The Beach Boys: The Smile Sessions

Understand this: The Beach Boys’ Smile is unfinished. It was unfinished back in 1967, when Brian Wilson decided to abandon the project that was literally driving him insane, and it remained unfinished even after Wilson recorded a simplified version of Smile in 2004 and took it out on the road. The rudiments of what Wilson and lyricist Van Dyke Parks intended for Smile were there in the ’04 album, which sequenced the album’s scattered songs—many of which had ended up on later Beach Boys records in some form or another—into three suites, loosely engaging with the story of America and the sense of the divine that can be found in music. But when Wilson and The Beach Boys were actually working on Smile in the year after the creative breakthrough of Pet Sounds, they recorded hundreds upon hundreds of fragments, which Wilson intended to shift and weave and stack much as he did with the hit single “Good Vibrations.” Wilson—who, admittedly, was pretty high at the time—spoke of reaching listeners on a pre-conscious level, rekindling the childlike joy of making musical sounds by combining his own songs with nursery rhymes and classic Americana. So he and his bandmates (and an army of session men) created sound after sound after sound, which Wilson tried to sort through and combine, the way a symphonic composer would use the instruments in an orchestra. In the end, the mission proved both too complicated and too vague to complete.
It’s telling that the new Beach Boys box set is called The Smile Sessions and not Smile, because nobody involved with assembling this behemoth intends to imply that this is the album Wilson was going to make before it all slipped away from him. The Smile Sessions is available in various configurations, but each of them is anchored by a version of Smile that follows the blueprint of the 2004 album, using the original 1966-67 tracks. The more expensive sets add alternate takes and snippets, including over an hour’s worth—each!—of “Heroes And Villains” and “Good Vibrations” material. These aren’t complete performances of the songs repeated over and over; that’s not how Wilson worked on Smile. These are anywhere from thirty-second to eight-minute recordings of musicians laying down riffs and making noise under Wilson’s direction, for purposes even Wilson couldn’t have fully explained at the time. In the case of “Heroes And Villains”—a three minute song that sounds like 10 other songs cut-and-pasted together—the hour of outtakes amounts to roughly two dozen original Beach Boys instrumentals, some of which the band later repurposed, on Smile and elsewhere.