Brian Wilson Net Worth and Wiki

directors
March 10, 2018

Brian Wilson Net Worth

How Much money Brian Wilson has? For this question we spent 6 hours on research (Wikipedia, Youtube, we read books in libraries, etc) to review the post.

The main source of income: Directors
Total Net Worth at the moment 2019 year – is about $210,3 Million.

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Biography

Brian Wilson information Birth date: 1942-06-20 Birth place: Inglewood, California, United States Profession:Director Spouse:Melinda Ledbetter

Height, Weight

:How tall is Brian Wilson – 1,89m.
How much weight is Brian Wilson – 87kg

Photos

Brian Wilson Net Worth
Brian Wilson Net Worth
Brian Wilson Net Worth
Brian Wilson Net Worth

Wiki

Brian Douglas Wilson (born June 20, 1942) is an American musician, singer, songwriter, and record producer best known for being the multi-tasking leader and co-founder of 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. Because of his unorthodox approaches to song composition and arrangement and mastery of recording techniques, he is widely acknowledged as one of the most innovative and influential creative forces in popular music by critics and musicians alike.In the mid-1960s, Wilson composed, arranged and produced Pet Sounds (1966), considered one of the greatest albums of all time. The intended follow-up to Pet Sounds, Smile, was cancelled for various reasons, which included Wilsons deteriorating mental health. As he suffered through multiple nervous breakdowns, Wilsons contributions to the Beach Boys diminished, and his erratic behavior led to tensions with the band. After years of treatment and recuperation, he began performing and recording consistently as a solo artist. On the Beach Boys 50th anniversary, Wilson briefly returned to record and perform with the group. He remains a member of their corporation, Brother Records Incorporated.Wilson is credited as a major innovator in the field of music production, and as the principal originator of the California Sound. 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. 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. 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, and becoming the first rock producer to use the studio as a discrete instrument.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 and 12 for the 100 Greatest Songwriters of All Time in 2015. In 2012, music publication NME ranked Wilson number 8 in its 50 Greatest Producers Ever list, elaborating few consider quite how groundbreaking Brian Wilsons studio techniques were in the mid-60s. He is an occasional actor and voice actor, having appeared in television shows, films, and other artists music videos. His life was portrayed in the 2014 biopic Love & Mercy, which received a wide release in 2015.
Biography,1942–62Early years and performancesWilsons senior yearbook photo, 1960Brian Douglas Wilson was born on June 20, 1942, at Centinela Hospital in Inglewood, California, the son of Audree Neva (nee Korthof) and Murry Wilson.[18] He was the eldest of three boys, his younger brothers were Dennis and Carl. He has English, Swedish, Dutch, German, and Irish ancestry.[19]When Brian was two,[20] the family moved from Inglewood to 3701 West 119th Street in nearby Hawthorne, California.[21] Speaking of Brians 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.[22] At about age two, Brian heard George Gershwins Rhapsody in Blue, which had an enormous emotional impact on him.[23] 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.[24]While Brians father Murry was ostensibly a reasonable provider, he was often abusive. A minor musician and songwriter, he also encouraged his children in this field in numerous ways. At an early age, Brian was given six weeks of lessons on a toy accordion and, at seven and eight, sang solos in church with a choir behind him.[25] At Hawthorne High School, Brian was on the football team as a quarterback, played baseball and was a cross-country runner in his senior year.[26] 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.[27] He received a Wollensak tape recorder on his 16th birthday, allowing him to experiment with recording songs and early group vocals.[28]Surviving home tapes document his initial efforts singing with various friends and family.[citation needed] In his senior year at Hawthorne High, in addition to classroom music studies, he sang at lunch time with friends like Keith Lent and Bruce Griffin.[citation needed] Brian and Keith worked on a revised version of the tune Hully Gully to support the campaign of a classmate named Carol Hess when she ran for senior class president.[29] Enlisting his cousin and frequent singing partner Mike Love as well as his own brother Carl, Brians next public performance featured more ambitious arrangements at a fall arts program at his high school. To entice Carl into the group, Brian named the newly formed membership Carl and the Passions. The performance featured tunes by Dion and the Belmonts and The Four Freshmen (Its a Blue World), the latter of which proved difficult for the ensemble. However, the event was notable for the impression which it made on another musician and classmate of Brian in the audience that night, Al Jardine, who would join the three Wilson brothers and Mike Love a few years later in the Beach Boys.