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684033 Posts in 27796 Topics by 4100 Members - Latest Member: bunny505 October 05, 2025, 08:08:58 AM
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Author Topic: Was there any evidence "Wind Chimes" was Air?  (Read 157291 times)
wjcrerar
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« Reply #775 on: April 05, 2018, 02:23:55 PM »

.
« Last Edit: February 23, 2021, 05:07:45 AM by wjcrerar » Logged
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« Reply #776 on: April 26, 2018, 07:59:14 AM »

I'm Sure that AIR is not wind chimes.

I'm also sure that Love to say dada wasn't part of the album.
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The Old Master Painter
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« Reply #777 on: May 07, 2018, 01:07:00 PM »

It has been two or three years since I created this thread, and I took a break from visiting this forum a few months back. I was so surprised to see this thread come back. I do not believe “Wind Chimes” was conceived as the “Air” section of the “Elements suite.” “Vega-Tables,” before being re-recorded in April 1967, might have been. The concept of “Air” is also expanded on during the comedy-sketch session in November 1966 where the bulk of the “Psychodelic Sounds” bootleg originate from; including breathing chants and discussions about climate change and air pollution in Europe. “Water” included ‘water sounds’ found in “Bob Gordon’s Real Trip.” “Earth” might have also been “Workshop,” although that up for debate. I have been working on a ‘Smile’ compilation using only recordings from 1966-68 with a 12-track running order for a long time, partly due to the nature of Side Two and vocal isolations of the “Surf’s Up” piano demo. The running order is: “Our Prayer,” “Good Vibrations,” “Do You Like Worms,” “Cabin Essence,” “Wonderful,” “Child is The Father of The Man,” “Vega-Tables”/“Heroes and Villains,” “The Old Master Painter,” “The Elements,” “I’m In Great Shape,” “Wind Chimes,” and “Surf’s Up.”
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« Reply #778 on: October 01, 2025, 11:19:45 AM »

This thread is so insanely long and I both love and hate that, haha  LOL
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Don Malcolm
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« Reply #779 on: October 02, 2025, 07:08:48 PM »

A key quote from this thread that gets to the root of what likely happened at the band meeting in May 1967:

The quote, Brian Wilson 1968: "Early 1967, I had planned to make an album entitled SMILE. I was working with a guy named Van Dyke Parks, who was collaborating with me on the tunes, and it the process, we came up with a song called ‘Surf’s Up’, and I performed that with just a piano on a documentary show made on rock music. The song ‘Surf’s Up’, that I sang on that documentary never came out on an album, and it was supposed to come out on the SMILE album, and that and a couple of other songs were junked…because…I don’t know why…for some reason didn’t want to put them on the album…and the group nearly broke up, actually split up for good after that…”.

Take it all into consideration, my two posts above, the one with the May 67 quotes, and you see band members saying they want to give the public a good product on their terms, not be rushed, etc., some answers specific to the Heroes single, maybe implications for the Smile album too even though Bruce is the one most openly enthusiastic about "Smile" in his answers. The band is in Europe on tour, Brian holds sessions in line with "Smile" working methods he had been using. Band returns, does about a week of sessions, one at Sound, others at Western, mostly focused on Vegetables (which was where they left off immediately before the tour in mid April) and also With Me Tonight and Cool Cool Water.

If Taylor's July '67 PR piece is accurate, *something* happened between when the band returned to the US, did the week of "pro studio" sessions, then began recording at Brian's home.


Now this suggests that some of the key tracks were being shelved--and the reaction to this decision was not good. (As in, almost broke up.)

A situation that had been created via a series of events triggered by MOLC and radiating into every aspect of the SMiLE project. An internecine thunderstorm that escalated into a tsunami--art and commerce in a scenario like the drag race in "Don't Worry Baby".

SU and CE set aside, the two centerpieces of the two original themes--along with most of the Americana side.
As Julia said, the decision-making process for what wound up on SS is one of the sketchiest aspects of the entire saga.
But somehow Brian had a plan that he was able to make convincing enough to everyone--refashioning bits and pieces, recasting songs (MOLC-->Fall Breaks, WC, Wonderful, HGS-->SGB, VT) and finally settling on a format for HV, plus two new tracks (LP, GH) to fill out the LP. It was not as easy a process as was later claimed, but they got it done and crossed their fingers that HV would see them through (It didn't.)

