Brian Wilson as auteur, 1988-present

[Wirestone]

This is my attempt, in a single post, to outline my thoughts on Brian's role as the author (or auteur) behind his records -- that is, his work as a producer and arranger -- over the last 25 years or so. This is one of the board's new favorite topics. How much has Brian done on this record? Is he really the producer? Etc.

This topic interests me greatly because I've followed Brian's solo career very closely. I haven't just bought the records. I've read the interviews (and conducted some myself). I've watched the shows. I've read the books. And, to me, there are clear trends and indications of Brian's continued role as an auteur, although considerably complicated by his illness and the changing state of the record industry.

I've written at length on this topic before, but I figured that I owed the board a fuller accounting of my views, along with relevant links.

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Part One: Examples

Before we can talk about Brian's work as a producer or arranger on his recent (largely solo) work, it's important to establish a baseline. We need to know what a current-day Brian Wilson solo production sounds like. If we don't know this, or don't have a rough idea, then everything else falls apart.

There are actually several, relatively recent, examples of songs that are more or less completely arranged and produced by Brian Wilson.

Everything I Need (1996, first version)
http://www.youtube.com/watch?v=FRc_ao2NrIk

On Christmas Day (2000, online single)
http://www.youtube.com/watch?v=quM23zl4McM

Message Man (2006, TLOS bonus track)
http://www.youtube.com/watch?v=d6rFh8OyHfg

I'm Into Something Good (2006, TLOS bonus track)
http://www.youtube.com/watch?v=1Bspy0vlTqQ

There are a number of others (The Christmas Song, Just Like Me and You, Heaven), but this is a relatively representative sampling. I think it's important to note something about all of these productions. They are sometimes underlying great songs and vocal arrangements (Message Man most notably). But they are pretty laid back. They are not especially avant garde or elaborate. They are basically beds for vocals and cool songs, with occasional parts of interest (mostly bass lines) popping out.

Also, the relative abundance of these tracks shows that Brian can, indeed, produce a song on his own when the mood strikes him. He still has the capacity. What these tracks also show, however, is that Brian produces relatively spare and simple tracks when left to his own devices. They are charming, yes. Fans would love to have a full album of such productions. But they are also modest.

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Part Two: Re-productions

It's instructive to hear what happens when Brian's relatively simple solo productions are blown out for major label release. Here, for example, is Joe Thomas's take on Everything I Need. Brian's track is still in there, but it's covered by a layer of overdubs. While stylistically far different, Thomas also makes the track more dynamic.

Everything I Need (1997, second version)
http://www.youtube.com/watch?v=3lsx7YrCqU0

Next, we have the two versions of Good Kind of Love. Here, the basic arrangement remains, but much of the instrumentation has been replaced (strings and horns in place of synths), and guitars and basses have a bit more to do. You can also hear the effect of replacing a wall-of-Brians with his backing band's voices.

Good Kind of Love (2006 Bennett version)
http://www.youtube.com/watch?v=g0zrvCWJZQ0

Good Kind of Love (2008 TLOS version)
http://www.youtube.com/watch?v=AbiYVahVKwU

Finally, an example of this from BW's very first solo album. The first version of Melt Away seems to be a demo, with an alternate lyric and wall-of-synths backing. The second is the far more refined and arranged version from the album itself.

Melt Away (1988 alternate)
http://itunes.apple.com/us/album/brian-wilson/id160379936 (track 19)

Melt Away (1988 final)
http://itunes.apple.com/us/album/brian-wilson/id160379936 (track 3)

There are other examples of this too. There's an early version of Your Imagination floating around, and all of the TLOS demos circulate. Likewise for the 88 album, which includes a lot of the demos in its 2000 reissue. I'm not necessarily making a point in sharing these, at least right now. It's just that it's important to note that every reworking of a BW production or demo is not necessarily making it worse -- at least a couple of these songs were made better with the extra work.

