archive one
The site has been up for a week, and it's time to introduce some new things. I am working on a complete list of BW-composed solo songs right now. That list (which will probably be divided in two or three alphabetized sections) will include links, pictures and information about what Brian's been up to in the last 14 years.
I hope I can have that up sometime this this week (along with the daily updates) but in the meantime I'd like to start a new, interactive deal with the readers of this page. I guess there are some, from what I've seen of the page counter, so I'd like to challenge those who read this page:
Become contributers.
That's right. Write an essay, poem, haiku or whatever about a song, an album, live perfomance, or whatever from Brian Wilson. All I ask is that it deal with the solo career of BW. I think this has the potential to make the site even more interesting and informative, to hear what other fans have to say.
When and if I receive any contributions I'll post them on the site with appropriate fanfare. So get to it, people!
4/25/99
Just a few words today on the need to review music in context.
That's what this site is about of course--looking at Brian Wilson's music in the limited context of him as a solo artist. It is defeatist to look at the work he did just last year with the work he did 33 years ago. It's defeatist not because the music he puts out today is poor, but because the present invariably pales in comparison to the past.
As a member of the dear petsounds mailing list, it's quite common for me to read messages blasting all music put out after, say 1975. Music has become linked so closely with these people's pasts that they've lost the ability to think of it as anyhting other than classic.
That's not a problem in and of itself. If someone wants to make an album or artist an edifice, that's fine with me. But don't then use your mental rigidity to downgrade their current work. I sometimes think (and Paul Williams said this first, and I deeply believe it) that people are angry Brian didn't die in the 60s. Because then we could totally immortalize him and not worry about having to deal with new music that--gasp!--might not be what we expect.
Should every record Paul McCartney makes be compared to Sgt. Pepper? Should every record Bob Dylan makes be compared to Blonde on Blonde? Should every record Elvis Costello makes be compared to Imperial Bedroom?
Of course not. It's ridiculous. Don't compare the albums to anything--listen to them and see what they say to you as an individual, distinctive piece of musical art. Don't allow the past and your perceptions of it to muddy th expereince of the now, of hearing the music now, by itself, without the burden of the past.
4/24/99
Just thought I'd let you all know about an excellent band that has a new CD coming out on Tuesday: Ben Folds Five.
I realize this page focuses on Brian Wilson, but part of a sincere appreciation of one artist (I think) is the ability to enjoy other artists who may do different kinds of music. Staying somewhat fresh with music put out today is important.
BFF actually has some very BW moments--particulalry in their three-part vocal harmonies, which you can hear on their three albums out so far, Ben Folds Five, Whatever and Ever Amen, and Naked Baby Photos (a collection of demos and live recordings). I've heard and enjoyed all three, as well as Ben Fold's (the frontman and piano player of the trio) solo project: "Fear of Pop." [Caution: "Fear of Pop" is whacked-out electronica with doses of William Shatner and piano pop--approach with care.]
The band's new CD, "The Unauthorized Biography of Reinhold Messner" is out Tuesday, and features a gorgeous orchestral pop sound that I think a lot of Brian fans would appreciate. Check out the official Ben Folds Five Webpage or a fan site with more sound files here.
4/23/99
My apologies for the lack of a rant or song-of the-day yesterday. I actually typed out what I thought to be an insightful and sufficiently spittle-spewing editorial, but the wepage-building program I use crashed and I lost it all. So I'm making a new start of it today, on another topic. Actually, a couple of topics.
First off, you may notice, browsing around this page, that all of the photos I include of Mr. Wilson are from the last 14 or 15 years. Obviously, many more pictures are available, some far better.
But I want he pictures to reflect the content of the webpage, which is focused on Brian's recent work. That is, solo recordings, new stuff. I want to keep that line--between his career as a Beach Boys and his career as an individual--very distinct. Therefore I'm keeping the pictures distinct too.
