was to have sung the lead vocal, but due to a bout of laryngitis, Carl replaced him at the last minute. In early September, the master tapes for "Good Vibrations" were stolen. Mysteriously, they reappeared inside Brian's home two days later. On September 21, Brian completed the track after Tanner added a final Electro-Theremin overdub. In 1976 he elaborated on the event: "It was at Columbia. I remember I had it right in the sack. I could just feel it when I dubbed it down, made the final mix from the 16-track down to mono. It was a feeling of power, it was a rush. A feeling of exaltation. Artistic beauty. It was everything ... I remember saying, 'Oh my God. Sit back and listen to this!'" Composition and analysis Genre and dynamics There are six unique sections to the piece. Music theorist Daniel Harrison refers to these sections individually as the verse, the refrain (or chorus), the "first episodic digression", the "second episodic digression", the "retro-refrain", and the coda. Each has a distinct musical texture, partly due to the nature of the song's recording. The track's instrumentation changes radically from section to section, and for the AM radio standards of late 1966, the song's final runtime (3 minutes 35 seconds) was considered a "very long" duration. Wilson is quoted in 1979: He characterized the song as "advanced rhythm and blues". Tom Roland of American Songwriter described the piece, "with its interlocking segments—a sort of pop version of the classical sonata, consisting of a series of musical movements". New York Magazine compared it to "a fugue with a rhythmic beat". John Bush compared the track's fragmented cut-and-paste style to 1960s experimentalists such as William S. Burroughs. Music journal Sound on Sound argued that the song "has as many dramatic changes in mood as a piece of serious classical music lasting more than half an hour". It explained that the song subverts pop forms to a considerable degree: According to historian Lorenzo Candelaria, "Good Vibrations" has since been marketed as pop music "possibly because it comes across relatively innocent compared with the hard-edged rock we have since come to know." Uncut called the song "three minutes and thirty-six seconds of avant-garde pop". Mixdown described it as a "masterpiece of avant-pop". The theremin and cello has been called the song's "psychedelic ingredient". In his book discussing music of the counterculture era, James