must say, it works well.

1. Our Prayer - Same as the "album" on the Smile box.

2. Heroes and Villains Part One - At 6:32, one of two tracks under the name "Heroes and Villains" and one of the two "epics" on the mix. 0:00-1:06 is the usual verse a la the Smiley version, but with several fake "overdubs" of the stereo vocals plus some other bits flown in from the various test mixes released on the box set. I was so shocked that it turned out as well as it did; I spent at least three hours on this one section alone trying to get the balance perfect and avoid any flanging or phasing on the vocals (I was working with FOUR vocal "tracks"). The segment was then mixed to mono and compressed to sound like a 1966-era mix - the bass was pumped up considerably but not so much as to overwhelm the rest of the music. 1:06-1:46 is a "bad edit" (one of many on the mix, meant to emulate the occasionally choppy edits on some test mixes of the time) into the chorus, just like the Smiley version with the Baldwin overdub bonus track from the box mixed in LOUD on purpose to pummel the listener. A bit of that music that would "scare a lot of people." 1:46-2:32 is the same as the Smiley version with the "la la la" vocals and the a cappella tag. 2:32-3:01 is the Cantina section. 3:01 to 3:34 is the same as the end of the Cantina mix before the "false Barnyard" tag. 3:34-4:06 is the "Western theme" taken from the "sections" mix on the Smile box. 4:06-4:34 is the "chimes intro." 4:34-5:08 is "Do a Lot" from the January 1967 comp reel. 5:08-6:32 is some fragments from the "Bag of Tricks" session that segue into the actual fragment, which then immediately "bad edit" into the "pickup to 3rd verse" and ends abruptly, immediately going into...

3. Do You Like Worms? - Same as the Good Vibrations box version, but using the Smile box fragments to avoid the tape speed issues on the former.

4. I'm In Great Shape - Same as the "album" on the Smile box.

5. Barnyard - Same as the "album" on the Smile box.

6. My Only Sunshine - Same as the "album" on the Smile box.

7. Cabin Essence - Same as the "album" on the Smile box.

8. He Gives Speeches - Same as the bonus track on the Smile box.

9. Heroes and Villains Part Two - At 11:07, the other epic track on the mix. 0:00-1:20 are some outtakes from the tack piano sessions for Heroes and Villains from February 1967, which segue at 1:50-2:39 into some "bad edits" of the February 1967 "piano rehearsal" made into a somewhat listenable melody. 2:39-3:34 is an outtake from the tack piano sessions from February 1967. 3:34-4:15 is the undubbed tack piano/harpsichord "Bicycle Rider" track from February 1967. 4:15-4:58 is the same track with the overdubs. 4:59-8:12 consists of the various "Part 2" fragments from February 1967 that were also excerpted, in the same order, on the "sections" mix. 8:12-8:35 is the "My Children Were Raised" bit from the Smiley version, seguing at 8:35-9:36 into "Sonny, Down Snuff" and the Smiley chorus once again. 9:36-10:25 is three takes of "Tag to Part 1" in various stages of the overdub process. 10:25-11:07 is the fade remake from March of 1967 with Carl scatting over the track.

10. Wonderful - Same as the "album" on the Smile box.

11. Child is Father of the Man - This one follows Brian's 1966 backing track edit for the first half, providing the chorus, verse, chorus, bridge structure. At 1:52 the "verse" from the first version plays and then immediately "bad edits" into the April 1967 version of the track, which then edits back into the chorus once more, ending with an EQ'd and compressed BOOM from the bass and vibes.

12. You're Welcome - Same as the bonus track on the Smile box.

13. Good Vibrations - Same as the "album" on the Smile box.

14. Untitled - Basically an "intermission" of sorts. Just the chorus from the first Child is Father of the Man session which segues into the unfinished remake of the Heroes and Villains verse from March 1967.

15. Untitled - 0:00-0:53 is the "vocal insert" from the January 1967 sessions for Wonderful. The remainder is the "rock with me Henry" version of same from January 1967.

16. Untitled - An edit of the finished takes from the original sessions for Wind Chimes in August 1966.

17. Look - Same as the "album" on the Smile box but without the vocals.

18. You're With Me Tonight - 0:00-0:28 is the Hawthorne "You're With Me Tonight" and the remainder is the June 1967 track.

