GETTY VILLA REOPENS -courtesy photo, LA Opera
By CHARLES ANDREWS
BRIAN WILSON
I wrote last week that I needed more space to write of my intersection with the great songwriter and epic tragic figure who the Beatles and Stones and every other musician were in awe of and hung on his every note, but maybe compacting it is better.
It starts in 1979 when I was researching the best LA schools in anticipation of my move here from New Mexico, with my then 11-year-old son Chris. Not so easy in the days before internet. Jump to high school and Beverly Hills HS was named one of the Top 10 in the country, private or public. So we bit the high rent bullet and moved there. Turned out not so great. The only kids he got along with well were those involved in the radio station, but they became friends for life. He became program director, and his on air moniker was Christafari.
One of those music buddies was a smart and ambitious guy named Randy Bookasta, who started his own slick alternative music magazine, while still in high school, named Contrast. Circulation about 6,000 but it got the attention of some in the industry. Including the legendary president of Warner Bros. Lenny Waronker, who was very proud of having landed the Beach Boy’s first solo album, 26 years after the band began. He called Bookasta and offered him an interview, Bookasta of course said yes, and then realized, he didn’t know squat about Brian Wilson – I know, I’ll ask Chris’s dad! I knew only slightly more than squat but of course I said yes too. It became quickly obvious there was a lot to know about Brian Wilson.
I knew he was a fragile character, grown up with an abusive father, later self-medicating with way too much acid, and suffering a nervous breakdown. He could barely function otherwise but it didn’t seem to diminish his creative skills.
So the interview was arranged, and there were three tape recorders there: mine, one belonging to Warner Bros. rep David Leaf (prolific writer, producer and UCLA prof and a longtime Santa Monica resident, and friend of Brian’s), and one manned by a minion of Dr. Eugene Landy, the psychologist who took over Brian’s life and did some terrible things, but also probably saved his life, according to those who knew the situation first-hand. Landy later lost his license to practice medicine.
The interview lasted about 50 minutes but even before I listened back I knew I was in trouble. Brian’s wandering mind would half answer a question I asked five minutes before, and filled in with… something that popped into his mind. In those days of typewriters I had a wastebasket overflowing with crumpled beginnings of that story. I decided I needed to talk to people who knew Brian, to make any sense of it. I talked long with Andy Paley, his co-producer on the album, who played some outtake cassettes for me. Leaf was very helpful. Waronker of Warner Bros. called me in for a sit down in his office that lasted two hours, no interruptions.
Finally, after two months, I thought I could tackle it. I wrote the Q and the A, then spent a paragraph or two tying things together as best I could. Bookasta was very generous to print every word, 12 pages worth. And the thing I was most proud of was that Leaf’s wife later told him that she thought it was the best thing ever written about Brian, and she had read every word ever.
Here is some insight I gained from that experience. Everyone loved Brian, I mean really really loved and cherished him, and were very protective of him. Prior to this I was never exactly sure why so many musicians considered him such a genius, but when I finished I sure did. To sum it up, Paley told me that Brian walked into the studio with every note, every luscious harmony, one bass or two, clarinet and how many saxes? - already in his head. Not just ideas or sketches. The entire album. With all its complexities.
Soon after Brian was doing a signing of the album at Tower Records, and I brought a copy of the magazine for him to sign for me. I had to tell him my name, just like all the fans in line that he never met, and his blank look made it clear he had no idea who I was or that we did that interview. Love you, Brian. Love and mercy.
HIGHLY RECOMMENDED:
GETTY VILLA MUSEUM reopens – For all the climate disasters we have along our beautiful Pacific Ocean coast, thank Zeus we’ve never lost such a precious cultural institution like the Getty Villa on PCH (though we came very close with this last firestorm). How many fires and floods have left this gem of antiquity and tranquility still standing, for all the world to enjoy? It may have been overshadowed by its sprawling younger cousin in Sepulveda Pass, but the Villa has its own charm and value, and it is just up the road from Santa Monica. Built in1974 by billionaire J. Paul Getty to house his collection of Greek, Roman and Etruscan art that was overflowing his Palisades ranch home, he had it designed to resemble an ancient Italian villa. If you haven’t been there for a while, or ever, now is a good time. Admission is free but parking is very limited and you have to call for a reservation, $25 per car (invite five friends). Spend the day. Reopening Fri, Pacific Palisades.
HOT CLUB OF LOS ANGELES – You can go to the Cinema Bar any Monday night, 9-11:30, for almost 14 years now, and hear these hot players run through Django Reinhart-style ‘30s jazz. This amazing ensemble is a treasure. Mon 9 p.m., Cinema Bar, Culver City, free.
