Brian Wilson Reimagines Gershwin

[smile-holland]

Discuss, review and rate Brian Wilson Reimagines Gershwin, released August 2010.

[♩♬🐸 Billy C ♯♫♩🐇]

Brian's best solo album, bar none(BWPS doesnt entirely count as it wasn't new material). Brian's best vocals since the late 60s. Love this disc.

[Compost]

4.  About 75% of this album is great - really solid stuff.  Tracks 2,7,8,11,13 are a bit meh-ish to me but the rest are either faithful to the originals or simply great interpretations.

This isn't new material either; in fact, it's technically less new than 'BWPS' given the age of the source material.

Furthermore, a lot is owing to the source material - Gershwin was brilliant - but hearing BW cover these standards is just awesome, be they note for note replicas or fanangled interpretations.

The suite of 'Summertime' through 'It Ain't Necessarily So'  is so incredibly gratifying and moving to hear.  'Someone to Watch Over Me' makes me horny in an innocuous fashion.

[hypehat]

'Someone to Watch Over Me' makes me horny in an innocuous fashion.

Another one for the album sticker, I feel 

I love this album. I'm almost sure Brian didn't intend this, but it's running time coincides almost perfectly with the amount of time it took for me to get from my door to the theatre where i was doing acting for the past week, and is great for the nerves...

[Chris Brown]

I've been listening to this for almost a solid week now, and I'm enjoying it more and more each listen.  Brian delivers some of his best vocals of the last 10 years (best since Imagination in my opinion).  Track by track:

1)  Rhapsody In Blue - Awesome!  I still enjoy multi-tracked Brians on occasion, and he doesn't disappoint here.  Brian still has his gift of being an amazing harmony singer.

2)  The Like In I Love You - I loved this one from the first time I heard it on Brian's website.  Brian sounds great here, surprisingly even in the upper register.  This song really sounds like it could have been the result of a true Gershwin-Wilson collaboration.  I really think this could be a solid soft-rock AC hit if Brian were so inclined to release it.

3)  Summertime - I know this is a classic, but I've always despised this song with a passion.  It doesn't matter who is singing it (even Brian Wilson)...I just don't like it.  Brian sings it well enough, but I always skip over this one.

4)  I Loves You Porgy - This one took awhile to grow on me, but I'm starting to enjoy it more as my number of listens increase.  I wasn't familiar with this song at all going in, so I don't know what it typically sounds like, but Brian sounds really sweet on this one - he delivers a very "romantic" lead.

5)  I Got Plenty O' Nuttin' - Very cool Pet Sounds/Smile hybrid here - I'm glad to see that Brian's instrumental skills are still intact.

6)  It Ain't Necessarily So - Another song that I didn't know going in, and honestly I didn't like this one much at first, but as with a few other tracks, it's growing on me.

7)  S'Wonderful - Not overly crazy about this one, but I never really liked the song in the first place.

  They Can't Take That Away From Me - One of my favorites on the album.  Honestly, from the preview I heard on Amazon a few weeks before the album came out, I didn't think I would like this one as much as I do.  This could have easily been a Party! outtake.  Love it.

9)  Love Is Here To Stay - Quickly becoming one of my favorites.  I didn't know this one at all beforehand, but there's something about it that drew me in immediately.  Brian does some fine crooning here, without sounding cheesy.

10)  I've Got A Crush On You - Again, didn't know this one at all, but I love the 50's-style arrangement.  Brian croons fantastically here as well.

11)  I Got Rhythm - Another tune that works really well in classic Beach Boys style, even though on paper it sounds a bit ridiculous.  I especially love the falsetto line here - it's a very "Brian" part.  The "Farmer's Daughter" reference at the end was a cool surprise too.

12)  Someone To Watch Over Me - I have to admit, I have had incredibly high standards for this song ever since I heard Jean Louisa Kelly sing it in "Mr. Holland's Opus" (those of you who have seen it know what I mean).  That being said, I really dig the Pet Sounds-style arrangement - it suits the song quite well, and Brian's vocal delivery is confident but sweet.

