Brian Wilson

At 81 years old, Brian Wilson has this physical status:

Brian Douglas Wilson (born June 20, 1942) is an American musician, singer, songwriter, and record producer who co-founded the Beach Boys.

After signing with Capitol Records in 1962, Wilson wrote or co-wrote more than two dozen Top 40 hits for the group.

In addition to his unorthodox approaches to pop composition and mastery of recording techniques, Wilson is known for his lifelong struggles with mental illness.

He is often referred to as a genius and is widely acknowledged as one of the most innovative and significant songwriters of the late 20th century.The Beach Boys were formed by Wilson with his brothers Dennis and Carl, their cousin Mike Love, and friend Al Jardine.

Brian, who grew up influenced by 1950s rock and roll and jazz-based vocal groups, originally functioned as the band's songwriter, producer, co-lead vocalist, bassist, keyboardist, and de facto leader.

In 1964, he suffered a nervous breakdown and stopped touring with the group, which led to more personal work such as Pet Sounds (1966) and the unfinished Smile.

Personal life

At age 11, during a Christmas choir recital, Wilson was discovered to have significantly diminished hearing in his right ear. A family doctor soon diagnosed the issue as a nerve impingement. The cause is unclear; theories range from it being a birth defect to him being struck by either his father or a neighborhood boy.

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Life and career

Brian Douglas Wilson was born on June 20, 1942, at Centinela Hospital in Inglewood, California, the first child of Audree Neva (née Korthof) and Murry Wilson, a machinist and later a part-time songwriter. He has ancestry in Holland, Scotland, English, German, Irish, and Swedish origins. Dennis and Carl, Brian's two younger brothers, were born in 1944 and 1946, respectively. The family migrated from Inglewood to 3701 West 119th Street in nearby Hawthorne, California, just short of Dennis' birth. Brian, like his brothers, suffered from violence from his father, mostly psychological and occasionally physical. He described his father's care as "violent" and "cruel." However, several of the stories that followed his father's recovery were "dirty lies," and that "even the things that are true" have been misreported.

Wilson demonstrated an extraordinary talent for learning by ear from an early age. His father said that if he's adolescent musical talent, he'll repeat the melody from "When the Caissons Go Rolling Along" as a baby, even though only a few verses had been sung by the father. In many ways, the Wilsons' father encouraged his children to work in the music industry. Wilson was given six weeks of lessons on a "toy accordion" as a child, and he sang solos in church with a choir behind him. Wilson's choir director learned that he had a natural pitch. Brian left his accordion and spent hours on piano learning his favorite songs. Later, he learned to write manuscript music from a friend of his father's.

Wilson performed with several students at school functions and with his families and acquaintances at home, teaching his two brothers harmony skills, which will then be used by all three children. After school, he played piano obsessively, deconstructing the Four Freshmen's harmonies by listening to short segments of their songs on a phonograph and then trying to recreate the blended sounds note by note on the keyboard. In addition,, he owned The Instruments of the Orchestra, an educational record, and listened to his old radio station, KFWB. Carl introduced him to R&B, and his uncle Charlie taught him how to play boogie woogie piano by their uncle Charlie. According to Brian, he and Carl stayed up all night" listening to Johnny Otis' KFOX radio show to discuss their R&B hits and add them "to our musical vocabulary." "He could play a good boogie-woogie piano" by the time Brian was ten years old, Carl said.

A rewrite of Stephen Foster's "Oh!" was one of Brian's first songwriting exercises, penned on a sheet of paper when he was nine years old. Susannah is a librarian. Paul Bunyan's first song for a 4th grade school assignment was recalled in his 1991 memoir. In a 2005 interview, he said he began writing original music in 1955, when he was 12.

"There were years of [Brian's] life where he did nothing but play the piano," Carl said. Months at a time. Days are coming to an end. Four newmen records have been set. This is just music." "Brian was the freak," Dennis remembered. Rather than playing baseball, he used to stay in his room all day listening to music rather than playing baseball." Brian "constantly" listened to the radio in his room during his junior high school years, according to their parent. "Do you think we should be concerned with him?" he said to me." 'No,' I said. "He's just adoring the music."

Wilson was quarterback on his hometown football team at Hawthorne High in high school. In his senior year, he played baseball and was also a cross-country runner. Wilson's first paid work before his success in music was a part-time job sweeping at a jewelry store for four months as he was 15. He served as a janitor for his father's milling company, ABLE, on weekends. Wilson attempted to be the singer of the band "Chapel of Love" at the time, but was turned down for being too young. He received a portable two-track Wollensak tape recorder for his 16th birthday, allowing him to experiment with recording techniques, group vocals, and basic recording methods. "Brian liked nothing more than to gather his colleagues around the piano," biographer Peter Ames Carlin writes. "Brian liked nothing more than to gather his classmates around the piano [...] Most often he'd harmonize with [...] classmates from his senior class."

Wilson wrote an essay titled "My Philosophy" in which he said that his goals were to "make a name for myself [...] in music," a Senior Problems course instructor wrote in October 1959. Wilson's first public appearance was at his high school's fall arts program. To entice Carl into the club, he enlisted his cousin and frequent singing partner Mike Love and, who referred to the group as "Carl and the Passions." The set featured tunes from Dion, Belmonts, and the Four Freshmen ("It's a Blue World"), the latter of which was impossible for the ensemble. Al Jardine, Wilson's audience member and colleague, was on display during the performance.

Wilson, Wilson's high school music teacher, Fred Morgan, had an above-average understanding of Bach and Beethoven at 17, having demonstrated an above-average knowledge of Bach and Beethoven. Despite this, Wilson received a final grade in his Piano and Harmony course due to incomplete assignments. Wilson's final project was a 32-measure piece rather than designing a 120-measure piano sonata. Morgan gave the job an F. Brian said he was "very happy" after finishing high school. I wouldn't say I was popular in school, but I was associated with famous people."

Wilson began studying psychology at El Camino Junior College in Los Angeles, California, in September 1960, while simultaneously continuing his musical studies at the community college as well. He was shocked to learn that his music teachers had strongly opposed pop music, and he left college after a year and a half. Wilson's account, he composed his first all-original song, loosely based on a Dion and the Belmonts version of "When You Wish Upon a Star" in 1961. "Surfer Girl" was eventually released on the radio. Wilson's closest high school classmates disagreed with him, claiming that Wilson had written several songs before "Surfer Girl" was released.

