Mike Love wanted the Beach Boys to finish SMiLE

[Andrew G. Doe]

1966 - Smile

1967 - Smiley Smile

2004 - Brian Wilson Reimagines Smile

[The Heartical Don]

@Filledeplage

Thanks, Don.  The SMiLE performance was spectacular and not to have been missed (by me.)  I agree wholeheartedly.  [One of my favorite members in his band is Nelson Bragg who is just fabulous.]  But the actual "tracks" which were not on the original Smiley - such as the "Cantina" version of Heroes and Villains, among others, slowly finding their places on subsequent works or in the context of bonus tracks, appear to have been "reconfigured" for what would work in the performance context. 

Sometimes, as you must know academically, I suspect, one might work on a paper or dissertation and, in the interest of improvement, there is a constant "tweaking" to such an extent that you lose the overall global perspective, to make all the sections "mesh."  And you have to "put is aside" for the sake of your perspective and to live. Brian says this on the video in the thread below.

And please accept my thanks in return, dear Fille. I see your point about the paper/dissertation quite well, as I am currently entangled in a web of 'overinformation'. Loose threads galore, and no knots in sight yet. I tend to get lost in ideas (esp. when trawling through the extant literature), and the process of kitting it all together is, shall we say, not implemented as we speak. An educated guess tells me that it will take about 37 years before I'll be finished.

[guitarfool2002]

Looking back on the positive reception Smile did receive in 2004-2005, and the accolades and the sales and everything else, it didn't strike me at that time just how ahead of its time the music itself must have been to still be current and exciting to the audience some four decades after it was begun! 40 years is a much, much longer time now than it was even in 1966. I do think looking back that for as many people as bought the album because of the music itself I think the whole Smile saga and legend played into it too.

I always thought after first hearing the 66-67 Smile tracks that it was way ahead of its time, by leaps and bounds, and was some of the most stunning music I'd ever heard, still to this day. But if Smile fanatics like me were the only ones buying it in 2004, it wouldn't even have charted.

I have to ask: Does anyone have the most current sales numbers for how many copies of "Brian Wilson Presents Smile" have been sold and/or downloaded?

[Wirestone]

I seem to recall the BWPS instrumental tracks were recorded over three-four days or something. Less than a week. The band had already toured the show, so it's not like there was a lot of part-learning to do.

The vocals took a couple of months.

[filledeplage]

Looking back on the positive reception Smile did receive in 2004-2005, and the accolades and the sales and everything else, it didn't strike me at that time just how ahead of its time the music itself must have been to still be current and exciting to the audience some four decades after it was begun! 40 years is a much, much longer time now than it was even in 1966. I do think looking back that for as many people as bought the album because of the music itself I think the whole Smile saga and legend played into it too.

I always thought after first hearing the 66-67 Smile tracks that it was way ahead of its time, by leaps and bounds, and was some of the most stunning music I'd ever heard, still to this day. But if Smile fanatics like me were the only ones buying it in 2004, it wouldn't even have charted.

I have to ask: Does anyone have the most current sales numbers for how many copies of "Brian Wilson Presents Smile" have been sold and/or downloaded?

To Don and "2002" - Don - Will you be performing your thèse in 37 years? it would be nice to think of 37 years in the future! Better you than me wading through "extant literature." Yikes!

2002 - when I see BWPS - I think of Brian Wilson performing "Pet Sounds Live" not SMiLE - so I think we need to all be careful of the nmemonics and acronyms...that is an interesting concept of sales...it makes me wonder how many of the Smileys were sold since the LP release, and as someone pointed out on BBB recently, in some countries, India I think, there were 78rpm's of songs in the late 60's because that was their still-existing format.  Smiley was "repacked with Wild Honey" in a CD, in the 1990's in the States with some "bonus tracks from "the 66-67 project" - and all the subcontracting labels - foreign to the US might make it difficult to ascertain. Then you have to add in the "downloads" from bonafide vendors.  Who counts? And, is it a valid and trustworthy method?  

It would be interesting to see whether the "Old Greenie Smiley" was equal to or surpassing of the 04 release in terms of sales.  It was in the record stores all those decades.  I suspect that the old version has sold more.  And, I have no basis of valid info, just a hunch.  Maybe AGD knows...      

