Brian Reimagines Gershwin

[Leo K]

Leo -- We talked about this quote earlier on the thread. Basically, Brian is full of it. The man produced a version of "Summertime" in 1964. He loves Rosemary Clooney and talked on the other NPR interview (taped the same day!) about other performers' versions of the Gershwin songs. He mentioned Linda Ronstadt and Herb Alpert by name. He has specifically wanted to make a standards album.

So he clearly knew of the songs and knew other performers' versions of them, even if he wasn't a total devotee. My assumption is simply that he means he didn't know how to play the songs, and that he didn't know the lyrics off the top of his head. He would need to know those things to arrange and produce the album, so Paul likely brought over some sheet music or something for the two to go over.

Yeah, that makes more sense.  On Brian's album, his renditions are so realized, and he has his own vision regarding the material...so obviously, he had some knowledge!



There's something about this new album that really lifts me spirits...there are also quite a few poignant moments that are melancholy, but so beautiful.

[Leo K]

It's not really confined to just Brian, I'd like to point out.  Many, many, many, many celebrities and certainly musicians often say things that are just completely false.  For a while when I was younger I was into hiphop pretty good... these people just flat out say whatever the hell pops in their mind, knowing damn well that they're completely lying about it.

There's something about an interview, where it sets things up with such a false, insincere environment that I think it just leads to people feeling it doesn't matter what they say.  I'm a psychology major (or was, until I graduated!) so things like this fascinate me. 

When musicians do these huge publicity junkets or whatever they're considered, the entire thing is so fake that I think it just takes people out of reality or something.  There's something really strange about having 15 different people in the course of a couple hours ask you exactly the same questions, and you tell them exactly the same answers.  I don't know if they lie out of bordem, or what it is. 

I've heard Bonos name mentioned a lot recently on here for instance.  U2 keeps popping up, so we'll take him.  I've heard 4 different accounts of how the song "One" was written, FROM HIM, over the years in various interviews.  Certainly at least 3 of them are lies. 

I don't think they mean any harm by it, it's just what happens.  Maybe they're trying to please the interviewer, I don't know.

Brian certainly goes a little farther  than most, but the music industry is full of interviews that are less than truthfull.  When Brian said his band leader had to teach him all 12 songs, he was flat out, bald faced lying about it.  Complete fantasy, never happened. 

And thanks for your thoughts Ron.

[buddhahat]

What Luther quoted, from the NPR show, was a little disconcerting:

Brian: "I never really heard much from Gershwin except for Rhapsody in Blue until I did this album. I had to be taught every song, all twelve songs, the way, all the way through, by my bandleader and my orchestrator, Paul Mertens."

I love the album, and how it sounds, but this knocked the wind out of my sails a little, considering the way the album is marketed as if Brian had a lifelong musical fascination with Gershwin, perhaps he did with Rhapsody in Blue, but not the other work, according to this quote.

Hi Leo,

I can't think of any other artist that has the ability to disappoint in interviews, the way BW does! With every release he says something that implies he's actually had nothing to do with the record he's promoting, and this can be tremendously deflating as a BW fan, especially if you are busy getting excited about, or defending the music in question. It would indeed be a shame if he was as unfamiliar with the material as the aforementioned quote would suggest. I have no idea. I'm inclined to side with Wirestone on the theory that Brian just says a lot of crazy merda, and you have to take it all with a pinch of salt. Remember, this is the man who recently claimed to have never heard Pacific Ocean Blue!!

What I do find exciting about this album is that from all accounts (and the man's own enthusiasm in interviews), Brian was heavily involved in the writing (of the 2 'new' pieces), production and arrangement, and personally I think you can hear it. Doubtless as I type this Brian's probably doing an interview somewhere where he is claiming to be unaware that he even has a new album out.

For my money, when it comes to new BW releases, you have to go with your gut and and ask yourself if it moves you in the same way his other work does. What I excites me about this new stream of work post BWPS is that BW is creating some real gems that stand up alongside, and expand on the quality of, his solo career. You can't underestimate the work put in by his band of course. I think they help stitch the songs together with that Smile segue thing that many find off-putting. They're also extremely adept at recreating Wilson's trademark styles and sounds from any BB era. I can appreciate why this annoys a lot of fans. My take on this is that Brian has a band that is able to guide him in creating music that constantly tips a hat to his own legacy. They help to maintain, reinforce and finesse the Brian Wilson brand. As time goes on, I think I'm cool with this as they do it so well.

