Collapse of Smile

The album's projected cover artwork

The collapse of Smile is often reported as the pivotal episode in the decline of American rock band the Beach Boys and their principal songwriter Brian Wilson.[1][2] The album's cancellation has been attributed to several factors: internal resistance towards the project; legal battles with Capitol Records; the prolonged formation of Brother Records; technical difficulties with recording; Carl Wilson's draft battle; and Brian Wilson's escalating substance abuse, mental health issues, and creative dissatisfaction.

The original Smile sessions spanned February 1966–May 1967. A stopgap album, Smiley Smile, was recorded throughout June 1967 and released three months later in September. Smile was abandoned and left incomplete while Wilson gradually abdicated his leadership of the band and retreated from the public eye; over the ensuing decades, he became disabled by his mental health problems to fluctuating degrees.[3][2] Following his reemergence as a solo artist, in 2004, Wilson completed a rerecorded version of the album: Brian Wilson Presents Smile.[2]

Background and context

Indicative of the Beach Boys' popular status between 1966 and 1967, they had been twice voted as the world's number one vocal group within readers polls conducted by UK magazine NME; ahead of the Beatles and the Rolling Stones.[4] It was reported that during this time, Wilson had been forcibly assumed into a benefactor role for the band and his family, which added to his hesitancy in delivering a product that had the potential to be a great commercial failure.[5] Wilson had also exhibited varying signs of poor mental health before this point, such as at the end of 1964 where he suffered a nervous breakdown while on a flight to Houston.[6] By December 1966, Wilson had completed much of the album's backing tracks. When the Beach Boys returned from their tour of Britain, they were confused by the new music he had recorded and the new coterie of interlopers that surrounded him.[2][nb 1]

We started to get indications that Brian was taking some hallucinogens, like LSD and stuff like that—a lot of the writers were doing that at the time—but it took a tremendous toll from him. He drove me around the parking lot of William Morris about twenty times, explaining to me about this great trip he had just taken, and I just wanted to be as far away from that as possible! Because I didn't want to know about it—I wanted the innocence!

—Al Jardine, 1998[9]

By the beginning of 1967, Wilson's behavior became increasingly erratic, and his use of drugs escalated. For instance, taking advice from his astrologer who told him to beware of "hostile vibrations", Wilson holed up in his bed for days smoking cannabis and eating candy bars.[10] Writer Jules Siegel was also exiled from Wilson's social circle on the grounds that his girlfriend had been disrupting Wilson's work through ESP.[11] While such actions were a concern for some of his friends and many similar stories of his sometimes bizarre off-duty behavior became the stuff of legend, those who worked for him during this period have stated that he was totally professional in the studio.[12]

On May 6, 1967, Derek Taylor announced to the British press on May 6, 1967 that the Smile tapes had been destroyed and would not see release.[13] Later that month, Taylor terminated his employment with the group in order to focus his attention on organizing the Monterey Pop Festival, an event the Beach Boys declined to headline at the last minute. This cancellation came to be seen as an admission of the band's failure to integrate with the burgeoning 1960s counterculture, resulting in a cataclysmic blow to their reputation.[14]

In 1983, Carl Wilson reflected: "In the middle of all this, Brian just said, 'I can't do this. We're going to make a homespun version of it instead. We're just going to take it easy. I'll get in the pool and sing. Or let's go in the gym and do our parts.' That was Smiley Smile."[15] This decision ultimately relieved Brian, who felt that "the Smiley Smile era was so great ... I didn't have any paranoia feelings".[16] In 2011, Brian stated that he himself had requested Capitol Records to keep Smile unreleased: "We didn't tell them for how long. We told them 'For a while.'"[17] Several months after the project's collapse, a memoir written by Siegel was published in an article for Cheetah magazine entitled "Goodbye Surfing, Hello God!". Many of the project's subsequent myths and legends would later derive from this single article.[18][19]

