Brian Wilson

Brian Douglas Wilson (born June 20, 1942) is an American musician, singer, songwriter, and record producer who co-founded the Beach Boys. After signing with Capitol Records in 1962, Wilson wrote or co-wrote more than two dozen Top 40 hits for the group.[1] In addition to his unorthodox approaches to pop composition and mastery of recording techniques, Wilson is known for his lifelong struggles with mental illness. He is often referred to as a "genius"[2] and is widely acknowledged as one of the most innovative and significant songwriters of the late 20th century.[3]

The Beach Boys were formed by Wilson with his brothers Carl and Dennis, their cousin Mike Love, and friend Al Jardine. Brian, who grew up influenced by 1950s rock and roll and jazz-based vocal groups, originally functioned as the band's songwriter, producer, co-lead vocalist, bassist, keyboardist, and de facto leader. In 1964, he suffered a nervous breakdown and stopped touring with the group, which led to more personal work such as Pet Sounds (1966) and the unfinished Smile. As his mental health deteriorated, his contributions to the band diminished, and over the next decade, he was reputed for his reclusive lifestyle and substance abuse.[4] Following a 1992 court-ordered removal from the care of psychologist Eugene Landy, Wilson started receiving conventional medical treatment, and in the late 1990s, he began performing and recording consistently as a solo artist. He remains a member of the Beach Boys' corporation, Brother Records Inc.

Wilson was the first pop artist credited for writing, arranging, producing, and performing his own material. He is considered a major innovator in the field of music production, the principal originator of the California Sound, one of the first music producer auteurs, and the first rock producer to use the studio as its own instrument. The unusual creative control Capitol gave him over his own records effectively set a precedent that allowed other bands and artists to act as their own producers or co-producers. Wilson's success also led to a proliferation of like-minded California producers who helped supplant New York as the center of popular records. The zeitgeist of the early 1960s is commonly associated to his early songs, and he was a major influence on the retrospectively-termed "sunshine pop" and Flower Power music that proceeded.

In later years, Wilson became influential to the spirit of punk rock and was regarded as "godfather" to an era of indie musicians who were inspired by his melodic sensibilities, chamber pop orchestrations, and recording explorations. His honors include being inducted into the 1988 Rock and Roll Hall of Fame and winning Grammy Awards for Brian Wilson Presents Smile (2004) and The Smile Sessions (2011). In lists published by Rolling Stone, Wilson ranked 52 for the "100 Greatest Singers of All Time" in 2008[5] and 12 for the "100 Greatest Songwriters of All Time" in 2015.[6] In 2012, music publication NME ranked Wilson number 8 in its "50 Greatest Producers Ever" list, elaborating "few consider quite how groundbreaking Brian Wilson's studio techniques were in the mid-60s".[7] His life was dramatized in the 2014 biopic Love & Mercy.

Brian Wilson
Brian Wilson (7314673472) (tall)
Wilson performing with the Beach Boys in 2012
Background information
Birth nameBrian Douglas Wilson
BornJune 20, 1942 (age 76)
Inglewood, California, U.S.
OriginHawthorne, California, U.S.
  • Musician
  • singer
  • songwriter
  • record producer
  • Vocals
  • keyboards
  • bass
Years active1961–present
Associated acts


1942–1962: Early years and performances

Brian Wilson 1960 yearbook
Wilson's senior yearbook photo, 1960

Brian Douglas Wilson was born on June 20, 1942, at Centinela Hospital in Inglewood, California, the eldest son of Audree Neva (née Korthof) and Murry Wilson, a musician and machinist.[8] His two younger brothers were Dennis and Carl. He has Dutch, English, German, Irish, and Swedish ancestry.[9] When he was two,[10] the family moved from Inglewood to 3701 West 119th Street in nearby Hawthorne, California.[11] Speaking of Wilson's unusual musical abilities prior to his first birthday, his father said that, as a baby, he could repeat the melody from "When the Caissons Go Rolling Along" after only a few verses had been sung by the father. Murry Wilson said, "He was very clever and quick. I just fell in love with him."[12] At about age two, Wilson heard George Gershwin's Rhapsody in Blue, which had an enormous emotional impact on him.[13] A few years later, he was discovered to have diminished hearing in his right ear. The exact cause of this hearing loss is unclear, though theories range from him simply being born partially deaf to a blow to the head from his father, or a neighborhood bully, being to blame.[14]

While Wilson's father was ostensibly a reasonable provider, he is believed to have been frequently abusive. A minor musician and songwriter, Wilson's father encouraged his children in the music field in numerous ways. At an early age, Wilson was given six weeks of lessons on a "toy accordion" and, at seven and eight, sang solos in church with a choir behind him.[15] At Hawthorne High School, Wilson was on the football team as a quarterback, played baseball and was a cross-country runner in his senior year.[16] He sang with various students at school functions and with his family and friends at home, teaching his two brothers harmony parts that all three would then practice. He also played piano obsessively after school, deconstructing the harmonies of the Four Freshmen by listening to short segments of their songs on a phonograph, then working to recreate the blended sounds note by note on the keyboard.[17] He received a Wollensak tape recorder on his 16th birthday, allowing him to experiment with recording songs and early group vocals.[18]

One of Wilson's earliest public performances was at a fall arts program at his high school. He enlisted his cousin and frequent singing partner Mike Love, and to entice Carl into the group, named the newly formed membership "Carl and the Passions." The performance featured tunes by Dion and the Belmonts and the Four Freshmen ("It's a Blue World"), the latter of which proved difficult for the ensemble. The event was notable for the impression which it made on another musician and classmate of Wilson's in the audience that night, Al Jardine. Jardine would join the three Wilson brothers and Mike Love a few years later in the Beach Boys.[19]

Wilson enrolled at El Camino College in Los Angeles, majoring in psychology, in September 1960. He continued his music studies at the community college as well.[21] At some point in 1961 he wrote his first all-original melody, loosely based on a Dion and the Belmonts version of "When You Wish Upon a Star". The song was eventually known as "Surfer Girl". Although an early demo of the song was recorded in February 1962 at World-Pacific Studios, it was not re-recorded and released until 1963, when it became a top-ten hit.[22]

Wilson, his brothers Carl and Dennis, Mike Love and Al Jardine first appeared as a music group in the summer of 1961, initially under the name the Pendletones. After being prodded by Dennis to write a song about the local water-sports craze, Wilson and Mike Love together created what became the first single for the band, "Surfin'". Over Labor Day weekend 1961, Wilson took advantage of the fact that his parents were in Mexico City for several days, and the boys used the emergency money his parents had left to rent an amplifier, a microphone, and a stand-up bass for Jardine to play. After the boys rehearsed for two days in the Wilsons' music room, his parents returned home from their trip. Eventually impressed, Murry Wilson proclaimed himself the group's manager and the band embarked on serious rehearsals for a proper studio session.[23]

Beach Boys 1963
Wilson (second-left) performing with the Beach Boys in Pendleton outfits at a local high school in late 1962

Recorded by Hite and Dorinda Morgan and released on the small Candix Records label, "Surfin'" became a top local hit in Los Angeles and reached number seventy-five on the national Billboard sales charts.[24] Dennis later described the first time that his older brother heard their song on the radio, as the three Wilson brothers and David Marks drove in Wilson's 1957 Ford in the rain: "Nothing will ever top the expression on Brian's face, ever ... that was the all-time moment."[25][26] However, the Pendletones were no more. Without the band's knowledge or permission, Candix Records had changed their name to the Beach Boys.[27] Wilson and his bandmates, following a set by Ike & Tina Turner, performed their first major live show at the Ritchie Valens Memorial Dance on New Year's Eve, 1961. Three days previously, Wilson's father had bought him an electric bass and amplifier. Wilson had learned to play the instrument in that short period of time, with Al Jardine moving to rhythm guitar. On stage, Wilson provided many of the lead vocals, and often harmonized with the group in falsetto.

Looking for a follow-up single for their radio hit, Wilson and Mike Love wrote "Surfin' Safari", and attempts were made to record a usable take at World Pacific, including overdubs, on February 8, 1962, along with several other tunes including an early version of "Surfer Girl". Only a few days later, discouraged about the band's financial prospects, and objecting to adding some Chubby Checker songs to the Beach Boys live setlist, Al Jardine abruptly left the group, but rejoined shortly thereafter.[28] When Candix Records ran into money problems and sold the Beach Boys' master recordings to another label, Wilson's father terminated the contract. As "Surfin'" faded from the charts, Wilson, who had forged a songwriting partnership with Gary Usher, created several new songs, including a car song, "409", that Usher helped them write. Wilson and the Beach Boys cut new tracks at Western Recorders including an updated "Surfin' Safari" and "409". These songs convinced Capitol Records to release the demos as a single; they became a double-sided national hit.[29]

1962–1964: Success and record producing

The Beach Boys TV (cropped Brian)
Wilson performing on electric bass with the Beach Boys, 1964

Recording sessions for the band's first album took place in Capitol's basement studios in the famous tower building in August 1962, but early on Wilson lobbied for a different place to cut Beach Boy tracks. The large rooms were built to record the big orchestras and ensembles of the 1950s, not small rock groups. At Wilson's insistence, Capitol agreed to let the Beach Boys pay for their own outside recording sessions, to which Capitol would own all the rights, and in return the band would receive a higher royalty rate on their record sales. Additionally, during the taping of their first LP Wilson fought for, and won, the right to be in charge of the production – though this fact was not acknowledged with an album liner notes production credit.[30]

