It Makes Sense that Smile is Unfinished

[Loaf]

If a 60-something BW had produced it, it probably would have sounded like Love You era performances.

Now THAT is an intriguing prospect...Smile played entirely by Brian on analogue synthesizers...someone tell Melinda and maybe Brian can go back out on tour as a one-man-one-synth act.

[Chris Brown]

If BWPS is the sound of an average producer, we should all be so lucky as to be average...

As for the problem being Brian not producing it, let's keep in mind there's almost certainly a very good reason for that: either he was incapable or was uninterested. So if there has to be a problem, it's that a young, capable and energetic Brian didn't produce it. If a 60-something BW had produced it, it probably would have sounded like Love You era performances.

"Good enough. We're done."

I think you hit the nail on the head about Brian.  He hasn't really cared about his productions since Pet Sounds really.  The "General Patton" of the studio who would put musicians through 20 plus takes is the guy who produced the original sessions, and that guy is long gone. 

[Bill Tobelman]

You have to remember that Darian got Brian into BWPS by presenting it as a live performance. Brian, apparently, was pretty terrified about doing the SMILE album live, or at least, recreating SMiLE as it would have been done in 1967 for a live performance.

So what we get with BWPS is a presentable version of SMiLE without some stuff that might have freaked Brian out. But man, it would be cool to have heard a '67 version.

[Jonathan Blum]

I'm with Luther and Lance.  I know we're in the minority on this site but I am REALLY getting tired of this notion that Brian was too damaged to finish Smile in 1967 because of all those nasty people around him and that it only got finished in 2004 because of all those nasty people around him.  Guess I saw a potted plant or a hologram on the last couple tours.

What the good Doctor said.  The guy I saw grinning and clowning around with his bandmates on-stage at the Sydney Opera House wasn't a manipulated robot, he was a man who's been through serious depression and, through a combination of support and moderate ass-kicking from those around him, finally climbed the damn mountain that defeated him all those years ago.  He was singing songs he just plain couldn't face in the Seventies, he was engaging with the people around him in a way he didn't for years.  (The contrast between the staring zombie in that "Here Comes The Night" clip and his Smile-tour performance is just jaw-dropping.)

So he's not "General Patton in the studio" now?  Patton lost in '67.  This guy won.

The original Smile sessions are still indefinably gorgeous, but that shouldn't take away from the magic of the finished version as well.  This whole downplaying-BWPS thing strikes me not so much as "light a candle, curse the glare" as "light a candle, hide in a cupboard cause you'd rather imagine in the darkness"...

Cheers,
Jon Blum

[Dove Nested Towers]

I'm with Luther and Lance.  I know we're in the minority on this site but I am REALLY getting tired of this notion that Brian was too damaged to finish Smile in 1967 because of all those nasty people around him and that it only got finished in 2004 because of all those nasty people around him.  Guess I saw a potted plant or a hologram on the last couple tours.

What the good Doctor said.  The guy I saw grinning and clowning around with his bandmates on-stage at the Sydney Opera House wasn't a manipulated robot, he was a man who's been through serious depression and, through a combination of support and moderate ass-kicking from those around him, finally climbed the damn mountain that defeated him all those years ago.  He was singing songs he just plain couldn't face in the Seventies, he was engaging with the people around him in a way he didn't for years.  (The contrast between the staring zombie in that "Here Comes The Night" clip and his Smile-tour performance is just jaw-dropping.)

So he's not "General Patton in the studio" now?  Patton lost in '67.  This guy won.

The original Smile sessions are still indefinably gorgeous, but that shouldn't take away from the magic of the finished version as well.  This whole downplaying-BWPS thing strikes me not so much as "light a candle, curse the glare" as "light a candle, hide in a cupboard cause you'd rather imagine in the darkness"...

Cheers,
Jon Blum

It's totally miraculous and gratifying that Brian came to terms with the Smile legend (with a little/lot
of help from his friends) recorded it in a complete form with new and original lyrics added, and toured
it (amazing and irrepaceable memories for me also). But all that notwithstanding, a sessions set, with
every involved person on board and hopefully contributing previously unheard fragments or different versions, (Durry Parks acetates etc.) and EVERY fairly substantive piece of music, no matter how seemingly incidental (such as the gorgeous, ethereal tag to "Child is Father of the Man, early version". Shimmeringly beautiful and indispensable!) painstakingly located and included, is a vital and legitimate dream for the best possible conclusion to the long, frustrating history of the most famous unfinish-
ed album in pop music history.

It absolutely can and should happen someday, and BWPS, while standing on its own merits, DOES
have an entirely different sound and vibe and is simply not a substitute for the lovingly produced, lushly appointed and annotated "sessions" box set that will hopefully emerge from Capitol Records
in the indeterminate future, when all true believers will live happily ever after! Amen.

