When this thing works (which is about 40% of the time), it’s fantastic. Wilson scores high marks on the mini “Porgy and Bess” suite that kicks off three tracks in, and his vocal delivery on “I Loves You, Porgy” may actually rank among his greatest. “I Got Plenty on Nuttin’” gets a “Pet Sounds” treatment with bass harmonicas and rollicking honky-tonk piano, and the 30 second string segment that closes the track is achingly beautiful.
“They Can’t Take That Away From Me”, from the 1937 musical “Shall We Dance” gets the “Help Me, Rhonda” treatment to great success. The record’s opener “Rhapsody In Blue” , is a brilliant partial a cappella version that highlights Wilson’s most enduring musical gift, where all the vocal parts get layered together to tremendous effect.
However, there are too many instances here where the vocal blend gets very formulaic, and the project starts to take on the sound of a Ray Conniff record. While someone like Taylor Mills can no doubt deliver technical precision on the high end of these vocal harmonies, there is a lack of emotion and soul here that ultimately detracts from the proceedings. Over the long haul, it just gets too same-y and at times is just flat out annoying.
Despite all this, Wilson has delivered a Grammy friendly effort just prior to the August deadline to be eligible this coming February. It will no doubt, garner several nominations and may actually turn out to be the love fest we’ve witnessed in years past for the likes of Eric Clapton, Steely Dan and others. For all the great music he has given us during the turmoil and agony of his personal life, Brian Wilson would most certainly deserve it.
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