[30]Songwriting beginningsI first felt I had a good voice when I was about seventeen or eighteen and was able to sing along well to records by The Four Freshmen. By singing along to those records thats how I learned how to sing falsetto. I would sing along to songs like Im Always Chasing Rainbows, Ill Remember April and Day by Day … When I wrote Surfer Girl I liked it so much that I said that Im gonna keep on writing songs.—Brian Wilson, 2013[31]Wilson enrolled at El Camino College in Los Angeles, majoring in psychology, in September 1960. He continued his music studies at the college as well.[32] 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. Though 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.[33]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, Brian 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 groups manager and the band embarked on serious rehearsals for a proper studio session.[34]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.[35] 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 Wilsons 1957 Ford in the rain: Nothing will ever top the expression on Brians face, ever … that was the all-time moment.[36][37] However, the Pendletones were no more. Without the bands knowledge or permission, Candix Records had changed their name to the Beach Boys.[38]Wilson (second-left) performing with the Beach Boys in Pendleton outfits at a local high school in late 1962Wilson and his bandmates, following a set by Ike & Tina Turner, performed their first major live show at the Ritchie Valens Memorial Dance on New Years Eve, 1961. Three days previously, Wilsons 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 bands 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.[39]When Candix Records ran into money problems and sold the Beach Boys master recordings to another label, Murry Wilson terminated the contract. As Surfin faded from the charts, Brian, who had forged a songwriting partnership with Gary Usher, created several new songs, including a car song, 409, that Usher helped them write. Brian 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.[40]1962–66Success and record producingBrian performing on electric bass with the Beach Boys, 1964.Recording sessions for the bands first album took place in Capitols basement studios in the famous tower building in August 1962, but early on Brian 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 Brians 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 Brian 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.[41]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 Hollywoods United Western Recorders on Sunset Boulevard. It was during the sessions for this single that Brian made the production decision from that point on to use double tracking on the groups vocals, resulting in a deeper and more resonant sound.[42] 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.[18]Brian 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, Brian 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 Brian was forced to resume touring with the Beach Boys, for a time reducing his availability in the recording studio.[43]The Honeys – Hes A Doll (1964)Written and produced by Brian Wilson, Hes A Doll was one of several attempts by Wilson to branch away from the Beach Boys.[44]Problems playing this file? See media help.For much of the decade, Brian 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 Brian, 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. Brians 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.[44] 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.[45]Resignation from touringThe 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,[46] he stopped performing live with the group in an effort to concentrate solely on songwriting[47] and studio production.[46] 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.[48] Glen Campbell was called in as his temporary stand-in for live performances,[49] before Bruce Johnston replaced him. As thanks, Wilson rewarded Campbell by producing him with the single Guess Im Dumb.[50]About a year ago I had what I consider to be a very religious experience. I took LSD, a full dose of LSD, and later, another time, I took a smaller dose. And I learned a lot of things, like patience, understanding. I cant teach you, or tell you what I learned from taking it. But I consider it a very religious experience.—Brian Wilson, 1966[51]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.[52] Attracted by the drugs 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.[51] 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.[53] The music for California Girls came from this first LSD experience, a composition which would later be released as a #3 charting single.[54] Wilson continued experimenting with psychotropics for the next few years, sometimes even during recording sessions.[55] He became fixated on psychedelia, claiming to have coined a slang, psychedelicate,[56] and foreseeing that psychedelic music will cover the face of the world and color the whole popular music scene.[57] A week after his first LSD trip, Wilson began suffering from auditory hallucinations, which have persisted throughout his life.[58]Pet Sounds and SmileMain articles: Pet Sounds and Smile (The Beach Boys album)Wilson in 1966In 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.[59] Wilson, who had recorded the albums 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,[46] the group, particularly Mike Love, was somewhat critical of their leaders music,[49] and expressed their dissatisfaction.[46] 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.[46] 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 groups 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.