Oh Ian, don't tease us like that.

"Cry."

If any single song shows that Brian can still produce an amazing song from nowhere, this is the one. Shame it had to have a backing track produced by Joe Thomas, but this tune kills me.

Don't think it was in ESQ. Think it was in an interview with the now-defunct "Pet Sounds" website in '99 or so. The webmaster of that site, Mike DeMartin, was shortly hired away to do the main BW site.

What has made you more wary of calling Brian the G word?

I think just about any sense of the word includes Brian (Merriam-Webster: "extraordinary intellectual power especially as manifested in creative activity"). I use it seldom, however, because it's cliche. About any musician who uses more than three chords and has recorded a concept - y album has been called a genius.

The track was prerecorded, but Brian himself seemed to be singing at least bits of that live. Perhaps I wasn't watching closely enough.

Have to respectfully disagree here -- I think Brian looks terrible. He sounds good, yes, but just look at that man's face. It's tortured. Or so it seems to me. The difference between that kind of performance and Brian's recent appearances is night and day. To me, at least, it seems all about being comfortable.

Listen to OCA. Brian sings as low as Mike ever has on that disc. He doesn't do the weird whispery kind of bass; he really has to belt it.

As near as I can tell, the only thing Brian has said he was out of the loop of on the album was the final sequencing. That's seldom the artist's perogative anyway.

If you just listen to the damn album, it's obvious that it;s a Brian Wilson production through and through. I have never understood and will never understand why an album featuring classic (and yes, I said classic) Brian songs like DLHKSAA, the title track and Rainbow Eyes was trashed by so many people.

Brian's vocals are not perfect. It's true. They're certainly more on point, and better phrased, than OCA though.

I think people judged GIOMH based totally on criteria separate from the album as it exists. First, Smile had been debuted mere months before. The tapes were out, and people were psyched. They totally expected something beyond brilliant from Brian. Instead, they got a group of older tunes with some warbly vocals.

Second, Imagination had grown in estimation since '98. Lord knows I was in the minority in defending that album when it came out, but I think many people expected Brian to sound like that on GIOMH. They expected s brilliant, flawless voal performance, buffed and shined. Brian does not deliver that. He sounds far more like the Brian of OCA or the rougher Paley sessions tracks.

Third, a group on internet tastemakers (and I include AGD in this) took it upon themselves to loudly trash this album at every opportunity. It became difficult for people who genuinely dug the album to say anything in its defense without being trashed as deaf, fanboys, or what have you. I don't know why they turned on Brian, but I suspect the overall easygoing vibe and relaxed, 50-ish nature of GIOMH annoyed them. It's an older man's album, no doubt about that. There's nothing cool or hip about it -- certainly not the AC guest stars (who, let's face it, would have been far more at home in the Imagination sound world) or the somewhat wonky Mertens string arrangements.

But you see, I never liked Brian because he was cool. I liked him because I liked his songs and I liked his kind of weird latter-day voice. GIOMH delivers both.

It's really the ultimate Shortnin' Bread song. It takes the riff deeper and harder than any other tune by Brian, because there's essentially nothing else on it except for the riff.

It features:

Brian (keyboards and vocals)
Paul Shaeffer (ditto)
Landy (on the title words)
Mick Fleetwood (on high-hat cymbal, I think I remember)
Steve Douglas (Brian's sax-man from the 60s)
Dick Dale and Steve Vai on surf (ish) guitars

I'm pretty sure there's a third guitarist on it, someone 70s-ish. Joe Walsh, maybe?

I actually love this track.

I believe that GIOMH sold worse than Imagination. I think GIOMH is better, too, but it did not go as high on the charts.

He didn't want to travel overseas with the band -- he wouldn't fly -- and he didn't really see eye to eye with Darian, who was rapidly gaining the ear and trust of BW and his folks, I think.

To say Thomas was all bad does him a disservice, I think. Imagination features some expertly produced vocals (arguably the best of Brian's solo career) and the co-writes on Lay Down Burden and a couple of others turned out pretty well, I thitnk.

