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Original Album: |
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Love And Mercy
Date Performance: 1988, Running Time: 2:55
Comments: Engineered at Dolphin Sound, Honolulu. Mixed at A&M Studios, Los Angeles. |
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Walkin' The Line
Date Performance: 1988, Running Time: 2:39
Comments: Recorded & Remixed at Suma. |
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Melt Away
Date Performance: 1988, Running Time: 3:01
Comments: Mixed at A&M Studios, Los Angeles. |
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Baby Let Your Hair Grow Long
Date Performance: 1988, Running Time: 3:17
Comments: Mixed at A&M Studios, Los Angeles. |
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Little Children
Date Performance: 1988, Running Time: 1:50
Comments: Mixed at A&M Studios, Los Angeles. |
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One For The Boys
Date Performance: 1988, Running Time: 1:50
Comments: (A Cappella) Mixed at Image. |
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There's So Many
Date Performance: 1988, Running Time: 2:47
Comments: Mixed at A&M Studios, Los Angeles. |
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Night Time
Date Performance: 1988, Running Time: 3:38
Comments: Remixed at A&M Studios. |
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Let It Shine
Date Performance: 1988, Running Time: 3:58
Comments: Recorded & Mixed at Larabee & Smoketree Ranch. |
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Meet Me In My Dreams Tonight
Date Performance: 1988, Running Time: 3:06 |
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Rio Grande
Date Performance: 1988, Running Time: 8:15
Comments: Recorded & Mixed at Ground Control & Soundcastle. Bluegrass Sections Recorded at Twilight Sound, Boston. | |
Bonus Tracks: |
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Love And Mercy
Date Performance: 1988-08-00, Running Time: 2:23
Comments: (Brian On "Love And Mercy") Excerpt from Warner Bros. Electronic Press Kit. |
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He Couldn't Get His Poor Old Body To Move
Date Performance: 1988, Running Time: 2:36
Comments: Mixed at Ground Control (4/29/88). |
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Being With The One You Love
Date Performance: 1988, Running Time: 2:36
Comments: Mixed at Ground Control (4/16/88). |
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Let's Go To Heaven In My Car
Date Performance: 1987, Running Time: 3:40
Comments: Mixed at One On One Studios (3/19/87). Issued as Sire single #28350 (4/8/87). |
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Too Much Sugar
Date Performance: 1987, Running Time: 2:38
Comments: Mixed at One On One Studios (3/19/87). Issued as Sire single #28350 (4/8/87). |
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There's So Many
Date Performance: 1979, Running Time: 1:53
Comments: (Demo Recording) |
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Walkin' The Line
Date Performance: 1986-08-27, Running Time: 2:51
Comments: (Demo) Produced at House Of Usher. Remixed 2/00. |
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Melt Away
Date Performance: 1987, Running Time: 2:03
Comments: (Early Version - Alternate Vocal) Recorded & Mixed at Ground Control
(10/87-11/87). |
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Night Time
Date Performance: 1988, Running Time: 4:05
Comments: (Instrumental Track) Recorded & Mixed at Ground Control (12/87-1/88). |
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Little Children
Date Performance: 1983, Running Time: 2:01
Comments: (Demo Recording) Remixed 10/99. |
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Night Bloomin' Jasmine
Date Performance: 1979-08-22, Running Time: 2:20
Comments: (Demo Recording) Remixed 10/99. |
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Rio Grande
Date Performance: 1987-10-00, Running Time: 6:07
Comments: (Early Version - Compiled Rough Mixes) Recorded & Mixed at Ground Control (10/12/87-10/13/87). As did the original album, the music on this CD ends with "Rio Grande". This alternate version inclides rough mixes of backing tracks and sections (e.g. "Cool, Cool Guy") that were later deleted from the final, released version of the Wilson/Paley suite. |
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Rio Grande
Date Performance: 1988, Running Time: 1:20
Comments: (Brian On "Rio Grande") |
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Brian On "The Source"
Date Performance: 1988-08-00, Running Time: 0:50 | |
Hidden Track: |
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Brian Fan Club X-Mas Message
Date Performance: 1988, Running Time: 0:54 |
