Wind Chimes Chorus Lyrics and Prelude Melody (starting on Pg 5 bottom)

[Bicyclerider]

I thought the melody at the end was what Brian was singing a wordless melody.  Don't hear the Child is Father melody at all, although it certainly fits well over the chords.

[kermit27]

The "Child is the Father..." part is all in the piano playing, not Brian's vocal.

[Bicyclerider]

H & V intro - yes the tape box is marked Intro, so it doesn't need to follow anything it would start the single - either side A or side B.  Session was for "Part 2."  No one has ever claimed that this was meant for Fire/Mrs. O'Learys Cow - what happened was Mark Linnet's Smile tape from 88 that he put together for consideration for possible release after Brian's 88 solo album put the intro before Fire because Mark thought it fit musically.  Which it does, but lots of things can be put together from Smile and they sound good.  That doesn't mean there was any intention.  Brian liked the combination enough to include it on BWPS.

Part 3 - this early version of the intro is from December.  No side B or Heroes "Part 2" as in side 2 at this time, and probably not until February was something like that considered.  So we have the verses as Part 1 and great shape as Part 2.  This would follow great shape, and I guess lead the way into the fade.  However we also have the fast "my children were raised" from the Heroes December acetate which immediately follows shape, followed by the 3rd verse (survive with the jive).  Then there's the a cappella section which I believe was to be part of the song from very early on - the a cappella section could come after the verses or after the 3rd verse.  But I think we need to at least accept that "healthy wealthy and wise" and the 3rd verse were PART of "Part 2" as on the acetate, so Part 3 would follow it.  Maybe the best sequence is:  Verses/Great Shape/My children were raised/3rd verse/a cappella/Part 3/Barnyard OR Verses/Great Shape/My children/3rd verse/Part 3/a capella/Barnyard.

Bag of Tricks - not sure where you're getting that Bridge to Indians and Pickup to 3rd verse were meant for other songs - all were tracked as for Heroes, including All Day.  Brian was at the same time retooling the "Indians" chorus of Worms as a new "Part 2" to replace Great Shape (the vocals and overdubs recorded were tracked as Heroes sessions), so bridge to Indians would be a transition piece to go from the verses to the "Bicycle Rider" piece.

[♩♬🐸 Billy C ♯♫♩🐇]

Merged into one thread.

[leetwall97]

H & V intro - yes the tape box is marked Intro, so it doesn't need to follow anything it would start the single - either side A or side B.  Session was for "Part 2."  No one has ever claimed that this was meant for Fire/Mrs. O'Learys Cow - what happened was Mark Linnet's Smile tape from 88 that he put together for consideration for possible release after Brian's 88 solo album put the intro before Fire because Mark thought it fit musically.  Which it does, but lots of things can be put together from Smile and they sound good.  That doesn't mean there was any intention.  Brian liked the combination enough to include it on BWPS.

Thanks for responding on this stuff! I know these are definitely not the most glamorous sections of the Smile project. Having said that, I find that the Intro doesn't work well with Fire at all. Notes aren't the same, neither are the keys. I think we're focussing too much on the sirens in the piece. Fire isn't the only song to have the loud whistles in it. There's Holidays and H&V. However, I'm glad you pointed out the Part 2 Intro thing. I forgot to put that in my post so thanks for updating the board on that. We should also note that on Brian's mono mix of Fire, it fades in with the Fire Sound fx. And remember, Van Dyke said the Elements would flow together based on their sound fx. So I think the Fire crackles would start off the song. Going back to the Part 2 thing; it's frustrating because the only thing that piece has that's relatable to H&V is the whistle at the beginning.

