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Inside the Music of Brian Wilson
Philip Lambert (continuum)
Some might argue that the prospect of a genuinely illuminating tome on the former Beach Boys mainman emerging after so many have already hit the shelves is about as likely as Richard Dawkins taking over presenter duties on Songs of Praise. However, Lambert’s deep-mining approach to the Wilson back catalogue – analysing his many and varied influences (Gershwin, the Four Freshman) and tracking the evolution of his songwriting style from straightahead surf-pop to elaborate triumphs like ‘Good Vibrations’ – does succeed in casting new light on the great man’s work. Indeed, at its simplest level, it highlights quite how much work was done, especially in the early ‘60s when Wilson had to balance a desire to develop his craft with numerous extra-curricular projects and constant calls for new BB product (the group made three albums in 1963 alone). It is, however, the section on the writing and recording of Pet Sounds that is most compelling,
with Lambert expertly establishing recurring tonal motifs and the manner in which the lyrics of collaborator Tony Asher provided a perfect complement to Wilson’s ambitious music. At this point, the book approaches the level of scholarship that Ian MacDonald brought to the Beatles’ work with Revolution In the Head.
David Davies
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 Tom Waits: Innocent When You Dream
Edited by Mac Montandon
(Orion)
There are very few artists who would benefit from the publication
of a collection of their interviews – which in most cases, let’s face it, would simply prove
what a generally tedious and repetitious experience the whole process is. Then there’s Tom Waits,
a deeply private man who, as a way of deflecting any rooting around in his personal life,
approaches the interview as a performance. In short Waits tells lots of porkies, there are small
nuggets of truth dotted around, but on the whole a Tom Waits interview offers nothing more
revealing than entertaining observations which mirror the left field clatter and thrum of his
song-writing. Was he born in back of a car? Possibly. Did his stepfather’s mother date Al Capone?
Highly unlikely. Was he the first person to utter the lines ‘I’d rather have a bottle in front
of me than a frontal lobotomy? Oddly enough probably yes. And when all’s said and done does it
matter? Vivian Stanshall once remarked that the first time he heard Waits was ‘like being handed
a saveloy, blindfolded, at a gay party’ which is about as ludicrously concise a summation of
Waits appeal as this fine collection is of his career to date.
Ruby Palmer
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this book from Amazon
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