Is This the Ultimate Fan Mix of “Smile”?

You probably know the story. Riding high in 1966, Brian Wilson and lyricist Van Dyke Parks began work on a new Beach Boys album. It would include the group’s #1 single, “Good Vibrations”, and be called Smile. It was going to be an amazing record (even Leonard Bernstein was impressed). But Brian eventually gave up. Various reasons have been given: opposition from at least one of the Beach Boys; Brian getting cold feet, thinking Smile wouldn’t be sufficiently “commercial”; his drug-fueled paranoia; and his inability to figure out how to put all the pieces together. Even hearing “Strawberry Fields Forever” on the radio in February 1967 (“they got their first”).

Brian finally released his version of Smile in 2004, calling it “Brian Wilson Presents Smile”. The reviews were rapturous (“better 37 years late than never”).

But fans — some of them very talented — have been using the recordings from 1966 and 1967, both official releases and bootlegs, to create their own versions of Smile. Brian left so much music to play with.

Earlier this week, someone who calls himself “Mtt_Brand” on Reddit and “jsp444” on YouTube, whose real name is apparently Jack Stedron, uploaded a version of Smile that he says he worked on for three years. My first reaction was that Smile might have sounded something like this if it all had worked out in 1967.

This recording, Smile: the JSP Mix, uses technology that obviously wasn’t available in the 60s. It might be the ultimate fan mix of Smile. It’s certainly the best I’ve ever heard.

Lyrics, Dreams, the Internet, But No Politics

Yesterday on Twitter, somebody started a thread asking for people to post the best opening lyrics of a song. The first entry I saw was from “Thunder Road”, a wonderful song: “A screen door slams, Mary’s dress waves”. That’s a good opening line, but it doesn’t even rhyme with what comes next.

Idle hands and an idle mind led me to look at the opening lyrics for another wonderful song: “Surf’s Up” (which I didn’t put on Twitter). Van Dyke Parks wrote the words for Brian Wilson’s music:

A diamond necklace played the pawn
Hand and hand some drummed along, oh
To a handsome man and baton

But there was a problem. The Genius lyrics site shows the third line as:

To a handsome mannered baton

There’s a note that says these were the original lyrics. Somebody else marked that as “a stretch”. I quickly acquired an account on Genius and put in a correction, based on the fact that most people say it’s “a man and baton”, those are the words Carl Wilson seems to have sung on the original recording, and contemporaneous sources don’t disagree:

At home, as the black acetate dub turned on his bedroom hi-fi set, Wilson tried to explain the words. “It’s a man at a concert,” he said. “All around him there’s the audience, playing their roles, dressed up in fancy clothes, looking through opera glasses, but so far away from the drama, from life—‘Back through the opera glass you see the pit and the pendulum drawn.’”

The 1971 Beach Boys LP had a lyrics sheet, but, having moved on from vinyl, I sold that album years ago. The other side of the lyrics sheet showed parched earth, counterintuitively for a group that still called themselves that and an album with a metaphorical reference to the ocean in its title. I didn’t have the old lyrics sheet, but the internet, as it so often does, came through:

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Expanding the image revealed that, yes, it’s “a man and baton”. Victory was mine!

(The album was released at that brief moment in time when Mike Love, shown in the middle there, was willing to appear in public without a hat — the long beard compensated for his thinning on top.)

I thought that was the end of the matter (although scientific, historical and aesthetic matters never really end). Further research revealed that no, it’s not that clear what the lyrics are supposed to be.

Eight years ago, a contributor to a Beach Boys message board wrote:

For the record (pun intended) Carl got the lyrics wrong when he copied them down listening to Brian’s demo. It’s . . . “a mannered baton”.

And there it is, in the 2011 box set, The Smile Sessions:

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A handsome mannered baton! Victory is no longer mine!

But what are a song’s lyrics anyway? If there’s a conflict, are the lyrics what the composer originally had in mind? Or what was first performed for the public? Are the lyrics what was written on the original manuscript or what everybody sings today (such as this guy or this other guy)? There is no definitive answer.

Fortunately, in most cases, there is no conflict. Consider “The Star Spangled Banner”. Nobody argues whether it’s “bombs bursting in air” or “bombs bursting for air”. We all know the words (for the most part).

This brings me to a very brief account of last night’s dream. Two men with great voices were singing our national anthem in a big stadium. One of them made a mistake. He sang “bombs bursting for air”. That’s all I remembered when I woke up.

I mention this because there was an article this week called “For the love of America, stop playing the national anthem before sporting events”. The writer’s thesis is that “it’s not an act of genuine patriotism, it’s a ritual of joyless conformity”. The article was in response to a small controversy:

This week, Dallas Mavericks owner Mark Cuban confirmed that for the entirety of the current National Basketball Association’s season and preseason, the national anthem wasn’t played prior to his team’s home games. No one had noticed until Cuban confirmed it with The Athletic.