However there are songs like Message Man, Oxygen To The Brain, Morning Beat, Midnight's Another Day, Nothing But Love, that couldn't be the work of anyone but BW. Stick them in a playlist alongside Melt Away, Rio Grande, You're Still A Mystery, Water Builds Up, Cry, How Could We Still Be Dancing (substitute your own favourites here obviously!) and for me, the whole obsession with who did what becomes irrelevant - It's self evident that BW is the man behind these songs and imo he still has much of the melodic, and rhythmic sensabilities that he had in the 70s. Just listen to the stop, start rhythm of Morning Beat - it's so unmistakenly Brian and has featured on countless songs throughout his career: Love To Say Dada, Had To Phone Ya, Johnny Carson, I'll Bet He's Nice to name but a few. This is just one example of Brian's fingerprint on this new output. I think certain quirks of his writing and production style are unfakeable. No there won't be another Pet Sounds obviously, but he's not too far behind his late 70s self in the writing and production stakes imo.

[Compost]

Pre-ordered CD on Amazon.ca...delayed.  I cancelled and bought it on iTunes.

Pre-ordered vinyl on Amazon.ca...delayed.

There really isn't much point in pre-ordering is there?

Someone, somewhere has very little faith in BW releases selling.

[Wirestone]

Well, the album is back in stock at Amazon (U.S.). So that's a relief -- nothing like having your No. 1 seller unavailable!

And on the no-longer-blue board, Andrew is hearing rumors of a number 28 debut. Not as sweet as top 20, perhaps, but not bad. I'm assuming it outperformed Disney's expectations.

[Leo K]

What Luther quoted, from the NPR show, was a little disconcerting:

Brian: "I never really heard much from Gershwin except for Rhapsody in Blue until I did this album. I had to be taught every song, all twelve songs, the way, all the way through, by my bandleader and my orchestrator, Paul Mertens."

I love the album, and how it sounds, but this knocked the wind out of my sails a little, considering the way the album is marketed as if Brian had a lifelong musical fascination with Gershwin, perhaps he did with Rhapsody in Blue, but not the other work, according to this quote.

Hi Leo,

I can't think of any other artist that has the ability to disappoint in interviews, the way BW does! With every release he says something that implies he's actually had nothing to do with the record he's promoting, and this can be tremendously deflating as a BW fan, especially if you are busy getting excited about, or defending the music in question. It would indeed be a shame if he was as unfamiliar with the material as the aforementioned quote would suggest. I have no idea. I'm inclined to side with Wirestone on the theory that Brian just says a lot of crazy merda, and you have to take it all with a pinch of salt. Remember, this is the man who recently claimed to have never heard Pacific Ocean Blue!!

What I do find exciting about this album is that from all accounts (and the man's own enthusiasm in interviews), Brian was heavily involved in the writing (of the 2 'new' pieces), production and arrangement, and personally I think you can hear it. Doubtless as I type this Brian's probably doing an interview somewhere where he is claiming to be unaware that he even has a new album out.

For my money, when it comes to new BW releases, you have to go with your gut and and ask yourself if it moves you in the same way his other work does. What I excites me about this new stream of work post BWPS is that BW is creating some real gems that stand up alongside, and expand on the quality of, his solo career. You can't underestimate the work put in by his band of course. I think they help stitch the songs together with that Smile segue thing that many find off-putting. They're also extremely adept at recreating Wilson's trademark styles and sounds from any BB era. I can appreciate why this annoys a lot of fans. My take on this is that Brian has a band that is able to guide him in creating music that constantly tips a hat to his own legacy. They help to maintain, reinforce and finesse the Brian Wilson brand. As time goes on, I think I'm cool with this as they do it so well.

