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The lowest career ERA is 1.82, set by Chicago White Sox pitcher Ed Walsh.

In baseball statistics, earned run average (ERA) is the mean of earned runs given up by a pitcher per nine innings pitched. It is determined by dividing the number of earned runs allowed by the number of innings pitched and multiplying by nine. Runs resulting from defensive errors (including pitchers' defensive errors) are recorded as unearned runs and are not used to determine ERA.

Origins[link]

Henry Chadwick is credited with first devising the statistic, which caught on as a measure of pitching effectiveness after relief pitching came into vogue in the 1900s. Prior to 1900 – and, in fact, for many years afterward – pitchers were routinely expected to pitch a complete game, and their win-loss record was considered sufficient in determining their effectiveness.

Some means had to be found to determine and calculate the apportionment of earned-run responsibility where multiple pitchers have performed in a single game. Since pitchers have sole responsibility to put opposing batters out, they must assume responsibility when a batter they do not retire at the plate moves to base, and eventually reaches home, scoring a run. A pitcher is assessed an earned run for each earned run scored by a batter (or pinch-runner) who reached base while batting against that pitcher. After pitchers like James Otis Crandall and Charlie Hall made names for themselves as relief specialists, gauging a pitcher's effectiveness became more difficult using the traditional method of tabulating wins and losses. The National League first kept official earned run average statistics in 1912 (the statistic was called "Heydler's statistic" for a while, after then-NL secretary John Heydler), with the American League following suit afterward.

Modern-day baseball encyclopedias notate ERAs for earlier years, but these were computed many years after the actual accomplishments. Negro League pitchers are often rated by RA, or total runs allowed, since the statistics available for Negro League games did not always distinguish between earned and unearned runs.

ERA in different decades and baseball eras[link]

As with batting average, the definition of a "good" ERA varies from year to year. During the dead-ball era of the 1900s and 1910s, an ERA below 2.00 (two earned runs allowed per nine innings) was considered good. In the late 1920s and 1930s, when conditions of the game changed in a way that strongly favored hitters, a good ERA was below 4.00; only the highest caliber pitchers, for example Dazzy Vance or Lefty Grove, would consistently post an ERA under 3.00 during these years. In the 1960s, sub-2.00 ERAs returned, as other influences such as ballparks with different dimensions were introduced. Today, an ERA under 4.00 is again considered good.

The all-time single-season record for the lowest ERA, according to www.mlb.com, the official website of Major League Baseball, is held by Dutch Leonard, who in 1914 had an earned run average of 0.96, pitching 224.2 innings with a win-loss record of 19-5. The all-time record for the lowest single season earned run average by a pitcher pitching 300 or more innings is 1.12, set by Bob Gibson in 1968. The record for the lowest career earned run average is 1.82, held by Ed Walsh, who played from 1904 through 1917. The active player with the lowest career ERA (among those with more than 1,000 innings pitched) is Mariano Rivera, with an ERA of 2.21 through the 2011 Major League Baseball season.

Some researchers dissent from the official Major League Baseball record and claim that the pitcher with the all-time lowest earned run average is Tim Keefe, who had an earned run average of 0.86 in 1880 while appearing in 12 of his team's 83 games and pitched 105 innings (with a win-loss record of 6-6). But a purported record based on so few innings pitched is highly misleading. Over the years, more than a dozen part-time pitchers have pitched 105 or more innings and had an earned run average lower than 0.86. Orel Hershiser pitched 60 innings in 1988 with an earned run average of 0.00. Major League Baseball recognizes many records from the 19th Century--including Will White's 1879 record of 680 innings pitched, Charles Radbourne's 1884 record of 59 wins, and Pud Galvin's 1883 record for 75 games started, but does not recognize Keefe as the pitcher having the all-time lowest single season earned run average.

Some sources may list players with infinite ERAs. This can happen if a pitcher allows one or more earned runs without retiring a batter (usually in a single appearance). Additionally, an undefined ERA occasionally occurs at the beginning of a baseball season. It is sometimes incorrectly displayed as zero or as the lowest ranking ERA, even though it is more akin to the highest.

Other external factors[link]

Starters and relievers[link]

It can be very misleading to judge relief pitchers solely on ERA, because they are charged only for runs scored by batters who reached base while batting against them. Thus, if a relief pitcher enters the game with his team leading by 1 run, with 2 outs and the bases loaded, and then gives up a single which scores 2 runs, he is not charged with those runs. If he retires the next batter (and pitches no more innings), his ERA for that game will be 0.00 despite having surrendered the lead. (He is likely recorded with a blown save in this situation.) Starting pitchers operate under the same rules but are not called upon to start pitching with runners already on base. In addition, relief pitchers know beforehand that they will only be pitching for a relatively short while, allowing them to throw each pitch with maximum energy, unlike starters who typically need to keep something in reserve in case they are asked to pitch 7 or more innings. This freedom to use their maximum energy for a few innings, or even for just a few batters, helps relievers keep their ERAs down.

ERA, taken by itself, can also be misleading when trying to objectively judge starting pitchers, though not to the extent seen with relief pitchers. The advent of the designated hitter rule in the American League in 1973 made the pitching environment significantly different. Since then, pitchers spending all or most of their careers in the AL have been at a disadvantage in maintaining low ERAs, compared to National League pitchers who can often get an easy out when pitching to the opposition's pitcher, who is usually not a very good batter. Since 1997, when teams began playing teams from the other league during the regular season, the DH rule is in effect only when such interleague games are played in an American League park.

DH rule[link]

This difference between the leagues (the DH) also affects relievers, but not to the same degree, as National League relievers actually pitch to pitchers far less than do AL starters for a number of reasons, chiefly because relievers are usually active in later innings when pinch hitters tend to be used in the pitcher's batting spot.

Location[link]

ERA is also affected somewhat by the ballpark in which a pitcher's team plays half its games, as well as the tendency of hometown official scorers to assign errors instead of base hits in plays that could be either.

As an extreme example, pitchers for the Colorado Rockies have historically faced many problems, all damaging to their ERAs. The combination of high altitude (5,280 ft or 1,610 m) and a semi-arid climate in Denver causes fly balls to travel up to 10% farther than at sea level. Denver's altitude and low humidity also reduce the ability of pitchers to throw effective breaking balls, due to both reduced air resistance and difficulty in gripping very dry baseballs. These conditions have been countered to some extent since 2002 by the team's use of humidors to store baseballs before games. These difficult circumstances for Rockies pitchers may not adversely affect their won-lost records, since opposing pitchers must deal with the same problems. Indeed, hometown hurlers have some advantage in any given game since they are physically acclimated to the altitude and often develop techniques to mitigate the challenges of this ballpark. Still, conditions there tend to inflate Rockies' ERAs relative to the rest of the league.

Sabermetric treatment of ERA[link]

In modern baseball, sabermetrics uses several defense independent pitching statistics including a Defense-Independent ERA in an attempt to measure a pitcher's ability regardless of factors outside his control. Further, because of the dependence of ERA on factors over which a pitcher has little control, forecasting future ERAs on the basis of the past ERAs of a given pitcher is not very reliable and can be improved if analysts rely on other performance indicators such as strike out rates and walk rates. For example, this is the premise of Nate Silver's forecasts of ERAs using his PECOTA system.^[1] Silver also developed a "quick" earned run average (QuikERA or QERA) to calculate an ERA from peripheral statistics including strikeouts, walks, and groundball percentage. Unlike peripheral ERA OR PERA, it does not take into account park effects.^[2] Another statistic derived from ERA is Adjusted ERA, also called ERA+, which adjusts a pitcher's ERA to a scale where 100 is average for the league and takes into account the various dimensions and other factors of each ballpark.

All-time career leaders[link]

Career leaders in the live-ball era (post-1920)[link]

Because of rules changes post-1920, most notably the abolition of the spitball and frequent replacement of soiled or scuffed baseballs, the increased importance of the home run (largely due to Babe Ruth), and the American League's adoption of the designated hitter rule, ERAs have been noticeably higher than in the early decades of the sport.

This is a list of the lowest ERAs among pitchers that played their entire careers after 1920. Note that only one of the top five (Whitey Ford) was primarily a starting pitcher. Hoyt Wilhelm was a reliever for most of his career, while the other three are all closers.

