Tag: Brian Wilson

Movie Review: “Love & Mercy”

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There have been several biographic films about Brian Wilson and the Beach Boys over the years, and all of them up to this point have been mediocre at best. It all seemed to start with material taken from The Beach Boys and the California Myth or other books that show Brian as the tragic artist always trying to get the approval of his father, or the musical savant of a surf music group that never could “defeat” The Beatles. The movie Love & Mercy, doesn’t really concentrate on the band, but does bring Brian’s struggles to life.

The film bounces between the 1960s (Brian played by Paul Dano) and 1980s (Brian played by John Cusack.) The 1960s period is dead on accurate as Dano captures the catatonic states and music playing in Brian’s head, as he composes much of Pet Sounds. The studio scenes are very familiar sounding to Beach Boys fans who listened to the bonus tracks and rehearsals of the The Pet Sounds Sessions. The other band members are pretty nondescript, with the exception of Mike Love (Jake Abel) being the annoying critic who still wants more surf music. And Brian’s father, Murray Wilson is like a specter that looms over his decent into commercial failure and despair. Dano does a great job here and actually looks the part.

The 1980’s period has most of the movie’s conflict with Cuscak’s Wilson being frequently over-medicated by his psychiatrist Dr. Eugene Landy (brilliantly played by Paul Giamatti.) When the beautiful Melinda Ledbetter (Elizabeth Banks) finds him car shopping in her Cadillac dealership, the story shifts to saving Brian from his manipulative doctor. Both parts of the movie work seamlessly together, but the latter period has most of the best acting in the movie. Its got Cusack capturing the subtle nuances of the adult Wilson perfectly, to the point where the lack of physical resemblance with the real Wilson almost isn’t an issue. In addition, both Banks and Giamattis performances keep the film from losing momentum.

The excellent sound editing here is also a huge part of this movie, as it brings the cacophony of voices in Brian’s head to life as well as the genesis of “God Only Knows.” If you want to nitpick, they gloss over Marilyn Rovell (Brian’s first wife) and the other Wilson brothers. They also ignore the 1970’s where Brian ballooned in weight, grew a beard and how Dr. Landy initially saved his life (before he turned into the villain.) Overall, an excellent film that is a must-see for Beach Boys fans and even the non-fans will enjoy this.

For more real life vs. movie comparisons Slate has a good article on this.

Nelson Bragg “We Get What We Want”

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Nelson Bragg has spent the last several years recording and touring extensively as percussionist and vocalist for Brian Wilson’s touring band, and now the current Beach Boys reunion. On this new album, he works with a stellar cast of musicians including Probyn Gregory and Anny Celsi of The Brian Wilson Band. Unlike 2007’s Day Into Night, Bragg’s compositions are bigger and supported by lusher, richer orchestration. The sound is like a soothing blend of The Byrds, Posies and Dan Fogelberg (with a touch of Beach Boys too). The acapella harmonies usher in “You Could Believe” and we’re treated to a superb jangle filled melody. “What She’s Done To Him” is solid West Coast styled pop with horns accenting each verse. Nelson also covers “Baby Let Your Hair Grow Long” from Brain Wilson’s first solo LP, with a relaxed island feel, dense harmonies in the bridge and horns in the break. The tone of “Steel Derrick 1979” is more along the lines of Gordon Lightfoot and the epic “Let The Cruel World Go” is a piano ballad of the highest order, with a full string accompaniment.

“She Used To Love Me” is my favorite song on the album, with multiple guitar tracks and a sitar lead it recalls latter era Hollies or Beau Brummels. The pastoral twang of “Tyme and Tyde Agree” is another gem of a duet with co-writer Anny Celsi. The Celtic feel of the “Everything I Want To Be” is beautiful, but the instrumentation overshadows the melody here. Overall highly recommended and the production and mastering is done with the audiophile in mind. It’s streaming on his site, so don’t miss this one!

Higgins “Straight A’s”

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Lead singer-songwriter Kevin Fish gives us a subtly crafted pop album, that sounds both old and new, the melodies slowly-burn into your brain here. Fish opens up the low key “Paranoid Trails” with a gentle hook and layered melody. The real goods come on the Byrdsian “Slap or Pinch” with its sweet jangle, and fans of the Autumn Defense will love it. The choral harmonies of “Stach-Lab” bring us to a 70’s moog “Easy-Thing” and it revels in the trippy bass lines and slow grooves. Fish mines the instrumentation of the past with considerable skill.

The soft and sensitive “Do You Still?” is a achingly lovely ballad about memories of a lost love. In direct contrast is the goofy “You Don’t Like What I Do” full of multiple harmonies and “oompah” brass and on “When I See Her” we add a Ray Davies styled ballad. And that’s as wild as we get, as most of this album is reflective – fans of Brian Wilson, Todd Rundgren and Field Music should give this a spin on the ipod. A real grower for you that needs multiple plays to sink in.