Going between being totally numb and tearing up when I hear a certain song today and a few outright emotional collapses, I was thinking about the concept of spiritual energy and how collective thoughts and emotions can transmit feelings universally to whomever is receptive to them no matter where they are..."good vibrations" to borrow a phrase...

And it occurred to me that as long as he was alive, all of that positive and healing energy he sent into the world through his music would be reciprocated within that mysterious network and return to him. Again to borrow a phrase, "the smile you send out returns to you". And for all of those smiles this man inspired with his music, and all of the positive feelings he transmitted throughout his life through that music, it created a network of sorts that cycled all of this around and around in circular form, and whenever someone like me or you or anyone got that rush of positivity and joy that Brian's music uniquely created, it would radiate out and around and get back to him in some form.

And now that he has left us in the physical sense, it feels different, yet it might even make that circular transmission of positive energy and joy even stronger, every time we listen to one of those transcendent songs he created and those feelings reach someone else, that energy continues to grow.

And I guess my point is, share the music with anyone you can, and share the feelings with them that were personal to you and which made your own experience with his music special. It's up to us to pass on to others now and in the future just how special, uplifting, and healing this man's music was and is and can be. Then that cycle will continue for generations, and what Brian ultimately wanted to do for others through his music will continue. 

.
That was truly beautiful - thank you.  I'm saving this one.

["It's about a guy who lives a personal internal Auschwitz nightmare yet still writes "This Whole World" for people he'll never meet."]

It was in reference to the "Love & Mercy" movie back in 2015, but Howie Edelson's summation of that movie included something that has always stuck with me about Brian:

"It's about a guy who lives a personal internal Auschwitz nightmare yet still writes "This Whole World" for people he'll never meet."

You made me cry...again!

I wasn't posting here...but now I am.  Do you have a problem with me Jodi?  Would you like to explain what it might be.

Why did you come over here?  Not enough interesting stuff happening on the Endless Boredom page any more?  You should have kept Dan! Go back and report now but keep it light!  And remind Andrew that 'shut up' isn't an explanation but an instruction.

I read Carol Kaye's complaints about the film, and it kind of just falls in line with her general demeanor of being a truly cranky, unhappy, mean-spirited person.

She doesn't like the doc. I don't like the doc. But I'm not into endorsing or supporting someone's point of view just because they share one overarching opinion. I'm not going to support someone being right for the wrong reasons.

The documentary makes points and implies things (and *doesn't* show things) that we're all agreeing are problematic.

But complaining that the film wants to imply by way of using that "Good Vibrations" studio footage anything purposefully misleading regarding how the songs were recorded is just goofy.

Back over a decade ago, they found a bunch of silent film of various "Good Vibrations" sessions. Essentially "b-roll footage", clearly including stuff shot across more than one day with multiple participants. This footage has already been used in the past in the 2012 "Doin' It Again" PBS/Blu-ray special made to promote the reunion.

Every use of that footage follows the most basic, simple rules of any sort of collage/compilation/music video. Here's a song, and here's some footage of that song being recorded. News flash: They even sometimes use footage of a *different* song! The Beatles "Hey Bulldog/Lady Madonna" being a classic example.

I'm sure the people who have done the hard work to look at all the AFM contracts and then listen to the session taps still have a cold chill run down their spine just *thinking* about having to actually try to explain to Carol Kaye that her bass is not even on the finished version of "Good Vibrations."

Carol Kaye, ironically, has always struck me as having a very Mike Love-type personality streak running through in that much like Mike Love, she has genuinely achieved a TON of amazing things and is very talented, but will never not still feel aggrieved about something or other and need to complain about something.

I have no axe to grind for Carol Kay - I just think what she said, whilst being fairly unimportant in itself, fits into there being a narrative  in play which uses, omission, implication and lies.

That's why the image of people watching this documentary and getting an association of drugs and failure when thinking of Smile music instead of the jaw-dropping beauty and mystery of Smile music that I and others felt when hearing it - I mean really hearing and getting it - for those first times makes me sad and angry.

Unfortunately I don't think this current "narrative" has room for the beauty and ultimate personal redemption that the Smile story offers. So it gets reduced to "drugs", "failure", etc.

Hopefully more listeners will see the beauty and redemption and associate THAT with Smile and ignore this more recent bogus narrative no matter how "official" some would like it to become.

