Some pretty heavy crap is going on right now and it’s got me pretty wound up. Right now I’m spitting stomach acid in such great amounts that it could be considered a super-power. I’d better be careful, or I may be classified as a WMD.
In an attempt to calm myself I’ve decided to write some liner notes from a series of CDs that I’ve made my sister. The genesis of these CDs came from a phone call from my sister regarding a PBS special on Joni Mitchell. The conversation turned from Joni to madness and music. Genius and psychosis. Where are the lines drawn? Does the music reflect the madness or does the music cause the madness? What’s it like to walk around with music in your head constantly? Music that needs to come out. Music that comes from deep within you.
My personal obsessive mad genius is Brian Wilson. My sister’s is Joni Mitchell. Shortly after this conversation, I conceived of a series of CDs that highlighted Brian Wilson’s genius and madness.
Music is, perhaps, the only universal concept in human culture. We differ on religion, government, food, sex, pets, clothing, etc. However, in the most primitive portions of our souls we can all agree on music. Something may not be our particular style but anyone can recognize the beauty of a melody or the emotional power behind a song. You may not understand the words but an Iroquois funeral lament is bound to bring tears to your eyes. Because certain rhythms, sounds, cadences, keys hit a universal chord within us. A simple melody can bring tears or joy just as easily as complex lyrics.
What makes music beautiful? It’s hard to say. Why is a D minor a gorgeous chord, but random fingers on a keyboard produce sonorous results? Why do we feel certain chords physically but others do nothing? Is it the physical rhythm of a song that appeals to us? How can one instrument sound mournful and sad one moment and joyous and triumphant the next? Why do the piano and cello seem to be made for a duet but the mouth harp and banjo seem to create a rift in space-time that makes your head explode? Why are the timpani so imposing and the crash of the cymbal so fulfilling?
I can’t say what it is about Brian Wilson that causes such a strong emotional reaction in me. The fact of the matter is that I should find his music white bread, corny and dated. But I don’t (and neither do many of the top songwriters of the last several decades). But, in truth, a wide-variety of his music can cause goose bumps to rise, even if I’ve heard the song a thousand times. Each time I listen to “God Only Knows” I hear something I didn’t hear before and I’ll roll back the song trying to figure out why the snare drum hit on the upbeat instead of the downbeat or why the flute played that particular figure.
Brian’s music is filled with lush chords, gorgeous melodies, simply amazing arrangements and earth shattering harmonies that are still unsurpassed in popular music. Many people these days write-off his music as “oldies” music, which is fine. You can also call Brahms’ sonatas for piano and cello “old” but that doesn’t mean I won’t get goose bumps and tear up during certain crescendos.
Brian Wilson’s music is like an onion, layers upon layers to be discovered. You can listen to the words and find a beautiful song about teen love, lost love, feeling adrift, terror, vegetables, simple pleasures, loneliness or helplessness. You can forget the words and listen to the soaring harmonies. You can strip away the vocals and hear the complex melodies, counter-melodies, time-signatures, changes, keys and chords of the arrangement. You can listen to just the piano or the harpsichord or the organ or the drums or the guitar. You can listen to the way certain instruments interact to create a wholly new sound. Or you can simply listen to the song as a whole and wonder why he wrote the bridge the way he did. Why the piano at that point? Why does that melody reoccur here? What is the French Horn doing there?
The irony of Brian’s music, and the fact that most people listen to only the surface is that Brian rarely wrote the lyrics. Armed sometimes with only a melody on a piano and a simple emotional idea, Brian could convince people to write exactly what he was trying to say. Sometimes he’d complete the backing track, with background vocals, and the sheer emotion of the song would explain to the lyricist what Brian was trying to say. Other times Brian would be able to find the words himself, such as in “Love and Mercy” (though there is some debate as to whether or not his Svengali psychiatrist had something to do with the lyrics):
I was sittin' in a crummy movie with my hands on my chin
All the violence that occurs seems like we never win
Love and mercy that's what you need tonight
So love and mercy to you and your friends tonight
Overall, you could say that through Brian’s good and bad times that was his message. That love and mercy is all anyone needs. In my mind it’s a good message, no matter how it came about.
The sad fact of Brian’s life is he spent a lot of time with undiagnosed or untreated Schizophrenia with psychotic delusions. The question remains whether or not the music came out of this illness or the music created the illness. No one will ever be able to say for sure. But he lost decades of his life to fear, depression and simply “laying in bed.” It was his only defense in a world that seemed to destroy him.
He’s arguably better now. He’s touring and writing again. He’s suddenly realizing that people love him for his music and what it means to them personally.
Say what you will about his music, but I truly believe that it will outlast all of us. A century from now, long after we’re all gone, “God Only Knows” will still bring tears to people’s eyes. And there will be little that is more American than “I Get Around”.
My series of CDs consists of five separate CDs and the repletion of some songs. Each CD follows a specific theme that investigates a portion or concept of Brian’s music. The CDs break down thusly:
Love and Mercy—Brian’s music, mostly with the Beach Boys, and their beauty. The songs here are all about melody and beauty.
Bells of Madness—Music that either deals with madness, loneliness and helplessness or is borne out of those feelings. In my mind, this is the most powerful of the discs.
SMiLE—My personal version of the lost masterpiece. Often considered the product of the madness. Regardless of the genesis, the music is different than anything anyone else has ever offered and, even in its incompleteness; it is a triumphant work of daring musical inventiveness.
Recovery—Brian working out of his madness and healing. Much of this CD consists of his solo work or recent live triumphs. His voice isn’t want it used to be, but the music is eternal. And the harmonies are as sweet as ever.
Stack-O-Tracks—Alternate versions, vocals only tracks, backing tracks, sessions and more. While this may be considered, by some, to be “cast offs” it provides some insight into the mind of the man who creates this music. How the music evolved, changed and how Brian worked. It also provides the listener with the opportunity to hear the vocals without the music and truly listen to the complexity of the harmonies or to simply listen to the backing tracks as complete wholes. What is amazing about these pieces is that the vocals on their own or the music tracks on their own are gorgeous and often stand on their own merits.
So, despite the length of this post thus far, I will now go track by track through “Love and Mercy”.
Our Prayer--This is the SMiLE version. The gorgeous harmonies of this wordless acappella piece are undeniable and represent Brian’s understanding of the human voice as an instrument. Plus, what better way to start off a CD dedicated to the beauty of his work than a brief incantation summoning the beauty of the human vocal chords?
Add Some Music to Your Day-- “Your doctor knows it keeps you calm / Your preacher adds it to his psalms / So add some music to your day” Music is a powerful force that can soothe . . .
Soulful Old Man Sunshine This isn’t a traditional, or very well known for that matter, Beach Boys track. But the vocals are incredible. They soar, they intertwine. This song shows how much the Beach Boys could do with just their untrained voices. And it shows how much care Brian took in creating these harmonies.
Don’t Worry Baby--Brian’s first real experiment, and one of his first truly emotional songs. He set out to equal his favorite song, “Be My Baby”. And he does. This song can stand next to any Phil Spector track and survive. Plus, Brian bears his soul here. He’s asking someone to make everything go away.
God Only Knows --Perhaps the greatest pop song ever recorded. From the opening, heart-breaking French Horn to the closing vocal tags this song will break your heart. Perhaps Brian’s shining moment as a song writer and, perhaps, one of the most beautiful songs written in the 20th Century. Both based on its musical attributes as well as its simple lyrics. It brings tears to your eyes. I sing this to my kids all the time. And that lovely instrumental break. So unexpected, so different. So perfect. Listen to the flutes in the second chorus. That Brian was in his early twenties when he wrote and recorded this makes it all the more amazing. What did you do at 22?
Please Let Me Wonder--In a word: Gorgeous. The vocals, the melody, the arrangement. It’s a wonderfully gentle song with an amazing emotional build up in the bridge.
Kiss Me Baby (Stereo Remix)--The way it suddenly explodes, both in the vocal tag at the beginning at in each chorus . . . masterful.
Surfer Girl--If Brian had sung one vocal melody in his life and stopped, the “oooooh” in this opening would have been enough. His voice is so gentle and pained here. Despite the seemingly simplicity of this song, it sounds so sad. So longing . . .
California Girls--Thirty seconds of pure bliss. Brian’s first “orchestral” piece is at the beginning. Completely unrelated to the rest of the song, using instruments that never show up again and yet . . . undeniably amazing. I can hear him for hours getting those horns just right.
The Little Girl I Once Knew --Though “California Girls” may have been considered Brian’s first triumph, I find this song to be his first real attempt at bringing pop music to a new level. The complexity of the arrangement combined with the sudden silences was unheard of. There’s a daring here that was unsurpassed by any other song-writer for a few years. Not until Rubber Soul did another band try anything so off-the-beaten path. And silence never sounded so glorious. It seems to erupt from the music.
Wouldn’t it Be Nice--This may be one of those songs that you’ve “heard” but never truly “listened” to. Do it now. The harp, the drums, and the intertwining vocals. Beautiful. This song has such an innocent longing . . . but a wisdom that seems to say that the singer knows that it’s all just a dream.
Don’t Talk (Put Your Head on My Shoulder)--So sad. So mournful. Listen to the music on this one.
Sloop John B. --This is a “traditional” folk song that Brian included on Pet Sounds. To my knowledge, it contained the first acappella break in a pop song ever. And a beauty of a break it is.
Good Vibrations--Perhaps the greatest single ever recorded. Brian spent six months working on this song, recording sections in different styles. He then chopped everything up and pasted it together to make a greater whole. Modern production was born. But it was never surpassed in its majesty, complexity or use of the Theremin. It was crazy at the time, but it has become the norm.
Cool Cool Water--Just a cool, cool song.
Mama Says--Brian has a hell of a sense of humor and it shows through with this playful little song about all the things one should do to be a good little doobie. It’s silly and fun.
Had to Phone Ya--Had to listen to the wind instruments on this. What exactly are they doing?
Heroes and Villains (Single Version)--A remnant of SMiLE, but a good one. The Beach Boys started to show that they could really rock. What’s missing from Brian’s original plan is the epic scope of the song. While some of the wordplay and vocal complexity remains, his original (and superior) version really broke the mold on what a pop song was allowed to do.
Darlin’--One of the best examples of Carl Wilson’s sweet voice. While this song could be considered “slight”, it’s a good R&B tune. And the boys recorded it slightly ahead of the curve.
Wild Honey--Didn’t know that the Beach Boys ever recorded anything like this, did you? They moved through genres and broke molds all the time. Sadly, few people noticed anymore. And by this time, Brian was slipping away . . .
Friends--A nice, gentle arrangement.
Pet Sounds--An instrumental that Brian wrote for James Bond. It was never accepted, lucky for us. This three minute tune highlights Brian’s ability to write just about anything. Burt Bacharach would be proud.
Let’s Go Away for Awhile--Another instrumental. And a beautiful one. Listen to how this one swells and grows. It really paints a mental picture. Of what? That’s for your brain to discover.
Here Today--A few minutes into this song there is a completely unexpected instrumental break that grows in complexity. One of the shining moments of Pet Sounds for me.
Can’t Wait Too Long--It’s a pretty little song, with some nice changes.
Time to Get Alone--I can’t describe this one. It has nice breaks, nice changes. But it also has an emotional content that I can’t describe. It lifts and falls gently.
I Can Hear Music--A Phil Spector song, one-upped by Brian. Something tells me that this song spoke to Brian.
’Til I Die--This song crops up a few times in these compilations, in different forms. This is the “official” version of the song. A window into Brian’s soul. Even the music seems to be waving goodbye. It’s a funeral song for Brian’s psyche.
Surf’s Up--The album version and a SMiLE remnant. It represents Carl’s newfound confidence in production and really highlights his talents. It’s a complex, majestic song. And very interesting to listen to, specifically with the “Child is the Father of the Man” refrain at the end. However, if you listen to the demo that Brian recorded you hear a different emotion. A sense of standing at the shore and saying goodbye to something. This version is amazing, to say the least, but listening to the demo is just astounding. However, if this was a hint of what the completed SMiLE could have been . . . well . . . that’s our musical loss. It’s a pretty daring performance. And Sean O’Hagan of The High Llamas owes a lot of his career to this song.
I’ve been writing this for two hours now. I’ve said too much. But, for these brief moments, with these songs playing, I was able to escape into a different world. A world of beauty, sadness and comfort. Music, once again, has allowed me to forget my worries for a brief time. I feel recharged. The world hasn’t changed, but I feel as though I have touched a salve for my troubled soul. Thanks again Brian.
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