:Chamber pop

{{Details|Orchestral pop|Pet Sounds|él Records}}

{{See also|Progressive pop|progressive rock}}

File:The High Llamas (5928653004).jpg performing in 2011 (leader Sean O'Hagan pictured)]]

The combination of string sections and rock music has been called "symphonic pop", "chamber pop", and orchestral pop (or "ork-pop" for short).{{cite news|last1=Salmon|first1=Ben|date=May 25, 2007|title=Classic combo|work=The Bulletin|url=http://www.bendbulletin.com/slideshows/1516497-151/classic-combo|url-status=dead|archive-url=https://web.archive.org/web/20160610031425/http://www.bendbulletin.com/slideshows/1516497-151/classic-combo|archive-date=June 10, 2016}} The first use of strings in R&B or rock music was in the 1959 song "There Goes My Baby" by The Drifters, produced by Jerry Leiber and Mike Stoller with string arrangement by Stan Applebaum. The following year, The Shirelles song "Will You Love Me Tomorrow", written by Carole King and featuring a string section, was released to critical acclaim and rose to #1 on the Billboard Magazine Hot 100 chart. The Beatles began implementing string arrangements in their music, starting with the 1965 song "Yesterday," and further expanded upon the use of horns and strings on their 1966 album Revolver.{{cite web|url=https://www.geocities.ws/pisces2878/OA/GuitarWorldGeorge.html|title=Guitar World Interviews George Harrison|date=1992}} The Beach Boys would develop their response to The Beatles' 1965 album Rubber Soul with their own 1966 studio album Pet Sounds, which would further explore the use of strings in rock music and define the baroque pop genre.

Ork-pop refers to a branch of underground rock musicians who shared an affinity with the Pet Sounds album, such as The High Llamas and bands from the Elephant 6 collective.{{sfn|DeRogatis|2003|pp=39, 95}} According to CMJ{{'}}s David Jerman, the name was the creation of rock critics, "encompassing everyone from fans of the Beach Boys to fans of Bacharach and Mancini".{{cite magazine|last=Jarman|first=David|title=Reviews|magazine=CMJ New Music Monthly|url=https://books.google.com/books?id=xikEAAAAMBAJ&pg=PA60|date=July 1998|publisher=CMJ Network, Inc.|page=60|issn=1074-6978|access-date=August 27, 2016|archive-date=July 27, 2020|archive-url=https://web.archive.org/web/20200727192322/https://books.google.com/books?id=xikEAAAAMBAJ&pg=PA60|url-status=live}} Chamber pop is stylistically diverse. AllMusic states that the genre carries on the "spirit" of the baroque pop of the 1960s,{{cite web|title=Baroque pop|url=http://www.allmusic.com/subgenre/baroque-pop-ma0000012101|website=AllMusic|access-date=March 5, 2016|archive-date=August 9, 2015|archive-url=https://web.archive.org/web/20150809151253/http://www.allmusic.com/subgenre/baroque-pop-ma0000012101|url-status=live}} while cultural writers Joseph Fisher and Brian Flota call it the "heir" to baroque pop.{{sfn|Flota|Fisher|2013|p=122}}{{refn|group=nb|Although baroque pop was prefigured by producers like Phil Spector, whose arrangements were orchestral and heavily layered, the genre was distinguished for its Romantic aesthetic, small string ensembles, and more classically-derived melodies.{{sfn|Janovitz|2013|p=81}}}} Strongly influenced by the rich orchestrations of Burt Bacharach, Brian Wilson, and Lee Hazlewood, chamber pop artists once again focused on melody and texture. Another major source of influence was the singer Scott Walker. New York Daily News{{'}} Jim Farber summarizes the genre; "think Donovan meets Burt Bacharach".{{cite news|last1=Farber|first1=Jim|title=Belle and Sebastian's 'Write About Love' review: Stuart Murdoch and his sound mature|url=http://www.nydailynews.com/entertainment/music-arts/belle-sebastian-write-love-review-stuart-murdoch-sound-mature-article-1.191924|work=New York Daily News|date=October 12, 2010|access-date=August 20, 2016|archive-date=October 5, 2016|archive-url=https://web.archive.org/web/20161005205842/http://www.nydailynews.com/entertainment/music-arts/belle-sebastian-write-love-review-stuart-murdoch-sound-mature-article-1.191924|url-status=live}}{{refn|group=nb|Spin magazine refers to Bacharach and Wilson as "gods" of orchestral pop.{{cite magazine|title=Reviews|url=https://books.google.com/books?id=iemUgvxmQcYC&pg=PA100|date=October 2006|magazine=Spin|issn=0886-3032|access-date=November 21, 2016|archive-date=July 4, 2022|archive-url=https://web.archive.org/web/20220704004421/https://books.google.com/books?id=iemUgvxmQcYC&pg=PA100|url-status=live}} In journalist Chris Nickson's opinion, the "apex" of orchestral pop lied in Walker, explaining that "in his most fertile period, 1967–70, he created a body of work that was, in its own way, as revolutionary as the Beatles'. He took the ideas of Mancini and Bacharach to their logical conclusion, essentially redefining the concept of orchestral pop."{{cite journal|last=Nickson|first=Chris|title=The Sons of Scott Walker|url=https://books.google.com/books?id=pCkEAAAAMBAJ&pg=PA20|date=November 1997|journal=CMJ New Music Monthly|author-link=Chris Nickson|pages=20, 22|issn=1074-6978|access-date=November 21, 2016|archive-date=July 4, 2022|archive-url=https://web.archive.org/web/20220704004422/https://books.google.com/books?id=pCkEAAAAMBAJ&pg=PA20|url-status=live}}}}