19. I Don't Know - Not much could really be done with this one, so I just took the better takes and some rehearsal notes from the session excerpt on the box and edited them into a listenable order.

20. Tune X - Same as on the Smile box, but without the count-in.

21. Vega-Tables - Same as the stereo mix on the Smile box, just collapsed to mono.

22. Holidays - Same as the "album" on the Smile box but without the vocals.

23. Untitled - I jokingly nicknamed it "All Day Dada" since it's just a mix of all of the different versions of the Dada melody that were recorded before May 1967. In order, just the taped piano version, the electric piano version, and the "All Day" Heroes and Villains fragment with some session noodling thrown in.

24. Wind Chimes - Same as the stereo mix on the Smile box, just collapsed to mono.

25. Mrs. O'Leary's Cow - 0:00-0:28 is the organ rehearsal from the March 1967 "intro" session, 0:28-0:53 is a later take from the same session with piano and organ, and the remainder is the same as the "album" on the Smile box minus the vocals and with the fire noises flown in from the bonus track on the box and mixed louder.

26. I Wanna Be Around/Friday Night - Same as the "album" on the Smile box, with a small edit to remove the segue into Vega-Tables and continue the "Friday Night" portion.

27. Love to Say Dada - Same as the "album" on the Smile box for the first half, minus the vocals. 2:22-2:32 is a bit of session noodling from the first of the two May 1967 Dada sessions, which features a reprise of the Child is Father of the Man melody. The remainder is the "second day" track.

28. Cool Cool Water - This involved a lot of creative editing and cutting and pasting of elements to create an "intro" which features yet another reprise of the Child is Father of the Man melody. 1:18-2:28 is the June 1967 version. The remainder consists of the November 1967 track in various stages of vocal and instrumental overdubs.

29. Untitled - Just the April 1967 version of Wonderful until 1:19, and then a reprise of the same piano melody with Michael's vocals.

30. Surf's Up - Same as the "album" on the Smile box, but with one notable difference. For the first movement, both Brian and Carl's vocals from 1966 and 1970 respectively are heard singing the lead vocals; the latter possible thanks to the bootleg a cappella mix which was then applied carefully over Brian's vocal. This was another arduous process; in some cases the vocals had to be matched word by word if not syllable by syllable at some points. Flanging and phasing was again a problem; much time was spent adjusting pitches (the a cappella bootleg mix ran about a half-step flat) and ironing out some digital noise on Carl's vocal thanks to the lossy nature of the leaked recording.

31. Untitled - The "Jazz" session from November 1966. Think of it like the house music after a concert.

So yeah, it's not "historically accurate." It's just what one bored guy did over several nights because he wanted all of the listenable bits in one place minus session chatter and much of the noodling.

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

My current mix runs almost 89 minutes. By no means "historically accurate." Just an excuse for me to get all of the actual music in the most "finished" takes possible in one place in a listenable fashion. I must say, it works well.

1. Our Prayer - Same as the "album" on the Smile box.

2. Heroes and Villains Part One - At 6:32, one of two tracks under the name "Heroes and Villains" and one of the two "epics" on the mix. 0:00-1:06 is the usual verse a la the Smiley version, but with several fake "overdubs" of the stereo vocals plus some other bits flown in from the various test mixes released on the box set. I was so shocked that it turned out as well as it did; I spent at least three hours on this one section alone trying to get the balance perfect and avoid any flanging or phasing on the vocals (I was working with FOUR vocal "tracks"). The segment was then mixed to mono and compressed to sound like a 1966-era mix - the bass was pumped up considerably but not so much as to overwhelm the rest of the music. 1:06-1:46 is a "bad edit" (one of many on the mix, meant to emulate the occasionally choppy edits on some test mixes of the time) into the chorus, just like the Smiley version with the Baldwin overdub bonus track from the box mixed in LOUD on purpose to pummel the listener. A bit of that music that would "scare a lot of people." 1:46-2:32 is the same as the Smiley version with the "la la la" vocals and the a cappella tag. 2:32-3:01 is the Cantina section. 3:01 to 3:34 is the same as the end of the Cantina mix before the "false Barnyard" tag. 3:34-4:06 is the "Western theme" taken from the "sections" mix on the Smile box. 4:06-4:34 is the "chimes intro." 4:34-5:08 is "Do a Lot" from the January 1967 comp reel. 5:08-6:32 is some fragments from the "Bag of Tricks" session that segue into the actual fragment, which then immediately "bad edit" into the "pickup to 3rd verse" and ends abruptly, immediately going into...