See also[link]

Baseball portal

• Adjusted ERA+ (Park-adjusted ERA)
• Catcher's ERA
• Component ERA
• Defense-Independent ERA
• FIP
• Earned run
• PERA
• QERA
• Run average

References[link]

In baseball statistics, run average (RA) refers to measures of the rate at which runs are allowed or scored. For pitchers, the run average is the number of runs—earned or unearned—allowed per nine innings. It is calculated using this formula:

Failed to parse (Missing texvc executable; please see math/README to configure.): \mathrm{RA} = 9 \cdot \frac{\mathrm{R}}{\mathrm{IP}}

where

• R = Runs
• IP = Innings pitched

Run average for pitchers differs from the more commonly used earned run average (ERA) by adding unearned runs to the numerator. This measure is also known as total run average (TRA) or runs allowed average. For batters, the run average is the number of runs scored per at bat.^[1]

Run average for pitchers[link]

Although presentations of pitching statistics generally feature the ERA rather than the RA, the latter statistic is notable for both historical and analytical reasons. For early leagues or leagues for which statistics must be calculated from box scores, such as the Negro leagues, data on earned runs may be unavailable and RA may be the only statistic available.^[2] The analytical case for RA appeared as early as 1976, when sportswriter Leonard Koppett proposed that RA would be a better measure of pitcher performance than ERA.^[3] Subsequently, sabermetrician Bill James wrote, "I think that the distinction between earned runs and unearned runs is silly and artificial, a distinction having no meaning except in the eyes of some guy up in the press box."^[4]

In baseball, defense—that is, preventing the opponent from scoring runs—is the joint responsibility of the pitcher and the fielders. ERA attempts to adjust for some of the influence of the fielders on a pitcher's runs allowed by removing runs that are scored because of fielding errors—that is, unearned runs. However, removing unearned runs doesn't adequately adjust for the effects of defensive support, because it makes no adjustment for other important aspects of fielding, such as proficiency at turning double plays, throwing out base stealers, and fielding range. Errors are the only aspect of fielding that ERA adjusts for, and are generally regarded as a small part of fielding in modern baseball.^[5]

Another problem with ERA is the inconsistency with which official scorers call plays as errors. The rules give scorers considerable discretion regarding the plays that can be called as errors. Researcher Craig R. Wright found large differences between teams in the rate at which their scorers called errors, and even found some evidence of home team bias—that is, calling errors to favor the statistics of players for the home team.^[6]

While ERA doesn't charge the pitcher for the runs that result from errors, it may tend to over correct for the influence of fielding. Even though unearned runs would not have scored without an error, in most cases the pitcher also contributes to the scoring of the unearned run—either by allowing the opposing player to reach base via a walk or hit, or by allowing a subsequent batter a hit that advances and scores the runner. During the early days of baseball history, this over correction for fielding errors caused pitchers on bad teams to be overrated in terms of ERA.^[7]

Removing unearned runs in calculating ERA may be useful if they are unrelated to pitcher performance, but Wright concludes that fielding errors are somewhat dependent on a pitcher's style. Because errors occur most often on ground balls, pitchers with high strikeout rates who give up fly balls are likely to give up fewer unearned runs than groundball control-type pitchers. For example, Ron Guidry—a flyball power pitcher—and Tommy John—a groundball control pitcher—were teammates on the Yankees from 1979 to 1982, supported by the same defense. During that period, 13.7% of John's runs allowed were unearned, compared to 9.8% of Guidry's. Wright concludes that this difference is attributable to their pitching styles, and thus, that unearned runs are partially attributable to the pitcher.^[8]

Adjusted RA+[link]

Similar to adjusted ERA+, it is possible to adjust RA for the ballpark effects and compare it to the league average. The formula for this adjustment is:

Failed to parse (Missing texvc executable; please see math/README to configure.): \mathrm{RA+} = 100 \cdot \frac{\mathrm{lgRA}}{\mathrm{RA}}

where

• lgRA = park-adjusted league run average
• RA = the pitcher's run average.

Values of RA+ above 100 indicate better-than-average pitching performance. Unlike unadjusted RA, which must be higher than unadjusted ERA, a pitcher's adjusted RA+ can be either higher or lower than his adjusted ERA+.

See also[link]

• Defense independent pitching statistics

Notes[link]

References[link]

• Holway, John B. (2001). The Complete Book of Baseball's Negro Leagues: The Other Half of Baseball History. Fern Park, FL: Hastings House Publishers. ISBN 0-8038-2007-0. 
• James, Bill (1986). The Bill James Historical Baseball Abstract. New York: Villard Books. ISBN 0-394-53713-0. 
• James, Bill (1987). The Bill James Baseball Abstract 1987. New York: Ballantine Books. ISBN 0-345-34180-5. 
• Thorn, John; Pete Palmer (1982). The Hidden Game of Baseball. Garden City, NY: Doubleday. ISBN 0-385-18283-X. 
• Wright, Craig R.; Tom House (1989). The Diamond Appraised. New York: Simon & Schuster. ISBN 0-671-67769-1. 

In baseball, an earned run is any run for which the pitcher is held accountable (i.e., the run scored as a result of normal pitching, and not due to a fielding error or a passed ball). Any runner(s) who tags his base and reaches home plate is scored against the pitcher as an earned run(s). An error made by the pitcher in fielding at his position is counted the same as an error by any other player.

Earned runs are specially denoted because of their use in calculating a pitcher's earned run average – the number of earned runs allowed per 9 innings (regulation game) pitched. Earned runs proceed from the theory that the pitcher has sole responsibility to earn strikes against opposing batter(s) until at least three batters are retired in each inning of play, and nine innings (a complete game) are pitched.

To determine whether a run is earned, the official scorer must reconstruct the inning as it would have occurred without the errors (for purposes of this rule, the "errors" also include passed balls). The benefit of the doubt is always given to the pitcher in determining which bases would have been reached by errorless play.

If no errors and no passed balls occur during the inning, all runs scored are automatically earned (assigned responsible to the pitcher). In a few cases, an error can be rendered harmless while the inning is still going on. For example, a runner on first base advances to second on a passed ball. The next batter walks. Since the runner would now have been at second anyway, the passed ball no longer has any impact on the earned/unearned calculation.

Unearned run[link]

A run is counted as unearned when:

• A batter reaches base on an error (including catcher's interference), and later scores a run in that inning by any means.
• A baserunner remains on base as the result of an error on a fielder's choice play that would put the baserunner out except for the error, and subsequently scores.
• A batter reaches first base on a passed ball (but not a wild pitch) and subsequently scores by any means.
• A baserunner scores after the third out would have been made except for an error other than catcher's interference.
• A batter reaches base on a fielder's choice which removes a baserunner who has reached base safely on an error or has remained on base as the result of an error, reaching first base on a passed ball on a called or swinging third strike, or remained on base on an error on a fielders' choice play that should have retired him, and subsequently scores.
• A batter or runner advances one or more bases on an error or passed ball and scores on a play that would otherwise not have provided the opportunity to score.

In the first two cases above, "on an error" includes situations where the batter makes a clean hit (or walks, is hit by pitch, reaches base on a fielder's choice in which no out is made, or reaches base on a wild pitch on a called or swinging third strike), but should have been out earlier in his at bat on a foul fly ball which was dropped by a fielder for an error. This also includes any run (or any subsequent run) that scores on plays that result in outs with one out or a double play with none out if an error has extended the inning.

While the inning is still being played, this last scenario can cause a temporary situation where a run has already scored, but its earned/unearned status is not yet certain. For example, with two outs, a runner on third base scores on a passed ball. For the time being, the run is unearned since the runner should still be at third. If the batter strikes out to end the inning, it will stay that way. If the batter gets a base hit, which would have scored the runner anyway, the run now becomes earned.

A runner who reaches on catcher's interference and subsequently scores with two outs scores an unearned run, but baserunners who subsequently score after the runner who has reached on catcher's interference exclusively on clean plays score earned runs; the baserunner cannot be assumed to have been put out except for the error. (Rule 10.16(4)).

Neither the use of a pinch-runner to replace a baserunner who represents an unearned run nor the use of a pinch-hitter to continue the turn at bat of a batter who would be out except for an error transforms a run scored by such a person or his successors on base from an unearned run to an earned run.

When pitchers are changed in the middle of an inning, and one or more errors have already occurred, it is possible to have a run charged as earned against a specific pitcher, but unearned to the team. The simplest example is when the defensive team records two outs and makes an error on a play that would have been the third out. A new pitcher comes into the game, and the next batter hits a home run. The runner who reached on the error comes around to score, and his run is unearned to both the prior pitcher and the team. However, the run scored by the batter is counted as earned against the relief pitcher, but unearned to the team (since there should have already been three outs). Had the team not switched pitchers, neither run would be counted as an earned run because that pitcher should have already been out of that inning.

A pitcher is only charged with the number of runners that reached base while he was pitching, and this does not include baserunners who reach base as the result of a fielder's choice play that removes an existing runner; such a runner is charged to the pitcher whose baserunner has been removed by the fielder's choice play. When a pitching change occurs, the new pitcher is said to "inherit" any runners that are on base at the time, and if they later score, those runs are charged (earned or unearned) to the prior pitcher. Most box scores now list inherited runners, and the number that scored, as a statistic for the relief pitcher.

Historical differences[link]

In the early history of major league baseball, the difference between the number of earned runs given up by a pitcher and the total number of runs given up was much more significant than today. For instance, Jim Devlin in 1876 pitched 66 complete games (662 innings pitched) with a 1.56 ERA but managed to record only five shutouts. The seeming discrepancy comes from the difference in the number of allowed runs (309) versus earned runs (108).

External links[link]

• Major League Baseball Rule 10.16 - Determining Earned Runs

See also[link]

• Baseball statistics
• Earned run average
• Run average

Brandon Webb
Webb bunting for the Diamondbacks.
Free agent
Pitcher
Born: (1979-05-09) May 9, 1979 (age 33) Ashland, Kentucky
Bats: Right	Throws: Right
MLB debut
April 22, 2003 for the Arizona Diamondbacks
Career statistics (through 2009 season)
Win-Loss record	87–62
Earned run average	3.27
Strikeouts	1,065
Teams
Arizona Diamondbacks (2003–2009)
Career highlights and awards
3× All-Star selection (2006, 2007, 2008) NL Cy Young Award winner (2006) Led NL in wins in 2006, 2008 Led NL in innings pitched in 2007

Brandon Tyler Webb (born May 9, 1979) is a Major League Baseball pitcher. He was the 2006 National League Cy Young Award winner.

