Transcript

A (0:00)

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B (1:08)

Welcome back to Brian Wilson's podcast from Jokerman Podcasts. I'm Evan.

A (1:16)

I'm Ian.

C (1:17)

And I'm Aaron.

B (1:18)

Aaron Olson, everybody.

A (1:20)

Making a long awaited return after the rapturously received John Cale words for the dying episode from maybe three years ago at this point.

B (1:29)

Holy cow, we've been doing the Beach Boys for two years free.

A (1:33)

That's right.

C (1:37)

I have a feeling that the episodes I'm a guest on might be like the least listened to. Well, because of the album content. I mean, maybe it's me.

B (1:48)

I don't.

C (1:48)

I don't actually know.

B (1:49)

There's a specific strain, I think, like you. You are our de facto classical slash chamber adjacent rock music album correspondent.

C (2:02)

Happy to be. We should, yeah, we should go deep on that elsewhere someday, take it into Jack Nietzsche territory.

A (2:10)

Sure. Yeah.

B (2:11)

We have a very good follow up, I think, from the words for the dying episode, which is to say we have Brian Wilson reimagines gershwin.

A (2:24)

That's right. 2010. It's a bunch of Gershwin songs sung by Brian Wilson. What do you want? I don't know.

B (2:33)

The end.

A (2:34)

Summary

Jokermen Podcast – Episode Summary

Brian Wilson: REIMAGINES GERSHWIN with Aaron Olson
Date: March 9, 2026
Guests: Aaron Olson
Hosts: Evan (B), Ian (A)

Overview

This episode of Jokermen dives deep into Brian Wilson Reimagines Gershwin (2010), the iconoclastic Beach Boy’s full-length love letter to the legendary American songwriting duo, George and Ira Gershwin. Special guest Aaron Olson joins hosts Evan and Ian to discuss the album’s place in Brian’s late career, the historical and personal context of both Wilson and Gershwin, the challenges and joys of musical reinterpretation, and the “production problem” of modern nostalgia. The conversation blends musical analysis, personal memories, and laughter, while highlighting what old masters like Brian Wilson bring to music’s ever-spinning cycle.

Key Discussion Points & Insights

1. Background & Album Genesis

The album’s roots: Sparked by a Disney vanity project that initially sought Brian Wilson for a Disney songs covers album. Brian agreed—if, first, he could tackle a full Gershwin album ([03:00]).
“The Mouse did us all a favor… ponied up the dough for Brian Wilson to get in the studio and just cut a whole record worth of George Gershwin... And a couple new Brian/Gershwin joints.” – Ian ([03:36])
Gershwin unfinished works: Features two unfinished Gershwin pieces, completed by Wilson and longtime collaborator Scott Bennett ([03:40]).

2. Personal Connections to the Album

Aaron recounts being gifted the album after moving to LA, noting its sentimental place in his life despite not listening deeply to the music at the time ([04:32]).
Evan and Ian reflect on their first awareness of the album, and its outsider role in the Wilson/Beach Boys canon ([05:41]).

3. Gershwin’s Influence in Context

Biography: Gershwin—son of Jewish immigrants, dead at 38—bridged classical and popular music. Parallel drawn to Wilson’s own genre straddling ([07:40]).
The defining influence: Rhapsody in Blue formative for Brian Wilson (“...the first piece of music that he ever loved as a toddler” – Evan [09:11]).
Discussion of Gershwin’s roots in the Yiddish theater and the influence of multicultural, diasporic New York ([12:10]).

4. Track-by-Track Impressions

Rhapsody in Blue (Opener)

Short a cappella, lush Brian Wilson harmonies. Wished it were longer: “I wish he does a little bit more of it…You get it in the full Brian Four Freshmen, stacked vocals way.” – Aaron ([19:19])

The Like in I Love You

New, completed from Gershwin fragments.
“It’s the best example…of what this project…should be, given that it has Brian Wilson’s fingerprints on it.” – Aaron ([20:10])
Debate over the song’s title implying a lyrical conceit that doesn’t quite work, spawning lighthearted confusion ([22:52]).

Production Talk: 2010s vs. 1990s

“The production on this album is of a time…in 2026, it’s still kind of a rough palette…sterile.” – Aaron ([26:04])
Comparison to 1995’s warmer takes; speculation that 2010s production may age into “charming” with time ([29:14]).

Summertime & I Loves You Porgy

Performed faithfully, but lacking much “reimagining.” Summertime cited as a low point ([43:14]).
“There’s so many versions of Summertime that I would rather listen to. Sorry.” – Aaron ([45:04])
“It’s nice to see one of our favorite guys singing some of his favorite songs… not definitive takes.” – Ian ([45:16])

I Got Plenty o’ Nothin’

“Album highlight…refreshing…Brian ‘barnyard’, the bass harmonica, sounds great. A nice little palette cleanser.” – Aaron ([53:31])

It Ain’t Necessarily So

“Very Randy Newman-esque feel…great rhymes: ‘Abdomen, Abdomen’…a fun song.” – Evan ([56:17])
Aaron notes the Jewish liturgical melody, referencing Wikipedia findings ([57:50]).

’S Wonderful

Bossa nova arrangement; considered a genuine “reimagining” and “delightful” ([60:30], [61:16]).
“It does sound like Nintendo Wii, which is great.” – Aaron ([61:16])

They Can’t Take That Away From Me

Noted for charming, quirk-filled lyricism and the backup vocals’ “old-timey” arrangement ([65:14]).

Love Is Here to Stay & Someone to Watch Over Me

Both seen as more emotionally resonant; “hearing Brian Wilson say ‘I’m a little lamb who’s lost in the wood’...come on.” – Ian ([75:10])

Nothing but Love (Original)

Another Wilson/Bennett joint; consensus agreeably unimpressed: “Diminishing returns” ([77:18]).

5. What Does Late-Career Brian Wilson Offer?

Aaron’s wife: “Competent musicians with a weird vocalist… [the project] is not tapping into what Brian has to offer at this point.”
The hosts agree: there’s an “emotional fulfillment” and “gentle light emitting from this beautiful man” in Wilson’s late work, even if the era of artistic breakthroughs is long over ([48:17]-[52:43]).
Touring is now his truest gift: “the total reclamation of that aspect of his whole practice… bringing that across the world… that’s magic shit.” – Ian ([53:20])

6. On Nostalgia, Technology, and Musical Time

Debate over recording aesthetics, shifting reference points as 2010’s studio style ages—will Gen Z chase “that specific compression”? ([31:12])
Musings on other artists’ responses to changing times: Van Morrison’s late works, Neil Young’s transitory periods, and Bob Dylan’s idiosyncratic “standards” albums ([32:38]-[36:48]).
“He’s making no attempt whatsoever to try to fit in with the times here…just purely out in deep space, pursuing his own thing. And I dig that.” – Ian ([37:42])

Notable Quotes & Memorable Moments

On Gershwin’s untimely death:
“He died young. I know that. 38. Gee, what a tough roll of the dice.” – Aaron ([07:40])
On Jewish influence in American music:
“I do think that there is a really notable connection and basis for the multicultural aspect of his music. The modern cosmopolitan sensibility that…is all over modern popular culture. I think the Yiddish theater is like a secret source of so much stuff.” – Evan ([14:29])
Brian Wilson’s fascination with “Rhapsody in Blue”:
“He spends the rest of his life…I think he’s obsessed with this song the same way he gets obsessed with Shortenin’ Bread and ‘Ding Dang’ – these songs that he just plays them again and again.” – Ian ([17:18])
On the album’s sound:
“It’s a little grating in how not grating it is…how just smooth it goes down all the way through.” – Ian ([27:50])
On new versus old technology:
“The thing you hate about a current technology is the thing that will become its trademark.” – Brian Eno, quoted by Evan ([31:00])
On late style:
“That’s more my association now that’s positive—when I see Brian Wilson Reimagines Gershwin…I think, ‘This is grandpa. I love grandpa.’” – Evan ([33:43])
On the album’s relevancy:
“No one will listen to this over other versions, but it makes me happy.” – Aaron ([53:23])

Timestamps for Important Segments

01:08 – Show begins, guest introductions.
03:00 – Album genesis: Disney’s involvement.
07:40 – George Gershwin’s life, death, and parallels with Brian Wilson.
09:11 – The impact of “Rhapsody in Blue” on Brian Wilson.
12:10 – Yiddish theater and multicultural roots.
19:19 – Discussion of “Rhapsody in Blue” as an opener.
22:52 – Lyrical analysis of “The Like in I Love You”.
26:04 – Production aesthetics debate.
43:14 – “Summertime” and limitations of reinterpretation.
53:23 – “I Got Plenty o’ Nothin’” as an album highlight.
56:17 – “It Ain’t Necessarily So” and its Jewish liturgical connections.
61:16 – “‘S Wonderful” as a bossa nova success and Wii music reference.
75:10 – Emotional depth of “Someone to Watch Over Me”.
77:18 – Closing thoughts on “Nothing but Love” and album structure.
78:24 – Reflection on series’ depth, listener comments.
80:01 – Aaron Olson’s musical projects and ongoing work.

Ratings & Wrap-Up

Star rating (out of three):
- Aaron: 1
- Evan and Ian: 2 (with debate about whether to compare to Wilson’s canon or on its own merits) ([80:08])
Final thoughts:
- It’s not a career-defining Brian Wilson album, nor a must-have Gershwin compendium. But as a gentle, late-period pop artifact, it offers emotional warmth and reminds listeners of what Brian Wilson has always delivered: “a conduit for pure love and light in the world” ([50:40]).

Aaron Olson’s Projects

Trio with jazz/MIDI innovator Tommy Peltier (album out March 27)
“Other Delights”: Bossa nova/exotica band in LA
Solo album “Songs Album Two” (June)
Film scores: Nutcrackers, Fuck My Son, Hoagie ([80:56]–[85:47])

This episode provides a rich, often witty tour through Brian Wilson’s lesser-known homage to his earliest musical inspiration—unpacking what it means for a pop genius to find solace in American songbook tradition while remaining true to his own quietly idiosyncratic late style.