[The Heartical Don]

A couple of very good remarks have been made, re: BWPS and its sound. I think it's not particular to BWPS at all. There seems to be a consensus amongst producers nowadays to create some sort of adynamic, flat sound, that is completely impartial to the volume levels at which it is played. My personal example is 'Magic' by Bruce Springsteen. Why on earth Bruce thinks Brendan O'Brien is a good studio chief for him is a great riddle. Put on 'Darkness On The Edge Of Town', or 'Born In The U.S.A.', preferably on vinyl, and you will be flabbergasted about the scope, the range, and the detail, chiming bells, glowing sax work, razor-sharp drums, the lot. Put on 'Magic' and you'll be severely dissappointed. Flat, and you'll have trouble to discern the sax work in the midst of those guitar drones. Is it true that some studio pros can't hear anything above 8 kHz anymore? One would think so.

Also: it could well be that producers try to create a 'one size fits all' sound. Car radio, MP3, CD, PC speakers, iPod, all kinds of el cheapo ear plugs... It may be that lots of youngsters never learned, or even have 'unlearned', how fine music can sound if reproduced properly. Sometimes I think: hey, did they really re-invent AM sound again? The sound of most radio stations does not help either: horrifically compressed, there seems to have been omitted much more that what is actually still there.

I wish that young kids of today all would go to some demonstration in a good Hi-Fi store, bring their favourite CDs with them, and let an expert show how musical experience can be. Yesterday I listened to Toumani Diabaté's 'Mandé Variations', on World Circuit. The sound is crystal clear, with so much detail... as if you weren't at home, but in some sort of cave with ideal acoustics, and Toumani would be sitting right in front of you and play for you in person. And I don't even have top-class hi-fi equipment.

The sound revolution starts here. There's a world to win for us oldsters!

[?]

-The dynamic range on BWPS is way more static and compressed than any 60s recording would have been.

Have you heard the vinyl?  I don't think it resembles that description at all.

[Loaf]

I have the BWPS vinyl LP and it still has that 'upfront' smear of sound that the CD has. Comparing it to other BB LPs on vinyl and it comes off second in terms of dynamics and depth of sound.

And 'Mande Variations' has an incredible sound. The ringing and vibration of the notes and strings is captured beautifully, so these techniques are still available to the modern producer, but they are not used for some god-awful commercial considerations.

The Aliens released their second album 'Luna' on (horribly compressed) CD, but they also released the original files for download without the compression (purchased separately, sadly). They have since disowned the sound of the CD-mix, which makes you wonder why niche bands like Aliens (and Brian Wilson for that matter) bother to 'compete' with the slick superficial stuff on the radio.

[The Heartical Don]

I have the BWPS vinyl LP and it still has that 'upfront' smear of sound that the CD has. Comparing it to other BB LPs on vinyl and it comes off second in terms of dynamics and depth of sound.

And 'Mande Variations' has an incredible sound. The ringing and vibration of the notes and strings is captured beautifully, so these techniques are still available to the modern producer, but they are not used for some god-awful commercial considerations.

The Aliens released their second album 'Luna' on (horribly compressed) CD, but they also released the original files for download without the compression (purchased separately, sadly). They have since disowned the sound of the CD-mix, which makes you wonder why niche bands like Aliens (and Brian Wilson for that matter) bother to 'compete' with the slick superficial stuff on the radio.

Best question of the day. If we accept that classical music also fills a niche, then these people rightfully took the proper route: every attention is paid to a proper sound, also on the beautiful budget Naxos label. It can be done for little money. Hey, with classical you sometimes have to turn down the crescendos because the dynamic range is so vast. And that is a good thing.

[MBE]

I think BWPS has a pretty decent production. Could you imagine how bad it would have sounded if it had been done between 76-92. I only heard them on vinyl so maybe they are warmer but I think Brian's last four studio albums are OK production wise. The performances aren't universally good but I have no problem with the sound. I wouldn't compare them to any of his pre 1975 stuff but so little holds up to that anyhow. Frankly if I were to get into it I don't think almost anything recorded over the last thirty five years sounds as good as stuff laid down in the early fifties to the early seventies. I think that has to do with the equipment more then anything. The great old tube mics  pure analog sound etc. I mean with Brian loosing his voice and the other Beach Boys (including a pre damaged Dennis) not on it how could it be as good as the 1966 tapes? The propossed 1972 version may have been great, everything was still vocally intact then. Mike Love said when asked about BWPS that he couldn't imagine it would equal what they did back then and he was right. Still it's better then I expected, and I am glad to have a complete version of Smile though it will never be the REAL Smile.

[mikeyj]

Well said MBE, I pretty much agree with everything you say

[juggler]

I think you hit the nail on the head about Brian.  He hasn't really cared about his productions since Pet Sounds really.  The "General Patton" of the studio who would put musicians through 20 plus takes is the guy who produced the original sessions, and that guy is long gone. 

