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106-407: Love You may refer to: Music [ edit ] Albums [ edit ] The Beach Boys Love You , 1977 Songs [ edit ] "Love You" (song) , a 2006 song by Jack Ingram "Love You", a song by The Free Design from ...Sing for Very Important People "Love You", a song by Sondre Lerche from Two Way Monologue "Love You",

212-495: A heavy metal and rock-dominated format. In a December 1982 Gallup poll , 14% of teenagers rated new wave as their favorite type of music, making it the third-most-popular genre. New wave had its greatest popularity on the West Coast. Unlike other genres, race was not a factor in the popularity of new wave music, according to the poll. Urban contemporary radio stations were the first to play dance-oriented new wave bands such as

318-451: A "gravelly, messed-up baritone and often slightly off-key. .. in some ways it almost feels like a suicidal gesture." Brother staff engineer Earle Mankey , who had also worked on 15 Big Ones , recalled that Wilson appeared to exert more self-discipline during the Love You sessions, working typically from 10 or 11 A.M. to the early afternoon. He said that, unlike prior occasions, Wilson took

424-417: A Brother Studios session in fall 1976. The demoed songs were "Airplane", "I'll Bet He's Nice", "It's Over Now", "Let's Put Our Hearts Together”, "Love Is a Woman", " Little Children ”, "Mona", and " Still I Dream of It ”. In 2021, five of these demo recordings were officially released as downloadables on Wilson's official website. The Love You sessions marked the first time that Brian was given free rein on

530-423: A U.S. tour, after which he produced a large collection of studio recordings, largely by himself while the other Beach Boys were preoccupied with their own personal and creative affairs. Dennis Wilson worked on his first solo album Pacific Ocean Blue (1977), Carl Wilson produced Ricci Martin 's Beached (1977), Mike Love taught Transcendental Meditation , and Al Jardine spent time with his family. Landy

636-442: A Woman" concludes the album with an instrumental palette of saxophones and flutes. Wilson wrote of the song, "It's just about everybody, about anything, about how things are. It's an idea that a woman is love. A baby is love, too, of course. It's just an experience, you know? 'Love is a Baby' would have been a better title." Several songs that were recorded or worked on during the Love You sessions were passed over for inclusion on

742-435: A Woman", " Back Home ", and "Good Vibrations". It was his first solo television appearance since 1967's Inside Pop: The Rock Revolution . Producer Lorne Michaels had insisted that Wilson appear without his bandmates, who were playing their third night of sold-out concerts at nearby Madison Square Garden . Another solo appearance on The Mike Douglas Show , which included an interview with Wilson about his past drug use,

848-509: A disappointment for most fans and the group members themselves. In a contemporary interview, Wilson acknowledged that the album was "nothing too deep", but promised that the band's next release would be "a masterpiece" on par with " Good Vibrations " (1966). It was to be the second-to-last album owed to their record company, Warner Bros. , as their contract had been set to expire in July 1977. From July to August 1976, Wilson joined his bandmates on

954-860: A distinctive visual style in music videos and fashion. According to Simon Reynolds , new wave music had a twitchy, agitated feel. New wave musicians often played choppy rhythm guitars with fast tempos; keyboards, and stop-start song structures and melodies are common. Reynolds noted new-wave vocalists sound high-pitched, geeky, and suburban. As new wave originated in Britain, many of the first new wave artists were British. These bands became popular in America, in part, because of channels like MTV, which would play British new wave music videos because most American hit records did not have music videos to play. British videos, according to head of S-Curve Records and music producer Steve Greenberg , "were easy to come by since they'd been

1060-429: A good time". The track had already been released, albeit with different vocals, as the second single by American Spring from their 1972 album Spring , which Wilson had produced. Wilson explained that he had recycled the song for Love You because he did not want the song to languish in obscurity. His voice had deteriorated significantly in the years since, making it the only track on Love You in which his singing

1166-608: A melody recycled from Wilson's Mount Vernon and Fairway (1973). Biographer David Leaf referred to the song as "a fully realized production as well as a strong example of Brian's songwriting ability." In addition, Wilson worked on cover versions of the Drifters ' " Ruby Baby " and the Righteous Brothers ' " You've Lost That Lovin' Feelin' ". According to band archivist Alan Boyd , the "You've Lost That Lovin' Feelin'" cover "is very dark and it's very raw. It almost has kind of

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1272-458: A new Beach Boys album since the Smile sessions in 1967. He wrote almost the entire album and performed nearly every instrument, including keyboards, synthesizers, and drums. Carl and Dennis contributed some instrumentation, while Jardine and Love were rarely present for the sessions, and ultimately every member of the band sang several lead vocals. In biographer Peter Ames Carlin 's estimation, "it

1378-413: A new pop group. That's all." According to Stuart Borthwick and Ron Moy, authors of Popular Music Genres: an Introduction , the "height of popularity for new wave" coincided with the election of Margaret Thatcher in spring 1979. In the early 1980s, new wave gradually lost its associations with punk in popular perception among some Americans. Writing in 1989, music critic Bill Flanagan said; "Bit by bit