As I look over all of this earlier wrangling again, the path to an April SMiLE seems more tenuous--the lawsuit is an out-of-the-blue collision that throws another wrench in things (commerce again rearing its ugly head). But to me the best path to it would be if Brian decided that the Elements was a bridge too far for the LP and set aside the idea for another project. The art vs. commerce compromise--set aside the Elements, put GV on the LP. HV could be a single but could have a more elaborate version on the LP.

The ultimate art v. commerce compromise--the single could be HV, but the B-side could be...MOLC! (The ultimate one-off...)

That would track with VDP's insistence to AGD that the LP was going to be 10-12 tracks, banded normally. Of course there could be many modular edits within tracks, a la GV.

AS for WC, I can live without vocals on the tag, but if it's on April SMiLE I don't think we get CWTL--which, if its non-existence had spared Brian the twenty-five year nightmare that followed, would have been a good thing--but I would miss it terribly (along with the SS versions of WC and Wonderful).

What a thread this was--thank God I managed to stay out of it!  Smokin But yeoman work from GF throughout...
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« Reply #780 on: October 03, 2025, 12:52:14 AM »

Thank you Don - The info, quotes, and article citations represented a lot of research and digging that I did out of pure curiosity and trying to get closer to the truth of these issues, and I'm glad it's still here for new viewers to read and other members to access. It's probably the great unanswered question of the saga, what did happen during that exact period in May-June 67...because it was a seismic shift in nearly every aspect of making an album. And you can see how some of the actual direct quotes, dates, and article citations were sometimes met with hostility or outright ignorance of the evidence presented in that discussion. Even now, almost 10 years later, a lot of these points remain unanswered.

The segment you clipped from my posts is on page 13 for anyone interested in reading more.

Just a new addendum: I think the MOLC/Fire situation is tending to be overstated as a benchmark event in the Smile saga. If such great work had not been done *after* that track ran its course, I might agree more that it was a benchmark. As such, just look at the music created and recorded after "Fire" and it may be scattershot at times (various Heroes sessions), but some of the greatest music and individual studio session work I've ever heard (my opinion) was made after Fire had burned out in '66.
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Don Malcolm
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« Reply #781 on: October 03, 2025, 03:35:17 AM »

Thank you Don - The info, quotes, and article citations represented a lot of research and digging that I did out of pure curiosity and trying to get closer to the truth of these issues, and I'm glad it's still here for new viewers to read and other members to access. It's probably the great unanswered question of the saga, what did happen during that exact period in May-June 67...because it was a seismic shift in nearly every aspect of making an album. And you can see how some of the actual direct quotes, dates, and article citations were sometimes met with hostility or outright ignorance of the evidence presented in that discussion. Even now, almost 10 years later, a lot of these points remain unanswered.

The segment you clipped from my posts is on page 13 for anyone interested in reading more.

Just a new addendum: I think the MOLC/Fire situation is tending to be overstated as a benchmark event in the Smile saga. If such great work had not been done *after* that track ran its course, I might agree more that it was a benchmark. As such, just look at the music created and recorded after "Fire" and it may be scattershot at times (various Heroes sessions), but some of the greatest music and individual studio session work I've ever heard (my opinion) was made after Fire had burned out in '66.

GF, I didn't mean to suggest that the quality of Brian's work was compromised by MOLC--more that it triggered a series of situations that (accompanied by the uncanny, unfortunate timing of the Capitol lawsuit) cast a lengthening shadow over the project that ultimately sent it into a death spiral. Let's remember that Mike sang the lyrics to the "Grand Coulee Dam" section of "Cabinessence" in October seemingly without incident; but by December (after MOLC and the escalating unease about the direction of the project) we have the ambush of VDP over the "over and over" lyrics, resulting in what proved to be a fatal pause in the progress on the two songs that are arguably the greatest of the SMiLE tracks.

Brian's response to the escalating frenzy/furor swirling around the project was to escalate his efforts to make HV into a bigger extravaganza than GV. There is incredible genius strewn across all of that, but it was never integrated into a version of the song that he could release to the world--until he re-cut it for Smiley Smile. The difference behind that great but still somehow "lesser than" track and what could have stood with GV and "Cabinessence" as pinnacles of Brian's studio wizardry is still palpable to us nearly sixty years later.

