The Smiley Smile Message Board

I just want to say how great it is that finally, at 64 years old, Brian is making mature music.

It was wonderful he finished Smile - a young man's dream - but since the promise shown by BW88 he has done some very immature work.

But, at last, stripped down music, singing in a lower register, some-but-not-all of the backing vocals.

I can't wait for Lucky Old Sun.  :-D

I like it. Seems like Brian's found a new sound, following "Walking Down The Path Of Life", "What I Really Want For Christmas" and now this. Took a couple of listens to fully digest the work. Especially love the line .... "All these people make me feel so alone."

Simply put:

Touching performance of a beautiful song.

I never lost faith in you Brian.  Never.  I love it.  Keep it coming.

Cheers,
Rich

this is what we have been waiting for. this is the real deal.

WOW!  I'm listening to it now for the first time, and I'm shocked...  :o

Where are you all hearing this?

brianwilson.com

Three words:

Brian

Is

Back


I absolutely love this song. I've been playing it over and over for more than an hour and it grows on me more at each listen!  :-D

This is the first time in a long time where he really gives a nuanced vocal performance, with emotion.  I'm not sure it's a song I'd play over and over again (I'm not a big fan of slow ballads), but it's a very pretty, solid effort with a good melodic quality, with good lyrics (by Van, I'd presume).  This is all anyone could ask of him, and I'm proud of the dude.  I look forward to hearing more.

Actually, the lyrics are by Scott Bennett, according to the admin at brianwilson.com.

he should use him more and also the backing singers from his band. Way to go brian

Nevermind. I haven't been visiting BW.com alot since I discovered this place.

I like it. Gone is the crap production of yesteryear.

I was really quite impressed too. Can't wait to hear more.

"They say that Brian's Back..."  8)

I like it. I'm not floored by it, but it's a ok/good tune with a listenable performance.

I think it's lovely--everything sounds good here.  Nice production--is it his?  Did he have help?

Very mature sounding (in the best way);  actually reminds me a little of "Chalkhills and Children" by XTC.

And I almost hear Carl in the left channel near the end...

Nice stuff!

That's possibly his best singing since, I dunno, Matchpoint of our love, at least. You know how I always bitch about Brian's  newer songs being more the product of others than him, and still carrying his name? Well, you know what? I don't know who did what on this track, who wrote what, who produced what...and frankly, I don't give a giant goat sh*t. THIS is what Brian should be doing now.

If Brian's upcoming album will sound like this, then I definitely see some great, glowing reviews on the horizon. Whomever did the production did a bang-up freakin' job...sounds like a Dennis production is spots. This does sound like a Brian song,though...many of the chord changes sound like classic Brian, although parts make me think of Christmasey and What I Really Want for Christmas.

Beautifully put. I almost thought I could hear his old Pre-74 sweetness in there.... Wait, I did!  ;D

No joke. I don't know what crawled up his ass and died, but whatever it was, he was singing, and doing so very well. I guess that's what feeling the material can do.

I gotta tell you folks, I have listened to this song five times now and it is really touching me. I haven't felt this way about a Brian song on this level since A Day in the Life of a Tree... Which some of you know is may favorite post-SMiLE Brian song.

I can't to hear it in context with the rest of the album.

Brian (or Melinda, if you're a cynic) is posting on the blueboard right now.

 
Sounds great!  Kinda reminds me of Dennis's "Holy Evening" at times...

Yeah...those are some DENNIS-style strings,not the usual Brian-ish kind. For some reason the opening reminded me of something from The Final Cut

edit...my wife agrees with me...she said it sounded like a Michael Kamen track.

Interesting... My first impression of the piano intro was early "The Celts" Enya.

I'm stunned to hear something so musically and lyrically mature from BW.  Most likely I'm getting fannish here, but I'd say I just heard a song on par with BWPS, Til I Die, or Love and Mercy.  Wowsers.

Yes indeed, again. This sounds like a near-classic...screw it...it IS one. Also, certain bits of the piano parts remind me of Cuddle up.

Another thing...I was right a while back, when I said that Brian would better with more of a "natural" sounding voice,and not have a multi-tracked lead.

I hope that really is Brian posting on the BlueBoard. He really is getting a lot of love. He even responded to one of my posts!  ;D

Yeah, it's Dennis-y for sure...  Wait, do you mean the pink floyd album, THE FINAL CUT ?

Me too; he repsonded to MRS. PongHit's post tonight also...

A remarkable piece of music- especially at this stage of the game.  The instrumental track alone is worth the song.  Brian's vocals actually add the extra sense of vunerability and depth.  This is promising.

Holy f***

Wow

Amazing

I'm speechless.

Brian is *TRULY* back.  The weight of SMiLE off his shoulders has truly yielded some great music, and I have a feeling this is just the beginning.

Well, good.

It looks like the reports of a post-Smile burst of creativity from Brian were correct. I was worried when we didn't hear much in 05 or 06 (the new Christmas songs were nice, but hardly enough to judge).

Interesting point -- I don't hear the band on backing vox at all. All Brian, and some Scott Bennett in the scat portion toward the end.

Yes indeedy. Parts of "Fletcher Memorial" in there to me. Actually, Brian and Roger Waters would make for an (ahem) "interesting" tandem.

Roger Waters album    8)

Touche.

Well, let's see how he sings it in concert without the studio trickeries...

Yeah, yeah and it would've sounded a whole lot better if Mike had sung lead.  Give him a break: studio trickeries (actually inviolving no little skill) are part and parcel of the game and have been for a long time; you're an intelligent guy so you know that. Why bother bringing it up?  Just enjoy it.  If you don't like it say so.  Be thankful it's better than anything on GIOMH.

Another note: This is by far the best truly new song I've heard from Brian since I became a fan (mid 90s). "Cry" was up there, but the production was problematic.

This is probably the best song and performance of his solo career. Love and Mercy has never had a studio version as good as this. Some of the unreleased Paley sessions stuff comes close (original vocal track of GIOMH, perhaps).

The thing that's best is that this is pure, unfiltered, undiluted. No equivocation -- just Brian. And a heart-rendingly sad song about isolation to boot -- "All these voices, all these memories, make me turn to stone. All these people make me feel so alone." This is the voice that gave us "In My Room" four decades ago. And he is still doing it.

An excellent song, the kind of thing  we all know Brian is capable of. It's exactly what I've been wanting to hear, a revitalised Brian singing wonderful lyrics and writing amazing chord structures. A credit to Brian / Scott and the band.  ;D

Well done, I can't wait til September!

Zander

Simple-sounding songs are often the best songs, but not always as simple as they sound.

What sounds relatively simple at the start develops into a beautiful sound collage designed by moving voices, like only a Brian Wilson can do...or talented BW students and followers. His lead vocal shows unexpected facets, which are new to the listener. He plays with his expression-strong and character-carrying voice, which reflects the wisdom of a lived life. A hopeful, positive look in the future, one doesn't wish the good ol' days back for a change.
The song leaves an overwhelming feeling, although the fundamental essence sounds very simple. It's the recording, the love in it, the singing, the details. Small memories-pieces on Dennis' songstyle, but often doubtless Brian.

