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Poll
Question: Rate Smiley Smile
5 - 104 (47.1%)
4 - 53 (24%)
3 - 38 (17.2%)
2 - 16 (7.2%)
1 - 5 (2.3%)
0 - 5 (2.3%)
Total Voters: 201

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Author Topic: Smiley Smile  (Read 229294 times)
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« Reply #650 on: June 06, 2006, 01:40:02 PM »

hi!

hmmm, i don't like smile so much, but this album is great for me, there are some songs, that are very nice

i like "whistle in", one of the best songs from the album is vegetables too

peter
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« Reply #651 on: June 06, 2006, 02:28:40 PM »

Even though the state of recording seems unquestionably dark and drug influenced, this album has the most cohesive sound of any album I've ever heard.  Simplistic and beautiful at times, disjointed and frightening at others.  "Little Pad"  "She's Goin' Bald" and "Whistle In" are some of the catchiest melodies, ever.  I don't think any of the re-records from smile (Wind Chimes, Wonderful) are better than the Smile versions, but their arrangement on this fits the rest of the album perfectly, and the songs are still good.  And obviously the leftover scraps (H&V, GV) are great too.  When a band can make something high that's actually worth listening to, that's saying something.
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« Reply #652 on: June 09, 2006, 04:01:35 PM »

Geez, Soren, you make Love You sound so conventional!   Grin

I see the same voice making lyrics like these:

"You're too late mama, ain't nothing upside your head!"

"When she saw her shining forehead didn't stop she swooned to the ground, laughed so hard I blew my mind."

"Well, oh my, oh gosh, oh gee, she really sends chills inside of me"

"If Mars had life on it, I might find my wife on it"

"My girlfriend Betty she's awful skinny, and so she needs her falsies on."

"Pat, pat her on her butt."

That my friends, is unfiltered Brian Wilson.  So are the quirky sounds of the Woody Woodpecker Suite and the freaky sound of, well, the whole blessed Love You album which is the second weirdest BB album ever (Smiley being the weirdest -- see any connection there?).  You focus on the sound of the album, whereas I focus on the voice.  Only on these two released albums is Brian Wilson, man-child who never grew up, with locker-room humor, on full display with no regard to chart potential.  The same voice made Adult Child as well.  If you say you love Brian Wilson, you pretty much must mean this stuff, since the rest was Brian Wilson doing what was required to make a hit.  These albums were Brian being Brian.

And I would argue that PS IS filtered Brian, since Tony Asher wrote most of the words.  Maybe they were Brian's thoughts, but Asher also molded them by his style as well.

I think the lyrics on "Love You" and "Smiley" are completely different. On "Love You" the lyrics are childish/amateurish and on "Smiley" they are more impressionistic and poetic. IMO "Vegetables" and "Little Pad" are the only songs that have lyrics, that might resemble the type of lyrics on LY, but so do "Busy Doin Nothing" and "I Went To Sleep". Also most of the  lyrics on "Smiley" were for a large part written in collaboration with other people, plus the rest of the band obviously influenced it, so I don't see why it is particularly unfiltered Brian.

Søren

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« Reply #653 on: June 09, 2006, 05:42:59 PM »

Unfiltered does not preclude collaboration.
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« Reply #654 on: June 09, 2006, 06:12:20 PM »

Unfiltered does not preclude collaboration.

Sorry, but I was told that PS wasn't unfiltered Brian because Tony Asher wrote the lyrics

Søren
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« Reply #655 on: June 09, 2006, 06:21:07 PM »

Hmm, I see. I'd call PS unfiltered, but it also feels more "interpreted" by Asher in a formulaic pop-writing way.
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« Reply #656 on: June 09, 2006, 07:53:04 PM »

Hmm, I see. I'd call PS unfiltered, but it also feels more "interpreted" by Asher in a formulaic pop-writing way.

