.jpg)
Much of Brian Wilson’s success—and the fact that it was even completed—is due to Andy Paley, who did so much work to craft completed tracks around Brian’s ideas. Key producers Russ Titleman and Lenny Waronker helped ensure that the label (Sire, and by extension Warner Bros.) was getting their money’s worth. The original pressing also gave a lot of credit to Eugene Landy, the since-discredited psychologist who exploited his doctor-patient privilege to turn Brian into a petrified kept boy.
Modern recording trends (and Brian’s own attention span) didn’t allow for the contracting of the Wrecking Crew at Gold Star Studios, which had burned down anyway. Instead, Brian was encouraged to create his pocket symphonies using synthesizers and other machines. These days, the pinging effects distract from the melodies, which is too bad, because most of the songs are really good.
“Love And Mercy” would be Brian’s salutation for many years, and it’s a wonderful summation of his fragile innocence and sensitivity to the suffering of others. From that sublime beginning we go to “Walkin’ The Line”, a little throwaway mysteriously co-written with the guy from The Dream Academy and featuring not only the sound of marching feet (get it?) but Terence Trent D’Arby on backing vocals. Much better is “Melt Away”, which melds a sweet melody to an arrangement where every other note is a different chord, both tune and lyrics recalling the low self-esteem of Pet Sounds. Speaking of which, “Baby Let Your Hair Grow Long” updates “Caroline No” with a central message that, as several have pointed out, could be a pep talk to himself. “Little Children” introduces two kids whom the world would soon know as two-thirds of Wilson Phillips, and is over pretty quickly. Another overt family reference is “One For The Boys”, all amazing a cappella, demonstrating that nobody arranges voices like Brian Wilson. “There’s So Many” is a little underdeveloped, more of a record than a song, with too many “spacey” effects covering up what’s missing.
Those wacky space noises are all over “Night Time”, which gets pretty annoying, except during the sections between the incessant choruses. “Let It Shine” gets far enough away from Jeff Lynne’s production for a near-Dion/doo-wop pastiche. It’s a wonderful song, even despite rhyming “fire” with “desire”. With an opening like a music box lullaby, “Meet Me In My Dreams Tonight” is possibly the greatest ripoff of “Santa Claus Is Coming To Town” ever attempted. To prove that he wasn’t all pop of circumstance, the daring “Rio Grande” was the closest we’d get to Smile for some time, with little fragments poking through here and there. It’s not his best extended work, but boy, is it picturesque, particularly in hindsight, evoking images of the old America in his mind.
As good as the album was, it just didn’t fit with what was happening on either AM or FM radio. To add further insult to injury, the band he left behind managed to get their first #1 hit in decades with the truly hideous “Kokomo”, released right around the same time. As the years have gone by, this little album has risked being forgotten, even as interest in the man’s classic creations has been stoked by continual reissues and further solo albums. Thankfully, Rhino gave Brian Wilson the expanded treatment at the turn of the century, adding timely B-sides and even demos, and removing all songwriting credits for Landy.
Brian Wilson Brian Wilson (1988)—4
2000 CD reissue: same as 1988, plus 15 extra tracks
I think that this one is a bit overrated by fans. I don’t think it’s the second coming of “Sunflower”, “Surf’s Up” or “Holland”, never mind “Pet Sounds”. Of course, my taste is rather different than many of the group’s fans, so that’s OK.
ReplyDeleteI don’t mind the production so much. It’s very 80’s, but nearly as much as some classic artists whose work was marred by all those Yamaha synths and Linn drum machines (Elton, Genesis, even The Beach Boys’ 1985 album). The tunes have good hooks and strong melodies. What was also nice was that Brian’s voice made somewhat of a comeback. The transparent, boyish falsetto was gone for good. On the other hand, the horrible hoarseness of the mid 70’s was also gone. Sobriety is a good thing.
What gets in my way are most of the lyrics. They were originally credited to Landy and/or his wife, Alexandra Morgan. Brian even thanked her in the original liner notes. My guess is these credits were removed not because they didn’t write them. Rather, this was done to ensure that all ties between Landy and Brian were severed, including preventing any potential royalties flowing to the good (ex-) doctor. Landy, fortunately, was in no position to protest.
Most of the lyrics are just way too simplistic and ordinary, even occasionally clumsy (“Love and Mercy”). As always, Brian seemed intent on trying to recapture past innocence (“Little Children”, “Baby, Let Your Hair Grow Long”), which I found to be problematic, at best.
My favorites are the two where the production and lyrics don’t get in the way. There’s “One of the Boys”, a cheerier update of the “Our Prayer” idea; and “Rio Grande”, in which Paley and his record company execs convinced him to do the most ambitious piece he had done in years. I wish he had done it live at some point. I wonder what Van Dyke Parks could have done with it lyrically. At least Landy was kept out of the way, since he would have wrecked it with his “Life Suite”.
I heard “Love and Mercy” once on my classic rock station at 5:30 A.M. Otherwise, no go. Like “Sunflower”, it was released at a time when there was no market for this kind of music. “Rio Grande” pointed to what looked like a bright future. Instead, Landy derailed Brian into the scrapped “Sweet Insanity”, which took the weakest musical and lyrical shortcomings here and made them a hundred times worse. Even hardcore fans avoid it.