Awesome and exactly what I expected from Brian after finishing Smile. That's why I can't agree with people who say this doesn't sound like Brian, probably written by Van Dyke (I saw somewhere else some posts in that direction). Brian really nails it, although there are one or two little falws, but then again, this is just a demo he said on the blueboard. Great stuff and something that approves what I was thinking for all the years. When Brian really wants something to do, he still can do it. Can't wait for the album !

I think this is everything a good song holds. Firstly Scott Bennett’s lyrics are excellent and catch the mood of the song. Secondly Brian’s really into the song, he lives it and makes it quite intimate. Thirdly, the music is superb. Starting slowly and building to a climax. With a slow song that is quite hard, but he manages it. Mind you, the song is over 4 minutes long. But there is so much to be heard in the background, you simply won’t get tired of it. The fading piano at the end is just what the song needed. Maybe just a little bit more harmonies from the other members of the band to give it a finer blend.

Nice! "Epic" 70s style production, horn's like "Without You" (Nilsson's version) ebbing harmonies and some serious oceanic metaphors.. for me it's a James Bond theme smash HIT, got the lot - a solid A

This is just a demo?! Honestly,it sounds finished. I hope it's not ruined in the final stages, then...

I think (HOPE) that Brian meant demo simply in the sense that it is something he and Scott put together so the rest of the band could learn their parts.

I think (HOPE) that the production on the finished product will stay true to what we've heard so far.

You guys are all being very premature in your praise.

Me, I'm waiting for AGD's analysis and permission to like it before I decide

 ;D  :lol   ;)  ;)  ;)  ;)

Just sorry that I'll be in CA when it's debuted in Londres, 'specially as I still have tickets for the opening night...

AGD praised the song on the blueboard, so you have his permission.   :lol

They probably gave him a bag of money that he doesn't write something bad this time.

Yeah, just a very few words.  He did say that the production is outstanding, and I agree 100%.  He also said that the song is the perfect vehicle for Brian's current voice, and again, I agree.  His voice is great on this one.  The low notes in the beginning are not perfect, but compare them with the low notes in, say, The Waltz.  Much improved here.  And the high notes are great with minimal shouting.  His falsetto will never be as it once was, but he's adapting to his 65 year old voice.  At about 3:35 to 3:50, his voice almost sounds like John Lennon's later period higher register .  The song itself is very good.  Scott Bennett's lyrics are great.  Brian's vocal arrangement is great.  I think they could release this 'demo' recording the way it is, with just a few touch-ups here and there.  If they do re-record it, I hope they stick with this arrangement and production style.  I am really looking forward to hearing this song in the context of the larger piece.  Very promising indeed.

I just posted this message over at the blueboard.  if you feel the same way please go over there back me up!

Dear Brian and Melinda and Scott,
I just wanted to say again how much I LOVE Midnight's Another Day ... just as it is! It is perfect and beautiful in its simplicity. Brian's fragile vocal (at the start), angelic backing vocals and instrumental arrangement. I would pay alot of money to have this song released on cd JUST THE WAY IT IS. If it is just a demo and there is going to be a rerecord of the song can I BEG that this version on the website be formally released in some way on cd. Either as a bonus track on (the hopefully soon to be released Lucky Old Sun cd) or a b-side of a cd single? I just love this version sooo much and I can't think of any way to improve it. If there are other who feel the same please show some support for the release of this song completely unaltered.
Cheers
Rich Panteluk
Once again big congratulations to Brian Wilson and Scott Bennett for bringing us this musical treasure!

I like it! Shades of Pink Floyd (Wall/Final Cut era) come to mind as noted, and also some 70s Lennon, some nice chord changes in there which is what I want from Brian, bits which make me go 'Mmm, thats nice'
Makes me glad that i'll be seeing him in about 5 weeks doing it!!

Hi Rich- I agree with you and posted as much to Brian last night. Here was our exchange:
Love the song, Brian

(posted by Amy Birnbaum on August 6, 2007 at 6:32 pm)

Message:

Thank you so much for this treat. I hope you plan to release the whole thing on CD!


Amy

(posted by Brian Wilson on August 6, 2007 at 6:35 pm)

Message:

As we did with Smile, it will depend on the responce we get for all of you. When we come home from the UK, we will decide whether we will record it. This recording is just a demo at the present. L&M Brian

A demo

(posted by Amy Birnbaum on August 6, 2007 at 6:45 pm)

Message:

I like it just like this!

Amy

(posted by Brian Wilson on August 6, 2007 at 7:07 pm)

Message:

Yes, me too, maybe I will leave it alone. L&M Brian


I'm sure I'm just being humored, but at least he or someone over there is aware that some people like the current version.

Very pretty indeed.
I love the stripped down character of the production. That really is something I had been waiting for for quite a while. No more preposterous pretending it's 1965 over and over again.
It somehow reminds me of The Night Was So Young in a way, yet it has more of a deep Surf's Up-era feeling to it. Bennett's lyrics really make it shine.

Although I like the stripped-down arrangement, I hear the potential of a big orchestra that grows with the song, a bit like some Dennis songs. I hear violins & cellos. - Don't make them release the demo, it's like telling Brian during the SMiLE sessions that he shouldn't work on "Surf's Up" Part 2 and use the piano demo. I really hope they'll work on it and give the song even more character by adding additional instruments.

Ditto that. As long as they steer clear of Love and Mercy (album version) type production, I think developing it a bit more could really help it shine even clearer.

That being said, I have complete trust in Brian and the people he is working with that they will put out the best piece they possibly can.

I may be wrong, of course, but I would think that if this is a demo for the band to learn their parts, then the song is probably going to stay pretty close to this arrangement.

People keep commenting on how sad this song is, but to me it has a redemptive quality at the end when he sings "Until I found...midnight's another day." Like he thought he had lost all the sunshine in his life, but he learned another way to find it.

Yep.  That's the way I hear it.

I dunno, I dunno..  I listen and listen but something doesn't convince me..

I like the richness of the production, the Dennis-vibe, the mature feel, the heartful emotional polished vocals.
I can imagine the "all this people make me feel so alone" line having a real meaning for Brian, and actually it feels deep when he sings it

but but... I dunno but for me it doesn't sound like it comes from Brian.
It doesn't mean it's bad, quite the opposite actually, but to my hears (heart) it just doesn't feel right.
Have you listened to Scott Bennet's solo album?  Try.
Call me crazy but it to me there's very little Brian and a lot of Scott (which, again, it's not bad but it's not Brian) in "Midnight's Another Day"

About the "excellent" lyrics, as they have been described: "a fly without the wings", "took the diamond from my soul"...     dunno, don't seem so trascendental to me..  am I the only one?  Maybe it's because I'm not a native speaker?  Umh..


In any case, give me a "Midnight's Another Day" over "Little Children" any day, that's for sure!  :-D


STE

Well I think the sound and style of a particular pianists style can go a long way in contributing to the over all sound of a song (see Billy Preston in Get back... He totally owns that song!). It is definitely Scott at the piano on this (I feel) and that maybe perhaps why you feel the way you do?

I love it.  ;D

I think the line is "A flag without the wind."