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|filename=Wonderful - Beach Boys Smile.ogg

|title=The Beach Boys – "Wonderful" (1967 Smile recording)

|description=Described as "proto-psychedelic chamber pop" by biographer Mark Dillon, "Wonderful" showcases Wilson's lead vocals and harpsichord-playing supported by trumpet and the Beach Boys' "parlor-room harmonies".{{sfn|Dillon|2012|p=151}}}}

Newsmakers believes that the Beach Boys' Pet Sounds helped define chamber pop as "intimate, precisely arranged songs with rock's sweep but without its bluesy clamor."{{cite book|last=Collins|first=Louise Mooney|title=Newsmakers|year=1996|url=https://books.google.com/books?id=rEsrIi8InDcC|publisher=Gale Research Inc.|page=122|isbn=9780810393219|access-date=August 27, 2016|archive-date=February 22, 2017|archive-url=https://web.archive.org/web/20170222230051/https://books.google.com/books?id=rEsrIi8InDcC|url-status=live}}{{refn|group=nb|Writing about the album's title track in his 2017 memoir, Wilson said: "I loved Thunderball, which had come out the year before, and I loved listening to composers like Henry Mancini, who did these cool themes for shows like Peter Gunn, and Les Baxter, who did all these big productions that sounded sort of like Phil Spector productions."{{sfn|Wilson|Greenman|2016|p=179}}}} Following the album was the group's unfinished 1966–67 work Smile, a collaboration between Brian Wilson and lyricist Van Dyke Parks that also heavily influenced the genre. According to the High Llamas' Sean O'Hagan, Pet Sounds had been "the beginning of the great pop experiment. But it wasn't allowed to continue, because rock and roll got hold of the whole thing and stopped it. Pop didn't take off again until this decade [the 1990s]."{{cite magazine|last1=Smith|first1=Ethan|title=Do It Again|magazine=New York Magazine|date=November 10, 1997|volume=30|issue=43|url=https://books.google.com/books?id=J-gCAAAAMBAJ&pg=PA98|publisher=New York Media, LLC|issn=0028-7369|access-date=April 6, 2017|archive-date=April 7, 2017|archive-url=https://web.archive.org/web/20170407062718/https://books.google.com/books?id=J-gCAAAAMBAJ&pg=PA98|url-status=live}} Author Carl Wilson (no relation) says that Brian's "pained vulnerability", "uses of offbeat instruments", "intricate harmonies", and "the Smile saga itself" became a common reference point for chamber pop bands.{{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=March 15, 2016|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}}{{refn|group=nb|Smile, whose recordings remained unreleased for decades, was embraced by the alternative rock generation once bootlegs from the album became more widespread in the late 1980s and early 1990s.{{sfn|Priore|2005|pp=153–155}} }} Just as ork-pop acts shared a love for Wilson, they also held an admiration for one another's work. In the late 1980s, the majority of Louis Phillipe's productions for él Records also made sophisticated use of orchestras and voices that embodied and defined the chamber pop style.{{cite web|last1=Marmoro|first1=Gianfranco|title=The Ocean Tango|url=http://www.ondarock.it/recensioni/2010_theoceantango.htm|website=Ondarock|language=it|date=January 12, 2010|access-date=August 13, 2016|archive-date=November 3, 2018|archive-url=https://web.archive.org/web/20181103091829/http://www.ondarock.it/recensioni/2010_theoceantango.htm|url-status=live}}{{refn|group=nb|Philippe described his own music as: "covering the range from pure bubblegum to symphonic sweep, with detours via jazz and soul along the way. A typical album might mix influences from vintage pop, French chanson, Ravel, bossa nova, Duke Ellington, the Shirelles, or the Beach Boys, while classical instruments and intricate backing vocals often feature in the arrangements."{{cite web|last1=Evans|first1=Christopher|title=Louis Philippe|url=http://www.allmusic.com/artist/louis-philippe-mn0000271979/biography|website=AllMusic|access-date=March 14, 2017|archive-date=November 3, 2018|archive-url=https://web.archive.org/web/20181103131616/https://www.allmusic.com/artist/louis-philippe-mn0000271979/biography|url-status=live}}}}