Lately though, I've been trying to figure out recently how Part 2 of H&V would've gone. We know it's Gee-Part 3-____-Part 2 Revised-____-Part 4-_____-Fade. The question is, what would've come after those Ahhhhhs at the end of Part 3 & 2 (Revised)? The Part 2 a cappella recording on the piano. It's the track on the Box set (Disc 2, Track 21). It takes the C# from the end of those sections and lands them on a G# hum. Which is why I think Brian latched on the Swedish frog recording from December onto the Part 3 tape. I think he wanted to do Part 3-Part 2 A Cappella-Barnyard (or maybe perhaps Great Shape). There's never really been any concrete evidence that those pieces were completely removed from H&V. Sure they were moved around but that doesn't really mean they were discarded completely. I could most definitely be wrong though, since on March 2nd an unheard piece called Part II Insert was recorded with Hal, Carol, Lyle and Gene. And the very next day, work on Tones/Tune X began. And an interesting thing about Tune X is that it started out as a basic riff called I Don't Know, which was recorded in January and labeled as Part 2. I'm working on sorting out this information at the moment. I find it all to be extremely interesting. I wonder if Tune X was a replacement for the Side 2 chant recordings. Maybe it was just for the album. I'd love to hear yours and others opinions. One more interesting clue is the hum at the beginning of the Part 4 tape on the box set. At the beginning of the track, you can hear the bleed-off from the headphones. What's interesting is the hum is not G#, but D# (the first chord of all the chant sections). Could it have gone: Part 2 (Revised)-Part 2 a cappella ending on D#-Part 4?

Part 3 - this early version of the intro is from December.  No side B or Heroes "Part 2" as in side 2 at this time, and probably not until February was something like that considered.  So we have the verses as Part 1 and great shape as Part 2.  This would follow great shape, and I guess lead the way into the fade.  However we also have the fast "my children were raised" from the Heroes December acetate which immediately follows shape, followed by the 3rd verse (survive with the jive).  Then there's the a cappella section which I believe was to be part of the song from very early on - the a cappella section could come after the verses or after the 3rd verse.  But I think we need to at least accept that "healthy wealthy and wise" and the 3rd verse were PART of "Part 2" as on the acetate, so Part 3 would follow it.  Maybe the best sequence is:  Verses/Great Shape/My children were raised/3rd verse/a cappella/Part 3/Barnyard OR Verses/Great Shape/My children/3rd verse/Part 3/a capella/Barnyard.

2 Questions:

1) Do we know FOR SURE that the "Stand or fall" lyric was original and not just a Summer '67 inclusion?

2) Do we know FOR SURE that this recording of the Intro in December is just an early version? I'm not sure it could be, since it's in a different key.

Bag of Tricks - not sure where you're getting that Bridge to Indians and Pickup to 3rd verse were meant for other songs - all were tracked as for Heroes, including All Day.  Brian was at the same time retooling the "Indians" chorus of Worms as a new "Part 2" to replace Great Shape (the vocals and overdubs recorded were tracked as Heroes sessions), so bridge to Indians would be a transition piece to go from the verses to the "Bicycle Rider" piece.

I've discussed this somewhere else (I'm pretty sure, I could be wrong [I've explained this a lot]). Bridge to Indians connects H&V and DYLW together. It doesn't lead into just Bike Rider because Bridge to Indians ends on the note of C in a hum (like the Part II Insert works). The note C is not part of the Gm7 chord of Bike Rider. The note C is a part of the F chord in the DYLW verse. Bridge to beaded, cheering Indians behind them. They don't use the hum in thend, they just overdub the hum onto the verse later (with the other background vocals). I've yet to figure out if Brian would've used the bridge twice though (most likely not, then again, who knows?). This video shows how the Bridge works:
https://vimeo.com/182612766

The Pickup to 3rd Verse comes after All Day (Brian plays it on the tape). I'd show this but I haven't figured out how All Day goes yet, otherwise I'd put it together.

Merged into one thread.

Thanks! Somethings are a little jumbled but that's cool.

[♩♬🐸 Billy C ♯♫♩🐇]

Thanks! Somethings are a little jumbled but that's cool.

What I'd like to do at some point is kind of make a SMiLE FAQ read only post (kind of like the vocal contributions thread) as there are so many mysteries related to this time period, and this will make it a bit easier!

[leetwall97]

Thanks! Somethings are a little jumbled but that's cool.

What I'd like to do at some point is kind of make a SMiLE FAQ read only post (kind of like the vocal contributions thread) as there are so many mysteries related to this time period, and this will make it a bit easier!

Go for it man! We need to preserve these findings for future generations!

[Bicyclerider]

There's very little we know FOR SURE about Smile other than what was recorded and when (when we have the tapes in the tape library) and what has been said by the participants in the press back in the day and up to the present.  If you're saying Part 3 is totally unrelated to "Intro" you may be right - the ascending and descending notes sound very similar to me, whether or not there is a key change - Brian changed the key of the Worms Bicycle Rider chorus to make the Heroes single chorus, but kept most of the lyrics and clearly one is a rewrite or new version of the other.  I look at Part 3 and the Intro similarly.  Like Fall Breaks is essentially a retooling/recycling of Bag of Tricks!