High school[link]

Webb attended Paul G. Blazer High School in Ashland, Kentucky, and graduated in 1997.

College[link]

Webb attended the University of Kentucky, where he played for the Kentucky Wildcats baseball team.

Professional career[link]

Arizona Diamondbacks[link]

Webb was drafted by the Diamondbacks in the 8th round of the 2000 Major League Baseball Draft. He made his first major league appearance with the Diamondbacks on April 22, 2003, and finished the season with a 10–9 record. He was honored with Baseball America Rookie of the Year Award and placed third in the Major League Baseball Rookie of the Year Award voting in the National League.

Webb finished the 2004 season with a 7–16 record, leading the league in losses, as the Diamondbacks won only 51 times.

In 2005, he posted a 14–12 record and an ERA of 3.54. After the season, he signed a four-year contract extension worth a guaranteed $19.5 million and a team option for 2010.^[1]

Through his first 13 starts of the 2006 season, Webb had an unbroken 8–0 record. He suffered his first losing effort of the season on June 10, in a 5–0 loss to the New York Mets. An early contender to win the National League Cy Young Award, Webb pitched in the 2006 Major League All-Star Game, recording one hitless inning.

Webb struggled in the second half of the season in part due to elbow soreness. Webb did score a win in an emotional outing versus the San Diego Padres on August 28, pitching seven effective innings. The win came a day after close friend and former UK teammate Jon Hooker and his new bride were among the victims of the doomed Comair Flight 5191 leaving Lexington.

Webb went on to finish the 2006 season with a record of 16–8 and an ERA of 3.10, and was recognized with the NL Cy Young Award. His 16 wins tied five other pitchers for the most victories in the National League. Webb's win total marked the lowest for a starting pitcher who won the Cy Young in a full season.^[2] His 3.10 ERA was the fourth best in the majors.

Webb on the field

As of the conclusion of his start on August 17, 2007, Webb had logged an Arizona Diamondbacks franchise record with 42.0 scoreless innings including three straight complete game shutouts.^[3] This is the twelfth longest such streak in major league history, and the fifth longest since 1940, surpassed only by Orel Hershiser (59), Don Drysdale (58), Bob Gibson (47) and Sal Maglie (45).^[3] His three consecutive complete game shutouts during the streak was the longest streak since Roger Clemens accomplished the same with Toronto in 1998. This streak came to an end when the Milwaukee Brewers scored in the first inning of his start on August 22, 2007.

On May 15, 2008, Webb won his ninth game in as many starts. Webb became the first pitcher in the Majors to win his first nine starts of the season since Andy Hawkins won ten in his first ten starts in 1985.^[4] Near the end of June, Webb was leading the major leagues in wins. He was 13–4 with an ERA of 3.21 and a WHIP of 1.13. He made the All-Star team and threw a scoreless 14th inning with two strikeouts at Yankee Stadium.

Webb finished the 2008 season with a career high 22 wins and just 7 losses. Despite leading the National League in wins, Webb finished second in the National League Cy Young voting to division rival Tim Lincecum. His 1.82 ground ball/fly ball ratio was the highest in the major leagues, and the 19 runners who reached base on errors while he was pitching were the most in the majors.[2][3]

In 2009 he was named #31 on the Sporting News' list of the 50 greatest current players in baseball.^[5]

Webb pitched on opening day against the Colorado Rockies, but was limited to pitching just four innings. On April 7, 2009, he was placed on the disabled list with right shoulder bursitis. On August 3, 2009, Dr. Keith Meister of the Rangers performed surgery on his right shoulder, ending his 2009 season. Despite the injury, the Diamondbacks picked up Webb's $8.5 million option for 2010 after the 2009 season ended. Arizona would have had to pay a $2 million buyout if it had declined the option.^[6] He spent the year rehabbing his injury and did not appear in any games in 2010.

Texas Rangers[link]

Webb became a free agent at the conclusion of the season and on December 26, 2010 agreed to a one-year contract with the Texas Rangers.^[7] Webb made his first appearance in a game in more than two years on May 30, 2011, pitching for Double-A Frisco. Over 3 1/3 innings, he allowed five runs on eight hits, struck out two, walked two and hit a batter.

On July 24, the Rangers announced Webb would undergo a second right rotator cuff surgery on August 1, 2011, that would sideline him until the start of the 2012 season.^[8]

On April 3, 2011, Brandon was a contributor on Chalk Them Up Radio.

Pitch repertoire[link]

Webb is mainly known for his sinker. Along with Roy Halladay's, it is often considered the best such pitch in baseball.^[9] He also features a changeup which is frequently clocked around mid 80's. Webb also throws a curveball which next to his sinker is one of his better pitches. Webb's curveball is clocked in the low 70's.^[10]

Personal[link]

Brandon and his wife, Alicia, make their home in Ashland, Kentucky. He decided to stick close to home for college, attending the University of Kentucky in Lexington.^{[citation needed]}

In December 2007, the City of Ashland re-named a section of Highway 60 the "Brandon Webb Highway" in honor of Webb.^[11]

See also[link]

• List of Major League Baseball wins champions

References[link]

External links[link]

• Career statistics and player information from MLB, or ESPN, or Baseball-Reference, or Fangraphs, or The Baseball Cube, or Baseball-Reference (Minors)
• Webb's K Foundation
• Toronto Star
• Yahoo Sports

Brian Wilson
Brian Wilson performing in January 2007
Background information
Birth name	Brian Douglas Wilson
Born	(1942-06-20) June 20, 1942 (age 70) Inglewood, California, U.S.
Genres	Rock, pop, psychedelic rock, surf rock, experimental rock, baroque pop, art rock
Occupations	Songwriter, bassist, pianist, vocalist, producer, composer, organist, arranger
Instruments	Vocals, bass, piano, organ, synthesizers, mellotron, clavinet, violin, saxophone, percussions, guitar, electric piano, moog synthesizers
Years active	1961–present
Labels	Capitol/EMI Sire/Reprise/Warner Bros. Brother/Reprise/Warner Bros. Giant/Warner Bros. Caribou/CBS Nonesuch/Elektra Walt Disney
Associated acts	The Beach Boys, The Four Freshmen, Jan and Dean, Van Dyke Parks, The Wondermints
Website	www.brianwilson.com
Notable instruments
Fender Precision Bass Baldwin HT2R Theater Organ[1] Moog synthesizer

Brian Douglas Wilson (born June 20, 1942) is an American musician, best known as the leader and chief songwriter of the group The Beach Boys. On stage, Wilson provided many of the lead vocals, and often harmonized with the group in falsetto. Early during his on-stage career, Wilson primarily played bass on stage, but gradually transitioned to primarily playing piano/keyboards. Besides being the primary composer in The Beach Boys, he also functioned as the band's main producer and arranger. After signing with Capitol Records in mid-1962, Wilson wrote or co-wrote more than two dozen Top 40 hits including "Surfin' Safari", "Surfin' USA", "Shut Down", "Little Deuce Coupe", "Be True to Your School", "In My Room", "Fun, Fun, Fun", "I Get Around", "Dance Dance Dance", "Help Me Rhonda", "California Girls" and "Good Vibrations". These songs and their accompanying albums were internationally popular, making The Beach Boys one of the biggest acts of their time.^[2]

In the mid-60s Wilson used his increasingly creative ambitions to compose and produce Pet Sounds, considered one of the greatest albums of all time. At this point his music was considered to rival that of Lennon–McCartney. The intended follow up to Pet Sounds, Smile, was cancelled for various reasons, including Wilson's deteriorating mental health. Wilson's contributions to The Beach Boys diminished as the years went by, and his erratic behavior led to tensions with the band. After years of treatment and recuperation, he began a solo career in 1988 with Brian Wilson, the same year that he and The Beach Boys were inducted into the Rock and Roll Hall of Fame. Since then he has toured for the first time in decades with a new band and released acclaimed albums such as a reworked version of Smile in 2004, for which Wilson won a Grammy Award for "Mrs. O'Leary's Cow (Fire)" as Best Rock Instrumental, That Lucky Old Sun, and Brian Wilson Reimagines Gershwin.

In 2008, Rolling Stone magazine published a list of the "100 Greatest Singers of All Time", and ranked Wilson number 52.^[3] He is an occasional actor and voice actor, having appeared in television shows, films, and other artists' music videos. On December 16, 2011, a 50th Anniversary Reunion was announced and Brian returned to The Beach Boys. Brian Wilson remains a member of the Beach Boys corporation, Brother Records Incorporated.

