Brian Douglas Wilson (1942–2025) was an American musician and co-founder of the Beach Boys, widely acclaimed as a genius for his innovative songwriting and production. Influenced by George Gershwin and Phil Spector, Wilson pioneered complex harmonies and vocal layering in pop music. After signing with Capitol Records, he produced numerous hits like "Good Vibrations" and created landmark albums including Pet Sounds. Despite struggles with mental illness, Wilson’s influence shaped genres from California sound to post-punk. Honored with multiple Grammys and inducted into the Rock and Roll Hall of Fame, his legacy endures through music and the film Love and Mercy.
Dec 31 2023
Oct 27 2011
Jul 23 2004
nymag.comLife and career
1942–1961: Background and musical training
Childhood and education
Brian Douglas Wilson was born on June 20, 1942, at Centinela Hospital Medical Center in Inglewood, California, the first child of Audree Neva (née Korthof) and Murry Wilson, a machinist who later pursued songwriting part-time.12 Wilson's two younger brothers, Dennis and Carl, were born in 1944 and 1946.3 Shortly after Dennis's birth, the family moved from Inglewood to 3701 West 119th Street in nearby Hawthorne, California.45 Wilson, along with his siblings, suffered psychological and sporadic physical maltreatment from their father.6 His 2016 memoir characterizes his father as "violent" and "cruel"; however, it also suggests that certain narratives about the mistreatment had been overstated or unfounded.7
From an early age, Wilson exhibited an aptitude for learning by ear.8 His father remembered how, after hearing only a few verses of "When the Caissons Go Rolling Along", the infant Wilson was able to reproduce its melody.910 Murry was a driving force in cultivating his children's musical talents.11 Wilson undertook six weeks of accordion lessons, and by ages seven and eight, he performed choir solos at church.1213 His choir director declared him to have perfect pitch.1415 Wilson owned an educational record titled The Instruments of the Orchestra16 and was a regular listener of KFWB, his favorite radio station at the time.17 Carl introduced him to R&B, and their uncle Charlie taught him boogie-woogie piano. Both brothers would frequently stay up listening to Johnny Otis's KFOX radio show, incorporating its R&B tracks into their musical lexicon.1819
One of Wilson's first forays into songwriting, penned when he was nine, was a reinterpretation of the lyrics to Stephen Foster's "Oh! Susannah".2021 When he was 12, his family acquired an upright piano, and he began teaching himself to play piano by spending hours mastering his favorite songs.22 He learned how to write manuscript music through a friend of his father.23 Wilson sang with peers at school functions, as well as with family and friends at home, and guided his two brothers in learning harmony parts, which they would rehearse together. He also played piano obsessively after school, deconstructing the harmonies of the Four Freshmen by listening to short segments of their songs on a phonograph, then working to recreate the blended sounds note by note on the keyboard.24
In high school, Wilson played quarterback for Hawthorne High's football team,25 played American Legion Baseball,26[better source needed], and ran cross-country in his senior year.27 At 15, he briefly worked part-time sweeping at a jewelry store, his only paid employment before his success in music.2829 He also cleaned for his father's machining company, ABLE, on weekends.30 Wilson auditioned to sing for the Original Sound Record Company's inaugural record release, but was deemed too young.31 For his 16th birthday, he received a portable two-track32 Wollensak tape recorder, allowing him to experiment with recording songs, group vocals, and rudimentary production techniques.3334 Wilson involved his friends around the piano and would most frequently harmonize with those from his senior class in these recordings.35
For his Senior Problems course in October 1959, Wilson submitted an essay, "My Philosophy", in which he stated that his ambitions were to "make a name for myself [...] in music".36 One of Wilson's earliest public performances was at a fall arts program at his high school. He enlisted his cousin and frequent singing partner Mike Love and, to entice Carl into the group, named the newly formed membership "Carl and the Passions". They performed songs by Dion and the Belmonts and the Four Freshmen, impressing classmate and musician, Al Jardine.37 Fred Morgan, Wilson's high school music teacher, recalled his aptitude for learning Bach and Beethoven at 17.38
In September 1960, Wilson enrolled as a psychology major at El Camino College in Los Angeles, also pursuing music.39 Disappointed by his teachers' disdain for pop music, he withdrew from college after about 18 months.40 By his account, he crafted his first entirely original melody, "Surfer Girl", in 1961, inspired by a Dion and the Belmonts rendition of "When You Wish Upon a Star". However, his close high school friends disputed his claim, recalling earlier original compositions.41
Formation of the Beach Boys
The three Wilson brothers, Love, and Jardine debuted their first music group together, called "the Pendletones", in the autumn of 1961. At Dennis's suggestion, Brian and Love co-wrote the group's first song, "Surfin'".42 Murry became their manager.43
Produced by Hite and Dorinda Morgan on Candix Records, "Surfin'" became a hit in Los Angeles and reached 75 on the national Billboard sales charts.44 The group's name was changed by Candix Records to the Beach Boys.45 Their major live debut was at the Ritchie Valens Memorial Dance on New Year's Eve, 1961. Just days earlier, Wilson had received an electric bass from his father and quickly learned to play, prompting Jardine to switch to rhythm guitar.46
When Candix Records faced financial difficulties and sold the Beach Boys' master recordings to another label, Murry ended their contract. As "Surfin'" faded from the charts, Wilson collaborated with local musician Gary Usher to produce demo recordings for new tracks, including "409" and "Surfin' Safari". Capitol Records were persuaded to release the demos as a single, achieving a double-sided national hit.47
1962–1966: Peak years
Early productions and freelancing
In 1962, Wilson and the Beach Boys signed a seven-year contract with Capitol Records under producer Nick Venet.4849 During sessions for their debut album, Surfin' Safari, Wilson negotiated with Capitol to record the band outside the label's basement studios, which he deemed ill-suited for his group.5051 At Wilson's insistence, Capitol permitted the Beach Boys to fund their own external sessions while retaining all rights to the recordings.52 He also secured production control over the album, though he was not credited for this role in the liner notes.5354
Inspired by producer Phil Spector, whose work with the Teddy Bears he admired, Wilson sought to emulate Spector's career path.5556 Wilson reflected, "I've always felt I was a behind-the-scenes man, rather than an entertainer."57 Collaborating with songwriter Gary Usher, he composed numerous songs patterned after the Teddy Bears' style and produced records for local talent, though without commercial breakthrough.58 His first uncredited production outside the Beach Boys was Rachel and the Revolvers' "The Revo-Lution", co-written with Usher and released by Dot Records in September.59 Interference from Wilson's father eventually led to the dissolution of his partnership with Usher.6061 By mid-1962, Wilson was writing with disc jockey Roger Christian,62 whom he met via Murry or Usher,63 and with guitarist Bob Norberg, who later became his roommate.64 In October 1962, Safari Records—a short-lived label founded by Murry65—released the single "The Surfer Moon" by Bob & Sheri, the first record to credit Brian as producer.6667 The label's only other release was Bob & Sheri's "Humpty Dumpty",68 with both songs written by Wilson.69
From January to March 1963, Wilson produced the Beach Boys' second album, Surfin' U.S.A., limiting his public appearances with the group to television gigs and local shows to prioritize studio work.70 David Marks substituted for him on vocals during other performances.71 In March, Capitol released "Surfin' U.S.A.", the Beach Boys' first top-ten single.72 The accompanying album peaked at number two on the Billboard charts by July, cementing the Beach Boys as a major commercial act.73 Against Venet's wishes, Wilson collaborated with artists outside Capitol, including the Liberty Records duo Jan and Dean.74 Wilson co-wrote "Surf City" with Jan Berry, which topped U.S. charts in July 1963, his first composition to do so.75 The song's success revitalized Jan and Dean's faltering career.76 Capitol and Wilson's father disapproved of the collaboration; Murry demanded his son cease working with the duo, though they continued to appear on each other's recordings.77
Around this time, Wilson began producing the Rovell Sisters, a girl group consisting of sisters Marilyn and Diane Rovell and their cousin Ginger Blake, whom he met at a Beach Boys concert the previous August.78 Wilson pitched the group to Capitol as "the Honeys", a female counterpart to the Beach Boys. The company released several Honeys records as singles, though they sold poorly.79 He grew close to the Rovell family and resided primarily at their home through 1963 and 1964.80 The group's fourth single "He's a Doll", released in April 1964,81 exemplified his attempts to become an entrepreneurial producer like Spector.82
Wilson was first officially credited as the Beach Boys' producer on their album Surfer Girl, recorded in June and July 1963 and released that September.83 This LP reached number seven on the national charts, with similarly successful singles.84 He also produced the car-themed album Little Deuce Coupe, released just three weeks after Surfer Girl.85 Still resistant to touring, Jardine was his live substitute. By late 1963, Marks' departure necessitated Wilson's return to the touring lineup.8687 By the end of the year, Wilson had written, arranged, or produced 42 songs for other acts.8889
International success and Houston flight incident
Throughout 1964, Wilson toured internationally with the Beach Boys while writing and producing their albums Shut Down Volume 2 (March), All Summer Long (June), and The Beach Boys' Christmas Album (November).90 Following a particularly stressful Australasian tour in early 1964, the group dismissed Murry as their manager.91 Murry maintained occasional contact with Wilson, offering unsolicited advice on the group's business decisions.92 Wilson also continued to solicit his father's opinions on musical matters.93
In February, Beatlemania swept the U.S., a development that deeply concerned Wilson, who felt the Beach Boys' supremacy had been threatened by the British Invasion.9495 Reflecting in 1966, he said, "The Beatles invasion shook me up a lot. [...] So we stepped on the gas a little bit."96 The Beach Boys' May 1964 single "I Get Around", their first U.S. number-one hit, is identified by scholar James Perone as representing both a successful response to the British Invasion and the beginning of an unofficial rivalry between Wilson and the Beatles, principally Paul McCartney.97 The B-side, "Don't Worry Baby", was cited by Wilson in a 1970 interview as "Probably the best record we've done".98 By late 1964, Wilson faced mounting psychological strain from career pressures.99 He began distancing himself from the Beach Boys' surf-themed material, which had ceased following the All Summer Long track "Don't Back Down".100 During the group's first major European tour, a reporter asked how he had felt about originating the surfing sound, to which he responded by saying he had aimed to "produce a sound that teens dig, and that can be applied to any theme."101 Exhausted by his self-described "Mr Everything" role, he later expressed feeling mentally drained and unable to rest.102 Adding to his concerns were the group's "business operations" and the quality of their records, which he believed suffered from this arrangement.103
On December 23, 1964, Wilson was to accompany his bandmates for a two-week U.S. tour, but during a flight from Los Angeles to Houston, he experienced a breakdown, sobbing uncontrollably due to stress over his recent marriage to Marilyn Rovell.104105 Jardine recalled, "None of us had ever witnessed something like that."106 Wilson played the show in Houston later that day, but was replaced by session musician Glen Campbell for the rest of the tour.107108 Wilson, speaking in 1966, described it as "the first of a series of three breakdowns".109 When the group resumed recording their next album in January 1965, Wilson declared that he would be withdrawing from future tours.110111 Wilson attributed his decision partly to a "fucked up" jealousy of Spector and the Beatles.112113
Campbell continued substituting for Wilson on tour until February 1965, after which Wilson produced Campbell's solo single, "Guess I'm Dumb", as a gesture of appreciation. Columbia Records staff producer Bruce Johnston was subsequently hired as Wilson's permanent touring replacement.114115
Growing drug use and religious epiphany
With his bandmates frequently touring, Wilson grew socially distant from the Beach Boys.116 In late 1964, he had relocated to an apartment at 7235 Hollywood Boulevard, where he began cultivating a new social circle through music industry connections.117 Biographer Steven Gaines writes that this period marked Wilson's first independence from familial oversight, allowing friendships without "parental interference".118 Wilson befriended talent agent Loren Schwartz, whom he met at a Hollywood studio.119 Through Schwartz, Wilson engaged with literature on philosophy and world religions, sparking his interest in mystical topics.120121 Schwartz also introduced Wilson to marijuana and hashish; his habitual use of these substances, combined with his frequent visits to Schwartz's apartment, contributed to marital tensions with his wife Marilyn.122 His first song composed under the influence of marijuana was "Please Let Me Wonder" (1965).123
Throughout 1965, Wilson's musical ambitions progressed significantly with the albums The Beach Boys Today! (March) and Summer Days (And Summer Nights!!) (June).124 Weeks after relocating to an apartment on West Hollywood's Gardner Street with his wife early in the year, Wilson took LSD for the first time under Schwartz's supervision.125 Wilson later said of the experience, "it just tore my head off. [...] You just come to grips with what you are, what you can do [and] can't do, and learn to face it."126 During the experience, he composed portions of the Beach Boys' single "California Girls".127 He later described the session for the song's backing track, held on April 6, as his "favorite", and the opening orchestral section as "the greatest piece of music that I've ever written".128 However, he attributed persistent paranoia later that year to his LSD use.129
After unsuccessful efforts to distance Wilson from Schwartz, Marilyn temporarily separated from him.130131 She later reflected on the strain caused by his drug-associated social circle, stating, "He was not the same Brian... These people were very hurtful, and I tried to get that through to Brian."132 The couple soon reconciled,133 and, in late 1965, moved into a newly purchased home at 1448 Laurel Way in Beverly Hills.134135
Pet Sounds and Smile
Wilson recalled that after relocating to his Beverly Hills home, he experienced an unexpected surge of creativity, working for hours to develop new musical ideas. He acknowledged heavy drug use, stating, "I was taking [...] a lot of pills, and it fouled me up for a while. It got me really introspective".136 Over five months, he planned an album that would elevate his music to "a spiritual level".137
In December 1965, Wilson enlisted jingle writer Tony Asher as his lyricist for the Beach Boys' next album, Pet Sounds (May 1966).138 He produced most of the album between January and April 1966 across multiple Hollywood studios, mainly employing his bandmates for singing vocal parts and session musicians for the backing tracks.139 Reflecting on the album, Wilson highlighted the instrumental "Let's Go Away for Awhile" as his "most satisfying piece of music" at the time and "I Just Wasn't Made for These Times" as a partially autobiographical song "about a guy who was crying because he thought he was too advanced".140141 In a 1995 interview, he called "Caroline, No" "probably the best [song] I've ever written".142
The album's lead single, "Caroline, No", released in March 1966, became Wilson's first solo credit,143 sparking speculation about his potential departure from the Beach Boys.144 Wilson later said, "I explained to [the group], 'It's OK. It is only a temporary rift […] I wanted to step out a little bit.'"145 The single peaked at number 32, while Pet Sounds reached number 10.146 Wilson was "mortified" that his artistic growth had failed to translate into a number-one album.147 Marilyn stated, "When it wasn't received by the public the way he thought it would be received, it made him hold back. ... but he didn't stop. He couldn't stop. He needed to create more."148
Wilson met Derek Taylor, the Beatles' former press officer, who became the Beach Boys' publicist in 1966. At Wilson's request, Taylor launched a media campaign to elevate his public image, promoting him as a "genius".149150 Taylor's reputation and outreach bolstered the album's critical success in the UK.151152153 However, Wilson later expressed resentment toward the "genius" label, which he felt heightened unrealistic expectations for his work.154155 Bandmates including Mike Love and Carl Wilson also grew frustrated as media coverage increasingly centered on Wilson, overshadowing the group's collaborative efforts.156
Through late 1966, Wilson worked extensively on the Beach Boys' single "Good Vibrations", which topped the U.S. charts in December, and began collaborating with session musician Van Dyke Parks on Smile, the planned follow-up to Pet Sounds.157 Wilson touted Smile as a "teenage symphony to God"158 and his expanding circle increasingly influenced his business and creative affairs.159 Parks said that, eventually, "it wasn't just Brian and me in a room; it was Brian and me ... and all kinds of self-interested people pulling him in various directions."160 Television producer David Oppenheim, who visited Wilson's home while filming the 1967 documentary Inside Pop: The Rock Revolution, characterized the attended scenes as "a playpen of irresponsible people".161
1967–1973: Decline
Home studio transition
Smile was never finished, due in large part to Wilson's worsening mental condition and exhaustion.162 Associates often cite late 1966 as a turning point, coinciding with erratic behavior during sessions for the track "Fire" (or "Mrs. O'Leary's Cow").163 In April 1967, Wilson and his wife relocated to a newly purchased mansion on 10452 Bellagio Road in Bel Air.164165166 There, Wilson began constructing a personal home studio.167 By this time, most of his recent associates had departed or been excluded from his life.168
In May, Derek Taylor announced that Smile had been "scrapped".169 Wilson explained in a 1968 interview, "We pulled out [...] because I was about ready to die. I was trying so hard. So, all of a sudden I decided not to try any more."170 That July, the Beach Boys released "Heroes and Villains" as a single; its mixed critical and commercial reception further strained Wilson's morale, with biographers citing it as a factor in his professional and psychological decline.171172 He later acknowledged that upholding his industry reputation "was a really big thing for me" and that he had grown weary of demands to produce "great orchestral stuff all the time".173
Beginning with Smiley Smile (September 1967), the band shifted recording operations to Wilson's studio, where they worked intermittently until 1972. The album marked the first time production was credited to the group collectively instead of Wilson alone.174175 Producer Terry Melcher attributed this change to Wilson's reluctance to risk individual scrutiny, saying he no longer wanted to "put his stamp on records".176 In August 1967, Wilson briefly rejoined the band for two live performances in Honolulu, recorded for an unfinished live album titled Lei'd in Hawaii.177
During sessions for Wild Honey (December 1967), Wilson encouraged his brother Carl to contribute more to the record-making process.178 He also began producing tracks for Danny Hutton's group Redwood, recording three songs including "Time to Get Alone" and "Darlin'", but the project was halted by Carl and Mike Love, who urged Brian to prioritize Beach Boys commitments.179 The band's June 1968 album Friends was recorded during a period of emotional recovery for Wilson.180 While the album featured increased contributions from other members, Wilson remained central, even on tracks he did not write.181 He later described Friends as his second "solo album" (after Pet Sounds)182 and his favorite Beach Boys album.183184
Reduced activity and "Bedroom Tapes"
For the remainder of 1968, Wilson's songwriting output declined substantially, as did his emotional state, leading him to self-medicate with overconsumption of food, alcohol, and drugs.185 As the Beach Boys faced impending financial collapse, he began to supplement his regular amphetamines and marijuana with cocaine,186 to which Hutton had introduced him.187 Hutton later stated that Wilson expressed suicidal ideation during this period, describing it as the onset of Wilson's "real decline".188
In mid-1968, Wilson was admitted to a psychiatric hospital, possibly voluntarily.189 His hospitalization was kept private, and his bandmates proceeded with recording sessions for 20/20 (February 1969).190 Once discharged later in the year, Wilson rarely finished any tracks for the band, leaving much of his subsequent output for Carl to complete.191 Journalist Nik Cohn wrote in 1968 that Wilson had become the subject of rumors describing him as "increasingly withdrawn", "brooding", and "hermitic" [sic], with occasional sightings of him "in the back of some limousine, cruising around Hollywood, bleary and unshaven, huddled way tight into himself".192
Wilson typically stayed secluded upstairs while the group recorded below, joining sessions only to suggest revisions to music he had overheard.193 He occasionally emerged from his bedroom to preview new songs for the group. Melcher likened these appearances to Aesop delivering a new fable.194195 Journalist Brian Chidester later coined the term "Bedroom Tapes" to refer to Wilson's unreleased output between 1968 and 1975, most of which remains unheard publicly.196
According to Mike Love, Wilson had "lost interest in the mechanical aspect" of recording, deferring technical work to Carl.197 Band engineer Stephen Desper said that Brian remained "indirectly involved" with the group's productions through Carl198 and that Brian's reduced contributions stemmed from "limited hours in the day", as well as his aversion to confrontation: "Brian [...] doesn't like to hurt anyone's feelings, so if someone's working on something else, he wasn't going to jump in there and say, 'Look, this is my production and my house, so get outta here!'"199 Conversely, Dennis stated that Brian had "no involvement at all" with the band beginning with the 20/20 sessions, forcing them to salvage and assemble fragments of his earlier work.200201 Marilyn recalled that her husband withdrew because of perceived resentment from the group: "It was like, 'OK, you assholes, you think you can do as good as me or whatever—go ahead—you do it. You think it's so easy? You do it.'"202
Sea of Tunes sale and Reprise signing
Early in 1969, the Beach Boys commenced recording Sunflower (August 1970).203 Wilson contributed numerous songs, though most were excluded from the final track selection.204 He co-wrote and produced the single "Break Away" with his father in early 1969, after which he largely withdrew from studio work until August.205 The group faced difficulties securing a new record deal, attributed by Gaines to Wilson's diminished standing in the industry.206 In May 1969, Wilson disclosed the band's near-bankruptcy to reporters, which derailed negotiations with Deutsche Grammophon and nearly jeopardized their upcoming European tour.207208 That July, he opened a short-lived health food store, the Radiant Radish, with cousin Steve Korthof and associate Arny Geller.209
In August, the Beach Boys' publishing company, Sea of Tunes, sold their song catalog to Irving Almo Music for $700,000 ($6 million in 2024).210 Wilson signed the consent form under pressure from his father.211 Marilyn later stated that the sale emotionally devastated him: "It killed him. Killed him. I don't think he talked for days. [...] Brian took it as Murry not believing in him anymore."212 During this period, Wilson reportedly engaged in self-destructive behavior, including an attempt to drive off a cliff and a demand to be buried in a backyard grave he had dug.213214 He channeled his despondence into writing "'Til I Die", later calling the song a summation of "everything I had to say at the time".215
Later in 1969, Wilson produced poet Stephen Kalinich's spoken-word album A World of Peace Must Come.216217 That November, the Beach Boys signed to Reprise Records, a subsidiary of Warner Bros.,218 with contractual terms requiring Wilson's active participation in their albums.219220 In March 1970, Wilson briefly substituted for Mike Love on tour.221 In April, he attempted to produce a country and western album for co-manager Fred Vail, later known as Cows in the Pasture.222
Spring and Mount Vernon and Fairway
Wilson's disappointment over the poor commercial reception of Sunflower223 led him to reduce his contributions to subsequent Beach Boys recordings.224 Bruce Johnston described his involvement in the Surf's Up sessions (August 1971) as that of "a visitor".225 In November 1970, Wilson performed with the band at the Whisky a Go Go for one-and-a-half dates. Intense discomfort forced him to leave mid-performance during the second show.226227 Following this experience, he told Melody Maker that although he was "quite happy living at home", he felt less creative and less engaged with the band. He described himself as "a kind of drop-out".228 In September 1971, Wilson told a reporter he had recently returned to arranging rather than writing.229 In December, at a Long Beach concert, manager Jack Rieley persuaded Wilson to perform with the Beach Boys, though his appearance lasted only minutes.230
From late 1971 to early 1972, Wilson and musician David Sandler collaborated on Spring, the first album by Marilyn Wilson and Diane Rovell's new group, American Spring.231 As with much of his work in this period, the extent of his contributions varied,232 but it was his most involved production effort since Friends in 1968.233 During the recording of Carl and the Passions (April 1972), Wilson rarely left his bedroom, though Blondie Chaplin recalled, "when he came down his contribution was amazing".234 Wilson's unavailability was such that his image had to be superimposed into the group portrait included in the record sleeve.235236
During the summer of 1972, Wilson joined his bandmates when they temporarily relocated to Holland after persistent persuasion.237 Residing in a Dutch house known as "Flowers" and repeatedly listening to Randy Newman's album Sail Away, he was inspired to write a fairy tale, Mount Vernon and Fairway, drawing on memories of listening to the radio at Mike Love's family home in his youth.238 The group declined to include the fairy tale on their next album, Holland (January 1973), and instead released it as a bonus EP packaged with the album.239 That April, Wilson briefly joined his bandmates onstage during an encore at the Hollywood Palladium.240
1973–1975: Recluse period
After his father's death in June 1973, Wilson secluded himself in the chauffeur's quarters of his home, where he spent his time sleeping, abusing drugs and alcohol, overeating, and exhibiting self-destructive behavior.241 He rarely ventured outside wearing anything but pajamas and later said that his father's death "had a lot to do with my retreating".242 Wilson's family were eventually forced to take control of his financial affairs due to his irresponsible drug expenditures.243244245 This led Wilson to occasionally wander the city, begging for rides, drugs, and alcohol.246
According to Wilson, from 1974 to 1975, his output was confined to minimal, fragmentary recordings, due to a diminished capacity for sustained concentration.247 He elaborated that he had been preoccupied with snorting cocaine, reading magazines such as Playboy and Penthouse,248 and "hanging out with Danny Hutton", whose Laurel Canyon house had become the center of Wilson's social life.249 Although increasingly reclusive during the day, Wilson spent many nights at Hutton's house fraternizing with colleagues such as Alice Cooper and Iggy Pop.250251252 Other visitors of Hutton's home included Harry Nilsson, John Lennon, Ringo Starr, and Keith Moon.253254 On several occasions, Marilyn Wilson sent her friends to climb Hutton's fence and retrieve her husband.255 In 1974, Wilson interrupted a set by jazz musician Larry Coryell at The Troubadour by leaping on stage and singing "Be-Bop-a-Lula" while wearing slippers and a bathrobe.256
Many reported anecdotes involving Wilson in the early 1970s, though frequently of questionable veracity, attained a legendary status.257 Recalling Wilson's wellbeing at the time, John Sebastian said, "It wasn't all grimness."258 Jeff Foskett, then a Beach Boys fan who had visited Wilson's home unannounced, similarly commented that Wilson had responded cordially to the visit and had belied the popular myths surrounding him.259 Wilson also participated in some recording sessions for Nilsson's "Salmon Falls"260 and Keith Moon's solo album, Two Sides of the Moon.261
The Beach Boys' greatest hits compilation Endless Summer was a surprise success, becoming the band's second number-one U.S. album in October 1974. To take advantage of their sudden resurgence in popularity, Wilson agreed to join his bandmates in Colorado for the recording of a new album at James William Guercio's Caribou Ranch studio.262 The group completed a few tracks, including "Child of Winter (Christmas Song)", but ultimately abandoned the project.263 Released as a single at the end of December 1974, "Child of Winter" was their first record that displayed the credit "Produced by Brian Wilson" since 1966.264
Early in 1975, while still under contract with Warner Bros., Wilson signed a short-lived sideline production deal with Bruce Johnston and Terry Melcher's Equinox Records. Together, they founded the loose-knit supergroup known as California Music, which also involved Gary Usher, Curt Boettcher, and other Los Angeles musicians.265 Along with his guest appearances on Johnny Rivers's rendition of "Help Me, Rhonda" and Jackie DeShannon's "Boat to Sail", Wilson's production of California Music's single "Why Do Fools Fall in Love" represents his only "serious" work throughout this period.266
1975–1982: "Brian's Back!"
15 Big Ones, Love You, and Adult/Child
Wilson's increased consumption of food, cigarettes, alcohol, and other drugs—including heroin—strained his marriage to Marilyn, who threatened divorce or institutionalization.267 His weight reached 240 pounds (110 kg).268269 In 1975, to address his declining health, band manager Stephen Love appointed his brother Stan, a professional basketball player, as Wilson's bodyguard, trainer, and caretaker.270271 A family intervention involving the band's lawyers and accountants was arranged to remind Wilson of his contractual obligation to write and produce for the Beach Boys.272 According to Stan, Wilson's growing resentment had led him to frequently announce his withdrawal from the Beach Boys, but his bandmates persisted.273 Although Stan improved Wilson's health over several months, he soon returned to his NBA commitments.274 Wilson entered psychologist Eugene Landy's intensive 24-hour therapy program in October.275276
Under Landy's care, Wilson stabilized and became more socially engaged, renewing his productivity.277278 In 1976, the slogan "Brian's Back!" was widely used to promote the Beach Boys' concert tours and the July release of 15 Big Ones, the first album since Pet Sounds to list Wilson as the sole producer.279280 Recording sessions were tense, as his bandmates opposed his proposal for a covers album and questioned his readiness to lead studio proceedings.281 The album ultimately featured a mix of covers and original material.282
Beginning on July 2, 1976, Wilson resumed regular performances with the band for the first time since 1964, singing and alternating between bass guitar and piano.283284285 In August, he toured outside California for the first time since 1970.286 NBC premiered a Lorne Michaels–produced television special, titled The Beach Boys, featuring recent concert footage, interviews, and a comedy sketch with Wilson alongside NBC's Saturday Night cast members Dan Aykroyd and John Belushi.287288 Despite the promotional success of "Brian's Back!", the campaign was controversial. Wilson's remarks in interviews implied he had not fully recovered from his addictions; on one occasion, he remarked that he "felt like a prisoner".289 A concert reviewer noted that he "seemed uncomfortable on stage" and contributed "nil".290
From October 1976 to January 1977, Wilson produced a collection of recordings largely on his own while his bandmates pursued other creative and personal endeavors.291 Released in April 1977, The Beach Boys Love You was the band's first album to feature Wilson as the primary composer since Wild Honey in 1967.292 Originally titled Brian Loves You,293 the album showcased Wilson playing nearly every instrument.294 Band engineer Earle Mankey described it as Wilson's effort to create a "serious, autobiographical" work.295 In a 1998 interview, Wilson listed 15 Big Ones and Love You as his two favorite Beach Boys albums.296
At the end of 1976, Wilson's family and management dismissed Landy after he raised his monthly fee to $20,000 ($111,000 in 2024).297 Shortly afterward, Wilson told a journalist he considered the treatment successful.298 Landy's role was immediately assumed by his cousins, Steve Korthof and Stan Love, and professional model Rocky Pamplin—a college friend of Stan.299 Under their supervision, Wilson maintained a healthy, drug-free lifestyle for several months.300
In early 1977, Wilson produced Adult/Child, intended as the follow-up to Love You, but some bandmates voiced concerns about the work, leading to its non-release.301 In March, the Beach Boys signed with CBS Records, whose contract required Wilson to compose most of the material for all subsequent albums. According to Gaines, Wilson was distraught at the prospect.302 In reference to the sessions for M.I.U. Album (October 1978), Wilson described experiencing a "mental blank-out".303 He was credited as the album's "executive producer".304 Stan noted that Wilson was "depressed"305 and reluctant to write with Mike Love, though Mike persisted.306 Around this time, Wilson attempted to produce an album for Pamplin that would have featured the Honeys as backing vocalists.307
Hospitalizations and "cocaine sessions"
After a disastrous Australian tour in 1978, Wilson regressed and began secretly acquiring cocaine and barbiturates.308309 In mid-1978, following an overdose, he hitchhiked in West Hollywood, eventually arriving at a gay bar where he played piano for drinks.310 A bar patron then drove him to Mexico, after which he hitchhiked to San Diego.311 Days later, police found him in Balboa Park without shoes, money, or a wallet, and he was taken to Alvarado Hospital to detox from alcohol poisoning.312313 Wilson rejoined his bandmates for the recording of L.A. (Light Album) (March 1979), but after producing demos and early recordings, he asked that Bruce Johnston take over the project.314
With his marriage unraveling, Wilson left his mansion in Beverly Hills for a modest home on Sunset Boulevard, where his alcoholism worsened.315 After attacking his doctor, he was institutionalized at Brotzman Memorial Hospital316317—initially admitted in November 1978 for three months, discharged for one month, then readmitted.318 In January 1979, while hospitalized, his caregivers Stan Love and Rocky Pamplin were dismissed.319 Wilson was released in March.320 He rented a house in Santa Monica and was cared for by a "round-the-clock" psychiatric nursing team.321 Later, he purchased a home in Pacific Palisades.322 Although his bandmates urged him to produce their next album, Keepin' the Summer Alive (March 1980), he was unable or unwilling to do so.323324
Wilson continued his overeating and drug habits.325 To motivate Wilson in his musical endeavors, Dennis occasionally provided him with McDonald's hamburgers and cocaine.326327 Jon Stebbins's biography of Dennis describes clandestine recording sessions between the brothers, which were hidden due to efforts by "certain members of the Beach Boys clan" to keep them apart. Discovering their collaboration often led to a halt in the proceedings.328 Bootlegged tapes of the brothers' collaborations—produced in 1980 and 1981 at the Venice Beach home studio of musicologist and film executive Garby Leon—later became known among fans as the "cocaine sessions" or "hamburger sessions".329
In early 1981, Pamplin and Stan Love were convicted of assaulting Dennis after learning he had been providing Wilson with drugs.330 In early 1982, Wilson signed a trust document granting Carl control of his finances and voting power in the band's corporate structure, and he was involuntarily admitted for a three-day stay at St. John's Hospital in Santa Monica.331 By the end of the year, his weight exceeded 340 pounds (150 kg).332
1982–1991: Second Landy intervention
Recovery and the Wilson Project
In 1982, after Wilson overdosed on alcohol, cocaine, and other drugs,333 his family and management staged an elaborate ruse to persuade him to reenter Landy's program.334335 On November 5, the group falsely informed Wilson that he was destitute and no longer a Beach Boy, insisting he reenlist Landy as his caretaker to continue receiving his touring income.336 Landy agreed to resume treatment only if granted complete control over Wilson's affairs and promised rehabilitation within two years.337
Wilson acquiesced and was taken to Hawaii, where he was isolated from friends and family and placed on a strict diet and health regimen.338339 Combined with counseling sessions that retaught him basic social etiquette, the treatment restored his physical health.340 By March 1983, he had returned to Los Angeles and was moved, under Landy's direction, to a Malibu home where he lived with several of Landy's aides and was cut off from many of his own friends and family.341
Between 1983 and 1986, Landy charged approximately $430,000 annually ($1.36 million in 2024). When he requested additional funds, Carl Wilson was obliged to allocate a quarter of Brian's publishing royalties.342 Landy gradually assumed the role of Wilson's creative and financial partner, eventually representing him at Brother Records, Inc. corporate meetings.343344 Landy was accused of creating a Svengali-like environment by controlling every aspect of Wilson's life—including his musical direction.345 Wilson countered these claims, stating, "People say that Dr. Landy runs my life, but the truth is, I'm in charge."346 He later claimed that in mid-1985 he attempted suicide by swimming as far out to sea as possible before one of Landy's aides retrieved him.347
As Wilson's recovery consolidated, he participated in recording The Beach Boys (June 1985),348 a release touted as his "comeback".349 He then curtailed regular collaborations with the band to pursue a solo career under Landy's guidance.350 In 1986, he worked with former collaborator Gary Usher at Usher's studio, producing roughly a dozen songs—most unreleased351—with one track, "Let's Go to Heaven in My Car", appearing on the Police Academy 3 (1986) soundtrack.352 This body of work became known as "the Wilson Project".353
Brian Wilson, Sweet Insanity, first memoir, and conservatorship
Wilson occasionally rejoined his bandmates on stage and performed his first ever solo gigs at several charity concerts around Los Angeles.354 In January 1987, he accepted a solo contract from Sire Records president Seymour Stein, who mandated co-production by multi-instrumentalist Andy Paley to keep Wilson focused.355356 In return, Landy was allowed to serve as executive producer.357 Other producers, including Russ Titelman and Lenny Waronker, soon joined the project, and conflicts with Landy emerged.358
Released in July 1988, Brian Wilson received favorable reviews and moderate sales, peaking at number 52 in the U.S.359360 The album featured "Rio Grande", an eight-minute Western suite reminiscent of songs from Smile.361 Its release was largely overshadowed by the controversy surrounding Landy and the success of the Beach Boys' "Kokomo", their first number-one hit since "Good Vibrations" and the first without Wilson's involvement.362 By 1990, Wilson was estranged from the Beach Boys, with his bandmates scheduling recording sessions without him and twice rejecting his offers to produce an album, according to Brother Records president Elliot Lott.363
In 1989, Wilson and Landy formed the company Brains and Genius. By then, Landy was no longer legally recognized as Wilson's therapist and had surrendered his California psychology license.364 Together, they worked on Wilson's second solo album, Sweet Insanity, with Landy co-writing nearly all the material.365 Sire rejected the album due to Landy's lyrics and the inclusion of Wilson's rap song "Smart Girls".366 In May 1989, Wilson recorded "Daddy's Little Girl" for the film She's Out of Control, and in June, he was among the featured guests on the charity single "The Spirit of the Forest".367
In October 1991, Wilson published his first memoir, Wouldn't It Be Nice: My Own Story.368 Biographer Peter Ames Carlin noted that the book plagiarized excerpts from earlier biographies and ranged from harsh criticisms of his bandmates to passages resembling legal depositions.369 The memoir prompted defamation lawsuits from Mike Love, Al Jardine, Carl Wilson, and his mother, Audree Wilson.370371 After a conservatorship suit filed by his family in May 1991, Wilson and Landy's partnership was dissolved in December, followed by a restraining order.372
1992–2011: Career resurgence and first solo tours
Lawsuits, documentary, and collaborative albums
Throughout the 1990s, Wilson was embroiled in numerous lawsuits.373 In August 1989, he had filed a $100 million suit against Irving Music to reclaim song publishing rights sold by his father decades earlier.374 He did not regain the rights, but secured a $10 million ($20.6 million in 2024) out-of-court settlement in April 1992.375 The next month, Wilson was sued by Mike Love over long-neglected royalties and songwriting credits. In December 1994, a jury ruled in favor of Love, awarding him $5 million ($10.6 million in 2024) and a share of future royalties from Wilson.376 In September 1995, Wilson sued his former conservator, Jerome Billet, seeking $10 million for alleged failures in supervising the lawyers handling the Irving Music and Love lawsuits.377 According to his second wife Melinda, when they married in 1995, Wilson was entangled in nine separate lawsuits, many unresolved until the early 2000s.378
Wilson's productivity had increased significantly after his disassociation from Landy.379 He and Andy Paley composed and recorded a substantial body of material intended for a proposed Beach Boys album throughout the early to mid-1990s.380 Concurrently, Wilson collaborated with musician Don Was on the documentary Brian Wilson: I Just Wasn't Made for These Times (1995), whose soundtrack—comprising rerecorded Beach Boys songs—was released in August as his second solo album.381382
In 1993, Wilson agreed to record an album of songs by Van Dyke Parks,383 which was credited to the duo and released as Orange Crate Art in October 1995.384385 In the late 1990s, Wilson and Tony Asher rekindled their writing partnership,386 and one of their songs, "Everything I Need", appeared on The Wilsons (1997)—a project by his daughters Carnie and Wendy that included select contributions from Wilson.387
Imagination and formation of the Brian Wilson Band
Although some recordings with the Beach Boys were completed, the Wilson–Paley project was eventually abandoned.388 Instead, Wilson co-produced the band's 1996 album Stars and Stripes Vol. 1 with Joe Thomas, owner of River North Records.389 In 1997, Wilson relocated to St. Charles, Illinois, to work on a solo project with Thomas.390 His third solo album, Imagination (June 1998)—which he described as "really a Brian Wilson/Joe Thomas album"—peaked at number 88 in the U.S. and received criticism for its homogenized radio pop sound.391 Shortly before the album's release, Wilson lost his brother Carl and their mother Audree.392
Some reports from this period suggested that Wilson was exploited by those close to him, including Melinda.393 His daughter Carnie nicknamed Ledbetter "Melandy",394 while family friend Ginger Blake described Wilson as "complacent and basically surrendered".395 Mike Love stated his willingness to reunite the Beach Boys with Wilson but remarked that "Brian usually has someone in his life who tells him what to do. And now that person kinda wants to keep him away from us. I don't know why. You'd have to ask her, I guess."396 When asked if he still considered himself a Beach Boy, Wilson responded, "No. Maybe a little bit."397 Debate persisted among fans over whether Wilson fully consented to his semi-regular touring schedule through the 2010s.[338]398
From March to July 1999, Wilson embarked on his first solo tour, playing about a dozen dates in the U.S. and Japan.399 His supporting band included former Beach Boys touring musician Jeff Foskett (guitar), Wondermints members Darian Sahanaja (keyboards), Nick Walusko (guitar), Mike D'Amico (percussion, drums), and Probyn Gregory (guitar, horns); along with Chicago-based session musicians Scott Bennett (various), Paul Mertens (woodwinds), Bob Lizik (bass), Todd Sucherman (drums), and Taylor Mills (backing vocals).400401 He toured the U.S. again in October.402 In 2000, he stated, "I feel much more comfortable on stage now. I have a good band behind me. It's a much better band than the Beach Boys were."403
In August 1999, Wilson filed suit against Thomas, seeking damages and a declaration that he could work on his next album without Thomas's involvement.404 Thomas counter-sued, alleging that Wilson's wife had "schemed against and manipulated" him and Wilson; the case was settled out of court.405
Live albums and Brian Wilson Presents Smile
Early in 2000, Wilson released his first live album, Live at the Roxy Theatre.406 Later that year, he embarked on U.S. tour dates featuring the first full live performances of Pet Sounds, with Wilson backed by a 55-piece orchestra. Van Dyke Parks was commissioned to write an overture arrangement of Wilson's songs.407 Although critics praised the tour, it was poorly attended and resulted in hundreds of thousands of dollars in losses.408 In March 2001, Wilson attended a tribute show held in his honor at Radio City Music Hall in New York, where he performed "Heroes and Villains" publicly for the first time in decades.409410
The Pet Sounds tour was followed by one in Europe in 2002, with a sold-out four-night residency at the Royal Festival Hall in London.411 Recordings from these concerts were issued as the live album Brian Wilson Presents Pet Sounds Live (June 2002).412 Over the next year, Wilson continued sporadic recording sessions for his fourth solo album, Gettin' In over My Head.413 Released in June 2004, the record featured guest appearances from Parks, Paul McCartney, Eric Clapton, and Elton John.414 Some of the songs were leftovers from Wilson's collaborations with Paley and Thomas.415
To the surprise of his associates, Wilson agreed to follow the Pet Sounds tours with concert dates featuring songs from the unfinished Smile album.416 Sahanaja assisted with sequencing and Parks contributed additional lyrics.417 Brian Wilson Presents Smile (BWPS) premiered at the Royal Festival Hall in London in February 2004418 and its positive reception led to a subsequent studio album adaptation.419 Released in September, BWPS debuted at number 13 on the Billboard 200, the highest chart position for any album by the Beach Boys or Wilson since 1976's 15 Big Ones420 and the highest ever debut for a Beach Boys-related album.421 It was later certified platinum.422
In support of BWPS, Wilson embarked on a tour covering the U.S., Europe, and Japan.423 Sahanaja told Australian Musician, "In six years of touring this is the happiest we've ever seen Brian".424 In July 2005, Wilson performed at the Live 8 in Berlin, an event watched by about three million viewers on television.425 In September, he organized a charity drive for Hurricane Katrina victims, raising over $250,000.426 In November, Mike Love filed a lawsuit alleging that Wilson misappropriated his songs, likeness, the Beach Boys trademark, and the Smile album in connection with BWPS.427428 The suit was dismissed.429
Covers albums and That Lucky Old Sun