I'd argue that Brian peaked with GV and "Cabinessence"...there is merely a week between the final mixdown of GV and the instrumental sessions for "Cabinessence"--two labyrinthine musical creations that have an unprecedented compositional dynamism. "Surf's Up" is (IMO) more beautiful than either due to its incomparable melody, but it suffered from the contretemps that overtook the project and isn't on the same level as a studio achievement.

Assuming that my occasional theory that Brian was actually going to rework SMiLE after Smiley is wrong (which many suggest was just his way of appeasing Karl Engemann), then we might want to speculate a bit on why he singled out those two tracks for oblivion (after all, MOLC does make an "appearance" on Smiley). I think there are a myriad of reasons, but which ones carried the most weight in the decision process is something we will never know. (More confounding to me is the revisit of "Surf's Up" during the Wild Honey sessions...how truly strange it would be if it had somehow wound up on that LP.)
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« Reply #782 on: October 03, 2025, 12:04:37 PM »

GF, I didn't mean to suggest that the quality of Brian's work was compromised by MOLC--more that it triggered a series of situations that (accompanied by the uncanny, unfortunate timing of the Capitol lawsuit) cast a lengthening shadow over the project that ultimately sent it into a death spiral. Let's remember that Mike sang the lyrics to the "Grand Coulee Dam" section of "Cabinessence" in October seemingly without incident; but by December (after MOLC and the escalating unease about the direction of the project) we have the ambush of VDP over the "over and over" lyrics, resulting in what proved to be a fatal pause in the progress on the two songs that are arguably the greatest of the SMiLE tracks.

Brian's response to the escalating frenzy/furor swirling around the project was to escalate his efforts to make HV into a bigger extravaganza than GV. There is incredible genius strewn across all of that, but it was never integrated into a version of the song that he could release to the world--until he re-cut it for Smiley Smile. The difference behind that great but still somehow "lesser than" track and what could have stood with GV and "Cabinessence" as pinnacles of Brian's studio wizardry is still palpable to us nearly sixty years later.

I'd argue that Brian peaked with GV and "Cabinessence"...there is merely a week between the final mixdown of GV and the instrumental sessions for "Cabinessence"--two labyrinthine musical creations that have an unprecedented compositional dynamism. "Surf's Up" is (IMO) more beautiful than either due to its incomparable melody, but it suffered from the contretemps that overtook the project and isn't on the same level as a studio achievement.

Assuming that my occasional theory that Brian was actually going to rework SMiLE after Smiley is wrong (which many suggest was just his way of appeasing Karl Engemann), then we might want to speculate a bit on why he singled out those two tracks for oblivion (after all, MOLC does make an "appearance" on Smiley). I think there are a myriad of reasons, but which ones carried the most weight in the decision process is something we will never know. (More confounding to me is the revisit of "Surf's Up" during the Wild Honey sessions...how truly strange it would be if it had somehow wound up on that LP.)

Personally, my sense (subjective, obviously!), is that the situation with MOLC was more symptom than precipitating event; an early sign of an underlying problem that was going to come out one way or another.

I agree with you on Good Vibrations and Cabinessence in a sense, but disagree in another sense. Where I agree completely is that the intense run of sessions that immediately followed finishing Good Vibrations, between Oct. 3 and Oct. 20th or so, represent the apotheosis of Brian's studio experimentation, and lie at the heart of one of the most thrilling bursts of creative activity in music history. But personally, I think the reason Cabinessence stands so tall amongst the songs worked on at that moment is less inherent to the composition and more simply the fact that it was finished (and that in 1968!). I think if Cabinessence had been left in the same shape as Worms (which, in 1966, it probably was?) - that is, not assembled or mixed, missing a final layer of sweetening sessions to pull everything together, and of course without a lead vocal... it would be viewed similarly to Worms. And I think if Worms had been finished, whether in 1966 or 1968, it would be Cabinessence's equal. (A subjective judgment about a song that doesn't exist, obviously, but I believe it nonetheless). Likewise, Wonderful and Child is the Father were worked on in that same burst of activity, and I think if they had been finished, though each individually is shorter and less elaborate a creation than Cabinessence, taken together they would have been easily its equal. But Brian wasn't working one song at a time, he was thinking of the album as a whole and working in pieces that were at once larger than and smaller than a single song... which was not a mistake, by any means, except insofar as the way things in fact turned out...
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« Reply #783 on: Yesterday at 01:47:25 PM »

This makes no sense.  Brian and Derek are in L.A.  Mike is in the UK, POSSIBLY giving tour reports to Derek Taylor.  He tells Derek Smile is scrapped maybe.  Derek wouldn't call up Brian to confirm that?  He would go with what Mike says, with no additional confirmation?  Does Capitol understand it's scrapped?

