Oh The Guilt: Passing On Brian Wilson's Tour

Here’s the way a rock fanatic works:

Earlier this summer, it was announced that Brian Wilson would be performing live at the Surf Ballroom in Clear Lake, Iowa.

For those of you not familiar with what should be required knowledge of any rock ‘n roll fan, the Surf Ballroom is the last venue that Buddy Holly played. His airplane crashed outside of Clear Lake’s city limits after he performed there in 1959.

It still looks the same and it still continues to book bands there, despite the fact that the Clear Lake, Iowa’s population is a mere 10,000 residents.

Brian Wilson wasn’t on my bucket list.

Paul McCartney was.

So as the summer started with the intention of checking out Brian Wilson at this legendary venue, it ended when Paul McCartney announced that he was playing at another legendary venue.

And since Paul was on the bucket list-and since he was charging an arm and a leg for his show-the entire Brian Wilson performance was ditched.

Guilt began creeping in, particularly when Brian announced that this tour might be his last and that he’d probably retire from touring sometime soon.

I also began to consider how he created Pet Sounds, an album that McCartney voiced as one of his most influential recordings, the creative muse that prompted The Beatles Rubber Soul and Revolver concepts.

And since “The Beatles” name was derived from “The Crickets,” the band that supported Buddy Holly who last played at the Surf Ballroom, well then, maybe you can understand my rock ‘n roll dilemma.

Maybe you can tell that these rock and roll gods were expecting me to visit Brian Wilson’s performance too.

Yet it was not enough for me to invest five hours of windshield time (both ways) to make the drive to Clear Lake to see his performance.

The cost was an issue, and while ticket prices were modest, gas prices were not.

I waited until the very last minute, my cousin pumping me full of considerations at the moment of judgment.

“He’s not playing much Gerswin.”

“He’s doing a lot of Beach Boys.”

“The reviews of this tour have been good.”

Like a sap, I mowed the lawn instead.

I came up with a number of excuses, but the reality was Brian Wilson just wasn’t my bucket list.

And what sealed the deal for me was a review of a show a few weeks ago where the reviewer declared that the performance was great. He encouraged nobody to miss it. He also admitted that Brian Wilson shuffled on stage, sat in front of a keyboard, barely played that keyboard, and read the lyrics of the songs he created forty-odd years ago from a teleprompter.

In other words, I’d be paying not to see Brian Wilson, but a shell of him backed by an incredible band.

I had a problem with that.

I couldn’t justify adding to my depleted finances with a trip down memory lane, fronted by someone with limited capacities.

What I can justify is a purchase of the Smile re-issue when it comes out this year.

The Rock And Roll Bucket List

My cousin and I have been discussing rock and roll bucket lists, essentially a running tally of artists/bands that we need to see before we or the artist pass away. I remember drawing up similar lists when I was a teenager, but you have your entire life ahead of you-so, you don’t really consider the finality of life when you’re drawing up those kinds of lists.

That may explain why my list always contained Jethro Tull

I wish I was joking about that.

I actually saw a Jethro Tull concert a few months ago on DirecTV’s 101 Channel, and I can safely say that my need to see them live is now completely gone. But back when they all wore white jumpsuits, boy, look out.

The funny thing is that as you get older, you can actually manage to see those artists you’ve held dear, and in the meantime, you get to see bands that maybe aren’t on your list at all, but then become so revered-or break up and then become revered that you crossed them off your lists before they actually got on.

Case in point for me: The Smiths, Neutral Milk Hotel, Pink Floyd (sadly, minus Waters), Husker Du, The Soft Boys, The Residents, Johnny Cash, I could go on…

It seemed peculiar that I was having difficulty coming up with a substantial list. Was I so old that I’d seen everyone that I really wanted/needed to see? How sad!

In fact, that really isn’t the case. The truth is that I wasn’t looking hard enough. I’d completely forgotten about a lot of country artists still on the road today that I really need to hustle on, mainly because of encroaching age limitations.

