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I will never get people's obsession with this album. I'm not one of those who consider Pacific Ocean Blue a masterpiece, but it is much, much better than this trainwreck. Dennis' album is the work of a mature artist; LY is the creation of a child. BTW, I used to think the full title of the album was "The Beach Boys Love You", but I always see it referred to now as just "Love You", so which is it?

I will never get people's obsession with this album. I'm not one of those who consider Pacific Ocean Blue a masterpiece, but it is much, much better than this trainwreck. Dennis' album is the work of a mature artist; LY is the creation of a child. BTW, I used to think the full title of the album was "The Beach Boys Love You", but I always see it referred to now as just "Love You", so which is it?

Now, what is The Beach Boys Love You for you? When did you listen to it for the first time? Looking forward to hearing your stories.

I will never get people's obsession with this album. I'm not one of those who consider Pacific Ocean Blue a masterpiece, but it is much, much better than this trainwreck. Dennis' album is the work of a mature artist; LY is the creation of a child. BTW, I used to think the full title of the album was "The Beach Boys Love You", but I always see it referred to now as just "Love You", so which is it?

you probably think the wall is a masterpiece too  ::)

Then I started to think of it as a whole, as an artistic statement, and everything clicked.

By 1977, I had moved on from the Beach Boys and was listening mainly to punk/New Wave. My sister, however, bought a copy of 'Love You' and I loved it from the first listen  -- in fact, it sounded quite punk/New Wave to me.

So here's the thing-- for me I think it clicks. I get it. I'm listening with much more context now than I was years ago.  But Love You "clicking" for me happens to not translate into enjoyment of the album.

I thought of another-- perhaps more fitting-- analogy for why Love You doesn't even appeal to me even on a curiosity level. Aside from the fact that I don't remotely like any tracks on the album, my real problem with Love You is the way so many Beach Boys fans treat it on the same level as other Beach Boys albums.  Talking about  "Let Us Go on This Way" or "Johnny Carson" being potential hits, etc.  Treating Love You on the same level as nearly any other Beach Boys album is like treating a county fair Skee-Ball game played by Michael Jordan to any of his basketball performances.

THAT'S what Love You is to me-- Michael Jordan playing Skee-Ball. Fun? Meh. Maybe, kinda. Genius? Great? Worth my time? Nah.

All depends what you enjoy about a BBs album. If its smooth production and performance, then this album isn't for you. If, like me though you love the Beach Boys for their great, unexpected chord sequences and melodies, then Love You is up there with the best. And for those same reasons Smiley Smile is my favourite album of theirs.

Smiley Smile is weird as heck, but it has amazing vocals by the Boys. Love You? Not so much.

Exactly! In fact, the stripped-down nature of Smiley Smile really allows those vocals to shine. Brian still had his pure, early Brian voice, and the harmonies shine just like they did on every record prior.  Musically, Smiley Smile is superior as well. (I never factor in lyrics, since I've always felt most Beach Boys lyrics are cringeworthy on their own.)

Brian's voice on Love You is trashed. The harmonies are almost cartoonized, and the sound itself lo-fi-- and not in a good way. I have to believe that some fans' fondness for Love You derives mostly from their personal connection to it rather than its raw musical merit. There's a reason nobody outside this board has ever heard of it.

I have to believe that some fans' fondness for Love You derives mostly from their personal connection to it rather than its raw musical merit. There's a reason nobody outside this board has ever heard of it.

 ... Brian's voice on Love You is trashed. The harmonies are almost cartoonized, and the sound itself lo-fi-- and not in a good way. I have to believe that some fans' fondness for Love You derives mostly from their personal connection to it rather than its raw musical merit. There's a reason nobody outside this board has ever heard of it.

Love You is awesome. It's warped, odd, atypical, bizarre, and lots of other things, but it's got HEART. It's a guy who is trying to recapture some past magic for the first time in awhile, finally getting to make a project with his band (utilizing the members as instruments) on wholly his own terms for the first (and ultimately last) time in ages.