| Guest Appearances » |
Michael Andreas, Michael Bernard, Stuart Blumberg, Jeff(rey) (S.) Bova, Jim(my) Bralower, Lindsey Buckingham, Lance Buller, Robbie Condor, Christopher Cross, Terence Trent D'Arby, Andy/Andrew Dean, Elliot Easton, Todd Herreman, Tris Imboden, Hymen Katz, Harry Kim, Kevin S. Lesley/Leslie, Steve Lindsey, Jeff Lynne, Jay Migliori, Frank Morocco, Rob Mounsey, Andy Paley, Dean Parks, Bob Riley, Philippe Saisse, Tony Selvage/Salvage, Carol Steele, The Baystate Bluegrass Band, Russ Titelman, Larry (Lawrence Lowell) William(s)
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| Released » |
2000-09-05
|
| Format » |
Reissued Vinyl/CD Album
|
| Other Appearances » |
Lindsey Buckingham (Songwriter), Andy/Andrew Dean (Songwriter), Nick Laird-Clowes (Songwriter), Jeff Lynne (Songwriter), Andy Paley (Songwriter), Gary Usher (Songwriter), Brian Wilson (Songwriter), Rachel Gutek (Art Direction), Jeri Heiden (Art Direction), Rachel Gutek (Design), Jeri Heiden (Design), Jeff(rey) (S.) Bova (Programming), Tom Biener (Assistant Engineer), Rick Caughron (Assistant Engineer), Claudio Ordenes (Assistant Engineer), Will Rogers (Assistant Engineer), Roger Talkov (Assistant Engineer), Craig Vogel (Assistant Engineer), Dave Way (Assistant Engineer), Dr. Eugene E. Landy (Executive Producer), David Leaf (Liner Notes), Ted Myers (Research), Gary Usher (Produced By), Brian Wilson (Produced By), Ron Klohs (Engineered By), Jim Linkner (Engineered By), Sheryl Farber (Editorial Supervision), Bill/William Bot(t)rell (Recorded By), Brad Gilderman (Recorded By), Mark Lin(n)et(t)(e) (Recorded By), Wayne Erwin (Remixed By), Brad Gilderman (Remixed By), Mark Lin(n)et(t)(e) (Remixed By), Bill/William Bot(t)rell (Mixed By), Brad Gilderman (Mixed By), Mark Lin(n)et(t)(e) (Mixed By), Hugh Padgham (Mixed By), Toby T. Wright (Mixed By), Joe Gastwirt (Mastered By), Squeak Stone (Mixing Assisted By), Bob (Trigger) Vogt (Mixing Assisted By), Jim(my) Bralower (Drum Programming), Kamron Hinatsu (Front Cover Photo), Kamron Hinatsu (Back Cover Photo), Bill Dimit (Bluegrass Sections Recorded By), Brian Wilson (Vocal Arrangements), Michael Bernard (Synthesizer Programming), Robbie Condor (Synthesizer Programming), Andy/Andrew Dean (Synthesizer Programming), Steve Lindsey (Synthesizer Programming), Philippe Saisse (Synthesizer Programming), Larry (Lawrence Lowell) William(s) (Synthesizer Programming), Jeff Lynne (Original Recordings Produced By), Russ Titelman (Original Recordings Produced By), Lenny Waronker (Original Recordings Produced By), Brian Wilson (Original Recordings Produced By), Lindsey Buckingham (Co-Produced With/By), Mark Lin(n)et(t)(e) (Engineered In Los Angeles By), Brad Gilderman (Additional Engineering (Los Angeles)), Josh Abbey (Engineered In New York By), Craig Vogel (Additional Engineering (New York)), Robbie Kilgore (Keyboard Programming), David Leaf (Reissue Produced For Release By), Mark Lin(n)et(t)(e) (Reissue Produced For Release By), Gary Stewart (Reissue Produced For Release By), Michael Wesley Johnson (Project Supervision), Mark Lin(n)et(t)(e) (Sound Produced By), Ted Myers (Discographical Annotation), Daniel Goldmark (Editorial Research), Shawn Amos (A&R Editorial Coordination), Kamron Hinatsu (Inside Inlay Photos), David Skernick (Water Background Photo), Andy Paley (Original Recordings Co-Produced By) |
| Record Label » |
Rhino |
| Catalogue Number » |
8122-79960-2
|
| Running Time » |
75:57
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| Liner Notes » |
For original issue:
Engineered in Los Angeles at GROUND CONTROL and THE VILLAGE RECORDERS.
Engineered in New York at THE HIT FACTORY
Terence Trent D'Arby appears courtesy of CBS Records
Elliot Easton appears courtesy of Elektra/Asylum Records
Philippe Saisse appears courtesy of Windham Hill Records
For reissue:
Mastered at Oceanview Digital using Pacific Microsonics HDCD System.
Tracks #1-11 issued as "Brain Wilson", Sire #25669 7/12/88, LPs #54.
Tracks #17-25 previously unissued.
Remastered in Rhinophonic authentic sound.
During the making of this album, Andy Paley and Brian Wilson became great friends, and between 1992 and '94 he and Brian wrote and recorded several dozen songs. To date, the only official releases from those writing sessions are "This Song Wants To Sleep With You Tonight," a bonus track on a rare 1995 U.K. CD single, and "Where Has Love Been" (from Immagination).
"Love is the theme of my whole album," said Brian Wilson a dozen years ago, adding the hope that his first solo album would "bring back love to the record industry." It did then, and with this long-awaited reissue of 1988's Brian Wilson, it will again. So welcome back to Brian Wilson's musical "love," a record that is, in my opinion, his best overall work of the past 30 years.
