Brian 'Passive-Aggressive' Following Aborted "SMiLE"?

[originals]

I'm reading Peter Ames Carlin's FANTASTIC book about Brian ("Catch A Wave") and, if I'm understanding some parts correctly, there seems to be a subtext that perhaps Brian was knowingly (or subconsciously) 'sabotaging' his band after they so cruelly dismissed his "SMiLE" masterpiece. He put his heart and soul into 'Smile' and it was taken away from him and then he watched as the others began to wrestle control of the band's songwriting and even producing efforts. I get the real feeling that Brian, in a sense, said 'Fine - you want the band, it's yours. Good luck.'  And then Brian watched as his bandmates raided his 'Smile' songs from the vaults piece by piece when they couldn't come up with enough decent material for their 'Brian-less' albums.  If he was trying to make a point, I think he made it quite effectively. They were foolish to push their genius leader aside and squelch his artistic growth. Thank God George and Ringo weren't in any position to stifle Lennon and McCartney's ideas.




 

[Iron Horse-Apples]

I'm reading Peter Ames Carlin's FANTASTIC book about Brian ("Catch A Wave") and, if I'm understanding some parts correctly, there seems to be a subtext that perhaps Brian was knowingly (or subconsciously) 'sabotaging' his band after they so cruelly dismissed his "SMiLE" masterpiece. He put his heart and soul into 'Smile' and it was taken away from him and then he watched as the others began to wrestle control of the band's songwriting and even producing efforts. I get the real feeling that Brian, in a sense, said 'Fine - you want the band, it's yours. Good luck.'  And then Brian watched as his bandmates raided his 'Smile' songs from the vaults piece by piece when they couldn't come up with enough decent material for their 'Brian-less' albums.  If he was trying to make a point, I think he made it quite effectively. They were foolish to push their genius leader aside and squelch his artistic growth. Thank God George and Ringo weren't in any position to stifle Lennon and McCartney's ideas.




 

But Lennon and McCartney sure stifled George's ideas. Give me Here Comes The Sun over any of Macca's drivel any-day.

But I agree with the rest of your post wholeheartedly.

[Sam_BFC]

On the plus side, the likes of Dennis were able grown artistically in the absence of Brian.

[juggler]

I get the real feeling that Brian, in a sense, said 'Fine - you want the band, it's yours. Good luck.' 

In one or another of the documentaries (Don Was' IJWMFTT or maybe the A&E bio?), Marilyn Wilson says essentially what you're saying.  During that period, Brian's attitude was, according to Marilyn, very much "Oh, you guys think it's so easy?  Fine, you do it."

[Wirestone]

I don't think it was really one thing or the other. It was all of them.

Of course BW was irritated with friction from the group and his family.

But he was also irritated with himself and his inability to realize some of his most ambitious work. (And dealing with incipient mental illness.)

So in stepping back, he allowed himself to relax a bit, while also avoiding responsibility for the band's direction. Win-win. At least in BW's mind at the time.

[originals]

On the plus side, the likes of Dennis were able grown artistically in the absence of Brian.

True.

[originals]

I get the real feeling that Brian, in a sense, said 'Fine - you want the band, it's yours. Good luck.' 

In one or another of the documentaries (Don Was' IJWMFTT or maybe the A&E bio?), Marilyn Wilson says essentially what you're saying.  During that period, Brian's attitude was, according to Marilyn, very much "Oh, you guys think it's so easy?  Fine, you do it."

Interesting........

[originals]

If Brian and Van Dyke had been stronger and more willing to fight it out with Mike Love, it would have been interesting to see them put "SMiLE" out as a duo in '67 (with back-up singers and a band, of course). They could have credited it as a Brian Wilson & Van Dyke Parks album or  a  Beach Boys record with slightly augmented band members.

[SMiLE Brian]

If Brian and Van Dyke had been stronger and more willing to fight it out with Mike Love, it would have been interesting to see them put "SMiLE" out as a duo in '67 (with back-up singers and a band, of course). They could have credited it as a Brian Wilson & Van Dyke Parks album or  a  Beach Boys record with slightly augmented band members.