In January 1963, the Beach Boys recorded their first top-ten (cresting at number three in the United States) single, "Surfin' U.S.A.", which began their long run of highly successful recording efforts at Hollywood's United Western Recorders on Sunset Boulevard. It was during the sessions for this single that Wilson made the production decision from that point on to use double tracking on the group's vocals, resulting in a deeper and more resonant sound.[31] The Surfin' U.S.A. album was also a big hit in the United States, reaching number two on the national sales charts by early July 1963. The Beach Boys had become a top-rank recording and touring band.[8]

Wilson was for the first time officially credited as the Beach Boys' producer on the Surfer Girl album, recorded in June and July 1963 and released that September. This LP reached number seven on the national charts, containing singles that were top 15 hits. Feeling that surfing songs had become limiting, Wilson decided to produce a set of largely car-oriented tunes for the Beach Boys' fourth album, Little Deuce Coupe, which was released in October 1963, only three weeks after the Surfer Girl LP. The departure of guitarist David Marks from the band that month meant that Wilson was forced to resume touring with the Beach Boys, for a time reducing his availability in the recording studio.[32]

For much of the decade, Wilson attempted to establish himself as a record producer by working with various artists. On July 20, 1963, "Surf City", which he co-wrote with Jan Berry of Jan and Dean, was his first composition to reach the top of the US charts. The resulting success pleased Wilson, but angered both Murry and Capitol Records. Murry went so far as to order his oldest son to sever any future collaborations with Jan and Dean. Wilson's other non-Beach Boy work in this period included tracks by the Castells, Donna Loren, Sharon Marie, the Timers, and the Survivors. The most notable group to which Wilson would attach himself in this era would be the Honeys, which Wilson intended as the female counterpart to the Beach Boys, and as an attempt to compete with Phil Spector-led girl groups such as the Crystals and the Ronettes.[33] He continued juggling between recording with the Beach Boys and producing records for other artists, but with less success at the latter—except for Jan and Dean.[34]

1964–1967: Artistic growth

Resignation from touring and changing scene

The Beach Boys' rigorous performing schedule increasingly burdened Wilson, and following a panic attack on board a flight from L.A. to Houston on December 23, 1964,[35] he stopped performing live with the group in an effort to concentrate solely on songwriting[36] and studio production.[35] Wilson explained in 1971: "I felt I had no choice. I was run down mentally and emotionally because I was running around, jumping on jets from one city to another on one-night stands, also producing, writing, arranging, singing, planning, teaching—to the point where I had no peace of mind and no chance to actually sit down and think or even rest."[37] Glen Campbell was called in as his temporary stand-in for live performances,[38] before Bruce Johnston replaced him. As thanks, Wilson "rewarded" Campbell by producing him with the single "Guess I'm Dumb".[39]

It was during that December that Wilson was introduced to cannabis hesitantly by his friend Lorren Daro (formerly Loren Schwartz), an assistant at the William Morris Agency.[41] Attracted by the drug's ability to alleviate stress and inspire creativity, Wilson completed the Beach Boys' forthcoming Today! album by late January 1965 and quickly began work on their next, Summer Days. Sometime in April, Wilson experienced his first acid trip, which had a profound effect on his musical and spiritual conceptions.[40] Again, Daro was hesitant to provide drugs to Wilson, which he did not feel he was ready for, but has recounted that his dosage was "one hundred and twenty-five mics of pure Owsley," and that "he had the full-on ego death. It was a beautiful thing."[42] The music for "California Girls" came from this first LSD experience, a composition which would later be released as a #3 charting single.[43] Wilson continued experimenting with psychotropics for the next few years, sometimes even during recording sessions.[44] He became fixated on psychedelia, claiming to have coined a slang, "psychedelicate,"[45] and foreseeing that "psychedelic music will cover the face of the world and color the whole popular music scene."[46] A week after his first LSD trip, Wilson began suffering from auditory hallucinations, which have persisted throughout his life.[47]

Pet Sounds, "genius" promotion, and Smile

Brian Wilson 1966
Wilson in 1966

In late 1965, Wilson began working on material for a new project, Pet Sounds. He formed a temporary songwriting partnership with lyricist Tony Asher, who was suggested to Wilson by mutual friend Daro.[48] Wilson, who had recorded the album's instrumentation with the Wrecking Crew, then assembled the Beach Boys to record vocal overdubs, following their return from a tour of Japan. Upon hearing what Wilson had created for the first time in 1965,[35] the group, particularly Mike Love, was somewhat critical of their leader's music,[38] and expressed their dissatisfaction.[35] At this time, Wilson still had considerable control within the group and, according to Wilson, they eventually overcame their initial negative reaction, as his newly created music began to near completion.[35] The album was released May 16, 1966, and, despite modest sales figures at the time, has since become widely critically acclaimed, often being cited among the all-time greatest albums. Although the record was issued under the group's name, Pet Sounds is arguably seen as a Brian Wilson solo album. Wilson even toyed with the idea by releasing "Caroline, No" as a solo single in March 1966, it reaching number 32 on the Billboard charts.[49]

During the Pet Sounds sessions, Wilson had been working on another song, which was held back from inclusion on the record as he felt that it was not sufficiently complete. The song "Good Vibrations" set a new standard for musicians and for what could be achieved in the recording studio. Recorded in multiple sessions and in numerous studios, the song eventually cost $50,000 (equivalent to $386,103 in 2018) to record within a six-month period.[50] In October 1966, it was released as a single, giving the Beach Boys their third US number-one hit after "I Get Around" and "Help Me, Rhonda". It sold over a million copies.

Sometime after Pet Sounds was released, the Beatles' press agent Derek Taylor started working as a publicist for the Beach Boys. He gradually became aware of Wilson's reputation as a "genius" among musician friends, a belief that wasn't widely held at the time.[51] Motivated by Wilson's musical merits, Taylor responded with a campaign that would reestablish the band's outdated surfing image, and was the first to tout Wilson as a "genius".[51][52] According to Van Dyke Parks, this was "much to Brian's embarrassment".[52]

By the time of the universal success of "Good Vibrations", Wilson was underway with his next project, Smile, which Wilson described as a "teenage symphony to God." "Good Vibrations" had been recorded in modular style, with separately written sections individually tracked and spliced together, and Wilson's concept for the new album was more of the same, representing a departure from the standard live-taped performances typical of studio recordings at that time. Having been introduced to Van Dyke Parks at a garden party at Terry Melcher's home, Wilson liked Parks' "visionary eloquence" and began working with him in the fall of 1966.[53] After Wilson famously installed a sandbox and tent in his living room, the pair collaborated closely on several Smile tracks. Conflict within the group and Wilson's own growing personal problems threw the project into terminal disarray. Originally scheduled for release in January 1967, the release date was continually pushed back until press officer Derek Taylor announced its cancellation in May 1967.

1967–1975: Career decline

Home studio, institutionalization, and reduced band involvement

By 1967, Wilson's life was on the verge of a serious decline. Following the cancellation of Smile, the Beach Boys relocated to a studio situated in the living room of Wilson's new mansion in Bel Air (once the home of Edgar Rice Burroughs), where the band would primarily record until 1972. This has been perceived by some commentators as "the moment when the Beach Boys first started slipping from the vanguard to nostalgia."[35][55] Throughout mid-to-late 1967, Wilson oversaw the production of only a few heavily orchestrated songs holding continuity with his Pet Sounds and Smile work, such as "Can't Wait Too Long" and "Time to Get Alone". Wilson's interest in the Beach Boys began to wane. Carl explained: "When we did Wild Honey, Brian asked me to get more involved in the recording end. He wanted a break. He was tired. He had been doing it all too long."[56]

Still psychologically overwhelmed by the cancellation of Smile and the imminent birth of his first child Carnie Wilson in 1968 amid the looming financial insolvency of the Beach Boys, Wilson's creative directorship within the band became increasingly tenuous; additionally, cocaine had begun to supplement Wilson's regular use of amphetamines, marijuana, and psychedelics.[57] Shortly after abandoning an intricate arrangement of Kern and Hammerstein's "Ol' Man River" at the instigation of Mike Love,[58] Wilson entered a psychiatric hospital for a brief period of time. Biographer Peter Ames Carlin has speculated that Wilson had self-admitted and may have been administered a number of treatments ranging from talking therapies to doses of Lithium and electroconvulsive therapy during this stay.[59]

In his absence, 1969's 20/20 consisted substantially of key Smile outtakes ("Cabinessence" and "Our Prayer") along with the long-germinating "Time to Get Alone". The album's lead track, the Wilson/Love-authored "Do It Again", was an unabashed throwback to the band's earlier surf hits, and had been an international hit in the summer of 1968, reaching number 20 in the US charts and number 1 in the UK and Australia while also scoring well in other countries. During this phase, Wilson also collaborated with his father (credited under the pseudonym of Reggie Dunbar) on "Break Away", the band's final single for Capitol Records under their original contract; although relatively unsuccessful in the US (peaking at number 63 in Billboard), the song reached number 6 on the British singles chart.

At a press conference ostensibly convened to promote "Break Away" to the European media shortly thereafter, Wilson intimated that "We owe everyone money. And if we don't pick ourselves off our backsides and have a hit record soon, we will be in worse trouble ... I've always said, 'Be honest with your fans.' I don't see why I should lie and say that everything is rosy when it's not." These incendiary remarks ultimately thwarted long-simmering contract negotiations with Deutsche Grammophon.[60] Although Murry Wilson's sale of the Sea of Tunes publishing company (including the majority of Wilson's oeuvre) to A&M Records' publishing division for $700,000 at the band's commercial nadir in 1969 renewed the longstanding animus[61] between father and son, the younger Wilson stood in for Mike Love during a 1970 Northwest tour when Love was convalescing from illness. He also resumed writing and recording with the Beach Boys at a brisk pace; seven of the twelve new songs on the 1970 album Sunflower were either written or co-written by Wilson. Nevertheless, the album (retrospectively appraised as "perhaps the strongest album they released post-Pet Sounds" by Pitchfork)[62] was a commercial failure in the US, peaking at number 151 during a four-week Billboard chart stay in October 1970. Following the termination of the Capitol contract in 1969, the band's new contract with then-au courant Reprise Records (brokered by Van Dyke Parks, employed as a multimedia executive at the company at the time) stipulated Wilson's proactive involvement with the band in all albums,[63] a factor that would become hugely problematic for the band in the years to come.