The NBA told The Athletic that given the bizarre and difficult circumstances of the pandemic era, they were fine with teams deciding how to conduct their pre-game operations. But after conservative pushback the league quickly relented, as did Cuban, and just like that we’re back to the business-as-usual of acting out a quasi-religious devotion to a tuneless song about war.

Personally, I like singing the national anthem with a big crowd. It’s one of the times I feel patriotic. And it’s always interesting to hear somebody sing it in public, wondering if they’ll remember the words.

The only reason I found this dream interesting and why I’m sharing it now is that it’s one of those times when it looks like a person’s brain put two and two together and came up with something else. My brain was apparently doing its nightly cleanup. It found a memory of an article about the national anthem and another memory about the questionable lyrics to a song and combined those fragments into a little story about somebody screwing up the lyrics in front of thousands of people (who could be the thousands of people who see stuff on the internet). Dreams don’t necessarily mean anything but it’s nice when they seem to.

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Sometimes the Internet Works For Us

Yesterday, I visited YouTube to see what the algorithms had for me and saw this video:

Brian Wilson – Don’t Talk (Put Your Head On My Shoulder) (Demo Vocal Tracks)”

It’s 2 1/2 minutes of Brian and I guess some of the other Beach Boys performing background vocals for a beautiful song on the Pet Sounds album, my all-time favorite (and #2 in the recent Rolling Stone Top 500 — “Who’s gonna hear this shit?” Beach Boys singer Mike Love asked. . . ).

This morning, the video popped up again. While I was listening, I noticed a link to a song by Fleet Foxes, one of my favorite groups:

Fleet Foxes – Shore (Full Album) 2020 

Fleet Foxes has a new album out? I didn’t know. So I played the first track:

“Wading In Waist-High Water”

It’s beautiful. Fleet Foxes often remind me of the Beach Boys. I wondered how the new album, released in September, was being received. A search for “Fleet Foxes Shore” turned up a review from Pitchfork magazine.

On his fourth album, singer-songwriter Robin Pecknold refines and hones Fleet Foxes’ crisp folk-rock sound, crafting another musically adventurous album that is warm and newly full of grace. 

They gave the album an 8.3, which sounds high.  

As I was looking at the review, I saw this:

Elsewhere, there are explicit nods to contemporary classical music, as on “Jara,” which features hocketing by Meara O’Reilly, and “Cradling Mother, Cradling Woman,” which pairs O’Reilly with a snippet of Brian Wilson counting to resemble Philip Glass’ Einstein on the Beach, and, in its sampling, also recalls the early work of Steve Reich. 

A snippet of Brian Wilson counting? Well, I had to click on that.

Surprise, surprise! It turned out to be:

Brian Wilson – Don’t Talk (Put Your Head On My Shoulder) (Demo Vocal Tracks)”

Yes, YouTube had twice recommended one of the thousands of Beach Boys/Brian Wilson videos they offer, of which I’ve watched many, and that took me to somebody else’s album, which uses part of that particular Pet Sounds session, which is in a YouTube video that’s probably getting attention because Robin Pecknold borrowed Brian Wilson counting “one-two-three-four” for his new Fleet Foxes album, Shore.

In the old days, only ten years ago, I might have quickly ordered the new Fleet Foxes CD. The internet would have succeeded in selling me something. But since CD technology is fast disappearing and I almost never play one except in our 16-year old car, there’s no rush. I can play the whole thing on Spotify and see if I want a copy for the car. 

Was I manipulated? Sure. Were a few more bytes of my data stored away in Google’s innards, only to be mined for heaven knows what purposes? Yeah. But sometimes it’s nice to be a tiny cog in a vast machine, even something to be a little bit thankful for.

Smiles from 1967, 2004, 2011 and even 2002

After releasing Pet Sounds and “Good Vibrations” in 1966, Brian Wilson tried to keep it all going with Smile in 1967. Things didn’t work out, so Smile became rock music’s most famous, most well-regarded, unfinished, semi-existing album. Brian and the other Beach Boys went on to lesser things (as did Brian’s lyricist for the project, Van Dyke Parks), while the legend of Smile grew.

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I use the word “legend” because in this case it’s appropriate. The story was told again and again. Unreleased recordings were quietly shared. Speculation abounded among certain Beach Boys fans. Would the group ever finish Smile? What would it be like when we finally got to hear it? What would people have thought in 1967 if Smile had come out before Sergeant Pepper? The Beach Boys and Beatles were having a friendly competition in the mid-60s. We know how that came out.

