SMiLE Sessions box set!

[onkster]

Here's an alternate listening theory:
An original mix--whether technically flawed or not--will always sound better to you because you know it, you're intimately familiar with it, and it is the one that caused you to form an intense emotional attachment to it in the first place.

A later mix will be different. And your cherry cannot be unpopped.

(I can think of later versions/editions of albums that I heard first--then heard the originals--same principle, different time sequence...)

[The Heartical Don]

Here's an alternate listening theory:
An original mix--whether technically flawed or not--will always sound better to you because you know it, you're intimately familiar with it, and it is the one that caused you to form an intense emotional attachment to it in the first place.

A later mix will be different. And your cherry cannot be unpopped.

(I can think of later versions/editions of albums that I heard first--then heard the originals--same principle, different time sequence...)

Interesting. We're entering the field of psycho-acoustics. I dare conjecture that such an original version, with flaws (audible edits, pops, whatever) will become the 'reference version' in your mind, and as such almost impossible to erase/replace. The mind tends to flatten and gloss over eventual shortcomings. It's in our nature. And later versions will be measured against this mental first edition, not against the 'physically objective' first version.

In this scheme of things, the original H&V would, had it appeared later in time, after smoother first forms of the song, be seen as very harsh, rude, and full of bad spots.

I think.

[Heysaboda]

Ever since the news about The Smile Sessions box set came out (which I ordered for $110)  I have been playing BWPS at least once a day and I have to say:

What a beautiful, beautiful record BWPS is.  I am just so amazed by it, still, and the accomplishment it represents for Brian and His Band.  Awesome!

Also,
You can call me crazy, but I even like all the keyboards on BWPS.  To me, the sound is more modern, even richer than a traditional harpsichord, and suits the "updated SMiLE" approach.  Whereas, TSS will be "classic" SMiLE!   

God, what an incredible album BWPS is.  When TSS comes out, BWPS becomes even better, my opinion.

-- David

[The Heartical Don]

Ever since the news about The Smile Sessions box set came out (which I ordered for $110)  I have been playing BWPS at least once a day and I have to say:

What a beautiful, beautiful record BWPS is.  I am just so amazed by it, still, and the accomplishment it represents for Brian and His Band.  Awesome!

Also,
You can call me crazy, but I even like all the keyboards on BWPS.  To me, the sound is more modern, even richer than a traditional harpsichord, and suits the "updated SMiLE" approach.  Whereas, TSS will be "classic" SMiLE!   

God, what an incredible album BWPS is.  When TSS comes out, BWPS becomes even better, my opinion.

-- David

Tonight I'll have a pint in your honour. The BWPS rehabilitation campaign starts here.

[Matt Bielewicz]

No need for any such rehabilitation from me. It's blooming awesome to my ears, just as it always was!

MattB

[Runaways]

Here's an alternate listening theory:
An original mix--whether technically flawed or not--will always sound better to you because you know it, you're intimately familiar with it, and it is the one that caused you to form an intense emotional attachment to it in the first place.

A later mix will be different. And your cherry cannot be unpopped.

(I can think of later versions/editions of albums that I heard first--then heard the originals--same principle, different time sequence...)

i'll disagree to a certain degree.  Just cause these smile sessions recordings are already becoming my definitive.

[Roger Ryan]

Here's an alternate listening theory:
An original mix--whether technically flawed or not--will always sound better to you because you know it, you're intimately familiar with it, and it is the one that caused you to form an intense emotional attachment to it in the first place.

A later mix will be different. And your cherry cannot be unpopped.

(I can think of later versions/editions of albums that I heard first--then heard the originals--same principle, different time sequence...)

i'll disagree to a certain degree.  Just cause these smile sessions recordings are already becoming my definitive.

The emotional attachment I feel to the tracks I first heard remains with those tracks...these tracks are THE SMILE SESSIONS tracks and I'm thrilled that all four of the officially released ones range from slightly altered to almost totally re-invented. These will become the way to newly experience the "unfinished" SMiLE album. Had "Our Prayer" simply transitioned into the 45 single version of "Heroes...", I would have felt let down. Instead, I'm very excited about the new context presented by these remixes; because of the tweaks, I won't have to associate the tracks with any other album or collection.

[Shady]

Cool

[Freddie French-Pounce]

No need for any such rehabilitation from me. It's blooming awesome to my ears, just as it always was!

MattB

Have you heard it on Vinyl? That just sounds Amazing!

[The Heartical Don]

No need for any such rehabilitation from me. It's blooming awesome to my ears, just as it always was!

MattB

Have you heard it on Vinyl? That just sounds Amazing!

Nice. Still got that set sealed in my shed, waiting to be kissed by my new turntable/cartridge combo.

[JohnMill]

Ever since the news about The Smile Sessions box set came out (which I ordered for $110)  I have been playing BWPS at least once a day and I have to say:

What a beautiful, beautiful record BWPS is.  I am just so amazed by it, still, and the accomplishment it represents for Brian and His Band.  Awesome!

