Rio Grande (song)

"Rio Grande" is a psychdelic western saga co-written by Brian Wilson and Andy Paley and co-produced by Brian Wilson and Lenny Waronker for Brian Wilson's first solo album. [ [http://www.morethings.com/music/best_albums_generation_1985-2005.htm The True and Objective List of the Best 100 Albums of This Generation (1985-2005) ] ] Its modular set of movements hearkened back to the style that Brian Wilson used during the "Good Vibrations"/SMiLE era with musique concrete. "Rio Grande" was evidence that he could still create brilliant, pictorial landscapes of music similar to SMiLE whenever he had the freedom, confidence, and courage to do so. [ [http://www.americanheritage.com/articles/magazine/ah/2004/4/2004_4_40.shtml AmericanHeritage.com / Brian Wilson’s Wave ] ] It is the longest piece of music in the Brian Wilson catalogue at eight mintues and 12 seconds.

Creation of Rio Grande

Waronker and Seymour Stein, the President of Sire Records, encouraged Wilson to make an impressionistic collage that had made SMiLE an interesting listening experience. Eugene Landy suggested to Brian to make a suite about the development of an individual. However, it was Lenny Waronker who insinuated to Brian to undertake a more complex, revealing, and provisional composition with an Old West theme [ [http://www.adriandenning.co.uk/brian.html Brian Wilson | album reviews | adriandenning.co.uk ] ] inspired by the Howard Hawks film Red River and also the movie Rio Grande. A Hawaiian theme was also being considered at the time but was dropped in favor of a Western theme. Work on "Rio Grande" began on October 1, 1987, which happened at the same time as a Los Angeles earthquake. A similar concept being worked on during the same period involved "Saturday Morning in the City" and "Saturday Evening in the City" about describing an ordinary Californian suburban weekend but was soon dropped. Early titles before "Rio Grande" was chosen included 'Baby, Child, Adult,' 'Child, Adult, and Parent,' and "Life's Suite." The lyrics of "Life's Suite" (pun intended), written by Landy, were brought in at the last moment and were rejected out of hand by Waronker.

Relation to SMiLE

The idea of "Rio Grande" was conceived as far back as 1970 when Waronker came by Brian's Bellagio mansion with Brian playing him the basic melody of "Cool, Cool Water." Waronker got the notion if he ever got the chance to produce him; he would want a synthesis of the commercial "Good Vibrations" combined with the pacific "Cool, Cool Water" leading to "Rio Grande" years later. Its different "feels" and movements relate specifically to "Cabin Essence," "Cool, Cool Water," and most of all, "Heroes and Villains." [ [http://www.songfacts.com/detail.php?id=7813 Rio Grande by Brian Wilson Songfacts ] ] The mosaic suite could easily be compared to the Who's "A Quick One While He's Away" and "Rael" as a mini-rock opera. It also would easily have been perfect for the unrealized Americana theme on the original SMiLE. The ending of the short snippet of "Walk On By" on the Friends/20/20 two-fer is reminiscent of "Mrs. O'Leary's Cow" which later showed up in the middle of Part C of "Rio Grande" (see below). "Rio Grande" was recorded in sections at different studios across Los Angeles to sound like one cohesive work like earlier SMiLE recordings.

ections

A: (0:01-0:57)-The first part, Part A, starts off with music similar to the "Fire" music he had created 20 years before. The Baystate Bluegrass Band contributed to the suite as well as other different groups as stated above. 'Ride 'Em Cowboy' is repeated in a chant similar to his work on SMiLE (e.g. "You're Welcome," "With Me Tonight"). It segues into Part B with a steam engine whistle similar to the ending of "Roll Plymouth Rock" on the 2004 SMiLE.

