Uncanny

Lost in music: The peculiar life of Brian Wilson

THE INDEPENDENT "By now a pattern was set for the Brian Wilson interview technique. Talking to him is like feeding a corpse. You spoon in questions, clarify what you just said, repeat the original question, put your head on one side, smile, flirt, nod – and when he's ready, he'll offer the tiniest quantum of communication known to mankind. Often it's one laconic word. Sometimes he'll repeat your question as a statement. Disagree with him and he'll hastily agree with you. Sometimes his answers are rather sweet and childish."

Van Dyke Parks to Mike Love: "I Have No Excuse, Sir."

EUCLID SUN JOURNAL has an interesting quote from legendary songwriter/musician Jimmy Webb. I don't recall ever hearing about this exact quote being attributed to VDP. I'll have to check some reference books to see if it jogs the memory. Nevertheless, it certainly sounds like something VDP would say.

"[Jimmy] Webb, a music writer and lyricist, often writes lyrics that leave people wondering. In 'MacArthur Park,' for example, the cryptic line 'someone left the cake out in the rain' is found. When asked what that means, Webb said, 'I don't answer that.' He then laughs, apologizes and says he isn't trying to be difficult. 'It's just that I don't have a particularly good explanation,' he said. Citing lyricist Van Dyke Parks' answer when confronted by singer Mike Love about an obtuse lyric in a Beach Boys song Parks had written, Webb quotes Parks as saying, 'I have no excuse, sir.'"

EDIT 1: "Tunesmith", a book written by Jimmy Webb, has the VDP quote.

EDIT 2: Webb doesn't give an exact citation for this quote, but from the context it seems that the quote comes from "Heroes & Villains", a book written by Steven Gaines that was first published in 1986. I have not looked at that book in ages. Now I have a reason to flip through it again.

Beach Boys/Brian Wilson Promo CD Extravaganza Vol. 5: “What I Really Want For Christmas"

I previously blogged about this advance copy of "What I Really Want For Christmas" at UNCANNY MARK 1. I didn’t have access to a scanner back then, so no scans on the original blog. There’s not too much else to write because I covered it pretty well back in 2005. I would add that unlike most advance promo discs, this one is not a CD-R; it’s a factory-pressed “silver” disc. Also, the printing on the top is not too dissimilar from what you’d expect for an “official” release. The design even has elements from the official release’s packaging, like Brian’s green signature and the red and white coloring. In the legal fine print there’s a warning that “certain computers may not be able to access the digital file portion of the audio disc.” I never put this disc into my computer because I’m worried about the malicious root kit that Sony BMG hid in some discs around the time this album came out. Better safe than sorry.

My views on the album are pretty much the same as they were back when it first arrived. With the exception of the two “new” tunes, there’s nothing really that outstanding here, just solid renditions of classic Christmas songs. The two new songs, “Christmasey” and “WIRWFC” are still the standouts and the only real reason for buying this album, unless you are a tremendous fan of Christmas songs.

Here are my original notes:

On Friday, September 16, 2005 I finally received a promo disc of Brian’s upcoming solo Christmas album, "What I Really Want For Christmas." There are no inserts in the jewel case. Printed on this disc: “Album Advance” & "For Promotional Use Only. Not For Sale." The disc is protected by a copy control system. The disc artwork is simple---a red background with a graphic of a piece of paper that's curled at the bottom, with Brian's signature in green and the album title below it.

Here’s the track listing, and track times, from the disc, along with some of my own notes:

ALBUM ADVANCE
1. The Man With All the Toys (2:59)
2. What I Really Want for Christmas (3:50)
3. God Rest Ye Merry Gentlemen (3:27) country ‘n’ western feel a la "Theme From Rawhide", funky sax outro
4. O Holy Night (4:28)
5. We Wish You A Merry Christmas (2:36) nice flute solos, towards the end big change, turns real rock ‘n’ roll, kids (Brian’s?) say "Merry Christmas and a happy New Year"
6. Hark the Herald Angels Sing (3:34)
7. It Came Upon a Midnight Clear (3:08) a capella intro, set in waltz time, Ray Charles gospel feel
8. First Noel (4:47) also waltz, keys & electric guitar intro sounds very "Pet Sounds"
9. Christmasey (4:08) nice harmonica solos and outro, kinda like from an Ennio Morricone Spaghetti Western, also has touches of Brian’s "crooner" album, "Adult Child"
10. Little Saint Nick (2:11) standard rendering, nice little rocker
11. Deck the Halls (2:36) Caribbean lilt with rock flavor
12. Auld Lang Syne (1:29) a capella, no real lead vocal, if Brian’s voice is there, it’s hard to distinguish
BONUS TRACKS
13. On Christmas Day (3:23)
14. Joy to the World (2:06) subtle synth (?) beds provide solemn atmosphere
15. Silent Night (0:49) a capella, Brian on lead, at end Brian says, "Hi, this is Brian. I’d like to wish all of you and your families a very merry Christmas and a wonderful New Year."

Total Time: 46:06

This promo disc came with a "one-sheet", written by David Leaf. Brian Wilson is quoted as stating the following: "Christmas music itself is a very special type of music. It seems to have been written by a godly kind of thing, a godly force brought that down to us."

"I love Christmas because family gets together for the holidays. We all share each other. It’s a wonderful time of year. [I] used to sing these songs to myself when I was a little kid, so recording this album was a little bit of a sentimental thing for me. I love Christmas music, ballads for sure but especially when it’s set to a rock ‘n’ roll beat and the chance to record some of my all-time favorites…well, it just seemed appropriate at this point in my career."

"I loved making this record. When I listen to it, I feel proud and sentimental. Me and my band put out heart and soul into playing the songs and recording the vocals, so I hope the music means as much to other people as it does to me."

Clive Davis, Chairman, BMG US is quoted as stating: "Brian Wilson is a real legend and unparalleled creative genius. The arrangements and the production, the interpretations of the songs all show his individual, unmistakable stamp. In working with Bernie Taupin and Jimmy Webb, Brian really had gone after collaborations with masters and it shows. The result is two new timeless Christmas songs that live up to the criteria for this kind of ‘Christmas classic’ album, that live up to the standard of the timeless great ones. On this record, Brian is ‘being Brian,’ doing a superlative job with the harmonies, the vocals, the tracks, really taking Christmas classics to the zenith of their respective potential. So it has been a joyous project from the beginning."

As I just received the disc, I haven’t really had a chance to thoroughly listen to the album. Nevertheless, here are some provisional remarks. First of all, I should note that I’m naturally disinclined to enjoy a Christmas album. You see, I’m Jewish and was not raised with Christmas songs around the house. Despite my natural bias against Christmas songs, "What I Really Want For Christmas" is a very fine album, expertly arranged, produced and performed by Brian.

Those fans unhappy with the fact that Brian handled both the lead vocals and background vocals on most of "Getting In Over My Head" will be pleased to know that while Brian takes all the leads on his new album, the background vocals are handled superbly by his band. In fact, it’s the vocals that really make this album shine; the harmonies are deep and rich. Furthermore, the production style is classic Wilson; overall, the "sound" of the record is very much in line with the sound Brian & Co. achieved recently with "SMiLE."

The standout tracks are the two new tunes: the title track, with lyrics by Bernie Taupin, and "Christmasey", with lyrics by Jimmy Webb. The title track slowly unfolds into an exquisite arrangement. The title track starts with an a capella intro; then, little by little, touches of piano, chimes, flute and harp caress Taupin’s sophisticated lyrics. The drums don’t come in until approximately 1:14 into the track. The track stands up very well against the other classic Christmas songs on the disc.

"Christmasey" also stands up very well. The song is full of fun and cheer. Two excellent harmonica solos, plus and instrumental outro, create tension and release throughout the song. The last lines of the song sum up the feeling Webb was trying to relate: "It didn’t snow/But we all agree/It’s still Christmasey."

Beach Boys/Brian Wilson Promo CD Extravaganza: Update

The Beach Boys/Brian Wilson Promo CD Extravaganza will continue as I find time to go through more of my promos. Look for more entries in the up-coming days.

Amazing DJ/producer/musician Steinski heralds a victory against corporate dunderheads who want to take back promos they give away.

More on the victory here and here and here.

Foetusized discusses promos, cut-outs and their unique labels

Surfing With Anger & Spreckels

BROOKLYN RAIL discusses some new films by legendary avant-garde filmmaker Kenneth Anger.

