Here’s a confession… This dazzling Spector-produced one-off single by the Modern Folk Quartet is easily one of my all-time favorite Wall of Sound productions. So this latest installment of the odds & ends section can hardly be said to be unbiased. I just utterly cherish this song and for the life of me can’t fathom why the Tycoon of Teen decided to keep this bouncy pop gem under wraps for so long!
Allegedly, Brian Wilson of the Beach Boys was present when Spector and the Wrecking Crew laid down the backing track for this majestic tour-de-force and the song made a lasting impression on him. In interviews he has often singled it out as a favorite even going so far as to record his own cover version of it for a Harry Nilsson tribute album. Why, if he indeed was at the session, Hawthorne’s finest may very well be among the gazillion people heard emphasizing the backbeat with hand claps during the song’s middle section! I’ve always loved that part of the song in particular. It’s a classic goose bumps-type moment where it sounds as if Spector rounded up everyone in 60s LA to make them clap in unison at Gold Star.
As is so typical with the most extreme Spector productions, you almost forget who the artist is. Sure, the track credit says the Modern Folk Quartet alright, but since they didn’t write the song or can be clearly heard playing their instruments or singing the folksy harmonies on their more restrained 60s efforts this sonic assault has ‘Spector’ stamped all over it. At the risk of being engulfed by a swamp of swirling instruments Henry Diltz succeeds in cutting through the wall with a passionate lead vocal.
Kudos in particular to Harry Nilsson for supplying Spector with a song like this. The pair also worked on the stellar ‘Paradise’ and the interesting ‘Here I Sit’ by the Ronettes. It’s a shame their working relationship was so short-lived. Here’s a super piano version of the song by Nilsson pitched to the Monkees a few years after the MFQ recording:
Incredibly, despite the fact that the song was used for the intro credits scene to the iconic Big TNT show concert film, Spector defied logic by allowing ‘This Could be the Night’ to linger in the vaults for a decade. It finally saw the light of day in the mid-70s on one of the Rare Masters compilations along with other incredible could-have-been hits such as ‘Paradise’ or ‘I Wish I Never Saw the Sunshine’ by the Ronettes.
Why Spector inexplicably decided not to release it we’ll never know. Maybe his notorious insecurities were in full force at a time that was clearly a transition period for him? The mid-60s certainly saw him experience with various adaptions of the Wall of Sound to match somewhat the popular genres of the day. If you listen to ‘This Could be the Night’ in that context you’ll probably pick up little details that, with the Wall of Sound still fully in place, reveals that Spector and his team had studied both folk-rock and the emerging sunshine pop sound.
The MFQ of course had close ties to the former, whereas the latter was about to really catch on nationwide, for instance by way of singles such as ‘Just my Style’ by Gary Lewis & the Playboys, ‘Happy Together’ by the Turtles or ‘The Rain, the Park and Other Things’ by the Cowsills. Obviously, those hits were way more simplistic production-wise and also emphasized harmonies much more than ‘This Could be the Night’ but I feel these songs share the same type of über-catchy, bounc and almost anthemic structure that defined a lot of the era’s harmony heavy and often Beach Boys-inspired LA pop.
It’s interesting to ponder what direction Spector and the MFQ could have followed hot on the heels of an actual mid-60s release of the song. Would it have been a hit? Who knows? But if so, it certainly would have given Spector another try at consistent chart action at a time where his magic with the Righteous Brothers was about to wane due to personal differences.
It has always amazed me that a song this good hasn’t been covered more but there’s been a few, typically fairly faithfull to the original Spector production. Here’s a different approach by David Cassidy from 1975 where the song is slowed down considerably,… and what do you know? It works very well. It’s a shame Spector didn’t do the same during his infamous 70s sessions.
Finally, let’s conclude with a nice, if a bit shaky, version by the current MFQ line-up. Very nice in this stripped-down approach,…. Which only reinforces Spector’s own long-held opinion; that it always starts with the song. If the song is not strong enough, the Wall of Sound can only take it so far.