The Reissue Campaign that Could Have Been

We’re nearing the end of the year. A time suitable for looking back and thinking about what the past year has offered. In terms of vintage Spector sounds not much, I’m afraid. A quiet year then. No reissues from Sony Legacy in time for the all important Christmas sales.

I’m sure I’m not alone in crossing my fingers each year for exciting releases borne out the Sony Legacy reissue campaign that was publicized in 2009. The press release hyping the campaign back then was certainly carefully worded as to not promise anything specific other than this fluffy statement: “New compilations — including Artist’s Playlists, Best of collections, and first-ever releases of Philles studio rarities — as well as facsimile reproductions of original singles and albums are under development under the new agreement.” (http://www.prnewswire.com/news-releases/sony-music-entertainment-and-emi-music-publishing-strike-historic-new-licensing-deal-to-release-philles-records-monumental-wall-of-sound-catalog-through-legacy-recordings-62847292.html)

It was probably a wise move not to be too specific at this early stage as Phil Spector has been notoriously difficult to deal with in the past. On top of that, being behind bars due to the outcome of the Lana Clarkson trial certainly can’t have helped matters. Here’s what we know – spread out over a couple of, admittedly, nicely done and good-sounding compilations, we’ve basically had reissues of the same stuff collectors have had for decades on either vinyl, the Back to Mono box or the old ABKCO single-artist releases. Do I even have to tell you we’ve had the gazillion reissue of the Christmas album?

The only ‘meat’ in this campaign so far has been the unreleased Crystals take of ‘Woman in Love’ on the Crystals compilation and the stylish Philles Album Collection mini-box set with replica-sleeves, both released in 2011. The latter was a great release for sure but also proved a bit of a disappointment because that set’s rarities disc only included the instrumental throwaway B-sides so typical for Philles singles. This disc is where Sony Legacy really had a golden opportunity to present some of the unheard goodies that must no doubt linger in the Spector tape vault. The question of course is this – has this even been an option for them?

philles-set

Through other collectors I’ve heard rumors that Spector still controls his catalogue with an iron fist, even at this stage where he’s locked away. Apparently, Sony employees involved in the campaign have had meetings with him in prison, no doubt finding negotiations extremely difficult. Using the tapes for remixing iconic songs into first-time stereo releases? Forget it! Only mono! Unearthing all those half-baked or non-completed songs recorded during the Philles era and releasing them as an interesting ‘fly-on-the-wall’ listening experience? No way! You get the drift. As has been the case throughout Spector’s career he zealously guards his tapes, which are said to be well looked after with everything nicely catalogued by a few trusted people.

Spector of course has every right to do as he pleases. And to some extent he probably also has a point in terms of artistic integrity. Why should unfinished songs or completed productions deemed to weak for release in the 60s come out now and tarnish Philles’ reputation as a label with a fantastic hit rate and releases of utmost quality? Or take the possibility of new stereo remixes. Wouldn’t that be comparable to, say, taking a painting by Picasso and adding new layers of paint to give it a different feel? On the other hand, unlike Picasso, Spector’s art was the result of many people’s efforts. He had the grand vision but the final artistic statement rests upon the talent of not just him but assorted songwriters, singers and session musicians. Unfinished or unreleased songs or new stereo mixes could be said to honor and highlight their contributions even more. I’d certainly be first in line for any such releases, including stereo as I love the odd stereo versions that have come out (Ronettes, Righteous Brothers, the Christmas album etc.)

Indulge me then in a bit of an ‘what if’ scenario. Let’s dream up the perfect release Sony Legacy could issue in a parallel universe where Phil Spector gladly opened up his tape vault. The following is a Spector collector’s wet dream…

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I see before me ‘Little Symphonies for the Kids’ – an eight disc box luxuriously packaged with replica session sheets, reproductions of Ray Avery Gold Star photo shoots suitable for framing and a coffee table book that would make the otherwise great Back to Mono book seem like a children’s picture book in comparison.

Disc 1 and 2: All new stereo mixes made with care and respect using the old tapes.

This is where you’ll finally get to hear ‘This Could Be the Night’, ‘Is this What I Get for Loving You’ or ‘I Wonder’ (Crystals’ version) in crystal-clear stereo bringing out all the intricacies of the backing tracks and string arrangements. What a revelation that would be!

