Right: the cover of SMiLE STORY I

REVIEW

SMILE STORY is an aural kaleidoscope version of the Smile saga. It has the mark of a 'professional' mix, instead of the sometimes 'choppy' fan mixes. And unlike fan mixes, it doesn't use the 'everything plus the kitchen sink' approach that ultimately flaws most fan mixes. Nothing seems extraneous.

I love the sound bites - SMILE STORY incorporates period Smile-era dialogue to great effect. The humor aspect of Smile is well presented and one of the successes of SMILE STORY is that you definitely get the humor 'feel' that Brian said was one of his intentions with the Smile project. And, one of the best things about this set is the constant surprises that barrage the listener. I LOVE the different mixes that go in different directions from the 'standard' versions of Smile songs that us Smile-philes have heard probably hundreds of times!

However, you shouldn't try and listen to this set in sections; you pretty much have to listen to both CD's continuously to get the full effect. One of the great things about SMILE STORY is that you get a different idea of the 'story' each time you hear it. Plus, after the interview with Alex, when I learned of his 'storyline', I had even more to listen for...

INTERVIEW

E.C.: I first became aware of the SMiLE STORY when it got a mention on the Smile Shop Message Board. Everybody was quite condescending about it, but I was intrigued. Here was the 'mission statement' as it appeared on that message board post:

"My Mission Statement on The SMiLE Story:
1) To bring awareness to an all-but-forgotten footnote in musical history.
2) To outline the story of SMiLE within the work and to give it another dimension (by manipulating Time; comments that are now on the production are retrospective as opposed to those made concurrent with the recording of the tracks) so that hindsight gives a sense of tragedy.
3) To make it as complex as possible with as many tidbits of information as possible.
4) Because I loved it."
--The Producer

Alex: A = the philosophy was to try to encapsulate the mid 60's era of the beach boys and in particular to explain through the music what went wrong - by using the conclusion's mix's on CD1 and CD 2 one can do a direct comparison with CD1 expressing the 'elements' in a traditional song form which Brian went on do such as 'let the wind blow' or 'country air' (you could also add to it 'cool cool water') compared to the 'elements' in the conclusion on CD2 which are in a musical abstract song structure - this is why mike is doing the voice over's such as "he would teach us the bass lines" followed by the humming and whistling in a edited 'country air'. So CD2 primarily features Brian's abstracted SMILE work, which you can than do a direct comparison to the work on CD1which is more or less the work that was released.

If you look at the structure of 'Heroes and Villains' it stops, starts, gos up and down and has no traditional verse chorus etc. The layout on CD2 uses this structure in a loose sense - but with different tracks placed over the entire CD - hence the 'windchimes' edit where the narrative is as follows:

A prayer for the album or for Brian
Brian hears a traditional song structure on the radio
(it wasn't to long and I went to sleep)
He falls asleep dreaming of his windchimes
The windchimes then form a musical dreamscape
Which now introduces songs that will be explored
In depth later such as plymyth/bicycle
So CD2 part1 = all chime-styled music (also the chimed version of 'wonderful')

Now 'surfs up' follows 'woodpecker' because Brian's telling the story - no more surf songs hence it follows 'woodpecker'…and by the time you get to 'cool water' you do need a refreshing break. Its up to the listener to work out why Dennis turns up at that point. It is a reference to him being the larrikin or is it a reference to his drowning or both. And then followed by 'miss you' so people can take their own interpretation. All the characters are introduced as we go - Murray and in particular mike talking about Brian and the writing of songs its interesting because of the law suit.

E.C.: What originally inspired you-were you dissatisfied with the 'standard' SMiLE mixes available?

Alex: I had read about the SMILE project and many of Brian's quotes and the talk of link tracks and spoken word interruptions - such as you find in "with me tonight". I was positive that the tracks were suppose to run in a continuous flow and follow in the 'Heroes & Villains' concept of song structure * also realized that some songs were unfinished and with just a few overdubs that could be dressed up and showcased in a new way but keeping their integrity * I wouldn't be surprised if Paul McCartney didn't borrow these concepts for the start of Sgt. Pepper so I felt compelled to try.

E.C.: I think the bad reaction that you got on the Smile Shop Message Board was entirely because you used the description "The Producer". People probably thought you were equating yourself with Brian Wilson. I think a better term would be "re-producer", do you agree?

Alex: Yes - I never posted the message, that would have been Jerry, as I'd handed it over to him - I've never been to the smileshop message board - but I'm glad he did as at that time I was ready to through the lot in the bin and forget about the whole SMILE STORY - it had exhausted me - I think jerry saved the whole project so I only have him to thank.

One of the reasons I stayed away from message boards is that I can find them soul destroying. You can really be attacked by attempting anything left-of-center and I find it could take the wind out of my sails. This is where Jerry Boyd came into his own - he protected me from the wolves and at the same time I could air all my ideas knowing he would guide me left and right but without any antagonism. So Jerry alone become the source of all my queries, all things Beach Boys and Brian Wilson and let me know when something could be better in the mixing stake. I think he saved it a few times. I almost went mad - if you ever try mixing 'Mrs. O'Leary's cow' stoned and drunk at 3o'clock in the morning for the 50th time you'll get a different message from Mr. Wilson - he will almost send you into the descent of his own madness.