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Part Three: Brian Wilson Didn't Produce These Songs ... or Did He?

There are spots in Brian's solo catalog where his contributions are murkier. The entire "I Just Wasn't Made for These Times" album, for instance, was basically produced by Don Was (Brian had a say in song selection). However, if you listen to the Was version of Melt Away, it's hard not to hear Brian's spirit animating the final result, probably because it's a loose adaptation of the original arrangement.

Melt Away (1995 remake)
http://www.youtube.com/watch?v=ilpczA9LWlc

From a different direction, the song Dream Angel from Imagination seems unquestionably naff, animated by Joe Thomas and Jim Peterik, with Brian simply along for the ride. However, if you listen closely, you'll hear an elaborate, Darlin'-style horn arrangement buried in the mix of the song. Was this Brian's doing? If it was Joe's, why would it have been mixed so low? Whatever the case, that horn arrangement makes the song more than lite metal.

Dream Angel (1998, Imagination)
http://itunes.apple.com/ie/album/imagination/id30645706 (Track 6)

Likewise, the song Soul Searchin' was almost entirely written (and one suspects produced) by Andy Paley. It was crafted expressly for Carl Wilson. And yet Brian was enthused about the song during its writing, going as far as buying a plane ticket to London to follow Andy and finish working on the song. So Brian's enthusiasm and his brother's voice clearly served as inspiration -- yet the song itself likely isn't his work.

In these three cases, you have to ask what it means to be Brian Wilson, as a collaborator and performer, what the credits imply, and what they actually mean. It's complicated. Does serving as an inspiration mean you deserve a production or writing credit? If not, what entitles you to one? And if Brian didn't write or arrange these songs, does that make them worse? If he did, does that make them better?

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Part Four: The Problems of Production

What is a record producer? This is a simple question, yet a hard one to answer. There are many kinds, from hands-on technicians who also have great musical knowledge (George Martin) to visionaries who can't actually arrange or write much music but who know what they want to hear used professional songwriters and arrangers in pursuit of their grandiose goals (Phil Spector).

Brian as a record producer fell between those extremes. He didn't have great technical knowledge, and he didn't have the musical education of a George Martin. But he did write songs, did play an instrument, and had ideas for parts. He didn't style himself a Svengali for other artists (although he tried) like Spector, although he tended to know the sound he was striving for. He did more than many producers, but he was also less specialized.

And the production skills he learned -- leading a roomful of musicians to produce great takes -- were effective mostly in the '60s. By the '70s, the way records were made had changed. And it only got more extreme as time passed. Records were assembled, piece by piece and part by part. Not only did a mentally ill Brian not have patience for this, it wasn't how he had ever worked.

So the very notion of a Brian Wilson production credit -- outside of the mono, live-in-the-room mid-60s aesthetic -- is profoundly problematic. Quite simply: What does his kind of producer do in the multitrack, protools, sampling age? In some of his records, he has ignored the problem by recording as he did in the '60s. In others, he has embraced new technology by allowing knowledgeable co-producers to guide the newfangled process. Sometimes he's split the difference.

(And then there's the problem that Brian seldom produced entirely on his own. He himself said that Chuck Britz co-produced many of the group's classic tracks -- and you can hear Chuck doing so on session tapes. You had the session musicians -- or the Beach Boys -- pitching in on arrangements. And after Smile broke down, Carl essentially started co-producing most of the group's output, overdubbing or remixing Brian's first drafts.)

There was a brief period where Brian consolidated all power -- the end of Pet Sounds, Good Vibes and Smile -- but the difficult outcome of that period seems to have soured him on handling every last bit of production.

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Part Five: Context Conundrums

Here, I'll just reproduce an earlier post I made about the nature of Brian's instrumental arrangements. Suffice to say, they are not exactly consistent, and there's a very good reason for that.