Yeah, now that you say it sounds "A flag without the wind".  Ok, slightly better then  ;D

Sounds like the line is "Took the diamond from my soul/Turned it back into coal" which is beautiful in the context of this song and Brian's life.

As has been mentioned, so many have already interpreted the song as sad, but I see it more as a resurrection of lost beauty--makes sense: Brian obviously had an epiphany that turned sour and finally triumphed over the darkness almost forty years later. Never completely healed, as indicated in the lines "Lost in the dark/now are shades of gray"

Back in December, Scott told me about the genesis of this (and many other) new Brian songs--the wife and kids were away & Brian called him up, completely bored, and suggested they write some music together. When we spoke, he told me "It's not SMiLE, but it's good. I don't know what will come of it but it's among his best work--finishing SMiLE was like vomiting the devil from the depths of his soul."

Yes, many times. I like it a lot. The piano style on MAD is very Scott-like, and the lyrics remind me a bit of "Pearls" - which I think is a really fine song. I also listened to how nicely the Brian/Scott "No Wrong Notes In Heaven" comes off, and it feels like maybe that was the beginning of the process that led to this. It would seem the chemistry between the two is right.

If they produce music like MAD together I don't care who is "in charge".

Jim: Does the music itself sound like Scott's album? My impression is that much of the music and some of the lyrics in MAD are Brian's ("all these people make me feel so alone" is a BW line through and through). But I could be wrong.

I would think it was like his other collaborations-- the lyricist did his best to express Brian's sentiments. Having known Brian for several years now, particularly through the re-birth of Smile, I'm sure Scott has some idea of what Brian is about. 

To me, the lyrics were just right. They were accessible but beautiful and more meaningful than they appeared on the surface...just like Brian's music.

I wouldn't say MAD sounds like Scott's CD generally, but there are some similarities to some of Scott's songs. "Pearls" is dominated by a solo piano, and has some lyrical content that is not too different from MAD.

Here's the lyrics to "Pearls":

Watch the spinning blades of time
Shred the final days of your prime
There is no warning, only the sound
Of the echo in your head

Wading in the shallow end
Waiting for the tide or the bends
Open your eyes, hold your breath
Lean your body backward, stretch your arms
And lie down on the ocean floor

Just because you can't sleep
Doesn't mean you can't dream

If that's the way you plan it
You'll go empty handed
Diving for pearls

If that's the way you plan it
You'll go empty handed
Diving for pearls

Diving... diving for pearls

Anyway, that's the song on Scott's CD that I think is most similar to MAD. There is a similar feel to the two songs - the piano, the wordless BVs, the sense of melancholy...

That's about the best answer I can come up with.

Jim: That makes total sense. Thanks. I figured the piano wasn't Brian, and the opening riff doesn't sound much like him, but the general chords and melodic feeling of the song has Wilson all over them -- possibly Dennis Wilson, but still. :-)

Think we need the pukka lyrics - to me that sounds like "Lost in the dark/no shades of gray/until I found/Midnight's another day" - but I could be wrong.

Have to admit, "Stepped over grace/And stood in sin" is not too shabby...

OK, the low register is shaky, but when the chorus builds and crests - well, who the f*** cares ? Not me.

Y'know why the bvs are so good here when they sucked so royally on GIOMH ?  He's interested... he cares. Maybe it was only for the duration of the session, but his attention was engaged. And that makes all the difference.

I just hope to god that the rest of the piece is even half as good as this.

This is great just the way it is and makes me extremely hopeful for the rest of the record.
It's been a very long time since i've heard anything that good from BW. I was quite overwhelmed.

I agree with Andrew about the lower register vs chorus build and crest.  In this song Brian's slightly wobbly lower register vocal actually works great and supports the lyric quite nicely.  And then when those backing vocals crescendo behind the "All these people make me feel so ALONE" that is the moment that I get the chills - BIGTIME!!!  There is a lot of Brian in the backing vocals and he turns some respectable falsetto vocals in there.  And he certainly sounds emotionally invested here, which is just a joy to hear.
I have a lot of Scott Bennett's work in my cd collection (The Falling Walendas, The Dotted Line, Taylor Mills cd etc) and he is one talented fellow.  Besides being a phenomenally talented singer and multi-instrumentalist I always respected his writing abilities but this song's lyrics have elevated my opinion of him further.

I really never listen to previews on the internet because I prefer waiting until I have a full CD or record in my hands... That's just more exciting to me... But after all these positive reactions I couldn't resist and listened to it anyway (half a dozen times actually), and I must say I'm shocked. I didn't expect (or hope) he could still write music this freaking good.

And I agree that it sounds a lot like something Dennis could've written.

I'm impressed with this song.  Definately not what I expected from him.  However I was under the impression that Lucky Old Sun was going to be music with narration? 

There are going to be narrative interludes. But there will still be full songs in it. That's my understanding, anyway.

I hope that works out. I don't like the combination of music and spoken word. It doesn't work on The Lonely Sea, it doesn't work on Days Of Future Passed, it really never works... Well, it does on Are You Lonesome Tonight, but that's probably the only exception.

What about Mt. Vernon and Fairway? ;-)

The spoken word bits are written by Van Dyke Parks, as I understand it, so at least they will be clever.

I approached this with caution this morning but having now listened about 10 times it's beginning to have the same effect as other favourite BW tunes - i.e. (at the risk of sounding soppy and pretentious): It touches my soul, man and I just want to listen again and again. It sort of soars on that line "all these people make me feel so alone" in a way that only a BW tune can. It sounds like vintage Wilson to me and so, bouyed up by this sublime song, I'm going to join the gush-fest: Hooray - Brian is back!!

My thoughts, for the very little they are worth:

-Sounds "mature," musically and lyrically, for a BW song: agreed
-Beginning doesn't sound like BW: agreed (and I am not sure I like the beginning all that much)
-Rest of the song sounds pretty BW-esque: agreed
-Voice sounds good: agreed
-Would be nice to flesh it out with some additional instruments: agreed
-Something is missing, some "Brian-ness" some...something: agreed (but maybe it will grow on me)
-Background vocals: could someone please tell me that the final version will not have BW doing all of the background vocals?  That is the biggest flaw with this song as it stands now, imho

Brian doesn't do all the bvs on the demo, but in any case it doesn't matter - this time he's interested, and it shows.

Not just interested -- I would call the Xmas album interested (more than bits of Smile 04, honestly). Here he sounds positively enthused. He also does things vocally I've never heard him do before -- almost whispering some of the vocals. It makes his voice sound far smoother -- and more like Dennis at the same time.

In contrast to other solo songs I wish Brian would sing all the bv on the final recording of "Midnight". His vocals underline the personal aspect of the song and just sound really good for this kind of song.

I  think with Brian Wilson, more than any other artist, there is always the question - is this really Brian or is it a forgery?! Which parts of it are definitely Brian?    I think this is because a lot of the fascination with him hinges on the question: Does he still have the ability to create another Pet Sounds or did his brilliance burn out? And the anxiety: Is someone else faking the brilliance on his behalf? I'm not criticising your post, mypetsounds, as I find the same niggling questions pop up for me too.