Wilson, brothers Carl and Dennis, cousin Mike Love, and their friend Al Jardine formed a music group in 1961, first under the name Pendletones. Wilson and Mike Love joined forces and produced "Surfin" as the band's first single after being encouraged by Dennis to write a song about the local water-sports craze. About this time, the group rented an amplifier, a microphone, and a stand-up bass for Jardine. After the boys returned from a short trip to Mexico, his parents returned home from a few weeks in the Wilsons' music room. Murry Wilson, the band's manager, and the band's manager were all pleasantly surprised by the group's success, and the band began serious rehearsals for a proper studio session.

"Surfin," a hit local hit in Los Angeles and landed on the national Billboard sales charts, was released by Hite and Dorinda Morgan and released on the small Candix Records label, becoming a top local hit and has risen to number 75 on the national Billboard charts. "Nothing will ever top the expression on Brian's face, ever," Dennis later explained as the three Wilson brothers and David Marks drove in Wilson's 1957 Ford in the rain: "Nothing will ever top the expression on his brother's face." The Pendletons, on the other hand, were no longer available, as Candix Records had changed their name to the Beach Boys. Wilson and his bandmates put on their first major live show at the Ritchie Valens Memorial Dance on New Year's Eve, 1961, after an Ike & Tina Turner set up. Wilson's father had purchased an electric bass and amplifier three days before. Wilson learned to play the instrument in that short amount of time, with Jardine switching to rhythm guitar.

Wilson's father was fired from Candix Records after the Beach Boys' master recordings were sold to another artist, which caused the Beach Boys' master album to be sold elsewhere. Wilson, who had formed a songwriting relationship with local musician Gary Usher, wrote many new songs, including "409," which Usher assisted them in writing, as "Surfin" faded from the charts. Wilson and the Beach Boys also released "Surfin' Safari" and "409" on Western Recorders in Hollywood, including "Surfin' Safari" and "409." These songs persuaded Capitol Records to release the demos as a single; they became a national hit.

Wilson was signed by Capitol Records' Nick Venet to a seven-year deal in 1962 as a member of the Beach Boys. In August, recording sessions for the band's debut album, Surfin' Safari, took place in Capitol's basement studios, but Wilson lobbied for a different location to cut Beach Boys tracks. The vast rooms were designed to house large orchestras and ensembles of the 1950s, not small rock bands. Capitol decided to allow the Beach Boys to pay for their own outside recording sessions at Wilson's insistence, and that the Capitol would have all rights. In addition, Wilson fought for, and gained, the right to lead the project during its first LP taping, though an album liner does not acknowledge the production credit.

Wilson said, "I've always felt I was a behind-the-scenes guy rather than an entertainer." He was a huge fan of Phil Spector, who had risen to fame with the Teddy Bears, and wanted to model his burgeoning career after the record producer. Wilson, with Gary Usher, wrote several songs based on the Teddy Bears, and the group also wrote and produced some songs for local talent, despite no commercial success. Due to Murry's interference, Brian eventually ended his friendship with Usher. Rachel and the Revolvers' "The Revo-Lution," Brian's first record that he produced outside of the Beach Boys, although uncredited, was released by Dot Records in September.

Brian was writing songs with DJ Roger Christian, who he had met through Murry or Usher, and guitarist Bob Norberg, Wilson's roommate, by mid-1962. "He was obsessed with it," David Marks said. Anyone off the street, disc jockeys, or anyone else was writing a song. He had so much stuff moving through him at once that he could barely cope." The Surfer Moon" by Bob & Sheri was released in October by Safari Records, a Murry label. It was the first time anyone bore the word "Produced by Brian Wilson" on a record. Bob & Sheri's "Humpty Dumpty" was the only other track on the label. Wilson wrote both songs.

Wilson's second album, Surfin' United States, was released in January and March 1963. Wilson's main aim, on writing and recording, was limited to television appearances and local shows. Otherwise, David Marks served as Wilson's replacement on vocals. Capitol Records released "Surfin' U.S.A.," the Beach Boys' first top-ten single, as the band's long line of highly successful recording efforts at Western began in March. The Surfin' U.S.A. album was also a big hit in the United States, peaking at number two on the national sales charts by July. The Beach Boys had risen to become a top-selling and touring band.

Wilson worked with non-Capitol companies against Venet's wishes. Wilson introduced them to a new song he had written called "Surf City," which the pair soon performed. Wilson co-wrote with Jan Berry on July 20, 1963, "Surf City," Wilson's first album to reach the top of the US charts, was "Surf City," Wilson's first composition to reach the top of the charts. Wilson was delighted with the result, but Murry and Capitol Records were both enraged. Murry went so far as to order his oldest son to forego any future joint ventures with Jan and Dean, though the two sons continued to be on each other's records. Wilson's hits with Jan and Dean reinvigoted the music pair's then-faltering careers.

Wilson began a girl band, the Honeys, a sister and their cousin Ginger Blake, who had attended a Beach Boys concert during the previous August. Wilson envisioned the Honeys as a female counterpart to the Beach Boys, envisioning them as a female counterpart to the Beach Boys. The firm made several Honeys recordings as singles, but they did not do well. Wilson became intimately familiar with the Rovell family and made their home their primary residence for the majority of 1963 and 1964.

Wilson was for the first time officially acknowledged as the Beach Boys' producer on the album Surfer Girl, released in June and July 1963 and September. This LP debuted at number seven on the national charts, with identically good singles. Little Deuce Coupe, the Beach Boys' fourth album, was also produced by the artist in October 1963, just three weeks after the Surfer Girl LP was released. Wilson was still unable to tour, but Al Jardine did an occasional break from playing to attend school in mid-1963. Following Marks' departure in late 1963, Wilson was forced to rejoin the touring company.

Wilson formed Brian Wilson Productions, a Los Angeles based record manufacturing firm, and Ocean Music, a music publishing firm, for songs he wrote for other artists near the end of 1963. Wilson had written, arranged, produced, or performed on at least 42 songs with the Honeys, Jan and Dean, the Timers, ("I Do"), Bob Norberg, Vickie Kocher, Christian, Peter Petersen ("Endless Sleep"), excepting his appearance with the Beach Boys.

Wilson spent 1964-1964 on world concert tours with the Beach Boys while continuing to write and produce for the group, whose studio output this year included the following: Shut Down Volume 2 (March), All Summer Long (June), and The Beach Boys' Christmas Album (November). Following a particularly difficult Australasian tour in early 1964, the company decided to exclude Murry from his managerial positions. Murry retained a subsequent control over the band's operations and maintained a regular email correspondence with Brian, asking him questions about the company's decisions; Wilson also sought music opinions from his father.