"Brian has never -- as far as I can tell -- been an incredibly specific arranger (with the possible exception of portions of Pet Sounds and Smile). That is, he's not a trained orchestrator. His arrangements are generally based on his piano demos, with a key extra part or two. The rest of the backing tracks are developed by the session players, in collaboration with BW, and on their own. This was true in the '60s and in the 2010s. (Witness the staccato break in GOK, for example.)

"Thus, a lot of the BW "sound" is simply based on who he's working with. When he worked with the other BBs in the studio, the tracks had a garage-band sound. When he worked with the Wrecking Crew guys, his records sound like '60s, Spector-styled classics -- that's what that group produced. When he was on his own, on Love You or the TLOS demos, he produces very stripped-down tracks -- the demo-style piano and a few extra parts, as I mentioned. When he's with AC players, the tunes have an AC sound. When he's with his band, you get their slightly retro but modern power-pop effect. With Paley, you get full-blown '60s nostalgia.

"We've really done ourselves a disservice, I think, in thinking about BW as some all-encompassing creative genius when it comes to backing tracks. He has great ideas, and he has a gift for songwriting and vocal arranging. But the instrumental tracks are really the most collaborative part of his output -- and it seems like it's always been so, in one way or another."

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Part Six: The Three Kinds of Albums

Taking all of the above in mind, I see Brian's solo career as including three specific kinds of albums.

1.) The elaborated demo albums. These include Brian Wilson (88), Imagination and That Lucky Old Sun. In each of these cases, Brian basically produced a full version of the album before the album was made. That is, he recorded demos, he laid down rough tracks, he sketched his ideas. The "co-producers" of those albums then came in and used those demos and rough tracks as the basis for the final albums. Sometimes (as in Imagination) the finished product ended up sounding quite different than a solo BW production would have, even though that extra gloss was added with Brian's blessing. Sometimes (as in TLOS), the finished album is a slightly slicker take on BW's demos, but still retaining many of their appealing qualities.

2.) The honorary credit albums. These include I Just Wasn't Made for These Times, the live albums, and Brian Wilson Presents Smile. In all of these cases, Brian's involvement with the actual production of the released album -- regardless of his credit -- was likely minimal. However, in all of these cases, the finished product was based on songs and productions he had created previously. The ethics of such credits can be debated, although ultimately Brian surely deserves recognition for his role in generating the source material.

3.) The full-band albums. These include What I Really Want for Christmas and the Gershwin and Disney albums. In these records, Brian works in a method similar to his mid-60s productions -- a roomful of musicians is assembled and records the tracks live. In all of these cases, the band itself makes a difference. One can easily imagine the players tossing in arrangement ideas. However, Brian personally prepared chord charts for the Christmas album, and he and Paul collaborated closely in preparations for the Gershwin record (Brian sequenced the album before it was recorded, apparently, making his own mix tape). The credits on these albums should probably read: "Produced by BW and the BW band." That being said, I'm not sure that's fundamentally different from how he worked with his trusted session musicians in the 60s.

Gettin' In Over My Head is the odd man out here -- it falls in the first and third categories -- but perhaps it's better not to think too much about it.

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Part Seven: Closing Thoughts

In this piece I've tried to outline how Brian still produces records. Basically, while he's capable of doing it on his own, his solo productions have tended to be minimalist. Full-blown record production poses challenges because of the nature of the modern recording environment, and he and his collaborators have tried various ways of working around those issues.

I personally believe that Brian is an interested and engaged participant in the production of his own albums, although to varying degrees (as explained in the three types of album section). I think he has taken a larger role in the production of most of his solo material than people think, although that role can sometimes be intangible (see part three).

As for what Brian Wilson wants to express through his music -- I don't know. I can only listen to what he puts out. And his music, despite the changing trappings, has remained pretty consistent, an outpouring of a unique and pained soul, yet one who still rejoices in life and love. He also craves approval -- a craving that can be expressed through a willingness to play along with modern production methods, to write with faddish collaborators, and to release albums with song titles like "Spring Vacation."