Although the parallel dimension Phil hates stereo he's willing to offer it to the fans.
Although the parallel dimension Phil hates stereo he’s willing to offer it to the fans.

Disc 3 and 4: Rare and unreleased Philles-era stuff galore.

Don’t worry. Not a single instrumental throwaway B-side in sight here! Instead you’ll get the obscure Philles-era releases as well as known unreleased tracks. We’re talking stuff like ‘Home of the Brave’ by Bonnie & the Treasures, ‘Ringo I Love You’ by Bonnie Jo Mason, ‘He’s my Eddie Baby’ by the Lovelites, ‘Please be my Boyfriend’ by the Crystals, ‘Everything Under the Sun’ by Ike & Tina Turner,… and of course Phil’s own ‘Down at TJ’s theme song’ and ‘Lucy in London’. All in warm-sounding excellent mono mixes.

But the real surprise here is the stuff we’ve only heard rumors about through the years. Some are finished productions, others are clearly works-in-progress with tentative vocal takes or missing string arrangements. This could include ‘Mary Ann’ and ‘Chico’s Girl’ by the Crystals, ‘It’s my Party’ and ‘Da Doo Ron Ron’ by Darlene Love, ‘Someday (Baby)’ and ‘Things are Changing’ by the Ronettes, a Philles’era ‘Soul & Inspiration’ by the Righteous Brothers and ‘Baby, Don’t You Get Crazy’ by the Checkmates Ltd.

But among these songs which have long been rumored to exist you’ll also discover things completely from left field. Wait? Two new, finished songs with the Modern Folk Quartet proving that Spector could have pursued a Wall of Folk-Rock had he wanted to? And here’s a 2 minute and 15 seconds snippet of Brian Wilson and Phil running through ‘Don’t Hurt my Little Sister’ on the piano in Gold Star! And this next one – why, it’s a Philles-era ‘New York’s a Lonely Town’ credited to the Treasures with a much more intricate arrangement than the Red Bird release. And skip to track 14 on CD 4 – a fully fledged production with Harry Nillson singing a majestic ballad… There’s no telling how much gold the Spector tape vault includes but I’ll bet there’s a great deal – if nothing else, I’m sure his in-house producers Jerry Riopelle and Pete Anders & Vinnie Poncia must have committed quite a few interesting sessions and song ideas to tape.

Darlene, Phil
“Psst Phil. Promise me that you’ll release ‘It’s my Party’. It’s a guaranteed hit!”

Disc 5 and 6: The ‘All in all it’s just another Brick in the Wall’ session tapes

Presented in perfect sound here are excerpts from a wide range of sessions with studio chatter and various takes of the most beloved hits. Hear how Phil, Anders & Poncia and the Wrecking Crew work out the intro to Do I Love You along the way. Listen in when Sonny Bono cracks everyone up at the Girl’s Can Tell session. Hear Phil throw a tantrum when Bobby Hatfield keeps messing up the words on ‘Ebb Tide.’

"Dammit Bobby. This is your final chance, or I'll have Bill sing it!"
“Dammit Bobby. This is your final chance, or I’ll have Bill sing it!”

Disc 7 and 8: The 70s and beyond

Finally, two discs comprising the Wall of Sound stuff Spector has worked on since shutting down Philles, including unreleased stuff. You’ll get a stereo ‘You Came, You Saw, You Conquered’ by the Ronettes, choice cuts from the George Harrison and John Lennon projects including nice-sounding stereo version of ‘Lovely Laddy Day’ and ‘You’ sung by Ronnie Spector, ‘A Woman’s Story’ and ‘Baby I Love You’ by Cher for the first time on CD. Check out the unreleased songs by Jerri Bo Keno and the Paley Brothers, – you’ll even find that horrible Kim Fowley track from the old ‘Spector 74/79’ LP!