There are certainly some weaker spots, but to me the only real clunker is Love is a Woman, which fortunately is at the very end. I recently played a few songs from this album for a friend who'd never heard any of it; she loved it.

Special praise to Roller Skating Child - it just rocks in a very special way, and Mike's vocals (at least in his upbeat type of voice) have perhaps never sounded better. Same with Al's. It sounds modern and retro all at the same time. THIS should have been a single. Maybe the lyrics/subject matter would have held it back; I dunno.  

It has been about 40 years since The Beach Boys Love You, the fruit of Brian's Back campaign first came out in April, 1977. The album has got a lot of either praise and criticism, but is generally recognized as the best things the Beach Boys did in later 70's.

Now, I think it's time to talk over this album. On this thread, we'll have 24 separate discussions, and try to understand more about what The Beach Boys Love You is. I hope you'll enjoy them.

Here's the plan of the discussions:

1. Introduction  Main Question: What is 'Love You' for you?
2. All Things 'Let Us Go On This Way'  Main Question: Is it the best choice for the opener?
3. All Things 'Roller Skating Child'   Main Question: Did they choose roller skating as the song's them as they chose surfing in 60's?
4. All Things 'Mona'   Main Question: How does the repetition of the same melody work for the song?
5. All Things 'Johnny Carson ' Main Question: Do you find the lyrics silly, or find it interesting?
6. All Things 'Good Time'  Main Question: Was this the best cut for the album off Sunflower era outtakes?
7. All Things 'Honkin' Down the Highway'  Main Question: Was it a wise decision to change Billy's lead vocal into Al's one?
8. All Things 'Ding Dang'   Main Question: Was this jam waste of talents of both Brian and Roger?
9. All Things 'Solar System  Main Question: Would this song, or any on the album, have worked better as instrumentals?
10. All Things 'The Night was So Young '   Main Question: Why did Brian write a song about love affair with someone who's not his wife?
11. All Things  'I'll Bet He's Nice'  Main Question: How do you guess how Brian feel about Marilyn when he wrote it?
12. All Things 'Let's Put Our Hearts Together'  Main Question:  Was it a good idea to occasionally include Marilyn on the group's song and how do people feel about Brian's work with her over the years?
13. All Things 'I Wanna Pick You Up'  Main Question:  Are the lyrics here shows Brian's parentship or love for his children?
14. All Things 'Airplane'  Main Question:  Who do you guess Brian wrote this song for?
15. All Things 'Love is a Woman  Main Question:  Is this embarrassing closer for the album as many people say?
16. Vocals  Main Question: Are the vocals here as good as their vocals before?
17. Production  Main Question: Do you think Brian did his best at that time for the album?
18. Other Members' Contribution Main Question: How other members contribute for the album?
19. Lyrics  Main Question: Do you find the lyrics here childish?
20. Influence on the Album Main Question: Are there anything that influenced this album?
21. Influence of the Album  Main Question: Are there any musicians/albums/songs that were influenced by the album?
22. Reception  Main Question: Is the appreciation given to this album fair?
23. Album's Location in the History of Music  Main Question:  Was 1977 the right time for this album?
24. Conclusion  Main Question:  Was 'Love You' the last greatest album from the Beach Boys?

The rules of the discussions:
1. Each discussion should be on its theme, but don't have to be on its main question. Main question is just a tool to make the discussion easier to do.

2. Each discussion will be held for three days.

3. All the discussions will be taken place on this thread, so please make sure to check the theme and main question at the time when you join the discussions.