The timing for this CD couldn't be better. In 2000, as Brian's personal and artistic rebirth rolls along nicely, as his fans look hopefully toward the future, anxious to hear great new recorded music from him and eager to experience more of the exhilarating live magic of his first-ever solo tours, it seems like the perfect moment to revisit this often-overlooked yet beloved old friend-a critically acclaimed record that has been largely unavailable for way too long.
When Brian Wilson was initially shipped to stores in July 1988, it immediately became a career landmark, not just for its sheer quality but also for the mere fact that it was finished. At the time, his only solo output had been a single released 22 years earlier (1966's "Caroline, No"). A solo album from Brian was so long overdue - his career so filled with mythic might-have-beens -- that fans could have been excused for thinking there would never be a Brian Wilson album. We were wrong.
The first step toward this long-delayed dream arrived in January 1987. Delighted by Brian's a cappella performance of "On Broadway" (at Jerry Leiber and Mike Stoller's induction into the Rock and Roll Hall of Fame) and encouraged by staff producer Andy Paley, Sire Records founder/president Seymour Stein decided to make Brian Wilson a Sire artist. The result, this album, is a work of innate sweetness that is infused with the artist's spiritual strength and the power of heartfelt, naked emotion. It is a disc that contains a half-dozen bona fide classic compositions that will be able to stand the test of time alongside Brian's beloved Beach Boys work.
That is why I and many other longtime fans feel so strongly about this album - why for us (and we hope for you) this sonically upgraded version of the original track listing (as well as over a dozen bonus cuts) is one of the most exciting Wilson-related reissues in recent years. For those of us who eagerly and happily bought it in '88, this CD will remind us of why we've always loved the record. And the bonus tracks will give us a glimpse into the extended musical journey Brian Wilson and company took to get this music from his piano to finished product. More importantly, recent fans of Brian's (perhaps..from Capitol's Good Vibrations and The Pet Sounds Sessions box sets or 1990s releases like Orange Crate Art and Imagination), who missed the original version of this album, will finally get the chance to hear this vital and important work.
In the 1960s it was said that "Brian Wilson is a genius." In the 1980s this album confinned that spiritual genius will always continue its inexorable, triumphant march to artistic beauty.
Final Thoughts: It's rare for Brian to expose his inner-most thoughts and feelings in any form other than music, but in a 1988 video Q&A (excerpted as bonus tracks on this CD), he gave one of the most revealing interviews I've ever seen. Brian explained that in making this album, "People are being loved under the disguise of a record, but something much higher inspired the record. A record is an apparent level of sound and experience. But it's intangible in itself in that it's art. And art is intangible. Art is not a finite thing; it's an infinite thing...So we wanted somebody, somewhere to understand what we'd gone through, and at the same time they could say, 'Well, I did too. And I can vouch that I went through the same thing. I feel very close to that song.' You know, that's the same old story for years now - people say, 'I love that song.' What they're really saying is, 'That song makes me feel spiritual.' You know, that's all it is. It takes away fear. It adds strength. It's life-supporting."
Recently in looking back at this record, Brian added one more thought on both this album and his future: "Even though there are some times I don't sing like it, I want people to know that I have a lot of love left in me...unadulterated, unconditional, spiritual love." As the Supremes sang a long time ago, "You can't hurry love..." We'll wait.
David Leaf
(C) 2000 David Leaf
David Leaf, a television writer/producer (You Can't Do That: The Making Of A Har Day's Night and The Unknown Marx Brothers), is the author of the acclaimed Brian Wilson biography The Beach Boys & The California Myth, a new edition of which will be published soon. For information, go to www.brianwilson.com or send a SASE to:
Leaf
P.O. Box 1404
Santa Monica, CA 90406.
Special Thanks: Marta Martin Amos, Bob Hanes, Wayne Johnson, Ray Lawlor, Robbie Leff, Jerry McCulley, Cameron Parks, L. Lee Phillips, Jean Sievers, Jerry Weiss & Melinda Wilson.
All selections (P) 1987, 1988, 1989 & 2000 Sire Records Company, produced under license from Warner Bros. Records, Inc.
Copyright renewed. All rights reserved. International copyright secured. Used by permission.
This reissue/Compilation (P) & (C) 2000 Warner Bros. Records Inc. & Rhino Entertainment Company
10635 Santa Monica, Blvd.
Los Angeles, A 90025-4900
Refer to accompanying booklet for complete copyright/licensing information.
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Unauthorized copying, hiring, lending, public peformance and broadcasting of this recording prohibited!
Made in Germany by Warner Music Manufacturing Europe
Warner Archives
Sire
www.brianwilson.com
www.rhino.com
R2 79960
4
WE850
LC 02982
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| Reviews » |
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Add your review here.
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| Last Modified » |
2010-08-20 |
| Tracklisting » |
Discography entry submitted by Marty Adelson. |
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