by Richie Unterberger
Brian Wilson's first solo album created a good share of media hoopla
upon its release. This was not necessarily because of the music, but simply
because his very existence -- or, at least, proof of his existence via
his first fully engaged recording project in about a decade -- was greeted
as a cause for celebration. Although it did not shift tons of units, it
did spark a landslide of ecstatic-to-charitable reviews, largely because
so many critics were eager to latch on to any evidence that Wilson's musical
genius was intact. Viewed more coldly after the hype has faded, this self-titled
release is an odd, flawed creation, certainly leagues above the Beach
Boys' post-1970s output, yet certainly leagues below Wilson's best work
with that group in the 1960s. While he retained his gift for catchy melodies
and dense, symphonic production, there was a forced stiffness to both
the songwriting and execution. Much of the blame for the album's mixed
success can be laid upon its sterile, synthesizer-laden arrangements and
echoing percussion, which epitomized some of the less attractive aspects
of late-1980s production. However, the songs were not among Wilson's best
either, their hooks pleasant but easily fading from memory, the lyrics
full of ambiguous romantic optimism that was totally belied by the nervous,
mannered vocals. The concluding eight-minute suite, "Rio Grande,"
was a self-conscious and, again, only partially successful attempt to
match the grandeur of the miniature conceptual pieces Wilson was penning
in the Smile era. For all that, it remains the best album of Wilson's
solo career, principally because he has recorded so little material since
then, and written even less. The 2000 Warner Archives/Rhino reissue adds
more than a dozen bonus tracks, including demos, backing tracks, and alternates
of songs from the album.
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