Click On Each Title Below For A Full Page Review of Each Track:
The only chunk available from the abandoned masterwork Smile, squeezed into shape as a single, is placed here at the album's beginning. Listening to it first is like devouring a huge slice of mofongo or fruit cake that's been served as an hors doeuvre. We will need the rest of this musical meal to digest the opening track. And that gets really interesting.
A deceptively simple reworked bit from Smile sets us off in new directions utilizing a musical blend of be bop and Spike Jones. The best loved non-hit track on the album and a Beach Boys classic.
A weirdly clever minimalistic musical snippet that sounds like it fell into the album from nowhere (and didn't), yet fits.
Funny, strange, maybe even a tiny bit ominous, unpredictable, and yet of a piece that moves the album along.
A soft landing as we end this side in a place outside of but adjacent to the universe of the Boys first ten albums.
If side one presents and then explains Heroes and Villians, side two does the same with Good Vibrations, placing it, appropriately enough, in the center of the album, as it is the centerpiece of the Beach Boys' career.
Good Vibrations is a hard act to follow, and this cut wisely yet cleverly works a small piece of the same terrain without boring us or throwing us off balance.
A modest echo in the mode of the previous tracks and an amazing musical acheivement: recreating the experience of listening to wind chimes after smoking a joint.
The album's welcome carnal interlude successfully negotiates its own musical-historical relationship to reality.
If Smiley Smile needs justification as an album beside yet beyond both versions of Smile this is the track.
In conclusion, it's been nice, farewell, that's it, we're outta here.