Brian Wilson: SWEET INSANITY

Summary

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Jokermen Podcast: Brian Wilson – SWEET INSANITY

Episode Date: October 28, 2025
Hosts: Jokermen

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Overview

This episode of Jokermen delves deep into Sweet Insanity – the infamous, unreleased 1991 solo album by Brian Wilson, produced during his fraught, oppressive collaboration with psychotherapist-turned-business partner Eugene Landy. The hosts explore the record's tumultuous context, dissect its songs, and lament its place as a fascinating but disturbing artifact in Wilson's discography. They engage in candid, often biting discussion about Landy's manipulations, Sweet Insanity’s artistic failings, and the heartbreak of Wilson’s lost years.

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Key Discussion Points & Insights

The End of the Landy Era

• The episode begins with playful but pointed satire of Eugene Landy’s omnipotence in Brian’s life, with jokes about "The Eugene Landy Hour" and the shadow his influence casts.
• (01:14–03:34) The hosts mark this as a farewell to Landy, noting Sweet Insanity as perhaps the final major artifact from this era.
• They reflect on Landy’s outsized control, both pharmacological and financial, especially after losing his psychology license:

  "You take his license away, and then he's just like, at last, there's nothing even there to constrain him." (Brian, 07:53)

The Dark Context of Sweet Insanity

• (04:41–06:09) Sweet Insanity is framed among other unreleased Brian projects (Smile, Adult Child), with a clear distinction:

  "There’s unreleased things that are good...and then there is a case like...Sweet Insanity, which is...rejected by the record company...for reasons that don’t only have to do with the music." (Brian, 04:41)

• The hosts share biographical context:
  • Landy’s license revoked in 1989
  • Their business became Brains and Genius
  • The industry’s growing aversion to Landy
• They recall the Diane Sawyer Primetime Live investigative expose (Oct 10, 1991) that led to Landy’s final ouster:

  "This insanely fucked up, extraordinarily manipulative and exploitative relationship is like...it could not be clearer." (Co-host, 13:25)

Notable Quote

"Brian appeared healthy during the Landy years. But the credible and incredibly frightening stories we heard of him being drugged...were extremely disturbing." (Co-host quoting David Leaf, 10:51)

Landy’s Character Exposed on Primetime Live

• Diane Sawyer's interview with Brian exposes his isolation from family, the call screening, and his inability to answer basic questions about his daughters.
• Landy's own self-justifications on air are dissected for their arrogance and lunacy.
  • [17:18] Landy: "Yes, well..." (when accused of violating professional ethics)
  • [19:19] Landy: "[Brian] is the brains. Geniuses—that's obvious."
• The hosts are incredulous that Landy participated:

  "You get a glimpse...of just what his mind is like by the fact that he wants to be doing this." (Brian, 13:44)

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Track-by-Track Breakdown

"Concert Tonight" (27:40)

• [27:47–30:10] A brief, acapella intro. The hosts note the homespun charm but also the oddly dissonant and sinister undertone.

  "It feels like evil Love You Brian Wilson...like Brian hates you." (Brian, 29:10)

"Someone to Love" (31:02)

• Identified as bland, inane, and lyrically vacant.

  "No brains, no genius." (Co-host, 30:58)
  "The lyrics are just...you're lucky if you get one idea to rub together." (Brian, 31:18)

"Water Builds Up" (35:56)

• Discussed as both inwardly and outwardly hollow, with surface-level attempts at self-help.

  "It's like Barney songs that he's giving him to sing." (Brian, 36:41)

"Don't Let Her Know She's An Angel" (39:00)

• The hosts call out its toxic, manipulative perspective:

  "I better not be nice to her or else she'll know that she's better than me." (Brian, 39:57)
  "I gotta keep negging this bitch." (Co-host, 40:57)

"Do You Have Any Regrets" (44:29)

• Noted for its gaslight-y tone but at least musically amusing.

  "It's like the ultimate male manipulator album." (Co-host, 45:39) "Do you have any regrets? It's almost got a crooner thing...like Sinatra in the 80s." (Brian, 47:08)

"Thank You" (48:00)

• The most objectionable song, expressing a puppet-like, Landy-authored reframing of Brian’s story.

  "This song feels like something that he's just sort of, like, printed out and put in Brian's hands and says, read this. And this is about you?" (Brian, 49:40) "It's literally Landy brainwashing Brian." (Co-host, 50:18)

  • Quotes lyric: "Not my mother, not my brother / Crazy beatings by my father." (51:15)

"The Spirit of Rock and Roll" (56:41)

• Featuring Bob Dylan, Tom Petty, Jeff Lynne; the hosts call it the album’s highlight, albeit for its roots outside this era.

  "It’s the best thing here by a country mile...because it’s the one thing that’s not from these just dog shit Landy Brian songwriting sessions." (Co-host, 65:04) "Bob sounds so fucking Dorset." (Co-host, 57:26) "Brian absolutely does [have the juice]...his performance is so exuberant." (Brian, 59:02)

• They joke about a hypothetical Wilburys with Brian as the missing member (60:14–60:25).

"Rainbow Eyes," "Love Ya" (65:57–69:01)

• Singled out as "awful dogshit" (Co-host, 67:52); lyrics and musical sentiment are derided for their vacuity and faux-psychedelia.

"Make a Wish" (70:12)

• A rare split: Co-host calls it "pure Barney music"; Brian admits a vague soft spot for its ‘90s environmentalist schlock.

  "It has that thing of like those T-shirts from the 90s where it’s like dolphins jumping out of the ocean and like a rainbow Shamu or whatever..." (Brian, 72:01)

"Smart Girls" (74:04–88:12)

• The showstopper. The hosts are aghast, but fascinated, by this Landy-penned, Brian-raps, sample-heavy "hip hop" monstrosity.

  "It might be the worst piece of recorded music of all time." (Brian, 76:12) "Just detestable, grotesque, zero redeeming aspects anywhere." (Co-host, 76:35)

  • Hosts quote the opening:

    "My name is Brian and I’m the man / I write hit songs with the wave of my hand..." (Narrator, 79:48)

  • They compare its shock value to Trump, Tim and Eric, and a trainwreck you can’t look away from.
  • The song’s faux-feminist message is exposed as deeply misogynistic:

    "All the songs I used to write about women were bad because they were about dumb women, right? And now I have...come to realize that smart women are more suitable, more worthy of me...I am sexually attracted to smart women who have hot bodies." (Brian, 84:01)

  • Conclude it’s the “fitting end” to Landy’s years; “the darkest, deepest, most disgusting product of this disgusting, dark relationship that had gone on for far too long.” (Co-host, 88:12)

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The Verdict on Sweet Insanity

• The album is described as “not even a Brian Wilson album” – essentially a document of Landy’s corrosion of Brian’s artistry.
• They acknowledge that none of the project's eccentricities achieve the accidental beauty or interest found in other 80s/90s oddball albums.
• Final judgement:

  “Zero stars for Sweet Insanity. Zero stars for Eugene Landy.” (Co-host, 93:55) "Even with the spirit of rock and roll, this is a zero. Goodbye, good riddance, Eugene Landy." (Brian, 93:55)

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Notable Quotes

• On Landy’s manipulation:

  "The perverse vampiric nature of this narcissistic personality, being able to latch onto the resources, services and...the very life essence of this person, of Brian Wilson, and bend it to his will. And this is the result of that. It’s a lesson to all that...to do that is to create horrors." (Brian, 87:13)

• On Brian's legacy and grace:

  "Love and mercy means love and mercy for everyone. He just doesn’t have any hate in his heart." (Brian, 93:30)

• On Sweet Insanity as a historical artifact:

  "Fortunately for us all, this album is not part of the official Brian Wilson canon. Fortunately for Brian, certainly." (Co-host, 92:03)

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Important Timestamps

• 00:00–03:34: Banter, context-setting, joke about Landy’s role
• 10:51–13:25: Diane Sawyer/Primetime Live expose and fallout
• 27:40–41:23: Detailed track-by-track discussion, “Concert Tonight” to “Don’t Let Her Know She’s An Angel”
• 44:29–54:54: “Do You Have Any Regrets” through “Thank You,” deep dive into Landy’s manipulative lyrics
• 56:41–65:16: The Spirit of Rock and Roll, Wilburys digression
• 74:04–88:12: “Smart Girls” epic takedown
• 93:55–94:12: Final verdict, zero star rating

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Tone & Takeaways

The hosts’ tone oscillates between grim bemusement, gallows humor, and genuine pathos for Wilson. Their knack for wit and deep knowledge of the Wilson/Landy saga provides crucial context for listeners unfamiliar with this strange, disturbing chapter. Sweet Insanity, to the Jokermen, is both a cautionary tale about artistic exploitation and a necessary, if painful, chapter in their ongoing exploration of Brian Wilson’s life and legend.

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For the full Diane Sawyer Primetime Live segment and a listen (if you dare) to Sweet Insanity, check the episode description.

Transcript

[Narrator]

Join the human race.

[Brian]

Welcome back to Jokerman Brian Wilson program.

[Co-host]

Jokerman Eugene Landy, number one Eugene Landy fan podcast.

[Brian]

Welcome to the Eugene Landy Hour, produced and presented by Eugene Landy.

[Co-host]

Presented by Brains and Genius, actually, special.

[Brian]

Thanks to Brains and Genius and also to Eugene Landy for his generosity and just also how smart he is, really. And he's such a smart and important and powerful and kind and strong man, really.

[Co-host]

Don't forget artistic and artistic. Insightful, poetic, perhaps. Musical.

[Brian]

Musical, absolutely. Have you seen his credits? That's written proof that he is very musical, this man.

[Co-host]

That's right.