"'My Surfing Lucifer' (2008, 5 min, video) 'My Surfing Lucifer' is a brief, rather uneventful but nonetheless enjoyable film of 'Surfing’s divine prince of decadence,' Bunker Spreckels (who inherited fifty million dollars at age 21), surfing to the Beach Boys Good Vibrations. Though 'My Surfing Lucifer' mostly consists of medium/long shots, Anger produces some interesting close ups as Bunky surfs in a slippery, jet black wetsuit in emerald green water against a heavily saturated blue sky."

Why Can't We Have Political Parties Like This in the USA?

FINANCIAL TIMES The USA needs politicians like Christian Engström of the Pirate Party. Mr. Engström writes that, "On MySpace and YouTube, creative people post audio and video remixes for others to enjoy, until they are replaced by take-down notices handed out by big film and record companies. Technology opens up possibilities; copyright law shuts them down. This was never the intent. Copyright was meant to encourage culture, not restrict it. This is reason enough for reform. But the current regime has even more damaging effects. In order to uphold copyright laws, governments are beginning to restrict our right to communicate with each other in private, without being monitored."

At least the US has bright minds like Lawrence Lessig, too bad he is not an elected official or a member of the FFC board.

Brian Wilson Anchors New CD 'WHAT LOVE CAN DO' Set for Release on 429 Records August 4 Legendary Musicians Remake Their Classic Songs & Contribute All New Track All New Wilson Track 'What Love Can Do' First Single To Radio

EDIT 1: I'm pretty sure that "What Love Can Do" is just a re-packaged & re-titled version of this disc which came out some time ago.

EDIT 2: 429 Records has a website with more information & song samples

PRNEWSWIRE "429 Records is announcing the release of a one-of-a-kind collection of songs by some of the music world's most creative songwriters. Titled "WHAT LOVE CAN DO," it's a project put together by legendary producer Phil Ramone that brings together celebrated musicians such as Brian Wilson, Kris Kristofferson, Kenny Loggins, Burt Bacharach and many others each of whom have gone back into the studio to recreate one of their all-time hits as well as a brand new song. It's a unique idea where artists, under the creative genius of Phil Ramone, record a fresh take on a timeless classic while also offering an up-to-date example of their artistry. Brian Wilson's remake of "God Only Knows" sparkles next to his all new song and album title track "What Love Can Do" (the first single from the project going to radio) as an example. WHAT LOVE CAN DO will be released on 429 Records on August 4."

"WHAT LOVE CAN DO is more than just a nostalgic look back for the artist and the listener but it's a heartfelt message from each artist involved that their music is more vibrant and evocative than ever. The lineup of artists participating in the project is truly stellar representing the pop, rock, folk and jazz genres."

1) "God Only Knows" Brian Wilson
2) "Un Baile Del Corazon" Stephen Bishop
3) "Your Goodbye" Richard Marx
4) "A Love Song" Kenny Loggins
5) "Sunday Morning Coming Down" Kris Kristofferson
6) "I Still Remember" Burt Bacharach, John Pagano
7) "Rainbow Connection" Paul Williams, Willie Nelson
8) "Hold On To The Nights" Richard Marx
9) "The Wonder" Kris Kristofferson
10) "I'll Remember Your Name" Kenny Loggins
11) "New Music From An Old Friend" Paul Williams, Jane Monheit
12) "Save It For A Rainy Day" Stephen Bishop, Eric Clapton
13) "Alfie" Burt Bacharach, Peabo Bryson
14) "How About Now" Kenny Loggins
15) "What Love Can Do" Brian Wilson

Beach Boys/Brian Wilson Promo CD Extravaganza Vol. 4: “Pacific Ocean Blue + Bambu”

I’ve already blogged about the “POB/Bambu” promo here and here. Nevertheless, this album deserves repeated attention since it’s just a killer. I can still remember the first time I came across “POB/Bambu.” It was the early stages of my interest with Brian Wilson & the Beach Boys, ca. 2002, and I had no clue that Dennis Wilson had released a solo album. But I was mad about BW/BB. Every time I walked into a record store the first thing I did was look under “B” for Beach Boys and “W” for Wilson. While browsing through the “W” bin at Kief’s Downtown Music I stumbled across a 2 CD-R bootleg that had “POB” on one disc and “Bamboo” (that’s how it was spelled pre-official release) on the other. Knowing nothing of their contents, I purchased the discs on a whim and a hunch. From the moment the first few notes of “River Song” flowed out of my speakers I was hooked. Since that moment, “POB/Bambu” has remained one of my most favorite album(s) in the BW/BB cannon. While not quite as sublime as “SMiLE,” with “POB/Banum” Dennis gave brother Brian a run for his money.