13)  Nothing But Love - this song and "The Like In I Love You" make me wish that Brian had tackled a few more unfinished Gershwin tunes for this project.  Very well written, and melodic in a classic Gershwin/Wilson type of way.

14)  Rhapsody In Blue (Reprise) - a lovely way to end the album.  Very fitting, especially given the story about Brian hearing "Rhapsody In Blue" when he was 2 years old.

A very well made album overall.  Brian sounds fantastic for the most part, the band's harmonies are great as usual, the arrangements are solidly done and very interesting in a way that only Brian Wilson could create.  I am quite certain that this album will have high replay value for me over the coming months and years, perhaps much moreso than some of Brian's other solo records.

[Jason]

Brian's greatest work since Love You. His best solo album by far. Absolutely magnificent. 5 all the way.

[drbeachboy]

I agree! This is my favorite solo album by Brian. As I was looking at Chris' critique above, I noticed that "Summertime" was not among the favorites. I think Brian does well on all of the "Porgy & Bess" tunes. His voice just lends itself well to that style of music. Now, I really like Brian's arrangement & performance of "Summertime". I love the opening guitar and high octave piano. The background vocals at the end as it segues into "I Loves You Porgy" is just pure bliss. I could listen to vocals like that all day long. Then there is "Nothing But Love". What a great collaboration. After hearing the demo, you see how the two composers meet to create one terrific tune. The highlight for me are the backing vocals that come at 2:02. How Wilson-esque. Almost a roundelay of wordless vocals that stir the senses. Overall, I'm not a big fan of Brian's singing on his solo albums, but he's won me over on this one. I rarely listen to any of his solo stuff, but BWRG has been on the top of my playlist everyday since it arrived in the mail on August 20th. Thank you Brian for giving me an album that I can listen to and enjoy from beginning to end.

[Myk Luhv]

I gotta agree, his singing is much improved on this album, though it seems to me that it's been on the rise since 2004 to match his increasingly quality albums. I have only a vague familiarity with the Gershwins' output as sung by other artists, so my review is on the immediate artefacts in question and does not really do a comparative sort of thing. The only songs on this I am not overly interested in are "`S Wonderful" and "They Can't Take That Away From Me": They're not bad -- there are no bad songs on this album, to be sure -- but they don't grab me in the way that basically every other track does in some way. They're merely pleasant to listen to but nothing great. What I am fond of, however, is basically everything else; the ballads in particular is where I think Brian shines on this album. "Summertime", "I Loves You, Porgy", "Love Is Here To Stay", "I've Got A Crush On You", and "Someone To Watch Over Me" are fantastic. The (relatively) more uptempo numbers are also very good, and I like what he did to "It Ain't Necessarily So" and "Summertime" arrangement-wise. "I Got Plenty O' Nuttin'" is puts a smile on my face because it's just so goofy and fun. I really enjoy his seeming desire to have some sort of harmonica on every song somewhere and I like the neat touches of harpsichord [is it an actual harpsichord do you think?] and theremin in the background. And, well, it's always nice to hear a "Farmer's Daughter" reference! Obviously as a standards album there isn't going to be much rocking out, but it's a well-crafted, sympathetic and heart-felt reading of a songbook that is too often sung histrionically. Frankly, I like the grace that old age brings to Brian's vocals on much of the album. He doesn't oversing -- and I'm sure he can still sing, you know? -- and it's all the better for it. Subtle singing and music but evidently rewarding!

I begrudgingly voted it a five. It should get a four though because it contains two terrible missteps: no "Shortenin' Bread" riff and no farting synth! It's almost inexcusable that a post-1978 Brian Wilson production lacks these. Maybe the Disney album will bring the Moog...

[the captain]

I have a hard time with this album.

1) I like the material.

2) Gershwin-style pop has permeated Brian Wilson's music since the beginning, more or less, so it's a natural fit.

3) Wilson does as good a job here as he could reasonably be expected to do as a singer.

So what's wrong? I'm not sure. Maybe nothing--maybe it's just me. And don't misunderstand me, as I'm not saying I dislike the album. It's mostly really enjoyable, and I find myself bopping to it in headphones at work more than the other albums I have on hand.

