| First of all, congratulations on your new album - its really stunning.
Thank you. I'm very proud of it. It's different from anything else I've ever done and I hope the fans can dig it, cause it pleases me.
This is the first album that's credited with being arranged and produced by Brian Wilson since The Beach Boys Love You album in 1977. What inspired you to go it alone?
I just wanted to try it out and I wanted to do something different with the songs - everyone different from the other.
It kind of gives an overall view of my songwriting abilities ... some serious songs, some songs that are campy and others that have been bootlegged that I just really wanted to set the record straight.
Yeah, the songs are all over the place - really terrific.
Thank you very much. I really consider that a compliment that you would notice. Actually, we were going to name the CD "All Over The Place," but some girl group already used the name.
And you sang all the backgrounds yourself...
I did all the backgrounds except for "Desert Drive" - that was done by the band. I did 'em all because I want my voice to be heard: I wanted people to hear how good I am at background singing. You know that's what I really consider myself to be ... a great background singer.
When most people think of Brian Wilson, they immediately think of the surf songs, Pet Sounds, Good Vibrations. Your seventies work, however, seems to be overlooked a little more.
My seventies songs are still happening even in 2004. They're still happening and people like 'em when we do 'em in concert. Each time we go out we try to incorporate more of that music.
There seems to be a big influence on your seventies work on this album in terms of its vibe, spontenaity and looseness. Would you agree with that?
I would agree with that - yeah - but only to a certain extent. I really feel my music is timeless ...I really don't like labeling it to era's. For me this CD is in the "now." I realize that it's hard for some fans to get past certain era's concerning my music, but I look into the future and for 2004 - this is my music. In the fall I'll be releasing Smile 1967 - but in my 2004 mode. It will be interesting to see the response with the fans ... I can just hear it now, they'll be analyzing the entire trip ... what a trip for me.
Okay - I just want to ask you for a quick rundown of each track:
"How Can We Still Be Dancin''"
Your first great move as producer on this album was having Elton sing leads and play piano. It's an awesome track and has hit record written all over it. What made you think of Elton John for this track?
I wanted him because I thought his voice was right for the verses. I did the choruses and he did the verses. I love Elton - he's been there for me always and I want to share this song with him. I've heard people discredit him and it really hurts. He did one hell of a job on this song and I'm proud of him and me too.
"Soul Searchin'"
It's very emotional for listeners to hear you and Carl on this track - it's like you're together again.
Before Carl died, I wanted to do a Beach Boy album, but they didn't seem to like the material. We demoed a couple of songs ... "Soul Searchin'" was one of them. I had it laying around in the vaults, so I decided to cut a new track, take all the Boys off except Carl. I did the background and the bridge ... and this is what we came up with.
I wrote this with Andy Paley. Andy, Melinda and me were out shopping one day in London, and it started to rain, and we ducked into Andy's hotel and wrote this tune. I love it and think it's one of the better tunes on the CD ... of course, having Carl on it is the icing on the cake for me. It just keeps him alive and close to my heart.
"You've Touched Me"
This is a really nice summer song with great saxophone and a wonderful string arrangement. It has a real positive feel to it - does this come out of trying to write a happy song or were you just feeling happy at the time
I felt happy at the time I wrote that one, I was feeling very happy. It's a simple song, but I still like it. You know it's really about my wife and what she's helped me accomplish in my life ... she touched me and this is what I was singin' about the day I wrote this song. It's just that simple.
"Gettin' In Over My Head"
A great song and production. Do you know the arrangement before you get to the studio, or is it something you work on with the musicians when you get there?
I know the arrangement but I can't actually hear the sound until I get into the studio, and the band starts playing my ideas. It's a pretty loose environment. I'm not about ego - if one of them comes up with a cool idea we try it. If I like it I say yeah, but if I don't, I don't have a problem saying no and they're completely cool with that. That's how it works. At the end of the day, I'm the boss and they don't hassel me on things. I love these guys.
Same thing with your vocals: they're very complex. Do you write them down or figure them out in the studio?
I write the lyrics down, but come up with the harmonies in my head, usually in the studio. They come really fast. You know that's one of my strengths ... harmonies ... I can hear 'em in my head.
"City Blues"
Very powerful track and, of course, great guitar work from Eric Clapton. How did you like working with him?
Eric was a thrill to work with - he's a really great guitar player. He did about six takes and I said, "you're almost there, but if that's the best you can do, we'll take that one." He said, "let me try one more time," and low and behold, that was the take. He nailed it. He's a great guy and I value him as my friend. You know in 2003, he was kind enough to play the Carl Wilson benefit with me ... cool guy with a big heart. If you read this Eric ...I love you, man, and thank you for being on this CD.
