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CD Review: Brian Wilson, “Brian Wilson Reimagines Gershwin”

Ken Shane August 17, 2010 14

Brian Wilson Reimagines GershwinThe idea of a collaboration between two of America’s greatest composers is one that is intriguing, but also fraught with peril. The biggest problem is that the music of George Gershwin is completely familiar to even the most casual music fan in this country. We’ve heard it in concert halls and cocktail bars for our entire lives. We’ve heard wonderful cover versions of Gershwin songs, and some pretty bad ones. So for Brian Wilson the question becomes, if you’re going to do an album of Gershwin music, what are you going to bring to the project that’s new?

Once you’ve heard Brian Wilson Reimagines Gershwin (Disney Pearl), that question begins to seem kind of silly. What Brian Wilson has brought to the project is, well, Brian Wilson. Among the many gifts that Wilson has contributed to the project are the wonderful orchestrations that he did with band member Paul Von Mertens, the lush vocal arrangements that he has long been known for, and a lead vocal performance that is Wilson’s strongest in years.

When it was announced that Brian Wilson would collaborate with George Gershwin by finishing two of Gershwin’s incomplete songs, some dubious voices were raised. Now those doubts have turned to cheers as Wilson has delivered wonderfully appealing recordings of those two songs, “Nothing But Love,” and especially the delightful “The Like In I Love You,” both of which features new lyrics from another Wilson band member, Scott Bennett. “The Like In I Love You” is taken from a song called “Will You Remember Me” that Gershwin composed for the 1924 musical “Lady Be Good!” but never made it into the show. “Nothing But Love” is derived from a 1929 song fragment called “Say My Say” that George and Ira Gershwin never finished.

Wilson points to Gershwin’s “Rhapsody In Blue” as one of his earliest, and most profound musical influences. To honor this seminal influence, Wilson begins and ends Reimagines Gershwin with a beautifully arranged a capella rendering of “Rhapsody.” It’s immediately apparent that Wilson’s skills remain undiminished as a vocal arranger. Elsewhere, Wilson makes the unusual, but ultimately sound choice of performing “I Loves You Porgy” using the original lyrics, a song usually presented by an African-American female. The instrumental “I Got Plenty of Nuttin’” could have jumped right off Pet Sounds or SMiLE, with it’s banjo, xylophone, and bass harmonica, and the familiar “I Got Rhythm” has been given a facelift with the full Beach Boys treatment ala “Help Me Rhonda.”

This is where I throw objectivity out the window to tell you about the Brian Wilson that I love. Brian was 68 years-old in June. Given his age, and his all-too-well-known history of triumph and tragedy, a lot of people have been ready to count him out. The fact of the matter is that he’s been making some of the most accomplished music of his career in recent years. He’s not just a survivor, he’s a champion, and an American treasure.

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About the author: Ken Shane View all posts by
Ken Shane, newly arrived in Jamestown, RI, is the New Music Editor for Popdose, and a freelance writer. He is far and away the oldest Popdose writer, in fact, he may be the oldest writer period. Ken wants you to know that he generally does not share his colleagues love for the music of the '80s, and he does not forgive them for loving it.

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  • http://twitter.com/tcote Thierry Côté

    Not everything works, but when it does there are some moments of genuine magic, like when the harmonies kick in on the reading of the title line in “They Can’t Take That Away From Me”, or “The Like in I Love You” (one of his best solo tracks, period), the vibraphones in “Summertime”, the fantastic instrumental “I Got Plenty o’ Nuttin’” (which sounds genuinely like a Today! outtake), the “Sail On Sailor” piano chords that open “I Got a Crush on You”, the sweeping harmonies in “I Got Rhythm” (which could not have been arranged by anyone else), and “Someone to Watch Over Me” (the one truly successful ballad on the album, which combines a “Caroline, No” arrangement with Brian’s most emotional, longing vocal of his solo career).

  • The Man I Used To Be

    I was on the fence about this one, not sure if I wanted have a mash-up of these two classic styles and sounds. This review helps a bit Ken, I think it pushes me over the edge. Who would have thought that the 21st Century would have been the second most prolific time in Mr. Wilson’s career? While listening to my Pet Sounds Box Set 15 years ago, I would never have guessed it. Thank the gods for Brian Wilson….

  • Matt

    I think that Beach Boys fans will especially love this album. As Ken notes, Wilson sounds the best vocally that I’ve heard him sound in a very long time. After a series of disappointing releases, I had stopped listening. This album makes me want to go back and revisit a couple of them, especially That Lucky Old Sun. This release was vaguely on my radar and it was curiosity that made me pick it up. I’m glad that I did. Nice review, Ken.

