Child Is Father
of the Man
Brian Wilson threw away his
candybar and ate the wrapper.
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Brian Wilson lopes
onstage at Disney Hall and faces his audience. He's nervous, but he's been meditating
for an hour backstage in order to get a handle on it. He doesn't feel like
he has to throw up anymore. Anyway, he's got his faithful crew to back him
up on this, a 10-piece-plus ensemble of strings, brass, percussion,
keyboards, guitars and singers who will give his long-lost Smile the loving and detailed attention it needs. He
knows he's in good company. He'll be fine. So will we.
The band gathers around
Wilson, like at a campfire, and launches into an a cappella set of Beach
Boys oldies. Wilson and crew trade off a few corndog one-liners, as if to
ease the tension, maybe, but also in a genuinely relaxed way. This is the
second to last show on a long tour to promote Smile, and by now they've got it down to a science.
Wilson gamely takes part in the fun, at one point directing the audience in
a round-style "Row Row Row Your Boat," which we all enthusiastically get
into 'cause it seems like such a joke, then he abruptly cuts it off: "Okay,
that's enough." Everybody laughs.
One by one, the songs are
augmented by additional instruments, until we see the fully equipped band
whipping out the jewels from Wilson's brimming box of hits, plus a few from
his solo albums of recent vintage. The energy onstage is good, the ambience
in the room feels warm and accepting.
The audience came for
the hits, in part, but they came in homage to their hero as well. And after
intermission they'd stay to listen carefully, and not just politely, to the
extended suite of songs called Smile. It was the least we could do.
* * *
Alone, hunched over a
small table at a deli off Mulholland, The Genius is waiting patiently for
me as I arrive. Well, semi-patiently. He fidgets a bit. He fidgets a lot,
actually. I can't believe I made him wait, so I check my watch ÐÐ nope, he got
there early.
Brian Wilson's like
that. Not very good at being a puffed-up, fat-head Rock Star. Very, very
good at being himself. And reigning supreme as one of pop music's great
puzzles. Though lately he seems to be putting the pieces together nicely.
Tall, silvery-haired,
rather hulking and on this hot Thursday afternoon looking a bit haggard, he
bolts upright when I approach the table and exclaims, "Are you the writer?
Hi! Howya doin'? Wanna eat? Are you hungry? Wanna see a menu?"
"Sure," I say, "sure,
I'll have a bite. How about you? Are you joining me?"
And thus begins my
interview with pop giant Brian Wilson, conducted, despite a lot of precise
preplanning, between and around mouthfuls of tuna sandwich. The occasion was
the tour for the release of the re-recorded and reconstituted Smile album, the shrouded-in-legend project that Wilson
began creating then abruptly shelved in 1966, and which has long loomed
large in the imaginations of fanboy geeks not unlike me as the Holy Grail
of rock & roll. But hang on, back to that in a sec.
"Brian, does every
interview start like this? ÔI'm your fan, have been all my life, since I
was just a little kid.'"
"Well, thank you!" he
blurts, almost before I get the words out.
"Yeah," I say, "I
became a member of the Beach Boys fan club when I was 7 years old! And ÐÐ"
"Oh, wow!"
"ÐÐ and I still have the
glossy photo with you and all the brothers wearing your striped shirts and
ÐÐ"
"Yeah? Well, great!"
"ÐÐ so this means a lot
to me."
And it did. What I
didn't tell Wilson was that my unswerving devotion to the Beach Boys made
me the butt of insufferable cruelties by my crass and unfeeling siblings
and their friends, who used to exaggeratedly croon Beach Boys surfer-dude
vocalisms ("In my roo-hoom") right in my ear, making me burst into tears,
and how I never quite got over that, not really. I didn't tell Brian Wilson
that I've never quite gotten over how his own well-known suffering at the
hands of selfish hangers-on is what made me feel I can relate to him in
such a fundamentally moving way. That we could understand each otherÉ
Frankly, though, after
my initial burst of boyhood enthusiasm, I hadn't paid much attention to the
Beach Boys for years, and basically lost track entirely round about the
time that Wilson, at age 23, had just completed the band's now-classic
pop-into-art Pet Sounds album
in late 1965. The Beach Boys had at that point been a chart-topping band
for four years with their slew of Wilson-penned teen odes to surf and sand,
California gurrls, bitchin cars and dancin' the night away. But the
ornately pretty and ruminative Pet Sounds hints at vistas far beyond the other Beach Boys'
ken. By this time Wilson had decided to quit the touring band, which was a
huge concert draw worldwide, in favor of cocooning up in studios back home
in L.A. to write new and increasingly deeper pop compositions.
