There is something undeniably miraculous about We Gotta Groove: The Brother Studio Years. Here, after nearly half a century, is not just a presentation of some of the strongest, strangest music Brian Wilson would ever record, but a celebration of it. In the late 1970s, many of these songs were dismissed out of hand as the work of a diminished artist, a man irrevocably changed by years of milkshakes and mental anguish. This reading was not entirely incorrect: the Brian of 1977 was indeed a different person. But as an artist, he was in full flower—more truly himself than . . .
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