I was primed when the news circulated that “POB/Bambu” would finally get an official release. Years listening to the mediocre music on my bootlegs had made me eager to hear quality versions of these amazing tunes. (I was never fortunate enough to find an original copy of “POB” on vinyl or the first CD release. I had to settle for a CD-R rip of the official CD and other related bootlegs.) On April 1, 2008, when I finally got the advance promo of “POB/Bambu,” I was blown away for a second time. It was almost like hearing the album for the first time. The sound was so much deeper, richer, fuller and majestic than I could have ever hoped for. Even better, there were several tracks I had never heard of, let alone heard on bootlegs.

The promo advance was very spartan. The two CD-Rs and accompanying track lists didn’t even come in a jewel case. They came in a flimsy, generic plastic wallet. The track list for disc 1 had a typo and was crossed out in black by the record company before the discs were sent out. The record company also sent with the discs a substantial press packet that contained most of the album/liner notes, press releases from the original release of “POB” as well as several scans of vintage music magazine articles about the album.

For the record, do not assume that because I receive a free, advance promo of an album I don’t purchase the album. In fact, the day “POB/Bambu” first hit stores, I was there, money in hand, and purchased a copy the old fashioned way. The same thing can be said for most of the other advance promos I’ve received through the years. Without exception, if I received an advance promo of a BB/BW album, I also purchased the official release through official channels.

Brian Wilson confirms surprise gig at Glasgow Royal Concert Hall, September 1

SUNDAY MAIL

Beach Boys/Brian Wilson Promo CD Extravaganza Vol. 3: “Maverick Radio Networks Presents: Brian Wilson – Gettin’ In Over My Head Radio Special”

“Maverick Radio Networks Presents: Brian Wilson – Gettin’ In Over My Head Radio Special” was a radio special focusing on the release of “GIOMH.” (The narrator, Mark Wilson, can be heard saying that the album was ”released this month.”) It was created by something called the Maverick Radio Networks. A simple Google search turned up very little information about this outfit. MRN either no longer exists or was gobbled up through corporate acquisition. It must have been distributed solely to radio stations affiliated with MRN. Probably no more than a few hundred sets were printed. The set consists of two CD-Rs and a cue sheet. Unlike the record company advance CD-Rs, the printing on the top of these discs is closer to what you’d expect from an “official” release, but still basic and bland. Here’s my transcription:

DISC 1
TT- 47:57

CUT 1

After a brief cue, BW and band play the Barenaked Ladies’ song “Brian Wilson” for about 45 seconds; then the narration by Mark Wilson (no relation) begins. Mark Wilson says the radio special will include the “world premiere” of a new BW song recorded with his daughters Wendy and Carnie. Next is a short medley of classic Beach Boys songs and some BW solo songs.

And then we hear the first of several excerpts from an interview with BW.

BW: “I’m really pumped about my album. It’s been six years since I’ve done a solo album. It’s called GIOMH, and I have three guest artists on it. Paul McCartney, Elton John and Eric Clapton. This album’s been in my head for about 6 years and it took us about 4 months of hard work, to make it and create it and do it."

Mark Wilson narration, stock BB/BW history

“Surfin’” plays, ‘60s version, entire

Mark Wilson narration

“Surfin’ Safari” & “409” both play, ‘60s version, entire

“Surfer Girl” & “In My Room,” BW live at the Roxy version, entire

CUT 2

BW: “I met Elton John in 2001 in Radio City Music Hall in NY. He came there to sing ‘God Only Knows’ with me. He sang a verse and I sang a verse. He was fantastic. We had a good time together. We hit it off real good. We hit it off really, really good. I wrote a song a few years ago called ‘How Could We Still Be Dancin’.’ And I thought about it. I thought Elton John would be a perfect guy to sing the verses and I would sing the choruses. We sent him a demo of the song and he rehearsed it and practiced it. And when we got to the studio he did it perfectly in 3 takes. It was a real kick.”