1484-502: A punk edge to it.   ... He plays everything on it, did all the vocals. Everything was pretty much done in one take." "Hey Little Tomboy" and "My Diane" were completed for M.I.U. Album (1978). "Hey There Momma" was reworked into "I Saw Santa (Rockin' Around the Christmas Tree)"; the reworking was released on the 1998 compilation Ultimate Christmas . "Sherry She Needs Me" and "You've Lost That Lovin' Feelin'" were released on

1590-524: A single verse and chorus, that Wilson had written with the Byrds ' Roger McGuinn in the early 1970s. Wilson had recorded and reworked the song in the studio on numerous occasions during the mid-1970s, and Mankey noted that "everybody who showed up [to the Love You sessions] got subjected to 'Ding Dang'." It appeared on the album with a less than one-minute runtime, virtually unaltered from how Wilson and McGuinn originally left it. " Solar System " discusses

1696-696: A solo artist. He said, "They want to keep the material for the Beach Boys, too". Later in the interview, he remarked that he had recently left the band temporarily, citing a wish to have "freedom" and "to do my own album", and was undecided on whether he would stay as their producer or instead pursue a solo career. Love You was largely recorded in October and November 1976 at the band's Brother Studios in Santa Monica, California. Demo recordings, in which Wilson previewed his new songs for his bandmates, were captured at

1802-644: A song by Syd Barrett from The Madcap Laughs " L.o.v.e U ", a 2007 song by Leah Dizon Television and film [ edit ] Love You (TV series) , a 2011 Taiwanese drama Love You (film) , a 1979 pornographic film Luv U , a 2012 Philippine teen comedy series See also [ edit ] "Love Ya" (song) , a song by Unklejam Love Ya , an album by the Fullerton College Jazz Band All pages with titles beginning with Love You I Love You (disambiguation) Love You More (disambiguation) Topics referred to by

1908-464: A staple of UK pop music TV programs like Top of the Pops since the mid-70s." This rise in technology made the visual style of new wave musicians important for their success. A nervous, nerdy persona was a common characteristic of new wave fans, and acts such as Talking Heads , Devo , and Elvis Costello . This took the forms of robotic dancing, jittery high-pitched vocals, and clothing fashions that hid

2014-707: A stigma—especially in the United States—that made the music virtually unmarketable. At the same time, a number of bands, such as the Cars , the Police and Elvis Costello and the Attractions , soon emerged who combined the energy and rebellious attitude of punk with a more accessible and sophisticated radio-friendly sound. These groups were lumped together and marketed exclusively under the label of new wave. As early as 1973, critics including Nick Kent and Dave Marsh were using

2120-480: A vocalist because he had inadvertently composed the song in a key outside of his vocal range. I worked specifically at getting the lyrics right, so that the lyrics would be interesting enough to listen to. Like, " I love to pick you up because you're still a baby to me "—you know, things like that. Interesting. —Brian Wilson, 1977 " I Wanna Pick You Up ", in Carlin's description, concerns an "object of desire" that

2226-450: Is "either a disturbingly sexualized infant or a dismayingly infantilized adult." At the end of the song, the singer instructs the listener to "pat, pat, pat her on her butt, butt / She's gone to sleep, be quiet". Wilson explained that the lyrics are about a man pretending that a woman is "small like a baby" and "really wants to pick her up!" "Airplane" is a love song written from the perspective of someone flying on an airplane. "Love Is

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2332-594: Is different from Wikidata All article disambiguation pages All disambiguation pages The Beach Boys Love You The album was largely recorded in late 1976 at the band's Brother Studios . Originally planned as Brian Loves You , it is essentially a solo project by Brian Wilson , who wrote almost all of the material and played nearly every instrument on the record, including keyboards, synthesizers, and drums. He later referred to Love You as his life-defining work, and his most creatively fulfilling since Pet Sounds (1966). Engineer Earle Mankey described

2438-432: Is home made. I think they [Warner Bros.] thought it was our last album. They didn't spend a penny on the album because they knew that we weren't coming back. They used real cheap cardboard on it." Torrence contended that expensive paper was used to simulate the record sleeve's stitched texture. On November 27, 1976, Wilson appeared as the featured musical guest on NBC's Saturday Night , during which he performed "Love Is

2544-449: Is in a similar vein to "The Night Was So Young", features lead vocals shared between the three Wilson brothers, with Brian and Dennis on the verses and Carl on the bridge section. "Let's Put Our Hearts Together" is a duet between Wilson and his first wife Marilyn . In the song, they discuss the insecurities that they feel for each other before coming together to "see what we can cook up between us". Wilson said that he enlisted Marilyn as

2650-453: Is not coarse. " Honkin' Down the Highway " is a rock and roll song about a man driving to a woman, at her father's behest, for an engagement that the narrator states will conclude with himself "Takin' one little inch at a time, now / 'Til we're feelin' fine, now". Wilson said that the theme of driving on a highway was inspired by country music. " Ding Dang " is a short song, consisting of

2756-438: Is really the first time since Pet Sounds that I've felt this thoroughly satisfied with an album. I think it gives a little bit, it has a little extra. —Brian Wilson, 1977 Casual listeners generally found the album's idiosyncrasies to be a detriment, and a contingent of the group's fanbase took issue with the production style and rough vocals. Peter Ames Carlin, then a junior high school student who had eagerly anticipated

