Editing The Beach Boys (section)

==Legacy==
===Achievements===
The Beach Boys are one of the most critically acclaimed, [[list of best-selling musical artists|commercially successful]],<ref name=RockHallofFame /><ref name="Rolling Stone">{{cite magazine|title=100 Greatest Artists: The Beach Boys|url=https://www.rollingstone.com/music/lists/100-greatest-artists-of-all-time-19691231/the-beach-boys-19691231|magazine=Rolling Stone|last=Buckingham|first=Lindsey|access-date=October 26, 2012|archive-date=August 15, 2012|archive-url=https://web.archive.org/web/20120815082057/http://www.rollingstone.com/music/lists/100-greatest-artists-of-all-time-19691231/the-beach-boys-19691231|url-status=live}}</ref> and influential bands of all time.<ref name="Vogue2015">{{cite magazine|last1=Seymour|first1=Corey|date=June 5, 2015|title=Love & Mercy Does Justice to the Brilliance of Brian Wilson|url=http://www.vogue.com/13266664/love-and-mercy-brian-wilson/|magazine=[[Vogue (magazine)|Vogue]]|access-date=June 6, 2015|archive-date=June 7, 2015|archive-url=https://web.archive.org/web/20150607201456/http://www.vogue.com/13266664/love-and-mercy-brian-wilson|url-status=live}}</ref> They have sold over 100 million records worldwide.<ref>{{cite news|url=https://www.washingtontimes.com/news/2016/aug/17/beach-boys-member-al-jardine-touring-brian-wilson/|title=The Beach Boys Al Jardine: 'No, You're the Greatest'|first=Keith|last=Valcourt|work=[[The Washington Times]]|date=August 17, 2016|access-date=May 16, 2017|archive-date=June 18, 2020|archive-url=https://web.archive.org/web/20200618234943/https://www.washingtontimes.com/news/2016/aug/17/beach-boys-member-al-jardine-touring-brian-wilson/|url-status=live}}</ref> The group's early songs made them major pop stars in the US, the UK, Australia and other countries, having seven top 10 singles between April 1963 and November 1964.{{sfn|Curtis|1987|p=101}} They were one of the first American groups to exhibit the definitive traits of a self-contained rock band, playing their own instruments and writing their own songs,{{sfn|Sanchez|2014|p=34}} and they were one of the few American bands formed prior to the 1964 British Invasion to continue their success.{{sfn|Curtis|1987|p=101}} Among artists of the 1960s, they are one of the central figures in the histories of rock.{{sfn|Jones|2008|p=56}} Between the 1960s and 2020s, they had 37 songs reach the US [[Top 40]] (the most by an American group) with four topping the ''Billboard'' Hot 100; they also hold [[Nielsen SoundScan]]'s record as the top-selling American band for albums and singles.<ref>{{cite web |title=The Beach Boys |url=https://www.umgcatalog.com/artists/the-beach-boys |website=UMG Catalog |date=November 15, 2018 |access-date=December 9, 2020 |archive-date=January 27, 2021 |archive-url=https://web.archive.org/web/20210127202043/https://www.umgcatalog.com/artists/the-beach-boys |url-status=live }}</ref>

Brian Wilson's artistic control over the Beach Boys' records was unprecedented for the time.{{sfn|Howard|2004|pp=54–55}} Carl Wilson elaborated: "Record companies were used to having absolute control over their artists. It was especially nervy, because Brian was a 21-year-old kid with just two albums. It was unheard of. But what could they say? Brian made good records."<ref name="Himes1983"/> This made the Beach Boys one of the first rock groups to exert studio control.{{sfn|Miller|1992|p=193}} Music producers after the mid-1960s would draw on Brian's influence, setting a precedent that allowed bands and artists to enter a recording studio and act as producers, either autonomously, or in conjunction with other like minds.{{sfn|Edmondson|2013|p=890}}