3. Do You Like Worms? - Same as the Good Vibrations box version, but using the Smile box fragments to avoid the tape speed issues on the former.

4. I'm In Great Shape - Same as the "album" on the Smile box.

5. Barnyard - Same as the "album" on the Smile box.

6. My Only Sunshine - Same as the "album" on the Smile box.

7. Cabin Essence - Same as the "album" on the Smile box.

8. He Gives Speeches - Same as the bonus track on the Smile box.

9. Heroes and Villains Part Two - At 11:07, the other epic track on the mix. 0:00-1:20 are some outtakes from the tack piano sessions for Heroes and Villains from February 1967, which segue at 1:50-2:39 into some "bad edits" of the February 1967 "piano rehearsal" made into a somewhat listenable melody. 2:39-3:34 is an outtake from the tack piano sessions from February 1967. 3:34-4:15 is the undubbed tack piano/harpsichord "Bicycle Rider" track from February 1967. 4:15-4:58 is the same track with the overdubs. 4:59-8:12 consists of the various "Part 2" fragments from February 1967 that were also excerpted, in the same order, on the "sections" mix. 8:12-8:35 is the "My Children Were Raised" bit from the Smiley version, seguing at 8:35-9:36 into "Sonny, Down Snuff" and the Smiley chorus once again. 9:36-10:25 is three takes of "Tag to Part 1" in various stages of the overdub process. 10:25-11:07 is the fade remake from March of 1967 with Carl scatting over the track.

10. Wonderful - Same as the "album" on the Smile box.

11. Child is Father of the Man - This one follows Brian's 1966 backing track edit for the first half, providing the chorus, verse, chorus, bridge structure. At 1:52 the "verse" from the first version plays and then immediately "bad edits" into the April 1967 version of the track, which then edits back into the chorus once more, ending with an EQ'd and compressed BOOM from the bass and vibes.

12. You're Welcome - Same as the bonus track on the Smile box.

13. Good Vibrations - Same as the "album" on the Smile box.

14. Untitled - Basically an "intermission" of sorts. Just the chorus from the first Child is Father of the Man session which segues into the unfinished remake of the Heroes and Villains verse from March 1967.

15. Untitled - 0:00-0:53 is the "vocal insert" from the January 1967 sessions for Wonderful. The remainder is the "rock with me Henry" version of same from January 1967.

16. Untitled - An edit of the finished takes from the original sessions for Wind Chimes in August 1966.

17. Look - Same as the "album" on the Smile box but without the vocals.

18. You're With Me Tonight - 0:00-0:28 is the Hawthorne "You're With Me Tonight" and the remainder is the June 1967 track.

19. I Don't Know - Not much could really be done with this one, so I just took the better takes and some rehearsal notes from the session excerpt on the box and edited them into a listenable order.

20. Tune X - Same as on the Smile box, but without the count-in.

21. Vega-Tables - Same as the stereo mix on the Smile box, just collapsed to mono.

22. Holidays - Same as the "album" on the Smile box but without the vocals.

23. Untitled - I jokingly nicknamed it "All Day Dada" since it's just a mix of all of the different versions of the Dada melody that were recorded before May 1967. In order, just the taped piano version, the electric piano version, and the "All Day" Heroes and Villains fragment with some session noodling thrown in.

24. Wind Chimes - Same as the stereo mix on the Smile box, just collapsed to mono.

25. Mrs. O'Leary's Cow - 0:00-0:28 is the organ rehearsal from the March 1967 "intro" session, 0:28-0:53 is a later take from the same session with piano and organ, and the remainder is the same as the "album" on the Smile box minus the vocals and with the fire noises flown in from the bonus track on the box and mixed louder.

26. I Wanna Be Around/Friday Night - Same as the "album" on the Smile box, with a small edit to remove the segue into Vega-Tables and continue the "Friday Night" portion.

27. Love to Say Dada - Same as the "album" on the Smile box for the first half, minus the vocals. 2:22-2:32 is a bit of session noodling from the first of the two May 1967 Dada sessions, which features a reprise of the Child is Father of the Man melody. The remainder is the "second day" track.