I'm not saying a photo from the 60s or 70s might not pop up one day or another. But I'm trying very hard to keep my focus here, on Brian and his work.
Second, on the way I refer to BW. I use several versions of the name around the page, from the casual "Brian" to the more formal "Mr. Wilson" to the shorthand "BW." I do that to break up the monotony more than anything. We're devoted to the work of a single individual here, and I would feel much too formal calling him "Mr. Wilson" all the time. But I'd feel like I was being much to chummy if each reference was to my good pal "Brian."
4/21/99
A word or two about unreleased recordings--that is, bootlegs.
There are many arguments for and against boots, most having good points. An artist does deserve control over his or her output. An artist is a creator, and part of the creative process is deciding what to release or what not to.
On the other hand, though, in many cases the artist can't release all he or she wants. If Brian Wilson had had his druthers, both Sweet Insanity and his sessions with Andy Paley would have been released. But the record industry didn't treat either collection of songs well.
In cases like this, one could argue that bootleggers are doing a service by making this music available to the public. Both sets of songs are easily findable on the internet, so one doesn't even have to spend the money on CDs or tapes any more.
Finally, though, on a page like this, unreleased recordings are absolutely essential. Brian Wilson still composes songs at great speed (the eight originals on Imagination were drawn from a pool of about 30 songs, according to Breakaway with BW; the songs for the BW '88 album came from a pool of a couple of hundred songs), but the record industry is no longer interested in releasing the material as fast as he writes it.
Therefore, to understand the man as a composer and recording artist, his unreleased recordings and songs are vitally important. That's why a lot of space on this page will be devoted to these lesser-known recordings.
4/20/99
"But--um--aren't some of the songs you talk about here kind of--um--bad?"
I'm glad you asked that question. One of the things that bothers me to no end is people judging music as if there's some kind of objective basis for it. Let's face it, people, our response to music is inherently subjective. It's based on our experiences, our tastes, and any other number of factors.
You or I may think the Spice Girls are awful, but they sure sell a lot records. Someone out there likes them, and to dimiss any artist totally as "bad" ignores that someone (or someones).
Therefore I'd like to make it clear that all of the opinions expressed on this page are mine, and mine alone. Most Brian Wilson fans agree that he's put out some poor music, but I have yet to hear any two agree exactly on which songs are the "bad" ones. The song for today is an example. It's not my favorite, but someone out there may think it's stoke of simple genius.
That's why I'm devoted to covering all of Mr. Wilson's solo career. While I may not care for certain songs, that doesn't make them less noteworthy. They are all a part of gaining an understanding and appreciation of BW as a solo performer.
4/19/99
Okay people, the page is up. So what am I up to here anyway?
I won't burden you with dull information about me. That's coming. Today, the focus on the page. As a long-time fan of Brian Wilson and his music, it disturbs me to read newspaper articles painting BW as a has-been. Certainly, he's had times of greater musical popularity, but to my mind he's still an active, viable musical force.
Perhaps the problem is that we view Mr. Wilson through the perspective of the past. The work he did in the 60s is so very overwhelming it makes it hard to look at any other work by the man objectively.
Therefore, this page proposes looking at Mr. Wilson as a solo artist, starting in 1985. I chose that date with care. It was the date of the last Beach Boys album with original songs to extensively feature BW. After that point, like it or not, he (with the care of Dr. Eugene Landy) effectively functioned as a solo artist, even promoting his songs on the 1985 Beach Boys self-titled album as a solo performer.
Since 1985, Brian Wilson has written exactly one original song that has appeared on a Beach Boys albujm ("In My Car," for 1989's Still Cruisin' LP), and cut two and a half songs with the group that remain unreleased. It can then be effectively argued that '85 was the start of a solo career that continues to this day for Mr. Wilson.
Hopefully, by looking at his work within thie 14-year context, the strengths (and yes, weaknesses) of Brian Wilson's recent songwriting and recording will be clearer, easier to understand, and a little more entertaining.
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Mr. Wilson in 1994