I think every true fan of the Beach Boys should be grateful to you for your relentless stance against any attempt to "revise" history. The "revised" history which someone would want is a travesty. We see it perfectly in this documentary: they practically reduce the (imho) greatest band ever, with the greatest songwriter and the best vocal harmonies, to a bunch of hits and to the "sunny California" mythology. Even Mike himself is diminished by that revision, whatever he may think. Nobody is ever snatching The Warmth of the Sun or Good Vibrations from him, but where are his later accomplishments? Also he has great contributions, and great leads, in the neglected 1967-1977 period.

Truth will probably prevail, but it's still right to defend the real legacy.

Applaud everything you both wrote!  I hope you are right that the truth will out!

At first when I read Carol Kay’s criticism of the movie showing vocal and instrumental recordings in quick succession thus implying they were done at the same time, without saying so, I thought she was nit picking.  After considering it together with other criticisms I’m re-thinking it. 
The overall narrative was subtle.  I’m not sure if Mike learned his lesson that head on attack (the 2004 lawsuit, the Rolling Stone interview and his biography) only gets you more bad press and more people hating you or if someone with more skill at honing publicity has tailored this.
It includes just enough fact to gain your confidence, then lies (Sea of Tunes - Hoffman has the fully story), accentuates the early chart hits, the reissues  and their importance, underestimates Pet Sounds, SMiLE, Surfs Up, Dennis, Carl, and ignores anything which would undermine the simple narrative, portrays Brian as the drug headed mad man and we get to the end with Mike tearily bemoaning that he doesn’t see Brian.  (A performance worthy of the Disney studio.) Because of the slick production you don’t even query it much at first and write it off as publicity fluff.  But it isn’t it is a deliberate and evil distortion of the truth.
I don’t know who funded the film if there are any contractual limitations or deals and with whom so I can’t be sure that Mike had any involvement in it at all but you can only ask cui bono?

 I honestly don't care as much about Frank Marshall's shortcomings, because ultimately he made a cohesive film that left out a lot that should have been included, but I do care that both new fans and casual fans are going to watch this and believe Mike's version of these events 100% up and down.

....
As has been said, it doesn't seem accidental or coincidental that a pro-level team of documentary filmmakers creates a Beach Boys documentary which leans obviously toward Mike's narrative. There were sources for that, there were people finding and providing that research and information, maybe there were band politics that got into the process and it had to be that way...who knows...and ultimately that's among the biggest shortcomings of this work. It should not stand as an official or definitive documentary of the Beach Boys.

But Frank Marshall was both a producer and director and likely had at least some input in the narrative of the film.  We can't absolve him of all responsibility at the very least he aided and abetted it.

I agree Don, only I'd reach to Love You. Why exclude it? I know that not everybody likes it, but others consider it a bizarre "cult" gem, much like Smiley Smile. For example, if Jerry Garcia loved Smiley, Patti Smith loves Love You. In any, it's a rather bold artistic statement, like it or not.
Besides, it is both the swan song of the creative period of the Boys before the "singing jukebox" period, and a sort of introduction to Brian's solo career.
And I think there would be an elegant symmetry in bookending the history of the neglected but still artistically great 1967-1977 decade of the group with the two weird avant garde works, Smiley and Love You.

A history is a whole history not just up to this or that album.  And Dennis once said "Brian is the Beach Boys" so it also has to include his solo career.  Only an independent film maker can do this.

I know I'm carrying a considerable amount of bias and anger on Brian's behalf - you'll have to filter it if it shows -

In the Telegraph article just the other day we were told the most important thing about Leonard Bernstein presenting Brian an H&V was that he consulted some sort of clairvoyant (?)took dope and went to bed.  No, the most important thing was this young man had produced an astonishing piece of music which a very well respected composer was comparing somewhat favourably to Mozart.  
We were told the GV chorus was written by Mike - he openly admits he didn't and that he just suggested that they use the bass line Brian composed and which underlies the verse.
We had Brian on record competently and coherently producing an album, writing astonishing music using a theme which was ahead of it's time with a skilled poet and it stopped.  From the band's point of view there had to be some excuse for it stopping other than the lyricist left because the band didn't think the music would sell.
20/20 Brian comes out of his bedroom and effortlessly adds the coda to Surfs Up.
For Holland we learn that "I'm on my way to sunny California" was something Brian sang in the studio just before he went home.
Do I like other music from the band - of course - though I'd argue that Brian had more musical skill than all of them.
What we need is a documentary produced by an independent, journalist to do a thorough investigation and warts and all history in documentary form.  Ignore the steak holders in the business and the band, get footage from others who own copyright to film.  Will we get it - I doubt it - perhaps posthumously in years in the future.  Lets hope that all the evidence of the actual history isn't 'vanished' in the meantime.