[Brian]

And, you know, it seems like he's. He's tirelessly working Brian Wilson at this point in the story.

[Co-host]

I think this is it with him. I think this is maybe our. Maybe our. Our adieu to Huge. There's plenty to get through with him in this episode, but I think by the time we're finished here, he's gonna be. He's gonna be gone for good. So, you know, well, once. Once more unto the breach, as they say. It's welcome. Welcome to the 90s, everybody, on Jokerman Podcast. Everyone's favorite decade.

[Brian]

It is kind of everyone's favorite decade.

[Co-host]

It's my favorite decade. We're easing, we're aging into that primo sweet spot of Jokerman goods. This early to mid-90s range that is home to so many of our favorite albums, from I've Been to youo To 11 Tracks Of Whack to Mutineer. Mutineer.

[Brian]

I was having a big moment with Mutineer the other day. I just.

[Co-host]

I saw you just enjoying Mutineer.

[Brian]

I was just. Yeah, really enjoying it. It had been a long time.

[Co-host]

Something Bad Happened to a Clown.

[Brian]

Yeah. What an odd sounding song.

[Co-host]

Every song on that record is stranger than the last one, up until you get to the title track at the very end, which is one of the best songs ever made.

[Brian]

I love Rottweiler Blues.

[Co-host]

Rottweiler Blues, of course, such.

[Brian]

I mean, there is something uncanny that is sort of similarly uncanny to this album production wise. Like, not really, but a little bit.

[Co-host]

Yeah, like something like that.

[Brian]

There's something like that, I think maybe.

[Co-host]

Like, where if these two albums are like, you know, operating on the same scale or with the same tools, this is maybe an example of how all of that shit can fail to yield results. And Mutineer is the opposite, is the example of how it can all somehow.

[Brian]

Miraculously come together and gets better with age. Because nothing sounds like that moment really ever again. And in that case, you know, that Gives a sense of charm and novelty and intrigue. And in this case, with the Case of Sweet Insanity, the second unreleased Brian. The third unreleased. No. How many unreleased Brian project or albums?

[Co-host]

Oh, well, it's hard to. I mean, there's.

[Brian]

We've done Smile.

[Co-host]

We've done Smile. We've done Adult Child.

[Brian]

We did.

[Co-host]

There's an unreleased Christmas album that we're gonna be doing in a month OR 2 from 1978 from the beach Boys, Love youe era. Excited to get to that. So we'll be traveling back in time for that one.

[Brian]

What's that called?

[Co-host]

I think it's just called Merry Christmas from the Beach Boys or something. It's basically a Beach Boys Christmas album done in the Love U style.

[Brian]

Okay, so it's like McCartney's wonderful Christmas time.

[Co-host]

Wonderful Christmas Time. Exactly.

[Brian]

Okay.

[Co-host]

Yeah. There's a lot of unreleased shit in Beach Boys. And certainly we're gonna have before too much Longer, the whole slightly American music bootleg, the Andy Paley sessions from the mid-90s.

[Brian]

That's gold.

[Co-host]

That's pure gold.

[Brian]

One of my favorite. Maybe my favorite Brian Wilson song.

[Co-host]

Oh, absolutely. That's like the original version of that.

[Brian]

Song, which gets finished later. It's not easy being me.

[Co-host]

It's not easy being me.

[Brian]

But anyway, we're getting a little ahead of ourselves today when we talk about unreleased things. There's things that are unreleased, that are good, and it's a shame that they were not released. And we've talked at length about how and why that kind of thing has happened. And then there is a case like. Well, this one Sweet Insanity, which is. It is something that was rejected by the record company, but I guess by Columbia.

[Co-host]

By Sire.

[Brian]

Sire. Sire. Rejected. Rejected by Sire Records.

[Co-host]

That's right.

[Brian]

And there are the reasons for that don't only have to do with the music, but if. If it was just about the music, I think that it would be fair, but I don't think it's just about the music.

[Co-host]

It isn't just about the music. Although I think it is primarily about the music. And I mean, we. On the previous Brian record, you know, Brian Wilson, 88, that despite just extraordinarily challenging circumstances, the sinister hand of Eugene hovering over things, Brian's kind of craziness throughout the entire production process. When the songs got finished, you know, by hook or by crook, somehow everyone kind of came together and got that thing over the finish line. People were proud of it and excited about it. And there's a big marketing campaign behind it. Critically beloved at the time. Continues to be critically beloved. This one maybe not so much. We can set a little bit of the scene here Going into sweet insanity. There's not too much biographical information, But I think there is a little bit of interesting context to deliver here, Leading up to a video interview segment that we're going to discuss here in a moment. One of the most incredible things that I've ever seen. But before we get there, David leaf. The build up to brian's first album had been enormous. The work on it intense and too often unhappy. With the positive publicity in the rearview mirror and sales of about 300,000 copies, not quite what everybody had hoped for, Especially given the cost of it, There was disappointment and very little desire from the industry to deal with landy again. What came next surely had to be very Good news. On April 1, 1989, Los Angeles Times reported Eugene landy, the flamboyant psychotherapist who guided singer Brian wilson's comeback, but was criticized for allegedly exerting too much control over his patient, has lost his license to practice psychology in California for at least two years. For those of us, you know, David leaf included, who had been working toward and praying for this day, it quickly became an enormous letdown. We thought that as landy would no longer be able to legally practice psychology, that would be the end of his ties to brian. We were so wrong.

[Narrator]

Yeah.

[Brian]

Yeah.

[Co-host]

Without a license, Landy and Brian came. Business partner.

[Brian]

You take his license away, and then he's just like, at last, there's nothing.

[Co-host]

Even there to constrain him. The codes of the profession or the licensing boards or whatever that were that he wasn't paying attention to in the first place, but were ostensibly there as some sort of rails to keep him on some sort of track. Now that's all gone.

[Brian]

It reminds me a lot of the way that things are today in the political sphere. Political sphere, absolutely. It is very much like that. Like this. This thing of a presupposition that there is like a decorum, A certain red lines that will not be crossed, or at least the pretense of a kind of propriety and sense of the law at all. And then what happens when the people in power Just sort of call the bluff of everyone else and just decide that none of that matters.

[Co-host]

Yeah. What are you gonna do about it? What can anyone do about it?

[Brian]

The truth is, not much.

[Co-host]

Nothing.

[Narrator]

Yeah.

[Brian]

Basically, what we have here with Landy.

[Co-host]

Unchained, Landy uncut and unleashed without a license. Landy and brian became business partners. We were dumbstruck. Their company Brains and genius wasn't illegal per se, but it was certainly immoral, especially given the control, pharmaceutical and otherwise, Landy still exerted over Brian, as was dramatized in the 2014 biographical feature film Love and Mercy. We'll get to that one day. Melinda Ledbetter had met Brian when he came into the Martin Cadillac showroom in west la. Landy thought it would be a good therapeutic experience for Brian to buy a car. And he did buy a Caddy. And he and Melinda started dating. As with everything in Brian's life, Eugene Landy had to have total control. And so when Dr. Landy thought it was no longer a good idea, the dating stopped. Not long after that is when my wife, David Leif's wife, and I and him met Melinda. She, Eva, his wife, and I. David quickly became good friends. Somehow, word of this got back to Landy. I love this little, you know, all the circles connecting here in the Jokerman universe. A month after meeting Melinda, I was at Yamashiro, a Japanese restaurant in the Hollywood Hills. It was a record release party for Van Dyke Parks new album, Tokyo Rose.

[Narrator]

Wow.

[Co-host]

Waiting for a moment when I was standing alone, Dr. Landy sauntered over. In his quietly menacing way, he whispered, well, I hear we're a Melinda Ledbetter fan now. Message delivered. He slithered away. I love that there's a Van Dyke Parks Tokyo Rose record release party taking place at Yamashiro. Have you ever been to Yamashiro?

[Brian]

No. Where. Where is that?

[Co-host]

That's the. It's the big Japanese joint right next to the Magic Castle up there on, you know, on the backside of the.

[Brian]

Oh, yeah, yeah. No, I've never been there, but I.

[Co-host]

Yeah, yeah, I've never been there. I think it's supposed to be pretty good, to be honest.

[Brian]

It's good enough for Van Dyke. It's good enough for.

[Co-host]

Yeah, very. It's perfect. Perfect setting for the Tokyo Rose record release party. The Yamashiro Japanese estate overlooking beautiful Hollywood, usa. Brian appeared healthy during the Landy years. But the credible and incredibly frightening stories we heard of him being drugged by Dr. Landy were extremely disturbing. The most important and meaningful story I, again, David, ever consulted on was Diane Sawyer's expose on Dr. Landy for the highly rated ABC ABC TV program Primetime Live. Ostensibly, the intended focus of the ABC story was Brian's first autobiography, Wouldn't it be Nice? My Own Story, which was being released by HarperCollins.

[Brian]

Wouldn't it be Nice? My own story, written by me and no one else.

[Co-host]

That's right. And no one Else, producer of primetime Live, Shelly Ross, had a much bigger story in mind than the book itself. However, she wanted to nail Dr. Landy. Quoting Shelly Ross. Now, I was working on an investigation to Brian Wilson's quote, unquote, care, and I use that term loosely, for about a year from what she had learned. The release of the autobiography was another financial opportunity for Landy. And I was tipped off to that. Quoting her again. I'd done quite a bit of research. I think I had already convinced Landy to participate in this interview segment. I was calling everybody, but I was actually keeping certain calls until later because I didn't want to tip Landy's hand. Once I had Landy on tape, a lot of people were willing to go on camera themselves. For those of us who wanted to see Landy gone, the story was a big deal. It was broadcast on October 10, 1991. Within six months, a restraining order was issued to keep Landy away from Brian. And while he violated it once on Brian's 50th birthday, finally, blessedly, Landy was in the past. Which brings us to this primetime Live interview that we were already kind of talking about a moment ago. Kind of like, I'm honestly amazed at what it is and what it was and what they were able to achieve on really like a 15 minute news hit on one of these news magazine programs like 60 Minutes, Primetime is same kind of concept. But like how Landy ever thought participating in this conversation, him participating in it and Brian participating in it with the types of questions that were being asked to them. I. I mean, it's all just there, plain as day, clear as can be. Like this insanely fucked up, extraordinarily manipulative and exploitative relationship is like.

