elegant Burt Bacharach-inspired string and horn arrangement and Campbell's forlorn Roy Orbison-like vocal." Release Three tracks from the album were issued on two singles in the months prior the LP's release. "When I Grow Up (To Be a Man)" (B-side "She Knows Me Too Well") was issued on August 24 and peaked at number 9 in the US and number 27 in the UK. On October 26, it was followed with "Dance, Dance, Dance", reaching number 8 in the US and number 24 in the UK. On November 28, the band were filmed for the concert film T.A.M.I. Show, playing "Dance, Dance, Dance" and other hits. From January 27 to February 27, 1965, the band toured North America, with Campbell again substituting for Wilson. On February 15, "Do You Wanna Dance?" (B-side "Please Let Me Wonder"), was issued as the third single, peaking at number 12 in the US. On February 28, the band (with Brian) appeared on Shindig! performing "Do You Wanna Dance?" and a truncated version of "Please Let Me Wonder". Released on March 8, The Beach Boys Today! was a great commercial success, rising to number four in the Billboard charts on May 1. In April, a rerecorded version of "Help Me, Ronda" (retitled "Help Me, Rhonda") was issued as a single, becoming the group's second number-one hit in the US. This version of the song was included on the band's next LP, Summer Days (And Summer Nights!!), released in July. On October 1, the RIAA awarded Today! gold certification, indicating over 500,000 units sold. In the UK, the album was released in April 1966 and peaked at number 6. Reviewing the album for London Life, Barry Fantoni described the "marvellous" production and numerous "really beautiful tunes" as displaying the Beach Boys at their peak. Retrospective assessments The Beach Boys Today! remains a "highly acclaimed" album, although most of the critical attention has been reserved for the second side of the record. Writing in the book Icons of Rock, Scott Schinder highlighted the ballad side as "startling, both in their lyrical vulnerability and their distinctive arrangements." Petridis opined that the "overlooked first half is equally fascinating" for its emotional content, noting that "even the filler of Don't Hurt My Little Sister carries a slightly dark undercurrent." On the band's subsequent releases, Wilson's writing and production style continued to grow in its sophistication, to the extent that writers