It seems to matter that everything is 100% BW, but even SMiLE, arguably his creative peak, has someone else's fingerprints all over it and we could just as easily ponder the 'Brian-ness' of that weird discordant ending to the My Children were Raised bit of Cantina Heroes (to my ears that sounds completely VDP, hence, I suspect, its absence from the 45 version). A lot of his greatest work has been the result of a collaboration.

BWPS seems to raise more 'is this Brian' questions than any other of his music. For my money (and it may seem naiive); if the melody moves me in a way that no other music does then I feel confident that's largely down to BW himself. This is true for the 'new' melodies in BWPS and is certainly true for this new composition.

Here are the real lyrics (lyric sheet courtesy of Scott Bennett) if somebody's interested in 'em...

Lost my way
The sun grew dim
Stepped over grace
And stood in sin

Took the dive but couldn't swim
A flag without the wind

When there's no morning
Without you
There's only darkness
The whole day through

Took the diamond from my soul
And turned it back into coal

All these voices
All these memories
Made me feel like stone

All these people
Made me feel so alone

Lost in the dark
No shades of gray
Until I found
Midnight's another day

Swept away
In a brainstorm
Chapters missing
Pages torn

Waited too long
To feel the warmth
I had to chase the sun

All these voices
All these memories
Made me feel like stone

All these people
Made me feel so alone

Lost in the dark
No shades of gray
Until I found
Midnight's another day


That's pretty good if you ask me!  :-D

Thanks SJB !
I hope he'll play "Warmth of the sun" in those concerts (not as part of TLOS of course). I think that would fit pretty nice....

I don't like it when lead singers do their own backing vocals as well. It just sounds unnatural...

Well, I guess nobody knows but when he posts on the blueboard, it sure sounds 'in character'...plus, Brian has his own Brianisms that I don't think Melinda would think up off the top of her head.  He has a peculiar quality to him.  Like the quote about being a cool shark.  And he calls people "man".... which is something he does in interviews frequently.  More than likely, I see it as Brian Walrus'd up in bed telling Melinda what to type on the computer, lol.

I think because of Brian's general insanity people aren't really giving him a break on the ambition of this crap he's pulling in Europe in September.  From what we've seen here:

- He gets bored because his wife's out of town, calls up a songwriter in his band and starts working on new songs (This from a guy who cynics say has no ambition anymore, and doesn't create any of his music)
- They write a bunch of interesting stuff, then spend a few weeks making demos (Just like he's always done... there's what, 10,000 unreleased Brian Wilson Demos?)
- He somehow gets the idea to make the songs linked together with interspersed new-age spoken word stories to tie it all together
- He gets Van Dyke Parks to write the stories between the songs
- He decides to include an old standard, "That Lucky Old Sun" in the work

This is typical Brian Wilson.  He's done this same exact type of ambitious work for decades, he just usually doesn't finish it.  Now he has the maturity to finish his ideas.  Basically, his mo in the musical realm is to do whatever the hell pops in his mind.  Most other people wouldn't even think of something this ambitious... and it might not be any good.  You've got to give him tons of props though for doing things different. 

BTW, I love the song... I've liked all of his music since SMiLE, the Christmas Album was excellent in my opinion.  The only thing he's recorded since then that I didn't enjoy much was the Spirit of Rock and Roll.  This song falls right in line with "What I Really Want For Christmas", "Christmasy" "Walking Down the Path of Life", etc. 

I agree with you, Ron.  Some people say that Brian is put up to everything he does. I really, really don't see "the wife and managers" telling him to do a narrative based on "That Lucky Old Sun." This has "another-of-Brian's-crazy-genius-ideas" all over it.  It's like Mount Vernon and Fairway. A kind of off-the-wall, how'd-he-think-of-doing-THAT thing. Plus, as you mentioned, he called Scott when the family was out of town. He was bored, and he didn't decide to go eat birthday cake. He decided to work on music. Melinda wasn't there to stop him or start him.

And with the blueboard posting thing, I also think it was Brian this last time. They'd posted one of his new songs. When Brian is excited about a project, he loves to hear what people think. I would think he probably said to Melinda, "What are they saying on the message board??" He probably wanted to hear each message just for validation. Plus, there were pauses between his postings. I would think that's the time when Melinda reads him a message and he decides what he wants to say and tells her so she can type it in. It's certainly not someone (Melinda?) just reading and typing back in an imitation of Brian's speaking style.

It's pleasant listening, and bodes well for the rest of the completed piece.  It does sound like a demo, though, note the synth bass and the unpolished nature of the lead vocals.  The horn is a nice touch, definitely a keeper.  Just remember Scott played that too, being the brass player in the band, so that's why it's in the demo.  It will be interesting to see how this fits into the final sequence, i.e., will it segue to or from something else.

Where does the part about Brian being commissioned to write the piece fit in to this scenario?

And how is that any different from having a recording contract in the 1960s?

He has to come up with something. So he comes up with something unusual. I doubt the commission was for a piece specifically called "The Lucky Old Sun." I expect they let him do whatever he wanted.

I've never seen Scott play brass instruments with the band, it's either Probyn Gergory or Paul von Mertens who does. Maybe Scott can play brass instruments too (he can play everything else it seems!) but I don't think it was him.

I think it's beautiful. Not as happy with some parts of the backround harmony, but this melody is so nice, and Brian sings his heart out, and love that high part in the chorus....smooth sailing ...

Does anyone else agree that this is the most enthusiastic vocal from Brian since Break Away?

The best thing about this song is Brian's singing, which, although its kinda tattered sounding, at least has some emotion, unlike anything he's done since, oh...Love You. I agree that there are hints of Carl in his voice, and Denny in the arrangement, but the song itself doesn't really stick in my mind. Definately sounds better (underproduced) than his recent albums, but the songwriting itself isn't very interesting. Still, at least it doesn't totally blow...

It's kind of interesting that anyone would pass much judgment on the actual vocal performance or production when we've been told this is just a demo. I think we can gather some insight from it, but let's be realistic: the final verison could be just as overproduced or souless as so many people say GIOMH was. We really aren't in a position to comment on anything but the quality of songwriting, the basic arrangement and, while it may be a waste of time, the production or performance of a demo

How is a demo any less a performance then the final product. Obviously this new song has moved a lot of people and that is a palpable thing. Just because its a demo doesn't negate the impact its created. The fact that it has had an impact proves that is something which should be discussed.

One of my favorite John Lennon tracks (Real Love from the Imagine: John Lennon soundtrack) is just a demo, yet it send chills down my spine every time I hear it.

Besides Brian himself said this recording may end up as the official version.

I think all of us enjoy or have views on certain demos and unreleased recordings. I'm just bringing back that fact that I think is being pushed aside somewhat in the rush to praise (yet another of?) Brian's comebacks. I like the song, and I like the demo. But it might end up being another should've/could've been, that's all.

Just to answer your question, though, a demo is less a performance in the artist's eyes (or label's, or management's, I suppose, depending on the situation) by definition--otherwise it would be the final, released product.

Hmmm.... or we could say if we liked the song.  I liked the song.  How's that? 

Nope. I'd say it's his most enthusiastic vocal since the 2005 Christmas album. And I mean that in a good way.

I thought Carl and Al sang Break Away...

Brian sang on the (ha!) demo.