[[File:God Only Knows - Rock and Roll Hall of Fame (2014-12-30 13.09.36 by Sam Howzit).jpg|thumb|A manuscript of "[[God Only Knows]]" displayed in the [[Rock and Roll Hall of Fame]] in [[Cleveland]]]]
In 1988, the original five members (the Wilson brothers, Love, and Jardine) were inducted into the [[Rock and Roll Hall of Fame]].<ref name=RockHallofFame>{{cite web|title=The Beach Boys Biography |url=http://rockhall.com/inductees/the-beach-boys/bio/ |website=Rock & Roll Hall of Fame |access-date=August 30, 2014 |url-status=dead |archive-url=https://web.archive.org/web/20140831092742/http://rockhall.com/inductees/the-beach-boys/bio/ |archive-date=August 31, 2014 }}</ref> Ten years later, they were selected for the [[Vocal Group Hall of Fame]].<ref name="vocal hall">[http://www.vocalgroup.org/inductees/beach_boys.htm Vocal Group Hall of Fame Inductees: The Beach Boys] {{webarchive|url=https://web.archive.org/web/20070217145328/http://www.vocalgroup.org/inductees/beach_boys.htm |date=February 17, 2007 }}, ''vocalgroup.org''. Retrieved January 15, 2007.</ref> In 2004, ''Pet Sounds'' was preserved in the [[National Recording Registry]] by the [[Library of Congress]] for being "culturally, historically, or aesthetically significant".<ref name="PetSoundsCongress">{{cite web|title=The National Recording Registry 2004|newspaper=The Library of Congress |url=https://www.loc.gov/rr/record/nrpb/registry/nrpb-2004reg.html|publisher=The National Recording Registry|access-date=December 29, 2017|archive-date=March 23, 2015|archive-url=https://web.archive.org/web/20150323150021/http://www.loc.gov/rr/record/nrpb/registry/nrpb-2004reg.html|url-status=live}}</ref> Their recordings of "In My Room", "Good Vibrations", "California Girls" and the entire ''Pet Sounds'' album have been inducted into the [[Grammy Hall of Fame]].<ref>{{cite web|title=Home►The Recording Academy►GRAMMY Awards|url=https://www.grammy.org/recording-academy/awards/hall-of-fame|publisher=[[National Academy of Recording Arts and Sciences]]|access-date=July 8, 2015|archive-date=June 26, 2015|archive-url=https://web.archive.org/web/20150626200735/https://www.grammy.org/recording-academy/awards/hall-of-fame|url-status=live}}</ref>

The Beach Boys are one of the most influential acts of the rock era.<ref name="allmusic">[{{AllMusic|class=artist|id=p3640|pure_url=yes}} AllMusic "The Beach Boys – Overview"]. John Bush. [[AllMusic]]. Retrieved July 12, 2008.</ref> In 2017, a study of [[AllMusic]]'s catalog indicated the Beach Boys as the 6th most frequently cited artist influence in its database.<ref name="AMinfluence">{{cite web|last1=Kopf|first1=Dan|last2=Wong|first2=Amy X.|title=A definitive list of the musicians who influenced our lives most|url=https://qz.com/1094962/a-definitive-list-of-the-musicians-who-influenced-our-lives-most/|website=Quartz|date=October 7, 2017|access-date=October 18, 2017|archive-date=August 11, 2019|archive-url=https://web.archive.org/web/20190811015937/https://qz.com/1094962/a-definitive-list-of-the-musicians-who-influenced-our-lives-most/|url-status=live}}</ref> In 2021, the staff of ''[[Ultimate Classic Rock]]'' ranked the Beach Boys as the top American band of all time; the publication's editor wrote in the group's entry that "few bands&nbsp;... have had a greater impact on popular music".<ref>{{cite web |title=The Top 50 American Bands of All Time |url=https://ultimateclassicrock.com/top-50-american-bands/ |website=[[Ultimate Classic Rock]] |date=July 3, 2021 |access-date=July 5, 2021 |archive-date=July 3, 2021 |archive-url=https://web.archive.org/web/20210703162912/https://ultimateclassicrock.com/top-50-american-bands/ |url-status=live }}</ref>

