Carl Wilson
Band members Related acts
|
line-up 1 (1981-83) - Carl Wilson (RIP 1998) -- vocals, guitar, backing vocals
supporting musicians: (1981) - John Daly -- guitar - Gerald Johnson -- bass - Alan Krigger - tambourine - Rand McCorkick - keyboards - Koel Peskin -- sax - Myrna Smith (RIP 2010) -- vocals - James Stroud -- drums, percussion
supporting musicians: (1983) - Billie Barman -- backing vocals - Jeff Baxter -- guitar - Vinnie Colaiuta -- drums , percussion - Geo Conner- guitar - Burton Cummings -- backing vocals - Bryan Cummings -- piano - John Daly -- backing vocals - Jim Ehinger -- piano, keyboards - Ed Greene -- drums , percussion - Billy Hinsche (RIP 2021) -- keyboards, guitar, backing vocals - Nicky Hopkins -- piano - Gerald Johnson -- bass - Alan Krigger -- drums , percussion - Krohn McHenry -- backing vocals - Jerry Peterson -- baritone sax - Lon Price -- piano - Elliott Randall -- guitar, backing vocals - Myrna Smith-Schilling (RIP 2010) -- backing vocals - Timothy B. Schmit -- backing vocals - Phyllis St. James -- backing vocals - Neil Stubenhaus -- bass - Lee Thornburg -- tenor sax, flugelhorn - Trevor Veitch -- backing vocals - Ron Viola -- tenor sax
- |
- Beckley-Lamm-Wilson - Kenny and the Cadets - Brian Wilson (solo efforts) - Dennis Wilson (solo efforts)
|
|
Genre: pop Rating: 3 stars *** Title: Carl Wilson Company: Caribou Catalog: NJZ
37010 Country/State: US Grade (cover/record): VG+/VG+ Comments: includes original lyric inner sleeve Available: 1 Catalog ID: 6256 Price: $20.00
|
Throughout their dysfunctional history The Beach Boys have always been analogous an ongoing soap opera. Against their train wreck history, even though he had his share of issues, singer/guitarist Carl Wilson always served as the band's peacemaker, as well as serving as the post-Brian Wilson band leader. God only knows why it took so long, but Carl came late to the solo sweepstakes, only getting around to releasing his debut in 1981 and that came at a point where The Beach Boys had essentially split into two warring factions that were unable, or unwilling to record, or even tour with one another.
Having apparently tried to interest the rest of the band in recording new material, in 1981 a frustrated Wilson signed to James William Guercio's Columbia affiliated Caribou subsidiary. "Carl Wilson" teamed Wilson with Guerico in the production seat and singer Myrna Smith-Schilling (coincidently married to Wilson's then manager Jerry Schilling). co-writing all eight songs. While I'd love to tell you this was an amazing, undiscovered masterpiece, it wasn't. There really was a reason Brian Wilson wrote the majority of The Beach Boys classic tunes. It wasn't that Carl was a bad songwriter; rather he simply wasn't a great songwriter and Smith seemingly didn't bring a great deal to the creative table. Adding to the problem, the usually sure handed Guercio seemed at a loss in terms of what to do with Wilson. As a result the album had the feel of someone trying to find a suitable artistic and commercial niche for themselves. Wilson's crystalline voice remained a treasure, but it was wasted on far too many of these faceless selections. That said, the second side of the album was quite good with tracks like "Hurry Love", "Heaven" and the touching "Seems So Long Ago" recalling Beach-Boys-styled ballads that served to showcase the best attributes of Wilson's voice. Backed by extensive touring and television appearances the parent album hit the US charts, peaking at # 185.