My guess about why there are so many people trying to f... over Brian is simply: envy. Brian is rightly recognized as a genius, and many mediocre, talentless hacks just can't accept that. He has to be "downsized", at all costs.

People are trying to f--- over Brian? Today? 2024?

(while Zenobi was referring to artistic stuff, I think Guitarfool was spot on about his comments about "fans" and Brian Wilson)

Let's go back to the NPP days and see how many "fans" were treating Brian with kindness and respect. And yeah, no one is doing that publicly today, at least that I can tell - is the lack of snark due to Brian's age? Or that he hasn't released an album in a while? Either way, rewind a few years and the level of sh*t thrown at Brian was unreal. That atmosphere of "brain damaged Brian", or "Brian is the wheelchair bound grandpa forced to give a speech at Thanksgiving dinner", Brian didn't do any production work on Wild Honey, or that stupid Mike Love lawsuit where he claims Brian sat around collecting royalty checks for 40 years LOL, and all the rumors/gossip spread about Melinda Wilson (btw real classy the "RIP" posts after her passing from the same people who spread those rumors) that indirectly were a slap in the face to Brian and his family, and there are many more examples....Do you think all of that stuff disappears overnight?

Rewind a few years and yeah, people were trying to f*** with Brian and his family.

It's not so easily forgotten. So while this very day no one is out directly trying to f*** over Brian Wilson, I don't think those mindsets and perceptions disappear overnight, nor does the memory of how awful "fans" have treated the guy over the years.

Absolutely right.  Though I'm not totally sure of people not trying to F*** Brian over again, or at least get back into working with him again if the opportunity arose.  M&B have been here in England flogging the book and the video and saying things about writing with Brian no doubt for the publicity it generates but if that causes fans to create pressure for it, Brian sadly no longer has Melinda as a buffer.

-How many documentaries do we need on The Beach Boys?

Everyone is complaining that much of the story was missing from the new documentary.  The reason parts are missing is because much of it isn't their story, it is for publicity and to write the narrative of some of the band members.

The reason this documentary ended up the way it did is far more involved and complicated than simply parts being missing because some band members have agendas that preclude those things being mentioned. I don't think Mike Love has any problem with mentioning "Keepin' the Summer Alive", or Landy, or "15 Big Ones", or whatever.

A complete biography of Brian with an in depth look to all of his work and Dennis and Carl's work, not just limiting it to The Beach Boys, would resolve that.

Getting more granular and focusing more on Brian doesn't get anybody a "more complete" story. The same could be said for the group as a whole. A "complete" group biography of all them would get you, well, the complete story!

I think people are focusing way too much on the "Mike's agenda" stuff when it comes to this new documentary. The problems with this documentary involve more than non-Wilsons trying to hog too much of the story. Indeed, Al clearly feels marginalized and has issues with the doc. There are more fundamental, ground-level problems with this documentary.

The "solution" would involve getting a different team and ethos in doing the doc, as opposed to, what, tossing the idea and doing a "Wilson Brothers" documentary? How does that tell the whole story? Don't get me wrong, give me all the thorough docs on all the members you want. But the problem with this new Disney doc is not that it's speaking to Mike Love's (or whomever's) agenda too much and not focusing enough on the Wilsons. The problem is the director doesn't get it at all across the board, and something fatally injured this documentary during the process such that it couldn't cover enough years. That's a Disney problem, a director problem, and possibly a myriad or beefs and arguments and politics across multiple people/organizations.

The point is if you look at the history of the group post 1980 it shows a qualitative decline and at this time Brian's involvement had reduced.  What happened at the C50 when they did another album and Brian was involved, they had more success.  I'm not sure Mike would be happy with anyone coming to that conclusion especially after having said that he could step in because he was another genius, nor would he be happy covering the disagreement over the tour not continuing.  But it isn't just Mike it is what the current owners of the catalogue think - this is a publicity vehicle for them and they want a positive, uplifting and popular video as do Disney.  Having something about a period where the group was just a touring band with no new music could be covered in 2 minutes and probably not as visually interesting as young people frolicking on a sunny beach.

My point about doing a Brian biography is that this contains the whole story.  Not just the Wilson brothers, not just Brian but the group when it was at it's most popular and Brian's subsequent solo career, finalising SMiLE and his other albums - any Beach Boy biography is not going to cover those things.