Best of all, after an alternative take of Baby I Love You by the Ramones you’ll finally get to hear the three backing tracks recorded during the aborted Celine Dion sessions in the early 90s. Her vocals have been taken off due to contractual reasons but hearing ‘Is this what I Get for Loving You’ pulsating in shimmering stereo is pure bliss. Final track on the box? ‘Silence is Easy’ by Starsailor – the ‘unused Phil Spector mix.’ Much heavier on the echo, a dense wall of strummed acoustic guitars added, more glockenspiel tinkling in the background and even a string arrangement introduced half-way through.

Sure, there'll be some outtakes from the Leonard Cohen album as well.
Sure, there’ll be some outtakes from the Leonard Cohen album as well.

Too good to be true, isn’t it? And of course, this is something that one can only fantasize about. But still, the fact that the Sony Legacy reissue campaign hasn’t resulted in just a tiny bit along these lines is heartbreakening. Time will tell if we ever get to see anything come out of this deal or the Spector tapes in general in the future. Cross your fingers!

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Would-be Spectors # 2 – Jerry Riopelle

It’s time again to focus on one of the would-be Spectors that worked LA studios in the 60s, feverishly trying to nail the Wall of Sound. A good choice for the topic would be the often overlooked Jerry Riopelle.

Jerry was a very talented jack-of-all-trades – singer, songwriter, musician, producer – you name it! He could do it all. Yet he remains somewhat of a shadowy figure, mostly remembered today by hardcore fans of Phil Spector due to his involvement in some superb soundalike records. It’s even difficult to find a 60s photo of him online. This low-res image of him hanging out with Phil Spector and Jack Nitzsche is the best I could do.

Jack, Phil & Jerry. Mid-60s.
Jack, Phil & Jerry. Mid-60s.

The Phil Spector Appreciation Society had an interview with Jerry in the Philately fanzine in 1984. Luckily for us, that interview is featured at the Spectropop website. So rather than me going on with a long post on Jerry’s adventures with the Wall of Sound, why not read his own detailed account?

http://www.spectropop.com/HOTB/HOTBpart3.htm

Suffice to say, Jerry’s position as Phil Spector’s protégée during the mid-60s gave him an unprecedented inner view on what made the wall come together in the studio. But even before he found himself under ‘Uncle Phil’s’ wing, he had the basic formula worked out. According to legend, when Spector’s preferred engineer Larry Levine played him Clydie King’s 1965 Riopelle-produced single ‘The Thrill is Gone’, the ‘Tycoon of Teen’ took notice and immediately decided to snap up the young producer for Philles Records.

In 1965 Riopelle produced some fantastic sides for Clydie King. ‘The Thrill is Gone’ is majestic and one can understand why Spector was impressed when he heard it. I personally think that ‘Missin’ my Baby’ from the same year betters it. What a lush, beautiful production! Both songs can be found on Ace Records’ must-have Phil’s Spectre comps, vol. 1 and 2.

Clydie King.
Clydie King.

The crowning achievement for Riopelle though remains ‘Home of the Brave’ by Bonnie & the Treasures. Phil Spector released it on his Phi-Dan imprint in 1965. All sorts of rumors have surrounded this track ever since. One has it that it was actually Ronnie Spector who sang the lead. A ridiculous claim since you can easily hear it’s not her. It has since been established that it was session singer Charlotte O’Hara (Charlotte Ann Matheny) who took the lead.

Another rumor has it that it was Phil Spector who in reality produced this iconic single. Riopelle disputes that claim and has both a label production credit and his former successful Wall of Sound productions as evidence. I imagine that the rumor formed when Phil Spector personally took action and got behind the single very aggressively when a rival version by singer Jodi Miller hit the charts.

Here then, in all it’s muddy Gold Star echo glory, is the epic ‘Home of the Brave’:

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Songs to seek out:

Clydie King – ‘The Thrill is Gone’ (1965) & ‘Missin’ my Baby’ (1965) – You can’t go wrong with these two Wall of Sound classics.

Bonnie & the Treasures – ‘Home of the Brave’ (1965) – is this the pinnacle of the Spector soundalikes? I am of the opinion that Spector couldn’t have done this one better.

Bonnie – ‘Close Your Eyes’ (1966) – this fab production has a melody to die for. Charlotte O’Hara steps up to the mike for another great lead vocal.

