Brian Wilson began recording his masterpiece, Smile, in 1966; the project collapsed a year later, unfinished. For the past thirty-seven years, Wilson’s been coasting on his reputation as The Guy Who Didn’t Finish His Masterpiece, But Really, It Was a Masterpiece, Honest. Which is, in a way, a fortunate position to be in. A finished work is susceptible to public and critical judgment, and to the brutal treatment of taste-currents, backlashes, revivals, nostalgia and anti-nostalgia. But an unfinished Great Work is forever what it might have been. Now, at the age of 62, he’s finally completed it, or something like it.
The story of the original Smile is a fascinating catastrophe. It’s best detailed in Domenic Priore’s book Look! Listen! Vibrate! Smile!, a collection of magazine articles, interviews, sheet music and other primary documents from the period when Smile originally almost came to fruition. The essence of it is that in mid-1966, Wilson was at the top of the American pop world. His group the Beach Boys (who were, at that point, under his creative control) had been making increasingly beautiful, complicated records, built around exquisite harmonies and Wilson’s inventive way with tone color; the Beach Boys’ album Pet Sounds had set them up as the band to beat, and they’d followed it with the song “Good Vibrations,” which had raised expectations for Wilson’s work even higher. (Contemporary readers may need to work a bit to imagine “Good Vibrations” as a revolutionary piece of music rather than as an orange soda commercial, but that’s what it was.)
Smile, Wilson declared, was going to be the Beach Boys’ “teenage symphony to God”–an epic album about the American experience, the elements, physical fitness and a bunch of other stuff that nobody was ever too clear on. Van Dyke Parks was engaged as lyricist, and came up with far more abstract, arty words than the Beach Boys had ever sung before. (One of the Boys, Mike Love, infamously objected to “over and over the crow cries uncover the cornfield.”) Wilson started recording overlapping, interlocking fragments of vocals and orchestration, on the assumption that he’d eventually assemble them all into a coherent recording. The centerpiece of the album was going to be an enormous production called “Heroes and Villains,” which Wilson recorded and rewrote and remixed, again and again, for months on end.
In December 1966, Capitol Records, panicked that Smile was taking so long, pressed Wilson for a track listing, and printed more than 400,000 jackets and booklets for an album that wasn’t entirely written yet. Recording sessions continued to drag on for months, getting messier and darker as Wilson’s mental state deteriorated–Keith Badman’s new diary of the band’s career, simply called The Beach Boys, includes lots of details of the chaos. By mid-May 1967, all the Beach Boys had was an enormous pile of shimmering, dreamy, unfinished, unfinishable scraps of tape. It was the most exquisite and original music they’d ever made–but it wasn’t anything like an album. Most of it was barely even fully composed songs, some crucial sections weren’t there at all and the drug-addled Wilson, who’d started canceling recording sessions on the basis of “bad vibes,” was in no shape to tie it together. Capitol pulled the plug, and two weeks later released the cash cow it’d been waiting for: the Beatles’ Sgt. Pepper’s Lonely Hearts Club Band.