"Carl
Wilson" track listing: 1.) Hold Me (Carl Wilson - Myrna Smith) - 4:03 rating: *** stars Blessed with an instantly recognizable voice, Wilson seldom sounded as tough as on the opener "Hold Me". Technically the song was actually a duet with co-writer Myrna Smith who with her gutsy, R&B-ish voice, actually threatened to completely bury Wilson. You could hear him literally hanging on for dear life as Smith literally blasted him out of the studio ... Nice choice for a single. It should have done much better in terms of sales:
7" format - 1981's "Hold Me" b/w "The Right Lane" (Caribou catalog number ZS6 01049) YouTube also has a July 4th 1981 lip synch performance of the song from a Wilson appearance on Dick Clark's American Bandstand: Carl Wilson - Hold Me and Heaven (DJ L33 Remaster) American Bandstand July 4 1981 The Beach Boys HQ - YouTube 2.) Bright Lights (Carl Wilson - Myrna Smith) - 3:47 rating: ** stars "Bright Lights" was a rather bland slice of early-1980s corporate pop. Yeah it had a decent enough hook, but to my ears this one didn't sound much different than the '80s stuff folks like Rupert Holmes, Pablo Cruise, and Randy VanWarmer were churning out. 3.) What You Gonna Do About Me? (Carl Wilson - Myrna Smith) - 4:25 rating: **** stars Admittedly it was another slice of corporate rock, but "What You Gonna Do About Me?" had a great melody and one of Wilson's slinkiest vocals. Say what you will about the man, but he had an amazing voice. If you were going to sell out to popular tastes this wasn't a bad way to go. 4.) The Right Lane (Carl Wilson - Myrna Smith) - 5:13 rating: *** stars Apparently trying to cash-in on the public's appetite for corporate rock, "The Right Lane" sounded like something a band like Chicago, or REO Speedwagon might have recorded. Hardly the most original performance on the album, but the song was still worth hearing since it demonstrated Wilson could churn out a real rock song. John Daly's guitar solo provided the song's highlights. Caribou released the song as a promotional 12":
12" format - 1981's "The Right Lane" b/ w ''Hold Me" (Caribou catalog number AS 931)
(side
2) One of the album's most Beach Boy-ish performance, "Hurry Love" was a gorgeous ballad that served as a near perfect showcase for Wilson's beautiful voice. Hard to understand why Caribou didn't chose it as a single - maybe because it was too Beach Boyish ? 2.) Heaven (Carl Wilson - Myrna Smith - Michael Sun) - 4:23 rating: **** stars Spotlighting that special voice, "Heaven" was easily the album's standout performance. Another beautiful ballad that easily matched the cream of his Beach Boys' performances, it was a wonderful performance that should have provided Wilson with a massive radio hit. Easy to see why it was tapped as the leadoff single.
- 1981's "Heaven" b/w "Hurry Love" (Caribou catalog number ZS6 02136)
No idea when or where it was recorded (though it looks like Hawaii), but YouTube has a live performance of the song at: Carl Wilson "Heaven" - YouTube
3.) The Grammy (Carl Wilson - Myrna Smith) - 3:04 rating: **** stars With a bouncy confessional edge taking loving potshots at the music industry "The Grammy" was definitely goofy, but I'll admit that it was a guilty pleasure. Easy to picture Meatloaf taking a stab at this one ... 4.) Seems So Long Ago (Carl Wilson - Myrna Smith) - 4:56 rating: **** stars The album's most personal song and the prettiest performance (Wilson's voice shimmered on this one), "Seems So Long Ago" was apparently a reflection on growing up in the Wilson family household and on his late mother. The song certainly seemed overly nostalgic, but then for those of us who are lucky, time makes us forget much of life's unpleasant aspects. Regardless there was something very touching in Wilson's quiet reflections on growing up in the Wilson household. I guess I'm a far bigger softie than I ever thought.
If you're on a limited budget I'd suggest starting with brother Dennis Wilson's debut solo set, but this one's not bad and is easy to find on the cheap.