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The School – I Don’t Believe in Love (2010) / You Make Me Hear Music (2012)

The School may be Wales’ best kept secret and I’ll tell you why with a double-video post.

So far this great band has released two albums; ‘Loveless Unbeliever’ from 2010 and ‘Reading Too Much into Things like Everything’ from 2012, and believe me, both contain timeless pop of the highest caliber.

school1

Fronted by lead singer and main songwriter Liz Hunt these guys & girls churn out incredibly catchy tunes that prove listening to 60s classic pop records is the perfect musical schooling. Who knows? Maybe that’s what their name is meant to imply? When you hear their songs it’s no surprise that they list the Ronettes, the Shangri-Las, the Beach Boys and modern bands like Belle & Sebastian and Camera Obscura as their main influences. Listen to any track off the School’s two albums, and you’ll quickly hear that they’ve sprung from the same wide-eyed romanticism.

Liz Hunt - is she listening to Rare Masters vol. II?
Liz Hunt at her pad – probably spinnin’ Phil Spector’s Rare Masters vol. II.

I really can’t recommend this band enough and look forward to their third album which is set for release next year. Both their past albums have had one bonafide Spector soundalike, so it makes sense to include both songs here.

It’s just so obvious from these two productions that the School sat down and said ‘Ok, let’s pull out all stops trying to make our own take on the Wall of Sound.’ And they’ve pulled it off marvelously! Just listen to ‘I Don’t Believe in Love’ when those fat, reverbed drums kick in after the male intro lead. Really cool! I’m wishin’ and hopin’ they’ll strike gold a third time on their upcoming album. They’ve certainly set up a beautiful tradition of ‘one Spector clone’ an album that I hope they’ll continue to honour.

‘I Don’t Believe in Love’ (2010)

‘You Make Me Hear Music (Inside my Head)’ (2012)

The Phil Spector Appreciation Society

If you’ve read the ’about’ section on here you know I started my blog because of a lack of an online reference point with different angles and news on the Wall of Sound. So I decided to create such a site myself. I assume there are others like me out there and if you come across this blog, I’d love to hear from you. You can comment on the posts or contact me via my blog profile. No matter what, I hope you’ll check in from time to time and read the future posts.

Obviously, the internet has completely changed the game of how not only fans of Phil Spector’s music but music fans in general come together and stay up to date about releases, rarities, concerts etc. Online forums, specialist music websites, blogs, mailing lists and Facebook pages all provide fans with direct access to news and discussion with likeminded folks like never before.

Then imagine the ‘wilderness’ years before the internet. The dark ages where fans had to rely on chance encounters with other fans at record stores or record fairs, pen pal-type ads in music magazines or, if you were really lucky, privately pressed fanzines provided of course that your favorite music had a strong enough following to merit such a labour-of-love. Luckily for Spector fans, they’ve had several fanzines to consult through the years.

I’m too young to have been a part of the fan community back then so what I know about these fanzines I’ve learned second-hand, mainly because, the geek that I am, I’ve hunted down some of the few remaining copies or have kindly received photocopied ones from other collectors.

I find these fanzines very fascinating. They are great for researching the cultural history of Spector fandom as each issue somewhat represents a time capsule of the interests, mentality, hopes and dreams of the fan community at the time of publication. You can sense that much care and love has been put into them and as fanzines go, they’re pervaded by a sense of comforting, tight-knit camaraderie.

Members of the Phil Spector Appreciation Society (PSAS) sent in their personal top 10 in 1976. Here are the results.
Members of the Phil Spector Appreciation Society (PSAS) sent in their personal top 10 in 1976. “Here are the results of the Spectorian jury.”

The people behind these fanzines knew that they weren’t writing for masses but providing valuable information for a few diehard fans who cared and where willing to subscribe even when, in the case of Phil Spector, news were at best very infrequent and unsubstantial. In all honesty, once Spector seemingly closed the door on his producer career with his involvement in the Ramones album ‘End of the Century’ in 1980, there wasn’t much to report.

In the lack of any real news the fanzines were often then padded out with discographies, artists bios, discussions on soundalike records etc. In other words, all the info we take for granted today with Discogs, Wikipedia or Allmusic. But back then Spector fans had to get such info piece by piece as if they were slowly and collectively solving a major puzzle as the years went on.