4. I'll give you a wrap-up post at the end of each discussion.

1. Yes! One of my favorite albums!
2. Great opener! Good lyrics.
3. I love the video of them doing this live in 1977 or 78! Brian jamming on the bass. This version rocks better than the studio version imo.
4. This song has grown on me. Despite a rough vocal and minimal song, it's fun!
5. Awesome song! Has a new wave vibe!
6. Good song, but it sticks out production wise. A song like Winter Symphony would have fit better.
7. Al sings this song well. I haven't heard Hinches version.
8. I always thought this would work well at the end of the album.
9. The chorus is amazing! The lyrics on the verses are a bit elementary though. But the line "If Mars had life on it, I might find my wife on it" is classic!!
10. One of the most underrated songs ever! Production and lyrics are great! Another great vocal by Carl!
11. A strange song! I always assumed he was talking about a boy friend taking his daughters attention away or something.
12. Her voice works well with Brian. Lovely song!
13. Very strange song lyrically. But that is part of the charm!
14. Great song! I assume the fact that he was back on the road he missed Marilyn.
15. This song is charmingly uncomfortable. I can't imagine what the casual fan who watched him perform it on tv was thinking. But I like it.
16. The vocals are rough, but it actually fits with the kind of music and production. Their vocals from 1966 wouldn't have been right for this album.
17. I love this bizarre production. Again, it is kind of an uncomfortable charm.
18. I think the other guys vocals work well for this album. I'm not sure which lyrics Mike or Carl came up with, but this is mostly Brian. Carl probably cleaned the production up a bit.
19. Some of the lyrics are hard to take. But I think in general, it fits with the uncomfortable charm.
20. My sense is that the song writing has an oldies vibe, but the production is 70s synthesizers and rough vocals makes it very original and unique to this day!
21. It hints toward new wave and Daniel Johnston. Though I doubt most of them ever heard Love You. I have heard some artists praise this album though.
22. I get the mixed feelings for this. I love it as many of you do. But I get why most people don't get it.
23. I have always wondered if this had come out in 1976 instead of 15 Big Ones, would more people see Brian as a mad genius or would it have flopped just the same? I don't know.
24. I think they had songs here and there after this but in terms of putting their hearts into an experimental album, this was the last.

Hey, Watamushi, you should replace that link for the song with this one: https://www.youtube.com/watch?v=y7u_ZkA7GUY. The link you posted is not the song.

I think it's a great opener, and one of my favorites on Love You. I've always loved Carl's vocal on it.

2-24 are for later... but thanks ;D

Arrangement has a nice, chunky texture. Classic Brian arrangements are translucent -- we can hear each instrument -- but here Brian has gone the Spector route : though not a Wall of Sound so much as maybe a Block of Sound.

The structure is interesting -- the verse drives forward, but the chorus stops the song in its tracks. Gives a transcendent, floating feel to the number that's very Brian.

Also, the chorus echoes 'Wendy' ("Guess I was wrong").

Also, the chorus echoes 'Wendy' ("Guess I was wrong").

I'm trying to hear this similarity, but I don't hear it. Not in the slightest. Am I missing something?

'God please, let us go on this way" is markedly similar to "Oh Wendy, Wendy left me alone".

...and "her folks let me stay with her until late at night" insinuates that she is young enough to be a dependent of her parents.

Repetition works terrible. I get bored by it. Doesn't help it features Dennis' worst vocal. It's filler, definitely, if "Mona" was in M.I.U., which is good album, it would bring it to mediocre level.

Yes, dislike that song very much. 15 Big Ones is more like 10 Fillers & 5 Big Ones. It would be fitting there. Ditto Light Album, the worst 70s album. Adult Child differs stylistically than "Mona". Wouldn't work, it would be out of place.

"The TM Song", "It's OK", "Susie Cincinnati", "A Casual Look", "Blueberry Hill".

It's not a composition for the ages, but neither is it mere filler. It has a pleasingly rough-hewed texture, and an over-all throw-back feel to it, like an early 60s Freddy Cannon or Gary U.S. Bonds record.

It is a minor delight.

While it's grown on me over the years, I do find its placement on the album to be a bit of a sticking point. I love, love, love the first two songs on the album, yet Mona brings things in a direction that doesn't quite work for me, sequencing-wise. I think it's a weaker track from the album, and might be better suited near the end.

