Brian Wilson has more than a few things in common with George Gershwin. Both led wildly successful musical partnerships with their brothers. Both combined pop-song punch with harmonic sophistication worthy of the European classical tradition. Both blazed early then flamed out: Gershwin died of a brain tumor at age 38; drugs and mental illness sent Wilson into seclusion in the late 1960s. And, oh, yeah, both are certifiable geniuses, two of the greatest masters of melody that popular music has known.

In recent years, rockers of a certain age have struck commercial pay dirt by serving up embarrassingly stiff big-band versions of popular standards. (We're looking at you, Rod Stewart.) Wilson's project is more cavalier — and far more successful. He turns "Summertime" into a doo-wop ballad, tricks out "They Can't Take That Away From Me" with brass and lush harmonies, and teleports "Someone to Watch Over Me" from Broadway to sun-splashed California. The result is Porgy and Bess-meets-Pet Sounds: lovely, weird, subtly psychedelic symphonic lounge music. By the time the album ends with a gorgeous, string-laden rendition of the main theme from "Rhapsody in Blue," you can't help but ask: Is Brian Wilson the baby-boomer George Gershwin? Or was Gershwin the first Beach Boy?

“Youth Knows No Pain”

“Like on 'Youth Knows No Pain' — we are the ones that should demonstrate, because we can take it,” Likke Li said. “We can pierce ourselves, take Ecstasy, dance all night and still go to work at our McDonald's jobs.” Despite the hedonistic sentiment in the song, the Swedish singer also admitted in hindsight her youth had repercussions. “I remember when I was 18-19 and feeling that I know it all,” Li said. “I always feel that I know it all. But that song is about realizing you don’t, and reflecting, ‘Boy, if I only knew what would follow.’”