Category Archives: Various

Brother Bobby Gets his Due

All Cue Castanets readers should definately make a mental note of April the 28th because this date sees the release of what looks like a really interesting Bobby Hatfield compilation by UK label Ace Records.

bobby

The lovingly compiled and brilliantly annotated compilations from Ace Records have of course for decades been god-sends for all fans of classic 60s music, none the least those who crave the heavy thump of the Wall of Sound. We have Ace and its knowledgeable compilers like Mick Patrick and Tony Rounce to thank for must-buy sets like the Phil’s Spectre series, the three Jack Nitszche volumes and an on going songwriters series covering a veritable ‘who’s who’ of the Brill Building scene.

PhilsSpectre123
The three volumes in the Phil’s Spectre series.

Turns out that Ace has turned its attention to legendary blue eyed soulster Bobby Hatfield whose incredible pipes intertwined with Bill Medley’s on some of Spector’s most majestic productions. In my book, the singles and assorted album tracks Spector cut with the Righteous Brothers are at the pinnacle of the Wall of Sound.

rb

‘You’ve Lost that Lovin’ Feeling’, ‘Just Once in my Life’, ‘Hung on You’, ‘Ebb Tide’, White Cliffs of Dover’… Pure magic. Wearing your emotions on your vocal sleeve amid an abyss of echo and over-the-top backing has never sounded so good before or since. And yet, even though Bobby Hatfield’s stellar performance catapulted the Righteous Brothers take of ‘Unchained Melody’ to evergreen status, Bobby has arguably been somewhat overshadowed by his deeper-voiced brother. (and according to legend; Spector didn’t even produce the session despite the credit)

Bill Medley sang on the majority of the duo’s hits, at least during their mid-to-late 60s hey day, and he also had the more succesful solo career. At one point, Bobby Hatfield even had to team up with Medley-soundalike Jimmy Walker to continue recording and touring under the Righteous Brothers name.

But Bobby could hold his own – his voice was truly otherworldly when he sang in his upper register or sugarcoated songs with an effortless falsetto – case in point; check out the Righteous Brothers version of ‘I Believe.’

It is very satisfying to see that Ace has decided to put the spotlight firmly on Bobby’s cache of songs, both released and unreleased. The aptly titled ‘The Other Brother – a Solo Anthology 1965-70’ looks like a mouth-watering collection, not only highlighting the best and most interesting releases from Bobby’s struggling solo career,… but also treating listeners to some gems that never saw the light of day.

othbroth

It’ll be interesting to hear the newly unearthed tracks, none the least an unreleased version of the Ronettes classic that is ‘Paradise.’ I can’t wait to hear how Bobby tackled this fantastic song and to hear the extent of the production, whether it follows the style and arrangement of the then unreleased Ronettes version or perhaps represents a grittier, more soulful take.

‘The Other Brother – a Solo Anthology 1965-70’ is out on Ace Records on April 28th: https://acerecords.co.uk/the-other-brother-a-solo-anthology-1965-1970

A Few Interviews of Interest

Here’s a little something that just sort of popped up out of the blue the other day when I routinely searched for some Spector-related stuff online.

Music journalist Steve Escobar has a website where he has published a few of his interview with musicians – and lo-and-behold; if you’re a fan of Spector as well as the 60s LA recording scene, there are a few interviews on there that would be of interest.

nancy

Off you go; Brian, Glen, Hal, Jackie, Johhny, and Nancy are all ready to tell you a bit about their musical adventures…

Brian Wilson (proving once again he’s not the most talkative interview subject!)

http://www.steve-escobar.com/?p=20

Glen Campbell

http://www.steve-escobar.com/?p=208

Hal Blaine

http://www.steve-escobar.com/?p=13

Jackie de Shannon

http://www.steve-escobar.com/?p=85

Johnny Rivers

http://www.steve-escobar.com/?p=73

Nancy Sinatra

http://www.steve-escobar.com/?p=76

jackie

Re-imagining the Wall of Sound

Maybe I should put the spotlight on UK-based engineer / producer Phil Chapman for my next installment of the ‘Would-be Spectors’ series, because his current remixing project of both Spector releases and likeminded tracks will surely interest Cue Castanets readers.

Through the years Chapman has of course worked professionally on numerous recording projects of interest to Wall of Sound fans, but his latest endavour is merely for the fun of it and due to his recent acquisition of some new recording and mixing equipment. The results are sure to impress you. It’ll hit you and it’ll feel like a kiss, alright!