Chamber pop was part of a larger trend which involved musicians who rejected traditional rock conventions, such as Tortoise and Stereolab, although those specific bands are not considered ork-pop.{{refn|group=nb|Writing about the new "post-rock" in 1994, Simon Reynolds noted the influence of Spector, Wilson, and Brian Eno; specifically their preoccupation for "soundscaping" that involves "using musicians as a sort of palette of textures, as opposed to the rock band's collective toil."{{cite journal|last1=Reynolds|first1=Simon|author-link=Simon Reynolds|title=Post-Rock|journal=The Wire|date=May 1994|issue=123|archive-url=https://web.archive.org/web/20011202075606/http://www.thewire.co.uk/out/1297_4.htm|archive-date=December 2, 2001|url=http://www.thewire.co.uk/out/1297_4.htm}}}} The genre's orchestration is typically more complex than rock music, making extensive use of brass and strings. It drew from the 1990s lounge music revival but avoided any influence from other contemporary styles like grunge, electronica, or alternative music, particularly the lo-fi hiss and distortion of the last. Although modern rock groups like Smashing Pumpkins, The Verve, Oasis, and R.E.M. occasionally used strings, their approach was considerably less intricate. The High Llamas were one of the first to anticipate the easy-listening fad with their 1993 album Gideon Gaye.{{sfn|Kamp|Daly|2005|p=52}} O'Hagan felt that "There is this whole misconception that American college rock with twisted baseball hats and checked shirts is adventurous, but it's the most conformist, corporate thing out there." with Eric Matthews adding "All these bands sound like Nirvana and Pearl Jam. It's a shame that it couldn't be discovered from the get-go for what it is. A lot of it is just very simple dumb-guy rock."

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|text= Bored by the three-chord simplicity of grunge and neo-punk, a new breed of popsmiths is going back to such inspirations as Brian Wilson, Burt Bacharach, and Phil Spector in the quest for building the perfect orchestrated pop masterpiece. [...] their music offers an alternative for those who have grown tired of distorted guitars and angst-ridden vocals.

| source=—Craig Rosen writing in Billboard, 1996{{cite magazine|last=Rosen|first=Craig|title=Building A Perfect Ork-Pop Masterpiece|url=https://books.google.com/books?id=pw0EAAAAMBAJ&pg=PA92|date=May 25, 1996|publisher=Nielsen Business Media, Inc.|magazine=Billboard|pages=1, 92, 95|issn=0006-2510|access-date=August 27, 2016|archive-date=July 4, 2022|archive-url=https://web.archive.org/web/20220704004421/https://books.google.com/books?id=pw0EAAAAMBAJ&pg=PA92|url-status=live}}