The PSAS predict a bright future for Spector at the end of 1976.
The PSAS predict a bright future for Spector at the end of 1976.

So, what’s the basic timeline of the fanzines? Not much info can be found online which is strange actually. You’d think that some of the passionate people behind these fanzines would have picked up from where they left off once they got online? The legendary Spectropop message board probably took its fair share of former subscribers and that forum has had a few posts about the fanzines but nothing really informative.

My research shows the following timeline:

Phil Spector Appreciation Society Newsletters – 1968-1969/1970

According to an interview with British Spector historian, collector and producer Phil Chapman in 1984 (Philately # 4) this newsletter was started by him around 1968. As a young Spector fan he had gotten into contact with numerous other fans using the pen pal sections of music magazines. Instead of continuing writing each other back and forth with the same news he decided to start a society that eventually grew to about 100 or so active members. Only six newsletters were issued during the course of a year so the final one must have come out in 1969 or 1970. [Phil Chapman’s six newsletters were for sale as reprints in 1984 as advertised in Philately along with the interview. If anyone out there has these and would be willing to send me photocopies I’d be very grateful. I’ve yet to read them.]

Image of the six 60s PSAS newsletters as shown in Philately # 4.
Image of the six 60s PSAS newsletters as shown in Philately 4.

Phil Spector Appreciation Society Newsletters – ca. 1975-1983

The name Phil Chapman used for ‘his’ fanclub was dusted off by a new group of people throughout the 70s. Like Chapman’s club, this society was also based in the UK but it also had subscribers in the US. I have photocopies of all newsletters from November 1976 until Christmas 1981. Some I’ve bought off Ebay, others I have kindly been able to borrow for copying from a fellow fan.

I don’t know exactly when this new version of the PSAS started but according to the last newsletter I have, the one from the end of 1981, it had been active for nearly 7 years. This would suggest a start sometime in 1975. That seems very likely since this was the year Phil Spector issued a batch of new compilations of his old hits on a newly formed label, ‘Phil Spector International.’ I imagine the flurry of activity got fans together again. The founding member was Paul R. Dunford but for most issues dynamic duo Mick Patrick and Carole Gardiner was in charge. The newsletters are very informative but very simple in their layout. Basically, they are nothing more than typewritten pages in the a5 format with the occasional image. The newsletters came out roughly 4 times a year. [I lack PSAS newsletters from 1982 and onwards until Philately took over. If you have some that you’d like to copy for me, please get in touch.]

PSAS newsletters from the 70s.
PSAS newsletters from the 70s.

The 70s edition of the PSAS even held a convention in september 1976 at Alton, Hampshire in the UK. According to the subsequent newsletter “a disco played Spector records all night.” The surprise of the evening was a telexed message from Phil Spector who expressed his gratitude to his fans. I have color photocopies of photos taken that evening and show four here. Look at those wall displays! I guess they had quite a few Phil Spector International sleeves to spare, huh? The DJ can even be seen putting on a record. Considering the time, I’m guessing it’s Jerri Bo Keno’s ‘Here It Comes (And Here I Go)’!

PSAS members part at their convention, September 1976.
PSAS members party at their convention, September 1976.

Philately – seven issues, 1983-ca. 1989/1990

Mick Patrick and Carole Gardiner, as well as other contributors, expanded the simple newsletter into a very stylish-looking fanzine from 1983 onwards. Under the tongue-in-cheek title Philately, fans worldwide were kept updated with the same kind of info as had been the norm in the old PSAS newsletters. Philately though, had a much more professional style. More varied fonts, better reproduction of images and interviews with various people close to Spector such as Jerry Riopelle, Ronnie Spector, Nino Tempo and others.

The Philately fanzine was clearly the pinnacle of Spector fandom and make for great reading. I don’t know why it had run its course by the 7th issue but I have Mick Patrick’s word for it being the last issue when I asked him about it online. Mick would of course go on to work on all sorts of interesting projects for Ace Records, i.e. the fantastic three Phil’s Spectre compilations of Spector soundalikes, many of which had been raved about in the ‘Erect-a-Spector’ columns in the old PSAS newsletters or Philately. Whereas the PSAS newsletters had been a mixture of Spector stuff and more general info on 60s girl groups, Philately was mainly Spector stuff with girl group articles reserved for a sister publication by the PSAS called ‘That will never happen again.’ [The only issue of Philately I don’t have is # 5. A photocopy would be kindly welcomed.]