Legal battles

Further information: Brother Records
The Capitol Records Building in Hollywood

In a 2011 press statement, Capitol/EMI stated: "The reason Smile did not see release in 1967 had more to do with back room business … than anything else."[20] In October 1966 the band began establishing Brother Records with noted difficulty.[21] On January 3, 1967 Carl Wilson refused to be drafted for military service, leading to indictment and criminal prosecution which he challenged as a conscientious objector[22] and in March 1967, a lawsuit seeking US$255,000 (US$1,810,000 today) was launched against Capitol Records over neglected royalty payments.[23] Within the lawsuit, there was also an attempt to terminate the band's contract with Capitol, a legacy of Murry Wilson's management, prior to its November 1969 expiry.[23] The case was settled out of court, with the band receiving their $200,000 in exchange for Brother Records to distribute through Capitol Records, along with a guarantee that the band produce at least one million dollars profit, which has been recalled by Michael Vosse as a point "when things started getting bad."[24]

Writer Paul Williams saw that "Ironically, the independence that forming Brother Records was supposed to bring to Brian Wilson and the Beach Boys was the very thing that knocked Smile–and the Beach Boys–out of the water. David Anderle's initial idea in the formation of Brother Records was sound, but the time it takes to put this type of thing through the courts was not conducive to the production race that was important during this period of radical change in pop."[25]

Brian Wilson's paranoia

Rumors of leaked tapes

Although Brian's paranoia was consuming him, it was not completely unfounded. Domenic Priore has posited that he had good reason to be wary of his surroundings, pointing to his high position in the music industry and an instance where the master tapes for "Good Vibrations" had been stolen by an unknown party for three days.[26] Rumors were abound that the Smile tapes were being leaked from their Los Angeles studios, and that Brian believed — as a result — the 1967 Sagittarius single "My World Fell Down" was a deliberate Smile pastiche.[27] Brian's ill-perceived security of these studios are said to have contributed to his decision to construct his own personal recording studio.[27][25]

Parks believes that Derek Taylor facilitated the Beatles with Smile acetates while they were in progress with their 1967 LP Sgt. Peppers Lonely Hearts Club Band, explaining: "They heard Smile in part—the first eight-track—up at Armen Steiner's studio at Yucca and Argyle. It was after Brian found out that they had been in the studio, we heard. We walked into the place and heard that the Beatles had been there. We knew that the nest had been found, and Brian was very sad. He felt violated, raped. So we didn't go back there; we took the tapes and Brian got an eight-track machine. It was easier than losing the security he wanted, but the damage had been done." He asserts that Brian's attitude changed completely after the episode, making him "question the loyalties of the people who were working for him," and that to be "invited to a session was a big deal in those days, and certainly to know what Brian’s process was would be something that everybody desired at that time, because he was such an opinion-maker and he was inventing new formats, new ways of working."[28][nb 2]

Fear of rejection

It was also a thing of, "What if it didn't turn out to be great, what if it had totally flopped?" That would have completely destroyed him [Brian]. We would have lost him forever in terms of having any communication with him.

—Carl Wilson, 1983[15]

Brian's mindset during Smile was that whichever next big statement on popular music was marketed first was the one which would set the standard against which all other albums would have to be judged.[29] Reportedly, his first exposure to the Beatles' February 1967 single "Strawberry Fields Forever" affected him. He heard the song while driving his car and pulled over to listen, commenting to his passenger Michael Vosse that the Beatles had "got there first,"[30] although he denied the story's accuracy in later years, affirming that the song had not discouraged him.[31] At the time, Brian was reportedly having doubts on whether Smile would still be received as a culturally relevant work among record-buyers and the contemporary rock audience.[32]

"Heroes and Villains"

Main article: Heroes and Villains

In the months leading up to the debut of the single "Heroes and Villains", it had garnered a considerable amount of hype, with many publications referring to it as another recording milestone on par with the innovations present in "Good Vibrations". In June 1967, Wilson personally delivered an exclusive acetate of "Heroes and Villains" to radio station KHJ by limousine.[5] As Wilson excitedly offered the vinyl record for radio play, the DJ refused, citing program directing protocols, which Terry Melcher recalls "just about killed [Brian]".[33] Jardine believes that the version of "Heroes and Villains" that Brian had completed was a "pale facsimile ... He purposefully under-produced the song … It was lost because Brian wanted it to be lost. He was no longer interested in pursuing number one.[34]