===California sound===
{{Main|California sound}}
[[File:The Beach Boys 1963 Billboard 2.png|thumb|left|The Beach Boys appearing in a 1963 ''Billboard'' advertisement]]
Professor of cultural studies James M. Curtis wrote in 1987: "We can say that the Beach Boys represent the outlook and values of [[White Anglo-Saxon Protestant|white Protestant Anglo-Saxon]] teenagers in the early sixties. Having said that, we immediately realize that they must mean much more than this. Their stability, their staying power, and their ability to attract new fans prove as much."{{sfn|Curtis|1987|p=101}} Cultural historian [[Kevin Starr]] explains that the group first connected with young Americans specifically for their lyrical interpretation of a mythologized landscape: "Cars and the beach, surfing, the California Girl, all this fused in the alembic of youth: Here was a way of life, an iconography, already half-released into the chords and multiple tracks of a new sound."{{sfn|Starr|2009|p=373}} In music critic [[Robert Christgau]]'s opinion, "the Beach Boys were a touchstone for real rock and rollers, all of whom understood that the music had its most essential roots in an innocently hedonistic materialism".<ref name="Christgau1975"/>

The group's "California sound" grew to national prominence through the success of their 1963 album ''Surfin' U.S.A.'',{{sfn|Sanchez|2014|p=32}} which helped turn the surfing subculture into a mainstream youth-targeted advertising image widely exploited by the film, television, and food industry.{{sfn|May|2002|pp=114–115}} The group's surf music was not entirely of their own invention, being preceded by artists such as Dick Dale.{{sfn|Sanchez|2014|p=13}} However, previous surf musicians did not project a world view as the Beach Boys did.{{sfn|Miller|1992|p=193}} The band's earlier surf music helped raise the profile of the state of California, creating its first major regional style with national significance, and establishing a musical identity for [[Southern California]], as opposed to [[Hollywood (film industry)|Hollywood]].{{sfn|Curtis|1987|p=103}} California ultimately supplanted New York as the center of popular music thanks to the success of Brian's productions.{{sfn|Howard|2004|pp=54–55}}

[[File:Little Deuce Coupe.jpg|thumb|right|The titular [[1932 Ford#Little Deuce Coupe|1932 Ford]] that appeared on the cover to the platinum certified album ''[[Little Deuce Coupe]]'']]
A 1966 article discussing new trends in rock music writes that the Beach Boys popularized a type of drum beat heard in [[Jan and Dean]]'s "[[Surf City (song)|Surf City]]", which sounds like "a locomotive getting up speed", in addition to the method of "suddenly stopping in between the chorus and verse".<ref name="nasal"/> [[Pete Townshend]] of the Who is credited with coining the term "[[power pop]]", which he defined as "what we play—what the [[Small Faces]] used to play, and the kind of pop the Beach Boys played in the days of 'Fun, Fun, Fun' which I preferred".<ref>{{cite magazine |last=Altham |first=Keith |title=Lily Isn't Pornographic, Say Who |magazine=[[NME]] |issue=May 20, 1967}}</ref>

The California sound gradually evolved to reflect a more musically ambitious and mature worldview, becoming less to do with surfing and cars and more about social consciousness and political awareness.{{sfn|Howard|2004|pp=61–62, 83}} Between 1964 and 1969, it fueled innovation and transition, inspiring artists to tackle largely unmentioned themes such as [[sexual freedom]], [[black pride]], [[drugs]], [[Opposition (politics)|oppositional politics]], other [[counterculture of the 1960s|countercultural]] motifs, and [[war]].{{sfn|Shuker|1994|p=35}} [[Sunshine pop|Soft pop]] (later known as "sunshine pop") derived in part from this movement.{{sfn|Howard|2004|p=69}} Sunshine pop producers widely imitated the orchestral style of ''Pet Sounds''; however, the Beach Boys themselves were rarely representative of the genre, which was rooted in [[easy-listening]] and [[Jingle|advertising jingles]].<ref>{{cite web|url=https://www.avclub.com/article/sunshine-pop-54224|title=Gateways to Geekery: Sunshine Pop|last1=Murray|first1=Noel|date=April 7, 2011|work=[[The A.V. Club]]|publisher=Onion Inc.|access-date=November 27, 2015|archive-date=January 4, 2016|archive-url=https://web.archive.org/web/20160104211848/http://www.avclub.com/article/sunshine-pop-54224|url-status=live}}</ref>