I agree.  VDP gets credit for starting the lyrics but Brian was the one finishing them -- and I don't seriously think Mike did much of anything (except maybe "Getting Hungry").  Example: She's Going Bald -- VDP did the silken hair, more silken hair part that we know from speeches.  But I credit all of the rest to Brian, Mike Love credit be damned.  And VDP may have written the lyrics to Wonderful, but Brian's arrangement (and the interlude) undercut the serious nature of the lyrics for an absurdity that is only Brian.  VDP started it in Smile, but Brian finished it alone his way, then gave Mike Love the credits since he was grousing about getting co-credits all along.

PS is not what I called unfiltered Brian because Brian was still trying to make art in some ways by others' rules.  He did it very well, and he found someone who could communicate his thoughts well, but still that interpreter added something to it as well, plus the album just is missing the goofy side of Brian -- it isn't a balanced picture of Brian's heart like Love You was.
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« Reply #657 on: June 10, 2006, 01:34:45 AM »

Pet Sounds in some ways is Brian at his most filtered.  I mean, certainly the most filtered of albums that he was fully in charge of.  Asher seems to have had a fairly significant musical as well as lyrical influence, the studio musicians were at the height of their collaboration with Brian, and Brian was taking the classic "Spector arranging" formula to the limit (it would bust open for Smile.)
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« Reply #658 on: June 10, 2006, 09:09:43 AM »

i like wistle in, but everyone always says it's from heroes and villains. to me, it's totally the hawaiin chant from do you like worms

I never thought about that, but you're right. It's almost the same melody. Thanks for pointing that out.
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« Reply #659 on: June 11, 2006, 01:24:04 PM »

It seems to me to SMiLE was the most filtered Brian because of the lyrics.  I don't think Brian had input to the lyrics and VDP must only mean he was putting a sylable to each note when he claims just following Brian's ideas/lead.

Smiley then seems to be VDP heavily filtered out by Brian making it mostly Brian with only 2 credits for Mike.
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« Reply #660 on: September 02, 2006, 02:39:25 PM »

I don't really like this album. Too much insanity for my taste.
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« Reply #661 on: September 02, 2006, 03:06:20 PM »

How many times have you listened it it?
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« Reply #662 on: September 12, 2006, 08:48:09 PM »

*sigh* I don't know what to make of Smiley Smile sometimes

Let me be clear. I enjoy the record, mostly, but it's mere existence as it is just turns my brain upside down at times. It's like Smile is some novel akin to the Iliad and Smiley Smile is the Cliff's Notes written by, well, Mike Love. It's the over-simplification of precious Smile tracks that nearly ruins Smiley for me. Plus, if the Beach Boys supposedly hate Brian's Smile songs so much, then HOW COME after that album is shelved, (much to Mike's relief I can guess) WHY do they insist on recording half-baked versions of gems like Wonderful and Wind Chimes anyway?? WHY?!? It all drives me to distraction; Smiley Smile is an oxy moron. If Smile was deemed unreleasable because of it's weirdness, than WHY ON EARTH is Smiley there in its stead, being A HELLUVA LOT WEIRDER and then some?? Grrr...

That said, I do love many things about this record, namely With Me Tonight, Fall Breaks And Back To Winter, the terrific H&V single, and the delightful Gettin' Hungry.

Other things, like the previously mentioned cannibalized Wind Chimes and Wonderful plus the really silly things like She's Goin' Bald and Little Pad drive me bonkers. WTF? I DO like them, but I have trouble understanding why these tracks are here instead of Smile beauties.

When I first bought the Smiley Smile/Wild Honey two-fer, I immediately fell in love with Wild Honey. I guess I still listen through Smiley with baited breath for WH to arrive, and that might not be so good for me if I want to understand this crazy album. Despite the fact I find it to be very enjoyable for the most part, I don't know if I'll ever understand Smiley Smile after all.