Upon its release in July, "Heroes and Villains" disappointingly peaked at only number 12 on the Billboard pop charts, and was met with general confusion amongst underwhelming reviews. This included the seminal rock figure Jimi Hendrix negatively describing the single as a "psychedelic barbershop quartet" to NME.[35] Wounded by the relative indifference to "Heroes and Villains," Wilson's emotional state began to plummet further, as the band's future manager Jack Rieley wrote for an online Q&A on October 18, 1996:

Brian blirted [sic] it out one evening at [his home], and later spoke about it several times in agonizing detail. He had expected that [the single] would be greeted by Capitol as the work which put the Beach Boys on a creative par with the Beatles. All the adoration and promotional backup Capitol was giving the Beatles would also flow to his music because of ["Heroes and Villains"], he thought. And the public? It would greet [the song] with the same level of overwhelming enthusiasm that the Beatles got with record after record. As it was, Capitol execs were divided about [the song]. Some loved it but others castigated the track, longing instead for still more surfing/cars songs. The public bought the record in respectable but surely not wowy zowy numbers. For Brian, this was the ultimate failure. His surfing/car songs were the ones they loved the most. His musical growth, unlike that of Messrs. Lennon and McCartney, did not translate into commercial ascendancy or public glory.[36]

Other noted episodes

Artist's rendering of the Great Chicago Fire of 1871, the event which "Fire" was based on

Following the recording session for the "Fire" section of "The Elements" at Gold Star Studios on November 28, 1966, Brian became irrationally concerned that the music had been responsible for starting several fires in the neighborhood of the studio.[30] Brian falsely claimed for many years that he had burned these session tapes,[37] but that was not the case, although he did abandon the "Fire" piece for good. Parks deliberately stayed away from the session—during which Brian encouraged the musicians to wear toy firemen hats—and that he later described Brian's behavior as "regressive,"[38] something which band mates also observed during and after this session.[39] Besides the "Fire" session, Parks was uncomfortable being placed in the middle of the overwhelmingly drugged atmosphere that typical Smile sessions beheld,[40][41] which he has said to have indulged in only at Brian's insistence.[42]

Brian went to see the movie Seconds after hearing that Phil Spector was one of the film's investors. It briefly impacted Brian, who had entered the theater late, and upon arriving heard Rock Hudson's character "Mr. Wilson" greeted on screen, mistaking that the film was talking directly to him. He would expound on the experience saying that it had "completely blown" his mind, and that, "The whole thing was there. I mean my whole life. Birth and death and rebirth. The whole thing. Even the beach was in it, a whole thing about the beach. It was my whole life right there on the screen. … I mean, look at Spector, he could be involved in it, couldn't he? He's going into films. How hard would it be for him to set up something like that?…You can understand how that movie might get someone upset under those circumstances."[43][nb 3]

David Anderle was head of the Beach Boys' label Brother Records during the period when Brian was working on the Smile album. Anderle painted a portrait of Brian , which reportedly frightened him when he saw it, convinced that Anderle had somehow captured his soul on canvas. Anderle would go on to tell Rolling Stone years later that things had not been the same between him and Brian afterward.[5] In subsequent years, participants have acknowledged that the lack of mental health awareness in the 1960s made it difficult for people to comprehend what was happening to Brian or how to best approach the symptoms that were arising at an overwhelming pace.[nb 4]

Group infighting

Further information: Pet Sounds § Group infighting

In 1975, Derek Taylor told NME: "A key factor in the breakdown had to be the Beach Boys themselves, whose stubbornness by this time had seemingly twisted itself into a grim determination to undermine the very foundations of this 'new music' in order to get back to the old accepted, dumb formulas."[48] The group feared that the album's musical adventurousness would prevent its commercial success.[2] Danny Hutton reflected in 2012 that during the sessions for Smile and Pet Sounds there was worry in the Beach Boys camp that they wouldn't be able to perform the songs live to a satisfactory degree.[32] Other people who were present at the sessions — including Anderle and Michael Vosse — have also reported that Smile vocal sessions had been tenuous between Brian, Parks, and the other Beach Boys,[30][24] which caused Brian "tremendous paranoia" knowing every studio visit would lead to an argument.[49]

Mike Love allegations

Mike Love in 1966.