Maybe that's why this turned out so well...

I can definitely imagine Carl singing the line "A Flag without the wind".

The bit where I can really hear that it's a demo is when he's echoing lines like "chapters missing, pages torn". I think some of his new band backing vocals could make this song magnificent but I do hope they keep the relatively sparse sound that the demo has at the moment. The Flugelhorn or whatever is beautiful.

All things being equal, that vocal is still cleaner than anything he did on IJWMFTT, Orange Crate Art or GIOMH. And I like those albums!

Wonder if this represents then his untouched voice in the studio?  If it's just a demo (and it obviously has imperfections in the lead) maybe he didn't use autotune? 

Uh-oh……Perhaps the official, fully-produced recordings of the project will fail to meet the hopes and expectations inspired by the demo?  Which will leave us praying for the release/circulation of the other That Lucky Old Sun demos (assuming they exist)?

Sure, I’m getting way ahead of myself……but is it SO difficult to foresee this scenario? ;)

Point well taken! But the post-Smile output from Brian has been a cut above most of what immediately preceeded it IMHO. WIRWFC, Christmasey, WDTPOL, What Love Can Do, and now this - I see it in a very positive light. No, it won't be the 1960s again (and maybe it shouldn't be), but clearly this is a move in the right direction. I think in the context of post-Smile this demo deserves the praise its getting as yet another indication that Brian can indeed make music that moves people.

Well, if Brian messes too much with this version of MAD, at least we will still have this demo in good sound quality...  :)

Oh, his voice is processed.  I don't hear any auto-tune, and I am not sure what they used, but there is definitely some sort of time shifting thing going on, as well as plenty of digital reverb.  I think it sounds great, though.  I really don't think they should mess with it too much, but of course who am I to suggest what should or should not be done with someone else's song.  Sure, there are a few things that could be tightened up, but on this recording, on this song, Brian's lead is fantastic.  Yeah, it's imperfect.  In fact, it's perfect in it's imperfection.  I listened to this song in my car about five times last night.  I couldn't get enough.  Whether this recording remains a demo (even though it was 'released' on Brian's website), or is used on an eventual release of That Lucky Old Sun (which may or may not happen), we have this recording now to listen to forever.  If they re-record the tune, and put in a bunch of strings or bass harmonicas or vibes or whatever, then we'll have that version, too.  But we will still have this aural document of a Brian Wilson that was engaged, interested, and singing with as much emotion and passion as I've heard from him in a long time.  The lyrics have come from the pen of Scott Bennett, just as most of Pet Sounds lyrics came from the pen of Tony Asher, but the sentiment in this song, as in the Pet Sounds material, is pure Brian Wilson.  I found myself crying like a baby as I listened last night...the first time Brian sings 'All these voices'...the break after 'I had to chase the sun' where all of the sudden there's the Beach Boys style vocals, the tinkley bells of the Glockenspiel, the sleigh bells, as if Brian were remembering the glory days...then everything goes dark again and we're back to 'All these voices'...until the final glorious crescendo to 'Make me feel so alone'...wow.  I can't imagine how anyone who knows of Brian's past and present struggles would not be moved just a little bit by this 'demo'.  I hope I get to hear the whole piece someday, and I'm pretty sure I will, but if I am not that fortunate, I still have this recording of Midnight's Another Day to enjoy for the rest of my listening days.

Johnny Cash's voice for 'Hurt' was far from perfect as well.  But it still made for one hell of a song.

Hey great post!

I'm not one to praise everything BW puts out, in fact I got the new Xmas album he did and took it back as it wasn't really my cup of tea.
I've found myself listening to this song again and again though - I do find it to be as beautiful in parts as other favourites of mine such as The Night Was So Young. It just transports me to another place in a way that only a BW tune can - that "no shades of grey" bit is just outstanding. And the little doo doo doo break. I think the man's on form and can't wait to hear the other Lucky Sun stuff.

At the risk of sounding naiive, surely with the team he has around him at the moment - Darian and all that, the chances of them wrecking this are slim?

Well sure, the band won't wreck it. But who knows how interested and engaged Brian will stay with the project? I mean, one of his best unreleased vocals is on the original version of "Gettin' in Over My Head" (the song). It's marvelous. The released version does not sport one of his best vocals. It's not awful, indeed it's pretty good, but there's a certain something missing.

I think that's the fear some are expressing. I don't know if I share in that fear, but I understand it. Brian and consistency are mortal enemies. But that's part of what makes him so interesting.

I just watched that video lst night with my wife and it still blows me away.

Yeah, Johnny Cash went out great.  I hope Brian accepts his voice and uses it to his advantage as it ages and gets more weary... look @ how Willie Nelson is like 10 times the singer he once was. 

You have the internet in your car?

Has someone recorded the stream and turned it into an mp3? If so, I would be super-greatful to get a copy... ;)

For what its worth, the song is fab, with only a few too many background parts in it from Brian, though he has shown an admirable restraint in this area.

The horns are almost certainly samples or emulations - you can do wonders with virtual instruments these days, and they'er ok with me.

I've never stopped believing that BW had it in him to do great things, rather than just good things that are slightly embrassing.

Rolll on September the 10th (I'll be there!) :)

Someone care to email a copy of the demo to me?  Obviously I could spend weeks trying to figure out how to snag it from the site (not my cup of tea), but would rather have some kind soul email to me.  My email address: chadzwo@myway.com.

Thanks!

Uhh....

I've spent a couple of years trying to become a "pro" with the World Wide Web, so I could for example record audio streams such as this one.  :P

But FYI the track is floating around...

Rolling Stone about the Midnight-track, although the roses should be given to Scott B. instead of Van Dyke P. of course:


Wilson and Van Dyke Parks pick up where Smile left off

Three years after resurrecting their 1967 magnum opus, Smile, Brian Wilson and lyricist Van Dyke Parks set out to prove they are still capable of creating beautiful music together. This gorgeous piano ballad - a track from their forthcoming three-part suite "That Lucky Old Sun ( A Narrative)", streaming off Wilson's site - invokes the heartbreaking yearning of Beach Boys classics like "I Wasn't Made For These Times" and "'Till I Die". Wilson's voice is nowhere near as sugary-sweet as it was in those days, which makes vulnerable lines like "All these people make me feel so alone" all the more poignant. If the rest of the album matches up, we could be looking at Brian's strongest new work in years.

Wow! That is a pretty glowing write-up.... No pressure Brian... No pressure...  :lol

May I suggest "WM Recorder 11" Works very well at ripping streaming audio or video from any webpage. Worked for me with Midnight's Another day, brian's bio video and the Getting In Over My Head promo video.

This is quite lovely.  Oddly enough, it's reminding me of Elton's Someone Saved My Life Tonight.  If this is just a "demo", I'd say leave it - it's strong enough as it is.

As for the piano part:  Scott Bennett posted over @ the blueboard and said that he's recorded 18 songs with Brian, Scott played piano on this song, and one other, and Brian played "Beautiful, layered piano" on the other 16.

I mentioned on Susan's site that this music reminds me of John Williams soundtrack material,  somehow.

Possibly some of the Home Alone instrumental tracks and filler.

Anybody else feel/hear that?