I meant tune literally, as in a bit of melody. Not in any kind of developed sense.

That's why a song like "This Isn't Love" is a strange case. The verse melody definitely turns up in the cocaine sessions, but it's obvious that all Brian has ia a bit of a tune and some words. The song itself was fully worked out in the mid-90s with Tony Asher -- and that includes the chorus/bridge section.

I think it's fair to say that Brian never exactly stops working on his songs until they come out. And even then, he sometimes keeps going. I mean, look at "The Man With All the Toys" on the recent XMas CD. It has new instrumental sections and a coda.

This is a complex question. I think it's tough to say that Brian ever specifically writes for an album these days -- he goes through prolific periods, which produce songs for albums that span years.

For instance, he composed prolifically in the mid-80s -- that's where Love and Mercy came from, for instance. Also Don't Let Her Know She's an Angel and so on. I actually put together a Web site lisitng all of Brian's solo songs, released and un, so I'm reasonably informaed.

But album for album:

Brian Wilson 88

Love And Mercy (had been written in mid-80s)
Walkin the Line (had already been written and recorded with Gary Usher in the mid-80s)
Little Children (dates from the 70s)
Rio Grande (Night Bloomin Jasmine dates from the early 80s, also uses River Song exerpts)


Imagination

Your Imagination (In its bridge, uses a riff from Wilson/Paley Mary Anne)
She Says that She Needs Me (60s vintage song. This was also cut for the 88 album)
Where Has Love Been (mid-90s Wilson/Paley collab)
Cry (written at least two years before the CD came out; I read about it in Breakaway newslaeter in 95 or 96)
Keep an Eye on Summer
Let Him Run Wild (both BB remakes)
Happy Days (uses "My Solution" from 70-ish)

GIOMH

Sould Searchin (90s Paley)
You've Touched Me (based on 80s Usher collab, but with new bridge sections)
Gettin in Over My Head (90s Paley)
City Blues (early 80s)
Desert Drive (90s Paley)
Make a Wish (Sweet Insanity, early 90s)
Rainbow Eyes (ditto)
Saturday Morning in the City (Smile era tune, demoed up in the 80s, elaborated in mid 90s with Paley)
Fairy Tale (late 80s tune rewritten for SI as "Save the Day)
DLHKSAA (mid 80s)
The Waltz (late 80s collab with Parks, rewritten for SI as "The Waltz")

"How Could We Still Be Dancin" was written post-Imagination and intended for its follow-up, so in a way it was written for GIOMH.

Good performance, mixed in a bizarre way. The least essential BW solo release, although I don't know if I'd say it sucks utterly. The DVD is the definitive document, though.

Ya'll can say what you want, but IMHO it is true, Brian was and is the BBs. Artie's point is getting lost in the whole post-67 discussion. Everything the band did after that time, with the scattered exception of some of Dennis' songs, paled in comparison with whatever bits Brian chose to contribute.

The rest of the BBs were a talented vocal group, with some ability as songwriters. BW was a genius, pure and simple.

A terrific album, which sums up Brian's touring as well as anything up to the Smile DVD. It perhaps seemed more important at the time than it seems today, but still. 5 stars from me.

Trust me -- if you do something as your job, the last thing you want to do when you get home is do more of that job. Just because Brian makes his living from music doesn't mean that he should be devoting every second of his life to it. My job is working with words -- it can be really tough to do recreational reading after spending the day at the office copy-editing.

[What are your memories of being in the Beach Boys?]

From the Sun in England:

Brian's good vibrations

By SIMON ROTHSTEIN
Sun Online

FORMER Beach Boy Brian Wilson is a music legend responsible for some of the greatest songs of all time, including Good Vibrations, Wouldn’t It Be Nice and California Girls.

After taking a sporadic career break due to ill health brought on by heavy drug use, Brian triumphantly returned to form last year with Grammy Award winning ‘lost’ album Smile – which he premiered live in London.

Here Brian, 63, tells us about his forthcoming rock ‘n’ roll record, unique fundraising effort for Hurricane Katrina, bizarre duet with Paul McCartney and reveals that he’s a big fan of Jesus Christ’s vibrations.