However there are songs like Message Man, Oxygen To The Brain, Morning Beat, Midnight's Another Day, Nothing But Love, that couldn't be the work of anyone but BW. Stick them in a playlist alongside Melt Away, Rio Grande, You're Still A Mystery, Water Builds Up, Cry, How Could We Still Be Dancing (substitute your own favourites here obviously!) and for me, the whole obsession with who did what becomes irrelevant - It's self evident that BW is the man behind these songs and imo he still has much of the melodic, and rhythmic sensabilities that he had in the 70s. Just listen to the stop, start rhythm of Morning Beat - it's so unmistakenly Brian and has featured on countless songs throughout his career: Love To Say Dada, Had To Phone Ya, Johnny Carson, I'll Bet He's Nice to name but a few. This is just one example of Brian's fingerprint on this new output. I think certain quirks of his writing and production style are unfakeable. No there won't be another Pet Sounds obviously, but he's not too far behind his late 70s self in the writing and production stakes imo.

Excellent post and well said!

I remember I read somewhere, regarding art, is that the final product is what counts, and in the end, this new album has really impressed, the more I listen.  I feel BWRG is another winner like BWPS, and TLOS...I like how these albums, almost have a similar sound, like they belong in a trilogy.  This must be the result of Brian's excellent band, as well as Brian's way of working, and musical fingerprints.

[buddhahat]

What Luther quoted, from the NPR show, was a little disconcerting:

Brian: "I never really heard much from Gershwin except for Rhapsody in Blue until I did this album. I had to be taught every song, all twelve songs, the way, all the way through, by my bandleader and my orchestrator, Paul Mertens."

I love the album, and how it sounds, but this knocked the wind out of my sails a little, considering the way the album is marketed as if Brian had a lifelong musical fascination with Gershwin, perhaps he did with Rhapsody in Blue, but not the other work, according to this quote.

Hi Leo,

I can't think of any other artist that has the ability to disappoint in interviews, the way BW does! With every release he says something that implies he's actually had nothing to do with the record he's promoting, and this can be tremendously deflating as a BW fan, especially if you are busy getting excited about, or defending the music in question. It would indeed be a shame if he was as unfamiliar with the material as the aforementioned quote would suggest. I have no idea. I'm inclined to side with Wirestone on the theory that Brian just says a lot of crazy merda, and you have to take it all with a pinch of salt. Remember, this is the man who recently claimed to have never heard Pacific Ocean Blue!!

What I do find exciting about this album is that from all accounts (and the man's own enthusiasm in interviews), Brian was heavily involved in the writing (of the 2 'new' pieces), production and arrangement, and personally I think you can hear it. Doubtless as I type this Brian's probably doing an interview somewhere where he is claiming to be unaware that he even has a new album out.

For my money, when it comes to new BW releases, you have to go with your gut and and ask yourself if it moves you in the same way his other work does. What I excites me about this new stream of work post BWPS is that BW is creating some real gems that stand up alongside, and expand on the quality of, his solo career. You can't underestimate the work put in by his band of course. I think they help stitch the songs together with that Smile segue thing that many find off-putting. They're also extremely adept at recreating Wilson's trademark styles and sounds from any BB era. I can appreciate why this annoys a lot of fans. My take on this is that Brian has a band that is able to guide him in creating music that constantly tips a hat to his own legacy. They help to maintain, reinforce and finesse the Brian Wilson brand. As time goes on, I think I'm cool with this as they do it so well.

However there are songs like Message Man, Oxygen To The Brain, Morning Beat, Midnight's Another Day, Nothing But Love, that couldn't be the work of anyone but BW. Stick them in a playlist alongside Melt Away, Rio Grande, You're Still A Mystery, Water Builds Up, Cry, How Could We Still Be Dancing (substitute your own favourites here obviously!) and for me, the whole obsession with who did what becomes irrelevant - It's self evident that BW is the man behind these songs and imo he still has much of the melodic, and rhythmic sensabilities that he had in the 70s. Just listen to the stop, start rhythm of Morning Beat - it's so unmistakenly Brian and has featured on countless songs throughout his career: Love To Say Dada, Had To Phone Ya, Johnny Carson, I'll Bet He's Nice to name but a few. This is just one example of Brian's fingerprint on this new output. I think certain quirks of his writing and production style are unfakeable. No there won't be another Pet Sounds obviously, but he's not too far behind his late 70s self in the writing and production stakes imo.

Excellent post and well said!