I think "Mona" is fabulous, almost perfect in a way. Yes, it's repetitive, but it is repetitive according to a well established, four-chord pattern that was used since rock 'n' roll / doo-wop began. (It's not as if it were a one-chord song.) The track is great, energetic and rollicking propulsively into its circular chord pattern (so it never quite gets anywhere despite rolling--almost tumbling--forward). The right hand of the piano on the "and" of each beat is fabulous. It also has some of my favorite lyrics on the entire album.

Mona is by far my favorite song on Love You - no other song on the album comes even close.

Love Dennis' vocals, the farty synths, and overall exuberance of the song.

40 years later I still love to crank up the volume and blast out Mona, whether listening thru speakers at home, in the car, or over headphones.

When Love You first came out I viewed Good Time as a certified beach boys gyp, because I'd already heard the song a lot on the Spring L.P. which I bought in 1973.  There was absolutely no need for Brian or the group as a whole to pass it off as a Beach Boys recording later in life because A) their version doesn't add anything substantial to it (that it was actually recorded for Sunflower winds up being irrelevant), and B) the song is a neat little curiousity and doesn't merit repeating since the Spring version gave it all anybody could have IMO.  I imagine the song was resurrected because the Spring L.P. hardly sold at all and the group therefore thought the tune had been 'wasted' and so not familiar enough to the public

yeah from what I've heard of My Solution it wouldn't be out-of-place on the Love You album

    Disagree. I've heard the entire track and it's just a goofy novelty. It's unreleased for good reason.

I've said this before, but if i could ask just for ONE THING in an alternative reality, it would be for Good Time to be on Sunflower instead of stuff like Tears In The Morning (puke) and have My Diane on Love You instead of Good Time

They should have kept the guitar intro.

I'm with ya on that, but then if you take My Diane off from MIU, then MIU *really* suffers from having a lack of quality songs with an emotional punch.

What guitar intro are you talking about? (You were referring to Johnny Carson in that post, I'm assuming?)

Is there a booted alternate version that I'm not aware of?

Yeah, the intro to Johnny Carson. After the intro Brian counts to four and the song starts like on the album. On the 3 cd Brother Rarities cd's.

Going back to Johnny Carson for a moment, it never occurred to me until now that *maybe*, Brian was writing about some of his own struggles as a songwriter/bandleader carrying a heavy load through the guise of Carson.

- The line "The network makes him break his back" could easily have a double meaning of "the record company made him break his back (and succeeded)".

- The line "When guests are boring he fills up the slack" could also have a double meaning of "when my bandmates can't fill out an album, they come to me for help, or to repurpose my old material".

- The line "He speaks in such a manly tone" could also be a tongue in cheek reference to how Brian was apparently intentionally trying to sing in a "manly" manner on 15 Big Ones and Love You.

Curious to know what everyone thinks...

Going back to Johnny Carson for a moment, it never occurred to me until now that *maybe*, Brian was writing about some of his own struggles as a songwriter/bandleader carrying a heavy load through the guise of Carson.

- The line "The network makes him break his back" could easily have a double meaning of "the record company made him break his back (and succeeded)".

- The line "When guests are boring he fills up the slack" could also have a double meaning of "when my bandmates can't fill out an album, they come to me for help, or to repurpose my old material".

- The line "He speaks in such a manly tone" could also be a tongue in cheek reference to how Brian was apparently intentionally trying to sing in a "manly" manner on 15 Big Ones and Love You.

Curious to know what everyone thinks...

Going back to Johnny Carson for a moment, it never occurred to me until now that *maybe*, Brian was writing about some of his own struggles as a songwriter/bandleader carrying a heavy load through the guise of Carson.

- The line "The network makes him break his back" could easily have a double meaning of "the record company made him break his back (and succeeded)".

- The line "When guests are boring he fills up the slack" could also have a double meaning of "when my bandmates can't fill out an album, they come to me for help, or to repurpose my old material".

- The line "He speaks in such a manly tone" could also be a tongue in cheek reference to how Brian was apparently intentionally trying to sing in a "manly" manner on 15 Big Ones and Love You.

Curious to know what everyone thinks...

