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BRIAN WILSON'S SMILE
All photos by David Dalton |
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That
Music Was Actually Created
An
interview with "Smile" historian Domenic Priore
By Neal Alpert
The
biggest myths and misconceptions about the album are
things that Brian Wilson himself has put out there.
Like, "I burned the 'Fire' tapes," which we all know
isn't true, because we've heard them. That guy [Wilson]
definitely had very serious emotional, artistic, creative
problems at the time, just after he made all that music.
He met with a lot of resistance, and it was a very hurtful
thing for him, and it was something that he kept guarded
for many years. Some of the guarding has been him putting
out certain myths like that. More
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All
But Done
By
Barney Hoskyns
By
the time "Good Vibrations" had hit No.1 at the end of
1966, Brian was firmly committed to extending pop's boundaries
as far as he could. Gathering around him a coterie of
brilliant, precocious scene-makersVan Dyke Parks,
Loren Schwartz, Danny Hutton, David Anderle, writers Jules
Siegel and Paul Jay Robbinshe dug in deep and all
but kissed goodbye to the Beach Boys of old. Most important
among these men was Parks, the diminutive, bespectacled
keyboard player whom he'd first met at Terry Melchers
house on Cielo Drive in February 1966. More
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Epiphany
at Zuma Beach Or
Brian Wilson Hallucinates Me
By David
Dalton
After
Pet Sounds Brian Wilson became the mad genius of
the Beach Boys, a prodigy who had miraculously emerged
out of the surf and car culture of southern California.
He was an American kind of prodigy, a tinkerer and visionary
like Edison, someone who could spin magic out of thin,
sweetened air. He was as self-effacing, childlike, and
bemused as Huck Finnand utterly devoid of the aggressive
hipsterism of other late sixties idols. Brian actually
had little interest in cars or surfingthese were
Dennis's domain. When I once asked him about surfing he
advised me to "Stay away from that stuff. It's dangerous."
More
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