Bedroom Tapes, American Spring, and the Radiant Radish

Sometime in 1969, Wilson opened a short-lived health food store called The Radiant Radish.[37] The store closed in 1971 due to unprofitable produce expenditures and Wilson's general lack of business acumen.[65] Reports from this era detailed Wilson as "increasingly withdrawn, brooding, hermitic ... and occasionally, he is to be seen in the back of some limousine, cruising around Hollywood, bleary and unshaven, huddled way tight into himself."[66] This notion was contested by lyricist and close friend Stanley Shapiro.[67] Nevertheless, Wilson's reputation suffered as a result of his purported eccentricities, and he quickly became known as a commercial has-been whom record labels feared.[67] When Shapiro persuaded Wilson to rewrite and rerecord a number of Beach Boys songs in order to reclaim his legacy, he contacted fellow songwriter Tandyn Almer (whom Wilson would later characterize as his "best friend")[68] for support. The trio then spent a month reworking cuts from the Beach Boys' Friends album.[69] As Shapiro handed demo tapes to A&M Records executives, they found the product favorable before they learned of Wilson and Almer's involvement, and proceeded to veto the idea.[70][nb 1] Wilson commented in 1976:

Once you've been labeled as a genius, you have to continue it or your name becomes mud. I am a victim of the recording industry. I didn't think I was a genius. I thought I had talent. But I didn't think I was a genius.[56]

Throughout the late 1960s and early 1970s, Wilson amassed myriad home demo recordings which later became informally known as the "Bedroom Tapes".[72] Most of these recordings remain unreleased and unheard by the public. Some of the material has been described as "schizophrenia on tape," and "intensely personal songs of gentle humanism and strange experimentation, which reflected on his then-fragile emotional state."[72] Beach Boys archivist Alan Boyd observed: "A lot of the music that Brian was creating during this period was full of syncopated exercises and counterpoints piled on top of jittery eighth-note clusters and loping shuffle grooves. You get hints of it earlier in things like the tags to 'California Girls,' 'Wouldn't It Be Nice' and all throughout Smile, but it takes on an almost manic edge in the '70s."[72] Wilson's daughter Wendy remembers, "Where other people might take a run to release some stress, he would go to the piano and write a 5-minute song."[73] Her sister Carnie has recounted: "My memories of him are him wandering from room to room ... thinking about something. I always wanted to know what he was thinking, you know? Who knows what he was thinking in his head? ... We got used to what the whole environment was. It was very musical; there was always a piano going. Either "Rhapsody in Blue" was playing, or ..."Be My Baby"—I mean—I woke up every morning to boom boom-boom pow! Boom boom-boom pow! Every day."[73]

While working at the Radiant Radish, Wilson met journalist and radio presenter Jack Rieley, who would manage the Beach Boys and act as Wilson's principal lyricist for the next few years.[76] Wilson played and sang on much of the 1971 Surf's Up album—the band's highest American album chart placement (No. 29) since 1967—and wrote or co-wrote four of the album's ten songs, including the title track. However, only one fully formed original song from Wilson emerged during the album's nominal recording sessions, the dirge-like "A Day in the Life of a Tree".[77] According to engineer Stephen Desper, the cumulatively deleterious effects of Wilson's cocaine and tobacco use began to affect his vocal register in earnest during the Surf's Up sessions.[78]

The Beach Boys 1971 Central Park
The Beach Boys performing in the early 1970s without Wilson

In late 1971 and early 1972, he worked on an album for the American Spring, titled Spring, a new collaboration between erstwhile Honeys Marilyn Wilson and Diane Rovell. He was closely involved in the home-based recordings with co-producer David Sandler and engineer Stephen Desper, and did significant work on more than half of the tracks. As with much of his work in the era, his contributions "ebbed and flowed."[79] According to Dan Peek of America, Wilson "held court like a Mad King as [longtime friend] Danny Hutton scurried about like his court jester" during the ascendant band's engagement at the Whisky a Go Go in February 1972.[80] Concurrently, he contributed to three out of eight songs on Beach Boys' Carl and the Passions – "So Tough" (1972).

Later that year, he reluctantly agreed to accompany the band to the Netherlands, where they based themselves to record Holland. Although physically present, he often yielded to his vices (primarily hashish and hard cider) and rarely participated, confining himself to work on "Funky Pretty" (a collaboration with Mike Love and Jack Rieley); a one-line sung intro to Al Jardine's "California Saga: California"; and Mount Vernon and Fairway (A Fairy Tale), a narrative suite musically inspired by Randy Newman's Sail Away that was promptly rejected by the band. However, Carl Wilson ultimately capitulated and ensured that the suite would be released as a bonus EP with the album.[81] When the album itself was rejected by Reprise, the song "Sail On, Sailor"—a collaboration with Van Dyke Parks dating from 1971 that had grown to encompass additional lyrical contributions solicited by Wilson at parties hosted by Hutton—was inserted at the instigation of Parks and released as the lead single.[82] It promptly garnered a considerable amount of FM radio play, became a minor chart hit, and entered the band's live sets as a concert staple.

In 1973, Jan Berry (under the alias JAN) released the single "Don't You Just Know It", a duet featuring Wilson.[83]

Recluse period

Wilson spent a great deal of the two years following his father's June 1973 death, secluded in the chauffeur's quarters of his home; sleeping, abusing alcohol, taking drugs (including heroin), overeating, and exhibiting self-destructive behavior.[85] He attempted to drive his vehicle off a cliff, and at another time, demanded that he would be pushed into and buried in a grave that he had dug in his backyard.[72] During this period, his voice deteriorated significantly as a result of his mass consumption of cocaine and incessant chain smoking.[86] Wilson later said that he was preoccupied with "[doing] drugs and hanging out with Danny Hutton" (whose house became the center of Wilson's social life) during the mid-1970s.[87] John Sebastian often showed up at Wilson's Bel Air home "to jam" and later recalled that "it wasn't all grimness."[88] Although increasingly reclusive during the day, Wilson spent many nights at Hutton's house fraternizing with Hollywood Vampire colleagues, such as Alice Cooper and Iggy Pop, who were mutually bemused by an extended Wilson-led singalong of the folk song "Shortnin' Bread"; other visitors of Hutton's home included Vampires Harry Nilsson, John Lennon, Ringo Starr, and Keith Moon.[67] Micky Dolenz recalls taking LSD with Wilson, Lennon, and Nilsson, where Wilson "played just one note on a piano over and over again".[89] On several occasions, Marilyn Wilson sent her friends to climb Hutton's fence and retrieve her husband.[87]

Jimmy Webb reported Wilson's presence at an August 2, 1974 session for Nilsson's "Salmon Falls"; he kept in the back of the studio playing "Da Doo Ron Ron" haphazardly on a B3 organ.[90] Later that month, he was photographed at Moon's 28th birthday party (held on August 28 at the Beverly Wilshire Hotel) wearing only his bathrobe. Sometime in 1974, Wilson interrupted a set by jazz musician Larry Coryell at The Troubadour by leaping onto stage and singing "Be-Bop-A-Lula", again wearing slippers and a bathrobe.[91]

During summer 1974, the Capitol Records-era greatest hits compilation Endless Summer reached number 1 on the Billboard charts, reaffirming the relevance of the Beach Boys in the popular imagination. However, recording sessions for a new album under the supervision of Wilson and James William Guercio at Caribou Ranch and the band's studio in Santa Monica that autumn yielded only a smattering of basic tracks, including a banjo-driven arrangement of "The Battle Hymn of the Republic"; "It's O.K.", an uptempo collaboration with Mike Love; the ballad "Good Timin'"; and Dennis Wilson's "River Song".[92] Eventually, Wilson diverted his attentions to "Child of Winter", a Christmas single co-written with Stephen Kalinich; released belatedly for the holiday market on December 23, it failed to chart.[93]

Although still under contract with Warner Brothers Records, Wilson signed a sideline production deal with Bruce Johnston and Terry Melcher's Equinox Records in early 1975. Together, they founded the loose-knit supergroup known as California Music, which involved them along with L.A. musicians Gary Usher, Curt Boettcher, and a few others.[85] This contract was nullified by the Beach Boys' management, who perceived it as an attempt by Wilson to relieve the burden of his growing drug expenses, and it was demanded that Wilson focus his efforts on the Beach Boys, even though he strongly desired to escape from the group.[85] The idea of California Music immediately disintegrated.[85]

1975–1992: Landy interventions

First treatment

Marilyn and the Wilson family were dismayed by Wilson's continued deterioration and were reluctant to payroll him as an active partner in the touring Beach Boys, an arrangement that had persisted for a decade. They enlisted the services of radical therapist Eugene Landy in October 1975.[95] Landy diagnosed him as paranoid schizophrenic (a diagnosis later retracted), and the treatment prompted Wilson to become more stable and socially engaged, and his productivity increased again.[96] The tagline "Brian's Back!" became a major promotional tool for the new Beach Boys album 15 Big Ones, released to coincide with their fifteenth anniversary as a band as a mixture of traditional pop covers with newly written original material. The record was released in the summer of 1976 to commercial acclaim and, despite lukewarm reviews, peaked at number 8 on the Billboard album chart. Wilson returned to regular stage appearances with the band, alternating between piano and bass, and made a solo appearance on Saturday Night Live in November 1976; to the chagrin of the other Beach Boys, producer Lorne Michaels stipulated an exclusive performance from Wilson.[97]