Tom Nolan published a 1971 piece in Rolling Stone which reported that it was Mike Love in particular who had issues with straying from the formulaic style of the Beach Boys earlier material.[5][nb 5] The December 6, 1966 session for "Cabin Essence" was the scene of an argument between Van Dyke Parks and Love where the latter requested that Parks explain the meaning of the lyrics he was to sing. The event was said by Parks to be the prime catalyst for his reduced involvement in Smile, which led him to gradually move away from the project.[50][51] Love has since defended his actions, elaborating that he was displaying uncertainty over the song's lyrics, worried whether they would be appreciated and understood by the fanbase the band had built their commercial standing upon. The surrealism and obtuseness of the lyrics had led Love to adopt the term "acid alliteration" when describing them.[52][49] Despite these reservations, Love contributed vocals when asked and followed Brian's odd requests to engage in behavior such as acting as an animal on the floor while recording vocals.[39]

Just because I said I didn't know what [the lyrics] meant didn't mean I didn't like them. I have zero against Van Dyke Parks. That's why I said, "What the fuck does that mean?" It's not meant to be an insult. He didn't get insulted. He just said, "I haven't a clue!"…People don't know the way I think. And they don't give a fuck about the way I think, either. … I was just asking: What did it mean?

—Mike Love, 2006c[53]

Love has hypothesized that his vocal opposition to those who supplied Brian with hard drugs caused those participants to start spinning the web that pinned him as the reason to why Smile was shelved, something he says was further perpetuated by writers who weren't there.[39] He also stated that his criticism of the drug culture mostly stemmed from observing the detrimental effects it played on his cousins.[53] In response, Parks has repeatedly accused Love of historical revisionism,[51] believing that Love held hostility toward Brian and Smile, and that it was "the deciding factor" in the album's postponement.[54][nb 6] Reacting to promotion for the Beach Boys' 50th anniversary reunion and The Smile Sessions compilation in 2011, Parks released a statement on his website:

Certainly, I did walk away from Smile. … I comment only to combat any doubt that Mike Love delayed the release of Smile by 40 years purely out of a mislaid jealousy. Smile was an obviously good work. … Yet, revising facts isn't necessary for the progress of profit. I sure wish Brian were here to weigh in.[51]

In the ensuing years, Brian has stated on several occasions that the other Beach Boys met Smile with huge disapproval, and that he was disappointed with their reactions.[56] Other times, he has said that the group eventually grew to like the material as sessions progressed.[57] In 1976, Brian corroborated that some group members were opposed to the recording of "Good Vibrations", but declined to name who specifically.[58] In the 2000s, Brian named Love's opposition a contribution to the project's failure[30] explaining, "He was disgusted with it, he said 'I'm disgusted with this,' he said this is nothing like anything like a surf song or a car song or any kinda Beach Boy-type of song. I said 'Mike. If you don't wanna grow, you shouldn't live.'"[59] In a 2004 interview, Brian said that Love, Jardine, and Dennis "hated the Smile tapes".[60] The group was filmed by CBS during December 15 vocal sessions for "Surf's Up" and "Wonderful" which were reported to have gone "very badly."[43] In reference to all of these claims, Alan Boyd has noted that group opposition is not audible on the recordings he has heard,[57] while others observed no "Let It Be style sniping" on The Smile Sessions.[17]

Loss of creative direction

Once Brian Wilson missed the January 1967 deadline, he rigorously continued work mostly on "Heroes and Villains" and "Vega-Tables" as potential singles.[61] Throughout the first half of 1967, the album's release date was repeatedly postponed as Brian tinkered with the recordings, experimenting with different takes and mixes, unable or unwilling to supply a completed version of the album.[3] Desperate for a new product from the group, EMI released "Then I Kissed Her" as a remedial single without the band's approval.[nb 7]

Van Dyke Parks' leave

I walked away from the situation as soon as I realized that I was causing friction between him and his other group members, and I didn't want to be the person to do that. I thought that was Brian's responsibility to bring definition to his own life. I stepped in, perhaps, I took a leap before I looked. I don't know, but that's the way I feel about it.

