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乐队：the Zombies

　　[歌词大意]

　　Time of the Season 爱的季节

　　It's the time of the season 这是爱的季节，

　　1)When the love runs high 爱情的火焰高涨

　　In this time, give it to me easy 在这个时节，请放松

　　And let me try 让我满怀喜悦

　　With pleasured hands 用我的双手，

　　To take you and the sun to 把你和阳光

　　2)Promised lands 带往世外桃源。

　　To show you every one 介绍你认识所有人，

　　It's the time of the season for loving 这是恋爱的季节。

　　What's your name? 你叫什么名字？

　　(What's your name?) (你叫什么名字？)

　　Who's your daddy? 你的爸爸是谁？

　　(Who's your daddy? He rich?) (你的爸爸是谁？他有钱吗？)

　　Is he rich like me? 他像我一样有钱吗？

　　Has he taken 他有没有

　　(Has he taken) (他有没有)

　　Any time 花时间

　　(Any time to show) (花时间告诉你)

　　To show you what you need to live? 告诉你要怎样生活？

　　Tell it to me slowly 慢慢地告诉我。

　　Tell you what? 你知道吗？

　　I really want to know 我真的很想知道。

　　It's the time of the season for loving 这是恋爱的季节。

　　Aside from the Beatles and perhaps the Beach Boys, no mid-'60s rock group wrote melodies as gorgeous as those of the Zombies. Dominated by Colin Blunstone's breathy vocals, choral backup harmonies, and Rod Argent's shining jazz- and classical-influenced organ and piano, the band sounded utterly unique for their era. Indeed, their material -- penned by either Argent or guitarist Chris White, with unexpected shifts from major to minor keys -- was perhaps too adventurous for the singles market. To this day, they're known primarily for their three big hit singles, "She's Not There" (1964), "Tell Her No" (1965), and "Time of the Season" (1969). Most listeners remain unaware that the group maintained a remarkably high quality of work for several years.

　　The Zombies formed in the London suburb of St. Albans in the early '60s, and actually didn't entertain serious professional ambitions until they won a local contest, the prize being an opportunity to record a demo for consideration at major labels. Argent's composition "She's Not There" got them a deal with Decca, and the song ended up being their debut release. It was a remarkably confident and original first-time effort, with a great minor melody and the organ, harmonies, and urgent, almost neurotic vocals that would typify much of their work. It did well enough in Britain (making the Top 20), but did even better in the States, where it went to number two.

　　In fact the group would experience a lot more success across the waters than they did at home throughout their career. In early 1965, another piece of classic British Invasion pop, "Tell Her No," went into the Top Ten. Yet that was as much Top 40 success as the group would have for several years.

　　The tragedy was that throughout 1965 and 1966, the Zombies released a string of equally fine, intricately arranged singles that flopped commercially, at a time in which chart success on 45s was a lot more important to sustain a band's livelihood than it would be a few years down the road. "Remember When I Loved Her," "I Want You Back Again," "Indication," "She's Coming Home," "Whenever You're Ready," "Gotta Get a Hold of Myself," "I Must Move," "Remember You," "Just out of Reach," "How We Were Before" -- all are lost classics, some relegated to B-sides, that went virtually unheard, all showing the group eager to try new ideas and expand their approaches.

　　What's worse, the lack of a big single denied the group opportunities to record albums -- only one LP, rushed out to capitalize on the success of "She's Not There," would appear before 1968.

　　Their failure to achieve more widespread success is a bit mystifying, perhaps explained by a few factors. While undeniably pop-based, their original compositions and arrangements were in some senses too adventurous for the radio. "Indication," for instance, winds down with a lengthy, torturous swirl of bitter organ solos and wordless, windblown vocals; "Remember When I Loved Her," despite its beautiful melody, has downbeat lyrics that are almost morbid; "I Want You Back Again" is arranged like a jazz waltz, with the sorts of sudden stops, tempo shifts, and lengthy minor organ solos found in a lot of their tunes. The group were also, perhaps unfairly, saddled with a somewhat square image; much was made of their formidable scholastic record, and they most definitely did not align themselves with the RB-based school of British bands, preferring more subtle and tuneful territory.