Brian Wilson 1976 crop
Wilson at a 15 Big Ones session, circa 1976

Wilson's behavior during this time was reported by many to be strange and off-putting, and Landy's role was described as "unethical" and ostentatious.[94] Often, Wilson would ask for drugs in mid-interview.[98][99][100] During this period, Wilson was under constant surveillance by bodyguards, which he resented.[99] Rolling Stone editor David Felton chronicled bizarre exchanges between Wilson and Landy in "The Healing of Brother Brian", a profile of the resurgent band published by the magazine in November 1976; these included a report of Landy's medical staff promising Wilson a cheeseburger in exchange for writing a new song.[98]

Wilson expressed a fervent desire to leave the group and record a solo album in this period but could not, due to conflicts that it would create between him and the group, leading him to remark, "Sometimes I feel like a commodity in a stock market." He was also firm in that he wanted to record another work on par with the achievement of Pet Sounds.[99] In April 1977, the all-original album by Wilson, Love You, was released bearing the Beach Boys moniker, although the group's contributions were minimal. It was described by Wilson as an attempt to relieve himself from mental instability brought on by a period of inactivity.[101] Love You has since been cited as an early work of synthpop.[102] The album features playful lyrics (alternately invoking Johnny Carson, Phil Spector, and adolescent interests) and stark instrumentation (featuring Moog bass lines and gated reverb-drenched drum patterns reflective of contemporaneous work by David Bowie and Tony Visconti). Although Love You only reached number 53 on the Billboard chart, it was lauded as an artistic watershed by many critics, including punk rock lodestar Patti Smith (writing for Hit Parader) and Robert Christgau of The Village Voice.[103][104]

Wilson was under Landy's care for fourteen months until December 1976, when the therapist was dismissed for a dispute on his monthly fee.[105] Throughout the next several years, Wilson vacillated between periods of relative stability (frequently joining the touring band on piano, bass and vocals and writing or co-writing eight of the twelve tracks on 1978's poorly received M.I.U. Album) and resurgences of his addictions. During this period, Wilson and his wife, Marilyn, amicably divorced in 1979 due to the strain of his erratic behavior on their family.[106] He repeatedly checked in and out of hospitals and continued to be plagued by incessant mood swings. At one point, he wandered off alone for several days and was sighted at a gay bar playing piano for drinks.[107][108] For a short period in 1978, he lived as a vagrant in Balboa Park, San Diego until police officers took him to Alvarado Hospital for alcohol poisoning.[108][109][110] Wilson's role in the band, as well as the Beach Boys' commercial prospects, began to diminish once more. By 1982, he was immersed in debt, owing the government tens of thousands of dollars in back taxes.[111]

Second treatment

After Wilson overdosed on a combination of alcohol, cocaine, and other psychoactive drugs, he once again employed Landy. With this effort by Landy, a more radical program was undertaken to try to restore to Wilson's health.[105] This involved removing him from the Beach Boys on November 5, 1982 at the behest of Carl Wilson, Mike Love, and Al Jardine,[111] in addition to isolating him from his family and friends in Hawaii as well as putting him on a rigorous diet and health regimen.[112] According to Carolyn Williams, Wilson refused to see Landy: "They told him that the only way that he could be a Beach Boy again, and the only way they would release his 1982 tour disbursement money, was if he would agree to see Dr. Landy. Brian started yelling that he didn't like Dr. Landy and that [Landy] was charging him $20,000 a month the last time. He was willing to see anybody to get the weight off, but he didn't want to see Landy. And they said, 'Well, no, you have to see Dr. Landy. That's the only way.'"[111] Landy described the program that he accorded Wilson in The Handbook of Innovative Psychotherapies:

The success of twenty-four-hour therapy rests on the extent to which the therapeutic team can exert control over every aspect of the patient's life. ... [The goal is to] totally disrupt the privacy of [the] patient's [life], gaining complete control over every aspect of their physical, personal, social, and sexual environments.[113]

Coupled with long, extreme counseling sessions, this therapy was successful in bringing Wilson back to physical health, slimming down from 311 pounds (141 kg) to 185 pounds (84 kg).[114] As Wilson's recovery consolidated, he rejoined the Beach Boys for Live Aid in 1985 and participated in the recording of the Steve Levine-produced album The Beach Boys. Wilson stopped working with the Beach Boys on a regular basis after the release of the album, largely due to the control that Landy exercised. Eventually, Landy's therapy technique created a Svengali-like environment for Wilson, controlling every movement in his life, including his musical direction.[115] In the mid 1980s, Landy stated, "I influence all of [Brian]'s thinking. I'm practically a member of the band ... [We're] partners in life."[116] Wilson later responded to allegations with, "People say that Dr. Landy runs my life, but the truth is, I'm in charge."[117]

Between 1983 and 1986, Landy charged about $430,000 annually. When he requested more money, Carl Wilson was obliged to give away a quarter of Wilson's publishing royalties.[105] In 1988, Wilson said that "Dr. Landy doesn't like me to be in touch with my family too much. He thinks it's unhealthy." Landy responded to the charges that he exerted too much control on the songwriter: "He's got a car phone in his car. If he wants to call somebody, he calls somebody... He can go anywhere, on his own, anytime he wants." Regarding Wilson's relationship to the Beach Boys at that time, Wilson added: "Although we stay together as a group, as people we're a far cry from friends. One time we were doing an interview together, and the interviewer asked Carl what it was between him and me. He goes, 'Well, Brian and I don't have to talk to each other. We're just Beach Boys, but we don't need to be friends.' And that's true. Although, whenever I think about him, I feel rotten."[118]

Wilson signed to a solo record deal with Sire Records label boss Seymour Stein and variously worked with Andy Paley, Russ Titelman and Landy's girlfriend as co-authors on the new material. Old friend and collaborator Gary Usher was a key participant in the early demo work for the album, though Landy later removed him from the project. After several years of genesis, Wilson released his debut solo album Brian Wilson. His work may have been hampered by Landy's influence, since Landy insisted on controlling involvement in every aspect of Wilson's writing and recording and his lyrical influence is significant.

Despite the critical success of his debut solo album, rumors abounded that Wilson had either suffered a stroke or had been permanently disabled due to excessive drug use.[120] The actual problem was that Wilson, who had been prescribed massive amounts of psychotropic drugs by Landy's staff since 1983, had developed tardive dyskinesia,[121] a neurological condition marked by involuntary, repetitive movements, that develops in about 20 percent of patients treated with anti-psychotic drugs for an extended period of time.[122] During recording of the Brian Wilson album, engineering staff had observed what seemed to be "every pharmaceutical on the face of the earth," referring to the medicine bag Landy was using to store Wilson's prescription drugs.[123] Landy separated from Wilson in 1989, however, they remained business partners.[124] Wilson's proposed second solo album under the direction of Landy, titled Sweet Insanity, was rejected by Sire in 1990.

An ostensible memoir, Wouldn't It Be Nice: My Own Story, was published in 1991. In the book, whose authorship is still debated, Wilson spoke about his troubled relationship with his abusive father Murry, his private disputes with the Beach Boys and his lost years of mental illness.[125] Landy's illegal use of psychotropic drugs on Wilson, and his influence over Wilson's financial affairs, were legally ended by his brother Carl and other members of the Wilson family after a two-year-long conservatorship battle in Los Angeles. Landy's misconduct resulted in the loss of his license to practice in California,[126] as well as a court-ordered removal and restraining order from Wilson.[105][127]

1990s–2010s: Touring and solo resurgence

Collaborations and unfinished projects

Wilson released two albums simultaneously in 1995. The first was the soundtrack to Don Was's documentary I Just Wasn't Made for These Times, which consisted of new versions of several Beach Boys and solo songs. The second, Orange Crate Art, saw Wilson as lead vocalist on an album produced, arranged and written by Van Dyke Parks. I Just Wasn't Made for These Times includes Wilson performing for the first time with his now-adult daughters, Wendy and Carnie of the group Wilson Phillips and Van Dyke Parks. During the early 1990s, he also worked on some tracks with power pop band Jellyfish, which remain unreleased.[128] Roger Manning has recounted an anecdote during these sessions involving Wilson falling asleep at the piano yet continuing to play.[129] Later in the decade, Wilson and his daughters Carnie and Wendy would release an album together, titled The Wilsons (1997). Also, around this time, Wilson sang backup vocals on Belinda Carlisle's "California".

Having missed out on the Beach Boys' 27th studio album Summer in Paradise, Wilson returned to the Beach Boys for sporadic recording sessions and live performances during the early to mid-1990s.[130] Working with collaborators Andy Paley and Don Was, the sessions were reported to have been tenuous. It had also been discussed that Wilson and the Beach Boys would work with Sean O'Hagan of the High Llamas on a comeback album for Wilson and the Beach Boys.[131] All projects collapsed, and instead, Wilson was involved with the 1996 Beach Boys album Stars and Stripes Vol. 1: a group collaboration, backing country music artists singing lead vocals of Beach Boys' standards.

In 1998, he teamed with Chicago-based producer Joe Thomas for the album Imagination. Following this, he received extensive vocal coaching to improve his voice, learned to cope with his stage fright, and started to consistently perform live for the first time in decades. This resulted in Wilson successfully performing the entire Pet Sounds album live throughout the US, UK and Europe. In 1999, Wilson filed a suit against Thomas, seeking damages and a declaration which freed him to work on his next album without involvement from Thomas.[132] The suit was made after Thomas allegedly began to raise his industry profile and wrongfully enrich himself through his association with Wilson. Thomas reciprocated with a suit citing that Melinda Wilson "schemed against and manipulated" him and Wilson. The case was settled out of court.[133] Wilson's third solo album Gettin' In Over My Head (2004) featured collaborations with Elton John, Paul McCartney, Eric Clapton and brother Carl, who died of lung cancer in February 1998.

