Smile

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Editorial Reviews

Barnes & Noble - David Sprague
In the 30-plus years since Brian Wilson abandoned work on his ultimate "teenage symphony to God," Smile has taken on a mythic quality unlike just about any record in rock history. Depending on who tells the story -- and there are myriad variations -- Wilson descended into madness as a result of working on the disc and/or destroyed all evidence of its existence out of a belief that it would cause some sort of apocalypse upon its release. Well, the latter element of that tale turned out to be something of an exaggeration, since Wilson and longtime collaborator Van Dyke Parks holed up in a studio to refurbish those long-lost tapes -- and the results are thoroughly ...
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Editorial Reviews

Barnes & Noble - David Sprague
In the 30-plus years since Brian Wilson abandoned work on his ultimate "teenage symphony to God," Smile has taken on a mythic quality unlike just about any record in rock history. Depending on who tells the story -- and there are myriad variations -- Wilson descended into madness as a result of working on the disc and/or destroyed all evidence of its existence out of a belief that it would cause some sort of apocalypse upon its release. Well, the latter element of that tale turned out to be something of an exaggeration, since Wilson and longtime collaborator Van Dyke Parks holed up in a studio to refurbish those long-lost tapes -- and the results are thoroughly engaging, even for those with a non-functioning nostalgia gene. Some of the songs -- including classics like "Good Vibrations" and "Heroes and Villains" -- actually have been released before, and Wilson wisely doesn't stray far from his original blueprints. The new versions do, however, take on new colors in this context, particularly the former tune, which ends the disc on a joyous note, coming out of the wistful "In Blue Hawaii." Other songs get radical reworkings, such as "Roll Plymouth Rock" previously issued as "Do You Like Worms?", which has evolved from hippie-ish navel-gazing to open-armed affirmation. There's a fair share of darkness on the horizon as well, most notably the threatening instrumental "Mrs. O'Leary's Cow" -- which, in its original form, was said to be the single song that drove Wilson over the edge -- and the quavery "I'm in Great Shape," which indicates the title to be wishful thinking at best. Still, the overall impression left by Smile is a happy, if wistful one; it's the sense of a man coming to terms with his own past and using it as a stepping stone into a better future.
All Music Guide - John Bush
The white whale of '60s record-making, the Beach Boys' aborted SMiLE album gradually gained a legend that not only inflated its rumored importance and complexity, but gave credence to an odd notion -- that completing it, then or ever, was impossible. In truth, SMiLE should have been released and forgotten, reissued and reappraised, and finally remastered for the digital era and ushered into the rock canon ever since Brian Wilson halted work on it in May 1967 after an exhausting 85 recording sessions. Instead, it languished in the vaults and remained the perfect record -- perfect, of course, because it had never been finished. Reports that the recording of "Mrs. O'Leary's Cow" had caused a nearby building to burn down and whispers of "inappropriate music" gave it the character of a monster, one that cursed all those who approached it and claimed the heart and mind of its major participant. Wilson's love of "feels" -- short passages of cyclical music that could be overdubbed and rearranged countless times -- had made 1966's "Good Vibrations" the ultimate pocket symphony, but had also quickly spiralled into the instability that consumed him during its follow-up, "Heroes and Villains," projected to be the centerpiece of SMiLE. Happily, a new recording of SMiLE by Brian Wilson reveals the record as nothing more or less than a jaunty epic of psychedelic Americana, a rambling and discursive, playful and affectionate series of song cycles. Infectious and hummable, to be sure, and a remarkably unified, irresistible piece of pop music, but no musical watershed on par with Sgt. Pepper's Lonely Hearts Club Band or Wilson's masterpiece, Pet Sounds. For the first time ever, the program for SMiLE was compiled, after Brian Wilson first listened to the original recordings with his musical midwife, Darian Sahanaja of the Wondermints which has long functioned as Wilson's live backing band, and then worked them into a live show and album recording. The work that evolved divides into three sections: SMiLE begins with Americana, which takes the dream of continental expansion from the old Spanish town saga of "Heroes and Villains" to the landing at Plymouth Rock and, finally, the end of the frontier at Hawaii; it continues with a Cycle of Life that progresses from the virginal grace of "Wonderful" to the simultaneous peak and decline of the creative life on "Surf's Up"; and ends with an environmental cycle called The Elements, which includes "Vega-Tables," Earth, "Wind Chimes" Air, "Mrs. O'Leary's Cow" Fire, and "In Blue Hawaii" Water. Since Wilson himself was previously the most opposed to SMiLE appearing in any form, it's a considerable shock that this new recording justifies even half of the promise that fans had attached to it. Everything that Wilson and his band could control sounds nearly perfect. Every instrument, every note, and every intonation is nearly identical to the late-'60s tapes; one has to wonder whether vintage hand tools weren't acquired for "Workshop" and Paul McCartney wasn't flown in to add chewing noises to "Vega-Tables." The players did, however, book time at one of Brian's old haunts, Sunset Sound, and utilized a '60s tube console to record their vocals. No, the harmonies here aren't the Beach Boys' harmonies, and Brian's vocals aren't the vocals he was capable of 37 years ago, but they're excellent and best of all never distracting. Aside from the technical acumen on display, Wilson has also, amazingly, found a home -- the proper home -- for all of the brilliant instrumental snippets that lent the greatest part of the mystery to the unreleased SMiLE. Van Dyke Parks' new or newly heard lyrics fit into these compositions, and the work as a whole, like hand in glove. The former instrumentals include "Barnyard"; "Holiday," which is here called "On a Holiday"; "Look," which is now "Song for Children"; and "I Love to Say Da-Da," which is now part of "In Blue Hawaii." Most surprisingly, nearly all of this thematic unity was accomplished by merely reworking the original material already on tape, which proves that Wilson was never very far from finishing SMiLE in 1967. It's very likely that the gulf was psychological; SMiLE had few supporters among Brian's closest friends and family. Hopefully, Capitol is readying a SMiLE Sessions box set to release all of the vintage material, but it's clear that nothing they dig up from the vaults will be able to match the unity of this attractive recording. It's up to the standards of anyone who's ever scoured the bootlegs to create a SMiLE tape, and further, it beats them all, which is the highest compliment. So, if you've never been burdened with a friend's SMiLE tape before, count yourself lucky that Brian Wilson's is the first you'll hear. And if you have heard a few, prepare to listen to them much less religiously.
Rolling Stone - Robert Christgau
A triumph.

