what they fought about, leaving them both brokenhearted." Dillon cited it as "a ballad that pleaded for the romantic reconciliation [Wilson] anticipated with Marilyn." Conversely, Interrante said that the track is different from the album's other songs in that it "doesn't seem to lyrically parallel Brian Wilson’s personal life at the time" and focuses "on coming to terms with the present" rather than anticipating the future. The arrangement features basses, guitars, saxophone, pianos, vibraphone, drums, and temple blocks—the sound of the latter percussion soon became a signature for Wilson– as well as English horn and French horn. Doo-wop style background vocals sing "Kiss a little bit, fight a little bit" repetitively throughout the chorus and outro. Interrante described the song as among Wilson's "most interesting compositions" in addition to containing "some of the thickest and most beautiful harmonies the group had pulled off up to that point." Biographer Jon Stebbins praised "Kiss Me, Baby" as "the pinnacle of balladry", one of the group's "most romantic and emotional songs", and "a mammoth artistic achievement". A vocals-only mix was included on the 2003 compilation Hawthorne, CA. "She Knows Me Too Well" "She Knows Me Too Well" showcases a narrator who is critical of how he treats his girlfriend and admits to having jealousy and double standards in the relationship. However, he convinces himself that his emotional abuse is fine, since it is mitigated by the fact that "she can tell I really love her". Wilson considered the song to be an homage to Burt Bacharach. It was the first track attempted for the album, although the original recorded version, made in June 1964, was scrapped in favor of a remake that was cut in August, during the same session for "When I Grow Up". The high-pitched percussion sound was made by hitting a screwdriver on a microphone boom pole. "In the Back of My Mind" "In the Back of My Mind" is about someone who describes themselves as "blessed with everything", yet has unfounded suspicions that his happy relationship will someday disintegrate. It features a dissonant orchestration and instruments such as saxophone, strings, and oboe. Dennis Wilson sang the lead without the accompaniment of any vocal harmonies. It is one of the group's songs that most heavily draw from the Tin Pan Alley style of songwriting, and in Lambert's assessment, the chord patterns "are virtually unprecedented in Brian's work." It ends with