Brian Wilson - Gettin' in Over My Head

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Music reviews of Gettin' in Over My Head

Music Review: Classics for the summer of 2004
Rating: 5 Stars

where he sings Ever After are amazing. great bridge, Strong snare backbeat
on last verse, nice bass movement leading into last heavenly chorus. I am
noticing that Brian is working within a larger framework these days. While
is the old days he was the master of the short 2 to 3 minute song, he has
expanded his pocket symphonys into 4 and 5 mintue songs and he's up to it.
Are you? Stay with it cause now we go to another different place- Don't let
her know she's and angel takes the form on an adult Brian Soul tune. The
dynamic string intro certainly recalls TSOP or even Some of Marvin Gayes
70's stuff. There is also some more Bacharach infuence. The pizzicato
strings on the chorus are a nice touch as is the string that's a
couple bars before the bridge The horn's by Paul Mertens as well as his string arrangments are really cool
This one has a groovin backbeat that propels the song very well. Great
musical tag on end. This would be great live with the Stockholm strings and

horns. The Waltz- And so this dance comes to a close. Thank you Brian for
reminding us to go to our mate and say how bout a dance? Thanks for
reminding us through your timeless music that it is okay to tap into the
joy,peace,tranquility, and love that comes when we take some time to be
with our loved ones and remember the good times. You have given us some new
good times and as the backround vocals fade and the fiddle resoves to a
major 3rd(or Db played as an octave with a major 3rd on the middle I
think?) we are left with a feeling much like sittin around a campfire with
a warm glow and a good feeling in our hearts. Thank you Brian for giving us a soundtrack to the summer of 2004 and beyond.

Description of Gettin' in Over My Head

Three of Wilson's '60s/'70s contemporary superstar/admirers contribute performances: Elton John's forceful take on "How Can We Still Be Dancing" evokes the rollicking, youthful prime of both legends; Paul McCartney's guitar and vocals are considerably more subdued on the typically wistful "A Friend Like You"; Eric Clapton's searing guitar nearly overwhelms the chunky rhythms of "In the City." There's also a touching reunion with the disembodied voice of late brother Carl as Brian completes the latter's unfinished mid-'90s track "Soul Searchin'," but the real star here is Wilson's enduring muse. He variously evokes the spirit of Spector past and his old band on "You've Touched Me" and "Desert Drive," respectively, then reunites with Smile/Orange Crate Art collaborator Van Dyke Parks on the rustic, fiddle-adorned skewed romance of "The Waltz." The lovely, timeless title track effortlessly dispels any whiff of nostalgia, securing its place as one of Wilson's best contemporary ballads and delivering on this album's most rewarding promise: Brian is indeed back, and gloriously so. --Jerry McCulley

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