A triumph.
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Product Details

  • Release Date: 12/15/2007
  • Label: Wea Japan
  • EAN: 4943674052882
  • Catalog Number: 11916

Album Credits

Performance Credits
Brian Wilson Primary Artist, Keyboards, Vocals
Scott Bennett Guitar, Percussion, Keyboards, Vocals
Jim Hines Percussion, Drums, Saw, Mallets
Bob Lizik Bass Guitar
Dave Stone Acoustic Bass
Darian Sahanaja Percussion, Keyboards, Vocals, Mallets
Nick Walusko Guitar, Vocals
Jeffrey Foskett Guitar, Vocals, Hammered Dulcimer
Paul Mertens Harmonica, Saxophone, Woodwind, electronics
Probyn Gregory Guitar, Vocals, Human Whistle, Brass
Eric Holm Viola
Nelson Bragg Percussion, Vocals, Human Whistle
Scott Bennett Guitar, Keyboards, Vocals, Mallets
Björn Samuelsson Trombone
Andreas Forsman Violin
Anna Landberg Cello
Staffan Findin Bass Trombone
Taylor Mills Vocals, Knee Slaps
Viktor Sand Clarinet, Flute, Saxophone
Markus Sandlund Cello
Stockholm Strings and Horns Strings, Horn
Technical Credits
Jimmie Davis Composer
Van Dyke Parks Composer
Brian Wilson Arranger, Composer, Producer, Audio Production
Haven Gillespie Composer
Jim Hines Sound Effects
Morris Levy Composer
Mark Linett Engineer
Mark London Artwork
Bob Ludwig Mastering
Johnny Mercer Composer
Sadie Vimmerstadt Composer
David Leaf Liner Notes
Jeffrey Foskett Contributor
William Davis Composer
Michael Love Composer
Probyn Gregory Contributor, Whistle
Tony Asher Composer
Nelson Bragg Whistle
Beasley Smith Composer
Taylor Mills Sound Effects
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Customer Reviews

