Steven Gaines, Heroes and Villains: The True Story of the Beach Boys (1986)
Ever since its publication in 1986 (regrettably reprinted in 1995), Steven Gaines’ “true story” has been the standard, most abundantly available version of the Beach Boys’ history, which is unfortunate for at least four reasons:
1 – The book has done more than a little to surgically attach the freak show features one now tends to associate with the Beach Boys. The tabloid approach makes for some fast and furious page-turning, but you never ever get the impression that Gaines’ motivations go beyond that. In the book’s intro, Gaines talks about first being transfixed by Brian Wilson’s eyes, “those cold, blue eyes” which eventually turned his alleged “fascination” with the Beach Boys into a “passion.” When all’s said and done, we learn that those happen to be the eyes of a “schizophrenic” invalid who is now safe in the hands of Dr. Eugene Landy, who declares himself “practically a member of the band” on the last page. (If you’re not familiar with Landy, he’s the Svengali doctor who misdiagnosed Wilson, it turned out, abused him emotionally, and lost his license in the early ’90s over his unorthodox practices.)
2 – The book’s mistitled. Gaines’ decision to handle his subject from a sensationalistic point of view makes little room for any discernible heroes other than, perhaps, Landy. And while Wilson’s mother Audree and his first wife Marilyn are treated sympathetically, they are done so as pitiable victims.
3 – Gaines can’t write about the Beach Boys’ music. I say “can’t” instead of “is unwilling” because he actually makes occasional, tossed off, critical attempts but stumbles badly when he does. Here’s Gaines’ complete analysis of the group’s cult favorite, Friends: “a boring, emotionless LP.” Here he is on The Beach Boys Love You: “The best promotional campaign in the world couldn’t have helped [it].” But those are acquired-taste cult albums, you say? Here’s Gaines on “Surfin’ “: “The song was no knockout…nasal, whining, and childlike”; and here’s the most irksome – his take on one of the group’s uncontested core albums, The Beach Boys Today: “The album was not one of Brian’s best works, consisting mostly of a melange of uninspired car tunes.” I’m not even sure what album he’s really talking about here, and if he’s just gotten his records mixed up, I can’t figure out which one he might have really meant.
4 – And this leads to the book’s biggest problem, which is that Gaines evidently despises the Beach Boys’ music enough to disregard it as a significant part of the story. And I’d say that if having a tin ear when endeavoring to write about a cultural phenomenon that happens to be of a primarily musical nature is perhaps forgivable, the consistent failure to acknowledge that phenomenon for what it essentially is is much less so.