Not-so-great review of BWRG

[Amy B.]

From the NY Times...

“Brian Wilson Reimagines Gershwin”

(Disney Pearl)

What do George Gershwin and the Beach Boys’ prime mover, Brian Wilson, have in common? A jaunty, exuberant tunefulness for one thing, and a desire to push pop into high-art territory for another.

In “Brian Wilson Reimagines Gershwin,” Mr. Wilson dresses Gershwin tunes in surfer attire. With varying degrees of success he turns the melodies into post-Beach Boys pop with stacked harmonies performed in a barbershop tradition that erases vocal individuality for the sake of a creamy harmonic blend.

The best cut is a pulsing, bouncy “They Can’t Take That Away From Me,” in which Mr. Wilson sounds like a child in the throes of puppy love jumping for joy. “I’ve Got a Crush on You,” garnished with piano triplets, is taken back to the happy days of early rock ’n’ roll. An instrumental “I Got Plenty o’ Nuttin’ ” is the best section of a four-song medley from “Porgy and Bess” that also includes “Summertime,” “I Loves You, Porgy” and “It Ain’t Necessarily So.” The arrangement, featuring banjo, harmonicas and several percussion instruments, evokes lazy 1930s summer afternoons shuffling down a dirt road, fishing rod in hand.

The medley’s embarrassing low point, “I Loves You, Porgy,” sung by Mr. Wilson, feebly trying for melodrama, demonstrates the overall uninterest in lyrics on an album in which the arrangement, not the singer, does the interpretive work. Two beyond-the-grave “collaborations” — obscure minor Gershwin tunes outfitted with wispy lyrics by Mr. Wilson and the instrumentalist Scott Bennett — are throwaways.

Then there’s “I Got Rhythm,” arranged as a trudging surf-style anthem with martial syncopation. A similar approach to the song was taken by the Happenings, whose hit version in 1967 had a fluency and lightness that is missing in this too self-conscious one. On an album that feels like a posthumous competition, Mr. Wilson emerges the clear loser. STEPHEN HOLDEN

[The Heartical Don]

Pretty downbeat, yes. But I am very curious what the guys and gals here will make of his criticism song for song. I haven't heard the album yet, so that makes it even more interesting.

Tks for posting Amy.

[oldsurferdude]

Holden used to write for RS -maybe he still does-he always reviewed the BB's quite favorably.

[Andrew G. Doe]

"In “Brian Wilson Reimagines Gershwin,” Mr. Wilson dresses Gershwin tunes in surfer attire."

Think you can stop right there and ignore the rest.

[The Heartical Don]

"In “Brian Wilson Reimagines Gershwin,” Mr. Wilson dresses Gershwin tunes in surfer attire."

Think you can stop right there and ignore the rest.

It's an idiotic sentence indeed.

[Wirestone]

Jon Pareles at the NYT tends to like BW's stuff -- but he had some Mellencamp to write about, seems like.

The reviews of this are truly all over the place. From raves to generally positive to mixed to outright pans (with most falling on the upper half). The Porgy medley seems to be a real point of contention. It's clearly a confusing record to some people unfamiliar with Brian and the group, much less so to those who know the tale. And some reviewers just can't stand standards records.

[rab2591]

Jeesh this is a terrible review.

"Mr. Wilson dresses Gershwin tunes in surfer attire." I've listened to the album twice and I've yet to hear any of these songs in 'surfer attire'....Honestly, do any of these songs have a 'surfin' USA' feel to them? Even 'Catch A Wave'? I don't hear it. (did this man even listen to 'Someone to Watch Over Me' or 'S'wonderful'?)

Another thing: it seems as if he uselessly points out the obvious: "With varying degrees of success he turns the melodies into post-Beach Boys pop with stacked harmonies performed in a barbershop tradition that erases vocal individuality for the sake of a creamy harmonic blend." This sounds like a man who could honestly care less about the music and would rather show the world how much redundancy he can cram into one sentence.