Question: Does Elton John play piano on it?

BW: “He played Little Richard kind of scat piano, like Billy Joel. I told him, I said, ‘Play a little bit like Billy Joel.’ He goes, ‘What do you mean Billy Joel? I’ll play it like Elton John!’”

Q: Can you play a little bit for us?

BW plays piano & sings intro of the song for about 10-15 seconds, then it fades into the studio version of “HCWSBD,” entire.

Mark Wilson narration

BW: “The studio has always been a way for me to get away from the world. My solace. It’s always been a place of sanctuary for me to go and create music.”

“Help Me Rhonda” plays, ‘60s version, entire

“California Girls,” “I Get Around,” “Barbara Ann,” and “All Summer Long” play, live at the Roxy, entire

CUT 3

BW: “’City Blues’ is all about how nothing ever seems to come to no good. The city’s so gritty it’s a pity. It’s not really a really bluesey blues kind of song. It’s more of an electric blues that brought a lot of energy to the album, you know. I wrote the song not for him, I wrote the song for me. Melinda and I both thought he would be great for the guitar part on it. I asked him, I said, “Would you like to play guitar on a song called ‘City Blues?’ And he goes, ‘Well sure. I’d love to.’ So I brought the tape to England and we went in the studio. And it took him a half and hour. He kept experimenting, he kept trying one thing, and then he’d try up high, down low and he’d try everywhere. And I kept saying, ‘You’re almost there. We’re almost there.’ And he goes, ‘Wait. I can get it better. I can get it better.’ So he kept working and he finally got it perfect."

“City Blues,” album version plays, entire

BW: “Andy Paley, my collaborator wanted Carl to sing the lead on the song. So Carl sang the lead. And after he died I replaced the bridge. I got tears, because my brother Carl, I was very close to him. And when he died I felt very bad and so I sang the bridge in place of Carl. It keeps him alive, in a way, in a way it keeps Carl alive and happening. Carl was a gentle soul, he was a very good person. He was probably one of the better singers in the business. He was a really good singer. Carl had a very special, beautiful voice. He had a very versatile voice. He could sing sweet, he could sing funky, he could sing rock n roll, he could sing blues. And he took directions beautifully in the studio. He learned songs very quickly. And he did a very good job on them. So I tell you what, I’ll do ‘Soul Searchin’' the song Carl Sang.”

BW voice & piano, 10-15 seconds, then fade into album cut, entire

DISC 2
TT- 48:08

CUT 1

Intro, Mark Wilson, stock history

“Sloop John B,” “Pet Sounds,” and “God Only Knows,” live at the Roxy, entire

CUT 2

BW: “I just always wanted to have Paul McCartney do a duet with me. So we called up his manager and we asked him if he’d be interested and Paul said yeah, he’d like it. So we flew out and we did a song together."

Q: Did he record his part in LA?

BW: “Yeah, he recorded his part in LA and he did a song called ‘A Friend Like You.’”

Q: Why did you choose that song?

BW: “I chose that song because I had a perfect little part for him. (sings) ‘A friend like you/a friend like you/you mystify me/you lullaby me.’ A simple little part like that. He did that like three times in the song.”

Q: Did you have to produce his vocal?

BW: “Yeah, absolutely. I said Paul, ‘You’re going flat.’ And he goes, ‘What do you mean, flat?’ I go, ‘You’re going flat, Paul.’ And he goes, ‘Alright.’ And he corrected his flatness."

Q: Did he taken any offense at your telling him he was flat?

BW: “No, no, no. He loved it. He loved every minute of it.”

Q: Did Paul play guitar on the record?

BW: “He played guitar on the introduction of the record. He played box guitar. He goes, ‘bbbbbrrrrruuuuummmmmmmm!’ His box guitar sounded like an autoharp to me a little bit.”

Q: I wonder if you’d play a little bit of the song “A Friend Like You.”