Stand or Fall has always been considered a late change - in feb/march the cantina version, with jive to survive, was the 3rd verse.  Brian stopped work on Heroes in the studio March 2 until June, so the stand or Fall likely was written between March and June.  Van had left in March so I've always assumed this lyric was Brian's - we know for an absolute certainty they weren't Mike's because he would have included this song in his songwriting credits lawsuit if he had suggested a word that ended up in the final song!  do we know this was a late change for sure - nope.  Could have been an early lyric by Van that was dropped for the cantina version and resurrected by Brian for the single.  The fact that it doesn't have any Van like qualities and is a little "simpler" than the three score and five suggests it's Brian's work - that three score and five and the internal rhyme of jive to survive both seem typical of Van, the stand and fall and it's all an affair doesn't sound like Van although of course he could write more simply when he wanted to (Wind Chimes, if you believe he wrote those lyrics as he claims- Brian obviously believed him and gave him belated credit).

[leetwall97]

Big news everyone. As I've suspected, there were indeed lyrics penned for Look and CFM back in the day. We've never heard them because they were never finished. Brian talks about the unfinished lyrics in his new book:





Amazing information about the topics covered in CFM. We've always heard about the "Child of the Man" story from the London reporter, noting the song was about Cowboys. However, Brian seems to've had a totally different eyedea for the song. I'd like to the think the Cowboy and Psychology ideas were mixed together. It sounds amazing and makes me care about the song much more. It wasn't just about cowboys. It was about taking care of your fellow human. That's a really thoughtful topic to sing about.

Now, why haven't we heard these lyrics? It's because they were never finished. Only sections of the songs were penned.



So Van's departure was a huge nail in the Smile coffin it seems. I always figured Van did his part which is why he left. Seems more that Brian and he had a falling out. Or maybe Van was eager to move on. Totally understand that. It had been a year.

I'd like to hypothesize that the vocal session for I Ran would've been just the background vocals. It could've included the half-finished lyrics, but I doubt it.

[The_Holy_Bee]

Thanks for the heads up on this! Interesting stuff - not a lot of specific detail, understandably, about the CFOTM lyrics, but very interesting nonetheless. The window budges open a few more millimetres.

I just downloaded the kindle version of 'I Am...' and read through the 'Smile' section. I was interested to read in the paragraphs about the end of 'Smile', Wilson's attribution of one key factor as being the final departure of Van Dyke from the project:

It was too much pressure from all sides: from Captiol, from my brothers, from Mike, from my dad, but most of all from myself. [...] Nothing was ready. Van Dyke had already split the scene, and there were still holes in the lyrics of [some] tracks. No one could do them like Van Dyke, which meant that no one could do them at all. I tried but they were too sophisticated. I couldn't come close. And with no lyrics, we had to no way to do our vocals.

This statement is amazingly close to one given by David Anderle in his almost contemporaneous (early '68) interview with Paul Williams for 'Crawdaddy'):

Brian was starting to meet a fantastic amount of resistance on all fronts. Like, very slowly everything started to collapse about him. The scene with Van Dyke. Now, that's a critical point. You've gotta remember that originally Van Dyke was gonna do all the lyrics for Smile. Then there was a hassle between Van and Brian and Van wasn't around. So that meant that Brian was now going to have to finish some of the lyrics himself. Well, how was he gonna put his lyrics in with the lyrics already started by Van Dyke? So he stopped recording for a while. Got completely away from music, saying, it's time to get into films. And we all knew what was happening.

Hope I'm not derailing the thread here, it just seemed an appropriate place to put this observation.

[Bicyclerider]

The Karl Menninger connection isn't new, it's been noted in previous Smile accounts, I think the Byron Preiss book or the Rolling Stone 2 part article.  It's too bad Brian doesn't seem to remember any of the original partial lyrics.

The "cowboy" song - I remain convinced that Dennis got confused with the title and was actually playing the reporter Home on the Range, a song he was originally slated to sing.  One could see how a song called Home on the Range could end up being described as a "cowboy" song.