By the end of the 1960s, the California sound declined due to a combination of the West Coast's cultural shifts, Wilson's professional and psychological downturn, and the Manson murders, with David Howard calling it the "sunset of the original California Sunshine Sound&nbsp;... [the] sweetness advocated by the California Myth had led to chilling darkness and unsightly rot".{{sfn|Howard|2004|p=84}} Drawing from the Beach Boys' associations with Manson and former California governor [[Ronald Reagan]], Erik Davis remarked: "The Beach Boys may be the only bridge between those deranged poles. There is a wider range of political and aesthetic sentiments in their records than in any other band in those heady times—like the state [of California], they expand and bloat and contradict themselves."<ref name="Davis1990"/>

During the 1970s, advertising jingles and imagery were predominately based on the Beach Boys' early music and image.{{sfn|Leaf|1978|p=8}} The group also inspired the development of the West Coast style later dubbed "[[yacht rock]]". According to ''[[Jacobin (magazine)|Jacobin]]''{{'}}s Dan O'Sullivan, the band's aesthetic was the first to be "scavenged" by yacht rock acts like [[Rupert Holmes]]. O'Sullivan also cites the Beach Boys' recording of "Sloop John B" as the origin of yacht rock's preoccupation with the "sailors and beachgoers" aesthetic that was "lifted by everyone, from [[Christopher Cross]] to [[Eric Carmen]], from '[[Buffalo Springfield]]' folksters like [[Jim Messina (musician)|Jim Messina]] to '[[Philly Sound]]' rockers like [[Hall & Oates]]".<ref>{{cite web|last1=O'Sullivan|first1=Dan|title="California Über Alles": The Empire Yachts Back|url=https://www.jacobinmag.com/2012/09/the-yacht-rock-counterrevolution/|work=[[Jacobin (magazine)|Jacobin]]|date=September 4, 2012|access-date=December 28, 2019|archive-date=November 15, 2019|archive-url=https://web.archive.org/web/20191115210504/https://jacobinmag.com/2012/09/the-yacht-rock-counterrevolution/|url-status=live}}</ref>

===Innovations===
{{see also|Recording studio as an instrument}}
''Pet Sounds'' came to inform the developments of genres such as pop, rock, jazz, [[electronic music|electronic]], [[experimental music|experimental]], [[punk rock|punk]], and [[Hip hop music|hip hop]].<ref name="Pitchfork50">{{cite web |last1=Hart |first1=Ron |title=The Beach Boys' Pet Sounds Celebrates its 50th Anniversary: Artists Pay Tribute to the Eternal Teenage Symphony |url=https://pitchfork.com/features/article/9870-the-beach-boys-pet-sounds-celebrates-its-50th-anniversary-artists-pay-tribute-to-the-eternal-teenage-symphony/ |website=[[Pitchfork (website)|Pitchfork]] |date=April 12, 2016 |access-date=April 21, 2020 |archive-date=June 16, 2020 |archive-url=https://web.archive.org/web/20200616053153/https://pitchfork.com/features/article/9870-the-beach-boys-pet-sounds-celebrates-its-50th-anniversary-artists-pay-tribute-to-the-eternal-teenage-symphony/ |url-status=live }}</ref> Similar to subsequent [[experimental rock]] LPs by [[Frank Zappa]], the Beatles, and [[the Who]], ''Pet Sounds'' featured countertextural aspects that called attention to the very recordedness of the album.{{sfn|Lowe|2007|pp=38, 219}} Professor of American history [[John Robert Greene]] stated that the album broke new ground and took rock music away from its casual lyrics and melodic structures into what was then uncharted territory. He furthermore called it one factor which spawned the majority of trends in post-1965 rock music, the only others being ''Rubber Soul'', the Beatles' ''[[Revolver (Beatles album)|Revolver]]'', and the contemporary folk movement.{{sfn|Greene|2010|p=155}} The album was the first piece in popular music to incorporate the [[Electro-Theremin]], an easier-to-play version of the [[theremin]], as well as the first in rock music to feature a theremin-like instrument.{{sfn|Lambert|2007|p=240}} With ''Pet Sounds'', they were also the first group to make an entire album that departed from the usual small-ensemble electric rock band format.<ref name="Sommer2016">{{cite web |last1=Sommer |first1=Tim |author-link=Tim Sommer |title=This Is Your Brain on 'Pet Sounds' |url=http://observer.com/2016/05/this-is-your-brain-on-pet-sounds/ |website=[[The Observer]] |date=May 16, 2016 |access-date=May 13, 2018 |archive-date=May 16, 2018 |archive-url=https://web.archive.org/web/20180516071455/http://observer.com/2016/05/this-is-your-brain-on-pet-sounds/ |url-status=live }}</ref>