Not to be misconstrued here, I really like the John Williams Home Alone soundtrack. 

Gershwin, Copeland, Williams..........Wilson.

Layered piano?  Brian's traditional style has always been the old "plunk, plunk, plunk" which I much prefer to the sweeping, grandoise sound on MAD.  Makes me wonder who wrote the "layered piano" that Brian plays on the other 16...

In my own opinion, the lyrics on MAD sound more to me like someone else's version of what /who/how Brian is/must be now and seem quite contrived (to me).  This song sounds flat out sad, where I usually find Brian's sad songs to be eloquently disguised under a cheerful, bouncing melody.

I have listened to this track a dozen times now and the only part of it that sounds anything like Brian (to me)is the background harmony arrangements, which I am sure was his only involvement on this track outside singing it.  If Brian must collaborate with someone else, why not VDP?  I really think it's time to cut the Wondermints loose and work with VDP or focus all attention on a Mike Love collaboration.  His gigs with Al really sparkled and you can almost see Brian re-inspired by the presence of another BB singing with him.  It would be a great move at this point in ALL of their careers and to the Legacy of the BB's.

While MAD is a very nice song, it doesn't sound like Brian (to me, anyway) and I will hold faith for the reminder of the Lucky Old Sun setlist to include some more Brian-esque style songs...

After all, there's nothing better than half a dozen (depending on who is included) older men whose voices are mostly lost to the decades standing on stage (or sitting, in Brian's and probably Bruce's case) in Hawaiian shirts and mangling old songs. Oh, but it would be beautiful because they're the originals. That blend, see. The magic of it all. I literally couldn't care less about ever seeing such a thing. I'd rather that Brian adds whatever he can to whatever he wants--especially if those people can actually create and perform with some shred of credibility.

My sarcast-o-meter just went through the roof!  :lol

Sorry (actually not at all), but in my opinion, it's been: roughly 34 years since a truly great Beach Boys concert could happen, because Brian has had a great voice only through the early '70s (even if he had been touring with them then, which of course he wasn't regularly doing); roughly 24 years since a complete Beach Boys concert could happen, because of course Dennis died in 1983; and almost 10 years since any passable Beach Boys concert could happen, because Carl died in 1998.

Any reunion of the remaining members would be musically pathetic (unless they are propped up by Brian's band or another instrumental and vocal group that is far better than themselves). The only pluses are that they could make a fortune off expensive tickets and people who are just there for the nostalgia of it all could get a warm, fuzzy feeling about days that were already the stuff of nostalgia by the 1970s. I have no interest in either of those two benefits.

Someone might say there's the emotional healing, families coming together, blah blah. I say that they are grown men who can settle their own personal disputes whether or not I rah-rah them into a reunion tour. Like most of us, I don't know anything about their relationships other than what is reported in the media or spoonfed through DVDs and such anyway, so I don't pretend to be an expert there.

"This song sounds flat out sad, where I usually find Brian's sad songs to be eloquently disguised under a cheerful, bouncing melody."

Like Til I Die.  How long is it before we find out that Brian contributed virtually nothing to all of 'his' songs?  Although he did, of course, contribute some lyrics to Back in the USSR while the down on their luck Beatles were slumming it in an ashram trying to find inner peace and Mia Farrow was trying to find ethnic children to adopt.

Like Brian has been literally propped up?


Like Brian has been doing the last couple of years?


Grown men physically. Emotionally? Obviously they HAVEN'T been able to settle their own personal disputes. If you read their loopy interviews, it's not hard to see why. The only place these guys seem to be able to co-exist is in a Beach Boy's musical environment.

NightHider raises some good points, points that nobody wants to touch at this time, especially because the new song is good. But the issues about what Brian has and has not written have been around for decades. People have been relieved of their duties over these issues.

At this time, I'm NOT speculating about what part(s) Brian did or didn't contribute to Midnight's Another Day. I'm just going to enjoy it for awhile. But I think you're being disingenuous (not you specifically, Luther) if you say the thoughts haven't crossed your mind.

SJS, I almost agree with you on all points. I do think Brian has been propped up, and basically said as much. But he doesn't need the other not-dead Beach Boys and a reunion to prop himself up--he has a band that isn't only just as good, but far better than they are. I agree on the tickets, except that they'd go up further. I agree that they don't seem from what we know to be able to get along, and was only saying that a tour isn't something for me or any music fan to prescribe as if we're psychologists treating these grown men. And frankly, I agree that there is a decent chance Brian didn't add much more than background vocals to MAD, just as he quite likely has been heavily assisted by plenty of other co-writers over the years.

If you look at what I was saying, it's simply that there is no musical need I can see for a reunion. It would be purely nostalgic, which isn't my thing at all. That's all I said. (I just was a bit gruffer because I hadn't had my dinner.)

Luther, why not, everyone is out mangling the old catalouge now anyway?  And I believe Brian and Bruce have spent most of their time sitting onstage since the mid 70's, if I'm not mistaken.

Just the addition of Al's tired, hoarse, old man voice to Brian's current stage act was a HUGE difference in sound and there is no doubt Brian was a bit more 'lively' at those shows. 

Anyhoo, I was referring more to a new studio effort with the original members on some new songs, which I would prefer over Brian singing someone else's songs.  I really do think that is the direction Brian would like to go or he probably wouldn't have offered Mike a CD with a new track requesting Mike put some lyrics to it on the Capitol rooftop last year.

Like it or not, Cool Head and the 'Arbor Day Foundation' song were very nice sounding vocals from Mike and the new Brian Christmas songs were above average for 'new Brian' that was not put together "out of the can".  And who didn't love PT Cruiser? :-\

They sounded great at the Campfire Sessions 20 years ago, sounded great on Nashville Sounds 10 years ago and I believe if they all stopped touring and let their voices recover a bit, they could sound just as great as they wanted to now for a studio effort.

Me thinks the Original Boys still have some gas left in them and that being back in the studio together would be an inspiration to Brian's songwriting and be the perfect end to a long and wayward career.

Actually, Scott Bennett said that Brian played layered keys on 16 songs.
 
"I played piano on this and one other song out of 18 or so songs that I've worked on with Brian. He played wonderful, layered keys on all the rest.
S"

Don't know if that changes your argument or not.  I don't know how much Brian contributed to this song, and unless you have spoken with Scott Bennett or Brian, you don't know either.  Just what is a 'Brian-esque' song, anyway?  Lonely Sea?  I Get Around?  Callifornia Girls?  Fall Breaks and Back to Winter?  Busy Doin' Nothing?  Surf's Up?  'Til I Die?  It's Over Now?  Shortnin' Bread?  My point is, obviously, that Brian's covered a lot of bases, and continues to do so. 

 Just what is a 'Brian-esque' song, anyway?  [/quote]

Any song that sounds like it was composed and arranged by Brian Wilson.  For example, the Arctic Tale song is immediately recognizable as a BW song in traditional BW style with traditional BW melody and piano style(plunk plunk plunk).

Sure Brian has played alot of different musical styles as in the songs you mentioned, but the difference is that all of those songs sound like Brian Wilson composotions(to me), whereas MAD does not sound anything like something Brian would compose(to me). 