*sigh* Brian, is this record a sarcastic insult of Smile (be it waged by you or the band) or an honest attempt at recreation/reimagining it?
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« Reply #663 on: October 25, 2006, 10:29:09 PM »

The first time I listened to it I was quite upset after hearing the real Smile songs in documentaries. However, its really grown on me. Tripped out beauty, a step away from Friends.
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« Reply #664 on: February 23, 2007, 03:11:47 PM »

I just have to say my peace, I did join a little late. Like someone wrote on this post, what other band from in the 60's would have the chutzpah to even put out an album like this? The band showed courage in putting out an album of this music to the world. I agree with Luther that With Me Tonight is on par with Our Prayer. I can't get enough listens of that song. Little Pad really takes me away when I am barely holding on in the real world. Fall Breaks is a real work of art....it is a painting to me. Smiley Smile rules...
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« Reply #665 on: February 23, 2007, 03:25:12 PM »

I agree with Luther that With Me Tonight is on par with Our Prayer.

Did I say that? Wow, well I'll be damned. I don't remember that. I don't know if I think it is on par with Prayer, actually...I wonder if I was more drunk than usual when I said so. When did I say so?

(I do love it, by the way. And in fact I probably like it as much as Prayer. But I don't think it is as good as Prayer from a compositional standpoint.)
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« Reply #666 on: February 23, 2007, 03:32:30 PM »

It's an incredible album - one of my absolute favourites.  'Wind Chimes' and 'Wonderful' are as haunting and unsettling as the SMiLE "originals" are beautiful and transcendent; that the two versions of each song achieve equal yet opposite results represents, to me, an astonishing talent.  

'Little Pad' and 'With Me Tonight' are gorgeous and never fail to move me.  

'Vegatables' trumps the other versions with its simplicity; 'Heroes' gives me a contact high.  Love it, love it, love it.

And 'Fall Breaks..." is a nightmare - scares the sh*t out of me in a curiously pleasing way.

Essential listening: 10/5
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« Reply #667 on: February 23, 2007, 03:39:44 PM »

Hmm...I'm no mathematician, but I don't think that works out.
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« Reply #668 on: February 23, 2007, 03:57:16 PM »

My apologies Luther... On pg 8 you said it was every bit as affecting of a song as Our Prayer. I agree with you 100%. It's like Our Prayer, but with words.... I remember the first time I heard it.... on the GV box set.... I was just amazed at it's beauty. Still am.
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« Reply #669 on: February 23, 2007, 04:10:42 PM »

Hmm...I'm no mathematician, but I don't think that works out.
Just a little hyperbole to underscore my love for this album...

...and 'Whistle In' is a simple little pleaser - love the background vocals.
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« Reply #670 on: February 23, 2007, 04:20:38 PM »

No apologizes necessary for me forgetting what I say. I just forgot, that's all.
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« Reply #671 on: March 17, 2007, 07:55:54 PM »

It's like Smile is some novel akin to the Iliad and Smiley Smile is the Cliff's Notes written by, well, Mike Love. It's the over-simplification of precious Smile tracks that nearly ruins Smiley for me. Plus, if the Beach Boys supposedly hate Brian's Smile songs so much, then HOW COME after that album is shelved, (much to Mike's relief I can guess) WHY do they insist on recording half-baked versions of gems like Wonderful and Wind Chimes anyway?? WHY?!? It all drives me to distraction; Smiley Smile is an oxy moron. If Smile was deemed unreleasable because of it's weirdness, than WHY ON EARTH is Smiley there in its stead, being A HELLUVA LOT WEIRDER and then some?? Grrr...

Other things, like the previously mentioned cannibalized Wind Chimes and Wonderful plus the really silly things like She's Goin' Bald and Little Pad drive me bonkers. WTF? I DO like them, but I have trouble understanding why these tracks are here instead of Smile beauties.


I could be wrong but I think one of the reasons why Mike didnt want Smile released but didnt mind Smiley is that he had no involvement in songwriting with SMiLE whereas he has a few songs that hes written on Smiley (eg: Gettin Hungry, Good Vibrations, Shes Going Bald)

Anyway, that aside, I think this is a solid album (I dont think its as great as some people make out when you put it in to context of what could have been) but still an enjoyable listen (on the most part anyway). I think it has its charm but SMiLE wouldve been so much better. The one bit I really hate in the album is in She's Going Bald (the sped-up voices) whos idea was that? That really annoys me, the rest of the album I enjoy though. I give it a 4
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« Reply #672 on: May 11, 2007, 07:50:28 AM »

Ok I know this thread has really died down, but I've been really digging this album lately (even more than usual) so I figured I'd share a few thoughts.