What seems strange to me is that with Pet Sounds, there is less of the same discussion about "completion and finality" but for the fans, because of the wide acceptance of this work, it is "complete" for the, although there may have been some "addition and subtraction" of various tracks, which did or did not make the "final cut" but the "sessions" seems to fill all of that out, with the vast amount of tracks from which to select the order and rhythm for the listener.  For most people, we look at it (Pet Sounds) as complete.  At the time, the artist/s may not have thought that way.  No one wants to "amend" it.  We look at it as both perfect and complete.  

[Andrew G. Doe]

...it makes me wonder how many of the Smileys were sold since the LP release, and as someone pointed out on BBB recently, in some countries, India I think, there were 78rpm's of songs in the late 60's because that was their still-existing format.  Smiley was "repacked with Wild Honey" in a CD, in the 1990's in the States with some "bonus tracks from "the 66-67 project" - and all the subcontracting labels - foreign to the US might make it difficult to ascertain. Then you have to add in the "downloads" from bonafide vendors.  Who counts? And, is it a valid and trustworthy method?  

Also factor in the reissue in 1974 with Friends that charted at #125.

It would be interesting to see whether the "Old Greenie Smiley" was equal to or surpassing of the 04 release in terms of sales.  It was in the record stores all those decades.  I suspect that the old version has sold more.  And, I have no basis of valid info, just a hunch.  Maybe AGD knows...      

Tough call - worldwide BWPS is alleged to have sold over a million, but the only source for that statement is Jeff. Certainly it's not been ratified gold in the US yet, but it has gone gold - 200,000 - in the UK. Sales for the 1967 release... no idea. Not spectacular, I'm thinking.

What seems strange to me is that with Pet Sounds, there is less of the same discussion about "completion and finality" but for the fans, because of the wide acceptance of this work, it is "complete" for the, although there may have been some "addition and subtraction" of various tracks, which did or did not make the "final cut" but the "sessions" seems to fill all of that out, with the vast amount of tracks from which to select the order and rhythm for the listener.  For most people, we look at it (Pet Sounds) as complete.  At the time, the artist/s may not have thought that way.  No one wants to "amend" it.  We look at it as both perfect and complete.  

We tend to regard any discussion of wether or not Pet Sounds was finished/completed as fairly pointless, seeing as it was mixed, sequenced, mastered and released. Given that Brian was directly involved in all those processes, and a good few more, I'd hazard that he thought it complete too.

[guitarfool2002]

Did I miss something or is the issue of whether or not Pet Sounds is "complete" now being discussed?

Color me: confused. 

[filledeplage]

...it makes me wonder how many of the Smileys were sold since the LP release, and as someone pointed out on BBB recently, in some countries, India I think, there were 78rpm's of songs in the late 60's because that was their still-existing format.  Smiley was "repacked with Wild Honey" in a CD, in the 1990's in the States with some "bonus tracks from "the 66-67 project" - and all the subcontracting labels - foreign to the US might make it difficult to ascertain. Then you have to add in the "downloads" from bonafide vendors.  Who counts? And, is it a valid and trustworthy method?  

Also factor in the reissue in 1974 with Friends that charted at #125.

It would be interesting to see whether the "Old Greenie Smiley" was equal to or surpassing of the 04 release in terms of sales.  It was in the record stores all those decades.  I suspect that the old version has sold more.  And, I have no basis of valid info, just a hunch.  Maybe AGD knows...      

Tough call - worldwide BWPS is alleged to have sold over a million, but the only source for that statement is Jeff. Certainly it's not been ratified gold in the US yet, but it has gone gold - 200,000 - in the UK. Sales for the 1967 release... no idea. Not spectacular, I'm thinking.

What seems strange to me is that with Pet Sounds, there is less of the same discussion about "completion and finality" but for the fans, because of the wide acceptance of this work, it is "complete" for the, although there may have been some "addition and subtraction" of various tracks, which did or did not make the "final cut" but the "sessions" seems to fill all of that out, with the vast amount of tracks from which to select the order and rhythm for the listener.  For most people, we look at it (Pet Sounds) as complete.  At the time, the artist/s may not have thought that way.  No one wants to "amend" it.  We look at it as both perfect and complete.  