—Van Dyke Parks, 1984[63]

On April 14, 1967,[64][49] after gradually distancing himself from Wilson and the group, Van Dyke Parks left the project in the wake of signing a record deal with Warner Bros. Records so he could work on his debut album Song Cycle.[10] As a result of Parks having quit, Brian Wilson lost sight of the album's direction.[10][nb 8] He went back and forth considering many different ways to execute Smile, fluctuating between ideas such as a sound effects collage, a comedy album, and a "health food" album.[5] Eventually, the number of possible variations for song edits became too overwhelming for him.[17][nb 9]

Although Derek Taylor had announced the album's shelving in early May 1967, Wilson continued working and revising the year's worth of material he had amassed for as long as he could bear its repetitiveness. He then became desensitized to the material, feeling it was increasingly necessary to start all over from scratch. In the documentary An American Band, Wilson expressed: "Time can be spent in the studio to the point where you get so next to it, you don’t know where you are with it, you decide to just chuck it for a while."[65]

Technical implausibility

Audio engineer and The Smile Sessions co-producer Mark Linett speculated that Wilson could not have finished the album simply because his ambitions were impossible to fulfill with pre-digital technology, accordingly: "In 1966, [assembling pieces] meant physically cutting pieces of tape and sticking them back together — which is how all editing was done in those days — but it was a very time-consuming and labor-intensive process, and most importantly made it very hard to experiment with the infinite number of possible ways you could assemble this puzzle."[57] Sessions co-producer Alan Boyd shared the same view, stating that the tape editing "would have been probably an unbearably arduous, difficult and tedious task."[17]

Notes

  1. ↑ The coterie included multi-instrumentalist Van Dyke Parks, band publicist Derek Taylor, journalist Paul Williams, Wilson's friend Lorren Daro (formerly Loren Schwartz), singer Danny Hutton, writer Jules Siegel, painter David Anderle, producer Michael Vosse, and photographer Paul Jay Robbins.[7][8]
  2. ↑ A cursory comparison of the relevant timelines — the location of The Beatles (individually and collectively), the location of the tapes — reveals that the episode cannot possibly have happened as claimed, and could not have influenced Sgt. Pepper as the album was being mixed, recording having been completed.
  3. ↑ Brian had already developed an enduring obsession with the music of Phil Spector upon hearing the song "Be My Baby" by the Ronettes a few years earlier.[44][45] During the Smile era, he would say, "Spector started the whole thing. He was the first one to use the studio. … I heard that song three and a half years ago and I knew that it was between him and me. I knew exactly where he was at and now I've gone beyond him."[43]
  4. ↑ Mike Love: "When we were younger, no one really knew what was wrong with Brian. Nobody knew about mental illness. We just had no clue about that as kids, as cousins and brothers, growing up..."[46] // Bruce Johnston: "I listen to them [tracks of Smile material] and I don't feel any joy, I feel uncomfortable, I can hear Brian disintegrating. The music was cool but it's always tinged with the reality of making it. Brian degraded us, made us lay down for hours and make barnyard noises, demoralized us, freaked out... we hated him then because we didn't really know what was happening to him."[47]
  5. ↑ The statement "Don't fuck with the formula" is often attributed to Love speaking to Brian Wilson during 1966 recording sessions for either Pet Sounds or Smile. The 1971 article (written by Tom Nolan) is the earliest known use of the phrase being seen in print, and it was paraphrased by David Anderle in reference to Love.
  6. ↑ After being reminded several years later of Love's recent self-proclaimed love for the material, Parks reportedly stated laughingly, "I'm just incredulous. I can't believe that he's an enthusiast. I wouldn't condemn him if it took him some time to come to that conclusion. I'll just say that they have an expression in Texas that goes along with such a delayed reaction and that is: he's a little slow out of the shoot [sic]. All hat and no cowboy."[55]
  7. ↑ Mike Love: [re: New Musical Express] "The record company didn't even have the decency to put out one of Brian's own compositions. The reason for the hold up with a new single has simply been that we wanted to give our public the best and the best isn't ready yet."[62]
  8. ↑ Carl Wilson "Brian ran into all kinds of problems on Smile. He just couldn't find the right direction to finish it."[65] Bruce Johnston "It was almost like he was climbing Mount Everest, and he was getting more boulders hanging on his back and snow coming down on him while he was trying to finish, and finally he just didn't finish it."[57]
  9. ↑ Danny Hutton: "It's almost like when you hear a commercial ten times, and all of a sudden you start humming it, and you don't even know if you like it or not, because you've heard it so many times you can't even judge…He lost that ability of the 'freshness' to know which part should go where…Because of the outside pressure and being confused on what to do with these series of pocket symphony parts that he had, I think there was a moment where he just threw up his hands and said 'the time has passed,' which it hadn't been but in his head."[32]