For a long time, I really thought this was Brian's "sabotage" or "I don't give a rip" album.  Just seemed like he couldn't care less and just threw something toghether.  I thought the Smile re-cuts were so much worse than their original versions (namely Wonderful and Wind Chimes).  I didn't understand why so many people raved about it.

Then, at some point, I "got it".  Now I really feel like this was Brian at his weirded-out best.  It was such a radical change for him, yet he pulls it off without missing a beat.  Going from the beauty of Pet Sounds and the sophistication of Smile, Smiley sounds like its coming from a totally different artist.  I guess I started to realize that the album sounds like it does for a very specific reason.  It's not underproduced because Brian didn't care...it was a conscious artistic choice.  Brian had the guts to put out a low-fi druggie record at the peak of the big production era (that he was a big player in to begin with!), not caring what the industry thought or what it might do to the group's career.  It is interesting that after Smiley, groups like the Beatles started backtracking from the big productions too. 

The only complaint I have about the album is the inclusion of Good Vibrations, as it totally doesn't fit sonically with the rest of the album.  Obvioiusly this was not Brian's idea, but I still always skip it when I listen to Smiley.  Without GV, Smiley is the most cohesive record I've ever heard, even more cohesive than Pet Sounds actually.  The tracks are so sparse, yet the vocals fill them out beautifully.  No reverb, no super sophisticated harmonies, no huge orchestral arrangements.  Just a group of guys, a bass, an organ (not to mention the occasional de-tuned piano), and lots of hash.  The sound is so creepy and disturbing at times, yet other times provide sheer beauty (best example being the Wind Chimes fade).  Wonderful creeps me out completely, but somehow still retains its beauty.  Even Whistle In grew on me; I didn't like this one at first.  I was like "wow, that's all there is?"  But I love it.  The way the harmonies are arranged is subtle yet brilliant, and it has that great Brian-like "marching" quality to it that I really like. 

Oh, and the one other thing I love is Brian's "prank" of mixing the Wind Chimes fade really low so you crank it up to hear it, then starting Gettin' Hungry with that loud guitar.  Scared me half to death the first time I hear that.

I love this record!
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« Reply #673 on: May 11, 2007, 08:26:38 AM »

The tracks are so sparse, yet the vocals fill them out beautifully.  No reverb, no super sophisticated harmonies, no huge orchestral arrangements.  Just a group of guys, a bass, an organ (not to mention the occasional de-tuned piano), and lots of hash.  The sound is so creepy and disturbing at times, yet other times provide sheer beauty (best example being the Wind Chimes fade).

You nail the album here ... A huge part of the album's appeal for me is that unique combination of just a few very simple instruments and the voices, and that "dry" recording technique. The importance of the sound of that de-tuned piano to the album's character was really driven home for me when I heard some of the piano tracks isolated on the SOT Alternate Smiley Smile disc; it's a beautiful, very distinctive sound and it's a big part of why I love the album.

And that "Wind Chimes" tag is one of my all-time favorite Beach Boys moments. Just gorgeous.

Great post, Chris. Your views on (and experiences with) this album mirror mine to a "T." Like you, I've been "really digging" and rediscovering the album lately so your revival of the thread is very timely for me.
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« Reply #674 on: May 11, 2007, 12:55:13 PM »

Thanks VT...I totally hear you about the de-tuned piano.  First time I heard Wonderful from that SOT with just the piano it blew my mind.  I don't know how or why Brian got into that sound during that particular era, but its just the creepiest sound I've ever heard to come from a piano. 

I love the Wind Chimes tag too; that was also really cool to hear more clearly on SOT.  I was glad when Brian revived it for BWPS.  Vocal arranging at its very best.

I've really been trying to capture a "Smiley" vibe in my latest recordings, and its a lot of fun.  The difficulty is trying to straddle the line between being inspired by the techniques and outright copying them.  But I just find it so fascinating to see what can be done with only a de-tuned piano, organ, bass and some voices. 
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