In this series of essays, I will share my thoughts on Brian Wilson’s unfinished SMiLE album from 1966-1967. The Beach Boy’s discography has had a more profound impact on my life than any other media I’ve ever consumed, and I consider SMiLE to be the pinnacle of their output. I’m not trying to disrespect the later 2003-04 solo reconstruction but, weighing the evidence, I believe the original project would have taken a much different direction and I would like to present my argument for why that is. I believe this alternate reconstruction is superior and deserves wider recognition. It is my hope that this “thesis” will persuade my readers to rethink the music and how best it ties together.
Part 1 | Background
Prologue: The Impact of the Beach Boys on My Life
Chapter 1: The Packaging and Auxiliary Materials
Chapter 2: The Men Behind the Music
Part 2 | Zen Jigsaw Puzzle
Chapter 3: The Album’s Structure
Chapter 4: My Fan Mixes
(Post Script): My Last Mix
Part 3 | Philharmonic Fantasia
Chapter 5: The Americana Songs
Chapter 6: The Innocence Songs
Chapter 7: The Elements & Outtakes
Part 4 | Tragicomedy in 2 Discs
Chapter 8: Psychedelic Sounds Disc 1
Chapter 9: Psychedelic Sounds Disc 2
Part 5 | Witnesses of Wonderment
Chapter 10: The “Gospel” of Vosse
Chapter 11: The “Gospel” of Anderle
Chapter 12: The “Gospels” of Siegal & Hutton
Part 6 | Trinity of Psychedelia
Chapter 13: Mute Muses
Chapter 14: Symphony of the Stars
Part 7 | Beyond the Music
Epilogue: Brian Wilson’s Solo Output
Appendix: Sources for Further Research
Sequel? : An Aquarian Testament
(^This last segment was my original project, intended to be an “answer” to SMiLE the way Sgt. Pepper was an “answer” to Pet Sounds which itself was an “answer” to Rubber Soul. It was inspired by my experiences with psychedelics and what I’d read of the Age of Aquarius, a subject that came up during my research into SMiLE‘s conception.)
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