"Good Vibrations" had been recorded in modular style, with separately written sections individually tracked and spliced together, and Wilson's concept for the new album was more of the same, representing a departure from the standard live-taped performances typical of studio recordings at that time. Having been introduced to Van Dyke Parks at a garden party at Terry Melcher's home, Wilson liked Parks' "visionary eloquence" and began working with him in the fall of 1966. After Wilson famously installed a sandbox and tent in his living room, the pair collaborated closely on several "Smile" tracks. Conflict within the group and Wilson's own growing personal problems threw the project into terminal disarray. Originally scheduled for release in January 1967, the release date was continually pushed back until press officer Derek Taylor announced its cancellation in May 1967. By 1967, Wilson's life was on the verge of a serious decline. Following the cancellation of "Smile", the Beach Boys relocated to a studio situated in the living room of Wilson's new mansion in Bel Air (once the home of Edgar Rice Burroughs), where the band would primarily record until 1972. This has been perceived by some commentators as "the moment when the Beach Boys first started slipping from the vanguard to nostalgia." Throughout mid-to-late 1967, Wilson oversaw the production of only a few heavily orchestrated songs holding continuity with his "Pet Sounds" and "Smile" work, such as "Can't Wait Too Long" and "Time to Get Alone". Wilson's interest in the Beach Boys began to wane. Carl explained: "When we did "Wild Honey", Brian asked me to get more involved in the recording end. He wanted a break. He was tired. He had been doing it all too long." Still psychologically overwhelmed by the cancellation of "Smile" and the imminent birth of his first child Carnie Wilson in 1968 amid the looming financial insolvency of the Beach Boys, Wilson's creative directorship within the band became increasingly tenuous; additionally, cocaine had begun to supplement Wilson's regular use of amphetamines, marijuana, and psychedelics. Shortly after abandoning an intricate arrangement of Kern and Hammerstein's "Ol' Man River" at the instigation of Mike Love, Wilson entered a psychiatric hospital for a brief period of time. Biographer Peter Ames Carlin has speculated that Wilson had self-admitted and may have been administered a number of treatments ranging from talking therapies to doses of Lithium and electroconvulsive therapy during this stay. In his absence, 1969's "20/20" consisted substantially of key "Smile" outtakes ("Cabinessence" and "Our Prayer") along with the long-germinating "Time to Get Alone".