Teen Beach Movie 2 Album Lyrics
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For the album that was released in 1967, see Smiley Smile. For the compilation that was released in 2011, see The Smile Sessions. Studio CBS Columbia Square, Gold Star Studios, Sunset Sound Recorders, United Western Studios, and misc. Working with lyricist Van Dyke Parks, Smile was composed as a multi-thematic concept album, existing today in its unfinished and fragmented state as an unordered series of abstract musical vignettes.
The album’s collapse has been attributed to several personal, technical, and legal issues which surrounded its making. The majority of its backing tracks were completed between August and December 1966. A deadline set for January 1967 was missed, and Parks soon distanced himself from the project. As a solo artist, Wilson reinterpreted the project for concert performances in 2004, and then followed up with the studio album Brian Wilson Presents Smile.
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Although he had ostensibly completed the work, Wilson stated that his 2004 arrangement differed substantially from how he had first conceptualized the album during the 1960s. On May 16, 1966, the Beach Boys released their 11th studio album, Pet Sounds, a project largely conceived and directed by bandleader and principal songwriter Brian Wilson. He intended the album as a unified collection of art pieces which belong together yet could stand alone. Wilson concurrently planned a follow-up single, “Good Vibrations”.
During the recording sessions for Pet Sounds, he began changing his writing process. Besides providing the majority of Smile’s lyrics and thematic direction, he also participated in sessions as an instrumentalist. By early 1966, Wilson was fixated on moving the Beach Boys beyond their signature surf and hot rod aesthetic, which he believed had gone stale, and was in the process of expanding his social circle to include a mix of worldly-minded friends, musicians, mystics, and business advisers. Parks and Wilson were introduced to each other by mutual friends David Crosby and Terry Melcher, and Parks would often visit Wilson’s home while he was working on Pet Sounds. In preparation for the writing and recording of the album, Wilson purchased about two thousand dollars’ worth of marijuana and hashish. The Smile sessions were intentionally limited to recording short interchangeable fragments also referred to as “modules”.
With “Good Vibrations”, Wilson further expanded his modular approach to recording, experimenting with compiling the finished track by editing together the numerous sections from multiple versions recorded at the lengthy tracking sessions. You could put them one in front of the other, or arrange it in any way you wanted. Carl Wilson likened the assembly process to film editing, a view shared by Smile archivist Alan Boyd who stated: “I think he was right about that. The kind of editing that the project required seemed more like the process of putting a film together than a pop record. Marshall Heiser interpreted the album’s style of jumpcuts a “striking characteristic”, and that they “must be acknowledged as compositional statements in themselves, giving the music a sonic signature every bit as noticeable as the performances themselves.
There was no way this music could be ‘real. Fifty hours of tape was amassed from a ten-month-long course of album recording sessions. Work on what would have been the core album track “Good Vibrations” begun in February 1966 during the Pet Sounds era. Three months later in May, an early tracking of “Heroes and Villains” was attempted. Smiley Smile sessions immediately followed at Brian Wilson’s home studio on June 3. In 1966 after being asked by a journalist how he would label his new music, Wilson responded, “I’d call it contemporary American music, not rock ‘n’ roll. Rock ‘n’ roll is such a worn out phrase.
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Various surreal comedy skits were recorded during the sessions as part of a “Psycodelic Sounds” series. An unused skit was also recorded by Brian with session drummer Hal Blaine to promote a then-proposed “Vega-Tables” single release. This LP will include “Good Vibrations” and “Heroes And Villains” and ten other tracks lots of humor—some musical and some spoken. No official track sequencing was decided in 1967, and although numerous track listing and running orders were eventually established decades later, Brian has stated that the original Smile would have been “less uplifting” than his finished 2004 version. Brian Wilson attempted countless mixes and arrangements of “Heroes and Villains” using inventive modular recording methods that were reminiscent of musique concrète. Heroes and Villains” was the ultimate keystone for the musical structure of the album, and the considerable time and effort that Wilson devoted to it is indicative of its importance, both as a single and as part of the Smile narrative.
Like “Good Vibrations”, it was edited together from many discrete sections. All of the other tracks were either not recorded or only exist in part-completed form, and many Smile-era recordings lack their full vocal arrangements, lyrics and melodies. Many of the shorter tracks, along with many other brief instrumental and vocal pieces, were evidently intended to serve as bridging sections that would have been edited in to provide links between the major songs. One Smile motif, a simple rhythmic and melodic theme referred to as “Bicycle Rider”, initially served as a B section to the piece “Do You Like Worms? Desiring a delicate approach to sound, Wilson avoided the tradition of using standard rock percussion. It was just more textural, more complex and it had a lot more vocal movement. Good Vibrations” is a good example of that.
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With that song and other songs on Smile, we began to get into more esoteric kind of chord changes, and mood changes and movement. You’ll find Smile full of different movements and vignettes. Each movement had its own texture and required its own session. Cabin Essence” was a tough one. Online journal Freaky Trigger states: “While the lyrics are usually pretty damned literary, at their most extreme, they’re divorced from any kind of meaning in the straightforward sense. Paul Williams, from Back to the Miracle Factory, c.
Smile references some specifically, it is only in passing. Most of the album’s thematic direction was given to Parks with hardly any instruction from Wilson. It is generally acknowledged that Wilson and Parks intended Smile to be explicitly American in style and subject, a conscious reaction to the overwhelming British dominance of popular music at the time. In reference to how George Gershwin “Americanized” jazz and classical music, Wilson in his own words intended to “‘Americanize’ early America and mid-America”.
Everyone was hung up and obsessed with everything totally British. Aside from focusing on American cultural heritage, Smile’s themes include scattered references to childhood, physical fitness, poetry, and God. Arthur Koestler’s book, The Act of Creation, had a profound effect on Wilson that carried deeply into the Smile project, specifically the human logistics of laughter. He ran up to Big Sur for a week, just ’cause he wanted to get into that, up to the mountains, into the snow, down to the beach, out to the pool, out at night, running around, to water fountains, to a lot of water, the sky, the whole thing was this fantastic amount of awareness of his surroundings. So the obvious thing was to do something that would cover the physical surroundings. Capitol began production on a lavish gatefold cover with a twelve-page booklet in December 1966.