[Brian]

It could not be clear for like it's. And it does speak directly to the person that the behavior of Landy that he would think that this is something he should do.

[Co-host]

Because I guess that's a good point. Yeah.

[Brian]

Not. He's delusional and he's a sociopath or a psychopath. He's. He thinks that the. The people are stupid. He thinks that he can just get away with things. And he thinks that going on TV is a great idea. That like, you know, of course people are going to love and adore him and shower him with praise for bringing Brian back. That's the kind of thing that he's, you know, you can kind of get a glimpse, I guess, of just what his. His mind is like by the. The fact that he's wants to be doing this and Then of course it's so disconnected from reality because. And you know, thankfully he underestimated this program and their sincerity and their actual ability to investigate and do a good job of asking genuine questions and not just doing a fluff piece they actually made. It is a very well produced piece of television.

[Co-host]

Absolutely. It's quick hitting. We'll put a link to the description or to the, to the video in the episode description. It's on YouTube, you can watch it. It's about 15 minutes. But yeah, you know, well conceived, quick hitting, very clearly put together. And some just really unbelievable interviews again from a lot of people. Mike Love makes an appearance. His look was incredible. He's in like a, like a peaked lapel yellow blazer and like a little newsy cap or something, looking like Dick Tracy on vacation. But he's, you know, like, comes off as a pretty level headed guy. They got this attorney of Brian's, John somebody who had previously been on Landy's side. And then by this time he's off Landy's side. He says he couldn't talk to Brian Wilson in the entire five years he represented Brian. And Brian himself is just like, I mean that segment when Diane Sawyer asked him about Wendy and Carney and like, aren't you proud of your daughters? Cause this is when Wilson Phillips has really kind of come up and taken over the world. And Brian's like, oh, I am so proud. I think they're so special. And she's like, why don't you see them? Why don't you talk to them? And Brian, he literally says like, I can't answer that question. I don't know the answer.

[Brian]

Yeah, he's just, I don't, I don't know how.

[Co-host]

Just breaks, breaks my heart and you know.

[Brian]

Yeah, it's damning to a degree that. I mean the things about the telephone calls that are. The lack of them, like the, the.

[Co-host]

Way that the call screening.

[Brian]

Yeah, it was completely just cut off from everyone in this very explicit way. And like his lawyer being like, I could not reach him for five years on the phone.

[Co-host]

Insane.

[Brian]

And then Landy's just asked about it point blank. I mean the best part, I guess in best might not be the word, but like the most, the worst part for Eugene Landy and his designs on the situation is just when he's told, he's just told like, you, you violated your, your code of, of your, your practice, your.

[Co-host]

Yeah. Professional ethics.

[Brian]

You, you have violated that. You've broken that. And he is just like, yes, well.

[Co-host]

Yeah, I don't disagree. He says it's valid.

[Brian]

He, he says what you said is valid. He did. Maybe one of the earliest noted uses of that type of language.

[Co-host]

Yeah, Diane Sawyer, I hear you. I see you. Your statements about my malfeasance are valid. Yeah, I'm kind of amazed by it, you know, for any number of reasons. But one of the foremost being like, you know, the whole story that we've been telling over the last however many months with Lanny's like, he's this Machiavellian character who's on the phone with so many different people and controlling, who can talk to whom and kind of pitting certain parties against one another and you know, running this whole like, diversion scheme so that he can continue to kind of be the man in charge and all the ill gotten profits and proceeds accumulate to him. And then like, you see this interview and he's just like, he's like, just kind of a dumbass and like, you know, overly kind of full of himself character who has like, like no witty comebacks for any of the accusations that are leveled.

[Brian]

Not even prepared for them. Because again, yeah, I don't think that he, his arrogance was so great that I don't know that he actually seriously considered that they would be on the attack, that he would even have to a defense that it would be anything.

[Co-host]

Other than just like a puff piece type of interview.

[Brian]

Yeah, they're just like, well, we are all just so proud of Brian. And you, you are amazing. You're a genius because you figured out how to do this. He has these ideas about what he does being a form of art, which of course is.

[Co-host]

Oh God, that quote is unbelievable.

[Brian]

And when he says that they ask about brains and genius, doesn't he? He says like. And well, Brian is the brains.

[Co-host]

Brian is the brains. Geniuses. That's obvious.

[Brian]

That's me. He doesn't say that's me. But like the idea of him saying Brian is the brains, which is he's the genius.

[Co-host]

What a smarmy little prick.

[Brian]

It's so crazy.

[Co-host]

Thank God that it happened. You know, I don't know that this specific interview was the sole reason that, you know, the restraining order would ultimately be granted here. But clearly it would have played a part in things. I guess I just kind of walk away from it thinking or with the feeling that like, you know, everyone in the Beach Boys orbit, in the Brian Wilson orbit, you know, all the people that were involved in Brother records and at the record labels and in the family and stuff, like, everyone was like, so kind of I hesitate to say, like, stupid, but like, so. So kind of like wrapped up in their own just ridiculous bullshit that as soon, like as soon as Landy is out of this insane, you know, a bubble of all these freaks and geeks in the music world and there's just like a couple competent reporters on his tail, like, it all. It all just like completely collapses. Like a house of cards.

[Brian]

I hesitate. I also would not want to say stupid only because, I mean, yeah, I would. There is a sort of. They're not so savvy, obviously, to have ended up in this position paying this man exorbitant sums of money.

[Co-host]

A million dollars a year or whatever.

[Brian]

It is, but it is. I. I also don't want to, like, blame them. No, because this. This is really a. A very complicated situation where, you know, the. The notion that, like, you save someone's life and then you're kind of, like, responsible for it, that is being perversely wielded and weaponized by Eugene Landy.

[Co-host]

You sound like Thomas Pynchon.

[Brian]

That guy's onto something. This thing of like, well, you can do whatever you want about against me, but I'm gonna keep taking and taking and taking. Because without me, Brian's probably dead. It's like a reverse gun to head. Like, it's like if I leave, Brian's probably just gonna kill himself. So I get to just kind of make myself as comfortable as I want. And it would be, I think, unfair to level the blame at the family of the person who's like, caught in the middle of this. Who's the subject of that? Because the fact is that it's so visibly clear. Like when you said he looks good. He does look good. He looks quite good, but also he was quite horrible looking in terms of his health. So it's like a really, really dramatic 180. And that just is like a viscerally difficult thing to deal with, I think when it's someone you know and are close to, to. To just see so clearly like this. They were on death's door and now they are looking great. Like, looking better than me. And then it's maybe easy to overlook the financial side. And then in a more object, you know, in a more complicated and in a way that's a little darker, like, I think easier to overlook the mental toll, but that's also being totally hidden from them.

[Co-host]

Yeah. Yeah. I mean, I guess maybe what it is, or maybe what it is more of is that Landy, you know, had kind of just gotten out over his skis at this Point. And when he came on initially, certainly back in the 70s, like as fucked up as all of his shit was from the beginning, you know, it bore some results. And then he was kind of sent on his way and Brian was back in some capacity for period of time. And then when he's brought back again in the early 80s, it's sort of a similar thing. And Brian is kind of brought back from the brink one more time and things start to work and function a little more smoothly for some period of time. But at this point, it's been nine years or whatever that Brian's been in his quote unquote care. And Brian has kind of gotten to the point where he can kind of be responsible for himself. He will be responsible for himself more so certainly once Landy's out of the picture. And yet Landy is just continuing to sort of take and take and take and be ever more kind of present and greedy and arrogant.

[Brian]

Greed. Yeah, his greed sickens me. But his. Yeah, this is also the last stand of all that. But the demon spawn of this situation that is this album is what we're really here to talk about today.

[Narrator]

That's right.

[Co-host]

Which is Sweet Insanity.

[Brian]

I will note just before we even get into it, that is a lyric from a song on this record that's written by Eugene Landy.

[Co-host]

That's right, yes. Sweet Insanity, the record, the follow up to Brian Wilson 88.

[Brian]

It's just got so twisted, I mean, that he's like, oh, the sweet Insanity. Because Brian's insanity is just money in the bank for him.

[Co-host]

That's right. Well, yeah, it's for Eugene Landy. It's very sweet. Sweeter Than Honey record. That was supposed to be the. There was a two record deal with Sire. You know, obviously the first one was Brian 88. And then this was the follow up and never, you know, never released. For reasons that might become clear as we talk about it a little bit. I will say, you know, just to preface, before we start to talk about the songs here themselves, like, there is part of me, you know, knowing the circumstances behind this record and knowing its reputation, that it is God awful and unlistenable and obviously was never even officially released. And it's from this, you know, dark period in Brian's life. There's absolutely part of me that wants to go into this and say like, you know, actually this. There's some secret gold on this record. And I. Do you feel that way? I will try to make that argument when and where I can. But for the most, it's it's not something that I can really get behind.

[Brian]

I feel the same way. It is. It is. When you watch that dance or thing, it. It's really hard to see this as anything but an abomination. And like, in. In terms of the context, it. It's like listening to the Charles Manson music and. And just being like, well, you know, it's just a. It's just songs.