But I don't think you can separate this artful self-expression from this craving for popularity and approval. Both of them make Brian Wilson tick, and both of them are expressed not only in his songwriting, but in the way he presents his music to the public. Both 50 years ago and today.

[Sam_BFC]

Good analysis!

Sorry to veer slightly off topic, but MAN Everything I Need could have been so great IMO.

[Wirestone]

Good analysis!

Sorry to veer slightly off topic, but MAN Everything I Need could have been so great IMO.

I wonder about that tune. It has potential, but I wasn't persuaded by Brian's production of it or Joe's. Someone, somewhere, has to have a better idea of how to produce that song.

[18thofMay]

Everything I Need (1996, first version)
http://www.youtube.com/watch?v=FRc_ao2NrIk

What a great song

[SMiLE Brian]

Great essay Wirestone. Finding the TLOS demos having Brian still being great at music production.

[FatherOfTheMan Sr101]

Just gotta say, the "Going Home" demo sounds JUST like love you.

[Chris Brown]

I really enjoyed reading that Wirestone, thanks for posting! 

It's tough to find anything to add/critique, but one thing I will say is that, in my opinion, modern production techniques aren't as much to blame for Brian taking a less "hands-on" approach to making records.  Rather, I just don't think he has the energy or attention span to do it anymore.  He really hasn't in 40 years or so. 

If you place 23 year old Brian into 2012, with all it's technology and a completely different recording process, he would still be able to turn out complex and involved productions, just like in '66-'67.  The greatness of those records was due, in large part, to his ambition and work ethic at the time.  He was happy to obsess over every aspect of the production, and it showed in the final products.

The guy is nearly 70 years old though - who wants to spend their golden years hunkered down at a piano arranging a dozen different parts and working for hours on end in a studio to perfect a track?  He's been there, done that - it's easier for him to let others do the heavy lifting on the more involved productions.  When he does produce on his own, he doesn't mess around with complex arrangements because he'd rather bang out some piano track, add a few little touches, and be done with it.  This method perfectly suits where he's at at this point in his life.  He still gets the joy of producing (which I don't think will ever leave him), just without spending so much time that he gets bored and loses interest.

[Wirestone]

I really enjoyed reading that Wirestone, thanks for posting!  

It's tough to find anything to add/critique, but one thing I will say is that, in my opinion, modern production techniques aren't as much to blame for Brian taking a less "hands-on" approach to making records.  Rather, I just don't think he has the energy or attention span to do it anymore.  He really hasn't in 40 years or so.  

If you place 23 year old Brian into 2012, with all it's technology and a completely different recording process, he would still be able to turn out complex and involved productions, just like in '66-'67.  The greatness of those records was due, in large part, to his ambition and work ethic at the time.  He was happy to obsess over every aspect of the production, and it showed in the final products.

The guy is nearly 70 years old though - who wants to spend their golden years hunkered down at a piano arranging a dozen different parts and working for hours on end in a studio to perfect a track?  He's been there, done that - it's easier for him to let others do the heavy lifting on the more involved productions.  When he does produce on his own, he doesn't mess around with complex arrangements because he'd rather bang out some piano track, add a few little touches, and be done with it.  This method perfectly suits where he's at at this point in his life.  He still gets the joy of producing (which I don't think will ever leave him), just without spending so much time that he gets bored and loses interest.

That is an interesting point. And it's hard to say either way!

I wonder, though. Brian was in his 30s when Love You was recorded. He was, by modern standards, a young guy. And yet the production is essentially demo-quality. He pushed himself a bit more with Adult Child, but only managed a handful of the big band-style tracks.

My theory is that his short attention span (which he arguably had as a young guy too -- why did Pet Sounds have such a rushed mix, for instance?) was uniquely suited for recording with a big group of musicians who could give him immediate feedback. When he was forced to slow down, he couldn't keep track.