2862-606: The Moog synthesizer than he had been on 15 Big Ones . All of the bass lines were performed by himself with ARP and Moog synthesizers. Biographer Mark Dillon attributed the record's "oddball sound" directly to Wilson's use of these instruments. Jardine acknowledged, "The Minimoogs are all over the place." Wilson said his use of synthesizers was partly influenced by Wendy Carlos ' Switched-On Bach (1969). Like on 15 Big Ones , Dennis' and Brian's vocals appeared rough and strained. Carlin describes Brian's singing style on Love You as

2968-522: The New Romantic movement. In 1981, Rolling Stone contrasted the movement with the previous new wave era, writing that "the natty Anglo-dandies of Japan ", having been "reviled in the New Wave era", seemed "made to order for the age of the clothes-conscious New Romantic bands." MTV continued its heavy rotation of videos by "post-New Wave pop" acts "with a British orientation" until 1987, when it changed to

3074-609: The Solar System in a similar vein as the band's 1965 hit " California Girls ". In the song, the narrator asks, "What do the planets mean? / And have you ever seen / sunrise in the mornin'? / It shined when you were born". " The Night Was So Young ", according to Carlin, revels in "traditional shades of self-pity, jealousy, and loneliness". It was written about Wilson's mistress, Debbie Keil, and her nightly visits to his home. Stebbins called it "a direct descendent of Pet Sounds in both sound and attitude." "I'll Bet He's Nice", which

3180-602: The music press as a "reaction against the opulence/corpulence of nouveau rich New Pop" and "part of the move back to guitar-driven music after the keyboard washes of the New Romantics". In the aftermath of grunge , the British music press launched a campaign to promote the new wave of new wave that involved overtly punk and new-wave-influenced acts such as Elastica , but it was eclipsed by Britpop , which took influences from both 1960s rock and 1970s punk and new wave. During

3286-537: The 1960s mod influences of the Jam . Paul Weller , who called new wave "the pop music of the Seventies", explained to Chas de Whalley in 1977: It's just pop music and that's why I like it. It's all about hooks and guitar riffs. That's what the new wave is all about. It's not heavy and negative like all that Iggy and New York stuff. The new wave is today's pop music for today's kids, it's as simple as that. And you can count

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3392-521: The 1980s, rejecting potentially more lucrative careers from signing to a major label. In the UK, new wave "survived through the post-punk years, but after the turn of the decade found itself overwhelmed by the more outrageous style of the New Romantics." In response, many British indie bands adopted "the kind of jangling guitar work that had typified New Wave music", with the arrival of the Smiths characterised by

3498-506: The 1980s, said in a 2011 interview that by the time of British new pop acts' popularity on MTV, "New Wave had already been over by then. New wave was not synth music; it wasn't even this sort of funny-haircut music. It was the guy in the Boomtown Rats wearing pajamas." Similarly in Britain, journalists and music critics largely abandoned the term "new wave" with the rise of synth-pop. According to authors Stuart Borthwick and Ron Moy, "After

3604-422: The 2000s, a number of acts that exploited a diversity of new wave and post-punk influences emerged. These acts were sometimes labeled "New New Wave". According to British music journalist Chris Nickson , Scottish band Franz Ferdinand revived both Britpop and the music of the late 1970s "with their New Wave influenced sound". AllMusic notes the emergence of these acts "led journalists and music fans to talk about

3710-600: The B-52's , Culture Club , Duran Duran, and ABC . New wave soundtracks were used in mainstream Brat Pack films such as Sixteen Candles , Pretty in Pink , and The Breakfast Club , as well as in the low-budget hit Valley Girl . John Hughes , the director of several of these films, was enthralled with British new wave music, and placed songs from acts such as the Psychedelic Furs , Simple Minds , Orchestral Manoeuvres in

3816-623: The Dark , and Echo and the Bunnymen in his films, helping to keep new wave in the mainstream. Several of these songs remain standards of the era. Critics described the MTV acts of the period as shallow or vapid. Homophobic slurs were used to describe some of the new wave musicians. Despite the criticism, the danceable quality of the music and the quirky fashion sense associated with new wave musicians appealed to audiences. Peter Ivers , who started his career in

3922-445: The Jam as "British New Wave at its most quintessential and successful", remarked that the band broke up "just as British pop was being overrun by the preposterous leisurewear and over-budgeted videos of Culture Club, Duran Duran and ABC, all of which were anathema to the puritanical Weller ." Scholar Russ Bestley noted that while punk, new wave, and post-punk songs had featured on the Top of

4028-537: The Modern Lovers debuted even earlier. CBGB owner Hilly Kristal , referring to the first show by Television at his club in March 1974, said; "I think of that as the beginning of new wave". Many musicians who would have originally been classified as punk were also termed new wave. A 1977 Phonogram Records compilation album of the same name ( New Wave ) includes American bands Dead Boys , Ramones , Talking Heads , and

4134-525: The Police, and the Cars charted during this period. " My Sharona ", a single from the Knack , was Billboard magazine's number-one single of 1979; its success, combined with new wave albums being much cheaper to produce during the music industry's worst slump in decades, prompted record companies to sign new wave groups. At the end of 1979, Dave Marsh wrote in Time that the Knack's success confirmed rather than began