According to David Leaf in 1978, ''Pet Sounds'' and ''Good Vibrations'' "established the group as the leaders of a new type of pop music, [[Art Rock]]".{{sfn|Leaf|1978|p=74}} Academic [[Bill Martin (philosophy)|Bill Martin]] states that the band opened a path in rock music "that went from ''Sgt. Pepper's'' to ''[[Close to the Edge (Yes album)|Close to the Edge]]'' and beyond". He argues that the advancing technology of [[multitrack recording]] and [[mixing board]]s were more influential to experimental rock than [[electronic instruments]] such as the [[synthesizer]], allowing the Beatles and the Beach Boys to become the first crop of non-[[classically trained]] musicians to create extended and complex compositions.{{sfn|Martin|2015|p=75}} In ''Strange Sounds: Offbeat Instruments and Sonic Experiments in Pop'', Mark Brend writes:
{{blockquote|Other artists and producers, notably the Beatles and Phil Spector, had used varied instrumentation and multi-tracking to create complex studio productions before. And others, like [[Roy Orbison]], had written complicated pop songs before. But "Good Vibrations" eclipsed all that came before it, in both its complexity as a production and the liberties it took with conventional notions of how to structure a pop song.{{sfn|Brend|2005|p=19}} }}

The making of "Good Vibrations", according to Domenic Priore, was "unlike anything previous in the realms of classical, jazz, international, soundtrack, or any other kind of recording",{{sfn|Priore|2005|p=55}} while biographer [[Peter Ames Carlin]] wrote that it "sounded like nothing that had ever been played on the radio before".{{sfn|Carlin|2006|pp=95–96}} It contained previously untried mixes of instruments, and was the first successful pop song to have cellos in a juddering rhythm.{{sfn|Brend|2005|pp=18–19}} Musicologist [[Charlie Gillett]] called it "one of the first records to flaunt studio production as a quality in its own right, rather than as a means of presenting a performance".{{sfn|Gillett|1984|p=329}} Again, Brian employed the use of Electro-Theremin for the track. Upon release, the single prompted an unexpected revival in theremins while increasing awareness of [[analog synthesizer]]s, leading [[Moog Music]] to produce their own brand of [[ribbon controller|ribbon-controlled]] instruments.{{sfn|Pinch|Trocco|2009|pp=102–103}}{{refn|group=nb|Even though the Electro-Theremin was not technically a theremin, the song became the most frequently cited example of the theremin in pop music.{{sfn|Brend|2005|p=16}}}} In a 1968 editorial for ''[[Jazz & Pop]]'', Gene Sculatti predicted that the song "may yet prove to be the most significantly revolutionary piece of the current rock renaissance&nbsp;... In no minor way, 'Good Vibrations' is a primary influential piece for all producing rock artists; everyone has felt its import to some degree".<ref name="scullati" />