In October 2005, Arista Records released Wilson's album What I Really Want for Christmas, featuring two new originals by Wilson.430 To celebrate the 40th anniversary of Pet Sounds, he toured the album briefly in November 2006 with Al Jardine.431432 In 2007, the Southbank Centre in London commissioned Wilson to create a new song cycle in the style of Smile. Collaborating with Scott Bennett, Wilson reconfigured a collection of recently written songs into That Lucky Old Sun, a semi-autobiographical conceptual piece about California.433 A studio-recorded version of the work was released as his seventh solo album in September 2008 and received generally favorable reviews.434435
In 2009, Wilson was approached by Walt Disney Records to record a Disney songs album, agreeing only if he could also record an album of George Gershwin songs.436 The Gershwin project, Brian Wilson Reimagines Gershwin, was released in August 2010, reaching number 26 on the Billboard 200 and topping its Jazz Albums chart. Wilson then toured, performing the album in its entirety.437 In October 2011, he released In the Key of Disney, which peaked at number 83 in the U.S. This release was soon overshadowed by The Smile Sessions, issued one week later.438
2011–2025: Continued touring and final years
Beach Boys reunion, No Pier Pressure, and biopic
In mid-2011, Wilson reunited with Mike Love, Al Jardine, David Marks, and Bruce Johnston to re-record "Do It Again" in secret for a potential 50th anniversary album.439 Rumors soon circulated in the music press about a world tour by the group. In a September report, Wilson said he was not participating in the tour with his bandmates, remarking, "I don't really like working with the guys, but it all depends on how we feel and how much money's involved. Money's not the only reason I made records, but it does hold a place in our lives."440 Ultimately, Wilson agreed to the tour—which lasted until September 2012—and to record the album That's Why God Made the Radio, released in June 2012.441 By that time, Wilson had renewed his creative partnership with Joe Thomas. Although Wilson was listed as the album's producer, Thomas was credited with "recording" and Love with "executive producer".442
In June 2013, Wilson's website announced that he was recording and self-producing new material with Don Was, Al Jardine, David Marks, Blondie Chaplin, and Jeff Beck.443 It stated that the material might be split into three albums: one of new pop songs, another of mostly instrumental tracks with Beck, and another of interwoven tracks dubbed "the suite" which initially began form as the closing four tracks of That's Why God Made the Radio.444 In January 2014, Wilson declared in an interview that the Beck collaborations would not be released.445446
In September 2014, Wilson attended the premiere of Bill Pohlad's biopic Love & Mercy at the Toronto International Film Festival.447 He had contributed "One Kind of Love" to the film, which later received a Golden Globe nomination for Best Original Song.448 In October, BBC released a re-recorded version of "God Only Knows" —featuring Wilson, Brian May, Elton John, Jake Bugg, Stevie Wonder, Lorde, and others—to commemorate the launch of BBC Music.449 A week later, he was featured as a guest vocalist on Emile Haynie's single "Falling Apart".450 His cover of Paul McCartney's "Wanderlust" was included on the tribute album The Art of McCartney in November.451
Released in April 2015, No Pier Pressure marked another collaboration between Wilson and Joe Thomas, featuring guest appearances from Jardine, Marks, Chaplin, and others.452 Fans had reacted negatively to the announcement that Wilson would be recording a duets album, prompting a Facebook post—attributed to Wilson—that said, "In my life in music, I've been told too many times not to fuck with the formula, but as an artist it's my job to do that."453 The album reached the U.S. top 30, but critical reaction was mixed due to its adult contemporary arrangements and extensive use of autotune.454 Later that year, Sahanaja was asked if Wilson was reaching the end of his career as a performing artist, responding, "I gotta be honest. Each of the past five years I thought to myself, 'Well, this is probably going to be it.'"455
Pet Sounds world tours, At My Piano, and UMPG sale
In March 2016, Wilson and Al Jardine began the Pet Sounds 50th Anniversary World Tour, billed as his final performances of the album.456 In October, his second memoir, I Am Brian Wilson, written by journalist Ben Greenman after several months of interviews, was published.457458 Asked about negative remarks in Wilson's book, Love refuted that his printed statements were spoken and argued that Wilson was "not in charge of his life, like I am mine", adding that he preferred to avoid pressuring Wilson "because I know he has a lot of issues".459 In the late 2010s, Wilson remarked to a journalist that he had not "had a friend to talk to in three years".460 In a 2016 Rolling Stone interview, he responded to a retirement question by stating he would rather continue touring than sit idle.461
In 2019, Wilson embarked on a co-headlining tour with the Zombies, performing selections from Friends and Surf's Up.462 Around this time, he had had two back surgeries that left him reliant on a walker.463 Later in the year, he postponed some concert dates due to worsening mental health.464 The next month, his social media declared that he had recovered and would resume touring.465 Pausing his tours due to the COVID-19 pandemic,466 he resumed touring in August 2021.467 In November, two releases followed: At My Piano, featuring new instrumental piano recordings of his songs,468 and the soundtrack to Brian Wilson: Long Promised Road, which includes both new and previously unreleased recordings.469
At the end of 2021, Wilson sold his publishing rights to Universal Music Publishing Group for $50 million. Wilson was paid almost $32 million for his songwriter share plus $19 million for his reversion rights (his ability to reclaim his song rights within a time period after signing them away under the Copyright Act of 1976).470 In 2022, his ex-wife Marilyn, who had been awarded half of his songwriting royalties, sued Wilson for $6.7 million.471
On July 26, 2022, Wilson played his last concert, as part of a joint tour with Chicago at the Pine Knob Music Theatre in Clarkston, Michigan, where he was reported to have "sat rigid and expressionless" throughout the performance.472 Days later, he cancelled his remaining tour dates for that year, with his management citing "unforeseen health reasons".473 During a January 2023 appearance on a Beach Boys fan podcast, Wilson's daughter Carnie reported that her father was "probably not going to tour anymore, which is heartbreaking".474
In January 2024, Melinda Ledbetter died at their home.475 The following month, it was announced that Wilson had dementia and entered into another conservatorship, which began in May 2024.476477 He had completed two tracks as part of a forthcoming solo album produced by Joe Thomas and Jonathan Wilson (no relation) before the project was abandoned following Thomas' death that April.478
Death, tributes, and posthumous releases
Wilson died in his sleep in his Beverly Hills home on June 11, 2025, at the age of 82.479480481482 Al Jardine later reported that Wilson had been struggling with long-term effects of COVID-19 since his last tour: "That was the end of it. He never came back after that."483 On June 26, it was confirmed that Wilson died of respiratory arrest. Wilson also had sepsis and cystitis. Neurodegenerative disorder, obstructive sleep apnea and chronic kidney disease were also listed as other associated factors in his death.484
Family and associates, including Jardine and Mike Love, paid tribute to Wilson on social media,485 while media outlets published eulogies written by Van Dyke Parks,486 Darian Sahanaja,487 and biographer David Leaf.488 Many other musicians, artists, and celebrities offered public acknowledgements.489490491
At the time of his death, Wilson had left behind a substantial body of unreleased work, including the albums Adult/Child and Sweet Insanity, a large collection of 1980s demos, and recordings created with Dennis Wilson, Gary Usher, Andy Paley, and Joe Thomas.492 Cows in the Pasture, the unfinished album he had produced for Fred Vail in 1970, is to be released in 2025, accompanied by a docuseries about Vail and the album's making.493
Musical influences
Early influences
Wilson's chordal vocabulary derived primarily from rock and roll, doo-wop, and vocal jazz.494 At age two, he heard Glenn Miller's 1943 rendition of Gershwin's Rhapsody in Blue, an experience that left a lasting emotional impact495496—later saying, "It sort of became a general life theme".497 As a child, his favorite artists included Roy Rogers, Carl Perkins, Bill Haley, Elvis Presley, Henry Mancini, and Rosemary Clooney.498 He recalled Haley's "Rock Around the Clock" (1954) as the first music he felt compelled to learn and sing.499 His education in music composition and jazz harmony largely came from deconstructing the vocal harmonies of the Four Freshmen, whose repertoire included works by Gershwin, Jerome Kern, and Cole Porter.500501
Wilson credited his mother with introducing him to the Four Freshmen,502 attributing his love for harmonies and the human voice to their "groovy sectional sound".503 Their 1956 album Freshmen Favorites was the first pop album that Wilson listened to in its entirety504 and he regarded Voices in Love (1958) as "probably the greatest single vocal album I've ever heard".505 He greatly admired the group's arrangers, Pete Rugolo and Dick Reynolds,506 the latter's services he later employed for the Beach Boys' Christmas album and Adult/Child.507 It is likely that Wilson learned nearly the entirety of the Four Freshmen's recorded repertoire through 1961, after which his obsession with the group diminished.508 In addition to the Four Freshmen, Mike Love recalled Wilson "playing and studying a lot of Ricky Nelson, the Four Preps, and the Hi-Los".509510
Inquired for his music tastes in 1961, Wilson replied, "top 10".511 Particular favorites included Chuck Berry, the Coasters, and the Everly Brothers.512 He particularly admired Berry's "rhythm and lyrical thoughts".513 Carl said that he and his brother "were total Chuck Berry freaks" and together sang Coasters songs with Four Freshmen-style arrangements before the Beach Boys formed.514
Wilson disliked surf music. In the estimation of biographer Timothy White, he instead sought a "new plateau midway between Gershwin and the best Four Freshmen material" when forming his band.515 Gershwin's influence became more pronounced later in his career, particularly after the 1970s when he dedicated himself to learning the violin parts from Rhapsody in Blue.516 In 1994, he recorded a choral version of the piece with Van Dyke Parks.517
Spector and Bacharach
Phil Spector's influence on Wilson is widely acknowledged.518519 In 1966, he referred to Spector as "the single most influential producer",520 and in 2000, "probably the biggest influence of all", noting, "Anybody with a good ear can hear that I was influenced by Spector."521 He particularly admired his method of treating "the song as one giant instrument", valuing the enormous, spacious sound, with "the best drums I ever heard".522 Upon hearing the Ronettes' 1963 hit "Be My Baby" on his car radio, he immediately pulled over and declared it the greatest record he had ever heard.523524 Record producer Lou Adler personally introduced them only a few days later.525526
Contrary to many accounts,527 Spector's engineer, Larry Levine, recalled that Spector held Wilson in high regard and was openly effusive in his praise.528 Levine said that the two producers "had a good rapport", with Wilson often attending Spector's recording sessions and consulting him about his production methods.529530 After Spector's "You've Lost That Lovin' Feelin'" (1964) became a hit for the Righteous Brothers, Wilson called co-writers Barry Mann and Cynthia Weil to laud the record as the greatest ever and expressed his desire to work with them in the future.531 He submitted "Don't Worry Baby" and "Don't Hurt My Little Sister", both written with the Ronettes in mind, but Spector declined.532
Asked for songs that he wished he had written, Wilson listed three: "You've Lost That Lovin' Feelin'", "Be My Baby", and Burt Bacharach's "Here I Am",533534 the latter composer being often overlooked by scholars as an influence.535 Wilson named Bacharach, alongside Spector and Chuck Berry, as his main chordal influences,536 and said that Bacharach had a "profound" influence that "got me going in a direction".537538 Wilson produced renditions of Bacharach's "My Little Red Book" and "Walk On By" in 1967 and 1968, respectively, but left the recordings unreleased.539540
Others
Wilson's other significant musical influences include Frankie Valli and the Four Seasons,541 Nelson Riddle,542 the Motown sound,543544 Disney film soundtracks such as Mary Poppins (1964),545 and soul musicians such as Smokey Robinson and Stevie Wonder.546 Wendy Carlos's 1969 album Switched-On Bach, described by Wilson as "one of the most electrifying records" he had ever heard,547 influenced his use of synthesizers.548
It is often reported that the Beach Boys and the Beatles influenced each other,549 although Wilson rejected the notion.550551 He acknowledged that he had felt threatened by the Beatles' success552 and that this awareness drove him to concentrate his efforts on trying to outdo them in the studio.553 He praised Paul McCartney's stylistic versatility and commended his bass playing as "technically fantastic".554
In 1976, Wilson commented that he felt contemporary popular music had lacked the artistic integrity it once had,555 with Queen's "Bohemian Rhapsody" (1975) being one exception.556 In a 1988 interview, he named the 1982 compilation Stevie Wonder's Original Musiquarium I and Paul Simon's 1986 release Graceland among his ten favorite albums of all time.557 In 2007, he cited Billy Joel as his favorite pianist.558 By 2015, Wilson maintained that he does not listen to modern music, only "oldies but goodies".559560
Artistry
Compositional style
Wilson's writing process, as he described in 1966, started with finding a basic chord pattern and rhythm that he termed "feels", or "brief note sequences, fragments of ideas". He explained, "Once they're out of my head and into the open air, I can see them and touch them firmly."561562 He wrote later that he aspired to write songs that appear "simple, no matter how complex it really is".563
Common devices in Wilson's musical structures include jazz chords, such as sevenths and ninths.564 Wilson attributed his use of minor seventh chords to his affinity for the music of Bacharach.565 Chord inversions, particularly those featuring a tonic with a fifth in the bass, are also prevalent in his work,566 again influenced by Bacharach.567 The flattened subtonic, which is common in the music of the Four Freshmen and popular music in general, is the nondiatonic chord that appears the most in Wilson's compositions.568 Sudden breaks into a cappella segments, again borrowed from the Four Freshmen, are another feature of his music, having been employed in "Salt Lake City" (1965) and "Sloop John B" (1966).569
Many of Wilson's compositions are marked by destabilized tonal centers.570 He frequently used key changes within verses and choruses, including "truck driver's modulations", to create dynamic shifts.571 Tertian movement is another recurring technique.572
Wilson's bass parts are often melodic and given prominent focus in his arrangements.573 He also applied chromaticism in his musical structures.574 His use of chromatic bass descents are most notably displayed in "Our Prayer" (1969).575 Other songs are characterized by "syncopated exercises and counterpoints piled on top of jittery eighth-note clusters and loping shuffle grooves", features that producer Alan Boyd said took "an almost manic edge" in Wilson's work during the 1970s.576
Some of Wilson's songs incorporate a I – IV – I – V pattern, a formula derived from "Da Doo Ron Ron",577 as well as a circle of fifths sequence that begins with the mediant (iii), inspired by "Be My Baby".578 He frequently uses stepwise-falling melodic lines,579 stepwise diatonic rises,580 and whole-step root movements.581 Numerous songs alternate between supertonic and dominant chords or tonic and flattened subtonic chords, the latter featuring in the verses of "Guess I'm Dumb" and the intro to "California Girls".582
Lyrics
Wilson generally collaborated with another lyricist,583 although he occasionally composed both words and music alone.584 Most of his songs explore introspective themes,585 and several portray the male object or narrator as a "loser", evident on "She Knows Me Too Well", "Don't Hurt My Little Sister", "Merry Christmas, Baby", and "All Dressed Up for School".586 Other recurring themes in Wilson's songs include feminine objectification,587588 youthful innocence,589590 slice of life stories,591592593 and health and fitness.594595
Although the Beach Boys became known for surfing imagery, his compositions with collaborators outside the band typically avoided this subject matter.596 Unlike his contemporaries, social issues were never referenced in his lyrics.597598 In his 2008 book Dark Mirror: The Pathology of the Singer-Songwriter, Donald Brackett identifies Wilson as "the Carl Sandburg and Robert Frost of popular music—deceptively simple, colloquial in phrasing, with a spare and evocative lyrical style embedded in the culture that created it".599 Brackett opined that Wilson expressed "intense fragility" and "emotional vulnerability" to degrees that few other singer-songwriters had.600
Studios and musicians
Wilson said, "I was unable to really think as a producer up until the time where I really got familiar with Phil Spector's work. That was when I started to design the experience to be a record rather than just a song."601 He frequently attended Spector's recording sessions, observing his arranging and recording techniques, and adopted Spector's choice of studios and session musicians, later known as the Wrecking Crew.602603 Wilson established approximately one-third of a song's final arrangement during the writing process, with the remainder developed in the studio.604605
Rather than using Gold Star Studios, Spector's favored facility, Wilson chose Studio 3 at Western for its privacy and the presence of staff engineer Chuck Britz,606 who served as Wilson's principal engineer from 1962 to 1967.607608 While Britz typically handled technical tasks like level mixing and microphone placement,609 Wilson made extensive adjustments to the setup,610 usurping standard studio protocols of the era that limited console use to assigned engineers.611 Once Britz prepared an initial configuration, Wilson took control of the console, directing session musicians from the booth using an intercom or non-verbal cues alongside chord charts.612 Britz recalled that Wilson would work with the players until he achieved the desired sound, a process that frequently lasted for hours.613
Wilson first used the Wrecking Crew for productions with the Honeys in March 1963,614 and two months later, during sessions for Surfer Girl, he began gradually integrating these musicians into Beach Boys records.615616617 Until 1965, the band members typically performed the instrumentation,618[544] but as Wilson's sessions came to necessitate 11 or more different players, his reliance on the Wrecking Crew increased.619 In 1966 and 1967, he almost exclusively used these musicians for the backing tracks,[544]620 although their involvement diminished considerably after 1967.[544]
His musicians, many trained in conservatories, were impressed by his abilities.621 Unlike most other producers, Wilson never required them to devise their own parts.622 Bassist Carol Kaye recounted that the group "were in awe of Brian",623 while guitarist Jerry Cole recalled that he and his fellow players "would walk out of Brian's sessions shaking our heads, saying, 'This son of a bitch is either crazy, or he's an absolute genius.'"624625 Drummer Hal Blaine, however, recalled that all of the musicians "helped arrange, as far as I'm concerned".626
Production style
Wilson's best-known productions typically employed instruments such as saxophones and bass harmonicas.627 He usually instructed his drummer to play only the snare and floor-tom afterbeats characteristic of Spector's records.628 Reflecting further Spector influence, Wilson rarely used ride or crash cymbals629 and often combined color tones to produce novel sounds.630 Other practices he adopted from Spector included recording two echo chambers simultaneously and having standup and Fender bass play identical parts.631 His bass lines were usually played with a hard plectrum, which imparted a more percussive quality—a technique he adapted from Motown.632
His first use of a string section was on "The Surfer Moon" in mid-1963.633 Before Pet Sounds, he seldom used string ensembles,634 preferring to overdub them after recording the basic instrumental track,635 which was then followed by vocal overdubs.636 Beginning with the 1963 track "Surfin' U.S.A.", he double-tracked the vocals, resulting in a more resonant sound.637638
Starting in 1964, Wilson performed tape splices on his recordings, usually to allow difficult vocal sections to be performed by the group. By 1965, he had become more adventurous in his use of tape splicing. These experiments culminated with the complex editing processes adopted for "Good Vibrations" and Smile. Mark Linett, who engineered Wilson's recordings from the 1980s on, stated, "He certainly wasn't the first person to do edits, but it was unusual to record a song in four or five sections, and then cut it together."639
According to Wilson, after his first nervous breakdown in 1964, he had endeavored to "take the things I learned from Phil Spector" and maximize his instrumental palette.640 In Priore's assessment, Wilson reconfigured Spector's Wall of Sound techniques, aiming for "audio clarity" and "a more lush, comfortable feel".641 The 2003 book Temples of Sound states that Wilson distinguished himself from Spector through the usage of certain instruments, such as banjo, and by possessing a "clean muscle" missing in Spector's work.642 Danny Hutton remarked that anyone recording immediately after Wilson's session would fail to replicate the sound he achieved. According to Hutton, "There was a lot of subtle stuff he did. [...] He was just hands-on. He would change the reverb and the echo, and all of a sudden, something just – whoa! – got twice as big and fat."643
Singing
Wilson's vocal style was shaped by studying the Four Freshmen, from whom he developed a versatile head voice that allowed him to hit high notes without resorting to falsetto, although he did use falsetto on some Beach Boys tracks.644 He recalled that he "learned how to sing falsetto" through listening to Four Freshmen renditions.645 Rosemary Clooney also influenced his singing; by mimicking her phrasing on recordings like "Hey There", he learned "to sing with feeling".646
Initially, his singing was characterized by a pure tenor voice; later in life, he employed this range only rarely.647 Fearing that a high vocal delivery might fuel perceptions of homosexuality, he avoided it.648 After the early 1970s, his voice degraded following heavy cigarette and cocaine use,649 with 15 Big Ones marking the emergence of what biographer Peter Ames Carlin termed Wilson's "baritone croak".650 In a 1999 interview, Wilson compared his style to Bob Dylan's "harsh, raspy voice".651
Mental health
Onset of illness
Wilson was diagnosed with schizoaffective disorder and mild bipolar disorder.652 From 1965 on, he regularly experienced auditory hallucinations in the form of disembodied voices.653 Wilson referred to the voices as "heroes and villains" that contributed to "a life of scare".654
His family and associates faced challenges in discerning genuine mental health issues from potential manipulative behavior on Wilson's part.655 Subsequent to his Houston flight incident from December 1964, Marilyn arranged his first psychiatrist visit, where it was ruled that Wilson's condition was due to work-related fatigue.656 Wilson typically refused counseling, and his family believed his idiosyncrasies stemmed from drug habits or were innate to his personality.657658659 Marilyn countered accusations of neglect on her part, emphasizing her repeated efforts to get him professional help.660
According to Wilson, he was introduced to recreational drugs by an acquaintance during a Beach Boys tour.661662 His hallucinations emerged early in 1965, about a week after his first time using psychedelics.663 Loren Schwartz, his supplier, said that Wilson's first dosage was 125 micrograms of "pure Owsley" and resulted in "full-on ego death".664665 Mike Love observed signs of irregular behavior in Wilson by July, recalling an incident where Wilson deliberately crashed his car, an act Love deemed out of character.666 His drug use was initially concealed from his bandmates and family,667 including Love, who had thought Wilson to be strictly opposed to drugs.668
Wilson, in 1990, attributed LSD to his developing "a Jesus Christ complex" in the mid-1960s.669 Following the advice of Four Freshmen manager Bill Wagner, Wilson consulted with a UCLA psychiatrist on the adverse effects of LSD. The psychiatrist later told Wagner, "I don't know if he is savable. He gives me the impression he's been on it for a while, and he's entirely enamored of it."670 By 1966, Wilson acknowledged using "pills" for introspection rather than leisure and viewed psychedelic usage as benign.671 His 2016 memoir states that he abstained from consuming LSD for a second time until he was 23, around 1966 or 1967.672 Marilyn suspected he had numerous LSD experiences in the ensuing years, although she knew of only two such incidents at the time.673 Ledbetter, in 2004, claimed Wilson had taken LSD only thrice in his life.674675
As Wilson's condition worsened, he grew susceptible to paranoid delusions, believing that his auditory hallucinations were Satan coming "in the form of other people that were competing with me and had ideas of killing me".676 By 1968, following the birth of their first child, Marilyn's concerns about Wilson's mental health intensified.677 Wilson was hospitalized later that year and prescribed Thorazine for severe anxiety disorder.678 He may have self-admitted and possibly received treatments ranging from talking therapies to doses of lithium and electroconvulsive therapy during this stay.679
Post-Landy
Wilson was given the later-retracted diagnosis of paranoid schizophrenia,680 in addition to manic-depressive psychosis, when he was a patient at Brotzman Memorial Hospital in 1978.681 Landy, in 1976, had initially refuted such a diagnosis, suggesting Wilson's main issue was "being scared".682 In 1984, doctors again misdiagnosed Wilson with schizophrenia, also finding evidence of brain damage caused by drug use.683
In the late 1980s, Wilson developed facial tics (tardive dyskinesia) symptomatic of excessive psychotropic medications.684 Therapist Peter Reum stated that Wilson would have deterioriated into a "drooling, palsied mental patient", and potentially died of heart failure had he continued this drug regimen.685686 In a 2002 interview, Wilson stated, "I don't regret [the Landy program]. I loved the guy—he saved me."687 After Wilson sought medical care elsewhere, he was declared to have organic personality disorder.688689
Wilson's mental condition improved in later years, although his auditory hallucinations persisted, especially when performing onstage.690 He credited his relationship with his second wife for allowing him to resume his career as a musician. In his own words, he said that he should have spent the early 2000s "in a mental institution under heavy sedation" due to the stresses of his condition; however, "Things have started to get a little bit easier, but I'm not always in a positive, happy place."691 In 2002, he lamented that his successful treatment had inhibited his creativity and songwriting.692
Personal life
Deafness in right ear
At age 11, during a Christmas choir recital, it was found that Wilson had significantly diminished hearing in his right ear.693 The issue was diagnosed as a nerve impingement.694 The exact cause remains unclear.695696697698
Due to this infirmity, Wilson developed a habit of speaking from the side of his mouth,699700 giving the false impression that he had suffered a stroke.701 He also experienced tinnitus.702 In the late 1960s, he underwent corrective surgery that was unsuccessful in restoring his hearing.703
Relationships and children
Wilson's first serious relationship was with Judy Bowles, a high school student he had met at a baseball game in mid-1961.704 The couple were engaged during Christmas 1963 and were to be married the following December.705 She inspired his songs "Judy" (1962), "Surfer Girl" (1963), and, according to some accounts, "The Warmth of the Sun" (1964), the latter being written shortly after they had separated.706 Around then, he gradually became romantically involved with singer Marilyn Rovell, whom he had met in August 1962.707708 Inspired by a remark from Marilyn's older sister Diane, Wilson wrote "Don't Hurt My Little Sister" (1965) about his early relationship with Marilyn.709710
Wilson and Marilyn were married in December 1964. They had two daughters, Carnie and Wendy (born 1968 and 1969, respectively), who later had musical success as two-thirds of the group Wilson Phillips.711 His daughters inspired his songs "Roller Skating Child" (1977)712 and "Little Children" (1988).713
Much of the lyrical content from Pet Sounds reflected early marital strains714 that later intensified.715 Wilson later described himself as a neglectful father and husband during his first marriage.716 He had encouraged his wife to pursue extramarital affairs, including one with songwriter Tandyn Almer,717 while he engaged in an affair with her sister,718719 the subject of his song "My Diane" (1978).720 Concurrently, Wilson maintained an affair with Debbie Keil,721 who inspired his song "The Night Was So Young" (1977).722723
In July 1978, Wilson and Marilyn separated, and he filed for divorce in January 1979.724 Marilyn received custody of their children725 and a half share of Wilson's songwriting royalties.726 Wilson continued his relationship with Keil until 1981.[621] After the separation, Wilson dated one of his nurses, Carolyn Williams, until January 1983.727728 Singer Linda Ronstadt, in her 2013 memoir Simple Dreams, implied that she had briefly dated Wilson in the 1970s.[621]
Wilson initially dated Melinda Kae Ledbetter from 1986 to late 1989.729 Ledbetter attributed the premature end of their relationship to interference by Landy.730 After 1991, he and Ledbetter reconnected and married on February 6, 1995,731732 Ledbetter became Wilson's manager.733 They adopted five children.734 By 2012, Wilson had six grandchildren, two daughters of Carnie and four sons of Wendy.735 Ledbetter died on January 30, 2024.736 In his social media, Wilson declared she "was my savior. She gave me the emotional security I needed to have a career. She encouraged me to make the music that was closer to my heart".737
Spirituality
Wilson was raised in a Presbyterian family.738 In many interviews, he emphasized the spiritual essence of his music, particularly with Pet Sounds.739 He was also intrigued by astrology, numerology, and the occult, as reflected in his original concepts for Smile.740 In 1966, Wilson expressed his belief that all music "starts with religion", and while he recognized a "higher being who is better than we are", he was not traditionally religious.741
In the late 1960s, Wilson and his bandmates promoted Transcendental Meditation (TM).742 By 1968, he had equated religion and meditation,743 though he ultimately abandoned TM.744 He described himself in 1976 as having over-diversified his readings,745 maintaining then that he still believed that the coming of "the great Messiah [...] came in the form of drugs" while acknowledging that his own drug experiences "really didn't work out so well".746747748
In 2011, he said that while he had spiritual beliefs, he did not follow any particular religion.749 Asked in 2004 for his favorite book, Wilson answered "the Bible", and questioned if he believed in life after death, Wilson replied "I don't".750
Interviews
Wilson admitted to having a poor memory and occasionally lying in interviews to "test" people.751 In later years, many writers found Wilson challenging to interview, as his responses were usually curt or lacking in substance.752753 Edgers wrote in 2000 that "no writer will ever understand Brian Wilson", highlighting his often "clipped and conflicting" responses, adding that he "generally makes it clear to interviewers that he would rather be somewhere else – and that's when he's feeling good".754 Salon's Peter Gilstrap wrote in 2015 that Wilson had been known to end interviews abruptly.755756
Cultural impact and influence
Sales achievements
From 1962 to 1979, Wilson wrote or co-wrote over two dozen U.S. top 40 hits for the Beach Boys, with eleven reaching the top 10, including the number-ones "I Get Around" (1964), "Help Me, Rhonda" (1965), and "Good Vibrations" (1966).757758 Three more that he produced, but did not write, were the band's "Barbara Ann" (number 2) in 1965, "Sloop John B" (number 3) in 1966, and "Rock and Roll Music" (number 5) in 1976.759 Among his other top 10 hits, Wilson co-wrote Jan and Dean's "Surf City" (the first chart-topping surf song) and "Dead Man's Curve" (number 8) in 1963, and the Hondells' "Little Honda" (number 9) in 1964.760
Popular music, industry practices, and record production
See also: Recording studio as an instrument
Wilson is widely regarded as one of the most innovative and significant songwriters of the late 20th century.761 Fellow composers who have acknowledged his advancements include Philip Glass, Gustavo Dudamel, and Burt Bacharach, the latter of whom praised Wilson as "one of the greatest innovators" in music history.762 In discussing Wilson's harmonic ingenuity, musicologist Philip Lambert states in 2016 that his harmonic approach demonstrated an exceptional mastery, leaving a lasting imprint on popular music since.763
The level of creative control that Wilson had asserted over his own record output was unprecedented in the music industry,764765766 leading him to become the first pop artist credited for writing, arranging, producing, and performing his own material.767 Wilson's autonomy encompassed control over recording studios and personnel, including engineers and the typically intrusive A&R representative. According to biographer James Murphy, Wilson's singular artistic freedom was pivotal in reshaping both the landscape of popular music and the music industry's perception of artistic control.768
In addition to being one of the first music producer auteurs, Wilson helped popularize the idea of the recording studio as a compositional tool,769 and he was the first rock producer to use the studio in this fashion.770 Granata writes that Wilson "redefined" the role of the producer.771 Peter Doggett identifies Wilson as the quintessential figure of an era marked by "some of the most notorious pop battles" between "idealistic musicians" and the executives funding their ambitious projects.772773
Beatles producer George Martin said, "No one made a greater impact on the Beatles than Brian [...] the musician who challenged them most of all."774775776 Jimmy Webb explained, "As far as a major, modern producer who was working right in the middle of the pop milieu, no one was doing what Brian was doing. We didn't even know that it was possible until he did it."777 David Crosby called Wilson "the most highly regarded pop musician in America. Hands down."778
His accomplishments as a producer influenced many others in his field, effectively setting a precedent that allowed subsequent bands and artists to produce their own recording sessions.779 Following his exercise of total creative autonomy, Wilson ignited an explosion of like-minded California producers, supplanting New York as the center of popular records.780 Wilson was also a pioneer of "project" recording, where an artist records by himself rather than at an established studio.781
The 1967 CBS documentary Inside Pop: The Rock Revolution described Wilson as "one of today's most important pop musicians".782 Artists who have described Wilson as a "genius" have included George Martin, Leon Russell, Eric Clapton, Pete Townshend, Jimmy Page, Elton John, Tom Petty, Henry Rollins, and Questlove.783 Many other musicians have voiced admiration for Wilson's work or cited it as an influence, including Bob Dylan, Neil Young, Ray Davies, John Cale, David Byrne, Todd Rundgren, Patti Smith, Mick Jagger, Keith Richards, Bruce Springsteen, Randy Newman, Ray Charles, and Chrissie Hynde.784
Art pop, pop art, psychedelia, and progressive music
Further to his invention of new musical textures and his novel applications of quasi-symphonic orchestras, Wilson helped propel the mid-1960s art pop movement,785 and, with Pet Sounds, was immediately heralded as art rock's leading figure.786 Carlin writes that Wilson had originated an "art-rock" style that merged transcendent artistic possibilities with the mainstream appeal of pop music.787 Academic Larry Starr writes, "In a sense, Brian Wilson was the first self-conscious second-generation rock 'n' roller" as well as "the first fully realized" example of both an innovative and majorly successful pop musician.788 Starr credits Wilson with establishing a successful career model that was then followed by the Beatles and other mid-1960s British Invasion acts.789790 According to journalist Erik Davis, in addition to composing "a soundtrack to the early '60s", Wilson initiated "a delicate and joyful art pop unique in music history and presaged the mellowness so fundamental to '70s California pop".791
Van Dyke Parks stated, "Brian Wilson was not imitative, he was inventive; for people who don't write songs, it's hard to understand how inventive he really was."792 Parks elaborated that "Wilson made music as accessible as a cartoon and yet rewarded repeated listening as much as Bach", also suggesting that Wilson's sensibilities overlapped with those espoused by other pop artists of the era.793794795
Under Wilson's creative leadership, the Beach Boys became major contributors to the development of psychedelic music, although they are rarely credited for this distinction.796 Christian Matijas-Mecca, in his book about psychedelic rock, credits Wilson, alongside Bob Dylan and the Beatles, for establishing a creative standard that "enabled psychedelic artists to expand their sonic and compositional boundaries", yielding "entirely new" sounds and tone colors.797 In an editorial piece on sunshine pop, The A.V. Club's Noel Murray recognized Wilson as among "studio rats [that] set the pace for how pop music could and should sound in the Flower Power era: at once starry-eyed and wistful".798
Wilson's work with the Beach Boys, especially on Pet Sounds, "Good Vibrations" and Smile, marked the beginnings of progressive pop, a genre that is distinguished by sophisticated and unorthodox approaches to pop music.799 Writing in 1978, biographer David Leaf identified Wilson's 1960s productions as a chief influence on bands such as Queen, Electric Light Orchestra, 10cc, and Crosby, Stills, Nash & Young, among others.800801 Musicologist Bill Martin acknowledged Wilson's influence on progressive rock, particularly through his complex songwriting and basslines.802
Wilson's detachment from live performance—deploying bandmates as "attractive avatars"—presaged later producer-musicians like Max Martin. Writing in 2016, The Atlantic's Jason Guriel credits Pet Sounds with inventing "the modern pop album" by establishing auteur-driven production, anticipating "the rise of the producer [and] the modern pop-centric era, which privileges producer over artist and blurs the line between entertainment and art".803804
Naïve art, rock/pop division, and outsider music
Further information: Naïve art and Rockism and poptimism
Wilson's popularity and success is attributed partly to the perceived naïveté of his work and personality.805806807 In music journalist Barney Hoskyns's description, the "particular appeal of Wilson's genius" can be traced to his "singular naivety" and "ingenuousness", alongside his band being "the very obverse of hip".808 Commenting on the seemingly "campy and corny" quality of the Beach Boys' first records, David Marks said that Wilson had been "dead serious about them all", elaborating, "It's hard to believe that anyone could be that naive and honest, but he was. That's what made those records so successful. You could feel the sincerity in them."809810
The most culturally significant "tragedy" in 1960s rock, according to journalist Richard Goldstein, was Wilson's failure to overcome his insecurities and realize "his full potential as a composer" after having anticipated developments such as electronica and minimalism.811 Writing in 1981, sociomusicologist Simon Frith identified Wilson's withdrawal in 1967, along with Phil Spector's self-imposed retirement in 1966, as the catalysts for the "rock/pop split that has afflicted American music ever since".812
Speaking in a 1997 interview, musician Sean O'Hagan felt that rock music's domination of mass culture following the mid-1960s had the effect of artistically stifling contemporary pop composers who, until then, had been guided by Wilson's increasingly ambitious creative advancements.813 In her article which dubbed him "the godfather of sensitive pop", music journalist Patricia Cárdenas credits Wilson with ultimately inspiring many musicians to value the craft of pop songwriting as much as "the primal, hard-driving rock 'n' roll the world had come to know since then".814
By the mid-1970s, Wilson had tied with ex–Pink Floyd member Syd Barrett for rock music's foremost "mythical casualty".815 Timothy White wrote that Wilson's ensuing legend rivaled that of the California myth promoted by the Beach Boys,816 while Brackett characterized Wilson's "rise and fall and rise" as a "downright Shakespearean" story.817818
Ultimately, Wilson became regarded as the most famous outsider musician.819820 Author Irwin Chusid, who codified the term "outsider music", noted Wilson as a potentially unconvincing example of the genre due to Wilson's commercial successes, but argued that the musician should be considered an outsider due to his "tormented" background, past issues with drug dependencies, and unorthodox songwriting.821
Alternative music and continued cultural resonance
Wilson has also been declared the "godfather" of punk, indie rock, and emo.822 Principally through his early records, Wilson, alongside his collaborator Mike Love, was a key influence on the development of punk rock and the movement's evolution into indie rock.823824 According to critic Carl Wilson (no relation to the Beach Boys' Carl Wilson), "The Ramones, for instance, seized on and subverted the early Wilson template: Be True to Your School became Rock'n'Roll High School."825 The critic adds that Wilson's "vulnerability", "offbeat instruments", and "intricate harmonies", together with the Smile mythos, served as a "touchstone" for art-inclined post-punk and bands such as Pere Ubu, XTC, U2, R.E.M., the Pixies, and My Bloody Valentine.826
Later in the 20th century, Wilson was credited with "godfathering" an era of independently produced music that was heavily indebted to his melodic sensibilities, chamber pop orchestrations, and recording experiments.827 Author Nathan Wiseman-Trowse credits Wilson, alongside Spector, with having "arguably pioneered", in popular music, the "approach to the sheer physicality of sound", an integral characteristic of the dream pop genre.828 Newer acts who were influenced by Wilson, or that voiced their admiration, included Robyn Hitchcock, Redd Kross, the Church, Rain Parade, Big Dipper, the Go-Betweens, Psychic TV, the Feelies, and the dBs.829
Many of the most popular acts of the 1980s and 1990s recorded songs that celebrated or referenced Wilson's music, including R.E.M., Bruce Springsteen, Barenaked Ladies, the Jayhawks, and Wilco.830 Simultaneously, the High Llamas inspired many American touring groups, especially around Los Angeles, to recognize Wilson as an "alternative music hero".831 Stereolab and the Elephant 6 collective, whose roster included Apples in Stereo, of Montreal and the Olivia Tremor Control, were all heavily influenced by Wilson.832 In Japan, references to Wilson and his "mad boy genius" legend became a common trope among Shibuya-kei (渋谷系) musicians such as Cornelius.833 In 2000, Marina Records released Caroline Now!, an album of Wilson's songs recorded by artists including Alex Chilton, Kim Fowley, the Aluminum Group, Eric Matthews, Saint Etienne, Peter Thomas, the High Llamas, and Jad Fair of Half Japanese.834
Through acts such as Panda Bear, and especially his 2007 album Person Pitch, Wilson began to be recognized for his continued impact on the indie music vanguard.835 In 2009, Pitchfork ran an editorial feature that traced the development of nascent indie music scenes, and chillwave in particular, to the themes of Wilson's songs and his reputation for being an "emotionally fragile dude with mental health problems who coped by taking drugs".836
Wilson's influence continues to be attributed to modern dream pop acts such as Au Revoir Simone, Wild Nothing, Alvvays, and Lana Del Rey.837 In 2022, She & Him, accompanied by the release of Melt Away: A Tribute to Brian Wilson, embarked on a concert tour dedicated to renditions of Wilson's songs.838
Authorized documentary films
- Brian Wilson: I Just Wasn't Made for These Times, directed by Don Was, premiered at the Sundance Film Festival in January 1995.839 It features new interviews with Wilson and many other musicians, including Linda Ronstadt and Sonic Youth's Thurston Moore, who discuss Wilson's life and his music achievements.840
- Beautiful Dreamer: Brian Wilson and the Story of Smile, directed by David Leaf, premiered on the Showtime network in October 2004.841 It includes interviews with Wilson and dozens of his associates, albeit none of his surviving bandmates from the Beach Boys, who declined to appear in the film.842
- Brian Wilson: Long Promised Road, directed by Brent Wilson (no relation), premiered at the Tribeca Film Festival in June 2021.843 It is focused on the previous two decades of Wilson's life, with appearances from Bruce Springsteen, Elton John, Jim James, Nick Jonas, Taylor Hawkins, Don Was, and Jakob Dylan.844
Accolades
Awards and honors
- Nine-time Grammy Award nominee, two-time winner.845
Polls and critics' rankings
| Organizations | Year | Notes | Ref. |
|---|---|---|---|
| NME | 1966 | Wilson was ranked number four in "World Music Personality" reader's poll.866 | 867 |
| Rolling Stone | 2008 | Wilson was ranked number 52 in list of the "100 Greatest Singers of All Time".868 | 869 |
| NME | 2012 | Wilson was ranked number eight in list of the "50 Greatest Producers Ever".870 | 871 |
| Rolling Stone | 2015 | Wilson was ranked number 12 in the list of the "100 Greatest Songwriters of All Time". | 872 |
| Rolling Stone | 2020 | Brian Wilson Presents Smile was ranked number 399 on the list of "The 500 Greatest Albums of All Time". | 873 |
| Ultimate Classic Rock | 2022 | Wilson was ranked second in the list of the best producers in rock history. | 874 |
| Rolling Stone | 2023 | Wilson was ranked number 57 in the list of the "200 Greatest Singers of All Time".875 | 876 |
Notes
Discography
Main article: Brian Wilson discography
See also: List of songs recorded by Brian Wilson
- Brian Wilson (1988)
- I Just Wasn't Made for These Times (1995) (soundtrack)
- Orange Crate Art (1995) (with Van Dyke Parks)
- Imagination (1998)
- Gettin' In over My Head (2004)
- Brian Wilson Presents Smile (2004)
- What I Really Want for Christmas (2005)
- That Lucky Old Sun (2008)
- Brian Wilson Reimagines Gershwin (2010)
- In the Key of Disney (2011)
- No Pier Pressure (2015)
- At My Piano (2021)
Filmography
| Year | Title | Role | Notes | Ref |
|---|---|---|---|---|
| Film | ||||
| 1965 | The Girls on the Beach | himself (with the Beach Boys) | Beach comedy film | 877 |
| 1965 | The Monkey's Uncle | himself (with the Beach Boys) | Beach comedy film | 878 |
| 1987 | The Return of Bruno | himself | Mockumentary film | 879 |
| 1994 | Theremin: An Electronic Odyssey | himself | Documentary | 880881 |
| 1995 | Brian Wilson: I Just Wasn't Made for These Times | himself | Documentary | 882 |
| 2004 | Beautiful Dreamer: Brian Wilson and the Story of Smile | himself | Documentary | 883 |
| 2006 | Tales of the Rat Fink | The Surfite (voice) | 884 | |
| 2018 | Echo in the Canyon | himself | Documentary | 885 |
| 2021 | Brian Wilson: Long Promised Road | himself | Documentary | 886 |
| 2024 | The Beach Boys | himself | Documentary | 887 |
| Television | ||||
| 1967 | Inside Pop: The Rock Revolution | himself | Television movie | 888 |
| 1988 | The New Leave It to Beaver | Mr. Hawthorne | Episode: "Day Dreamin'" | 889 |
| 1988 | Full House | himself (with the Beach Boys) | Episode: "Beach Boy Bingo" | 890 |
| 1995 | Baywatch | himself (with the Beach Boys) | Episode: "Surf's Up" | 891 |
| 2005 | Duck Dodgers | himself (voice) | Episode: "Surf the Stars" | 892893 |
See also
- California portal
- List of people with absolute pitch
- List of people with bipolar disorder
- List of recluses
- List of unreleased songs recorded by the Beach Boys
- Pet Projects: The Brian Wilson Productions
- Playback: The Brian Wilson Anthology
Notes
Bibliography
- Badman, Keith (2004). The Beach Boys: The Definitive Diary of America's Greatest Band, on Stage and in the Studio. Backbeat Books. ISBN 978-0-87930-818-6.