"Did you purchase the Spring album new at a major record store? Was it in the regular bins?"

yes I recall thumbing through the bins (probably new release) at a major metropolitan store and seeing the Spring LP in '72 (no not '73 that'd be too late IIRC), but it took a minute for me to realize just what it was.  I played it for friends then but the screwy moment of vocal harmony on Good Time ("you know what that can lead to") there usually drew guffaws from them (yes time to get new friends).  I liked Sweet Mountain a lot and thought Everybody had a neat beat of the type Brian's good at, but could've completely done without Superstar

Going back to Johnny Carson for a moment, it never occurred to me until now that *maybe*, Brian was writing about some of his own struggles as a songwriter/bandleader carrying a heavy load through the guise of Carson.

- The line "The network makes him break his back" could easily have a double meaning of "the record company made him break his back (and succeeded)".

- The line "When guests are boring he fills up the slack" could also have a double meaning of "when my bandmates can't fill out an album, they come to me for help, or to repurpose my old material".

- The line "He speaks in such a manly tone" could also be a tongue in cheek reference to how Brian was apparently intentionally trying to sing in a "manly" manner on 15 Big Ones and Love You.

Curious to know what everyone thinks...

Al is definitely better singer, and he did very well on this song. It can even be said that half of the attraction of this song comes from his vocals.

Brian's favorite Love You track, and one he said was part of a bigger plan that never really went anywhere (like the plan to include "A Casual Look" in the Fairy Tale in Holland).

Smb. years ago laughed it took few people to write DD. I'm glad it's short, as it should. Boring repetitious pointlessly shouty dreck with bad Mike-Carl-everybody vocals.

I'm glad that they replaced Billy's vocals with Al's, but they definitely should have kept the synth solo from the earlier version. It adds a nice twist of flavor to the track!

That coulda happened? I can't imagine A Casual Look in Mt. Vernon EP. Would the version have been the same as one on 15 Big Ones? I know nobody knows, but I'm curious.

I thought I read that he had an idea once to make Mt. Vernon into a somewhat cover album. 

Ding Dang is such a great way to play off Side A of the record.  One of his last great ideas in the Beach Boys.  (and before you think that's a rip, he has had plenty of great ideas since then outside of the BB realm)

Smb. years ago laughed it took few people to write DD. I'm glad it's short, as it should. Boring repetitious pointlessly shouty dreck with bad Mike-Carl-everybody vocals.

Closest Brian ever came to Chagall. Filled with a child-like sense of wonder.

"Solar System" is cool with voice. Without, it would be nice background music to complement doc about Solar System, maybe? It's got interesting chords, great use of synths (unlike RSC, DD & TNWSY with annoying riffs). It could benefit from being tiny bit faster. But at the same time, it's right as is. I like it less now due to frequent listens.

I don't think there are any synths on TNWSY. I hear keyboards and guitar, and I think that's it. Maybe somebody could correct me.

It's possible RR means "I'll Bet He's Nice", one of the best uses of the synth in the entire history of the synth.   

I didn't mention it, did I? Regarding synths & keyboards, isn't it the same thing? Till now, I lived with thinking it is (technically?non-technically?). That said, the annoying riff I meant in TNWSY is definitely not synths. It's Hawaiian-style guitar & it IS annoying. Sounds like whining/ crying. I stand by *that* argument but stand corrected re instrument specifics.

while you may find it annoying, others might think it makes the song.

one of Brian's best songs, period. and a real diamond in the rough that was the late 70s. TNWSY was a return to form.

beautiful chord changes, powerful harmonies, sweet instrumentation, and a bittersweet longing in the lyric and the music.

as RangeRover pointed out, the bending or sliding guitar in the verse gives a crying effect to a song that is really a cry in itself.

can't say enough about this one. it's just gorgeous

take Brian Wilson for instance. I'm quite sure he didn't insert that guitar lick just to annoy listeners

The Tenth Discussion
Theme: All Things 'The Night Was So Young'
Main Question: Why did Brian write a song about love affair with someone who's not his wife?