Average Rating 4
( 15 )
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(11)

4 Star

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Sort by: Showing all of 15 Customer Reviews

  • Posted October 1, 2010

    more from this reviewer

    I Also Recommend:

    Pacific Ocean Blue [Legacy Edition]
    Brian Wilson Presents Smile

    The best version of Smile

    I've listened to many of the smile outtakes and bootlegs and while great seeing this as a complete work blows them away. This version of Surf's Up is incredible better even than the millenium bootleg edition. Superb in every way. The best pop record I've ever heard.

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  • Anonymous

    Posted October 1, 2010

    Not impressed at first, but after repeated listens.. yes.

    This was an album that grew on me, I got Smile last year for Christmas and wasn't too impressed with my first listen and after hearing so many "Smile" tracks on other albums like 20/20, Surf's Up, Sunflower, and Smiley Smile I just had wished he would release what he did with the Beach Boys or at least finished it. But that being said, this IS Brian's baby, if I recall the rest of the group was not very optimistic about the record being released or even recording it. Brian wanted to finish what was the follow up to Pet Sounds and he did, I say good for him, and yes it is a "remake" but I'm sure he loved to make it. Today, Mike Love is suing Brian because of the album and the Beach Boys likeness, umm, excuse me? You originally hated the concept and didn't like Van Dyke Parks lyrics so why do you care?

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  • Anonymous

    Posted October 1, 2010

    THE MOST FAMOUS UNRELEASED ALBUM IN MUSIC HISTORY IS FINALLY RELEASED IN 2004!

    37 years, 1 Grammy and Album of the year (2004)LATER! Its been a long road for this musical genius who calls himself Brian Wilson. The original SMiLE album recorded in 1966-67 was shelved and not to be. SMiLE 2004 is a triumphant story of a musical genius who realized it was time to confront his demons of the past that nearly destroyed him and set the record that has been haunting him for so many years straight once and for all. After listening to almost all the original SMiLE tracks from the 1966-67 era and the 2004 SMiLE, I came to the conclusion that the music is almost identical. The only difference is Brian Wilson's voice. The music was copied exactly from the original SMiLE tracks chord for chord. Upon realizing this comparison, I was even more amazed as to how the original SMiLE music was even recorded in 1966-67 when there was NO TECHNOLOGY in the studio except 4 track. SMiLE 2004 is brilliant! When you listen to this album, you will realize that this album was truly ahead of its time and destined for greatness. I will be re-editing this review since there is so much to be told about this legendary album. Read the books: Brian Wilson and the Beach Boys,"How deep is the ocean" by Paul Williams, Wouldn't it be nice, My own story by Brian Wilson with Todd Gold and Look! Listen! Vibrate! Smile! by Domenic Priore. Also for the die hards as well as the curious, see the Smile 2 DVD set, it is absolutely GREAT! I am proud of Brian Wilson for finishing SMiLE and I can truly feel that his creativity and confidence are now back in full swing. My only question for Brian Wilson now is the same question that was asked after his masterpiece album Pet Sounds and Good Vibrations in 1966: What are you going to do now?

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  • Anonymous

    Posted October 1, 2010

    Average at best

    This is not the real Smile. I wonder what it would be with the real Beach Boys singing these vocal parts. If you view the documentary "Beautiful Dreamer", you will see that Brian is so out of it. It is very sad to watch him barely involved in some sessions. This smells like a money making deal for someone. It is not smile because Brian is not 23 anymore, and the Beach Boys are no more. A parody. I cannot believe so many people love this recording. I am a huge Brian Wilson/Beach boys fan, but this project cannot come close to Pet Sounds.