We tend to regard any discussion of wether or not Pet Sounds was finished/completed as fairly pointless, seeing as it was mixed, sequenced, mastered and released. Given that Brian was directly involved in all those processes, and a good few more, I'd hazard that he thought it complete too.

Thanks Andrew for the prompt response...I mentioned Pet Sounds only because there seemed to be discussion of Sloop John B included...at some point or another...I did not know that Smiley was coupled with Friends, so it may be speculative to count...but, that said, it seemed as if everyone I knew (not all strong BB fans) had a Smiley and the reason may have been purely economic.  

A "single" at the time was about a $1.00/US and an album was about $3.00, and with two "name"  singles such as Good Vibrations and Heroes and Villains, it was smarter to pay $3.00 and get 11/12 songs than try to scrounge around with paying $1.00 for each single, and have the music in one place. Good Vibrations was such a huge hit that it seems that it would have been a draw for that album sale, even if was released a little while later.  

That would have been baby-sitting money before any of us had "real jobs" paying $1.35 an hour, which was the minimum wage at the time!  Beach Boys tickets sold for $3, 4 and 5 for the best seats!  That is just as a frame of reference...

Thanks again for the response.      

[Andrew G. Doe]

Thanks Andrew for the prompt response...I mentioned Pet Sounds only because there seemed to be discussion of Sloop John B included...at some point or another...I did not know that Smiley was coupled with Friends, so it may be speculative to count...but, that said, it seemed as if everyone I knew (not all strong BB fans) had a Smiley and the reason may have been purely economic.  

A "single" at the time was about a $1.00/US and an album was about $3.00, and with two "name"  singles such as Good Vibrations and Heroes and Villains, it was smarter to pay $3.00 and get 11/12 songs than try to scrounge around with paying $1.00 for each single, and have the music in one place. Good Vibrations was such a huge hit that it seems that it would have been a draw for that album sale, even if was released a little while later.  

Totally spurious reasoning: "GV" was certified gold - that is, 1,000,000 units sold - on December 21st 1966, and the chart life of "H&V" was over the week before Smiley Smile charted. I'm willing to wager that the people who bought the album (and at a peak of #41, there probably weren't many of them) bought it because they were BB fans, not due to any economic consideration. Everyone who bought the album would have had the singles already.

[Bicyclerider]

In fact, there's no way to show that Brian had a full album concept at the time. Nor is it possible to prove that Smile was going to consist only of the tracks that appeard on BWPS, which is almost like saying that it was going to consist of the tracks BW had recorded until  he quit . In the end, what we got is a nice edit and finishing of the tracks that were doing the fanboy rounds for decades.

Brian did have a full album concept at the time - just look at the track listing submitted to Capitol.  His concept was to make an album with those 12 tracks, and that would have been smile.  OK, some were unfinished, and some kept changing so as to be unfinishable (Heroes) at the time.  But in December 1966 there was most definitely an album concept.

I've always wondered what would have happened if after Van Dyke left in December, Brian had gone to Mike and asked his help to finish the songs.  Like He Gives Speeches was transformed to She's Goin' Bald, what would Mike have done with Child is Father to the Man, rewrites of Cabinessence and Surf's Up, finishing I'm in Great Shape.  I suspect Mike would have lightened the lyrics and injected more of the stoned humor of Smiley into the project (the humor aspect is something Brian always talked about with Smile but never pursued with much seriousness - Vegetables, Barnyard, parts of Heroes - that's about it for humor, isn't it?).  I think it may have been great - a kind of mixture of Smile and Smiley, with light and dark, seriousness and goofiness, which is more his original concept anyway.

[filledeplage]

Thanks Andrew for the prompt response...I mentioned Pet Sounds only because there seemed to be discussion of Sloop John B included...at some point or another...I did not know that Smiley was coupled with Friends, so it may be speculative to count...but, that said, it seemed as if everyone I knew (not all strong BB fans) had a Smiley and the reason may have been purely economic.  

