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endingdramamine
Hello here's the smile sessions in stereo :) : https://drive.google.com/file/d/1h6nJh3jokVasGHoJ71pfDhZsy71tb8-x/view?usp=share_link
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endingdramamine
I dare you to read this beautiful review of Smile and not ugly cry, everyone please do: https://rateyourmusic.com/music-review/CrystinaZ/the-beach-boys/smile/25993561
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nfopuhfxir
Smile will always be one of the greatest ‘what if’s’ in music history that fascinates me, not that Brian Wilson needs to prove his genius any more than he already has, but more in terms of the impact this might have had and how it would’ve shaped American pop music, I believe if this had come out music history could have been very different. Regardless, even in an unfinished state this is absolutely brilliant, one of the greatest pieces of music ever recorded and essential listening.
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itsyourfavbill
i wish they had van dyke park's debut on spotify. one day im gonna accidentally refer to van dyke park as dick van dyke and everyone is gonna laugh at me. this is why i dont talk about the beach boys in public
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nfopuhfxir
He also worked on Ys with Joanna Newsom, right? They don’t have that on Spotify either. So I guess Spotify can go suck a Dick Van Dyke
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PurpleFlurp16
Look (song for children) -> Child is the Father of Man -> Surf's Up, is one of the greatest musical arrangements I have ever had the pleasure of listening to.
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nigeyb
Every time I hear this (and, like you, I have the box set complete with some lovely ephemera (2 CD version - I’m not insane!)) I marvel at the ambition and invention. It’s extraordinary. Talk about pop music as art, as symphony, as something totally transcendent. No wonder it completely finished Brian as a creative force. Bonkers. Fragmented. Occasionally jaw droppingly lovely. But always fascinating. It really works as a listening experience.
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itsyourfavbill
none of my friends like it, i feel so alone. its the most beautiful thing ive ever heard
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windowswhistler
where did this track list come from lmao where did all these clean tags originate from
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journik850
Fucking fantastic. I've laid off it for now, but come April/May this will go straight back into summer circulation. Fantastic record.
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viniciusazevedo
this would've kicked Sgt Peppers' ass in an unimaginable way if it was released back then... still, even in a fragmented state, it sounds no less as a masterpiece.
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LivingShit
One thing that strikes the listener with this album is the various musical phrases that arise in other tracks after those phrases are first introduced. This latticework of self-reference is the best blueprint for reconstructing what Wilson had loosely conceived. Also, the timbres of instrumentation, the Impressionist qualities of the instrument lines rather than the music notes themselves give one a clue as to the coherence of the album. So you have Do You Like Worms reusing the harpsichord line from Heroes and Villains. The sounds of building in Workshop, the sounds of the land, the animals, work in Vegetables/I'm in Great Shape/Barnyard. The transference to wide open places on My Only Sunshine/Cabin Essence. The sudden majestic flight of the wind rolling across the open plains at the end of Cabin Essence, ushering in the air section, etc. etc.
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LivingShit
Our Prayer Heroes and Villains (Earth phase begins) Do You Like Worms? (Roll Plymouth Rock) I Wanna Be Around/Workshop Vega-Tables I'm in Great Shape Barnyard My Only Sunshine (The Old Master Painter) Cabin Essence (Air phase begins) Holidays Wind Chimes (Fire phase begins) Mrs. O'Leary's Cow (Water phase begins) Love to Say Da Da Wonderful Look (Song For Children) Child is Father of the Man Surf's Up You're Welcome
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LivingShit
@Chumsicles I'm not so sure. Part of me thinks this could have been a commercial, certainly critical success, if they would have had it together. I think I have a pretty good understanding of what Wilson was originally intending for the sequencing of the musical suites from the various anecdotal evidence I've read. He was intending it to be a phantasmagoric Impressionist sweep across the American space/time while simultaneously including a theme based on the classic alchemical elements to tie the entire endeavor to the Eternal. I don't think the Element suite was meant to be a separate work from the rest of the album, rather whole sections of the album were meant to comprise the Elements themselves; Wilson was attempting to superimpose the Elements onto the entire proceeding. I think he was going for something very akin to this: (cont. above)
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giuliavianna
"At some point, you learn that the Beach Boys weren't just a fun 1960s surf band with a run of singles that later came to be used in commercials; at their best, they were making capital-A Art. The record that convinces most is Pet Sounds, that understated 1966 masterpiece that articulates a specific kind of teenage longing and loneliness like nothing before or since. Once you've absorbed that record, you find yourself going back through songs like "Don't Worry Baby", "The Warmth of the Sun", and "I Get Around", finding a deeper brilliance where you once heard only pop craftsmanship. As you make these discoveries, you come to learn about the auteur at the center of it all, Brian Wilson, who shouldered the burden of being the creative force in one of the most successful and musically ambitious pop bands of the era. And then you find out about SMiLE." [8]
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Chumsicles
To be honest, this would have been savaged by the critics had it been released in 1967 and would've likely led to the Beach Boys breaking up prematurely
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ThoughtThouHast
And then you find out about SMiLE." That's exactly what happened to me. [7] So true, couldn't agree more!
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SenorDroolcup
"And then you find out about SMiLE." [5] This part of that paragraph gave me shivers down my spine. Nearly the same shiver level upon hearing 'Surf's Up' the first time.
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Dylanisgod2
pretty good but I personally believe that it's impossible to sequence Smile. Its many parts were not fully realized and abandoned. But that doesn't take anything away from the individual songs, which are all amazing
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