Also,
You can call me crazy, but I even like all the keyboards on BWPS.  To me, the sound is more modern, even richer than a traditional harpsichord, and suits the "updated SMiLE" approach.  Whereas, TSS will be "classic" SMiLE!   

God, what an incredible album BWPS is.  When TSS comes out, BWPS becomes even better, my opinion.

-- David

Yep an important part of the SMiLE saga if there ever was one for so many reasons.  And we're happy and we're singing and a 1...2...3...

[Ganz Allein]

I think some fans pull back on the various methods of remastering because it might remind them of colorizing a black-and-white film.

And this is exactly what I was thinking about when I heard those two 'spoiler' tracks yesterday for the first time (Good Vibrations and Heroes & Villains). It's one thing to improve the sonic quality to today's standards, but the additional edits thrown in............it just seems to me there's a line there. I really do like the edits, I've heard them many times before in alternate takes, but was that really what Brian originally envisioned for the songs?

I dunno. Damn if you do - damned if you don't. I used the word "sacrilege" yesterday - which may have been too harsh.

Sacrilege may be too harsh a word, but anachronism is appropriate if mixes on the first CD are based on new/BWPS ideas but presented as being as close as possible to what would've been released as SMiLE in '67.

[harrisonjon]

Here's an alternate listening theory:
An original mix--whether technically flawed or not--will always sound better to you because you know it, you're intimately familiar with it, and it is the one that caused you to form an intense emotional attachment to it in the first place.

A later mix will be different. And your cherry cannot be unpopped.

(I can think of later versions/editions of albums that I heard first--then heard the originals--same principle, different time sequence...)

Does Pet Sounds always sound better in mono then, as no stereo one existed until 1996?

[harrisonjon]

I think remixing is OK given that this is advertised as 'The Smile Sessions', not 'Smile as it would have sounded in 1967'. The latter sounds to me like a misunderstanding of the intent behind the release, although I can anticipate some false advertising of this as somehow THE Smile album, which is clearly cannot be.

[drbeachboy]

Since Smile was a modular recording, whose to say any of the mixes are new ideas? That's the whole fun of Smile, it can be Presented in any fashion, and who's to say whether it is right or wrong? We all have ideas, none of us really know for sure, not even Brian.

[Andrew G. Doe]

I think remixing is OK given that this is advertised as 'The Smile Sessions', not 'Smile as it would have sounded in 1967'. The latter sounds to me like a misunderstanding of the intent behind the release, although I can anticipate some false advertising of this as somehow THE Smile album, which is clearly cannot be.

I'm sure the liners/book will make it very clear as to the extent of any remixing/flyins/whatever.

[Iron Horse-Apples]

I think remixing is OK given that this is advertised as 'The Smile Sessions', not 'Smile as it would have sounded in 1967'. The latter sounds to me like a misunderstanding of the intent behind the release, although I can anticipate some false advertising of this as somehow THE Smile album, which is clearly cannot be.

I'm sure the liners/book will make it very clear as to the extent of any remixing/flyins/whatever.

I wish someone would leak the liner notes!

[Mr. Cohen]

I will say that hearing mid-60's songs as they were broadcast on AM radio - which is essentially why they were mixed a certain way, EQ'ed a certain way, and mastered a certain way to sound good over AM - can be a revelation. Songs heard in the format they were mixed and mastered to sound best come alive. A remaster, remix, or digital reissue cannot touch the impact of hearing those originals on AM broadcasts.

Amen. I used to think that was a load of bull until I heard a version of "Get Off My Cloud" by the Stones at a museum that was played back on equipment that simulated/recreated the sound of '60s AM radio. Man, it blew my mind. It was just this insane wall of sound. It's much different than what you'd hear if you played it on modern equipment. NOW I get why a reviewer at the time called it a "cacophony". I just thought he was being stodgy. But on old AM radios, it truly was a glorious cacophony.

Now I wonder what Spector sounded like back then... I'd probably get as obsessed as Brian if I ever heard it.

[guitarfool2002]

I will say that hearing mid-60's songs as they were broadcast on AM radio - which is essentially why they were mixed a certain way, EQ'ed a certain way, and mastered a certain way to sound good over AM - can be a revelation. Songs heard in the format they were mixed and mastered to sound best come alive. A remaster, remix, or digital reissue cannot touch the impact of hearing those originals on AM broadcasts.

Amen. I used to think that was a load of bull until I heard a version of "Get Off My Cloud" by the Stones at a museum that was played back on equipment that simulated/recreated the sound of '60s AM radio. Man, it blew my mind. It was just this insane wall of sound. It's much different than what you'd hear if you played it on modern equipment. NOW I get why a reviewer at the time called it a "cacophony". I just thought he was being stodgy. But on old AM radios, it truly was a glorious cacophony.

Now I wonder what Spector sounded like back then... I'd probably get as obsessed as Brian if I ever heard it.

