Editing Pet Sounds (section)

===Other contemporary influences, jazz, and pre-rock 'n' roll pop===
[[File:Rodgers and Hammerstein and Berlin and Tamiris NYWTS.jpg|thumb|upright=1.15|left|Asher and Wilson modeled ''Pet Sounds'' after [[Tin Pan Alley]]'s songwriting craftmanship (pictured in 1948; [[Rodgers and Hammerstein]] with [[Irving Berlin]])]]

Asher disputed the notion that he and Wilson had followed templates set by the Beatles or rock in general, recalling Wilson aimed to craft "classical American love songs" akin to [[Cole Porter]] or [[Rodgers and Hammerstein]].{{sfn|Carlin|2006|p=77}} During their collaboration, they exchanged musical influences, with Asher introducing Wilson to [[jazz]] recordings, being promptly "blown away" by records such as [[Duke Ellington]]'s "[[Sophisticated Lady]]" (1932) and [[Hampton Hawes]]' "[[All the Things You Are]]" (1955).{{sfn|Granata|2003|p=139}}{{refn|group=nb|Asher also shared standards like "Stella by Starlight", believing their harmonic complexity would appeal to Wilson's interest in unconventional progressions, such as those in "[[The Warmth of the Sun]]" (1964).{{sfn|Granata|2003|pp=138–139}}}} Asher remembered Wilson's limited familiarity with [[Tin Pan Alley]] songs and orchestral jazz structures: "He didn't know much about jazz or jazz standards, but he knew [[the Four Freshmen]]."{{sfn|Granata|2003|pp=138–139}} Drawing from his own studio experience, Asher advocated for incorporating classical instruments like violins, cellos, and [[bass flute]]s into the arrangements.{{sfn|Dillon|2012|p=93}}

In 1966, Wilson likened his work to that of the [[Burt Bacharach]] and [[Hal David]] songwriting team.{{sfn|Priore|2005|p=64}} [[Nelson Riddle]]'s orchestral arrangements also influenced Wilson's approach,{{sfn|Toop|1999 |p=134}} and biographer [[Jon Stebbins]] felt Riddle's impact was more pronounced than Spector's on the album.{{sfn|Stebbins|2011|pp=74–75}}{{refn|group=nb|Musician [[Jim Irvin]] agreed that the "dense, lush arrangements" were indebted "at least as much to Nelson Riddle" as they were to Spector's arranger, [[Jack Nitzsche]].{{sfn|Irvin|2007|p=64}}}} Reflecting in 1996, Wilson characterized his collaboration with Asher as operating on a "little wavelength", emphasizing artistic integrity over competition with contemporaries like Spector or [[Motown]]: "It was [...] to do it the way you really want it to be."<ref name="BrianWilson1997" />{{refn|group=nb|In a March 1966 interview, Wilson acknowledged contemporary music trends' influence on his work,<ref name="MelodyMakerBlast" /> though Marilyn later stated he was singularly focused on creating "the greatest rock album ever", unconcerned with industry developments.{{sfn|Granata|2003|p=70}} }}