Ever heard of the blueboard?

[Cam Mott]

I doubt the passive aggressiveness, it seems to me Brian was very productive and was trying hard to have a hit. The problem was fans didn't care for what he was cranking out. His time passed as far as fans were concerned. Most fans I should say. I'm guessing Brian took himself out of the game because of it, he wasn't competitive. He was competing but he wasn't competitive by his definition anymore.

My impression is the Boys were still waiting and wanting and praying for Brian to take over but he didn't and so they did the best they could. Marilyn's explanation sounds like a wife's explanation for a husband who wasn't performing like he had. I wasn't there though.

[donald]

I'm tempted to agree with the original post.  BUT.  Its always more complicated than it seems at first glance.   However I can relate to someone saying f---it , you can have it, do it yerself.  I think most productive humans have reacted this way to excessive criticism.

[Ron]

I think Brian was passive-agressive, on the Smiley Smile album.  I've thought this for years.  Think about it.  Surf's Up didn't happen, they all gave him sh*t about taking so long to record, so what does he do?  "With You Tonight" with nothing but an organ to change the keys.  It's the ULTIMATE passive agressive response to the criticism his production was getting. 

Then, to top that, I truly believe he purposefully sabotaged "Wind chimes" and "Wonderful".  That creepy vibe he gave both of those songs I think was his attempt to destroy them so far that they'd never be compared to the masterpieces he left unreleased.  I think Carl or somebody said "Hey lets put Wonderful on it, that sounds great" and Brian decided to re-record it with a completely different sound so they wouldn't use his polished version of it, because he wanted that to come out as originally planned, part of a suite or whatever. 

I don't think he was passive-agressive (more than a person usually is, lol) for years to follow or anything, but without a doubt on that album!

[Wirestone]

I think Smiley and lots of Wild Honey was like that. Think of how bare bones so much of WH sounds - then you get to the Redwood-intended track, which is in another stratosphere.

[Magic Transistor Radio]

He may have continued to 'sabatoge' the band. When he made his come back in the mid 70s, at times he just stood up there blank faced not singing what he was suppose to. Mental illness? That's what he wants us to think to destroy the BBs. To top it all off, he gave his vote to Mike Love in 78.

Having said that, a half hearted Brian Wilson can still make songs better than a lot of people could giving it there all. Songs like 'I Went to Sleep', 'When a Man Needs a Woman', 'Take a Load Off', 'Solar System', 'Games 2 Can Play', and Mt Vernon and Fairway'.

[rab2591]

I think Brian was passive-agressive, on the Smiley Smile album.  I've thought this for years.  Think about it.  Surf's Up didn't happen, they all gave him sh*t about taking so long to record, so what does he do?  "With You Tonight" with nothing but an organ to change the keys.  It's the ULTIMATE passive agressive response to the criticism his production was getting. 

Then, to top that, I truly believe he purposefully sabotaged "Wind chimes" and "Wonderful".  That creepy vibe he gave both of those songs I think was his attempt to destroy them so far that they'd never be compared to the masterpieces he left unreleased.  I think Carl or somebody said "Hey lets put Wonderful on it, that sounds great" and Brian decided to re-record it with a completely different sound so they wouldn't use his polished version of it, because he wanted that to come out as originally planned, part of a suite or whatever. 

I don't think he was passive-agressive (more than a person usually is, lol) for years to follow or anything, but without a doubt on that album!

I just find it hard to believe that Brian would do that...every interview someone gives revolving around Brian, they say he was a great guy with a sense of humor. It just doesn't seem possible that he would be passive agressive for up to three weeks.

Also, he put the Smiley Smile version of Wonderful on his collection of favorite BB songs...he must like something about it.

Idk, listening to the Smiley Smile sessions he doesn't sound pissed - he sounds totally in control.