[Co-host]

It's just music.

[Brian]

Yeah, it's like. Yeah, it is.

[Narrator]

You don't have to.

[Co-host]

You don't have to think about the context behind it.

[Brian]

Yeah, it's quite hard not to think about the context, I would say.

[Co-host]

Well, let's do our best to think about the music and the context, you know, simultaneously here. So I guess on that note, you know, Sweet and Sanity never released. There isn't an a official and official version of this record. There were a couple different track lists put out. I think for our purposes, there's this. This, like, red cassette cover version that's got a track list on the two sides of this cassette. I think for our purposes, that's the track list that we're gonna use here. And even some of the song titles vary depending on where you pull them off of Internet archive or YouTube or whatever. But we'll do our best to just kind of walk through the most standard, easily accessible version of Sweet Insanity, which.

[Brian]

Begins with concert, Concert tonight.

[Co-host]

I kind of like that.

[Brian]

I kind of like.

[Co-host]

15 seconds. Yeah, it's one of the best moments on the record, I think. It's just totally acapella. It's kind of stupid. Love you mode, Brian. You know, Booping Dupin. Just saying concert, Concert tonight. It sort of sets the table for a record that does not actually end up following. It's got this kind of goofy, homespun charm to it. And so you listen to this and you might think, oh, this is what's going on here. This could be kind of a cute and fun effort. This is not what's going to be happening across the rest of this album.

[Brian]

It is like that, but it also is weirdly discordant. Like, this little piece of music is kind of oddly dissonant and creepy. Is weird. And it has like, just. It's just like the whiff of something a little bit sour, and that's just the case. But it's. It's interesting that even this little intro snippet has, like. It feels like evil. Love you. Like Brian Wilson. It's like. It's like Brian hates you, Right?

[Co-host]

Yes.

[Brian]

Beach Boys hate you.

[Co-host]

Yeah. Brian Wilson hates You. Yeah, you think about, I mean, the acapel moment on the previous record, One for the Boys. And that is. That's a song that's so beautiful and spiritual sounding and just like consciously kind of warm and loving. And this is the. This is also the acapella Brian vocal arrangement song on here. And that's not all of those adjectives. It's the opposite of whatever any of those are.

[Brian]

There is a version of Sweet Insanity called the Millennium Mix. That's like an extra deranged fan edit that does have this as a bookend at the end as well, a reprise of it, which I actually kind of like, kind of makes it feel more like a cohesive album. But there's something just inescapably creepy about it. It's like Stromboli and Pinocchio. It's like, I'm going to make you a big star. Like, I'm going to take you to Monte Carlo. It's like when they have King Kong chained up.

[Co-host]

Right.

[Brian]

Like, there's a concert tonight that's like Carnival esque atmospher.

[Co-host]

And he has ventured to Skull island and brought Brian Wilson back to New York City in chains.

[Brian]

He's the guy selling tickets to go into Elephant Man's room and leer at him and pour liquor on his face.

[Co-host]

It's a little sickening if you think about it too much. But don't think about it too much. Think about Someone to Love.

[Brian]

One of the most bland.

[Co-host]

Yeah, I mean, that's the thing with a lot of these songs on this record is like the lyrics and the music. Both brains and genius. Just. What a ridiculous title.

[Brian]

Brain Genius.

[Co-host]

No brain. How about this? No brains, no genius.

[Brian]

Brainless dumbness.

[Co-host]

It's inane, you know, it's not unpleasant, this song, Someone to Love. But like, there's really nothing here that I'm interested in listening to. Whether it's music or vocal arrangements or. Certainly the lyrics.

[Brian]

Certainly the lyrics. The lyrics are just. When we've talked about there being sometimes in these episodes lately, it feels like you don't have two ideas to rub together. And you're lucky if you get one. This is one.

[Co-host]

This makes let's Go to Heaven in my car look like Mr. Tambourine.

[Brian]

Well, it does.

[Narrator]

The girl that I would like to meet Was in my dreams last night Was she beautiful? She laughed and kissed me on my cheek I held her close and tight but when morning came I was lying on the floor when will I ever find that, that girl I'm looking for?

[Brian]

Is this a Landy production. I mean, it. We. We didn't really mention. But like, Brian, as he appears in that TV piece is. He seems so.

[Co-host]

He's a little up.

[Brian]

Like, mentally, he's so up. He is not there. He seems miles away. And it's very troubling. And that. That aspect to it, like, when you think about how he is there and then you think about a song like this, it just feels. Yeah. Like he's being a marionette. Like he's like, propped up like Weeknd at Bernie's.

[Co-host]

Weekend at Brian's. Yeah. I mean, there's a world in which. Or there's a point in time, I should say, at which a song like this, you know, like, let's say it's on Keeping the Summer Alive or the 1985 Beach Boys Record or something. You know, the songwriting on those albums, not particularly strong, you know, And Brian is barely even present on the first one. If this song appears on one of those. Or even, you know, La Light album, for God's sake, like, that's fine. It's a perfectly fine song. It just gets you from point A to point B. It's gotta be on there and just kind of be something. But in this context where it's not only just like a completely forgettable.

[Brian]

What is the lyric?

[Co-host]

Like, sub replacement level.

[Brian]

It's just like, I need someone to.

[Co-host]

Love I want someone, oh, someone, oh, someone to love that's what I really need Someone or someone, oh, someone to love I'm tired of make believe.

[Brian]

Right.

[Co-host]

Thank you.

[Brian]

Which is like. Yeah. He's already released his solo album, which has. Very interesting. Brian sent Brian, like, ideas throughout. Like, there's Little children, there's. There's Love and Mercy.

[Co-host]

I mean, the Pussy Hair song.

[Brian]

Yeah. Which apparently is every song. We'll get to more on along those lines vaguely at the end of this, but.

[Co-host]

Oh, boy.

[Brian]

Was. Yeah, I don't want to talk about someone to love anymore. But it's. It is not a promising start in terms of just feeling so dull. And even for the Beach Boys, like, I think it would be one where it's like, come on. Like, you couldn't even just cover something or, like, borrow something that had, like.

[Co-host]

I mean, it's not only dull, it's sinister, you know? And like, if it's just dull, that's fine. I can deal with that. If it's sinister but it's good. That is fucked up in its own way. But I can also deal with that. But when it's dull and sinister and it's Just Eugene Landy using Brian as a sock puppet here for just the most inane bullshit and uninteresting production and melody. That's when I just have a hard time finding anything redeeming in this music.

[Brian]

I mean, it's not like meet me in my dreams tonight is much more profound and than the lyric on this, like, on paper. But this just has none of the spirit. The je ne sais quille Next song. And this next song is also like the themes that emerge here of just like seeking endlessly for something outside of you to fulfill.

[Narrator]

You.

[Brian]

Feel so hollow.

[Co-host]

Yeah. Water builds up, water boils over getting too hot the pot's starting to whistle. I don't. It is. I think the horniness aspect is absolutely here. I think there's also a little bit of like, self talk. Again, if we imagine like Landy's writing these lyrics. Like, if you look at the first verse, so many times I've had that hopeless feeling and no kind of booze or medicine helped at all. I'm drowning in too many contradictions I'm about to lose all my self control. I think there's a way to read that is like, you know, he's on the edge of a mental breakdown as well. But Landy is sort of having Brian speak to himself almost through these lyrics that he's written for him.

[Brian]

It's like Barney songs that he's giving him to sing. Like, all right, now what do we say, Brian? What do we say when we're about to weep?

[Narrator]

So many times I've had that hopeless be and no kind of boost or medicine helped at all. I'm drowning in too many contradictions I'm about to lose all my self control Water builds up, water boils all over getting too hot the pot's starting to whistle it's running over the edge it's steaming up my aching head and running hot. There's a temperature in my soul.

[Co-host]

The Twilight Zone episode, you know, wishing you into the cornfields.

[Brian]

Yeah.

[Co-host]

It's like, better not make him angry. Better listen to exactly what he says. Better say exactly what he wants you to say. Better sing the exact words he wants you to sing.

[Brian]

I just wanted to listen to Perry Como. I mean.

[Co-host]

And again, this song, like, musically is fucking whatever. I don't know. It's plotting and in artful. There's some nice Brian kind of falsettos, I guess.

[Brian]

It's like Barney music. It's like clean up. Clean up. Barney is kind of a specter that there is only one degree removed really from Barney to Brian.

[Co-host]

That's right. With Brian Wilson, Van Dyke Parks, and his close collaborator and professional friend Barney.

[Brian]

We have done. We did do that one Barney episode as a guest appearance on a different podcast.

[Co-host]

That's right. Absolutely. And as we've threatened several times, we might be doing more. We might be doing more Barney content.

[Brian]

All right, let's move on from Water builds up.

[Co-host]

Don't let her know she's an angel.

[Brian]

This is another very questionable sentiment. This song is like, I don't know why this woman is with someone stupid and terrible like me. So I won't let her know that she's a beautiful angel because then she might want to leave. It's just like, that's not. There's no part of that is, like, romantic or actually, like, aspirational. It's. It's actually just like a very toxic thought process of, like, I hate myself. She's so much better. I better not be nice to her or else she'll know that she's better than me. Like, what the fuck?

[Narrator]

I don't know why she adores me why I'm the man of her dream she thinks that I am her hero I'm not even sure what love means don't let her know she's an angel don't let her know don't let her know that you see me that you don't let her know that she's touching me I'm scared that you want to go free.

