Music from Love and Mercy | ||||
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Film score / soundtrack album by Atticus Ross and various artists | ||||
Released | August 14, 2015 | |||
Recorded | 1960 | s–2010 s|||
Genre | Ambient, [1] mashup [2] | |||
Length | 38:29 | |||
Label | Capitol | |||
Atticus Ross chronology | ||||
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Music from Love and Mercy is the soundtrack album to Bill Pohlad's film of the same name about the Beach Boys' songwriter-musician-producer and co-founder Brian Wilson. The album was released by Capitol Records on August 14, 2015. Selections from Atticus Ross's original film score were included in addition to song performances featured in the film. The closing track, "One Kind of Love", was written by Wilson specially for the film. [3]
Pohlad has spoken that he envisioned the original score as a representation of Wilson's auditory hallucinations, which manifest to Wilson as complex sounds and disembodied voices. The resultant score was composed substantially from mashed up samples of Beach Boys songs, taking inspiration from the Beatles' "Revolution 9" (1968) and Danger Mouse's The Grey Album (2004).
Of Brian Wilson's music being incorporated in Love & Mercy , director Bill Pohlad initially clarified: "We're not thinking about this as the hit parade—that would be the biopic thing." [4] English composer Atticus Ross was commissioned for an original score. [5] Ross, who is selective about the films he works on, says he agreed to Love & Mercy because "I liked him [Pohlad] from the moment of meeting him. He’s a guy with vision and that’s what, as a musician, you need from the director. His company was built on making the kind of films that I would love to be working on." [6] He added that he considers music films to have reached "a level of utter [garbage]," he says, "So I put off reading [the script], assuming those things, but then I did read it and I thought it was a brilliant script." [2]
Pohlad confessed that while growing up, he was "kind of more of a Beatles guy", and only became interested in the Beach Boys much later in life. [7] When asked, Ross said he believed Wilson was a genius. [8] When questioned whether he was a fan of Wilson's music, Ross said no, but continues: "[I] was a fan in that [Wilson's] music is ingrained in you without you even knowing it. ... I feel like there is an element of cliche that has grown around it [ Pet Sounds ]." [2] Commenting on what he learned from working with Wilson's music: "It was an education in being a musician. Nowadays, not to sound like an old fart, but you're lucky if you get a chord change. There's plenty of songs that we all sing along to, pop songs of Brian's, that have several key changes in them. He was able to deliver them in a way that it doesn't feel like a complicated piece of music until you break it down, and then you realize that it's incredibly complicated." [2]
Ross and Pohlad worked on the score for about half a year. [6] Pohlad explained: "Brian hears these amazing orchestrations and harmonies and arrangements in his head that are so complex, nobody else can understand them until he actually executes them. They're these amazingly, you know, layered things. The problem is he hears them all the time and he can't turn them off necessarily. That ocean of kind of being the genius as well as the madness really intrigued me. ... I really wanted to be able to try to get to that and to try to represent that in some way." [7] He did not want to incorporate a conventional score that was a fan's "tribute" to Wilson: "Atticus got that right away. You're not going to try to compete with Brian Wilson. So he had the idea — because we had access to all of Brian's original music and the original tapes and stems and tracks from these recordings. So we started talking about rearranging those. He would take them and combine them in different ways and we'd mix them and things to create new music that essentially was Brian's music." [7] Pohlad said that it was "Revolution 9" (1968) from the Beatles' White Album which inspired this approach. [7] Ross also took inspiration from the Beatles and Jay-Z mashup album The Grey Album (2004). [9]
The Beach Boys' original multitrack stems were then delivered to Ross in hard drives. This included all the master tapes to Pet Sounds and what Ross claimed to be "92 versions of 'Good Vibrations'". [2] Ross felt it was necessary that the real Wilson was present in some way musically throughout the movie. This was achieved by writing original pieces wherein samples of Wilson's voice and Beach Boys instrumentation could then be digitally retuned to create new melodies. Another way to keep Wilson present was through the method of sound collage; one composition uses elements from as many as eight of Wilson's Beach Boys songs simultaneously. Ross explained, "The funny thing is these moments flash by in the film in probably a minute, but it took, you know, 10 days or something to get right." [9] On a section that features voices from "God Only Knows", Ross retrieved a scrapped melody from an earlier version of the song that went unused on the final mix. [2]
Information sourced from the film's credits. [10]
On September 19, 2014, Pohlad announced that the film's soundtrack would be released by Capitol Records sometime in the future, [11] later reported for release in 2015. [12] On June 2, 2015, Pohlad reported that there were complications but that the soundtrack should be released shortly after the film. [13] On August 13, the digital global release date was announced for the following day. [14]
Variety found that Ross's "haunting score" resembled the sound of Animal Collective. [15] HitFix wrote that within the film, the score is "both supportive and spare, never once overwhelming the movie or trying to ladle on cheap unearned sentiment." [16]
No. | Title | Writer(s) | Artist(s) | Length |
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1. | "The Black Hole" | Atticus Ross, Leopold Ross, Brian Wilson, Roger Christian, Mike Love, Carl Wilson & Dennis Wilson | Atticus Ross | 1:19 |
2. | "Don't Worry Baby" | B. Wilson & Christian | The Beach Boys | 2:47 |
3. | "Silhouette" | A. Ross, L. Ross, B. Wilson & Tony Asher | Atticus Ross | 2:07 |
4. | "God Only Knows" | B. Wilson, Asher | Paul Dano | 1:33 |
5. | "God Only Knows" | B. Wilson, Asher | The Beach Boys | 2:56 |
6. | "Believe" | A. Ross, L. Ross, Nicholas Holmes, B. Wilson & Asher | Atticus Ross | 4:39 |
7. | "Good Vibrations" | B. Wilson, Love | The Beach Boys | 3:37 |
8. | "Losing It" | A. Ross, B. Wilson & Tony Asher | Atticus Ross | 2:34 |
9. | "I'm Right Here" | A. Ross, L. Ross, B. Wilson & Asher | Atticus Ross | 4:06 |
10. | "The Bed Montage" | A. Ross, L. Ross, B. Wilson, Christian, Love, Sammy Cahn, Axel Stordahl, Paul Weston & Gary Usher | Atticus Ross, The Beach Boys, The Four Freshmen | 4:00 |
11. | "Intersection" | A. Ross, L. Ross, B. Wilson & Asher | Atticus Ross | 2:35 |
12. | "Love and Mercy" (Live at the Royal Festival Hall) | B. Wilson | Brian Wilson | 2:42 |
13. | "One Kind of Love" | B. Wilson & Scott Bennett | Brian Wilson | 3:34 |
Total length: | 38:29 |
Brian Douglas Wilson is an American musician, singer, songwriter, and record producer who co-founded the Beach Boys. Often called a genius for his novel approaches to pop composition, extraordinary musical aptitude, and mastery of recording techniques, he is widely acknowledged as one of the most innovative and significant songwriters of the 20th century. His best-known work is distinguished for its high production values, complex harmonies and orchestrations, layered vocals, and introspective or ingenuous themes. Wilson is also known for his formerly high-ranged singing and lifelong struggles with mental illness.