[Cam Mott]

Nobody stays popular forever. So to me, the fact that he was working very hard in complete control shows he was still trying to be popular. He got his way with SMiLE. He "owned" Capitol. Passive aggression as an explanation for Smiley does make sense to me.

Working hard to make what he sees as competetive popular music [regardless of our personal opinions] while not realizing his popularity clock had run out does make sense. If Marilyn was right about the later 1973ish period, that frustration would then make sense for a guy who had been swinging for the bleachers and getting benched by the coach [record buyers] for his trouble.

[ghost]

I don't think Wind Chimes / Wonderful on Smiley are inferior - AT ALL. In fact I prefer them usually to the Smile versions floating around in various forms.

Smile's Wind Chimes: a lazy Carl vocal that makes me cringe at times, repetitive simple formulaic structure. Cool points - the spacey piano part, the celebration in it, the bridge, etc.

Smiley's Wind Chimes: it's Wind Chimes... made psychedelically spooky, abstract time-warped acid paranoia

Smile's Wonderful: has no "na na na na na na na"

Smiley's Wonderful: has "na na na na na na na"

[Micha]

In the last weeks I've been listening to the Party album a few times and each time something in the approach to the album reminded me a lot of Smiley Smile. Not trying to make it perfect, little instrumentation, plain fooling around and such.

Then, to top that, I truly believe he purposefully sabotaged "Wind chimes" and "Wonderful".  That creepy vibe he gave both of those songs I think was his attempt to destroy them so far that they'd never be compared to the masterpieces he left unreleased.

In the case of "Wind Chimes" to me the masterpiece is the released version. True, it's haunting, but musically much more interesting than what was released as the "SMiLE version of Wind Chimes" on the 1993 GV box set. And there's hardly a more delicate piece of music out there than the fade to SS Wind Chimes.

In the case of Wonderful though, the result is less convincing. The only plus on SS's Wonderful is the the inclusion of a middle eight.

I don't think Wild Honey is a passive-aggressive production either. That WH is no great sounding record is simply that it wasn't recorded at a good studio.

The record that to me sounds the most like a deliberate try to destroy the Beach Boys - although, from what I've read about it, it probably wasn't - is Love You.

[MBE]

I think Brian continued doing quality work well in the early seventies. If Friends, Wild Honey, Sunflower, and his work on the other 1967-72 records aren't  good then tell me what is? The records of the period sold well except in the USA. Brian was no longer the sole leader, but when he was put back in charge in 1976-77 his work wasn't half as good. In fact mid 1967-71 may be the most relaxed period Brian ever had in his life. After 1973 was he ever the same? Plus Brian is on record speaking very highly of the Smiley Smile sessions in a 1968 interview tape I aquired for my book. He stated he liked that the group was working better together. The exact quotes will be included.

[Loaf]

In the last weeks I've been listening to the Party album a few times and each time something in the approach to the album reminded me a lot of Smiley Smile. Not trying to make it perfect, little instrumentation, plain fooling around and such.

You're not wrong there.

http://smileysmile.net/board/index.php/topic,10542.0.html

[Boiled Egg]

I tend to think Carlin is absolutely right.  

There are countless examples of this among creatives - they strive as hard and as sincerely as they can in their chosen direction and, in the face of repeated resistance or demands to shave the corners off their ideas, eventually something goes twang.  

The architect Berthold Lubetkin famously got so fed up making compromise after compromise on his plans for Peterlee New Town that he gave up architecture altogether and became a pig farmer.  

That's an extreme (and terribly funny) example, but a better one is close to home: George Harrison in 'Let It Be'.  Tired of getting nowhere with Paul McCartney, who is spelling out exactly what he wants him to play (on 'I've Got A Feeling,' if my sclerotic memory is right) and leaving him no room for his own ideas, he tells Paul, 'I'll play, you know, whatever you want me to play, or I won't play at all if you don't want to me to play. Whatever it is that will please you, I'll do it."

This is the lot of many a creative: it's colossally tiring to be pushing an elephant up the stairs, even if you're convinced it'll look better in the bedroom.