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The reason why those stickers that Nonesuch placed on the shrink wrap say "lost masterpiece" should not be of any significance. Neither should "who killed SMiLE in 1967," "who believed in SMiLE in 1967," "how would pop culture be different if SMiLE were released in 1967, as originally intended." You can think about these things if you wish, but I warn you, doing so will obscure the only factors that are of any importance with this album: 1) It's here. 2) It's brilliant. So brilliant that even though a considerable amount of it has been heard already, on bootlegs, box sets and Beach Boys albums, one listen to SMiLE in its complete and properly sequenced form causes one to shake their head in wonder, tear up and . . . smile- all at the right moments. This is not a collection of pop songs with a common theme- that was Pet Sounds, and it was stunning in its own right. THIS- is a pop symphony, consisting of three glorious movements (Americana the olde way, the life cycle, the elements) with a common thread unifying the sections- music that will make you swear you've heard the sound of angels. The bold and daring ("Heroes and Villains," "Roll Plymouth Rock," "On a Holiday") lay right beside the romantic ("Cabin Essence," "In Blue Hawaii"), the goofy ("Vega-Tables," "Barnyard") and the heavenly ("Wonderful," "Surf's Up"). And it works so well, all flowing into each other as (seemingly) easy as a V chord moves to the I. But, lest we forget, there are words to this symphony. Van Dyke Parks! Likely an English major's dream, but in a way that's he's not too lofty for everyone else. Homonyms, alliteration and the downright baffling softly ease their way over the music, giving the mind something to play with while the heart deals with the stunning progressions. "Abath and forth- a starboard course with
north abeam, sherry of course. It's really in the second movement where we most blatantly see the genius of the collaborators. The listener is happily sedated with a series of "won"s, "one"s and "child"s, while the band weaves their way through melodies that are nothing short of gorgeous (those of "Wonderful" and "Surf's Up," in specific). The band! Led by Darian Sahanaja, they faithfully follow the blueprint that was laid out for them decades ago (for that which was not left unfinished, obviously) and breathe life into that which was once considered dead. They're not the Wrecking Crew, no one can be but Hal & Co. But they are their own entity, a group of much-more-than-capable individuals, trusting of the man who gives them the music, and excited to play and sing it. Their voices drown in exuberance, corresponding identically with the music and lending a credence to the album's name. Brian's own voice is something to behold, in and of itself. I'm not going to mindlessly chant that "he sounds as strong as he did in the 1960's," when his falsetto was something of a wonder. It's scientific, that as one ages, his range or how well he hit the upper reaches of that range will be different from the way it was many decades ago. This is the case with Wilson. But what his voice has lost with age, it has gained in character. It now gives the listener the impression of a man who has experienced what no other being can ever fully comprehend. This quality makes a lyric like "Surf's Up" even more poignant than it was when he originally read it on Leonard Bernstein's TV special nearly 40 years ago. Poignant, but at the same time, less sad than it was before- no longer can the "broken man, too tough to cry" be related to Wilson. That was the Brian Wilson of 1967. The Brian Wilson of today is not a broken man, but one who has fulfilled a musical promise left unfinished. And quite magnificently. Sweet Insanity: The Brian Wilson Discography
Sweet Insanity (Unreleased- Sire, 1990) |