- Barrow, Tony; Bextor, Robin (2004). Paul McCartney: Now and Then. Hal Leonard Corporation. ISBN 978-0-634-06919-2.
- Brackett, Donald (2008). "The Dream Teller: Brian Wilson". Dark Mirror: The Pathology of the Singer-Songwriter. Westport, Connecticut: Praeger. pp. 27–39. ISBN 9780275998981.
- Carlin, Peter Ames (2006). Catch a Wave: The Rise, Fall, and Redemption of the Beach Boys' Brian Wilson. Rodale. ISBN 978-1-59486-320-2.
- Chusid, Irwin (2000). Songs in the Key of Z: The Curious Universe of Outsider Music. Chicago Review Press. ISBN 978-1-55652-372-4.
- Cogan, Jim; Clark, William (2003). Temples of Sound: Inside the Great Recording Studios. Chronicle Books. ISBN 978-0-8118-3394-3.
- Cohn, Nik (1970). Awopbopaloobop Alopbamboom: The Golden Age of Rock. Grove Press. ISBN 978-0-8021-3830-9.
- Dillon, Mark (2012). Fifty Sides of the Beach Boys: The Songs That Tell Their Story. ECW Press. ISBN 978-1-77090-198-8.
- Doggett, Peter (2016). Electric Shock: From the Gramophone to the iPhone: 125 years of Pop Music. London: Vintage. ISBN 9780099575191.
- Edmondson, Jacqueline, ed. (2013). Music in American Life: An Encyclopedia of the Songs, Styles, Stars, and Stories that Shaped our Culture. ABC-CLIO. ISBN 978-0-313-39348-8.
- Gaines, Steven (1986). Heroes and Villains: The True Story of The Beach Boys. New York: Da Capo Press. ISBN 0306806479.
- Granata, Charles L. (2003). Wouldn't It Be Nice: Brian Wilson and the Making of the Beach Boys' Pet Sounds. A Cappella Books. ISBN 9781556525070.
- Holdship, Bill (1997) [1991]. "Bittersweet Insanity: The Fight for Brian Wilson's Soul". In Abbott, Kingsley (ed.). Back to the Beach: A Brian Wilson and the Beach Boys Reader (1st ed.). London: Helter Skelter. pp. 205–212. ISBN 978-1-900924-02-3.
- Highwater, Jamake (1968). Rock and Other Four Letter Words: Music of the Electric Generation. Bantam Books. ISBN 0-552-04334-6.
- Hoskyns, Barney (2009). Waiting for the Sun: A Rock 'n' Roll History of Los Angeles. Backbeat Books. ISBN 978-0-87930-943-5.
- Howard, David N. (2004). Sonic Alchemy: Visionary Music Producers and Their Maverick Recordings (1 ed.). Milwaukee, Wisconsin: Hal Leonard. ISBN 978-0-63405-560-7.
- Jackson, Andrew Grant (2015). 1965: The Most Revolutionary Year in Music. St. Martin's Publishing Group. ISBN 978-1-4668-6497-9.
- Jones, Carys Wyn (2008). The Rock Canon: Canonical Values in the Reception of Rock Albums. Ashgate Publishing, Ltd. ISBN 978-0-7546-6244-0.
- Kent, Nick (2009). "The Last Beach Movie Revisited: The Life of Brian Wilson". The Dark Stuff: Selected Writings on Rock Music. Da Capo Press. ISBN 9780786730742.
- Lambert, Philip (2007). Inside the Music of Brian Wilson: the Songs, Sounds, and Influences of the Beach Boys' Founding Genius. Continuum. ISBN 978-0-8264-1876-0.
- Lambert, Philip (2016). "Brian Wilson's Harmonic Language". In Lambert, Philip (ed.). Good Vibrations: Brian Wilson and the Beach Boys in Critical Perspective. University of Michigan Press. ISBN 978-0-472-11995-0.
- Leaf, David (1978). The Beach Boys and the California Myth. New York: Grosset & Dunlap. ISBN 978-0-448-14626-3.
- Leaf, David (2022). God Only Knows: The Story of Brian Wilson, the Beach Boys and the California Myth (3rd ed.). Omnibus Press. ISBN 9781913172756.
- Love, Mike (2016). Good Vibrations: My Life as a Beach Boy. Penguin Publishing Group. ISBN 978-0-698-40886-9.
- MacLeod, Sean (2017). Phil Spector: Sound of the Sixties. Rowman & Littlefield Publishers. ISBN 978-1-4422-6706-0.
- Martin, Bill (2015). Avant Rock: Experimental Music from the Beatles to Bjork. Open Court Publishing Company. ISBN 978-0-8126-9939-5.
- Matijas-Mecca, Christian (2017). The Words and Music of Brian Wilson. ABC-CLIO. ISBN 978-1-4408-3899-6.
- Matijas-Mecca, Christian (2020). Listen to Psychedelic Rock! Exploring a Musical Genre. ABC-CLIO. ISBN 9781440861987.
- Moorefield, Virgil (2010). The Producer as Composer: Shaping the Sounds of Popular Music. MIT Press. ISBN 978-0-262-51405-7.
- Murphy, James B. (2015). Becoming the Beach Boys, 1961-1963. McFarland. ISBN 978-0-7864-7365-6.
- Sanchez, Luis (2014). The Beach Boys' Smile. Bloomsbury Publishing. ISBN 978-1-62356-956-3.
- Toop, David (1999). Exotica: Fabricated Soundscapes in a Real World: Fabricated Soundscapes in the Real World (1st ed.). London: Serpent's Tail. ISBN 978-1852425951.
- Perone, James E. (2012). The Album: A Guide to Pop Music's Most Provocative, Influential, and Important Creations. ABC-CLIO. ISBN 978-0-313-37907-9.
- Perone, James E. (2015). "The Beach Boys". In Moskowitz, David V. (ed.). The 100 Greatest Bands of All Time: A Guide to the Legends Who Rocked the World. ABC-CLIO. ISBN 978-1-4408-0340-6.
- Priore, Domenic (2005). Smile: The Story of Brian Wilson's Lost Masterpiece. London: Sanctuary. ISBN 1860746276.
- Starr, Larry (2007) [first published in 2006]. American Popular Music: From Minstrelsy to MP3 (2nd ed.). New York: Oxford University Press. ISBN 9780195300536.
- Stebbins, Jon (2000). Dennis Wilson: The Real Beach Boy. ECW Press. ISBN 978-1-55022-404-7.
- Stebbins, Jon (2011). The Beach Boys FAQ: All That's Left to Know About America's Band. Backbeat Books. ISBN 9781458429148.
- Thompson, Dave (2004). Wall of Pain: The Biography of Phil Spector (Paperback ed.). London: Sanctuary. ISBN 978-1-86074-543-0.
- White, Timothy (1996). The Nearest Faraway Place: Brian Wilson, the Beach Boys, and the Southern Californian Experience. Macmillan. ISBN 0333649370.
- Wilson, Brian; Gold, Todd (1991). Wouldn't It Be Nice: My Own Story. New York: HarperCollins. ISBN 978-0-06018-313-4.
- Wilson, Brian; Greenman, Ben (2016). I Am Brian Wilson: A Memoir. Da Capo Press. ISBN 978-0-306-82307-7.
Further reading
Books
- Curnutt, Kirk (2012). Brian Wilson (Icons of Pop Music). Equinox Pub. ISBN 978-1-908049-91-9.
- Miller, Jim (1992). "The Beach Boys". In DeCurtis, Anthony; Henke, James; George-Warren, Holly (eds.). The Rolling Stone Illustrated History of Rock & Roll: The Definitive History of the Most Important Artists and Their Music. New York: Random House. ISBN 978-0-67973-728-5.
- Williams, Paul (2000). The 20th Century's Greatest Hits: A Top 40 List. Macmillan. ISBN 978-1-46683-188-9.
- Zager, Michael (2011). Music Production: For Producers, Composers, Arrangers, and Students (2nd ed.). Scarecrow Press. ISBN 978-0-8108-8201-0.
Journals
- Carlin, Peter Ames (August–September 2004). "Brian Wilson's Wave". American Heritage. Vol. 55, no. 4. Archived from the original on March 4, 2006.
Web articles
- McCormick, Scott (September 19, 2017). "The ingenious musical arrangements of Brian Wilson and The Beach Boys". Disc Makers Blog.
- McCormick, Scott (October 18, 2017). "Brian Wilson's songwriting tricks and techniques". Disc Makers Blog.
- "Brian Wilson: "LSD fucked with my brain"". NME. June 25, 2011. Archived from the original on May 9, 2013. Retrieved June 30, 2013.
External links
- Official website
- Brian Wilson at AllMusic
- Brian Wilson discography at Discogs
- Brian Wilson at IMDb
- Brian Wilson discography at MusicBrainz
References
Murphy 2015, p. 27. - Murphy, James B. (2015). Becoming the Beach Boys, 1961-1963. McFarland. ISBN 978-0-7864-7365-6. https://books.google.com/books?id=273eCQAAQBAJ ↩
Gaines 1986, p. 40. - Gaines, Steven (1986). Heroes and Villains: The True Story of The Beach Boys. New York: Da Capo Press. ISBN 0306806479. https://archive.org/details/heroesvillainsth00gain ↩
Badman 2004, p. 10. - Badman, Keith (2004). The Beach Boys: The Definitive Diary of America's Greatest Band, on Stage and in the Studio. Backbeat Books. ISBN 978-0-87930-818-6. https://archive.org/details/beachboysdefinit0000badm ↩
Leaf 1978, p. 14. - Leaf, David (1978). The Beach Boys and the California Myth. New York: Grosset & Dunlap. ISBN 978-0-448-14626-3. https://archive.org/details/beachboyscalifor00leaf ↩
Badman 2004, p. 10. - Badman, Keith (2004). The Beach Boys: The Definitive Diary of America's Greatest Band, on Stage and in the Studio. Backbeat Books. ISBN 978-0-87930-818-6. https://archive.org/details/beachboysdefinit0000badm ↩
Granata 2003, p. 21. - Granata, Charles L. (2003). Wouldn't It Be Nice: Brian Wilson and the Making of the Beach Boys' Pet Sounds. A Cappella Books. ISBN 9781556525070. https://archive.org/details/wouldntitbenice00char ↩
Wilson & Greenman 2016, pp. 136–137. - Wilson, Brian; Greenman, Ben (2016). I Am Brian Wilson: A Memoir. Da Capo Press. ISBN 978-0-306-82307-7. https://books.google.com/books?id=9CmiBQAAQBAJ ↩
Lambert 2007, pp. 2, 8. - Lambert, Philip (2007). Inside the Music of Brian Wilson: the Songs, Sounds, and Influences of the Beach Boys' Founding Genius. Continuum. ISBN 978-0-8264-1876-0. https://books.google.com/books?id=7XsZAQAAIAAJ ↩
Carlin 2006, p. 11. - Carlin, Peter Ames (2006). Catch a Wave: The Rise, Fall, and Redemption of the Beach Boys' Brian Wilson. Rodale. ISBN 978-1-59486-320-2. https://books.google.com/books?id=eYyovo_AbqAC ↩
Some sources indicate the tune was the "Marine Corps Hymn".[10] /wiki/Marine_Corps_Hymn ↩
Leaf 1978, pp. 17–18. - Leaf, David (1978). The Beach Boys and the California Myth. New York: Grosset & Dunlap. ISBN 978-0-448-14626-3. https://archive.org/details/beachboyscalifor00leaf ↩
Leaf 1978, pp. 15–17. - Leaf, David (1978). The Beach Boys and the California Myth. New York: Grosset & Dunlap. ISBN 978-0-448-14626-3. https://archive.org/details/beachboyscalifor00leaf ↩
According to his mother, "The [accordion instructor] said, 'I don't think he's reading. He hears it just once and plays the whole thing perfectly.'"[10] ↩
Granata 2003, p. 22. - Granata, Charles L. (2003). Wouldn't It Be Nice: Brian Wilson and the Making of the Beach Boys' Pet Sounds. A Cappella Books. ISBN 9781556525070. https://archive.org/details/wouldntitbenice00char ↩
Lambert 2007, p. 2. - Lambert, Philip (2007). Inside the Music of Brian Wilson: the Songs, Sounds, and Influences of the Beach Boys' Founding Genius. Continuum. ISBN 978-0-8264-1876-0. https://books.google.com/books?id=7XsZAQAAIAAJ ↩
Dillon 2012, p. xv. - Dillon, Mark (2012). Fifty Sides of the Beach Boys: The Songs That Tell Their Story. ECW Press. ISBN 978-1-77090-198-8. https://archive.org/details/fiftysidesofbeac0000dill/ ↩
Granata 2003, pp. 19–20. - Granata, Charles L. (2003). Wouldn't It Be Nice: Brian Wilson and the Making of the Beach Boys' Pet Sounds. A Cappella Books. ISBN 9781556525070. https://archive.org/details/wouldntitbenice00char ↩
Lambert 2007, pp. 3–4. - Lambert, Philip (2007). Inside the Music of Brian Wilson: the Songs, Sounds, and Influences of the Beach Boys' Founding Genius. Continuum. ISBN 978-0-8264-1876-0. https://books.google.com/books?id=7XsZAQAAIAAJ ↩
Carl remarked that by the age of 10, his brother "could play great boogie-woogie piano!"[13][17] ↩
White 1996, p. 88. - White, Timothy (1996). The Nearest Faraway Place: Brian Wilson, the Beach Boys, and the Southern Californian Experience. Macmillan. ISBN 0333649370. https://archive.org/details/nearestfarawaypl0000whit/ ↩
In his 1991 memoir, he recalls writing his first song for a fourth-grade school project concerning Paul Bunyan.[19] In a 2005 interview, he said that he began composing original music at age twelve, in 1955.[20] /wiki/Paul_Bunyan ↩
Granata 2003, p. 23. - Granata, Charles L. (2003). Wouldn't It Be Nice: Brian Wilson and the Making of the Beach Boys' Pet Sounds. A Cappella Books. ISBN 9781556525070. https://archive.org/details/wouldntitbenice00char ↩
Wilson & Greenman 2016, p. 78. - Wilson, Brian; Greenman, Ben (2016). I Am Brian Wilson: A Memoir. Da Capo Press. ISBN 978-0-306-82307-7. https://books.google.com/books?id=9CmiBQAAQBAJ ↩
Badman 2004, p. 11. - Badman, Keith (2004). The Beach Boys: The Definitive Diary of America's Greatest Band, on Stage and in the Studio. Backbeat Books. ISBN 978-0-87930-818-6. https://archive.org/details/beachboysdefinit0000badm ↩
Carlin 2006, p. 15. - Carlin, Peter Ames (2006). Catch a Wave: The Rise, Fall, and Redemption of the Beach Boys' Brian Wilson. Rodale. ISBN 978-1-59486-320-2. https://books.google.com/books?id=eYyovo_AbqAC ↩
Michael Thomas Meggison. "#71 Royal Descents, Notable Kin, and Printed Sources: The Immediate New England and Royal Ancestry of the Beach Boys". American Ancestors. New England Historic Genealogical Society. Archived from the original on August 23, 2014. https://web.archive.org/web/20140823011549/http://www.americanancestors.org/ancestry-beach-boys/ ↩
Carlin 2006, p. 15. - Carlin, Peter Ames (2006). Catch a Wave: The Rise, Fall, and Redemption of the Beach Boys' Brian Wilson. Rodale. ISBN 978-1-59486-320-2. https://books.google.com/books?id=eYyovo_AbqAC ↩
White 1996, p. 144. - White, Timothy (1996). The Nearest Faraway Place: Brian Wilson, the Beach Boys, and the Southern Californian Experience. Macmillan. ISBN 0333649370. https://archive.org/details/nearestfarawaypl0000whit/ ↩
His 2016 memoir says his "first real job" was at a lumberyard.[27] ↩
Wilson & Greenman 2016, p. 136. - Wilson, Brian; Greenman, Ben (2016). I Am Brian Wilson: A Memoir. Da Capo Press. ISBN 978-0-306-82307-7. https://books.google.com/books?id=9CmiBQAAQBAJ ↩
Murphy 2015, p. 45. - Murphy, James B. (2015). Becoming the Beach Boys, 1961-1963. McFarland. ISBN 978-0-7864-7365-6. https://books.google.com/books?id=273eCQAAQBAJ ↩
White 1996, p. 98. - White, Timothy (1996). The Nearest Faraway Place: Brian Wilson, the Beach Boys, and the Southern Californian Experience. Macmillan. ISBN 0333649370. https://archive.org/details/nearestfarawaypl0000whit/ ↩
Carlin 2006, p. 22. - Carlin, Peter Ames (2006). Catch a Wave: The Rise, Fall, and Redemption of the Beach Boys' Brian Wilson. Rodale. ISBN 978-1-59486-320-2. https://books.google.com/books?id=eYyovo_AbqAC ↩
Badman 2004, p. 14. - Badman, Keith (2004). The Beach Boys: The Definitive Diary of America's Greatest Band, on Stage and in the Studio. Backbeat Books. ISBN 978-0-87930-818-6. https://archive.org/details/beachboysdefinit0000badm ↩
Carlin 2006, p. 23. - Carlin, Peter Ames (2006). Catch a Wave: The Rise, Fall, and Redemption of the Beach Boys' Brian Wilson. Rodale. ISBN 978-1-59486-320-2. https://books.google.com/books?id=eYyovo_AbqAC ↩
Murphy 2015, p. 15. - Murphy, James B. (2015). Becoming the Beach Boys, 1961-1963. McFarland. ISBN 978-0-7864-7365-6. https://books.google.com/books?id=273eCQAAQBAJ ↩
Carlin 2006, p. 24. - Carlin, Peter Ames (2006). Catch a Wave: The Rise, Fall, and Redemption of the Beach Boys' Brian Wilson. Rodale. ISBN 978-1-59486-320-2. https://books.google.com/books?id=eYyovo_AbqAC ↩
White 1996, p. 1. - White, Timothy (1996). The Nearest Faraway Place: Brian Wilson, the Beach Boys, and the Southern Californian Experience. Macmillan. ISBN 0333649370. https://archive.org/details/nearestfarawaypl0000whit/ ↩
Badman 2004, p. 15. - Badman, Keith (2004). The Beach Boys: The Definitive Diary of America's Greatest Band, on Stage and in the Studio. Backbeat Books. ISBN 978-0-87930-818-6. https://archive.org/details/beachboysdefinit0000badm ↩
Leaf 1978, p. 27. - Leaf, David (1978). The Beach Boys and the California Myth. New York: Grosset & Dunlap. ISBN 978-0-448-14626-3. https://archive.org/details/beachboyscalifor00leaf ↩
Murphy 2015, p. 135. - Murphy, James B. (2015). Becoming the Beach Boys, 1961-1963. McFarland. ISBN 978-0-7864-7365-6. https://books.google.com/books?id=273eCQAAQBAJ ↩
Murphy 2015, pp. 84–86. - Murphy, James B. (2015). Becoming the Beach Boys, 1961-1963. McFarland. ISBN 978-0-7864-7365-6. https://books.google.com/books?id=273eCQAAQBAJ ↩
Murphy 2015, pp. 84–90. - Murphy, James B. (2015). Becoming the Beach Boys, 1961-1963. McFarland. ISBN 978-0-7864-7365-6. https://books.google.com/books?id=273eCQAAQBAJ ↩
Carlin 2006, pp. 30–31. - Carlin, Peter Ames (2006). Catch a Wave: The Rise, Fall, and Redemption of the Beach Boys' Brian Wilson. Rodale. ISBN 978-1-59486-320-2. https://books.google.com/books?id=eYyovo_AbqAC ↩
Badman 2004, pp. 16–17. - Badman, Keith (2004). The Beach Boys: The Definitive Diary of America's Greatest Band, on Stage and in the Studio. Backbeat Books. ISBN 978-0-87930-818-6. https://archive.org/details/beachboysdefinit0000badm ↩
Badman 2004, p. 19. - Badman, Keith (2004). The Beach Boys: The Definitive Diary of America's Greatest Band, on Stage and in the Studio. Backbeat Books. ISBN 978-0-87930-818-6. https://archive.org/details/beachboysdefinit0000badm ↩
Badman 2004, pp. 22–23. - Badman, Keith (2004). The Beach Boys: The Definitive Diary of America's Greatest Band, on Stage and in the Studio. Backbeat Books. ISBN 978-0-87930-818-6. https://archive.org/details/beachboysdefinit0000badm ↩
Badman 2004, pp. 24, 28. - Badman, Keith (2004). The Beach Boys: The Definitive Diary of America's Greatest Band, on Stage and in the Studio. Backbeat Books. ISBN 978-0-87930-818-6. https://archive.org/details/beachboysdefinit0000badm ↩
Murphy 2015, p. 206. - Murphy, James B. (2015). Becoming the Beach Boys, 1961-1963. McFarland. ISBN 978-0-7864-7365-6. https://books.google.com/books?id=273eCQAAQBAJ ↩
Badman 2004, p. 26. - Badman, Keith (2004). The Beach Boys: The Definitive Diary of America's Greatest Band, on Stage and in the Studio. Backbeat Books. ISBN 978-0-87930-818-6. https://archive.org/details/beachboysdefinit0000badm ↩
Their rooms had been designed for large orchestras and ensembles of the 1950s, not small rock groups.[50] ↩
Badman 2004, p. 26. - Badman, Keith (2004). The Beach Boys: The Definitive Diary of America's Greatest Band, on Stage and in the Studio. Backbeat Books. ISBN 978-0-87930-818-6. https://archive.org/details/beachboysdefinit0000badm ↩
Badman 2004, p. 26. - Badman, Keith (2004). The Beach Boys: The Definitive Diary of America's Greatest Band, on Stage and in the Studio. Backbeat Books. ISBN 978-0-87930-818-6. https://archive.org/details/beachboysdefinit0000badm ↩
Murphy 2015, p. 300. - Murphy, James B. (2015). Becoming the Beach Boys, 1961-1963. McFarland. ISBN 978-0-7864-7365-6. https://books.google.com/books?id=273eCQAAQBAJ ↩
Carlin 2006, p. 43. - Carlin, Peter Ames (2006). Catch a Wave: The Rise, Fall, and Redemption of the Beach Boys' Brian Wilson. Rodale. ISBN 978-1-59486-320-2. https://books.google.com/books?id=eYyovo_AbqAC ↩
White 1996, pp. 111, 172. - White, Timothy (1996). The Nearest Faraway Place: Brian Wilson, the Beach Boys, and the Southern Californian Experience. Macmillan. ISBN 0333649370. https://archive.org/details/nearestfarawaypl0000whit/ ↩
Murphy 2015, p. 286. - Murphy, James B. (2015). Becoming the Beach Boys, 1961-1963. McFarland. ISBN 978-0-7864-7365-6. https://books.google.com/books?id=273eCQAAQBAJ ↩
White 1996, pp. 146, 161. - White, Timothy (1996). The Nearest Faraway Place: Brian Wilson, the Beach Boys, and the Southern Californian Experience. Macmillan. ISBN 0333649370. https://archive.org/details/nearestfarawaypl0000whit/ ↩
Murphy 2015, pp. 227–228. - Murphy, James B. (2015). Becoming the Beach Boys, 1961-1963. McFarland. ISBN 978-0-7864-7365-6. https://books.google.com/books?id=273eCQAAQBAJ ↩
Dillon 2012, p. 20. - Dillon, Mark (2012). Fifty Sides of the Beach Boys: The Songs That Tell Their Story. ECW Press. ISBN 978-1-77090-198-8. https://archive.org/details/fiftysidesofbeac0000dill/ ↩
Murphy 2015, pp. 215, 217–218, 254–255, 300. - Murphy, James B. (2015). Becoming the Beach Boys, 1961-1963. McFarland. ISBN 978-0-7864-7365-6. https://books.google.com/books?id=273eCQAAQBAJ ↩
Badman 2004, p. 24. - Badman, Keith (2004). The Beach Boys: The Definitive Diary of America's Greatest Band, on Stage and in the Studio. Backbeat Books. ISBN 978-0-87930-818-6. https://archive.org/details/beachboysdefinit0000badm ↩
Murphy 2015, p. 199. - Murphy, James B. (2015). Becoming the Beach Boys, 1961-1963. McFarland. ISBN 978-0-7864-7365-6. https://books.google.com/books?id=273eCQAAQBAJ ↩
Murphy 2015, pp. 216–218. - Murphy, James B. (2015). Becoming the Beach Boys, 1961-1963. McFarland. ISBN 978-0-7864-7365-6. https://books.google.com/books?id=273eCQAAQBAJ ↩
Murphy 2015, p. 243. - Murphy, James B. (2015). Becoming the Beach Boys, 1961-1963. McFarland. ISBN 978-0-7864-7365-6. https://books.google.com/books?id=273eCQAAQBAJ ↩
Leaf 1978, p. 26. - Leaf, David (1978). The Beach Boys and the California Myth. New York: Grosset & Dunlap. ISBN 978-0-448-14626-3. https://archive.org/details/beachboyscalifor00leaf ↩
Murphy 2015, pp. 228, 243. - Murphy, James B. (2015). Becoming the Beach Boys, 1961-1963. McFarland. ISBN 978-0-7864-7365-6. https://books.google.com/books?id=273eCQAAQBAJ ↩
Badman 2004, p. 27. - Badman, Keith (2004). The Beach Boys: The Definitive Diary of America's Greatest Band, on Stage and in the Studio. Backbeat Books. ISBN 978-0-87930-818-6. https://archive.org/details/beachboysdefinit0000badm ↩
White 1996, p. 161. - White, Timothy (1996). The Nearest Faraway Place: Brian Wilson, the Beach Boys, and the Southern Californian Experience. Macmillan. ISBN 0333649370. https://archive.org/details/nearestfarawaypl0000whit/ ↩
Badman 2004, pp. 32–34. - Badman, Keith (2004). The Beach Boys: The Definitive Diary of America's Greatest Band, on Stage and in the Studio. Backbeat Books. ISBN 978-0-87930-818-6. https://archive.org/details/beachboysdefinit0000badm ↩
Badman 2004, p. 34. - Badman, Keith (2004). The Beach Boys: The Definitive Diary of America's Greatest Band, on Stage and in the Studio. Backbeat Books. ISBN 978-0-87930-818-6. https://archive.org/details/beachboysdefinit0000badm ↩
Badman 2004, p. 32. - Badman, Keith (2004). The Beach Boys: The Definitive Diary of America's Greatest Band, on Stage and in the Studio. Backbeat Books. ISBN 978-0-87930-818-6. https://archive.org/details/beachboysdefinit0000badm ↩
Gaines 1986, p. 40. - Gaines, Steven (1986). Heroes and Villains: The True Story of The Beach Boys. New York: Da Capo Press. ISBN 0306806479. https://archive.org/details/heroesvillainsth00gain ↩
White 1996, p. 172. - White, Timothy (1996). The Nearest Faraway Place: Brian Wilson, the Beach Boys, and the Southern Californian Experience. Macmillan. ISBN 0333649370. https://archive.org/details/nearestfarawaypl0000whit/ ↩
Badman 2004, pp. 34, 37, 39. - Badman, Keith (2004). The Beach Boys: The Definitive Diary of America's Greatest Band, on Stage and in the Studio. Backbeat Books. ISBN 978-0-87930-818-6. https://archive.org/details/beachboysdefinit0000badm ↩
Murphy 2015, p. 322. - Murphy, James B. (2015). Becoming the Beach Boys, 1961-1963. McFarland. ISBN 978-0-7864-7365-6. https://books.google.com/books?id=273eCQAAQBAJ ↩
Badman 2004, pp. 34, 37, 39. - Badman, Keith (2004). The Beach Boys: The Definitive Diary of America's Greatest Band, on Stage and in the Studio. Backbeat Books. ISBN 978-0-87930-818-6. https://archive.org/details/beachboysdefinit0000badm ↩
Murphy 2015, p. 275. - Murphy, James B. (2015). Becoming the Beach Boys, 1961-1963. McFarland. ISBN 978-0-7864-7365-6. https://books.google.com/books?id=273eCQAAQBAJ ↩
Gaines 1986, pp. 98–99. - Gaines, Steven (1986). Heroes and Villains: The True Story of The Beach Boys. New York: Da Capo Press. ISBN 0306806479. https://archive.org/details/heroesvillainsth00gain ↩
Gaines 1986, pp. 99, 119. - Gaines, Steven (1986). Heroes and Villains: The True Story of The Beach Boys. New York: Da Capo Press. ISBN 0306806479. https://archive.org/details/heroesvillainsth00gain ↩
Badman 2004, p. 52. - Badman, Keith (2004). The Beach Boys: The Definitive Diary of America's Greatest Band, on Stage and in the Studio. Backbeat Books. ISBN 978-0-87930-818-6. https://archive.org/details/beachboysdefinit0000badm ↩
Lambert 2007, p. 149. - Lambert, Philip (2007). Inside the Music of Brian Wilson: the Songs, Sounds, and Influences of the Beach Boys' Founding Genius. Continuum. ISBN 978-0-8264-1876-0. https://books.google.com/books?id=7XsZAQAAIAAJ ↩
Badman 2004, pp. 37–41. - Badman, Keith (2004). The Beach Boys: The Definitive Diary of America's Greatest Band, on Stage and in the Studio. Backbeat Books. ISBN 978-0-87930-818-6. https://archive.org/details/beachboysdefinit0000badm ↩
Badman 2004, pp. 40–41. - Badman, Keith (2004). The Beach Boys: The Definitive Diary of America's Greatest Band, on Stage and in the Studio. Backbeat Books. ISBN 978-0-87930-818-6. https://archive.org/details/beachboysdefinit0000badm ↩
Badman 2004, pp. 39–42. - Badman, Keith (2004). The Beach Boys: The Definitive Diary of America's Greatest Band, on Stage and in the Studio. Backbeat Books. ISBN 978-0-87930-818-6. https://archive.org/details/beachboysdefinit0000badm ↩
Badman 2004, pp. 39–42. - Badman, Keith (2004). The Beach Boys: The Definitive Diary of America's Greatest Band, on Stage and in the Studio. Backbeat Books. ISBN 978-0-87930-818-6. https://archive.org/details/beachboysdefinit0000badm ↩
Murphy 2015, p. 315. - Murphy, James B. (2015). Becoming the Beach Boys, 1961-1963. McFarland. ISBN 978-0-7864-7365-6. https://books.google.com/books?id=273eCQAAQBAJ ↩
Murphy 2015, p. 322. - Murphy, James B. (2015). Becoming the Beach Boys, 1961-1963. McFarland. ISBN 978-0-7864-7365-6. https://books.google.com/books?id=273eCQAAQBAJ ↩
This includes records by the Honeys, Jan and Dean, the Survivors, Sharon Marie, the Timers, the Castells ("I Do"), Bob Norberg, Vickie Kocher, Gary Usher, Christian, Paul Petersen ("She Rides with Me"), and Larry Denton ("Endless Sleep").[73] He also founded Brian Wilson Productions, a record production company with offices on Sunset Boulevard, and Ocean Music, a publishing entity for his work with artists outside the Beach Boys.[83] /wiki/I_Do_(The_Castells_song) ↩
Badman 2004, pp. 46–72. - Badman, Keith (2004). The Beach Boys: The Definitive Diary of America's Greatest Band, on Stage and in the Studio. Backbeat Books. ISBN 978-0-87930-818-6. https://archive.org/details/beachboysdefinit0000badm ↩
Badman 2004, p. 51. - Badman, Keith (2004). The Beach Boys: The Definitive Diary of America's Greatest Band, on Stage and in the Studio. Backbeat Books. ISBN 978-0-87930-818-6. https://archive.org/details/beachboysdefinit0000badm ↩
Gaines 1986, p. 113. - Gaines, Steven (1986). Heroes and Villains: The True Story of The Beach Boys. New York: Da Capo Press. ISBN 0306806479. https://archive.org/details/heroesvillainsth00gain ↩
Badman 2004, p. 54. - Badman, Keith (2004). The Beach Boys: The Definitive Diary of America's Greatest Band, on Stage and in the Studio. Backbeat Books. ISBN 978-0-87930-818-6. https://archive.org/details/beachboysdefinit0000badm ↩
Badman 2004, pp. 51–52. - Badman, Keith (2004). The Beach Boys: The Definitive Diary of America's Greatest Band, on Stage and in the Studio. Backbeat Books. ISBN 978-0-87930-818-6. https://archive.org/details/beachboysdefinit0000badm ↩
Gaines 1986, p. 114. - Gaines, Steven (1986). Heroes and Villains: The True Story of The Beach Boys. New York: Da Capo Press. ISBN 0306806479. https://archive.org/details/heroesvillainsth00gain ↩
Badman 2004, p. 52. - Badman, Keith (2004). The Beach Boys: The Definitive Diary of America's Greatest Band, on Stage and in the Studio. Backbeat Books. ISBN 978-0-87930-818-6. https://archive.org/details/beachboysdefinit0000badm ↩
Perone 2015, pp. 42, 47. - Perone, James E. (2015). "The Beach Boys". In Moskowitz, David V. (ed.). The 100 Greatest Bands of All Time: A Guide to the Legends Who Rocked the World. ABC-CLIO. ISBN 978-1-4408-0340-6. https://books.google.com/books?id=8XG9CgAAQBAJ ↩
Badman 2004, p. 273. - Badman, Keith (2004). The Beach Boys: The Definitive Diary of America's Greatest Band, on Stage and in the Studio. Backbeat Books. ISBN 978-0-87930-818-6. https://archive.org/details/beachboysdefinit0000badm ↩
Badman 2004, pp. 63, 73–74. - Badman, Keith (2004). The Beach Boys: The Definitive Diary of America's Greatest Band, on Stage and in the Studio. Backbeat Books. ISBN 978-0-87930-818-6. https://archive.org/details/beachboysdefinit0000badm ↩
Carlin 2006, p. 51. - Carlin, Peter Ames (2006). Catch a Wave: The Rise, Fall, and Redemption of the Beach Boys' Brian Wilson. Rodale. ISBN 978-1-59486-320-2. https://books.google.com/books?id=eYyovo_AbqAC ↩
Badman 2004, p. 71. - Badman, Keith (2004). The Beach Boys: The Definitive Diary of America's Greatest Band, on Stage and in the Studio. Backbeat Books. ISBN 978-0-87930-818-6. https://archive.org/details/beachboysdefinit0000badm ↩
Badman 2004, p. 74. - Badman, Keith (2004). The Beach Boys: The Definitive Diary of America's Greatest Band, on Stage and in the Studio. Backbeat Books. ISBN 978-0-87930-818-6. https://archive.org/details/beachboysdefinit0000badm ↩
Badman 2004, p. 77. - Badman, Keith (2004). The Beach Boys: The Definitive Diary of America's Greatest Band, on Stage and in the Studio. Backbeat Books. ISBN 978-0-87930-818-6. https://archive.org/details/beachboysdefinit0000badm ↩
Badman 2004, p. 75. - Badman, Keith (2004). The Beach Boys: The Definitive Diary of America's Greatest Band, on Stage and in the Studio. Backbeat Books. ISBN 978-0-87930-818-6. https://archive.org/details/beachboysdefinit0000badm ↩
Gaines 1986, p. 127. - Gaines, Steven (1986). Heroes and Villains: The True Story of The Beach Boys. New York: Da Capo Press. ISBN 0306806479. https://archive.org/details/heroesvillainsth00gain ↩
Badman 2004, p. 75. - Badman, Keith (2004). The Beach Boys: The Definitive Diary of America's Greatest Band, on Stage and in the Studio. Backbeat Books. ISBN 978-0-87930-818-6. https://archive.org/details/beachboysdefinit0000badm ↩
Badman 2004, pp. 75, 77. - Badman, Keith (2004). The Beach Boys: The Definitive Diary of America's Greatest Band, on Stage and in the Studio. Backbeat Books. ISBN 978-0-87930-818-6. https://archive.org/details/beachboysdefinit0000badm ↩
This was the first time Wilson had skipped concert dates with the Beach Boys since 1963.[96] Although he continued to make sporadic appearances at gigs, the Houston show marked his last as a regular member of the touring group until 1976.[98] ↩
Badman 2004, p. 77. - Badman, Keith (2004). The Beach Boys: The Definitive Diary of America's Greatest Band, on Stage and in the Studio. Backbeat Books. ISBN 978-0-87930-818-6. https://archive.org/details/beachboysdefinit0000badm ↩
Carlin 2006, p. 59. - Carlin, Peter Ames (2006). Catch a Wave: The Rise, Fall, and Redemption of the Beach Boys' Brian Wilson. Rodale. ISBN 978-1-59486-320-2. https://books.google.com/books?id=eYyovo_AbqAC ↩
Badman 2004, p. 83. - Badman, Keith (2004). The Beach Boys: The Definitive Diary of America's Greatest Band, on Stage and in the Studio. Backbeat Books. ISBN 978-0-87930-818-6. https://archive.org/details/beachboysdefinit0000badm ↩
Love 2016, p. 107. - Love, Mike (2016). Good Vibrations: My Life as a Beach Boy. Penguin Publishing Group. ISBN 978-0-698-40886-9. https://books.google.com/books?id=ioG0CwAAQBAJ ↩
Songwriters Barry Mann and Cynthia Weil recalled that Wilson had confided in them about considering retirement from the music industry, changing his mind after hearing Spector's latest hit record, "You've Lost That Lovin' Feelin'."[104] In an interview from August 1966, Wilson states, "I never wanted to quit the music business. I just wanted to get off the road, which I did."[105] Photographer Ed Roach said that Brian had felt overshadowed by the audience's enthusiastic response to his brother Dennis during live performances.[106] /wiki/Barry_Mann ↩
Badman 2004, pp. 83, 86, 89. - Badman, Keith (2004). The Beach Boys: The Definitive Diary of America's Greatest Band, on Stage and in the Studio. Backbeat Books. ISBN 978-0-87930-818-6. https://archive.org/details/beachboysdefinit0000badm ↩
Wilson rejoined the live group for one-off occasions in February, March, July, and October 1965.[108] ↩
Gaines 1986, pp. 125, 147, 158. - Gaines, Steven (1986). Heroes and Villains: The True Story of The Beach Boys. New York: Da Capo Press. ISBN 0306806479. https://archive.org/details/heroesvillainsth00gain ↩
Gaines 1986, pp. 119, 124. - Gaines, Steven (1986). Heroes and Villains: The True Story of The Beach Boys. New York: Da Capo Press. ISBN 0306806479. https://archive.org/details/heroesvillainsth00gain ↩
Gaines 1986, p. 124. - Gaines, Steven (1986). Heroes and Villains: The True Story of The Beach Boys. New York: Da Capo Press. ISBN 0306806479. https://archive.org/details/heroesvillainsth00gain ↩
Gaines 1986, p. 124. - Gaines, Steven (1986). Heroes and Villains: The True Story of The Beach Boys. New York: Da Capo Press. ISBN 0306806479. https://archive.org/details/heroesvillainsth00gain ↩
Gaines 1986, p. 125. - Gaines, Steven (1986). Heroes and Villains: The True Story of The Beach Boys. New York: Da Capo Press. ISBN 0306806479. https://archive.org/details/heroesvillainsth00gain ↩
Carlin 2006, pp. 64–65. - Carlin, Peter Ames (2006). Catch a Wave: The Rise, Fall, and Redemption of the Beach Boys' Brian Wilson. Rodale. ISBN 978-1-59486-320-2. https://books.google.com/books?id=eYyovo_AbqAC ↩
Gaines 1986, pp. 125–126. - Gaines, Steven (1986). Heroes and Villains: The True Story of The Beach Boys. New York: Da Capo Press. ISBN 0306806479. https://archive.org/details/heroesvillainsth00gain ↩
