Happy Birthday Denny...I hope life's better up there than anything you experienced here...our prayers are with you.

*angry post about how that list wasn't written by Brian, how he's recording the END of a song when he says that, and then used it as the fade of potentially the lead single of the album not long afterwards, and how ending your avantgarde spiritual pop statement with You Are My Sunshine would be the uncoolest thing imaginable. all to say you're really wrong*

Are there other instances of Brian in the studio referring to the final section of a song as "the big finale"?  I don't listen to all that stuff. As for the '66 tracklist, it doesn't seem logical to me that the song titles were just drawn out of a hat. To me, that is "strong evidence". I don't make any claims as to knowing what is right or "really wrong" as far as what Smile's final form would have been in 67. If some fans like to have their own fan mixes end with Surf's Up or You're Welcome I'm cool with that.

The biggest flaw in your argument is that there is no evidence whatsoever that the tracklist was also a preliminary track sequencing.  The sleeves that were printed up based on the tracklist specifically said "see label for correct playing order."  No, the titles weren't randomly drawn, but it's a pretty big leap of logic to suggest that it was anything more than a list of the most completed songs intended to get the record company off Brian's back. 

I offhand can't think of one album in my collection where the tracklist printed on the back of the album sleeve bears no resemblance whatsoever to the actual running order of the tracks. There probably are some albums like that, but it doesn't seem logical TO ME that the "see label for correct playing order" line completely invalidates the order of the list that was given to Capitol as some others think it does.

Let It Bleed...same situation where the tracks stated on the back of the album are in no way shape or form even close to the running order.

Isn't it a re-issue because 90% of it was on the GV-Boxset?

Well if you count the four CD's filled with session material, then no.  Depends on how you classify the album I suppose, seeing that there were multiple release methods.

I expect them to give me an hour of my life back.

Oh and by the way. Just got word that they cancelled the reunion due to Mike Love refusing to sign the contract that specified he would not be able to speak at all before or after their performance.

Really?

Oh no, I was just trying to make a joke 

On a serious note...the level of frustration I have with the band's struggles to get back together is immense...and they're simply hurting their beloved fan base by acting like this...

I expect them to give me an hour of my life back.

Oh and by the way. Just got word that they cancelled the reunion due to Mike Love refusing to sign the contract that specified he would not be able to speak at all before or after their performance.

All this...and no one is announced. Forget the Beach Boys. No one.

So much for "an iconic band" or a "reunion"

AGD! Get in here! I demand an explanation! 

That's it. It's over. Nothing announced...

Are you effing me? Sugarland and Lady Gaga? How the hell is that a reunion...

Why did the country guy rap the first verse!? I think Ludacris (spelling?) missed his cue!

As a teenage Beach Boy Maniac, I'm embarrassed to watch this.

  I'm in the same boat as you here...

Why did the country guy rap the first verse!? I think Ludacris (spelling?) missed his cue!

Can't we fast forward this or something?  

When do you think we'll hear an announcement? Before a commercial or something?

[come]

You're Welcome makes no sense as a closing track, due to the lyrics "You're welcome to come".  It might make sense as some sort of opening track, but we know that Our Prayer was designated to open the album.  So it really fits no where. Some people have said it's like saying "you're welcome" for the album, thus it makes sense as a closer, but those lyrics, "to come" at the end really invalidate that argument for me.

Sonically, this is really fantastic! I'm really impressed with what you did, and I'm really glad that you didn't try to create stereo mixes of things that just can't be done in stereo, making this a true stereo release.

I stop listening after 1971.  Surf's Up is the end of the line for me, and it leaves me satisfied with the Beach Boys catalog being exceptional until that point. For me, anything up until 1971 is fantastic music, capable of standing up to some of the best artists of that period.  Beyond that...I just can't get into them.  I've tried listening to Love You, it just doesn't do it for me.  I just don't think it's very "mature" or whatever like some of their work during the early 70's.

That in mind, Surf's Up is, in my opinion, one of the greatest Beach Boys album.  Some people here have said it's not cohesive, or just not moving, but I'm just entranced by the music on that album.  Being younger than probably most people on this board, I'm someone who is interested in a lot of modern indie stuff, and willing to expose myself to other "weird" alternative genres.  And for me, Surf's Up fits in this category.  The sounds on it are so progressive...the lyrics are eerie and moving...they're truly poetry (barring Student Demonstration Time  ).  Surf's Up has some progressive rock tones to it, I'm thinking of the interesting (flute?) and guitar solo on Feel Flows, and I absolutely love the Welfare Song.  A Day in The Life of a Tree may be one of the most beautiful songs I've ever heard...the lyrics are so haunting, and unlike a lot of people, I take that track very seriously.  Of course, there's Til I Die and Surfs Up, which just add a magnum opus ending to the album.