George Jones is still out there, but the last conversation I’d heard from him, I could tell by his speaking voice that he’s probably a shell of what he was able to do just a half decade ago.

Loretta Lynn may in the same league, I’m afraid.

The question then becomes, do I sacrifice quality just for the sake of saying “I saw XX live?”

The answer is harder than you think.

Roger McGuinn of The Byrds came through the area recently, and while the announcement arrived many months ago, I procrastinated for no really good reason other than I could. This classic link in the history of rock music evidently (and unfairly) wasn’t on many people’s “bucket list” when he very much should be.

Brian Wilson is also making the rounds this summer and he’s coming to a very intimate venue a few hours away-a venue that has the distinction of being the last ballroom that Buddy Holly played in over five decades ago.

Surely, I’d be a fool not to see a legend like Wilson in an equally legendary venue, right?

Age and responsibility are also a factor. As ridiculous as the argument is, I still know how long it takes to recover from a late night, particularly when I’m forced to work the very next day. I save those challenging days for only the best of shows-those performers that I know I simply must see regardless of the recovery period.

The last show that fit that description was Dungen.

I know you’re thinking, “This is Brian Wilson!” and I understand that. But have you seen Brian Wilson lately? Have you heard how shot his voice is? While he may have a shit hot backing band that carefully considers every note, we still have a legend with a limited vocal capacity AND he’s touring behind Gershwin material that, at the risk of getting slammed, I could care less about.

Gimmie Smile, gimmie Pet Sounds or gimmie something that reminds me of his legend as he approaches retirement.

As fickle as that may sound, I’ve got to believe that I’m not alone.

Here’s an excerpt of the conversation that my cousin and I had about this very topic recently. We pick up at the point I’m looking at the local rock calendar and discover a band with an awesome name is coming to town.

Totale: Local band name, Dale Earnhardt Jr. Jr.Cousin J: I’ve heard of them and started seeing their name. Pretty sure they’re playing Lollapalooza. No clue what they sound like but I love it…
Totale: Wow! I just assumed they were local as they’re playing in Iowa City next month.
Cousin J: No, they’re up and coming for sure. Not sure where they’re from. Probably North Carolina! It would be better if it was actually Dale’s band that he played in between races!

At this point, I check to see the seat availability of Roger McGuinn’s show.

Totale: McGuinn’s show is only half-full. I got to pick my own seat! Did you know one of his solo albums from the 70’s was produced my Mick Ronson?
Cousin J: Yeah. It’s still weak-ass 70’s soft rock. Hope it’s a great show. Shame it’s not selling. Bad marketing?
Totale: Probably. It (the theatre) was refurbished a few years ago and they’re only now opening it up to music beyond classical and jazz. They don’t want Byrds fans ripping out the seats.
Cousin J: Or pooping on their seats like Brian Wilson.
Totale: Just read “…Bowie would simulate fellatio on Ronson’s guitar as he played. They forgot to add, “while McGuinn attacked the anus.”
Cousin J: McGuinn is playing in Chicago on June 3rd with 80% of the seats still available. 2nd row center seats are still available for $30 bucks…shame…Rave reviews for his recent shows too.
Totale: That’s sad. Meanwhile, those fucks from The Eagles still command $100 for nosebleed seats, just so you can hear “Take It To The Limit” for the millionth time.
Cousin J: The Brian Wilson shows are being billed as ‘Brian Wilson Reimagines Gershwin.' So no Beach Boys stuff. That might make your decision easier. Meanwhile, The Beach Boys’ Smile will be released in a 2 cd set later on this year. No joke. The original one with outtakes and extras…Actually, the Brian Wilson show in Chicago is advertised as his greatest hits. I may go! Tickets are very expensive, so probably not. $75 for 10th row center. Are these two bucket list guys? Maybe I shouldn’t even be questioning price.
Totale: Do you really need to be that close just to see him sing out of the side of his mouth? Macca’s a bucket list artist and I’d definitely pay a bundle for him.
Cousin J: No, but it’s only a $10 difference between that and the balcony. You could probably close your eyes and it would sound like the Beach Boys. His website has setlists and it looks awesome if you can get through an hour of Gershwin which he IS doing.
Totale: I see why it’s (McGuinn in Iowa City) not selling well. The kids are seeing the Sea and Cake are playing at another club the same night. They’re ok, but I don’t see them inventing a GENRE!
Cousin J: Not necessarily the same demographic though. I’m not giving the Sea and Cake that much credit. I’m still blaming piss poor advertising. There’s no reason that several radio stations shouldn’t be selling ‘American Rock Icon Roger McGuinn’ to listeners.