I remember I read somewhere, regarding art, is that the final product is what counts, and in the end, this new album has really impressed, the more I listen.  I feel BWRG is another winner like BWPS, and TLOS...I like how these albums, almost have a similar sound, like they belong in a trilogy.  This must be the result of Brian's excellent band, as well as Brian's way of working, and musical fingerprints.

I was thinking the same thing - about how well these three belong together. I sequenced the middle section of BWPS (Wonderful to Surf's Up) followed by side 2 of TLOS the other day and they sounded great together. What was especially great was that you had these Smile songs, and then suddenly this fragment of Can't Wait Too Long, which was obviously one of the more smile-like songs Brian worked on post Smile. Not intentional I'm sure, but CWTL on TLOS kind of links it to BWPS for me and makes these albums feel like they belong together. The Gershwin one too, with its Smile textures here and there.

[RCTID]

for those of you waiting on the autographed vinyl, like myself, i e-mailed the company handling it asking and this is the response i received:

Hey!

The fulfillment company is still waiting on some autographed copies, but they have said that all orders will be shipping before the end of August.

Best,
Sepi

so... hopefully relatively soon?

[Wirestone]

Debuting at 26, according to a post from "BW" at his site.

[Ron]

Uh oh.  Basically the autograph people said they're waiting on Brian to autograph them.  That could be bad.  Very bad.  40 years bad.




Seriously though I think he already signed them all, they probably just didn't ship them in time or something. 

[♩♬🐸 Billy C ♯♫♩🐇]

Debuting at 26, according to a post from "BW" at his site.

Cool!

[Shady]

Debuting at 26, according to a post from "BW" at his site.

Really, that's fantastic

[absinthe_boy]

If that turns out to be correct, then it's quite an achievement. Well done Brian, band and Disney.

[Andrew G. Doe]

Well done Disney ? Think not - they didn't ship enough to amazon US to meet demand, and from what I hear from my stateside friends, the merchandising is seriously deficient.

[Wrightfan]

http://www.brianwilson.com/demos/

This is cool.

[HighOnLife]

Just think, if distribution would have been handled properly, it could have charted higher, maybe even higher than That Lucky Old Sun.

[Wrightfan]

Lol, did anyone see Brian Gari on the FB link for the demos? He's furious 

[Wirestone]

There are several component pieces.

Disney's PR arm did a decent job. The listening parties seemed to go well, and they got Brian on decent programs to promote the album (NPR was a nice touch). There was definitely a bit of buzz, and Brian didn't look too crazy (which is always the risk). Keeping him off the late night shows was also a good decision -- he's almost never good on them.

The actual advertising -- I don't know. Some people have seen TV commercials. The promotion with AOL on launch day was good, and the website has hyped up the social media stuff.

The real problem -- the real ball dropping -- was actually distributing the product. It was not available in many stores on opening day. They did not pay stores to feature it, or even just show it on the new releases rack. There weren't enough copies at Amazon. One arm of the company clearly did not know what the other arm was doing.

[hypehat]

Those demos are sweet - not sure how to feel about Brian's work on 'TLIILY', seeing as once Gershwin gets to the 'gliding in a starless sky' bit the two are nearly identical, and they're somewhat similar up until then. Still, I can imagine Brian not wanting to cut too much of his beloved George out of the mix, and the melody is so beautiful it would be a crime for it to be unfinished....

[Wirestone]

"Will You Remember Me," the basis of TLIILY, is not unfinished. It's a complete song that has been recorded at least twice. Ira wrote lyrics. (It was cut from a show and generally forgotten, which is probably why the estate included it in the piano demos they sent to Brian.)

http://www.amazon.com/Nice-Work-You-Can-Get/dp/B000002J6Z

Track seven. You can listen to a bit.

[Runaways]

listening to these demos.  jeez.  Gershwin was just unreal. "will you remember me", how beautiful is that?  so so good.

[hypehat]

Oh blimey, i forgot.... Why is it seen as unfinished in the eyes of The Gershwin Estate?

[Runaways]

i'd say it was more "unused" instead of unfinished.  He wrote in 1924 for a movie or musical or something. 

[oldsurferdude]

http://www.brianwilson.com/demos/

This is cool.

Thanks so much for this-fascinating!

[Bud Shaver]

My autographed LP arrived today.  The signature is pretty good...but the jacket is slightly damaged in two places.  Should I email the company and raise a stink?