Transcript
A (0:00)
You know, much of this stuff has seen the light of day over, you know, the years under or in various forms. But I wanted to maybe take a moment here. We're in the middle of the 90s. We've done I Just Wasn't Made for these Times. We've done Orange Crate Arts, we're getting to Imagination shortly. But this, you know, this period of time in the Brian Wilson career was a fertile one for him as a songwriter, as a music maker. Certainly him and his partner Andy Paley, who we've spoken about, were cranking it out and just making magic happen in the studio on a daily basis. And a lot of this material, none of this material saw the light of day at the time, maybe in the fashion that it was supposed to, or it might have been presented at one point and you know, on into the years after that. Bits and pieces here and there are sort of rescued, re. Presented. Re recorded in some cases or released, you know, kind of in ticky tack fashion. Very similar to what happened to a lot of the Smile material, frankly. But you know, like I said, I feel like it warranted looking at this body of material here at this moment in time and imagining what might have been had Brian been able to get this material out as a proper release at the moment of time, as I think that it deserved to have been.
B (1:19)
I feel like we're just kind of. It's cursed. It's cursed now. What's cursed at this point it's just like, why does this keep happening?
A (1:30)
Yeah, why?
B (1:31)
Why? Like how many times are we gonna run through this thing of like Brian Wilson back on his feet, creatively excited and productive and for some reason they're like, no, we can't put this out.
A (1:46)
Yes, well, you know, it is a tale as old as time, you know, and it's a tale. Tale that we'll see again after this. So it's, you know, don't think we're at the end yet. It does, you know, it does seem to be something that sort of presents itself or cycles itself on into the future. And you know, I think some of that has to do with circumstances outside of Brian's control. I do also think that some of it, you know, has, has something to do with circumstances within his control or at least, you know, kind of who he was, who he had been made to. To be by this point because it's, you know, by the time he goes solo, is always going to be working with a partner sort of a. If Brian's the ideas man, we have, you know, he's going to have his Action man alongside him. Sometimes that Action man is Andy Paley, and the results speak for themselves. Other times, you've got a Eugene Landy, you've got a Joe Thomas, you've got, you know, Van Dyck Parks in some cases. Why? Different types of people. And it ultimately ends up leading to wildly different types of results, obviously. But for whatever reason, Brian always seemed to want. Always seemed to need someone there by his side to help him manifest his music dreams. And instead of taking charge himself the way that he did in the early days, it was more of a collaborative effort, regardless of who the collaborator was.