4240-493: The Pops album series between mid-1977 and early 1982, by the time of the first Now That's What I Call Music! compilation in 1983 punk and new wave was "largely dead and buried as a commercial force". New wave was closely tied to punk, and came and went more quickly in the UK and Western Europe than in the US. At the time punk began, it was a major phenomenon in the UK and a minor one in the US. When new wave acts started being noticed in

4346-499: The Ronettes ' " Be My Baby ". " Johnny Carson " similarly expresses admiration for the host of the late-night television talk show, The Tonight Show Starring Johnny Carson . Carlin refers to the track as the album's "pivot point", one that "separates the normal from the freakishly bizarre." " Good Time " is a song about a man who declares of his various girlfriends, "Maybe it won't last but what do we care / My baby and I just want

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4452-626: The Runaways . Between 1976 and 1977, the terms "new wave" and "punk" were used somewhat interchangeably. Music historian Vernon Joynson said new wave emerged in the UK in late 1976, when many bands began disassociating themselves from punk. That year, the term gained currency when it appeared in UK punk fanzines such as Sniffin' Glue , and music weeklies such as Melody Maker and New Musical Express . In November 1976, Caroline Coon used Malcolm McLaren's term "new wave" to designate music by bands that were not exactly punk but were related to

4558-469: The U.S. Billboard Top LPs & Tape chart during a seven-week stay. One single, "Honkin' Down the Highway", was issued several weeks later with no chart showing. Members of the group, including Mike Love, attributed the album's poor sales to Warner's lackluster promotional efforts. Gaines countered that, despite what the group thought of the company, "the best promotional campaign in the world couldn't have helped The Beach Boys Love You ". Love You

4664-405: The UK. In early 1978, XTC released the single " This Is Pop " as a direct response to tags such as "new wave". Songwriter Andy Partridge later stated of bands such as themselves who were given those labels; "Let's be honest about this. This is pop, what we're playing ... don't try to give it any fancy new names, or any words that you've made up, because it's blatantly just pop music. We were

4770-450: The US, the term "punk" meant little to mainstream audiences, and it was common for rock clubs and discos to play British dance mixes and videos between live sets by American guitar acts. Illustrating the varied meanings of "new wave" in the UK and the US, Collins recalled how growing up in the 1970s he considered the Photos , who released one album in 1980 before splitting up a year later, as

4876-403: The acts on which reflected a wide variety of stylistic influences. New wave's legacy remained in the large influx of acts from the UK, and acts that were popular in rock discos, as well as the chart's name, which reflects the way new wave was marketed as "modern". According to Steve Graves, new wave's indie spirit was crucial to the development of college rock and grunge / alternative rock in

4982-399: The album Cowabunga , inspired by Chief Thunderball's catch-phrase on the children's television show Howdy Doody . According to Dillon, the cover "inadvertently suggests a Lite-Brite toy, which suits the childlike wonder of the record's contents." Jardine had an unfavorable opinion of the design: "[I]t's a shame that the [ Love You ] album cover is so crummy. Everything about that thing

5088-438: The album as "serious", "autobiographical", and "frighteningly accurate" to Wilson's personality. The subject matter of the 14 songs ranges from the Solar System and roller skating to adolescent sexuality and babies. Wilson also included tributes to his wife, daughters, and mistress , as well as his idols Phil Spector and Johnny Carson . Although Love You was met with near-unanimous critical acclaim, some listeners found

5194-514: The album seem more democratic, its title was changed to The Beach Boys Love You . Reflective of the new title, the inner sleeve included a dedication to Wilson from his bandmates, "To Brian, whom we love with all our hearts   ...", written below a photo of him at a party with Marilyn. Jardine later commented, "The title of that album is really The Beach Boys Love Brian ." The dedication continues, We wish to express our appreciation, and acknowledge your willingness to create and support totally

5300-413: The album's bizarre, childlike quality to be a detriment. The record sold poorly, peaking at number 53 in the U.S. and number 28 in the UK. Love You has since been recognized for presaging synth-pop and new wave . A follow-up, Adult/Child , was completed by the group, but left unreleased. It was the last album Wilson wrote and produced until his first solo LP, Brian Wilson (1988), and his last that

5406-449: The album's release, recalled of his reaction, "This was his big return — all original songs; a complete Brian production. And you listen to it and you were like, ' What the hell is this ?' It's so different." Wilson himself reviewed the album in the May 1977 issue of Crawdaddy! . His conclusions: "I like the new album better than the last one   ... It's a cleaner album; the tracks and

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5512-495: The album, and praised Tearson for being "the only record reviewer who told it like it is . It took guts." Early in 1977, Wilson completed a follow-up album, Adult/Child , but its release was vetoed by his bandmates, partly because of the poor sales of Love You . He did not write and produce another LP until his first solo album, Brian Wilson (1988), and, according to Carlin, would not compose material that represented his true musical, emotional, and intellectual interests to