A while back I wrote about his fantastic mix of ‘I Can Hear Music’ by the Ronettes, – surely, you’ll agree that this new mix with added layers blows the original out of the water?

https://cuecastanets.wordpress.com/2016/09/02/1618/

This time, Phil Chapman has worked his magic on that most extremely gargantuan production that is ‘I Wonder’ by the Crystals. In its original version a massive monophonic monster that I have previously written about in my ‘Odds & Ends’ feature where I sometimes highlight specific, overlooked Spector productions.

So I was pleased to hear Chapman’s elaborate mix with added layers and all sorts of details that keep the spirit of the original firmly in place but attempts “to give give it the same impact today as it had in ’64” as he writes on youtube. Enjoy this sensational remix.

As if this wasn’t enough, Chapman has also been working on an equally over-the-top mix of Jackie Trent’s Spectoresque ‘If You Love Me’ from the same year.

Produced by her husband Tony Hatch, probably the closest the UK came to having its own Bacharach, in its original version this very catchy song stands as a worthy attempt at recreating the magic sound of Spector and the Wrecking Crew.

Chapman builds on this foundation with some choice samples and added layers to emphasize the production’s dynamics. It works very, very well, even in this rough, unfinished mix.

I’ll leave you then with a nice slab of British wall of sound with all engines go!

 

 

High Definition Ronettes

There’s an interesting page on Facebook, ‘Heppest of the Hep’, that regularly posts high definition footage of live performances ranging from the 40s to the 60s. 

The sources for the material are unclear and probably a bit shady but there’s much of interest for any music fan. 
Recently, the page has posted this beautiful high definition clip of Ronnie, Estelle and Nedra performing at the TNT Show.


You’ve all seen this clip a gazillion times before but this is without a doubt the best quality the clip can be seen. Follow the link for the Ronettes in crystal clear high definition. 

Odds & Ends – ‘This Could be the Night’

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.

mfq
The MFQ with Spector during the 1965 session for ‘This Could be the Night’

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.

ht

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.

 

Review: I Am Brian Wilson

**** (4 stars out of 6)

In case you’re wondering what to put on your Christmas wish list, you could consider adding the two Beach Boys-related autobiographies that have come out; ’I am Brian Wilson’ by, you guessed it, Brian Wilson and ’Good Vibrations – my Life as a Beach Boy’ by Mike Love.

books
‘Battle of the books!’ – Cousin Mike and Brother Brian compete at telling the story of the Beach Boys.
I’ve had both books for about a month but have so far only completed Brian’s book. I reckon I’ve read one third of Mike’s book as of writing this blog post.

I’m sure that both books would be of interest to most Spector fans seeing that there are many ties between the Beach Boys and Spector. Both competed for chart placings during the 60s, were based in LA and as such utilized the same Wrecking Crew musicians and recorded at Gold Star. (Though Western was Brian’s preferred studio.)

Famously, Brian Wilson only really found his feet as a producer in the modern sense of the word after hearing Spector’s initial Philles releases and picking up the inspiration. ‘Be my Baby’ remains Brian’s favorite song ever and listening to his early to mid-60s output, notably the productions he made on the side for Glen Campbell and Sharon Marie, it’s clear how much he enamored the wall of sound.

PetProjectsTheBrianW
A few collections have come out gathering the few outside productions Brian Wilson worked on during the 60s.
The releationship between Brian Wilson and Phil Spector was complex. Did they respect each other? Were they friends even? Or did they look at each other as foes, both wanting to outdo the other in the studio and get the next no. 1 on the charts? All of these probably applied in equal measure, really, and to this day Brian seems to have conflicting feelings about Spector. Here’s a revealing excerpt from his book where he talks about the voices he still hears in his head from time to time:

“I hear Phil Spector, who did all those great records in the ‘50s and early ‘60s. Phil’s voice is scary, always challenging me, always reminding me that he came first. “Wilson,” I hear him saying in my head, “you’re never going to top ‘You’ve Lost that Loving Feeling’ or ‘Be my Baby’, so don’t even try.” But maybe he wants me to try. Nothing is ever simple with him, not when he’s in my head. Simple isn’t what he’s about. People say that we named Pet Sounds partly as a tribute to him: check the initials. “

Phil Spector In The Studio
Brian Wilson at a Spector session in 1965 – others present are Mike Love from the Beach Boys, Righteous Brother Bobby Hatfield and in the background with Shades, Jack ‘Specs’ Nitzsche.
Pet Sounds, 1966. Always near the top or indeed topping the lists for best ever album. As far as I’m concerned, by 1966 Brian Wilson had eclipsed Spector as the world’s most original producer.

