New city pop made in Japan and on old SEGA consoles

The two sessions

Nearly everything here comes from one of two studio blocks, both falling inside the period Zappa himself described (in a January 1975 Zoo World interview) as work toward "the next Mothers album, hopefully a double LP":

Caribou Ranch, Nederland, Colorado — December 1974. Basic tracks laid down with the touring band (FZ, George Duke, Ruth Underwood, Chester Thompson, plus James "Birdlegs" Youmans on bass, filling in for Tom Fowler, who'd broken his hand). This is where "Sofa," RDNZL, Regyptian Strut, and the Flambay/Spider Of Destiny/Time Is Money/Sleep Dirt instrumentals were tracked.

The Record Plant, Los Angeles — January–February 1975. Overdubs on the Caribou material, plus new basic tracks recorded once the band was back in LA with Tom Fowler healed (San Ber'dino, Andy, Cucamonga, 200 Years Old, Revised Music For Guitar And Low-Budget Orchestra).

Two OSFA tracks predate both blocks slightly — Inca Roads and Florentine Pogen have basic tracks from a KCET TV special (August 27, 1974), with Inca Roads' guitar solo from a Helsinki concert (September 1974) — but were finished with Record Plant overdubs in the same January–February 1975 window, so they fold in naturally.

Side A — One Size Fits All, side one (unchanged)

Track	Time	Source	Album
Inca Roads	8:45	Basic tracks KCET TV, Aug 27 1974; guitar solo Helsinki, Sept 1974; overdubs Record Plant, Jan–Feb 1975	One Size Fits All
Can't Afford No Shoes	2:38	Caribou, Dec 1974; overdubs Record Plant, Jan 1975	One Size Fits All
Sofa No. 1	2:39	Caribou, Dec 1974	One Size Fits All
Po-Jama People	7:39	Caribou, Dec 1974; overdubs Record Plant, Jan–Mar 1975	One Size Fits All

21:41 — Zappa's own finished sequence, no reason to touch it.

Side B — One Size Fits All, side two (unchanged)

Track	Time	Source	Album
Florentine Pogen	5:27	Basic tracks KCET TV, Aug 27 1974; overdubs Record Plant, Jan–Feb 1975	One Size Fits All
Evelyn, A Modified Dog	1:04	Record Plant, prob. Feb 26 1975	One Size Fits All
San Ber'dino	5:57	Record Plant, Jan 8 1975	One Size Fits All
Andy	6:04	Record Plant, Jan 8 1975	One Size Fits All
Sofa No. 2	2:42	Caribou, Dec 1974	One Size Fits All

21:14 — same logic.

Side C — new material

Track	Time	Source	Album
Regyptian Strut	4:13	Caribou, Dec 1974	Sleep Dirt
Revised Music For Guitar And Low-Budget Orchestra	7:36	Record Plant, Jan–Feb 1975	Studio Tan
RDNZL	8:13	Caribou, Dec 1974	Studio Tan

20:02 — Regyptian Strut opens, mirroring its real role as the literal opening track of Zappa's 1977 four-LP Läther box. Revised Music into RDNZL closes the side, reproducing Läther's real Side C exactly (minus "Lemme Take You To The Beach," which doesn't qualify under the same-band rule). RDNZL as closer also matches Studio Tan's real vinyl, where it's the last thing on the record.

Side D — new material

Track	Time	Source	Album
Time Is Money	2:49	Caribou, Dec 1974 (instrumental basic track)	Sleep Dirt
Sleep Dirt	3:21	Caribou, Dec 1974	Sleep Dirt
Flambay	4:54	Caribou, Dec 1974 (instrumental basic track)	Sleep Dirt
Spider Of Destiny	2:33	Caribou, Dec 1974 (instrumental basic track)	Sleep Dirt
Cucamonga	2:24	Record Plant, Jan 8 1975	Bongo Fury
200 Years Old	4:32	Record Plant, Jan–Feb 1975	Bongo Fury

20:33 — Time Is Money into Sleep Dirt reproduces Sleep Dirt's actual real vinyl Side Two order. Flambay and Spider Of Destiny follow, keeping the surviving Hunchentoot-cycle instrumentals together as a block even though they land on different sides of the real Läther box. 200 Years Old closes the side, reprising its real function as the closing track of Side One on the real Bongo Fury LP.

Total runtime: 1:23:30, spread across four sides averaging just under 21 minutes each.

A brand new 2026 mini CD contains three extensions at once: CD-Text, CD-GRAPHICS and CD Enhanced Graphics at the same time. A rarity

Inspired by Monkey Island, an adventure in MIDI and Chiptune :) did you play those games?

>I finally caved in and decided to permanently host my SMiLE 1972 album here: https://adelaide.casa/smile1972/ It is even available to download right there. ENJOY IT!!

