recording". A milestone in the development of rock music, the song, together with the Beatles' Revolver, was a prime proponent in rock's transformation from live concert performances to studio productions that could only exist on record. Musicologist Charlie Gillett called it "one of the first records to flaunt studio production as a quality in its own right, rather than as a means of presenting a performance". In a 1968 editorial for Jazz & Pop, Gene Sculatti predicted: Writing for Popmatters in 2015, Scott Interrante stated: "'Good Vibrations' changed the way a pop record could be made, the way a pop record could sound, and the lyrics a pop record could have." The recording contains previously untried mixes of instruments, and it was the first pop hit to have cellos in a juddering rhythm. Microtonal composer Frank Oteri said that it "sounds like no other pop song recorded up to that point". According to Stebbins: "This signature sound would be duplicated, cloned, commercialized, and re-fabricated in songs, commercials, TV shows, movies, and elevators to the point of completely diluting the genius of the original. But 'Good Vibrations' was probably the quintessential 'sunshine pop' recording of the century." He added that the single "vaulted nearly every other rock act in their delivery of a Flower Power classic. It was just strange enough to be taken seriously, but still vibrant, happy, accessibly Beach Boys-esque pop." John Bush wrote that the single "announced the coming era of pop experimentation with a rush of riff changes, echo-chamber effects, and intricate harmonies". Gillett noted: "For the rest of the sixties, countless musicians and groups attempted to represent an equivalently blissful state, but none of them ever applied the intense discipline and concentration that Wilson had devoted to the recording." Priore says that the song was a forerunner to works such as Marvin Gaye's What's Going On (1971) and Isaac Hayes' Shaft (1971) which presented soul music in a similar, multi-textured context imbued with ethereal sonic landscapes. In his appraisal for American Songwriter, Roland cites the song's "format" as the model for recordings by Wings ("Band on the Run"), the Beatles ("A Day in the Life"), and Elton John ("Funeral for a Friend/Love Lies Bleeding"). The song's approach was repeated in Queen's 1975 single "Bohemian Rhapsody", which was similarly pieced together using different sections. Wilson praised Queen's effort, calling it "the most competitive thing that's come along