[Co-host]

It's a pretty fucked up sentiment when you think about it. I know I've fooled and deceived her Tricked her in love with me Pretending that I don't need her Love's full of such treachery don't let her know she's an angel don't let her know that you see don't let her know that she's touching me I'm scared that she'll want to go free I gotta keep negging this bitch.

[Brian]

Yeah. Or else she'll know that she doesn't have to be here.

[Co-host]

Like, exactly.

[Brian]

It's a really just. It's an ugly and strange. I don't know how. There's plenty of other ways that you could frame, like, a song about, you know, she's an angel. Like, I don't. I don't deserve her, but I love her. Like, I don't know, there's just one too many negative things. And then you realize there's nothing redeeming in this song.

[Co-host]

Yeah. Whoever's singing it is. You know who's singing it is. In, you know, in Casino, it's Sharon Stone and James woods, where even as she, Sharon Stone, is pulled into this fabulous, wealthy lifestyle that Ace Rothstein is living as the casino boss on the Strip, she still can't help but quit this just like 2 bit small time freak crook who continues to kind of keep her enraptured nonetheless. He's the singer, the narrator of this song.

[Brian]

I wonder if there's. I mean, where does Landy fit into this? It's anyone's guess, but.

[Co-host]

Well, remember a moment ago when he says, or when I was quoting from David Leaf. Landy had pushed Brian into the relationship with Melinda in the first place. And then eventually pulls him out of it and says, no more seeing her, you're not allowed to be with her. I imagine that this is.

[Brian]

Don't let her. You're being too nice to this bitch.

[Co-host]

Right? Exactly.

[Brian]

You're better than that. You're a genius. Or, well, you're the brain.

[Narrator]

Brains.

[Co-host]

He's not genius.

[Brian]

You're smart. Remember?

[Co-host]

You're smart.

[Brian]

The thing about smarts and intelligence is, which will come up later if you want to talk about like a very kind of creepily curdled and backward sentiment in a love song. This is but a foretaste of the main course later on.

[Co-host]

Well, it's funny because, like, I mean, you can really kind of get the sense that these lyrics are not coming from Brian Wilson. If you just think about some of these sentiments. Because, I mean, think about some of the Brian Wilson compositions, you know, you know, things that are just some of the most sentimental and straightforwardly kind of honest and emotional and lovely, you know, things that have ever been written. Don't worry, baby Surfer girl, you know, and like, as much as he's gone through in the years since then, these are coming from the antithesis of those kind of sentiments in songs like that. Brian would never feel this way about people in his life. And yet he is professing to feel like this nonetheless.

[Brian]

And this is something that will continue all through this record. No song on here is untainted by a.

[Narrator]

A.

[Brian]

A little. At least a whisper and more of the time like an actual just like spot of corruption of like, mold. Like, it. It isn't just this song. It isn't just like it. It. It's kind of just like you look at a bag of bread that you just bought or vegetables, and you're like, I just bought these. Or they're already ruined. And. And it is just sort of like you're gonna. You gotta kind of throw out the whole bag because it's. It's no good. And on the next one, it. I will. I mean, here we go again. Like, this song. This song, I.

[Co-host]

Do you have any regrets?

[Brian]

I do. Parentheses. Do you have any regrets? It's. I'm tying my mind into a pretzel trying to figure out what this song is actually saying. And what I can gather is, do we should apologize to each other about a fight we had last night? Because it's really making me feel bad. But you should apologize more. And if you don't to my satisfaction, then I will regret ever having fucking met you, you idiot. I'll. Yeah. Do you have any regrets about being mean to me? Because I'm going to have some if. If you don't apologize, then I'll regret that I even loved you.

[Co-host]

Do you have any regrets about the past? Anything you'd rather forget about real fast? Well, I tell you, I'm through. I'm through unless you tell me that you're sorry, too. After what we said last night.

[Brian]

You can't escape. Like, everything in here is skewed toward the language and affect of a manipulative.

[Co-host]

This is like the ultimate male manipulator album. Exactly.

[Narrator]

Do you have. Do you have any regrets about last night? Do you think I was wrong and you were right? Well, I tell you, I do. I do. I feel black and blue about you and what we said last night, which.

[Co-host]

Like, there's a world in which. That is kind of interesting to me, you know, when it's like. It's like a whole album written through the, you know, Tom Cruise, Magnolia. Magnolia. Exactly. Or, you know, a latter day Steely Dan narrator or something.

[Brian]

Steely Dan characters. Eugene Landy is absolutely Steely Dan character.

[Co-host]

There's no self awareness here. You know, these lyrics that are being written and sung by some combination of Brian and Landy, like, there's zero self conscious, you know, or, you know, consciousness of what exactly they're saying here and how they're coming off.

[Brian]

That said, I kind of like this.

[Co-host]

Yeah, I'm kind of charmed by this because it sounds like Mario Kart music.

[Brian]

I feel the same way.

[Co-host]

Doo doo doo doo doo doo doo doo doo.

[Narrator]

Like.

[Co-host]

Yeah, you're racing on Banana Beach.

[Brian]

Absolutely. Yeah.

[Co-host]

Isle Delfino. Excuse me. How could I forget?

[Brian]

Do you have any regret? It's almost got like a crooner thing, like, you know, about you.

[Co-host]

Yeah, yeah. Like, not like a Sinatra crooner thing, but like something that. It's a little, like, chintzier and cornier Like a. Like a.

[Brian]

Well, like sinatra in the 80s.

[Co-host]

Yeah, I guess.

[Narrator]

Yeah.

[Co-host]

La is my lady.

[Brian]

Sinatra like, la is my lady. Yeah.

[Co-host]

Yeah. I do think this is, like, the best.

[Brian]

Do you have any regrets about.

[Co-host]

Those two? Should have linked up at one point. Frank should have had Landy writing lyrics for him in his latter days. I do think this is, like, the quote, unquote, strongest part of this record that we're in at this point from. Do you have any regrets into this next song?

[Brian]

Thank you, man.

[Co-host]

This next song, or Brian, depending on where you see this thing. I think this is a good piece of music. I like the way this sounds. Once again, I think the sentiment, like this is maybe the most objectionable. Well, yeah. Thank you, Bryant. This is maybe the most objectionable song that even appears, you know, that appears anywhere on here based on what's being said.

[Brian]

It's insane when you just. I mean, sweet insanity when you think about the situation that you can just see clear as day on the television program, which it would. You know, there's obviously spin and editing and framing, but there's no way, you know, Brian's sincerity is such that it's hard to spin him. And I really don't think that we're getting a spin in that segment. Like, when we see Brian and we see Eugene Landy, this is what it looks like.

[Co-host]

Yeah, absolutely.

[Brian]

It is somebody who is being. I mean, the lawyer gives the story of, like, he was speaking out in some kind of a meeting. And then Landy calls a break, gives Brian something, and then Brian's just completely secated, catatonic, like, eyes rolled back. And this song feels like something that he's just sort of, like, printed out and put in Brian's hands and says, read this. And this is about you?

[Co-host]

Yes, yes. I mean, there's a point in that interview again, where they talk about brainwashing a lot. Yeah. The lawyer says, clearly, I think that Brian's been brainwashed by Landy. And then they cut immediately to Diane Sawyer interviewing Brian. And Brian has to have the concept of brainwashing explained to him. And then once he does have it explained, he says, oh, no, no, no, nothing like that. That never happened. And this song is literally Landy brainwashing Brian.

[Narrator]

All my life I've been running scared Feeling shut up no one cared not my mother Got my brother Crazy beatings by my father Music's been my saving grace Been my ticket to a better place Brought me riches brought me fame Many people know my name I, I My old friends who knew me Wednesday, Bright, you come a long, long way. Thank you. Thank you.

[Co-host]

All my life I've been running scared, feeling shut out. No one cared. Okay. You know, that's mostly true. I can see a kernel of truth there. Not my mother, not my brother. Crazy beatings by my father. You know that one, sure. But like the.

[Brian]

Not my mother. My mother and my brother.

[Co-host]

Brother, yeah. Like the people in Brian's life, you know, Audrey, Carl, Dennis, certainly, when he was around, like, everyone wanted nothing, but, you know, these people at least wanted nothing but the best for him.

[Brian]

Yeah, let's blame the wife of this abusive husband that beat Brian. That's.

[Narrator]

She.

[Brian]

She also didn't care, clearly.

[Co-host]

It's. It's. I mean, it's just. It's. It's.

[Brian]

It all gets. It gets better from there. What's the rest of the lyric? It's like, bro, I mean, music's been my saving grace.

[Co-host]

Saving grace Been my ticket to a better place Brought me rich riches, brought me fame Many people know my name.

[Brian]

Like, ahu. That. This is coming from the guy, though, who is like. Like, who wrote Love and Mercy. And then I'm just hearing him be like, but I'm rich now, so I'm happy. Like, it just feels so. Yeah. Gutted out of, like, that soulful quality which seems so. So much the driving force of.

[Co-host]

Well, remember we talked a little bit about, like, some of those interviews that are on, like, the Brian Wilson 88, like, expanded edition. And it's not the. I think it's the first interview, but he says something like, you know, what do I get for making this music? What's my reward? Well, the thanks is in the doing. You know, it's the act of actually making the music and putting it out there. That's what I get. That's the thanks I get. That's Brian Wilson. To me. That's very clearly the way that he interprets the world and the way that he kind of contextualizes himself within it. This is the dark version of that. This is like his doppelganger who's spewing Garmin Boziah out there in the world. Like, it's the complete. Just. It isn't Brian Wilson. And I don't think that can be any more clear than, you know, what's the.

[Brian]

Where does the song go, though? Like, how is it? It's like, to all the people that knew me when. Say, Brian, you've come a real long way.