In addition, Long Promised Road and Disney Girls are also both beautiful tracks.  I think this album really needs to be re-evaluated with some modern insight shed upon it.  It's so advanced...it's really impressive what the group did with this album.  I think a lot of people on this board just aren't intrigued by it because of how "alternative" it really sounds...but for me, it's almost flawless.  Reminds me a bit of Radiohead to be honest...

While I couldn't disagree with you more regarding the BBs post 71 stuff (but hey, I'm a Summer In Paradise fan) I can't agree with you MORE regarding Surf's Up!  I find it pleasing that in regards to your age, you probably approached the album without all the "pre-baggage" that a lot of us older fans were likely already steeped in before we ever got around to Surf's Up. The main beef with the album seems to mainly have to do with Student Demonstration Time (how dare Mike Love try to write about something topical) and the fact that Dennis pulled his songs off the project. Fine, that sucks, sure, but he did have 4 songs on Sunflower and then had 2 on CATP and then 2 on Holland, so he didn't exactly get screwed.

I happen to feel that Surf's Up has the best sequence of any post Pet Sounds BBs album. The songs just seem to tell a story when rolled out all together. I would normally have problems with SDT but it just feels SOOOOOOOO perfect coming after Disney Girls. You have Bruce tucking us into bed with warm (yet bittersweet) nostalgia and then suddenly we're torn awake by sirens and Mike Love screaming into a megaphone! I also just LOVE LOVE LOVE that everyone slams Mike for trying to be hip and timely and cool with SDT when all he's really saying is "Hey, I know we're fed up with all this merda, but if there's a demonstration going on, you'd better stay home or the cops are gonna beat your ass or even worse: shoot you." !!!!!!

Mike just can't help being anything other than Mike and I love it.

Yes! I agree with you on the point of the sequencing! It flows so nicely...and it really helps expose the underlying themes of the album. In regards to the age thing, yeah, I had no preconceived feelings going into Surf's Up.  I'm only sixteen, and I've been a Beach Boys fan my whole life, but I've also been exposed to just so much music.  So when I heard the sounds on Surf's Up, I was really amazed the GROUP achieved these sounds in 1971, and not just Brian Wilson (and I'm definitely a HUGE Brian Wilson fan).  And about Student Demonstration Time! Yeah! I agree with you there too! I'm no fan of Mike Love, but that track does fit, and the whole megaphone voice thing I think is an interesting touch, especially just after Disney Girls.  Would I have preferred one of Dennis's songs to it on the album? Probably, I really love 4th of July.  But what's there is there, and I think what's there is really amazing.

[Smile]

But it's no re-issue, is it ?

Nope - I've searched for an original release of this music under the title Smile: can't find anything. 

Yeah, I was irked when Pitchfork classified it as such. Just because the music dates back forty five years doesn't automatically make it a "re-issue"

I stop listening after 1971.  Surf's Up is the end of the line for me, and it leaves me satisfied with the Beach Boys catalog being exceptional until that point. For me, anything up until 1971 is fantastic music, capable of standing up to some of the best artists of that period.  Beyond that...I just can't get into them.  I've tried listening to Love You, it just doesn't do it for me.  I just don't think it's very "mature" or whatever like some of their work during the early 70's.

That in mind, Surf's Up is, in my opinion, one of the greatest Beach Boys album.  Some people here have said it's not cohesive, or just not moving, but I'm just entranced by the music on that album.  Being younger than probably most people on this board, I'm someone who is interested in a lot of modern indie stuff, and willing to expose myself to other "weird" alternative genres.  And for me, Surf's Up fits in this category.  The sounds on it are so progressive...the lyrics are eerie and moving...they're truly poetry (barring Student Demonstration Time  ).  Surf's Up has some progressive rock tones to it, I'm thinking of the interesting (flute?) and guitar solo on Feel Flows, and I absolutely love the Welfare Song.  A Day in The Life of a Tree may be one of the most beautiful songs I've ever heard...the lyrics are so haunting, and unlike a lot of people, I take that track very seriously.  Of course, there's Til I Die and Surfs Up, which just add a magnum opus ending to the album.