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Fisher and Flota trace chamber pop to "at least" the mid 1990s.{{sfn|Flota|Fisher|2013|p=122}} According to Natalie Waliek of music retailer Newbury Comics, the then-"renewed interest in psychedelia" and the "overlap with the cocktail/lounge music thing, because that music [also] has orchestrations", likely contributed to the sales of ork-pop albums, but acts were restricted to only a moderate degree of commercial success. The majority of musicians were aged beyond their early 20s, and many struggled to achieve significant retail or radio success compared to modern rock. In the past, record companies had helped facilitate large multi-instrumental bands by financing instruments like strings, horns, and keyboards on artists' albums, but this became rarer as time went on.{{cite news|last1=Wedel|first1=Mark|title=Canasta cares about your ears: Chicago 'ork-pop' band writes songs with listeners in mind|url=http://www.mlive.com/entertainment/kalamazoo/index.ssf/2010/09/canasta_cares_about_your_ears.html|work=Kalamazoo Gazette|date=September 16, 2010|access-date=June 11, 2016|archive-date=August 6, 2016|archive-url=https://web.archive.org/web/20160806042653/http://www.mlive.com/entertainment/kalamazoo/index.ssf/2010/09/canasta_cares_about_your_ears.html|url-status=live}} Touring with full string and brass ensembles also proved difficult for some, which became another factor that prevented the genre's mainstream success.

In Japan, a remote parallel was the development of Shibuya-kei, which also revisited the trend of foregrounding instruments like strings and horns in its arrangements.{{sfn|Tonelli|2004|p=3}} The genre was informed by classic Western pop music,{{cite web|author1=Anon.|title=Shibuya-Kei|url=http://www.allmusic.com/style/shibuya-kei-ma0000011840|website=AllMusic|date=n.d.|access-date=March 14, 2017|archive-date=October 8, 2021|archive-url=https://web.archive.org/web/20211008214044/https://www.allmusic.com/style/shibuya-kei-ma0000011840|url-status=live}} especially the orchestral domains occupied by Burt Bacharach, Brian Wilson, Phil Spector, and Serge Gainsbourg.{{cite web|last1=Lindsay|first1=Cam|title=Return to the Planet of Cornelius|url=https://www.vice.com/en/article/return-to-the-planet-of-cornelius/|website=Vice|date=August 4, 2016|access-date=March 14, 2017|archive-date=February 4, 2017|archive-url=https://web.archive.org/web/20170204171928/https://noisey.vice.com/en_us/article/return-to-the-planet-of-cornelius|url-status=live}} Unlike other Japanese music scenes, its audiences did not necessarily cross over into anime fandoms, but rather indie pop enthusiasts. This was partly because many of its bands were distributed in the United States through major indie labels like Matador and Grand Royal.{{cite journal|last1=Ohanesian|first1=Liz|title=Japanese Indie Pop: The Beginner's Guide to Shibuya-Kei|journal=LA Weekly|date=April 13, 2011|url=http://www.laweekly.com/music/japanese-indie-pop-the-beginners-guide-to-shibuya-kei-2408911|access-date=March 14, 2017|archive-date=August 9, 2018|archive-url=https://web.archive.org/web/20180809090901/https://www.laweekly.com/music/japanese-indie-pop-the-beginners-guide-to-shibuya-kei-2408911|url-status=live}}{{refn|group=nb|Philippe was surprised to be heralded as the "godfather" of the Shibuya sound around the time he released the Japan-only albums Jean Renoir (1992) and Rainfall (1993). The movement's musicians romanticized Wilson as a mad genius experimenting in the recording studio, and Spector's Wall of Sound was emulated not for its denseness, but for its elaborate quality.{{cite web|last1=Walters|first1=Barry|title=The Roots of Shibuya-Kei|url=http://daily.redbullmusicacademy.com/2014/11/japan-top-ten-roots-of-shibuya-kei|website=Red Bull Music Academy|date=November 6, 2014|access-date=March 14, 2017|archive-date=February 5, 2017|archive-url=https://web.archive.org/web/20170205100558/http://daily.redbullmusicacademy.com/2014/11/japan-top-ten-roots-of-shibuya-kei|url-status=live}}}} Shibuya-kei ultimately peaked in the late 1990s and declined after its principal players began moving into other music styles.{{cite web|last1=Michael|first1=Patrick St.|title=Cornelius: Fantasma Album Review|url=http://pitchfork.com/reviews/albums/21980-fantasma/|website=Pitchfork|date=June 11, 2016|access-date=March 14, 2017|archive-date=May 8, 2021|archive-url=https://web.archive.org/web/20210508173209/https://pitchfork.com/reviews/albums/21980-fantasma/|url-status=live}}