5618-418: The album. Among these were the originals "That Special Feeling", "11th Bar Blues", "Clangin'", " Hey Little Tomboy ", "Lazy Lizzie", " Sherry She Needs Me ", "Marilyn Rovell", "My Diane", "Hey There Momma", and "We Gotta Groove". "Sherry She Needs Me" dated from the band's Summer Days (and Summer Nights!!) era, with Wilson overdubbing a new lead vocal onto the backing track from 1965. "Lazy Lizzie" includes

5724-428: The bands that do it well and are going to last on one hand. The Pistols , The Damned , The Clash , The Ramones – and The Jam. Although new wave shares punk's do-it-yourself artistic philosophy, the musicians were more influenced by the light strains of 1960s pop while opposed to mainstream "corporate" rock , which they considered creatively stagnant, and the generally abrasive and political bents of punk rock. In

5830-659: The best released by the group since the '60s." Some listeners viewed the album as a near-punk rock statement, as well as a subversion of the well-worn trends in popular music of that era. Patti Smith , herself known as the "godmother of punk", submitted a review in Hit Parader that was written in the form of a poem. Favorable reviews were penned by numerous esteemed critics, including Circus ' Lester Bangs , Creem ' s Mitchell Cohen , NME ' s Nick Kent , The Village Voice ' s Robert Christgau , and Rolling Stone ' s Billy Altman. Bangs said it

5936-464: The body such as suits and big glasses. This seemed radical to audiences accustomed to post-counterculture genres such as disco dancing and macho " cock rock " that emphasized a "hang loose" philosophy, open sexuality, and sexual bravado. New wave may be seen as an attempt to reconcile "the energy and rebellious attitude of punk" with traditional forms of pop songwriting, as seen in the rockabilly riffs and classic craftsmanship of Elvis Costello and

6042-490: The box set Made in California (2013). "11th Bar Blues", "Clangin'", "Lazy Lizzie", "Marilyn Rovell", "We Gotta Groove", "That Special Feeling", and "Hey There Momma" remain unreleased. Wilson originally intended to title the album Brian Loves You , with the "you" referring to the group's fanbase. He said that he chose the name Love You because he "thought it would be a good sound people could feel secure with". To make

6148-422: The completion of these songs. We thank you for sharing yourself and your music with us, and all those who love you as well. An unspeakable joy being with you [ sic ] in your expression of the music you put out there for everyone. Brian, we feel honored and grateful and we love you. Dean Torrence designed the cover illustration, which was intended to resemble a Navajo rug , and had suggested titling

6254-521: The contrast between "the American audience's lack of interest in New Wave music" compared to critics, with a "stunning two-thirds of the Top 30 acts" in the 1978 Pazz & Jop poll falling into the "New Wave-to-rock 'n' roll revivalist spectrum". A month later, the same columnist called Elvis Costello the "Best Shot of the New Wave" in America, speculating that "If New Wave is to take hold here, it will be through

6360-437: The cracked fun-house mirror of [his] imagination". Dillon acknowledged that, given the age of the band members, the fact that they "sing these teenage ditties made the tunes a little creepy". Stebbins felt that the album "revealed more than the listener wanted to know", containing songs with "unsettling, pedophilic overtone[s]" such as "Roller Skating Child" and " I Wanna Pick You Up ". According to biographer Timothy White , it

6466-683: The early 1980s, particularly in the United States, notable new wave acts embraced a crossover of pop and rock music with African and African-American styles. Adam and the Ants and Bow Wow Wow , both acts with ties to former Sex Pistols manager Malcolm McLaren , used Burundi -style drumming. Talking Heads' album Remain in Light was marketed and positively reviewed as a breakthrough melding of new wave and African styles, although drummer Chris Frantz said he found out about this supposed African influence after

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6572-436: The early 1980s. The common characteristics of new wave music include a humorous or quirky pop approach, angular guitar riffs, jerky rhythms, the use of electronics, and a distinctive visual style in fashion. In the early 1980s, virtually every new pop and rock act – and particularly those that employed synthesizers – were tagged as "new wave" in the United States. Although new wave shares punk's do-it-yourself philosophy,

6678-403: The efforts of those furthest from the punk center" due to "inevitable" American middle class resistance to the "jarring rawness of New Wave and its working-class angst." Starting in late 1978 and continuing into 1979, acts associated with punk and acts that mixed punk with other genres began to make chart appearances and receive airplay on rock stations and rock discos. Blondie , Talking Heads,

6784-513: The entire New Wave." Lee Ferguson, a consultant to KWST , said in an interview Los Angeles radio stations were banning disc jockeys from using the term and noted; "Most of the people who call music new wave are the ones looking for a way not to play it". Second albums by new wave musicians who had successful debut albums, along with newly signed musicians, failed to sell and stations pulled most new wave programming, such as Devo's socially critical but widely misunderstood song " Whip It ". In 1981,

6890-463: The fact. As the decade continued, new wave elements would be adopted by African-American musicians such as Grace Jones , Janet Jackson , and Prince , who in particular used new wave influences to lay the groundwork for the Minneapolis sound . The Velvet Underground have also been heralded for their influence on new wave, post-punk and alternative rock . Roxy Music were also influential to