In addition, Long Promised Road and Disney Girls are also both beautiful tracks.  I think this album really needs to be re-evaluated with some modern insight shed upon it.  It's so advanced...it's really impressive what the group did with this album.  I think a lot of people on this board just aren't intrigued by it because of how "alternative" it really sounds...but for me, it's almost flawless.  Reminds me a bit of Radiohead to be honest...

Pitchfork named Smile "Best New Re-Issue" as well, which I thought was odd.  Seeing that it received a perfect ten, if it had been classified as "Best New Music" and an actual album it may have competed for Pitchfork's album of the year.  Even with the "re-issue" tag, I believe it's only one of two, maybe three re-issues that have received a ten this year.

http://www.mediafire.com/?b994zwawwgdci62

OK there you go.  The three movements are split into 16 tracks.  Enjoy!   

Thank you very much! 

Ummmmmmmmmmmm sure OK. I'll post later today. 

Thanks so much! Sorry if it's too much trouble...

I don't think anyone can doubt the would have been commercial success of Smile.  Capitol was promoting the hell out of it, and the Beach Boys, popularity wise, were right on par with the Beatles.  In the UK, Smile would have been a smash hit undoubtedly.  And if the Beach Boys play Monterey, who knows what else would come?  Though, I highly doubt they really move to the R&B scene, I feel the Smiley Smile chants are definitely a more likely candidate, if not with much better production and quality compared to what was actually released.  After that, I don't think anyone can really predict what would have happened...

 Now, what I would LIKE to believe is that Smile would have changed the pop music scene like Sgt. Pepper did, and that the Beach Boys would have gone down as forever the gods of popular music. However, the ONLY way this could have ever happened is if the Beach Boys broke up before 1970.  Not EVERY band slowly moves towards unpopularity and into the "wilderness years" (i.e. The Beatles).  If the Beach Boys break up before 1970, at the peak of their careers after releasing a monumental achievement like Smile, just as the Beatles did, then perhaps they are perceived today just as the Beatles are.  The Beatles never released a BAD album. They never descended into the depths of awful commercial success and were never seen as an oldies band re-playing their golden years.  Their identities were preserved, and they have since been hailed as the most influential band...ever.  However...even if the Beach Boys were the greatest rock and roll group ever and they split before the 70's, we would never have the post-Smile material that we have today, and I can't say I would sacrifice post-Smile albums for commercial success and a preserved Beach Boys identity. I think everything played out just fine the way it did...barring Dennis's tragic death and the death of Carl as well.  And really, it doesn't matter one bit because we can't change the past  

OK, some people requested this, so I did it (out of curiosity and boredom).  

This is my mix reconstructed into the BWPS 2004 track sequence.  

http://www.mediafire.com/?ln795f8mq41b4tg

Artwork and notes included.  

Thank you! I'm really looking forward to this!  

Just one little note, is there any way you could separate the movements into separate tracks? Just so if I want to pick out a particular song I'm craving I can do so without searching through each movement? I'm sorry if this is too much trouble, if it is don't worry about it really.  I understand that's how the songs are supposed to be heard and all, but just for convenience's sake, it would be nice to have separate tracks.

Everything is really great though! Thank you very much!

One thing I don't get about the commercial failure of Friends and Sunflower is how did these records not sell while The Carpenters did? It's fairly obvious that not only the gruffest of rock groups could sell large amounts of records at that point in time when even the Ohio Express could make it big.

That said, I wasn't even born by then so it's hard for me to put myself in the position of a 1968/1970 record buyer.

That a really interesting question, but my gut feeling is that the Carpenters were already kind of an anomaly in their time period.  They were part of a much more heavily groomed, whitebread cookie cutter AM radio world that was already kind of vanishing...they were being pitched to the "silent majority", not the heads.  The Beach Boys for good or ill followed the FM-radio "rock cred" path, however poorly it treated them, but they probably didn't feel like they had any other options, since by then Dennis & Carl were waking up artistically and more and more interested in following their own path.

Nowadays the Carpenters pop craftsmanship is well recognized, and rightly so, but they were anything but hip at the time.  For the Beach Boys to have followed that path, you have to imagine them clean-shaven, coiffed like 1964, and still wearing the striped shirts well into the 70s.  I'll be Murry would have been more than happy to keep them going in that direction!

The Beach Boys being clean cut in the 1970s with striped shirts is a truly scary idea.

I think the Beach Boys looking the way they did in the 70s was scary enough in itself , i.e. Mike Love