[runnersdialzero]

I wonder, though. Brian was in his 30s when Love You was recorded. He was, by modern standards, a young guy. And yet the production is essentially demo-quality. He pushed himself a bit more with Adult Child, but only managed a handful of the big band-style tracks.

weren't several of the big band tracks produced by the guy who did the '64 christmas album arrangements? dick something. i never forget a dick.

[Wirestone]

I wonder, though. Brian was in his 30s when Love You was recorded. He was, by modern standards, a young guy. And yet the production is essentially demo-quality. He pushed himself a bit more with Adult Child, but only managed a handful of the big band-style tracks.

weren't several of the big band tracks produced by the guy who did the '64 christmas album arrangements? dick something. i never forget a dick.

Reynolds.  

He arranged the orchestral parts, but I'm pretty sure BW still produced the tracks. Although exactly what production entails at that point gets a little hazy.

[Wirestone]

Here's another good example of Brian's demo-style recordings -- but dating from his mid-90s work with with Joe Thomas.

This is a version of "Let Him Run Wild" from 96 or so, with Brian on all instruments (except, presumably, the horn section).

http://www.youtube.com/watch?v=5-nEMRk1ymY&feature=related

I have a hunch that a lot of Imagination started with tracks like these, which were then replaced, piece by piece, by playing from session musicians.

[Sheriff John Stone]

I personally believe that Brian is an interested and engaged participant in the production of his own albums, although to varying degrees (as explained in the three types of album section). I think he has taken a larger role in the production of most of his solo material than people think, although that role can sometimes be intangible (see part three).

Well written, thoughtful post. And, I agree with a large majority of what you wrote. Of course, I have to find SOMETHING to take exception with!

So, I highlighted the most basic, easily debatable point. And the disagreement is basically in the numbers. Percentages. I probably think that Brian's involvement in his solo recordings is less than what you think. You think it is a larger percentage, I think it is a lower percentage. However, we both arrived at our beliefs the same way - through the books, interviews, concerts, and, of course, the records. I'll add a more intangible reason - feel. Did you ever feel that you majored in Brian Wilson. That you took all the courses, studied, took the tests, and graduated. You THINK you know Brian Wilson when you hear him. Heck, you've been studying him for decades. Therefore, you also feel you know when it is NOT Brian Wilson. It just doesn't FEEL like something he would write, arrange, and produce. Speculation? Absolutely.

I'll state my reason and get out. When Brian "came back" in 1976, he lost something. Some of "it" was still there, but he lost something. When he resurfaced in 1983 after being treated by Landy, he lost even more. This time it seemed like a lot more. Compare the dip from 1966 to 1976 to 1986. I don't think it was a lack of motivation or a lack of effort. I won't get into AGAIN the reasons why. We know the reasons why. It's hard to admit or accept, but, in some interviews, Brian himself would be forthcoming about his issues.

"It" just wasn't there anymore and he needed others to write, arrange, and produce an album. The more help he got, the more watered down the project became. But, without that "assistance", well, I don't think Brian would've gotten a contract to record. So, I guess almost everybody is of the same mind in this regard: Some Brian Wilson is better than no Brian Wilson.

[MBE]

I personally believe that Brian is an interested and engaged participant in the production of his own albums, although to varying degrees (as explained in the three types of album section). I think he has taken a larger role in the production of most of his solo material than people think, although that role can sometimes be intangible (see part three).

Well written, thoughtful post. And, I agree with a large majority of what you wrote. Of course, I have to find SOMETHING to take exception with!

So, I highlighted the most basic, easily debatable point. And the disagreement is basically in the numbers. Percentages. I probably think that Brian's involvement in his solo recordings is less than what you think. You think it is a larger percentage, I think it is a lower percentage. However, we both arrived at our beliefs the same way - through the books, interviews, concerts, and, of course, the records. I'll add a more intangible reason - feel. Did you ever feel that you majored in Brian Wilson. That you took all the courses, studied, took the tests, and graduated. You THINK you know Brian Wilson when you hear him. Heck, you've been studying him for decades. Therefore, you also feel you know when it is NOT Brian Wilson. It just doesn't FEEL like something he would write, arrange, and produce. Speculation? Absolutely.