A "single" at the time was about a $1.00/US and an album was about $3.00, and with two "name"  singles such as Good Vibrations and Heroes and Villains, it was smarter to pay $3.00 and get 11/12 songs than try to scrounge around with paying $1.00 for each single, and have the music in one place. Good Vibrations was such a huge hit that it seems that it would have been a draw for that album sale, even if was released a little while later.  

Totally spurious reasoning: "GV" was certified gold - that is, 1,000,000 units sold - on December 21st 1966, and the chart life of "H&V" was over the week before Smiley Smile charted. I'm willing to wager that the people who bought the album (and at a peak of #41, there probably weren't many of them) bought it because they were BB fans, not due to any economic consideration. Everyone who bought the album would have had the singles already.

"Spurious" is sort of harsh...45's were rather inconvenient to play...on those old machines, you needed a plastic adapter to play on an LP player and you only got 3 or so minutes...so getting the LP was more convenient and there may have been duplication but for convenience, it was worth it.  Not all fans were as "narrow minded" so as to purchase only BB music;  they also were buying Rolling Stones, Beatles, Buffalo Springfield, etc. 

People did not usually carry around 45's in those geeky cases at that point.  Pet Sounds and Rubber Soul seemed to change the landscape as it were, for the "portability thing" - it was the "themed" work that was "in."

And, the LP "under your arm" was a "statement" of sorts. 

to "2002" my thoughts were confined to an artistic standard that is sometimes very hard to achieve and the artists' difficult refinement process to get to their "vision."

 

 

[Andrew G. Doe]

Not harsh at all - I'm stating facts (far more people bought "GV" on a 45 than did on an LP, and that goes for any classic single of the 60s), you're proposing a theory that is, to be polite about it, as watertight as the proverbial colander.  By your reasoning, in the 60s, everyone should have shunned the single releases and bought the albums the songs were on instead, because it made financial sense. Small, inconvenient fact: they didn't. The music industry was overwhelmingly single-based until the late 60s. Economics had nothing to do with it.

[guitarfool2002]

I agree with Mr. Doe - singles and the Top 40 radio market were the undisputed kings of the music business for pop artists in 1966-67 and well into the 1980's. THE emphasis was on the single, which would go to the radio stations, which would be heard by listeners, and those listeners would head to the store to buy that song they heard on the radio on a 45rpm single.

It cannot be underestimated how important the single was at that time, and it is also was caused someone like Brian Wilson in 1965 and 1966 (especially) to rush his latest single mix "hot off the press" to someone like Ron Jacobs at KHJ who would voice over something like "KHJ exclusive..." to prevent pirating, and get the song on the air.

For the record I have my original copy of Sloop John B. b/w You're So Good To Me which the original owner bought at JC Penney for the grand total of 67 cents. Price tag is still on the sleeve. And in my own record buying experiences, singles up to 1986 or so which I'd buy after hearing them on 80's Top 40 radio averaged one dollar, when albums were pushing 7-9 bucks.

Take any survey from the years 1967 or 1966, go through the top 50 songs of the year, and try to pick out the "classic album" it came from. It's usually impossible. Singles came first, if they were on an album it was often months after the single had been popular on the radio.

[OneEar/OneEye]

But would Brian have had to have asked Mike for any lyrical contributions?  Other than to change lyrics to make Mike happy?  It seems that the songs listed (if we are to take that list as probable, if not definite) all had lyrics by the end of '66.  I don't see his needing Van around as being for lyric writing, but rather support. 

[filledeplage]

Not harsh at all - I'm stating facts (far more people bought "GV" on a 45 than did on an LP, and that goes for any classic single of the 60s), you're proposing a theory that is, to be polite about it, as watertight as the proverbial colander.  By your reasoning, in the 60s, everyone should have shunned the single releases and bought the albums the songs were on instead, because it made financial sense. Small, inconvenient fact: they didn't. The music industry was overwhelmingly single-based until the late 60s. Economics had nothing to do with it.