[Matt Bielewicz]

I always do my best to respect and love all opinions about SMiLE. I think it's fair to say that no-one really knows very much in the way of concrete facts about it, even people who were there at the time, because it never got beyond a work in progress. Even Brian's ideas about it were far from nailed down and kept changing. Given that this 'prone to change pending further inspiration' mindset was how he was at the time (just look at how many changes Good Vibrations went through in Summer 1966 when he got fresh ideas...!), and all the other confusion (drug-related, business-related, and otherwise) that was going on his head in 1966-7 anyway, we can't even necessarily trust contemporaneous statements HE made at the time, let alone people like David Anderle and Michael Vosse who were at least one stage removed from the creative process (and possibly also, uh, at least a little befogged, shall we say, when they were listening to tracks and Brian talking about his plans for them). To give an example of what I mean: certainly we hear Brian himself on tape saying 'Prayer' is going to be a little intro to the album, which leads to many SMiLE-O-Philes saying, 'well, at least that's ONE thing we know for sure about the sequencing... we have the big guy himself saying it on tape!'. BUT - that was in Autumn 1966. Brian might have changed his mind about Our Prayer the next day, the next week, and several times after that for all we know. After all, we do know he was certainly extensively recasting and restructuring Heroes and Villains (and very probably other tracks) in a fairly major way in the months following that Prayer session. Why assume the track listing and order was nailed down so early when we know that so many other bits of SMiLE were in serious flux after that date?

So anyway, I accept all of that uncertainty and these days I figure that there isn't really much hope of ever figuring out 'how the album was supposed to go' - and I put that phrase in scare quotes because, like Mark Linett, I reckon that if BW — the man himself — never quite got to the stage of knowing 'how the album was supposed to go', then how can anyone else? Which means that pretty much any opinion can be interesting and worthy of consideration, particularly if you put in the kind of hard musical effort that leetwall97 undoubtedly is throughout this thread.

However, I do think that there is some serious reaching in some of the posts here, and possibly the erroneous association of matters that didn't, or couldn't ever have, belonged together back in 1966-7. Anyone who's looked deeply into SMiLE over the years has done this at some point, myself absolutely included... we all have our pet ideas of how things might have gone based on bits of evidence here and there, conclusions that we've reached that we feel 'sure' about for a while.

By way of example of the 'reaching': I just can't get on board with the suggestion that the above-cited bits of Brian's new book 'prove' that there were lyrics, even unfinished ones, for 'Look' and 'CIFOTM', other than what we hear on the extant tapes. Sure, there may have been, but I don't see those passages from the new book as 'proving' that. Consider EXACTLY what's written:

"Sometimes, we started working on songs and they didn't get very far past instrumentals with no lyrics or at most fragments of lyrics. "Look" was like that. "Child Is Father Of The Man" was like that. It was based on something written by Karl Menninger..." etc etc

"Instrumentals with no lyrics" - well, that perfectly describes Look as it is on the session tapes. "...or at most fragments of lyrics". That perfectly describes CIFOTM as it is on the session tapes — no lyrics on the verses, and just the one phrase repeated in the chorus. So the following sentences, ""Look" was like that. "Child Is Father Of The Man" was like that." could just mean that what we heard on the SMiLE boxed set is all there *ever* was. Sure, we know that there were extra vocals of some kind at some point that were deleted and can be heard as 'headphone bleed' melodies, but perhaps that were just wordless backing vocals — it doesn't mean that there were necessarily more lyrics as such. There have been lots of rumours over the years that there are vintage CIFOTM verse lyrics (or that there were, but they've been forgotten or lost), but I don't know if any of those have any substance to them. And just because Brian and/or Van Dyke had ideas as to what the track was GOING to be about (Menninger's theories, mental health, maybe also the ideas in Wordsworth's poetry...) as per Brian's new book, that doesn't mean that Brian and Van Dyke ever actually got down to writing those verse lyrics to show and develop that theme back then. And if they didn't... that's utterly consistent with what Brian writes in that section too. Once again, consider exactly what's being said here:

"Sometimes, we started working on songs and they didn't get very far past instrumentals with no lyrics [that describes Look as we know it today beautifully...] or at most fragments of lyrics [and that describes CIFOTM as we know it today beautifully]. "Look" was like that. "Child Is Father Of The Man" was like that."

Of course, all of the above is just MY opinion, should be regarded as such and in no way definitive or authoritative (heaven forbid! what right do I have to make those kind of statements...?), and is in no way an attempt to do this thread down, either. For one thing, it's fascinating reading... I feel like I could discuss SMiLE endlessly, if I only had the time, which I really don't these days compared to, say, 1997, when I thought about little else and, yeah, I admit it, spent most of my spare time pondering its possible structure and form.

