There’s really no escaping the question: How much of Brian Wilson’s third-act resurgence is studio magic? Part of this is the age we live in, a completely undangerous era of downloadable gloss that has everybody hearing Auto-Tune, whether it’s making its devilish obfuscations or not. And part of it is, to be fair, Wilson’s own doing.
Decades ago, when he left the road to focus on constructing the Beach Boys’ next great teenage symphony, Brian Wilson became a soundboard hermit. He was someone brought out for album-sleeve photo shoots, but not much more. Even a glimpse of this Howard Hughes-in-a-Pendleton counted as big news. In time, as personal issues surrounded him, Wilson simply vanished — from the stage, from the airwaves, from the Beach Boys, even from the studio.
More recently, however, he has become a public figure again, regularly releasing solo albums, even reuniting with his erstwhile buddies in the Beach Boys for a celebrated reunion. If Brian Wilson’s work hasn’t quite matched (and who could?) the soaring wonder and goofball brilliance of his Pet Sounds and SMiLE era, he’s certainly sounded as fully engaged as we’ve ever heard. Even when the Beach Boys, perhaps expectedly, foundered again, Wilson moved quickly toward constructing the forthcoming solo effort No Pier Pressure, due April 7, 2015 via Capitol Records.
If there’s a criticism to be levied, it’s that the music has felt very much of its era technologically, occasionally plasticine in its determined perfection. You can’t help but wonder if Brian Wilson could still produce in the white-hot circle of the concert stage. Unfortunately, this new live take on “Runaway Dancer” from No Pier Pressure, recorded in concert for the PBS series Soundstage, doesn’t definitively address that notion.
Frankly, there’s too much of a focus on guest star Sebu of Capital Cities, who dropped by during Wilson’s December stop at the Venetian in Las Vegas. There are too many backup singers, and a whole army of sidemen. Yet, Brian Wilson shows he’s still got a way with a pop confection and, at least during an initial solo turn on the mic to open “Runaway Dancer,” he seems finally ready to accept some of the attention he’s spent so long shunning.
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He realizes his vocal limitations. His voice isn’t what it used to be so he brings in top notch back-up singers to augment his sound. It’s smart on his part. There are a few other singers of his vintage that should take note (Roger Daltrey, are you listening?)
Rolling Stone (or was it VH-1?) came out with the 100 greatest vocalists of the rock era, and Brian Wilson was right in the middle of ’em. But since 1975 his second greatest instrument, his voice, hasn’t been the same. Nevertheless, his primary instrument — studio production/arrangement — has never diminished. That’s what people ought to focus on. Whatever Brian produces nowadays, whether it’s his lead vocal or another’s, is bound to be a stellar instrumental and vocal arrangement.