MAD is  a very nice song and performed very well by all.  I hate to be one of the three posters on this thread who were not totally enthralled with the song overall but  I do always respect the opinions of others and am personally keeping my fingers crossed for the remaining tracks from LOS and the "never before performed classics".

To me, it sounds like an imitation. I like the song, but it's more of a "well,this is nice" as opposed to "wow!" type of thing. Now MAD on the other hand, that sounds great. I don't care who wrote/produced/whatever, THAT is a great song. Just my opinion.

See, now I'm vice versa.  I think MAD sounds like an someone's imitation of Til I Die. 

Based on your whole post (partly quoted), I guess we're just interested in different things overall, so there's no sense going back and forth on it. I hated everything about Nashville Sounds, and didn't like Cool Head... or PT Cruiser at all. They both fit into the category I was deriding in my original post, in fact. It's just an example of different tastes from different people.

I agree with you about Live Let Live, by the way. It does sound like a Brian Wilson song in many ways. I can imagine him sitting at a piano and playing it. It might be (is) a middle-of-the-road one, but it sounds like him. But so does MAD, other than the obviously non-Brian piano. Still, we already know that's Scott anyway. And I can easily imagine the same music being played in Brian's typical block chord style, and the progression itself certainly could have come from him. (I'm not saying it did. It could have.)

Oh hell, maybe I'm naiive, but if Brian's saying he's thrilled with this song that he's composed then I'm inclined to believe that he's composed this song. Plus I agree with the other poster who points out the diversity of BW's songwriting styles, although actually this sounds just like a Brian Wilson song to me and a stellar one at that. I think you have a point that the lyrics seem slightly contrived, but it makes sense to write a song about the sad side of Brian Wilson. It makes more sense to me than him singing songs about young girls or whatever.

Fair enough if you don't like the song. I wonder what it would take to quell the 'this is fake Brain Wilson - he's just a puppet' conspiracy theories though. Here we have a song that a) sounds just like a good Brian Wilson song b) is getting very positive criticism from respected music rags c) Brian himself appears to be very proud of. What is there to doubt - the piano playing is not like Brian? Surely that's because Scott Bennet is playing piano on this song? Doesn't mean Brian didn't write the lion's share of the song imo.

Oh hell. If you look at other threads here, there are people doubting that Brian wrote Live Let Live too. They say it sounds more like Van Dyke Parks (the acknowledged lyricist).

This exhausts me. Brian was clearly interested in the song. He contributed some steller vocals. Whoever wrote what, it seems like it engaged him. As far as I'm concerned, Brian wrote some of the lyrics. Some of the words from the chorus seem too perfect to be from any other hand.

That's gotta be a first: words so good, they must've come from Brian Wilson!

"Neptune is god of the sea / Pluto is too far to see"

"Ed McMahon comes on and says 'Here's Johnny / Every night at eleven-thirty he is so fonny"

Actually, those are among my favorite BW lyrics. I'm not being sarcastic in that, either. I'd take 100 Love You song lyrics over all the schmaltzy crap in the world

I know it sounds silly. But I always have suspicions when the words and lyrics mesh espcially well in a chorus of a BW song. And he can write lyrics -- he just doesn't always try very hard. As I said much earlier on this thread, the simple line: "All these people make me feel so alone" seems perfectly Wilson-esque. I also wouldn't be surprised if the title and key line -- Midnight's Another Day -- comes from Brian. After all, he's written several night-themed songs in his solo career -- Night Bloomin Jasmine, The First Time, Nighttime.

This thread reminds me of the eternal debate over who directed "Poltergeist".  Steven Spielberg wrote and produced the movie and Tobe Hooper (of "Texas Chain Saw Massacre" fame directed it.  For 25 years now, "insiders" have claimed that Steven did the majority of directing while Tobe sort of "looked on".  My money is on Tobe...it just looks like one of his films.  But Steven did write it, and Industrial Light and Magic did the special effects, so of course it looks and feels like a Steven Spielberg film too.

My point being:  Scott plays piano on this, and it's safe to say that the lyrics were pretty much all his...so of course it would bear some of his imprint on it!  To my ears the chord progression is very Brian-esque.  For people to say that he didn't write the music because the piano doesn't go "plunk plunk plunk" is totally ridiculous.  Not much "plunking" going on in Pet Sounds either!

I think MAD is a great song, and I can't wait to hear more.  What is my criteria?  It gave me those musical shivers that only Brian can produce.  It may be hyperbole to state that this is the best song that he's written since "Til I Die", but I will say that it is certainly a great new song, plain and simple.

Guess I'm just a little skeptical that Ol' B-Dub sat down and banged out 18 songs from scratch on a bored afternoon or in the time since then for that matter.  I do look forward to hearing more though. Cheers!

Huh?

MAD sounds original and Brian exerts effort on it...you can tell. Can he write new stuff? Should he get the benefit of the doubt?

Would a whole album of similar quality would be nice to listen too? Yes, I think...

Original doesn't invariably equate with new. The vast majority of Brian's releases since 1998 are from a stockpile dating back to the early 60s.

"Can he write new stuff ?" On current evidence - not really.

But... doesn't matter - "MAD", whatever its genesis, whatever the composer split, is the best thing he's done in years. If the rest of "TLOS" is approaching this level, it should be good news all around.

Scepticism is probably a healthy defense mechanism for a BW fan but personally when a song as good as MAD comes out, that sounds like a BW song, that has no previous manifestation in BB or BW bootlegs then surely that's the time to say: Wow, he still has a bit of that magic left. He can, when motivated, write beautiful material.

If a BW insider was suggesting that the new song was written largely by someone else and carried Brian's name alone, then that's the time to doubt a song's authenticty. But with MAD, all the evidence suggests that he's written a great new song. There's no evidence to suggest he hasn't written much of this song. BWPS had a similar response from many BW fans: Despite BW and Darian both maintaining that Brian was heavily involved in sequencing BWPS, fans were convinced that it was basically a Darian Smile mix. But as far as I could tell there was no evidence to suggest this other than Brian looking a bit ill and bored in the Beautiful Dreamer doc and Brian and Darian's obviously staged discussion of where Surf's Up should go. Sometimes I think BB fans' cynicism towards Brian's abilities today border on paranoia (not directed specifically at you Nighthider - just fans' cynicism in general)

Not really? Does that mean that "MAD" is not new? What about What I Really Want for Christmas (the song), What Love Can Do, Believe in Yourself, and Live Let Live? None of those were new? Whether they're good or not is a matter of opinion. I like them. Anyway, I appreciate that you like "MAD". No matter who wrote it, it exists, and it's a blessing. Kind of like Mozart's Requiem, if you want to take it that far.




I agree. The staged discussion was obvious-- that is, there was no effort to make it seem like it was real. It was in the same location as that last BW interview, and Brian was wearing the same shirt as in the interview. It was clearly done on the same day...well after the Smile premiere.  It was like so many documentaries you see, with staged reenactments of excavations, etc. Same with the Paul McCartney encounter-- not staged in that case, but placed in for dramatic effect and because fans would want to see that and there was going to be no story beyond the first night. As far as Brian seeming sick on that other day, David Leaf said he was also on cold medicine, for what it's worth, and there was _certainly_ no effort to hide Brian's apathy there. It doesn't mean he was like that the entire time. I'd take it at face value and conclude that he was losing interest because the performance date was approaching and he was nervous. Doesn't mean he wasn't interested in the beginning, as he is with so many projects. Doesn't mean he didn't help sequence. 