Brian Wilson Presents Smile

With his mental health on the mend, Wilson decided to revisit the aborted Smile project from 1967. Aided by musician and longtime fan Darian Sahanaja of Wondermints, and lyricist Van Dyke Parks, Wilson reimagined the session material into something that would work in a live context. His work was finally revealed in concert on February 20, 2004, 37 years after it was conceived, though he later stated that the finished product was substantially different from what was originally envisioned. Wilson debuted his 2004 interpretation of Smile at the Royal Festival Hall in London and subsequently toured the UK. Following the tour, Brian Wilson Presents Smile was recorded, and released in September 2004. The release hit number 13 on the Billboard chart. At the 47th Grammy Awards in 2005, Wilson won his first Grammy for the track "Mrs. O'Leary's Cow" as Best Rock Instrumental. In 2004, Wilson promoted Brian Wilson Presents Smile with a tour of Australia, New Zealand and Europe.

Brian Wilson
The Brian Wilson Band performing in 2005.

In February 2005, Wilson had a cameo in the television series Duck Dodgers in the 24½th Century as Daffy Duck's spiritual surfing adviser.[134] On June 26, 2005, Wilson performed at Glastonbury Festival in England to critical success.[135] On July 2, 2005, Wilson performed for the Live 8 concert in Berlin, Germany. In September 2005, Wilson arranged a charity drive to aid victims of Hurricane Katrina, wherein people who donated $100 or more would receive a personal phone call from Wilson. According to the website, over $250K was raised.[136] In November 2005, former bandmate Mike Love sued Wilson over "shamelessly misappropriating ... Love's songs, likeness, and the Beach Boys trademark, as well as the 'Smile' album itself" in the promotion of Smile.[137] The lawsuit was ultimately dismissed on grounds that it was meritless.[138]

In December 2005, Wilson released What I Really Want for Christmas for Arista Records. The release hit number 200 on the Billboard chart, though sales were modest. Wilson's remake of "Deck the Halls" became a surprise Top 10 Adult Contemporary hit. He appeared in the 2005 holiday episode of Extreme Makeover: Home Edition, performing "Deck the Halls" for children with xeroderma pigmentosum (hypersensitivity to sunlight) at Walt Disney World Resort.

To celebrate the 40th anniversary of Pet Sounds, Wilson embarked on a brief tour in November 2006.[139] Beach Boy Al Jardine accompanied Wilson for the tour.[140]

That Lucky Old Sun and band reunion

Wilson released That Lucky Old Sun in September 2008. The piece originally debuted in a series of September 2007 concerts at London's Royal Festival Hall, and in January 2008 at Sydney's State Theatre while headlining the Sydney Festival.[141] Wilson described the piece as "... consisting of five 'rounds', with interspersed spoken word."[142] A series of US and UK concerts preceded its release. On September 30, 2008, Seattle's Light in the Attic Records released A World of Peace Must Come, a collaboration between Wilson and Stephen Kalinich, originally recorded in 1969, but later lost in Kalinich's closet.[143]

Around this time, Wilson announced that he was developing another concept album, titled Pleasure Island: A Rock Fantasy. Accordingly: "It’s about some guys who took a hike, and they found a place called Pleasure Island. And they met all kinds of chicks, and they went on rides and — it’s just a concept. I haven’t developed it yet. I think people are going to love it — it could be the best thing I’ve ever done."[144] The album has yet to surface, and for several years, Wilson has consistently maintained in interviews that he wishes his "next album" to be more rock-oriented.

In summer 2009, Wilson signed a two-record deal with Disney after he was approached to record an album of his interpretations of Gershwin songs, and to assess unfinished piano pieces by Gershwin for possible expansion into finished songs. After extensive evaluation of a vast body of Gershwin fragments, Wilson chose two to complete. The resulting album, Brian Wilson Reimagines Gershwin, was released in August 2010 on Disney's Pearl label.[145] Brian Wilson Reimagines Gershwin achieved Number 1 position on the Billboard Jazz Chart, and had sold 53,000 copies by August 2011.[146] Wilson's second album for Disney was In the Key of Disney, a collection of Disney film songs, which was released on October 25, 2011.[146] Wilson contributed his revival of Buddy Holly's "Listen to Me" to the tribute album, Listen to Me: Buddy Holly, released on September 6, 2011, on Verve Forecast. Rolling Stone praised Wilson's version as "gorgeous," featuring "... angelic harmonies and delicate instrumentation."[147]

Brian Wilson and Bass 2012 framed by Mike Love (rotated)
Wilson performing with the Beach Boys during their brief 2012 reunion

The official Beach Boys release of the original, partially completed Smile recordings was overseen by Wilson for the compilation, titled The Smile Sessions, released on October 31, 2011.[148]

In October 2011, Jardine reported that the Beach Boys would reunite in 2012 for 50 American dates and 50–60 overseas dates.[149] The Beach Boys released their new album, That's Why God Made the Radio, on June 5, 2012. The album's title track was released as its first single in April 2012. The new album debuted at Number 3 on the Billboard charts which was their highest album debut to date.[150] Following the reunion a year later, it was announced that Wilson would no longer tour with the band as Mike Love returned the lineup to its pre-Anniversary Tour configuration with him and Bruce Johnston as its only members.[151]


On June 6, 2013, Wilson's website announced that he was recording and self-producing new material with guitarist Jeff Beck, session musician/producer Don Was, as well as fellow Beach Boys Al Jardine, David Marks, and Blondie Chaplin.[152] On June 20, the website announced that the material might be split into three albums: one of new pop songs, another of mostly instrumental tracks with Beck, and another of interwoven tracks dubbed "the suite" which initially began form as the closing four tracks of That's Why God Made The Radio.[153] In January 2014, Wilson confirmed that he did not write any new material with Beck, that Beck was just a guest musician on songs he wrote and nothing the duo recorded together would appear on his upcoming album.[154][155]

Premiering in September 2014 at the Toronto International Film Festival, Wilson was in attendance at the first screening of Love & Mercy, a biographical film of his life directed by Bill Pohlad.[156] On October 7, 2014, BBC released a newly recorded version of "God Only Knows" with guest appearances by Wilson, Brian May, Elton John, Jake Bugg, Stevie Wonder, Lorde, and many others. It was recorded to celebrate the launch of BBC Music.[157] A week later, Wilson was featured as a guest vocalist for the Emile Haynie single "Falling Apart".[158] A cover of Paul McCartney's "Wanderlust" was contributed by Wilson for the tribute album The Art of McCartney, released in November 2014.

Almost two years after recording began, Wilson released his eleventh solo album, No Pier Pressure, on April 7, 2015. The thirteen track album (a deluxe edition containing three bonus tracks was also released) features many guest appearances including Al Jardine, David Marks and Blondie Chaplin. Fun’s Nate Ruess, She & Him’s Zooey Deschanel and M Ward, Capital CitiesSebu Simonian, along with Kacey Musgraves and Peter Hollens.[159] Earlier in January 2015, Wilson contributed vocals to Mini Mansions' single "Any Emotions" from the album The Great Pretenders.[160] On September 17, 2015, Wilson announced that he would play a November 4 benefit concert as part of a new partnership with the Campaign to Change Direction. Proceeds from the concert will go to provide free mental health services to veterans.[161]

To celebrate the 50th anniversary of Pet Sounds, Wilson embarked on the Pet Sounds 50th Anniversary World Tour in April 2016. It was promoted as his final performances of the album.[162] An autobiography titled I Am Brian Wilson, co-written by ghostwriter Ben Greenman, was published in October 2016.[163] That same month, Wilson announced a new album, Sensitive Music for Sensitive People, comprising originals and rock and roll cover songs.[164] He describes the name as a "working title", and that recording would begin in December 2016.[165]


God Only Knows diagram
A visual representation of the melody and chord structure of "God Only Knows"

Wilson's understanding of music theory was self-taught.[166] The first instrument he learned to play was a toy accordion[167] before quickly moving to piano and then bass guitar.[168] From an early age, Wilson demonstrated an extraordinary skill for learning music by ear on keyboard.[169] According to bassist Carol Kaye, "He took bass up another step. He saw it as integral in a symphonic orchestra. He used bass as the framework for a hit record. Very few people can write for bass, but his writing was beautiful. There are a lot of jazz musicians who admire him for it."[88]

The work of record producer Phil Spector, who popularized the Wall of Sound, was a focal obsession for Wilson.[38] In the 1960s, Wilson thought of Spector as "the single most influential producer. He's timeless. He makes a milestone whenever he goes into the studio."[170] Wilson later reflected: "I was unable to really think as a producer up until the time where I really got familiar with Phil Spector's work. That was when I started to design the experience to be a record rather than just a song."[171] Wilson's work is sometimes characterized as avant-garde pop.[172][173] Critic Michael Hann cites an "extraordinary rush of avant-pop creativity between 1965 and 1967".[174] In the belief of writer Richard Goldstein: "[Wilson] never realized his full potential as a composer. In the light of electronica and minimalism, you can see how advanced his ideas were, but they remain bursts of inspiration from a mind that couldn't mobilize itself into a whole. This was the major tragedy of rock in the sixties."[175]

Wilson believes after he first took LSD in 1965: "It expanded my mind a little bit, so I could write better songs ... [While] it was worth it, I wouldn't take it again."[176] He has spoken that "It isn't easy for me. So many things have scared me in my life – I've got fears, lots of stuff. I mean, boy, just all the records that have scared me. So many records just rocked my world, man. It's heavy."[177] He named "What a Fool Believes" (1978) as a song he considers a "scary record"[177] and once believed that Procol Harum's "A Whiter Shade of Pale" (1967) was his funeral march.[178] He denied that the Beatles ever influenced him, only that they inspired him.[179] Alice Cooper reported that Wilson once considered the traditional standard "Shortnin' Bread" to be the greatest song ever written, as he quotes Wilson for an explanation: "I don't know, it's just the best song ever written."[180]

Personal life


From late 1964 to 1979, Wilson was married to Marilyn Rovell. Together, they had two daughters Carnie and Wendy. Both went on to musical success of their own in the early 1990s as two-thirds of the singing group, Wilson Phillips. In 1995, Wilson married Melinda Kae Ledbetter,[181] a car saleswoman and former model whom he met in 1986.[177] They dated for three years before Landy put an end to their relationship. Wilson and Ledbetter reconnected in 1992 and married in 1995.[177] As of 1999, Melinda was acting as Brian's manager, a job which she said is "basically negotiating, and that's what I did every single day when I sold cars."[177] Wilson and Ledbetter adopted two sons, Dylan and Dash.