I'll state my reason and get out. When Brian "came back" in 1976, he lost something. Some of "it" was still there, but he lost something. When he resurfaced in 1983 after being treated by Landy, he lost even more. This time it seemed like a lot more. Compare the dip from 1966 to 1976 to 1986. I don't think it was a lack of motivation or a lack of effort. I won't get into AGAIN the reasons why. We know the reasons why. It's hard to admit or accept, but, in some interviews, Brian himself would be forthcoming about his issues.

"It" just wasn't there anymore and he needed others to write, arrange, and produce an album. The more help he got, the more watered down the project became. But, without that "assistance", well, I don't think Brian would've gotten a contract to record. So, I guess almost everybody is of the same mind in this regard: Some Brian Wilson is better than no Brian Wilson.

Honestly it is really hard to get the lowdown on the solo albums. Beach Boys albums aren't half as hard to figure out. That said I like both this post and Wirestone's. I hope that in the future the real story of Brian's later work does get told. I do cover it best I can in my book, but I had to go with my gut a lot. Why? Simply because nobody who would know the truth behind the "Brian Is Back" PR campains that accompanies every one of his albums wanted to hurt Brian or damage their own careers. I basically feel that it's in the performance. If Brian digs something it's pretty easy to tell. 

[Dunderhead]

Glad to see you finally get around to posting this wirestone. Well worth the wait.

I have some quibbles of course. Firstly, just some minor pedantry. You imply that Brian, unlike Spector, could play an instrument. If this isn't what you meant to say, then feel free to disregard this, but Phil Spector did play Jazz guitar very well from what I understand and did make serious contributions to the song writing. At least that's what I've heard, or at least remember hearing. I believe the Wall of Pain biography has a good deal on this.

With that out of the way, I don't think I can agree with you about Brian's arrangement being mostly collaborative. You're right that Brian did not study counterpoint academically, and depending on who you ask, couldn't write his music out. The Pet Sounds Sessions has a good example of Brian's method though, in the "Don't Talk Vocal Snippet", where it sounds like Brian sang out all the parts that he wanted the strings to play.

He frequently tells the percussion players exactly what he wants them to play on the PSS and TSS. I think that you're right, there was a role for collaboration, and session musicians did contribute ideas and sometimes improvise. That's an important part of the final music, however, I think Brian really was a "genius" when it came to harmony. And not just vocal harmony. The tags on SMiLE show some absolutely superb examples of harmony.

Sheriff John Stone makes another good point, about feeling whether or not Brian did something. The wrecking crew did after all record on a number of albums, and sometimes put out solo albums or albums where they were given a free hand musically. "The Wichita Train Whistle Sings", for example, is nowhere near the quality of Pet Sounds. Brian's harmonies are very unique, and even though there was an element of collaboration, I think Brian knew what all the parts would be in any given song. I distinctly recall an interview with Brian as well where he said that he arranged each song on Pet Sounds while he composed them. One of the only arrangements I can think of from that era that never really felt like Brian to me is the string arrangement on LGAFA.

[Wirestone]

Sheriff: I can't be intellectually honest without acknowledging that you may well be right. And I think what you say -- the notion of there being less and less Brian "there" after each comeback -- is a disquieting possibility that a lot of us have had to grapple with. I will say that the TLOS bonus tracks (and demos) ultimately brought me to the opposite conclusion. But it's certainly not conclusive -- and at a certain level it can't be, given that we don't know what's rattling around inside Brian's head.