The tricky point for me might be that I'm less and less interested in watching "formerly reclusive genius Brian Wilson" complete a project, mostly because it's not such an event anymore. So gone for me is that excitement accompanying albums like Brian Wilson Presents Smile (which obviously had no choice but to be caught up in the legendary aspects of it all) or even That Lucky Old Sun (as the first album of mostly new material since Imagination, with GIOMH so heavily loaded on available stuff and not especially good, to boot). And what's left is just listening to another release by one of my favorite artists.

What I discover here is that there isn't anything much to discover. That doesn't mean the music isn't really well arranged, performed, and sung. It just means (to use a horribly annoying phrase) it is what it is. The albums sounds like what would happen if you had an almost 70-year-old Brian Wilson really get into a project, with his band lending the all-important support with arrangements and backing vocals. It has most of those famous Wilsonian touchstones, from Moog to bass harmonica to clip-clop percussion, as well as that modern-day requirement of putting material into a suite (as if that lends it any credibility it doesn't have as separate songs).

The whole thing is thoroughly polished, professional. That's not an insult, here. It's really a testimony to the hard work the team put into the project. But it is fitting to me that this album is on Disney's label, because it's such a Disney-magical interpretation of Gershwin-via-Wilson (just as BWPS was, to me, a very Disney interpretation of Smile-via-Wilson). There's something very technicolor about it all. It's the sound of a master who isn't pushing boundaries, but working within his very well-established boundaries. What's more, he's working with extremely talented people who are also experts within those well-established boundaries, one might guess to the point that were Wilson to have disappeared entirely, the album wouldn't have differed noticeably (lead vocals aside ... which would have been sung by younger and less strained--or is the word of choice "passionate" these days?--voices).

It's fitting that "'S Wonderful" is playing in the background now, as I'm about to say the whole album is really easy listening. For what seems like the 10th time of this post, I have to say I'm not insulting the album with that term. I mean it's easy to listen to. No, it's not a challenge. But it's not distracting the way parts of GIOMH were, either. There's nothing to be embarrassed about--though I'd be remiss in failing to say that I could have done without a stack o' Brian "Rhapsody in Blue." God bless the guy, but the effort he's obviously putting into those higher notes isn't, to my ears, worth it.

Here we are, some few hundred words into my thoughts, and there's not the slightest hint of a track-by-track rating. What the hell is going on here? Well, I think you know the songs. You know how they sound. You know what you think of them. And what I think about them is covered above, although I hope you take whatever impression you think I've given off and add about two more stars out of five, because I know this won't be taken as a positive review. It is, though. And I really hope this album gets Grammy nomination (and win) attention, and a corresponding sales boost.

Because this is an entirely successful album. It delivers 100% on its obvious intent. The music is a classy rendition of Gershwin-via-Wilson for aging Boomers by an aging Boomer and his crack band of pros. The team deserves a lot of praise and hopefully will be recognized critically and financially.

[drbeachboy]

I look at this CD as strictly a performance and arrangement album that Brian really wanted to do. Nothing too heavy to deal with like he did with Smile. No commission for Royal Festival Hall like with TLOS. Just singing and playing, along with two very good original collaborations. I'm sure its just me, but Brian sounds happy singing these songs. It seems that he put a lot of care into getting his vocals down, because it is the best that I've heard him sing on any of his solo albums. I'm very happy with the effort. I've played this more over the last 3 weeks than I have played his other solo albums in years.

[rab2591]

@Luther,

Couldn't have wrote it better. Brilliant arrangements, wonderful voice that Brian has, but there is something there that just doesn't sit well.

For me, I believe it to be too many of the songs sound the same ('I Got Rhythm' sounds kind of like 'They Can't Take That Away', 'Summertime' and 'Love is Here to Stay' sound alike to me). With TLOS, every song had its own personality....most of the arrangements sound alike on BWRG. It's not bad at all though, It is a beautiful album....and I, like you, listen to it more than most other albums I have. 