"Mr. Wilson sounds like a child in the throes of puppy love jumping for joy." - with writing like this I'm really surprised that readership of the NYT is going down

Granted, I agree with him that 'I Loves You, Porgy' was a terrible choice. I can't stand that song - I mean, there HAS to be a slew of other Gershwin songs that are far more beautiful (lyrically and melodically) than 'I Loves You Porgy'. I also agree that 'I Got Rhythm' could have been better.

I'm so glad there are many other reviews of BWRG where it sounds like the person writing actually knows a thing or two about Beach Boys music (ie, they're not just a surfing group)...

[Wirestone]

To me, "I Loves You Porgy" exemplifies everything that makes BWRG a great record.

It's a little bizarre, it's somewhat awkward, but Brian clearly cares deeply about the song and is going to sing it no matter what. His voice is terrific, and the arrangement (featuring a wailing theremin) has more layers than you might think.

It's that moment where Brian bares his soul.

[rab2591]

To me, "I Loves You Porgy" exemplifies everything that makes BWRG a great record.

It's a little bizarre, it's somewhat awkward, but Brian clearly cares deeply about the song and is going to sing it no matter what. His voice is terrific, and the arrangement (featuring a wailing theremin) has more layers than you might think.

It's that moment where Brian bares his soul.

Very true, and I think the inclusion of 'I Loves You Porgy' shows how much control Brian had over the project, imo....I mean, if you were a Disney exec I'm pretty sure 'I Loves You Porgy' would be your last choice for BWRG. Brian's voice is amazing in it, and I like the arrangement, but I can't get past the lyrics.

[Shady]

Couldn't make it all the way through

[punkinhead]

These are just like the people who reviewed GIOMH and said Desert Drive proved he couldn't get out of the surfer style of music.

[carl r]

In case it hasn't been posted, here's The Happenings version of 'I Got Rhythm'

http://www.youtube.com/watch?v=FK62pW35GIw

[The Heartical Don]

These are just like the people who reviewed GIOMH and said Desert Drive proved he couldn't get out of the surfer style of music.

...and the people who perhaps commented that SIP was a grandiose return to their peak form of being America's no. 1 surf music group.

[Menace Wilson]

In “Brian Wilson Reimagines Gershwin,” Mr. Wilson dresses Gershwin tunes in surfer attire.

False. 

The medley’s embarrassing low point, “I Loves You, Porgy,” sung by Mr. Wilson, feebly trying for melodrama, demonstrates the overall uninterest in lyrics on an album in which the arrangement, not the singer, does the interpretive work.

This is a typical rock-journalism type of statement.  I'm convinced that most pop music critics are english-majors, not music majors; they focus on lyrics and don't know how to intelligently comment on anything else.  The melody and chord structure of "I Loves You, Porgy" are drop-dead gorgeous, and that's the whole point. 

Two beyond-the-grave “collaborations” — obscure minor Gershwin tunes outfitted with wispy lyrics by Mr. Wilson and the instrumentalist Scott Bennett — are throwaways.

Once again, I'm sure the writer is focusing on the lyrics and has absolutely no concept of what he's hearing on a musical level.

[Smilin Ed H]

Mellencamp!? LMFAO!

[Mikie]

The first time I heard the Porgy part, I cringed. So I gave it another chance and I cringed again. Now I skip over it. To say that Brian bares his soul here may be valid, and I appreciate that a lot, but it's definitely one of the weaker songs on the album in my unhumble opinion.

So I'm not surprised at what the reviewers say about it. "Drop dead gorgeous"? Uh.......no. Not the vocal anyway. But I'm no English or music major, so what do I know.

And Desert Drive is a good surfing/car song for us surfing and car fans. I'm glad Brian put it on that album. It was for us. Brian and the band made the song rock in concert.