B: (0:58-2:42)-Part B is the main theme of "Rio Grande" like an old cowboy song sung by Gene Autry or Roy Rogers. It has a riff similar to one from The Beach Boys' "That Same Song." Part is meta-physical and autobiographical in the sense of the 'river-as-allegory-of-life' idea, and the main character 'would swim the river but can't.' The Rio Grande also takes him on an adventure or journey like a Lewis and Clark expedition. It evokes images of Lone Ranger, Tom Mix, and Hopalong Cassidy as well as other iconic Western figures. In an earlier version of "Rio Grande," Part B included "Cool, Cool Guy" but was left out in the released version.

C: (2:43-3:56)-In Part C, the listener is taken to what sounds like a campfire vignette before being interrupted by a Native American rain dance followed by thunder and rain.

D: (3:57-6:11)-"Take Me Home" is the name of Part D. In Part D, the music slows down to a dream-like state where the main character is thinking about his girl who on the other side. [ [http://pages.cthome.net/tobelman/page18.htm Heroes and Villains ] ] It sounds like a variation of Part B before ending with a vocal segue.

E: (6:12-7:02)-Part E is the profound "Night Bloomin' Jasmine" section, which was written in 1979. It was one of a short list of songs or pieces written in a minor key. An early version was recorded in 1982 with brother Dennis at the infamous "hamburger sessions" and/or "cocaine sessions." [ [http://lovesurroundsme.tripod.com/nightbloomin.html Night Blooming ] ] The odd 'Get A Job' interlude in the early version was excluded from the final version.

F: (7:03-8:12)-The music in the last section is a reprise of Part B. Part F brings the journey full-circle in which the main character experienced one man out in the wilderness against nature, the old west, and the great outdoors. Like the opposites in SMiLE such as "Heroes and Villains" and 'Lost & Found' in Cabin Essence, [ [http://pages.cthome.net/tobelman/page03.htm The Opposites ] ] opposites exist in "Rio Grande." These include: big man against little man, cowboy against Indian, and all men against nature. The opus closes with a thick, heavy drum being slammed.

Consequences of Rio Grande

Although it did not contain Van Dyke Parks' imagery or have the out-of-the-box, ambitious enlightenment of the SMiLE-era work, it accomplished giving "Brian Wilson" the progressive relativity of a genuine comeback. Because of "Rio Grande" on "Brian Wilson", it was unmistakable that he was back on the right path from the wilderness to the distant frontier. [ [http://surfermoon.com/tracks/files/r/rio_grande.shtml Rio Grande ] ] Mostly, "Rio Grande" unmasked a notion of the old Brian Wilson and helped bridge a gap between the original SMiLE and the long-awaited, eventual 2004 release of SMiLE.

ee also

*Brian Wilson
*Rio Grande
*"Brian Wilson"
*Musique Concrete
*SMiLE

ources

*"The Story of Brian Wilson's Lost Masterpiece: SMiLE," Dominic Priore, c.2005
*"Brian Wilson and the Beach Boys: the Complete Guide to Their Music," Andrew G. Doe, c.2004
*"Wouldn't It Be Nice: Brian Wilson & the Making of the Beach Boys' Pet Sounds," Charles L. Granata and John Tobler, c.2003
*"The Beach Boys' Pet Sounds: The Greatest Album of the Twentieth Century," Kingsley Abbott, c.2001
*"Inside the Music of Brian Wilson: The Songs, Sounds, & Influences of the Beach Boys' Founding Genius," Philip Lambert, c.2007
*"The Nearest Faraway Place," Timothy White, c.1994
*"Catch A Wave: The Rise, Fall, and Redemption of the Beach Boys' Brian Wilson," Peter Ames Carlin, c.2006
*"Brian Wilson: Wouldn't It Be Nice," Todd Gold, c.1991
*"Look! Listen! Vibrate! Smile!," Dominic Priore, c.1995
*"Brian Wilson" CD Liner Notes, David Leaf, c.2000
*"Friends/20/20" Two-Fer Liner Notes, David Leaf, c.1990
*"Smiley Smile/Wild Honey" Two-Fer Liner Notes, David Leaf, c.1990
*"Sunflower/Surf's Up" Two-Fer Liner Notes, Timothy White, c.2000

References