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644763 Posts in 25781 Topics by 3672 Members - Latest Member: MikeLover41 March 24, 2019, 04:36:18 PM
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Author Topic: The Beach Boys - Smile - Acetate Mix  (Read 3773 times)
The Old Master Painter
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« on: January 02, 2019, 08:34:41 PM »

This probably will be my last fan-edit of the unfinished Beach Boys album “Smile”, only using material from late 1966 to early 1967, with the exception of Carl Wilson’s vocals in “Home On The Range” which were recorded in 1968, and toothbrushing or dishwashing sounds from “The Gong” used in “Sleep A Lot” which were recorded in 1968. I have mixed the audio to mimick that of a vintage acetate disc like the sources of some of Brian Wilson’s contemporary edits.

The running order goes:

Side A-

1. Good Vibrations
2. Wind Chimes
3. Heroes and Villains
4. Cabin Essence
5. The Elements
6. Vega-Tables

Side B-
1. Wonderful
2. Child is The Father of The Man
3. The Old Master Painter/You Are My Sunshine
4. Do You Like Worms
5. I’m In Great Shape
6. Surf’s Up

Here is a Vimeo link to Side A. The password is: “smile” https://vimeo.com/309212641

Thanks and acknowledgment to SonicLoveNoize, Lee Wall, and online resources providing information about The Beach Boys’ “Smile” sessions; including information about the Durrie Parks acetates, contemporary articles, and the December 1966 tape compilation edits—all of which heavily relied upon to create this fan-edit regarding sequencing choices. Most importantly, a thanks to Brian Wilson, Van Dyke Parks and The Beach Boys themselves.
« Last Edit: January 03, 2019, 08:32:59 AM by The Old Master Painter » Logged
The Old Master Painter
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« Reply #1 on: January 03, 2019, 10:19:16 AM »

Apologies. The Vimeo link for Side A will now be defunct. I have to make slight adjustments to the mix, and am even considering discarding the “acetate” concept altogether.
« Last Edit: January 03, 2019, 10:19:43 AM by The Old Master Painter » Logged
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« Reply #2 on: January 03, 2019, 10:06:38 PM »

Alright, Side A is now finished and uploaded onto Vimeo. The password for the video is “smile” https://vimeo.com/309413724
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« Reply #3 on: January 04, 2019, 06:22:08 AM »

"The password for the video is “smile”"

who'd've thunk?
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The Old Master Painter
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« Reply #4 on: January 04, 2019, 08:33:57 AM »

"The password for the video is “smile”"

who'd've thunk?

Yeah. The point was to make it accessible and easy to remember. How did you like the mix?
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« Reply #5 on: January 04, 2019, 09:14:33 AM »

Awesome work and I love the sound of this! The lo-fi mix really adds a punch to the heavier parts (especially the chorus and outro of 'Cabin Essence').

So it has been AGES since I've read up on Smile and Brian's ideas for putting these "modules" of sound together from different songs. Can you explain the source(s) of your module edits, how much of this was your ideas vs how much is vintage? Pardon if that's asking too much, I know you explained your sources, but I'm just so out of the loop anymore with Smile stuff, I don't even remember hearing about the '66 tape compilation!

I really love the mix and I need to find some free time to really give the Side-A a good listen. Standout moments: 7:10 and beyond is just stellar, the transition at 11:25 feels like DYLW and Cabin Essence are part of the same song - you really get a good feel for the modular edit style Brian talked about.

I can't wait to hear side B!
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The Beach Boys legacy is still being mortared to this day...it has a solid and unbreakable foundation of incredible songs that tower above most bands, yet some bricks are more brittle and ugly than others (even some bricks put down more recently)...thus is the nature of any entity that continues to exist. You are not defined solely by your good achievements in life, you're also defined by those unpleasant moments too. This law of life, thankfully, helps keep us all in check.
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« Reply #6 on: January 04, 2019, 10:36:37 AM »

Awesome work and I love the sound of this! The lo-fi mix really adds a punch to the heavier parts (especially the chorus and outro of 'Cabin Essence').

