A studio album adaptation was recorded six weeks later and released in September. "", a documentary film by Leaf, premiered on Showtime the next month. None of Wilson's bandmates were involved with "BWPS" or the documentary, and none of the original recordings were used on the album. The album debuted at number 13 on the "Billboard" Hot 100, the highest chart position of any album by the Beach Boys or Brian Wilson since 1976's "15 Big Ones". In support of the album, Wilson embarked on a world tour that included stops in the US, Europe, and Japan. "The Smile Sessions", released as a five-CD box set in October 2011, was the first official package dedicated to the Beach Boys' "Smile". It features comprehensive session highlights and outtakes, as well as an approximation of what the completed album might have sounded like, using the 2004 version as a model. Like "BWPS", many of the people involved with the making had been involved with the Beach Boys fan community for decades, including Priore and Reum, who contributed essays and were consulted for the project. The set received immediate critical acclaim, was ranked on "Rolling Stone"s 2012 list of the "500 Greatest Albums of All Time", and won Best Historical Album at the 55th Grammy Awards. In the decades following "Smile"s non-release, it became the subject of intense speculation and mystique and gained status as the most legendary unreleased album in the history of popular music. Many of the writers and "hanger-ons" who surrounded Wilson at the time were largely responsible for the mythological status later afforded to the project. In October 1967, "Cheetah" magazine published "Goodbye Surfing, Hello God!", a memoir written by Jules Siegel that originated many of the subsequent myths and legends related to "Smile". Flory credited the piece with giving "rock fans a manner in which to view Wilson as hip" as well as "venerat[ing] "Smile" as a relic of this hipness, intensifying audience interest in the unavailable work". By 1999, fans had published many essays devoted to the album through the Internet. By the early 2000s, several books had been devoted to the album and its effect on Wilson's personal life. Many of the album's advocates believe that had it been released, it would have altered the group's direction and solidified their position at the vanguard of rock innovators. It may have also significantly impacted the development of concept albums, as Allan Moore argued, "it would have suggested an entirely different possible line of development for the concept album, wherein parts of tracks reappeared in others producing a form frankly far more sophisticated than any of its contemporaries."