Issue 1, 4 and 6 of Philately. The design got more professional with each issue.
Issue 1, 4 and 6 of Philately. The design got more professional with each issue.

And thus concludes my ‘dissertation’ on the obscure and overlooked, but wonderful world of Spector fandom & fanzines.

Magic Kids – Hey Boy (2009)

Collecting Modern Spector soundalikes means listening to endless variations of the Wall of Sound that have a dark undertone of heartbreak and drama – see my recent post on Lykke Li for a good example.

It’s remarkable that the vast majority of these soundalikes go for a tense, even sinister feel in the grooves when you consider the fact that a lot of Spector’s big hits were jubilant and carefree. Think ‘Da Doo Ron Ron’, ‘Not to Young to get Married’ or ‘A Fine Fine Boy.’

I suppose today’s young musicians steer away from this type of fun and playful Spector tradition because many consider such songs too banal or kliche? And that instead infusing your song and its production with melodrama and edginess will guarantee it’s coolness with the indie-crowd. I don’t have my nose in the air about this, mind you. Young musicians going down this path, no doubt inspired by Phil Spector’s public image as a gunblazing ‘Stalin of the Studio’, has brought great results. But when someone comes along today with a song that goes against this tradition it really does feel like a breath of fresh air.

…which leads me to ‘Hey Boy’, a fun little ditty that the Memphis-based indie-pop band Magic Kids issued as a single in 2009. It was included in slightly reworked form on their debut album the following year. What’s remarkable about this extremely catchy song is that unlike most these days they did go for the bonafide ‘Da Doo Ron Ron’ feel, castanets and all! Heck, if the lyrics were revised to reflect a female point-of-view I could easily imagine LaLa Brooks fronting the Crystals on a Spector-version back in the day. It’s exciting, it’s bouncy, it’s snappy – what’s not to like?

I don’t know if this low-budget video is the official one but it’s the best one I could find…

Where to find 60s Spector soundalikes?

My guess is that since you’ve taken the time to read some of the posts here, you probably already know quite a bit about the Wall of Sound. I assume you’re well aware that as a 60s musical phenomenon the Wall of Sound wasn’t limited to the releases on Phil Spector’s Philles Records.

It’s basic music business instinct to jump on the bandwagon, whenever something catches on and sets the Top 40 on fire. So it’s no surprise that once Phil Spector had major hits under his belt, numerous imitators copied his distinctive style hoping to garner quick sales.

But there’s also another element. Besides the remarkable success Spector had with his Philles label, he was also greatly admired by his producer contemporaries or those who was just trying to carve out a place for themselves in the record business. Dubbed the ‘Tycoon of Teen’ early on, Phil Spector proved that you could have great success following your instincts and personal quirks rather than producing records the conventional way. He literally broke every rule in the book, – meters going in the red, singles running over the advised length for radio airplay, string arrangements more suitable for Wagner than pop etc.

That so many copied Spector during the 60s wasn’t only down to the prospect of having hits. It was also a case of testing yourself to see if you had it in you to follow in his footsteps. And who knows? Perhaps even beat him at his own game. I can imagine that when a producer heard the Wall of Sound back then, it was like having Spector slap you in the face with a glove and challenge you to a no-holds-barred, echo-chamber-crunching duel! Look at Brian Wilson for god’s sake. Literally shaking, he had to pull over his car when he first heard ‘Be my Baby’ blaring from the car radio!

Brian and many others took up the challenge and rose to the occasion with fantastic results. The British specialist re-issue label Ace Records has issued a fantastic serious of CDs during the 00s called ‘Phil’ Spectre’. Over three volumes they have compiled some of the best 60s Spector soundalikes. If you don’t own these compilations already, go buy them immediately. They are as essential as some of Phil Spector’s best work. Highly recommended! And that also goes for other Ace Records compilations focusing on the work of Spector’s favourite arranger Jack ‘Specs’ Nitzsche or the Brill Building songwriting duos whose best songs often got the Wall of Sound treatment. Spectorphiles worldwide have a lot to thank Ace Records for.

