with the "Big Daddy"", placed at the very end of the album. Many of Wilson's new songs were written under the influence of marijuana, as his 2016 memoir suggested, "smoking a little bit of pot ... changed the way I heard arrangements." Further on the subject, he commented in an interview, "It opened some doors for me, and I got a little more committed to music than I had done before, more committed to the making of music for people on a spiritual level." Journalist David Howard argued that Wilson's use of marijuana had an "immediate effect" on his writing and production style, influencing the slower tempos, "more expansive" arrangements, introspective lyrics, as well as his "thinking in regard to the recording process ... his productions became denser and richer." Unlike their prior records, none of the songs feature just basic rock instrumentation as accompaniment (drums, bass, guitar, piano, organ, vocals). Seven of the eleven songs feature orchestral-style instrumentation, while the remaining four use basic rock set-ups as a foundation, being augmented with other instruments that the band members themselves could not play. Also featured are a range of percussion instruments, from sleigh bells and timbales to triangles. Producer Phil Ramone stated that Wilson began employing "adjacent things—like a woodwind quartet with an accordion underneath. We hadn't heard that before—not in pop music. Claude Thornhill or Gil Evans might have used these voicings in their jazz arrangements, but from this point on Brian began introducing some incredible instrumental clusters to mainstream pop music." Owing to the greater number of ballads, Wilson invokes his signature falsetto nine times on the record, the most he had on a Beach Boys album since 1963's Surfer Girl. Unusually, Dennis Wilson sang lead on the first and last songs on the album ("Do You Wanna Dance?" and "In the Back of My Mind"). This was because Brian had felt that Dennis "never really had a chance to sing very much", and so he gave him more leads on the album. Themes and musical structures Lyrically, Wilson developed a more personalized, semi-autobiographical approach, with his songs written from the perspective of vulnerable, neurotic, and insecure narrators. All of the songs are expressed from a first-person perspective, and none of them involve themes related to cars or surfing. Instead, they offer a matured take on romantic relationships, as well as being more introspective, relating to such themes