‘I am Brian Wilson’ is an easygoing account of Brian’s incredible career told in a way that seems really true to the way Brian comes across most of the time. Quirky, childlike and aloof – and as such this book is a very welcome replacement for Brian’s notorious ‘Wouldn’t It Be Nice’ 1991 autobiography. It has long been established that this book was written by hired writer Todd Gold without in-depth collaboration by Brian Wilson. The book also whitewashed Brian’s therapist Dr. Eugene Landy who at that point had all but brainwashed his client, keeping him under heavy and, according to some sources, damaging medication as well as isolating him from his family and former Beach Boys bandmates.

As much as I love the music of Phil Spector and associated acts, the Beach Boys remain my favorite act ever and through the years I have tracked down almost all books on the subject. I know all the stories, – I’ve read them all a gazillion times. And even though Brian’s book offers a few new and refreshing perspectives, I was a little disappointed after finishing reading it.

brian pet sounds
Brian during the sessions for Pet Sounds.
For hardcore fans like myself ‘I am Brian Wilson’ is a nice read, though without much new information. For new fans, i.e. general music lovers who’d like to know more about the main Beach Boy, the book must seem pretty tame and only touching on the surface. A lot of the times, I thought the various highs and lows in the career of the Beach Boys was told in such a way as to imply that Brian and his people assume that only knowledgeable fans who know all the facts already will read along.

In the book, Brian sidesteps really giving his take on the inner dynamics of the group and his account of his years recording with his brothers, Mike Love, Al Jardine and Bruce Johnston therefore feels somewhat one-dimensional and sparse. You certainly don’t get a deep understanding of the personalities within the group. It’s as if Brian hasn’t felt the need to go into much detail on the matter – which is ok, I guess. For me this fact definately made the reading experience less exciting than it could have been.

Mike’s book seems to also be constructed a bit along these lines but so far I feel he reaches more out to the casual fan with more detailed descriptions and personal takes on why things happened like they did along the way.

BB don't worry
Don’t Worry Baby / I Get Around – how’s that for a killer single?
Anyways, all this shouldn’t keep you from seeking out both books if you’re as much into the Beach Boys as I am. The best book on the subject though remains Peter Ames Carlin’s ‘Catch a Wave – The Rise, Fall and Redemption of the Beach Boys.’

More on the Cohen & Spector Sessions

A quick post for now in the wake of Leonard Cohen’s passing; just found this lengthy and in-depth article on the Cohen-Spector team-up and ‘Death of a Ladies Man’. 

Thought it might be of interest to anyone checking in here. 

Wall of Crazy

RIP Leonard Cohen

From Death of a Ladies’ Man:

So the great affair is over but whoever would have guessed
it would leave us all so vacant and so deeply unimpressed
It’s like our visit to the moon or to that other star
I guess you go for nothing if you really want to go that far.

It’s like our visit to the moon or to that other star
I guess you go for nothing if you really want to go that far.

It’s like our visit to the moon or to that other star
I guess you go for nothing if you really want to go that far.

leonard-cohen-and-phil-spector
Leonard Cohen & Phil Spector.

I Can Hear Music 2.0

Here’s a little something that’s guarenteed to bring your weekend off to great start; a brand-new and fantastic mix of ‘I can Hear Music’ by Wall of Sound-über fan Phil Chapman.

As some readers here may know, Phil Chapman has had a long and interesting career in the recording industry serving as both an engineer and producer.

In the near future, I hope to feature an interview with him offering his expert knowledge on the Wall of Sound, but for the time being, enjoy this mindblowing remix of the Jeff Barry-produced Ronettes version with added layers.

This mix definately gives an impression of the kind of monster record ‘I Can Hear Music’ could have been in the hands of Phil Spector. Surely, Cue Castanets readers must agree that this more elaborate version makes the original Barry production pale in comparison.

It’s also fitting that this new mix has been shared on the youtube channel of fellow Spector fan Anthony Reichardt, – this is just the latest in a long, long line of great tracks he has made available to listen to for music fans.

If you’d like to read more about Anthony’s superb youtube channel as well as an interview with him, go here:

https://cuecastanets.wordpress.com/2014/11/18/where-to-find-60s-spector-soundalikes/

https://cuecastanets.wordpress.com/tag/anthony-reichardt/

And for some more info on Phil Chapman and his way into Spector fandom, read this post:

https://cuecastanets.wordpress.com/2016/02/16/the-psas-revisited/