When the Beach Boys
returned from their successful tour for Pet Sounds, Wilson presented them with the ideas for the band's
new album, tentatively called Smile. He'd paired up with a brilliant young lyricist named Van Dyke
Parks to create an ambitious suite of songs that would tell the story of a
journey across America,
through eras and historical events, via Parks' poetically ambiguous words
and Wilson's ever-advancing mutation of traditional song form and
recording-studio technology.
But the band was not
thrilled with what they heard. Brother Carl Wilson and boyhood friend Al
Jardine were open to it, but brother Dennis was leery, and cousin Mike
Love, in particular, thought the new material was just a load of weird shit
that would alienate the band's audience and possibly damage its commercial
future. So they went along with Wilson begrudgingly, and fought him all the
way.
For his part, Wilson
did feel perhaps too much responsibility to his clan, and the prospect of
loosening the foundations for the hordes of family, friends and record
company execs who depended on him for their livelihoods hit him hard. And
Wilson, already a bit weak and paranoid due in part to his growing
dependency on heavy drugs, was becoming more and more fearful about his new
musical concepts ÐÐ as if he himself was inadequate to the task of
manifesting the strange and wonderful new sounds he heard in his mind.
"We were taking LSD and
marijuana and amphetamines," he says. "So our heads were, like, spaced, and
we got into some very advanced, avant-garde music. And we started creating
some of the songs for Smile,
and we got about two movements done, and then we decided to junk it,
because we thought it was too advanced for people. And it was painful, it
was emotionally painful for Van Dyke and me both."
So Wilson gave in, to
forces outside and in, and put Smile on the shelf, where it sat for 37 years. Though bits and pieces of
it (including "Good Vibrations," "Cabin Essence," "Heroes and Villains" and
"Wonderful") were heard on subsequent Beach Boys albums, Smile as Wilson's planned multipart "rock opera" was
dead in the water.
Which only, of course,
ignited its mystique among hardcore Wilson-o-philes. Unable to persuade
Wilson to unearth and complete his grand opus, record-collector dweebs, as
they are wont to do, somehow got their hands on bootleg tapes of some of
the original Smile studio
tapes, and widely distributed numerous versions of proposed ideal and
correct versions of the album.
For 37 years, however,
Wilson could not be persuaded to resurrect and finish Smile. Indeed, he was afraid of it, still sincere in
his lingering belief that one particularly creepy track, "Mrs. O'Leary's
Cow," was evil enough to have caused fires to break out in Los Angeles.
That piece is "kind of the
feeling of being insane," Wilson says. "We wanted to create the illusion
that there was a fire, through music. It was insane music, music that comes
from the insanity of your mind. It's a realÉ real ÐÐ I don't like it. I
never did like it. It's scary music."
Says longtime Wilson
biographer and friend David Leaf, "Brian had enormous evidence of the power
of his music. Because he'd started out at his piano in a little home in
Hawthorne, and after recording his songs, they carried all the way around the
planet. In the wake of ÔGood Vibrations,' he was creating music that was
enormously powerful. Having created ÔMrs. O'Leary's Cow,' music that had
such an unhappy sound to it, he would think: Why wouldn't this
discordant music have the power to create something ugly?He not only believed it, he had evidence of it."
Given Wilson's
oft-reported hypersensitivity to intrusive vibes, it's easy to assume that
he's more fragile than most, and he is, but only so much. I was hesitant to
ask him whether "Mrs. O'Leary's Cow" still causes him trepidation about
having to deal with his old frame of mind again.
"No, not at all," he
replies, semi-casually, though it's as if he's drilled himself on this
point.
For whatever reason,
however, a year ago, Wilson suddenly felt that the time was right for Smile's rebirth. With the encouragement of his wife,
Melinda, and his current musical director, Darian Sahanaja, he set about
rebuilding it from scratch. Sahanaja, who's played a huge role in Wilson's
re-emergence in public life in recent years (and who'd coordinated and
arranged Wilson's hugely successful Pet Sounds performances four years ago), Wilson and Van Dyke
Parks pulled the old tapes from the shelf, dusted them off, and listened to
them. Figuring out a proper sequence for the songs, writing a few new ones,
then fashioning musically logical transitions between the parts, all the
while vowing to remain true to the spirit of the original instrumentation
and recorded sound, the team created a three-movement suite that was then
performed live to tube mike in the studio (just as the original tapes had
been done). Then, with the aid of Sahanaja's computer and ProTools, they
edited, rearranged and enhanced it, and pushed Wilson's baby out the door
to survive on its own.