Beatlemania took over the United States in February, a phenomenon that greatly surprised Wilson. "The Beatles invasion shook me up a lot," he said in a 1966 interview. A lot of what we'd been working for erupted. [...] The Beach Boys' upremacy as America's most popular vocal group was being questioned. So we stepped on the gas a little bit." "I Get Around," Wilson's first U.S. top-hit, is described by author James Perone, as both a successful reaction by Wilson to the British Invasion and the onset of an unofficial rivalry between him and the Beatles, particularly Paul McCartney. Wilson said in a 1970 interview, "probably the best record we've ever seen."

Wilson's professional and personal life put him in jeopardy. Since "Don't Back Down" in April, he had stopped writing surfing-themed material, and on the group's first big European tour, in late 1964, he yelled angrily to a journalist when asked how he felt about originating the surfing sound. Wilson resented being branded with surf and car songs, explaining that he had only intended to "produce a sound that teens love" and that could be applied to any topic. We're just going to live on the life of a social adolescent." He later described himself as a "Mr Everything" who had been so "run down mentally and emotionally, to the point where I had no hope of being able to sit down and reflect or even rest." He also questioned the company's "business activities" and the integrity of their records, which he believes he benefited from this arrangement. Wilson impulsively married Marilyn Rovell on December 7, in an attempt to bring himself more emotional stability.

Wilson was supposed to accompany his bandmates on a two-week tour in the United States, but he began sobbling about his marriage while flying from Los Angeles to Houston on December 23. Later, Al Jardine, who was sat next to Wilson on the plane, said, "None of us had ever seen anything like this." Wilson appeared in Houston later that day, but session guitarist Glen Campbell took their place for the remainder of the tour dates. Wilson referred to it as "the first of a string of three breakdowns I had" at the time. Wilson announced to his colleagues that he would be withdrawing from future tours as the band resumed recording their new album in January 1965. He later told a journalist that his decision was a result of his "fucked up" jealousy against Spector and the Beatles.

Wilson's albums The Beach Boys Today were released in 1965, showing significant changes in his musical growth. (March) and Summer Days (And Summer Nights!!) (June) Campbell stayed on tour with the band until he was unable to anymore in February. Wilson recorded "Guess I'm Dumb" as a thank-you in March. Wilson arranged Columbia Records staff producer Bruce Johnston as Wilson's replacement on tour, prompting Wilson to produce a single for Campbell. Wilson returned to the live group in February, March, July, and October for one-off events.

Wilson distanced himself from the other Beach Boys while his bandmates were often away on tour. Since moving from the Rovells' home to a one-bedroom apartment on 7235 Hollywood Boulevard in 1964, he had begun building a new social circle for himself thanks to his employer links. For the first time, biographer Steven Gaines writes, "Brian had complete freedom from family restraints." He was finally able to make a new group of friends without parental interference." Wilson had few close acquaintances and was "like a piece of clay waiting to be moldled," Gary Usher's account. Wilson was one of Los Angeles' most popular, influential, and sought-after young musicians by the year's end. Wilson's skills weren't revealed publicly until 1966, but he didn't know him until 1966.

Wilson said that "a lot of [his] friends" who were heroin users had "turned [him] on" to opioids when he had been touring with the company. Wilson was discovered to be largely opposed to opioids beforehand, according to Mike Love. Loren Schwartz, a talent agent who had worked at a Hollywood studio, was Wilson's closest friend in this period. Wilson was introduced to a slew of literature and spiritual subjects, many of which were of philosophy and world religions, which he shared deeply. Wilson also introduced marijuana and hashish, and his regular visits to Schwartz's apartment made his marriage to Marilyn even more difficult. Wilson wrote songs while under the influence of marijuana, including "Please Let Me Wonder" (1965), and "smoking a little bit of pot [...] changed the way I heard arrangements." His heroin use was initially kept a mystery among his relatives and relatives.

Wilson and his wife moved to a new apartment on West Hollywood's Gardner Street in 1965, a few weeks after Wilson and his wife moved to a new apartment under Schwartz' supervision. Wilson's dosage was 125 micrograms of "pure Owsley," according to Schwartz, and his first exposure included "the full-on ego suicide." Wilson returned home the next day and reminisced about his experience, telling her repeatedly that his "mind was blown" and that she had seen God. "I took LSD and it just tore my head off," Wilson says. [...] You're getting to grips with what you are, what you can do [and] can't do, and how to cope with it."

Wilson played on a piano and created the riff for the band's new album, "California Girls," during his first acid ride. The musician tracking for the album, which was held on April 6, later described it as "my favorite session" and the opening orchestral section as "the best piece of music that I've ever written." He had a lot of anxiety throughout the year's remaining months. Wilson's memoir in 2016 states that he did not discontinue dropping LSD for the second time until he was twenty-three years old, either 1966 or 1967. Marilyn said that her husband took hundreds of LSD trips in the ensuing years, but she had no idea about the two trips at the time. Melinda Ledbetter, Brian's second wife, claimed that Brian took only three LSD trips in his lifetime in 2004.

Marilyn trent is separated from Brian for at least a month after unsuccessful attempts to discourage him from his constant fraternizing with Schwartz. "He was not the same Brian" she was before the drugs, she said later. These people were very hurt, and I tried to get it through to Brian." Brian consulted with a UCLA psychiatrist on the adverse effects of LSD in mid-1965, at the suggestion of Four Freshmen manager Bill Wagner. "I don't know if he is savable," the psychiatrist told Wagner later. "He's been on it for a while, and he's completely enthroiled with it." Wilson said he had developed an interest in "pills" for the purpose of self-discovery, not recreation, and that the use of psychedelics "wouldn't hurt you."

Brian and Marilyn were eventually reconciled, and in October 1965, they moved to a new home on 1448 Laurel Way in Beverly Hills. Wilson said he spent five months arranging an album that would represent his growing obsession with "the making of music for people on a spiritual level." He recalled an unexpected surge of "creative thoughts" and that he "didn't worry" the constant presence of tourists at his house, "so long as there weren't many and that I could get out and sit, reflecting. I had a big Spanish table and sat outside my head for an hour after hour of making the music inside my head [...] I was taking a lot of drugs, fiddling around with pills, a lot of pills, and it fouled me up for a while. "It's been really introspective."