Life and career[link]

Early years[link]

Wilson was born on June 20, 1942 at Centinela Hospital in Inglewood, California, the son of Audree Neva (née Korthof) and Murry Gage Wilson.^[4] He was the eldest of three boys; his younger brothers were Dennis and Carl. When Brian was two,^[5] the Wilson family moved from Inglewood to 3701 West 119th Street in nearby Hawthorne, California, a town in the greater Los Angeles urban area about five miles inland from the Pacific Ocean. He spent his entire subsequent childhood years in this middle-class family home.^[6]

Brian Wilson's father told of Brian's unusual musical abilities prior to his first birthday, observing that the baby could repeat the melody from "When the Caissons Go Rolling Along" after only a few verses had been sung by the father. Murry stated, "He was very clever and quick. I just fell in love with him."^[7]

At about age two, Brian heard George Gershwin's "Rhapsody in Blue", which had an enormous emotional impact on him.^[8] A few years later Brian was discovered to have extremely diminished hearing in his right ear. The exact cause of this hearing loss is unclear, though theories range from Brian's simply being born partially deaf, to a blow to the head from Brian's father, or a neighborhood bully, being to blame.^[9]

While father Murry was ostensibly a reasonable provider, he was often abusive. But Murry, a minor musician and songwriter, 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.^[10] By most accounts a natural leader by the time he began attending Hawthorne High School, Brian was on the football team as a quarterback, played baseball and was a cross-country runner in his senior year.^[11] However, most of his energy was directed toward music. He sang with various students at school functions and with his family and friends at home. Brian taught his two brothers harmony parts that all three would then practice when they were supposed to be asleep. 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.^[12] Brian received a Wollensak tape recorder on his 16th birthday, allowing him to experiment with recording songs and early group vocals.^[13]

First steps: Carl and the Passions[link]

Wilson's surviving home tapes document his initial efforts singing with various buddies and family, including a song that would later be recorded in the studio by The Beach Boys, "Sloop John B", as well as "Bermuda Shorts" and a hymn titled "Good News". In his senior year at Hawthorne High, in addition to his classroom music studies, he would gather at lunchtime to sing with friends like Keith Lent and Bruce Griffin. Brian and Lent worked on a revised version of the tune "Hully Gully" to support the campaign of a classmate named Carol Hess who was running for senior class president. When performed for a full high school gathering, Brian's revised arrangement received a warm round of applause from the student audience.^[14]

Enlisting his cousin and often-time singing partner Mike Love, and Wilson's reluctant youngest brother Carl Wilson, Brian's next public performance featured more ambitious arrangements at a fall arts program at his high school. To entice Carl into the group, Wilson named the newly-formed membership "Carl and the Passions". The performance featured tunes by Dion and the Belmonts and The Four Freshmen ("It's a Blue World"), the latter of which proved difficult for the ensemble to carry off. However, the event was notable for the impression it made on another musician and classmate of Brian's who was in the audience that night, Al Jardine, later to join the three Wilson brothers and Mike Love in The Beach Boys.^[15]

Initial compositions and the Pendletones[link]

Brian enrolled at El Camino College in Los Angeles, majoring in psychology, in September 1960. However, he continued his music studies at the college as well.^[16] At some point in the year 1961 Brian wrote his first all-original melody, loosely based on a Dion and the Belmonts version of "When You Wish Upon a Star". Brian's tune would eventually be known as "Surfer Girl". Brian has commented that he wrote the melody in his car, then later at home finished the bridge and harmonies. Although 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.^[17]

Brian and his brothers Carl and Dennis Wilson along with Mike Love and Al Jardine first gelled as a music group in the summer of 1961, initially named the Pendletones. After being prodded by Dennis to write a song about the local water sports craze, Brian and Mike Love together created what would become 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 a couple of days and intended to use the emergency money they had left for the boys to rent an amp, a microphone, and a stand-up bass. As it turned out, the money they had left was not enough to cover musical expenses, so Al Jardine appealed to his mother, Virginia for assistance. When she heard the group perform, she was suitably impressed and handed over $300 to help out. Al promptly took Brian to the music store where he was able to rent a stand-up bass. After two days of rehearsing in the Wilsons' music room, Brian's parents returned home from their trip. Murry was irate, until Brian convinced him to listen to what they'd been up to. His father was convinced that the boys did indeed have something worth pursuing. He quickly proclaimed himself the group's manager and the band embarked on serious rehearsals for a proper studio session.^[18] 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.^[19]

Dennis later described the first time Brian heard their song on the radio as the three Wilson brothers (and soon-to-be-band member David Marks) drove in Brian's 1957 Ford in the rain: "Nothing will ever top the expression on Brian's face, ever ... THAT was the all-time moment."

However, the Pendletones were no more. Without the band's knowledge or permission, Candix Records had changed their name to The Beach Boys.^[20]

First performances and the quest for a major label[link]

Brian Wilson and his bandmates, following a set by Ike and Tina Turner, performed their first major live show at The Ritchie Valens Memorial Dance on New Year's Eve, 1961. Three days previously, Brian's father had bought him an electric bass and amplifier; Brian had learned to play the instrument in that short period of time, with Al Jardine moving to rhythm guitar.

Looking for a followup single for their radio hit, Brian 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 band's financial prospects, and objecting to adding some Chubby Checker songs to The Beach Boys live setlist, Al Jardine abruptly left the group.^[21]

When Candix Records ran into money problems and sold the group's master recordings to another label, Murry Wilson terminated the contract. Brian, worried about The Beach Boys' future, asked his father to help his group make more recordings. But Murry and Hite Morgan (who at this point was their music publisher) were turned down by a number of Los Angeles record companies.

As "Surfin'" faded from the charts, Brian, who had forged a songwriting partnership with Gary Usher, created several new tunes, including a car song, "409", that Usher helped them write. Recruiting Carl and Dennis' friend, thirteen-year-old neighbor David Marks, who had been playing electric guitar (and practicing with Carl) for years, Brian and the revamped Beach Boys cut new tracks on April 19 at Western Recorders including an updated "Surfin' Safari" and "409". These tunes convinced Capitol Records to release the demos as a single; they became a double-sided national hit.^[22]

The Beach Boys and first success with Capitol Records[link]

Brian Wilson performing the song "I Get Around" with The Beach Boys on The Ed Sullivan Show in 1964.

Recording sessions for the band's first album took place in Capitol's 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 Brian's insistence, Capitol agreed to let The Beach Boys pay for their own outside recording sessions, which Capitol would own all the rights to, and in return the band would receive a higher royalty rate on their record sales. Additionally, although it was very rare at the time for rock and roll band members to have a say in the process of making their records, during the taping of their first LP Brian fought for, and won, the right to be totally in charge of the production- though his first acknowledged liner notes production credit did not come until the band's third album Surfer Girl, in 1963.^[23]

In January 1963 The Beach Boys recorded their first top-ten (cresting at #3 in the United States) single, "Surfin' USA", which began their long run of highly successful recording efforts at Hollywood's 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 doubletracking on the group's vocals, resulting in a deeper and more resonant sound.^[24]

Brian Wilson with The Beach Boys in 1966.

The tune, adapted from (and eventually entirely credited to) Chuck Berry, is widely seen as emblematic of the early 1960s American rock cultural experience.^[25] The Surfin' USA album was also a big hit in the United States, reaching number two on the national sales charts by early July 1963. Brian and his group had become a top-rank recording and touring music band.^[4]

Early era as writer/producer[link]

Brian was first credited as The Beach Boys' producer on the Surfer Girl album, recorded in June and July 1963 and released in September 1963. This LP reached #7 on the national charts on the strength of songs like the ballad "In My Room", later released as a single; "Catch a Wave"; and "Little Deuce Coupe", which was released as a double-sided single with the album's title track, both top-15 hits.

He also began working with other artists in this period. On July 20, 1963, "Surf City", which he had co-written with Jan and Dean, was the first surfing song to reach the pinnacle of the sales charts. The development pleased Brian, but angered Murry and Capitol Records. Murry went so far as to order his oldest son to sever any further efforts with Jan and Dean.

Brian's other non-Beach Boy work in this period included tracks by The Honeys, Sharon Marie, The Timers, and The Survivors. 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.^[26]

Artistic growth[link]

Brian became known for his unique use of vocal harmonies and incessant studio perfectionism. Early influences on his music included not only the previously mentioned Four Freshmen and Chuck Berry, but also the work of record producer Phil Spector, the latter of whom obsessed Wilson for years.^[27] He later considered The Beatles to be his chief rivals, and they in turn would cite his work as a major influence. Wilson also produced records for other artists, but to much lesser success, with the exception of Jan and Dean, for whom Wilson co-wrote several hit songs. Following a nervous breakdown onboard a flight from L.A. to Houston in 1964,^[28] Wilson stopped performing live with the Beach Boys in an effort to concentrate solely on songwriting^[29] and studio production.^[28] Glen Campbell was called in as his temporary stand-in for live performances,^[27] before Wilson chose Bruce Johnston as a long-term replacement—a band member who remains with the Beach Boys today. In late 1965, Wilson began working on material for a new album after hearing the Beatles' 1965 album Rubber Soul.^[30]

As he began work on the new project, Pet Sounds, Wilson formed a temporary songwriting partnership with lyricist Tony Asher. Wilson, who had recorded the album's instrumentation with The Wrecking Crew, then gathered with 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,^[28] the group, particularly Mike Love, was somewhat critical of their leader's music,^[27] and expressed their dissatisfaction.^[28] 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; "They thought it was too far-out to do, you know?... But then when it was all done, they liked it. They started liking it."^[28] 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 group's 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, reaching no. 32 on the Billboard charts.^[31]

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.^[30] In October 1966, the song was released as a single, giving The Beach Boys their third U.S. number-one hit—alongside "I Get Around" and "Help Me, Rhonda"—and it sold over a million copies.