I confess, I don’t listen to radio much-outside of public radio, anyway-so I have no idea if this show was effectively promoted or not. Truth be told, I don’t know how effective radio is anyway, but I'm only basing this on personal experience.

The point is, and the question is presented, how far will your tolerance go when seeing a bucket list performer live? Will you dig deeper in your wallet? Will you sacrifice your quality at work or risk getting written up at work just so that you can see a bucket list show?

Share your own bucket list performers, I'm curious.

By definition, the artist/band has to be actively touring or performing with some regular frequency. For example, Kate Bush would be towards the top of my list and there are rumors of her returning to the stage. I've hinted at my commitment if that tour does happen, even considering a quick trip overseas if a North American tour isn't part of the package.

At the same time, the only reason why I haven't seen #1 on my own bucket list is pure economics. I simply couldn't find the time off to see Paul McCartney and, more to the point, I simply couldn't afford his asking price. Meanwhile, I've pissed away plenty at other shows, and yes, they've been bucket list artists too.

Totale's Current Bucket List:
1.) Paul McCartney
2.) Radiohead
3.) George Jones
4.) Uli Jon Roth
5.) Black Sabbath (original line-up)
6.) Widespread Panic
7.) The Pretenders
8.) Burning Spear
9.) The Cure
10.) The Fall

Murry Wilson-I'm A Genius, Too!

Lately, I've been fixated with what's become the most talked about Beach Boys recording since the original Smile sessions: the initial recordings of the song "Help Me Rhonda." The date was January 8, 1965, when Murry Wilson, Father of Beach Boys' Brian, Carl, and Dennis Wilson, stops by the recording studio where Brian and the boys are in the middle of recording their hit "Help Me Rhonda." Feeling a little left out, and feeling the effects of several rum and Cokes, Murry proceeds to take over the sessions by offering his expert advice ("Loosen up and be happy!") and drunken wisdom ("I have 3,000 words to say: Quit screaming and start singing from your hearts...So you're big stars. Let's fight! Let's fight for success!").

Brian Wilson, who we've all treated as a damaged genius, is clearly in full possession of his sanity here and even mildly challenges his Father's drunken nonsense. It's funny, and a creepy look into the dynamics of The Beach Boys at the height of their career. What's amazing is that the band was even able to make music with this kind of bitter megalomaniac bum rushing their talents.
Learn more, and download the sessions from the awesome site WFMU's Beware of the Blog.

Brian Wilson-Smile

Over the Christmas break, a friend of mine picked me up in a rental and I immediately took noticed of the selection of music in the car’s cd player. It was Brian Wilson’s “Getting’ In Over My Head,” the first of two cd’s Wilson released in 2004. Now this particular friend is fairly partial to jam-based rock and it wouldn’t have surprised me to find Govt. Mule or the like to be spinning in that factory GM disc player. But no, it was that wack job Brian Wilson.
I say “wack job” because I’ve seen the film “I Just Wasn’t Made For These Times” and saw for myself the mental fragments of a man who had finally imploded after years of physical abuse at the hands of a father, years of psychedelic drug intake, years of over-bearing “guru”-types taking financial liberties, and of course, years of having to deal with Mike Love. That alone would make anyone a wack job.