Wilson had recently accepted Wilson's offer to be his writing partner on his forthcoming album, Pet Sounds, in December 1965. He made the majority of Pet Sounds from January to April 1966 in four separate Hollywood studios, mainly using his bandmates on vocals and his usual group of session players for the backing tracks. "Let's Go Awhile" as "the most enjoyable piece of music" he's ever made, he later referred to as "the most satisfying piece of music" he'd produced, and "I Just Wasn't Made for These Times" as an autobiographical song about a guy who was crying because he was too young." "Caroline, No" was "probably the best I've ever written" in 1995.

Wilson's first single, "Caroline, No," was released in March 1966, marking the first time the album's first single, "Caroline, No," was listed as a solo artist. It fueled rumors that he was considering leaving the band. Wilson said, "I told [the rest of the team]," I said, "It's OK." I have nothing to say because it's just a temporary rift.' I wanted to get out of the group a little bit, but I was able to." "Caroline, No" eventually stalled at number 32, but "Caroline, No" stalled at number 32. Pet Sounds in the United States had similar disappointing sales. Wilson was "mortified" that his artistic growth didn't result in a number-one album. "If it wasn't received by the public in the way she hoped it would be received," Marilyn said, "it made him hold back." [...] But he didn't stop, but he didn't stop. He couldn't avoid stopping him. He wanted to create more.

Wilson was introduced to Beatles former press officer Derek Taylor, who was later hired as the Beach Boys' publicist, thanks to mutual acquaintances. Taylor launched a media campaign that proclaimed Wilson to be a genius in reaction to Brian's appeal to get greater public recognition for his abilities. Taylor's fame was instrumental in providing a credible perspective to those outside, and his efforts have been widely recognized as instrumental in the album's success in the United Kingdom. Wilson, on the other hand, retorted that the branding had the effect of raising public hopes for him. The fact that the music press had started undervaluing the contributions of the rest of the band, including Love and Carl Wilson, had also dissatisfied him and his bandmates.

Wilson worked on finishing the band's single "Good Vibrations" in December, which became a number one hit in December, and a new batch of songs written with session musician Van Dyke Parks for inclusion on Smile was planned to accompany Pet Sounds. Wilson referred to the album as a "teen symphony to God" and that he continued to include more people in his social, company, and creative affairs. "I wasn't just Brian and myself in a room," Parks said later, "it was Brian and me [...] and all sorts of self-interested people pulled him in various directions." Wilson's home, according to television presenter David Oppenheim, who appeared on Inside Pop: The Rock Revolution (1967), was a "playpen of irresponsible people."

Wilson's smile was never complete, owing in large part to his growing mental illness and exhaustion. Wilson's involvement and appearances date back to about November 1966, specifically when he first recorded the would-be album track "Mrs. O'Leary's Cow" (or "Fire"). Wilson and his wife rented Laurel Way home and lived at a newly purchased mansion on 10452 Bellagio Road in Bel Air in April 1967. Wilson is also planning on building a personal home studio. The majority of his new friends had disassociated or been exiled from his social circle by then.

Derek Taylor revealed in May that the six-month-overdue Smile album had been "scrapped." In a 1968 interview, Wilson said, "We pulled out of this production rate, mainly because I was about ready to die." I was trying so hard. So, all of a sudden I decided not to try any more." Wilson's underwhelming critical and commercial reaction to the band's "Heroes and Villains" in July has been cited as yet another contributing factor in the band's professional and psychological decline.

The band established Wilson's home as their main base of recording operations until 1972, beginning with Smiley Smile (September 1967). The album was also the first time in which production was credited to the entire group rather than Wilson alone. Wilson's self-consciousness about his fame was attributed to his decision to "put his stamp on records so that peers have a Brian Wilson track to criticize," producer Terry Melcher attributed this change to Wilson's inability over his celebrity. Wilson reformed the live band in Honolulu in August for two one-off appearances. The shows were shot in Hawaii for a proposed live album, Lei'd, which was never finished.

During the sessions for Wild Honey (December), Brian requested Carl to participate more in the record-making process. Brian also attempted to produce an album for musician Danny Hutton's latest band, Redwood, but this plan was halted by Mike Love and Carl Wilson, who wanted Brian to concentrate on the Beach Boys' contractual obligations. During a period of emotional recuperation for Wilson, his friends (June 1968) was recorded. Despite the fact that it included more members of the company, he led the recording sessions, even on the songs that he did not write. He later referred to it as his second "solo album" (the first being Pet Sounds) as well as his favorite Beach Boys album.

Wilson's songwriting output dropped sharply as a result of his mental condition, causing him to self-medicate as a result of his oversuding intake of food, alcohol, and drugs. He began supplementing his regular use of amphetamines and marijuana with cocaine amid the Beach Boys' looming financial crisis. Wilson had expressed suicidal thoughts at the time, according to Hutton, who had introduced Wilson to cocaine, and that it was when his "true decline began."

Wilson was admitted to a psychiatric hospital in mid-1968, possibly at his own volition. His ailments were not revealed to the public, and in his absence, 20/20 (February 1969) continued. Wilson had been expected to be "increasingly withdrawn, brooding, hermitic," according to journalist Nik Cohn, "and occasionally, he will be seen in the back of some limousine, cruising around Hollywood, bleary and unshaven." Wilson never finished any songs for the band after being suspended later in the year, bringing much of Wilson's subsequent output to a halt.

Brian's involvement on the company's recordings from then, according to band engineer Stephen Desper, Brian remained "indirectly concerned with production" through Carl. Wilson, the robe-clad, would occasionally appear in his bedroom to preview a new song for the group, an event that Melcher admired to Aesop's introduction of a new fable. Otherwise, he stayed in his bedroom upstairs while his bandmates recorded in the studio down below. If he had heard a piece of music that he felt should be changed, he would return to a session every few weeks.

Dennis Wilson recalled that his elder brother "no involvement at all" with the Beach Boys, which compelled the group to "find stuff [he] worked on] and try and piece it together." "OK, you assholes, you think you can do as well as me or whatever," Marilyn Wilson described her husband's departure from the company due to the group's apparent hostility.

You think it's so easy?

"You do it." Dennis said, "I will go to your house every day and beg," referring to the allegations that the Beach Boys refused to let Brian work." 'Forget recording; forget all of it,' i said.' It's all about Brian's wellbeing," the narrator explained.

Despite the fact that Wilson's subsequent unreleased output was dismantled in 1972, journalist Brian Chidester coined "Bedroom Tapes" as a loose umbrella term for his Wilson's post-unveiled output until 1975. Wilson's vast amount of Wilson's archives from the 1950s remains unveiled and unheard by the public. Chidester claims that some of it has been referred to as "schizophrenia on tape" and "intensely personal songs of gentle humanism and strange experimentation, which related to his then-fragile mental condition." Wendy Wilson's daughter wrote a 5-minute song "where some people might take a run to release some anxiety," Wilson's daughter Wendy said.