6996-461: The family of one's girlfriend). Wilson went in this direction because he believed that these were the type of lyrics that fans had wanted from the Beach Boys. Relative to 15 Big Ones , Wilson stated that he had wanted Love You to be "more creative, more original" and "lyrically much more interesting." His 2016 memoir, I Am Brian Wilson , compared the lyrical approach to Pet Sounds . "I wrote some songs that were about how I felt in my thirties,

7102-439: The first time since 1964. The tagline " Brian's Back !" became a major promotional tool for the group's concert tours, as well as their July release 15 Big Ones , the first Beach Boys LP that reached the U.S. top 10 with new material since Pet Sounds (1966), and their first that credited Wilson as the sole producer since Pet Sounds . 15 Big Ones , which had consisted of an equal share of cover songs and originals, came as

7208-501: The genre as well as the works of David Bowie , Iggy Pop and Brian Eno . The term "new wave" is regarded as so loose and wide-ranging as to be "virtually meaningless", according to the New Rolling Stone Encyclopedia of Rock . It originated as a catch-all for the music that emerged after punk rock , including punk itself, in Britain. Scholar Theo Cateforis said that the term was used to commercialize punk groups in

7314-476: The group to change labels with CBS Records once they had fulfilled their contractual obligations to Warner Bros. Gaines writes, "Warner Brothers knew of the CBS deal by January 1977   ... Warner was so disgusted with the Beach Boys at this point that the group members were convinced the company was doing very little to promote the album." The Beach Boys Love You was released on April 11 and peaked at number 53 on

7420-420: The growing nostalgia for several new-wave-influenced musicians. New wave music encompassed a wide variety of styles that shared a quirky, lighthearted, and humorous tone that were popular in the late 1970s and early 1980s. New wave includes several pop -oriented styles from this time period. Common characteristics of new wave music include a humorous or quirky pop approach, the use of electronic sounds, and

7526-406: The initiative to record in the studio "instead of being forced into it." Carl was credited on the Love You liner notes as "mixdown producer". According to Mankey, "Carl took his productions seriously and did really careful mixes. When Brian came in, he'd say, 'Let's mix this,' and after one pass, like five minutes later, he'd say, 'That's good!' Or maybe he'd say, 'More bass! More vocal!' But that

7632-432: The last traces of Punk were drained from New Wave, as New Wave went from meaning Talking Heads to meaning the Cars to Squeeze to Duran Duran to, finally, Wham! ". Among many critics, however, new wave remained tied to the punk/new wave period of the late 1970s. Writing in 1990, the "Dean of American Rock Critics" Robert Christgau , who gave punk and new wave bands major coverage in his column for The Village Voice in

7738-411: The late 1960s, went on to become the host for the television program New Wave Theatre that showcased rising acts in the underground new wave scene. He has been described by NTS Radio as "a virtuosic songwriter and musician whose antics bridged not just 60s counterculture and New Wave music but also film, theater, and music television." In September 1988, Billboard launched its Modern Rock chart,

7844-408: The late 1970s, defined "new wave" as "a polite term devised to reassure people who were scared by punk, it enjoyed a two- or three-year run but was falling from favor as the '80s began." Lester Bangs , another critical promoter of punk and new wave in the 1970s, when asked if new wave was "still going on" in 1982, stated that "The only trouble with New Wave is that nobody followed up on it ... But it

7950-462: The latter half of the 1980s and onward. Conversely, according to Robert Christgau , "in America, the original New Wave was a blip commercially, barely touching the nascent alt-rock counterculture of the '80s." In the US, new wave continued into the mid-1980s but declined with the popularity of the New Romantic , new pop , and new music genres. Some new wave acts, particularly R.E.M. , maintained new wave's indie label orientation through most of

8056-493: The media: Punk rock or new wave bands overwhelmingly expressed their dissatisfaction with the prevailing rock trends of the day. They viewed bombastic progressive rock groups like Emerson Lake and Palmer and Pink Floyd with disdain, and instead channeled their energies into a more stripped back sound… The media, however, portrayed punk groups like the Sex Pistols and their fans as violent and unruly, and eventually punk acquired

8162-401: The monochrome blacks and greys of punk/new wave, synth-pop was promoted by a youth media interested in people who wanted to be pop stars, such as Boy George and Adam Ant ". In 2005, Andrew Collins of The Guardian offered the breakup of the Jam , and the formation of Duran Duran, as two possible dates marking the "death" of new wave. British rock critic Adam Sweeting , who described

8268-500: The most "truly definitive new wave band". In the same article, reviewing the American book This Ain't No Disco: New Wave Album Covers , Collins noted that the book's inclusion of such artists as Big Country , Roxy Music, Wham!, and Bronski Beat "strikes an Englishman as patently ridiculous", but that the term means "all things to all cultural commentators." By the 2000s, critical consensus favored "new wave" to be an umbrella term that encompasses power pop , synth-pop, ska revival , and

8374-428: The most to do with that album, him and Dennis, paying tribute to their brother." Biographer Jon Stebbins similarly viewed it as "pretty much a Wilson brothers album", adding that "it's clear that Dennis and Carl willingly checked their egos to help Brian get this one out." Contrasting his earlier records, which had used orchestras of organic instruments, electronic sounds pervade Love You , with Brian more reliant on