[edit] Smile, group tension and Brother Records

With the surprising success of "Good Vibrations", Capitol Records had no choice but to back Wilson up for his next project, originally called Dumb Angel^[27] but soon re-titled Smile, which he described as a "teenage symphony to God".^[27] The album's approach was similar to "Good Vibrations" in the style of recording, which, at the time, was called modular music. This was vastly different compared to the standard live performances that were typically done in a studio at the time. After having been introduced to each other at a party, Wilson sought the lyrical assistance of L.A.-based musician Van Dyke Parks, who had made a profound impression on Wilson with the "visionary eloquence" of his lyrics.^[32] During the album's songwriting sessions, they collaborated on "Heroes and Villains", "Surf's Up", "Wonderful", "Vegetables" and "Mrs. O Leary's Cow". However, between December 1966 and May 1967, the Smile sessions fell apart due to conflict within the group and Wilson's own growing personal problems. As a result, Wilson was having problems completing the album towards the end of the recording sessions. Originally slated to be released in January 1967, the date was continually pushed back until its eventual cancellation — "Heroes and Villains" and "Vegetables" were planned as singles within that time, but nothing appeared.

Another source of problems came from The Beach Boys deciding to file a lawsuit against Capitol Records to start their own label, Brother Records. This transpired when Wilson was trying to finish the album and, right along the way, The Beatles were working on Sgt. Pepper's Lonely Hearts Club Band. In April 1967, Wilson — who was suffering from growing mental problems not limited to paracusia and paranoia, including the belief that journalist Jules Siegel's girlfriend was a witch with a penchant for extrasensory perception — was "deeply affected" by hearing a tape of the Sgt. Pepper song "A Day in the Life", which Paul McCartney played to him in Los Angeles.^[33] Soon after, Smile was abandoned, and Wilson would not return to complete it until 2004, when it was released as a Brian Wilson album of the same name. Van Dyke Parks later noted, "...Brian had a nervous collapse. What broke his heart was Sgt. Pepper."^[32] Writing for The Guardian in December 1999, Will Hodgkinson summarized the main reasons for the eventual demise of Wilson's ambitious project;^[32]

[A] combination of factors, including litigations against the record company and increasing animosity between Wilson and the rest of the band, meant that in May 1967 Wilson pulled the plug on the record... [Mike] Love had already dismissed "Good Vibrations" as "avant-garde shit" and objected to the way Wilson, Parks and a group of highly skilled session musicians were creating music way beyond his understanding... By March 1967, the bad feeling got too much for Parks and, having no desire to break up The Beach Boys, he walked out.

Following the cancellation of Smile, The Beach Boys relocated to a recording studio within the confines of Brian Wilson's mansion, where the hastily compiled Smiley Smile album was assembled, along with a number of future Beach Boys records. This marked the end of Wilson's leadership within the band, and has been seen to be "the moment when the Beach Boys first started slipping from the vanguard to nostalgia."^[28]

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Onset of mental illness and drug addiction[link]

Throughout mid-to-late 1967, Wilson concurrently oversaw the production of such heavily orchestrated songs as "Can't Wait Too Long" and "Time to Get Alone" (the latter intended for Redwood, an early iteration of Three Dog Night) alongside the albums Smiley Smile (composed mainly of reconstituted Smile material recorded in minimalist arrangements by the core Beach Boys) and the R&B-inflected Wild Honey, both of which performed only modestly on the charts. His interest in The Beach Boys began to wax and wane, and he was frequently seen partying with Tandyn Almer and singer Danny Hutton; it was during this period that he was introduced to cocaine. 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 (Friends, largely written & produced by Wilson and recorded once again with members of the Wrecking Crew, peaked at #126 on the American charts), Wilson's creative role with the band begin to diminish. Shortly after numerous attempts at recording of an intricate Pet Sounds-style cover of Kern and Hammerstein's "Ol' Man River" were finally thwarted by Love, Wilson entered a psychiatric hospital for an indefinite period of time of his own volition; it is believed that he was first administered Thorazine and electroconvulsive therapy during this stay. As a consequence of this, his contributions to 1969's 20/20 subsequently consisted of Smile outtakes and long-simmering works in progress. The Wilson/Love-authored "Do It Again", a reactionary throwback to the band's earlier surf hits, was a major hit in the summer of 1968, reaching #20 in America (though not offsetting the fallow, contemporaneous reception of "Friends" and "Bluebirds Over the Mountain") and topping the charts in the UK.

In 1969 and 1970 Wilson enjoyed a relatively good period of health and activity. He lost weight, made several concert appearances (including filling in for Love on a 1970 Northwest tour while the singer was convalescing), and resumed writing and recording on a fairly regular basis. Some of this work ended up on The Beach Boys Sunflower LP, containing 7 (out of 12) songs written or co-written by Wilson and their first for then-au courant Reprise Records under a contract that stipulated his proactive involvement with the band. With his father Murry assisting, Wilson also penned the 1969 UK hit "Break Away", a song that explicitly alluded to his depression and aural hallucinations. Although he played and/or sang on most of the 1971 Surf's Up LP, he wrote or co-wrote only three of the ten songs, including the 1966 title track. After rampant opposition to one of his contributions ("'Til I Die") from Love and the protracted debate surrounding the use of the Smile remnant, Wilson lost interest in the group once more, largely ceding leadership of the band to his brother Carl. In late 1971 and early 1972 he worked intermittently on the Spring LP, a new collaboration between erstwhile Honeys Marilyn Wilson and Diane Rovell. While he was initially far more involved in their sessions than The Beach Boys' recordings of the epoch, he soon recused himself from the recording process. Wilson co-wrote three (out of eight) songs for The Beach Boys' Carl and the Passions: So Tough in 1972 and reluctantly accompanied the band on their excursion to the Netherlands that year; the ensuing Holland contained the long-germinating FM radio hit "Sail On, Sailor" (believed to be largely written by Wilson, Alder, and Van Dyke Parks circa 1970-1971) and the more insouciant "Funky Pretty" (a collaboration with the band's manager, Jack Riley); a bonus EP contained Mount Vernon and Fairway (A Fairy Tale), a narrative suite musically inspired by Randy Newman's Sail Away and intended to be the album's centerpiece. Faced with the piece's castigatory reception from much of the band, Wilson stopped recording; the finished take was salvaged by Carl Wilson and Jack Riley. In the uncut excerpts from a 1981 interview with Musician, Carl Wilson claimed that his brother became truly addicted to cocaine during this period.

Seclusion, comeback, and relapse[link]

Wilson spent a great deal of the two years following his father's death in June 1973 secluded in the maid's quarters of his Bel Air mansion, sleeping, taking drugs, and overeating. During this period his voice deteriorated significantly as a result of chain smoking, drug ingestion and general neglect. In late 1975, Marilyn Wilson and the family enlisted the services of a controversial therapist, Eugene Landy, in a bid to help Wilson, with the hope of reviving the group's ailing profile. Wilson did not stay under Landy's care for long, but during this short period, Landy managed to help him into a more productive, social frame of mind. The new album 15 Big Ones, consisting of oldies and some new songs, was released in 1976 and Wilson began to appear regularly on stage with the band. A Love-orchestrated publicity campaign announced that "Brian is Back". He was also deemed to be well enough to do a solo performance on Saturday Night Live in November 1976. In 1977, the cult favorite Love You was released, consisting almost entirely of new material written and performed by Wilson. He has often called this, along with Friends, his favorite Beach Boys album.

By 1982, Eugene Landy was once more called into action, and a more radical program was undertaken to try to restore Wilson to health. This involved firing him from The Beach Boys, isolating him from his family on Hawaii, and putting him on a rigorous diet and health regimen. Coupled with long, extreme counselling sessions, this continued to bring Wilson back to reality. He lost a tremendous amount of weight and was certainly healthier and more conversant than previously, but was also under Landy's strict control. Wilson's recovery continued as he joined the band on stage in Live Aid in 1985, and recorded the album The Beach Boys with the group.

Dr. Landy provided a Svengali-like environment for Wilson, controlling every movement in his life, including his musical direction. Landy's misconduct would eventually lead to the loss of his psychology license,^[34] as well as a court-ordered removal and restraining order from Wilson.^[35]

Some years later, during his second marriage, Wilson was diagnosed with schizoaffective disorder (bipolar type) which supposedly caused him to hear voices. By 1989 a rumour was circulating that Brian either had had a stroke or had abused drugs excessively and was permanently "fried".^[7] One biographer reported that the actual problem was that Wilson, who had been prescribed anti-psychotic medicine since 1983, had developed tardive dyskinesia,^[36] a neurological condition marked by involuntary, repetitive movements, that develops in about 20% of patients treated with anti-psychotic drugs for a long period of time.^[37] Wilson's drug regimen has now been reduced to a combination of mild antidepressants, and he has resumed recording and performing.

The effects of Brian Wilson's mental illness on his parenting skills were discussed by Wilson's daughter Wendy during her appearance in an episode of the British reality television program Supernanny.^[38] Wilson's daughter Carnie and granddaughter Lola also made an appearance on the episode.

Solo career[link]

Wilson launched a career as a solo artist in 1988 with limited success. It is possible that his efforts in this regard were both encouraged and hampered by Landy's influence. Partly due to the control that Landy exercised on his life, Wilson stopped working with The Beach Boys on a regular basis after the release of The Beach Boys in 1985. He had been signed to a solo record deal with Sire Records by label boss Seymour Stein.

Wilson's first solo album, Brian Wilson, released in 1988, was favorably reviewed in the music press, but sold poorly. A memoir, Wouldn't It Be Nice - My Own Story, was released in 1990, in which he spoke about his troubled relationship with his abusive father Murry, his internal disputes with the Beach Boys, and his "lost years" of mental illness. Although it was written following interviews with Brian and others and released with Brian's name as co-author, Landy was largely responsible for the direction of the book, in conjunction with People magazine writer Todd Gold. The book describes Landy in terms that could be called messianic. In a later lawsuit over the book, instigated by several family members including his brother Carl and mother Audree, Wilson testified in court that he had not even read the final manuscript. As a result, the book was taken out of press some years later. A second solo album made for Sire under the aegis of Landy, entitled Sweet Insanity, was never released after being rejected by the record label. Landy's illegal use of psychotropic drugs on Wilson and his influence over Wilson's financial affairs was legally ended by Carl Wilson and other members of the Wilson family. A court appointed conservator was appointed to oversee Wilson's financial and legal affairs.