The rumor, or at the very least, the story as I remembered it, was the thing that finally pushed Brian Wilson over the edge was trying to top the Beatles’ “Revolver” with The Beach Boys’ “Smile” album. So here’s the deal: Brian got a little nutty, Mike Love wanted to know why Brian wanted them to sing all “this weird shit,“ Brian lost a lot of self confidence and released “Smiley Smile” instead, Paul McCartney stopped by one day a played Brian a new track called “A Day In The Life” which pretty much destroyed Wilson from then on out as he realized he may have actually had a shot at finally one-upping the Beatles.
I heard “Smiley Smile” in college once as was completely blown away. I was blown away at how Beach Boys enthusiasts always cited “Smile” as the unreleased masterpiece. Hell, from what I heard on “Smiley Smile,” shelving “Smile” was the last sane thing Wilson did. It had a song about vegetables (complete with chomping celery as percussion), some shit about Woody Woodpecker, and a song about a girl going bald. I only made it through side one, and I didn’t hear anything near “Lucy In The Sky With Diamonds.” Beatles win. Fuck the Beach Boys.
So years later, Brian Wilson makes a comeback and I video tape a small portion of his appearance on The Tonight Show. His mouth is contorted and he looks insane. Leno walks over to him and I fully expect him to give Brian some juice and cookies before someone injects a sedative into him. Leno makes a remark about having Brian come back soon and Brian wants to know when. I can’t remember if Jay understood what he was dealing with, but if I were him I’d make sure the security was on high alert; one never knows what a crazy man is capable of.
In the fall of 2004, I was walking through Best Buy’s “w” section and stumbled across “Smile.” I immediately considered the purchase in an uncanny “must purchase” fervor, but for some reason decided not to buy it. I was a bit relieved when I later learned that it wasn’t the classic recording of “Smile,” but instead a re-recording done by Brian some 37 years later with a bunch of Pet Sounds disciples. Things changed a bit after I heard a few selections from the album I passed on. Even in a limited format like MP3, I could tell that every last bit of detail went into the sessions and, hell, even the version of “Good Vibrations” sounded passable.
But my Brian Wilson buddy snickered when I mentioned in the rental car that Wilson’s version of “Smile” sounded pretty good, asking me if I liked all of that shit about vegetables. To be honest, I completely forgot about the subject matter and became lost in Brian’s meticulous arrangements.

The fact that Wilson demanded retro equipment during the recordings is a nice antidote, but the reality that the thing was recorded in a something like two weeks demonstrates that Brian is in complete capacity of his mind if it regards music. And the fact that he was (apparently) able to recreate all of this sonic marvel live, on stage for a few selected dates, points to the idea that he’s feels so convinced the time is right to release his masterpiece that he debuts the event like it’s an achievement. It is an achievement, but it just misses the challenges and timing that made “Pet Sounds” such an important album. One has to consider how important this album might have been had Wilson found the courage to complete it then.
Regardless, the impressiveness of this album today should not go unnoticed, as should the efforts of Brian’s backing band. They’re so well-versed in Brian’s history that they make the execution of this record sound legitimately accurate. I’m convinced that one could add some tape hiss to any one of the tracks, call it a bootleg or recording session, and have a true Beach Boys fan disagree. This album would not have made any impact in the hands of lesser musicians, but in this case their significance is noteworthy.
This is clearly Wilson’s baby, and he directs the arrangements with a genius precision, creating vocal harmonies as beautiful as anything produced in the past 40 years. If music has become Brian’s therapy than we are all very fortunate to be able to listen in on the healing process. The subject matter is nowhere near the league of The Beatles, but then again, it almost sounds like Wilson was attempting to create a very American album. I guess the album was also intended to be a statement for children and, admittedly, I can see a small child even taking to this album. It may take him 37 years to finally figure out how important this album is. At least that was the case for me.