[Brian] Wilson’s post-Pet Sounds career, like his pre-Pet Sounds career, is an extraordinary mix of the bizarre, the shockingly bad, the beautiful, and the awe-inspiring, often in the same song. Wilson appears to have no filters, and while this means his music at its best is the most emotionally truthful I’ve ever heard, it also means he has no quality control. His best work is as likely to be an allegorical fairytale about a prince with a magic transistor radio, written while listening to a Randy Newman album on repeat, or a two-minute as-yet-unreleased song about baseball, or a song about Johnny Carson done in mock-Weimar cabaret style backed by a Moog set on “fart sounds,” as it is to be an eight-minute psychedelic country epic about the Rio Grande.