So it has been AGES since I've read up on Smile and Brian's ideas for putting these "modules" of sound together from different songs. Can you explain the source(s) of your module edits, how much of this was your ideas vs how much is vintage? Pardon if that's asking too much, I know you explained your sources, but I'm just so out of the loop anymore with Smile stuff, I don't even remember hearing about the '66 tape compilation!

I really love the mix and I need to find some free time to really give the Side-A a good listen. Standout moments: 7:10 and beyond is just stellar, the transition at 11:25 feels like DYLW and Cabin Essence are part of the same song - you really get a good feel for the modular edit style Brian talked about.

I can't wait to hear side B!

Thank you so much! Glad you enjoyed it! Side B is much wilder. There is an online resource called “Record Mecca” that auctioned contemporary acetates of The Beach Boys’ “Smile” sessions that once belonged to Durrie Parks. There are one or two sides that transition “Who Ran The Iron Horse” to the verse of “Heroes and Villains”. In January 1967, an experimental edit of the verse of “Heroes and Villains” was assembled that quickly transitioned to “Bridge To The Indians”. That edit was featured on “The Smile Sessions” box. Since “Bridge To The Indians” in title and key-change implies a transition to the first part of “Do You Like Worms”, that’s an area where I valued some creative liberty in terms of sequencing. Jules Siegel published an article about the “Smile” sessions called “Goodbye Surfing, Hello God” in October 1967 where he describes an October 1966 dinner party where Brian Wilson played guests some acetates of “Smile” material; with the first section of “Do You Like Worms” segueing into the “Grand Coolie” section of “Cabin Essence”, and then the “Who Ran The Iron Horse” section followed by “Barnyard” from “Heroes and Villains”. I sequenced the sections mostly in accordance with the information I have presented, but in no way am I claiming my “Smile” fan-edit is the most accurate or most likely form “Smile” would have been realized towards in 1967, but I am fairly satisfied with it, as I hope you all are too.
« Last Edit: January 04, 2019, 02:35:30 PM by The Old Master Painter » Logged
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« Reply #7 on: January 04, 2019, 10:43:56 AM »

Just something else I want to make note of: it is interesting how the “moo” in the coda of “Barnyard” foreshadows the next track.
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« Reply #8 on: January 04, 2019, 01:43:18 PM »

Awesome work and I love the sound of this! The lo-fi mix really adds a punch to the heavier parts (especially the chorus and outro of 'Cabin Essence').

So it has been AGES since I've read up on Smile and Brian's ideas for putting these "modules" of sound together from different songs. Can you explain the source(s) of your module edits, how much of this was your ideas vs how much is vintage? Pardon if that's asking too much, I know you explained your sources, but I'm just so out of the loop anymore with Smile stuff, I don't even remember hearing about the '66 tape compilation!

I really love the mix and I need to find some free time to really give the Side-A a good listen. Standout moments: 7:10 and beyond is just stellar, the transition at 11:25 feels like DYLW and Cabin Essence are part of the same song - you really get a good feel for the modular edit style Brian talked about.

I can't wait to hear side B!

Thank you so much! Glad you enjoyed it! Side B is much wilder. There is an online resource called “Record Mecca” that auctioned contemporary acetates of The Beach Boys’ “Smile” sessions that once belonged to Durrie Parks. There are one or two sides that transition “Who Ran The Iron Horse” to the verse of “Heroes and Villains”. In January 1967, an experimental edit of the verse of “Heroes and Villains” was assembled that quickly transitioned to “Bridge To The Indians”. That edit was featured on “The Smile Sessions” box. Since “Bridge To The Indians” in title and key-change implies a transition to the first part of “Do You Like Worms”, that’s an area where I valued some creative liberty in terms of sequencing. Jules Siegel published an article about the “Smile” sessions called “Goodbye Surfing, Hello God” in October 1967 where he describes an October 1966 dinner party where Brian Wilson played guests some acetates of “Smile” material; with the first section of “Do You Like Worms” segueing into the “Grand Coolie” section of “Cabin Essence”, and then the “Who Ran The Iron Horse” section followed by “Barnyard” from “Heroes and Villains”. I sequenced the sections mostly in accordance with the information I have presented, but I n no way am I claiming my “Smile” fan-edit is the most accurate or most likely form “Smile” would have been realized towards in 1967, but I am fairly satisfied with it, as I hope you all are too.