28. Cool Cool Water - This involved a lot of creative editing and cutting and pasting of elements to create an "intro" which features yet another reprise of the Child is Father of the Man melody. 1:18-2:28 is the June 1967 version. The remainder consists of the November 1967 track in various stages of vocal and instrumental overdubs.

29. Untitled - Just the April 1967 version of Wonderful until 1:19, and then a reprise of the same piano melody with Michael's vocals.

30. Surf's Up - Same as the "album" on the Smile box, but with one notable difference. For the first movement, both Brian and Carl's vocals from 1966 and 1970 respectively are heard singing the lead vocals; the latter possible thanks to the bootleg a cappella mix which was then applied carefully over Brian's vocal. This was another arduous process; in some cases the vocals had to be matched word by word if not syllable by syllable at some points. Flanging and phasing was again a problem; much time was spent adjusting pitches (the a cappella bootleg mix ran about a half-step flat) and ironing out some digital noise on Carl's vocal thanks to the lossy nature of the leaked recording.

31. Untitled - The "Jazz" session from November 1966. Think of it like the house music after a concert.

So yeah, it's not "historically accurate." It's just what one bored guy did over several nights because he wanted all of the listenable bits in one place minus session chatter and much of the noodling.

Can one get a link?

[doinnothin]

Here are the Heroes & Villains Sessions with master numbers of #57020 & #57045 (and their recording dates) according to the TSS book (I entered them into my iTunes tags, very helpful, but also DISCLAIMER: I may always have entered in something incorrectly). [not pictured, My Only Sunshine Part 1 & 2 has master numbers of both #56866 & #57020, presumably because Part 2 ends up as the fade in Heroes & Villains for a spell]



Not included in this image are the Heroes & Villains sessions with master numbers #56727 (Verse, Barnyard, and the June Smiley Smile version recordings), #56738 (Great Shape), and sessions with no known master number (such as "Intro [Early Version" which is slated as Heroes & Villains Part 3)

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

Here are the Heroes & Villains Sessions with master numbers of #57020 & #57045 (and their recording dates) according to the TSS book (I entered them into my iTunes tags, very helpful). [not pictured, My Only Sunshine Part 1 & 2 has master numbers of both #56866 & #57020, presumably because Part 2 ends up as the fade in Heroes & Villains for a spell]



Not included in this image are the Heroes & Villains sessions with master numbers #56727 (Verse, Barnyard, and the June Smiley Smile version recordings), #56738 (Great Shape), and sessions with no known master number (such as "Intro [Early Version" which is slated as Heroes & Villains Part 3)

Thank you so much!

Hmmm...idk Cam. These groupings seem pretty random to me.

[doinnothin]

To me it appears that master number #57045 represents an attempt at the end of February to start from scratch based on all the different experiments he'd made in #57020 (thus he re-records his verse -- which we could call Part 1, his latest version of Part 2 which is now the Bicycle Rider section that he toyed with on Piano Theme and Part 2 Revised Version, the fade that he'd taken from OMP as heard on the 2/10 Cantina version, and the so-called "Intro" which I think we really should stop referring to as an intro, because the only thing I ever hear that music called on any of the sessions I can recall hearing it called is "Part 3")

[buddhahat]

My current mix runs almost 89 minutes. By no means "historically accurate." Just an excuse for me to get all of the actual music in the most "finished" takes possible in one place in a listenable fashion. I must say, it works well.

1. Our Prayer - Same as the "album" on the Smile box.

2. Heroes and Villains Part One - At 6:32, one of two tracks under the name "Heroes and Villains" and one of the two "epics" on the mix. 0:00-1:06 is the usual verse a la the Smiley version, but with several fake "overdubs" of the stereo vocals plus some other bits flown in from the various test mixes released on the box set. I was so shocked that it turned out as well as it did; I spent at least three hours on this one section alone trying to get the balance perfect and avoid any flanging or phasing on the vocals (I was working with FOUR vocal "tracks"). The segment was then mixed to mono and compressed to sound like a 1966-era mix - the bass was pumped up considerably but not so much as to overwhelm the rest of the music. 1:06-1:46 is a "bad edit" (one of many on the mix, meant to emulate the occasionally choppy edits on some test mixes of the time) into the chorus, just like the Smiley version with the Baldwin overdub bonus track from the box mixed in LOUD on purpose to pummel the listener. A bit of that music that would "scare a lot of people." 1:46-2:32 is the same as the Smiley version with the "la la la" vocals and the a cappella tag. 2:32-3:01 is the Cantina section. 3:01 to 3:34 is the same as the end of the Cantina mix before the "false Barnyard" tag. 3:34-4:06 is the "Western theme" taken from the "sections" mix on the Smile box. 4:06-4:34 is the "chimes intro." 4:34-5:08 is "Do a Lot" from the January 1967 comp reel. 5:08-6:32 is some fragments from the "Bag of Tricks" session that segue into the actual fragment, which then immediately "bad edit" into the "pickup to 3rd verse" and ends abruptly, immediately going into...

