Gettin' in Over My Head

Brian Wilson

Product Details

• Audio CD (June 22, 2004)
• Original Release Date: June 22, 2004
• Number of Discs: 1
• Label: Rhino / Wea
• ASIN: B00028HBMA
• In-Print Editions: Audio CD  |  Vinyl  |  MP3 Download
• Average Customer Review: 3.8 out of 5 stars  See all reviews (100 customer reviews)
• Amazon.com Sales Rank: #148,221 in Music (See Bestsellers in Music)

Editorial Reviews

Amazon.com

Having miraculously survived decades of personal and creative turmoil, Brian Wilson re-emerged in the '90s to reclaim his incomparable pop music legacy with joyous tours that celebrated both the music that made him a star and Pet Sounds, the album that forever secured his legend. Utilizing the remarkable, dedicated band of musicians who backed him on those shows, Wilson re-entered the studio to once again pick up the promising, yet ever fitful recording career that last yielded '96's vocally gorgeous, if production cloistered Imagination. It's that renewed dedication to organic musicianship, coupled with a robust slate of Wilson songs new and old that will thoroughly delight admirers of the Beach Boys mastermind.

Three of Wilson's '60s/'70s contemporary superstar/admirers contribute performances: Elton John's forceful take on "How Can We Still Be Dancing" evokes the rollicking, youthful prime of both legends; Paul McCartney's guitar and vocals are considerably more subdued on the typically wistful "A Friend Like You"; Eric Clapton's searing guitar nearly overwhelms the chunky rhythms of "In the City." There's also a touching reunion with the disembodied voice of late brother Carl as Brian completes the latter's unfinished mid-'90s track "Soul Searchin'," but the real star here is Wilson's enduring muse. He variously evokes the spirit of Spector past and his old band on "You've Touched Me" and "Desert Drive," respectively, then reunites with Smile/Orange Crate Art collaborator Van Dyke Parks on the rustic, fiddle-adorned skewed romance of "The Waltz." The lovely, timeless title track effortlessly dispels any whiff of nostalgia, securing its place as one of Wilson's best contemporary ballads and delivering on this album's most rewarding promise: Brian is indeed back, and gloriously so. --Jerry McCulley

Product Description

The creative genius behind The Beach Boys' phenomenal hit recordings and the landmark album Pet Sounds, Brian Wilson is widely considered the greatest American-born popular music composer of the rock 'n' roll era. On this, his third solo release, the legendary artist returns to stellar melodic form with a disc's worth of original compositions and unforgettable performances. Superstar cuts include "City Blues," boasting lead guitar from Eric Clapton, "How Can We Still Be Dancing," spotlighting Elton’s vocals and boogie-woogie piano, and "A Friend Like You," written by Wilson for McCartney, and featuring guest vocals by Sir Paul himself! Also features several Brian Wilson/Andy Paley songwriting collaborations from the ’90s, including the title track and "Soul Searchin'," a moving duet with Brian and his late brother and fellow Beach Boy, Carl Wilson. Featuring artwork by Peter Blake, best known for creating the cover for Sgt. Pepper’s Lonely Hearts Club Band, and booklet includes complete lyrics and in-depth liner notes by Wilson historian, David Leaf.

Customer Reviews

Most Helpful Customer Reviews

25 of 27 people found the following review helpful:

4.0 out of 5 stars Record Making 101, July 1, 2004

By	Robert M. Burlingam Jr. (Villas, NJ United States) - See all my reviews (REAL NAME)

Before anything let's forget that Brian Wilson is one of the latter 20th century's most influential songwriters and producers ever in popular music. Let's forget that he is a living legend, the man who wrote and produced "Good Vibrations" and masterworks such as Pet Sounds and the then-unreleased Smile. And let's definitely forget all that media-hyped unflattering imagery that accompanied his career for almost thirty years.

What we have left is a solid effort for a guy who was considered way past his prime.
For me, Getting' In Over My Head is indeed a real solo project. 1988's Brian Wilson had guru shrink Eugene Landy as his chief collaborator and co-producer (add profiteer) while 1998's Imagination had Wilson collaborate with ex-pro wrestler Joe Thomas. However, with this most recent effort Wilson is in sole control, entirely produced and arranged by himself. But he has lots of company and support.

The trademark harmonies, the dense orchestrated backgrounds are still there. Unfortunately today's advanced digital recording methodologies leave some of the productions with sterile-like quality, unlike his classic monaural recordings of the 60's. Some of the blends are thin, but still very enjoyable and listenable. But let's face it. No one wants to sit and do 25 takes of the same song, building and recording it "live" until perfect; that can be a long, tedious (and expensive) process by today's standards.

As far as the material goes, Wilson didn't have to take that much of a creative stretch; half of it was culled from past projects that never got off the ground. Two of the songs, "Make a wish" and "Don't let her know she's an Angel" are remnants from his unreleased second solo album Sweet Insanity. These songs were re-recorded and new backing tracks were made. The end results sound a helluva lot better than the originals.
Other songs, "Saturday morning in the City", "Desert Drive", the title track and "Soul Searchin'"(which features an absolutely stunning vocal performance from the late Carl Wilson) come from the Wilson/Andy Paley sessions that took place in the mid nineties.

