This is a piece of music that can simply be described as beautiful. Child Is The Father Of The Man is the most classical-sounding piece on the album. Of course, it was known to many as the coda to Surf’s Up and some instrumental versions of the stand-alone song existed “unofficially”, but once again, it makes much more sense in the completed version. The brief lyrics have a postive message that fits in well with what ultimately meant to be an uplifting album.
Known to pre-February 2004 collectors as Look (and other titles), this was then an instrumental which didn’t seem to fit in with anything else on what was thought to be part of SMiLE. There was therefore a sense of an obscure looking jigsaw piece being found and fitting in beautifully, when this (officially titled as Song For Children) was played as part of the second movement of SMiLE in that famous premiere. The melody evokes possibly a children’s funfair, while the lyrics refer back to Wonderful, parenthood and childhood, giving a real sense that this was all part of a masterplan back in 1966/67. And even if it wasn’t all thought of then, it remains one of 2004, and all time’s, great creations.
The second movement of SMiLE was one of those “aha” moments when four known pieces of music fitted together in a seamless sequence. Wonderful can describe the entire movement, but it is also the title of the first part- a song that was originally on the Smiley Smile album in somewhat different form. The lyrics talk to innocence, loss of innocence, birth, rebirth, childhood and parenthood -themes that repeat throughout that second movement, and that resonate with me even more strongly now with recent events in my life. The sense that SMiLE was meant as a “teenage symphony to God” also comes through strongest in this movement with references to God, believers and rebirth.
Musically, the second movement can be described as the “beautiful” movement with an emphasis on melody and classic instrumentation. Wonderful is a prime example of this -at it’s heart, it is a classic pop ballad that sticks in your head. In the wider context of all that SMiLE was and is, it becomes one of Brian Wilson’s most resonant pieces of music, and an all-time classic.
Sometimes the greatest musical moments are those completely unexpected surprises. Last year, I remember hearing Sail On Sailor in a Santiago, Chile restaurant and a few days ago I found a cheap compilation CD that I had never heard of by the little-known mid-80s UK group, the Kane Gang in East London. Now this is not the East End of the capital of England, but a small provincial city in South Africa.
The Gang were basically a blue-eyed soul group who were labelmates of one of my all time favorites, Prefab Sprout, and some people who grew up in the 80s may remember the Closest Thing To Heaven as a hit in the summer of love of 1984. Most would have forgotten them since then, but their first album made a big impression on me with some classic pop melodies and insightful lyrics. The album closer Crease In His Hat was a specific favorite- a mournful ballad about the injustices done to the good of the world.
The compilation that I found was a mixture of songs from their two albums and B-sides that I had never heard of, so it was certainly a very pleasant surprise. And yes, it had Crease In His Hat.
Five years ago exactly today (and indeed, also on Friday night), musical history was made. And it is one the great privileges that I believe that I have been in given in life that I was a part of it, sitting pretty much in the front row watching it happen.
On 20 February 2004, the completed SMiLE album was performed live for the first time at the Royal Festival Hall in London. Instead of being the greatest uncompleted album in musical history, it became a completed and coherent work. And everybody knew that Brian Wilson had conquered one of his greatest mental demons.
There was massive nervousness on that night. No-one really doubted it would be good, any musical work with Wonderful, Surf’s Up, Cabin Essence, Good Vibrations and Heroes And Villians, however assembled would be top-notch. The question was how Brian Wilson would deal with something that ultimately defeated him almost 40 years prior to the show, and despite scores of wonderful songs since then, would always be regarded as an artist in retreat.
I don’t normally have vivid dreams that I remember, but the night before the show I remember dreaming that Brian was so nervous that he didn’t want to do show, and the performance was in jeopardy. When the DVD of SMiLE came out, my dream seemed more of a premonition. Fortunately, Brian conquered that final demon and did the show.
It wasn’t the greatest show from a performance quality that Brian did- but the opener was the very fitting And Your Dream Comes True, and when the second half started with Our Prayer, we realised our prayers had been answered and our dreams had come true. Brian performed SMiLE, there were no major problems and the standing ovation at the end was a mixture of relief, respect and awe.
Maybe it didn’t change the world in the end, but it did put than a little smile on your face. And we all felt the good vibrations, and the ability of one man (with his friends and an awesome band) to conquer his biggest demon.
This is the track that inspired a website..this one! Cabin Essence is a vast expanse of a song, ranging from the intimacy of the log cabin to the vastness of the Grand Coulee Dam and the truck driver travelling over a vast expanse. Again, we are looking at the growth in America; the expansion west and the industrialisation of the country. As in Heroes And Villians, there is a dichotomy between the benefits of progress and the possible lost innocence of a changing country.
As with much of Van Dykes Parks works, the lyrics work on a level of a feeling created, rather than every line making sense, and this created the famous altercation where Mike Love dismissed the line about the “crow cries uncover the cornfield” as nonsense. However, in the wider context of the song, and particularly the completed album, one can see again the sense of contrast and wide expanses being created,
Musically, the song switches between the intimate “fire mellow” section, with it’s intricate and homely melody, and the vast “who ran the iron horse?” section. It’s a powerful musical statement and a fitting close to the first section of SMiLE.
Another brief track in our quick sweep of Americana, and this time it is the great American songbook that Brian glides through, as we are treated to a brief instumental rendition of Old Master Painter and then a chorus of You Are My Sunshine. The song is sung in the past tense (you were my sunshine) and the overall effect is somewhat mournful; something in the past being lost?
After the expansive and thought-provoking Roll Plymouth Rock, the album lightens up as we go to the country and explore an animal Barnyard. In the Americana context, the importance of the farms is probably the link here. It’s possible that the animal noises that the band had to make may have put them off SMiLE, but in the released version and shows, Brian’s band seem to enjoy the humor in making the animal sounds.
This track was commonly known to collectors (and even released on the Beach Boys box set) as Do You Like Worms?, which possibly gave an indication to outsiders of SMiLE’s weirdness. The bits and pieces that came out on the box set and “unofficial” releases also seemed incomplete; part of intriguing puzzle. But it all came together on the 2004 release under the more “palatable” title of Roll Plymouth Rock.
As with many things related to Van Dyke Parks, there are a million things happening at once, but the major themes seems to be exploring America, colonization and possibly a loss of innocence. As with many things on SMiLE, there are sections and sub-sections, including the famous Bicycle Rider chorus and the “Hawaii” chorus which is insanely catchy and, like much of SMiLE, imprints itself on your brain permanently.
First the concert, then the CD, and finally the DVD. That’s the cycle that took place with SMiLE and now repeats with That Lucky Old Sun, with the late January international release of That Lucky Old Sun DVD. The DVD includes an energetic exclusive performance of the album at Capitol Records plus a documentary Going Home, giving the history and context of the album. It’s interesting to see how history repeats itself in that Brian was very nervous going into the first Lucky Old Sun show. One can see the key role that Brian’s band plays in shaping the album as well as keeping Brian focussed.
Bonuses include the Black Cab session and the MySpace interview with Zooey Deschanel. Overall, it’s a pretty worthwhile package, and a final momento from an evocative and encouraging record. You can get it Amazon here if your local doesn’t stock it.