Andrew - at no time did I suggest that Good Vibrations was not a huge 45 hit as a "single"  It was. However, it was often viewed as a "starter" toward a new album.  If you were lucky you could get the album, at the time time the 45's were released.  That would be Pet Sounds, released in May of 1966, with Sloop John B, released a little earlier, and Wouldn't It Be Nice, later.  If you bought the album, it obviated the need to buy the single.

45's did start to see a decline at that time in the US as albums became more in vogue.  

They were not EP with more music as they were in Europe and were designed to fit in jukeboxes.  It was also a time when Americans were buying stereos to replace Hi-Fi's as they were buying color TV's.  And it did make financial sense, to buy a Rubber Soul album rather than the singles which might hold 7 minutes here, as opposed to 15 minutes in Europe.  

You might buy an album, if you liked the single, even if it meant duplication.  There was also the influence of the films and the movie scores being released on LP's, such as Dr. Zhivago, The Sound of Music, which just re-released with much fanfare, as well as the Disney albums, such as Mary Poppins.  

Lots of children's records were on 45 rpm, and kids would have a kiddie record player with a built in adapter, and record case, but no self-respecting teens or college students were lugging around a case of 45's which played 3 minutes a side.   They might buy a 45 single as a "base" but, if they liked the artist, they would buy the album.    

And, it was a cultural shift in the States, as 45 cases went out with high-button shoes.  There is an interesting section on Elvis' records on 78 rpm because of the equipment that the families owned in several parts of the country.  There is also a section distinguishing the 45 in the States and in Europe.

http://en.wikipedia.org/wiki/Gramophone_record  

There are some visuals of what 45's looked like.  

p.s.  I still have my copy of Sloop as well as "The Little Girl I Once Knew" (my first BB record) in the original sleeve.  And they did go to the radio stations, as a single and on jukeboxes, but it was my experience that if people could guy an album, that is what they did.  I suppose we can debate it, as long as it is not "hostile" - and there are differences as between the States and Europe.  We did not have EP format.  The 45's might have lasted longer in that format.   

[Bicyclerider]

But would Brian have had to have asked Mike for any lyrical contributions?  Other than to change lyrics to make Mike happy?  It seems that the songs listed (if we are to take that list as probable, if not definite) all had lyrics by the end of '66.  I don't see his needing Van around as being for lyric writing, but rather support. 

Well he asked him to rewrite He Gives Speeches apparently.  Mike had objected to the lyrics of Cabinessence and Surf's Up, and since those songs were now too controversial, they probably would have either been dropped (as they were from Smiley) or Mike might have rewritten some of the lyrics.  It's hard to imagine partially rewriting Surf's Up - although columnated ruins domino was the phrase that particularly irked Mike, maybe he would have substituted some boy-girl love phrase or surfing terminology there .  I think Mike would have accepted Cabinessence without the over and over the crow cries line.  Child is father would probably have gotten some Hey Little Tomboy or I Wanna Pick You Up style lyrics, greatly improving the song.

[Andrew G. Doe]

If you were lucky you could get the album, at the time time the 45's were released.  That would be Pet Sounds, released in May of 1966, with Sloop John B, released a little earlier, and Wouldn't It Be Nice, later.  If you bought the album, it obviated the need to buy the single.

Care to explain why, then, enough people bought the 45 of "WIBN" to push it into the Top 10 while Pet Sounds was still in the LP Top 40 - that's my point.  And where your proffered theory falls down.

It's called fandom - you buy the singles and the albums: that the casual BB fans apparently passed on Smiley Smile very shortly after they'd almost put "H&V" into the Top 10 is hugely significant.

[filledeplage]

If you were lucky you could get the album, at the time time the 45's were released.  That would be Pet Sounds, released in May of 1966, with Sloop John B, released a little earlier, and Wouldn't It Be Nice, later.  If you bought the album, it obviated the need to buy the single.

Care to explain why, then, enough people bought the 45 of "WIBN" to push it into the Top 10 while Pet Sounds was still in the LP Top 40 - that's my point.  And where your proffered theory falls down.

It's called fandom - you buy the singles and the albums: that the casual BB fans apparently passed on Smiley Smile very shortly after they'd almost put "H&V" into the Top 10 is hugely significant.