But I feel like it's not too outrageously out of line to challenge some of the assumptions every now and then. That's all I'm doing here. Hey, the scientific method relies on challenges, right? You have a theory... then some new evidence challenges it, so you adapt and improve your theories. Right, leetwall97?

[leetwall97]

The window budges open a few more millimeters.

Huha! It's so sad that this is the rate at which we can learn for this project.

The "cowboy" song - I remain convinced that Dennis got confused with the title and was actually playing the reporter Home on the Range, a song he was originally slated to sing.  One could see how a song called Home on the Range could end up being described as a "cowboy" song.

Wow! You could very well be right about the Home on the Range idea! However, nothing lyrically mentions anything cowboy-ish. The track sounds cowboy-ish. But the lyrics are just about farms and wide-open spaces. Then the chorus is about telephone lines and truck drivers. Idk. Maybe the cowboy song was right (for CFM). The subject of knowing when to step in and help and when to back off can be applied to the cowboy experience. You can easily imagine the end of a western.

The lone ranger came into to town and stood up to the bullies, which inspired the villagers to gain back their courage. They ask him not to leave, afraid the bullies would come back. The lone ranger reminds them that it was their combined strength which drove the bullies back, not just himself. The villagers were never weak, they were just afraid and lonely and needed to be reminded that their homes are worth fighting for. And now that the Lone ranger's done that, he can leave the village and ride off into the sunset, searching for another town where hope has been either lost and gone or unknown for a long, long time.

It's a fun idea, but I could be totally wrong. I have a feeling your idea might be correct in the end. Van Dyke acknowledged this in an interview and said that the Psychology idea flew way over his head. So maybe he interpreted it in the cowboy experience. I'll have to sit with it for a while.

Given that this 'prone to change pending further inspiration' mindset was how he was at the time (just look at how many changes Good Vibrations went through in Summer 1966 when he got fresh ideas...!),

Oh yeah that's true. But GVs changes were mainly just different in terms of arrangement. Except for that one version of the Organ part where it sounds Chinese. That was vastly different. Another interesting bit of information about that piece: it has the exact same chords as LSD part 3.

After all, we do know he was certainly extensively recasting and restructuring Heroes and Villains (and very probably other tracks) in a fairly major way in the months following that Prayer session.

I think H&V grew more than changed. It just got bigger and bigger. I don't think it changed, I think it absorbed the various parts. Remember the Beautiful dreamer doc? In one of the outtakes, Brian's talking about how they made the 3rd suite in 2004 and the interviewer asks Brian if that's how the original Smile was planned. Brian says that they originally planned for Smile to be 2 suites in the 60s. And remember how Brian said in the quote above that 2 of the big corner-songs of the project were Good Vibes and H&V? Well I think both songs form the foundation for the suites of Smile. H&V is really a journey type thing in it's full form. Goes to Bike rider, and Bike rider eventually is suppose to go into Cabin Essence. We get confused by most of these various sections that Brian recorded under the title H&V. But he also said he couldn't remember which SECTIONS went with CE or DYLW. So maybe these various H&V slated sections weren't necessarily connected thematically to H&V, maybe just other parts of H&V.

A theory. One that I'm willing to dispose of.

Which means that pretty much any opinion can be interesting and worthy of consideration, particularly if you put in the kind of hard musical effort that leetwall97 undoubtedly is throughout this thread.

Thank you so much Matt! That's very sweet of you.

Sure, we know that there were extra vocals of some kind at some point that were deleted and can be heard as 'headphone bleed' melodies, but perhaps that were just wordless backing vocals — it doesn't mean that there were necessarily more lyrics as such.

Yeah this upsets me. I wish Linnet would've included the footage where you can hear these bleeds. He's leaving us in situation where we have to take his word for it. I'd love to hear these headphone bleeds. The only headphone bleeds I've found on the Smile box set are the extra overdubs for Friday night and the D# hum at the beginning of H&V part 4.

But I feel like it's not too outrageously out of line to challenge some of the assumptions every now and then. That's all I'm doing here. Hey, the scientific method relies on challenges, right? You have a theory... then some new evidence challenges it, so you adapt and improve your theories. Right, leetwall97?

