|
| Length = Unknown (see below) | Label = Brother/Capitol (projected) | Producer = Brian Wilson | Chronology = The Beach Boys recording | Last album = ''Pet Sounds'' (1966) | This album = ''Smile'' (1966–1967) | Next album = ''Smiley Smile'' (1967) }} ''Smile'' (occasionally typeset as ''SMiLE'') was a projected album by the Beach Boys intended to follow their eleventh studio album ''Pet Sounds''. After the Beach Boys' main songwriter Brian Wilson abandoned large portions of music recorded between 1966 and 1967, the group recorded and released the dramatically minimized ''Smiley Smile'' album in its place. Some of the original ''Smile'' tracks eventually found their way onto subsequent Beach Boys studio and compilation albums. As more fans learned of the project's origins, details of its recordings acquired considerable mystique, and it became famous as one of popular music's legendary lost albums. 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. Its genesis came during the recording of ''Pet Sounds'', when Wilson began recording a new single: "Good Vibrations". The track was created by an unprecedented recording technique: over 90 hours of tape was recorded, spliced, and reduced into a three-minute pop song. It quickly became the band's biggest international hit yet; ''Smile'' was intended to be produced in a similar fashion. Wilson touted the album "a teenage symphony to God," incorporating a diverse range of music styles including psychedelic, doo-wop, barbershop singing, ragtime, yodeling, early American folk, classical music, and avant-garde explorations into noise and musical acoustics. Its projected singles were the constantly revised "Heroes and Villains" and "Vega-Tables". The album's collapse 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. Following the release of ''Smiley Smile'', many attempts were made to complete the original ''Smile'' without Brian's involvement. It was in the 1980s when bootlegged tracks from ''Smile'' began circulating widely among record collectors, inspiring others to assemble their own version using what surviving recordings were available. As a solo artist, Brian reinterpreted the project for concert performances in 2004, and then followed up with the studio album ''Brian Wilson Presents Smile''. Although he had virtually completed the work, Brian clarified that his 2004 arrangement differed substantially from how he had first conceptualized the album during the 1960s.〔 On October 31, 2011, ''The Smile Sessions'' was released containing an approximation of what the Beach Boys' completed ''Smile'' might have sounded like while using the track list of ''Brian Wilson Presents Smile'' as a template. It received universal acclaim.〔(【引用サイトリンク】url=http://www.metacritic.com/music/the-smile-sessions )〕 In 2012, the compilation was ranked number 381 in ''Rolling Stone'' ==Background== In May 1966, the Beach Boys released their eleventh 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. While the album met with an enthusiastic reception in the United Kingdom, its commercial performance in the United States was lower than expected, selling several hundred thousand units fewer than the group's previous releases, which dispirited Wilson, who had considered the album a highly personal work. Its stylistic shift had alienated some fans, containing an expanded palette of orchestral timbres and somber lyrics which record label Capitol found difficulty in marketing. Wilson was then beginning to be questioned by the group over their new direction and his creative aspirations. Meanwhile, without the group's approval, Capitol issued a rushed greatest hits compilation to follow ''Pet Sounds'', ''Best of The Beach Boys''. It was quickly certified gold by the RIAA, cementing a demand for material in the Beach Boys' earlier style. The group's commercial momentum was reclaimed after completing a new single, "Good Vibrations", initially a ''Pet Sounds'' outtake recorded in the early months of 1966, then revised continuously over the summer. It was finally released in October, and became an international number one hit. Crucial to the inception and creation of ''Smile'' was Wilson's meeting with burgeoning songwriter Van Dyke Parks in February 1966. They had been 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''. Prior to their meeting, Parks was gaining notoriety as a session musician, briefly performing live as a member of Frank Zappa's Mothers of Invention, and writing Cole Porter-inspired songs for acts such as Harper's Bizarre, Bobby Vee, Jackie DeShannon, and the West Coast Pop Art Experimental Band while working behind the scenes with various other Los Angeles-based artists. When Wilson took notice of Parks' unique manner of speaking, he asked him if he could write lyrics for "Good Vibrations". Parks declined for the reason that he thought there was nothing he could add to the track.〔 Wilson invited Parks to write lyrics for the new album in the second quarter of 1966 when the project was provisionally called ''Dumb Angel''. This time Parks agreed and the two quickly formed a close and fruitful working relationship. In preparation for the writing and recording of the album, Wilson purchased about two thousand dollars' worth of marijuana and hashish. In addition, Wilson famously installed a hotboxing tent in his home and relocated a grand piano to a sandbox in his living room. Between April and September 1966, Wilson and Parks spent many "all night sessions" co-writing a number of songs in the sandbox. A coterie eventually formed around Wilson for most of the ''Smile'' sessions, which along with Parks included acquaintances Derek Taylor, Paul Williams, Loren Schwartz, Danny Hutton, Jules Siegel, David Anderle, Michael Vosse, and Paul Jay Robbins. According to unnamed participants, "If you came up to the house and introduced something new to Brian's thought processes–astrology, a different way to think about the relationship of Russia to China, anything at all–if all of a sudden he was into that, it would find its way into the music. You could hear a bit and say, 'I know where that feeling came from.'" Wilson, already an avid reader of literature, continued to indulge himself in works ranging from the ''I Ching'' and Subud philosophy, tracts on astrology, detailed charts of the stars and planets, various topics of mysticism, ''The Little Prince'', the novels of Hermann Hesse, works by Kahlil Gibran, Rod McKuen, and Walter Benton's ''This is My Beloved''. In a reported meeting at Wilson's home between him and novelist Thomas Pynchon—a fan of ''Pet Sounds''—the two were so intimidated by each other that "neither of them really said a word all night long." In October 1966 interviews, Wilson stated that the Beach Boys' next project was to be "a teenage symphony to God," and that, "It will be as much an improvement over ''() Sounds'' as that was over ''Summer Days''." In 1967, Carl Wilson told ''Rave'' magazine that the group was focusing on spirituality, and that "the concept of spreading goodwill, good thoughts and happiness" informed the album's title, ''Smile''. The project was to have been an album-length suite of songs that were both thematically and musically linked, recorded using the unusual sounds and innovative production techniques that had contributed to the success of "Good Vibrations", and written as an outlet for all of Brian's intellectual occupations at the time. The work held an especially grandiose importance among its participants, as David Anderle recalls, "''Smile'' was going to be a monument. That's the way we talked about it, as a monument." Several months after the project's collapse, a memoir written by Jules 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. 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Smile (The Beach Boys album)」の詳細全文を読む スポンサード リンク
|