[60][not in citation given]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 to record within a six-month period.[61] 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 Wilsons reputation as a genius among musician friends, a belief that wasnt widely held at the time.[62] Motivated by Brians musical merits, Taylor responded with a campaign that would reestablish the bands outdated surfing image, and was the first to tout Brian as a genius.[62][63] According to Van Dyke Parks, this was much to Brians embarrassment.[63]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 Wilsons 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 Melchers home, Wilson liked Parks visionary eloquence and began working with him in the fall of 1966.[64] After Wilson famously installed a sandbox in his living room, the pair collaborated closely on several Smile tracks. Soon, however, conflict within the group and Wilsons 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 1967.1967–75Reduced band involvementWe pulled out of that production pace, really because I was about ready to die. I was trying so hard. So, all of a sudden I decided not to try any more, and not try and do such great things, such big musical things. And we had so much fun. The Smiley Smile era was so great, it was unbelievable. Personally, spiritually, everything, it was great. I didnt have any paranoia feelings.—Brian Wilson, January 1968[65]Following the cancellation of Smile, the Beach Boys relocated to a studio situated in the living room of Brian Wilsons new mansion in Bel Air (once the home of Edgar Rice Burroughs[66]), 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.[46] 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 Cant Wait Too Long and Time to Get Alone. Wilsons 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.[67]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, Wilsons creative directorship within the band became increasingly tenuous, additionally, cocaine had begun to supplement Wilsons regular use of amphetamines, marijuana, and psychedelics.[68] Shortly after abandoning an intricate version of Kern and Hammersteins Ol Man River at the instigation[69] of Mike Love,[citation needed] 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 stiff doses of Lithium and electroconvulsive therapy during this stay.[70]In his absence, 1969s 20/20 consisted substantially of key Smile outtakes (Cabinessence and Our Prayer) along with the long-germinating Time to Get Alone. The albums lead track, the Wilson/Love-authored Do It Again, was an unabashed throwback to the bands 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 bands 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.[citation needed]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 dont pick ourselves off our backsides and have a hit record soon, we will be in worse trouble … Ive always said, Be honest with your fans. I dont see why I should lie and say that everything is rosy when its not. These incendiary remarks ultimately thwarted long-simmering contract negotiations with Deutsche Grammophon.[71] Although Murry Wilsons sale of the Sea of Tunes publishing company (including the majority of Wilsons oeuvre) to A&M Records publishing division for $700,000 at the bands commercial nadir in 1969 renewed the longstanding animus[72] 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 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 bands 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 Brian Wilsons proactive involvement with the band in all albums,[73] a factor that would become hugely problematic for the band in the years to come.Declining reputationSee also: Bedroom TapesEven in those years when he was supposedly in seclusion, Brian came downstairs all the time, this great big guy in a bathrobe. And we went places. Brian and I used to get into his Mercedes and drive over to the Radiant Radish, or wed go to Redondo Beach and hang out with his high school pals, or go look for Carol Mountain. Brian was as normal to me as anyone else.—Stanley Shapiro[74]Sometime in 1969, Wilson opened a short-lived health food store called The Radiant Radish.[48] The store closed in 1971 due to unprofitable produce expenditures and Wilsons general lack of business acumen.[75] 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.[76] This notion was contested by lyricist Stanley Shapiro.[77] Nevertheless, Wilsons reputation suffered as a result of his purported eccentricities, and he quickly became known as a commercial has-been which record labels feared.[77] 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 for support. The trio then spent a month reworking cuts from the Beach Boys Friends album.[78] As Shapiro handed demo tapes to A&M Records executives, they found the product favorable before they learned of Wilson and Almers involvement, and proceeded to veto the idea.[79][nb 1] Wilson commented in 1976:Once youve been labeled as a genius, you have to continue it or your name becomes mud. I am a victim of the recording industry. I didnt think I was a genius. I thought I had talent. But I didnt think I was a genius.[67]Throughout the late 1960s and early 1970s, Wilson amassed myriad home demo recordings which later became informally known as the Bedroom Tapes.[81] 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.[81] 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, Wouldnt It Be Nice and all throughout Smile, but it takes on an almost manic edge in the 70s.