Dennis Wilson, Pacific Ocean Blue (More)

Billy Hinsche, longtime Beach Boys sideman and friend of Dennis Wilson, was kind enough to answer a host of questions over e-mail. The occasion, of course, is the long-awaited reissue of Dennis Wilson’s “Pacific Ocean Blue.” My review is here. Now, onto Billy, who asked that we provide a link to the documentary film he recently created on Dennis.

We all get this sense of Dennis as a pretty messed up guy near the end of his life, largely due to film clips of a bloated Dennis in the early 80s and that series of terrible TV movies. Describe what he was like during the recording of POB. Was he, for example, in total control? Was he somebody who needed others to help him pull it together to create something like this?

Dennis had it together for these sessions and was in control. Of course, I had heard most of his songs before I ever got to the studio because he would always play them for me on the piano as he wrote them. He had lots of great ideas for each song, knew what he wanted, and had a basic plan. As with any good producer, he would try to get as much accomplished as he could for each session. During basic tracking, we might get around to recording a few songs or maybe just one. He didn't dwell on things for too long and was more excited and anxious to get things down on tape as opposed to belaboring the recording process. He gave the musicians certain parameters to follow and then allowed for personal expression. He didn't provide any musical charts. You either had to chart the song for yourself or just simply learn it by memory.

He might have relied on others for little things, but he basically pulled it together by himself.

Did Dennis, who typically sang only a song or two on Beach Boys records, see this as a chance to prove himself?

Perhaps. But I don't think he was trying to "get even" for not having more lead vocals. He was just an artist trying to express himself through his own music, and doing a solo project probably made sense as a way to do that. Plus, he had the backing and support of our mutual friend, Jim Guercio.

For whatever reason, he just suddenly began writing prolifically and the quality of the songs was really good. Maybe it had to do with the fact that he was now an owner in his very own recording studio and wanted to take advantage of it. Prior to that, the Beach Boys had recorded at Brian's house, at the more traditional Hollywood studios like Western and United and in Holland. In other words, maybe he felt more connected to their studio in Santa Monica - like it was his own personal space that he could go to any time he wanted, with no constraints and total freedom of expression. Since the studio was close to the beach, I think he felt really comfortable being there, since he always seemed to have a home near the water and could get to the studio quickly at any time, day or night.

What surprised you most about the creation of the record?

The amount of material that Dennis had written, the diversity of the musical styles in which he wrote, and the quality and production value of each track.

Why didn't the BBoys recognize his talent until so late in the game. Or did his talents develop to the point he couldn't have contributed much in the '60s as he did in the '70s. (I think those Dennis tracks on the late BBoys records are the best tunes.)

I can't really speak for the BBs, but perhaps it was that Dennis just bloomed as a writer, singer and artist in the later years. Also, Brian Wilson's presence in the group as primary songwriter, singer, producer, etc., would overshadow and dwarf just about anyone.

I think in the beginning of the '60s, for Dennis, it was just about being the drummer and having a good time; but then he started writing seriously circa 1968 with "Little Bird," "Be Still," etc. You might say he grew up. I think the BBs must have recognized that and so Denny's songs were included on their albums.

Why do you think POB has been out of print for so long? Have you been aware it's been selling for as much as $200 on the Internet? Did you ever tape it or burn it for friends who hadn't heard it?

I guess it has been out of print because it just ran it's natural course, like most albums. It didn't certify gold or platinum to my knowledge, so maybe that's another reason - that it didn’t sell enough units to begin with. At least not enough to justify continuing to print them. Not to mention it's been over 30 years since it's initial release! I knew it was available for a premium, that is, if you could find it on the Internet. People, mostly fans, have sent me copies over the years of both POB and bootlegs of Bambu. I have kept them and also have passed them on to Dennis' former wife, Barbara, and their sons, Michael Wilson and Carl Benton Wilson. I have also given copies to my nephews (Carl Wilson's sons) Jonah and Justyn Wilson, as gifts at Christmas. I have never personally taped or burned it for anyone.

How does listening to POB make you feel?

In a way, it's difficult for me to listen to POB for a number of reasons: It is such a personal look into Dennis' heart and at times I feel like a audio voyeur. He let's you get as close as you want to get. It's so open and honest at times and I actually get uncomfortable during certain segments of certain songs. "Farewell My Friend" was written for my father right after he died in Denny's arms at UCLA medical in 1976 - they were very close. This is another example of how listening to this album is difficult for me, at times. Lastly, I really miss Dennis and hearing his voice is a stark reminder that he is gone. In short, listening this album always makes me sad.

Though I have only recently heard the pre-release copy of Bambu (given to me by Denny's son, Michael Wilson) I found it to be very upbeat, positive, and wonderful to listen to, though I had been familiar with some of the cuts for many years already, i.e. "Under the Moonlight" and "All Alone." I found it to be a lot easier to listen to than POB.