　　By 1967, the group hadn't had a hit for quite some time, and reckoned it was time to pack it in. Their Decca contract expired early in the year, and the Zombies signed with CBS for one last album, knowing before the sessions that it was to be their last. A limited budget precluded the use of many session musicians, which actually worked to the band's advantage, as they became among the first to utilize the then-novel Mellotron to emulate strings and horns.

　　Odessey and Oracle was their only cohesive full-length platter (the first album was largely pasted together from singles and covers). A near-masterpiece of pop/psychedelia, it showed the group reaching new levels of sophistication in composition and performance, finally branching out beyond strictly romantic themes into more varied lyrical territory. The album passed virtually unnoticed in Britain, and was only released in the States after some lobbying from Al Kooper. By this time it was 1968, and the group had split for good.

　　The Zombies had been defunct for some time when one of the tracks from Odessey, "Time of the Season," was released as a single, almost as an afterthought. It took off in early 1969 to become their biggest hit, but the members resisted temptations to reform, leading to a couple of bizarre tours in the late '60s by bogus "Zombies" with no relation to the original group. By this time, Rod Argent was already recording as the leader of Argent, which went in a harder rock direction than the Zombies. After a spell as an insurance clerk, Blunstone had some success (more in Britain than America) in the early '70s as a solo vocalist, with material that often amounted to soft-rock variations on the Zombies sound.Much more influential than their commercial success would indicate, echoes of the Zombies' innovations can be heard in the Doors, the Byrds, the Left Banke, the Kinks, and many others.

　　如果你对60年代那著名的“不列颠入侵”(British Invasion)有所了解的话，相信你一定会记得一支名为“僵尸”(The Zombies)的乐队，做为这次运动的中坚力量。The Zombies由主音Colin Blunstone、键盘手Rod Argent、结他手Paul Atkinson，鼓手Hugh Grundy及低音Chris White组成。他们曾经和“甲壳虫”(The Beatles)、“滚石”(The Rolling Stone)等乐队一起成功的在美国掀起一场英伦风暴，可惜的是这样一支非常有潜力的乐队最终却因为内部问题而在成立短短几年后便解散，实在让人为之惋惜。据说他们各分东西后，在美国居然还有人不断冒他们之名到处演出，且大受欢迎，而在民谣界享用盛誉的“飞鸟”(The Byrds)在定义自我创作时也曾经说过有11%的灵感来自“僵尸”的音乐，从这两点也可以看出在当时“僵尸”确实是一支非常受人欢迎的乐队。

　　1. 这首歌出现在Friends《六人行》的第三季第6集当中，几个好朋友回忆几年前在各自身上发生的一些事情，Rachel也想起了和Chandler的一段往事，这首歌就在这个时候响起。我们来看歌词，It's the time of the season，When the love runs high 这是爱的季节，爱情的火焰高涨。When the love runs high这句话是用来修饰前面的season的。

　　2. promised lands 在《圣经》中是上帝许给以色列人的肥沃土地，也可以用来指“期望中的乐土和安乐境界”。promise大家都知道是“许诺，承诺”的意思，形容词形式是promising，表示“有出息的，有前途的，有希望的”，比如说，He is a young promising pianist. 他是一个有前途的钢琴家。It's a promising sign. 这是一个很好的迹象。

　　3. be+形容词 like sb这个表达方式表示“在…方面像…一样”。He is naughty like you. 他像你一样淘气。

　　4. take some time to do sth表示“花时间做某事”，比如说，You should take some time to listen to your son. 你应该花点时间听听你儿子的心事。

　　5. live在这里表示“以某种方式生活”，比如说，He lived and died bachelor. 他一辈子独身。She wanted to live a peaceful life. 她想过平静的生活。

　　6. Tell you what?这句话并不是一个真正的问句，而是经常用在句子的开头，目的是引起对方的注意，比如说，Tell you what? My mom is coming this weekend. 告诉你吧，我妈妈这周末要来。