Anyway, the point is that I think you can go too far in your cynicism. It's almost as if people are being cynical just for cynicism's sake. It's much more fun to just enjoy the music first. That's what it's there for. 

Depends who you talk to. And when.   8)

From all the info you've gleaned from interviews etc. Andrew, what's your opinion on how involved Brian was in the sequencing of BWPS? Even if you have heard conflicting stories from key players - what's your hunch?

My 'hunch' is that Darian did the basic sequencing and that Brian said "yes" or "no" after which revisions were made. Those who have seen the initial rough sequence will know that it is nothing like what was performed or released.

Regarding my comment, I think the "when" is more important that the "who".

So Brian basically works like George Lucas.  :lol

Keep in mind (and I think this is what Andrew is getting at with the emphasis on "when"), the original intent was simply to perform the "SMiLE" material live. As a selection of songs to be performed in concert, it makes sense that Darian would put together a set list with a proposed running order. At some point after the live "sequencing" had been discussed, Brian determined that Van Dyke should come in to write some additional lyrics. It's here that the project turned into a 'let's complete 'SMiLE'" in a formal sense as a performance piece (and eventual album). Once that happened, it was important to establish the media angle of Brian redeeming himself and completing his lost masterpiece. I, for one, believe he did just that regardless of whether Darian proposed the initial sequencing or not.

Bravo (http://sideshowcollectors.com/forums/images/smilies/rock.gif)

Gosh its been close to three years (can you believe it and I can't either) since BWPS and you all are STILL in a fuss who sequenced it or not??  :o Thats like the same people that complain about the fake tack piano and harpischord. What's happened, happened people.

I just don't get the animosity towards Darian here.  ???

[Round of applause.]

And as for me, if Darian did 99% of it, he doesn't deserve animosity, but heaps of praise. Because it's done. And now I'm going to sit down in front of an Alesis keyboard and play some fake tack piano or harpsichord!

IMO the Wondermints are the best thing that ever happened to Brian since sandwiches.

I love sandwiches.

Your damn right!! I was just qurious to hear AGD's opinion on the sequencing but I guess I should stop dissecting and just go with my own hunch which is: Brian and VDP with the help of Darian completed Smile. I have no animosity towards Darian - I think the guy's a genius for enabling the project and whatever parts he played in putting it together. Actually there's a great quote from Carl where he talks about Smile and hopes in the future that somebody assists Brian in completing it - that kind of puts the whole thing in perspective for me. I wish I had that quote - can anyone post it please?

P.S. I don't care about the fake tack piano. I've never actually noticed that it's fake tack piano - Ignorance is bliss, right?!

Care to show me my animosity towards Darian ?  He's a great guy, and one who deserves a better shake of the stick than he's been getting.

Hey AGD, no way am I blaming you for anything. I am just speaking in general in tones of the conversations similar to this one from others in the past (and the ones who still do... you know who you are). I always felt Darian was and has been blamed almost for the way BWPS has been. Rather then being happy that the product came out period, people just found flaws with it and just constantly blamed him.

I have wanted to say that since BWPS came out. My 2 cents  :tm


PS: The Wondermints are the shiznit indeed. Funny enough, I am currently wearing my Wondermints shirt I got from a certain somebody  :love

The equation is very simple:

no Darian = no BWPS.

Anyone who thinks Brian did it (largely or entirely) on his own in 2003 is patently forgetting that he couldn't do it some 37 years earlier when at the height of his powers. Plus, and this is also germane, it wasn't his idea in the first place.

Nobody but Darian could possibly have had the combination of musical skills, arranging skills, political skills, temperament, perfectionism and selflessness to have gotten SMiLE done and have it come out as well as it has.  I've known the guy for 13 years and I can tell you this for a fact.

I don't think there was any animosity towards Darian in any of the recent posts in this thread. In the context of the 'how much of MAD has Brian written' queries I was making a comparison to BWPS and the similar questions that raises, i.e. those that suggest it's largely Darian's work. AGD was just responding to my questions.

Thanks for the info AGD, but I must admit I instantly regretted asking you! I think scratching under the surface of any artwork to reveal the process behind it's creation can be disillusioning to say the least. If that's your job as a historian then it's essential but as a fan I think you can end up destroying the thing you love. Do you ever experience this conflict of interests yourself?

That they managed to organise the Smile material into such a cohesive piece and that the new additions blend so seamlessly is a miracle as far as I'm concerned and one that well and truly blew my mind at the RFH. I agree that a seemingly calm, modest and unthreatening character like Darian was essential in order for Brian to lower his defenses and engage with the problematic music.

And also this...us saying that Darian did a majority of it in know way shape or form means that BWPS wasn't a great album. Far from it. In fact, to me, it is more proof that Darian (and Scott Bennett) is who Brian *should* be working with.

So true...

I have felt for years that Brian's current band is the best thing that could have ever happened to him. I agree with AGD, no Darian = no BWPS. Darian got a LOT of help from Paul Mertens and the Tasty Brothers too, from what I gather. And it's clear that there is some serious chemistry between Brian and Scott Bennett.

But a few years ago there were a sizable number of people who attacked the BW Band and its members relentlessly, and did everything they could to paint them in a bad light. The reasons given were everything from "we don't like the way Darian sings 'doo-you' ", to seemingly endless bashing of Nick Walusko for the way he said "you're under arrest", to "Bob Lizik is a terrible bass player who uses crummy bass guitars"! There was even a rumor started at one time that a couple band members had been fired for (what was hinted at) sinister reasons! It seems the band was guilty of an unforgiveable sin - they weren't the Beach Boys. There are some who still can't let that go.

In this phase of Brian's career, his (can you still call them "new" - they've played together for 7 years) new band is clearly fueling a creative renaissance that is way beyond anything I ever dreamed of. "Midnight's Another Day" is spectacular, and there is the promise of more coming. Do the "reunionists" really think that Al, Mike, or Bruce could or would produce a collaborative effort with Brian that could compare with MAD?

Returning to the original topic of the thread... I stopped listening to MAD for about a week just so I didn't get tired of it. I went back yesterday for a listen again. Man, it's magnificent, it's so powerful! Scott's great lyrics applied to Brian's emotionally charged music have created something special IMHO.

Sometimes it's a case of way TMI - there's some stuff I truly, truly wish I didn't know - but for balance sometimes knowing the real backstory enhances the music. Swings and roundabouts - in the final analyisis, the important thing is to present the story as accurately as possible, and frankly, in the various BB closets, skeletons abound. The thing is to be honest yet responsible, but sometimes being honest casts a very bad light on the subject.  Hopefully, the events of the past decade or so will one day be accurately chronicled by an objective outsider.

Maybe Peter Ames Carlin will write part 2.

She's not objective by any means, but I feel like Carnie Wilson will some day write some kind of tell-all-- maybe after Brian is gone. She does like to write the books!