The funny, sensitive musician has reflected that he lost his sense of humor in the 60’s. Combined with his own insecurities and mental fragility, his quest for drugs-and-music-drenched enlightenment took a fearful and paranoiac toll. Which makes the redemptive story of Love and Mercy all the more amazing. (view Part 1 here)
In Smile Brian was reaching for music that would take the listener into totally new spiritual experiences–transcendent, epic and yet intimate at the same time. Brian was no philosophical-art-student John Lennon, but in Van Dyke Parks he found a Lennonesque collaborator to put lyrics to the great art and music in his soul.
For months they pulled drug-fueled all-nighters at Brian’s famous piano in the sandbox and conceived a musical mosaic to guide listeners on a journey through American music, beginning at Plymouth Rock and ending in Diamond Head. It would incorporate the elements of earth, air, fire and water as an image of ego death and oneness with the all.
On one of the instrumental tracks Brian worked to created the musical experience of fire–“a dark, booming, reverb-drenched blur of sound.” An “eerie whine that grew into a giant conflagration…the weirdest was the crash and crackle of instruments smoldering for the final time.” Listening to the final cut of “Mrs. O’leary’s Cow,” the musicians marveled at what Brian had produced.
Then, a couple of days later, a building across the street from the studio burned down and there seemed to be a rash of fires in the LA area.