In 1997 Wilson was diagnosed with cancer. By the time it was discovered the disease had already spread to his lungs and brain. He underwent extensive chemotherapy and insisted on touring with the band during their summer tour, passing on in February 1998. His sons Jonah and Justyn subsequent established the Carl Wilson Foundation with raises funds to fight cancer and help those fighting the disease: http://www.carlwilsonfoundation.org/index.htm
© Scott R. Blackerby September 2025
|
|
Genre: pop Rating: 3 stars *** Title: Youngblood Company: Caribou Catalog: BFZ
37970 Country/State: US Grade (cover/record): VG+/VG+ Comments: includes original lyric inner sleeve Available: 1 Catalog ID: -- Price: $45.00
|
1983's "Youngblood" found Carl Wilson working with former Steely Dan and Doobie Brothers guitarist Jeff "Skunk" Baxter in the production role. Judging by the lengthy list of sessions players and musical guests including the likes of The Guess Who's Burton Cummings and The Eagles' Timothy B. Schmidt, it was clear The Beach Boy's name plate still held considerable cache within the industry. Like his debut, the album featured a mixture of popular covers (a rocked up version of the doo-wop chestnut title track and John Fogerty's "Rockin' All Over the World") and Wilson originals, most co-written with the late Myrna Smith-Schilling. This time out tracks like the title track, the opener "What More Can I Say", "She's Mine" and "Too Early to Tell" reflected a more rock and soul oriented feel. That was underscored in an interview with The New York Times Robert Palmer, where Wilson described the set as: "This time, that soul or rhythm-and-blues flavor is most evident in the writing. I loved those soul records that were coming out in the mid-1960s, and all the great singers who were around then. I wanted that edgy kind of emotional energy in the songs, so you can really feel them." Unfortunately Wilson's revamped musical direction posed a couple of problems. First off was the fact most of these rockers weren't very good. The title track was just dull. How many covers of "Youngblood" are out there and did you really need another one? Other upbeat numbers like "What More Can I Say" and "Too Early to Tell" suffered from forgettable bland AOR melodies swamped in synthesizers, sax solos, backing singers and other forgettable '80s production touches. While it was clear Wilson wanted to find success as a rocker, with the exception of his cover of Fogerty's "Rockin' All Over the World" and "She's Mine" his distinctive voice just wasn't built for tougher material. For better, or worse Wilson forte were ballads and mid-tempo pop tunes like "Givin' You Up" and "If I Could Talk to Love". It wasn't a total disaster, rather a disappointment for someone who had such a major role in The Beach Boys. By the way the liner note script style was a pain in the butt to read.
Postscript:
A buddy who happens to be a big Beach Boys friend asked me which of the two solo albums is better. I guess this is kind of a dodge, but my suggestion would be to find a copy of the 2000 "Like a Brother" album (Transparent catalog number 500022). Technically it isn't a Carl Wilson solo album, rather is a posthumously released collaboration recorded over the years with America's Gerry Beckley and Chicago's Robert Lamm. Four of the ten songs are Wilson originals, with the three collaborating on two more tunes, It's not a great album, but Wilson benefited from working with folks outside of his normal Beach Boys "family" and the looser atmosphere seemed to benefit all three principals..