The Beach Boys began recording their album Sunflower in 1969 (August 1970). Wilson was an active participant in the year-long sessions, releasing more than an album's worth of content by himself or with collaborators, the bulk of which was left off the record. "Break Away," a co-written story with his father, after which he was rarely in the studio until August 1969. The Beach Boys had trouble finding a record deal with another company due to their poor reputation in the music industry. He told reporters in May that the company was on the verge of bankruptcy. His words had the effect of stymieing talks with Deutsche Grammophon and halting the band's impending tour of the UK and Europe. Wilson and his colleague Arnie Geller and cousin Steve Korthof opened the Radiant Radish health food store in July.

Sea of Tunes, the band's publishing company that had the rights to their song catalog, was sold to Irving Almo Music for $700,000 (equivalent to $5.17 million in 2021). Wilson signed the consent letter at his father's behest. Brian was reportedly devastated by the transaction, according to Marilyn. "It killed him." Killed him. I don't think he talked for days. [...] Brian took it as a personal interest, Murry not having faith in him any longer." Wilson attempted to pull his car off a cliff and then, on another occasion, he begged and buried in a grave he had dug in his backyard. He channeled his dissatisfaction with the writing of his book "Til I Die," which he characterized as the summation of "everything I had to say at the time."

Wilson also produced A World of Peace Must Come, a collection of spoken-word recordings for poet Stephen Kalinich in 1969. Wilson and his band joined Reprise Records, a Warner Bros affiliate, in November. Wilson's active participation with the band on all albums was outlined in the agreement. "They [the band] were deemed a problem at the time, [the band] were not a problem at that point," Van Dyke Parks, who broke the news, said. "Everybody at the label just wanted Brian Wilson to come over and write some songs." Wilson attended a band meeting with Reprise executives before the contract was in effect, with his face painted in the bright green. Wilson said, "Just seeing what would happen." when asked why he did this.

Wilson was briefly substituted for Love on the road in March 1970, later describing the trip as "the best three days of my life, I guess." Fred Valiant, Cows in the Pasture's co-manager, wanted to produce a country and western album in April, but it was never finished. Wilson was rumored to be working on a "chorus of frogs" piece for Kalinich in mid-1970 and considered filming an Andy Warhol film about a homosexual surfer.

Wilson was greatly affected by Sunflower's poor commercial response, and he resigned having no contributions to the Beach Boys' books. Bruce Johnston characterized him as simply "a visitor" to the Surf's Up sessions (August 1971). Wilson appeared at the Whisky a Go Go Go in November 1970 and joined the live band for one-and-a-half dates. Wilson told Melody Maker that although he had been "not as happy living at home" he was, he was "not as inventive as I had been, and I'm not participating as well as I should have," he said. He described himself as "a kind of fall-out" who sleeps into the afternoon and "potter[s] about doing nothing much."

Wilson said he had recently returned to "arranging, doing this more than writing now," Wilson said when speaking to a reporter one year ago in September 1971. Wilson was escorted into playing with the Beach Boys while on stage in December, but his time on stage lasted just minutes. Wilson appeared at the Whisky a Go Go Go Go Go Go Go from February 1972; according to Dan Peek, he "held court like a Mad King" while Danny Hutton scurried about like his court jester" during the band's appearance.

Wilson and musician David Sandler collaborated on Spring, Marilyn Wilson and Diane Rovell's first album, American Spring, from late 1971 to early 1972. "Ebbed and flowed" with Brian's contributions "ebbed and flowed." It was the most involved Wilson had been in an album's production since Friends in 1968. Wilson rarely left his bedroom during the recording of Carl and the Passions (April 1972), according to Blondie Chaplin, but "when he came down, his contribution was amazing." Wilson's unavailability was so that his image had to be superimposed onto the group portrait in the record's inner sleeve.

Wilson and his bandmates were briefly relocated to Holland in the summer of 1972, but after much cajoling, they became very good friends. Wilson was inspired to write Mount Vernon and Fairway, a fairy tale based on Mike Love's family's memories of listening to the radio at Mike Love's house as a child while living in a Dutch house named "Flowers" and listening to Randy Newman's latest album Sail Away. The group turned down his invitation to include the fairy tale on their forthcoming album, Holland (January 1973). Rather, it was sent as a special EP in Holland. Jan Berry (under the alias JAN) released the single "Don't You Just Know It" in 1973, a duet starring Wilson. Wilson appeared with his bandmates onstage for a short time during the company's show at the Hollywood Palladium in April.

Wilson secluded himself in the chauffeur's quarters of his house, where he spent his time sleeping, abusing opioids and alcohol, overeating, and showing self-destructive conduct following his father's death in June 1973. He rarely ventured outside wearing anything but pajamas, and later said that his father's death "had a lot to do with my retreating." Wilson's family was eventually forced to take charge of his finances due to his irresponsible drug use. Brian was able to wander the streets occasionally, begging for rides, cocaine, and alcohol. Wilson said he produced only "skimpy little bits and pieces, little fragments" from 1974 to 1975, lacking "the ability to concentrate enough to follow through."

Wilson said he was preoccupied with snorting cocaine, reading magazines like Playboy and Penthouse, and "hanging out with Danny Hutton," whose Laurel Canyon home was the center of Wilson's social life. Wilson spent many nights at Hutton's house fraternizing with colleagues, Alice Cooper and Iggy Pop, who were mutually bemused by an extended Wilson-led singalong of the folk song "Shortnin' Bread," although becoming increasingly reclusive during the day. Wilson wrote "the best song ever written" in Cooper's words. Harry Nilsson, John Lennon, Ringo Starr, and Keith Moon were among the many visitors of Hutton's house. Marilyn Wilson had the opportunity to climb Hutton's fence and rescue her husband on several occasions.

"The tales—many of them dubious—are legendary," Wilson recalled in the early 1970s. Wilson said in a 2001 interview that he had never met John Lennon, but Cooper shared another tale in which he had seen Wilson at a party with Lennon, who kept attendees at one point after another, asking one after another. Wilson "played just one note on a piano over and over again," Micky Dolenz said, recalling an occasion in which he took LSD with Wilson, Nilsson, and Lennon in Malibu. Wilson's home "to jam" was often displayed by John Sebastian, who later recalled Wilson's case, "It wasn't all grimness." Wilson, according to Jeff Foskett, who had attended Wilson's home unannounced, was cordial and debunk the common myths surrounding him.

In April 1974, Paul McCartney and his partner Linda Wilson Wilson visited Wilson but Wilson refused to let them inside. Wilson appeared at a "Salmon Falls" session in August, according to Jimmy Webb; he stayed in the back of the studio playing "Da Doo Ron Ron Ron Ron" haphazardly on a B3 organ. Later this month, he appeared on Keith Moon's solo album, Two Sides of the Moon, and was photographed at Moon's 28th birthday party (held at the Beverly Wilshire Hotel) wearing only his bathrobe. Wilson interrupted a set by jazz musician Larry Coryell at The Troubadour by leaping on stage and singing "Be-Bop-A-Lula," wearing slippers and a bathrobe. "I've wondered about since the Troubadour incident whether the music had an effect on Brian's behavior," drummer Todd Rundgren said in his memoir. I may have seen the emergence of a revolution.

Endless Summer, the Beach Boys' greatest hits collection, was a surprise hit, becoming the band's second top-one U.S. album since 1975. Wilson decided to team up in Colorado with his bandmates in Colorado for the recording of a new album at James William Guercio's Caribou Ranch studio to take advantage of their recent resurgence in fame. The group performed a few songs, including "Child of Winter (Christmas Song), but the project was shelved." "Child of Winter," their first record that displayed the credit "Produced by Brian Wilson" since 1966, was released as a single at the end of December 1974.

Wilson signed a short-lived sideline production contract with Bruce Johnston and Terry Melcher's Equinox Records in 1975, while still under Warner Bros. They formed California Music, a loose-knit supergroup that also included Gary Usher, Curt Boettcher, and other Los Angeles artists. Wilson's "Why Do Fools Fall in Love" includes his only "serious" work during this period of semi-inactivity, as well as his guest appearances on Johnny Rivers' version of "Help Me, Rhonda" and Jackie DeShannon's "Boat to Sail" and Jackie DeShannon's "Boat to Sail."

Wilson remembered as the most embarrassing in his life when he encountered Elvis Presley at RCA Victor Studio in 1975, when Presley was recording "Pieces of My Life." Wilson, who was "so afraid" of attempting to karate chop the singer, was naturally "so worried." Also in 1975, NME released "The Last Beach Movie," which depicted Wilson in a scathing light. Wilson became "suicidally distraught" after reading the essay, according to Johnston in another music magazine.

Wilson's overconsumption of food, cigarettes, alcohol, and other drugs, which now included heroin, strained his marriage to Marilyn, who responded by threatening her husband with divorce or committing him to a mental institution. Wilson's weight had risen to 240 pounds (110 kg) by then. In 1975, Wilson's brother Stan, a basketball player, was hired as Wilson's bodyguard, trainer, and caretaker to help with his physical decline. Marilyn also called in to remind her husband that he was legally bound to write and produce for the Beach Boys, or else he'd be sued by the name and lose his house. Stan was successful in improving Wilson's health and well-being, but after several months, he returned to play with the NBA. Wilson then volunteered for psychologist Eugene Landy's innovative 24-hour therapy service in October.

Wilson became more stable and socially involved under Landy's care, with his productivity increasing once more. The tagline "Brian's Back" appeared on a variety of occasions in 1976. Wilson's live shows, as well as their debut of 15 Big Ones in July, the first Beach Boys album that credited Wilson as the sole producer since Pet Sounds, became a major marketing tool for the band's shows. Wilson's bandmates protested against his desire to record a covers album and didn't feel that they were able to assume responsibility of their studio affairs. In the end, a compromise was struck, with the album featuring a mix of covers and originals.

Wilson played and alternating between bass guitar and piano from July 2, 1976, beginning in December 1964. Wilson and his band travelled outside of California in August, the first time he had done so since March 1970. Several of Wilson and NBC's Saturday Night cast members Dan Aykroyd and John Belushi premiered a Lorne Michaels-produced television special about the band named simply The Beach Boys, which included new concert video, interviews, and a comedy sketch involving Wilson and NBC's Saturday Night cast members Dan Aykroyd and John Belushi. Despite its popularity, the "Brian's Back" campaign was highly contested. Wilson's remarks to interviewers suggested that he had yet to fully recover from his heroin use, although he did mention that on one occasion, he "felt like a prisoner." Wilson "felt on stage," a concert critic said, and "nil" was the result.

Wilson made a substantial number of studio recordings from October 1976 to 1977, mainly by himself, when his bandmates were preoccupied with other personal and creative activities. The Beach Boys Love You, Wilson's first album to feature Wilson as a primary composer since Wild Honey in 1967, was released in April 1977. Wilson, who was originally named Brian Loves You, performed almost every one of the instrument on the album. He was credited as a producer once more, although Carl was also identified as a "mixdown producer." Earl Mankey, a band engineer, described it as "Brian Wilson giving what he needed [to make] a comprehensive, autobiographical album." Wilson referred to his favorite Beach Boys songs in a 1998 interview in a special interview. Love You and 15 Big Ones followed.

Wilson's family and management let Landy know that he had been owed $20,000 (equivalent to $95,000 in 2021). Wilson told a journalist that the therapy had been a success despite the exorbitant fees. Wilson's uncle, Steve Korthof and Stan Love, and a professional model, Rocky Pamplin, all agreed on Landy's role as Wilson's handler and constant supervisor. Wilson maintained a healthy, drug-free lifestyle for several months under their auspices.

Wilson created Adult/Child, the intended sequel to Love You that was released in early 1977, but it was never released due to artistic controversy. The Beach Boys signed to CBS Records in March, where Wilson was required to produce the majority of the company's albums' content. "When Brian signed the deal, he bled out, knowing he'd now have to return to the studio full time," Gaines says. The sessions for M.I.U.'s Referencing were described. Wilson's album (October 1978) said he went through a "mental blank-out" during this period. Wilson was credited as the album's "executive producer," presumably for business reasons. Wilson was "depressed" and "didn't want to write with [Mike] anymore," Stan said, but Mike continued to go on." Wilson attempted to record an album for Pamplin that would have included the Honeys as backing vocalists.

Wilson's demise began in the following years, particularly after the band's disastrous tour of Australia in 1978, and he found a way to obtain cocaine and barbiturates without knowing his handlers. He disappeared from his family and went hitchhiking in West Hollywood in mid-1978, where he played piano for drinks. He was taken to Mexico by a bar patron and then hitchhiked to San Diego after all this. Wilson was discovered dead under a tree in Balboa Park without shoes, money, or a wallet days later. He was admitted to Alvarado Hospital for a quick detox from alcohol poisoning. Wilson was thrilled to be on the road with his bandmates on L.A. (Light Album) (March 1979), but he wanted Bruce Johnston to lead the project after he was released. "Brian was so bizarre back then, really quiet, not saying much," Korthof said. "I am depressed" on a personal level.

Wilson moved from Bellagio Road to a tiny house on Sunset Boulevard, where he descended further into alcoholism. Wilson spent several months in Brotzman Memorial Hospital following an incident in which he assaulted his doctor during a visit. He was first admitted in November 1978 for three months, but then resigned for a month, and then readmitted. Stan Love and Rocky Pamplin were kicked out of their services in January 1979, although they were still in January 1979. Wilson was released from the hospital in March. He rented a house in Santa Monica and was scheduled to be seen by a "round-the-clock" psychiatric nursing team. He bought a house in Pacific Palisades later in life. His bandmates begged him to produce their next album, Keepin' the Summer Alive (March 1980), but he was unable or unwilling.

Brian remained engrossed in his overeating and heroin use, which was partially triggered in part by Dennis's influence. Dennis would often offer McDonald's hamburgers and cocaine to entice his brother into writing and recording songs. Dennis Stebbins' biography includes a line of cocaine after being chastised for his inebriation, and then lean over and snort a large line of cocaine. Dennis should not drink alcohol and a joint, but he'd be smoking a cigarette and a joint, and he'd warn Dennis that he shouldn't drink." The brothers "held mystery sessions" at recording sessions together, according to Stebbins – sessions were kept private due to the fact that "no attempt was spared to hold Brian and Dennis apart." [...] If any members of the Beach Boys clan discovered that Brian was sequestered with Dennis, they would come and drag him away, literally slamming the door on the creative process."

Beach Boys fans later described bootslegged tapes of the brothers' collaborations, which were released in 1980 and 1981 at the Venice Beach home studio of musicologist Garby Leon, who were later identified as "cocaine sessions" or "hamburger sessions." Pamplin and Stan Love were found guilty of attacking Dennis in his home in early 1981 after the former bodyguards learned that Dennis had been supplying Brian with drugs. Brian signed a trust contract that gave Carl ownership of his finances and Brother Records, Inc. (BRI) voting rights, and was involuntarily admitted to a three-day stay at St. John's Hospital in Santa Monica in 1982. Brian's diet by this time consisted of up to five steaks a day, as well as copious amounts of ice cream, cookies, and cakes. His weight at the end of the year was over 340 pounds (150 kilograms).

Wilson overdosed on a mix of alcohol, cocaine, and other psychoactive drugs, and his family and administration were able to convince him to return to Landy's program in 1982. Landy had agreed to help Wilson again, but only if he was to have complete control over Brian's affairs without interference from anyone. In addition, Landy has pledged that he will not need more than two years to rehabilitate Wilson. Wilson was incorrectly told by the organization on November 5 that he was penniless and no longer a member of the Beach Boys, and if he wanted to continue receiving his share of the touring band's earnings, he'd have to enlist Landy as his caretaker.

Wilson complied and was subsequently transferred to Hawaii, where he was alienated from family and family and was put on a strict diet and fitness regimen. This therapy, as well as counseling sessions, was effective in returning Wilson to physical shape. Wilson had returned to Los Angeles by March 1983 and was relocated by Landy to a home in Malibu, where Wilson worked with several of Landy's aides and was banned from contacting many of his own acquaintances and relatives, including his children and ex-wife Marilyn.

Landy charged about $430,000 per year between 1983 and 1986 (roughly to $1.17 million in 2021). Carl Wilson was obliged to fork over a quarter of Brian's royalties when Landy asked more money. Landy soon became Brian's creative and financial advisor. Landy became his representative at BRI company meetings later in life. Landy was accused of creating a Wilson-like environment, as well as his musical direction. Wilson responded to such allegations by saying, "People believe that Dr. Landy runs my life, but the truth is, I'm in charge." He later claimed that he attempted suicide by swimming out to sea as much as he could before one of Landy's aides led him back to shore.

Wilson's recovery stalled, he was instrumental in the recording of the album The Beach Boys (June 1985). Wilson's "comeback" was portrayed in the press as a "comeback" to him. After that, he ceased working with his bandmates on a regular basis to concentrate on starting a solo career with Landy's help. Wilson began assisting his former coworker Gary Usher in writing songs and recording demos for his forthcoming solo album at Usher's studio in 1986. Around a hundred songs are in various stages of completion, the bulk of which are unreleased. "The Wilson Project" was the name of this series of recordings.

Wilson appeared at concerts with his bandmates occasionally, and he opened his first show as a solo artist at several charity concerts around Los Angeles. Wilson decided to work on a joint basis with Sire Records president Seymour Stein, who said he had chosen Wilson from his own co-producer, multi-instrumentalist Andy Paley, to keep Wilson on target. Landy was allowed to work as a "executive producer" in exchange. Several designers, including Russ Titelman and Lenny Waronker, were soon involved, and clashes with Landy ensued during the recording sessions.

Brian Wilson, who was born in July 1988, received lauded praise and modest sales, peaking at number 52 in the United States. It contained "Rio Grande," an eight-minute Western suite written in a similar vein to Smile's songs. Wilson was largely overshadowed by the band's first hit since "Good Vibrations" on Landy and the success of the Beach Boys' "Kokomo," the band's first top-one hit since "Good Vibrations," and the first hit that didn't have Wilson's involvement.

Wilson and Landy established Brains and Genius in 1989, by which time Landy had ceased to be Wilson's counsel on legal notice and had forfeited his license to practice psychology in California. Wilson's second solo album, Sweet Insanity, was co-written by Landy in almost every way, with Wilson co-writing much of the text. Landy's lyrics and Wilson's "Smart Girls" were the reason that Sire turned down the album. Wilson recorded "Daddy's Little Girl" for the film She's Out of Control in May 1989, and was one of the featured guests on the charity single "The Spirit of the Forest" in June. Wilson has also worked with Linda Ronstadt on her single "Adios."

Wilson was embroiled in a slew of lawsuits during the 1990s. In August 1989, he brought a $100 million lawsuit against Irving Music to recover the song publishing rights that had been sold by his father decades earlier. Though Wilson was unable to recover his rights in April 1992, he was awarded $10 million as part of a court deal. Wilson was estranged from the Beach Boys by 1990, with his bandmates deliberately arranging recording sessions that Wilson could not attend. Wilson has twice declined Wilson's bid to produce an album for them, according to Brother Records president Elliot Lott.

Wilson's first memoir Wouldn't It Be Nice: My Own Story was published in October 1991. Wilson's retaliation of his bandmates to passages that "read like depositions for their various court suits," according to biographer Peter Ames Carlin. Love, Al Jardine, Carl Wilson, and his mother Audree Wilson all filed defamation charges as a result of the book's defamation claims. Wilson and Landy's relationship was dissolved in December after Wilson's family's complaint was dismissed in May 1991, with a restraining order enacted shortly thereafter.

Wilson was sued by Mike Love for decades-long neglect of royalties and songwriting credits, a month after he was awarded $10 million from his Irving Almo case in May 1992. The jury ruled in favor of Love, who received $5 million and a piece of future royalties from Wilson in December 1994. Wilson's former conservator Jerome Billet was charged in September 1995 with another lawsuit, this time against his former conservator Jerome Billet. Wilson has requested $10 million, arguing that Billet "failed to supervise the lawyers" in charge of Wilson, Irving Music, and Love's lawsuits. "We were in the middle of nine separate cases" that weren't not fully resolved until the early 2000s, according to Melinda.

Following Wilson's dissociation from Landy, Wilson's output soared sharply. Wilson had revived his songwriting partnership with Andy Paley and, together, wrote and recorded a substantial collection of documents for a new Beach Boys album, which appeared in the early to mid-1990s. Wilson was on a documentary about his life with Don Wasn't Made for These Times (1995). The collection featured rerecordings of Beach Boys songs and was released as Wilson's second solo album in August. Wilson accepted an invitation to record an album of songs written by Van Dyke Parks in 1993. Orange Crate Art was first introduced in October 1995 and credited to the pair. Wilson and Asher revived their writing friendship in the late 1990s and wrote several songs together. Wilson and his daughters were among them on The Wilsons (1997), one of them "Everything I Want" was a show.

Although several recordings were made with the Beach Boys, the Wilson/Paley project was eventually scrapped. Wilson instead co-produced the band's 1996 album Stars and Stripes Vol. Joe Thomas, the current owner of River North Records and former professional wrestler, joins us on the 1st. Wilson moved to St. Charles, Illinois, to work on a solo album with Thomas in June 1998. Wilson referred to Imagination as "actually a Brian Wilson/Joe Thomas album." Fans of its homogenized radio pop sound at 88 in the United States and was chastised by followers for its homogenized radio pop sounds. Wilson's immediate family was left homeless following the deaths of his brother Carl and his mother Audree shortly before their album was released.

Wilson was expected to work and be exploited by those close to him, including Melinda. Wilson's daughter Carnie referred to Ledbetter as "Melandy," and Ginger Blake, a family friend, described Wilson as "complacent and basically surrendered." Mike Love said he favoured reuniting the Beach Boys with Wilson, but "Brian usually has someone in his life who tells him what to do." And now the individual is trying to keep him away from us. I'm not sure why, but I don't know why. You'd have to ask her, I guess." Wilson replied, "No." When asked if he still considered himself a Beach Boy." Maybe a little bit." Wilson's long-time reliance on his father and Landy, and Westword's Michael Roberts said in 2000 that "his public statements over time have tended to repeat those of whoever's supervising his current activities."

Wilson went on his first solo tour from March to July 1999, appearing about a dozen times in the United States and Japan. Jeff Foskett (guitar), Darian Sahanaja (keyboards), Nick Walusko (guitar), and Probyn Gregory (drums), and Dallas Bennett (backing vocals) and Taylor Mills, the touring band for the Beach Boys. Wilson toured the United States in October. Wilson said in 2000 that the tours had "too much [have] been amazing." I'm much more at ease on stage now. I have a fantastic band behind me. It's a much better band than the Beach Boys.

Wilson filed a lawsuit against Thomas in August 1999, claiming damages and a declaration that allowed him to work on his next album without involvement from Thomas. Thomas complied with his own case, claiming that Ledbetter had "scheduled against and manipulated" him and Wilson. The lawsuit was thrown out of court.

Wilson's first live album, Live at the Roxy Theatre, was released in 2000. Wilson began performing Pet Sounds for the first time in the year, while a 55-piece orchestra supported Wilson. Wilson's songs were written in an overture arrangement by Van Dyke Parks. Geoff Edgers, a critic, wrote that the tour's historical significance was similar to that of Syd Barret or J.D. Salinger came back from decades of exile. Despite the fact that the tour was well-received by critics, it was poorly attended, and financial loss ran up to hundreds of thousands of dollars. Wilson appeared at the Radio City Music Hall in New York in March 2001, where he performed "Heroes and Villains" before a public audience for the first time in decades.

In 2002, the Pet Sounds tour was followed by another, this time in Europe, with a sold-out four-night stay at the Royal Festival Hall in London. Recordings from these concerts were released in the form of Brian Wilson Presents Pet Sounds Live, a second live album (June 2002). Wilson's fourth solo album, Gettin' In Over My Head, continued sporadic recording sessions over the next year. The record featured guest appearances from Van Dyke Parks, Paul McCartney, Eric Clapton, and Elton John, and was released in June 2004. Wilson's songs were salvaged from Wilson's previous collaborations with Paley and Thomas.

Wilson, to the delight of his colleagues, agreed to tour dates that would include songs from the unfinished Smile album that has been arranged for live performance. Sahanaja helped Wilson with the sequencing, and Parks followed them later to add additional lyrics. Smiles by Brian Wilson (BWPS) premiered at the Royal Festival Hall in London in February 2004. A studio album version was soon released after being encouraged by the warm reception. Wilson's engineer Mark Linett recalled that after Wilson's CD of the finished album, "I swear you could see something change in him." "He's been different ever since." Wilson held the CD to his chest and said, "I'm going to hold this dear to my heart." 'I'm going to hold this dear to my heart," Wilson said.' He was trembling."

BWPS debuted on September 13th, the highest chart position for any album by the Beach Boys or Brian Wilson since 1976's 15 Big Ones, and the first official debut for a Beach Boys-related album. It was later rated platinum. Wilson began traveling around the United States, Europe, and Japan in support of BWPS. "I mean consistently smiling" in six years of touring, Sahanaja told Australian Musician, "This is the happiest we've ever seen Brian." Wilson appeared at Live 8 in Berlin on July 2005, attracting a three million audience.

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