The Beach Boys - David Leaf

The Beach Boys
David Leaf
First Published (as The Beach Boys and the California Myth):
PB. 1978. Grosset & Dunlap, New York.
This Edition: HB. 1985. Courage Books, Philadelphia.

I waited many, many long years to read this book – a book that has reached almost mythical status. This is the 1985 revised edition, adding significant new content, published in time to act as a counter-balance to the groups' authorised  (and slightly premature) The Beach Boys Silver Anniversary. It was long rumoured that further reprinting of this book had been blocked by a certain individual, but that didn’t stop me when I was working in the publishing world from badgering our non-fiction editors about it! Although that didn’t result in the desired reprint (which has now been addressed!) it seemed to bring about the I Am Brian Wilson autobiography, by karmic intervention. So, I am at least cosmically responsible in some small part for that one! But more about that another time.

Whilst The Beach Boys and the California Myth did not disappoint me, as a modern reader it doesn’t include any great revelations, perhaps because the viewpoints put forth have been so fiercely taken up by most of the Beach Boys’ fan base and biographers. It really has set the tone for later esteemed books by the likes of Timothy White, Peter Ames Carlin and really any writer who takes a considered look at the band’s place in post-war American culture and strives to understand the true nature of Brian Wilson, his life and work.

Leaf’s was the first book to really try to pin down and understand Brian Wilson, singling him out as the only individual really worthy of examination, documenting his development not only as a musician and artist, but as a person. It is preoccupied by his foibles, insecurities and struggles with drugs and ill health, not in a scurrilous way, rather in an effort to understand that which in 1976 was Brian’s “predicament”. Leaf is open and honest in his ‘Retrospective’ to the 1985 edition that this book was a piece of “campaigning journalism”; a crusading “tell-all” piece that would expose the truth behind the band’s image and the manipulative “Brian’s Back” campaign, with the hope it would all result in greater understanding, care and attention for Wilson and thus a freer rein to create music outside of the Beach Boys commercial machine. Leaf certainly does a good job of shining a light on Brian and making a case for him as a chained artist in desperate need of emancipation.

What he didn’t understand, however, but considers in his 1985 ‘Retrospective’ with humility, is the fact he overlooked Brian’s own role in his situation at that time. It’s a complex psychological and emotional labyrinth, which Leaf gets as close to unravelling as any other writer before or since, without going too deep into the waters of pop psychology. His prologue includes one of the most succinct and insightful accounts of the Brian Wilson tragedy I’ve read:

Most artists and great thinkers are experimenters… Often, in Brian’s case, it’s the result of a beautifully innocent, childlike curiosity that produces a fascination with all things new. For Brian that meant new sounds, but his experimentation wasn’t a simple or sole preoccupation. His record company and his family resented his progress, were afraid that he might move so far ahead that he would leave them behind. So Brian Wilson retreated, a prisoner of his own talent, a man who was seemingly only wanted and needed by his family if he would again create his myth-music for them. When Brian’s music turned from the happy California sound to a more serious examination of his emotions, there was a rebellion within the group and resistance form the record company. Brian’s defense was to retreat into an eccentric character called Brian Wilson. The Brian Wilson mystique was at the core of the Beach Boys’ machine; unfortunately, the game consumed Brian.

To fulfil his mission statement, Leaf conducted hours upon hours of interviews with individuals close to the group, including David Anderle, Bruce Johnston, Steven Desper, Audree Wilson and plenty more besides. Despite the focus on Brian, the bulk of this lengthy book is still dedicated to telling the story of the Beach Boys, peppered with fascinating detail and written in warm, intelligent prose. I found the book to be written in an even-handed manner, Leaf never unfairly singling out any individuals for criticism. Certainly, it was the first to air some dirty laundry, but as Leaf says “I detailed private behaviour only to explain how personal problems overwhelmed Brian’s musical ability” and rarely details the “often-embarrassing specifics” (unlike Steven Gaines’ later Heroes and Villains, which revels in this kind of detail). Criticisms from members of the band that they are unfairly painted seem a little unreasonable given that they refused to be interviewed for the book, with Leaf relying on the direct testimony of those who were willing to talk. He makes efforts to present balanced opinions and show understanding to those cast in blameworthy positions.

Even Murry Wilson receives a dedicated chapter exploring his contribution, with quotes both criticising and celebrating the polarising figure. It’s sad reading the new 1985 addendum, as Leaf applies the same process to Dr. Eugene Landy, wondering what his legacy will be in terms of the band and Brian’s health. Leaf is non-partisan, with the real long-term damage still yet to be inflicted. It's a bitterly ironic read.

I wouldn’t hesitate to recommend this book to casual fans who want to read a really illuminating and intelligent discussion of the band’s history. Hardcore fans may find there’s little here they don’t already know, but should still enjoy hearing it again from a very articulate and compassionate writer delivering a ground-breaking piece of music journalism. As if the text isn’t enough, fans will want to own either the 1978 or 1985 editions for the incredible amount of rare photos included, dozens of which I had not seen before (presumably everyone on tumblr and Instagram is too young to own a copy!)
 
 


Over the ensuing years, Leaf’s friendship with Brian and stature as a commentator on the band and their music has only grown, going from distrusted outsider (not even mentioned in the band’s authorised 1979 book) to writing liner notes for Capitol reissue projects. With the new revised and updated version being published in 2022, I am really interested to know what Leaf’s take on the last 35 years will be.