Jeff Lynne about BW/Let it shine (Mojo Magazine)

From Rolling Stone http://www.rollingstone.com/music/lists/elos-jeff-lynne-my-life-in-15-songs-20160121/jeff-lynnes-elo-love-and-rain-2015-20160120

I had just finished George Harrison's album when Warner Bros. asked me to produce Brian Wilson. I was like, "You can't produce Brian Wilson. He's the best producer in the world." But I said yes and I co-wrote a song with him. We wrote "Let It Shine" at his house in Malibu. He was really struggling in his life. It was horrible and he was being treated badly. But you could see what a nice guy he was despite everything happening in the background. It was all very distressing. I only saw Dr. Landy a couple of times, walking around with his cape and walking stick. I don't really want to talk about that, though. Brian's doing great now and has a lovely wife.

http://www.rhino.com/article/interview-nick-laird-clowes-of-the-dream-academy Nick Laird-Clowes on working w/ Brian in 1988:

Well, I was just curious about the experience of writing with Brian Wilson on his self-titled solo album.

Ah, well, that was amazing. So I'm in L.A. with Kate, and we're at this point where Lenny has said, “Stay here and do the mixing,” Gilbert's back in London, and I'm working with Lindsey and mixing with James Guthrie, who did all the great Floyd things like The Wall and everything. And then when it was done and finished and we were going to shoot the video, I get a call from Lenny. I've now been away from home for three and a half months, I've got so much at home to do, and he says, “How are you feeling?” I said, “Oh, great. The record's done, we're just going for the weekend to shoot the video, and then I'm going home.” He said, “So you're longing to go home?” “I am longing, yes.” And he said… [Sighs.] “Look, I know you are. But if you stay, I want you to try and work with Brian Wilson.” I said, “Oh, uh… Ooooooooh…” [Laughs.] He said, “Look, come in, I'm going to play you some things, and I want to tell you some… Well, look, just come in.”

So I put down the phone, of course, and called my manager, who said, “Oh, no, you're not staying! You've got to come back!” I said, “They want me to work with Brian Wilson.” “Fucking hell!” [Laughs.] Because Brian Wilson, he might've been in a bad way at that point - nobody had seen him for a long time at that point - but…it was Brian Wilson! So I went in and listened to the stuff, Lenny played it, and he said, “What do you think?” And I said, “Well, the lyrics aren't good.” He said, “Right, we're going in tomorrow, and Dr. (Eugene) Landy's going to be there, everyone's going to be there, and you've got to say what you actually think. That's the deal.” So we went in, there's Brian, he looked very…odd. I mean, now I look back at the pictures, he looks young, but at the time, he looked very odd to me. He was in one shirt, and they put another shirt over him, and…he looked very much like the guy in a village who's the outcast.

Anyway, they put the music on, and luckily Landy wasn't there, and he said, “What do you think?” And I said, “I don't think the lyrics are right.” And immediately Andy Paley said, “Hey, those aren't his lyrics. Landy said he had to write that. He's got this one with these great lyrics about being frightened of the animals and things.” I said, “I really want to hear that!” [Laughs.] I mean, being frightened of the animals? That sounds like exactly what we want to hear from him! Anyway, Brian said, “Why don't you come in tomorrow?” And I said, “Okay,” and I went in on my own the next day, but then it was like Fort Knox. It was very, very strange. It was, like, “You're not to use a tape.” I said, “I have to use a tape if I'm working with Brian. I always tape when I'm working.” They said, “Well, you have to leave it when you leave.” I said, “Fucking… Whatever.” So I sat with him, and for about the first 40 minutes, Brian sat at an upright piano singing “Roll Out the Barrel” for a lot of the time and saying, “It's like when we were in London and we were in the back of the limousine in the '60s! Roll out the barrel…” It was just completely… [Trails off.]

Well, anyway, finally I kept kind of edging toward this one song that he had that I liked, but we were nowhere near getting to a place where we were discussing his lyrics. He really, like, out there, and I could just see he was going to be there. So finally I said, “You know that song 'Walkin' the Line'”? He said, “Yeah, 'Walkin' the Line.' Yeah, what are you saying?” I said. “I think it's got brilliant words in the chorus, but…I don't like the verse.” I mean, it sounded like “Sparky's Magic Piano.” It just wasn't good. But the song was great. So he said, “Well, how do you think it should go?” And I said, “Well, I think it should be like” [Singing.] “I walk the line / I walk the line every day for you…” And he just went, “It's genius! I'm going to tell Dr. Landy you've got to work on our whole album!” And he went out and called Dr. Landy, and I had my tape of Brian saying, 'It's genius!'” Well, I got out of the studio, and they called me when I got home and said, “You've taken the tape.” I said, “It's my cassette that tells me what I did.” They said, “No! You bring it back here!” I said, “Well, I'm leaving in the morning.” And they said, “Well, if you give it back, you might get to work with Brian on the rest of the album.” And I said, “Well, I can't.” So that's what happened.

And, you know, it's even more thrilling now. It's played a lot more now than it was then, since Brian's return. I don't know if you've seen any of his concerts - he's done Pet Sounds and Smile - but, man, it was brilliant. Just incredible. And it was brilliant and incredible to work with him. And Landy did come in that afternoon, and I don't know if you ever met him or if you've seen pictures of him, but…Brian was odd, but you'd go, “Who's the mad one here?” [Laughs.] But what a thing. What a chance to have gotten. It was wonderful.

The Smiley Smile Message Board