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|filename=Found a Little Baby - Plush.ogg

|title=Plush – "Found a Little Baby" (1994)

|description=Billboard{{'}}s Chris Morris wrote that this debut single by Hayes made "quite a splash with the international press ... heralded as the harbinger of a new school of orchestral pop – 'ork pop' for short."{{cite magazine|last=Morris|first=Chris|title=Catalog Specialist Del-Fi Launches New-Music Imprint|url=https://books.google.com/books?id=GwoEAAAAMBAJ&pg=PA83|date=September 19, 1998|publisher=Nielsen Business Media, Inc.|magazine=Billboard|page=83|issn=0006-2510|access-date=August 27, 2016|archive-date=July 27, 2020|archive-url=https://web.archive.org/web/20200727193329/https://books.google.com/books?id=GwoEAAAAMBAJ&pg=PA83|url-status=live}}}}

In a 1996 profile of ork-pop, Craig Rosen lists examples that include Yum-Yum, the High Llamas, Richard Davies, Eric Matthews, Spookey Ruben, Witch Hazel, and Liam Hayes (Plush). Matthews, who partnered with Davies for duo Cardinal, was considered a leading figure in ork-pop.{{cite magazine|last=Morris|first=Chris|title=Sub Pop Feels the Time Is Right for Eric Matthews|url=https://books.google.com/books?id=3QkEAAAAMBAJ&pg=PA10|date=August 23, 1997|publisher=Nielsen Business Media, Inc.|magazine=Billboard|page=10|issn=0006-2510|access-date=August 27, 2016|archive-date=July 27, 2020|archive-url=https://web.archive.org/web/20200727203233/https://books.google.com/books?id=3QkEAAAAMBAJ&pg=PA10|url-status=live}} Popmatters{{'}} Maria Schurr wrote in a retrospective review of Cardinal's eponymous 1994 debut album; "in some circles, [it has] been called the grunge era's answer to Pet Sounds, and, although it has not been as widely cited as the Beach Boys' classic, it has undoubtedly influenced more off balance indie popsters than one may expect."{{cite magazine|last1=Schurr|first1=Maria|title=Cardinal (reissue)|url=http://www.popmatters.com/review/183675-cardinal-cardinal-reissue/|magazine=Popmatters|date=July 23, 2014|access-date=May 4, 2016|archive-date=June 17, 2016|archive-url=https://web.archive.org/web/20160617025225/http://www.popmatters.com/review/183675-cardinal-cardinal-reissue/|url-status=live}} Music journalist Jim DeRogatis associates the ork-pop and chamber pop movement to bands like Yum-Yum, Cardinal and Lambchop.{{refn|group=nb|In 2004, when asking the Decemberists' bandleader Colin Meloy whether he felt a connection with the movement and the band's work, Meloy answered; "I don't know if we've ever been labeled that before. So much attention gets put on the lyrical content—the songs themselves—that people don't pay as close attention to the arrangements, which is something we're trying to change. ... I think the orchestral side—the cinematic side of the music—is going to come through more and more."{{cite news|work=Chicago Sun-Times|last=DeRogatis|first=Jim|date=June 4, 2004|title=Rock soars to new heights with Decemberists|url=http://www.jimdero.com/News2004/June4Decemberists.htm|author-link=Jim DeRogatis|access-date=May 3, 2016|archive-date=May 31, 2016|archive-url=https://web.archive.org/web/20160531014058/http://www.jimdero.com/News2004/June4Decemberists.htm|url-status=live}}}}

By 2009, the term "chamber pop" had fallen to general misuse, as songwriter/author Scott Miller suggests, it "made more sense applied to the Fleet Foxes than to other bands I've since seen it applied to".{{sfn|Miller|2010|p=22}} He also noted that Pet Sounds had become a ubiquitous object of comparison; "[If people] are happy about that, I have to pinch myself and reflect that I'd never thought I'd see the day."{{sfn|Miller|2010|p=22}} Treblezine{{'}}s Brian Roster wrote that Grizzly Bear's album Veckatimest was a "landmark exploration of the changing landscapes of pop in 2009" that represented an attempt to create "a sort of abridged conclusion to chamber pop's earliest days".