Andrew - I cannot explain why others do what they do.  I can only tell you what I observed in the US as a teen then as a college student, at those respective times.  By the time, Wouldn't It Be Nice was released, I had the album, and did not need to waste my money.   I was saving up for my first concert!

Any more than you can explain the need to release the "Best of" Volume One, (which I bought, to build my LP collection) only weeks after Pet Sounds was released.  There are lots of mysteries in this musical odyssey.   

[Pinder's Gone To Kokomo And Back Again]

But would Brian have had to have asked Mike for any lyrical contributions?  Other than to change lyrics to make Mike happy?  It seems that the songs listed (if we are to take that list as probable, if not definite) all had lyrics by the end of '66.  I don't see his needing Van around as being for lyric writing, but rather support. 

Well he asked him to rewrite He Gives Speeches apparently.  Mike had objected to the lyrics of Cabinessence and Surf's Up, and since those songs were now too controversial, they probably would have either been dropped (as they were from Smiley) or Mike might have rewritten some of the lyrics.  It's hard to imagine partially rewriting Surf's Up - although columnated ruins domino was the phrase that particularly irked Mike, maybe he would have substituted some boy-girl love phrase or surfing terminology there . 

Ah, c'mon, that's silly. Mike wouldn't have been singing the line in question on Surf's Up, so there would have been no issue. After all he DID sing the "Chi-chi-child: father of the man, man, father of the man" part on the released version without any reported incident. I think we all make too much of him asking VDP what the "crow cries" line meant. Being asked to sing the line, the guy had every right to ask.

[drbeachboy]

I agree with Andrew here. My brother who is 9 years older than myself had all the Beach Boys 45s right through Good Vibrations, but did not start buying their LPs until 1965, when he got his first job. That all stopped with Pet Sounds. Except for WIBN/GOK and Sloop John B. he and his friends were not overly receptive to the album and their change in direction. From Heroes & Villains onward the buying of Beach Boys records fell into my hands and wallet. Though I owned 8-Track versions of Wild Honey, Friends and 20/20, I never heard Smiley Smile until I bought the Brother/Reprise 2-fer LP in 1974 or 1975. Except for Friends, I did not hear the other two (Christmas and Birthday gifts) until like 1970 or so. Like most teenage kids, LPs were a bit costly to buy with meager allowance money, but 45s at 69 cents were much more affordable. The only Boys' 45 that I did not buy was the Friends/Little Bird. My last 45 was Break Away until 1976 and Rock and Roll Music was released. By 1971 I had a part time job and money to start buying albums.

[Andrew G. Doe]

Any more than you can explain the need to release the "Best of" Volume One, (which I bought, to build my LP collection) only weeks after Pet Sounds was released.  There are lots of mysteries in this musical odyssey.  

No problem - Capitol were very concerned that Brian was way overdue with a proper new album (I doubt they considered Party ! as anything except a stop-gap), so they started compiling a best of. Pet Sounds was mastered on April 16th - I doubt that Capitol in 1966 could conceive and execute such a compilation in under 10 weeks (although it could explain the bizarre track selection !).

[OneEar/OneEye]

But would Brian have had to have asked Mike for any lyrical contributions?  Other than to change lyrics to make Mike happy?  It seems that the songs listed (if we are to take that list as probable, if not definite) all had lyrics by the end of '66.  I don't see his needing Van around as being for lyric writing, but rather support. 

Well he asked him to rewrite He Gives Speeches apparently.  Mike had objected to the lyrics of Cabinessence and Surf's Up, and since those songs were now too controversial, they probably would have either been dropped (as they were from Smiley) or Mike might have rewritten some of the lyrics.  It's hard to imagine partially rewriting Surf's Up - although columnated ruins domino was the phrase that particularly irked Mike, maybe he would have substituted some boy-girl love phrase or surfing terminology there . 

Ah, c'mon, that's silly. Mike wouldn't have been singing the line in question on Surf's Up, so there would have been no issue. After all he DID sing the "Chi-chi-child: father of the man, man, father of the man" part on the released version without any reported incident. I think we all make too much of him asking VDP what the "crow cries" line meant. Being asked to sing the line, the guy had every right to ask.