[81] Brians 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.[82] 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.[82]Til I Die from Surfs Up (1971)Initially demoed in 1969 and largely recorded in 1970, Wilson has referred to Til I Die as the most personal song he ever wrote for the Beach Boys.[83][84]Problems playing this file? See media help.While working at the Radiant Radish, Wilson met journalist and radio presenter Jack Rieley, who would manage the Beach Boys and act as Wilsons principal lyricist for the next few years.[85] Wilson played and sang on much of the 1971 Surfs Up album—the bands highest American album chart placement (#29) since 1967—and wrote or co-wrote four of the albums ten songs, including the title track. However, only one fully formed original song from Wilson emerged during the albums nominal recording sessions, the dirge-like A Day in the Life of a Tree.[86] According to engineer Stephen Desper, the cumulatively deleterious effects of Wilsons cocaine and tobacco use began to affect his vocal register in earnest during the Surfs Up sessions.[87]The Beach Boys performing in the early 1970s without BrianIn 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.[88] 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 bands engagement at the Whisky a Go Go in February 1972[89] 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. Though physically present, he often yielded to his bibulous tendencies (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 Jardines California Saga: California, and Mount Vernon and Fairway (A Fairy Tale), a narrative suite musically inspired by Randy Newmans Sail Away that was promptly rejected by the band, eventually, Carl Wilson capitulated and ensured that the suite would be released as a bonus EP with the album.[90] 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.[91] It promptly garnered a considerable amount of FM radio play, became a minor chart hit, and entered the bands live sets as a concert staple.In 1973, Jan Berry (under the alias JAN) released the single Dont You Just Know It, a duet featuring Wilson.[92]Recluse periodI was snorting cocaine, which I shouldnt have gotten into. It messed up my mind, and it unplugged me from music. I just remember reading magazines. I would say, Get me a Playboy! Get me a Penthouse!—Brian Wilson, 2004[93]Wilson spent a great deal of the two years following his fathers June 1973 death secluded in the chauffeurs quarters of his home, sleeping, abusing alcohol, taking drugs (including heroin), overeating, and exhibiting self-destructive behavior.[94] He attempted to drive his vehicle off a cliff, and at another time, demanded that he be pushed into and buried in a grave he had dug in his backyard.[81] During this period, his voice deteriorated significantly as a result of his mass consumption of cocaine and incessant chain smoking.[95] Previously, Wilson claimed that he was preoccupied with [doing] drugs and hanging out with Danny Hutton during the mid-1970s.[96] John Sebastian often showed up at Wilsons Bel-Air home to jam, and recollected: It wasnt all grimness.[97] Although increasingly reclusive during the day, Wilson spent many nights fraternizing with Hollywood Vampire colleagues such as Alice Cooper and Iggy Pop, who were mutually bemused by an extended, rebellious Wilson-led singalong of the folk song Shortnin Bread at Huttons house and related areas, other visitors of Huttons home included Vampires Harry Nilsson, John Lennon, Ringo Starr, and Keith Moon.[77] Micky Dolenz recalls taking LSD with Wilson, Lennon, and Nilsson, where Wilson played just one note on a piano over and over again.[98] On several occasions, Marilyn Wilson sent her friends to climb Huttons fence and retrieve her husband.[96] Jimmy Webb reported Wilsons presence at an August 2, 1974 session for Nilssons Salmon Falls, he kept in the back of the studio playing Da Doo Ron Ron haphazardly on a B3 organ.[99] Later that month, he was photographed at Moons 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.[100]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 bands 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, Its O.K., an uptempo collaboration with Mike Love, the ballad Good Timin, and Dennis Wilsons River Song.[101] 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.[102]Though still under contract to Warner Brothers, Wilson signed a sideline production deal with Bruce Johnston and Terry Melchers 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.[94] 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.[94] The idea of California Music immediately disintegrated.[94]1975–92: Landy interventionsFurther information: Eugene Landy § Relationship with Brian Wilson[Landy] was such a performer … You couldnt stop him. To him, he was the star of the story … He was full of himself … He did so many other things that you thought the whole thing might have been a scam. However, one way to keep a person from taking drugs is having a guard there to keep him from taking drugs. Its called prison, but it was in his home.—David Felton[103]First treatmentMarilyn and the Wilson family were dismayed by Brians 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.[104] Landy diagnosed Brian as paranoid schizophrenic (a diagnosis later retracted), and the treatment prompted a more stable, socially engaged Brian whose productivity increased again.[105] The tagline Brians 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 cha

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