3. Do You Like Worms? - Same as the Good Vibrations box version, but using the Smile box fragments to avoid the tape speed issues on the former.

4. I'm In Great Shape - Same as the "album" on the Smile box.

5. Barnyard - Same as the "album" on the Smile box.

6. My Only Sunshine - Same as the "album" on the Smile box.

7. Cabin Essence - Same as the "album" on the Smile box.

8. He Gives Speeches - Same as the bonus track on the Smile box.

9. Heroes and Villains Part Two - At 11:07, the other epic track on the mix. 0:00-1:20 are some outtakes from the tack piano sessions for Heroes and Villains from February 1967, which segue at 1:50-2:39 into some "bad edits" of the February 1967 "piano rehearsal" made into a somewhat listenable melody. 2:39-3:34 is an outtake from the tack piano sessions from February 1967. 3:34-4:15 is the undubbed tack piano/harpsichord "Bicycle Rider" track from February 1967. 4:15-4:58 is the same track with the overdubs. 4:59-8:12 consists of the various "Part 2" fragments from February 1967 that were also excerpted, in the same order, on the "sections" mix. 8:12-8:35 is the "My Children Were Raised" bit from the Smiley version, seguing at 8:35-9:36 into "Sonny, Down Snuff" and the Smiley chorus once again. 9:36-10:25 is three takes of "Tag to Part 1" in various stages of the overdub process. 10:25-11:07 is the fade remake from March of 1967 with Carl scatting over the track.

10. Wonderful - Same as the "album" on the Smile box.

11. Child is Father of the Man - This one follows Brian's 1966 backing track edit for the first half, providing the chorus, verse, chorus, bridge structure. At 1:52 the "verse" from the first version plays and then immediately "bad edits" into the April 1967 version of the track, which then edits back into the chorus once more, ending with an EQ'd and compressed BOOM from the bass and vibes.

12. You're Welcome - Same as the bonus track on the Smile box.

13. Good Vibrations - Same as the "album" on the Smile box.

14. Untitled - Basically an "intermission" of sorts. Just the chorus from the first Child is Father of the Man session which segues into the unfinished remake of the Heroes and Villains verse from March 1967.

15. Untitled - 0:00-0:53 is the "vocal insert" from the January 1967 sessions for Wonderful. The remainder is the "rock with me Henry" version of same from January 1967.

16. Untitled - An edit of the finished takes from the original sessions for Wind Chimes in August 1966.

17. Look - Same as the "album" on the Smile box but without the vocals.

18. You're With Me Tonight - 0:00-0:28 is the Hawthorne "You're With Me Tonight" and the remainder is the June 1967 track.

19. I Don't Know - Not much could really be done with this one, so I just took the better takes and some rehearsal notes from the session excerpt on the box and edited them into a listenable order.

20. Tune X - Same as on the Smile box, but without the count-in.

21. Vega-Tables - Same as the stereo mix on the Smile box, just collapsed to mono.

22. Holidays - Same as the "album" on the Smile box but without the vocals.

23. Untitled - I jokingly nicknamed it "All Day Dada" since it's just a mix of all of the different versions of the Dada melody that were recorded before May 1967. In order, just the taped piano version, the electric piano version, and the "All Day" Heroes and Villains fragment with some session noodling thrown in.

24. Wind Chimes - Same as the stereo mix on the Smile box, just collapsed to mono.

25. Mrs. O'Leary's Cow - 0:00-0:28 is the organ rehearsal from the March 1967 "intro" session, 0:28-0:53 is a later take from the same session with piano and organ, and the remainder is the same as the "album" on the Smile box minus the vocals and with the fire noises flown in from the bonus track on the box and mixed louder.

26. I Wanna Be Around/Friday Night - Same as the "album" on the Smile box, with a small edit to remove the segue into Vega-Tables and continue the "Friday Night" portion.