The next illogicality is, why would Mike say it was scrapped?  Whether Mike wanted it scrapped or not, how does making a public statement that it's scrapped help the Beach Boys PR or help the bottom dollar, his primary concern?

None of it adds up.

Im slowly making my way through this thread because I have no life, and yeah this more or less sums up my thoughts on this tangent.

Earlier, Cam cited Derek Taylor's book ("As Time Goes By") which until just now I never knew existed. I assume the book doesn't spell out an answer for us or he probably would've quoted it, right? (Isn't it funny how this info that means so much to us is often so inconsequential to the principals they don't even bother to mention it in their tell-all books??) There's a limited preview on Internet Archive and doing a search within the text it seems that what Cam quoted is the only significant discussion of the BB--the focus is on the Beatles it's not an all-encompassing autobio.

I have a lot of trouble believing Taylor would just go with something Mike said on the matter. 1) The only proof I've ever seen for this claim is Priore, whom I don't trust as a source at all. 2) The overwhelming impression I get, which admittedly could be wrong, is that Taylor was hired by and worked primarily with Brian. Plus, everyone knew Brian *was* the Beach Boys at this time. It stands to reason Taylor would be deferential to Brian's instructions and most likely run any memos he got from other BBs by the big guy. 3) Taylor knew about the inter-band drama and Mike's tiff with VDP as referenced in quotes from that same Priore 2005 book. More reason he'd want to double and triple check an "announce it's cancelled!" command especially coming from Mike.

I think, probably, the decision just came from Brian or it was a group consensus. I lean towards the former because there's quotes from at least the Badman book (and Im pretty sure at least one other source) that the BB fully expected SMiLE to come out during their second European tour and were surprised it wasn't released yet when they heard as much from the press. I think either this was another misguided legal maneuver to bargain against Capitol or, more likely, evidence of Brian's erratic behavior at a time when all acknowledge he was mentally unwell. This is the guy who wouldn't come out to see Anderle and caused him to quit BRI as a result, the guy who'd rather remake the album in the least commercial style possible than just record the damn vocals and rush out what was already in the vaults. (Finishing some form of the SMiLE songs couldn't have taken that much longer than Smiley.) I think he felt he needed to take that weight off his shoulders even if it wasn't a rational decision for the reasons I just described.

Otherwise, if Brian really was blindsided by the announcement, maybe Taylor was hoping that the outcry might light a fuse under Brian's ass and get him to stop farting around recording Jasper Dailey garbage. Taylor seems to be at least a little snarky towards the group and VDP in his quotes I've seen. VDP accuses him of being a spy for the Beatles and I've never seen Brian or anyone else in the group speak particularly highly of him. Unlike Anderle, Vosse & Paul Williams, Brian didn't keep in touch with Taylor as far as I know. So, something sneaky and potentially ruinous may not seem too farfetched if you look at it that way. But if Taylor did this, he deserved to be fired as that was not his call to make and such an announcement could and arguably did have serious ramifications. That might have even been grounds for the BB to sue him, and certainly blacklist him in the industry--would he take that risk just for a lame, desperate gambit or to burn some clients he may not've particularly cared for? Color me skeptical. 

There's still a tendency to want to blame everything bad on "outsiders" or Mike and absolve Brian of his shortcomings. While I totally understand where that sentiment comes from, Mike and even Taylor are easy to dislike looking at interviews, it just doesn't ring true to me without some clear evidence. And even then, I'd have to believe Brian was aware the order came and would have countermanded it or whined about it over the years. Other BBs I think would've pointed the finger at Mike if he'd taken so active a hand in sabotaging an album which they all must've known years later was their commercial/critical turning point. No, I say it was Brian and we're trying to make sense out of a person who, by all accounts, wasn't acting fully rationally at this time.
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« Reply #784 on: Yesterday at 04:47:07 PM »

This makes no sense.  Brian and Derek are in L.A.  Mike is in the UK, POSSIBLY giving tour reports to Derek Taylor.  He tells Derek Smile is scrapped maybe.  Derek wouldn't call up Brian to confirm that?  He would go with what Mike says, with no additional confirmation?  Does Capitol understand it's scrapped?