Wilson has six grandchildren.


In 1999, when asked if he was a religious man, Wilson responded: "I believe in Phil Spector,"[182] later clarifying that while he had spiritual beliefs, he did not follow any particular religion,[183] also adding that he believed "music is God's voice."[184] When asked by The Guardian in 2004 if he believed in life after death, Wilson replied "I don't."[185]

Mental health

Wilson is officially diagnosed as a schizoaffective with mild manic depression.[186] He regularly experiences auditory hallucinations that present themselves in the form of disembodied voices.[187][188] According to him, he began having hallucinations in 1965, shortly after starting to use psychedelic drugs.[100][129][189] In 1984, he had been diagnosed as paranoid schizophrenic, with doctors finding evidence of brain damage caused by excessive and sustained drug abuse.[38] The paranoid schizophrenic diagnosis, originally made by Landy, was later retracted.[96] Wilson's mental condition improved in later years, although his struggles with auditory hallucinations were not eliminated. He credited his relationship with his wife with allowing him to resume his career as a musician. In his own words, he said that he should have spent the early 2000s "in a mental institution under heavy sedation" due to the stresses of his condition, however, "Things have started to get a little bit easier, but I'm not always in a positive, happy place."[187]

Brian Wilson 2017 (cropped)
Wilson performing Pet Sounds in 2017

Wilson is infamously difficult to interview, rarely ever giving a long answer.[190] According to Salon writer Peter Gilstrap: "He’s also been known to get up, extend a hand and blurt out 'Thanks!' well before the allotted time is up. And sometimes he just gets tired and shuts down. None of this, however, is due to a bad attitude."[191] He admits to having a poor memory, and in interviews, occasionally lies to "test" people.[192] David Oppenheim, who interviewed Wilson in 1966, remembers that "we tried to talk with him but didn't get much out of him. Some guy said 'He's not verbal.' He was odd and he seemed odder."[193] In 2017, the Charlotte Observer's Theodon Janes surmised that while Wilson's past struggles with mental illness are widely documented, he still "is faring well enough to write a book [I Am Brian Wilson] ... and to headline [a] hugely ambitious concert tour, so presumably he’s capable of telling people who work for him that he's not up for interviews, if he isn't."[194]

Whether Wilson truly consents to his semi-regular touring schedule since the 2000s is a subject of debate among fans.[195] In a 1999 A&E biography, Ledbetter stated: "We more or less decided that if he's going to stay in the music business, there's a certain way you stay in the music business, and it's not by making an album every ten years, and just throwing it out." Ginger Blake, a family friend formerly of the Honeys, characterized Wilson as "seemingly is in a fairly good place, but that's not the real Brian Wilson, that's the Brian Wilson who's become complacent and basically surrendered."[196] When asked about negative comments written in Wilson's 2016 autobiography, Mike Love responded: "He’s not in charge of his life, like I am mine. His every move is orchestrated, and a lot of things he's purported to say, there’s not tape of it. But, I don’t like to put undue pressure on him, either, because I know he has a lot of issues."[197][nb 2]

In 2011, after speaking to some of Wilson's acquaintances, biographer Jon Stebbins speculated that "Working in the studio and especially touring is not really his choice. His handlers, managers, and wife insist that he work. It's all a bit Landy-like when you look behind the curtain." Although Wilson often says that he enjoys touring, Stebbins writes of a "recent interview [where he was asked] what he disliked the most about touring, Brian replied that it was going on stage and performing. ... Upon hearing Brian say that, his 'handler' quickly reminded Brian, through a fake smile, that he loved performing."[195]

Legacy and influence

Cultural impact

Good Vibrations structure
Formal and harmonic structure of "Good Vibrations". The song is recognized by virtually all popular music critics as one of the most important compositions and recordings of the rock era.[201]

Wilson is widely regarded as one of the most innovative and significant songwriters of the late 20th century,[3] and his work is credited as a major innovation in the field of music production.[202] According to Erik Davis, "Not only did [he] write a soundtrack to the early '60s, but Brian let loose a delicate and joyful art pop unique in music history and presaged the mellowness so fundamental to '70s California pop."[203] The A.V. Club wrote that Wilson was among "studio rats ... [that] set the pace for how pop music could and should sound in the Flower Power era: at once starry-eyed and wistful."[204] Sean O'Hagan of the High Llamas named Wilson an important pioneer of experimental pop.[205] Once Wilson started incorporating quasi-symphonic textures into his work, many people began crediting him for propelling the mid-1960s art pop movement.[206] Carlin wrote that Wilson was the forerunner of "a new kind of art-rock that would combine the transcendent possibilities of art with the mainstream accessibility of pop music".[207] He is also regarded as the most famous outsider musician.[208][209] Author Irwin Chusid noted Wilson as an ironic example of the genre due to his past commercial success, but believes that Wilson's history of torment, substance abuse, and "loopy" material are what "certify" his outsider status.[208]

He was the first pop artist credited for writing, arranging, producing, and performing his own material.[210] As one of the first music producer auteurs, Wilson (along with George Martin) popularized the idea of the recording studio as a compositional tool[211] by using recording sessions as fertile creative terrain in and of themselves, a practice which was unheard of in his time and later shorthanded as "playing the studio".[212] Only 21 years old when he received the freedom to produce his own records with total creative autonomy, he ignited an explosion of like-minded California producers, supplanting New York as the center of popular records,[213] and becoming the first rock producer to use the studio as a discrete instrument.[214] The Beach Boys were thus one of the first rock groups to exert studio control.[215]

Music producers after the mid 1960s would draw on Wilson's influence, setting a precedent that allowed bands and artists to enter a recording studio and act as producers, either autonomously, or in conjunction with other like minds.[211] The Atlantic's Jason Guriel credits Pet Sounds with inventing the modern pop album, that Wilson "paved the way for auteurs ... anticipat[ing] the rise of the producer ... [and] the modern pop-centric era, which privileges producer over artist and blurs the line between entertainment and art. ... Anytime a band or musician disappears into a studio to contrive an album-length mystery, the ghost of Wilson is hovering near. ... [he was] the first to turn an album into an occasion."[216] In the late 1960s, Wilson also started a trend of "project" recording, where an artist records by himself instead of going into an established studio.[211]

In later years, Wilson became influential to the spirit of punk rock[217] and was regarded as "godfather" to an era of indie musicians who were inspired by his melodic sensibilities, chamber pop orchestrations, and recording explorations.[218] In lists published by Rolling Stone, Wilson ranked 52 for the "100 Greatest Singers of All Time" in 2008[5] and 12 for the "100 Greatest Songwriters of All Time" in 2015.[6] In 2012, music publication NME ranked Wilson number 8 in its "50 Greatest Producers Ever" list, elaborating "few consider quite how groundbreaking Brian Wilson's studio techniques were in the mid-60s".[7] His life was dramatized in the 2014 biopic Love & Mercy.

Awards and honors

Beach Boys Landmark
Monument on the site of the Wilsons' childhood home, now deemed a historic landmark by the state of California

In popular culture

Wilson is the subject of the documentary films I Just Wasn't Made for These Times (1995) and Beautiful Dreamer: Brian Wilson and the Story of Smile (2005). He is also the theme of several tribute albums.

A new, "definitive" documentary film about Wilson is nearing completion, according to Variety magazine.[232] Not yet titled, the forthcoming documentary is directed by Brent Wilson (no relation) and should be finished in January 2019.

Love & Mercy

In 2014, Wilson's life was dramatized in the biopic Love & Mercy, directed by Bill Pohlad. It stars John Cusack portraying Wilson during the 1980s and Paul Dano portraying Wilson during the 1960s. The film co-stars Paul Giamatti as Eugene Landy and Elizabeth Banks as Wilson's second wife, Melinda Ledbetter.


