Check this out. Here!

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I don't believe this stuff!!!

"But it was about as far from being a 'live' show as you find."

Where have you been the past decade, Denis Armstrong?

If he gets stroppy, you grab his legs, surfer*babe, and I'll just go round behind him where he can't get at me and clunk him on the nut with this deep-frozen bottle of Jacques Cider with Fruit...

I imagine the reviewer is a bitter 30 something who missed the boat the first time around and says it all by his old foggies comment. I've seen Brian about three times solo and enjoyed him each time. To someone who is a master of the studio a live gig with a bad sound system can be quite taxing. But lets not mention that important aspect of the event, eh ???? I have no use for reviews like this as they don't really touch upon the fact that that Brian's live gig's now are an eye opener to every person who bounces back from a tragic event. This guy probably grew up on In-Sync and Backstreet boys and want lame animate dance steps from his class performers ???? Bollocks as John K is probably spewing

Well, I wasn't there...

...but I know there are more than a few fans over on Brian's message board (www.brianwilson.com) who have expressed concern that he's been touring too hard the last couple years. Was this just an off-night, a clueless reviewer, or a trend?

Anyone else want to chime in on this?

yeah.

Did this place suddenly morph into the BlueBoard ? The guy was doing his job: Brian had a bad show, and he reported it. It's interesting to see how even the Bloo is now admitting that Brian can do a bad show. I didn't make any of the English shows, but just about everyone I've spoken to (and that includes a member of the band) says that Kenwood was a terrible show, something the youtube clips confirm. Ipswich was reportedly much better, but the Royal Albert Hall wasn't a good one either. My impression, and that of those who were there, is that Brian plain didn't want to do this trip. Looks like the US shows, with the 'corporate band', aren't that good either, in terms of performance or value for money. Said it before and I'll say it again: a Brian Wilson show used to be something special, rare and occaisionally magical, but in the UK at least, that just isn't true any more. OK, so I missed him this time - no probs, he'll be back before Xmas. If it's pushing TLOS, Love You live or the BWPS farewell tour, I'll be there: if it's another GH setlist, I'll pass.

Sorry, A, but I was there at Kenwood. Actually, my son sprang it on me as a birthday surprise - I personally have always had my doubts about seeing BW live.

I was not disappointed - and nor was my wife who's not even a BB fan if you can imagine such a thing. Simply stunning versions of "The Little Girl I Once Knew" and "Sail On, Sailor" were worth the price of admission alone. The whole show was amazing. Okay, I've seen no other BW shows so I've nothing to compare it with. And okay, the odd thing went amiss but really not that much!! And you missed some great free booze.

Sorry, but "terrible" is the very last word I'd use to describe it.

Understand entirely - I've been to gigs I've thoroughly enjoyed, then been told by other fans that they were awful... but when someone who was onstage at the time tells me they thought it was "a waste of time Brian being there", then I have to believe them. Someone else who was at the 2005 Hampton Court show (which was dire) tells me that Kenwood was only marginally better.

Glad you enjoyed your 1st BW show - but he can do much better, especially when the material engages his interest.

Thanks, A. Seems like I shall have to attend another one some time...

I still maintain that a wonky sound system has more to do with regressive stage manner than older material. This man is and has been for over 40 + , a creature of the isolated studio enviorment. Otherwise I've been quite lucky as each show I saw him at he was having a darn good time. Which for Brian Wilson is a different type of display than other more mundane artists

This is true. In a studio he's pretty much in charge; in a live show, "so much can happen" and "there's only one take" and THERE'S AN AUDIENCE.

The two times I saw him he was at the top of his game... of course, the first time was THE FIRST TIME, and he was playing PET SOUNDS. And as a musician-audiophile-whatever you want to call it, I noticed certain things that maybe a casual fan wouldn't notice... but the effect of the whole thing was stunning, first rate. And he was definitely into it.

The second time was the first SMILE tour, where the material and the energy level of the band and Brian putting that music out there at last just sent the show through the roof.

