Smile Sessions A Chronological List
Smile Sessions A Chronological List
Smile Sessions A Chronological List
The following table (A2) includes a list of all sessions conducted by Brian Wilson between
August 3, 1966 and May 18, 1967 with the intention of producing a project to be released as
SMiLE. Since chapter 4 is a case study of the SMiLE sessions specifically, some other closely
related sessions have been omitted. For example, additional sessions for the song “Good
Vibrations” (1966b) preceded/overlapped the SMiLE sessions somewhat intermittently,
occurring between February and September 1966. Although released as a single in October
1966, “Good Vibrations” was to be included on the planned album only at the insistence of
Wilson’s record company (Capitol Records). It fitted in well enough however, by virtue of it
sharing the same “modular” production approach to record production. “Good Vibrations” can
however, be considered a separate project since it had its beginnings in the previous Pet Sounds
(1966c) album (Leaf, 1990), and wasn’t part of Wilson/Van Dyke Parks’ original “Americana”
vision for SMiLE. Likewise, many posthumous key vocal overdubs used in later edits of the
SMiLE modules into songs for commercial release have not been listed as they were recorded
during sessions for subsequent albums between June to October 1967, during 1968 and 1971
(see chapter 4, section 4.3.2 for details).
This session information was derived from two sources (a) the “sessionography” included in the
recently released The Beach Boys: The Smile sessions box set (2011c), and (b) Keith Badman’s
‘Beach Boys stage and studio diary (2004). Whilst both sources mostly agree regarding what
took place and when, there are some discrepancies. In particular, the many 1967 sessions for
the song “Heroes and Villains” were less rigorously documented (to say the least): tapes got
lost, sessions were cancelled (without being documented as such) or not documented clearly.
Where such confusion occurs, the 2011 notes are adhered to since they are based upon (a) a
first hand analysis of the tapes themselves, (b) the original tape box track sheets, (c) “Capitol
Records Popular Session Worksheets,” and (d) the music union (American Federation of
Musicians) session contracts. Wherever there is uncertainty regarding session details, they are
qualified as such.
! 181
DATE SMiLE ‘TRACK’ AUDIO DETAILS
SESS. HIGHLIGHTS:
NO. SMiLE SESSIONS
BOXSET (2011)
! 182
DATE SMiLE ‘TRACK’ AUDIO DETAILS
SESS. HIGHLIGHTS:
NO. SMiLE SESSIONS
BOXSET (2011)
! 183
DATE SMiLE ‘TRACK’ AUDIO DETAILS
SESS. HIGHLIGHTS:
NO. SMiLE SESSIONS
BOXSET (2011)
! 184
DATE SMiLE ‘TRACK’ AUDIO DETAILS
SESS. HIGHLIGHTS:
NO. SMiLE SESSIONS
BOXSET (2011)
! 185
DATE SMiLE ‘TRACK’ AUDIO DETAILS
SESS. HIGHLIGHTS:
NO. SMiLE SESSIONS
BOXSET (2011)
28 NOV, 66 32 “The Elements – Part 1” aka CD 3: Track 7* & Studio: Gold Star
“Fire” or “Mrs. O’Leary’s CD 4: Track 25# (A).
Cow”
Master: 56891
[*instrumental backing &
*Master edit = Takes 2, 9 & 18.
#sound effects overdubs]
29 NOV, 66 33 “Jazz*,” “I Wanna Be Around” CD 3: Tracks 21 Studio: Gold Star
& “Friday Night” (aka & 28# (A).
“Workshop”)
No Master #
[*improvisation, instrumental
Master edit = *Take 1 (“I
backing & #sound effects] Wanna Be Around”) & #Take
11 (“Friday Night”), * = unused.
! 186
DATE SMiLE ‘TRACK’ AUDIO DETAILS
SESS. HIGHLIGHTS:
NO. SMiLE SESSIONS
BOXSET (2011)
! 187
DATE SMiLE ‘TRACK’ AUDIO DETAILS
SESS. HIGHLIGHTS:
NO. SMiLE SESSIONS
BOXSET (2011)
! 188
DATE SMiLE ‘TRACK’ AUDIO DETAILS
SESS. HIGHLIGHTS:
NO. SMiLE SESSIONS
BOXSET (2011)
! 189
DATE SMiLE ‘TRACK’ AUDIO DETAILS
SESS. HIGHLIGHTS:
NO. SMiLE SESSIONS
BOXSET (2011)
! 190
DATE SMiLE ‘TRACK’ AUDIO DETAILS
SESS. HIGHLIGHTS:
NO. SMiLE SESSIONS
BOXSET (2011)
! 191
Popular Music, Power and Play
Reframing Creative Practice
Marshall Heiser
An overview of the relationship of creativity, power, and music making
with a focus on new technology.
Once the domain of a privileged few, the art of record production is today within the reach of all. The rise of the ubiquitous DIY
project studio and internet streaming have made it so. And while the creative possibilities available to everyday musicians
are seemingly endless, so too are the multiskilling and project management challenges to be faced. In order to demystify the
contemporary popular-music-making phenomenon, Marshall Heiser reassesses its myriad processes and wider sociocultural
context through the lens of creativity studies, play theory and cultural psychology.
This innovative new framework is grounded in a diverse array of creative-practice examples spanning the CBGBs music scene to
the influence of technology upon modern-day music. First-hand interviews with Jerry Harrison (Talking Heads), Bill Bruford (King
Crimson, Yes) and others whose work has influenced the way records are made today are also included. Popular Music, Power
and Play is as thought provoking as it will be indispensable for scholars, practitioners and aficionados of popular music and the
arts in general.
Marshall Heiser is an Australian academic, classically-trained instrumentalist, producer and music-technology developer.
His previous publications explore such varied topics as sound in cinema; the interrelatedness of humor, play and creativity
theory; the music of Brian Wilson, and the phenomenology of record production.
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