The album (on
Nonesuch), fans of the original bootleg versions should be pleased to hear,
really is incredible, and it's a major relief to say that, as it could have
turned out horribly wrong. But it didn't. From the opening harmonies of
"Our Prayer" into the ghostly repeated snatches of "Heroes and Villains" to
the goofball "Barnyard," "Vega-Tables" and "Workshop" interludes to the
touchingly plaintive "Wonderful," Smile's atmosphere is soaked with the kind of early- to
mid-Americana with which every kid grows up, with great dollops of what
Sahanaja calls "ear candy with a yearning."
Wilson, a famously odd
mix of genuine humility, shyness and enormous faith in his gifts, is
pleased with the way the new Smile came out. "Oh, I think it's a masterpiece. On the new album, the
pitch is a lot better, the musicianship is far superior to the session
musicians that I used back in those days." He shoves aside any
self-analysis on its possible deeper layers. "Pet Sounds was more of an emotional kind of experience, and social
statements and introspective lyrics. I think Smile is the most joyous, happy, creative music ever
made, better than Pet Sounds,
even."
The album's rough
storyline details a trip from east to west across America that stops to
look at Plymouth Rock, the Great Plains, cowboys 'n' injuns, the iron
horse, barbershop quartets, old mining towns and saloons. But Parks says to
give it a "theme" is too specific. They weren't consciously thinking that
way back then. "We simply wanted something good done. Anytime Brian wanted
some music, he would turn to me and I would try to make words for those
notes. He wrote ÔHeroes and Villains' in one day. That was a lot of
syllables. We didn't know what the theme was. He had a tune that sounded
like Marty Robbins, a romantic Southwestern ballad. So that surrounded me
in El Paso, in a way, stories that could be told. We didn't know how it'd
be used; we were just creating these vignettes, like scrimshaw, tooth by
tooth.
"But Brian was in a
rapture. He was taken by a creative spasm of activity ÐÐ he was young,
physically able, very smart, very talented. More than that, very devoted to
a lot of people. He was the employer of a lot of people. He was very kind
and socially devoted, very generous in his spirit. That shows in his own
lyrics. ÔI'm just a cork on the ocean, floating over the raging sea.'
That's a very brave thing to say."
Manifest destiny is
just "a back story to Smile,"
says Parks. "The basic question he raises is in this non sequitur ÔChild Is
Father to the Man.' I think he was going through some difficult
psychological periods, coming into his manhood, having been through some
truly dysfunctional and sad family experiences. And I thought at the time
that that was the real motivator. This American odyssey that we were
attempting to paint is just a distraction, an entertainment, away from
this."
It's easy to see the
idea of a journey across American times and places past as analogous to the
life of Brian Wilson. For at the time of Smile's original production, he had found himself
facing the impossibility of going farther west. Because he was facing the
ocean: At age 24, he'd had enormous success in the pop world ÐÐ both on his
own terms, but increasingly on the business's ÐÐ and like so many others of
his mid-'60s generation, he was forced, or chose, to look inward.
Says Parks, "Horace
Greeley said ÔGo west, young man.' And we did. And then it's time to look
back, and assess things, and try to look at the methods that brought us
here. This is the stuff that was happening in the '60s. A generation was
doing that, questioning how we got here, and elaborating on it."
Wilson calls Smile "a
symphony to God," quoting himself again as he has so many times before.
He's interesting like that, as if at one point he had to embark on a study
of his own interviews in order to get the complete picture of himself
again. In conversation with him over lunch, he does this repeatedly, as if
consciously reinventing himself as himself.
These days the
superproductive Wilson seems to be living a happy ending, and he's included
one in the new Smile when,
just before the closing triumph of "Good Vibrations," the album's
protagonist finds his paradise in "Blue Hawaii." (After a bit of
meditation, he discovers that it is possible to go farther west after all ÐÐ
you just have to take a plane to get there.)