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{{refbegin}}

• {{cite book|last=DeRogatis|first=Jim|author-link=Jim DeRogatis|title=Turn on Your Mind: Four Decades of Great Psychedelic Rock|url=https://books.google.com/books?id=U7cQmRsLgN8C&pg=PA35|year=2003|publisher=Hal Leonard Corporation|isbn=978-0-634-05548-5|access-date=August 27, 2016|archive-date=July 27, 2020|archive-url=https://web.archive.org/web/20200727203311/https://books.google.com/books?id=U7cQmRsLgN8C&pg=PA35|url-status=live}}
• {{cite book|last=Dillon|first=Mark|title=Fifty Sides of the Beach Boys: The Songs That Tell Their Story|url={{google books |plainurl=y |id=QAP0yVAVq3YC}}|year=2012|publisher=ECW Press|isbn=978-1-77090-198-8}}
• {{cite book|last1=Flota|first1=Brian|last2=Fisher|first2=Joseph P.|title=The Politics of Post-9/11 Music: Sound, Trauma, and the Music Industry in the Time of Terror|url=https://books.google.com/books?id=UtOuc1ou4rAC&pg=PA122|year=2013|publisher=Ashgate Publishing, Ltd.|isbn=978-1-4094-9492-8|access-date=August 27, 2016|archive-date=July 27, 2020|archive-url=https://web.archive.org/web/20200727194816/https://books.google.com/books?id=UtOuc1ou4rAC&pg=PA122|url-status=live}}
• {{cite book|last=Janovitz|first=Bill|author-link=Bill Janovitz|title=Rocks Off: 50 Tracks That Tell the Story of the Rolling Stones|url=https://books.google.com/books?id=gI_q8E0YaSwC&pg=PA81|year=2013|publisher=St. Martin's Press|isbn=978-1-250-02631-6|access-date=May 4, 2017|archive-date=July 27, 2020|archive-url=https://web.archive.org/web/20200727193746/https://books.google.com/books?id=gI_q8E0YaSwC&pg=PA81|url-status=live}}
• {{cite book|last1=Kamp|first1=David|last2=Daly|first2=Steven|title=The Rock Snob's Dictionary: An Essential Lexicon Of Rockological Knowledge|url=https://books.google.com/books?id=1xzZlEniKYUC&pg=PA452|year=2005|publisher=Broadway Books|isbn=978-0-7679-1873-2|access-date=April 6, 2017|archive-date=April 7, 2017|archive-url=https://web.archive.org/web/20170407062049/https://books.google.com/books?id=1xzZlEniKYUC&pg=PA452|url-status=live}}
• {{cite book|last=Miller|first=Scott|author-link=Scott Miller (pop musician)|title=Music: What Happened?|url=https://books.google.com/books?id=Aduy1H1mUx0C|year=2010|publisher=125 Records|isbn=978-0-615-38196-1|access-date=November 20, 2016|archive-date=July 24, 2020|archive-url=https://web.archive.org/web/20200724211638/https://books.google.com/books?id=Aduy1H1mUx0C|url-status=live}}
• {{cite book|last=Priore|first=Domenic|author-link=Domenic Priore|title=Smile: The Story of Brian Wilson's Lost Masterpiece|url={{google books |plainurl=y |id=81YIAQAAMAAJ}}|year=2005|publisher=Sanctuary|location=London|isbn=1-86074-627-6}}
• {{cite book|last=Tonelli|first=Christopher|title=Shibuya-kei? O-kei Desu!: Postmodernism, Resistance, and Tokyo Indie Culture|url=https://books.google.com/books?id=xsY4AQAAIAAJ|year=2004|publisher=University of California, San Diego|access-date=August 27, 2016|archive-date=July 27, 2020|archive-url=https://web.archive.org/web/20200727195058/https://books.google.com/books?id=xsY4AQAAIAAJ|url-status=live}}
• {{cite book|last1=Wilson|first1=Brian|author-link1=Brian Wilson|last2=Greenman|first2=Ben|author-link2=Ben Greenman|title=I Am Brian Wilson: A Memoir|url=https://books.google.com/books?id=9CmiBQAAQBAJ|year=2016|publisher=Da Capo Press|isbn=978-0-306-82307-7|access-date=December 28, 2017|archive-date=July 26, 2020|archive-url=https://web.archive.org/web/20200726035714/https://books.google.com/books?id=9CmiBQAAQBAJ|url-status=live}}

{{refend}}

{{Pop music}}

{{Alternative rock}}

Category:20th-century music genres

Category:Alternative rock genres

Category:Indie pop

Category:Baroque pop

Category:Retro style