So these acetates were made public? What year did that happen? I remember hearing about Durrie selling them in a garage sale at one point but never heard anything else about the matter. I guess they made it into some good hands?

A year or two ago I stored away much of my Beach Boys books, including Look Listen Vibrate Smile which includes the Siegel piece. I may have to dig those out soon and revisit those articles and books. Priore's book about the "Lost Masterpiece" is fantastic, though at times full of a lot of misinformation, it still sheds some amazing light on what zany things were going on with Brian and his crew during this time.

Thanks so much for the response! Every now and then there will be a SMiLE mix that rekindles my love of this album. Again, I can't wait to hear side-B! How will you be piecing together 'Wonderful'?
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The Beach Boys legacy is still being mortared to this day...it has a solid and unbreakable foundation of incredible songs that tower above most bands, yet some bricks are more brittle and ugly than others (even some bricks put down more recently)...thus is the nature of any entity that continues to exist. You are not defined solely by your good achievements in life, you're also defined by those unpleasant moments too. This law of life, thankfully, helps keep us all in check.
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« Reply #9 on: January 04, 2019, 02:32:53 PM »

Awesome work and I love the sound of this! The lo-fi mix really adds a punch to the heavier parts (especially the chorus and outro of 'Cabin Essence').

So it has been AGES since I've read up on Smile and Brian's ideas for putting these "modules" of sound together from different songs. Can you explain the source(s) of your module edits, how much of this was your ideas vs how much is vintage? Pardon if that's asking too much, I know you explained your sources, but I'm just so out of the loop anymore with Smile stuff, I don't even remember hearing about the '66 tape compilation!

I really love the mix and I need to find some free time to really give the Side-A a good listen. Standout moments: 7:10 and beyond is just stellar, the transition at 11:25 feels like DYLW and Cabin Essence are part of the same song - you really get a good feel for the modular edit style Brian talked about.

I can't wait to hear side B!

Thank you so much! Glad you enjoyed it! Side B is much wilder. There is an online resource called “Record Mecca” that auctioned contemporary acetates of The Beach Boys’ “Smile” sessions that once belonged to Durrie Parks. There are one or two sides that transition “Who Ran The Iron Horse” to the verse of “Heroes and Villains”. In January 1967, an experimental edit of the verse of “Heroes and Villains” was assembled that quickly transitioned to “Bridge To The Indians”. That edit was featured on “The Smile Sessions” box. Since “Bridge To The Indians” in title and key-change implies a transition to the first part of “Do You Like Worms”, that’s an area where I valued some creative liberty in terms of sequencing. Jules Siegel published an article about the “Smile” sessions called “Goodbye Surfing, Hello God” in October 1967 where he describes an October 1966 dinner party where Brian Wilson played guests some acetates of “Smile” material; with the first section of “Do You Like Worms” segueing into the “Grand Coolie” section of “Cabin Essence”, and then the “Who Ran The Iron Horse” section followed by “Barnyard” from “Heroes and Villains”. I sequenced the sections mostly in accordance with the information I have presented, but I n no way am I claiming my “Smile” fan-edit is the most accurate or most likely form “Smile” would have been realized towards in 1967, but I am fairly satisfied with it, as I hope you all are too.

So these acetates were made public? What year did that happen? I remember hearing about Durrie selling them in a garage sale at one point but never heard anything else about the matter. I guess they made it into some good hands?