Not me, Galaxy Liz. On the contrary, thanks for highlighting these OTHER problems. In fact, the Telegraph article misses completely "the point" as abysmally as this 2024 documentary does.
Every narrative about the Beach Boys HAS to talk of phoenix Brian rising from his own ashes. Brian's current predicament is obviously very sad, but does not impair IN ANY WAY the greatness of his "redemption" arc.
That so many people DON'T GET IT HOWSOEVER boggles the mind, and I'd have the temptation to actually swear, in a bad way, about that.
Though I fear that no amount of swearing would suffice...

The good thing about the Telegraph article was this bit: ''While it wouldn’t be quite fair to accuse Beach Boys of entirely overlooking definitive and sometimes grisly details, it is right to accuse the film of seeking to place a positive spin on even the ugliest moments. Worse still, it seeks to imply that talent of the group’s members was, to some degree at least, evenly spread. But it really wasn’t.' I hope the documentary tried to emphasise the good stuff in order to do tribute to Brian but as they had so much about the publishing rights lawsuit (not the others, mind) and even Manson, it;s hard to believe that. Limiting the story to 1980 (to go along with the book but then the same question applies for that) suggests they didn't want to show how unproductive the post 1980 Beach Boys were, except for touring greatest hits. The most interesting things they had done post 1980 were as solo artists until That's Why God Made the Radio and the C50 tour. Both of those things involved Brian and the C50 ended badly. Perhaps not the narrative some in the band wanted.  But for me the real triumph wasn't Endless Summer and a return to greatest hits. It was Brian and his band playing Pet Sounds, completing and premiering SMiLE (and more). But I don't suppose that's the narrative some in the band wanted either.

I would be in favour of just doing a documentary on Brian - which could tell the story including that of his brothers and the group since they were all part of his life.  This would allow the telling of the whole story.

I Just Wasn't Made For These Times, Beautiful Dreamer, Long Promised Road, the A&E special....how many documentaries do we need about Brian? Is there an area where those are lacking?

-How many documentaries do we need on The Beach Boys?

Everyone is complaining that much of the story was missing from the new documentary.  The reason parts are missing is because much of it isn't their story, it is for publicity and to write the narrative of some of the band members.

A complete biography of Brian with an in depth look to all of his work and Dennis and Carl's work, not just limiting it to The Beach Boys, would resolve that.

In fact, the Telegraph article misses completely "the point" as abysmally as this 2024 documentary does.
... Brian's current predicament is obviously very sad, but does not impair IN ANY WAY the greatness of his "redemption" arc.
That so many people DON'T GET IT HOWSOEVER boggles the mind, and I'd have the temptation to actually swear, in a bad way, about that.
Though I fear that no amount of swearing would suffice...

Thanks, I agree with everything you said but particularly love these bits!

Not me, Galaxy Liz. On the contrary, thanks for highlighting these OTHER problems. In fact, the Telegraph article misses completely "the point" as abysmally as this 2024 documentary does.
Every narrative about the Beach Boys HAS to talk of phoenix Brian rising from his own ashes. Brian's current predicament is obviously very sad, but does not impair IN ANY WAY the greatness of his "redemption" arc.
That so many people DON'T GET IT HOWSOEVER boggles the mind, and I'd have the temptation to actually swear, in a bad way, about that.
Though I fear that no amount of swearing would suffice...

The good thing about the Telegraph article was this bit: ''While it wouldn’t be quite fair to accuse Beach Boys of entirely overlooking definitive and sometimes grisly details, it is right to accuse the film of seeking to place a positive spin on even the ugliest moments. Worse still, it seeks to imply that talent of the group’s members was, to some degree at least, evenly spread. But it really wasn’t.' I hope the documentary tried to emphasise the good stuff in order to do tribute to Brian but as they had so much about the publishing rights lawsuit (not the others, mind) and even Manson, it;s hard to believe that. Limiting the story to 1980 (to go along with the book but then the same question applies for that) suggests they didn't want to show how unproductive the post 1980 Beach Boys were, except for touring greatest hits. The most interesting things they had done post 1980 were as solo artists until That's Why God Made the Radio and the C50 tour. Both of those things involved Brian and the C50 ended badly. Perhaps not the narrative some in the band wanted.  But for me the real triumph wasn't Endless Summer and a return to greatest hits. It was Brian and his band playing Pet Sounds, completing and premiering SMiLE (and more). But I don't suppose that's the narrative some in the band wanted either.