I agree, and he sang the infamous "crow" lines as well.  I am not a Mike Love fan, though I respect his right as a human and I do think he is funny sometimes, as well as having some good vocal and lyrical moments, but he certainly had a right to ask WTF?  One of the major things about Smile is that it seems Van and Brian copped out, they folded, they weren't willing or able to defend/explain/follow through with what they were doing.   It was their and our loss.

[guitarfool2002]

45's did start to see a decline at that time in the US as albums became more in vogue.  
  

There is no proof of this, but I do have to clarify that statement and assume this is from your own experiences at that time. The 45 rpm format was alive and well into the 1980's, and I can attest to that having bought 45rpm records after hearing them on my Philly local station Hot Hits 98, whose format was as influential to FM Top 40 at that time as a station like KHJ's "Boss Radio" format had been for AM radio in 1966. Many of the 45's were also being packaged in picture sleeves just like the old days, and I remember friends of mine bringing a stack of 45's over to listen.

You'd hear a song on Hot Hits 98, then at the stores they'd have the surveys above the record racks where the songs could be bought on 45's, and it was great if you didn't know the full title or artist. KHJ pioneered the tight format of the "Boss 30" weekly survey which directed which singles received the most airplay, and the Hot Hits format in the 80's copied that formula and rode a few years of incredible ratings until about 1986 when the music business changed.

I will say, having listened to as many of the airchecks from stations like KHJ and KRLA that I can find, that Sgt. Pepper was THE game-changer as far as playing album tracks alongside the singles. From summer of 67 forward, the DJ's would play Beatles album tracks alongside the singles, so you'd hear KRLA play "Blue Jay Way" in Dec 1967 or "Within You Without You" in summer 67. But it was still a singles-driven market.

We're talking about the time in which Smile was being readied for release had it been released, and the 45 rpm single was the main format for the intended audience for pop music, which was kids under 18 especially those in high school. Again, the game changed after Sgt. Pepper but singles and 45's were the bread-and-butter of the industry.

[Cam Mott]

45's did start to see a decline at that time in the US as albums became more in vogue.  
  

There is no proof of this, but I do have to clarify that statement and assume this is from your own experiences at that time. The 45 rpm format was alive and well into the 1980's, and I can attest to that having bought 45rpm records after hearing them on my Philly local station Hot Hits 98, whose format was as influential to FM Top 40 at that time as a station like KHJ's "Boss Radio" format had been for AM radio in 1966. Many of the 45's were also being packaged in picture sleeves just like the old days, and I remember friends of mine bringing a stack of 45's over to listen.

You'd hear a song on Hot Hits 98, then at the stores they'd have the surveys above the record racks where the songs could be bought on 45's, and it was great if you didn't know the full title or artist. KHJ pioneered the tight format of the "Boss 30" weekly survey which directed which singles received the most airplay, and the Hot Hits format in the 80's copied that formula and rode a few years of incredible ratings until about 1986 when the music business changed.

I will say, having listened to as many of the airchecks from stations like KHJ and KRLA that I can find, that Sgt. Pepper was THE game-changer as far as playing album tracks alongside the singles. From summer of 67 forward, the DJ's would play Beatles album tracks alongside the singles, so you'd hear KRLA play "Blue Jay Way" in Dec 1967 or "Within You Without You" in summer 67. But it was still a singles-driven market.

We're talking about the time in which Smile was being readied for release had it been released, and the 45 rpm single was the main format for the intended audience for pop music, which was kids under 18 especially those in high school. Again, the game changed after Sgt. Pepper but singles and 45's were the bread-and-butter of the industry.

Which must explain why Brian put so much time, effort, money, and thought into the singles GV and H&V. Not because he was confused or unsure but because this was the best foot forward.

[absinthe_boy]

The only way it might have worked was if Brian, Darian, VDP and the band recorded all the instrumental and lead vocals....bringing in Mike, Bruce and Al simply to record backing vox and harmonies. No artistic involvement.

Best guess is that Mike is a bit pissed off that SMiLE was a critical and commercial success....but it is just a guess. At least he's saying favourable comments about it now.