Exactly! They're just theories! That's all we can do. I find the best evidence for mixes can be found from the Vosse posse and in the music. Sometimes bass notes dictate which piece comes next, sometimes it's vocal notes.

Yes of course I would adapt my theories! It's very foolish to deny evidence. Especially if your plan is to hear what Brian was reaching for.

[CenturyDeprived]

So Van's departure was a huge nail in the Smile coffin it seems. I always figured Van did his part which is why he left. Seems more that Brian and he had a falling out. Or maybe Van was eager to move on. Totally understand that. It had been a year.
 

Van leaving had to have been a devastating blow to the project. And it's no big secret as to whose actions were big part of leading that to happen. Mike's jealousy was a big part of the domino effect. Beyond annoying that he won't just own up to it.

[♩♬🐸 Billy C ♯♫♩🐇]

Too bad Mujan no longer posts here...I think you two could have had quite the Smile discussion!

[SMiLE Brian]

We need Mujan back!

[leetwall97]

Too bad Mujan no longer posts here...I think you two could have had quite the Smile discussion!

That's funny! I've been compared to Mujan before. I find him a bit assertive in his points, and most of what I've read I've disagreed with. I don't know how old he is, but maybe he's been with this stuff for a long time and feels as if he's learned all he can and has come to terms with it. I don't like how most of his comments are "no's" and "that's incorrect" when someone has a new theory. But I'd love to talk with him. We share the same passion.

tl;dr
I understand his passion, but he talks too much.

[Mr Fulton]

i honestly think that whole Barnyard Billy thing is just Brian giving a very basic example of a smile song called Barnyard. I don't ever think Barnyard Billy was a thing at all. Brian was in a strange mental state in 1994 when he said this, he has just gotten out of the 24 hour therapy program. And with I Dont Know, Dennis wrote that

[♩♬🐸 Billy C ♯♫♩🐇]

i honestly think that whole Barnyard Billy thing is just Brian giving a very basic example of a smile song called Barnyard. I don't ever think Barnyard Billy was a thing at all. Brian was in a strange mental state in 1994 when he said this, he has just gotten out of the 24 hour therapy program. And with I Dont Know, Dennis wrote that

That's always been my impression

[leetwall97]

i honestly think that whole Barnyard Billy thing is just Brian giving a very basic example of a smile song called Barnyard. I don't ever think Barnyard Billy was a thing at all. Brian was in a strange mental state in 1994 when he said this, he has just gotten out of the 24 hour therapy program. And with I Dont Know, Dennis wrote that

Haha. Barnyard Billy. That's not exactly how I'd imagined staring on the forum would be. Yeah that was a dumb thing consider. But, because I tried, now I know it's wrong. I just left Barnyard Billy on barnyard. I think it sounds fine there. I have it go:

Out in the Barnyard the cook is choppin' lumber.
Out in the farmyard the chickens do their number.
Jump in the pig pen, next time I'll take my shoes off.
Stomp the dirt, do two-and-a-half; next time I'll leave my hat on.

Those lyrics start right as Barnyard starts. After, the na na's overtop the background vocals go for a round. Then I bring in Barnyard Billy.

Barnyard Billy loves his chickens.
Barnyard Billy gets his pickin's.

Overtop all of that it sounds solid. I still want to figure out why he sang it in the key of F when barnyard's in G# (that's 3 keys lower than barnyard).

On your remark on I Don't Know, I need evidence. All we know is that Dennis produced and arranged the section. Doesn't mean he wrote it. I would be surprised if he did. Knowing Brian's stupid obsession with astrology and vibrations, he might've gotten paranoid and sent in Dennis to do this section instead. It was labeled Part 2, and recorded in January, right around the time Bike Rider aka H&V Part 2 was overdubbed. If you ask me, it comes after Bike Rider's first ring out, that's why Brian overdubbed a fuzz bass onto Bike Rider.

[soniclovenoize]

On your remark on I Don't Know, I need evidence. All we know is that Dennis produced and arranged the section. Doesn't mean he wrote it. I would be surprised if he did. Knowing Brian's stupid obsession with astrology and vibrations, he might've gotten paranoid and sent in Dennis to do this section instead. It was labeled Part 2, and recorded in January, right around the time Bike Rider aka H&V Part 2 was overdubbed. If you ask me, it comes after Bike Rider's first ring out, that's why Brian overdubbed a fuzz bass onto Bike Rider.

