The story of Brian Wilson’s aborted Beach Boy’s album SMiLE is noteworthy for a number of reasons. Firstly, it pioneered a non-linear approach to pop record production decades before digital editing became the norm for record makers. Interestingly, this approach was not just a functional necessity of production, but was inseparable from its compositional process and overall aesthetic quality. Perhaps more importantly, SMiLE arguably became popular music’s first interactive work, with fans making their own linear assemblies of various bootlegged (and released) ‘modules’ long before Wilson ever got around to sequencing them into a final concrete form.
And there’s much more about the SMiLE saga featured in my new book: