Brian Wilson S/T (1988) Song-By-Song Thread

There is a youtube video of Brian lipsyncing L&M in a TV appearance. It's the album version, and it contains the missing third verse.

 

I totally agree.

 

Actually, Waronker suggested writing a song that had several movements/sections...a suite if you will. Something alog the lines of Cool Cool Water & Cabinessence. It was at Waronker's suggestion that Cool Cool Water be on Sunflower years before. And thank goodness he did!

 

I'm going to have to dig out my books and magazines before I post these things. Maybe it was Paley, or Titelman, or even Landy that pushed the sawing through wood sound.

Now tell me this.... my understanding is that "Rio Grande" initially took the form of something called "Life's Suite" (with lyrical input from Landy). Did Waronker suggest the multi-part/sections idea itself? Or did he insist only that the lyrics to the already conceived music be modified to have a "western" sort of theme. I don't think Brian (or Landy, ugh!) wanted to do it, but he did.

 

There's an interesting article in Wikipedia that discusses the origin of "Rio Grande":
http://en.wikipedia.org/wiki/Rio_Grande_(song)

Landy's "Life's Suite" is also discussed in Carlin's book "Catch A Wave". According to Carlin Landy wanted the original lyrics by Brian and Andy Paley replaced by his psychology themed "Life's Suite" lyrics, but Landy's lyrics were rejected.

 

"However, it was Lenny Waronker who insinuated to Brian to undertake a more complex, revealing, and provisional composition with an Old West theme"

Why is a western theme more revealing? It seems to me that the intent behind Waronker and Stein's request was to do something both stylistically and conceptually like Smile's "Cabin Essense" and "Heroes And Villains". The principle behind the choice of the concept is vaguely cynical to me. I can't argue with the results though, and I find the pun "Life's Suite" nauseating, so I suppose the western theme was for the better.

 

The multi-part sections of what became "Rio Grande" was already done and the 8 minute epic was presented to Waronker as "Child, Adult And Parent". Waronker liked the music but wanted to change the theme into something more "American" and presented a coffee table bok of western pictures to Brian in order to come up with inspiration for some "Western" lyrics.

 

While most of us (even myself sometimes!) groan and moan about the 80s sound on the album,
we also have to remember that it was thanks to the Emulators, DX7s and the Fairlights that Brian regained his interest in production and recordings.

He learned a lot about the new technology during the recording of the "Beach Boys" album in 84/85 that came in handy on both the Gary Usher Sessions and the S/T album.

 

I, for one, don't actually. Mostly because Brian didn't appear to be in very great shape during this period and I'm not too keen on the Don Was productions either. The "family reunion" was nice though. And I liked the version of " Do It Again".

 

That sequence of events is unexpected because the music sounds like it was made specifically for that theme, particularly the "Rio Grande" chorus. So then I guess there is an entire alternate set of vocals and backups for "Child, Adult And Parent".

Did Brian really dig that stuff? I know I've heard/read some of his comments about the 85 sessions, but I couldn't tell if he really meant it. Ultimately, what is on Brian Wilson isn't a turgid "eighties" production. I have always thought that most of the sounds were used in such a way so as to re-create and/or update the old sound, as if they were thinking "What if Pet Sounds was being made now? How would we do it?" Also, the songs themselves sound like Brian's work. "Shortenin' Bread" is in there. "Da Doo Ron Ron" is in there.

In these cases I think the technology was taking over the music. Some of the songs sound like Brian, while others sound like any song by anybody. The Usher sessions really had a lot of dross in this respect. By the time Brian Wilson was recorded, a good balance was achieved.

I thought he sound good though. And yes, "Do It Again" is remarkably good.

 

Hey, I just thought of something.

We found an album released in 1988 that is actually good!

 

What about Neil Young This Note's For You, Van Halen OU812, Living Colour Vivid, Traveling Wilburys Volume One, Frank Zappa You Can't Do That on Stage Anymore, Vol. 2: The Helsinki Concert, Queensryche Operation: Mindcrime, U2 Rattle and Hum, etc.

 

Yeah, but it doesn't really sound like Brian.

 

Not every song has a wrong mix for the 2000 remaster IIRC. Melt Away was one of them. The other I don't recall off-hand.

I love this album and have since I got it in 1990. It's one of the three best BB related albums between 1970 and 1988...Sunflower, Pacific Ocean Blue, Brian Wilson.

 

Walkin' The Line
Producer: Brian Wilson
Brian Wilson/Eugene Landy/Alexandra Morgan/Nick Laird-Clowes+

I walk the line
I walk the line everyday for you
I keep on workin'
I keep on workin' everyday for you
If I don't get my way this time I'll die
And that's no lie

Walk, walk, walk, I keep on walkin' the line
Run, run, run, I'm runnin' outta my mind
I need your love I need your love tonight
Gimmee, gimmee, gimmee, gimmee lovin' tonight
I need your lovin'
(Lovin')
Lovin'
(Lovin')
Lovin' lovin'
Wah wa-wa wah wah wah

I keep on pushin'
I keep on pushin' so hard for you
I keep on tryin'
I keep on tryin' my best for you
I know we'll keep on searchin' until that day
Till we find a way

Walk, walk, walk, I keep on walkin' the line
Run, run, run, I'm runnin' outta my mind
I need your love I need your love tonight
Gimmee, gimmee, gimmee, gimmee lovin' tonight
I need your lovin'
(Lovin')
Lovin'
(Lovin')
Lovin' lovin'
Wah wa-wa wah wah wah

Walk, walk, walk, I keep on walkin' the line
Run, run, run, I'm runnin' outta my mind (hey hey)
I need your love I need your love tonight
Gimmee, gimmee, gimmee, gimmee lovin' tonight
I need your lovin'
Walk, walk, walk, I keep on walkin' the line
(Lovin')
(Walkin' the line)
Run, run, run, I'm runnin' outta my mind (hey hey)
I need your love I need your love tonight
Gimmee, gimmee, gimmee, gimmee lovin' tonight
I need your lovin'

+original writing credits

 

I thought it was more than that. I was just reading on SmileySmile.net that there was never a completed master made for the album as a whole. This seems impossible, but supposedly it accounts for why incorrect mixes were included. Surely something was pieced together in order to create the album at all, but at the level prior to that everything was on it's own tape. I honestly don't know how this all went down, but that was an explanation I read. I couldn't find a list of difference between the Sire and remaster versions of the album.

 

I think "Walkin' The Line" is one of the best songs on Brian Wilson. I also think it would have been a preferable lead single than "Love And Mercy". "Walkin' The Line" is one of the songs on Brian Wilson that assures fans that the man is most certainly very involved. Why? "Shortenin' Bread" of course! It sounds like a Love You song, fully produced, in 1988. It has the same sort of idiosyncratic touches that were missing from most of Brian's efforts on The Beach Boys (1985).

Based on the demos available, I think Brian wrote most of the song. At some point a smart decision was made to change the verse from repeating "I walk the line, I walk the line" to "I..... walk the li-ine". That's just a good hook. The assistance he received on the track is hard to figure out. Landy and his wife have a co-write, but if they did anything it was lyrics. I have no idea what the guy from Dream Academy did. Some of the modern touches seem un-Brian, particularly the synth parts. I think the synths were well done here. I'm not sure I'd prefer them to the Wrecking Crew, but if I had to defend the use of synths in eighties, I'd offer "Walkin' The Line" as evidence that it wasn't all bad.

My internal debating as to whether Brian was capable of certain things (such as use of synths or drum machines in a professional manner, or even modern production) is irritating. That debate is one of the legacies of the Brian Wilson album. Even though propping Brian up and filling in for him in the Beach Boys was well known, the controversy around Brian Wilson raised the issue of Brian's competence in a way that was permanently damaging, even if it wasn't true. The overall "professionalism" of the project doesn't seem comparable to Brian's last full effort, Love You. That disparity (even when the songs sound similar, as with "Walkin' The Line") constantly raises the question of why there were so many producers, executive producers, programmers, co-writers, etc... The further knowledge that the credits were incorrect, and then even changed on the remaster muddies the water even further. Contemporary writings and interviews are of almost no help whatsoever due to Brian's penchant of contradicting himself or evading questions and the journalist's leanings toward sensationalism.

 

Yes, Walkin' the line is a very catchy effort - single material, almost. I agree that it includes some great synth work that adds another dimension to the rather sterile Gary Usher demo, though all n' all I don't find the final version that different from the original demo.

 

Well, when it comes to program synths and keyboards in the 80s Brian was certainly in good company needing assistance in these matters.

Very few artists could master the synths and keyboards in the 80s. That's why albums from this period is chock full of credits to all the programers etc.

You had to be VERY clever and educated in order to program a Fairlight CMI. The very popular DX7 was a nightmare to program (And I know this from experience). But I agree that the credits on the Brian Wilson album is a complete mess. Seems to me from reading the credits that the whole population of the planet is on that album. It's a small wonder they found space to fit in the lyrics on the inner sleeve!

 

It's that one line in the song that keeps me from fully embracing it.
Knowing that he is more a "Music Man", I wish those sentiments could have could have been expressed/written another way.
Same goes with the first verse of "Still I Dream Of It".
But that's another story for a different thread.

 

I would like to return to our discussion about "Rio Grande" for a moment in order to add some things (hope that's OK!).

Originally Posted by Anders B
The multi-part sections of what became "Rio Grande" was already done and the 8 minute epic was presented to Waronker as "Child, Adult And Parent". Waronker liked the music but wanted to change the theme into something more "American" and presented a coffee table bok of western pictures to Brian in order to come up with inspiration for some "Western" lyrics.

Chief answered:

That sequence of events is unexpected because the music sounds like it was made specifically for that theme, particularly the "Rio Grande" chorus. So then I guess there is an entire alternate set of vocals and backups for "Child, Adult And Parent".

Yes, I agree it sounds somewhat dubious but the title "Life's suite" and "Child, Adult And Parent" somehow make sense together. As for the different sections of the song, The "Night Boomin' Jasmine" part supposedly was written as early as the early 80s. The "Rollin' rollin' rollin" segment seems to be lifted from Dennis Wilson's "River Song" dating 1977, and released on his solo album.

 

It's part of the deal. "Saturn has rings all around it. I searched the sky and I found it". If "Love And Mercy" is Brian's equivalent to "Imagine", then "crummy movie" immediately takes it out of that league. Only the chorus can be held to that standard.

I was reading about this in my handy Back To The Beach book last night. Brian was asked about the song. He said Waronker suggested something more abstract or creative (I can't remember how he put it) and it should have a Western theme. Then he said something like 'Then Gene dropped the big one on us and wanted it to be a multi-part suite called "Child, Adult And Parent". It was called "Rio Grande"'. Quotes like that are confounding.

In the Paley interview the topic comes up and Paley confirms that "Heavenly Lovers" used to be part of it.

 

"Walkin' The Line" is one of those feel-good Brian Wilson songs, perfect ear candy. I used to skip over it just so I could get to "Melt Away" faster (ha, ha), but it's a great tune. The song itself sounds to me like something from the past more than it does a current song from 1988. Of course, the production sounds very current. In the liner notes Brian talks about wanting to have a song with bass sounds like a 60s record, but still have an 80s feeling to it. I think he succeeded.

 

For the life of me, I can't believe they didn't include the unreleased song "Let's Do It Again". Not only is it finished, but it was on the original running order of the album, and was also nearly a b-side. I was just reading that 18 songs were recorded. Along with "Let's Do It Again", the 11 tracks on the album, and two b-sides, I know of 14 songs. In a Paley interview he mentions "Tiger's Eye", but I don't know if it was recorded. "Magnetic Attraction" and "Heavenly Lovers" were mentioned but Paley didn't go into any detail. "Saturday Morning In The City" is a good bet.

AGD said "Love And Mercy" is different.

 

Melt Away
Producer: Brian Wilson/Russ Titelman
Mixed by Hugh Padgham assisted by Bob Vogt at A & M Recording Studios
Brian Wilson/Eugene Landy

I wonder why nothin' ever seems to go my way
But every time I see you
I get that same old feelin'
And my blues just melt away, melt away

The world's not waiting just for me
The world don't care what I can be
I feel just like an island
Until I see you smilin'
And my blues just melt away, melt away

I won't let you see me suffer
Whoa not me
I won't let you hear me cryin'
Whoa not me
I won't let you see me sighin'
Whoa not me
Whoa oh oh

Sometimes I close up to the world
You know I close up to you girl
But when I hear you talking
I feel my heart unlocking
And my blues just melt away, melt away

Hey-ey-ey-ey-ey-ey
Hey-ey-ey-ey-ey-ey
(Dit) dit dit dit
(Dit) dit dit dit
(Dit) dit dit dit
(Dit) dit dit dit

And my blues just melt away, melt away

(Melt away) melt away [melt away] (melt away)
Melt away [melt away] (melt away)
Melt away [melt away] (melt away)
Melt away [melt away] (melt away)
Melt away [melt away] (melt away)
Melt away [melt away] (melt away)