[Co-host]

Thank you, thank you. Thank you again. I do like the piece of music that we have here. It almost. When the horn comes in towards the end, it's almost got like a kaput type sound to it, which is kind of groovy. But I just. I have a hard time getting a.

[Brian]

Bit of a sweet insanity in it.

[Co-host]

Yeah, well.

[Narrator]

I love the.

[Co-host]

Imagine Dan Behar just sitting there listening to this record. I want to go for this type of sound on my next record. Guys. I've decided to change and grow. Taste the new, release the old. Those who love me, they know I'm trying.

[Brian]

There's the worst part, the worst part, which is like, my cousins are jealous.

[Co-host]

My cousins say I ain't the same because I'm different. Like, I do kind of like that. Landy is like just, you know, just like getting a little like shiv in on my club in the middle of this song.

[Brian]

It's just. He's literally using him as a puppet. Like he's got his hand up his ass.

[Co-host]

It's. It's a shame it's a shonda. But you know what isn't, isn't. Next song.

[Brian]

Wait, you like this one? You like. You like this one?

[Co-host]

The spirit of rock and roll.

[Brian]

Oh, I have Hotter as the next one.

[Co-host]

Oh, well, Hotter, yeah. Hotter is also on my thing also. But it doesn't show. I don't really have much to say about Hotter. It doesn't show up on that side one side two kind of track list thing. It's just another completely replacement level song about being vaguely kind of horny.

[Brian]

Yes.

[Narrator]

Whoa, whoa, whoa Help me I'm losing, losing I'm time you're making me the.

[Brian]

Way you move against the law in 30 states or more.

[Co-host]

In 30 states or more. But the just like blatantly immediately apparent. Brian Wilson would never come up with that line on his own.

[Brian]

But I do kind of just like. It is funny almost thinking of about Eugene Landy in his notebook, like sitting down, writing the way you move is against the law in, in. In 30. I'll get back to that.

[Co-host]

But the spirit of rock and roll.

[Brian]

This is the best. So I. I mean, come on.

[Narrator]

Come on.

[Co-host]

It's great.

[Brian]

It's Bob.

[Co-host]

Folk music's Bob Dylan.

[Brian]

Music's Bob Dylan and, and. And. And rock and roll music's Brian Wilson.

[Co-host]

That's right.

[Brian]

Coming together. And so, you know, it's. It's really interesting to think about a folk musician working with a rock and roll musician like Brian.

[Co-host]

Something that's never really happened before. You put folk and rock together.

[Brian]

This is the first. This is the first time that's happened. And so it's really. It's a historic song, but also it's pretty fun. I actually really like this song once it's in you.

[Co-host]

Bob sounds so fucking Dorset.

[Brian]

It's like. It's Wilbur, Bob. It's Lucky Wilbur. Like you, definitely. I feel like that's. That is how this makes so much sense. It is.

[Co-host]

Yes. It's Lucky Wool. It's a Lucky Wilbury guest appearance. Absolutely.

[Narrator]

The memories still hold us together no matter if we're young or old. As long as this music will all live forever in the spirit of rock and roll Once it's in your blood you won't be the same no more Reaching every night from He O. It's in the heart of every royal everywhere, all around the world. The spirit is real. The spirit is spirit. The spirit of rock and roll. The spirit, the spirit, the spirit, the spirit. The spirit of Rocket.

[Brian]

You won't be the same no more.

[Co-host]

He must he. There's no way he thought that sounded good. Like, you. You could just like hear it from the first second. Like, he does not have the juice at all.

[Brian]

But then Brian absolutely does. Like, his performance is so exuberant.

[Co-host]

Oh, he's so into it. He's loving it.

[Brian]

He sounds incredible. Like, the. The notes he hits and just like, it's. I love, like the.

[Narrator]

The spirit, the spirit.

[Brian]

Like, you can imagine, like a crowd of dancing extras with doing jazz hands.

[Co-host]

There actually is a crowd of extras doing jazz hands at a performance of this song. I don't know if you remember. They play this at the end of the Beach Boys 25 years together thing from Hawaii that we talked about.

[Brian]

No way.

[Co-host]

Yeah. That's the new song that appears there towards the. The end. This. This song had its genesis back then, like, before the whole Wilson Project thing had even happened. And I think that's honestly why it's the best song here, is because it's not from these just dog shit landy Brian songwriting sessions.

[Brian]

Wow.

[Co-host]

Well, it doesn't have Brian that initial verse and doesn't have Bob. Exactly. Should be noted. Tom Petty is also on this. This performance here. So it really literally is a Wilbury's effort between Bob and Tom and Brian. Boy, imagine Brian in the Wilburys. That would have.

[Brian]

Can you imagine if they were able, after, for Wilbur's Volume three, if they had replaced Roy with Brian? He's the only one who makes sense.

[Co-host]

Wow.

[Brian]

Isn't that incredible to think about?

[Narrator]

Huge.

[Brian]

Oh, what a. If, you know, if. If that ever would have. Could have happened. It. It's. It didn't because Eugene Landy would have shot it down. And we know this because, I mean we. I don't know that, that we've been explicit enough about like the arrangement here in terms of brass tacks. Like Brian get gets any money, Eugene gets the same amount is how this works. And in a situation like that, as we've talked about before, where like maybe he was going to work with Madonna or he was going to work with Randy Newman and these things get, you know, you know, kiboshed, it's simply because any outside influence with any serious weight is going to say, who the fuck is this?

[Co-host]

Right, Exactly.

[Narrator]

Yeah.

[Co-host]

That was the whole thing with the Gary Usher thing was like the songwriting arrangement was such that Landy was taking X amount right off top. And so if Brian and Gary Usher split songwriting credits, then Usher was getting more money than Brian for a Brian Wilson song. So Usher had to also agree to let Landy take his cut right off the top. It's just, I mean it's a protection racket or something. It's like baffling.

[Brian]

It's extortion. And yeah. So I really feel like that is creatively the biggest crime here is like that great idea would have just never, even if it occurred to anyone, it would have gone nowhere because there's like straight up an iron curtain around Brian of like, you know, hey, what if you were in the Wilburys, Landy calling Gary Usher being like, you better get over here because he's with Bob Dylan. It's like, well what, what do you really want to come out of that? Like, oh, this is like some big opportunity. It's not an opportunity because you're going to make sure that it's not. Because your greedy ass is going to get in way of any actual collaboration beyond like, you know, Bob Dylan uttering.

[Co-host]

Some of this just completely like blackout drunk Bob Dylan like bleary eyed wandering into this studio in, you know, fucking Tarzana somewhere to deliver the shittiest chorus verse of all time.

[Brian]

Landy being like, this is a big deal. No, it's not because of you. It's not.

[Co-host]

You know, it's probably for the best that they didn't, but maybe they would have. And it's true.

[Brian]

I can't say that it's for the best if they didn't. Like, this is a promising debut from Brian Dillon.

[Co-host]

Sure. I'd just say Bob had other things to do. Bob had bigger fish to fry than to do this.

[Brian]

Well.

[Co-host]

He had to do good as I've been to you. And you know Wear that striped button down shirt with the weirdest haircut of all time on the COVID of that album. It's like flat. It's like weirdly the COVID of that. I guess he probably was wearing a hat because I've been to. You look at his hair. It's like, it's like. Yeah, it's just, it's. I dig it. It's just like that was a common.

[Brian]

Hairstyle at the time was like the Elaine Bennis hair.

[Co-host]

The like five o' clock shadow that he hasn't shaved for like four days.

[Brian]

That's my favorite.

[Co-host]

He looks great. I love it. Boy, I'm looking at the credits on this song. Spirit of Rock and Roll. I didn't even realize. So it's not only Tom Petty and Bob, it's also Jeff Lynn. So we really literally have fully 3/5 of the Wilburys on this song.

[Brian]

It's also Jeff Lynn.

[Co-host]

It's also Jeff Lynn.

[Brian]

Well, it's also Eugene Landy. And that's why Brian Wilson isn't in the Wilburys.

[Co-host]

Yeah.

[Brian]

Paula Abdul. That's.

[Co-host]

Paula Abdul. And David Marx, of course, from literally the first days of the Beach Boys. Somehow they have all gotten wrapped up into this.

[Brian]

How is David Marks back in the picture?

[Co-host]

I don't know. I mean, he ends up coming actually back into the picture more in the years to follow. By the end of the 90s, he's really back in the picture. I can't wait to get to Mike Love, Bruce Johnston and David Marks Salutin as car.

[Brian]

Well, the spirit of rock and roll I, I think is one of the great, the great things from this era. I, I really am. I can't say enough about it.

[Co-host]

It's the, it's the best thing here by a country mile. And that's because it is the, the one thing that's here from not this particular period of time. Once it's in your blood, it sounds so bad.

[Narrator]

Bad.

[Co-host]

But yeah, Brian is so into it. He's wailing, he's.

[Brian]

I was thinking about the, you know, it happens twice and I do feel like maybe he only said it once and then they just kind of did it again. It's like, you know, you. We have this actor on set for, you know, one afternoon and we're just going to kind of like keep using stuff from that throughout the movie.

[Co-host]

Yeah, we can afford his rate for literally 90 minutes. So, like, whatever we get from that, we're just gonna have to make do with that one. That one little snippet there.

[Brian]

Okay. What, what is Next.

[Co-host]

Rainbow eyes.

[Brian]

Fucking worse.

[Co-host]

I hate it.

[Narrator]

Rainbow eyes, red, yellow, blue Rainbow eyes.

[Co-host]

I see you.

[Narrator]

Splashing color everywhere that you go. Fireworks explode when you cross the room. The air I breathe shivers with you. You fly through beauty. Rainbow eyes, rainbow eyes. You paint the world with your love. Rainbow skies up above.

[Brian]

This is only Landy and this is like the hit. Like clearly the title of the thing comes from this.

[Co-host]

Yes. And they play a snippet of this song in the. In the Diane Sawyer thing also I think. I think they probably pick this song particularly because, you know, they know this is. This is a real dog here. It's worth noting that this song does end up getting re recorded for In Over My Head or Getting In over my head, Brian's 2004 solo album that I think you bought a CD of or you had a CD.

[Brian]

Yeah, I know the CD.

[Co-host]

You pulled it out of your center console when we were driving around with Jake last year or something. Yes, and there's a couple other songs from this record that get re recorded for that album as well. So I'm reserving my judgment for that version until we get to that record here. But yeah, on sweet insanity Awful dog shit. The rest of this record is just a torture, just a death march.

[Brian]

It doesn't make any sense. Rainbow eyes. What are you talking about?

[Co-host]

Rainbow eyes. Red, yellow, blue rainbow eyes. I see you splashing color everywhere that you go. Fireworks explode when you cross the room. Ooh, the air I breathe shimmers with your bright perfume.

[Brian]

He says something about like my psychedelic immune sucks. He's just trying to do good vibrations. He's just trying to like make his own. This is Eugene Landy's Good Vibrations, which Lavender sun.

[Co-host]

Lavender sunset. That's silver. Pink clouds. Park Avenue. Evergreen beaches. Scarlet skies, nights, Turquoise blue. Oh, multicolored you, my psychedelic you.

[Brian]

Why is Park Avenue. I don't know, is Eugene Landy New York?

[Co-host]

It rhymes with blue. I think. He is from New York, isn't he? I mean, you can hear he's got that, you know, kind of tri state area accent.

[Brian]

Whatever, whatever.

[Co-host]

This song sucks. I mean, it's not like it's going.

[Narrator]

To get any better. Love ya.

[Co-host]

Oh, I hate love ya.

[Brian]

Yeah, I don't like love ya as in. In any context. I. I feel like you either say I love you or. Or don't say it, but love ya. You know, I think there's a David Berman line in a poem about this, but I find it to be not good to say love ya.

[Co-host]

I hate this song. I hate it.

[Narrator]

So much love ya Greedy baby I love ya I can't get enough of ya we're gonna fall in love.

[Co-host]

It'S like every time I say, sweetie baby, if you take that and turn it into a song, it would be turned into this song.

[Brian]

This song is as, as good as someone to love, which is to say it is not good.

[Co-host]

Love ya the way you shake your hair Love it the guys all stop and stare oh, you're the answer to my prayers. God, just the word. Just awful. Terrible.

[Brian]

All right, I gotta say, I kind of like this next song.

[Co-host]

Oh no. Make a Wish might be the worst thing here.

[Brian]

I like Make a Wish.

[Co-host]

Oh God. This is pure landy schmaltz. This is aw, 100% landy bullshit marionette stuff sort of.

[Brian]

But I don't know because like if, if that's the case, at least this one is just like dumb like, like supermodel Miss America stuff. It's just like cure diseases and save the trees and we want to make the world a better place.

[Co-host]

Like this is Barney. This is Barney music. Come on, get out of here. I like, I kind of like this is pure Barney.

[Brian]

I, I sort of, you know, if you, if you go, okay, you know, everything he's saying here, I got, I gotta say, I get behind, I'm behind it.

[Co-host]

I wish, I agree with it. I make a wish.

[Brian]

I make a. I, I wish that the world would, was better, was healing. So that's why I'm. I gotta say that credit where it's due. This is a beautiful.

[Co-host]

No, it's one.

[Brian]

It's ridiculous, but it's like Captain I, I'm. It's like Captain Planet, this song.

[Co-host]

Yeah, yeah, you know, magic school bus. Some sort of just like, you know, Saturday morning, five year old cartoon type shit. The bridge. One big global village spinning out in space. We are all connected with the human race. That is, I don't know, I kind of. That's the least Brian Wilson lyric I have ever heard.

[Brian]

I don't know, I kind of, I kind of dig it. Like it. I had the thought listening to it. Like at this point I was like, this is sort of what I thought. Like river of Dreams might be like a little bit like the COVID of river of Dreams does kind of sound.

[Co-host]

Like this song I Look the Way by Billy Joel.

[Brian]

Yeah, right. Because it has this song has that thing of like those T shirts from the 90s where it's like dolphins jumping out of the ocean and like a rainbow Shamu or whatever and then it says like, you know like we all like, save the planet.

[Co-host]

It just says, like, earth.

[Brian]

Yeah. And, you know, there's a soft spot in my heart for that kind of stuff. Like, I do have like a sort of maybe a nostalgia for that kind of thing. It was like before there was like green as the thing that everybody, you know, which is now gone. But like, there was this more hippie version of that, which, you know, you could also just be Eugene Landy and say it. And so that's kind of. It's not always so substantive.

[Co-host]

But yeah, I mean, I know what you're saying and I'm sympathetic to it or with it, you know, to a degree.

[Brian]

I do like Brian just sort of.

[Co-host]

Saying like, yeah, it's just so naive and inane and again, knowing that these are not Brian Wilson and sentiments in the least.

[Brian]

But it's make a wish. It's about wishing that's true.

[Narrator]

I wish I had a magic wand to make wishes all come true Help our troubled world along Time to come to his rescue Make a wish, make a wish, make it come come true Make a wish, make a wish your dreams pursue it starts with me and you.

[Co-host]

Well, with that, the moment we've all been waiting for.

[Narrator]

This is.

[Brian]

This is like a moment I don't know we're ever going to like, get close to ever again on Jokerman podcast. Because, like, the idea of like, oh, yeah, sure, we talk about the 80s and the bad albums and oh, isn't. Isn't Bob's album from the 80s and down in the Groove knocked out loaded? Isn't that so bad? Like, sure, but when we say that those aren't so bad, I feel like this is kind of like, this is like what we mean. Like you. That is. That is a ship that is encountering some bad weather. It's stormy seas, your sea sea sick. Doesn't feel so good. The, the Bob stuff, like the other kind of bad quote bad stuff. Even a lot of the Beach Boys stuff that's like, bad. But this is like. This is like the people in the submarine imploding.

[Co-host]

This is like.

[Brian]

This is like. This is the last moments of sheer terror as you hear the hull of your carbon fiber submarine that was brought down to the bottom of the ocean by an arrogant psychopath. That's what smart girls is, the whole shearing.

[Co-host]

Yes, this is. Presumably those people heard Brian Wilson echoing through the briny deep. His statement, wouldn' be nice if PhDs were stroking me with hypotheses.

[Brian]

This is the most deranged and demonic.

[Co-host]

Thing that I think it's it's the worst. It's got to be the worst song we've ever talked about.

[Brian]

It might be the worst piece of recorded music of all time.

[Co-host]

Just ever. Yeah.

[Brian]

In terms of anything relating to anyone who is even close to being as famous as Brian Wilson. I confident, I think, saying that this is what if maybe not worst, because what's worse? But I mean, most fucked up, just.

[Co-host]

Objectionable, just, just detestable, grotesque, zero redeeming aspects anywhere.

[Brian]

Well, I don't know. I mean it's fascinating.

[Co-host]

I mean it's. Sure, it's fascinating in the way that like, you know, a massive like train wreck is fascinating. You. A chemical explosion. You know, Chernobyl is fascinating.

[Brian]

But it is so fiercely deranged. Like, it feels like Tim and Eric. Great, awesome show. Great job.

[Co-host]

It is like 100% committed to itself.

[Brian]

It feels like Steve Bruhl made this.

[Co-host]

I like. I don't. It. I don't even know how to like tackle this song.

[Brian]

We can just talk about what this song is. It's called Smart Girls.

[Co-host]

Smart Girls.

[Brian]

It's a hip hop song.

[Co-host]

A hip hop song. That's right.

[Brian]

One of two hip hop songs in the Beach Boys universe.

[Co-host]

This makes that fat boy song sound like good vibration.

[Brian]

I am more. I like listening to this more than I like listening to that. So the idea of this song is that Brian Wilson via Eugene Landy, I suppose. And through the lens of hip hop is telling us that all the songs I used to write, all the songs I used to write were about girls who weren't bimbos, right?

[Co-host]

So dumb bitches.

[Brian]

Every song of the Beach Boys classic catalog which is being sampled like nobody's business. And in the most.

[Co-host]

In the most in artful, chintzy, exploitative manner politics possible.

[Brian]

In those obscene manner possible.

[Co-host]

It just makes every one of these classic Beach Boys songs that are sampled here just like it's just spitting and shitting and pissing on them.

[Brian]

The thing at the beginning when the beat comes in and then there's this laugh, this titter. Do you know what I'm talking about?

[Co-host]

Yes, of course. Some people claim that that's Brian himself trying to do a high pitched woman's little, you know, chuckle.

[Brian]

I'm reminded of a Scott Walker lyric from Bish Bosh which is a tiny laugh. Dirties everything it touches.

[Narrator]

Gee. Yeah.

[Co-host]

Well, he must have been listening to Smart Girls.

[Narrator]

My name is Brian and I'm the man. I write hit songs with the wave of my hand. Songs that surf and sun and sand. I make Great music with my band. Songs of dance to and songs of joy. Cause I'm the original. It's more. And fight Serpent sermon. You're all the songs I used to write. Talked about girls who were too bright Round, round, round I gotta run what I was looking for I never found but time moves on and I've seen the light Intelligent chicks are dynamite When I grow up to be your neck.

[Co-host]

Gdf giddy up for My name is Brian and I'm the man I write hit songs with a wave of my hand Songs of surf and sun and sand I make with my band Songs you dance to and songs of joy Because I'm the original beach boy.