Two songs just floored me after hearing an AM broadcast, one from '67 the other from '69: Scott McKenzie's "San Francisco" and BS&T "You've Made Me So Very Happy". I heard those songs dozens of times, mostly FM stereo or the album cuts, and when I heard them on the old AM aircheck recordings....amazed and joyful are two words I could use. I was actually kind of tired of hearing those songs, but the way they had such a *presence* when heard over AM was a revelation. Same with the Monkees' "The Girl I Knew Somewhere", that was an incredible mono mix heard literally "hot off the press" on KHJ - incredible punch.

It was truly the medium they were mixed for, and it really does change opinions on some of these songs.

[Dunderhead]

One thing that kind of annoys me is how I love to say Dada, Cool Cool Water, and Blue Hawaii have all been sort of lumped into one track. I really wish we knew what the purpose of Dada actually was.
Here's a song that Brian recorded at least once, possibly twice during Heroes and Villains sessions. In 1967 the vast majority of his session work was for a single, Heroes or Vega-Tables. At this point it seems unlikely that the album was close to completion, the album was hemorrhaging material and Brian was cannibalizing other songs. Wasn't the reason they dropped out of Monterey stated as the desperate need to complete the Heroes and Villains single for release? I think completing smile had become a secondary concern as 1967 went on.
Then why was the very last thing Brian recorded Dada? If it really was the proverbial last piece of the puzzle, then why wasn't smile released? Frankly I don't buy Dada as water.

[Pinder's Gone To Kokomo And Back Again]

Up for UK pre-order at Badlands in Cheltenham  UK - around £130

http://www.badlands.co.uk/Store/Tab.aspx?sck=59061881&tabid=1

Phone is best - just placed mine

£130 plus postage ?  I bought from amazon @ $111, with postage & duty $145, or under £90.

Even at $170, that's still only about £105. Which sucks.

I dare to assume I've spent well over $170 on Smile boots, and the like, over the past 20 years. So, $170 for an official product at this late date is a steal 

[Bill Barnyard]

BBC News announcing release of TSS in the UK on 31 October.

Story at: http://www.bbc.co.uk/news/entertainment-arts-14729256.

C'mon Amazon UK and get off yer backsides!!

[Dan Lega]

You know, people (that is, the less obsessed and knowledgeable) will hear the sessions when this thing comes out, and they will hear just how many vocals were actually recorded for the unfinished/abandoned album that allegedly had a lot of dissent from within, and they might just start to see the story differently.

This way of thinking always gets to me.  Why couldn't they have recorded the lyrics AND heavily complained about them?  As far as I know it IS physically possible to SING a lyric, (with feeling, too!) even if you don't like it very much!  Throw in the fact that, hey, you're already in the studio AND you're already PAYING for the studio time and engineers.

Love and merci,   Dan Lega

... but what's the problem then if they did their job and sang the song?  Brian wasn't asking Mike to write on SMiLE.  Brian wasn't asking Dennis for help recording the album.  He was just asking them to sing.  Which they obviously did.  So whether or not they were happy campers is irrelevant.  We've got one legend of a story of Mike being crucified for 40 years for the mistake of asking what a phrase means.  It's also a fascinating thing that Mike always gets the blame for this, when he did all that was asked of him... and in the close years that followed Brian abandoned the band in a large way. 

I love Brian to death but all the hate the others (Mike especially) get over this album is getting old.  Not aimed at you Dan, I'm just talking about the common perception. 

And that's the other thing that gets to me, "Mike did all that was asked of him."  How do you know this?  And even if Mike did do all that was asked of him, that still doesn't preclude him from complaining about it so much that it scuttled the album.  In fact, that's what Van Dyke says happened, that there was a family dynamic that was being pushed to the limit because of the SMiLE sessions, because of his lyrics.  Therefore, Van Dyke thought he should leave the project, otherwise the scene might get really ugly and Brian might have to choose between Van Dyke and SMiLE, or the Beach Boys.  So Van Dyke left, sensing that Brian wasn't strong enough to bridge the gap and bring the Beach Boys into the new direction that he and Van Dyke were heading.

And, yes, we've got a lot of SMiLE vocals, but we've also got a lot of key parts missing.  Why are they missing?  Is it because Brian got so tired of hearing complaints about the lyrics that he no longer had the strength or will to get the Boys into studio for fear of repeat performances of harangues and complaints?

Mike says he didn't like the lyrics.  Mike doesn't think his complaints scuttled the album.  Van Dyke thinks they did.  Brian has said the band's complaints were a major, major bummer.  That's two against one, the way I see it.  Oh, and then there is Anderle's accounts of the Boys giving Brian a hard time.  I'm still not seeing the "story differently" from where I sit.


Love and merci,    Dan Lega

[Pinder's Gone To Kokomo And Back Again]

I find it funny that in the history of rock/pop music The Beach Boys are apparently the one band where the typical creative differences/disagreements that have wracked most bands while creating so many timeless masterworks amount to high crimes on the part of any member who isn't Brian.

[Wirestone]

Because none of the other members had as much of a hand in the band's classic works as Brian did. It's not that hard to understand.