A year or two ago I stored away much of my Beach Boys books, including Look Listen Vibrate Smile which includes the Siegel piece. I may have to dig those out soon and revisit those articles and books. Priore's book about the "Lost Masterpiece" is fantastic, though at times full of a lot of misinformation, it still sheds some amazing light on what zany things were going on with Brian and his crew during this time.

Thanks so much for the response! Every now and then there will be a SMiLE mix that rekindles my love of this album. Again, I can't wait to hear side-B! How will you be piecing together 'Wonderful'?

No, they haven’t been made public yet, but the site that auctioned those acetates described what was on each disc. Here is a link: https://recordmecca.com/item-archives/beach-boys-8-original-smile-acetates-from-the-collection-of-van-dyke-parks/
“Wonderful” is just the 1966 recording of the song; which in my opinion is complete enough.
« Last Edit: January 04, 2019, 02:38:48 PM by The Old Master Painter » Logged
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« Reply #10 on: January 04, 2019, 04:39:27 PM »

Very interesting work, OMP. It feels to me like one could almost call this SMILE '66 (though it's not strictly correct to do so) but it is a snapshot of what could have been assembled at the tail end of '66 (with a few exceptions). Many folks spent many hours speculating about the transition from DUMB ANGEL to SMILE--to my ears there's still a lot of the former residing in these tracks.

Of course, there is no follow-up single to be found here, which makes one wonder what Capitol would have done if they'd heard this.

Looking forward to Side B to see if any of that gets addressed. "Wonderful '66" is a beautiful track, but I can't see it following up GV. Maybe Brian should have just completed something like this and finished H&V without trying to fit the "single" version onto the record, eh?
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« Reply #11 on: January 05, 2019, 01:20:49 PM »

Very interesting work, OMP. It feels to me like one could almost call this SMILE '66 (though it's not strictly correct to do so) but it is a snapshot of what could have been assembled at the tail end of '66 (with a few exceptions). Many folks spent many hours speculating about the transition from DUMB ANGEL to SMILE--to my ears there's still a lot of the former residing in these tracks.

Of course, there is no follow-up single to be found here, which makes one wonder what Capitol would have done if they'd heard this.

Looking forward to Side B to see if any of that gets addressed. "Wonderful '66" is a beautiful track, but I can't see it following up GV. Maybe Brian should have just completed something like this and finished H&V without trying to fit the "single" version onto the record, eh?

I feel it would have been wise for Brian Wilson to leave the album “Smile” and possibles singles arising from that project as seperate entities because his effort focused towards making “Heroes and Villains” the follow-up to “Good Vibrations” is ultimately what ended the project. On comparison, The Beatles were smarter in the sense that they focused their output solely on the album “Sgt. Pepper’s...” more than butchering that project to create singles. In a sense, “Strawberry Fields...” was already their “Good Vibrations”. Then they just diverted their attention to “Sgt. Pepper’s...”, and it paid off.
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« Reply #12 on: January 07, 2019, 10:22:20 AM »

“Wonderful” is just the 1966 recording of the song; which in my opinion is complete enough.

That's good to hear. The "Rock with me, Henry" version always intrigued me - it's one of those bits that I'd love to know more about regarding who came up with that idea and why. I'm not the biggest fan of that version though, so I'm glad it won't be included in this mix.
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The Beach Boys legacy is still being mortared to this day...it has a solid and unbreakable foundation of incredible songs that tower above most bands, yet some bricks are more brittle and ugly than others (even some bricks put down more recently)...thus is the nature of any entity that continues to exist. You are not defined solely by your good achievements in life, you're also defined by those unpleasant moments too. This law of life, thankfully, helps keep us all in check.
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« Reply #13 on: January 07, 2019, 11:38:05 AM »

I don't think the comparison to the Beatles' activities and releases around this same time (Summer '66 to Summer '67) can be understated or ignored in terms of how they were doing things in the UK and US versus how Brian and Capitol were doing things in the US. For years I've wondered if there were a definitive template already set up in terms of the artist's wishes versus the label's in terms of albums and singles, whether something different would have been the case with Smile. Meaning, would all of that work and seemingly endless sessions have been devoted starting in January '67 to the planned "singles" versus just running with the album that could have been constructed already, with a focus on finishing that versus doing all that obsessive bits-n-pieces work on Heroes and Vegetables for the first four months of '67.