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  • Anonymous

    Posted October 1, 2010

    Baby Boomers Can't Accept The Truth

    With all the controversy surounding this album, I thought "why not give it a try." I am thoroughly convinced every baby boomer critic at Roling Stone, People, SPIN, and every other magazine cannot accept the fact that this album is aweful. Have you ever eaten way too much cotton candy and puked on merry-go-round at a carnival? Well here's the soundtrack to that. This is such a bloated, self important dud. I feel sympathy for every 50 year old music lover who's waited so long for this album. What a disapointment. One song may seem enjoyable, but an entire album is pushing it. I have to pose a question: why do adults hate rap music? Well it's inconsistent, overly repetitive, and pointless. Same thing with SMiLE. Don't be seduced by the lavish reviews this is getting; buy yourself some albums by the Flaming Lips or Ben Folds Five instead and realize what a real good melodic and beautiful album is.

    0 out of 1 people found this review helpful.

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  • Anonymous

    Posted October 1, 2010

    The King of Harmony has returned

    I think this album is the best thing that I've heard in many years. It is so refreshing and different from the plastic modern music that we have had to listen to for so long. Elvis is the King of Rock, Michael Jackson is the King of pop, and Brian wilson is the King of Harmony!!!

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  • Anonymous

    Posted October 1, 2010

    Truly worth the wait!

    Wonderful "concept album" that makes those of us "of a certain age" long for the 60s again. Naturally, with Brian's (unfortunately highly publicized) emotional difficulties, amateur psychiatrists are coming out of the woodwork to analyze every note. Do yourself a favor: put aside the analysis, be grateful Brian has recovered sufficiently to share this with us, listen, enjoy and SMILE !!!

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  • Anonymous

    Posted October 1, 2010

    A Brilliant, Colorful, Evocative Masterpiece

    Given the myths and legends surrounding this “album that never was”, I am quite shocked, yet ecstatic about its release finally. I owned a bootleg of the sessions, and some sections were completed, but much was left incomplete or “hanging”. Brian has now tied it all together into a masterpiece that far transcends the conception of what is possible in the creation of pop music. In my opinion, “Smile” presents a picture of the conflict between American/Western idealism, and the destructive reality that was left in wake of the pursuit of those goals. I will give an analysis, piece by piece: “Our Prayer” perhaps alludes to the spiritual vision that the founders had for the USA; the country was founded on Judeo-Christian/Masonic principles. “Heroes and Villains” represents the excitement and adventure associated with the mythological interplay of the “cowboys and indians”, and how it has been romanticized. The “Margarita” passage takes us farther along into the Wild West barrooms. Another shift in the music then captures the essence of hearty country living and its accompanying ideals with the line: “My children were raised... head to toe; healthy, wealthy, and wise. ... I’m fit with the stuff to ride in the rough”. Suddenly, with the listener being caught unaware, the piece forces the him to harbor a sense of guilt for our forefathers’ mistreatment of the American Indians in the pursuit of their own selfish goals. “Heroes and villains: just see what you’ve done” is chanted in a minor key. The next movement in the song launches into a herald of the railroad expansion occurs- The “woo-woo” intro shows the train invention’s intrusion, and the corresponding upheaval and changes it brought to society. “Roll Plymouth Rock” encapsulates the journey of the European settlers across Atlantic Ocean, and then their befriending of the Native Americans. Yet, the motif of idustrialized corruption of American Indian life recurs with the lines: “Ribbon of concrete- just see what you’ve done- done to the church of the American Indian!”, with harmonic voices that almost sound like that of scolding Indians. The chanting of tribal words which follows seems eerily symbolic of the Indians’ defiance and a curse(?) on the new settlers. The powerful, pounding, drum represents the “Plymouth Rock”(symbol for European settlement) “rolling over” the American Indians. “Barnyard” reassures us that life continued on in the western tradition after conquest. The Europeans settled into husbandry, and a vibrant view into farmlife is presented, with all of the corresponding sounds of nature. “You Are My Sunshine” is a melancholy distortion of the original version, in a minor key. This piece, which captures the 1920s ballad style, might represent the growing pessimism and loneliness associated with new American way of life. Quite by surprise, a saxophone interrupts to announce the optimism that followed with the introduction of jazz. “Cabinessence” again pulls the listener back about 30 years or so by further illustrating the westward expansion as the pioneers settle into frontier life. The U.S. Government grants of land/territory is referred to in the lyric, “I’ll give you a home on the range”. It is very peaceful and “mellow” until-- the loud, complex machinery of the automobile invention rudely makes its presence known: “Who ran the iron horse?”, which also undoubtedly refers to the Industrial Revolution. A maddening, repetitive(but beautiful) effect is created at the conclusion to perhaps represent the building tension that was afflicting farm living with Industrial society’s sense of urgency. “Wonderful” narrates