27. Love to Say Dada - Same as the "album" on the Smile box for the first half, minus the vocals. 2:22-2:32 is a bit of session noodling from the first of the two May 1967 Dada sessions, which features a reprise of the Child is Father of the Man melody. The remainder is the "second day" track.

28. Cool Cool Water - This involved a lot of creative editing and cutting and pasting of elements to create an "intro" which features yet another reprise of the Child is Father of the Man melody. 1:18-2:28 is the June 1967 version. The remainder consists of the November 1967 track in various stages of vocal and instrumental overdubs.

29. Untitled - Just the April 1967 version of Wonderful until 1:19, and then a reprise of the same piano melody with Michael's vocals.

30. Surf's Up - Same as the "album" on the Smile box, but with one notable difference. For the first movement, both Brian and Carl's vocals from 1966 and 1970 respectively are heard singing the lead vocals; the latter possible thanks to the bootleg a cappella mix which was then applied carefully over Brian's vocal. This was another arduous process; in some cases the vocals had to be matched word by word if not syllable by syllable at some points. Flanging and phasing was again a problem; much time was spent adjusting pitches (the a cappella bootleg mix ran about a half-step flat) and ironing out some digital noise on Carl's vocal thanks to the lossy nature of the leaked recording.

31. Untitled - The "Jazz" session from November 1966. Think of it like the house music after a concert.

So yeah, it's not "historically accurate." It's just what one bored guy did over several nights because he wanted all of the listenable bits in one place minus session chatter and much of the noodling.

This looks fun. Are you able to share somehow please? I appreciate it's probably a huge file.

[Cam Mott]

Hmmm...idk Cam. These groupings seem pretty random to me.

There is also a January 5 1967 session for H&V Part 2 master #57045 that is on disc 3 .

To me it is quite systematic. It's a handy list but it might be the layout of the list that gives it an appearance of random. It helps to remember that master #57045 had a title of Part 2 but the "part 2" used in association with #57020 is not part of the master's title like it is on #57045.  The "part 2" shown for #57020 is just a notation of the "slate" on the recording used to designate which particular part within H&V #57020 it is and was not used a part of the title like it was on H&V Part 2 #57045.

Though the known recordings for H&V Part 2 #57045 are samples of other SMiLE album tracks, are they in different keys than the original SMiLE album tracks or their re-purposing for H&V #57020?

Maybe I'm explaining it worse or I'm wrong but I think it is pretty clear evidence of the two part H&V single. There was a time when the 2 part single was dismissed as just legend or false memory or some such.

[doinnothin]

There is also a January 5 1967 session for H&V Part 2 master #57045 that is on disc 3.

Is there one other than "Do You Like Worms: Bicycle Rider Overdubs (Heroes and Villains Part Two)"? I'd love to fix my info if it's wrong!

Though the known recordings for H&V Part 2 #57045 are samples of other SMiLE album tracks, are they in different keys than the original SMiLE album tracks or their re-purposing for H&V #57020?

The only samples/repurposings of other tracks I see under #57045 are the fade to Old Master Painter/You Were My Sunshine which had already been used under #57020, and Do You Like Worms (Bicycle Rider) which had already been recorded under #57020. The other pieces recorded under it appear to only be sections original to Heroes & Villains (the Verse Remake and the Organ Waltz/Intro.

Maybe I'm explaining it worse or I'm wrong but I think it is pretty clear evidence of the two part H&V single. There was a time when the 2 part single was dismissed as just legend or false memory or some such.

I'm not saying there wasn't a proposed two part Heroes and Villains single, there's a lot of evidence for it, I just don't really see how the Master #s point in that direction.

[Douchepool]

This looks fun. Are you able to share somehow please? I appreciate it's probably a huge file.

Can one get a link?

https://www.sendspace.com/file/ep0a3i

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

There is also a January 5 1967 session for H&V Part 2 master #57045 that is on disc 3.

Is there one other than "Do You Like Worms: Bicycle Rider Overdubs (Heroes and Villains Part Two)"? I'd love to fix my info if it's wrong!

Though the known recordings for H&V Part 2 #57045 are samples of other SMiLE album tracks, are they in different keys than the original SMiLE album tracks or their re-purposing for H&V #57020?

