were officially released as downloadables on Wilson's official website. The Love You sessions marked the first time that Brian was given full reign on 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 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 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 used orchestras of organic instruments, electronic sounds pervade Love You, with Brian more reliant on the Moog synthesizer than he had been on 15 Big Ones. All of the bass lines were performed by him on 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 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 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