The next illogicality is, why would Mike say it was scrapped?  Whether Mike wanted it scrapped or not, how does making a public statement that it's scrapped help the Beach Boys PR or help the bottom dollar, his primary concern?

None of it adds up.

Im slowly making my way through this thread because I have no life, and yeah this more or less sums up my thoughts on this tangent.

Earlier, Cam cited Derek Taylor's book ("As Time Goes By") which until just now I never knew existed. I assume the book doesn't spell out an answer for us or he probably would've quoted it, right? (Isn't it funny how this info that means so much to us is often so inconsequential to the principals they don't even bother to mention it in their tell-all books??) There's a limited preview on Internet Archive and doing a search within the text it seems that what Cam quoted is the only significant discussion of the BB--the focus is on the Beatles it's not an all-encompassing autobio.

I have a lot of trouble believing Taylor would just go with something Mike said on the matter. 1) The only proof I've ever seen for this claim is Priore, whom I don't trust as a source at all. 2) The overwhelming impression I get, which admittedly could be wrong, is that Taylor was hired by and worked primarily with Brian. Plus, everyone knew Brian *was* the Beach Boys at this time. It stands to reason Taylor would be deferential to Brian's instructions and most likely run any memos he got from other BBs by the big guy. 3) Taylor knew about the inter-band drama and Mike's tiff with VDP as referenced in quotes from that same Priore 2005 book. More reason he'd want to double and triple check an "announce it's cancelled!" command especially coming from Mike.

I think, probably, the decision just came from Brian or it was a group consensus. I lean towards the former because there's quotes from at least the Badman book (and Im pretty sure at least one other source) that the BB fully expected SMiLE to come out during their second European tour and were surprised it wasn't released yet when they heard as much from the press. I think either this was another misguided legal maneuver to bargain against Capitol or, more likely, evidence of Brian's erratic behavior at a time when all acknowledge he was mentally unwell. This is the guy who wouldn't come out to see Anderle and caused him to quit BRI as a result, the guy who'd rather remake the album in the least commercial style possible than just record the damn vocals and rush out what was already in the vaults. (Finishing some form of the SMiLE songs couldn't have taken that much longer than Smiley.) I think he felt he needed to take that weight off his shoulders even if it wasn't a rational decision for the reasons I just described.

Otherwise, if Brian really was blindsided by the announcement, maybe Taylor was hoping that the outcry might light a fuse under Brian's ass and get him to stop farting around recording Jasper Dailey garbage. Taylor seems to be at least a little snarky towards the group and VDP in his quotes I've seen. VDP accuses him of being a spy for the Beatles and I've never seen Brian or anyone else in the group speak particularly highly of him. Unlike Anderle, Vosse & Paul Williams, Brian didn't keep in touch with Taylor as far as I know. So, something sneaky and potentially ruinous may not seem too farfetched if you look at it that way. But if Taylor did this, he deserved to be fired as that was not his call to make and such an announcement could and arguably did have serious ramifications. That might have even been grounds for the BB to sue him, and certainly blacklist him in the industry--would he take that risk just for a lame, desperate gambit or to burn some clients he may not've particularly cared for? Color me skeptical. 

There's still a tendency to want to blame everything bad on "outsiders" or Mike and absolve Brian of his shortcomings. While I totally understand where that sentiment comes from, Mike and even Taylor are easy to dislike looking at interviews, it just doesn't ring true to me without some clear evidence. And even then, I'd have to believe Brian was aware the order came and would have countermanded it or whined about it over the years. Other BBs I think would've pointed the finger at Mike if he'd taken so active a hand in sabotaging an album which they all must've known years later was their commercial/critical turning point. No, I say it was Brian and we're trying to make sense out of a person who, by all accounts, wasn't acting fully rationally at this time.