I've heard that this is a song about Brian's love affair not with Marilyn. It always puzzles me why Brian was urged to put songs with such 'gossip' lyrics onto his albums.




Video: www.youtube.com/watch?v=QsuGBZJ-nrA (http://www.youtube.com/watch?v=QsuGBZJ-nrA)

Well we get to the baddie. As said before, this & DD =2 rank tracks. But since TNWSY is standard song, it's not short, it makes it worse. Carl couldn't save it even if he sang it with 1980s improved voice. Boring melody aside, I dislike the "heavenly" melancholic harmonies in refrain. You know, that go "oooohh". I wouldn't say it's sad but there's emo-like vibe in the chorus - not fan. About lyrics, the entire psychological thing trying to get into smb.'s brains & read their mind is stupid, really. What if that girl is icily cold? It's kinda like teenager dreams, written from young chap's perspective. Doubt adults think like that.
I think "Johnny Carson" fits in its place, if you resequence it that way, switch these 2 songs & the other in the album, it would be interesting.

Smb. in "Rank the tracks" threads used that word to mean "bad quality". I found it there. You should read it then "This & DD= 2 bad tracks".

there is something innocent about Brian's perving after young girls. He has no idea he's being creepy.

Imagine the vituperation heaped upon Mike's head if he had written the lyrics for 'Lazy Lizzie', 'Hey Little Tomboy', 'Roller Skating Child', and 'I Wanna Pick You Up'. (What would Mike write if he had no filter? 'I Wanna Suck Your Toes'?)

BW means well but the lyrics are clumsy... :-\

And the music very pleasant also, the vocals possessing a pleasant earnestness. It probably would have only worked with Dennis and Brian on vocals, funnily enough. Or maybe Bruce if he was more officially around.

getting back to IWTPYU: I LOVE THIS SONG!!!

The ending call and return vocals are great. Is that Carl & Brian?

I'd agree that while Love is a Woman is definitely the worst track off of Love You, being the worst track off of (IMO) one of the Beach Boys' greatest albums is certainly nothing to be worked up about. Brian's "rough" voice never bugged me on this track, or the album as a matter of fact, though I always imagine what kind of better reception album could have possibly found, had he still had his 70-71 era voice.

Sorry for saying, but I'll close this thread because no one seems to be attending anymore. This is my fault, I'll work hard to make more interesting thread to discuss on than this one.

Speaking personally, PP, there really is nothing I can say about the production. And you really seem to have answered your own question. Maybe that's why no one joined in. Maybe you have to ask the question and give your opinion at the end of the session rather than at the beginning. Just an idea----because these topics of yours are interesting! :=)

IMO, the last great BB album is Holland.  I've tried to listen many times, but I don't get the infatuation with Love You.

Neither do I.  It could be that following along in order...like being there LIVE as each new album was released...is different than picking them up on the fly, out of context with history and with what was actually happening before, during, and after each new album first stuck its nose up in the air to be counted.  After the fact 'discovery' takes no consideration into account of what else was occurring at THAT SPECIFIC TIME musically speaking either.

That said...in real time...I thought that Love You just sucked.  If Wild Honey was a back to the basics rebirth...Love You was John Thompson's 'Teaching Little Fingers to Play'.  What a horror show of simple basic downgrades in talent...musically and particularly lyrically.  This was an album which eased Brian back into the picture after the failed Brian's Back farce which falsely propelled 15 Bigguns onto the 'scene'.  The 'Boys' had NOTHING here to work with.  Crap songs almost w/o exception.

Love You has somehow become the most over-rated Beach Boys album ever released.  It sure as sh*t wasn't that way back during its infancy.  Back then almost everyone KNEW that it was just dung.

The last great album was Holland with special mention of the Live In Concert album which immediately followed.  Not until TWGMTR would there be another Beach Boys album released which had enough decent material on it to deserve more than 1 thumb up.  [and THAT's a stretch.]

Love You?  Sounds more like "f*** You" to me.

[and all THIS from a so-called Brianista?  You bet your ass.  CRAP... ... ...is CRAP.]