"Youngblood" track listing: 1.) What More Can I Say (Carl Wilson - Myrna Smith-Schilling) - 3:26 rating: *** stars Powered by Wilson's light, highly commercial vocals "What More Can I Say?" was a decent, radio-friendly up-tempo number. It suffered a bit from early-'80s production including a patented sax solo (sounding like something Clarence Clemmons might have added to an E Street Band track). The end result was a commercial but anonymous yacht rock feel. Admittedly after a couple of beers it was quite danceable and no worse than something by Pablo Cruise, or The Michael Stanley Band. 2.) She's Mine (Carl Wilson - Myrna Smith-Schilling) - 3:04 rating: *** stars Hum, you don't normally associate anything in The Beach Boys universe with screaming opening guitars. "She's Mine" was certainly different from that perspective Like the opener it was a tad generic, but I've heard far worse from AOR bands. This was one time Wilson's "roughed up" voice held its own in a rock environment. 3.) Givin' You Up (Carl Wilson - Myrna Smith - Jerry Schilling) - 4:41 rating: **** stars Admittedly there was something a little disconcerting hearing the 52 year Wilson sounding so forlorn. The lyrics were apparently inspired by the break-up of his sixteen year marriage with Annie Hinsche. (Ah, the life of a rock star.) Still, his instantly recognizable voice coupled with the Beach Boy-styled harmonies and heartbreak lyrics instantly recalled that magical Beach Boys sound. At the same time the ballad "Givin' You Up" has always reminded me of one of those mid-'80 Chicago songs featuring Pete Cetera on vocals. Easy to see why Caribou tapped it as a single:
- 1983's "Givin' You Up" b/w "Too Early To Tell" (Caribou catalog number ZS4 04020)
4.) One More Night Alone (Billy Hinsche) - 3:05 rating: ** stars Penned by Wilson's brother-in-law/guitarist Billy Hinsche, "One More Night Alone" was another ballad that had a "Chicago-ish" feel. Unfortunately, this one was sugary-sweet to the point it was a threat to anyone suffering from diabetes. I will admit Wilson's fragile voice was special. 5.) Rockin' All Over the World (John Fogerty) - 3:00 rating: *** stars Well Wilson had good taste in outside material, picking one of John Fogerty's best post-CCR numbers. His performance won't make you forget the Fogerty original, or even the Status Quo cover, but it was interesting to hear Wilson was able to toughen his voice to handle straightforward rockers. Burton Cummings and Timothy B Schmidt on backing vocals with Elliott Randall on lead guitar.
(side
2) The jittery, bouncy opening gave "What You Do to Me" a distinctive yacht rock feel. Perhaps not a surprise given it was written by John and Johanna Hall (of Orleans fame). I guess it was commercial, but Wilson's voice was lost amidst the anonymous arrangement and cluttered production - it sounded like a small city was backing him. Perhaps because it sounded like a relative of The Beach Boys' "Kokomo" Caribou tapped the song as the leadoff single:
- 1983's "What You Do to Me" b/w "Time" (Caribou catalog number ZS4 03590)
2.) Youngblood (Jerry Leiber - Mike Stoller - Doc Pomus) - 2:42 rating: ** stars I've never been a big fan of the rock chestnut "Youngblood". Since The Coasters recorded it in 1957 it has been recorded hundreds of times by everyone from The Beatles to Bruce Willis (seriously). Frankly I've never heard a version that caught my attention so there wasn't anything Wilson could do to make this a winner in my ears. 3.) Of the Times (Carl Wilson - Myrna Smith-Schilling) - 4:07 rating: ** stars Clearly meant to make a big statement, "Of the Times" served as a nice platform for Wilson's voice, but ultimately came off as little more than another forgettable slice of AOR. 4.) Too Early to Tell (Carl Wilson - Myrna Smith - John Daly) - 2:51 rating: ** stars The album's hardest rocker, "Too Early to Tell" underscored the limitations of Wilson's voice. Unfortunately the song wasn't anything special, sounding like an AOR band throwaway. Against that backdrop it was clear that Wilson lacked the vocal dynamics to "save" the tune. Not sure who the second vocalist was, but they weren't any great shakes either. The song also appeared as the "B" side on the "Givin' You Up" single. 5.) If I Could Talk to Love (Carl Wilson - Myrna Smith-Schilling) - 4:10 rating: *** stars The ballad "If I Could Talk to Love" again underscored Wilson's voice was meant to be heard on ballads and mid-tempo pop tunes. Unfortunately Baxter's '80s production effects didn't improve the song. 6.) Time (Carl Wilson - Myrna Smith-Schilling) - 3:00 rating: *** stars To my ears "Time" was the most successful of the upbeat tunes. The rollicking keyboard powered melody wasn't particularly original, but Wilson sounded comfortable with the arrangement and didn't have to "push" his voice too hard. The song reappeared as the "B" side on Wilson's "What You Do to Me" single.
© Scott R. Blackerby September 2025
|
BACK TO BADCAT PAYMENT INFORMATION