I would be in favour of just doing a documentary on Brian - which could tell the story including that of his brothers and the group since they were all part of his life.  This would allow the telling of the whole story.
The current owners of the back catalogue wouldn't back it since they are only trying to promote the legend which sells so permissions to use copyright material might be tricky and it's difficult to know if the public would buy it but I think it's important for the actual history to be preserved instead of the fairy story.

It's a Disney movie made to plump up their list of titles and sell the channel.  It's fluff.  It's a publicity release to sell the image and the history according to certain band members.  Having the idea that it was ever going to be a proper documentary on the history and the music was naive I suppose but I lived in hope.
The Telegraph article is yet another spin on capitalising on the sad history and takes it's lead and flavour from Nick Kent whose original article was reputedly largely fiction and who in turn was trying to write something juicy to sell.  It is unnecessarily unkind.
Both miss the tragedy of Brian's life and his phoenix like rise from the flames and fail to acknowledge the complexity and beauty of the music through concentrating on chart success.  It misses the decline and fall of the band post Brian leaving and turning it into it's own tribute band but then that wouldn't fit the narative of the publicity department so huge sections of the history is missing.
I suspect you're all going to fall on me like a ton of bricks but that's just my humble opinion.

I wrote this on Ang's FB Brian Wilson Tour page

when you get old you like to see that your life had meaning and seeing people enjoying your music must do that. Giving it up because you can't physically do it any more is not 'Oh good I can have a rest' but 'Oh God my life is over'. I just hope he can get better and find a quality of life in whatever way he can.

Significantly Paul von Mertens 'liked' it. Could be his personal opinion and nothing to do with how Brian feels, could be self serving believing he's not doing any harm by touring with Brian but I think many people who retire feel this.  I loathed my job and I felt it - giving up your raison d'être must be so much worse.  It used to be that you toured to sell the music but these days it's the other way around.

THIS! I think I've mentioned this before, but my grandfather-in-law had to give up woodworking in the last few months of his life. Woodworking was his passion, his art - he had a shop with so many specialty tools, he loved making things for himself and others. And he was forced to quit due to health reasons. It was heartbreaking to witness.

Which is why for the last 10 years I haven't given a hoot if Brian isn't jumping around on stage singing like he's 20 years old. I know some fans see Brian's detached performances as a sign to hang it up (and they've held this opinion for almost 10 years now). But really for the last 10 years he's been mostly always alert during performances, and he clearly wants to be there (otherwise he just wouldn't be there), and the people I've stood around and had conversations with after the shows are all blown away by how good the show was. Just irritating that these naysaying "fans" have complained and called for Brian to quit all these years, and they haven't the heart to realize that Brian is a complicated elderly dude who is out there trying to put on a show through fighting mental and physical demons...and that perhaps he is trying his hardest to keep the show alive because some part of him needs for that show to go on (both figuratively and literally).

Anyways, I am with everyone else in this thread: whatever is best for Brian's comfort and wellbeing is what should be done for the guy. Honestly he can still go on making great music, putting on a show here and there perhaps. It doesn't have to be the end of music for the guy, but perhaps a less active schedule would make Brian a bit more comfortable.

But that's for Brian and his doctor(s) to decide.

Absolutely right!

I wrote this on Ang's FB Brian Wilson Tour page

when you get old you like to see that your life had meaning and seeing people enjoying your music must do that. Giving it up because you can't physically do it any more is not 'Oh good I can have a rest' but 'Oh God my life is over'. I just hope he can get better and find a quality of life in whatever way he can.

Significantly Paul von Mertens 'liked' it. Could be his personal opinion and nothing to do with how Brian feels, could be self serving believing he's not doing any harm by touring with Brian but I think many people who retire feel this.  I loathed my job and I felt it - giving up your raison d'être must be so much worse.  It used to be that you toured to sell the music but these days it's the other way around.

I think Dennis and then Carl had talent but Dennis wasn't hungry for musical success in the way Brian was - he already had it through the group.  Carl probably was hungry but he didn't have as much skill.  Both of them came to music via Brian's interest.  Brian spent an age in his room listening and learning before he started and he carried on trying to learn.  They were just being carried along with his flow and learned some along the way enough to make them want to do their own music but not in the way Brian used chords in interesting and innovative ways (though what do I know about this stuff - it just sounds like that - nice but not blow your socks off).

