不怎么喜欢The Beach Boys土土的录音，就合唱还是The Crystals强，毕竟R&B里面有个B，曲风就感觉比Rock要有更多的response,特别还是黑人唱的。不过歌其实就是pop。歌写自Phil Spector,借鉴于”There’s No Other Like My Jesus”，对于这种高大上的早期黑人pop，我们除了自己听外，还是来看看作曲者本人(Phil Spector，Wall of Sound录音开创者,看过imagine里他很酷的穿着和对Lennon讲话么，非常深沉，果断，神秘的强人，加个13年纪录电影的地址：点击)是怎么说的吧。

(下划线单词简译，括号内为自己补充的)

FROM  ‘Phil Spector: Out of His Head’ , AUTHORS  ‘Richard William’

The secularized(secularized) version, solidly based on a standard doo-wop harmonic cycle, was a fine song with an indelible chorus and a seamless verse, its gospel antecedents gave it a natural rawness reminiscent of ‘Maybe ‘, a big hit in 1958 for Arlene Smith’s Chantels(Maybe – Chantels), the precursors of the Shirelles(The Shirelles).

Young Barbara Alston took the lead here, singing her heart out, particularly on the lonely, suspenseful, out-of-tempo intro. In terms of aural scale, it was quite a big record, too: in the cooing of the other girls behind Barbara on the verse can be heard an inkling of what the Ronettes would be doing in a couple of years’ time.

Listen also to the production job on Gary Chester’s drums, to the way the ride cymbal swishes fluidly in 12/8 time while the snare lets loose a hard, echoey backbeat. There are strings on this cut, too, arranged by Arnold Goland, but even when the strings aren’t playing, the track sounds much fuller than the basic instrumentation of piano(Mike Spencer),guitars(Bob Bushnell and Wallace Richardson), bass(Richard Zeigler), and Chester’s drums would suggest.

（secularized:世俗的;doo-wop:一种重唱形式;indelible:难忘的;reminiscent:回忆;suspenseful:令人紧张的;cooing:柔声的;inkling:暗示;cooing:共鸣）

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