At the same time, General Patton's obsessive-compulsive perfectionism played a major role in Smile's demise back in '67.   Take after take.   Session after session.  Recording and re-recording.  Chuck Britz said several times over the years that "Heroes and Villains" would have been bigger and better than "Good Vibrations" if Brian had just been able to leave it alone.  Hell, look at Brian's relentless tinkering with "Good Vibrations" itself.  After months of recording and re-recording, Brian reportedly almost "canned" the song.  As the story goes, he only decided to release it after Danny Hutton asked if he could take it for himself.   Let's face it.  With Smile, Brian tried to record a whole album the way he recorded "Good Vibrations."   Take after take.   Session after session.  Recording after recording.  And, not surprisingly, that approach failed.

[Dove Nested Towers]

I think BWPS has a pretty decent production. Could you imagine how bad it would have sounded if it had been done between 76-92. I only heard them on vinyl so maybe they are warmer but I think Brian's last four studio albums are OK production wise. The performances aren't universally good but I have no problem with the sound. I wouldn't compare them to any of his pre 1975 stuff but so little holds up to that anyhow. Frankly if I were to get into it I don't think almost anything recorded over the last thirty five years sounds as good as stuff laid down in the early fifties to the early seventies. I think that has to do with the equipment more then anything. The great old tube mics  pure analog sound etc. I mean with Brian loosing his voice and the other Beach Boys (including a pre damaged Dennis) not on it how could it be as good as the 1966 tapes? The propossed 1972 version may have been great, everything was still vocally intact then. Mike Love said when asked about BWPS that he couldn't imagine it would equal what they did back then and he was right. Still it's better then I expected, and I am glad to have a complete version of Smile though it will never be the REAL Smile.

Well said indeed. Maybe in the future there will be a trend towards constructing retro studios with
elaborate all-analog equipment set-ups, and the best ones will be perpetually in demand.

[Chris Brown]

I think you hit the nail on the head about Brian.  He hasn't really cared about his productions since Pet Sounds really.  The "General Patton" of the studio who would put musicians through 20 plus takes is the guy who produced the original sessions, and that guy is long gone. 

At the same time, General Patton's obsessive-compulsive perfectionism played a major role in Smile's demise back in '67.   Take after take.   Session after session.  Recording and re-recording.  Chuck Britz said several times over the years that "Heroes and Villains" would have been bigger and better than "Good Vibrations" if Brian had just been able to leave it alone.  Hell, look at Brian's relentless tinkering with "Good Vibrations" itself.  After months of recording and re-recording, Brian reportedly almost "canned" the song.  As the story goes, he only decided to release it after Danny Hutton asked if he could take it for himself.   Let's face it.  With Smile, Brian tried to record a whole album the way he recorded "Good Vibrations."   Take after take.   Session after session.  Recording after recording.  And, not surprisingly, that approach failed.

When I say "General Patton" I was only referring to Brian's in-studio demeanor.  The problem with Smile wasn't the quality of what was being produced...Brian's issue was that he changed his mind so much after the sessions, and recorded so many pieces that he couldn't decide how to put them together.  It was about self-doubt and obsessive tinkering after the fact, not during the sessions. 

There was nothing wrong with the way he got things done in the studio; I think his track record up to that point proves that. 

[juggler]

When I say "General Patton" I was only referring to Brian's in-studio demeanor.  The problem with Smile wasn't the quality of what was being produced...Brian's issue was that he changed his mind so much after the sessions, and recorded so many pieces that he couldn't decide how to put them together.  It was about self-doubt and obsessive tinkering after the fact, not during the sessions. 

There was nothing wrong with the way he got things done in the studio; I think his track record up to that point proves that. 

No one ever knocked the quality of what was being produced. It was 1966-67 and he was Brian Freakin' Wilson.  Of course, the quality of all those takes and sessions re-records is great.  Spectacular, even.   

What I disagree with, though, is this idea that you can separate Brian's perfectionism from his obsessive-compulsive tinkering.  They were two sides of the same coin, IMO.   Just as he pushed the musicians for take after take to get the perfect track and the Beach Boys to get perfect vocals, he pushed himself to make the perfect mix, arrangement, etc.

[MBE]

I think you hit the nail on the head about Brian.  He hasn't really cared about his productions since Pet Sounds really.  The "General Patton" of the studio who would put musicians through 20 plus takes is the guy who produced the original sessions, and that guy is long gone. 

At the same time, General Patton's obsessive-compulsive perfectionism played a major role in Smile's demise back in '67.   Take after take.   Session after session.  Recording and re-recording.  Chuck Britz said several times over the years that "Heroes and Villains" would have been bigger and better than "Good Vibrations" if Brian had just been able to leave it alone.  Hell, look at Brian's relentless tinkering with "Good Vibrations" itself.  After months of recording and re-recording, Brian reportedly almost "canned" the song.  As the story goes, he only decided to release it after Danny Hutton asked if he could take it for himself.   Let's face it.  With Smile, Brian tried to record a whole album the way he recorded "Good Vibrations."   Take after take.   Session after session.  Recording after recording.  And, not surprisingly, that approach failed.

That's really a good point, Brian was getting too obsessive.  Yeah he did have a great track record up to that point, but you got to know when to stop. Part of the greatness of albums like Friends is that Brian got back in touch with basic good music.