Studio albums


Year Title Role
2014 Love & Mercy himself (archival)
1993 Theremin: An Electronic Odyssey himself
1987 The Return of Bruno himself
1965 The Monkey's Uncle himself (with the Beach Boys)
1965 The Girls on the Beach himself (with the Beach Boys)
Year Title Role
2006 Tales of the Rat Fink The Surfite (voice)
2005 Duck Dodgers himself (voice)
1988 Full House himself (with the Beach Boys)
1988 The New Leave It To Beaver Mr. Hawthorne
1967 Inside Pop: The Rock Revolution himself


  1. ^ Wilson's close friendship with Almer reportedly deteriorated by early 1972 due to a variety of factors, including an alleged liaison between Almer and Marilyn Wilson and the purported theft of recording equipment from Wilson's home studio.[71]
  2. ^ In 2001, the High Llamas' Sean O'Hagan reported that Wilson was "not really responsible for his day-to-day life, he's totally dependent on other people. ... He's not mad, but he's got a kinda weird adult autism. I asked him what sort of record he wanted to make and told him he could have strings and brass, and I was witness to him running around his house shouting 'Too much!' and 'You're blowing my mind!' over and over."[198] XTC's Andy Partridge said to have "heard stories of people who've gone over to work with him, and he's not acknowledged them being in the room for days. ... he's definitely in the Wilsonverse, I don't think he's in the known universe. ... one of the few people you can actually call genius, I think, so hey, he can be as nutty as he wants."[199] Several weeks after Jeff Beck participated in recording sessions with Wilson in 2013, Beck encountered Wilson at a Los Angeles deli, as he recounts, "on the way out, I said, 'Hello, Brian,' he said, 'Hi!' And he walked straight past me [laughs]. It was like I never existed, like we had never toured for five weeks. There's something not quite right."[200]


  1. ^ Badman 2004, pp. 34–150.
  2. ^ Wilson, Carl (June 9, 2015). "The Beach Boys' Brian Wilson: America's Mozart?". BBC.
  3. ^ a b O'Shei, Tim (October 6, 2015). "A conversation with Brian Wilson". The Buffalo News.
  4. ^ Carlin 2006, pp. 198, 277.
  5. ^ a b "The 100 Greatest Singers of All Time". 1060. Jann Wenner. November 2008. p. 52. Retrieved December 26, 2013.
  6. ^ a b "100 Greatest Songwriters of All Time". Rolling Stone. August 2015.
  7. ^ a b "The 50 Greatest Producers Ever". 2012. p. 5. Retrieved July 6, 2013.
  8. ^ a b Gaines 1986, p. 40.
  9. ^ Michael Thomas Meggison. "#71 Royal Descents, Notable Kin, and Printed Sources: The Immediate New England and Royal Ancestry of the Beach Boys". American Ancestors. New England Historic Genealogical Society. Archived from the original on August 23, 2014.
  10. ^ Leaf 1978, p. 14.
  11. ^ Stebbins 2007, p. 14.
  12. ^ Carlin 2006, p. 11.
  13. ^ Carlin 2006, p. 10.
  14. ^ Carlin 2006, p. 12.
  15. ^ Leaf 1978, pp. 15–17.
  16. ^ Carlin 2006, p. 15.
  17. ^ Stebbins 2007, p. 18.
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External links

Brian Wilson (Australian rules footballer)

Brian Wilson (born 30 September 1961) is a former Australian rules footballer in the Victorian Football League (VFL).

Early in his career, he played in the centre and later became a forward pocket. At Melbourne he developed into an aggressive player, winning possessions in packs and showed great handballing skills.

Believed to be the only player to have won a Brownlow Medal at his third club. At 20 years of age, he was also the youngest winner since Bob Skilton in 1959.

Brian Wilson (baseball)

Brian Patrick Wilson (born March 16, 1982) is an American former professional baseball relief pitcher. He has played in Major League Baseball (MLB) for the San Francisco Giants and Los Angeles Dodgers. He stands 6 feet 1 inch (1.85 m) tall and weighs 205 pounds (93 kg). Wilson pitched collegiately at Louisiana State University. His college career ended during his junior season, when he injured his elbow and underwent Tommy John surgery. The San Francisco Giants selected him in the 2003 draft. He reached the major leagues in 2006 and had become the Giants' regular closer by the end of 2007. In 2010, he led the Majors with 48 saves which tied the franchise single season record while posting a 1.81 ERA, and he saved clinching games at every level of the playoffs, including the World Series.

In the first week of the 2012 season, Wilson injured his elbow and subsequently underwent his second Tommy John surgery. He completed his recovery midway through the 2013 season and signed with the Los Angeles Dodgers, pitching effectively with them as a late-inning reliever through the playoffs. However, he was not able to continue his success in 2014, and the Dodgers released him after that season.

Wilson is known for his large black beard, which he began growing during the 2010 pennant race. Wilson's entrance at home games accompanied by the song "Jump Around" was popular with fans.

Brian Wilson Presents Pet Sounds Live

Brian Wilson Presents Pet Sounds Live is the second live album released by Brian Wilson. Coming directly after his first live package, Live at the Roxy Theatre, Wilson performs the Beach Boys' album Pet Sounds (1966) in its entirety.

Brian Wilson Presents Smile

Brian Wilson Presents Smile (also referred to as Smile or the abbreviation BWPS) is the fifth studio album by Brian Wilson, released in September 2004. Its production began as a series of concert performances which were then adapted for a studio album, as well as a 2005 direct-to-video concert film of the same title. The album received great acclaim and earned Wilson his first Grammy Award, later being featured in several "greatest albums" lists. Upon release, it peaked at number 7 on the UK Albums Chart.The project was originally conceived in 1966 as Smile, a concept album recorded by the Beach Boys written in collaboration between Wilson and lyricist Van Dyke Parks. It was intended to succeed the group's 11th studio album Pet Sounds and was based on the engineering methods of their single "Good Vibrations". Many years after the project was shelved due to personal and technical difficulties with recording, Wilson chose to revisit the material with Parks as a specially arranged live concert performance. Motivated by the unexpected positive reception, a studio-recorded version was then released by Wilson as a solo album.

Recorded from scratch, Brian Wilson Presents Smile eschews the Beach Boys' Smile sessions by containing all-new instrumental and vocal performances. Recordings from the original Beach Boys' sessions were later released as The Smile Sessions in 2011. It featured a reconstruction of the Beach Boys' Smile album that loosely followed the track listing template never before established until the release of Brian Wilson Presents Smile.

Brian Wilson Reimagines Gershwin

Brian Wilson Reimagines Gershwin is the eighth studio album by Brian Wilson, released on August 17, 2010 by Walt Disney Records as part of the Disney Pearl Series. The album consists of covers of ten George and Ira Gershwin songs, bookended by passages from Rhapsody in Blue, along with two new songs completed from unfinished Gershwin fragments by Wilson and band member Scott Bennett.

The cover artwork is an homage to the album cover for the 1958 jazz LP Sonny Clark Trio by Sonny Clark.

Brian Wilson is a genius

"Brian Wilson is a genius" is a tagline referencing the Beach Boys' leader Brian Wilson. It was created by the Beatles' former press officer Derek Taylor in 1966, who was then employed as the Beach Boys' publicist, although there are earlier documented expressions of the statement. Taylor frequently called Wilson "genius" as part of a campaign he initiated to rebrand the group and legitimize Wilson as a serious artist on par with the Beatles and Bob Dylan. The hype generated by Wilson's accolades ultimately bore a number of unintended consequences for the band's reputation and internal dynamic, and has been credited as a contributing factor to Wilson's professional and psychological decline.

Taylor's promotion coincided with the releases of the Pet Sounds album (May 1966), the "Good Vibrations" single (October 1966), and the Smile album (an unfinished project that was abandoned in mid 1967). During this period, Wilson experimented with psychedelics and sought the approval of what was known as the "hip intelligentsia" of the 1960s counterculture. To this end, Taylor wrote columns for various American and British publications, where he compared Wilson to classical figures such as Bach, Beethoven, and Mozart. By the end of 1966, an NME reader's poll placed Wilson as the fourth-ranked "World Music Personality"—about 1,000 votes ahead of Bob Dylan and 500 behind John Lennon.

Wilson commented that the "genius" branding led him to become "a victim of the recording industry". The campaign succeeded at a wider recognition of his talents, but he felt more pressure to live up to the public's high expectations, while relationships with his band and family became strained. He turned to drugs to expand his creativity, which bandmate Mike Love said became his undoing. His ensuing legend originated the trope of the "reclusive genius" among studio-oriented musical artists and later inspired comparisons between other musicians such as Pink Floyd's Syd Barrett and My Bloody Valentine's Kevin Shields.

God Only Knows

"God Only Knows" is a song written by Brian Wilson and Tony Asher for American rock band the Beach Boys, released in May 1966 as the eighth track on the group's album Pet Sounds. Two months later, it was released as the B-side of "Wouldn't It Be Nice" in the United States. In other countries, "God Only Knows" was the single's A-side, peaking at number 2 on the UK Singles Chart.

The song names God in its title and lyrics, which was unusual for a pop single at the time. The sentiments expressed in the lyrics were not specific to any God, and could be addressed to any higher force, being a song about moving forward after loss. Wilson said that his and Asher's intention was to create the feeling of "being blind but in being blind, you can see more".Sung by Brian’s younger brother Carl Wilson, the Beach Boys' recording was produced and arranged by Brian using an unorthodox selection of instruments, including French horn, accordions, sleigh bell, harpsichord, and a quartet of violas and cellos heard throughout the piece in counterpoint. Its complex musical structure has been cited for its disuse of authentic cadences and a definite key signature. The perpetual rounds in its coda was also unusual for popular music of the era.

"God Only Knows" was voted 25th in Rolling Stone magazine's 500 Greatest Songs of All Time, and was ranked by Pitchfork Media as the greatest song of the 1960s. The Rock and Roll Hall of Fame includes it as one of "500 Songs That Shaped Rock and Roll".

I Am Brian Wilson

I Am Brian Wilson: A Memoir is an autobiographical memoir of American songwriter-musician Brian Wilson, co-founder of the Beach Boys. It was written through several months of interviews with ghostwriter Ben Greenman. The book was published by Da Capo Press on October 11, 2016, one month after the release of co-founder Mike Love's autobiography: Good Vibrations: My Life as a Beach Boy. I Am Brian Wilson supersedes Wouldn't It Be Nice: My Own Story, Wilson's disowned autobiography published in 1991.

List of songs recorded by the Beach Boys

This list is an attempt to document every song released by The Beach Boys. It does not include songs released only separately by the individual members.

