Good Vibrations

Context: Another tape splice occurs at 2:13, transitioning to an electric organ playing sustained chords set in the key of F accompanied by a maraca shaken on every beat. Sound on Sound highlights this change as the "most savage edit in the track ... most people would go straight into a big splash hook-line section. Brian Wilson decided to slow the track even further, moving into a 23-bar section of church organ ... Most arrangers would steer clear of this kind of drop in pace, on the grounds that it would be chart suicide, but not Brian." Harrison says:  The appearance of episode 1 was unusual enough but could be explained as an extended break between verse and refrain sections. Episode 2 however, makes that interpretation untenable, and both listener and analyst must entertain the idea that "Good Vibrations" develops under its own power, as it were, without the guidance of overdetermined formal patterns. Brian's  [sic] own description of the song--a three-and-a-half-minute 'pocket symphony'--is a telling clue about his formal ambitions here.  The slowed pace is complemented by the lyric ("Gotta keep those loving good vibrations a-happening with her"), sung once first as a solo voice, with the melody repeated an octave higher the second time with an accompanying harmony. This two-part vocal fades as a solo harmonica plays a melody on top of the persistent quarter-note bass line and maraca that maintain the only rhythm throughout Episode 2. The section ends with a five-part harmony vocalizing a whole-note chord that is sustained by reverb for a further four beats. Lambert calls it the song's "wake-up chord at the end of the meditation that transports the concept into a whole new realm: it's an iconic moment among iconic moments. As it rouses us from a blissful dream and echoes into the silence leading into the chorus, it seems to capture every sound and message the song has to say."  Virtually every pop music critic recognizes "Good Vibrations" as one of the most important compositions and recordings of the entire rock era. It is a regular fixture on "greatest of all-time" song lists and is frequently hailed as one of the finest pop productions of all time. In 2004, Rolling Stone magazine ranked "Good Vibrations" at number 6 in "The 500 Greatest Songs of All Time", the highest position of seven Beach Boys songs cited in the list. In 2001, the song was voted 24th in the RIAA and NEA's Songs of the Century list. As of 2016, "Good Vibrations" is ranked as the number four song of all time in an aggregation of critics' lists at Acclaimed Music.  The song served as an anthem for the counterculture of the 1960s. According to Noel Murray of The A.V. Club, it also helped turn around the initially poor perception of Pet Sounds in the US, where the album's "un-hip orchestrations and pervasive sadness [had] baffled some longtime fans, who didn't immediately get what Wilson was trying to do." Encouraged by the single's success, Wilson continued working on Smile, intending it as an entire album incorporating the writing and production techniques he had devised for "Good Vibrations". "Heroes and Villains", the Beach Boys' follow-up single, continued his modular recording practices, spanning nearly thirty recording sessions held between May 1966 and June 1967.  In contrast to the acclaim lavished on the song, some of Wilson's pop and rock contemporaries have been tempered in their praise of "Good Vibrations". When asked about the song in 1990, Paul McCartney responded: "I thought it was a great record. It didn't quite have the emotional thing that Pet Sounds had for me. I've often played Pet Sounds and cried. It's that kind of an album for me." Pete Townshend of the Who was quoted in the 1960s as saying, "'Good Vibrations' was probably a good record but who's to know? You had to play it about 90 bloody times to even hear what they were singing about." Townshend feared that the single would lead to a trend of overproduction. In a 1966 issue of Arts Magazine, Jonathan King said: "With justification, comments are being passed that 'Good Vibrations' is an inhuman work of art. Computerized pop, mechanized music. Take a machine, feed in various musical instruments, add a catch phrase, stir well, and press seven buttons. It is long and split. ... impressive, fantastic, commercial--yes. Emotional, soul-destroying, shattering--no." In the 2000s, record producer Phil Spector criticized the single for depending too much on tape manipulation, negatively referring to it as an "edit record ... It's like Psycho is a great film, but it's an 'edit film.' Without edits, it's not a film; with edits, it's a great film. But it's not Rebecca ... it's not a beautiful story." CANNOTANSWER

Question: What are some other thoughts people had about Good Vibrations other than Noel Murray?
Answer: In a 1966 issue of Arts Magazine, Jonathan King said: "With justification, comments are being passed that 'Good Vibrations' is an inhuman work of art.