![\"Brian](\"https:\/\/www.newsbeep.com\/uk\/wp-content\/uploads\/2025\/09\/Brian-Wilson-The-Beach-Boys-Musician-Producer-1960s-03-Far-Out-Magazine-1140x855.jpg\")
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Credit: Far Out \/ Brian Wilson<\/p>\n
Being in the same room as Brian Wilson<\/a> during the 1960s would have been enough to make anyone a better musician. <\/p>\n He wasn\u2019t the kind to teach everyone how music should sound, but when looking at the way that he approached every one of his songs, it all felt like second nature whenever he made a new record or came up with that one melody that twisted how everyone thought about pop music. That\u2019s not an easy thing to do all the time, but when Wilson had his own issues later on in his career, he felt that there were some producers who were too difficult for him to understand.<\/p>\n Granted, anyone who was ever in the same room with Wilson would have probably felt like a third wheel whenever they got behind the board. This is the same person who wrote Pet Sounds<\/a>, for God\u2019s sake, and even if, when you look at the questionable track record that he had after that, the fact that he could write an arrangement good enough to break anyone\u2019s heart in the time that it takes most of us to make a half-decent sandwich is the reason why he\u2019s compared to Mozart all the time.<\/p>\n He wanted the chance to make the best music that he could, but by the 1980s, that had been kept at bay for way too long. Thanks to \u201clove and care\u201d or therapist and all-around asshole Eugene Landy, Wilson had already grown into a shell of himself, even when making albums like Love You.<\/a> He needed some time to get his bearings again, but when working on his first-ever solo album, the idea of getting someone like Jeff Lynne in the studio didn\u2019t sound like the worst idea in the world.<\/p>\n Electric Light Orchestra had already been considered the clearest successor to The Beatles<\/a>, and since Wilson saw himself in competition with The Beatles throughout his career, this was the perfect way to get back into his classic period. Everything seemed to be working out fine, and Lynne was ready to work with Wilson on anything, but even when he was talking about the direction that the song \u2018Let It Shine\u2019 could go in, the former Beach Boy felt uncomfortable about not being able to look Lynne in the eye.<\/p>\n The fact that he wore shades at night was strange enough, but Wilson felt that the shades ended up being a major sticking point for him, saying<\/a>, \u201cIt was a little tense. He tends to wear shades at night. He wears shades all the time. I think they\u2019re prescription. So I got into the habit of looking at him but not his eyes.\u201d But for Lynne, that might have been one of the few times where those shades were practical.<\/p>\n Anyone would have been a little bit intimidated telling Wilson what to do, and despite the Beach Boy being one of the most humble men in the music industry, it was bound to be a little bit difficult trying to figure out what he wanted out of any particular song whenever they first got down to business. But the shades did tend to follow Lynne around all the way to his induction into the Rock and Roll Hall of Fame.<\/p>\n Further reading: From The Vault<\/p>\n Even when Dhani Harrison was on hand to induct the band on behalf of his father, he made a few jabs at Lynne\u2019s appearance whenever he showed up at his old man\u2019s house, saying<\/a>, \u201cI could tell that a lot of\u00a0my dad\u2019s friends were from outer space, including Jeff. Their eyes are far more sensitive to Earth\u2019s bright sun than normal humans, so they required special lenses to protect them during the day and most of the night.\u201d<\/p>\n It might have been odd for Wilson when working with Lynne, but he didn\u2019t mean him or the rock world any harm. He was simply a rock and roll alien in many respects, and it was up to him to find those little spaces in between the cracks of every single mix to turn a simple pop song into one of the greatest symphonies that the planet had ever heard.<\/p>\n<\/p>\n
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