What makes this confusing to put on the table is just how messed up the handling of the Beatles' output in the UK versus the US in 1965-66 really was. I think everyone agrees that the gold standard in terms of what the band wanted exists in the UK release schedule, where they'd have separate albums with 14 tracks and separate single releases...neither existing together on any official "album" proper. What were the singles from Rubber Soul or Revolver? There were none in the UK. Simple as that. Then look at Rubber Soul and Revolver in the US, and they're totally different listening experiences, and factor in further how Capitol constructed Yesterday And Today out of the leftover tracks and A/B sides from two albums to make three albums. Again, totally different experiences for listeners.

Note as well that Strawberry Fields and Penny Lane were originally going to be cornerstones of the album which became Sgt Pepper, along with When I'm 64 and a few others that seemed to be centered on a nostalgia/Liverpool/childhood theme in the early stages. This of course got scrapped as the project went on, and the Beatles decided to pull those early keystone tracks off the album to make the double-A-side release in Spring '67.

Then, further, for the first time the Beatles got the clout and the guts to lay down the law and say there will be only one version of Sgt Pepper, and we will dictate how that release will sound, look, and be sequenced so there is no more butchering of the work we're handing in. No bogus releases for this album...Keep in mind, that was huge because Capitol at least for Pepper could not carve it into several releases or remix it in any way for the US market...it was what the Beatles said it would be, period.

And Pepper had no singles, right? Instead, it became an even bigger part of the trend where DJ's would spin album cuts from the album versus solely spinning the 45 single. Even Capitol didn't pull a single off of it this time even though the demand was huge (thanks to those DJ's playing Day In The Life and other tracks...), and even though they had done that with Revolver months earlier.

So then there is Brian and Smile and Capitol. The plan was to put Good Vibrations on the album, as the way fans could buy that current single and have it on an LP and 45. Consider the fan mix we're talking about, what was there as of January '67...Good Vibrations was still charting at #1, top-5, or top-10 in January '67 in a lot of markets. Put that sucker on an album, whether it "fit" or not, and the album would sell. That was the plan and the graphics of the cover back it up.

So why, oh why, was there so much effort and time spent on hammering out and cobbling together this behemoth of a Heroes single when there was already enough to mix and finish regarding the album itself? 

There had to be the clout where the Beach Boys were the #1 band at this particular time (Fall '66 into the Christmas season), they had the top single basically in the world, and the buzz around Brian's work on this new album was huge...so if it were a case of Capitol needing a single, it could be said exactly like the Beatles would say in a few months with Pepper, here is the album and here are the singles, separate entities. I'll bet Capitol wanted a "Pepper" single, but they simply didn't get one. And they weren't allowed to put SFF/PL onto a reconstructed Pepper for the US market.

I'm just free-associating and rambling since the topic of singles came up, and as Pepper proved there did not have to be a single...so it's a mystery why the work done for a "single" took up so much time starting in January '67 while the few missing components and parts that were needed to finish what would have been an amazing album in itself were put on the backburner in favor of recording endless Heroes and Vegetables sessions.

It didn't need to be that way in terms of label politics and policies, unless the Beatles demanding control and getting it regarding album and single releases came a few months too late for Smile.



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« Reply #14 on: January 07, 2019, 12:53:14 PM »

Great post, Guitarfool.

Thinking out loud: Brian was/is a singles kind of guy. Even up to most recently in the 2010s he has stated that it is still his goal to get a number 1 single. In that span of two years ('64-'66) Brian had I Get Around, Help Me Rhonda, and Good Vibrations that went #1, and in that same time period he had a slew of songs that were #3 and #2 on the charts.