Pet Sounds is the eleventh studio album by the American rock band the Beach Boys, released on May 16, 1966, by Capitol Records. It was initially met with a lukewarm critical and commercial response in the United States, peaking at number 10 on the Billboard Top LPs chart. In the United Kingdom, however, the album was lauded by critics and reached number 2 on the Record Retailer chart, remaining in the top ten for six months. Promoted there as "the most progressive pop album ever", Pet Sounds was recognized for its ambitious production, sophisticated music, and emotional lyrics. It is now considered to be among the greatest and most influential albums in music history.
"God Only Knows" is a song by American rock band the Beach Boys from their 1966 album Pet Sounds. Written by Brian Wilson and Tony Asher, it is a baroque-style love song distinguished for its harmonic innovation and complexity, unusual instrumentation, and subversion of typical popular music conventions, both lyrically and musically. It is often praised as one of the greatest songs of all time and as the Beach Boys' finest record.
The Pet Sounds Sessions is a 4-CD box set by the American rock band the Beach Boys. Released on November 4, 1997, by Capitol Records, it compiles tracks from the group's 11th studio album Pet Sounds (1966) and its 1965–66 recording sessions. The entire album is included in its original mono mix, as well as a specially-created digital stereo mix. The set also contains instrumental tracks, vocals-only tracks, alternate mixes, and edited highlights from the recording sessions for many of the album's songs, along with several tracks not included on the album.
"I Know There's an Answer" is a song by American rock band the Beach Boys from their 1966 album Pet Sounds. Written by Brian Wilson, Terry Sachen, and Mike Love, the song was inspired by Wilson's experience with the drug LSD and his struggle with ego death. Musically, it is distinguished for its colorful arrangement, unorthodox structure, and bass harmonica solo. The instrumentation also includes guitars, tambourine, tack piano, banjo, clarinets, flutes, electric keyboards, and timpani. Wilson, Love, and Al Jardine trade the lead vocal, for which the melody spans two octaves.
"Don't Talk (Put Your Head on My Shoulder)" is a song by American rock band the Beach Boys from their 1966 album Pet Sounds. Written by Brian Wilson and Tony Asher, it is a ballad about nonverbal communication between lovers. Musically, the song is distinguished for its chromaticism, the use of a string sextet, and its key ambiguity. It is among the most harmonically complex songs that Wilson ever composed.
"Caroline, No" is a song by American musician Brian Wilson that was released as his first solo record on March 7, 1966 and, two months later, reissued as the closing track on the Beach Boys' album Pet Sounds. Written with Tony Asher, the lyrics describe a disillusioned man who reflects on his former love interest and the loss of her innocence. Musically, it is distinguished for its jazz chords and unusual combination of instruments, including bass flutes, 12-string electric guitar, and muted harpsichord.
Marilyn Wilson-Rutherford is an American singer who is best known as the first wife of Beach Boys co-founder Brian Wilson. She was also a member of two girl groups, the Honeys in the 1960s and American Spring in the 1970s.
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"Love and Mercy" is a song by American musician Brian Wilson and the opening track from his 1988 album Brian Wilson. Co-produced by Russ Titelman, the song was released as a single on July 1, 1988, but failed to chart. Psychologist Eugene Landy and his girlfriend Alexandra Morgan were formerly listed as co-writers. Wilson characterized "Love and Mercy" as a semi-autobiographical song that exemplifies his own "Jesus Christ complex," or in other words, his compulsion to "give love to people". The song was influenced by the 1965 hit "What the World Needs Now Is Love."
Making God Smile: An Artists' Tribute to the Songs of Beach Boy Brian Wilson is a tribute album featuring cover versions of songs by Brian Wilson and The Beach Boys performed by Contemporary Christian musicians. Originally released as a single CD, a double album version was released for sale only on the Internet through pastestore.com, the retail website of Paste Music. According to Silent Planet Records' website, this double album quickly sold out. As a result, Silent Planet Records sells individual CD-R copies of the second disc on its website for people who missed their chance to buy the double album.
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