Mike: I think that's as good a measure as any, which is why I've tended to accept the Gershwin and Disney albums as canon, simply because he's singing so well on them. (Better on the former than latter, though.) As to the truth behind the solo records, I have long thought that Paley was exiled because he was a little too forthcoming on the amount each contributed to their collaborations -- and the percentages were not always flattering to Brian.

And ultimately, on top of everything, we are dealing with a man who is mentally ill and often incapable of handling his day-to-day affairs. This makes ascribing "authorship" even more difficult because it's entirely possible that one day Brian is barking orders and engaged and the next day withdrawn and practically comatose. It must make recording an album with him difficult, to say the least.

[Wirestone]

Glad to see you finally get around to posting this wirestone. Well worth the wait.

This isn't actually the post I promised you, believe it or not. This is just a diversion on the road to that.  

I have some quibbles of course. Firstly, just some minor pedantry. You imply that Brian, unlike Spector, could play an instrument. If this isn't what you meant to say, then feel free to disregard this, but Phil Spector did play Jazz guitar very well from what I understand and did make serious contributions to the song writing. At least that's what I've heard, or at least remember hearing. I believe the Wall of Pain biography has a good deal on this.

I think you're right about this, and I've revised my first post. Thanks for the correction.

He frequently tells the percussion players exactly what he wants them to play on the PSS and TSS. I think that you're right, there was a role for collaboration, and session musicians did contribute ideas and sometimes improvise. That's an important part of the final music, however, I think Brian really was a "genius" when it came to harmony. And not just vocal harmony. The tags on SMiLE show some absolutely superb examples of harmony.

If you notice, in my original post, I do make an exception for some of Pet Sounds, Good Vibrations and Smile. To me, it feels like Brian was working at a different level on these productions than he did before or after. He was at the very peak of his hit-making power and could indulge himself. He was capable of dictating a great number of parts, and he had very precise ideas. But I ultimately think this level of creative engagement wasn't sustainable -- he needed a lower-key, more collaborative environment for his own sanity.

[MBE]

Sheriff: I can't be intellectually honest without acknowledging that you may well be right. And I think what you say -- the notion of there being less and less Brian "there" after each comeback -- is a disquieting possibility that a lot of us have had to grapple with. I will say that the TLOS bonus tracks (and demos) ultimately brought me to the opposite conclusion. But it's certainly not conclusive -- and at a certain level it can't be, given that we don't know what's rattling around inside Brian's head.

Mike: I think that's as good a measure as any, which is why I've tended to accept the Gershwin and Disney albums as canon, simply because he's singing so well on them. (Better on the former than latter, though.) As to the truth behind the solo records, I have long thought that Paley was exiled because he was a little too forthcoming on the amount each contributed to their collaborations -- and the percentages were not always flattering to Brian.

And ultimately, on top of everything, we are dealing with a man who is mentally ill and often incapable of handling his day-to-day affairs. This makes ascribing "authorship" even more difficult because it's entirely possible that one day Brian is barking orders and engaged and the next day withdrawn and practically comatose. It must make recording an album with him difficult, to say the least.

Well put. Brian's mental problems began early, but he never needed a "minder" before Murry died. David Sandler has talked about the ease in which he worked with Brian to give one example. It does make it hard to gage just how much he's done since then, people tend to be more forthcoming on The Beach Boys than on his solo career. Sadly it makes it that much harder for all of us to assess the solo work properly. That Brian has been a part of quality (and some which were not so good) albums in his solo career seems to not be enough for the publicists to sell them on. The thing they don't get is that Brian doesn't have to be sold to the people who buy these albums. I feel people who buy Brian Wilson albums know the story, know that he can't be who he was in his twenties, and accept anything he is a part of with that in mind. It doesn't mean the music is always good, but when Brian makes an effort I am sure we are all proud of him no matter how "in charge" he is.

[Wirestone]

My outlook on Brian was revolutionized when I saw him live in the fall of 2009. During a random greatest hits tour, he was more engaged, funny, and musical than I'd ever seen him. He played audible piano throughout the two shows I saw. He made random, silly jokes. He made the band play "Monster Mash." He was utterly and completely there.

