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The Life and Times of Vinnie Stravinski

Music Review: Brian Wilson - Smile

  • Vinnie Stravinski
  • Feb 1, 2005
  • 2 min read

Updated: May 30, 2022


I’m in the thick of Brian Wilson’s Smile. I’ve listened to it several times now, but only once in it’s entirety in one sitting. I've decided that this album needs to be listened to in one complete sitting, in a controlled environment with the lights down low, a good sound system and a stiff drink.


I’ve had several reactions to Smile in this order: fun, weird, silly, amazing, and brilliant. I’m currently searching for an adjective to supersede “brilliant.”


I’ve come to the conclusion that in order to enjoy Smile to its fullest, you have to acknowledge and recognize that this isn’t an album or collection of songs or even a pure musical experience. It’s a piece of “art” that uses vocal textures, instrumental sounds, and on some level – poetic lyrics.


Yeah, I know that sounds like a really ostentatious description – after all, isn’t all music vocal textures, instrumental sounds and poetic lyrics? Well, no – sometimes music is just a kickin’ bass line and a couple of clever hooks.

Smile is more along the lines of a symphony or entire Broadway musical. There’s no way you can come into it halfway and know what’s going on. (I’ve tried, and believe me, I always go back to the beginning and start over.) There’s a deliberate and distinct purpose for each song and each segue, and just like a movie or novel, there are setup moments and climatic moments, and without reaching one moment, the next one won’t make sense.


This probably comes across as too heavy for some, or perhaps too Gershwin. But truthfully, if you’re familiar with the Beach Boys and enjoy the a cappella and barbershop harmonization style (“Good Vibrations” is also the last track on this CD) then you should have no problem letting this CD roll in the background of a quiet evening.


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