Seems to me, since then, he's been kind of "touring by the numbers." Which is what most people do, but with Brian, when his heart isn't in it, you can TELL his heart isn't it. And maybe better that he stay home in those instances... but... people wanna see him play, you know? So you gotta admire the guy for going out and doing it, even if every show isn't perfect. But I wonder if there's not a part of him that would like to do what Neil Young did on a couple scheduled CSNY tours: "the energy wasn't right, so screw it. I'm heading home." Canceling gigs because the vibe isn't right.

I'd bet that once THAT LUCKY OLD SUN comes out, he'll get a fresh burst of energy and that will fuel his next set of shows.

After watching the Capitol preview video for THAT LUCKY OLD SUN, I had to add this: when you watch that video and see all those musicians, realize the work and time and EXPENSE that goes into a project like that... Brian has been around for four and a half decades and he's made a mint off his songs, his records, true... but still... you gotta keep the $$$ coming in so you can DO projects like THAT LUCKY OLD SUN.

I'd guess that, for Brian, that's the WHY of the live shows, the trade-off. Plus just the whole energy of getting the music in front of people.

Julia Child said once that "every job has its share of slicing onions," meaning the boring, mindless, repetitive and even tear-inducing tasks that have to get done in order to get the BIG job done. And no doubt, for Brian, going out and playing the same songs on the road night after night is like "slicing onions" in some ways. Adoring crowds aside.

But at least he's found a way to do it that doesn't appear to be too punishing.

Anyway... just was thinking that...

I'm beginning to enjoy this topic. Lots of good stuff being said.

"you gotta keep the $$$ coming in so you can DO projects like THAT LUCKY OLD SUN. I'd guess that, for Brian, that's the WHY of the live shows, the trade-off."

Small problem with that premise - the vast majority of Brian's major tours have lost money (in the case of the 2000 Pet Sounds tour, about $500,000): Brian's income derives from the exploitation of his back catalog, notably that from 1962-66. We may decry the seemingly endless repackages, but without them, Brian's personal finances would be very different. Likewise Mike & Bruce's touring, which contributes significantly to the Wilson bank account.

H'mmm. Another reason not to slag off the Tourist Band, along with the fact that audiences lap them up.

I'm just happy they aren't the pallid lifeless band I saw a couple of time several years ago. I'm glad they according to reports are much better. This makes seeing them an option where it used to be , oh not them again

Not to mention that, in the UK at least, they're simply outstanding. 50-song setlist ? No probs. First seven songs done without drawing breath ? Piece of cake.

It would be gratifying to see these popular shows close the gap between the two (three?) "camps" - it's about time the hatchets were buried. (The attitude reflected in Priore's recent SMiLE book doesn't help.) We're still some way from seeing Brian and Mike on stage together but the chances of that happening (and succeeding) have never been better. IMHO.

Yeah i agree it woudnt be rock and roll if you didnt have good and bad gigs. Though everytime i've seen Brian he's been great. The best sounded gig was Ipswich the other day and the Smile gig back in 2004 was awesome aswell.

I think more than anything that it's probably that they just don't GET it.

I mean, ever since I got my PACIFIC OCEAN BLUE I have been playing "Love Remember Me" over and over and over again. I just love everything about it. Denny's voice sounds terrible at the beginning but who else could have sung it? Like my husband the music professor said, "Jesus, it's SYMPHONIC. Or something."

So I love this song and I played it for my daughter in law and she was "He can't sing, can he?" She just didn't get it.

It made me wonder if we as fans and listeners who not only like the music but really love and root for the musicians are so far inside it that we can't see it objectively? Is it that other people (like this writer or my daughter in law) "dont get it" or that WE have on rose colored glasses.

Whatever it is, I know what I like, and I LOVE "Love Remember Me."

Bullseye.

The words in bold seem most to the point. One is tempted to add "... and &*%£ everyone else, lmao" but who am I to put words into Margo P's mouth?

Me either.

I think an experience of seeing music is individual. Even if it is a off night , its the night you saw them. If they met your requirements then who gives a darn if they play till the cows come home. Plus I can tell you listeming to others opinions is usually bunk, even my opinions are my own, so you can take them for what there worth.

Good argumentative thread here. Plenty to get one's teeth into (especially if one is Ken Dodd).

i remember this thread.