Wilson & Greenman 2016, pp. 88, 191. - Wilson, Brian; Greenman, Ben (2016). I Am Brian Wilson: A Memoir. Da Capo Press. ISBN 978-0-306-82307-7. https://books.google.com/books?id=9CmiBQAAQBAJ ↩
Granata 2003, pp. 59–61, 66–67. - Granata, Charles L. (2003). Wouldn't It Be Nice: Brian Wilson and the Making of the Beach Boys' Pet Sounds. A Cappella Books. ISBN 9781556525070. https://archive.org/details/wouldntitbenice00char ↩
Gaines 1986, p. 133. - Gaines, Steven (1986). Heroes and Villains: The True Story of The Beach Boys. New York: Da Capo Press. ISBN 0306806479. https://archive.org/details/heroesvillainsth00gain ↩
Badman 2004, p. 77. - Badman, Keith (2004). The Beach Boys: The Definitive Diary of America's Greatest Band, on Stage and in the Studio. Backbeat Books. ISBN 978-0-87930-818-6. https://archive.org/details/beachboysdefinit0000badm ↩
Boucher, Geoff (August 12, 2007). "'California Girls' The Beach Boys – 1965". Los Angeles Times. pp. F–4. Retrieved August 17, 2008. https://www.latimes.com/entertainment/la-ca-socalsong12aug12-story.html ↩
Badman 2004, p. 89. - Badman, Keith (2004). The Beach Boys: The Definitive Diary of America's Greatest Band, on Stage and in the Studio. Backbeat Books. ISBN 978-0-87930-818-6. https://archive.org/details/beachboysdefinit0000badm ↩
Granata 2003, p. 48. - Granata, Charles L. (2003). Wouldn't It Be Nice: Brian Wilson and the Making of the Beach Boys' Pet Sounds. A Cappella Books. ISBN 9781556525070. https://archive.org/details/wouldntitbenice00char ↩
Badman 2004, p. 89. - Badman, Keith (2004). The Beach Boys: The Definitive Diary of America's Greatest Band, on Stage and in the Studio. Backbeat Books. ISBN 978-0-87930-818-6. https://archive.org/details/beachboysdefinit0000badm ↩
Gaines 1986, pp. 134–135. - Gaines, Steven (1986). Heroes and Villains: The True Story of The Beach Boys. New York: Da Capo Press. ISBN 0306806479. https://archive.org/details/heroesvillainsth00gain ↩
Gaines 1986, p. 134. - Gaines, Steven (1986). Heroes and Villains: The True Story of The Beach Boys. New York: Da Capo Press. ISBN 0306806479. https://archive.org/details/heroesvillainsth00gain ↩
Gaines 1986, p. 135. - Gaines, Steven (1986). Heroes and Villains: The True Story of The Beach Boys. New York: Da Capo Press. ISBN 0306806479. https://archive.org/details/heroesvillainsth00gain ↩
Badman 2004, p. 101. - Badman, Keith (2004). The Beach Boys: The Definitive Diary of America's Greatest Band, on Stage and in the Studio. Backbeat Books. ISBN 978-0-87930-818-6. https://archive.org/details/beachboysdefinit0000badm ↩
Sources differ on the move-in date: White cites December,[127] while Badman specifies October.[126] ↩
Badman 2004, p. 102. - Badman, Keith (2004). The Beach Boys: The Definitive Diary of America's Greatest Band, on Stage and in the Studio. Backbeat Books. ISBN 978-0-87930-818-6. https://archive.org/details/beachboysdefinit0000badm ↩
Badman 2004, p. 102. - Badman, Keith (2004). The Beach Boys: The Definitive Diary of America's Greatest Band, on Stage and in the Studio. Backbeat Books. ISBN 978-0-87930-818-6. https://archive.org/details/beachboysdefinit0000badm ↩
Badman 2004, p. 104. - Badman, Keith (2004). The Beach Boys: The Definitive Diary of America's Greatest Band, on Stage and in the Studio. Backbeat Books. ISBN 978-0-87930-818-6. https://archive.org/details/beachboysdefinit0000badm ↩
Badman 2004, p. 108. - Badman, Keith (2004). The Beach Boys: The Definitive Diary of America's Greatest Band, on Stage and in the Studio. Backbeat Books. ISBN 978-0-87930-818-6. https://archive.org/details/beachboysdefinit0000badm ↩
Badman 2004, p. 111. - Badman, Keith (2004). The Beach Boys: The Definitive Diary of America's Greatest Band, on Stage and in the Studio. Backbeat Books. ISBN 978-0-87930-818-6. https://archive.org/details/beachboysdefinit0000badm ↩
Granata 2003, p. 108. - Granata, Charles L. (2003). Wouldn't It Be Nice: Brian Wilson and the Making of the Beach Boys' Pet Sounds. A Cappella Books. ISBN 9781556525070. https://archive.org/details/wouldntitbenice00char ↩
Granata 2003, p. 108. - Granata, Charles L. (2003). Wouldn't It Be Nice: Brian Wilson and the Making of the Beach Boys' Pet Sounds. A Cappella Books. ISBN 9781556525070. https://archive.org/details/wouldntitbenice00char ↩
Badman 2004, p. 121. - Badman, Keith (2004). The Beach Boys: The Definitive Diary of America's Greatest Band, on Stage and in the Studio. Backbeat Books. ISBN 978-0-87930-818-6. https://archive.org/details/beachboysdefinit0000badm ↩
Kent 2009, p. 23. - Kent, Nick (2009). "The Last Beach Movie Revisited: The Life of Brian Wilson". The Dark Stuff: Selected Writings on Rock Music. Da Capo Press. ISBN 9780786730742. https://books.google.com/books?id=bPMO0CtuBAsC&pg=PA12 ↩
Badman 2004, p. 121. - Badman, Keith (2004). The Beach Boys: The Definitive Diary of America's Greatest Band, on Stage and in the Studio. Backbeat Books. ISBN 978-0-87930-818-6. https://archive.org/details/beachboysdefinit0000badm ↩
Badman 2004, pp. 121, 134. - Badman, Keith (2004). The Beach Boys: The Definitive Diary of America's Greatest Band, on Stage and in the Studio. Backbeat Books. ISBN 978-0-87930-818-6. https://archive.org/details/beachboysdefinit0000badm ↩
Badman 2004, p. 134. - Badman, Keith (2004). The Beach Boys: The Definitive Diary of America's Greatest Band, on Stage and in the Studio. Backbeat Books. ISBN 978-0-87930-818-6. https://archive.org/details/beachboysdefinit0000badm ↩
"The Observers: Marilyn Wilson". The Pet Sounds Sessions (Booklet). The Beach Boys. Capitol Records. 1997.{{cite AV media notes}}: CS1 maint: others in cite AV media (notes) (link) http://albumlinernotes.com/Marilyn_Wilson_Comments.html ↩
Sanchez 2014, pp. 91–93. - Sanchez, Luis (2014). The Beach Boys' Smile. Bloomsbury Publishing. ISBN 978-1-62356-956-3. https://books.google.com/books?id=FC0_AwAAQBAJ ↩
Kent 2009, p. 27. - Kent, Nick (2009). "The Last Beach Movie Revisited: The Life of Brian Wilson". The Dark Stuff: Selected Writings on Rock Music. Da Capo Press. ISBN 9780786730742. https://books.google.com/books?id=bPMO0CtuBAsC&pg=PA12 ↩
Sanchez 2014, pp. 91–93. - Sanchez, Luis (2014). The Beach Boys' Smile. Bloomsbury Publishing. ISBN 978-1-62356-956-3. https://books.google.com/books?id=FC0_AwAAQBAJ ↩
Kent 2009, p. 27. - Kent, Nick (2009). "The Last Beach Movie Revisited: The Life of Brian Wilson". The Dark Stuff: Selected Writings on Rock Music. Da Capo Press. ISBN 9780786730742. https://books.google.com/books?id=bPMO0CtuBAsC&pg=PA12 ↩
Gaines 1986, p. 152. - Gaines, Steven (1986). Heroes and Villains: The True Story of The Beach Boys. New York: Da Capo Press. ISBN 0306806479. https://archive.org/details/heroesvillainsth00gain ↩
"The Beach Boys". Music Favorites. Vol. 1, no. 2. 1976. ↩
Harrington, Richard (December 1, 1991). "Brian Wilson and the Angry Vibrations". The Washington Post. https://www.washingtonpost.com/archive/lifestyle/style/1991/12/01/brian-wilson-and-the-angry-vibrations/17783698-814c-40fc-9a29-f0cf3fb63df3/ ↩
Love 2016, pp. 145–147. - Love, Mike (2016). Good Vibrations: My Life as a Beach Boy. Penguin Publishing Group. ISBN 978-0-698-40886-9. https://books.google.com/books?id=ioG0CwAAQBAJ ↩
Badman 2004, p. 131. - Badman, Keith (2004). The Beach Boys: The Definitive Diary of America's Greatest Band, on Stage and in the Studio. Backbeat Books. ISBN 978-0-87930-818-6. https://archive.org/details/beachboysdefinit0000badm ↩
Granata 2003, p. 204. - Granata, Charles L. (2003). Wouldn't It Be Nice: Brian Wilson and the Making of the Beach Boys' Pet Sounds. A Cappella Books. ISBN 9781556525070. https://archive.org/details/wouldntitbenice00char ↩
Gaines 1986, pp. 147, 158. - Gaines, Steven (1986). Heroes and Villains: The True Story of The Beach Boys. New York: Da Capo Press. ISBN 0306806479. https://archive.org/details/heroesvillainsth00gain ↩
Priore 2005, p. 117. - Priore, Domenic (2005). Smile: The Story of Brian Wilson's Lost Masterpiece. London: Sanctuary. ISBN 1860746276. https://books.google.com/books?id=81YIAQAAMAAJ ↩
Gaines 1986, p. 171. - Gaines, Steven (1986). Heroes and Villains: The True Story of The Beach Boys. New York: Da Capo Press. ISBN 0306806479. https://archive.org/details/heroesvillainsth00gain ↩
Granata 2003, p. 204. - Granata, Charles L. (2003). Wouldn't It Be Nice: Brian Wilson and the Making of the Beach Boys' Pet Sounds. A Cappella Books. ISBN 9781556525070. https://archive.org/details/wouldntitbenice00char ↩
Badman 2004, p. 163. - Badman, Keith (2004). The Beach Boys: The Definitive Diary of America's Greatest Band, on Stage and in the Studio. Backbeat Books. ISBN 978-0-87930-818-6. https://archive.org/details/beachboysdefinit0000badm ↩
Badman 2004, p. 180. - Badman, Keith (2004). The Beach Boys: The Definitive Diary of America's Greatest Band, on Stage and in the Studio. Backbeat Books. ISBN 978-0-87930-818-6. https://archive.org/details/beachboysdefinit0000badm ↩
Gaines 1986, p. 180. - Gaines, Steven (1986). Heroes and Villains: The True Story of The Beach Boys. New York: Da Capo Press. ISBN 0306806479. https://archive.org/details/heroesvillainsth00gain ↩
Marilyn cited Wilson's desire for a larger home,[151] while Badman writes that the move aimed to distance them from his entourage of "hanger-ons".[149] Marilyn later installed security measures, including a brick wall and electronic gate.[152] ↩
Badman 2004, p. 180. - Badman, Keith (2004). The Beach Boys: The Definitive Diary of America's Greatest Band, on Stage and in the Studio. Backbeat Books. ISBN 978-0-87930-818-6. https://archive.org/details/beachboysdefinit0000badm ↩
Badman 2004, pp. 153–180. - Badman, Keith (2004). The Beach Boys: The Definitive Diary of America's Greatest Band, on Stage and in the Studio. Backbeat Books. ISBN 978-0-87930-818-6. https://archive.org/details/beachboysdefinit0000badm ↩
Badman 2004, pp. 165, 185. - Badman, Keith (2004). The Beach Boys: The Definitive Diary of America's Greatest Band, on Stage and in the Studio. Backbeat Books. ISBN 978-0-87930-818-6. https://archive.org/details/beachboysdefinit0000badm ↩
Dillon 2012, p. 134. - Dillon, Mark (2012). Fifty Sides of the Beach Boys: The Songs That Tell Their Story. ECW Press. ISBN 978-1-77090-198-8. https://archive.org/details/fiftysidesofbeac0000dill/ ↩
Badman 2004, p. 291. - Badman, Keith (2004). The Beach Boys: The Definitive Diary of America's Greatest Band, on Stage and in the Studio. Backbeat Books. ISBN 978-0-87930-818-6. https://archive.org/details/beachboysdefinit0000badm ↩
Carlin 2006, p. 122. - Carlin, Peter Ames (2006). Catch a Wave: The Rise, Fall, and Redemption of the Beach Boys' Brian Wilson. Rodale. ISBN 978-1-59486-320-2. https://books.google.com/books?id=eYyovo_AbqAC ↩
Hughes, Rob (November 22, 2012). "Brian Wilson – Album By Album". Uncut. https://www.uncut.co.uk/features/brian-wilson-album-by-album-28238/ ↩
Badman 2004, p. 200. - Badman, Keith (2004). The Beach Boys: The Definitive Diary of America's Greatest Band, on Stage and in the Studio. Backbeat Books. ISBN 978-0-87930-818-6. https://archive.org/details/beachboysdefinit0000badm ↩
Carlin 2006, p. 124. - Carlin, Peter Ames (2006). Catch a Wave: The Rise, Fall, and Redemption of the Beach Boys' Brian Wilson. Rodale. ISBN 978-1-59486-320-2. https://books.google.com/books?id=eYyovo_AbqAC ↩
Leaf 1978, p. 169. - Leaf, David (1978). The Beach Boys and the California Myth. New York: Grosset & Dunlap. ISBN 978-0-448-14626-3. https://archive.org/details/beachboyscalifor00leaf ↩
Badman 2004, p. 198. - Badman, Keith (2004). The Beach Boys: The Definitive Diary of America's Greatest Band, on Stage and in the Studio. Backbeat Books. ISBN 978-0-87930-818-6. https://archive.org/details/beachboysdefinit0000badm ↩
"The Beach Boys". Music Favorites. Vol. 1, no. 2. 1976. ↩
Carlin 2006, p. 130. - Carlin, Peter Ames (2006). Catch a Wave: The Rise, Fall, and Redemption of the Beach Boys' Brian Wilson. Rodale. ISBN 978-1-59486-320-2. https://books.google.com/books?id=eYyovo_AbqAC ↩
Granata 2003, p. 210. - Granata, Charles L. (2003). Wouldn't It Be Nice: Brian Wilson and the Making of the Beach Boys' Pet Sounds. A Cappella Books. ISBN 9781556525070. https://archive.org/details/wouldntitbenice00char ↩
Hermes, Will (January 15, 2019). "How the Beach Boys' Lost Late-Sixties Gems Got a Second Life". Rolling Stone. Retrieved January 16, 2019. /wiki/Will_Hermes ↩
Rensin, David (December 1976). "A Conversation With Brian Wilson". Oui. https://www.rocksbackpages.com/Library/Article/a-conversation-with-brian-wilson ↩
Dillon 2012, pp. 159–168. - Dillon, Mark (2012). Fifty Sides of the Beach Boys: The Songs That Tell Their Story. ECW Press. ISBN 978-1-77090-198-8. https://archive.org/details/fiftysidesofbeac0000dill/ ↩
Granata 2003, p. 210. - Granata, Charles L. (2003). Wouldn't It Be Nice: Brian Wilson and the Making of the Beach Boys' Pet Sounds. A Cappella Books. ISBN 9781556525070. https://archive.org/details/wouldntitbenice00char ↩
Matijas-Mecca 2017, pp. xxi–xxii, 83, 113. - Matijas-Mecca, Christian (2017). The Words and Music of Brian Wilson. ABC-CLIO. ISBN 978-1-4408-3899-6. https://books.google.com/books?id=wmphDgAAQBAJ&pg=PA86 ↩
Carlin 2006, p. 139. - Carlin, Peter Ames (2006). Catch a Wave: The Rise, Fall, and Redemption of the Beach Boys' Brian Wilson. Rodale. ISBN 978-1-59486-320-2. https://books.google.com/books?id=eYyovo_AbqAC ↩
Kent 2009, p. 44. - Kent, Nick (2009). "The Last Beach Movie Revisited: The Life of Brian Wilson". The Dark Stuff: Selected Writings on Rock Music. Da Capo Press. ISBN 9780786730742. https://books.google.com/books?id=bPMO0CtuBAsC&pg=PA12 ↩
Carlin 2006, p. 139. - Carlin, Peter Ames (2006). Catch a Wave: The Rise, Fall, and Redemption of the Beach Boys' Brian Wilson. Rodale. ISBN 978-1-59486-320-2. https://books.google.com/books?id=eYyovo_AbqAC ↩
Carlin 2006, p. 141. - Carlin, Peter Ames (2006). Catch a Wave: The Rise, Fall, and Redemption of the Beach Boys' Brian Wilson. Rodale. ISBN 978-1-59486-320-2. https://books.google.com/books?id=eYyovo_AbqAC ↩
Carlin 2006, p. 141. - Carlin, Peter Ames (2006). Catch a Wave: The Rise, Fall, and Redemption of the Beach Boys' Brian Wilson. Rodale. ISBN 978-1-59486-320-2. https://books.google.com/books?id=eYyovo_AbqAC ↩
Chidester, Brian (January 30, 2014). "Brian Wilson's Secret Bedroom Tapes". LA Weekly. Archived from the original on March 2, 2014. Retrieved February 1, 2014. https://web.archive.org/web/20140302064422/http://www.laweekly.com/2014-01-30/music/brian-wilsons-secret-bedroom-tapes/?showFullText=true ↩
Cohn 1970, pp. 103–104. - Cohn, Nik (1970). Awopbopaloobop Alopbamboom: The Golden Age of Rock. Grove Press. ISBN 978-0-8021-3830-9. https://books.google.com/books?id=O9xtRMht6sgC&pg=PA102 ↩
Badman 2004, p. 221. - Badman, Keith (2004). The Beach Boys: The Definitive Diary of America's Greatest Band, on Stage and in the Studio. Backbeat Books. ISBN 978-0-87930-818-6. https://archive.org/details/beachboysdefinit0000badm ↩
Chidester, Brian (March 7, 2014). "Busy Doin' Somethin': Uncovering Brian Wilson's Lost Bedroom Tapes". Paste. Archived from the original on December 11, 2014. Retrieved December 11, 2014. https://web.archive.org/web/20141211033306/http://www.pastemagazine.com/articles/2014/03/busy-doin-somethin-uncovering-brian-wilsons-lost-b.html?a=1 ↩
Chidester, Brian (January 30, 2014). "Brian Wilson's Secret Bedroom Tapes". LA Weekly. Archived from the original on March 2, 2014. Retrieved February 1, 2014. https://web.archive.org/web/20140302064422/http://www.laweekly.com/2014-01-30/music/brian-wilsons-secret-bedroom-tapes/?showFullText=true ↩
Chidester, Brian (January 30, 2014). "Brian Wilson's Secret Bedroom Tapes". LA Weekly. Archived from the original on March 2, 2014. Retrieved February 1, 2014. https://web.archive.org/web/20140302064422/http://www.laweekly.com/2014-01-30/music/brian-wilsons-secret-bedroom-tapes/?showFullText=true ↩
Badman 2004, p. 300. - Badman, Keith (2004). The Beach Boys: The Definitive Diary of America's Greatest Band, on Stage and in the Studio. Backbeat Books. ISBN 978-0-87930-818-6. https://archive.org/details/beachboysdefinit0000badm ↩
Brian Wilson – Songwriter – 1969–1982 – The Next Stage (Documentary). ↩
Carlin 2006, p. 151. - Carlin, Peter Ames (2006). Catch a Wave: The Rise, Fall, and Redemption of the Beach Boys' Brian Wilson. Rodale. ISBN 978-1-59486-320-2. https://books.google.com/books?id=eYyovo_AbqAC ↩
Wilson, Dennis (November 1976). "WNEW-FM" (Interview: Audio). Interviewed by Pete Fornatale. New York City.; Dennis Wilson – Pete Fornatale Interview 1976 on YouTube https://www.youtube.com/watch?v=cVItbEJBkJM ↩
Dennis also refuted claims that the Beach Boys excluded Brian, explaining that he repeatedly visited Brian's home to prioritize his health over recording.[180] ↩
Was, Don (1995). Brian Wilson: I Just Wasn't Made for These Times (Documentary film). /wiki/Don_Was ↩
Badman 2004, p. 240. - Badman, Keith (2004). The Beach Boys: The Definitive Diary of America's Greatest Band, on Stage and in the Studio. Backbeat Books. ISBN 978-0-87930-818-6. https://archive.org/details/beachboysdefinit0000badm ↩
Carlin 2006, p. 151. - Carlin, Peter Ames (2006). Catch a Wave: The Rise, Fall, and Redemption of the Beach Boys' Brian Wilson. Rodale. ISBN 978-1-59486-320-2. https://books.google.com/books?id=eYyovo_AbqAC ↩
Matijas-Mecca 2017, p. 93. - Matijas-Mecca, Christian (2017). The Words and Music of Brian Wilson. ABC-CLIO. ISBN 978-1-4408-3899-6. https://books.google.com/books?id=wmphDgAAQBAJ&pg=PA86 ↩
Gaines 1986, pp. 221–222. - Gaines, Steven (1986). Heroes and Villains: The True Story of The Beach Boys. New York: Da Capo Press. ISBN 0306806479. https://archive.org/details/heroesvillainsth00gain ↩
Badman 2004, pp. 243–244. - Badman, Keith (2004). The Beach Boys: The Definitive Diary of America's Greatest Band, on Stage and in the Studio. Backbeat Books. ISBN 978-0-87930-818-6. https://archive.org/details/beachboysdefinit0000badm ↩
Gaines 1986, p. 222. - Gaines, Steven (1986). Heroes and Villains: The True Story of The Beach Boys. New York: Da Capo Press. ISBN 0306806479. https://archive.org/details/heroesvillainsth00gain ↩
Badman 2004, p. 252. - Badman, Keith (2004). The Beach Boys: The Definitive Diary of America's Greatest Band, on Stage and in the Studio. Backbeat Books. ISBN 978-0-87930-818-6. https://archive.org/details/beachboysdefinit0000badm ↩
Love 2016, p. 226. - Love, Mike (2016). Good Vibrations: My Life as a Beach Boy. Penguin Publishing Group. ISBN 978-0-698-40886-9. https://books.google.com/books?id=ioG0CwAAQBAJ ↩
Carlin 2006, p. 145. - Carlin, Peter Ames (2006). Catch a Wave: The Rise, Fall, and Redemption of the Beach Boys' Brian Wilson. Rodale. ISBN 978-1-59486-320-2. https://books.google.com/books?id=eYyovo_AbqAC ↩
Gaines 1986, pp. 224–225. - Gaines, Steven (1986). Heroes and Villains: The True Story of The Beach Boys. New York: Da Capo Press. ISBN 0306806479. https://archive.org/details/heroesvillainsth00gain ↩
Badman 2004, p. 288. - Badman, Keith (2004). The Beach Boys: The Definitive Diary of America's Greatest Band, on Stage and in the Studio. Backbeat Books. ISBN 978-0-87930-818-6. https://archive.org/details/beachboysdefinit0000badm ↩
David Leaf, writing in his 1978 biography of the band, said that Wilson's family and friends had dismissed these incidents as jokes.[191] ↩
Badman 2004, pp. 257, 288. - Badman, Keith (2004). The Beach Boys: The Definitive Diary of America's Greatest Band, on Stage and in the Studio. Backbeat Books. ISBN 978-0-87930-818-6. https://archive.org/details/beachboysdefinit0000badm ↩
Badman 2004, p. 253. - Badman, Keith (2004). The Beach Boys: The Definitive Diary of America's Greatest Band, on Stage and in the Studio. Backbeat Books. ISBN 978-0-87930-818-6. https://archive.org/details/beachboysdefinit0000badm ↩
Matijas-Mecca 2017, p. 93. - Matijas-Mecca, Christian (2017). The Words and Music of Brian Wilson. ABC-CLIO. ISBN 978-1-4408-3899-6. https://books.google.com/books?id=wmphDgAAQBAJ&pg=PA86 ↩
Badman 2004, p. 258. - Badman, Keith (2004). The Beach Boys: The Definitive Diary of America's Greatest Band, on Stage and in the Studio. Backbeat Books. ISBN 978-0-87930-818-6. https://archive.org/details/beachboysdefinit0000badm ↩
Carlin 2006, p. 150. - Carlin, Peter Ames (2006). Catch a Wave: The Rise, Fall, and Redemption of the Beach Boys' Brian Wilson. Rodale. ISBN 978-1-59486-320-2. https://books.google.com/books?id=eYyovo_AbqAC ↩
Though Wilson never personally signed the agreement, the band's corporate structure allowed it to pass with three of five member votes.[196] ↩
Leaf 1978, p. 132. - Leaf, David (1978). The Beach Boys and the California Myth. New York: Grosset & Dunlap. ISBN 978-0-448-14626-3. https://archive.org/details/beachboyscalifor00leaf ↩
Badman 2004, p. 266. - Badman, Keith (2004). The Beach Boys: The Definitive Diary of America's Greatest Band, on Stage and in the Studio. Backbeat Books. ISBN 978-0-87930-818-6. https://archive.org/details/beachboysdefinit0000badm ↩
Leaf 1978, p. 135. - Leaf, David (1978). The Beach Boys and the California Myth. New York: Grosset & Dunlap. ISBN 978-0-448-14626-3. https://archive.org/details/beachboyscalifor00leaf ↩
White 1996, p. 286. - White, Timothy (1996). The Nearest Faraway Place: Brian Wilson, the Beach Boys, and the Southern Californian Experience. Macmillan. ISBN 0333649370. https://archive.org/details/nearestfarawaypl0000whit/ ↩
Badman 2004, p. 298. - Badman, Keith (2004). The Beach Boys: The Definitive Diary of America's Greatest Band, on Stage and in the Studio. Backbeat Books. ISBN 978-0-87930-818-6. https://archive.org/details/beachboysdefinit0000badm ↩
Badman 2004, pp. 278–279. - Badman, Keith (2004). The Beach Boys: The Definitive Diary of America's Greatest Band, on Stage and in the Studio. Backbeat Books. ISBN 978-0-87930-818-6. https://archive.org/details/beachboysdefinit0000badm ↩
Wilson recalled, "On the second night, I started [...] feeling dizzy and I told the guys I had to stop. It felt like I was killing myself."[203] ↩
Badman 2004, p. 279. - Badman, Keith (2004). The Beach Boys: The Definitive Diary of America's Greatest Band, on Stage and in the Studio. Backbeat Books. ISBN 978-0-87930-818-6. https://archive.org/details/beachboysdefinit0000badm ↩
Badman 2004, p. 209. - Badman, Keith (2004). The Beach Boys: The Definitive Diary of America's Greatest Band, on Stage and in the Studio. Backbeat Books. ISBN 978-0-87930-818-6. https://archive.org/details/beachboysdefinit0000badm ↩
Badman 2004, p. 301. - Badman, Keith (2004). The Beach Boys: The Definitive Diary of America's Greatest Band, on Stage and in the Studio. Backbeat Books. ISBN 978-0-87930-818-6. https://archive.org/details/beachboysdefinit0000badm ↩
Badman 2004, p. 300. - Badman, Keith (2004). The Beach Boys: The Definitive Diary of America's Greatest Band, on Stage and in the Studio. Backbeat Books. ISBN 978-0-87930-818-6. https://archive.org/details/beachboysdefinit0000badm ↩
Carlin 2006, p. 176. - Carlin, Peter Ames (2006). Catch a Wave: The Rise, Fall, and Redemption of the Beach Boys' Brian Wilson. Rodale. ISBN 978-1-59486-320-2. https://books.google.com/books?id=eYyovo_AbqAC ↩
Badman 2004, p. 321. - Badman, Keith (2004). The Beach Boys: The Definitive Diary of America's Greatest Band, on Stage and in the Studio. Backbeat Books. ISBN 978-0-87930-818-6. https://archive.org/details/beachboysdefinit0000badm ↩
Badman 2004, p. 308. - Badman, Keith (2004). The Beach Boys: The Definitive Diary of America's Greatest Band, on Stage and in the Studio. Backbeat Books. ISBN 978-0-87930-818-6. https://archive.org/details/beachboysdefinit0000badm ↩
Carlin 2006, p. 174. - Carlin, Peter Ames (2006). Catch a Wave: The Rise, Fall, and Redemption of the Beach Boys' Brian Wilson. Rodale. ISBN 978-1-59486-320-2. https://books.google.com/books?id=eYyovo_AbqAC ↩
Bruce Johnston left the band during these sessions partly due to his unhappiness with Wilson's creative withdrawal.[208] ↩
Badman 2004, p. 317. - Badman, Keith (2004). The Beach Boys: The Definitive Diary of America's Greatest Band, on Stage and in the Studio. Backbeat Books. ISBN 978-0-87930-818-6. https://archive.org/details/beachboysdefinit0000badm ↩
Badman 2004, pp. 317, 326. - Badman, Keith (2004). The Beach Boys: The Definitive Diary of America's Greatest Band, on Stage and in the Studio. Backbeat Books. ISBN 978-0-87930-818-6. https://archive.org/details/beachboysdefinit0000badm ↩
Gaines 1986, p. 254. - Gaines, Steven (1986). Heroes and Villains: The True Story of The Beach Boys. New York: Da Capo Press. ISBN 0306806479. https://archive.org/details/heroesvillainsth00gain ↩
Badman 2004, p. 328. - Badman, Keith (2004). The Beach Boys: The Definitive Diary of America's Greatest Band, on Stage and in the Studio. Backbeat Books. ISBN 978-0-87930-818-6. https://archive.org/details/beachboysdefinit0000badm ↩
Carlin 2006, p. 198. - Carlin, Peter Ames (2006). Catch a Wave: The Rise, Fall, and Redemption of the Beach Boys' Brian Wilson. Rodale. ISBN 978-1-59486-320-2. https://books.google.com/books?id=eYyovo_AbqAC ↩
Granata 2003, p. 212. - Granata, Charles L. (2003). Wouldn't It Be Nice: Brian Wilson and the Making of the Beach Boys' Pet Sounds. A Cappella Books. ISBN 9781556525070. https://archive.org/details/wouldntitbenice00char ↩
White 1996, p. 290. - White, Timothy (1996). The Nearest Faraway Place: Brian Wilson, the Beach Boys, and the Southern Californian Experience. Macmillan. ISBN 0333649370. https://archive.org/details/nearestfarawaypl0000whit/ ↩
Granata 2003, p. 213. - Granata, Charles L. (2003). Wouldn't It Be Nice: Brian Wilson and the Making of the Beach Boys' Pet Sounds. A Cappella Books. ISBN 9781556525070. https://archive.org/details/wouldntitbenice00char ↩
Carl explained, "There was a thing where Brian kept on giving people money to 'score'. Not for himself but for themselves. It's like he was giving a guy every week a few hundred bucks, and a very well-known guy at that."[217] ↩
Granata 2003, p. 213. - Granata, Charles L. (2003). Wouldn't It Be Nice: Brian Wilson and the Making of the Beach Boys' Pet Sounds. A Cappella Books. ISBN 9781556525070. https://archive.org/details/wouldntitbenice00char ↩
White 1996, p. 296. - White, Timothy (1996). The Nearest Faraway Place: Brian Wilson, the Beach Boys, and the Southern Californian Experience. Macmillan. ISBN 0333649370. https://archive.org/details/nearestfarawaypl0000whit/ ↩
Brown, Ethan (August 15, 2005). "Influences: Brian Wilson". New York Mag. https://nymag.com/nymetro/arts/music/pop/12377/ ↩
Gaines 1986, p. 265. - Gaines, Steven (1986). Heroes and Villains: The True Story of The Beach Boys. New York: Da Capo Press. ISBN 0306806479. https://archive.org/details/heroesvillainsth00gain ↩
Carlin 2006, p. 172. - Carlin, Peter Ames (2006). Catch a Wave: The Rise, Fall, and Redemption of the Beach Boys' Brian Wilson. Rodale. ISBN 978-1-59486-320-2. https://books.google.com/books?id=eYyovo_AbqAC ↩
Wilson & Gold 1991, p. 194. - Wilson, Brian; Gold, Todd (1991). Wouldn't It Be Nice: My Own Story. New York: HarperCollins. ISBN 978-0-06018-313-4. https://archive.org/details/wouldntitbenicem00wils ↩
In the 1970s, Wilson developed a longtime obsession with the folk standard "Shortnin' Bread", recording numerous unreleased variations of the song.[173][175] According to Cooper, Wilson had proclaimed that it was "the greatest song ever written".[57] ↩
Carlin 2006, p. 172. - Carlin, Peter Ames (2006). Catch a Wave: The Rise, Fall, and Redemption of the Beach Boys' Brian Wilson. Rodale. ISBN 978-1-59486-320-2. https://books.google.com/books?id=eYyovo_AbqAC ↩
Wilson stated in a 2001 interview that he had never met Lennon.[224] However, Cooper told another story in which he had witnessed Wilson at a party, with Lennon, repeatedly asking fellow attendees to introduce him to the Beatle, one after another.[225] ↩
Gaines 1986, p. 265. - Gaines, Steven (1986). Heroes and Villains: The True Story of The Beach Boys. New York: Da Capo Press. ISBN 0306806479. https://archive.org/details/heroesvillainsth00gain ↩
"Brian's Back". Newsweek. July 19, 1976. p. 79. Archived from the original on July 26, 2014. Retrieved July 16, 2014. https://web.archive.org/web/20140726051823/http://i1188.photobucket.com/albums/z405/smayo1953/scan6.jpg ↩
Granata 2003, p. 213. - Granata, Charles L. (2003). Wouldn't It Be Nice: Brian Wilson and the Making of the Beach Boys' Pet Sounds. A Cappella Books. ISBN 9781556525070. https://archive.org/details/wouldntitbenice00char ↩
Dillon 2012, p. 38. - Dillon, Mark (2012). Fifty Sides of the Beach Boys: The Songs That Tell Their Story. ECW Press. ISBN 978-1-77090-198-8. https://archive.org/details/fiftysidesofbeac0000dill/ ↩
Petridis, Alexis (June 24, 2011). "The astonishing genius of Brian Wilson". The Guardian. Retrieved June 30, 2013. /wiki/Alexis_Petridis ↩
Shipton, Alyn (2013). Nilsson: The Life of a Singer-Songwriter. New York: Oxford University Press. p. 189. ISBN 978-0-19975-657-5. 978-0-19975-657-5 ↩
Badman 2004, p. 340. - Badman, Keith (2004). The Beach Boys: The Definitive Diary of America's Greatest Band, on Stage and in the Studio. Backbeat Books. ISBN 978-0-87930-818-6. https://archive.org/details/beachboysdefinit0000badm ↩
Dillon 2012, p. 217. - Dillon, Mark (2012). Fifty Sides of the Beach Boys: The Songs That Tell Their Story. ECW Press. ISBN 978-1-77090-198-8. https://archive.org/details/fiftysidesofbeac0000dill/ ↩
Dillon 2012, p. 218. - Dillon, Mark (2012). Fifty Sides of the Beach Boys: The Songs That Tell Their Story. ECW Press. ISBN 978-1-77090-198-8. https://archive.org/details/fiftysidesofbeac0000dill/ ↩
Badman 2004, p. 343. - Badman, Keith (2004). The Beach Boys: The Definitive Diary of America's Greatest Band, on Stage and in the Studio. Backbeat Books. ISBN 978-0-87930-818-6. https://archive.org/details/beachboysdefinit0000badm ↩
Carlin 2006, p. 198. - Carlin, Peter Ames (2006). Catch a Wave: The Rise, Fall, and Redemption of the Beach Boys' Brian Wilson. Rodale. ISBN 978-1-59486-320-2. https://books.google.com/books?id=eYyovo_AbqAC ↩
Badman 2004, p. 351. - Badman, Keith (2004). The Beach Boys: The Definitive Diary of America's Greatest Band, on Stage and in the Studio. Backbeat Books. ISBN 978-0-87930-818-6. https://archive.org/details/beachboysdefinit0000badm ↩
Carlin 2006, p. 198. - Carlin, Peter Ames (2006). Catch a Wave: The Rise, Fall, and Redemption of the Beach Boys' Brian Wilson. Rodale. ISBN 978-1-59486-320-2. https://books.google.com/books?id=eYyovo_AbqAC ↩
Gaines 1986, p. 277. - Gaines, Steven (1986). Heroes and Villains: The True Story of The Beach Boys. New York: Da Capo Press. ISBN 0306806479. https://archive.org/details/heroesvillainsth00gain ↩
Badman 2004, p. 360. - Badman, Keith (2004). The Beach Boys: The Definitive Diary of America's Greatest Band, on Stage and in the Studio. Backbeat Books. ISBN 978-0-87930-818-6. https://archive.org/details/beachboysdefinit0000badm ↩
Carlin 2006, p. 199. - Carlin, Peter Ames (2006). Catch a Wave: The Rise, Fall, and Redemption of the Beach Boys' Brian Wilson. Rodale. ISBN 978-1-59486-320-2. https://books.google.com/books?id=eYyovo_AbqAC ↩
Badman 2004, p. 347. - Badman, Keith (2004). The Beach Boys: The Definitive Diary of America's Greatest Band, on Stage and in the Studio. Backbeat Books. ISBN 978-0-87930-818-6. https://archive.org/details/beachboysdefinit0000badm ↩
Carlin 2006, p. 199. - Carlin, Peter Ames (2006). Catch a Wave: The Rise, Fall, and Redemption of the Beach Boys' Brian Wilson. Rodale. ISBN 978-1-59486-320-2. https://books.google.com/books?id=eYyovo_AbqAC ↩
Carlin 2006, p. 199. - Carlin, Peter Ames (2006). Catch a Wave: The Rise, Fall, and Redemption of the Beach Boys' Brian Wilson. Rodale. ISBN 978-1-59486-320-2. https://books.google.com/books?id=eYyovo_AbqAC ↩
Carlin 2006, p. 199. - Carlin, Peter Ames (2006). Catch a Wave: The Rise, Fall, and Redemption of the Beach Boys' Brian Wilson. Rodale. ISBN 978-1-59486-320-2. https://books.google.com/books?id=eYyovo_AbqAC ↩
Carlin 2006, pp. 198–199. - Carlin, Peter Ames (2006). Catch a Wave: The Rise, Fall, and Redemption of the Beach Boys' Brian Wilson. Rodale. ISBN 978-1-59486-320-2. https://books.google.com/books?id=eYyovo_AbqAC ↩
Gaines 1986, p. 284. - Gaines, Steven (1986). Heroes and Villains: The True Story of The Beach Boys. New York: Da Capo Press. ISBN 0306806479. https://archive.org/details/heroesvillainsth00gain ↩
Carlin 2006, p. 201. - Carlin, Peter Ames (2006). Catch a Wave: The Rise, Fall, and Redemption of the Beach Boys' Brian Wilson. Rodale. ISBN 978-1-59486-320-2. https://books.google.com/books?id=eYyovo_AbqAC ↩
Gaines 1986, p. 286. - Gaines, Steven (1986). Heroes and Villains: The True Story of The Beach Boys. New York: Da Capo Press. ISBN 0306806479. https://archive.org/details/heroesvillainsth00gain ↩