I'll probably catch hell for my statement, but two weeks from now I'll probably have a totally different opinion.

On a bright note: a week ago, on the last leg of a very long road trip, I put on BWRG, and LOVED it. Driving down the dark interstate, nothing but headlights and Brian Wilson singing beautifully....I'll carry that memory for a long time.

[buddhahat]

4 stars from me.

I really like this album. I thought I was going to hate it, and then something clicked when I was listening to the snippets on amazon up to to the release date. Overall it has (as Luther points out) an easy listening feel, but it is beautifully put together. It feels like a lot of care has been taken with it. What I particularly love though is the little moments, like the chorus to Can't Take That Away From Me ("the bumpy road" bit), or the descending part of Someone To Watch ("To her heart I carry the key). These are those uplifting moments that I only get with BW records and they're peppered throughout BWRG.

And the high point is undoubtedly Nothing But Love. What a fantastically dynamic song it is - the way the lead and background vocals singing "much more to share" and "float through the air" respectively, meet on the last syllable is totally inspired. For me, this songs easily takes its place amongst other recent BW songs that show strong evidence that he still has a lot of his creative abilities in tact: Christmassey, Message Man, Just Like Me & You, Midnight's Another day, Southern California, Oxygen To The Brain.

TLOS is the more worthy recent effort but I find this a much more fun listen and so it gets a higher rating from me.

[DSamore]

Luther,

amazing review. I agree with every word you wrote...and I can't add anything to that. I agree about the Stack O' Brian being a bit much. Also, I agree with the other folks- the vocal blend is so tame nowadays, it sounds like one voice. Also, he def. is working within the established boundaries.


BUT- I do like it. And I agree with all that you have written!

[Jim McShane]

Luther,

amazing review. I agree with every word you wrote...and I can't add anything to that. I agree about the Stack O' Brian being a bit much. Also, I agree with the other folks- the vocal blend is so tame nowadays, it sounds like one voice. Also, he def. is working within the established boundaries.


BUT- I do like it. And I agree with all that you have written!

It's only easy listening if you want it to be. I had the pleasure to listen to the CD two weeks ago in the company of some of New York's finest jazz musicians (including Grammy winning bassist Phil Palombi from his trio Tri-Fi (www.tri-fi.com )and The Village Vanguard Orchestra. They found it to be fascinating music. For one thing they were really interested in the way Brian approached "I Loves You Porgy" - the upbeat, almost happy tone in his delivery, Brian's vocal inflection on "mad" ("don't let them handle me and drive me mad"). They liked the answer back vocals on TCTTAFM and they liked the new songs a lot. What I found interesting are all the little things they picked up on that I never heard until they pointed it out. As one of the guys said - "Brian Wilson is definitely a force to be reckoned with". These guys were listening very intently, it wasn't easy listening to them.

They also found the vocals to be very smooth and refined - they liked the BVs a lot too.

Anyway, these guys know 1000 times more about music than I do - and they didn't consider it background/easy listening music. I don't either!

[Mike's Beard]

The only song I don't like is "Porgy" but then I've never liked it. The album is far from perfect but I'm falling in love with it more with each listen.

[Mahalo]

This album had the Love You affect on my senses...at first I didn't really care for it, now it's really impressed me. I read the ESQ article on the BWRG which re-invigorated my interest. Understanding the approach of the band towards the music helped me to appreciate it a little more. Besides Brian's voice is as good as it's been since he started his solo career...I don't mind an occasional Wall-of-Brian either...I think it is humorous!!

An important point I would like to make is that I feel the band contribution may be a bit understated. Maybe I'm wrong, but I kind of feel like the album should be called, The Brian Wilson Band Re-Imagines Gershwin. Paul Mertens, Probyn Gregory, Scott Bennet all contributed important ideas along with the others in the group which I feel makes this record more cohesive.

Someone wrote that BWRG is a grower, and that it is...I HIGHLY recommend reading the ESQ article/interviews...(Probyn mentions that he wished for a more Love You approach with synths and all to some of the songs; it was great!)