RECOMMENDED:
DAN NAVARRO – It took me a while but now I am a big fan of Dan Navarro. His biggest claim to fame is writing a hit song for Pat Benatar. Good for him. Every songwriter’s dream. He probably got a house from those royalties, or at least a new car. But the fact that I can’t stand Pat Benatar is neither here nor there. (He’s also written songs for Keb’ Mo’ and Jackson Browne. But the best interpreter of his graceful, honest songs is… Dan Navarro. He’s an engaging performer who can easily carry an hour-long show with just a guitar, his voice, and his charm. (He’s also a very successful voice-over actor.) I’ve seen him many times now. If you haven’t, go to this intimate show at McCabe’s and I’m betting you will be a fan within 10 minutes. That’s talent that counts. Sat 8 p.m., McCabe’s, Santa Monica, $36.
THEATRICUM BOTANICUM: – Hooray and hallelujah, in a summer that is so far looking a bit disappointing for great performances, we can always count on Will Geer’s Theatricum Botanicum, outdoors in the Topanga Canyon woods, now in their 50th year. It is one of the very best theatre companies in LA, with a mastery of The Bard and great topical lesser-known but memorable productions that will stay with you. Even though you have all summer, don’t delay. You really don’t want to miss any of these (unless maybe you’ve seen “Midsummer” 50 times). Will Geer’s TB, Topanga Canyon,“STRIFE” - Labor disputes - boring, but ”what compromise is possible when human dignity and health are on the line”: that’s tragedy and real suffering ripped from today’s headlines, Sat 7:30 p.m., “MUCH ADO ABOUT NOTHING” Sun 3:30 p.m., “A MIDSUMMER NIGHT’S DREAM” Sun 7:30 p.m., $15-60.
TOLEDO DIAMOND – His decades-long Sunday night residency at Santa Monica’s Harvelle’s, the oldest blues bar in LA (almost a century!), is a treasure that you shouldn’t assume will always be there. Toledo choreographs (literally) a truly unique show, a blend of ‘50s hipster jazz and his dancing dames and a most modern smokin’ hot band that gets better all the time. Every Sunday 9:30 p.m., Harvelle’s, Santa Monica, $12.
COMING ATTRACTIONS (also recommended): THEATRICUM BOTANICUM: “STRIFE” 6/28, 7/5, 13, 20, 8/1, 10, 15, 22, 20 - “MUCH ADO ABOUT NOTHING” 6/29, 7/6, 13, 20, 31 - “A MIDSUMMER NIGHT’S DREAM” 6/29, 7/6, 12, 8/14, 20 - “THE SEAGULL: MALIBU” 7/12, 19, 25, 8/3, 8, 17, 24, 28, 9/6, 12, 22, 28, 10/3, 5 - “WINE IN THE WILDERNESS” 8/9, 16, 24, 30, 9/7, 14, 20, 27, 29, 10/5, 12; TOLEDO DIAMOND, Harvelle’s, 6/29, 7/6, 13, 20, 27; HOT CLUB OF LOS ANGELES, Cinema Bar, 7/7, 14, 21, 28; GETTY VILLA MUSEUM reopens, Pacific Palisades, 6/27; DAN NAVARRO, McCabe’s, 6/28.
DOWN THE ROAD (also recommended): JOHN FOGERTY, Hwd Bowl, 7/6; PAUL SIMON, Terrace Theatre, 7/7, Disney, 7/9, 11, 12, 14, 16; ALISON KRAUS, UNION STATION, Greek, 7/13; LIBRARY GIRL, Ruskin, 7/13, 8/10, 9/14, 10/12, 11/9, 12/14; BRAHMS, GRIEG, LA PHIL, Hwd Bowl, 7/17; SOUTHSIDE SLIM, Harvelle/s, 7/18; GERSHWIN, DVOŘÁK, LA PHIL, Hwd Bowl, 7/22; “THE PLANETS,”, LA PHIL, Hwd Bowl, 7/24; DAVE ALVIN, JIMMY DALE GILMORE, McCabe’s, 7/25, 26, 27. FATHER JOHN MISTY, LUCINDA WILLIAMS, Greek, 7/25; MEKONS, JILL SOBULE, Lodge Room, 7/26; FEMI KUTO, Fonda, 8/8; TEDESCHI TRUCKS BAND, Greek, 8/13; BEN HARPER & THE INNOCENT CRIMINALS, Orpheum, 8/24; FLAMING LIPS, MODEST MOUSE, Greek, 9/4; NEIL YOUNG, Hwd Bowl, 9/15; NINE INCH NAILS, Kia Forum, 9/18, 19; DWIGHT YOAKAM, Greek, 10/1; PETER ERSKINE TRIO, Sam First, 10/11.
Charles Andrews has listened to a lot of music of all kinds, including more than 3,000 live shows. He has lived in Santa Monica for 39 years and wouldn’t live anywhere else in the world. Really. Not even Kauai. Send love and/or hate mail to: therealmrmusic@gmail.com