The "new" songs-"How could we still be dancin'" featuring lead vocals by Elton John; "City Blues" with an instantly recognizable guitar solo by Eric Clapton and a duet with Paul McCartney on "A Friend like You" are all middle-eight, commercially-hooked songs that succeed in intending to grab the listener. All the elements are there, although not as expansive as one might have thought it could've been. Wilson's vocals are competent and although weathered, still has that raw emotion that transcends his age.

The rest of the material- "You've touched Me", "Rainbow Eyes", "Fairy tale" and "The Waltz" shows Wilson still in control of his production chops and creative juices. "The Waltz" in particular is old-fashioned Brian Wilson humor at it's best. ("She had a body you'd kill for/You hoped that she'd take the pill for") The song would have fit thematically on the Smile album if it were then available. All in all, Wilson tries his best to recapture the formula of the innocence of lost and found love-and he almost does it.

It would be unfair to compare this effort to his sixties masterworks. Unfortunately he has the dubious distinction to be measured to those seemingly immeasurable standards. We the public desire a visionary with a new standard and fresh musical appeal to quench our unsatisfied expectations. That'll never happen because in general, we're all too conservative. That's a shame for this is really a good -shy of great- project that Wilson manages to offer us.
In the albums liner notes David Leaf sums it up perfectly:

"What makes us all happiest is that Brian Wilson, whether onstage or in the studio, is once again making music that makes him happy. Does anybody deserve that more? Does anything else really matter?"

I couldn't agree with him more.

15 of 17 people found the following review helpful:

4.0 out of 5 stars It's Brian...Nuff said, August 18, 2004

By	Yip Arlen "Minor Seventh" (DC) - See all my reviews

Naysayers and critics of Brian's lyrics and vocal quality simply do not get it. No one has ever, nor will anyone ever write like Brian Wilson. If you are looking for timely, flash-in-the-pan, top 10 fluff, you won't find it here. But Brian's musical wit and creativity has transcended the decades. Voice gone? Almost. Lyrics childish? Sometimes. But the music...Ah! the music.

Listen to the chord changes draped with lush harmonies on tracks like "Fairy Tale", "Don't Let Her Know She's An Angel" and the title track. Gorgeous and utterly unpredictable. Are they really much removed from "She Knows Me Too Well" "You Still Believe in Me" or "Til I Die"?

Furthermore, all the pain and loss of his life (child abuse, insecurity, drugs, mental illness, family deaths, manipulation by Landy and others) can be sensed in his ballads. They said no one could "talk a lyric" like Sinatra and that is true. He took the compositions of others and gave them weight and meaning...made them his own. Brian, on the other hand, shamelessly and unselfishly bares his soul in everything he writes. Even to those who have never met Brian, it is obvious that he has not a hint of artifice in his entire being. He has ever been a sweet and guileless soul and when that kind of innocence is blended with his evergreen musicality, the effect can be heartbreakingly beautiful.

He may not score a "hit" from this album, but the ability to bring joy and even tears (to those who will listen) is worth a sight more, in the long run, than a short stint alongside Britney and Ludacris (sic).

11 of 12 people found the following review helpful:

4.0 out of 5 stars Not Pet Sounds or Today But Still Excellent, June 28, 2004

By A Customer

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I can't believe how harsh some of the reviews have been, especially by people who claim to be fans of Brian's. Nobody expects McCartney to do another Sgt. Pepper or Revolver, but people still expect Brian to do another Pet Sounds or Today, as if somehow he can go back to being a 22-year old ambitious, but angst-ridden genius who seemingly had a direct connection to God, making uniquely spiritual music. Brian is 62 now and after years of chain smoking and drug abuse is damaged goods, and that blew much of the spirituality away. But the fact that he can produce his own music again, and do it quite well, is cause for celebration. And the songs are all well-written, musically, and are performed excellently. Brian is in the best voice he has been in for years. Of course he can't sing as well as he did when he was 22. But his background vocals are still outstanding. And nobody arranges voices like Brian can.

I can't figure out why people are going off on Elton John. Brian knew it was a perfect song for Elton to sing, just like John Lennon knew that "Whatever Gets You Thru The Night" was perfect for Elton to contribute to. I've never read anyone criticize Lennon for that, but Brian can't work with his musical buddies? Likewise, Clapton's solo is scorching and helps "City Blues." The song with McCartney is kind of mawkish, but it isn't manufactured sap like "Ebony and Ivory." It is sincere as Paul and Brian are huge fans of each other's work. "Don't Let Her Know She's An Angel" is really pretty. I think it will become some kind of standard.

Okay, some of the lyrics are goofy, but what do you expect from Brian, who is an "adult child"? At least with Brian, the sentiments are straight from his heart, and are about things that normal people can relate to. I guess if you want lyrical sophistication, you can go listen to Eminem or Britney Spears.

Also, it is bizarre to be reading that Imagination was better. The production on that CD was sterile and un-Imaginative. Here we have Brian adding his own unique production flourishes to every song, from using bass harmonicas (as on Pet Sounds) to pennywhistles. We have his band playing the songs live in the studio, so the songs have more energy to them. This album is "up" and "energetic" and for some reason, people want Brian to be serious and artsy all the time. They forget that this is the same guy who made his fame from writing "up" songs like "Fun, Fun, Fun."

Anyway, 4 Stars because Pet Sounds and Today are 5 stars. They will always be Brian's best works, along with some of the Smile stuff. But just because this new music isn't as moving doesn't mean it bites! Come on, people!