In 1995, Wilson married Melinda Ledbetter, a car saleswoman and former model he met several years earlier while still under the care of Eugene Landy. The couple adopted five children: two girls, Daria Rose and Delanie Rae, in 1998; a boy, Dylan, in 2004; a boy, Dash Tristan in 2009; and a girl, Dakota Rose, in 2010.^[39] Wilson has two daughters from his first marriage to Marilyn Rovell: Carnie Wilson and Wendy Wilson, who would go on to musical success of their own in the early 1990s as two-thirds of Wilson Phillips.

Also in 1995, he released two albums, albeit neither containing any new original Wilson material, almost simultaneously. The first, the soundtrack to Don Was's documentary I Just Wasn't Made for These Times, consists of re-recorded versions of songs from his Beach Boys and solo catalogue produced by Was, along with a 1976-vintage demo recording. The second, Orange Crate Art, saw Wilson as lead vocalist, multitracked many times over, on an album of songs produced, arranged and (mostly) written by Van Dyke Parks, and was released as a duo album under both men's names.

His final release as part of the group was on the 1996 album Stars and Stripes Vol. 1, a group collaboration with select country music artists singing the lead vocals. After considerable mental recovery, he mended his relationship with his daughters Carnie and Wendy and the three of them released an album in 1997 titled The Wilsons.

In 1996 Wilson sang backup on Belinda Carlisle's "California."

In 1998, Wilson released a second solo album of mostly new material, Imagination. Following this, he received extensive vocal coaching to improve his voice, learned to cope with his stage fright, and started to play live for the first time in decades, going on to play the whole Pet Sounds album live on his tours of the United States, United Kingdom, and Europe.

The album Gettin' in Over My Head, was released on June 22, 2004. It featured collaborations with Elton John, Paul McCartney, Eric Clapton, and Wilson's deceased brother Carl. Clapton played on the track "City Blues." The album was almost entirely composed of re-recordings of unreleased material, and received mixed reviews.

Wilson recently contributed a cover of Buddy Holly's "Listen To Me" to the tribute album, Listen to Me: Buddy Holly released on September 6, 2011 on Verve Forecast. Rolling Stone praised Wilson's version as "gorgeous", featuring "angelic harmonies and delicate instrumentation".^[40]

[edit] Smile resurrected

With the improvements in his mental health, Wilson found himself able to contemplate returning to the Smile project. Aided by musician and long time fan Darian Sahanaja of The Wondermints, and lyricist Van Dyke Parks, Brian painstakingly worked throughout 2003 to release the album. In February 2004, 37 years after it was conceived, Wilson debuted the newly completed Smile at the Royal Festival Hall in London and throughout a subsequent UK tour.

The debut performance at the RFH was a defining moment for Brian. The documentary DVD of the event shows Brian preparing for the big day and, right up to show time, expressing doubts over the concept of putting this legendary work before the public. After an opening set of Beach Boys classics, he climbed back on stage for a rousing performance of the album. A 10-minute standing ovation followed the concert; the DVD shows a sprinkling of rock luminaries in the crowd, such as Roger Daltrey, Paul Weller, Sir George Martin and Sir Paul McCartney (although neither Martin nor McCartney attended the opening night, contrary to what the DVD implies).

Smile was then recorded through April to June and released in September, to wide critical acclaim. The release hit #13 on the Billboard chart. The 2004 recording featured his backup/touring band, including Beach Boys guitarist Jeff Foskett, members of the Wondermints and backup singer Taylor Mills. In this version, "Good Vibrations" features Tony Asher's original lyrics in the verses, instead of Mike Love's lyrics from the released 1966 version.

At the 47th Grammy Awards in 2005, Wilson won his only Grammy for the track "Mrs. O'Leary's Cow" as Best Rock Instrumental. In 2004 Smile was taken on the road for a tour of Australia, New Zealand and Europe. In December 2005, he also released What I Really Want for Christmas for Arista Records. The release hit #200 on the Billboard chart, though sales were modest. Wilson's remake of the classic "Deck The Halls" became a surprise Top 10 Adult Contemporary hit.

On November 1, 2011, after a 44-year wait, the Beach Boys version of the Smile album titled The Smile Sessions was released as a single CD, a 2 CD box-set, a vinyl double album, and a deluxe 5 CD/2 LP boxset.^[41]

[edit] Post-Smile to That Lucky Old Sun

Brian Wilson and his group performing In Europe in 2005.

In February 2005, Wilson had a cameo in the TV series Duck Dodgers in the 24½th Century as Daffy Duck's spiritual surfing advisor.^[42] He also appeared in the 2005 holiday episode of Extreme Makeover: Home Edition, performing "Deck the Halls" for a group of children with xeroderma pigmentosum (hypersensitivity to sunlight) at Walt Disney World Resort. On July 2, 2005, Wilson performed for the Live 8 concert in Berlin, Germany.

In September 2005, Wilson arranged a charity drive to aid victims of Hurricane Katrina, wherein people who donated $100 or more would receive a personal phone call from Wilson. According to the website, over $250K was raised.^[43] In November 2005, former bandmate Mike Love sued Wilson over "shamelessly misappropriating... Love's songs, likeness, and the Beach Boys trademark, as well as the 'Smile' album itself" in the promotion of Smile.^[44] The lawsuit was ultimately thrown out of court on grounds that it was meritless.^[45]

On November 1, 2006, Wilson kicked off a small but highly anticipated tour celebrating the 40th anniversary of Pet Sounds.^[46] He was joined by Al Jardine.

Wilson released a new album That Lucky Old Sun on September 2, 2008. The piece originally debuted in a series of September 2007 concerts at London's Royal Festival Hall, and in January 2008 at Sydney's State Theatre while headlining the Sydney Festival.^[47] Wilson describes the piece as "consisting of five 'rounds', with interspersed spoken word".^[48] A series of US and UK concerts led up to its release.

On September 30, 2008, Seattle's Light in the Attic Records released A World of Peace Must Come, a collaboration between Wilson and Stephen Kalinich, originally recorded in 1969, but later lost in Kalinich's closet.^[49]

[edit] Brian Wilson Reimagines Gershwin (2009–present)

Wilson signed a two-record deal with Disney. In summer 2009, Wilson was approached by the Gershwin estate^{[citation needed]} to record an album of covers of classic Gershwin songs, and to complete two piano pieces left unfinished by Gershwin at his death. The album, Brian Wilson Reimagines Gershwin, was released on August 17, 2010 on Disney's Pearl label.^{[50][dated info]} Brian Wilson Reimagines Gershwin hit #1 on the Billboard Jazz Chart, and had sold 53,000 copies by August 2011.^[51]

Wilson's second album for Disney was In The Key Of Disney, a collection of classic Disney movie songs, which was released on October 25, 2011.^[51]

Wilson contributed a cover of "Listen to Me" to the tribute album Listen to Me: Buddy Holly, which was released on September 6, 2011.

The Tree of Life producer Bill Pohlad and veteran television writer/producer John Wells (E.R., The West Wing) have teamed to develop a drama based on Wilson's personal and professional story. They have acquired life rights from Wilson and his wife, Melinda, and hired Oren Moverman, the Oscar-nominated screenwriter behind the offbeat Bob Dylan film I'm Not There, to write a script.^[52]

[edit] Beach Boys Reunion (2011–present)

In June 2010, the Las Vegas Sun reported that Brian Wilson would join The Beach Boys for their 50th anniversary.^[53] However, Love subsequently stated, "At this time there are no plans for my cousin Brian to rejoin the tour...We have had some discussions of writing and possibly recording together, but nothing has been planned...I..felt the need to clarify that there are no current 'reunion' tour plans."^[54]

That July, Rolling Stone magazine reported that Jardine stated "we’re definitely doing at least one show" in 2011 to celebrate the 50th anniversary of the formation of the band. The reunion would feature all the surviving 1960s-era Beach Boys— Jardine himself, Wilson, Love, Johnston and possibly Marks. Jardine added that the tension between various former band-mates has been resolved. Regarding the various now-resolved lawsuits between them, he noted that "Once we finished our business, all the negativity was gone." Rolling Stone reported that Wilson's manager, Jean Sievers, is "unfamiliar with reunion plans", although the magazine stated "a source close to Love says there have been discussions for reunion concert, but nothing is set." There was also no confirmation of a location for the concerts.^[55]

Al Jardine joined the Beach Boys for the first time since 1998 at a tribute for Ronald Reagan on February 5, 2011. Brian Wilson was invited to join as well, though he did not attend, as he was recording his Disney album.^[56]

On July 27, 2011, Mike Love announced that, "Where we're at right now is Brian's written some songs, I've written some songs. We're talking very seriously about getting together and co-writing and doing some new music together [as a band].. ..He's been doing his own touring, we've been doing ours and so we haven't really been able to lock into that, but it looks like this fall we will. It just makes a lot of sense with a milestone such as 50 years to get together and do something."^[57] That day, Brian Wilson said the band is going to get back together to celebrate their 50th anniversary. Wilson added that he was at Capitol Records recently with Love and Jardine, but is still not exactly certain what the future holds: “We're going to get together a little bit before we do it.” To rehearse? “I assume so,” Wilson said.^[58]

In the Summer 2011 edition of the Beach Boys' fan publication, Endless Summer Quarterly, Mike Love told editor David M. Beard, "We had a session at Capitol Records (with Love, Wilson, Jardine and Bruce Johnston). Brian was conducting the session. … At the end of the session Brian said, “I can’t believe a 70-year-old guy can sing that great!” [Laughs] It was really cute! It was cool. … It was something to prove that we can work together. There’s a lot of talk and conjecture both internally and externally. All I can say at the moment is I think it would be great to work with Brian and see what can come of it… I’m all in favor of a positive outlook towards that."

