While Phil Spector’s 60s productions are always praised as groundbreaking and intricate, many wall of sound connaisseurs also tend to focus on his overlooked 70s output.
Limited as this output was, Spector’s projects from the era still underlined his role as the true auteur and sonic mastermind of each record. Yet, the former Tycoon of Teen was clearly at a creative crossroads, seemingly looking for a new direction for the wall of sound.
His approach had already seemed a bit passé by the end of the 60s. As he entered the new decade, Spector faced the fact that the record-buying teenagers of the early-to-mid 60s who had brought stardom to him and Philles had now grown up. Should his new music reflect this change or should he stay true to the old tried and tested formula? In the end, he chose, perhaps somewhat reluctantly, to do both – the productions became more delicate and often at a slower pace which lessened the expected impact from a new Spector production. On the other hand, the tracks were still cut at Gold Star studios with the regular team of brilliant session musicians, the iconic Wrecking Crew. Technology had changed – the mono that had propelled Spector’s bombast through speakers throughout the 60s had been surpassed by stereo, dreaded by Spector because it lessened the full impact of his productions.
A time of change, then. But luckily one that still brought us some great new Spector productions with the likes of John Lennon, George Harrison, Cher, Dion, Darlene Love and Leonard Cohen. And then there’s the puzzling one-off single by Jerri Bo Keno that came and went in 1975 on Spector’s short-lived label Phil Spector International. Who was this unknown singer giving it her all on a catchy song written by Jeff Barry and Phil Spector?
I decided to find out more and succesfully contacted Jerri who luckily was more than willing to sharing her memories of her short stint as Spector’s latest discovery. It’s a shame the project only lasted one single because the release was very promising and had the collaboration continued with similar singles, there might have been a chance of tapping into the surge in nostalgia that hit in the mid-to-late 70s; a topic I have blogged in depth about here: https://cuecastanets.wordpress.com/2015/08/02/that-70s-wall-of-sound/
Jerri is still in the music business and currently has a single out that Cue Castanets readers definately should check out. ‘Every Time You’re Near’ has a great melody and is beautifully sung by Jerri, – it is a lovely song that would have fit right in the Bacharach/David songbook.
Let’s turn to Jerri and learn what she remembers about her time recording for Spector…
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Jerri; please tell us a little about how you got your start in the music industry? Which projects had you worked on before recording with Phil Spector?
I came from a musical family growing up in a house full of music and dance. My Dad, Tony Bocchino, was a Jazz Musician and singer, and my sister, Chrissy Bocchino, was well known for her dancing and choreography on Broadway and TV.
Before I was signed to Phil, I was a singer/songwriter trying to establish myself in the LA scene. I spent a lot of time at the Whiskey A Go Go on Sunset Blvd to get my name out there. I did a lot of session work and toured with a group called The Tootsie Rock Revue.
How did your path eventually cross with Spector’s? Did you sign with him right away or had you been acquainted with one another for some time?
I brought my singer/songwriter tape to Jeff Barry at A&M Records. He said he had a friend that might be interested in me but did not tell me who. One year later Jeff asked me if I would be interested in meeting Phil Spector, and I said of course! We arranged a meeting at Phil’s house. When I arrived, Phil took me over to the piano and asked me to sing “Be My Baby”. He signed me on the spot! I reminded him of Ronnie (Spector).
Once you got in Phil’s house, it was very difficult to leave. I would spend hours and hours there singing and talking! I began hanging out at his house regularly. There was always a good show going on and the cast of characters was fascinating, but I especially cherished my time alone with him because I saw a Phil Spector the rest of the world rarely witnessed. I also loved to sit with Phil and his mother, because they loved to disagree on all kinds of subjects!
Do you remember how you first heard ‘Here It Comes (and Here I Go)’? Was it in the form of a demo recording, and if so, sung by whom, or did Spector basically sit at the piano and play you the song?
Phil, Jeff and I were at Phil’s house, where I always rehearsed, and Phil played it on the piano and taught me the melody. I never had a demo to rehearse with. Phil didn’t do things in a traditional way which I got used to! I had no idea how this was going to sound until I got into the studio with the band. I would sit on the piano bench and sing with him for hours.
What do you remember from the ‘Here It Comes’ session? Were you present while the backing track was recorded or did you only come in afterward to record your lead vocal?
There were basic tracks, but Phil would go back and redo things regularly. You know what a perfectionist he was in the studio!