Here is the credits from The SMile Sessions:



And then here's the ASCAP Repertory entry for an "I Don't Know" written by Dennis Wilson:



Curiously co-written with Kalinich/Jakobson with a note that "Love Remember Me" is an alternate title.  Either this is just coincidence and Dennis had written two pieces called "I Don't Know", or Dennis reused the brief piece "I Don't Know" into "Love Remember Me" for the Bamboo album.  Maybe someone has more information?

[leetwall97]

Hi everyone! I've got two things I'd like to discuss. The first is the lyrics for the Wind Chimes chorus. The second concerns the Sunny Down Snuff lyrics for Heroes and Villains (my favorite Smile bit!)

1) The Lyrics for the Wind Chimes Chorus
Documentation indicates specifically (luckily for us too), that Brian recorded a lead vocal over the Group's Background harmonies for the Wind Chimes chorus.

We will never know what those lyrics were or how that melody line went.

Having said that, I'm going to try and guess. I'm pulling a melody line from the closest possible thing: Can't Wait Too Long. I'm using the melody line:

Baby you know that I- can't wait forever.
Woke in the night again- we weren't together.

Windows of darkness are- all I can see through.
Searching the shadows- hoping to see you.

Here's an example if you need to hear what I'm getting at:
https://clyp.it/xxtif0bz

I think it fits great! So I'm choosing to use it. However I'm not going to use those lyrics. Now I know this is very self-centered of me to ask, but could someone come up with lyrics related to Wind Chimes following that vision? I'm terrible at lyric writing!

2) The Vocals for the Heroes and Villains Prelude to Fade
I'll get right to it. I'm convinced the Sunny Down Snuff lyric was meant to go over this part of the song. If you sing the Background vocals over the Prelude, it's a supercalifragilisticexpialidocious match. I just can't seem to get the rhythm for the lyrics down. The hardest part for me is:

I've been in this town so long...
So long to the city!

That pause in between throws me off. I'd imagine it's just me who has this problem. Can one of you guys show me how those lyrics could fit over the prelude?

[mike moseley]

great post

'The Lyrics for the Wind Chimes Chorus' -  I think the 'whisperin winds' part from the Smiley tag fits too
 
'The Vocals for the Heroes and Villains Prelude to Fade' - the cantina version of 'my children were raised' fits here, the melody even goes up for the bit where it hits 'often'

not claiming to be right but these do work

Hi everyone! I've got two things I'd like to discuss. The first is the lyrics for the Wind Chimes chorus. The second concerns the Sunny Down Snuff lyrics for Heroes and Villains (my favorite Smile bit!)

1) The Lyrics for the Wind Chimes Chorus
Documentation indicates specifically (luckily for us too), that Brian recorded a lead vocal over the Group's Background harmonies for the Wind Chimes chorus.

We will never know what those lyrics were or how that melody line went.

Having said that, I'm going to try and guess. I'm pulling a melody line from the closest possible thing: Can't Wait Too Long. I'm using the melody line:

Baby you know that I- can't wait forever.
Woke in the night again- we weren't together.

Windows of darkness are- all I can see through.
Searching the shadows- hoping to see you.

Here's an example if you need to hear what I'm getting at:
https://clyp.it/xxtif0bz

I think it fits great! So I'm choosing to use it. However I'm not going to use those lyrics. Now I know this is very self-centered of me to ask, but could someone come up with lyrics related to Wind Chimes following that vision? I'm terrible at lyric writing!

2) The Vocals for the Heroes and Villains Prelude to Fade
I'll get right to it. I'm convinced the Sunny Down Snuff lyric was meant to go over this part of the song. If you sing the Background vocals over the Prelude, it's a supercalifragilisticexpialidocious match. I just can't seem to get the rhythm for the lyrics down. The hardest part for me is:

I've been in this town so long...
So long to the city!

That pause in between throws me off. I'd imagine it's just me who has this problem. Can one of you guys show me how those lyrics could fit over the prelude?

[mike moseley]

for WC chorus the 'can't wait too long' melody also fits

[pdas1996]

I thought I'd bring this up because it fits the discussion.

In the musical explosion at the end of the song, I've always heard the single lyric "We'll grow closer together" for the part beginning at around 2:33 (using the MIC Stereo mix as reference).

I don't know why, but I've always heard that one lyric over that one section.