No AI at all was used to create the mixing and sequencing - all done in Reaper around 2022-2023 for the Steve Hoffman forum. Wasn't easy. Tracklist in a post below :)

Background
In 1967, "SMiLE" was conceptualized by Brian Wilson as a groundbreaking concept album, intended as a follow-up to the critically acclaimed "Pet Sounds." This ambitious project was designed to break away from traditional pop conventions, incorporating elements of psychedelia, intricate vocal harmonies, and unconventional song structures. However, due to creative challenges, internal tensions within the band, and external pressures, "SMiLE" was shelved, and The Beach Boys released the simpler "Smiley Smile" in its place. The original "SMiLE" sessions became legendary among fans, representing an unrealized masterpiece that showcased Brian Wilson's innovative musical vision.

Over the years, The Beach Boys revisited the "SMiLE" material. In 1971, Carl Wilson and band manager Jack Rieley retrieved the multi-tracks from Capitol's vaults, with Brian reluctantly joining efforts. Although they worked on repairing and splicing the tapes, the full realization of "SMiLE" did not come to fruition. In 1972, Carl Wilson announced the imminent release of "SMiLE," claiming that safety copies had been assembled with new vocals overdubbed. However, this release never materialized, leaving fans with a lingering sense of anticipation and curiosity about the lost album.

Content
Imagining the potential outcome had "SMiLE" been released in 1972, this conceptual effort by Carl Wilson, titled "SMiLE: The Road Not Taken," serves as a thematic compilation reflecting on Brian and Carl Wilson's state of mind during the "SMiLE" era and its aftermath. Drawing from material spanning 1966 to 1972, released and unreleased, the compilation aims to provide a cohesive narrative and musical journey.

Disc 1 of "SMiLE: The Road Not Taken" comprises the closest approximation of a "SMiLE" LP based on what was completed by 1972. It features tracks that capture the essence of Brian Wilson's original vision. Disc 2, on the other hand, takes a more imaginative approach. Side C of the second disc creates a sonic representation of a therapeutic journey through the ocean, capturing the ebb and flow of emotions. Side D portrays the peaceful transition into a dreamlike state, symbolized by someone falling asleep next to their loved one, eventually drifting into an uninterrupted dream until the end of life. This dual-disc compilation serves as a speculative exploration of what could have been, combining the historical "SMiLE" material with an original thematic storyline. Everything is in stereo.

Sequencing Logic
In crafting this imaginary double album, "SMiLE 1972: The Road Not Taken," several considerations guided the tracklist to ensure a cohesive and engaging listening experience. One primary objective was to maintain a balanced runtime for each side, allowing the listener to immerse themselves fully in the stereo soundscapes of each track. By strategically sequencing the chosen versions in a specific order, Side A and Side B both approximate a similar duration, fostering a sense of symmetry and completeness.

The decision to exclusively feature stereo mixes aligns with the intention to offer a comprehensive stereo experience. Every track, carefully curated for this 1972 what-if scenario, is presented in this format, allowing listeners to appreciate the intricate details and spatial dimensions of the music. Given the evolving nature of Brian Wilson's vision between 1966 and 1967, the 1972 perspective offers a speculative approach, acknowledging the myriad changes and uncertainties that characterized the original "SMiLE" sessions. This creative interpretation recognizes that the 1967 release was elusive, making any reconstruction an exercise in wishful thinking.

The inclusion of "Cool Cool Water" on Side A, derived from the Love To Say Dada lineage and serving as the closing track for the Sunflower album, adds a fitting touch to the imagined "SMiLE 1972." This choice underscores the idea that, had "SMiLE" been released in 1972, it could have incorporated material from subsequent Beach Boys albums. Despite some missing vocals on "Do You Like Worms" and "Child is the Father Of The Man," the overall completeness of the chosen pieces aligns with the vision of a 1972 Carl Wilson navigating the intricate jigsaw puzzle of session tapes without Brian's direct involvement. The deliberate structuring of the album, with "Cool Cool Water" and "Surf's Up" serving as side closers, and "Good Vibrations" and "Heroes and Villains" as side openers, forms a thematic "SMiLE sandwich," contributing to the conceptual flow of this speculative sonic journey.

A key aspect of the album's flow is the intentional sequencing that enhances thematic connections between tracks. For instance, the transition from "Do You Like Worms" to "Cabin Essence" capitalizes on the train whistle-like conclusion of the former, seamlessly leading into the latter's evocative sound design reminiscent of a train journey through America. Additionally, the strategic placement of "Child Is the Father of the Man" before "Surf's Up" reinforces thematic continuity, as the former is creatively reimagined as a coda in the latter. These choices contribute to a rich and coherent narrative, demonstrating the imagined 1972 approach while navigating the intricate legacy of the original "SMiLE" sessions.