In the October 2011 issue of Rolling Stone, Jardine told the magazine that the group with Wilson would reunite in 2012 for 50 U.S. dates and 50-60 overseas dates. Mike Love stated that during the summer of 2011, the band reunited to re-record their hit, "Do it Again" which will be made into a music video to promote the world tour. Love had nothing but praise for Wilson saying "he sounds great, always coming up with chords, and his singing ability is still there. He hasn't lost the ability to do what he does best." Love even said he was more excited about what the future held and together with Wilson they were writing songs again with Beach Boys sessions veteran, Eddie Bayers for an upcoming Beach Boys reunion album. Bayers commented on the new songs by Wilson by saying "Brian's new creations are just unbelievable." Wilson, on the other hand, said he did not really like working with his former bandmates, though it all depends on how they feel and how much money is involved. He concluded by saying that money is not the only reason he made records, but it does hold a place in their lives.^[59]

On September 29, 2011 it was announced that in a upcoming interview with Q Magazine, Wilson said that while he did consider rejoining the group back in May, the rumors of him reuniting with the band were not true and he would not be touring with them in 2012, though he did acknowledge that at least they are trying to keep the music alive. Wilson said that he plans to focus his attention on his upcoming solo projects including his Disney album, but made no comments on the new Beach Boys music or album which Love had mentioned in the Rolling Stone interview, and nothing was mentioned about the music video.^[60]

On December 16, 2011 it was announced that despite Brian Wilson's previous claims to the contrary, he would be reuniting with Mike Love, Al Jardine, Bruce Johnston and David Marks for a new album and 50th anniversary tour in 2012. The group appeared at the 2012 Grammy Awards on February 12, followed by a 50-date tour that is set to include a performance at the New Orleans Jazz Festival in April.^[61]

The Beach Boys will release their new album, That's Why God Made the Radio, on June 5, 2012. The album's title track was released as its first single in April 2012.

Legacy[link]

Awards and recognitions[link]

• Wilson and the Beach Boys were inducted into the Rock Hall of Fame in January 1988.
• In 2000, Wilson was inducted into the Songwriters Hall of Fame. Paul McCartney introduced Brian, referring to him as "one of the great American geniuses."^[62]
• In March 2001, TNT and Radio City Music Hall hosted "An All-Star Tribute to Brian Wilson." This event featured performances and appearances by Elton John, Billy Joel, Chazz Palminteri host, David Crosby, Dennis Hopper, Paul Simon, Carly Simon, The Go-Go's, Cameron Crowe, Sir George Martin, Vince Gill, Brian's daughters Carnie & Wendy Wilson along with Chynna Phillips (Wilson Phillips), Jimmy Webb, Darius Rucker, Matthew Sweet, Ann and Nancy Wilson of (Heart), The Boys Choir of Harlem, and others.
• Pet Sounds has been ranked as one of the most influential records in popular music, and has been ranked #1 on several music magazines' lists of the greatest albums of all time. It is ranked #2 on Rolling Stone's 500 Greatest Albums of All Time.
• On May 10, 2004, Wilson was honored as a BMI Icon at the 52nd annual BMI Pop Awards. He was saluted for his "unique and indelible influence on generations of music makers."^[63]
• A 2005 concert, "Musicares: A Tribute to Brian Wilson," was held in Wilson's honor, during which he was named MusiCares Person of the Year. Performers included Jeff Beck, the Red Hot Chili Peppers, Earth Wind & Fire, Barenaked Ladies, and The Backstreet Boys, among others.
• On May 20, 2005, Wilson and two of the other original-era Beach Boys (Al Jardine and David Marks) were honored with the unveiling of the Beach Boys Historic Landmark on the former site of the Wilson family home in Hawthorne, California.
• In 2005, Wilson won the Grammy Award for Best Rock Instrumental Performance for Mrs. O'Leary's Cow.
• In November 2006, Wilson was inducted into the UK Music Hall of Fame by Pink Floyd guitarist David Gilmour. Wilson performed "God Only Knows" and "Good Vibrations" at the ceremony.
• On December 2, 2007, the Kennedy Center Honors committee recognized Wilson for a lifetime of contributions to American culture through the performing arts in music.
• May 20, 2011, Wilson received the UCLA George and Ira Gershwin Award at UCLA Spring Sing.^[64]

Comments of other musicians[link]

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• Paul McCartney, The Beatles

I listened to a lot of different bass players - mostly Motown records. They were great and the bass player, who I found out later was James Jamerson, was an influence. So smooth, melodic, and solid. I really liked Marvin Gaye records. And, of course, I’ve always liked Brian Wilson all the way through The Beach Boys. But Pet Sounds blew me away. It’s still one of my favorite albums. When I first heard it, I thought, Wow, this is the greatest record of all time! Brian took the bass into very unusual places. The band would play in C, and Brian would stay in G. That kind of thing. It gave me great ideas. That musical invention of Brian Wilson was eye-opening, I mean, ear-opening.

It was Pet Sounds that blew me out of the water. I love the album so much. I’ve just bought my kids each a copy of it for their education in life … I figure no one is educated musically ’til they’ve heard that album … I love the orchestra, the arrangements … it may be going overboard to say it’s the classic of the century … but to me, it certainly is a total, classic record that is unbeatable in many ways … I’ve often played Pet Sounds and cried.^[65]

I played it to John so much that it would be difficult for him to escape the influence … it was the record of the time. The thing that really made me sit up and take notice was the bass lines … and also, putting melodies in the bass line. That I think was probably the big influence that set me thinking when we recorded ‘Pepper’, it set me off on a period I had then for a couple of years of nearly always writing quite melodic bass lines.

“God Only Knows” is a big favorite of mine … very emotional, always a bit of a choker for me, that one. On “You Still Believe In Me”, I love that melody – that kills me … that’s my favorite, I think … it’s so beautiful right at the end … comes surging back in these multi-colored harmonies … sends shivers up my spine.”

• Neil Young

His music definitely affected mine – the harmonies. Of course I never played in a band that could sing like that. He’s got the whole band retarding every once in awhile – he’s got a feel for it and he’s got everybody playing and it’s not something you naturally do. It’s something that he shows you where to lay back – where to slow down. You hear the band doing it just like it happens on the record – it’s no accident. I love you, Brian. I’m there for you.^[65]

• Bob Dylan

… Jesus, that ear. He should donate it to The Smithsonian. The records I used to listen to and still love, you can’t make a record that sounds that way. Brian Wilson, he made all his records with four tracks, but you couldn’t make his records if you had a hundred tracks today.

• Art Garfunkel, Simon & Garfunkel

When I heard "Good Vibrations" for the first time on the radio I called Paul [Simon] immediately and I said: "I think I just heard THE greatest, MOST creative record of them all."^[66]

Brian showed us all the endless possibilities in what's been recorded, and how it can be layered and combined or subtracted to create something eternal.^[66]

Brian's sense of "the possible" certainly came from his California roots, which to me has always represented the promise and sweetness in America. He gave us the most lovely chords, that are shaded and illustrative of the lyric. And since he was able to achieve that with a sense of fun, with that joyousness, he became our Mozart of rock-'n-roll.^[66]

• Stevie Wonder

I’ve always been into harmonies, so I was inspired by that part of what they (the Beach Boys) were doing. It definitely influenced a generation of kids.

• Bono, U2

The genius of his music is the joy that’s in it. I know that Brian believes in angels. I do too. But you only have to listen to the string arrangement on God Only Knows for fact and proof of angels."^[67]

• Eric Clapton

All of us, Ginger (Baker), Jack (Bruce), and I consider Pet Sounds to be one of the greatest pop LPs to ever be released. It encompasses everything that’s ever knocked me out and rolled it all into one. Brian Wilson is, without a doubt, a pop genius.

• Elton John

"Pet Sounds is a landmark album. For me to say that I was enthralled would be an understatement. I had never heard such magical sounds, so amazingly recorded. It undoubtedly changed the way that I, and countless others, approached recording. It is a timeless and amazing recording of incredible genius and beauty.

