(released March 1981)
Caribou NJZ 37010 (LP)
Sony SRCS 6102 (CD - Japan only)

For all his oft-stated love of R&B, Carl's solo leanings at this point in his career almost certainly had more to do with the deplorable state of affairs then prevalent within the Beach Boys than any deep-seated desire to strike out on his own. With their 20th anniversary looming, and Brian embarking on another downward spiral of physical and mental disintegration, the band appeared disinclined to do anything about either matter beyond cranking out the same old tired live set, thus prompting the youngest Wilson to announce in March he'd neither tour nor record with the band again "until they decide that 1981 means as much to them as 1961". A noble, and entirely futile, gesture, the result was that the summer of 1981 witnessed the unedifying spectacle of the Beach Boys parading a most-unwilling and barely capable Brian Wilson around the arenas of America, seemingly intent on destroying the careers of both (the shows were generally poor, occasionally diabolical, the low point being a nationally televised July 4th show from Long Beach that may just be the worst gig they've ever done) while the single essential musical element - to use David Leaf's perceptive phrase - toured much smaller venues promoting a product that was, to be honest, on the boring side of bland. Recorded during the fall and early winter of 1980, produced by James William Guercio and featuring lyrics by Myrna Smith (manager Jerry Schilling's other half, and for whom Carl later produced an unreleased album), Carl Wilson closely resembled its namesake: placid, unadventurous and slightly overweight. Enough people (mostly Beach Boys fans, one assumes) bought the album to push it up to #185 in the charts, but the more discriminating punter wasn't so easily convinced.

Hold Me
(C. Wilson/Smith)

Introducing the basic band of James Stroud (drums), Jim Guercio (bass), John Daly (guitars), Smith (backing vocals) and Carl (guitars/lead vocals), this low-key pseudo rocker sets the tone of the album by never really escaping a groove so laid back as to make the Eagles seem hyperactive by comparison. Smith (somewhat strident) alternates with Carl (nicely gritty) on the verses, they combine on the chorus... and that's about it, really. This was the first single from the album, which sank without trace, even after a 'reservice' (i.e. remix and edit).

Bright Lights
(C. Wilson/Smith)

A mildly interesting chorus lifts the spirits the first time of asking, but the repetitive structure soon dissipates any energy thus generated... and whatever happened to the middle-eight? Carl is again vocally impeccable, and totally wasted on such material.

What You Gonna Do About Me ?
(C. Wilson/Smith)

The quirky, almost dissonant chorus certainly catches the ear, but the rest of the track remains resolutely locked in low gear as the listener begins to note an alarming similarity about the material and execution. It's also about a minute and a half too long.

The Right Lane
(C. Wilson/Smith)

Heavy-handed road allegory lies uneasily atop a second-string sub-rock track. The Eagles did it first... and much better. Most commentators read probably far too much into the "Always believed I could take care of my brother" line. The track effectively ends less than halfway through, the remainder comprising a redundantly overlong fade.

Hurry Love
(C. Wilson/Smith)

Having failed signally with the 'rockers', Carl turns his hand to ballads and cannot help but fare rather better, his voice being far more suited to the form. That said, this fragile, vaguely tropical and strangely inconsequential item is still pretty thin fare from the man who gave us such gems as "Feel Flows" and "The Trader". (Slightly bizarrely, this track was the B side to both singles taken from the album).

Heaven
(C. Wilson/Smith/Sun)

At last, a track worthy of Carl's name, and the fans expectations. The elements finally gel and a lovely, delicate ballad emerges from the mass of mediocrity; the fact that it's also the most 'Beach Boys sounding' track on the album might not be entirely coincidental... As sweet a vocal as Carl ever cut, this second single from the album also sank nationally, but scored a huge regional hit in, of all places, Florida. When Carl rejoined the Beach Boys, this was a briefly featured live item.

The Grammy
(C. Wilson/Smith)

Easily the best uptempo track on the album (although it must be admitted there's not much competition) illustrates just what a couple of half-decent chord changes can achieve. Carl handles a workmanlike lyric with something dangerously approaching enthusiasm, which lyric allegedly relates Billy Joel's opinion of the whole music awards system.

Seems So Long Ago
(C. Wilson/Smith)

Soporific to the point of torpidity and sporting lyrics of astonishing banality, this maudlin ballad makes a fitting closer to an album best described as listless. You always know an artist's in trouble when there's a lounge orchestra-style sax break anywhere in a song...

© 1997, 1999 Andrew G. Doe/Middlefield Media. All rights reserved, used by permission. No part of this article may be reproduced in any form or by any means without permission in writing by the author.

Carl Wilson in the album archive
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