'Producer' is a strong word and I probably never realized I was treading on such sacred ground to so many people - I hadn't been anywhere but the blueboard so I guess I was a little ignorant and arrogant to people who hold SMILE as the Holy Grail - but Jerry has been fantastic in keeping it up and out there.

E.C.: Your use of 'spoken' sound bites seems to fit perfectly, without making the SMILE STORY appear pompous. How important were these and how did you decide which ones to use?

Alex: Many went in and many came back out - as it's all in the Beach Boys' own words. I just used them to give a better depth to what the listener heard - Brian saying "my big chance and I blew it" after H&V and the irony of him saying "we kept it really simply" prior to H&V gives the extra layers for one to think about and I hope that sense of tragedy - it's adding the element of time and hindsight coupled with the listener knowing what will befall the SMILE album I hope they find it amusing as was Brian's humour as well as sad as we all know he never made it back.

Right: the cover of SMiLE STORY II

E.C.: You almost have to hear the discs in their entirety to get the full effect. Did you originally envision 2 discs to this project?

Alex: It evolved over time - think Jerry helped me focus on its possibilities as well as getting me to abandon trying to make a SMILE CD/ compilation he freed me from the SMILE album constraints - I finished every month for 6 months but another penny would drop or I would think or find more material to cross-reference - and yes to understand the story it's a 2 disc journey with the conclusion happening over the last 8 minutes - but you know bang, it still puts me on the floor or I'm jumping in the air and perhaps even a tear at the end verse.

E.C.: You also used some very un-SMiLE tracks, such as "Their Hearts Were Full Of Spring". I'm curious why you included that song?

Alex: Many reasons why - I think being freed of trying to create a SMILE album helped. Firstly it fits to the teenage symphony concept - it helps build the tension to 'Heroes & Villains'. I think it was recorded only months after the SMILE sessions ended. I loved the fact that it included spring (as another element):

'good vibrations' = summer
'woodpecker' = winter/autumn
perhaps 'wonderful' as a autumn song
so it completed my seasons.

E.C.: However, I do like your inclusion of the joke version of "God Only Knows" - that really seemed to fit with the theme of the CD's. (I had only previously heard this version in the David Prokopy Pet Sounds tape collection.). Were you just trying to stretch the boundaries of what is normally accepted as SMiLE?

Alex: It's also got to do with a reaction against the Murray song concept - of sweetness light and structure so at that point in the album it's Brian vs. Murray and this is a expression of Brian state of mind.

E.C.: It was great to hear a 'new' fan mix that doesn't follow the 'standard' mix religiously. What feedback have you received about your mixes?

Alex: After people get over the initial shock I think they've really loved hearing the tracks as a journey as opposed to a compilation - some of the responses have been fantastic - it ebbs and flows dips and dives then soars just like a good version of H&V.

E.C.: I love the cover artwork, equating Brian's SMiLE with renaissance artwork like the Mona Lisa. Why didn't you also create some kind of narrative to go along with the set? Or did you just want the CD's to 'speak for themselves'?

Alex: I was very, very tired of the whole thing at that point and was wondering if the whole thing had been a big waste of time - I also hoped people could listen to it and take their own meaning from it - perhaps this interview will cover the important aspects of it

E.C.: How long did this project take? How many mixes did you do until you were satisfied?

Alex: Hahahaha - felt like forever - it was very obsessive/compulsive. For every mix your hear there are countless others that were scrapped and the countless song line-ups were ridiculous - it almost drove me mad - I still have nightmares.

E.C.: Do you think SMiLE will ever be released, and if so, in what form? Or, is it better left as a mystery?

Alex: I think Brian had to finish it back in the 60's or if he did his own mix back then that is what should be released not Brian through hindsight - how can he possibly remember his exact intention 30 years on? I think its better left untouched now as its one of the great audio puzzles - there will never be a definitive version and that makes it all the better.

E.C.: Are you one of the fortunate SMiLE fans that will make the pilgrimage to see Brian perform SMiLE live in 2004 in England?

Alex: No I'm a poor bastard but I'm sure he'll release a live version or a bootleg will come out - I don't think it will resolve the smile mystery either - but it could be one great show.

E.C.: Finally, how do you plan on 'promoting' THE SMILE STORY and get it heard (I imagine that that is your main goal?)? I know you can't sell it because you will run into all sorts of legal problems. But, you also have no website. How will the fans acquire a copy? Will you eventually start a "trading tree" like the one used to distribute the PROJECT SMILE CD-ROM free?

Alex: I'm not - it was done for joy and a love for Brian Wilson - I hope anyone that wants a copy will find a way to track one down - I cant take money from the man or from his art - that's why you question the producer tag - its his art at the end of the day. I just molded a version from it -I would love everyone to hear it because I think it does add a new chapter to the smile story

Anyway its hard not to sound like a wanker when you talk about SMILE, but thanks for the interview.

Alex