BW solo piano & voice intro, 10-15 seconds, fades into album cut, entire

Mark Wilson narration

“Good Vibrations,” “Until I Die” and “Add Some Music” play, Roxy version, entire

CUT 3

Mark Wilson narration

BW: “Having a wife and 3 beautiful kids has inspired me so much, so deeply in my soul that it reflects itself in the way I sing on my album. It really does. It makes me sing better, it makes me feel better, it makes the album better, it makes everything better."

“World premiere” of BW song with Wendy & Carnie Wilson, new version of “Don’t Worry Baby” plays, entire

BW: “This year we’re going to take the new album all over Europe, England, Scotland, Sweden. My favorite city is London; because I like the people there. I like the people of London. There’s a great energy and a vibe there when we play there."

“Be My Baby,” and “Lay Down Burden” play, Roxy version, entire

CUT 4

“Darlin’” and “Kiss Me Baby” both play, Roxy version, entire

Mark Wilson outro

Beach Boys/Brian Wilson Promo CD Extravaganza: Vol. 2- “Gettin’ In Over My Head”

I like “Gettin’ In Over My Head” and I’m not ashamed to admit it.

Today I went over to the Smiley Smile message board for the first time in ages, and one of the first messages I came across is by Andrew G. Doe ; he cringes at the mere thought of having to listen to “GIOMH” again for the updated web version of his wonderful book, “Brian Wilson & the Beach Boys: The Complete Guide To Their Music.” AGD is one of the Beach Boys/Brian Wilson scholars I most admire. When it comes to dates, locations, names, studios, musicians, etc. I always defer to his research and scholarship. He also has excellent taste when it comes to sorting out the good from the bad Beach Boys/Brian Wilson recordings. I usually concur with his aesthetic opinions. One topic where we differ is “GIOMH.” For some reason, AGD heaps particularly vicious scorn upon “GIOMH.” While I’m the first to admit that “GIOMH” is far from Brian Wilson’s best solo album, I don’t think it’s quite as bad as AGD feels.

My thoughts/opinions/feelings about the album were formed solely from listening to the music. I know little, and care even less, about any of the behind the scene machinations that may have conspired to prod the release of “GIOMH.” I just remember how excited I was when this album came out. I think the release of any new Brian Wilson album is cause for celebration. To be sure, “GIOMH” loses a ton of points for having no real new material. Most, if not all, of the songs were re-treads of old songs that never ended up on official releases. Some of the songs were previously available on bootlegs like ”Sweet Insanity” and the Andy Paley sessions. Nevertheless, there are a few gems. I love the songs “Soul Searchin’,” “GIOMH,” “City Blues,” and “Desert Drive.” “Soul Searchin’” and “GIOMH” in particular are two of my favorite solo Brian Wilson tunes.

Moreover, the tunes themselves hold up well when performed by other musicians. Solomon Burke’s version of “Soul Searchin’” was particularly soul stirring. I usually detest all things Bon Jovi related, but I did enjoy watching Richie Sambora perform “City Blues” at the Musicares tribute to Brian Wilson. It’s also cool how other music industry legends, e.g. Eric Clapton, Paul McCartney, Elton John, showed up to support BW.

As for the disc scanned above, this was the advance version sent to music journalists. It’s just a simple CD-R. There are some markings that are unique to this kind of advance disc, such as “RESTRICTED RELEASE, WATERMARKED DISC!” And in case you weren’t paying attention, they put another exclamation point in a triangle. The disc is even individually numbered, “THIS CD BELONGS TO 600 14499.” Presumably, only the record company knows how this numbering system works. All the little printing is just legal mumbo-jumbo and gobbledygook whereby the record company attempts, in vain, to overcome the storied legal first sale doctrine.

August 2009 Record Collector Interviews Al Jardine

RECORD COLLECTOR article detail #1
RECORD COLLECTOR article detail #2

Beach Boys/Brian Wilson Promo CD Extravaganza: Vol. 1- “A Celebration of Brian Wilson’s SMiLE”

As promised, here’s Vol. 1 of my Beach Boys/Brian Wilson Promo CD Extravaganza. First up is a simple CD-R printed by Nonesuch in conjunction with the 2004 release of “Brian Wilson Presents SMiLE.” I first blogged about this disc at UNCANNY MARK 1. The picture on the old blog was pulled from the web. I did the scan on this blog. The shadow somewhat hides the Nonesuch symbol, but otherwise is a fair reproduction. Given the printing on the top of this disc, "Non Commercial Version, For Broadcast Only, Not for Sale," I assume that this disc was sent mostly to radio and other broadcast media outlets. Below are the notes I posted back in 2005.