Even though he was inspired by the cohesive album nature of Rubber Soul with Pet Sounds and Smile, he was probably still driven to get those radio hits, and the best way to do that is to make those singles.

I would love to know if Brian thought 'Heroes and Villains' was truly #1 material, whether somewhere in his mind he could hear a chart topping masterpiece in all of those fragments.
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The Beach Boys legacy is still being mortared to this day...it has a solid and unbreakable foundation of incredible songs that tower above most bands, yet some bricks are more brittle and ugly than others (even some bricks put down more recently)...thus is the nature of any entity that continues to exist. You are not defined solely by your good achievements in life, you're also defined by those unpleasant moments too. This law of life, thankfully, helps keep us all in check.
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« Reply #15 on: January 08, 2019, 07:25:00 AM »

The timing of it all factors in, I think: Brian was doing Smile and it was originally on schedule to be released right at the moment before the album versus the single took on more significance among the target audiences...as the "kids" who were buying Surfin Safari and "Meet The Beatles" would soon be entering their college and draft ages, and as pop culture in general was about to see a more widespread and radical shift in style and influence, the listening and delivery methods of their music changed. The radio - where the rarely used up to this point FM bands were soon to be taken over by DJ's not constricted by Top-40 playlists - was changing too.

Even into 1967, album cuts were being spun by AM radio DJ's who had the clout to do so. The 45rpm single was still ruling the day in terms of making "hits", but the album format was coming into play as a preferred playlist and listening item.

And it was all happening, let's say "bubbling under", as Smile was getting closer to being finished (minus, of course, all the other distractions involved).

So maybe the timing factors in as well, as in thinking of having the album released as its own thing (a la Sgt Pepper), and having the singles released as their own thing (a la Strawberry Fields/Penny Lane and even Good Vibrations which in January '67 was still one of the hottest records in the world). The Beatles had a pretty solid template going, and I think that's where they kind of took the lead in terms of how to have a hand in both singles and albums preferences among their audiences.

Was there a "single" from the White Album? Of course not - Listening to the album was the experience people still enjoy from that, it didn't matter if there was no 45 to spin from those 4 album sides. And I have to think Smile could have been that kind of album too, with a separate 45 single rather than welding the two together and one distracting from completing the other.

And the really sad/ironic part is - and this is just my opinion - Brian had a "single" mix of Heroes in early '67. The "Cantina" version, as first officially released on the Smiley/WH two-fer and on the GV box set...the Chuck Britz single mix. I still think that is the definitive version of that song, it has the ebb and flow of GV and the segments transition beautifully. It also has a really strong, "loud" sound to the mix, that could have been the final last stand of the Spector "Wall" had it come out. After this, that "Wall" wasn't going to translate as well to stereo, and fans wanted to buy stereo albums after 1967. That's the reality.

But Brian had a killer of a single in his pocket with that Cantina mix, which again is the irony of needing a single possibly holding up work on finishing the album...which is where the industry was heading anyway once the Beatles did it so definitively with the single-less Pepper a scant few months later.
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« Reply #16 on: January 08, 2019, 07:55:12 AM »

And the really sad/ironic part is - and this is just my opinion - Brian had a "single" mix of Heroes in early '67. The "Cantina" version, as first officially released on the Smiley/WH two-fer and on the GV box set...the Chuck Britz single mix. I still think that is the definitive version of that song, it has the ebb and flow of GV and the segments transition beautifully. It also has a really strong, "loud" sound to the mix, that could have been the final last stand of the Spector "Wall" had it come out. After this, that "Wall" wasn't going to translate as well to stereo, and fans wanted to buy stereo albums after 1967. That's the reality.