Discussing ''Smiley Smile'', Daniel Harrison argues that the album could "almost" be considered art music in the Western classical tradition, and that the group's innovations in the musical language of rock can be compared to those that introduced [[atonality|atonal]] and other nontraditional techniques into that classical tradition. He explains: "The spirit of experimentation is just as palpable&nbsp;... as it is in, say, [[Arnold Schoenberg|Schoenberg]]'s [[Drei Klavierstücke (Schoenberg)|op.&nbsp;11 piano pieces]]."{{sfn|Harrison|1997|p=47}} However, such notions were not widely acknowledged by rock audiences nor by the classically minded at the time.{{sfn|Harrison|1997|p=59}} Harrison concludes: "What influences could these innovations then have? The short answer is, not much. ''Smiley Smile'', ''Wild Honey'', ''Friends'', and ''20/20'' sound like few other rock albums; they are ''sui generis''.&nbsp;... It must be remembered that the commercial failure of the Beach Boys' experiments was hardly motivation for imitation."{{sfn|Harrison|1997|p=59}} Musicologist [[David Toop]], who included the ''Smiley Smile'' track "[[Fall Breaks and Back to Winter]]" on a companion CD for his book ''[[Ocean of Sound]]'', placed the Beach Boys' effect on sound pioneering in league with [[Les Baxter]], [[Aphex Twin]], [[Herbie Hancock]], [[King Tubby]], and [[My Bloody Valentine (band)|My Bloody Valentine]].<ref>{{cite web|last=Bush|first=John|url=https://www.allmusic.com/album/ocean-of-sound-mw0000538713|title=Ocean of Sound – David Toop|work=[[AllMusic]]|access-date=January 11, 2014|archive-date=February 4, 2014|archive-url=https://web.archive.org/web/20140204174743/http://www.allmusic.com/album/ocean-of-sound-mw0000538713|url-status=live}}</ref>

''Sunflower'' marked an end to the experimental songwriting and production phase initiated by ''Smiley Smile''.{{sfn|Harrison|1997|p=52}} After ''Surf's Up'', Harrison wrote, their albums "contain a mixture of middle-of-the-road music entirely consonant with pop style during the early 1970s with a few oddities that proved that the desire to push beyond conventional boundaries was not dead", until 1974, "the year in which the Beach Boys ceased to be a rock 'n' roll act and became an oldies act".{{sfn|Harrison|1997|p=52}}