I really meant Al and Mike.  Al does nice ordinary safe music.  My goose bumps never rise.  Mike couldn't organise a piss up in a brewery.  His album was written by someone else and Kokomo by John Philips and others.

I remember someone talking about Jimi Hendrix and saying it wasn't just God given skill that made him good it was practice.  Whenever you saw him he was carrying a guitar and playing it.  Brian spent a lot of time listening to and studying music. 

I don't think it is just about ableism.  I think there are those, who shall remain nameless, that actually blame Brian for his own mental illness - they frame it that it was his drug taking which caused his illness and therefore his own fault when the truth is that he wanted to experiment for the creative impetus it gave him and later was self medicating. But Brian had problems from his youth due to childhood trauma and the drugs Landy prescribed didn't help either - it wasn't just the non-prescription drugs which caused the problem. The only way to be critical of someone with mental illness, who you deeply envy, is to make them bad.  As Ang said it's gaslighting.  IMHO they also did that with Smile - it wasn't put out because Brian is mad and on drugs - though well enough to produce another album for them and them arguing over the material and Brian losing his collaborator because of it, had nothing to do with it.

If they were all geniuses they would all have been able to produce successful albums. 

I like and respect you Billy and cannot abide by racism.  No one who has not been subjected to racism knows what it is really like but I have to say that the way we are dealing with it now is just tipping the scale the other way and will end in conflict.  We need to be less divisive, build bridges and take on board that we are all the same and skin colour is unimportant - we are all of mixed origin so made of the same stuff.  So far as I can tell there is no racism involved in the disgusting way some people behave in 'fandom'.  I could claim there was sexism but I won't because those who behave badly just use whatever weapon is available at the time.  Those people are just nasty.  They also cannot actually defend their stance so they just side track the argument.  I'm not sure that what was said here was intended to be racist - it seemed like frustration at the way we are dealing with things these days, making it worse instead of better but if it was intended let's not let them side track the point and just move along.

Suffice to say Brian is not a trained seal and does not need handlers.  The people who support him are there to help him with his health issues and to fend off the idiots he wants to keep away from.  I suspect that the source of this way of thinking is one of those who is being kept away and they don't like it.

 

The rest of the tour in the USA, Mexico and Canada has been cancelled.

And the fans who had tickets to the thrice-postponed Europe shows are being given refunds.

That happened a week or 2 ago.  I don't think it's related to this.

Maybe, maybe not.

It might be the same reason but Brian Wilson tickets were on sale for the other dates in the US, Canada and Mexico after the refunds for the UK were issued so it looked as if they still planned to go ahead.

The rest of the tour in the USA, Mexico and Canada has been cancelled.

And the fans who had tickets to the thrice-postponed Europe shows are being given refunds.

That happened a week or 2 ago.  I don't think it's related to this.

The rest of the tour in the USA, Mexico and Canada has been cancelled.

Thanks for the link! It's a really nice interview with some really wise advice from David. I love Giggens, been subscribed to his channel quite a while.
Am I the only one who thinks David is actually a Star Trek Vulcan?

David is very human and there is nothing Vulcan about him.  He is a lovely, kind man 

I’m not sure where the assertion that the water chant was to be used as the fade of the Wild Honey Cool Cool Water comes from.  Is that on a tape box or on a session slate?

The chant where they all sing "water, water" over a drone is not a recording that was made for a song called Love to Say Da Da. As we said earlier, it is labeled as "Cool Cool Water - Fade" on the tape box, and was recorded in Brian's home studio using his Baldwin organ during either the Smiley Smile era or the Wild Honey era. It is a section of Cool Cool Water that was recorded under that name.

Brian merged CCW with LTSDD, I believe in June 67 and worked on it later in October 67.  I don't really understand why you are all so blinkered about Brian's creative process.  LTSDD came from All Day which came from H&V.  Mama Says came from Vegetables which came from Vega-Tables.  The WW Symphony came from Fire.  The titles of the themes are just working titles which change and the themes are movable or it is possible to overlay them.  Being fixed about what they are may be relevant if you are talking about the finished piece, in which case LTSDD doesn't exist but In Blue Hawaii does.  It's possible Brian may have intended to use LTSDD on its own and then merge it with CCW given his ideas about birth and water.  It didn't happen, it wasn't finished, he may not remember now and the only version of Smile we have is BWPS.  LTSDD was a theme which only had a temporary existence before it became something else.

Ang and I were going to post something else on Vega-tables, given the interest in Smile, but as it's speculative ...