8480-411: The musicians were more influenced by the styles of the 1950s along with the lighter strains of 1960s pop and were opposed to the generally abrasive, political bents of punk rock, as well as what was considered to be creatively stagnant " corporate rock ". New wave commercially peaked from the late 1970s into the early 1980s with numerous major musicians and an abundance of one-hit wonders . MTV , which

8586-589: The new wave circuit acts happening very big [in the US]. As a movement, we don't expect it to have much influence." A year earlier, Bart Mills of The Washington Post asked "Is England's New Wave All Washed Up?", writing that "The New Wave joined the Establishment, buying a few hits at the price of its anarchism. Not a single punk band broke through big in America, and in Britain John Travolta sold more albums than

8692-442: The new wave movement's commercial rise, which had been signaled in 1978 by hits for the Cars and Talking Heads. In 1980, there were brief forays into new wave-style music by non-new wave artists Billy Joel ( Glass Houses ), Donna Summer ( The Wanderer ), and Linda Ronstadt ( Mad Love ). Early in 1980, influential radio consultant Lee Abrams wrote a memo saying with a few exceptions, "we're not going to be seeing many of

8798-548: The punk-music scene. The mid-1970s British pub rock scene was the source of many of the most-commercially-successful new wave acts, such as Ian Dury , Nick Lowe , Eddie and the Hot Rods , and Dr. Feelgood . In the US, Sire Records chairman Seymour Stein , believing the term "punk" would mean poor sales for Sire's acts who had frequently played the New York club CBGB , launched a "Don't Call It Punk" campaign designed to replace

8904-412: The punk/new wave movement. Acts associated with the movement received little or no radio airplay, or music industry support. Small scenes developed in major cities. Continuing into the next year, public support remained limited to select elements of the artistic, bohemian, and intellectual population as arena rock and disco dominated the charts. In early 1979, Eve Zibart of The Washington Post noted

9010-436: The rest of the album sounded too "deadpan and we needed something uptempo". "Roller Skating Child" elaborates on the themes of "Let Us Go On This Way" except, as Carlin writes, "with a grown-up perspective that made it sound like a kind of musical interpretation of Vladimir Nabokov 's novel Lolita , complete with vivid descriptions of adolescent sexuality   ... careless parenting [and] lust-fueled escape"." Wilson said

9116-648: The same degree until the aborted Andy Paley sessions from the 1990s. New wave music New wave is a music genre that encompasses pop -oriented styles from the 1970s through the 1980s. It is considered a lighter and more melodic "broadening of punk culture ". It was originally used as a catch-all for the various styles of music that emerged after punk rock . Later, critical consensus favored "new wave" as an umbrella term involving many contemporary popular music styles, including synth-pop , alternative dance and post-punk . The main new wave movement coincided with late 1970s punk and continued into

9222-413: The same term [REDACTED] This disambiguation page lists articles associated with the title Love You . If an internal link led you here, you may wish to change the link to point directly to the intended article. Retrieved from " https://en.wikipedia.org/w/index.php?title=Love_You&oldid=1260081913 " Category : Disambiguation pages Hidden categories: Short description

9328-465: The same way that Pet Sounds was about how I felt in my twenties." Mankey surmised, "Brian Wilson lyrics maybe weren't as familiar to the public as [his past co-written lyrics] were, and so The Beach Boys Love You songs might have seemed odder because no one knew what Brian was really like." Carlin characterizes the total effect as having reframed the themes of past Beach Boys hits through Wilson's "warped" adult perspective, as well as "a tour through

9434-523: The soft strains of punk rock. In the UK, some post-punk music developments became mainstream. According to music critic David Smay writing in 2001: Current critical thought discredits new wave as a genre, deriding it as a marketing ploy to soft-sell punk, a meaningless umbrella term covering bands too diverse to be considered alike. Powerpop, synth-pop, ska revival, art school novelties and rebranded pub rockers were all sold as "New Wave". In mid-1977, Time and Newsweek wrote favorable lead stories on

9540-482: The song was a tribute to his daughters Carnie and Wendy . He clarified, "Carnie actually goes ice -skating but I called it 'Roller skating child, with a ribbon in her hair.' We all go out to a skating rink in Santa Monica." "Mona" is a 1950s-style love song with only four chords. The lyrics discuss some of Wilson's favorite songs by Phil Spector , including his 1963 productions of the Crystals ' " Da Doo Ron Ron " and

9646-517: The songs seem to come off cleaner." One of the few negative reviews of the album, written by Michael Tearson , was published in David Leaf's fanzine Pet Sounds . In another negative review, by a writer for Audio , the album was named "a real disappointment   ... patronizing and disastrous, the kind of record to get out of a contract with. And that they have done." The writer accused other critics of writing inauthentic positive feedback toward

9752-407: The start of MTV began new wave's most successful era in the US. British musicians, unlike many of their American counterparts, had learned how to use the music video early on. Several British acts on independent labels were able to outmarket and outsell American musicians on major labels, a phenomenon journalists labeled the " Second British Invasion " of "new music" , which included many artists of