I've said it many times before, but I really and truly think people way overthink this aspect of the Smile saga. Derek Taylor was a publicist working for the Beach Boys. Brian Wilson was the leader of the Beach Boys who was producing their new album Smile. Taylor published that Smile was scrapped because Brian Wilson told him that Smile was scrapped, there's no other explanation that makes any sense, and that explanation makes *perfect* sense. And Brian *didn't finish* smile for a million reasons, obviously, but he almost certainly declared it scrapped at that moment because he was frustrated and demoralized, had obviously totally lost the thread of the project, and wanted to start over working in a different way. Which is exactly what he did. No shenanigans from anyone else are required to make sense of that decision. Did Mike and the band's resistance play a role, sure, but it almost certainly played its key part in the drama in December, when the idea that Brian would respond to Mike criticizing his direction by scrapping the whole fucking album would have, in light of the band's entire career dynamic up to then, seemed like absolutely the least likely thing that could possibly happen. Which isn't a defense of Mike, just the obvious interpretation of what was going on if we resist the temptation to read what happened later back into the time before it happened.
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« Reply #785 on: Today at 04:26:00 AM »

I have to "chime in" at this point... with some points of mine. Smiley

1) Firstly: the thread's title itself.
Many years ago, after watching a movie together, a person asked me what I thought would happen after the movie's ending. I answered that she was free to choose any followup, provided it was not blatantly unreasonable, because any movie's "truth" ends with its ending: afterwards, there is no longer a "truth" to which one has to adhere. Within reason, you are free to imagine whatever you like best.
Same for "Wind Chimes": would it be "Air" in a completed SMiLE in 1967, like it is obviously in BWPS? Personally, I think not, but it is just my very worthless opinion. Fact is, there is NO completed 1967 SMiLE, and we are sure of that, and of preciously little else, regarding SMiLE. Could Brian, in an alternative world where the album was released in 1967, have decided that Wind Chimes was Air in an Elements suite? Possible, who knows? Not probable imho, again, but stranger things have happened, even in the Beach Boys world itself.
What really irks me is dogmatism, and the self-appointed "authorities". "Wind Chimes was NOT Air! This just shows your ignorance! Don't you know the 421 documents proving that?"
Ok, strawmanning a bit for laughs, but not SO much. And this leads me to the next point.

2) Julia does not seem to trust Priore a lot, lol. I agree, but go further.
I am a born skeptic, but a REAL one. Though it may seem paradoxical (but it's not), I'm particularly wary of the "professional" skeptics, the "debunkers" who plague the Web with imbecilic YouTube videos "proving" that whatever steers away even a 0.01% from the current majority view is obviously false. Good job, debunkers, according to your method science would have never developed whatsoever. Their method: set up a straw man, bore the watcher to tears for about 15 minutes with a barrage of non-sequiturs and then proudly put the DEBUNKED! stamp, when in reality they haven't managed to debunk even their own straw man, if one knows anything about logic. One of their most frequent fallacies, among the straw man itself and many others: ABSENCE OF EVIDENCE IS EVIDENCE OF ABSENCE. Obviously, logic says the opposite, and I am proud to state that the people in this forum are among the few around who know this very simple fact.
Sorry, I got carried away.
Well, as a real skeptic I normally trust practically nobody, and regarding SMiLE doubly so. I have read a bit about it, and the result of all this is that I am more and more confused. The matter started obfuscated, and all these years and all this "lore", at least for me, have obfuscated it even more. The subject is objectively extremely hard to unravel, and add to it the wealth of crisscrossing agendas by so many people... it's positively maddening. So, what do we know, REALLY, about the raveling and unraveling of SMiLE? WHO KNOWS?

3) Well, let's stick for a little while to the existing music, the only anchor of truth in this mess. Namely, much as Cabin Essence is awesome, Heroes and Worms are, too, though they never have been released in the '60s. Yes, Heroes was released, but sorry Brian... that H&V is little more than a travesty of what could have been. But we got lucky: both songs WERE released in BWPS, and awesome they are. Prayer, then Heroes, then Worms, finally Cabin Essence. The Americana Suite: music does not get better. Of course, no Beach Boys. But there they aren't in Cabin Essence, either, and removing the heavenly voices of the BBs from the picture equalizes the stage and shows that those 4 songs are equally majestic. Or so I think...
Of course, too many people seem to have forgotten BWPS, and their own tears of joy when they first listened to it. Well, so goes the world... badly. And I say this while saying myself, in another thread, that my favourite Beach Boys albums are Smiley Smile and Love You.
But... wait... no problem! BWPS is NOT a Beach Boy album!
Whew!

P.S.
Of course I don't want, in any way, diminish the fantastic work of the Wondermints and the other great guys (and gal... and gals if you include the Stockholm). But, vocally, the Beach Boys they ain't. No one is. And Darian and C. would be the first ones to admit that. Smiley
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