The introduction to the Ronettes’ “Be My Baby” needs to be heard only once before it is forever burned into the deepest recesses of one’s cranium.

Studio drummer Hal Blaine lays down a simple baion beat – boom-ba-boom (smash), boom-ba-boom (smash). Swathed in unprecedented levels of reverb, it has a cataclysmic effect. Over the next two bars the ante is upped as multiple pianos, guitars, a solitary bass, and an array of auxiliary percussion fill out what had come to be known as producer Phil Spector’s trademark Wall of Sound.