Totally agree about the Cantina mix. I think for my 'Love' album version of H&V I used the beginning of the Cantina mix. Something about Brian's vocal that mixes with that backing track, it's full of energy. Wasn't Brian continuously changing what singles he wanted to work on at this time? I remember something about how he kept switching his focus from Heroes and Villains to Vega-tables as a single.
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The Beach Boys legacy is still being mortared to this day...it has a solid and unbreakable foundation of incredible songs that tower above most bands, yet some bricks are more brittle and ugly than others (even some bricks put down more recently)...thus is the nature of any entity that continues to exist. You are not defined solely by your good achievements in life, you're also defined by those unpleasant moments too. This law of life, thankfully, helps keep us all in check.
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« Reply #17 on: January 08, 2019, 08:06:03 AM »

The verse vocals in the final released version of H&V are too laid back; it almost sounds like he isn't trying to sell the song anymore, IMHO.
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« Reply #18 on: January 08, 2019, 08:12:12 AM »

The verse vocals in the final released version of H&V are too laid back; it almost sounds like he isn't trying to sell the song anymore, IMHO.

Right? Just listening to the openings of the Cantina version and the Smiley version, Brian is clearly more amped in the former. I guess that's the vibe he was going for with the Smiley material...but that style just falls flat for hit single potential.
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The Beach Boys legacy is still being mortared to this day...it has a solid and unbreakable foundation of incredible songs that tower above most bands, yet some bricks are more brittle and ugly than others (even some bricks put down more recently)...thus is the nature of any entity that continues to exist. You are not defined solely by your good achievements in life, you're also defined by those unpleasant moments too. This law of life, thankfully, helps keep us all in check.
The Old Master Painter
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There's no outdoing The Beatles


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« Reply #19 on: January 08, 2019, 10:42:51 AM »

The “Cantina” version is essential, and in my opinion should have been released as a single.
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The Old Master Painter
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« Reply #20 on: January 08, 2019, 10:48:13 AM »

I feel that my mix would be a good basis for an album that could have been released in early 1967, and coupled with the “Cantina” mix of “Heroes and Villains” with the flip-side being “You’re Welcome” as a single, The Beach Boys would have firmly established themselves as innovative and at the forefront of the sixties’ pop-revolution.
« Last Edit: January 08, 2019, 02:03:21 PM by The Old Master Painter » Logged
guitarfool2002
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« Reply #21 on: January 08, 2019, 10:57:47 AM »

Exactly, and again the sadness comes when looking back and seeing that Brian had a hit single mix in his back pocket for Heroes, and also had most of an album ready with just a few final touches ready to go. Nothing done with Heroes or even the tinkering with Vegetables that would follow matched the energy of that Cantina Heroes single mix in terms of following up Good Vibrations while adding new sonic tricks and some unexpected yet smooth shifts in the music to create a worthy follow-up sometime in '67 after GV had dipped off the top-40 charts. It just wasn't meant to be...but it could have been.

I think even more innovative would have been the flip side of the Cantina mix being a collage of Heroes fragments, as some suggested Chuck Britz had done or attempted as a "part 2", and whether or not that has been debunked it would have been a killer single just the same, and further pushed the experimental side of new pop music well before the Beatles went this far into sound collage and composition via tape edits.
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"All of us have the privilege of making music that helps and heals - to make music that makes people happier, stronger, and kinder. Don't forget: Music is God's voice." - Brian Wilson
The Old Master Painter
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There's no outdoing The Beatles


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« Reply #22 on: January 08, 2019, 02:05:14 PM »

I finished Side B. Give it a listen and let me know what you think.

https://vimeo.com/310210928

The password is: “smile”
« Last Edit: January 08, 2019, 02:05:45 PM by The Old Master Painter » Logged
SydBarrett
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« Reply #23 on: January 09, 2019, 06:45:20 AM »

I'd love to have this as an MP3 or flac if possible!
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The Old Master Painter
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« Reply #24 on: January 09, 2019, 07:56:29 AM »

I'd love to have this as an MP3 or flac if possible!

I’ll upload this mix onto a file-sharing site someday.
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