[Brian]

Everybody go surfing. I can't do it justice by just like.

[Co-host]

Yeah, I mean, just. Everyone has heard it. I'm sure we'll put clips in. Like, it. It's. It's almost like talking about this song is a little bit, you know, the way I feel about or the way that, you know, many people feel about trying to, like, satirize Trump.

[Brian]

Yeah.

[Co-host]

And turn it into comedy.

[Narrator]

Like.

[Co-host]

And, you know, God bless. Thank God, like, James has been able to, like, lock in on his mannerisms and like that. Like, turn that into the comedy. Just the preposterous way he behaves and being able to.

[Brian]

Yeah, sure. But you can't actually make fun of him.

[Co-host]

Right. There's no way to make anything that he does any more absurd or heighten it or take it beyond the.

[Brian]

What it is is that if we're talking about Donald Trump, like. Like the. There's many other things in this world that are like this, too. But when something is really obscene, when something really makes a mockery of the world of. Of reality, you exist in the reality that it is making into a joke. You are part of the joke.

[Co-host]

Right.

[Brian]

He is not someone who you can joke about, about like you are being made into a joke. Is the experience of why it feels, why it really drives people insane, really. Of what Trump is. I mean, to not get too far afield, but, like, there's something of that dynamic here of, like, we.

[Co-host]

Yeah, we are the joke. Because we have been sitting here listening to this song 10 or 15 times over the last couple weeks in preparation to talk about it here. And that's 10 or 15 times that I could have been listening to literally any other piece of recorded music ever and enjoying myself more.

[Brian]

The obscenity, like, the. The depravity of it. The joke that you are now living inside is. It's like. It's something that's backed up with power, with actual truth. Like, that's what's really infuriating, where it's really jarring to people about something. Like, I mean, yeah, a convenient example is Donald Trump. And the phenomenon surrounding that is just that, like, you are now sort of privy to this. This mockery that you exist within. And also, you can't say that it's not happening because here it is. Here is Brian Wilson himself, himself doing this. And it. The fact that he's being sort of corralled and guided into doing it and the influence that this other force has upon him doesn't quite undo the. The fact that this is. This is happening.

[Co-host]

It is still, yes, a nominally a Brian Wilson song sung by Brian Wilson written, quote, unquote by Brian Wilson, quote, quote.

[Brian]

Yeah, yeah. And. And the. The real nasty aspect of it is like that, you know, apart from it just sounding absolutely atrocious, which, like, I just find, like, really fun. Like, I do find it fun to listen to. But the. The thing about it that's just so, like, queasy is that it is saying all the songs I used to write about women were bad because they were about dumb women, right? And now I have, presumably, with the guidance of genius and artist Eugene Landy, come to realize that actually smart women are more suitable, more worthy of me. And I. I renounce ever talking about dumb women who I only cared about for their bodies. Bodies. I actually want to say loud and clear that I am sexually attracted to smart women who have hot bodies.

[Narrator]

Now, some guys like the flashy tights and some guys did rat I'm no different from the rest I love hips and legs and breasts but strictly on a higher plane or a. It encouraged me all SM did I love you, little Satan or was it just your bod and lovelac girl Fun, fun was all we heard Cruising in her daddy's thunderbirds Ba ba ba ba ba bread she ran away with another.

[Co-host]

Band it's of a piece with several other songs on this record. Just the sentiment behind this song, behind the lyric is coming from the most deranged, twisted, villainous mind you can possibly imagine. Imagine. And it's just put across in the most uncanny, unenjoyable. I mean, I guess there's a sense of like, oh my God, can you really believe what you're hearing? Enjoyment you can get out of this. Some sickness. But I mean, some of these. Rhonda helped helped me for a while. Not much going on behind her smile I want hot, hot mental stimulation Women with more imagination Smart girls are my inspiration. I just. I'm boiling here. I'm grinding my teeth, I'm clenching my fists. Truly an evil song must be heard to be believed.

[Brian]

This is misogynistic, I will say. This is absolutely. This is one of the purest examples of.

[Co-host]

Wildly more offensive than any other song about any woman that Brian Wilson or the Beach Boys ever wrote.

[Brian]

No, I mean, yeah. But also it has this thing of this false sense of superiority which is pure Landy. This is the work of somebody who is a textbook narcissist. Wrote this song. Just the perverse vampiric nature of this narcissistic personality. Being able to successfully and for many years latch on to the resources, services and the influence and the to some degree that the very life essence of this person, of Brian Wilson and bend it to his will. And this is the result of that. It's a lesson to all that like to do that is to create horrors.

[Co-host]

It's a fitting end, I think, to the Eugene Landy saga. It is the just darkest, deepest, most disgusting product of this disgusting, dark relationship that had gone on for far too long.

[Brian]

Haven't even really commented on the fact that it's a hip hop song which just adds another meta layer of cravenness of just like I need to strike while the iron's hot. I have Brian Wilson in my clutches and there's some other hot new thing emerging that I can throw him at, I can point him in the direction of so that I can get more money out of this.

[Co-host]

And this is like what to circle it back to what I was saying at the beginning of all this. Like look at what we're describing here with this like weird fucked up concert tonight. Shit on this. And the. The worst singing Bob Dylan has ever had on spirit of rock and roll. And then this hip hop Brian Wilson, you know, monstrosity and that stupid Make A Wish song. Like I want to like. It feels on brand for us to say, oh, this is good. This is Jokerman mindset. This is. But no, it just is not.

[Brian]

It's really not. Because the. Anything that we've ever said is like Jokerman mindset or anything that we praised in this vein. It all comes down to. Well, the artist is doing this thing that they kind of feel and I can sort of see like there is a certain beauty and even when things are flawed, like the direction that somebody's heart and artistic personality, artistic life is taking them, there's like a wabi sabi aspect to like why that's beautiful. Like the, the. The fucked up of it can be kind of part of its charm and character. But with something like this, there is no sense that this is like an organically occurring thing that is, you know, part of an artist's life. Whether you, you know, that might be under appreciated, maybe not appreciated at all. There's something genuinely sinister afoot here, which is influencing it and limiting it. And that's the worst thing is that it's. It's actually being stunted. This is the sound of somebody being. Being chained up mentally, creatively, spiritually. It's.

[Co-host]

It's almost. Almost like it says Brian Wilson Brian Wilson ALBUM unreleased Brian Wilson ALBUM Sweet Insanity and in a sense, that is true. You know, again, Brian Wilson sings these songs. He has writing credits on them. For what it's worth. Some of them end up reappearing on albums later. But, like, it's. To me, it's almost wrong to think of this as a Brian Wilson solo album, you know, because I don't think were it not for the noxious presence and influence of YouTube Gene Landy, I don't think this would even exist. Certainly not in the form that it exists in. So ultimately, I think it's good that this album got shelved.

[Brian]

Well, yeah, I want to believe that the people who rejected it, as I sort of alluded to at the top, like I do kind of want to believe that they sensed like it's not just that the music is bad, it's like something's rotten about this arrangement and.

[Co-host]

It'S indecent for us to even bring this into the world under the name of Brian Wilson.

[Brian]

It's not right.

[Co-host]

Fortunately for us all, this album is not part of the official Brian Wilson canon. Fortunately for Brian, certainly it's not part of the official Brian canon, but it is part of this, part of this odyssey, this journey, this story unlike any other that we're on here on Jokerman podcast. And so we did need to do it.

[Brian]

After the 1990s, Landy continued a psychotherapeutic practice with license in New Mexico and Hawaii, of course, until his death. He died, age 71, on March 22, 2006, in Honolulu of pneumonia complicated by lung cancer. Asked what his reaction to Landy's death had been, Wilson responded, I was devastated.

[Co-host]

Oh, jeez.

[Brian]

Wilson's daughter Carney quoted her father saying, Dr. Landy died today. I know a lot of people didn't like him, but I loved him.

[Co-host]

Great.

[Brian]

Well, hold on, because I do have an addendum to add. In 2015, Wilson reflected, I thought he was my friend, but he was a very fucked up man.

[Co-host]

Boom.

[Brian]

And also I still feel that there was a benefit. I try to overlook the bad stuff and be thankful for what he does.

[Co-host]

Oh, Brian.

[Brian]

Brian's sweetheart. It just goes to show that love and mercy means love and mercy for everyone. He just doesn't have any hate in his heart.

[Co-host]

He has every right to and more. And yet he can't. And that, ultimately is what makes him Brian Wilson and why we love him so much.

[Brian]

Yeah. Zero stars for Sweet Insanity.

[Co-host]

Zero stars for Eugene Landy. Zero stars for Sweet Insanity. Absolutely. Even with the spirit of rock and roll, this is a zero. Goodbye, good riddance. Eugene Landy.

[Brian]

Joker.

[Narrator]

Help me for a while now much coming up behind her smile? How about a hot pot? Mental stimulation Women with more imagination? Cause my girls are my inspiration? Give to me good vibration, mama? Wouldn't it be nice if PhDs were stroking me with hypotheses? Give me a gal who teaches school who's not afraid to break the rule? Women doctors and lawyers too? Can really make a man out of you? You really made with your attitude sparker rhyming oh at you a clever head is a real turn on you? Bright Ukrainian Amazon author? Scientists and architects sold your face with intellectual? Everybody knows what I need without smart girls? Hip hop and harmony I'm wiser now I know where it's at? Intelligence is an apodisiac? So if you're seeking that perfect mate? Listen to Brian Beauty's Goodbye sexy ladies My hill you really made with your attitude? Big brains are awesome dude, I want to congratulate you you were just fine.