Carlin 2006, pp. 202, 215. - Carlin, Peter Ames (2006). Catch a Wave: The Rise, Fall, and Redemption of the Beach Boys' Brian Wilson. Rodale. ISBN 978-1-59486-320-2. https://books.google.com/books?id=eYyovo_AbqAC ↩
Badman 2004, pp. 358, 364. - Badman, Keith (2004). The Beach Boys: The Definitive Diary of America's Greatest Band, on Stage and in the Studio. Backbeat Books. ISBN 978-0-87930-818-6. https://archive.org/details/beachboysdefinit0000badm ↩
Badman 2004, p. 358. - Badman, Keith (2004). The Beach Boys: The Definitive Diary of America's Greatest Band, on Stage and in the Studio. Backbeat Books. ISBN 978-0-87930-818-6. https://archive.org/details/beachboysdefinit0000badm ↩
Badman 2004, p. 358. - Badman, Keith (2004). The Beach Boys: The Definitive Diary of America's Greatest Band, on Stage and in the Studio. Backbeat Books. ISBN 978-0-87930-818-6. https://archive.org/details/beachboysdefinit0000badm ↩
Badman 2004, p. 363. - Badman, Keith (2004). The Beach Boys: The Definitive Diary of America's Greatest Band, on Stage and in the Studio. Backbeat Books. ISBN 978-0-87930-818-6. https://archive.org/details/beachboysdefinit0000badm ↩
Carlin 2006, p. 215. - Carlin, Peter Ames (2006). Catch a Wave: The Rise, Fall, and Redemption of the Beach Boys' Brian Wilson. Rodale. ISBN 978-1-59486-320-2. https://books.google.com/books?id=eYyovo_AbqAC ↩
Some reports erroneously state that this was his first appearance since 1964.[246] ↩
Badman 2004, p. 366. - Badman, Keith (2004). The Beach Boys: The Definitive Diary of America's Greatest Band, on Stage and in the Studio. Backbeat Books. ISBN 978-0-87930-818-6. https://archive.org/details/beachboysdefinit0000badm ↩
Badman 2004, p. 365. - Badman, Keith (2004). The Beach Boys: The Definitive Diary of America's Greatest Band, on Stage and in the Studio. Backbeat Books. ISBN 978-0-87930-818-6. https://archive.org/details/beachboysdefinit0000badm ↩
Other television appearances included a September guest-presenter role on Don Kirshner's Annual Rock Music Awards, where he was nominated for the Hall of Fame category but lost to the Beatles, and a November feature on The Mike Douglas Show and NBC's Saturday Night, marking his first solo TV appearances since the Inside Pop special in 1966.[250] /wiki/Don_Kirshner ↩
Petridis, Alexis (June 24, 2011). "The astonishing genius of Brian Wilson". The Guardian. Retrieved June 30, 2013. /wiki/Alexis_Petridis ↩
Badman 2004, p. 364. - Badman, Keith (2004). The Beach Boys: The Definitive Diary of America's Greatest Band, on Stage and in the Studio. Backbeat Books. ISBN 978-0-87930-818-6. https://archive.org/details/beachboysdefinit0000badm ↩
Badman 2004, pp. 367–371. - Badman, Keith (2004). The Beach Boys: The Definitive Diary of America's Greatest Band, on Stage and in the Studio. Backbeat Books. ISBN 978-0-87930-818-6. https://archive.org/details/beachboysdefinit0000badm ↩
Matijas-Mecca 2017, pp. 83, 85. - Matijas-Mecca, Christian (2017). The Words and Music of Brian Wilson. ABC-CLIO. ISBN 978-1-4408-3899-6. https://books.google.com/books?id=wmphDgAAQBAJ&pg=PA86 ↩
Leaf 1978, p. 182. - Leaf, David (1978). The Beach Boys and the California Myth. New York: Grosset & Dunlap. ISBN 978-0-448-14626-3. https://archive.org/details/beachboyscalifor00leaf ↩
Badman 2004, p. 368. - Badman, Keith (2004). The Beach Boys: The Definitive Diary of America's Greatest Band, on Stage and in the Studio. Backbeat Books. ISBN 978-0-87930-818-6. https://archive.org/details/beachboysdefinit0000badm ↩
Carlin 2006, p. 213. - Carlin, Peter Ames (2006). Catch a Wave: The Rise, Fall, and Redemption of the Beach Boys' Brian Wilson. Rodale. ISBN 978-1-59486-320-2. https://books.google.com/books?id=eYyovo_AbqAC ↩
Carlin 2006, p. 290. - Carlin, Peter Ames (2006). Catch a Wave: The Rise, Fall, and Redemption of the Beach Boys' Brian Wilson. Rodale. ISBN 978-1-59486-320-2. https://books.google.com/books?id=eYyovo_AbqAC ↩
Gaines 1986, p. 290. - Gaines, Steven (1986). Heroes and Villains: The True Story of The Beach Boys. New York: Da Capo Press. ISBN 0306806479. https://archive.org/details/heroesvillainsth00gain ↩
White 1996, p. 319. - White, Timothy (1996). The Nearest Faraway Place: Brian Wilson, the Beach Boys, and the Southern Californian Experience. Macmillan. ISBN 0333649370. https://archive.org/details/nearestfarawaypl0000whit/ ↩
Gaines 1986, pp. 291–293. - Gaines, Steven (1986). Heroes and Villains: The True Story of The Beach Boys. New York: Da Capo Press. ISBN 0306806479. https://archive.org/details/heroesvillainsth00gain ↩
Gaines 1986, p. 311. - Gaines, Steven (1986). Heroes and Villains: The True Story of The Beach Boys. New York: Da Capo Press. ISBN 0306806479. https://archive.org/details/heroesvillainsth00gain ↩
Carlin 2006, pp. 222–223. - Carlin, Peter Ames (2006). Catch a Wave: The Rise, Fall, and Redemption of the Beach Boys' Brian Wilson. Rodale. ISBN 978-1-59486-320-2. https://books.google.com/books?id=eYyovo_AbqAC ↩
Gaines 1986, p. 295. - Gaines, Steven (1986). Heroes and Villains: The True Story of The Beach Boys. New York: Da Capo Press. ISBN 0306806479. https://archive.org/details/heroesvillainsth00gain ↩
Benci, Jacopo (January 1995). "Brian Wilson interview". Record Collector. No. 185. UK. ↩
Carlin 2006, p. 225. - Carlin, Peter Ames (2006). Catch a Wave: The Rise, Fall, and Redemption of the Beach Boys' Brian Wilson. Rodale. ISBN 978-1-59486-320-2. https://books.google.com/books?id=eYyovo_AbqAC ↩
Gaines 1986, p. 305. - Gaines, Steven (1986). Heroes and Villains: The True Story of The Beach Boys. New York: Da Capo Press. ISBN 0306806479. https://archive.org/details/heroesvillainsth00gain ↩
Carlin 2006, pp. 223–224. - Carlin, Peter Ames (2006). Catch a Wave: The Rise, Fall, and Redemption of the Beach Boys' Brian Wilson. Rodale. ISBN 978-1-59486-320-2. https://books.google.com/books?id=eYyovo_AbqAC ↩
Gaines 1986, p. 317. - Gaines, Steven (1986). Heroes and Villains: The True Story of The Beach Boys. New York: Da Capo Press. ISBN 0306806479. https://archive.org/details/heroesvillainsth00gain ↩
Badman 2004, p. 370. - Badman, Keith (2004). The Beach Boys: The Definitive Diary of America's Greatest Band, on Stage and in the Studio. Backbeat Books. ISBN 978-0-87930-818-6. https://archive.org/details/beachboysdefinit0000badm ↩
Gaines 1986, p. 317. - Gaines, Steven (1986). Heroes and Villains: The True Story of The Beach Boys. New York: Da Capo Press. ISBN 0306806479. https://archive.org/details/heroesvillainsth00gain ↩
Gaines 1986, pp. 317–318. - Gaines, Steven (1986). Heroes and Villains: The True Story of The Beach Boys. New York: Da Capo Press. ISBN 0306806479. https://archive.org/details/heroesvillainsth00gain ↩
Gaines 1986, p. 318. - Gaines, Steven (1986). Heroes and Villains: The True Story of The Beach Boys. New York: Da Capo Press. ISBN 0306806479. https://archive.org/details/heroesvillainsth00gain ↩
Sanford, Jay Allen (September 18, 2007). "The Day Beach Boy Brian Wilson Got Busted in Balboa Park". San Diego Reader. http://www.sandiegoreader.com/weblogs/bands/2007/sep/18/the-day-beach-boy-brian-wilson-got-busted/ ↩
Sanford, Jay Allen (June 26, 2011). "Will Brian Wilson Film Depict 1978 Balboa Park Vagrancy Bust?". San Diego Reader. http://www.sandiegoreader.com/weblogs/big-screen/2011/jun/26/will-brian-wilson-film-depict-1978-balboa-park-vag/ ↩
Gaines 1986, pp. 319–320. - Gaines, Steven (1986). Heroes and Villains: The True Story of The Beach Boys. New York: Da Capo Press. ISBN 0306806479. https://archive.org/details/heroesvillainsth00gain ↩
Gaines 1986, p. 321. - Gaines, Steven (1986). Heroes and Villains: The True Story of The Beach Boys. New York: Da Capo Press. ISBN 0306806479. https://archive.org/details/heroesvillainsth00gain ↩
Gaines 1986, p. 322. - Gaines, Steven (1986). Heroes and Villains: The True Story of The Beach Boys. New York: Da Capo Press. ISBN 0306806479. https://archive.org/details/heroesvillainsth00gain ↩
Carlin 2006, p. 228. - Carlin, Peter Ames (2006). Catch a Wave: The Rise, Fall, and Redemption of the Beach Boys' Brian Wilson. Rodale. ISBN 978-1-59486-320-2. https://books.google.com/books?id=eYyovo_AbqAC ↩
Love 2016, p. 443. - Love, Mike (2016). Good Vibrations: My Life as a Beach Boy. Penguin Publishing Group. ISBN 978-0-698-40886-9. https://books.google.com/books?id=ioG0CwAAQBAJ ↩
Gaines 1986, p. 323. - Gaines, Steven (1986). Heroes and Villains: The True Story of The Beach Boys. New York: Da Capo Press. ISBN 0306806479. https://archive.org/details/heroesvillainsth00gain ↩
Wilson & Greenman 2016, p. 17. - Wilson, Brian; Greenman, Ben (2016). I Am Brian Wilson: A Memoir. Da Capo Press. ISBN 978-0-306-82307-7. https://books.google.com/books?id=9CmiBQAAQBAJ ↩
Gaines 1986, p. 330. - Gaines, Steven (1986). Heroes and Villains: The True Story of The Beach Boys. New York: Da Capo Press. ISBN 0306806479. https://archive.org/details/heroesvillainsth00gain ↩
Gaines 1986, p. 332. - Gaines, Steven (1986). Heroes and Villains: The True Story of The Beach Boys. New York: Da Capo Press. ISBN 0306806479. https://archive.org/details/heroesvillainsth00gain ↩
Gaines 1986, p. 337. - Gaines, Steven (1986). Heroes and Villains: The True Story of The Beach Boys. New York: Da Capo Press. ISBN 0306806479. https://archive.org/details/heroesvillainsth00gain ↩
Carlin 2006, pp. 231–232. - Carlin, Peter Ames (2006). Catch a Wave: The Rise, Fall, and Redemption of the Beach Boys' Brian Wilson. Rodale. ISBN 978-1-59486-320-2. https://books.google.com/books?id=eYyovo_AbqAC ↩
Gaines 1986, p. 331. - Gaines, Steven (1986). Heroes and Villains: The True Story of The Beach Boys. New York: Da Capo Press. ISBN 0306806479. https://archive.org/details/heroesvillainsth00gain ↩
Gaines 1986, p. 331. - Gaines, Steven (1986). Heroes and Villains: The True Story of The Beach Boys. New York: Da Capo Press. ISBN 0306806479. https://archive.org/details/heroesvillainsth00gain ↩
Stebbins 2000, p. 209. - Stebbins, Jon (2000). Dennis Wilson: The Real Beach Boy. ECW Press. ISBN 978-1-55022-404-7. https://archive.org/details/denniswilsonreal0000steb/ ↩
Stebbins 2000, pp. 208–210. - Stebbins, Jon (2000). Dennis Wilson: The Real Beach Boy. ECW Press. ISBN 978-1-55022-404-7. https://archive.org/details/denniswilsonreal0000steb/ ↩
Stebbins 2011, p. 221. - Stebbins, Jon (2011). The Beach Boys FAQ: All That's Left to Know About America's Band. Backbeat Books. ISBN 9781458429148. ↩
Gaines 1986, pp. 333–334. - Gaines, Steven (1986). Heroes and Villains: The True Story of The Beach Boys. New York: Da Capo Press. ISBN 0306806479. https://archive.org/details/heroesvillainsth00gain ↩
Wilson & Gold 1991, p. 268. - Wilson, Brian; Gold, Todd (1991). Wouldn't It Be Nice: My Own Story. New York: HarperCollins. ISBN 978-0-06018-313-4. https://archive.org/details/wouldntitbenicem00wils ↩
Carlin 2006, p. 242. - Carlin, Peter Ames (2006). Catch a Wave: The Rise, Fall, and Redemption of the Beach Boys' Brian Wilson. Rodale. ISBN 978-1-59486-320-2. https://books.google.com/books?id=eYyovo_AbqAC ↩
"Obituary: Eugene Landy". The Telegraph. March 31, 2006. Archived from the original on February 25, 2008. https://web.archive.org/web/20080225202250/http://www.telegraph.co.uk/news/main.jhtml?xml=%2Fnews%2F2006%2F03%2F31%2Fdb3102.xml&sSheet=%2Fportal%2F2006%2F03%2F31%2Fixportal.html ↩
Gaines 1986, pp. 338–339. - Gaines, Steven (1986). Heroes and Villains: The True Story of The Beach Boys. New York: Da Capo Press. ISBN 0306806479. https://archive.org/details/heroesvillainsth00gain ↩
Carlin 2006, p. 243. - Carlin, Peter Ames (2006). Catch a Wave: The Rise, Fall, and Redemption of the Beach Boys' Brian Wilson. Rodale. ISBN 978-1-59486-320-2. https://books.google.com/books?id=eYyovo_AbqAC ↩
Gaines 1986, pp. 338–339. - Gaines, Steven (1986). Heroes and Villains: The True Story of The Beach Boys. New York: Da Capo Press. ISBN 0306806479. https://archive.org/details/heroesvillainsth00gain ↩
Carlin 2006, pp. 243, 255. - Carlin, Peter Ames (2006). Catch a Wave: The Rise, Fall, and Redemption of the Beach Boys' Brian Wilson. Rodale. ISBN 978-1-59486-320-2. https://books.google.com/books?id=eYyovo_AbqAC ↩
Carlin 2006, pp. 243–244. - Carlin, Peter Ames (2006). Catch a Wave: The Rise, Fall, and Redemption of the Beach Boys' Brian Wilson. Rodale. ISBN 978-1-59486-320-2. https://books.google.com/books?id=eYyovo_AbqAC ↩
Gaines 1986, pp. 339–340. - Gaines, Steven (1986). Heroes and Villains: The True Story of The Beach Boys. New York: Da Capo Press. ISBN 0306806479. https://archive.org/details/heroesvillainsth00gain ↩
Gaines 1986, pp. 340–342. - Gaines, Steven (1986). Heroes and Villains: The True Story of The Beach Boys. New York: Da Capo Press. ISBN 0306806479. https://archive.org/details/heroesvillainsth00gain ↩
Gaines 1986, p. 342. - Gaines, Steven (1986). Heroes and Villains: The True Story of The Beach Boys. New York: Da Capo Press. ISBN 0306806479. https://archive.org/details/heroesvillainsth00gain ↩
"Obituary: Eugene Landy". The Telegraph. March 31, 2006. Archived from the original on February 25, 2008. https://web.archive.org/web/20080225202250/http://www.telegraph.co.uk/news/main.jhtml?xml=%2Fnews%2F2006%2F03%2F31%2Fdb3102.xml&sSheet=%2Fportal%2F2006%2F03%2F31%2Fixportal.html ↩
Carlin 2006, p. 256. - Carlin, Peter Ames (2006). Catch a Wave: The Rise, Fall, and Redemption of the Beach Boys' Brian Wilson. Rodale. ISBN 978-1-59486-320-2. https://books.google.com/books?id=eYyovo_AbqAC ↩
Carlin 2006, p. 272. - Carlin, Peter Ames (2006). Catch a Wave: The Rise, Fall, and Redemption of the Beach Boys' Brian Wilson. Rodale. ISBN 978-1-59486-320-2. https://books.google.com/books?id=eYyovo_AbqAC ↩
Carlin 2006, pp. 254–258. - Carlin, Peter Ames (2006). Catch a Wave: The Rise, Fall, and Redemption of the Beach Boys' Brian Wilson. Rodale. ISBN 978-1-59486-320-2. https://books.google.com/books?id=eYyovo_AbqAC ↩
Carlin 2006, p. 257. - Carlin, Peter Ames (2006). Catch a Wave: The Rise, Fall, and Redemption of the Beach Boys' Brian Wilson. Rodale. ISBN 978-1-59486-320-2. https://books.google.com/books?id=eYyovo_AbqAC ↩
Carlin 2006, p. 259. - Carlin, Peter Ames (2006). Catch a Wave: The Rise, Fall, and Redemption of the Beach Boys' Brian Wilson. Rodale. ISBN 978-1-59486-320-2. https://books.google.com/books?id=eYyovo_AbqAC ↩
White 1996, p. 338. - White, Timothy (1996). The Nearest Faraway Place: Brian Wilson, the Beach Boys, and the Southern Californian Experience. Macmillan. ISBN 0333649370. https://archive.org/details/nearestfarawaypl0000whit/ ↩
Carlin 2006, p. 249. - Carlin, Peter Ames (2006). Catch a Wave: The Rise, Fall, and Redemption of the Beach Boys' Brian Wilson. Rodale. ISBN 978-1-59486-320-2. https://books.google.com/books?id=eYyovo_AbqAC ↩
Carlin 2006, p. 257. - Carlin, Peter Ames (2006). Catch a Wave: The Rise, Fall, and Redemption of the Beach Boys' Brian Wilson. Rodale. ISBN 978-1-59486-320-2. https://books.google.com/books?id=eYyovo_AbqAC ↩
Badman 2004, p. 374. - Badman, Keith (2004). The Beach Boys: The Definitive Diary of America's Greatest Band, on Stage and in the Studio. Backbeat Books. ISBN 978-0-87930-818-6. https://archive.org/details/beachboysdefinit0000badm ↩
Carlin 2006, p. 259. - Carlin, Peter Ames (2006). Catch a Wave: The Rise, Fall, and Redemption of the Beach Boys' Brian Wilson. Rodale. ISBN 978-1-59486-320-2. https://books.google.com/books?id=eYyovo_AbqAC ↩
Badman 2004, p. 374. - Badman, Keith (2004). The Beach Boys: The Definitive Diary of America's Greatest Band, on Stage and in the Studio. Backbeat Books. ISBN 978-0-87930-818-6. https://archive.org/details/beachboysdefinit0000badm ↩
"Making the Album" (Press release). Sire Records. 1988. http://albumlinernotes.com/Making_The_Album.html ↩
Carlin 2006, p. 259. - Carlin, Peter Ames (2006). Catch a Wave: The Rise, Fall, and Redemption of the Beach Boys' Brian Wilson. Rodale. ISBN 978-1-59486-320-2. https://books.google.com/books?id=eYyovo_AbqAC ↩
Badman 2004, p. 374. - Badman, Keith (2004). The Beach Boys: The Definitive Diary of America's Greatest Band, on Stage and in the Studio. Backbeat Books. ISBN 978-0-87930-818-6. https://archive.org/details/beachboysdefinit0000badm ↩
Carlin 2006, p. 259. - Carlin, Peter Ames (2006). Catch a Wave: The Rise, Fall, and Redemption of the Beach Boys' Brian Wilson. Rodale. ISBN 978-1-59486-320-2. https://books.google.com/books?id=eYyovo_AbqAC ↩
Carlin 2006, pp. 260–262. - Carlin, Peter Ames (2006). Catch a Wave: The Rise, Fall, and Redemption of the Beach Boys' Brian Wilson. Rodale. ISBN 978-1-59486-320-2. https://books.google.com/books?id=eYyovo_AbqAC ↩
Badman 2004, p. 374. - Badman, Keith (2004). The Beach Boys: The Definitive Diary of America's Greatest Band, on Stage and in the Studio. Backbeat Books. ISBN 978-0-87930-818-6. https://archive.org/details/beachboysdefinit0000badm ↩
Carlin 2006, pp. 262–264, 266. - Carlin, Peter Ames (2006). Catch a Wave: The Rise, Fall, and Redemption of the Beach Boys' Brian Wilson. Rodale. ISBN 978-1-59486-320-2. https://books.google.com/books?id=eYyovo_AbqAC ↩
Carlin 2006, p. 265. - Carlin, Peter Ames (2006). Catch a Wave: The Rise, Fall, and Redemption of the Beach Boys' Brian Wilson. Rodale. ISBN 978-1-59486-320-2. https://books.google.com/books?id=eYyovo_AbqAC ↩
Carlin 2006, pp. 262–263, 266–267. - Carlin, Peter Ames (2006). Catch a Wave: The Rise, Fall, and Redemption of the Beach Boys' Brian Wilson. Rodale. ISBN 978-1-59486-320-2. https://books.google.com/books?id=eYyovo_AbqAC ↩
Carlin 2006, p. 268. - Carlin, Peter Ames (2006). Catch a Wave: The Rise, Fall, and Redemption of the Beach Boys' Brian Wilson. Rodale. ISBN 978-1-59486-320-2. https://books.google.com/books?id=eYyovo_AbqAC ↩
Carlin 2006, p. 269. - Carlin, Peter Ames (2006). Catch a Wave: The Rise, Fall, and Redemption of the Beach Boys' Brian Wilson. Rodale. ISBN 978-1-59486-320-2. https://books.google.com/books?id=eYyovo_AbqAC ↩
Carlin 2006, pp. 269–270. - Carlin, Peter Ames (2006). Catch a Wave: The Rise, Fall, and Redemption of the Beach Boys' Brian Wilson. Rodale. ISBN 978-1-59486-320-2. https://books.google.com/books?id=eYyovo_AbqAC ↩
Badman 2004, p. 374. - Badman, Keith (2004). The Beach Boys: The Definitive Diary of America's Greatest Band, on Stage and in the Studio. Backbeat Books. ISBN 978-0-87930-818-6. https://archive.org/details/beachboysdefinit0000badm ↩
Badman 2004, p. 374. - Badman, Keith (2004). The Beach Boys: The Definitive Diary of America's Greatest Band, on Stage and in the Studio. Backbeat Books. ISBN 978-0-87930-818-6. https://archive.org/details/beachboysdefinit0000badm ↩
Carlin 2006, p. 273. - Carlin, Peter Ames (2006). Catch a Wave: The Rise, Fall, and Redemption of the Beach Boys' Brian Wilson. Rodale. ISBN 978-1-59486-320-2. https://books.google.com/books?id=eYyovo_AbqAC ↩
Carlin 2006, p. 273. - Carlin, Peter Ames (2006). Catch a Wave: The Rise, Fall, and Redemption of the Beach Boys' Brian Wilson. Rodale. ISBN 978-1-59486-320-2. https://books.google.com/books?id=eYyovo_AbqAC ↩
Badman 2004, p. 375. - Badman, Keith (2004). The Beach Boys: The Definitive Diary of America's Greatest Band, on Stage and in the Studio. Backbeat Books. ISBN 978-0-87930-818-6. https://archive.org/details/beachboysdefinit0000badm ↩
Carlin 2006, p. 278. - Carlin, Peter Ames (2006). Catch a Wave: The Rise, Fall, and Redemption of the Beach Boys' Brian Wilson. Rodale. ISBN 978-1-59486-320-2. https://books.google.com/books?id=eYyovo_AbqAC ↩
Badman 2004, p. 375. - Badman, Keith (2004). The Beach Boys: The Definitive Diary of America's Greatest Band, on Stage and in the Studio. Backbeat Books. ISBN 978-0-87930-818-6. https://archive.org/details/beachboysdefinit0000badm ↩
Badman 2004, p. 375. - Badman, Keith (2004). The Beach Boys: The Definitive Diary of America's Greatest Band, on Stage and in the Studio. Backbeat Books. ISBN 978-0-87930-818-6. https://archive.org/details/beachboysdefinit0000badm ↩
Badman 2004, p. 374. - Badman, Keith (2004). The Beach Boys: The Definitive Diary of America's Greatest Band, on Stage and in the Studio. Backbeat Books. ISBN 978-0-87930-818-6. https://archive.org/details/beachboysdefinit0000badm ↩
Badman 2004, p. 375. - Badman, Keith (2004). The Beach Boys: The Definitive Diary of America's Greatest Band, on Stage and in the Studio. Backbeat Books. ISBN 978-0-87930-818-6. https://archive.org/details/beachboysdefinit0000badm ↩
Dillon 2012, p. 270. - Dillon, Mark (2012). Fifty Sides of the Beach Boys: The Songs That Tell Their Story. ECW Press. ISBN 978-1-77090-198-8. https://archive.org/details/fiftysidesofbeac0000dill/ ↩
Sandler, Adam (September 25, 1995). "Beach Boy Wilson sues former conservator". Variety. Retrieved November 30, 2021. https://variety.com/1995/film/features/beach-boy-wilson-sues-former-conservator-99129088/ ↩
n.a. (August 20, 2004). "Larry King Live". brianwilson.com. Archived from the original on July 11, 2008. https://web.archive.org/web/20080711152541/http://www.brianwilson.com/media/words/larry_king.html ↩
Granata 2003, p. 215. - Granata, Charles L. (2003). Wouldn't It Be Nice: Brian Wilson and the Making of the Beach Boys' Pet Sounds. A Cappella Books. ISBN 9781556525070. https://archive.org/details/wouldntitbenice00char ↩
Carlin 2006, pp. 274, 281. - Carlin, Peter Ames (2006). Catch a Wave: The Rise, Fall, and Redemption of the Beach Boys' Brian Wilson. Rodale. ISBN 978-1-59486-320-2. https://books.google.com/books?id=eYyovo_AbqAC ↩
Carlin 2006, p. 282. - Carlin, Peter Ames (2006). Catch a Wave: The Rise, Fall, and Redemption of the Beach Boys' Brian Wilson. Rodale. ISBN 978-1-59486-320-2. https://books.google.com/books?id=eYyovo_AbqAC ↩
Badman 2004, p. 376. - Badman, Keith (2004). The Beach Boys: The Definitive Diary of America's Greatest Band, on Stage and in the Studio. Backbeat Books. ISBN 978-0-87930-818-6. https://archive.org/details/beachboysdefinit0000badm ↩
Granata 2003, p. 216. - Granata, Charles L. (2003). Wouldn't It Be Nice: Brian Wilson and the Making of the Beach Boys' Pet Sounds. A Cappella Books. ISBN 9781556525070. https://archive.org/details/wouldntitbenice00char ↩
Badman 2004, p. 376. - Badman, Keith (2004). The Beach Boys: The Definitive Diary of America's Greatest Band, on Stage and in the Studio. Backbeat Books. ISBN 978-0-87930-818-6. https://archive.org/details/beachboysdefinit0000badm ↩
Carlin 2006, pp. 282–283. - Carlin, Peter Ames (2006). Catch a Wave: The Rise, Fall, and Redemption of the Beach Boys' Brian Wilson. Rodale. ISBN 978-1-59486-320-2. https://books.google.com/books?id=eYyovo_AbqAC ↩
Lambert 2007, p. 324. - Lambert, Philip (2007). Inside the Music of Brian Wilson: the Songs, Sounds, and Influences of the Beach Boys' Founding Genius. Continuum. ISBN 978-0-8264-1876-0. https://books.google.com/books?id=7XsZAQAAIAAJ ↩
Lambert 2007, p. 324. - Lambert, Philip (2007). Inside the Music of Brian Wilson: the Songs, Sounds, and Influences of the Beach Boys' Founding Genius. Continuum. ISBN 978-0-8264-1876-0. https://books.google.com/books?id=7XsZAQAAIAAJ ↩
Carlin 2006, p. 284. - Carlin, Peter Ames (2006). Catch a Wave: The Rise, Fall, and Redemption of the Beach Boys' Brian Wilson. Rodale. ISBN 978-1-59486-320-2. https://books.google.com/books?id=eYyovo_AbqAC ↩
Carlin 2006, pp. 285, 291. - Carlin, Peter Ames (2006). Catch a Wave: The Rise, Fall, and Redemption of the Beach Boys' Brian Wilson. Rodale. ISBN 978-1-59486-320-2. https://books.google.com/books?id=eYyovo_AbqAC ↩
Carlin 2006, p. 291. - Carlin, Peter Ames (2006). Catch a Wave: The Rise, Fall, and Redemption of the Beach Boys' Brian Wilson. Rodale. ISBN 978-1-59486-320-2. https://books.google.com/books?id=eYyovo_AbqAC ↩
Carlin 2006, pp. 292–293. - Carlin, Peter Ames (2006). Catch a Wave: The Rise, Fall, and Redemption of the Beach Boys' Brian Wilson. Rodale. ISBN 978-1-59486-320-2. https://books.google.com/books?id=eYyovo_AbqAC ↩
Stebbins 2000, p. 233. - Stebbins, Jon (2000). Dennis Wilson: The Real Beach Boy. ECW Press. ISBN 978-1-55022-404-7. https://archive.org/details/denniswilsonreal0000steb/ ↩
Carlin 2006, p. 293. - Carlin, Peter Ames (2006). Catch a Wave: The Rise, Fall, and Redemption of the Beach Boys' Brian Wilson. Rodale. ISBN 978-1-59486-320-2. https://books.google.com/books?id=eYyovo_AbqAC ↩
Lester, Paul (June 1998). "Brain Wilson: Endless Bummer". Uncut. /wiki/Paul_Lester ↩
Neville, Morgan (Director) (1999). Brian Wilson: A Beach Boy's Tale (Video). Event occurs at 1:28:34. ↩
Carlin 2006, p. 293. - Carlin, Peter Ames (2006). Catch a Wave: The Rise, Fall, and Redemption of the Beach Boys' Brian Wilson. Rodale. ISBN 978-1-59486-320-2. https://books.google.com/books?id=eYyovo_AbqAC ↩
Carlin 2006, p. 293. - Carlin, Peter Ames (2006). Catch a Wave: The Rise, Fall, and Redemption of the Beach Boys' Brian Wilson. Rodale. ISBN 978-1-59486-320-2. https://books.google.com/books?id=eYyovo_AbqAC ↩
Jeff Foskett rebutted such claims in a 2011 interview.[228] Although Wilson often stated that he enjoyed live performances, Jon Stebbins argued in his 2011 biography that his handlers, managers, and wife compelled him to work. Stebbins cited an interview in which, after Wilson admitted disliking touring, his handler promptly reminded him that he loved performing.[339] ↩
Badman 2004, pp. 376, 379. - Badman, Keith (2004). The Beach Boys: The Definitive Diary of America's Greatest Band, on Stage and in the Studio. Backbeat Books. ISBN 978-0-87930-818-6. https://archive.org/details/beachboysdefinit0000badm ↩
Dillon 2012, p. 275. - Dillon, Mark (2012). Fifty Sides of the Beach Boys: The Songs That Tell Their Story. ECW Press. ISBN 978-1-77090-198-8. https://archive.org/details/fiftysidesofbeac0000dill/ ↩
Carlin 2006, pp. 294–295. - Carlin, Peter Ames (2006). Catch a Wave: The Rise, Fall, and Redemption of the Beach Boys' Brian Wilson. Rodale. ISBN 978-1-59486-320-2. https://books.google.com/books?id=eYyovo_AbqAC ↩
Badman 2004, p. 379. - Badman, Keith (2004). The Beach Boys: The Definitive Diary of America's Greatest Band, on Stage and in the Studio. Backbeat Books. ISBN 978-0-87930-818-6. https://archive.org/details/beachboysdefinit0000badm ↩
Granata 2003, p. 229. - Granata, Charles L. (2003). Wouldn't It Be Nice: Brian Wilson and the Making of the Beach Boys' Pet Sounds. A Cappella Books. ISBN 9781556525070. https://archive.org/details/wouldntitbenice00char ↩
"Bad Vibrations: Brian Wilson Sues Collaborator". Rolling Stone. August 24, 1999. https://www.rollingstone.com/music/news/bad-vibrations-brian-wilson-sues-collaborator-19990824 ↩
"Brian Wilson Settles Suit With Former Partner". Rolling Stone. July 18, 2000. https://www.rollingstone.com/music/news/brian-wilson-settles-suit-with-former-partner-20000718 ↩
Badman 2004, p. 377. - Badman, Keith (2004). The Beach Boys: The Definitive Diary of America's Greatest Band, on Stage and in the Studio. Backbeat Books. ISBN 978-0-87930-818-6. https://archive.org/details/beachboysdefinit0000badm ↩
Granata 2003, p. 230. - Granata, Charles L. (2003). Wouldn't It Be Nice: Brian Wilson and the Making of the Beach Boys' Pet Sounds. A Cappella Books. ISBN 9781556525070. https://archive.org/details/wouldntitbenice00char ↩
Badman 2004, p. 377. - Badman, Keith (2004). The Beach Boys: The Definitive Diary of America's Greatest Band, on Stage and in the Studio. Backbeat Books. ISBN 978-0-87930-818-6. https://archive.org/details/beachboysdefinit0000badm ↩
Carlin 2006, p. 301. - Carlin, Peter Ames (2006). Catch a Wave: The Rise, Fall, and Redemption of the Beach Boys' Brian Wilson. Rodale. ISBN 978-1-59486-320-2. https://books.google.com/books?id=eYyovo_AbqAC ↩
Priore 2005, p. 125. - Priore, Domenic (2005). Smile: The Story of Brian Wilson's Lost Masterpiece. London: Sanctuary. ISBN 1860746276. https://books.google.com/books?id=81YIAQAAMAAJ ↩
Carlin 2006, p. 298. - Carlin, Peter Ames (2006). Catch a Wave: The Rise, Fall, and Redemption of the Beach Boys' Brian Wilson. Rodale. ISBN 978-1-59486-320-2. https://books.google.com/books?id=eYyovo_AbqAC ↩
Granata 2003, p. 233. - Granata, Charles L. (2003). Wouldn't It Be Nice: Brian Wilson and the Making of the Beach Boys' Pet Sounds. A Cappella Books. ISBN 9781556525070. https://archive.org/details/wouldntitbenice00char ↩
Dillon 2012, p. 276. - Dillon, Mark (2012). Fifty Sides of the Beach Boys: The Songs That Tell Their Story. ECW Press. ISBN 978-1-77090-198-8. https://archive.org/details/fiftysidesofbeac0000dill/ ↩
Badman 2004, p. 378. - Badman, Keith (2004). The Beach Boys: The Definitive Diary of America's Greatest Band, on Stage and in the Studio. Backbeat Books. ISBN 978-0-87930-818-6. https://archive.org/details/beachboysdefinit0000badm ↩
Wilson & Greenman 2016, p. 205. - Wilson, Brian; Greenman, Ben (2016). I Am Brian Wilson: A Memoir. Da Capo Press. ISBN 978-0-306-82307-7. https://books.google.com/books?id=9CmiBQAAQBAJ ↩
Carlin 2006, pp. 301, 303. - Carlin, Peter Ames (2006). Catch a Wave: The Rise, Fall, and Redemption of the Beach Boys' Brian Wilson. Rodale. ISBN 978-1-59486-320-2. https://books.google.com/books?id=eYyovo_AbqAC ↩
Carlin 2006, pp. 304–305. - Carlin, Peter Ames (2006). Catch a Wave: The Rise, Fall, and Redemption of the Beach Boys' Brian Wilson. Rodale. ISBN 978-1-59486-320-2. https://books.google.com/books?id=eYyovo_AbqAC ↩
Carlin 2006, p. 309. - Carlin, Peter Ames (2006). Catch a Wave: The Rise, Fall, and Redemption of the Beach Boys' Brian Wilson. Rodale. ISBN 978-1-59486-320-2. https://books.google.com/books?id=eYyovo_AbqAC ↩
Priore 2005, pp. 176–178. - Priore, Domenic (2005). Smile: The Story of Brian Wilson's Lost Masterpiece. London: Sanctuary. ISBN 1860746276. https://books.google.com/books?id=81YIAQAAMAAJ ↩
Priore 2005, p. 176. - Priore, Domenic (2005). Smile: The Story of Brian Wilson's Lost Masterpiece. London: Sanctuary. ISBN 1860746276. https://books.google.com/books?id=81YIAQAAMAAJ ↩
Dillon 2012, p. 262. - Dillon, Mark (2012). Fifty Sides of the Beach Boys: The Songs That Tell Their Story. ECW Press. ISBN 978-1-77090-198-8. https://archive.org/details/fiftysidesofbeac0000dill/ ↩
Carlin 2006, p. 311. - Carlin, Peter Ames (2006). Catch a Wave: The Rise, Fall, and Redemption of the Beach Boys' Brian Wilson. Rodale. ISBN 978-1-59486-320-2. https://books.google.com/books?id=eYyovo_AbqAC ↩
Priore 2005, p. 178. - Priore, Domenic (2005). Smile: The Story of Brian Wilson's Lost Masterpiece. London: Sanctuary. ISBN 1860746276. https://books.google.com/books?id=81YIAQAAMAAJ ↩
Phillips, Greg (March 2005). "Smile – It's Vindication Day!". Australian Musician. https://www.rocksbackpages.com/Library/Article/smile--its-vindication-day ↩
Dillon 2012, p. 283. - Dillon, Mark (2012). Fifty Sides of the Beach Boys: The Songs That Tell Their Story. ECW Press. ISBN 978-1-77090-198-8. https://archive.org/details/fiftysidesofbeac0000dill/ ↩
"Donate to hurricane relief and Brian Wilson will say hi". USA Today. September 24, 2005. Retrieved September 14, 2011. https://www.usatoday.com/life/people/2005-09-24-brian-wilson-website_x.htm ↩
"Mike Love Sues Brian Wilson Over 'Smile'". Billboard. November 5, 2005. Retrieved March 30, 2015. https://www.billboard.com/articles/news/60785/mike-love-sues-brian-wilson-over-smile ↩
Carlin 2006, p. 316. - Carlin, Peter Ames (2006). Catch a Wave: The Rise, Fall, and Redemption of the Beach Boys' Brian Wilson. Rodale. ISBN 978-1-59486-320-2. https://books.google.com/books?id=eYyovo_AbqAC ↩
"Is Beach Boy Mike Love Music's Biggest Villain?". WCBSFM. October 4, 2012. Archived from the original on April 2, 2015. Retrieved March 30, 2015. https://web.archive.org/web/20150402103730/http://wcbsfm.cbslocal.com/2012/10/04/is-beach-boy-mike-love-musics-biggest-villain/ ↩
Lambert 2007, p. 328. - Lambert, Philip (2007). Inside the Music of Brian Wilson: the Songs, Sounds, and Influences of the Beach Boys' Founding Genius. Continuum. ISBN 978-0-8264-1876-0. https://books.google.com/books?id=7XsZAQAAIAAJ ↩
"Two Beach Boys to reunite – Listen Up". USA Today. September 24, 2010. Archived from the original on December 20, 2008. https://web.archive.org/web/20081220033634/http://blogs.usatoday.com/listenup/2006/09/two_beach_boys_.html ↩
"Wouldn't It Be Nice Not to Fuss Over Significance or Perfection?". The New York Times. November 23, 2006. Retrieved March 30, 2015. https://www.nytimes.com/2006/11/23/arts/music/23wils.html ↩
Dillon 2012, pp. 294–295. - Dillon, Mark (2012). Fifty Sides of the Beach Boys: The Songs That Tell Their Story. ECW Press. ISBN 978-1-77090-198-8. https://archive.org/details/fiftysidesofbeac0000dill/ ↩
Dillon 2012, pp. 297–298. - Dillon, Mark (2012). Fifty Sides of the Beach Boys: The Songs That Tell Their Story. ECW Press. ISBN 978-1-77090-198-8. https://archive.org/details/fiftysidesofbeac0000dill/ ↩
Around this time, Wilson announced he was developing a new concept album titled Pleasure Island: A Rock Fantasy. He explained that the project centers on a group of men who discover a place called Pleasure Island, where they encounter various women and attractions. Although the concept was not yet fully developed, he expressed optimism about its potential, suggesting it might become his finest work.[374] ↩