"A Celebration Of Brian Wilson's SMiLE" combines narration of Brian’s life story by someone named Dennis Elsis (sp?) with excerpts of interviews from the Beautiful Dreamer documentary, various Beach Boys tracks, ’04 Smile studio tracks, a few live recordings from the live Smile premier, and an interview with David Leaf. The text read by Elsis contains nothing new.

The interview w/ David Leaf is more interesting. While Leaf divulges no new revelations, he succinctly summarizes the Smile story. This promo CD was produced by Paul Rapport, Mitch Macatansky and Jim Fahey. (Do these guys work for Nonesuch?)

There is one very interesting tidbit. Before the studio ’04 version of Wonderful, we hear Brian (from ’67?) say, "I’m all set. 1….2….3….4", as he counts down the beginning of the song for the musicians. Judging from the sound of Brian’s voice, I’m willing to bet that this brief session excerpt comes from 1967.

This is my transcription of the promo:

1. Intro by Dennis Elsis (sp?)– "We’ve been waiting for this for most of our lives; Brian Wilson’s Smile."

2. Our Prayer – Gee – Heroes & Villains – Roll Plymouth Rock

3. Brian Wilson (from Beautiful Dreamer) on learning the boogie-woogie

4. California Girls

5. David Leaf – "The release of Rubber Soul in the fall of 1965 really inspired Brian both creatively & competitively. And the 1st result of that sense of competition he was having with the Beatles was Pet Sounds. In response, the Beatles raised their game and Revolver came out. Good Vibrations was the next production from Brian Wilson and the Beach Boys, and that in turn let the Beatles know that there was a guy in town who was making records that were blowing their minds and they knew they needed to make something that would blow the world’s minds too. And their next production was Sgt. Pepper. Unfortunately, Brian never finished Smile in 1967 and released it. So we have no way of knowing how that would have effected the world at that time. But at the time, in ’65, ’66, ’67, there’s no question that Brian in America and the Beatles in England were producing the most important records."

6. Brian Wilson (from Beautiful Dreamer) on the Beatles

7. David Elsis

8. David Leaf – "Because Brian worked w/in the context of a group, meaning the Beach Boys, his family band, people didn’t think of him as a singer songwriter. But he really was. And what he did that was incredible, from the very beginning, is that he took what was going on in his life and he expressed it in beautiful, heartbreakingly sweet and harmonious and sometimes melancholic art."

9. Wouldn’t It be Nice

10. David Leaf – "Growing up in the music business in the 1960s, all the great artists who had commercial success, the Beatles & the Beach Boys, later on groups like the Bee Gees; part of how they knew they were being successful, was that people were buying their records, that people were hearing their records on the radio. And there’s no way for artists who grew up in that environment to separate the success of the artistic achievement from the success of the commercial achievement. And I think that’s one of the biggest challenges facing all artists who work ion the record industry, is satisfying themselves in the studio but also satisfying the demands of the marketplace."

11. I Just Wasn’t made For These Times

12. David Leaf – "Humor has always been extraordinarily important to Brian. And during the Smile era he had the power and persistence to indulge all of his whims. What he was trying to do was create an environment of fun so that environment would then be reflected in the music. And so when he would do things like build a sandbox around his piano or have a tent to have meetings in, he was just having fun."

13. Brian Wilson (from Beautiful Dreamer) on meeting Van Dyke Parks

14. Van Dyke Parks (from Beautiful Dreamer) questioning why Brian chose him

15. David Leaf – "In ’66 the British Invasion was in its 3rd year, and American groups, American artists, really were almost under siege. And in part, Smile was designed as a response. Van Dyke Parks and Brian Wilson created Smile, or parts of Smile, to be an American journey. And that journey was to take place from Plymouth Rock to Diamond Head. Essentially from the eastern most portion of the United States to the western most. When you listen to Cabinessence, you can really hear the Americana theme of Smile really coming through. The 1st piece of Cabinessence, where we’re hearing banjos and other instruments that clearly are American. The second piece is called Who Ran The Iron Horse section, which is about the rail roads and how they changed the country. And the 3rd piece refers to the dams and the harnessing of water & power that allowed this country to grow and become what it is. So Cabinessence really wraps up in one incredible piece of music a big part of the history of this country."