The only samples/repurposings of other tracks I see under #57045 are the fade to Old Master Painter/You Were My Sunshine which had already been used under #57020, and Do You Like Worms (Bicycle Rider) which had already been recorded under #57020. The other pieces recorded under it appear to only be sections original to Heroes & Villains (the Verse Remake and the Organ Waltz/Intro.

Maybe I'm explaining it worse or I'm wrong but I think it is pretty clear evidence of the two part H&V single. There was a time when the 2 part single was dismissed as just legend or false memory or some such.

I'm not saying there wasn't a proposed two part Heroes and Villains single, there's a lot of evidence for it, I just don't really see how the Master #s point in that direction.

I have to agree with this conclusion now that I've seen a list. And yeah, to reiterate, nobody doubts a 2 sided Heroes was the plan at one point

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

This looks fun. Are you able to share somehow please? I appreciate it's probably a huge file.

Can one get a link?

https://www.sendspace.com/file/ep0a3i

Many thanks

[Sheriff John Stone]

My current mix runs almost 89 minutes. By no means "historically accurate." Just an excuse for me to get all of the actual music in the most "finished" takes possible in one place in a listenable fashion. I must say, it works well.

1. Our Prayer - Same as the "album" on the Smile box.

2. Heroes and Villains Part One - At 6:32, one of two tracks under the name "Heroes and Villains" and one of the two "epics" on the mix. 0:00-1:06 is the usual verse a la the Smiley version, but with several fake "overdubs" of the stereo vocals plus some other bits flown in from the various test mixes released on the box set. I was so shocked that it turned out as well as it did; I spent at least three hours on this one section alone trying to get the balance perfect and avoid any flanging or phasing on the vocals (I was working with FOUR vocal "tracks"). The segment was then mixed to mono and compressed to sound like a 1966-era mix - the bass was pumped up considerably but not so much as to overwhelm the rest of the music. 1:06-1:46 is a "bad edit" (one of many on the mix, meant to emulate the occasionally choppy edits on some test mixes of the time) into the chorus, just like the Smiley version with the Baldwin overdub bonus track from the box mixed in LOUD on purpose to pummel the listener. A bit of that music that would "scare a lot of people." 1:46-2:32 is the same as the Smiley version with the "la la la" vocals and the a cappella tag. 2:32-3:01 is the Cantina section. 3:01 to 3:34 is the same as the end of the Cantina mix before the "false Barnyard" tag. 3:34-4:06 is the "Western theme" taken from the "sections" mix on the Smile box. 4:06-4:34 is the "chimes intro." 4:34-5:08 is "Do a Lot" from the January 1967 comp reel. 5:08-6:32 is some fragments from the "Bag of Tricks" session that segue into the actual fragment, which then immediately "bad edit" into the "pickup to 3rd verse" and ends abruptly, immediately going into...

3. Do You Like Worms? - Same as the Good Vibrations box version, but using the Smile box fragments to avoid the tape speed issues on the former.

4. I'm In Great Shape - Same as the "album" on the Smile box.

5. Barnyard - Same as the "album" on the Smile box.

6. My Only Sunshine - Same as the "album" on the Smile box.

7. Cabin Essence - Same as the "album" on the Smile box.

8. He Gives Speeches - Same as the bonus track on the Smile box.

9. Heroes and Villains Part Two - At 11:07, the other epic track on the mix. 0:00-1:20 are some outtakes from the tack piano sessions for Heroes and Villains from February 1967, which segue at 1:50-2:39 into some "bad edits" of the February 1967 "piano rehearsal" made into a somewhat listenable melody. 2:39-3:34 is an outtake from the tack piano sessions from February 1967. 3:34-4:15 is the undubbed tack piano/harpsichord "Bicycle Rider" track from February 1967. 4:15-4:58 is the same track with the overdubs. 4:59-8:12 consists of the various "Part 2" fragments from February 1967 that were also excerpted, in the same order, on the "sections" mix. 8:12-8:35 is the "My Children Were Raised" bit from the Smiley version, seguing at 8:35-9:36 into "Sonny, Down Snuff" and the Smiley chorus once again. 9:36-10:25 is three takes of "Tag to Part 1" in various stages of the overdub process. 10:25-11:07 is the fade remake from March of 1967 with Carl scatting over the track.