  • The Man I Used To Be

    Matt – It did the same thing to me this morning. I went right back to “That Lucky Old Sun” and found those four or five tracks I truly enjoyed and they resonated even more. A mix of this (Someone to Watch Pet Sounds Over Me is a joy to listen to, I Got Plenty of Nuttin and They Can’t Take That Away From Me) and the best of TLOS (Midnight’s, Southern Cali and Morning Beat) would work well. The Brian brand now is about nostalgia. While I wish he would be as innovative as he was in the late 60s, I have come to the realization that that will never happen. At least we got a finished SMiLE….

  • Anonymous

    My brother was really into Gershwin… I remember how he’d spend countless hours at the piano, practicing Gershwin tunes over and over again. I should have learned them as well, but I was too into Rock n ‘ Roll.

    So when I heard about this record, I was excited but concerned. I guess my brain couldn’t wrap around the concept… but after hearing some samples, snippets, and this review, I can’t wait to pick it up!

  • Anonymous

    I’m really happy this album turned out so well. But then again, I wasn’t very surprised. Brian has a band that loves his music and understands his vision, which is really the best thing that could happen to Brian musically. Just being able to still hear him do his thing and do it so well, without any drama, is pure joy.

  • Linda Sigmon

    Great job, Ken! As usual….

  • http://robertcashill.blogspot.com BobCashill

    Good review of an album I’m mixed on, but appreciate. I wonder what Jonathan Schwartz on NPR will think? He’s my arbiter on this kind of thing, and he likes Brian Wilson. Guess I’ll have to listen to his upcoming shows to find out.

  • http://www.kenshane.com kshane

    Thanks Linda!

  • Anonymous

    I’ve already told a friend that this is easily Brian’s best album since his debut not connected with SMiLE or Christmas. That said, it’s just sorta “there” in parts, but I’m sure a few more listens will bring it to full flower. Guess I should take the cue to reevaluate TLOS, which I consider ambitious but undercooked; I still have the companion DVD to watch in full.

  • Stevie

    Forgot this was coming….as I’d read about it last year. I love brian and have seen him every time he’s visited our fair shores in the last few years and I have to admit, I only discovered Gershwin about 20 years ago by accident when I sat down to watch Woody’s ‘Manhattan’. Blown away. The clips above sound wonderful. Peace and love from Sydney.

  • da5id

    I just don’t know. I’ve been a HUGE Beach Boys/ Brian Wilson fan for years and have practically every album they’ve done; heck, I must have bought Pet Sounds alone half a dozen times in different formats. I don’t know why, but this album doesn’t do it for me. It should, but I don’t know why it doesn’t. It has all pieces, as does Wilson’s previous album Lucky Old Sun, but it doesn’t move me like the old albums used to (Brian’s 1988 solo album is still my favorite).

    What DID excite me recently, regarding the Beach Boys oeuvre, is a track on Al Jardine’s new solo album ‘Postcard From California’ called “Don’t Fight The Sea”, co-written by Terry Jacks. It’s an unfinished Beach Boys track from the 70s, featuring most of the BB, including Carl on shared lead vocal (so good to hear his voice again), and Brian. Wonderful! Get it on iTunes.

  • Mitchell Smith

    I am a longtime Beach Boys and Brian Wilson fan and i am sorry to say that i cannot agree with the critical acclaim that this project is rendering. To me, Brian sounds contrived and seems to be forcing himself too much. Not since the Orange Crate Art CD have i heard Brian sounding like he is actually having a good time with the music. For me this music is nothing more than an imitation of Smile, which is not completely a bad thing. It is just that it has been done before and lets not over do it. The best thing about a great formula like Smile is that it should not be used over and over again. He did this with Lucky old sun. And he is doing it again. The best thing about the classics of Gershwin is how they were performed in theor original state. These works should not be interpreted by anyone. Not even Brian Wilson.

  • Irjc70

    I have mixed, although generally positive feelings about this album as well. There are a couple of songs that had me grinning while I listened with the headphones on. Although sounding better than he has in years, there are a couple of songs where Brians voice comes up a little bit short. I couldn’t help but wonder how things might have sounded if Carl had been around to help or if Brian had been the arrainger with a different vocalist doing the singing. Even so, there may be a song or two that will get some airplay or that you may hear in the odd location. This is an album that, at the very least, deserves a listen. More than just a curiosity, it is an album that may prove to be more influential than any of us realize.