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  • Anonymous

    Posted October 1, 2010

    Should have been better

    While SMILE has become the Holy Grail of Beach Boy fanatics, this release feels empty. No longer evident are the heart, humor, and general happiness brought to mind by Pet Sounds, Carl and the Passions, or Sunflower. My rather cynical feeling is that Briam Wilson needed the cash. Very Sad.

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  • Anonymous

    Posted October 1, 2010

    A Wonderful, Musical Experience

    I was so glad when Brian Wilson got himself together three years ago. We heard him perform with the Wondermints in a medium-sized venue (Cain Park) and then we heard him perform Pet Sounds at Gund Arena in Cleveland. We were listening to "Orange Crate Art" by Van Dyke Parks at the time which contains lead vocals by Wilson so when I met Brian on an autograph line I suggested that he should write with Parks again. Son-of-a-gun, he already was and the product is "Smile." The first thing that hits me are the amazing harmonies. Then I realized that there were groups of harmonies going on all over the place. Then I started noticing the interesting instrumentation, especially the strange bass lines. Has anyone else noticed that there are motivic quotes throughout the work that unify it and make it cohesive? Considering how mixed was his recent effort three months ago, this recording is amazing; a fulfillment of something I've wanted to hear since the 60's. This is a completely realized work.

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  • Anonymous

    Posted October 1, 2010

    Revisionist Artifact

    Some real gems here, but we'd already heard most of them before. Some of the exhumed material is really self-indulgent dreck, but is worth a listen for Beach Boys fanatics.

    0 out of 1 people found this review helpful.

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  • Anonymous

    Posted October 1, 2010

    It's about time!

    The world is MORE than ready for "Smile." In fact, it is probably more the right time now than when Brian first sought to release this epic album. Just as "Pet Sounds" inspired the Beatles to issue "Sgt. Pepper," this release would surely have inspired the Beatles then (and may yet inspire another group now) to model a new theme album of their own!

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  • Anonymous

    Posted October 1, 2010

    Over the Top

    As someone who has waited to hear this work for over 35 years, I was fully prepared to be at least a little disappointed when it finally appeared. How could SMILE ever live up to the hype and hope? But amazingly Brian Wilson Presents SMILE exceeds all expectations and is a stunning composition, original, melodic and timeless. There is nothing dated or nostalgic here, just new, lush sounds to tickle the ears. How wonderful that at this point in his career Brian has triumphed beyond all imagining and at long last is recognized as the genius he truly is. Thank you, Brian.

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  • Anonymous

    Posted October 1, 2010

    God blessed us

    I flew from Sao Paulo ( Brazil ) to London ( England ), to see the 24th february show of Brian. It was magnificent. The genius is all right. Your Smile project is outstanding. A masterpiece. Good vibrations on the air. Now the project goes on CD. Thanks God, for this beautiful gift

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  • Anonymous

    Posted April 2, 2011

    No text was provided for this review.

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