References

  1. ↑ Schinder & Schwartz 2007, p. 119.
  2. 1 2 3 4 5 Staton, Scott (September 22, 2005). "A Lost Pop Symphony". The New York Review of Books.
  3. 1 2 Schinder & Schwartz 2007, p. 118.
  4. ↑ "NME Awards History". Nme.com. Retrieved 2013-07-03.
  5. 1 2 3 4 5 Nolan, Tom (October 28, 1971). "The Beach Boys: A California Saga". Rolling Stone (94).
  6. ↑ Beets, Greg (July 21, 2000). "Review: Pet Sounds: Fifteen Minutes With Brian Wilson". Nick Barbaro. Retrieved June 22, 2013.
  7. ↑ Hoskyns 2009, p. 128.
  8. ↑ Kent 2009, pp. 27, 33.
  9. ↑ Boyd, Alan (Director) (1998). Endless Harmony: The Beach Boys Story (Documentary).
  10. 1 2 3 Kent 2009, p. 38.
  11. ↑ Priore 2005, p. 96.
  12. ↑ Carlin 2006, p. 100.
  13. ↑ Carlin 2006, p. 120.
  14. ↑ Kent 2009, p. 43.
  15. 1 2 Himes, Geoffrey (September 1983). "The Beach Boys High Times and Ebb Tides Carl Wilson Recalls 20 Years With and Without Brian". Musician (59).
  16. ↑ Highwater, Jamake (1968). Rock and other four letter words; music of the electric generation. New York: Bantam Books. ISBN 0552043346.
  17. 1 2 3 4 Masley, Ed (October 28, 2011). "Nearly 45 years later, Beach Boys' 'Smile' complete". Arizona: AZ Central. Retrieved November 19, 2014.
  18. ↑ Carlin 2006, pp. 103–105.
  19. ↑ Sanchez 2014, p. 102.
  20. ↑ Dillon 2012.
  21. ↑ Gaines 1986, p. 164.
  22. ↑ Buchanan, Michael (January 2, 2012). "January 3, 1967, Beach Boy Carl Wilson Becomes a Draft Dodger – Today in Crime History". Retrieved August 12, 2013.
  23. 1 2 "Capitol Named in Two Suits on W. Coast". Billboard (Nielsen Business Media, Inc.) 79 (10): 14. March 11, 1967. Retrieved August 8, 2013.
  24. 1 2 Vosse, Michael (April 14, 1969). "Our Exagmination Round His Factification For Incamination of Work in Progress: Michael Vosse Talks About Smile". Fusion 8.
  25. 1 2 Priore 2005, p. 116.
  26. ↑ Alpert, Neal. "That Music Was Actually Created". Gadfly. Gadfly Online. Retrieved July 16, 2013.
  27. 1 2 Crawdaddy, Volumes 10–23. Crawdaddy Publishing Company, Incorporated. 1967. p. 84.
  28. ↑ Priore 2005, p. 117.
  29. ↑ Reid, Darren R. (2013). "Deconstructing America: The Beach Boys, Brian Wilson, and the Making of SMiLE". Open Access History and American Studies.
  30. 1 2 3 4 Leaf, David (Director) (2004). Beautiful Dreamer: Brian Wilson and the Story of Smile (Documentary).
  31. ↑ "Brian Answer's Fans' Questions in Live Q&A". January 29, 2014. Retrieved June 27, 2014.
  32. 1 2 3 Three Dog Night's Danny Hutton on Brian Wilson http://www.youtube.com/watch?v=gqY-LLP8idM
  33. ↑ Carlin 2006, p. 122.