Dillon 2012, p. 289. - Dillon, Mark (2012). Fifty Sides of the Beach Boys: The Songs That Tell Their Story. ECW Press. ISBN 978-1-77090-198-8. https://archive.org/details/fiftysidesofbeac0000dill/ ↩
Dillon 2012, pp. 289, 291–292. - Dillon, Mark (2012). Fifty Sides of the Beach Boys: The Songs That Tell Their Story. ECW Press. ISBN 978-1-77090-198-8. https://archive.org/details/fiftysidesofbeac0000dill/ ↩
Dillon 2012, p. 293. - Dillon, Mark (2012). Fifty Sides of the Beach Boys: The Songs That Tell Their Story. ECW Press. ISBN 978-1-77090-198-8. https://archive.org/details/fiftysidesofbeac0000dill/ ↩
Dillon 2012, p. 294. - Dillon, Mark (2012). Fifty Sides of the Beach Boys: The Songs That Tell Their Story. ECW Press. ISBN 978-1-77090-198-8. https://archive.org/details/fiftysidesofbeac0000dill/ ↩
Michaels, Sean (September 28, 2011). "Brian Wilson rules out reunion with the Beach Boys". The Guardian. https://www.theguardian.com/music/2011/sep/29/brian-wilson-beach-boys ↩
Matijas-Mecca 2017, pp. xv, 160. - Matijas-Mecca, Christian (2017). The Words and Music of Brian Wilson. ABC-CLIO. ISBN 978-1-4408-3899-6. https://books.google.com/books?id=wmphDgAAQBAJ&pg=PA86 ↩
Matijas-Mecca 2017, p. 160. - Matijas-Mecca, Christian (2017). The Words and Music of Brian Wilson. ABC-CLIO. ISBN 978-1-4408-3899-6. https://books.google.com/books?id=wmphDgAAQBAJ&pg=PA86 ↩
"Brian Wilson Returns to Capitol Music Group; Currently Recording and Self-Producing New Solo Studio Album". BrianWilson.com. June 6, 2013. Archived from the original on June 9, 2013. Retrieved May 23, 2014. https://web.archive.org/web/20130609144416/http://www.brianwilson.com/news/2013/6/6/brian-wilson-returns-to-capitol-music-group-currently-recording-and-self-producing-his-11th-solo-studio-album ↩
"Rolling Stone: Brian Wilson Rocks With Jeff Beck, Plans New LPs". BrianWilson.com. June 20, 2013. Archived from the original on July 29, 2020. Retrieved August 8, 2013. https://web.archive.org/web/20200729141434/https://www.brianwilson.com/news/2013/6/20/brian-wilson-rocks-with-jeff-beck-plans-new-lps ↩
"'It stopped working': For the Beach Boys' Brian Wilson, it's about new music not meditation". Something Else!. January 28, 2014. Retrieved May 23, 2014. http://somethingelsereviews.com/2014/01/28/it-stopped-working-for-the-beach-boys-brian-wilson-its-about-new-music-not-meditation/ ↩
Fessier, Bruce (August 28, 2014). "Beach Boys' Brian Wilson talks Robin Williams". The Desert Sun. Retrieved August 28, 2014. http://www.desertsun.com/story/life/entertainment/music/2014/08/27/beach-boys-brian-wilson/14716185/ ↩
Burns, Andy (September 8, 2014). "TIFF 2014: Love And Mercy Reviewed". Biff Bam Pop!. Retrieved September 8, 2014. http://biffbampop.com/2014/09/08/tiff-2014-love-and-mercy-reviewed/ ↩
Merry, Stephanie; Yahr, Emily (December 10, 2015). "Golden Globes nominations 2016: Complete list". The Washington Post. Retrieved December 10, 2015. https://www.washingtonpost.com/news/arts-and-entertainment/wp/2015/12/10/golden-globes-nominations-2016-complete-coverage/ ↩
Hann, Michael (October 7, 2014). "BBC unveil all-star version of God Only Knows, 17 years after Perfect Day". The Guardian. https://www.theguardian.com/music/2014/oct/07/bbc-god-only-knows-pharrell-stevie-wonder-chris-martin-lorde ↩
"Emile Haynie ft. Andrew Wyatt and Brian Wilson - "Falling Apart"". Pigeons & Planes. October 13, 2014. http://pigeonsandplanes.com/2014/10/emile-haynie-ft-andrew-wyatt-and-brian-wilson-falling-apart/ ↩
"Brian Wilson, "Wanderlust": Something Else! sneak peek". Somethingelsereviews.com. October 1, 2014. http://somethingelsereviews.com/2014/10/01/brian-wilson-wanderlust/ ↩
Matijas-Mecca 2017, pp. 164–166. - Matijas-Mecca, Christian (2017). The Words and Music of Brian Wilson. ABC-CLIO. ISBN 978-1-4408-3899-6. https://books.google.com/books?id=wmphDgAAQBAJ&pg=PA86 ↩
Michaels, Sean (June 12, 2014). "Brian Wilson fans furious at Frank Ocean and Lana Del Rey collaborations". The Guardian. https://www.theguardian.com/music/2014/jun/12/brian-wilson-new-album-frank-ocean-lana-del-rey ↩
Matijas-Mecca 2017, p. 164. - Matijas-Mecca, Christian (2017). The Words and Music of Brian Wilson. ABC-CLIO. ISBN 978-1-4408-3899-6. https://books.google.com/books?id=wmphDgAAQBAJ&pg=PA86 ↩
Greene, Andy (June 30, 2015). "Meet Brian Wilson's Secret Weapon: Darian Sahanaja". Rolling Stone. https://www.rollingstone.com/music/features/meet-brian-wilsons-secret-weapon-darian-sahanaja-20150630 ↩
Matijas-Mecca 2017, pp. 169–170. - Matijas-Mecca, Christian (2017). The Words and Music of Brian Wilson. ABC-CLIO. ISBN 978-1-4408-3899-6. https://books.google.com/books?id=wmphDgAAQBAJ&pg=PA86 ↩
Bhattacharya, Sanjiv (June 15, 2016). "Brian Wilson: What I've Learned". Esquire. http://www.esquire.co.uk/culture/interviews/a10139/brian-wilson-beach-boys-what-ive-learned/ ↩
That same month, Wilson announced a new album, Sensitive Music for Sensitive People, comprising originals and rock and roll cover songs.[397] He said the name as a "working title" and that recording would begin in December.[398] /wiki/Rock_and_roll ↩
Fessier, Bruce (November 17, 2016). "Beach Boys seek to overcome discord with new wave of Love". The Desert Sun. http://www.desertsun.com/story/life/entertainment/music/2016/11/16/beach-boys-seek-overcome-discord-new-wave-love/93977562/ ↩
"Brian Wilson's Survival Story Told in New Documentary 'Long Promised Road'". Billboard. Associated Press. June 16, 2021. https://www.billboard.com/articles/news/movies/9587909/brian-wilson-documentary-long-promised-road/ ↩
Grow, Kory (October 11, 2016). "Brian Wilson Talks Mental Illness, Drugs and Life After Beach Boys". Rolling Stone. Retrieved July 2, 2019. https://www.rollingstone.com/music/music-features/brian-wilson-talks-mental-illness-drugs-and-life-after-beach-boys-103541/ ↩
"Beach Boys' Brian Wilson, The Zombies Announce 'Something Great From '68' Co-Headlining Tour". Liveforlivemusic.com. May 7, 2019. Retrieved August 8, 2019. https://liveforlivemusic.com/news/beach-boys-brian-wilson-zombies-tour-2019/ ↩
Grieving, Tim (December 1, 2021). "Brian Wilson doesn't say much. Until you listen to his music". Los Angeles Times. https://www.latimes.com/entertainment-arts/awards/story/2021-12-01/beach-boys-brian-wilson-documentary-long-promised-road ↩
Grow, Kory (June 6, 2019). "Brian Wilson Postpones Tour Saying He Feels 'Mentally Insecure'". Rolling Stone. https://www.rollingstone.com/music/music-news/brian-wilson-tour-postponed-845180/ ↩
Legaspi, Althea (July 30, 2019). "Brian Wilson 'Feeling Much Better,' Looks Forward to Tour". Rolling Stone. https://www.rollingstone.com/music/music-news/brian-wilson-feeling-much-better-resumes-tour-865134/ ↩
Doyle, Patrick (January 22, 2021). "Flashback: Brian Wilson Brings 'Pet Sounds' to the Stage in London". Rolling Stone. https://www.rollingstone.com/music/music-news/brian-wilson-pet-sounds-live-london-1117627/ ↩
Greene, Andy (September 1, 2021). "Watch Brian Wilson Perform 'God Only Knows' at First Pandemic-Era Concert". Rolling Stone. Retrieved September 24, 2021. https://www.rollingstone.com/music/music-news/brian-wilson-perform-god-only-knows-first-pandemic-era-concert-1219583/ ↩
Monroe, Jazz (September 17, 2021). "Brian Wilson Recreates Beach Boys Classics on New Album At My Piano: Listen to "God Only Knows"". Pitchfork. Retrieved September 24, 2021. https://pitchfork.com/news/brian-wilson-recreates-beach-boys-classics-on-new-album-at-my-piano-listen-to-god-only-knows/ ↩
Jones, Abby (November 23, 2021). "Brian Wilson Announces Long Promised Road Soundtrack, Shares "Right Where I Belong" with Jim James: Stream". Yahoo. https://www.yahoo.com/now/brian-wilson-announces-long-promised-193604271.html ↩
Millman, Ethan (March 30, 2022). "Brian Wilson's Ex-Wife Sues Beach Boys Founder After $50 Million UMG Publishing Deal". Rolling Stone. Retrieved May 11, 2023. https://www.rollingstone.com/music/music-news/brian-wilson-beach-boys-marilyn-wilson-rutherford-universal-music-publishing-lawsuit-1330232/ ↩
Millman, Ethan (March 30, 2022). "Brian Wilson's Ex-Wife Sues Beach Boys Founder After $50 Million UMG Publishing Deal". Rolling Stone. Retrieved May 11, 2023. https://www.rollingstone.com/music/music-news/brian-wilson-beach-boys-marilyn-wilson-rutherford-universal-music-publishing-lawsuit-1330232/ ↩
Graff, Gary (July 27, 2022). "Chicago, Brian Wilson celebrate 'Old Days' at Pine Knob". Oakland Press. https://www.theoaklandpress.com/2022/07/27/chicago-brian-wilson-celebrate-old-days-at-pine-knob/ ↩
Music Staff (August 1, 2022). "Brian Wilson Scraps All Upcoming Dates". Now Decatur. https://nowdecatur.com/2022/08/01/brian-wilson-scraps-all-upcoming-dates/ ↩
BeachBoys Talk (January 31, 2023). "S3 E1: Carnie Wilson!". YouTube. Event occurs at 1:37:58. https://www.youtube.com/watch?v=DPym7_515Yk ↩
Williams, Alex; Ives, Mike (January 31, 2024). "Melinda Wilson, 77, Who Helped Brian Wilson Through Mental Illness, Dies". The New York Times. https://www.nytimes.com/2024/01/30/arts/music/melinda-wilson-dead.html ↩
Beaumont-Thomas, Ben (February 16, 2024). "Beach Boys star Brian Wilson has dementia". Music. The Guardian. ISSN 1756-3224. OCLC 60623878. Retrieved February 16, 2024. https://www.theguardian.com/music/2024/feb/16/brian-wilson-dementia-conservatorship-filing ↩
"Judge places Beach Boys' Brian Wilson in conservatorship". Music. The Guardian. Associated Press. May 9, 2024. ISSN 1756-3224. OCLC 60623878. Retrieved May 9, 2024. https://www.theguardian.com/music/article/2024/may/09/beach-boys-brian-wilson-conservatorship ↩
Farrell, Margaret (June 13, 2025). "Brian Wilson's Last-Recorded, Previously Unreleased Solo Music Shared By Jonathan Wilson". Stereogum. https://www.stereogum.com/2311715/brian-wilsons-last-recorded-previously-unreleased-solo-music-shared-by-jonathan-wilson/music/ ↩
Williams, Richard (June 11, 2025). "Brian Wilson obituary". The Guardian. Retrieved June 12, 2025. https://www.theguardian.com/music/2025/jun/11/brian-wilson-obituary ↩
Lambe, Stacey; DeSantis, Rachel (June 11, 2025). "Brian Wilson, The Beach Boys Co-Founder and Singer, Dies at 82". People. Retrieved June 13, 2025. https://people.com/brian-wilson-dead-82-beach-boys-singer-co-founder-8548234 ↩
Morris, Chris (June 11, 2025). "Brian Wilson, Beach Boys Co-Founder, Dies at 82". Variety. Retrieved June 11, 2025. https://variety.com/2025/music/news/brian-wilson-dead-beach-boys-1236428336/ ↩
"The Beach Boys co-founder Brian Wilson dies". Sky News. Retrieved June 11, 2025. https://news.sky.com/story/beach-boys-co-founder-brian-wilson-dies-13382290 ↩
Hiatt, Brian (June 12, 2025). "Beach Boys' Al Jardine: My Final Meeting with Brian Wilson". Rolling Stone Australia. https://au.rollingstone.com/music/music-news/al-jardine-brian-wilson-obituary-interview-78163/ ↩
Watts, Marina (June 26, 2025). "Brian Wilson's Cause of Death Revealed 2 Weeks After Beach Boys Co-Founder Died at 82". People. Retrieved June 26, 2025. https://people.com/brian-wilson-cause-of-death-revealed-11752840 ↩
"Beach Boys' Mike Love And Al Jardine Share Eulogies For Brian Wilson". Stereogum. June 11, 2025. Retrieved June 12, 2025. https://www.stereogum.com/2311457/beach-boys-mike-love-and-al-jardine-share-eulogies-for-brian-wilson/news/ ↩
Parks, Van Dyke (June 17, 2025). "'His music documented an America that no longer exists': Brian Wilson's brilliance, by key collaborator Van Dyke Parks". The Guardian. Retrieved June 17, 2025. https://www.theguardian.com/music/2025/jun/17/his-music-documented-an-america-that-no-longer-exists-brian-wilsons-brilliance-by-key-collaborator-van-dyke-parks ↩
Sahanaja, Darian (June 17, 2025). ""A Salute to Brian Wilson: Darian Sahanaja on the solo band Beach Boys"". Variety. Retrieved June 17, 2025. /wiki/Yes ↩
Leaf, David (June 14, 2025). ""I gave Brian Wilson pizza and a bed. We were friends for 50 years"". The Times. Retrieved June 17, 2025. /wiki/Yes ↩
"Gracie Abrams, Clairo, Questlove & More Remember Brian Wilson: 'Hero In Every Sense of the Word'". Billboard. Retrieved June 11, 2025. https://www.billboard.com/music/music-news/brian-wilson-death-tributes-beach-boys-legend-1235996526/ ↩
"Carole King, Keith Richard[s], John Cusack and more celebs react to the death of Brian Wilson". The Associated Press. Retrieved June 11, 2025. https://apnews.com/article/brian-wilson-death-reaction-3c8a918c60dfb8b528b81f3e8a445989 ↩
This included Paul McCartney, Bruce Springsteen, James Hetfield, Bob Dylan, Elton John, Carole King, Questlove, Keith Richards, Ronnie Wood, Mick Fleetwood, Maggie Rogers, Ringo Starr, Sean Lennon, Dewey Bunnell, Gerry Beckley, Nancy Sinatra, John Cale, Micky Dolenz, Randy Bachman, Gene Simmons, Paul Stanley, David Paich, Christopher Cross, John Cusack,[429] Graham Nash, Disclosure, Carter Faith, Gavin DeGraw, John Stamos, Zooey Deschanel, Peter Rosenberg[430] Diane Warren,[431] Clairo, Gracie Abrams, Bill Pohlad, Elizabeth Banks, Margo Price, Brian Ray, Dave Davies, Low Cut Connie, Rick Springfield, and Peter Gabriel.[428] In addition, Dave Matthews, Sting, and Guster performed separate impromptu renditions of "God Only Knows" at their concerts.[432] /wiki/James_Hetfield ↩
Mehr, Bob (June 13, 2025). "The Musical Mysteries Brian Wilson Left Behind". The New York Times. https://www.nytimes.com/2025/06/13/arts/music/brian-wilson-beach-boys-unreleased-albums.html ↩
Greene, Andy (February 13, 2024). "Brian Wilson Began Work on a Country Album in 1970. It's Finally Coming Out". Rolling Stone. Retrieved February 13, 2024. https://www.rollingstone.com/music/music-features/brian-wilson-country-album-cows-in-the-pasture-fred-vail-1234951531/ ↩
Lambert 2016, p. 65. - Lambert, Philip (2016). "Brian Wilson's Harmonic Language". In Lambert, Philip (ed.). Good Vibrations: Brian Wilson and the Beach Boys in Critical Perspective. University of Michigan Press. ISBN 978-0-472-11995-0. https://www.fulcrum.org/concern/monographs/nv935376j ↩
Carlin 2006, p. 10. - Carlin, Peter Ames (2006). Catch a Wave: The Rise, Fall, and Redemption of the Beach Boys' Brian Wilson. Rodale. ISBN 978-1-59486-320-2. https://books.google.com/books?id=eYyovo_AbqAC ↩
Granata 2003, p. 20. - Granata, Charles L. (2003). Wouldn't It Be Nice: Brian Wilson and the Making of the Beach Boys' Pet Sounds. A Cappella Books. ISBN 9781556525070. https://archive.org/details/wouldntitbenice00char ↩
Leaf 1978, p. 17. - Leaf, David (1978). The Beach Boys and the California Myth. New York: Grosset & Dunlap. ISBN 978-0-448-14626-3. https://archive.org/details/beachboyscalifor00leaf ↩
Granata 2003, p. 23. - Granata, Charles L. (2003). Wouldn't It Be Nice: Brian Wilson and the Making of the Beach Boys' Pet Sounds. A Cappella Books. ISBN 9781556525070. https://archive.org/details/wouldntitbenice00char ↩
Barnes & Noble.com (November 6, 2001). "Interview: Brian Wilson: A Pop Genius Speaks of Love, Mercy, and Melody". Barnes & Noble. Archived from the original on December 31, 2006. https://web.archive.org/web/20061231041958/http://video.barnesandnoble.com/search/interview.asp?z=y&CTR=662203 ↩
Lambert 2007, pp. 5–6. - Lambert, Philip (2007). Inside the Music of Brian Wilson: the Songs, Sounds, and Influences of the Beach Boys' Founding Genius. Continuum. ISBN 978-0-8264-1876-0. https://books.google.com/books?id=7XsZAQAAIAAJ ↩
Lambert noted that if Four Freshmen singer Bob Flanigan "helped teach Brian how to sing, then Gershwin, Kern, Porter, and the other members of this pantheon helped him learn how to craft a song".[440] Tony Asher recalled that Wilson had minimal familiarity with Tin Pan Alley songs beyond the Four Freshmen's repertoire during the creation of Pet Sounds.[441] /wiki/Bob_Flanigan_(singer) ↩
Murphy 2015, p. 59. - Murphy, James B. (2015). Becoming the Beach Boys, 1961-1963. McFarland. ISBN 978-0-7864-7365-6. https://books.google.com/books?id=273eCQAAQBAJ ↩
"Brian Pop Genius!". Melody Maker. May 21, 1966. http://i1218.photobucket.com/albums/dd420/kwan_dk/MMMay211966.jpg ↩
White 1996, p. 93. - White, Timothy (1996). The Nearest Faraway Place: Brian Wilson, the Beach Boys, and the Southern Californian Experience. Macmillan. ISBN 0333649370. https://archive.org/details/nearestfarawaypl0000whit/ ↩
Lambert 2007, p. 5. - Lambert, Philip (2007). Inside the Music of Brian Wilson: the Songs, Sounds, and Influences of the Beach Boys' Founding Genius. Continuum. ISBN 978-0-8264-1876-0. https://books.google.com/books?id=7XsZAQAAIAAJ ↩
Love 2016, p. 55. - Love, Mike (2016). Good Vibrations: My Life as a Beach Boy. Penguin Publishing Group. ISBN 978-0-698-40886-9. https://books.google.com/books?id=ioG0CwAAQBAJ ↩
Lambert 2007, pp. 8, 148, 314. - Lambert, Philip (2007). Inside the Music of Brian Wilson: the Songs, Sounds, and Influences of the Beach Boys' Founding Genius. Continuum. ISBN 978-0-8264-1876-0. https://books.google.com/books?id=7XsZAQAAIAAJ ↩
Lambert 2007, p. 6. - Lambert, Philip (2007). Inside the Music of Brian Wilson: the Songs, Sounds, and Influences of the Beach Boys' Founding Genius. Continuum. ISBN 978-0-8264-1876-0. https://books.google.com/books?id=7XsZAQAAIAAJ ↩
Love 2016, p. 55. - Love, Mike (2016). Good Vibrations: My Life as a Beach Boy. Penguin Publishing Group. ISBN 978-0-698-40886-9. https://books.google.com/books?id=ioG0CwAAQBAJ ↩
The Four Preps' influence has been "largely underappreciated" by journalists and historians, according to Murphy.[448] ↩
Lambert 2007, p. 11. - Lambert, Philip (2007). Inside the Music of Brian Wilson: the Songs, Sounds, and Influences of the Beach Boys' Founding Genius. Continuum. ISBN 978-0-8264-1876-0. https://books.google.com/books?id=7XsZAQAAIAAJ ↩
Lambert 2007, pp. 11–13. - Lambert, Philip (2007). Inside the Music of Brian Wilson: the Songs, Sounds, and Influences of the Beach Boys' Founding Genius. Continuum. ISBN 978-0-8264-1876-0. https://books.google.com/books?id=7XsZAQAAIAAJ ↩
Sharp, Ken (January 2, 2009). "Brian Wilson: God's Messenger". American Songwriter. https://americansongwriter.com/brian-wilson-gods-messenger/2/ ↩
Lambert 2007, pp. 11–12. - Lambert, Philip (2007). Inside the Music of Brian Wilson: the Songs, Sounds, and Influences of the Beach Boys' Founding Genius. Continuum. ISBN 978-0-8264-1876-0. https://books.google.com/books?id=7XsZAQAAIAAJ ↩
White 1996, p. 162. - White, Timothy (1996). The Nearest Faraway Place: Brian Wilson, the Beach Boys, and the Southern Californian Experience. Macmillan. ISBN 0333649370. https://archive.org/details/nearestfarawaypl0000whit/ ↩
Dillon 2012, p. 290. - Dillon, Mark (2012). Fifty Sides of the Beach Boys: The Songs That Tell Their Story. ECW Press. ISBN 978-1-77090-198-8. https://archive.org/details/fiftysidesofbeac0000dill/ ↩
White 1996, p. 357. - White, Timothy (1996). The Nearest Faraway Place: Brian Wilson, the Beach Boys, and the Southern Californian Experience. Macmillan. ISBN 0333649370. https://archive.org/details/nearestfarawaypl0000whit/ ↩
Granata 2003, p. 36. - Granata, Charles L. (2003). Wouldn't It Be Nice: Brian Wilson and the Making of the Beach Boys' Pet Sounds. A Cappella Books. ISBN 9781556525070. https://archive.org/details/wouldntitbenice00char ↩
Sanchez 2014, pp. 52–53. - Sanchez, Luis (2014). The Beach Boys' Smile. Bloomsbury Publishing. ISBN 978-1-62356-956-3. https://books.google.com/books?id=FC0_AwAAQBAJ ↩
Grevatt, Ron (March 19, 1966). "Beach Boys' Blast". Melody Maker. http://i1218.photobucket.com/albums/dd420/kwan_dk/MMMarch191966.jpg ↩
Thompson 2004, p. 103. - Thompson, Dave (2004). Wall of Pain: The Biography of Phil Spector (Paperback ed.). London: Sanctuary. ISBN 978-1-86074-543-0. https://archive.org/details/wallofpainbiogra0000thom ↩
Wilson & Greenman 2016, p. 73. - Wilson, Brian; Greenman, Ben (2016). I Am Brian Wilson: A Memoir. Da Capo Press. ISBN 978-0-306-82307-7. https://books.google.com/books?id=9CmiBQAAQBAJ ↩
Howard 2004, pp. 56–57. - Howard, David N. (2004). Sonic Alchemy: Visionary Music Producers and Their Maverick Recordings (1 ed.). Milwaukee, Wisconsin: Hal Leonard. ISBN 978-0-63405-560-7. https://books.google.com/books?id=O0VMAgAAQBAJ ↩
Carlin describes the song as having become "a spiritual touchstone" for Wilson,[462] while music historian Luis Sanchez states that it formed an enduring part of Wilson's mythology, being the Spector record that "etched itself the deepest into Brian's mind [...] it comes up again and again in interviews and biographies, variably calling up themes of deep admiration, a source of consolation, and a baleful haunting of the spirit."[457] Spector acknowledged, "I'd like to have a nickel for every joint he smoked trying to figure out how I got the 'Be My Baby' sound."[463] ↩
Wilson & Greenman 2016, p. 77. - Wilson, Brian; Greenman, Ben (2016). I Am Brian Wilson: A Memoir. Da Capo Press. ISBN 978-0-306-82307-7. https://books.google.com/books?id=9CmiBQAAQBAJ ↩
Murphy 2015, p. 294. - Murphy, James B. (2015). Becoming the Beach Boys, 1961-1963. McFarland. ISBN 978-0-7864-7365-6. https://books.google.com/books?id=273eCQAAQBAJ ↩
MacLeod 2017, pp. 138–139. - MacLeod, Sean (2017). Phil Spector: Sound of the Sixties. Rowman & Littlefield Publishers. ISBN 978-1-4422-6706-0. https://books.google.com/books?id=iFoxDwAAQBAJ&pg=PA138 ↩
"Musician Comments: Larry Levine". The Pet Sounds Sessions (Booklet). The Beach Boys. Capitol Records. 1997.{{cite AV media notes}}: CS1 maint: others in cite AV media (notes) (link) http://albumlinernotes.com/Larry_Levine.html ↩
Granata 2003, p. 120. - Granata, Charles L. (2003). Wouldn't It Be Nice: Brian Wilson and the Making of the Beach Boys' Pet Sounds. A Cappella Books. ISBN 9781556525070. https://archive.org/details/wouldntitbenice00char ↩
Wilson played piano at a recording session for Spector's 1963 Christmas album, often cited as Wilson's favorite album of all time.[469] /wiki/A_Christmas_Gift_for_You_from_Phil_Spector ↩
Myers, Marc (July 12, 2012). "The Song That Conquered Radio". The Wall Street Journal. https://www.wsj.com/articles/SB10001424052702303343404577519042622092010 ↩
Carlin 2006, p. 45. - Carlin, Peter Ames (2006). Catch a Wave: The Rise, Fall, and Redemption of the Beach Boys' Brian Wilson. Rodale. ISBN 978-1-59486-320-2. https://books.google.com/books?id=eYyovo_AbqAC ↩
Sharp, Ken (January 2, 2009). "Brian Wilson: God's Messenger". American Songwriter. https://americansongwriter.com/brian-wilson-gods-messenger/2/ ↩
Wilson said that Dionne Warwick's singing on "Here I Am" was like "the voice of God".[472] /wiki/Dionne_Warwick ↩
Matijas-Mecca 2017, p. 37. - Matijas-Mecca, Christian (2017). The Words and Music of Brian Wilson. ABC-CLIO. ISBN 978-1-4408-3899-6. https://books.google.com/books?id=wmphDgAAQBAJ&pg=PA86 ↩
Sharp, Ken (January 2, 2009). "Brian Wilson: God's Messenger". American Songwriter. https://americansongwriter.com/brian-wilson-gods-messenger/2/ ↩
"Interview with Brian Wilson". The Pet Sounds Sessions (Booklet). The Beach Boys. Capitol Records. 1997.{{cite AV media notes}}: CS1 maint: others in cite AV media (notes) (link) http://albumlinernotes.com/Interview_w_Brian_Wilson.html ↩
In 1966, he said, "Burt Bacharach and Hal David are more like me. They're also the best pop team—per se—today. As a producer, Bacharach has a very fresh, new approach."[475] /wiki/Hal_David ↩
Lambert 2007, pp. 284, 352, 354–355. - Lambert, Philip (2007). Inside the Music of Brian Wilson: the Songs, Sounds, and Influences of the Beach Boys' Founding Genius. Continuum. ISBN 978-0-8264-1876-0. https://books.google.com/books?id=7XsZAQAAIAAJ ↩
Music journalist Domenic Priore believed that Bacharach's "Walk on By" was possibly as influential to Wilson as "Be My Baby".[477] Wilson said that Bacharach was a direct influence on "She Knows Me Too Well",[264] "Let's Go Away for Awhile",[474] and "Love and Mercy".[478] Writers have variously attributed Bacharach influence on Wilson's "Guess I'm Dumb",[479] "Let Him Run Wild,[480][481] and "The Little Girl I Once Knew".[482] /wiki/Domenic_Priore ↩
Granata 2003, p. 36. - Granata, Charles L. (2003). Wouldn't It Be Nice: Brian Wilson and the Making of the Beach Boys' Pet Sounds. A Cappella Books. ISBN 9781556525070. https://archive.org/details/wouldntitbenice00char ↩
Toop 1999, p. 134. - Toop, David (1999). Exotica: Fabricated Soundscapes in a Real World: Fabricated Soundscapes in the Real World (1st ed.). London: Serpent's Tail. ISBN 978-1852425951. ↩
Sharp, Ken (January 2, 2009). "Brian Wilson: God's Messenger". American Songwriter. https://americansongwriter.com/brian-wilson-gods-messenger/2/ ↩
Regarding his increasingly melodic bass lines in the mid-1960s, Granata speculated that Wilson "may have taken a cue" from Motown's James Jamerson.[484] /wiki/James_Jamerson ↩
Granata 2003, p. 148. - Granata, Charles L. (2003). Wouldn't It Be Nice: Brian Wilson and the Making of the Beach Boys' Pet Sounds. A Cappella Books. ISBN 9781556525070. https://archive.org/details/wouldntitbenice00char ↩
"'Head' Games With Brian Wilson". Billboard. July 8, 2004. http://www.billboard.com/articles/news/67452/head-games-with-brian-wilson ↩
Wilson & Greenman 2016, p. 79. - Wilson, Brian; Greenman, Ben (2016). I Am Brian Wilson: A Memoir. Da Capo Press. ISBN 978-0-306-82307-7. https://books.google.com/books?id=9CmiBQAAQBAJ ↩
"Brian Wilson — Caroline Now! Interview". Caroline Now! (CD Liner). Marina Records. April 21, 2000. Archived from the original on December 28, 2013. Retrieved August 30, 2021. https://web.archive.org/web/20131228001005/http://www.marinarecords.com/brian.htm ↩
Jones 2008, p. 56. - Jones, Carys Wyn (2008). The Rock Canon: Canonical Values in the Reception of Rock Albums. Ashgate Publishing, Ltd. ISBN 978-0-7546-6244-0. https://books.google.com/books?id=rdC3n62ArX8C ↩
Mettler, Mike (May 13, 2015). "Brian Wilson Feels No Pressure When Creating His Sonically Beautiful Pocket Symphonies". Sound Bard. http://www.soundbard.com/soundbard/brian-wilson-feels-no-pressure-when-creating-his-sonically-beautiful-pocket-symphonies/ ↩
Carl supported that Brian had preferred Spector over the Beatles, although his brother "loved the Beatles' later music when they evolved and started making intelligent, masterful music".[491] Mike Love remarked of the Beatles' influence on Wilson in 1969, "Brian was in his own world, believe me."[492] ↩
Love 2016, p. 107. - Love, Mike (2016). Good Vibrations: My Life as a Beach Boy. Penguin Publishing Group. ISBN 978-0-698-40886-9. https://books.google.com/books?id=ioG0CwAAQBAJ ↩
Mojo Special Limited Edition: 1000 Days That Shook the World (The Psychedelic Beatles – April 1, 1965 to December 26, 1967). London: Emap. 2002. p. 4. ↩
Barrow & Bextor 2004, p. 72. - Barrow, Tony; Bextor, Robin (2004). Paul McCartney: Now and Then. Hal Leonard Corporation. ISBN 978-0-634-06919-2. https://books.google.com/books?id=RuzukX6xOBIC ↩
Rensin, David (December 1976). "A Conversation With Brian Wilson". Oui. https://www.rocksbackpages.com/Library/Article/a-conversation-with-brian-wilson ↩
Cromelin, Richard (August 8, 1976). "Pet Sounds & The California Consciousness". Sounds – via Rock's Backpages. /w/index.php?title=Richard_Cromelin&action=edit&redlink=1 ↩
Klinkenborg, Verlyn (1988). "Brian Wilson and the Fine Art of Surfacing" (PDF). Contrast. Archived from the original (PDF) on June 30, 1998 – via petsounds.com. /wiki/Verlyn_Klinkenborg ↩
Kubernik, Harvey (July 2, 2021). "Beach Boys "Feel Flows" Box Set". Music Connection. Retrieved April 25, 2022. /wiki/Harvey_Kubernik ↩
Herrera, Dave (July 10, 2015). "A Q&A with Brian Wilson". Las Vegas Review-Journal. http://www.reviewjournal.com/entertainment/music/qa-brian-wilson ↩
Charlton, Lauretta (March 26, 2015). "Brian Wilson on His New Album and Biopic". Vulture. http://www.vulture.com/2015/03/brian-wilson-interview.html ↩
Granata 2003, p. 73. - Granata, Charles L. (2003). Wouldn't It Be Nice: Brian Wilson and the Making of the Beach Boys' Pet Sounds. A Cappella Books. ISBN 9781556525070. https://archive.org/details/wouldntitbenice00char ↩
White 1996, p. 251. - White, Timothy (1996). The Nearest Faraway Place: Brian Wilson, the Beach Boys, and the Southern Californian Experience. Macmillan. ISBN 0333649370. https://archive.org/details/nearestfarawaypl0000whit/ ↩
Leaf, David (1990). Friends / 20/20 (CD Liner). The Beach Boys. Capitol Records. /wiki/David_Leaf ↩
Lambert 2016, p. 68. - Lambert, Philip (2016). "Brian Wilson's Harmonic Language". In Lambert, Philip (ed.). Good Vibrations: Brian Wilson and the Beach Boys in Critical Perspective. University of Michigan Press. ISBN 978-0-472-11995-0. https://www.fulcrum.org/concern/monographs/nv935376j ↩
"Brian Wilson — Caroline Now! Interview". Caroline Now! (CD Liner). Marina Records. April 21, 2000. Archived from the original on December 28, 2013. Retrieved August 30, 2021. https://web.archive.org/web/20131228001005/http://www.marinarecords.com/brian.htm ↩
Lambert 2016, p. 80. - Lambert, Philip (2016). "Brian Wilson's Harmonic Language". In Lambert, Philip (ed.). Good Vibrations: Brian Wilson and the Beach Boys in Critical Perspective. University of Michigan Press. ISBN 978-0-472-11995-0. https://www.fulcrum.org/concern/monographs/nv935376j ↩
Sharp, Ken (January 2, 2009). "Brian Wilson: God's Messenger". American Songwriter. https://americansongwriter.com/brian-wilson-gods-messenger/2/ ↩
Lambert 2016, p. 84. - Lambert, Philip (2016). "Brian Wilson's Harmonic Language". In Lambert, Philip (ed.). Good Vibrations: Brian Wilson and the Beach Boys in Critical Perspective. University of Michigan Press. ISBN 978-0-472-11995-0. https://www.fulcrum.org/concern/monographs/nv935376j ↩
Lambert 2016, p. 89. - Lambert, Philip (2016). "Brian Wilson's Harmonic Language". In Lambert, Philip (ed.). Good Vibrations: Brian Wilson and the Beach Boys in Critical Perspective. University of Michigan Press. ISBN 978-0-472-11995-0. https://www.fulcrum.org/concern/monographs/nv935376j ↩
Lambert 2016, p. 82. - Lambert, Philip (2016). "Brian Wilson's Harmonic Language". In Lambert, Philip (ed.). Good Vibrations: Brian Wilson and the Beach Boys in Critical Perspective. University of Michigan Press. ISBN 978-0-472-11995-0. https://www.fulcrum.org/concern/monographs/nv935376j ↩
Lambert 2016, pp. 68–69. - Lambert, Philip (2016). "Brian Wilson's Harmonic Language". In Lambert, Philip (ed.). Good Vibrations: Brian Wilson and the Beach Boys in Critical Perspective. University of Michigan Press. ISBN 978-0-472-11995-0. https://www.fulcrum.org/concern/monographs/nv935376j ↩
Granata 2003, p. 66. - Granata, Charles L. (2003). Wouldn't It Be Nice: Brian Wilson and the Making of the Beach Boys' Pet Sounds. A Cappella Books. ISBN 9781556525070. https://archive.org/details/wouldntitbenice00char ↩
Lambert 2016, p. 80. - Lambert, Philip (2016). "Brian Wilson's Harmonic Language". In Lambert, Philip (ed.). Good Vibrations: Brian Wilson and the Beach Boys in Critical Perspective. University of Michigan Press. ISBN 978-0-472-11995-0. https://www.fulcrum.org/concern/monographs/nv935376j ↩
Lambert 2016, pp. 83–84. - Lambert, Philip (2016). "Brian Wilson's Harmonic Language". In Lambert, Philip (ed.). Good Vibrations: Brian Wilson and the Beach Boys in Critical Perspective. University of Michigan Press. ISBN 978-0-472-11995-0. https://www.fulcrum.org/concern/monographs/nv935376j ↩
Lambert 2016, p. 90. - Lambert, Philip (2016). "Brian Wilson's Harmonic Language". In Lambert, Philip (ed.). Good Vibrations: Brian Wilson and the Beach Boys in Critical Perspective. University of Michigan Press. ISBN 978-0-472-11995-0. https://www.fulcrum.org/concern/monographs/nv935376j ↩
Chidester, Brian (January 30, 2014). "Brian Wilson's Secret Bedroom Tapes". LA Weekly. Archived from the original on March 2, 2014. Retrieved February 1, 2014. https://web.archive.org/web/20140302064422/http://www.laweekly.com/2014-01-30/music/brian-wilsons-secret-bedroom-tapes/?showFullText=true ↩
Lambert 2016, p. 71. - Lambert, Philip (2016). "Brian Wilson's Harmonic Language". In Lambert, Philip (ed.). Good Vibrations: Brian Wilson and the Beach Boys in Critical Perspective. University of Michigan Press. ISBN 978-0-472-11995-0. https://www.fulcrum.org/concern/monographs/nv935376j ↩
Lambert 2016, pp. 77–79. - Lambert, Philip (2016). "Brian Wilson's Harmonic Language". In Lambert, Philip (ed.). Good Vibrations: Brian Wilson and the Beach Boys in Critical Perspective. University of Michigan Press. ISBN 978-0-472-11995-0. https://www.fulcrum.org/concern/monographs/nv935376j ↩
Perone 2012, pp. 28, 30. - Perone, James E. (2012). The Album: A Guide to Pop Music's Most Provocative, Influential, and Important Creations. ABC-CLIO. ISBN 978-0-313-37907-9. https://books.google.com/books?id=gzl1lBFXKhQC&pg=PA2 ↩
Lambert 2016, pp. 79–80. - Lambert, Philip (2016). "Brian Wilson's Harmonic Language". In Lambert, Philip (ed.). Good Vibrations: Brian Wilson and the Beach Boys in Critical Perspective. University of Michigan Press. ISBN 978-0-472-11995-0. https://www.fulcrum.org/concern/monographs/nv935376j ↩