===Punk, alternative, and indie===
{{Quote box
 |quote  = For the artier branches of [[post-punk]], Wilson's pained vulnerability, his uses of offbeat instruments and his intricate harmonies, not to mention the ''Smile'' saga itself, became a touchstone, from [[Pere Ubu]] and [[XTC]] to {{sic|[[R.E.M.|REM]]}} and the [[Pixies (band)|Pixies]] to [[U2]] and My Bloody Valentine.
 |source = — Music critic [[Carl Wilson (writer)|Carl Wilson]] (no relation to Beach Boys member Carl Wilson)<ref name=BBCMozart>{{cite web|last1=Wilson|first1=Carl|title=The Beach Boys' Brian Wilson: America's Mozart?|url=http://www.bbc.com/culture/story/20150608-is-this-americas-mozart|publisher=[[BBC]]|date=June 9, 2015|access-date=May 13, 2018|archive-date=June 17, 2018|archive-url=https://web.archive.org/web/20180617010214/http://www.bbc.com/culture/story/20150608-is-this-americas-mozart|url-status=live}}</ref> 
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In the 1970s, the Beach Boys served a "totemic influence" on [[punk rock]] that later gave way to [[indie rock]]. Brad Shoup of [[Stereogum]] surmised that, thanks to the [[Ramones]]' praise for the group, many punk, [[pop punk]], or "punk-adjacent" artists showed influence from the Beach Boys, noting cover versions of the band's songs recorded by [[Slickee Boys]], [[Agent Orange (band)|Agent Orange]], [[Bad Religion]], [[Shonen Knife]], [[the Queers]], [[Hi-Standard]], [[the Descendents]], [[the Donnas]], [[M.O.D.]], and [[the Vandals]]. ''The Beach Boys Love You'' is sometimes considered the group's "punk album",<ref name=Shoup2015>{{cite web|last1=Shoup|first1=Brad|title=How Brian Wilson Helped Spawn Punk|url=https://www.stereogum.com/1793955/how-brian-wilson-helped-spawn-punk/franchises/essay/|publisher=[[Stereogum]]|date=April 14, 2015|access-date=April 21, 2020|archive-date=March 7, 2020|archive-url=https://web.archive.org/web/20200307184909/https://www.stereogum.com/1793955/how-brian-wilson-helped-spawn-punk/franchises/essay/|url-status=live}}</ref>{{refn|group=nb|In 2015, Wilson was asked about punk rock and responded: "I don't know what that is. Punk rock? Punk? What is that?&nbsp;... Oh yeah. I never went for that. I never went for the fast kind of music. I go for the more medium tempo. [[Spencer Davis]], I liked that."<ref>{{cite news|last1=Deevoy|first1=Adrian|title=Beach Boy Brian Wilson: 'Punk rock? I don't know what that is'|url=https://www.theguardian.com/music/2015/apr/09/beach-boy-brian-wilson-punk-rock-love-and-mercy|work=[[The Guardian]]|date=April 9, 2015|access-date=December 13, 2016|archive-date=December 29, 2016|archive-url=https://web.archive.org/web/20161229103611/https://www.theguardian.com/music/2015/apr/09/beach-boy-brian-wilson-punk-rock-love-and-mercy|url-status=live}}</ref>}} and ''Pet Sounds'' is sometimes advanced as the first [[emo]] album.<ref>{{cite news |url=http://www.bbc.co.uk/programmes/articles/1tM7yZdRsNn2qZth0WMCRBs/emo-never-dies-how-the-genre-influenced-an-entire-new-generation |title=Emo never dies: How the genre influenced an entire new generation |work=[[BBC Online]] |last=Britton |first=Luke Morgan |date=May 30, 2018 |access-date=August 9, 2018 |archive-date=August 13, 2018 |archive-url=https://web.archive.org/web/20180813010046/http://www.bbc.co.uk/programmes/articles/1tM7yZdRsNn2qZth0WMCRBs/emo-never-dies-how-the-genre-influenced-an-entire-new-generation |url-status=live }}</ref>

In the 1990s, the Beach Boys experienced a resurgence of popularity with the [[alternative rock]] generation.{{sfn|Priore|2005|p=155}} According to [[Sean O'Hagan]], leader of [[the High Llamas]] and former member of [[Stereolab]], a younger generation of record-buyers "stopped listening to indie records" in favor of the Beach Boys.{{sfn|Dillon|2012|pp=104–105}}{{refn|group=nb|When asked how he felt about "reintroducing Brian Wilson as an alternative music hero and getting people back into ''Pet Sounds'' and ''SMiLE''", O'Hagan mentioned that a "few of the touring American bands have told me that we did have such an impact, especially in LA".<ref name="Clay">{{cite web|last1=Woullard|first1=Clayton|title=The Goat Looks In: Interview with Sean O'Hagan of the High Llamas|url=http://claythescribe.com:80/2016/03/04/interview-with-sean-ohagan-of-the-high-llamas/|website=Clay the Scribe|archive-url=https://web.archive.org/web/20170305111207/http://claythescribe.com/2016/03/04/interview-with-sean-ohagan-of-the-high-llamas/|archive-date=March 5, 2017|date=March 4, 2016}}</ref>}} Bands who advocated for the Beach Boys included founding members of [[the Elephant 6 Collective]] ([[Neutral Milk Hotel]], [[the Olivia Tremor Control]], [[the Apples in Stereo]], and [[of Montreal]]). United by a shared love of the group's music, they named [[Pet Sounds Studio]] in honor of the band.{{sfn|Dillon|2012|pp=136–137}}{{sfn|Priore|2005|p=155–156}} ''Rolling Stone'' writer Barry Walters wrote in 2000 that albums such as ''Surf's Up'' and ''Love You'' "are becoming sonic blueprints, akin to what early Velvet Underground LPs meant to the previous indie peer group".<ref name="CN00"/> The High Llamas, [[Eric Matthews (musician)|Eric Matthews]] and [[Saint Etienne (band)|Saint Etienne]] are among the "alt heroes" who contributed cover versions of "unreleased, overlooked or underappreciated Wilson/Beach Boys obscurities" on the tribute album ''[[Caroline Now!]]'' (2000).<ref name="CN00">{{cite magazine|last=Walters|first=Barry|url=https://www.rollingstone.com/artists/thebeachboys/albums/album/175726/review/5945258/surfs_up |archive-url=https://web.archive.org/web/20071015120402/http://www.rollingstone.com/artists/thebeachboys/albums/album/175726/review/5945258/surfs_up |archive-date=October 15, 2007|title=Surf's Up|magazine=[[Rolling Stone]] |date=September 14, 2000 |url-status=dead|access-date=March 6, 2019}}</ref>