The three volumes in the Phil's Spectre series.

Sadly, the label has indicated that we have probably seen the last volume in the series. They are difficult to compile since the most appropriate songs for inclusion are spread over a myriad of obscure labels. You can imagine how that results in a licensing nightmare.

So what do you do if you have a craving for obscure attempts at the Wall of Sound but aren’t willing to spend years and a fortune rummaging through old boxes for dusty 45s? Enter Anthony Reichardt.

Anthony has a truly mindblowing collection of singles that show how sparks flew all over when Spector’s sonic call to arms made the US music scene reverberate. Best of all, Anthony graciously offers all fans the chance to listen in via his incredible Youtube channel. You can literally spend hours there browsing through his playlists and checking out interesting videos, – it’s the Youtube equivalent of walking into a record shop and discovering a box  in the far corner labeled ‘Obscure Spector Sounds.’

45s1

The amount of great work on those playlists is mindboggling. We’re talking at least 10 potential ‘Phil’s Spectre’ volumes here. Anthony’s videos are beautifully compiled and almost all feature all the info on the artist, label, studio etc he has been able to locate.

Anthony’s Youtube profile

http://www.youtube.com/user/reichardtaj

Here’s an embed of his Gold Star playlist. Do check it out. And don’t forgot his other playlists focusing on Gene Page, Jack Nitzsche, Teddy Randazzo and  Bob Crewe among others.

Anthony Reichardt’s Gold Star Studios playlist

Anthony also has a page on Facebook that’s a must to follow

Gold Star Recording Studios & the ‘Wall of Sound’

https://www.facebook.com/goldstarrecordingstudios

Lykke Li – Sadness is a Blessing (2011)

In my first post I promised I’d use this blog to highlight some of the modern Spector soundalikes I’ve hunted down through the years as a sort of hobby of mine.

I struggle to find the right term for these. Modern Spector soundalikes? Faux Spector? Neo-walls? Little symphonies for the 21st Century? The old Phil Spector Appreciation Society out of the UK called the soundalikes they discovered ‘Erect-a-Spectors!’

Meh,… nothing really seems fitting. I guess I’ll just stick with Modern Spector Soundalikes for now, – the modern part being of great importance to me as you can find soundalikes from each decade.

What I’ve focused my collecting on then, are the soundalikes that have occasionally popped up since the mid 90s. I guess they do so as each new generation of aspiring musicians discover Spector’s hits and try to dress up a song with the Wall of Sound for fun.

Others have of course milked the Spector influence on numerous songs. Spiritualized, the Raveonettes and others have done so with great success. As have the brooding, Swedish chanteuse Lykke Li on her last two albums, Wounded Rhymes (2011) and I Never Learn. (2014)

LykkeLi01

The Spector influence shown in Lykke Li’s work is quite subtle but occasionally breaks through in full effect. A prime example is her stunning ‘Sadness is a Blessing’ single. Note; There’s a 1 minute and 50 seconds scene in the video before the song begins.

‘Sadness is a Blessing’ is a great example of the treasures you’ll discover when you look for these modern soundalikes. It’s the Wall of Sound for the new millennium with Be my Baby-like drums that are (probably) electronically programmed and none of those dramatic strings that were so crucial to the Spector sound. But even if the instrumental approach is different, ‘Sadness is a Blessing’ as a song isn’t far removed from the rough Brill Building demos Spector lavishly inflated with sonic beauty in the studio. The melody is extremely catchy and Lykke Li’s dark lyrics also mirror some of Spector’s more masochistically-themed mini dramas.

To these ears, ‘Sadness is a Blessing’ is like a latter-day cousin of ‘He Hit Me (and it Felt Like a Kiss)’ or ‘Please Hurt Me’:

“I ranted, I pleaded, I beg him not to go / For sorrow, the only lover I’ve ever known

“Sadness is a blessing, sadness is a pearl / Sadness is a boyfriend, oh sadness, I’m your girl.”

Musings on Phil Spector's Wall of Sound and similar music…