[Menace Wilson]

"Drop dead gorgeous"? Uh.......no. Not the vocal anyway.

I said the melody and the chord structure.  But yeah, I think Brian sings his ass off on "Porgy" and the rest of the album for that matter.

But I'm no English or music major, so what do I know.

Neither am I.  My point was that music journalists almost always focus on lyrics, because words (not music) are their forte.  That's my theory, anyway.

[Amy B.]

The first time I heard the Porgy part, I cringed. So I gave it another chance and I cringed again. Now I skip over it. To say that Brian bares his soul here may be valid, and I appreciate that a lot, but it's definitely one of the weaker songs on the album in my unhumble opinion.

I love that track. It's one of my favorites, but maybe it's because I love the song. But I think I also love it because Brian sings it so well. Also, he unabashedly sings it as a woman, which shows me that he's feeling the sentiment in the lyrics and wasn't afraid to sing about "my man" as long as he served the beauty of the melody and the sentiment of the song.

[Wirestone]

I just wonder --

-- How many people who cringe at "Porgy" do so because it's a man singing a "woman's song"?

If that's the case, why is that the case? Does it really bother people that much?

Brian has talked repeatedly about his falsetto voice "sounding like a girl" and about the gender issues he has faced singing in a high and vulnerable way. I think hearing him just confront it in this dramatic fashion is kind of remarkable.

[phirnis]

He even did this kind of thing before when he sang "I Sleep Alone" in the late eighties:

http://www.youtube.com/watch?v=an5WiAzee-w

[Jon Stebbins]

[My point was that music journalists almost always focus on lyrics, because words (not music) are their forte.  That's my theory, anyway.

The major flaw in that theory is that there has traditionally been a long line of music journalists who are current or are former musicians, like me...and (off the top of my head) like Harvey Kubernick, Cub Koda, Sid Grffin, Dennis Diken etc... I'd guess there are probably more music writers and historians who are musicians than not.

[Amy B.]

I just wonder --

-- How many people who cringe at "Porgy" do so because it's a man singing a "woman's song"?
If that's the case, why is that the case? Does it really bother people that much?
Brian has talked repeatedly about his falsetto voice "sounding like a girl" and about the gender issues he has faced singing in a high and vulnerable way. I think hearing him just confront it in this dramatic fashion is kind of remarkable.

I thought it was wonderful that apparently it wasn't an issue for him at all. I've been surprised that more than one critic has taken issue with that song, and I hope their dislike of it has nothing to do with the gender thing. In this day and age, it really shouldn't be a problem.

[rab2591]

I just wonder --

-- How many people who cringe at "Porgy" do so because it's a man singing a "woman's song"?

If that's the case, why is that the case? Does it really bother people that much?

Brian has talked repeatedly about his falsetto voice "sounding like a girl" and about the gender issues he has faced singing in a high and vulnerable way. I think hearing him just confront it in this dramatic fashion is kind of remarkable.

It's not the gender thing for me....though I suppose my problem with it is just as equally childish: It's the way the chrous lyrics are written and the name 'Porgy' - "I loves you porgy"

I've never met/heard of anyone whose name was "Porgy" (probably for good reason). nor have I ever heard the term "I loves you" before. Brian's vocals are great and the arrangement is well done but the chorus lyrics just don't appeal to me.

I'll have to wait till tonight to listen to it again, and I hope it is a grower!

[drbeachboy]

Well, it could be because he sings the lyrics as originally written. These days that is probably not the Politically Correct thing to do.

[Menace Wilson]

[My point was that music journalists almost always focus on lyrics, because words (not music) are their forte.  That's my theory, anyway.

The major flaw in that theory is that there has traditionally been a long line of music journalists who are current or are former musicians, like me...and (off the top of my head) like Harvey Kubernick, Cub Koda, Sid Grffin, Dennis Diken etc... I'd guess there are probably more music writers and historians who are musicians than not.

Point taken.