Lead vocals by the official members of the group (Brian Wilson, Dennis Wilson, Carl Wilson, Mike Love, Al Jardine, David Marks, Bruce Johnston, Blondie Chaplin and Ricky Fataar) are listed by first name only. Guest lead vocals show full names.


Love encompasses a variety of strong and positive emotional and mental states, ranging from the most sublime virtue or good habit, the deepest interpersonal affection and to the simplest pleasure. An example of this range of meanings is that the love of a mother differs from the love of a spouse, which differs from the love of food. Most commonly, love refers to a feeling of strong attraction and emotional attachment. Love can also be a virtue representing human kindness, compassion, and affection, as "the unselfish loyal and benevolent concern for the good of another". It may also describe compassionate and affectionate actions towards other humans, one's self or animals.Love in its various forms acts as a major facilitator of interpersonal relationships and, owing to its central psychological importance, is one of the most common themes in the creative arts. Love has been postulated to be a function to keep human beings together against menaces and to facilitate the continuation of the species.Ancient Greek philosophers identified five forms of love: essentially, familial love (in Greek, Storge), friendly love or platonic love (Philia), romantic love (Eros), guest love (Xenia) and divine love (Agape). Modern authors have distinguished further varieties of love: unrequited love, infatuated love, self-love, and courtly love. Asian cultures have also distinguished Ren, Kama, Bhakti, Mettā, Ishq, Chesed, and other variants or symbioses of these states. Love has additional religious or spiritual meaning. This diversity of uses and meanings combined with the complexity of the feelings involved makes love unusually difficult to consistently define, compared to other emotional states.

Pet Sounds

Pet Sounds is the eleventh studio album by American rock band the Beach Boys, released on May 16, 1966. It initially met with a lukewarm critical and commercial response in the United States, peaking at number 10 in the Billboard 200, a somewhat lower placement than the band's preceding albums. In the United Kingdom, the album was hailed by the music press and was an immediate commercial success, peaking at number 2 in the UK Top 40 Albums Chart and remaining among the top ten positions for six months. Promoted as "the most progressive pop album ever", Pet Sounds attracted recognition for its ambitious recording and uniquely sophisticated music, and is widely considered to be among the most influential albums in the history of music.The album was produced, arranged, and almost entirely composed by Brian Wilson with lyrics by Tony Asher. Most of the recording sessions were conducted between January and April 1966, a year after Wilson had quit touring with the Beach Boys to focus on writing and recording. For Pet Sounds, his goal was to create "the greatest rock album ever made"—a personalized work with no filler tracks. It is sometimes considered a Wilson solo album, repeating the themes and ideas he had introduced with The Beach Boys Today! one year earlier. The album's lead single, "Caroline, No", was issued as his official solo debut. It was followed by two singles credited to the group: "Sloop John B" and "Wouldn't It Be Nice" (backed with "God Only Knows").

Wilson's orchestrations mixed conventional rock set-ups with elaborate layers of vocal harmonies, found sounds, and instruments never before associated with rock, such as bicycle bells, French horn, flutes, Electro-Theremin, string sections, and Coca-Cola cans. It consisted mainly of introspective songs like "You Still Believe in Me" about faithfulness, "I Know There's an Answer", a critique of LSD users, and "I Just Wasn't Made for These Times", an autobiographical statement on social alienation (as well as the first use of a theremin-like instrument on a rock record). Unified by a Wall of Sound-style production, the album comprised Wilson's "pet" sounds. Recording was completed on April 13, 1966, with an unprecedented total production cost that exceeded $70,000 (equivalent to $540,000 in 2018). The outtake "Good Vibrations" was followed as a single and became a worldwide hit. In 1997, a "making-of" version of Pet Sounds was overseen by Wilson and released as The Pet Sounds Sessions, containing the album's first true stereo mix.

Pet Sounds is regarded by musicologists as an early concept album that advanced the field of music production, introducing non-standard harmonies and timbres and incorporating elements of pop, jazz, exotica, classical, and the avant-garde. The album could not be replicated live and was the first time a group departed from the usual small-ensemble electric rock band format for a whole LP. Combined with its innovative music, which was perceived as a wholly self-conscious artistic statement (or "concept"), the album was crucial to the development of progressive/art rock, bringing more attention to psychedelic music in the mainstream, and helping to elevate rock as a genre for listening, rather than dancing. In 2004, Pet Sounds was preserved in the National Recording Registry by the Library of Congress for being "culturally, historically, or aesthetically significant." One year earlier, Rolling Stone ranked it second on its list of the "500 Greatest Albums of All Time".

Stars and Stripes Vol. 1

Stars and Stripes Vol. 1 is the 28th studio album by American rock band The Beach Boys, released on August 19, 1996 on River North Records. Produced by Joe Thomas and Brian Wilson, Stars and Stripes Vol. 1 is a collaborative album between The Beach Boys and various country musicians. Despite its Vol. 1 sub-title, the album is the band's only venture into the genre of country pop music, and is the last studio album to feature founding member Carl Wilson who died in 1998.

According to Brian Wilson's wife Melinda, during the album's recording, "They [the Beach Boys] treated him [Brian] like an invalid, all the time saying, 'Do this, don't do that, are you okay?'" The album's failure prevented him from getting a record contract, leaving the group's highly anticipated Andy Paley collaborations in limbo.

The Beach Boys

The Beach Boys are an American rock band formed in Hawthorne, California, in 1961. The group's original lineup consisted of brothers Brian, Dennis, and Carl Wilson, their cousin Mike Love, and their friend Al Jardine. Distinguished by their vocal harmonies and early surf songs, they are one of the most influential acts of the rock era. The band drew on the music of jazz-based vocal groups, 1950s rock and roll, and black R&B to create their unique sound. With Brian as composer, arranger, producer, and de facto leader, they often incorporated classical elements and unconventional recording techniques in innovative ways.

The Beach Boys began as an early garage band led by Brian and managed by the Wilsons' father Murry. In 1963, the band gained national prominence with a string of top-ten singles reflecting a southern California youth culture of surfing, cars, and romance, later dubbed the "California Sound". After 1964, they abandoned beachgoing themes for more personal lyrics and ambitious orchestrations. In 1966, the Pet Sounds album and "Good Vibrations" single raised the group's prestige as rock innovators and established the band as symbols of the nascent counterculture era. Following the dissolution of the group's Smile project in 1967, Brian gradually ceded production and songwriting duties to the rest of the band, reducing his input because of mental health and substance abuse issues. The group's commercial momentum subsequently faltered, and despite efforts to maintain an experimental sound, they were dismissed by early rock critics as the archetypal "pop music cop-outs".

Carl took over as the band's musical leader until the late 1970s. Personal struggles, creative disagreements, and the continued success of the band's greatest hits albums precipitated their transition into an oldies act. Since the 1980s, much-publicized legal wrangling over royalties, songwriting credits and use of the band's name transpired. Dennis drowned in 1983 and Carl died of lung cancer in 1998. After Carl's death, the group's corporation, Brother Records Inc (BRI), allowed Love to lead a touring band under the "Beach Boys" name. Even though they have not performed together since their 2012 reunion tour, Brian, Jardine, and Love remain a part of BRI and as official members of the band.

The Beach Boys are one of the most critically acclaimed, commercially successful, and influential bands of all time. They were one of the earliest self-contained rock bands and one of the few US bands who maintained their success before, during and after the 1964 British Invasion. Between the 1960s and 2010s, they had over eighty songs chart worldwide, thirty-six of them in the US Top 40 charts (the most by a US rock band), and four reaching number-one on the Billboard Hot 100 chart. They have sold in excess of 100 million records worldwide, making them one of the world's best-selling bands of all time and are listed at No. 12 on Rolling Stone magazine's 2004 list of the "100 Greatest Artists of All Time". In 2017, a study of AllMusic's catalog indicated the Beach Boys as the 6th most frequently cited artist influence in its database. The core quintet of the three Wilsons, Love and Jardine was inducted into the Rock and Roll Hall of Fame in 1988.

The Big Beat 1963

The Big Beat 1963 is a compilation album released on December 17, 2013 exclusively through digital distribution. It features selections of early demos and recordings made by Brian Wilson in the early 1960s with such acts as the Beach Boys and the Honeys.The compilation's release came as a result of revised European copyright laws, forcing some labels to publish unreleased archival material so that they will not lose their copyright.

The Smile Sessions

The Smile Sessions is a compilation album and box set recorded by American rock band the Beach Boys, released on October 31, 2011 by Capitol Records. The set focuses on abandoned recording sessions from their unfinished 1966–67 album Smile which – if completed – would have followed the group's 11th studio album Pet Sounds. It features comprehensive session highlights and outtakes, while the first 19 tracks comprise an approximation of what the completed album might have sounded like.

The compilation is the first and only package devoted to the 1960s Smile recordings originally produced by Brian Wilson, arriving after decades of public anticipation and numerous false starts. The project was led primarily by audio engineers Alan Boyd, Mark Linett, and Capitol A&R director Dennis Wolfe, with Wilson acting as a remote supervisor, assisting the engineers with some mixing decisions. Previously, Wilson had completed a solo album based on Smile in 2004, which Boyd, Linett, and Wolfe used as a blueprint for The Smile Sessions. Wilson later stated that while the compilation is "not a far cry" from his original vision, he prefers his 2004 version. It is preceded by the similar box set The Pet Sounds Sessions (1997).

The Smile Sessions received virtually unanimous critical acclaim upon release. It was voted number 381 in Rolling Stone's 2012 list of the "500 Greatest Albums of All Time" and won the award for Best Historical Album at the 55th Annual Grammy Awards in 2013. The Los Angeles Times encouraged its inclusion in "every library of American recording history," deeming it an essential learning tool for university composition departments, music professors, budding recording engineers, and composers. A spiritual successor, 1967 – Sunshine Tomorrow, followed in 2017.

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