Brian Wilson has influenced me more than any other songwriter, whether it's English or American. Because of the way he shaped his chords, the way...I'm getting very technical now, but he never used...he...the root note of a chord, he used the 5th or the 3rd and changed the chord sound completely. [...] I have never been influenced so much as songwriter by anybody as much as Brian Wilson.^[68]

• Linda Ronstadt

I don’t think there’s anyone his equal in popular music for this fifty years. They were really deep, profound emotions that came out of a lot of pain.^[69]

• David Crosby

He was the most highly regarded pop musician in America, hands down. Everybody by that time had figured out who was writing and arranging it all. “In My Room” was the defining point for me. When I heard it, I thought “I give up – I can’t do that – I’ll never be able to do that.”^[69]

One of the hallmarks of Brian Wilson’s genius is to turn powerful emotions and terrible tragedy into life-affirming art that helps and heals. Music that in our darkest moments gives us hope and soothes our soul.^[68]

I owe Brian. We all do. Everybody in American pop music owes him. He was the first and one of the best. [...] He pushed the envelope in pop music. He changed what was possible in pop music.^[68]

• Graham Nash

He was way advanced of what anybody was doing at that point. And I think the Beatles recognized that and I think every harmony group in the world recognized that there was some different thing going on – something very sophisticated.^[69]

• Phillip Glass

Pet Sounds became an instant classic when it first appeared. Listening to it today, it is, perhaps, easier to see why it was one of the defining moments of its time, along with the music of the Beatles, Pink Floyd and the Grateful Dead … its willingness to abandon formula in favor of structural innovation, the introduction of classical elements in the arrangements, production concepts in terms of overall ‘sound’ which were novel at the time, all these elements give Pet Sounds a freshness that, thirty years later, is immediately there for the listener.^[69]

• Leonard Bernstein, conductor

There is a new song, too complex to get all of first time around. It could come only out of the ferment that characterizes today’s pop music scene. Brian Wilson, leader of the famous Beach Boys, and one of today’s most important musicians, sings his own ‘Surf’s Up.’ Poetic, beautiful even in its obscurity, ‘Surf’s Up’ is one aspect of new things happening in pop music today. As such, it is a symbol of the change many of these young musicians see in our future.

[Brian Wilson] is one of the greatest composers of the 20th century.^[70]

• Mike Love, The Beach Boys

It was perfect, vocally, in terms of the notes, and the timbre, and the quality. But Brian had another idea… I mean, it was some vibrations about it… somebody had an impure thought… I finally started calling him “dog ears”, because he could obviously hear something that most human beings cannot.

• Dennis Wilson, The Beach Boys

Brian Wilson is the Beach Boys. He is the band. We’re his fucking messengers. He is all of it. Period. We’re nothing. He’s everything.

• Carl Wilson, The Beach Boys

Every once in a while, an individual is born into the world whose whole being is music. I think Brian is one of those rare people.

• Bruce Johnston, The Beach Boys

[Brian] combines the brilliance of Rachmaninoff and the command power of General Patton. ^[71]

• Burt Bacharach

Pet Sounds is brilliant. Brian Wilson is one of the greatest innovators of my decade or any decade.

• Jimmy Webb

I don’t think that the California Myth, the dream that a few of us touched, would have happened without Brian, and I don’t think Brian would have happened without the dream. They’re inseparable.

• Van Dyke Parks, lyricist, SMiLE

Music is Brian Wilson’s best friend, lover, everything. On a one-to-one basis, it’s the only thing that has never wronged him. It’s when people, and gossip, and record companies came into play that things went askew. The music never betrayed him. And given Brian’s vulnerable, exclusive nature, it’s only natural that it’s the central fact and concern in his life. He may forget a name or a contract, but he never forgets the music. It’s a consequence of devotional thinking, and geniuses are prone to it.

• Tom Petty

I think I would put him up there with any composer – especially Pet Sounds. I don’t think there is anything better than that, necessarily. I don’t think you’d be out of line comparing him to Beethoven – to any composer. You really wouldn't. The word genius is used a lot with Brian. I don’t know if he’s a genius or not, but I know that music is probably as good as any music you can make.^[69]

• Lindsey Buckingham, Fleetwood Mac

The first time I heard Pet Sounds, I have to admit that I did a little bit of knee-jerk in the same way probably the record company and some other people did because it wasn’t as accessible as Brian’s songwriting approach had been up to that time. I’m not sure I fully appreciated that until years later (when) I started making records myself.^[69]

• George Martin, producer, The Beatles

"If there is one person that I have to select as a living genius of pop music, I would choose Brian Wilson.

Without Pet Sounds, The Beatles’ next album, Sgt. Pepper, wouldn’t have happened. Revolver was the beginning of the whole thing. But Pepper was an attempt to equal Pet Sounds. Hearing Pet Sounds gave me the kind of feeling that raises the hairs on the back of your neck. You say, ‘What is that? It’s fantastic!’^[72]

One of the great things about Brian's music is its marvellous unpredictability. He avoided cliches, he gives his melodies changes of direction that amaze and charm the listener. And Brian's sounds take us into a new, beautiful countryside.^[73]

It could be argued that The Beatles had become, culturally, the most important group of the Sixties. They defined the era. Yet I have to say that Brian was the musician who challenged them most of all. No one made a bigger impact on The Beatles than Brian.^[73]

By my standards, Brian Wilson is still a young man, a living genius of pop music. His invention and creativity reached a level that I always found staggering. He gave The Beatles and myself quite a good deal to think about in trying to keep up with him. And like them, he pushed forward the frontiers of popular music. His art is that magical combination of really original compositions, a wonderful sense of instrumental colour and a profound understanding of record production. I guess you could say I'm a fan.^[73]

• Elvis Costello

Last summer, I heard “Don’t Talk (Put Your Head On My Shoulder)” played on the cello. It sounded beautiful and sad, just as it does on Pet Sounds. So now you know, if all the record players in the world get broken tomorrow, these songs could be heard a hundred years from now.

• John Cale, The Velvet Underground

What Brian came to mean was an ideal of innocence and naivety that went beyond teenage life and sprang fully developed songs. Adult and childlike at the same time. I thought how it was difficult for me not to believe everything he said. There was something genuine in every lyric. That can be a very heavy burden for a songwriter.^[69]

• Billy Corgan, The Smashing Pumpkins

Brian Wilson the astronaut, peering down from the Heavens, coolly dreaming of California girls. An idealized pop utopia that widens the senses and soothes the ears. Lands the spaceship, finds nothing but disco and platform shoes and decided to take another trip around the moon for good measure and to search for the elusive lonely harmony. Landing back down for the millennium, our astronaut decided it’s time. Time to stop and hear what he’s brought back.

• Tim Smolens of Estradasphere

I mean Brian Wilson was the best music producer there ever was! By far there's not anyone that can do anything remotely similar. His would all be one track.. it would be as if Mr. Bungle or Estradasphere knew every instrument we wanted to and got everyone in the same room and boom, there's the take.

• Trey Spruance of Mr. Bungle and Secret Chiefs 3

For Brian Wilson - and I feel this way too - there isn't a difference between production and songwriting. They're one and the same. In the late '60s the idea that the studio could be used as a compositional tool was almost like an epidemic. That idea has gradually faded, though, and now you hear a lot of things that are just production or just a great song. When you hear a marriage of the two, it's such a refreshing experience.

• ?uestlove, The Roots

He's a modern day Stravinsky, the way he constructs his music, he's a madman...He was doing stuff [40 years ago] that modern people do now, looping his work and stuff. There's a track on Smile with a whole bunch of tubas having a conversation with trumpets. It's great.^[74]

• Don Was

In the fall of 1989, I was working with a band who turned me on to the bootlegged recordings of Brian Wilson’s legendary, aborted Smile sessions. Like a musical burning bush, these tapes awakened me to a higher consciousness in record making. I was amazed that one, single human could dream up this unprecedented and radically advanced approach to rock ‘n roll. I was really stunned when I met him several months later. Far from the catatonic drug burn-out the tabloids loved to depict, the guy I got to know was lucid and happening. When we started to mess around in the studio, it became clear that he was capable of making a record every bit as complex and beautiful as Pet Sounds whenever he felt like it. How could a talent so great be so misunderstood and under appreciated?

My personal favorite is “Caroline No”, his paean to lost innocence. I hear the weary voice of a man who’s been hurled through the emotional wringer and yet, one can plainly discern the youthful sweetness, optimism and goodness that characterizes Brian’s soul. It’s that dichotomy that makes him one of the most enigmatic and endearing characters of these times.

A lot of people just hear things like “Fun Fun Fun” and don’t get all this fuss about Brian Wilson the great genius. So much of it is subtle, and a large part of his genius is that it sounds simple. I was like that myself until I really started listening properly. I didn’t even understand all the fuss about Pet Sounds. But I think a lot of people who love The Beach Boys have had that experience when they first discover this music on a deeper level. It gets to you, and nothing else compares to it. You can’t listen to anything else. Professionally, I found it crippling. I couldn’t write a song for about three years afterwards. Every time I sat down to write, I just thought, What’s the point? Brian Wilson did it so much better 25 years ago.

Discography[link]

• Brian Wilson (July 12, 1988)
• I Just Wasn't Made for These Times (August 15, 1995)
• Orange Crate Art (with Van Dyke Parks) (October 24, 1995)
• Imagination (June 16, 1998)
• Live at the Roxy Theatre (June 2000)
• Pet Sounds Live (June 11, 2002)
• Gettin' in Over My Head (June 22, 2004)
• Smile (September 28, 2004)
• What I Really Want for Christmas (October 18, 2005)
• That Lucky Old Sun (September 2, 2008)
• Brian Wilson Reimagines Gershwin (August 17, 2010)
• In The Key Of Disney (October 25, 2011)

Additional appearances:

• The Wilsons (1997)

See also[link]

The Beach Boys portal

• List of songs by Brian Wilson
• Beach Boys Historic Landmark
• A Tribute To Brian Wilson - Radio City Music Hall (March 29, 2001)

Notes[link]