something like that." Brian played the show in Houston later that day, but was substituted by session musician Glen Campbell for the rest of the tour dates. This was the first time Wilson had skipped concert dates with the Beach Boys since 1963. Over the next month, the group returned to studio sessions and finished the tracks that formed The Beach Boys Today!. Wilson ultimately declared to his bandmates that he would be withdrawing from future tours for an indefinite period of time. He said, "I told them I foresee a beautiful future for the Beach Boys group, but the only way we could achieve it was if they did their job and I did mine." According to Barry Mann and Cynthia Weil, Wilson had been considering retiring from the music industry, but changed his mind upon hearing their recent song "You've Lost That Lovin' Feelin'" (produced and co-written by Phil Spector). Wilson later told a journalist that his decision to quit touring was a byproduct of his "fucked up" jealousy over Spector and the Beatles. Journalist Nick Kent wrote that Wilson had also been "listening intently" to the work of Burt Bacharach and Hal David. Style Orchestrations and concept The Beach Boys Today! marked a stylistic departure from previous Beach Boys LPs and was their most musically sophisticated to date, featuring more complex and innovative arrangements. Academic Jadey O'Regan identified the album as the start of a period in which the band focused predominately on "unexpected structures and chordal movements, dense vocal harmonies, and a wide variety of orchestral textures not often heard in popular music of the time." However, musicologist Phillip Lambert disagreed with the notion that "Brian wrote B-side songs before his December catharsis and A-side songs in the sunny glow of his subsequent freedom", believing that the compositions which preceded his plane episode still showed evidence of progressive ingenuity. Today! was arranged as a concept album, with the first side of the record consisting of uptempo songs and the other side consisting of ballads. As music historian James Perone writes, "it was organized in such a way as to explore moods that extended from song to song. In other words, more than anything else Wilson had produced before, it was a coherent work and not just a collection of stand-alone songs." However, the thematic consistency is undercut by the presence of a filler track, "Bull Session