10. Wonderful - Same as the "album" on the Smile box.

11. Child is Father of the Man - This one follows Brian's 1966 backing track edit for the first half, providing the chorus, verse, chorus, bridge structure. At 1:52 the "verse" from the first version plays and then immediately "bad edits" into the April 1967 version of the track, which then edits back into the chorus once more, ending with an EQ'd and compressed BOOM from the bass and vibes.

12. You're Welcome - Same as the bonus track on the Smile box.

13. Good Vibrations - Same as the "album" on the Smile box.

14. Untitled - Basically an "intermission" of sorts. Just the chorus from the first Child is Father of the Man session which segues into the unfinished remake of the Heroes and Villains verse from March 1967.

15. Untitled - 0:00-0:53 is the "vocal insert" from the January 1967 sessions for Wonderful. The remainder is the "rock with me Henry" version of same from January 1967.

16. Untitled - An edit of the finished takes from the original sessions for Wind Chimes in August 1966.

17. Look - Same as the "album" on the Smile box but without the vocals.

18. You're With Me Tonight - 0:00-0:28 is the Hawthorne "You're With Me Tonight" and the remainder is the June 1967 track.

19. I Don't Know - Not much could really be done with this one, so I just took the better takes and some rehearsal notes from the session excerpt on the box and edited them into a listenable order.

20. Tune X - Same as on the Smile box, but without the count-in.

21. Vega-Tables - Same as the stereo mix on the Smile box, just collapsed to mono.

22. Holidays - Same as the "album" on the Smile box but without the vocals.

23. Untitled - I jokingly nicknamed it "All Day Dada" since it's just a mix of all of the different versions of the Dada melody that were recorded before May 1967. In order, just the taped piano version, the electric piano version, and the "All Day" Heroes and Villains fragment with some session noodling thrown in.

24. Wind Chimes - Same as the stereo mix on the Smile box, just collapsed to mono.

25. Mrs. O'Leary's Cow - 0:00-0:28 is the organ rehearsal from the March 1967 "intro" session, 0:28-0:53 is a later take from the same session with piano and organ, and the remainder is the same as the "album" on the Smile box minus the vocals and with the fire noises flown in from the bonus track on the box and mixed louder.

26. I Wanna Be Around/Friday Night - Same as the "album" on the Smile box, with a small edit to remove the segue into Vega-Tables and continue the "Friday Night" portion.

27. Love to Say Dada - Same as the "album" on the Smile box for the first half, minus the vocals. 2:22-2:32 is a bit of session noodling from the first of the two May 1967 Dada sessions, which features a reprise of the Child is Father of the Man melody. The remainder is the "second day" track.

28. Cool Cool Water - This involved a lot of creative editing and cutting and pasting of elements to create an "intro" which features yet another reprise of the Child is Father of the Man melody. 1:18-2:28 is the June 1967 version. The remainder consists of the November 1967 track in various stages of vocal and instrumental overdubs.

29. Untitled - Just the April 1967 version of Wonderful until 1:19, and then a reprise of the same piano melody with Michael's vocals.

30. Surf's Up - Same as the "album" on the Smile box, but with one notable difference. For the first movement, both Brian and Carl's vocals from 1966 and 1970 respectively are heard singing the lead vocals; the latter possible thanks to the bootleg a cappella mix which was then applied carefully over Brian's vocal. This was another arduous process; in some cases the vocals had to be matched word by word if not syllable by syllable at some points. Flanging and phasing was again a problem; much time was spent adjusting pitches (the a cappella bootleg mix ran about a half-step flat) and ironing out some digital noise on Carl's vocal thanks to the lossy nature of the leaked recording.

31. Untitled - The "Jazz" session from November 1966. Think of it like the house music after a concert.

So yeah, it's not "historically accurate." It's just what one bored guy did over several nights because he wanted all of the listenable bits in one place minus session chatter and much of the noodling.

Thank you for sharing your mix. I enjoyed it very much. I don't know where you guys find all this stuff...The "kitchen sink" SMiLE approach, a nice sampler for personal listening, but also nice to share with other friends/acquaintances and you don't wanna leave anything out. 

[The Cincinnati Kid]

Did anyone have an issue downloading his mix?  Chrome is blocking it, saying it may harm my computer.

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

Did anyone have an issue downloading his mix?  Chrome is blocking it, saying it may harm my computer.

Worked fine for me. Firefox, bro.

[Douchepool]

Yeah...use Firefox with NoScript and Adblock and you'll have a just-about-perfect browsing experience.