Brian Wilson, having begun a solo career in the 80s, changed the Smile story in a big way in 2004. Overcoming considerable obstacles, he and his band debuted Smile at a February concert in London. From The Guardian:

So how good, finally, is Smile, the great lost song cycle that Brian Wilson kept the world waiting 37 years to hear? The only possible answer, after Friday night’s world premiere in London, is that it is better than anyone dared hope. Multiple spontaneous ovations were the reward for the former Beach Boy and his musicians, whose pristine performance breathed life into a 45-minute work previously known only through various shattered and dispersed fragments.

Seven months later, Brian Wilson presented us with Brian Wilson Presents Smile. Metacritic, a site that tries to synthesize critical opinion, has it down as the third-best reviewed album of the 21st century:

Well, better 37 years late than never. Originally intended to be the Beach Boys’ 1967 follow-up to their legendary ‘Pet Sounds,’ ‘Smile’ was finally recorded as originally intended in April 2004 by Wilson and his current band, including co-songwriter Van Dyke Parks.

“Originally intended” is a stretch, since nobody, including Mr. Wilson, really knows how he intended to put Smile‘s pieces together in 1967. (Not being able to put the pieces together was a very big part of the problem.)

In 2011, Capitol Records released a big set of Beach Boys recordings from the 60s, The Smile Sessions, also to great acclaim. And that was that.

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Except that while we were waiting those 37 years, a number of us (hundreds of us? thousands?) created our own versions of Smile, using whatever pieces were available (legally and otherwise). I did one in 2002, two years before Brian did. If only he’d asked me for help in 1967!

Mine differs from the typical unofficial arrangement, mainly in two ways. I started with something someone put together from mostly instrumental tracks and called “The Elements”. I think it’s an excellent prelude to what comes later. I also used a version of the song “Wonderful” from the Smiley Smile album (what the Beach Boys released in lieu of Smile), not the original “Wonderful” with a harpsichord that most fans seem to prefer. I like the later one a lot more.

Anyway, here’s my Smile from 2002 in two formats up in the Microsoft cloud (YouTube objected due to copyright):

Audio only (MP3, 55 mb)

Audio plus unsophisticated video that identifies the tracks (MP4, 52 mb)

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(By the way, whether or not you watched any of that ridiculous “debate”, please vote and send the maniac back to private life and almost certain criminal prosecution.)

Distraction for a Saturday Afternoon (or Sunday)

Rolling Stone, still in business after 52 years, took a poll of 300 people in the music business to create a new “500 Greatest Albums” list. They polled 271 people in 2003 to do the same.

I’ll offer no opinion, except to note that hundreds of people supposedly submitted lists of their Top 50 albums, from which the magazine generated the Top 500. How did Rolling Stone find 300 people willing to make that kind of effort? Did they let their kids or dogs weigh in?

Anyway, it’s interesting that albums by Marvin Gaye and the Beach Boys were the only ones to stay in the Top 10 between 2003 to 2020. The Beach Boys stayed at #2 and Marvin Gaye rose from #6 to #1.

Everything else in 2003’s Top 10 went down, although none of them fell out of the Top 40. 

In the 2020 list, Abbey Road jumped ahead of four Beatles albums from the 2003 list. Three albums on the 2020 list didn’t even make the Top 50 in 2003. Lauryn Hill’s 1998 album went from #312 to #10. That’s quite a jump. (And Rumours, Fleetwood Mac’s 1977 mega-seller, is more popular now than it was in 2003? That’s just weird.)

2003 2020 2020 2003
1 The Beatles, Sgt. Pepper 24 1 Marvin Gaye, What’s Going On 6
2 The Beach Boys, Pet Sounds 2 2 The Beach Boys, Pet Sounds 2
3 The Beatles, Revolver 11 3 Joni Mitchell, Blue 30
4 Bob Dylan, Highway 61 Revisited 18 4 Stevie Wonder, Songs in the Key of Life 57
5 The Beatles, Rubber Soul 35 5 The Beatles, Abbey Road 14
6 Marvin Gaye, What’s Going On 1 6 Nirvana, Nevermind 17
7 The Rolling Stones, Exile on Main St. 14 7 Fleetwood Mac, Rumours 26
8 The Clash, London Calling 16 8 Prince and the Revolution, Purple Rain 72
9 Bob Dylan, Blonde on Blonde 38 9 Bob Dylan, Blood on the Tracks 16
10 The Beatles, The White Album 29 10 Lauryn Hill, The Miseducation of Lauryn Hill 312

Someone kindly made a YouTube playlist for Marvin Gaye’s 1971 album What’s Going On. The title track sure fits 2020:

Making Pet Sounds playlists is a cottage industry. I’d forgotten that I made one comprising stereo versions of the original 13 tracks three years ago. It’s been viewed 400,000 times.

On the other hand, the one I did called “If Pet Sounds Was, God Forbid, an EP”, which only includes four tracks, has been viewed 7 times. That sounds right. 

PS: If enough of us vote for our favorite candidates this year, not our favorite albums, we can damage the Republican Party for decades. Wouldn’t that be wonderful, not just nice?