Lambert 2016, p. 86. - Lambert, Philip (2016). "Brian Wilson's Harmonic Language". In Lambert, Philip (ed.). Good Vibrations: Brian Wilson and the Beach Boys in Critical Perspective. University of Michigan Press. ISBN 978-0-472-11995-0. https://www.fulcrum.org/concern/monographs/nv935376j ↩
Lambert 2016, pp. 74–76, 84. - Lambert, Philip (2016). "Brian Wilson's Harmonic Language". In Lambert, Philip (ed.). Good Vibrations: Brian Wilson and the Beach Boys in Critical Perspective. University of Michigan Press. ISBN 978-0-472-11995-0. https://www.fulcrum.org/concern/monographs/nv935376j ↩
Carlin 2006, p. 73. - Carlin, Peter Ames (2006). Catch a Wave: The Rise, Fall, and Redemption of the Beach Boys' Brian Wilson. Rodale. ISBN 978-1-59486-320-2. https://books.google.com/books?id=eYyovo_AbqAC ↩
Kubernik, Harvey (July 2, 2021). "Beach Boys "Feel Flows" Box Set". Music Connection. Retrieved April 25, 2022. /wiki/Harvey_Kubernik ↩
Granata 2003, p. 61. - Granata, Charles L. (2003). Wouldn't It Be Nice: Brian Wilson and the Making of the Beach Boys' Pet Sounds. A Cappella Books. ISBN 9781556525070. https://archive.org/details/wouldntitbenice00char ↩
Lambert 2007, pp. 176–177. - Lambert, Philip (2007). Inside the Music of Brian Wilson: the Songs, Sounds, and Influences of the Beach Boys' Founding Genius. Continuum. ISBN 978-0-8264-1876-0. https://books.google.com/books?id=7XsZAQAAIAAJ ↩
Lambert 2007, p. 176. - Lambert, Philip (2007). Inside the Music of Brian Wilson: the Songs, Sounds, and Influences of the Beach Boys' Founding Genius. Continuum. ISBN 978-0-8264-1876-0. https://books.google.com/books?id=7XsZAQAAIAAJ ↩
Songs centered on feminine objectification include "The Shift", "Pom, Pom Play Girl", "Girls on the Beach", "All Dressed Up for School".[521] /wiki/Surfin%27_Safari ↩
Lambert 2007, pp. 235, 268, 272, 277, 321. - Lambert, Philip (2007). Inside the Music of Brian Wilson: the Songs, Sounds, and Influences of the Beach Boys' Founding Genius. Continuum. ISBN 978-0-8264-1876-0. https://books.google.com/books?id=7XsZAQAAIAAJ ↩
Songs centered on youthful innocence include "The Little Girl I Once Knew", "Caroline, No", "Wonderful", "Song for Children", "Surf's Up", "Little Children".[522] /wiki/The_Little_Girl_I_Once_Knew ↩
Lambert 2007, p. 299. - Lambert, Philip (2007). Inside the Music of Brian Wilson: the Songs, Sounds, and Influences of the Beach Boys' Founding Genius. Continuum. ISBN 978-0-8264-1876-0. https://books.google.com/books?id=7XsZAQAAIAAJ ↩
Matijas-Mecca 2017, pp. xxii, 84, 86, 90. - Matijas-Mecca, Christian (2017). The Words and Music of Brian Wilson. ABC-CLIO. ISBN 978-1-4408-3899-6. https://books.google.com/books?id=wmphDgAAQBAJ&pg=PA86 ↩
His slice of life songs include "Time to Get Alone", "I'd Love Just Once to See You", "Wake the World", "Busy Doin' Nothin'", and "I Went to Sleep".[524] /wiki/Time_to_Get_Alone ↩
Leaf, David (2000). Brian Wilson (Liner notes). Brian Wilson. Rhino/Atlantic. /wiki/David_Leaf ↩
Songs centered on health and fitness include "Vegetables", "H.E.L.P. Is On the Way", "Life Is for the Living", "He Couldn't Get His Poor Old Body to Move", and "Too Much Sugar".[525] /wiki/Vegetables_(song) ↩
Sanchez 2014, p. 27. - Sanchez, Luis (2014). The Beach Boys' Smile. Bloomsbury Publishing. ISBN 978-1-62356-956-3. https://books.google.com/books?id=FC0_AwAAQBAJ ↩
Granata 2003, p. 61. - Granata, Charles L. (2003). Wouldn't It Be Nice: Brian Wilson and the Making of the Beach Boys' Pet Sounds. A Cappella Books. ISBN 9781556525070. https://archive.org/details/wouldntitbenice00char ↩
Wilson acknowledged that he had "never been the type" to preach social messages in his songs.[527] ↩
Brackett 2008, p. 28. - Brackett, Donald (2008). "The Dream Teller: Brian Wilson". Dark Mirror: The Pathology of the Singer-Songwriter. Westport, Connecticut: Praeger. pp. 27–39. ISBN 9780275998981. https://archive.org/details/darkmirrorpathol0000brac/page/26/ ↩
Brackett 2008, p. 31. - Brackett, Donald (2008). "The Dream Teller: Brian Wilson". Dark Mirror: The Pathology of the Singer-Songwriter. Westport, Connecticut: Praeger. pp. 27–39. ISBN 9780275998981. https://archive.org/details/darkmirrorpathol0000brac/page/26/ ↩
Sanchez 2014, p. 47. - Sanchez, Luis (2014). The Beach Boys' Smile. Bloomsbury Publishing. ISBN 978-1-62356-956-3. https://books.google.com/books?id=FC0_AwAAQBAJ ↩
Carlin 2006, p. 44. - Carlin, Peter Ames (2006). Catch a Wave: The Rise, Fall, and Redemption of the Beach Boys' Brian Wilson. Rodale. ISBN 978-1-59486-320-2. https://books.google.com/books?id=eYyovo_AbqAC ↩
Dean Torrence stated that Wilson learned much about studio technology from Jan Berry, who advised him to use session musicians to expedite recording instead of waiting for the Beach Boys to finish touring.[531] /wiki/Dean_Torrence ↩
Schneider, Robert (October 21, 2004). "Smiles Away". Westword. Archived from the original on November 7, 2004. /wiki/Robert_Schneider ↩
He elaborated in 1990, "As I write a song, I write some of the instrumental piano and pluck some of the different notes for the arrangement. It's impossible to lay the whole arrangement on the piano but you play just enough to get the overall feelin' of the record. It is an art in itself."[533] ↩
Granata 2003, p. 131. - Granata, Charles L. (2003). Wouldn't It Be Nice: Brian Wilson and the Making of the Beach Boys' Pet Sounds. A Cappella Books. ISBN 9781556525070. https://archive.org/details/wouldntitbenice00char ↩
Badman 2004, p. 37. - Badman, Keith (2004). The Beach Boys: The Definitive Diary of America's Greatest Band, on Stage and in the Studio. Backbeat Books. ISBN 978-0-87930-818-6. https://archive.org/details/beachboysdefinit0000badm ↩
Wilson did occasionally record at Gold Star. The studio's owner, Stan Ross, commented, "Brian liked the sound Gold Star got on the instrumentation, but he did the voices elsewhere because we were limited to two or three tracks and that wasn't enough for voice overdubbing. [...] The tracks were really rhythm pads that would be sweetened after the voices were put on."[536] ↩
White 1996, p. 162. - White, Timothy (1996). The Nearest Faraway Place: Brian Wilson, the Beach Boys, and the Southern Californian Experience. Macmillan. ISBN 0333649370. https://archive.org/details/nearestfarawaypl0000whit/ ↩
Priore 2005, p. 81. - Priore, Domenic (2005). Smile: The Story of Brian Wilson's Lost Masterpiece. London: Sanctuary. ISBN 1860746276. https://books.google.com/books?id=81YIAQAAMAAJ ↩
Granata 2003, pp. 123–124. - Granata, Charles L. (2003). Wouldn't It Be Nice: Brian Wilson and the Making of the Beach Boys' Pet Sounds. A Cappella Books. ISBN 9781556525070. https://archive.org/details/wouldntitbenice00char ↩
Moorefield 2010, p. 19. - Moorefield, Virgil (2010). The Producer as Composer: Shaping the Sounds of Popular Music. MIT Press. ISBN 978-0-262-51405-7. https://books.google.com/books?id=PZ0R4_Oxr-4C ↩
Cogan & Clark 2003, p. 33. - Cogan, Jim; Clark, William (2003). Temples of Sound: Inside the Great Recording Studios. Chronicle Books. ISBN 978-0-8118-3394-3. https://books.google.com/books?id=hO-KQ4o_B2MC ↩
Murphy 2015, p. 276. - Murphy, James B. (2015). Becoming the Beach Boys, 1961-1963. McFarland. ISBN 978-0-7864-7365-6. https://books.google.com/books?id=273eCQAAQBAJ ↩
Murphy 2015, p. 288. - Murphy, James B. (2015). Becoming the Beach Boys, 1961-1963. McFarland. ISBN 978-0-7864-7365-6. https://books.google.com/books?id=273eCQAAQBAJ ↩
Dillon 2012, pp. 24–25. - Dillon, Mark (2012). Fifty Sides of the Beach Boys: The Songs That Tell Their Story. ECW Press. ISBN 978-1-77090-198-8. https://archive.org/details/fiftysidesofbeac0000dill/ ↩
Contrary to the common misconception that these musicians completely replaced the band on backing tracks after the early 1960s, this substitution occurred primarily on most tracks of Pet Sounds and Smile.[544][545][546] /wiki/List_of_common_misconceptions ↩
Slowinski, Craig (2006). "Introduction". beachboysarchives.com. Endless Summer Quarterly. Retrieved May 14, 2022. http://www.beachboysarchives.com/page2 ↩
Himes, Geoffrey. "Surf Music" (PDF). teachrock.org. Rock and Roll: An American History. Archived from the original (PDF) on November 25, 2015. /wiki/Geoffrey_Himes ↩
Slowinski, Craig (2006). "Introduction". beachboysarchives.com. Endless Summer Quarterly. Retrieved May 14, 2022. http://www.beachboysarchives.com/page2 ↩
Carlin 2006, p. 46. - Carlin, Peter Ames (2006). Catch a Wave: The Rise, Fall, and Redemption of the Beach Boys' Brian Wilson. Rodale. ISBN 978-1-59486-320-2. https://books.google.com/books?id=eYyovo_AbqAC ↩
Howard 2004, p. 58. - Howard, David N. (2004). Sonic Alchemy: Visionary Music Producers and Their Maverick Recordings (1 ed.). Milwaukee, Wisconsin: Hal Leonard. ISBN 978-0-63405-560-7. https://books.google.com/books?id=O0VMAgAAQBAJ ↩
Howard 2004, p. 58. - Howard, David N. (2004). Sonic Alchemy: Visionary Music Producers and Their Maverick Recordings (1 ed.). Milwaukee, Wisconsin: Hal Leonard. ISBN 978-0-63405-560-7. https://books.google.com/books?id=O0VMAgAAQBAJ ↩
Granata 2003, p. 14. - Granata, Charles L. (2003). Wouldn't It Be Nice: Brian Wilson and the Making of the Beach Boys' Pet Sounds. A Cappella Books. ISBN 9781556525070. https://archive.org/details/wouldntitbenice00char ↩
Kaye noted of Wilson's basslines, "He took bass up another step. He saw it as integral in a symphonic orchestra. He used bass as the framework for a hit record. Very few people can write for bass, but his writing was beautiful. There are a lot of jazz musicians who admire him for it."[551] Keyboardist Don Randi similarly expressed admiration for Wilson's chord choices, referring to him as "the Bill Evans of rock 'n' roll".[552] ↩
Carlin 2006, p. 82. - Carlin, Peter Ames (2006). Catch a Wave: The Rise, Fall, and Redemption of the Beach Boys' Brian Wilson. Rodale. ISBN 978-1-59486-320-2. https://books.google.com/books?id=eYyovo_AbqAC ↩
Cogan & Clark 2003, p. 33. - Cogan, Jim; Clark, William (2003). Temples of Sound: Inside the Great Recording Studios. Chronicle Books. ISBN 978-0-8118-3394-3. https://books.google.com/books?id=hO-KQ4o_B2MC ↩
Dillon 2012, p. 27. - Dillon, Mark (2012). Fifty Sides of the Beach Boys: The Songs That Tell Their Story. ECW Press. ISBN 978-1-77090-198-8. https://archive.org/details/fiftysidesofbeac0000dill/ ↩
Dillon 2012, p. 27. - Dillon, Mark (2012). Fifty Sides of the Beach Boys: The Songs That Tell Their Story. ECW Press. ISBN 978-1-77090-198-8. https://archive.org/details/fiftysidesofbeac0000dill/ ↩
Cogan & Clark 2003, pp. 33–34. - Cogan, Jim; Clark, William (2003). Temples of Sound: Inside the Great Recording Studios. Chronicle Books. ISBN 978-0-8118-3394-3. https://books.google.com/books?id=hO-KQ4o_B2MC ↩
Kubernik, Harvey (July 2, 2021). "Beach Boys "Feel Flows" Box Set". Music Connection. Retrieved April 25, 2022. /wiki/Harvey_Kubernik ↩
Granata 2003, p. 162. - Granata, Charles L. (2003). Wouldn't It Be Nice: Brian Wilson and the Making of the Beach Boys' Pet Sounds. A Cappella Books. ISBN 9781556525070. https://archive.org/details/wouldntitbenice00char ↩
Murphy 2015, p. 289. - Murphy, James B. (2015). Becoming the Beach Boys, 1961-1963. McFarland. ISBN 978-0-7864-7365-6. https://books.google.com/books?id=273eCQAAQBAJ ↩
Granata 2003, p. 154. - Granata, Charles L. (2003). Wouldn't It Be Nice: Brian Wilson and the Making of the Beach Boys' Pet Sounds. A Cappella Books. ISBN 9781556525070. https://archive.org/details/wouldntitbenice00char ↩
Cogan & Clark 2003, p. 33. - Cogan, Jim; Clark, William (2003). Temples of Sound: Inside the Great Recording Studios. Chronicle Books. ISBN 978-0-8118-3394-3. https://books.google.com/books?id=hO-KQ4o_B2MC ↩
Himes, Geoffrey. "Surf Music" (PDF). teachrock.org. Rock and Roll: An American History. Archived from the original (PDF) on November 25, 2015. /wiki/Geoffrey_Himes ↩
Badman 2004, p. 32. - Badman, Keith (2004). The Beach Boys: The Definitive Diary of America's Greatest Band, on Stage and in the Studio. Backbeat Books. ISBN 978-0-87930-818-6. https://archive.org/details/beachboysdefinit0000badm ↩
Murphy 2015, p. 260. - Murphy, James B. (2015). Becoming the Beach Boys, 1961-1963. McFarland. ISBN 978-0-7864-7365-6. https://books.google.com/books?id=273eCQAAQBAJ ↩
Bell, Matt (October 2004). "The Resurrection of Brian Wilson's Smile". Sound on Sound. Retrieved July 16, 2013. http://www.soundonsound.com/sos/Oct04/articles/smile.htm ↩
Wilson & Greenman 2016, p. 88. - Wilson, Brian; Greenman, Ben (2016). I Am Brian Wilson: A Memoir. Da Capo Press. ISBN 978-0-306-82307-7. https://books.google.com/books?id=9CmiBQAAQBAJ ↩
Priore 2005, p. 29. - Priore, Domenic (2005). Smile: The Story of Brian Wilson's Lost Masterpiece. London: Sanctuary. ISBN 1860746276. https://books.google.com/books?id=81YIAQAAMAAJ ↩
Cogan & Clark 2003, p. 34. - Cogan, Jim; Clark, William (2003). Temples of Sound: Inside the Great Recording Studios. Chronicle Books. ISBN 978-0-8118-3394-3. https://books.google.com/books?id=hO-KQ4o_B2MC ↩
Priore 2005, pp. 55, 80. - Priore, Domenic (2005). Smile: The Story of Brian Wilson's Lost Masterpiece. London: Sanctuary. ISBN 1860746276. https://books.google.com/books?id=81YIAQAAMAAJ ↩
Lambert 2007, p. 5. - Lambert, Philip (2007). Inside the Music of Brian Wilson: the Songs, Sounds, and Influences of the Beach Boys' Founding Genius. Continuum. ISBN 978-0-8264-1876-0. https://books.google.com/books?id=7XsZAQAAIAAJ ↩
Sharp, Ken (September 4, 2013). "Brian Wilson, Mike Love and Al Jardine of the Beach Boys – Interview (Pt. 1)". Rock Cellar Magazine. Archived from the original on September 8, 2013. Retrieved September 5, 2013. https://web.archive.org/web/20130908125140/http://www.rockcellarmagazine.com/2013/09/04/beach-boys-brian-wilson-al-jardine-mike-love-interview-made-in-california-part-1/ ↩
Murphy 2015, p. 58. - Murphy, James B. (2015). Becoming the Beach Boys, 1961-1963. McFarland. ISBN 978-0-7864-7365-6. https://books.google.com/books?id=273eCQAAQBAJ ↩
Matijas-Mecca 2017, pp. xv, xvii, 35, 50, 127. - Matijas-Mecca, Christian (2017). The Words and Music of Brian Wilson. ABC-CLIO. ISBN 978-1-4408-3899-6. https://books.google.com/books?id=wmphDgAAQBAJ&pg=PA86 ↩
Sharp, Ken (January 2006). "Christmas with Brian Wilson". Record Collector. United Kingdom. pp. 72–76. /wiki/Record_Collector ↩
Carlin 2006, p. 160. - Carlin, Peter Ames (2006). Catch a Wave: The Rise, Fall, and Redemption of the Beach Boys' Brian Wilson. Rodale. ISBN 978-1-59486-320-2. https://books.google.com/books?id=eYyovo_AbqAC ↩
Carlin 2006, p. 209. - Carlin, Peter Ames (2006). Catch a Wave: The Rise, Fall, and Redemption of the Beach Boys' Brian Wilson. Rodale. ISBN 978-1-59486-320-2. https://books.google.com/books?id=eYyovo_AbqAC ↩
Coyne, Wayne (2000). "Playing Both Sides of the Coyne Part One". Stop Smiling. No. 9. /wiki/Wayne_Coyne ↩
Carlin 2006, p. 280. - Carlin, Peter Ames (2006). Catch a Wave: The Rise, Fall, and Redemption of the Beach Boys' Brian Wilson. Rodale. ISBN 978-1-59486-320-2. https://books.google.com/books?id=eYyovo_AbqAC ↩
Freedom du Lac, J. (December 2, 2007). "It Wasn't All Fun, Fun, Fun". The Washington Post. Retrieved June 30, 2013. https://www.washingtonpost.com/wp-dyn/content/story/2007/11/30/ST2007113001361.html ↩
Kent 2009, p. 72. - Kent, Nick (2009). "The Last Beach Movie Revisited: The Life of Brian Wilson". The Dark Stuff: Selected Writings on Rock Music. Da Capo Press. ISBN 9780786730742. https://books.google.com/books?id=bPMO0CtuBAsC&pg=PA12 ↩
Gaines 1986, p. 248. - Gaines, Steven (1986). Heroes and Villains: The True Story of The Beach Boys. New York: Da Capo Press. ISBN 0306806479. https://archive.org/details/heroesvillainsth00gain ↩
Wilson & Gold 1991, pp. 110–111. - Wilson, Brian; Gold, Todd (1991). Wouldn't It Be Nice: My Own Story. New York: HarperCollins. ISBN 978-0-06018-313-4. https://archive.org/details/wouldntitbenicem00wils ↩
Gaines 1986, pp. 191, 277–278. - Gaines, Steven (1986). Heroes and Villains: The True Story of The Beach Boys. New York: Da Capo Press. ISBN 0306806479. https://archive.org/details/heroesvillainsth00gain ↩
Carlin 2006, p. 171. - Carlin, Peter Ames (2006). Catch a Wave: The Rise, Fall, and Redemption of the Beach Boys' Brian Wilson. Rodale. ISBN 978-1-59486-320-2. https://books.google.com/books?id=eYyovo_AbqAC ↩
Gaines goes on to write that Brian receiving "intense psychiatric care in a hospital setting" would have been perceived as "an admission of defeat and an embarrassment" to his bandmates.[579] Carlin recounted an episode where a friend from Wilson's childhood days visited him and observed him as being "detached from reality". Wilson's family seemed "less sympathetic than confused and, it's hard not to conclude, resentful".[578] ↩
Granata 2003, p. 57. - Granata, Charles L. (2003). Wouldn't It Be Nice: Brian Wilson and the Making of the Beach Boys' Pet Sounds. A Cappella Books. ISBN 9781556525070. https://archive.org/details/wouldntitbenice00char ↩
Rensin, David (December 1976). "A Conversation With Brian Wilson". Oui. https://www.rocksbackpages.com/Library/Article/a-conversation-with-brian-wilson ↩
In his memoir, Love wrote of an incident in which he had discovered drug paraphernalia in Wilson's hotel room during a tour stop in Texas in the early 1960s. Love was unsure of the drug contents, although it was certainly not marijuana, and he did not confront Wilson about the matter.[581] ↩
Cooper, Chet; Friedman, Gillian. "Brian Wilson – A Powerful Interview". Ability Magazine. http://abilitymagazine.com/past/brianW/brianw.html ↩
Carlin 2006, pp. 174–175. - Carlin, Peter Ames (2006). Catch a Wave: The Rise, Fall, and Redemption of the Beach Boys' Brian Wilson. Rodale. ISBN 978-1-59486-320-2. https://books.google.com/books?id=eYyovo_AbqAC ↩
Brian remembered taking the LSD at his home,[120] but according to Marilyn, he took the drug elsewhere with Schwartz.[119] By her recollection, he returned home the next day and recounted his experience, telling her repeatedly that his "mind was blown" and that he had seen God.[584] ↩
Love 2016, p. 125. - Love, Mike (2016). Good Vibrations: My Life as a Beach Boy. Penguin Publishing Group. ISBN 978-0-698-40886-9. https://books.google.com/books?id=ioG0CwAAQBAJ ↩
Gaines 1986, p. 126. - Gaines, Steven (1986). Heroes and Villains: The True Story of The Beach Boys. New York: Da Capo Press. ISBN 0306806479. https://archive.org/details/heroesvillainsth00gain ↩
Love 2016, p. 105. - Love, Mike (2016). Good Vibrations: My Life as a Beach Boy. Penguin Publishing Group. ISBN 978-0-698-40886-9. https://books.google.com/books?id=ioG0CwAAQBAJ ↩
Holdship 1997, p. 212. - Holdship, Bill (1997) [1991]. "Bittersweet Insanity: The Fight for Brian Wilson's Soul". In Abbott, Kingsley (ed.). Back to the Beach: A Brian Wilson and the Beach Boys Reader (1st ed.). London: Helter Skelter. pp. 205–212. ISBN 978-1-900924-02-3. https://archive.org/details/backtobeachbrian0000unse/page/205/ ↩
Granata 2003, p. 56. - Granata, Charles L. (2003). Wouldn't It Be Nice: Brian Wilson and the Making of the Beach Boys' Pet Sounds. A Cappella Books. ISBN 9781556525070. https://archive.org/details/wouldntitbenice00char ↩
Granata 2003, p. 55. - Granata, Charles L. (2003). Wouldn't It Be Nice: Brian Wilson and the Making of the Beach Boys' Pet Sounds. A Cappella Books. ISBN 9781556525070. https://archive.org/details/wouldntitbenice00char ↩
Wilson & Greenman 2016, p. 169. - Wilson, Brian; Greenman, Ben (2016). I Am Brian Wilson: A Memoir. Da Capo Press. ISBN 978-0-306-82307-7. https://books.google.com/books?id=9CmiBQAAQBAJ ↩
Gaines 1986, p. 134. - Gaines, Steven (1986). Heroes and Villains: The True Story of The Beach Boys. New York: Da Capo Press. ISBN 0306806479. https://archive.org/details/heroesvillainsth00gain ↩
n.a. (August 20, 2004). "Larry King Live". brianwilson.com. Archived from the original on July 11, 2008. https://web.archive.org/web/20080711152541/http://www.brianwilson.com/media/words/larry_king.html ↩
Micky Dolenz recalled an occasion in the 1970s where he took LSD with Wilson, Harry Nilsson, and John Lennon in Malibu. Dolenz said that Wilson "played just one note on a piano over and over again" for the duration.[591] /wiki/Micky_Dolenz ↩
Badman 2004, p. 330. - Badman, Keith (2004). The Beach Boys: The Definitive Diary of America's Greatest Band, on Stage and in the Studio. Backbeat Books. ISBN 978-0-87930-818-6. https://archive.org/details/beachboysdefinit0000badm ↩
Gaines 1986, p. 184. - Gaines, Steven (1986). Heroes and Villains: The True Story of The Beach Boys. New York: Da Capo Press. ISBN 0306806479. https://archive.org/details/heroesvillainsth00gain ↩
Chidester, Brian (January 30, 2014). "Brian Wilson's Secret Bedroom Tapes". LA Weekly. Archived from the original on March 2, 2014. Retrieved February 1, 2014. https://web.archive.org/web/20140302064422/http://www.laweekly.com/2014-01-30/music/brian-wilsons-secret-bedroom-tapes/?showFullText=true ↩
Carlin 2006, p. 141. - Carlin, Peter Ames (2006). Catch a Wave: The Rise, Fall, and Redemption of the Beach Boys' Brian Wilson. Rodale. ISBN 978-1-59486-320-2. https://books.google.com/books?id=eYyovo_AbqAC ↩
Carlin 2006, p. 280. - Carlin, Peter Ames (2006). Catch a Wave: The Rise, Fall, and Redemption of the Beach Boys' Brian Wilson. Rodale. ISBN 978-1-59486-320-2. https://books.google.com/books?id=eYyovo_AbqAC ↩
Love 2016, p. 443. - Love, Mike (2016). Good Vibrations: My Life as a Beach Boy. Penguin Publishing Group. ISBN 978-0-698-40886-9. https://books.google.com/books?id=ioG0CwAAQBAJ ↩
Carlin 2006, p. 200. - Carlin, Peter Ames (2006). Catch a Wave: The Rise, Fall, and Redemption of the Beach Boys' Brian Wilson. Rodale. ISBN 978-1-59486-320-2. https://books.google.com/books?id=eYyovo_AbqAC ↩
O'Hagan, Sean (January 6, 2002). "Feature: A Boy's Own Story". The Observer. pp. 1–3. /wiki/Sean_O%27Hagan_(journalist) ↩
Carlin 2006, pp. 271–272, 280. - Carlin, Peter Ames (2006). Catch a Wave: The Rise, Fall, and Redemption of the Beach Boys' Brian Wilson. Rodale. ISBN 978-1-59486-320-2. https://books.google.com/books?id=eYyovo_AbqAC ↩
Carlin 2006, p. 272. - Carlin, Peter Ames (2006). Catch a Wave: The Rise, Fall, and Redemption of the Beach Boys' Brian Wilson. Rodale. ISBN 978-1-59486-320-2. https://books.google.com/books?id=eYyovo_AbqAC ↩
In 1991, Wilson told reporters that his prescribed medications included Navane and Serentil (anti-psychotics), Cogentin (to mitigate the side effects of the anti-psychotics), Xanax (a sedative used for anxiety), and Eskalith (for manic depression).[142] /wiki/Navane ↩
Granata 2003, p. 214. - Granata, Charles L. (2003). Wouldn't It Be Nice: Brian Wilson and the Making of the Beach Boys' Pet Sounds. A Cappella Books. ISBN 9781556525070. https://archive.org/details/wouldntitbenice00char ↩
Love 2016, pp. 159, 367. - Love, Mike (2016). Good Vibrations: My Life as a Beach Boy. Penguin Publishing Group. ISBN 978-0-698-40886-9. https://books.google.com/books?id=ioG0CwAAQBAJ ↩
Musician Sean O'Hagan, who was invited to collaborate with Wilson in the 1990s, characterized Wilson as "totally dependent on other people", with signs reminiscent of autism.[598] /wiki/Autism ↩
Petridis, Alexis (June 24, 2011). "The astonishing genius of Brian Wilson". The Guardian. Retrieved June 30, 2013. /wiki/Alexis_Petridis ↩
Freedom du Lac, J. (December 2, 2007). "It Wasn't All Fun, Fun, Fun". The Washington Post. Retrieved June 30, 2013. https://www.washingtonpost.com/wp-dyn/content/story/2007/11/30/ST2007113001361.html ↩
O'Hagan, Sean (January 6, 2002). "Feature: A Boy's Own Story". The Observer. pp. 1–3. /wiki/Sean_O%27Hagan_(journalist) ↩
Murphy 2015, p. 58. - Murphy, James B. (2015). Becoming the Beach Boys, 1961-1963. McFarland. ISBN 978-0-7864-7365-6. https://books.google.com/books?id=273eCQAAQBAJ ↩
White 1996, p. 78. - White, Timothy (1996). The Nearest Faraway Place: Brian Wilson, the Beach Boys, and the Southern Californian Experience. Macmillan. ISBN 0333649370. https://archive.org/details/nearestfarawaypl0000whit/ ↩
White 1996, p. 78. - White, Timothy (1996). The Nearest Faraway Place: Brian Wilson, the Beach Boys, and the Southern Californian Experience. Macmillan. ISBN 0333649370. https://archive.org/details/nearestfarawaypl0000whit/ ↩
Carlin 2006, p. 12. - Carlin, Peter Ames (2006). Catch a Wave: The Rise, Fall, and Redemption of the Beach Boys' Brian Wilson. Rodale. ISBN 978-1-59486-320-2. https://books.google.com/books?id=eYyovo_AbqAC ↩
Dillon 2012, p. xv. - Dillon, Mark (2012). Fifty Sides of the Beach Boys: The Songs That Tell Their Story. ECW Press. ISBN 978-1-77090-198-8. https://archive.org/details/fiftysidesofbeac0000dill/ ↩
It is improbable that Wilson was born partially deaf as such defects generally manifest earlier.[566] Wilson himself believed the deafness might have resulted from his father slapping him shortly before turning three,[599] although he also stated in a 2000 interview that his deafness had been present at birth and unrelated to his father's physical abuse.[601] Murry commented that the deafness may have resulted from a football game injury,[566] while Wilson's mother, Audree, said that Wilson believed the incident occurred when he was around 10 and a child hit his ear,[566] a claim repeated in his 2016 memoir.[602] On another occasion, Audree attributed it to Murry hitting Wilson with an iron while he was asleep.[603] ↩
Carlin 2006, p. vii. - Carlin, Peter Ames (2006). Catch a Wave: The Rise, Fall, and Redemption of the Beach Boys' Brian Wilson. Rodale. ISBN 978-1-59486-320-2. https://books.google.com/books?id=eYyovo_AbqAC ↩
Wilson & Greenman 2016, p. 138. - Wilson, Brian; Greenman, Ben (2016). I Am Brian Wilson: A Memoir. Da Capo Press. ISBN 978-0-306-82307-7. https://books.google.com/books?id=9CmiBQAAQBAJ ↩
Wilson & Greenman 2016, p. 138. - Wilson, Brian; Greenman, Ben (2016). I Am Brian Wilson: A Memoir. Da Capo Press. ISBN 978-0-306-82307-7. https://books.google.com/books?id=9CmiBQAAQBAJ ↩
White 1996, pp. 78, 147, 314. - White, Timothy (1996). The Nearest Faraway Place: Brian Wilson, the Beach Boys, and the Southern Californian Experience. Macmillan. ISBN 0333649370. https://archive.org/details/nearestfarawaypl0000whit/ ↩
White 1996, p. 314. - White, Timothy (1996). The Nearest Faraway Place: Brian Wilson, the Beach Boys, and the Southern Californian Experience. Macmillan. ISBN 0333649370. https://archive.org/details/nearestfarawaypl0000whit/ ↩
Murphy 2015, pp. 76, 136. - Murphy, James B. (2015). Becoming the Beach Boys, 1961-1963. McFarland. ISBN 978-0-7864-7365-6. https://books.google.com/books?id=273eCQAAQBAJ ↩
Murphy 2015, pp. 255, 258. - Murphy, James B. (2015). Becoming the Beach Boys, 1961-1963. McFarland. ISBN 978-0-7864-7365-6. https://books.google.com/books?id=273eCQAAQBAJ ↩
Murphy 2015, pp. 76, 300. - Murphy, James B. (2015). Becoming the Beach Boys, 1961-1963. McFarland. ISBN 978-0-7864-7365-6. https://books.google.com/books?id=273eCQAAQBAJ ↩
Gaines 1986, pp. 82, 100. - Gaines, Steven (1986). Heroes and Villains: The True Story of The Beach Boys. New York: Da Capo Press. ISBN 0306806479. https://archive.org/details/heroesvillainsth00gain ↩
Murphy 2015, p. 275. - Murphy, James B. (2015). Becoming the Beach Boys, 1961-1963. McFarland. ISBN 978-0-7864-7365-6. https://books.google.com/books?id=273eCQAAQBAJ ↩
Gaines 1986, p. 100. - Gaines, Steven (1986). Heroes and Villains: The True Story of The Beach Boys. New York: Da Capo Press. ISBN 0306806479. https://archive.org/details/heroesvillainsth00gain ↩
Carlin 2006, p. 72. - Carlin, Peter Ames (2006). Catch a Wave: The Rise, Fall, and Redemption of the Beach Boys' Brian Wilson. Rodale. ISBN 978-1-59486-320-2. https://books.google.com/books?id=eYyovo_AbqAC ↩
Badman 2004, p. 376. - Badman, Keith (2004). The Beach Boys: The Definitive Diary of America's Greatest Band, on Stage and in the Studio. Backbeat Books. ISBN 978-0-87930-818-6. https://archive.org/details/beachboysdefinit0000badm ↩
Wilson, Brian (May 1977). "I'm a Pooper, Not a Buzzer". Crawdaddy!. p. 63. https://40.media.tumblr.com/92589f007104051b8edbe566697d1303/tumblr_ns20qse72z1trpswuo2_1280.jpg ↩
Matijas-Mecca 2017, p. 131. - Matijas-Mecca, Christian (2017). The Words and Music of Brian Wilson. ABC-CLIO. ISBN 978-1-4408-3899-6. https://books.google.com/books?id=wmphDgAAQBAJ&pg=PA86 ↩
White 1996, p. 251. - White, Timothy (1996). The Nearest Faraway Place: Brian Wilson, the Beach Boys, and the Southern Californian Experience. Macmillan. ISBN 0333649370. https://archive.org/details/nearestfarawaypl0000whit/ ↩
Gaines 1986, p. 249. - Gaines, Steven (1986). Heroes and Villains: The True Story of The Beach Boys. New York: Da Capo Press. ISBN 0306806479. https://archive.org/details/heroesvillainsth00gain ↩
Wilson & Greenman 2016, p. 194. - Wilson, Brian; Greenman, Ben (2016). I Am Brian Wilson: A Memoir. Da Capo Press. ISBN 978-0-306-82307-7. https://books.google.com/books?id=9CmiBQAAQBAJ ↩
Gaines 1986, pp. 249–250. - Gaines, Steven (1986). Heroes and Villains: The True Story of The Beach Boys. New York: Da Capo Press. ISBN 0306806479. https://archive.org/details/heroesvillainsth00gain ↩
Gaines 1986, pp. 249, 280. - Gaines, Steven (1986). Heroes and Villains: The True Story of The Beach Boys. New York: Da Capo Press. ISBN 0306806479. https://archive.org/details/heroesvillainsth00gain ↩
Dillon 2012, p. 108. - Dillon, Mark (2012). Fifty Sides of the Beach Boys: The Songs That Tell Their Story. ECW Press. ISBN 978-1-77090-198-8. https://archive.org/details/fiftysidesofbeac0000dill/ ↩
Stebbins 2000, p. 175. - Stebbins, Jon (2000). Dennis Wilson: The Real Beach Boy. ECW Press. ISBN 978-1-55022-404-7. https://archive.org/details/denniswilsonreal0000steb/ ↩
Gaines 1986, pp. 249, 280. - Gaines, Steven (1986). Heroes and Villains: The True Story of The Beach Boys. New York: Da Capo Press. ISBN 0306806479. https://archive.org/details/heroesvillainsth00gain ↩
Gaines 1986, pp. 249, 280. - Gaines, Steven (1986). Heroes and Villains: The True Story of The Beach Boys. New York: Da Capo Press. ISBN 0306806479. https://archive.org/details/heroesvillainsth00gain ↩
Keil later provided many anonymous quotations for David Leaf's 1978 biography The Beach Boys and the California Myth.[621] Gaines describes Keil as a Beach Boys fan who had moved from Kansas to Los Angeles when she was 19 with the purpose of getting close to Wilson.[615] Writing in his 2022 revision of California Myth, Leaf explained, "Debbie never tried to shape the narrative. I felt her observations were insightful, very different from what I'd been reading."[621] /wiki/David_Leaf ↩
White 1996, p. 321. - White, Timothy (1996). The Nearest Faraway Place: Brian Wilson, the Beach Boys, and the Southern Californian Experience. Macmillan. ISBN 0333649370. https://archive.org/details/nearestfarawaypl0000whit/ ↩
White 1996, p. 322. - White, Timothy (1996). The Nearest Faraway Place: Brian Wilson, the Beach Boys, and the Southern Californian Experience. Macmillan. ISBN 0333649370. https://archive.org/details/nearestfarawaypl0000whit/ ↩
Millman, Ethan (March 30, 2022). "Brian Wilson's Ex-Wife Sues Beach Boys Founder After $50 Million UMG Publishing Deal". Rolling Stone. Retrieved May 11, 2023. https://www.rollingstone.com/music/music-news/brian-wilson-beach-boys-marilyn-wilson-rutherford-universal-music-publishing-lawsuit-1330232/ ↩
Gaines 1986, pp. 330, 341. - Gaines, Steven (1986). Heroes and Villains: The True Story of The Beach Boys. New York: Da Capo Press. ISBN 0306806479. https://archive.org/details/heroesvillainsth00gain ↩
During that period, Williams had claimed that Wilson was being held captive by Landy. In response, Wilson held a press conference to announce that he was disassociating himself from her.[625] Carlin described Williams as generally considered to be "a sweet, well-intentioned woman",[626] while Wilson, via his 2016 memoir, attributed their split "mostly because of me", citing an incident in which he berated Williams, a black woman, with a racist remark.[627] ↩
Carlin 2006, pp. 286, 271. - Carlin, Peter Ames (2006). Catch a Wave: The Rise, Fall, and Redemption of the Beach Boys' Brian Wilson. Rodale. ISBN 978-1-59486-320-2. https://books.google.com/books?id=eYyovo_AbqAC ↩
White 1996, p. 361. - White, Timothy (1996). The Nearest Faraway Place: Brian Wilson, the Beach Boys, and the Southern Californian Experience. Macmillan. ISBN 0333649370. https://archive.org/details/nearestfarawaypl0000whit/ ↩
Carlin 2006, p. 281. - Carlin, Peter Ames (2006). Catch a Wave: The Rise, Fall, and Redemption of the Beach Boys' Brian Wilson. Rodale. ISBN 978-1-59486-320-2. https://books.google.com/books?id=eYyovo_AbqAC ↩
Wilson chose the date because it was Marilyn's birthday, and thus easy to remember for future anniversaries.[630] Marilyn attended the wedding.[631] ↩
Fine, Jason (July 8, 1999). "Brian Wilson's Summer Plans". Rolling Stone. https://www.rollingstone.com/music/features/brians-summer-plans-19990708 ↩