16. Cabinessence

17. Brian Wilson (from Beautiful Dreamer) on why Smile as a title

End of part 1

18. Brian (from ’67?) "I’m all set. 1….2….3….4" -> Wonderful -> Song For Children -> CIFOTM

19. Van Dyke Parks (from Beautiful Dreamer) on Leonard Bernstein

20. David Leaf – "In the early ‘70s, I read an article in Rolling Stone magazine about Brian Wilson, the Beach Boys, and a big part of the article as about the myth of Smile. And at the same time I read that article, I heard an album called Surf’s Up. And Surf’s Up was a song that had performed only once by Brian on a Leonard Bernstein special in 1967. And that had really let the world know that Brian Wilson was doing something very special. When I heard that song, I was blown away and one of the things that’s so special about the documentary is we actually have that original appearance by Brian on the Leonard Bernstein special. And it’s the first time it will have been seen in a long, long time. And I think when you see that you understand why Smile became this mythic piece of art."

21. Surf’s Up

22. David Leaf – "The simplest way to look at what happened and why Smile didn’t come out is that Brian Wilson had a breakdown. And he put the tapes on a shelf. There was an unbelievably complicated set of circumstances which are all laid out and explained in the movie, which may or may not have contributed to the breakdown. But ultimately he did stop working on Smile. In 1966 when the beach Boys 1st heard the tracks that Brian Wilson had recorded for pet Sounds there was some concern that this might not be the right direction for the Beach Boys to go in. That concern was expressed again during the Smile era. But at no point did anybody say anything other than this music is incredible, how did you do this Brian, this is amazing, this is mind blowing. There was only one concern, is this right for the beach Boys and their fans? Bits and pieces of the Smile music have leaked out in one way or another since it was originally created back in ‘66/’67, but the first time I heard it all stitched together, the 1st time I heard the sequence that Brian created, was in late 2003 when I went over to his house and sat in the music room and heard how he had finally figured out the way to make this music flow in a completely natural way. And ironically, one of the challenges that Brian faced in 1967 was that non-linear technology didn’t exist. So if he had dozens and dozens of pieces of music and he wanted to hear how one sounded next to another he would have to take a tape reel down and put another tape reel up or physically cut the tape and splice it together. It was an enormously slow & tedious process, and he would have needed 6 months, a year or so to finally figure out the sequence. Given the world that we now live in, it was a relatively simple matter to load all of those pieces into a computer and then play w/ the sequence until he had a sequence he was happy with. And that’s what I heard in December 2003 and when I heard that I said that’s Smile."

23. Mrs. O’Leary’s Cow (excerpt from live Smile premier) -> In Blue Hawaii

24. Our Prayer/Good Vibrations (from live Smile premier)

Company Publishes $1,500 Brian Wilson Book

GENESIS PUBLICATIONS is the publisher
EMEDIAWIRE has the press release

BRIAN WILSON LAUNCHES NEW BOOK WITH SECRET ACOUSTIC GIG

UNCUT "Brian Wilson played an intimate eight song acoustic set in London on Thursday (July 2), to mark the launch of a new collector's book based on recent album That Lucky Old Sun.

The cloth-bound hand-numbered book of original collages by iconic artist Sir Peter Blake is published by Genesis Publications also contains reproduced handwritten sheet music and lyrics for the album track 'Midnight’s Another Day.'

Brian Wilson last night played a secret gig at a London private members club to mark the release of a new book of illustrations based around his recent album That Lucky Old Sun.

Wilson, backed by three members of his touring band, performed That Lucky Old Sun album tracks as well as Beach Boys classics at the private launch at members bar 1 Alfred Place in London's West End.

Brian Wilson's secret gig set list was:

Roll Around Heaven
California Girls
Don't Worry Baby
Surfin USA
Do It Again
In My Room
God Only Knows
Midnight's Another Day
Going Home
Southern California"

MUSICWEEK has more information.