The Smiley Smile Message Board

I did the best I could to figure out where all the pieces Brian had recorded by March would have
fit into the allegedly wiped mix done that month. I've taken the approach of expanding the cantina
mix using the February section names as a guide. It's in stereo since it's impossible to be historically
accurate anyway. The big liberty I've taken here (besides the stereo verses) is adding vocals to the
"prelude to fade" section. Enjoy!

FLAC:
http://www.mediafire.com/?5t545a8fpit78ca

MP3:
http://www.mediafire.com/?fg4n8bjgpdl8cjj

Here's my honest opinion.  The mix was kind of 'meh'...not really exciting, but not bad either.  I guess I've just grown so used to the Cantina mix that that structure IS H&V to me and anything different just seems weird.  HOWEVER, what you did with the Prelude To Fade...was hands down pretty fucking awesome.

Not bad.  I think any H&V over 3 minutes long is not such a great thing, but for that concept, I like how you put it together.  I did not like the vocals over the prelude though, sorry.  :p

I always wanted to do that with the prelude to fade! It seemed a bit jerky, but otherwise great minds think alike....  :)

Thanks for sharing your work with us. Your mix of Barnyard sounded really good- I just wish I had the whole thing instead of it being cut off so abruptly. I appreciate the experimentation, but  that Prelude to Fade doesn't work for me. There are a lot of good elements to this mix but the sequencing of sections, without knowing your thought process, seemed kind of random.

The length issue - all the evidence supports a 5-6 minute length for the working versions
of H&V in March. The March 25 DISC article says "probably 5 minutes." In June, Mike told
a reporter that about 6 versions of H&V existed and that they just had to choose the right one.
He played the reporter a version that lasted "about 6 minutes."

One of the biggest differences between the cantina and Smiley versions of H&V
is the lack of a chorus. I think that the February 20 variations were meant to be
the chorus sections. The Smiley chorus is in some ways a re-record of
"Part 2 Revised Version," which even has the tack piano/harpsichord "Bicycle Rider"
theme, albeit in a major key.  At this point all I've done is taken the cantina
mix and inserted the section slated as "Part 2 Revised Version" at the first logical
place, after the acapella breakdown. The Smiley version follows the same structure of

1st 2 verses
acapella breakdown
chorus

In addition, the final chord on the tack piano of "Part 2 Revised Version" resolves nicely
with the first chord on the tack piano of the cantina section. I've restored the train whistle
 because that particular edit in the cantina mix sounds odd to me. I can't defend the
historicity of that decision. Brian may have edited it out because he wanted to use it to close
DYLW like on BWPS and TSS, I have no idea. I think it sounds better with the whistle. The
comical "You're under arrest!" that ends the cantina section seems like an appropriate edit
point for the next chorus which was slated as "Part 3" and features somewhat comical percussion.
It also features animal sounds at the end which leads me to believe that this is where Barnyard
goes. The fact that he had the guys make these animal noises on Feb 20 lends credence to
Barnyard still being part of the song at that time. The structure of Barnyard here is the 2004
one used on BWPS and TSS.

Barnyard marks a change in theme, the first half of the song is a Cowboys & Indians
adventure (the Indians are in the first chorus) and the second half is the retired hero raising
his family and waxing nostalgic. Tempo-wise Barnyard also matches well with the next section of the
cantina mix, the "Children Were Raised" section and the "3 score and 5" verse. The "dum dum dum"s in
 the "Whistling Bridge" that comes next in the cantina mix sound nearly identical to the "dum dum dum"s
in the section slated as "Version 4," used here as the final chorus.

Now the most controversial part - I've always thought that the "Prelude to Fade" would've had lead
vocals and that the "sonny down snuff" lyrics were a strong candidate. Structurally and musically
they're extremely similar, but I know it's jarring to hear those vocals in a new context.
If you think it doesn't work musically, to each his own. The fade re-record is a no-brainer, but
I decided to add the "False Barnyard" vocals as it always seems incomplete to me without them.

This is a work in progress so I'd love to hear arguments against the decisions I've made as well as
suggestions to improve it. Here's a mono version meant to be more historically accurate - it includes
the "Intro" as well as a shorter Barnyard section conforming to the acetate's structure. I should also
point out that without the insertion of "Part 3"/Barnyard you get an approximately 5 minute version and
If you were to split this mono version just before the Barnyard section you would have 2 approx.
3-minute "Parts," each with a distinct theme.

H&V March '67 Mono Reconstruction
FLAC: http://www.mediafire.com/?hvmducla8w5v5mc
MP3: http://www.mediafire.com/?c4ofz63tf30gttz

Why no I'm In Great Shape before Barnyard like on the piano demo?

because by March, IIGS was it's own track. The 11/29 IWBA/FN session was logged as (I'm In Great Shape) so I think that, Carol Kaye's comments aside, it's likely that the BWPS structure of IIGS/IWBA/FN may have already been in place.

But if the hero is retired, then why does he still have to jive to survive?

"3 score and 5" means he's 65, so I think he's bragging about "still having it" precisely
because he IS retired.

But he isn't saying he still has it, he's saying he still does it. 

ALSO if he's retired on a farm, he clearly has Swedish frogs.  Yet there are no cowboys and Indians in Sweden... 

ok... semi-retired? older? do you have any thoughts on the sequencing itself?