[Don_Zabu]

I played this album for my mom and her good friend Dan. His response? "I love this wedding reception." I don't think it was meant as a compliment.

[punkinhead]

This album is great, it brings Brian's solo work to a new standard, in production terms.
There's something heartwarming about the music, it's almost "Christmasy" (not in refering to the song but just a feeling)...Songs like Love is here to Stay, The Like in I love You, and Someone to Watch Over Me just have this vibe that feels so good. A couple of the songs I didn't enjoy at first, I Loves you Porgy/It Ain't Necessarily So have grown on me.
Of course I Got Plenty O Nuttin' is by far one of the best songs, it's one of the first I play to others who haven't heard it, unless they know Gershwin well, then I play Rhapsody, which is amazing! Just wish it was a bit longer, but at least there's some bits and bites through out the album to hear.

[XY]

I love how nuances of his 1976 ADULD/CHILD voice shine through a couple of times. He should have recorded this album in 1976.

[Loaf]

i have this on vinyl and I dug it out last week and gave it a few spins. I love it. I think it might be the best BW solo album. It's quite a mature recording, if only Brian had taken this route after BW88, rather than the childishness of Sweet Insanity.

Also, i think it's the best BB or BW production since Love You. Better than the slightly plastic-y BWPS and dynamic-less TLOS.

The little snippets of strings and things like that between some of the songs remind me of Smile.

Brian and the gang put in a LOT of effort into this and it shows. If the Disney album is recorded with the same care and attention then it could be worthwhile.

[punkinhead]

I love how nuances of his 1976 ADULD/CHILD voice shine through a couple of times. He should have recorded this album in 1976.

where at?

[MBE]

It's pretty good but not amazing to me. He plays it too safe at times. Listen to his 1964 production of Sumertime for Sharon Marie and then to this more conventional one. I do like it when he really does reimagine the stuff. Some of it is jazzy, some is Beach Boy like but maybe a bit too much. It really feels like Brian isn't doing too many "new" things with his music. It sounds like geuine Brian Wilson but without any really new element. TLOS is much better to me, but this was an interesting thing. I highly doubt I will like the Disney covers record, but who knows maybe it will be a little more less conventional. Good job by the way with the 2 new songs. I also really like the instrumental track I Got Plenty O Nothing. I thought he would do more with RIB. I was expecting a full on elaborite production on that one.

[southisland]

when brian wilson is fully engaged with material of his choosing, you get beautiful music. that's why this album succeeds. i could talk about how great his voice sounds, how inspired the arrangements are, or how spot-on and in sync with brian the band is, but the first thing i wrote here is really all there is to it, for this and every other beach boys or solo project.

[rab2591]

Upon multiple listenings over the last few months, I've decided this album isn't a knockout for me. It is beautiful in many places.....it just sounds so, um, plastic? It sounds too clean, too crisp, too stereo, too modern.

The arrangements are beautiful, Brian's voice is his best in nearly 40 years, the instrumentals and back-up vocals are spot on...but it lacks a whimsical nature. It lacks the background chatter of Pet Sounds, and the solid mono power of Today!.

Perhaps this is what Brian was looking for....a modern sound. But can you imagine TLOS or BWRG recorded and mixed just like Pet Sounds was? Those albums would be kick-ass in my opinion...but instead they sound too modern.

Again i'll say that the arrangements are fantastic, Brian's voice is stunning, the instrumentals are spot on - but the overall 'sound' is too modern for my tastes.

I dont hate the album ('Someone To Watch Over Me' is in my top 5 favorite Brian Wilson solo songs) but I think that with different recording techniques and a mono mix this album could have sounded brilliant.

[ghost]

Disappointed in Rhapsody In Blue. Where's the rest? I was expecting a revolutionary new arrangement of a good portion of the piece - made an instant Wilson classic. Instead it's two thin slices of stale pie.

Too much J.F - the forced soulless party noises on Can't Take That Away. That part fell flat on the Jools Holland performance too...

Love Is Here To Stay / Someone To Watch Over me are new BW classics for me. Love them. IT'S VERY CLEAR....