Learn How

We need your help in 2018

Support All About Jazz All About Jazz is looking for 1,000 backers to help fund our 2018 projects that directly support jazz. You can make this happen by purchasing ad space or by making a donation to our fund drive. In addition to completing every project (listed here), we'll also hide all Google ads and present exclusive content for a full year!


SMiLE, You're in Rock 'n' Roll Heaven with Brian Wilson

John Eyles By

Sign in to view read count
Could 'SMiLE' live be as good as 'Pet Sounds' live? We had waited thirty-seven years (37!!) to hear 'SMiLE' but we were about to find out.
I don't really know why he came halfway across the world to do it, but he did. Brian Wilson came to London and took over the Royal Festival Hall for a week to give us six live performances of one of the most famous albums never to have been released - the legendary SMiLE - prior to touring with it.

Back in 1966/7, SMiLE was to be the follow up to The Beach Boys' classic Pet Sounds album, itself often cited as the most perfect album ever made. SMiLE was going to build on the worldwide success of the revolutionary "Good Vibrations" single and outdo The Beatles innovations on Revolver. It was going to be the most innovative studio album ever, encapsulating the history of American music. And so on... In the end, it was shelved indefinitely as Brian Wilson cracked up under the strain of producing it, aided by a copious drug intake. Over the subsequent years, various tracks from SMiLE have emerged, in original or re-recorded versions, and added to its aura. For instance, "Heroes and Villains", "Surf's Up", "Our Prayer" and "Cabinessence" all come from the SMiLE sessions and are among the Beach Boys' finest tracks. But despite efforts to piece SMiLE together from such tracks plus copious other studio fragments (there have been numerous bootleg attempts at recreating the album), no one really knew how the album would have run and sounded. That really only ever existed in Brian Wilson's head. And for decades he hasn't been keen to discuss it. Until now.

Since 1967, SMiLE has become the very stuff of myth. It has prompted more rock 'n' roll "what if" speculation than is decent. In the week before the first concert (on Friday February 20th) the London airwaves and newsprint were alive with speculation. How would the world be different if SMiLE had been released on schedule and appeared before Sgt. Pepper did? Would Paul McCartney have cracked up instead of Brian Wilson? What effect would the music on SMiLE have had on the rock music of 1967 and beyond? (Would "Bohemian Rhapsody" exist in a world without SMiLE? Discuss.) Would Wilson be able to perform SMiLE in 2004 without breaking down or cracking up? Would Friday's show be SMiLE's one and only performance? Enough people believed such speculation to make tickets for the first night worth their weight in gold. I didn't get one for Friday, but I was there on Sunday night, the third concert. (Hey, guess what! He didn't crack up or break down on Friday.)

Two years ago to the month, the Royal Festival Hall had witnessed the return of Brian Wilson to London when he came and performed Pet Sounds live plus a breathtaking programme of Beach Boys' and solo songs. Many people, me included, thought that Wilson's 2002 concerts were the most moving and beautiful live events they had ever attended. A lot of tears were shed at them, unashamedly. For those concerts, Wilson was accompanied by the ten piece LA band The Wondermints, who not only seemed able to play just about any instrument required (and that's quite a few for Pet Sounds!) but could also produce a rich vocal tapestry that did justice to Wilson's vocal arrangements. The result was like listening to a band of rock 'n' roll angels. Hyperbole? No! Ask anyone who was there.

Could SMiLE live be as good as Pet Sounds live? We had waited thirty-seven years (37!!) to hear SMiLE but we were about to find out. Once again, The Wondermints were in attendance, providing musical and moral support to Brian Wilson. Moral support? That was obvious as soon as the curtain went up at the start of the show. The band members were closely grouped around Wilson, almost like a huddle around a quarterback. The grouping looked designed to protect Wilson and ease him into the set. With minimal instrumentation - two acoustic guitars and bongos - they performed virtually acapella versions of classic Beach Boys songs including "Surfer Girl", "In My Room", "Please Let Me Wonder" and the little-heard "Hawaii", with those trademark harmonies at their most beautiful and moving.

In between songs, the band swapped banter and jokes with each other and with Wilson, keeping the atmosphere light and informal. It all reminded me of that Beach Boys party album, with its rather artificial jollity. Nonetheless, we the audience would happily have listened for hours. And it seemed to work for Brian Wilson, keeping him relaxed and calm. One could endlessly speculate on Wilson's current mental state. On stage, he seems oddly detached and unemotional, which is probably the total opposite of how he feels given all he has been through to get to this point. In the end though, such speculation is pointless. Wilson may seem fragile on stage, but he has proved to be more robust than any of us have the right to expect. And the support and, yes, love for him that radiate from the audience are unique. Everybody present is willing him to be OK.


comments powered by Disqus

More Articles

Read Club Inégales: Where Everybody Knows Your Name... London Calling Club Inégales: Where Everybody Knows Your Name...
by Duncan Heining
Published: March 13, 2016
Read The People Band: Back and playing again London Calling The People Band: Back and playing again
by Sammy Stein
Published: December 27, 2015
Read Ornette Coleman's Meltdown is the Best Ever London Calling Ornette Coleman's Meltdown is the Best Ever
by John Eyles
Published: July 16, 2009
Read Ronnie Scott's and the London Scene London Calling Ronnie Scott's and the London Scene
by Nick Catalano
Published: October 8, 2008
Read Freedom of the City 2007 London Calling Freedom of the City 2007
by John Eyles
Published: April 22, 2007
Read London Jazz Festival Preview: November 10th to 19th London Calling London Jazz Festival Preview: November 10th to 19th
by John Eyles
Published: November 3, 2006
Read "SFJAZZ Collective: Remembering Miles" Interview SFJAZZ Collective: Remembering Miles
by R.J. DeLuke
Published: May 18, 2017
Read "Jazz Stories: 2016" What is Jazz? Jazz Stories: 2016
by Michael Ricci
Published: December 31, 2016
Read "Collegiate Jazz at Dizzy's Club Coca-Cola" New York Beat Collegiate Jazz at Dizzy's Club Coca-Cola
by Nick Catalano
Published: March 31, 2017
Read ""A Love Supreme" with Ravi Coltrane" Live Reviews "A Love Supreme" with Ravi Coltrane
by Harry S. Pariser
Published: October 6, 2017

Support All About Jazz's Future

We need your help and we have a deal. Contribute $20 and we'll hide the six Google ads that appear on every page for a full year!

Please support out sponsor