This is a classic Wilson production: you're actually able to create a musical environment that sounds like the city with saxophones that sound like beeping cars...
Yeah, it does! It depicts the mood of the city. The band nailed the track ... it rocks and they did a wonderful job.
"Desert Drive"
Sounds like...
A Beach Boys record! Sounds like a 60s Beach Boys record...but brought up to date for 2004. This is the only track that my band sang on. They did a great job. We've done this song in concert and it really goes over. That's why we decided to put it on the CD. I know it's not new, but who cares ... it's GREAT and the fans love it.
This is the one song you didn't do all the backgrounds on it - why not?
Because they have funky voices - they sound pretty funky and people are used to hearing their version in concert. I like to spread it around, you know?
"A Friend Like You"
Sounds contemporary and sixites at the same time. People have been waiting for you and Paul McCartney to do something for a very long time. How did this collaboration come about?
I called him up asked him to come out to L.A. and record with me. When he was in L.A. doing the Landmind Benefit this year, he dropped by the studio for a couple of hours and this is what we came up with. It's sentimental for me. He's a great friend and has been an inspiration for me my entire career. He's always there for me and I wanted to express to him what he means to me. Sometimes it's easier for me to put it to music than actually say it in words ... that's how this one came to be. A personal note to Paul from Brian. A little love message you could say.
And he plays acoustic guitar on it. Did you ask him to play or did he bring in his guitar?
No, he volunteered. He said he'd like to play on the introduction of it. No, actually he played the whole way through. He was really happy to be there and so was I.
"Make A Wish"
Another track that just makes you feel good.
It was taken off the Sweet Insanity album. Again, we did a new track, vocal, changed a few lyrics and went for it. It's just a song that expresses my concerns with the world and also expresses my wishes for the universe.
You've worked with many lyricists in your career, but songs like this show you to be quite a good lyricist yourself.
Yeah, I can write good lyrics alone - or with collaborators too. It's just how I feel at the time.
"Saturday Morning In The City"
A beautiful melody that sounds like it could have come out of the twenties or thirties...
That's right - it does sound like it comes from that time period and it depicts a typical Saturday morning in the city. I call it my Broadway tune. I can see it in a musical. Again, it's a campy approach to songwriting. Nothing serious. It's Dari and Delanie's favorite cut. It really appeals to all their little friends too. They like the silliness of it ... can you blame them? It's kind of off the wall, but fun at the same time. It's Brian Wilson not taking himself too serious and havin' a good time at that.
"Fairytale
Another beautiful melody with great lyrics. Can you tell us what involvement David Foster had in this.
We had a session one day. I had already written the melody. It was during the Landy era. Gene set up the session. David came in and played around a little with the melody. I had already written the lyrics, as well. Later I found out that he changed my melody and had his wife write new lyrics and recorded it with Chicago. I forget what they called it, but it's no way as good as Fairytale. A lot of weird things were going on around that time. I know he's David Foster, but I didn't like the fact that my melody was messed with, so I had to put this one on to preserve the integrity of my work.
"Don't Let Her Know She's An Angel"
This sounds like a true standard that a great singer would love to perform. It has kind of a Burt Bacharach feel to it with its lush arrangement.
You're right - it does have kind of a Burt Bacharach kinda feel. I'm a fan of his. I also like this song a lot. Again simple but beautiful.
"The Waltz"
It seems when you get together with Van Dyke Parks, your work transcends music - it becomes art.
It's very artistic working with him.
I think I played this song twenty times in a row the other night. Between the arrangement, your vocals and the lyrics, this song can make you laugh and then cry. I'd bet this is one of your favorites ...
Yeah, it really is.
You've said in the past that you found it very difficult to get humor into your music, but I think you really did it with this one.
Thank you very much. I really tried ... you can hear it in my vocal. I was really hamming it up. I made myself laugh.
I was talking with Melinda last night and she said that some people may not "get" this song - they might think the lyrics are kind of hokey and they might not get the joke.
That's right! It was really done in fun. Sometimes fans don't realize my humor ... maybe they will with this one. Just a fun, cool tune. The Wilson's love it.
The song is like an old-fashioned waltz - it's bittersweet and it ends with a fairly wobbly string arrangement and you're singing about days long-gone. I have to say that it made me wonder if this was your way of saying goodbye in song - tell me that's not the case.
No, no - that's not the case at all! No, but then again, maybe it is. What do you think?
I think you got me! Anyway, thanks for taking time out at the studio - you'll be happy to know that the site gets over 3 million hits a month!
That's great - and thank you very much for the interview. Now it's back to work on Smile ... it's really gonna blow some minds ... I have outdone myself with this one. I am Brian Wilson and I am here for you musically, if you want me.
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