What are your memories of being in the Beach Boys?

I remember us having a lot of laughs and good times in the studio.

Listening to the old songs puts me in a good mood – a nostalgic, sentimental mood. California Girls is my favourite Beach Boys song.

But I probably won’t ever play with (remaining members) Mike Love or Al Jardine again.

What songs are on your new festive album - What I Really Want For Christmas?

My Christmas album has traditional carols, Beach Boys songs and Brian Wilson songs.

My favourite ever festive song is White Christmas by Bing Crosby. It’s not something I’ve ever sung myself – but I’d like to.

How will you be spending the holidays and what’s on your Christmas list?

I am spending Christmas hanging out at home with my wife and children.

I would like a pair of shoes for Christmas.

Are you religious?

I’m not religious, but I’ve always liked Jesus Christ.

I like what Jesus Christ stood for and what his vibrations were all about.

What is the next musical project you have lined up?

We might make a rock ‘n’ roll album next year – although I have no idea when we will release it.

Rock ‘n’ roll is music brought to a height of excitement and exuberance.

My album would be more 1960’s rock ‘n’ roll, like Phil Spector, than 1950’s Elvis style.

There are a couple of songs I am writing, although I don’t have any words yet. I will be doing all the music and lyrics.

It will be me and my back up band playing the songs on the record.

Many musicians cite you as a major influence, but which new bands are you a fan of?

The Magic Numbers are a great group. They are the best band of the last 10 years. It makes me feel great that they are influenced by me.

I also like Green Day and Oasis.

I don’t listen to much music these days though.

Who would you most like to record a duet with?

There are no new artists I would like to do a duet with, but I’d love to do something with Paul McCartney.

He chewed a carrot up while we were recording Vega-Tables for Smile – and that appears on the record.

I also worked with Paul on a song called A Friend Like You.

We’re both big fans of each other. He said Pet Sounds is his favourite album and mine is Sgt Pepper’s Lonely Hearts Club Band.

It’s such a great record, because there are so many different types of song on it. Nothing has touched it since.

You were personally touched by the Hurricane Katrina disaster in New Orleans – what did you do to help?

We asked people on my website to make a $100 donation or more and in reward for that I would give them a personal phone call.

I would call, thank them for their donation and then they would maybe ask me a question. When they heard my voice they were very surprised.

I phoned many, many people – we raised $210,000!

I was asked all kinds of strange questions – mainly about The Beach Boys and Smile.

I am very proud of what we achieved.

We felt very in tune with the Katrina disaster and wanted to help, even though I don’t know anyone personally who suffered.

What was it like meeting the Queen when you played her Golden Jubilee concert and what did she say to you?

It was quite an honour meeting the Queen – she told me she likes The Beach Boys music!

That was a special thing, but it’s nice to hear from any fan regardless of their social rank.

How important is the city of London to you?

London means a lot to me, it’s like my second home. I feel very at home in London and the people are nice.

In February 2004 people there loved Smile and received it with standing ovations.

I chose London to debut Smile because I respect the people of London’s opinions and musical tastes.

What made you decide to release Smile so long after you first wrote it?

My wife and I decided it was finally time for people to hear Smile.

Before then we didn’t think it was ready. We thought it was too far ahead of its time.

There was a change in my life and I was ready for it.

Completing Smile lifted a weight from my mind. It was a great relief when we finally finished it.

I think it’s a better record for waiting. We created a third movement for it, so it became a three movement rock opera.

A teenage symphony to God we call it.

I won’t be making another concept album like Smile – we just did that the one time. We’re also through with releasing old songs and I won’t play a complete album live again.

How are you feeling health-wise now?

My health is about average – I’m not in real good shape or real bad shape, I’m in real medium shape.

Can you describe a typical day in the life of Brian Wilson? Are you still writing music?

I’ll exercise, play the piano, play with my kids, eat and sit around and think.

Every couple of weeks I get a melody or something started.

I’m having trouble completing songs – but I’ll get them finished.