9858-642: The term "new wave" to classify New York–based groups such as the Velvet Underground and New York Dolls . In the US, many of the first new wave groups were the not-so-punk acts associated with CBGB (e.g. Talking Heads, Mink DeVille and Blondie ), as well as the proto-punk scene in Ohio, which included Devo , the Electric Eels , Rocket from the Tombs , and Pere Ubu . Some important bands, such as Suicide and

9964-586: The term with "new wave". Because radio consultants in the US had advised their clients punk rock was a fad, they settled on the new term. Like the filmmakers of the French New Wave movement , after whom the genre was named, new wave bands such as Ramones and Talking Heads were anti-corporate and experimental. At first, most American writers used the term "new wave" exclusively in reference to British punk acts. Starting in December 1976, The New York Rocker , which

10070-400: Was a "portrait of a man trying to redefine his shattered personality." "Let Us Go On This Way" is a rock song in which the narrator, a young man, expresses to his object of affection, "To get you babe, I went through the ringer / ain't gonna let you slip through my finger", followed by a plea for God to "let us go on this way". Wilson said he wrote the song with Mike Love when they found that

10176-434: Was coined to describe groups who were initially considered part of new wave but were more ambitious, serious, challenging, darker, and less pop-oriented. Some of these groups later adopted synthesizers. While punk rock wielded a major influence on the popular music scene in the UK, in the US it remained a fixture of the underground. By the end of 1977, "new wave" had replaced "punk" as the term for new underground music in

10282-419: Was created without significant interference from outsiders. Following a period of semi-inactivity, in late 1975, Wilson became a patient under psychologist Eugene Landy 's radical 24-hour therapy program. Under Landy's care, he became more stable and socially engaged, with his productivity increasing once again. During the latter half of 1976, Wilson became a regular member of the band's touring line-up for

10388-442: Was dismissed as Brian's psychologist in early December, amid concerns of his raising fees and controversial treatment methods. At the time, Wilson had considered issuing his new material under his own name. Asked in a December 1976 interview about his feelings on a solo career, Brian responded that he would like to release a solo album, however, he did not want to deal with the inner-band politics that would result from him becoming

10494-401: Was essentially [Brian's] solo album", while biographer Christian Matijas-Mecca concurred that it was effectively "a Brian Wilson solo album with only brief contributions by other members of the band who added their parts after the bulk of the work was finished." Conversely, Jardine said, "In a way, [ Love You ] was Carl's tribute to Brian.   ... Carl wanted Brian to feel appreciated. He had

10600-465: Was filmed days earlier, but was not broadcast until December 8. On December 31, the band played a fifteenth anniversary celebration concert at the Los Angeles Forum, a performance that included "Airplane". By 1977, the media hype ahead of the "Brian's Back" campaign from the previous year had dissipated. As Love You approached completion, band manager Stephen Love had arranged negotiations for

10706-577: Was it." It's a frighteningly accurate album. It may have sounded like a lighthearted album. But that's a serious, autobiographical album: Brian Wilson giving what he had. Sort of like [ David Lynch 's film] Eraserhead . —Engineer Earle Mankey The first side of the album consists of uptempo songs, with the other side contains song that reflect a more adult perspective. The lyrical content ranged from Wilson's stream-of-conscious (such as on " Solar System ") to adolescent concerns (such as "roller skating", schoolmate infatuations, and fraternizing with

10812-463: Was launched in 1981, heavily promoted new-wave acts, boosting the genre's popularity in the United States. In the UK, new wave faded at the beginning of the 1980s with the emergence of the New Romantic movement. In the US, new wave continued into the mid-1980s but declined with the popularity of the New Romantic, new pop , and new music genres. Since the 1990s, new wave resurged several times with

10918-435: Was met with polarized reactions from the public. Schinder cited a "sharp divide" between fans and critics, some of whom saw the album as a work of "eccentric genius" whereas others "dismissed it as childish and trivial". However, the reactions from record reviewers were generally positive. In his 1978 biography of the band, John Tobler wrote that Love You was "in the author's estimation and that of several critics   ...

11024-487: Was really an exciting burst there for like a year, year and a half." Starting around 1983, the US music industry preferred the more generic term " new music ", which it used to categorize new movements like new pop and New Romanticism . In 1983, music journalist Parke Puterbaugh wrote that new music "does not so much describe a single style as it draws a line in time, distinguishing what came before from what has come after." Chuck Eddy , who wrote for The Village Voice in

11130-518: Was suspicious of the term "punk", became the first American journal to enthusiastically use the term, at first for British acts and later for acts associated with the CBGB scene. The music's stripped-back style and upbeat tempos, which Stein and others viewed as a much-needed return to the energetic rush of rock and roll and 1960s rock that had dwindled in the 1970s with progressive rock and stadium spectacles, attracted them to new wave. The term "post-punk"

11236-640: Was the Beach Boys' "best album ever" and described them affectionately as a "diseased bunch of motherfuckers" who exhibit "a beauty so awesome that listening to them at their best is like being in some vast dream cathedral decorated with a thousand gleaming American pop culture icons." Altham called the album a "flawed but enjoyable" comeback for Wilson, who delivered the finest compositions he had written in "the past few years", albeit without "singing as well as he used to". Melody Maker ' s reviewer decreed, "This album can appear insubstantial on early acquaintance, but further attention yields many riches." This

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