The band was as shocked as anyone. And while I watched this happen, I thought -- how sad and difficult it must be to be Brian Wilson. To have this capacity to be a musical firebrand, a real force, and to know that you have it -- and yet not be able to do it for months, sometimes years at a time. To know you have it within yourself, yet to know that your illness basically snuffs it out a large percentage of the time. You never know when it will come back, and you don't know when it will go away.

[Mr. Cohen]

Here's a thought that popped in my mind while reading this topic: what if Brian Wilson wrote a song like "God Only Knows" now? What would the finished product end up sounding like? Would we recognize the genius as much? Listen to "Keep an Eye On Summer" and "Let Him Run Wild" on Imagination. What if that was the first time you heard those songs?

[Wirestone]

Here's a thought that popped in my mind while reading this topic: what if Brian Wilson wrote a song like "God Only Knows" now? What would the finished product end up sounding like? Would we recognize the genius as much? Listen to "Keep an Eye On Summer" and "Let Him Run Wild" on Imagination. What if that was the first time you heard those songs?

We would think that Joe Thomas had written them! 

[MBE]

My outlook on Brian was revolutionized when I saw him live in the fall of 2009. During a random greatest hits tour, he was more engaged, funny, and musical than I'd ever seen him. He played audible piano throughout the two shows I saw. He made random, silly jokes. He made the band play "Monster Mash." He was utterly and completely there.

The band was as shocked as anyone. And while I watched this happen, I thought -- how sad and difficult it must be to be Brian Wilson. To have this capacity to be a musical firebrand, a real force, and to know that you have it -- and yet not be able to do it for months, sometimes years at a time. To know you have it within yourself, yet to know that your illness basically snuffs it out a large percentage of the time. You never know when it will come back, and you don't know when it will go away.

See that's the thing. Monday night he was there fully and came across as the leader. He has it in him that much I know.

[Camus]

There was an interview somewhere with I think Danny Hutton where he said he kicked out Brian and Landy from his studio during recording for the 1988 album.  Something along the lines that why was Brian letting Landy call the shots arrangement wise as Landy clearly had no idea what he was doing.

I also remember reading an interview from somewhere who said if Brian was left to his own devices in the studio, the arrangements would come out sounding like Sweet Insanity, the inference being that the arrangements for Sweet Insanity is how Brian would arrange if he solely produced himself.

[Mr. Cohen]

Go to 2:24 of this song. That's definitely a Brian arrangement.

[Dunderhead]

My outlook on Brian was revolutionized when I saw him live in the fall of 2009. During a random greatest hits tour, he was more engaged, funny, and musical than I'd ever seen him. He played audible piano throughout the two shows I saw. He made random, silly jokes. He made the band play "Monster Mash." He was utterly and completely there.

The band was as shocked as anyone. And while I watched this happen, I thought -- how sad and difficult it must be to be Brian Wilson. To have this capacity to be a musical firebrand, a real force, and to know that you have it -- and yet not be able to do it for months, sometimes years at a time. To know you have it within yourself, yet to know that your illness basically snuffs it out a large percentage of the time. You never know when it will come back, and you don't know when it will go away.

That's a touching sentiment wirestone, I don't think anyone could have said it better.

[Dunderhead]

Here's a thought that popped in my mind while reading this topic: what if Brian Wilson wrote a song like "God Only Knows" now? What would the finished product end up sounding like? Would we recognize the genius as much? Listen to "Keep an Eye On Summer" and "Let Him Run Wild" on Imagination. What if that was the first time you heard those songs?

What's strange is, I think in 1966 and 1967 production *was* part of the arrangement he had in mind. The only way I can think to describe Brian's production is as having meta-harmonic structures. Is that a thing? Production is part of the harmony. The wall of sound is, in a way, a radical extension of the traditional idea of harmony.