  34. ↑ Leaf, David (1990). Smiley Smile/Wild Honey (CD Liner). The Beach Boys. Capitol Records.
  35. ↑ Petridis, Alexis (October 27, 2011). "The Beach Boys: The Smile Sessions – review". The Guardian (London). Retrieved June 28, 2013.
  36. ↑ "Jack Rieley's comments & Surf's Up".
  37. ↑ Carlin 2006, p. 302.
  38. ↑ Gaines 1986, p. 172.
  39. 1 2 3 Holdship, Bill (December 2004). MOJO magazine. Missing or empty |title= (help)
  40. ↑ Kozlowski, Carl (February 21, 2013). "The man behind the music". Retrieved July 16, 2013.
  41. ↑ Carlin 2006, p. 111.
  42. ↑ Hoskyns, Barney (June 16, 1993). "AUDIO: Van Dyke Parks (1993)". Rock's Backpages Audio.
  43. 1 2 3 Siegel 1967.
  44. ↑ Carlin 2006, pp. 44, 140.
  45. ↑ Gaines 1986, p. 167.
  46. ↑ Fine, Jason (June 21, 2012). "The Beach Boys' Last Wave". Rolling Stone. Retrieved June 8, 2014.
  47. ↑ Holdship, Bill (August 1993). MOJO magazine (2). Missing or empty |title= (help)
  48. ↑ Priore 2005, p. 97.
  49. 1 2 3 Hoskyns 2009, p. 131.
  50. ↑ Carlin 2006, p. 117.
  51. 1 2 3 Parks, Van Dyke. "'Twas Brillig: Van Dyke Parks answers the general inquisition (viz "author" Mike Eder et al) on the Beach Boys' reunion and Smile.". Bananastan. Retrieved June 2013.
  52. ↑ Carlin 2006, p. 114.
  53. 1 2 Carlin 2006, p. 313.
  54. ↑ "Letters". MOJO magazine. February 2005.
  55. ↑ Petridis, Alexis (June 24, 2011). "The astonishing genius of Brian Wilson". The Guardian (London: The Guardian). Retrieved June 2013.
  56. ↑ CBS Sunday Morning, 2012 CBS Sunday Morning – The Beach Boys 50th Anniversary on YouTube
  57. 1 2 3 4 The Smile Sessions, 2011 liner notes, session tracks, and online "webisodes" <http://www.youtube.com/user/BeachBoys/>
  58. ↑ Felton, David (November 4, 1976). "The Healing of Brother Brian: The Rolling Stone Interview With the Beach Boys". Rolling Stone. Retrieved July 16, 2013.
  59. ↑ Wilson, John (October 21, 2011). "Brian Wilson interview". Tintin; Brian Wilson interview. bbc.co.uk. Retrieved July 28, 2013.
  60. ↑ Schneider, Robert (October 21, 2004). "Smiles Away". Westword. Archived from the original on November 7, 2004.
  61. ↑ Priore 2005, p. 111.
  62. ↑ "Beach Boys Think This Too Dated". New Musical Express: 10. May 7, 1967.
  63. ↑ Claster, Bob (February 13, 1984). "A Visit With Van Dyke Parks". Bob Claster's Funny Stuff. bobclaster.com. Retrieved August 1, 2013.
  64. ↑ Carlin 2006, p. 119.
  65. 1 2 Leo, Malcolm (Director) (1985). The Beach Boys: An American Band (Documentary).

Bibliography

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