"Music had a powerful
potential after Bob Dylan arrived to enact more with songs," says Van Dyke
Parks. "And production values in the studio improved in about 1966 with a
great torque. As the studios went from 3-track to 4-track and then
8-track then 16-track, all this changed the way music sounded. And the
person who had publicly addressed that and used it most conspicuously was
Brian Wilson. I wasn't interested in serious music, it had lost me
somewhere along the line. But this unserious music, the best of it, was
Brian Wilson's."
There's an amusing TV
clip from back in the '60s of the oh-so-hip Leonard Bernstein pontificating
to Middle Americans about how there are important new ideas coming from the
gutters of rock & roll, and how we all need to open our ears to it. He
names Brian Wilson as an American composer to be taken almost as seriously as, well, as Aaron
Copland, or indeed as seriously as Leonard Bernstein, for example.
"I remember him saying
that, yeah," says the courteous Mr. Wilson. "It pumped my ego up, 'cause it
was Leonard Bernstein himself saying it, you know what I mean, it wasn't
like just anybody saying it, it wouldn't have meant as much. But because he
said it, it meant a lot to me."
Nevertheless, Brian
Wilson threw away his candy bar and ate the wrapper, and his Smile is a piece of purely American classic music the
genius of which lies in its trueness to itself. Wilson chose to work within
the song form to create a larger construction, and in the process he
joyfully invented new shapes for those song forms; his "modular" way of
composing meant that every song was created separately to give each its own
sound world; and throughout, every idiosyncratic instrument of his studio
"orchestra," every studio manipulation, is used like a brush or droplet of
paint. And it's easy to follow. It establishes its own peculiar shape, you
can see that shape, and like the best large-scale classical work, its
self-made symmetry is persuasive enough that you feel at album's close that
the ending was predestined.
Wilson's emphasis on
the creation of personal song shapes and personally chosen instrumentation
has of course had widespread influence, notably with such important new pop
thinkers as Sean O'Hagan of the
High Llamas (who at one point in the
mid-'90s was in discussions with the Beach Boys to produce their next
album). "He put the actual substance of music before everything else," says
O'Hagan. "If you think of the Stones, they were the first band to capture
that attitude. The Beatles
were about inventing the pop group, very much a personality band, though
obviously one that wrote very good music. Brian was on a mission to create
a new music. Whatever he wrote, his compositions rose above the lyrical
content, rose above the Beach Boys, rose above the idea that rock &
roll had to have a backbeat. He was a person who worked in pop music but
who had a compositional mind. But there was no pomposity, it was still
great pop music."
There's a cliche that
comes from the mouth of modern composers a lot, and that is that they think
"visually," as if they're imagining music for films that are yet to be
made. It's such a cliche that I was even taken a bit aback when I asked
Wilson if he, too, thinks in visual terms when he composes.
"I'm not a visual
person. I'm sound-oriented. I'm deaf in my right ear, my right ear's shot.
I lost it when I was born." Which perhaps makes him even more sensitive to
the power of musical tones. Which makes him a little bit like a musical
antenna.
"I sit and I write
automatically," he says. "I don't really try to write. My subconscious mind
takes over and writes the songs for me. Songs come very easily for me. When
I'm inspired, it takes me 20 minutes to write a song."
"That means songs kind
of write themselves, right?"
"Exactly!" he yells.
"Songs do write themselves, they really do.
"I think of Phil
Spector as the god of music, and I think he influenced the way I wrote
music to some degree. I'm not saying he wrote my music for me; he
influenced the way I thought about music. In ÔBe My Baby,' when Phil
Spector did that, it's a very logical progression from verse to chorus to verse
to chorus, instrumental break and then back into the chorus.
"You know you're gonna
end up at least on a happy note; if not on a happy note, at least a good
noteÉ and a good memory."
* * *
He makes it sound so
simple, but of course it's not, and in the end Brian Wilson's just classic
genius stuff, another Beethoven, another Van Gogh. It's in the nature of
his genius that where, really, the music comes from will be perpetually
cloaked in mystery.
"I've never, ever
experienced anyone like him," says Sahanaja. "He's like a Chauncey Gardiner
type character. There's an innocence, a purity about him, and with the fact
that he creates such beautiful art despite whatever personal pains he might
have, I imagine, yeah, I am in the presence of a genius. He doesn't see any
limit to his creativity."
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