Sold Date: August 3, 2014
Start Date: July 27, 2014
Final Price: $36.00 (USD)
Bid Count: 4
Seller Feedback: 1389
Buyer Feedback: 133

This item is not for sale. Gripsweat is an archive of past sales and auctions, none of the items are available for purchase.

Here is a MINT! copy of the DOUBLE LP from BRIAN WILSON titled SMILE. It is an ORIGINAL US pressing on the BRIMEL/RHINO label, catalog #R1 76582 in STEREO sound. This DOUBLE LP was originally released in 1968. The vinyl is PRESUMED MINT! condition since it is SEALED! and should be shiny and black and have SUPERB! playback. The original GATEFOLD cardboard cover is in MINT! condition since it is SEALED IN ORIGINAL SHRINK! It is a TOP ARCHIVAL MINT SEALED! copy for you to own. It is an opportunity to purchase this DOUBLE LP by BRIAN WILSON. It’s a must have for the BEACH BOYS / ALTERNATIVE / INDIE ROCK collector!! Email me with any questions and be sure to look at the pic’s.  I DO NOT ACCEPT BIDS FROM OR MAIL TO SOUTH AMERICA, SOUTH AFRICA, ITALY & OTHER COUNTRIES. IF YOU ARE NOT FROM THE USA CONTACT ME BEFORE BIDDING! International bidders can email me for shipping rates. SHIPPING IN THE US IS $5.00 for MEDIA MAIL (IT IS NOT $4.00). US BUYERS PLEASE WAIT FOR INVOICE! Thanks for Looking & Good Luck!

Music Review from AllMusic.com by John Bush

The white whale of '60s record-making, ' aborted album gradually gained a legend that not only inflated its rumored importance and complexity, but gave credence to an odd notion -- that completing it, then or ever, was impossible. In truth, should have been released and forgotten, reissued and reappraised, and finally remastered for the digital era and ushered into the rock canon ever since halted work on it in May 1967 (after an exhausting 85 recording sessions). Instead, it languished in the vaults and remained the perfect record -- perfect, of course, because it had never been finished. Reports that the recording of "Mrs. O'Leary's Cow" had caused a nearby building to burn down and whispers of "inappropriate music" gave it the character of a monster, one that cursed all those who approached it and claimed the heart and mind of its major participant. 's love of "feels" -- short passages of cyclical music that could be overdubbed and rearranged countless times -- had made 1966's "Good Vibrations" the ultimate pocket symphony, but had also quickly spiralled into the instability that consumed him during its follow-up, "Heroes and Villains," projected to be the centerpiece of .

Happily, a new recording of by reveals the record as nothing more (or less) than a jaunty epic of psychedelic Americana, a rambling and discursive, playful and affectionate series of song cycles. Infectious and hummable, to be sure, and a remarkably unified, irresistible piece of pop music, but no musical watershed on par with or 's masterpiece, . For the first time ever, the program for was compiled, after first listened to the original recordings with his musical midwife, of (which has long functioned as 's live backing band), and then worked them into a live show and album recording. The work that evolved divides into three sections: begins with Americana, which takes the dream of continental expansion from the old Spanish town saga of "Heroes and Villains" to the landing at Plymouth Rock and, finally, the end of the frontier at Hawaii; it continues with a Cycle of Life that progresses from the virginal grace of "Wonderful" to the simultaneous peak and decline of the creative life on "Surf's Up"; and ends with an environmental cycle called The Elements, which includes "Vega-Tables," (Earth), "Wind Chimes" (Air), "Mrs. O'Leary's Cow" (Fire), and "In Blue Hawaii" (Water).

Since himself was previously the most opposed to appearing in any form, it's a considerable shock that this new recording justifies even half of the promise that fans had attached to it. Everything that and his band could control sounds nearly perfect. Every instrument, every note, and every intonation is nearly identical to the late-'60s tapes; one has to wonder whether vintage hand tools weren't acquired for "Workshop" and wasn't flown in to add chewing noises to "Vega-Tables." (The players did, however, book time at one of 's old haunts, Sunset Sound, and utilized a '60s tube console to record their vocals.) No, the harmonies here aren't ' harmonies, and 's vocals aren't the vocals he was capable of 37 years ago, but they're excellent and (best of all) never distracting. Aside from the technical acumen on display, has also, amazingly, found a home -- the proper home -- for all of the brilliant instrumental snippets that lent the greatest part of the mystery to the unreleased . ' new (or newly heard) lyrics fit into these compositions, and the work as a whole, like hand in glove. (The former instrumentals include "Barnyard"; "Holiday," which is here called "On a Holiday"; "Look," which is now "Song for Children"; and "I Love to Say Da-Da," which is now part of "In Blue Hawaii.") Most surprisingly, nearly all of this thematic unity was accomplished by merely reworking the original material already on tape, which proves that was never very far from finishing in 1967. (It's very likely that the gulf was psychological; had few supporters among 's closest friends and family.) Hopefully, Capitol is readying a SMiLE Sessions box set to release all of the vintage material, but it's clear that nothing they dig up from the vaults will be able to match the unity of this attractive recording. It's up to the standards of anyone who's ever scoured the bootlegs to create a tape, and further, it beats them all, which is the highest compliment. So, if you've never been burdened with a friend's tape before, count yourself lucky that 's is the first you'll hear. And if you have heard a few, prepare to listen to them much less religiously.