The songwriter Paul McCartney called “one of the great American geniuses”
‘Genius’ is a strong word in any context. It’s one also typically limited to the classic greats – you might have realised, but walking down the street and finding the next Einstein or Shakespeare isn’t the easiest thing to come by, and it’s for this reason that only the most finite group of elites have this etymological honour bestowed upon them. In the music realm, it’s a weight that Paul McCartney is all too familiar with.
The Beatle himself is no stranger to hearing the word used to describe him. Admittedly, he may not be on par with Albert Einstein in terms of his work being fundamental to the understanding of human life as we know it. Still, certainly in terms of enlightening the world with the power of music and the societal shifts this can cause, he’s pretty much up there with the best. It’s why, when he used the same term to describe another musician, it most definitely made people sit up and listen, although it wasn’t as if the rocker in question was incapable of standing on his own two feet.
After all, it was only right for McCartney to acknowledge Brian Wilson in this way, because although The Beatles all but commandeered the sound of the 1960s, The Beach Boys were practically the only transatlantic force to challenge their rule in any way. Between the shake-up of Surfin’ USA and the world-altering sonics of Pet Sounds, the California quintet were just as fundamental to the fabric of American music during the era as any of the Fab Four, and as such, it was high time Macca put some respect on their name.
He did so when Wilson was inducted into the Rock and Roll Hall of Fame in 2000, appearing as one of the key speakers at the event to laud the singer’s musical vision and sheer calibre. Branding Wilson as “one of the great American geniuses,” McCartney was rightfully not short in his praise of The Beach Boys’ band leader, adding exactly why his songs held such power
“One of the things, when you first write a song,” he told the crowd during his speech, “is there’s a magic moment, where you’re like, ‘That’s it!’ And so many of the great artists here tonight know that moment. And it’s a great moment when you realise the effect that it has on people, ‘You saved my life, man!’ That’s the way it is for me. You have a headache, you put on a record, and the headache’s — pfft — gone!”
It’s no surprise that, in turn, Wilson was equally reciprocally reverent of McCartney’s seismic impact on the musical landscape, noting that “Music is my life, and tonight, what you’re saying is that my life has been well spent.” Putting his life in perspective – between the luxuries of fame but also the stark trials of mental health and addiction issues this brought to the singer – suddenly everything seemed like it had been worthwhile, not least because he could now say he was considered a “genius”.
The legacy of the ‘60s is one so heavily defined on the pillars of music. Whether it was psychedelic rock or surfing pop, both were equally as important as the other in creating the series of sonic masterpieces that shaped the era, for both the years of its peak popularity and beyond. Maybe that’s the true meaning of genius – someone who can fundamentally change the way of the world, even if they didn’t realise it at the time.