O'Donnell, Kevin (December 10, 2012). "Inside the Beautiful Mind of Brian Wilson". People. Archived from the original on July 9, 2021. Retrieved July 9, 2021. https://web.archive.org/web/20210709190718/https://www.brianwilson.com/news/2012/11/30/brian-featured-in-people-magazine ↩
Dillon 2012, p. 283. - Dillon, Mark (2012). Fifty Sides of the Beach Boys: The Songs That Tell Their Story. ECW Press. ISBN 978-1-77090-198-8. https://archive.org/details/fiftysidesofbeac0000dill/ ↩
Williams, Alex; Ives, Mike (January 31, 2024). "Melinda Wilson, 77, Who Helped Brian Wilson Through Mental Illness, Dies". The New York Times. https://www.nytimes.com/2024/01/30/arts/music/melinda-wilson-dead.html ↩
@brianwilsonlive; (January 30, 2024). "My heart is broken. Melinda, my beloved wife of 28 years, passed away this morning" – via Instagram. https://www.instagram.com/p/C2vSn-zO_32/ ↩
Barnes & Noble.com (November 6, 2001). "Interview: Brian Wilson: A Pop Genius Speaks of Love, Mercy, and Melody". Barnes & Noble. Archived from the original on December 31, 2006. https://web.archive.org/web/20061231041958/http://video.barnesandnoble.com/search/interview.asp?z=y&CTR=662203 ↩
Lambert 2007, p. 244. - Lambert, Philip (2007). Inside the Music of Brian Wilson: the Songs, Sounds, and Influences of the Beach Boys' Founding Genius. Continuum. ISBN 978-0-8264-1876-0. https://books.google.com/books?id=7XsZAQAAIAAJ ↩
Priore 2005, p. 173. - Priore, Domenic (2005). Smile: The Story of Brian Wilson's Lost Masterpiece. London: Sanctuary. ISBN 1860746276. https://books.google.com/books?id=81YIAQAAMAAJ ↩
Granata 2003, p. 73. - Granata, Charles L. (2003). Wouldn't It Be Nice: Brian Wilson and the Making of the Beach Boys' Pet Sounds. A Cappella Books. ISBN 9781556525070. https://archive.org/details/wouldntitbenice00char ↩
Highwater 1968. - Highwater, Jamake (1968). Rock and Other Four Letter Words: Music of the Electric Generation. Bantam Books. ISBN 0-552-04334-6. ↩
Highwater 1968. - Highwater, Jamake (1968). Rock and Other Four Letter Words: Music of the Electric Generation. Bantam Books. ISBN 0-552-04334-6. ↩
White 1996, p. 319. - White, Timothy (1996). The Nearest Faraway Place: Brian Wilson, the Beach Boys, and the Southern Californian Experience. Macmillan. ISBN 0333649370. https://archive.org/details/nearestfarawaypl0000whit/ ↩
Rensin, David (December 1976). "A Conversation With Brian Wilson". Oui. https://www.rocksbackpages.com/Library/Article/a-conversation-with-brian-wilson ↩
Love 2016, pp. 150, 164. - Love, Mike (2016). Good Vibrations: My Life as a Beach Boy. Penguin Publishing Group. ISBN 978-0-698-40886-9. https://books.google.com/books?id=ioG0CwAAQBAJ ↩
Leaf 1978, p. 180. - Leaf, David (1978). The Beach Boys and the California Myth. New York: Grosset & Dunlap. ISBN 978-0-448-14626-3. https://archive.org/details/beachboyscalifor00leaf ↩
Asked whether his music was religiously influenced in 1988, he referred to the 1962 book A Toehold on Zen, explaining that he believed that he possessed what is called a "toehold", meaning that having "a good grasp" on one aspect of life can translate to others.[640] ↩
Yakas, Ben (October 27, 2011). "Our Ten Minutes With Beach Boys Legend Brian Wilson". Archived from the original on July 25, 2015. https://web.archive.org/web/20150725054715/http://gothamist.com/2011/10/27/brian_wilson.php ↩
Greenstreet, Rosanna (July 23, 2004). "Q&A: Brian Wilson". The Guardian. https://www.theguardian.com/music/2004/jul/24/popandrock ↩
Brown, Helen (October 10, 2016). "Bad Vibrations: where did it all go wrong for the Beach Boys?". The Daily Telegraph. Archived from the original on January 10, 2022. https://www.telegraph.co.uk/music/what-to-listen-to/bad-vibrations-where-did-it-all-go-wrong-for-the-beach-boys/ ↩
Mehr, Bob (July 18, 2016). "Brian Wilson tour celebrates enduring power of 'Pet Sounds' after 50 years". The Commercial Appeal. http://archive.commercialappeal.com/entertainment/music/features/brian-wilson-tour-celebrates-enduring-power-of-pet-sounds-after-50-years-376179b5-0e8e-0c2a-e053-010-387028121.html ↩
David Oppenheim, recalling his 1966 interview with Wilson, remembered, "we tried to talk with him but didn't get much out of him. Some guy said 'He's not verbal.'"[645][646] ↩
Geoff Edgers (August 2, 2000). "God only knows". Salon. Retrieved March 16, 2022. https://www.salon.com/2000/08/02/wilson_3/ ↩
Gilstrap, Peter (June 3, 2015). "Inside Brian Wilson's room: The famed Beach Boy opens up about mental illness, medication, manipulation and the movie about his life". Salon. http://www.salon.com/2015/06/03/inside_brian_wilsons_room_the_famed_beach_boy_opens_up_about_mental_illness_medication_manipulation_and_the_movie_about_his_life/ ↩
Westword contributor Michael Roberts wrote in 2000 that "his public statements over time have tended to reiterate those of whoever's supervising his activities at the moment".[649] In 2017, The Charlotte Observer's Theoden Janes surmised that despite Wilson's widely documented past struggles with mental illness, he appeared to be actively involved in major projects like his second memoir and a concert tour, indicating he could choose to decline interviews if he wished.[646] ↩
Badman 2004, pp. 34–150. - Badman, Keith (2004). The Beach Boys: The Definitive Diary of America's Greatest Band, on Stage and in the Studio. Backbeat Books. ISBN 978-0-87930-818-6. https://archive.org/details/beachboysdefinit0000badm ↩
The remaining eight top 10 hits were: 1963's "Surfin' U.S.A." (number 3), "Surfer Girl" (number 7), and "Be True to Your School" (number 6) 1964's "Fun, Fun, Fun" (number 5), "When I Grow Up (To Be a Man)" (number 9), and "Dance, Dance, Dance" (number 8) 1965's "California Girls" (number 3) 1966's "Wouldn't It Be Nice" (number 8).[650] /wiki/Surfin%27_U.S.A._(song) ↩
Badman 2004, pp. 34–150. - Badman, Keith (2004). The Beach Boys: The Definitive Diary of America's Greatest Band, on Stage and in the Studio. Backbeat Books. ISBN 978-0-87930-818-6. https://archive.org/details/beachboysdefinit0000badm ↩
Badman 2004, pp. 39, 63. - Badman, Keith (2004). The Beach Boys: The Definitive Diary of America's Greatest Band, on Stage and in the Studio. Backbeat Books. ISBN 978-0-87930-818-6. https://archive.org/details/beachboysdefinit0000badm ↩
O'Shei, Tim (October 6, 2015). "A conversation with Brian Wilson". The Buffalo News. Archived from the original on March 4, 2016. Retrieved March 15, 2016. https://web.archive.org/web/20160304191251/http://buffalo.com/2015/10/06/featured/a-conversation-with-brian-wilson/ ↩
"Quotes". brianwilson.com. Retrieved July 25, 2023. https://www.brianwilson.com/quotes ↩
Lambert 2016, p. 93. - Lambert, Philip (2016). "Brian Wilson's Harmonic Language". In Lambert, Philip (ed.). Good Vibrations: Brian Wilson and the Beach Boys in Critical Perspective. University of Michigan Press. ISBN 978-0-472-11995-0. https://www.fulcrum.org/concern/monographs/nv935376j ↩
Carlin 2006, p. 36. - Carlin, Peter Ames (2006). Catch a Wave: The Rise, Fall, and Redemption of the Beach Boys' Brian Wilson. Rodale. ISBN 978-1-59486-320-2. https://books.google.com/books?id=eYyovo_AbqAC ↩
Howard 2004, pp. 54–55. - Howard, David N. (2004). Sonic Alchemy: Visionary Music Producers and Their Maverick Recordings (1 ed.). Milwaukee, Wisconsin: Hal Leonard. ISBN 978-0-63405-560-7. https://books.google.com/books?id=O0VMAgAAQBAJ ↩
Murphy 2015, p. 301. - Murphy, James B. (2015). Becoming the Beach Boys, 1961-1963. McFarland. ISBN 978-0-7864-7365-6. https://books.google.com/books?id=273eCQAAQBAJ ↩
Kalfatovic, Martin R. (2001). Browne, Ray Broadus; Browne, Pat (eds.). The Guide to United States Popular Culture. Popular Press. p. 70. ISBN 978-0-87972-821-2. 978-0-87972-821-2 ↩
Murphy 2015, p. 301. - Murphy, James B. (2015). Becoming the Beach Boys, 1961-1963. McFarland. ISBN 978-0-7864-7365-6. https://books.google.com/books?id=273eCQAAQBAJ ↩
Edmondson 2013, p. 890. - Edmondson, Jacqueline, ed. (2013). Music in American Life: An Encyclopedia of the Songs, Styles, Stars, and Stories that Shaped our Culture. ABC-CLIO. ISBN 978-0-313-39348-8. https://books.google.com/books?id=TQPXAQAAQBAJ ↩
Cogan & Clark 2003, p. 33. - Cogan, Jim; Clark, William (2003). Temples of Sound: Inside the Great Recording Studios. Chronicle Books. ISBN 978-0-8118-3394-3. https://books.google.com/books?id=hO-KQ4o_B2MC ↩
Granata 2003, p. 115. - Granata, Charles L. (2003). Wouldn't It Be Nice: Brian Wilson and the Making of the Beach Boys' Pet Sounds. A Cappella Books. ISBN 9781556525070. https://archive.org/details/wouldntitbenice00char ↩
Doggett 2016, p. 372. - Doggett, Peter (2016). Electric Shock: From the Gramophone to the iPhone: 125 years of Pop Music. London: Vintage. ISBN 9780099575191. https://archive.org/details/electricshockfro0000dogg_d7a6/ ↩
Brian's brother Carl remarked, "Record companies were used to having absolute control over their artists. [...] But what could they say? Brian made good records."[662] ↩
Granata 2003, p. 17. - Granata, Charles L. (2003). Wouldn't It Be Nice: Brian Wilson and the Making of the Beach Boys' Pet Sounds. A Cappella Books. ISBN 9781556525070. https://archive.org/details/wouldntitbenice00char ↩
Jones 2008, p. 57. - Jones, Carys Wyn (2008). The Rock Canon: Canonical Values in the Reception of Rock Albums. Ashgate Publishing, Ltd. ISBN 978-0-7546-6244-0. https://books.google.com/books?id=rdC3n62ArX8C ↩
John Lennon, Paul McCartney, and George Harrison each championed Pet Sounds when it was released.[667] Moreover, Harrison recalled that the group had felt threatened by the album.[668] Asked in 1966 for the musical person he most admired, Lennon named Wilson.[669] /wiki/George_Harrison ↩
Granata 2003, pp. 115–116. - Granata, Charles L. (2003). Wouldn't It Be Nice: Brian Wilson and the Making of the Beach Boys' Pet Sounds. A Cappella Books. ISBN 9781556525070. https://archive.org/details/wouldntitbenice00char ↩
Murphy 2015, p. 300. - Murphy, James B. (2015). Becoming the Beach Boys, 1961-1963. McFarland. ISBN 978-0-7864-7365-6. https://books.google.com/books?id=273eCQAAQBAJ ↩
Edmondson 2013, p. 890. - Edmondson, Jacqueline, ed. (2013). Music in American Life: An Encyclopedia of the Songs, Styles, Stars, and Stories that Shaped our Culture. ABC-CLIO. ISBN 978-0-313-39348-8. https://books.google.com/books?id=TQPXAQAAQBAJ ↩
Howard 2004, p. 54. - Howard, David N. (2004). Sonic Alchemy: Visionary Music Producers and Their Maverick Recordings (1 ed.). Milwaukee, Wisconsin: Hal Leonard. ISBN 978-0-63405-560-7. https://books.google.com/books?id=O0VMAgAAQBAJ ↩
Edmondson 2013, p. 890. - Edmondson, Jacqueline, ed. (2013). Music in American Life: An Encyclopedia of the Songs, Styles, Stars, and Stories that Shaped our Culture. ABC-CLIO. ISBN 978-0-313-39348-8. https://books.google.com/books?id=TQPXAQAAQBAJ ↩
Badman 2004, p. 182. - Badman, Keith (2004). The Beach Boys: The Definitive Diary of America's Greatest Band, on Stage and in the Studio. Backbeat Books. ISBN 978-0-87930-818-6. https://archive.org/details/beachboysdefinit0000badm ↩
"Quotes". brianwilson.com. Retrieved July 25, 2023. https://www.brianwilson.com/quotes ↩
Klinkenborg, Verlyn (1988). "Brian Wilson and the Fine Art of Surfacing" (PDF). Contrast. Archived from the original (PDF) on June 30, 1998 – via petsounds.com. /wiki/Verlyn_Klinkenborg ↩
Holden, Stephen (February 28, 1999). "MUSIC; They're Recording, but Are They Artists?". The New York Times. Retrieved July 17, 2013. /wiki/Stephen_Holden ↩
Nolan, Tom (February 18, 1968). "How Goes It Underground?". Los Angeles Times. https://www.rocksbackpages.com/Library/Article/how-goes-it-underground ↩
Carlin, Peter Ames (March 25, 2001). "MUSIC; A Rock Utopian Still Chasing An American Dream". The New York Times. /wiki/Peter_Ames_Carlin ↩
Starr 2007, p. 252. - Starr, Larry (2007) [first published in 2006]. American Popular Music: From Minstrelsy to MP3 (2nd ed.). New York: Oxford University Press. ISBN 9780195300536. https://archive.org/details/americanpopularm0000star_k8g4/ ↩
Starr 2007, pp. 251–253. - Starr, Larry (2007) [first published in 2006]. American Popular Music: From Minstrelsy to MP3 (2nd ed.). New York: Oxford University Press. ISBN 9780195300536. https://archive.org/details/americanpopularm0000star_k8g4/ ↩
In Starr's estimation, Wilson had initially demonstrated a proficiency in the fundamental styles of early rock 'n' roll, both in ballads and faster-paced songs. He then developed and evolved these styles through original compositions, and, ultimately, diverged significantly from traditional rock 'n' roll forms, sounds, and themes to forge a distinctive musical identity.[679] ↩
Davis, Erik (November 9, 1990). "Look! Listen! Vibrate! SMILE! The Apollonian Shimmer of the Beach Boys". LA Weekly. Archived from the original on December 4, 2014. Retrieved January 14, 2014. https://web.archive.org/web/20141204153729/http://www.techgnosis.com/index_beach.html ↩
Dombal, Ryan (April 22, 2011). "5–10–15–20: Van Dyke Parks The veteran songwriter and arranger on the Beach Boys, Bob Dylan, and more". Pitchfork. Archived from the original on May 14, 2013. http://pitchfork.com/news/42269-5-10-15-20-van-dyke-parks/ ↩
Himes, Geoffrey. "Surf Music" (PDF). teachrock.org. Rock and Roll: An American History. Archived from the original (PDF) on November 25, 2015. /wiki/Geoffrey_Himes ↩
Pop artist Peter Blake, who designed the Beatles' Sgt. Pepper album cover, said, "I've never been an enormous fan of the Beatles like I am of the Beach Boys."[682] /wiki/Peter_Blake_(artist) ↩
In a 1968 article for Jazz & Pop, contributor Gene Sculatti addressed popular criticisms regarding the Beach Boys openly embracing mass culture and commercialism; Sculatti argued that these associations were artistically validated by Wilson's authentic "fascination with popular culture", a preoccupation that had "served Warhol and Chuck Berry equally well".[683] /wiki/Jazz_%26_Pop ↩
Matijas-Mecca 2020, p. 27. - Matijas-Mecca, Christian (2020). Listen to Psychedelic Rock! Exploring a Musical Genre. ABC-CLIO. ISBN 9781440861987. https://books.google.com/books?id=knTtDwAAQBAJ ↩
Matijas-Mecca 2020, pp. 14, 27. - Matijas-Mecca, Christian (2020). Listen to Psychedelic Rock! Exploring a Musical Genre. ABC-CLIO. ISBN 9781440861987. https://books.google.com/books?id=knTtDwAAQBAJ ↩
Murray, Noel (April 7, 2011). "Sunshine Pop". The A.V. Club. https://www.avclub.com/article/sunshine-pop-54224 ↩
Reed, Ryan (November 20, 2019). "A Guide to Progressive Pop". Tidal. https://tidal.com/magazine/article/a-guide-to-progressive-pop/1-57187 ↩
Leaf 1978, p. 191. - Leaf, David (1978). The Beach Boys and the California Myth. New York: Grosset & Dunlap. ISBN 978-0-448-14626-3. https://archive.org/details/beachboyscalifor00leaf ↩
Many of the 1970s and 1980s acts that Wilson influenced, including ELO, Sparks, Supertramp, Kate Bush, and Tears for Fears, came to be linked under the "progressive pop" banner.[687] /wiki/Sparks_(band) ↩
Martin 2015, pp. 70–75, 183–185. - Martin, Bill (2015). Avant Rock: Experimental Music from the Beatles to Bjork. Open Court Publishing Company. ISBN 978-0-8126-9939-5. https://books.google.com/books?id=CCLyCgAAQBAJ ↩
Guriel, Jason (May 16, 2016). "How Pet Sounds Invented the Modern Pop Album". The Atlantic. https://www.theatlantic.com/entertainment/archive/2016/05/how-pet-sounds-invented-the-modern-pop-album/482940/ ↩
Guriel goes on to note, "In a move that would've pleased Andy Warhol, Wilson recruited an advertising copywriter to come up with the album's lyrics. In a move that would've pleased a Dadaist, he rattled listeners' sense of sonic possibility."[690] /wiki/Dada ↩
Lambert 2007, p. 43. - Lambert, Philip (2007). Inside the Music of Brian Wilson: the Songs, Sounds, and Influences of the Beach Boys' Founding Genius. Continuum. ISBN 978-0-8264-1876-0. https://books.google.com/books?id=7XsZAQAAIAAJ ↩
Badman 2004, pp. 25–26. - Badman, Keith (2004). The Beach Boys: The Definitive Diary of America's Greatest Band, on Stage and in the Studio. Backbeat Books. ISBN 978-0-87930-818-6. https://archive.org/details/beachboysdefinit0000badm ↩
Hoskyns, Barney (September 1, 1995). ""Brian Wilson is a Genius": The Birth of a Pop Cult". The Independent. https://barneyhoskyns.com/2016/10/13/he-is-brian-wilson/ ↩
Hoskyns, Barney (September 1, 1995). ""Brian Wilson is a Genius": The Birth of a Pop Cult". The Independent. https://barneyhoskyns.com/2016/10/13/he-is-brian-wilson/ ↩
Lambert 2007, p. 43. - Lambert, Philip (2007). Inside the Music of Brian Wilson: the Songs, Sounds, and Influences of the Beach Boys' Founding Genius. Continuum. ISBN 978-0-8264-1876-0. https://books.google.com/books?id=7XsZAQAAIAAJ ↩
Badman 2004, pp. 25–26. - Badman, Keith (2004). The Beach Boys: The Definitive Diary of America's Greatest Band, on Stage and in the Studio. Backbeat Books. ISBN 978-0-87930-818-6. https://archive.org/details/beachboysdefinit0000badm ↩
Goldstein, Richard (April 26, 2015). "I got high with the Beach Boys: "If I survive this I promise never to do drugs again"". Salon. /wiki/Richard_Goldstein_(writer_born_1944) ↩
Frith, Simon (1981). "1967: The Year It All Came Together". The History of Rock. /wiki/Simon_Frith ↩
Smith, Ethan (November 10, 1997). "Do It Again". New York Magazine. Vol. 30, no. 43. New York Media, LLC. ISSN 0028-7369. https://books.google.com/books?id=J-gCAAAAMBAJ&pg=PA98 ↩
Patricia, Cardenas (January 15, 2020). "Brian Wilson Paved the Way for the Sensitive Pop Revolution". Miami New Times. https://www.miaminewtimes.com/music/things-to-do-in-miami-brian-wilson-at-magic-city-casino-january-17-2020-11437180 ↩
Lester, Paul (June 1998). "Brain Wilson: Endless Bummer". Uncut. /wiki/Paul_Lester ↩
White 1996, p. 289. - White, Timothy (1996). The Nearest Faraway Place: Brian Wilson, the Beach Boys, and the Southern Californian Experience. Macmillan. ISBN 0333649370. https://archive.org/details/nearestfarawaypl0000whit/ ↩
Brackett 2008, pp. 29, 39. - Brackett, Donald (2008). "The Dream Teller: Brian Wilson". Dark Mirror: The Pathology of the Singer-Songwriter. Westport, Connecticut: Praeger. pp. 27–39. ISBN 9780275998981. https://archive.org/details/darkmirrorpathol0000brac/page/26/ ↩
Hoskyns identified Wilson's retreat as "central to the obsession many people have with his lost greatness".[693] ↩
Chusid 2000, p. xv. - Chusid, Irwin (2000). Songs in the Key of Z: The Curious Universe of Outsider Music. Chicago Review Press. ISBN 978-1-55652-372-4. https://books.google.com/books?id=fydjCgAAQBAJ&pg=PR15 ↩
Vivinetto, Gina (July 19, 2003). "The bipolar poet". St. Petersburg Times. http://www.sptimes.com/2003/07/19/Floridian/The_bipolar_poet.shtml ↩
Chusid 2000, p. xv. - Chusid, Irwin (2000). Songs in the Key of Z: The Curious Universe of Outsider Music. Chicago Review Press. ISBN 978-1-55652-372-4. https://books.google.com/books?id=fydjCgAAQBAJ&pg=PR15 ↩
Patricia, Cardenas (January 15, 2020). "Brian Wilson Paved the Way for the Sensitive Pop Revolution". Miami New Times. https://www.miaminewtimes.com/music/things-to-do-in-miami-brian-wilson-at-magic-city-casino-january-17-2020-11437180 ↩
Shoup, Brad (April 14, 2015). "How Brian Wilson Helped Spawn Punk". Stereogum. https://www.stereogum.com/1793955/how-brian-wilson-helped-spawn-punk/franchises/essay/ ↩
In a 2001 interview, Darian Sahanaja characterized Wilson as "more punk [than modern punk bands]. Just him on stage - you can see teenagers going 'whoahh!' as he says things off the top of his head. At Neil Young's Bridge Benefit Concert for disabled children he'd say - 'OK this is for all the crippled children...' [...] There's no irony there."[704] /wiki/Bridge_School_Benefit ↩
Wilson, Carl (June 9, 2015). "The Beach Boys' Brian Wilson: America's Mozart?". BBC. https://www.bbc.com/culture/story/20150608-is-this-americas-mozart ↩
Wilson, Carl (June 9, 2015). "The Beach Boys' Brian Wilson: America's Mozart?". BBC. https://www.bbc.com/culture/story/20150608-is-this-americas-mozart ↩
Leas, Ryan (August 5, 2016). "Tomorrow Never Knows: How 1966's Trilogy Of Pet Sounds, Blonde On Blonde, And Revolver Changed Everything". Stereogum. https://www.stereogum.com/1892600/tomorrow-never-knows-how-1966s-trilogy-of-pet-sounds-blonde-on-blonde-and-revolver-changed-everything/franchises/sounding-board/ ↩
Wiseman-Trowse, Nathan (September 30, 2008). Performing Class in British Popular Music. Springer. pp. 148–154. ISBN 9780230594975. 9780230594975 ↩
Klinkenborg, Verlyn (1988). "Brian Wilson and the Fine Art of Surfacing" (PDF). Contrast. Archived from the original (PDF) on June 30, 1998 – via petsounds.com. /wiki/Verlyn_Klinkenborg ↩
Carlin 2006, p. 276. - Carlin, Peter Ames (2006). Catch a Wave: The Rise, Fall, and Redemption of the Beach Boys' Brian Wilson. Rodale. ISBN 978-1-59486-320-2. https://books.google.com/books?id=eYyovo_AbqAC ↩
Woullard, Clayton (March 4, 2016). "The Goat Looks In: Interview with Sean O'Hagan of the High Llamas". Clay the Scribe. Archived from the original on March 5, 2017. https://web.archive.org/web/20170305111207/http://claythescribe.com/2016/03/04/interview-with-sean-ohagan-of-the-high-llamas/ ↩
Allen, Jim (December 13, 2021). "How The Beach Boys Became The Godfathers Of Dream Pop". UDiscover Music. Retrieved July 30, 2022. https://www.udiscovermusic.com/stories/beach-boys-godfathers-of-dream-pop/ ↩
Walters, Barry (November 6, 2014). "The Roots of Shibuya-Kei". Red Bull Music Academy. http://daily.redbullmusicacademy.com/2014/11/japan-top-ten-roots-of-shibuya-kei ↩
Morris, Chris (July 29, 2000). "Select-O-Hits Celebrates Its 40th Year; Caroline Pays Tribute to the Beach Boys". Billboard. https://books.google.com/books?id=kxEEAAAAMBAJ&pg=PA56 ↩
Allen, Jim (December 13, 2021). "How The Beach Boys Became The Godfathers Of Dream Pop". UDiscover Music. Retrieved July 30, 2022. https://www.udiscovermusic.com/stories/beach-boys-godfathers-of-dream-pop/ ↩
Richardson, Mark, ed. (November 12, 2009). "In My Room (The Best Coast Song): Nine Fragments on Lo-fi's Attraction to the Natural World". Pitchfork. http://pitchfork.com/features/resonant-frequency/7732-resonant-frequency-65/ ↩
Allen, Jim (December 13, 2021). "How The Beach Boys Became The Godfathers Of Dream Pop". UDiscover Music. Retrieved July 30, 2022. https://www.udiscovermusic.com/stories/beach-boys-godfathers-of-dream-pop/ ↩
Uitti, Jacob (July 20, 2022). "She & Him Demonstrate Their Joy in New LP 'Melt Away: A Tribute to Brian Wilson'". American Songwriter. Retrieved July 25, 2022. https://americansongwriter.com/she-him-demonstrate-their-joy-in-new-lp-melt-away-a-tribute-to-brian-wilson/ ↩
Badman 2004, p. 376. - Badman, Keith (2004). The Beach Boys: The Definitive Diary of America's Greatest Band, on Stage and in the Studio. Backbeat Books. ISBN 978-0-87930-818-6. https://archive.org/details/beachboysdefinit0000badm ↩
Carlin 2006, p. 283. - Carlin, Peter Ames (2006). Catch a Wave: The Rise, Fall, and Redemption of the Beach Boys' Brian Wilson. Rodale. ISBN 978-1-59486-320-2. https://books.google.com/books?id=eYyovo_AbqAC ↩
Priore 2005, p. 177. - Priore, Domenic (2005). Smile: The Story of Brian Wilson's Lost Masterpiece. London: Sanctuary. ISBN 1860746276. https://books.google.com/books?id=81YIAQAAMAAJ ↩
Planer, Lindsey (November 2, 2004). "CrutchfieldAdvisor Presents Brian Wilson's SMiLE". Archived from the original on July 15, 2014. Retrieved July 1, 2014. https://web.archive.org/web/20140715000336/http://www.crutchfield.com/S-KLMubcfO47D/learn/reviews/20041102/brian_wilson_smile.html ↩
Rock Cellar Magazine Staff (April 27, 2021). "Beach Boys' Brian Wilson Shares Poster for 'Long Promised Road,' a New Documentary Film About His Life & Career". Rock Cellar Magazine. Retrieved May 10, 2021. https://www.rockcellarmagazine.com/brian-wilson-documentary-long-promised-road-poster-tribeca-film-festival/ ↩
Martoccio, Angie (March 3, 2020). "Brian Wilson, Ronnie Wood Documentaries Headed to 2020 Tribeca Film Festival". Rolling Stone. Retrieved May 10, 2021. https://www.rollingstone.com/music/music-news/2020-tribeca-film-festival-brian-wilson-ronnie-wood-961222/ ↩
"Brian Wilson Fast Facts". CNN. December 10, 2015. http://www.cnn.com/2015/12/10/us/brian-wilson-fast-facts/ ↩
McDermott, Tricia (February 14, 2005). "2005 Grammy Award Winners". CBS News. Retrieved April 12, 2018. https://www.cbsnews.com/news/2005-grammy-award-winners/ ↩
Toomey, Alyssa; Brennan, Rosemary (February 10, 2013). "2013 Grammy Awards Winners: The Complete List". E!. Retrieved April 12, 2013. http://au.eonline.com/news/386489/2013-grammy-awards-winners-the-complete-list ↩
Badman 2004, p. 374. - Badman, Keith (2004). The Beach Boys: The Definitive Diary of America's Greatest Band, on Stage and in the Studio. Backbeat Books. ISBN 978-0-87930-818-6. https://archive.org/details/beachboysdefinit0000badm ↩
"Brian Wilson". Television Academy. Retrieved June 11, 2025. https://www.televisionacademy.com/bios/brian-wilson ↩
Granata 2003, p. 236. - Granata, Charles L. (2003). Wouldn't It Be Nice: Brian Wilson and the Making of the Beach Boys' Pet Sounds. A Cappella Books. ISBN 9781556525070. https://archive.org/details/wouldntitbenice00char ↩
who referred to him as "one of the great American geniuses" ↩
"Biographical information for Brian Wilson". Kennedy Center. June 20, 1942. Archived from the original on January 9, 2010. Retrieved September 14, 2011. https://web.archive.org/web/20100109195425/http://www.kennedy-center.org/calendar/index.cfm?fuseaction=showIndividual&entitY_id=18317&source_type=A ↩
Badman 2004, p. 378. - Badman, Keith (2004). The Beach Boys: The Definitive Diary of America's Greatest Band, on Stage and in the Studio. Backbeat Books. ISBN 978-0-87930-818-6. https://archive.org/details/beachboysdefinit0000badm ↩
Badman 2004, p. 378. - Badman, Keith (2004). The Beach Boys: The Definitive Diary of America's Greatest Band, on Stage and in the Studio. Backbeat Books. ISBN 978-0-87930-818-6. https://archive.org/details/beachboysdefinit0000badm ↩
being saluted for his "unique and indelible influence on generations of music makers." ↩
"BMI Plays 'The Game of Love' for Song of the Year at 52nd Annual Pop Awards". bmi.com. May 10, 2004. Retrieved September 15, 2010. http://www.bmi.com/news/entry/234056 ↩
Dillon 2012, p. 283. - Dillon, Mark (2012). Fifty Sides of the Beach Boys: The Songs That Tell Their Story. ECW Press. ISBN 978-1-77090-198-8. https://archive.org/details/fiftysidesofbeac0000dill/ ↩
Brandle, Lars (September 11, 2006). "U.K. Hall Of Fame To Induct Wilson, Zeppelin". Billboard. Archived from the original on May 18, 2018. Retrieved April 12, 2018. https://web.archive.org/web/20180518192256/https://www.billboard.com/biz/articles/news/1350562/uk-hall-of-fame-to-induct-wilson-zeppelin ↩
Kubernik, Harvey (July 2, 2021). "Beach Boys "Feel Flows" Box Set". Music Connection. Retrieved April 25, 2022. /wiki/Harvey_Kubernik ↩
committee recognized Wilson for a lifetime of contributions to American culture through the performing arts in music ↩
Metzler, Natasha (December 2, 2007). "Kennedy Center Honors for 5". The Washington Post. Associated Press. Retrieved April 12, 2018. https://www.washingtonpost.com/wp-dyn/content/article/2007/12/02/AR2007120200546.html ↩
"2008 Summit Highlights Photo". 2008. Legendary songwriter Brian Wilson of the Beach Boys receives the Golden Plate Award from actress Sally Field. https://achievement.org/summit/2008/ ↩
"Golden Plate Awardees of the American Academy of Achievement". www.achievement.org. American Academy of Achievement. https://achievement.org/our-history/golden-plate-awards/ ↩
Dillon 2012, p. 291. - Dillon, Mark (2012). Fifty Sides of the Beach Boys: The Songs That Tell Their Story. ECW Press. ISBN 978-1-77090-198-8. https://archive.org/details/fiftysidesofbeac0000dill/ ↩
"Brian's "One Kind of Love" and Paul Dano Score Golden Globe Nominations for "Love and Mercy"". BrianWilson.com. December 10, 2015. Archived from the original on April 13, 2018. Retrieved April 12, 2018. https://web.archive.org/web/20180413125414/http://www.brianwilson.com/news/2015/12/10/one-kind-of-love-and-paul-dano-score-golden-globe-nominations ↩
about 1,000 votes ahead of Bob Dylan and 500 behind John Lennon /wiki/Bob_Dylan ↩
Carlin 2006, p. 106. - Carlin, Peter Ames (2006). Catch a Wave: The Rise, Fall, and Redemption of the Beach Boys' Brian Wilson. Rodale. ISBN 978-1-59486-320-2. https://books.google.com/books?id=eYyovo_AbqAC ↩
He was described in his entry as "the ultimate singer's songwriter" of the mid-1960s. ↩
"The 100 Greatest Singers of All Time". Rolling Stone. November 2008. p. 52. Retrieved December 26, 2013. https://www.rollingstone.com/music/lists/100-greatest-singers-of-all-time-19691231/brian-wilson-20101202 ↩
elaborating "few consider quite how groundbreaking Brian Wilson's studio techniques were in the mid-60s". ↩
"The 50 Greatest Producers Ever". NME. 2012. p. 5. Retrieved September 23, 2020. https://www.nme.com/list/50-of-the-greatest-producers-ever-1353 ↩
"100 Greatest Songwriters of All Time". Rolling Stone. August 2015. https://www.rollingstone.com/music/lists/100-greatest-songwriters#brian-wilson ↩
"The 500 Greatest Albums of All Time". Rolling Stone. September 22, 2020. Retrieved September 22, 2020. https://www.rollingstone.com/music/music-lists/best-albums-of-all-time-1062063/brian-wilson-smile-2-1062834/ ↩
Ultimate Classic Rock Staff (September 1, 2022). "Top Rock Producers". Ultimate Classic Rock. Retrieved September 14, 2022. https://ultimateclassicrock.com/top-rock-producers/ ↩
elaborating that "he is so renowned for his producing and songwriting skills that his gifts as a vocalist are often overlooked". ↩
"The 200 Greatest Singers of All Time". Rolling Stone. January 2023. https://www.rollingstone.com/music/music-lists/best-singers-all-time-1234642307/brian-wilson-6-123464311 ↩
"Brian Wilson". AFI Catalog. Retrieved June 11, 2025. https://catalog.afi.com/Person/24054-Brian-Wilson ↩
Swanson, Dave SwansonDave (April 9, 2013). "Annette Funicello Dies: Remembering Her Beach Boys and Monkees Collaborations". Ultimate Classic Rock. Retrieved June 12, 2025. https://ultimateclassicrock.com/annette-funicello-dies/ ↩
"MOJO Time Machine: Bruce Willis, Ringo, Elton John And Brian Wilson Introduce "Bruno"". Mojo. May 13, 2022. Retrieved June 11, 2025. https://www.mojo4music.com/time-machine/1980s/mojo-time-machine-bruce-willis-ringo-elton-john-and-brian-wilson-introduce-bruno/ ↩
"Brian Wilson Movies & TV Shows List". Rotten Tomatoes. Retrieved June 11, 2025. https://www.rottentomatoes.com/celebrity/brian_wilson_2 ↩
"Brian Wilson. Filmography". TCM. Archived from the original on January 14, 2025. Retrieved June 11, 2025. https://www.tcm.com/tcmdb/person/207309%7C24054/Brian-Wilson#filmography ↩
"Brian Wilson. Filmography". TCM. Archived from the original on January 14, 2025. Retrieved June 11, 2025. https://www.tcm.com/tcmdb/person/207309%7C24054/Brian-Wilson#filmography ↩
"Brian Wilson Movies & TV Shows List". Rotten Tomatoes. Retrieved June 11, 2025. https://www.rottentomatoes.com/celebrity/brian_wilson_2 ↩
Baumgarten, Marjorie (September 15, 2006). "Tales of the Rat Fink". Austin Chronicle. Retrieved June 11, 2025. https://www.austinchronicle.com/events/film/2006-09-15/401539/ ↩
"Brian Wilson Movies & TV Shows List". Rotten Tomatoes. Retrieved June 11, 2025. https://www.rottentomatoes.com/celebrity/brian_wilson_2 ↩
"Brian Wilson Movies & TV Shows List". Rotten Tomatoes. Retrieved June 11, 2025. https://www.rottentomatoes.com/celebrity/brian_wilson_2 ↩
"Brian Wilson Movies & TV Shows List". Rotten Tomatoes. Retrieved June 11, 2025. https://www.rottentomatoes.com/celebrity/brian_wilson_2 ↩
Mojo staff (August 27, 2013). "Brian Wilson, Frank Zappa & Graham Nash Go Inside Pop". mojo4music. Archived from the original on December 7, 2019. Retrieved December 19, 2017. https://web.archive.org/web/20191207074246/https://www.mojo4music.com/articles/6098/inside-pop-with-brian-wilson-frank-zappa-graham-nash-1967/ ↩
"The New Leave It to Beaver. Day Dreamin". Paley Archive. Paley Center. Retrieved June 11, 2025. https://www.paleycenter.org/collection/item?item=B:12385 ↩
Greene, Andy (April 23, 2015). "Flashback: The 'Full House' Gang Jams With the Beach Boys". Rolling Stone. Archived from the original on December 3, 2020. Retrieved June 11, 2025. https://www.rollingstone.com/music/music-news/flashback-the-full-house-gang-jams-with-the-beach-boys-100219/ ↩
"Brian Wilson Movies & TV Shows List". Rotten Tomatoes. Retrieved June 11, 2025. https://www.rottentomatoes.com/celebrity/brian_wilson_2 ↩
"Brian Wilson". Behind The Voice Actors. Retrieved June 12, 2025. https://www.behindthevoiceactors.com/tv-shows/Duck-Dodgers/Brian-Wilson/ ↩
"68 Things You Didn't Know About Brian Wilson". Flavorwire. June 18, 2010. #59. Retrieved June 12, 2025. https://www.flavorwire.com/99997/68-things-you-didnt-know-about-brian-wilson ↩