The Beach Boys remained among the most significant influences on indie rock into the late 2000s.{{sfn|Dillon|2012|p=292}} ''Smile'' became a touchstone for many bands who were labelled "[[chamber pop]]",<ref name=BBCMozart/> a term used for artists influenced by the lush orchestrations of Brian Wilson, [[Lee Hazlewood]], and Burt Bacharach.<ref>{{cite web|title=Chamber pop|url=https://www.allmusic.com/style/chamber-pop-ma0000012300|website=[[AllMusic]]|access-date=April 21, 2020|archive-date=June 7, 2020|archive-url=https://web.archive.org/web/20200607142312/https://www.allmusic.com/style/chamber-pop-ma0000012300|url-status=live}}</ref> ''Pitchfork'' writer Mark Richardson cited ''Smiley Smile'' as the origin point of "the kind of [[Lo-fi music|lo-fi]] [[bedroom pop]] that would later propel [[Sebadoh]], [[Animal Collective]], and other characters".<ref>{{cite web|title=The 200 Best Albums of the 1960s|url=https://pitchfork.com/features/lists-and-guides/the-200-best-albums-of-the-1960s/|website=[[Pitchfork (site)|Pitchfork]]|date=August 22, 2017|access-date=April 21, 2020|archive-date=April 18, 2020|archive-url=https://web.archive.org/web/20200418120228/https://pitchfork.com/features/lists-and-guides/the-200-best-albums-of-the-1960s/|url-status=live}}</ref> The ''Sunflower'' track "[[All I Wanna Do (The Beach Boys song)|All I Wanna Do]]" is also cited as one of the earliest precursors to [[chillwave]], a [[microgenre]] that emerged in 2009.<ref name="Relix">{{cite web|title=Song Premiere: The Bright Light Social Hour "All I Wanna Do" (The Beach Boys Cover)|url=https://www.relix.com/blogs/detail/song_premiere_the_bright_light_social_hour_all_i_wanna_do_beach_boys_cover|website=Relix|date=March 14, 2016|access-date=May 13, 2018|archive-date=July 4, 2018|archive-url=https://web.archive.org/web/20180704063557/https://www.relix.com/blogs/detail/song_premiere_the_bright_light_social_hour_all_i_wanna_do_beach_boys_cover|url-status=live}}</ref><ref name="Polinice">{{cite web|author1=Polinice|title=Gli Uomini del Capitano: pezzi scritti dai membri secondari di una band|url=http://polinice.org/2013/11/25/gli-uomini-del-capitano-pezzi-scritti-dai-membri-secondari-di-una-band/|website=Polinice|date=November 25, 2013|access-date=May 13, 2018|archive-date=April 17, 2017|archive-url=https://web.archive.org/web/20170417211441/http://polinice.org/2013/11/25/gli-uomini-del-capitano-pezzi-scritti-dai-membri-secondari-di-una-band/|url-status=live}}</ref>