We recorded everything at A&M Studios, and at first, Phil had me in a booth, but he wasn’t happy with the sound. Then I sat on a stool in the middle of the studio, singing live with the musicians. What an amazing experience! I also sang on the backgrounds of my record and all the other records he was working on at that time.
Among collectors and Spector connoisseurs, ‘Here It Comes’ is widely regarded as the closest Spector ever came to jumping aboard the impending boom in disco music.
Did the two of you ever discuss the feel of the track? Its rhythmic, danceable beat seems tailor-made for the dance floor.
Phil never discussed how he came up with this beat but was adamant about his Wall of Sound. I think he was creating all the time and would attempt new things as they came to him.
However, I do remember in the 80’s when Phil came to NYC and called me to hang out for the evening. Paul Schaffer and I took him to a popular dance club where he threw a fit. He hated the dance beat and wanted to know where the lyrics were! Obviously wasn’t a fan of Disco!
The sparsely orchestrated ‘I Don’t Know Why’ ended up on the B-side. How do you feel about this song and its recording?
I get so many people that love that song! I actually think it was just a throwaway song for Phil. I enjoyed singing it, though! Would love to record this song again!
As we know, only one single was issued. But did you record other songs while with Spector? If so, I’d be very interested in whatever info you can share. Were they full-blown Wall of Sound productions or rough demos? Do you remember any song titles?
While my record was out, Phil got in the near fatal car accident which prevented him from recording for a very long time. We did not have anything else recorded, unfortunately.
What a shame. Following up on the previous question; did you participate on any other Spector sessions as a backup-singer?
Yes, I had the pleasure of working with LA’s best singers, like Maxine Willard and The Waters for all the Wall of Sound sessions. Most memorable were Dion’s and Cher’s songs.
How did your association with Phil Spector come to an end?
When Phil had his near-fatal accident, it put him out of commission. I actually got a phone call that he had died, and I panicked but soon after that initial shock, his assistant called asking me to come to the house to see him. He had suffered serious head and scalp injuries and was so concerned about the loss of his curly full head of hair which he was always so proud of.
Sadly because of this accident and his poor health, he didn’t record for a long time and we never worked together again.
What have you been up to since the mid-70s and ‘Here It Comes’?
I have done a lot of session work for all kinds of artists for all kinds music including singing with John Lennon when he and Phil were recording the Rock ‘n’ Roll album, certainly a highlight of my career.
I was in the group El Coco singing the hit “Let’s Get It Together” and was a featured singer on David Benoit’s Heavier Than Yesterday album singing “I Wish Right Now Would Never End”.
I was also a member of a group called The Downtown Girls in the 80’s and we had a European hit. I recently did backgrounds for Anita Ward’s new record “Another Bad Mistake” and The Village People’s Randy Jones’ current record, “Hard Times”.
I worked live with Toni Basil and The Lockers getting a chance to be a part of her astonishing choreography. She is one of the most creative performers I have worked with and best friends with my sister! I recently have done live shows with Joey Molland from Badfinger, Mark Farner from Grand Funk Railroad, Anita Ward and The Searchers. I always love performing live.
I had a single released a couple of years back called “My Love Is Yours” on Young Pals Music working with the very talented Ayhan Sahin and have a new single that just came out called “Everytime You’re Near”, written and produced by Peitor Angel for Buon-Art Music. Peitor and I will be recording a couple of new songs for an EP this year!
Jerri; thank you for shaing your thoughts with us. I’d like to end with a question I ask everyone I interview for Cue Castanets; could you please share with us your personal top 5 Spector-produced tracks?
I would have to start with my record –
“Here It Comes (And Here I Go)”. I love the track!
My all-time favorite – “Be My Baby” – The Ronettes
I’d like to focus on yet another ’would-be Spector’ who used his first-hand knowledge of the Wall of Sound to emulate Phil Spector.
Sonny Bono is without a doubt the one person from Spector’s early to mid-60s inner circle who benefitted the most from working long hours with the Tycoon of Teen. His phenomenal success with Sonny & Cher as well as both Cher and Sonny as solo artists surely must have surprised everyone at Gold Star since Sonny was probably the one around with the least musical chops. But what he may have lacked in both a singing voice as well as music skills, he more than made up for with adaptability, shrewdness and teaming up with the right people, – in the latter case, it was the skilled arranger Harold Battiste who worked wonders for Sonny’s productions, just like Jack Nietszche did for Spector. We can only wonder how much Battiste brought to the Sonny & Cher hit records but it probably safe to assume, that it was quite a lot.
With the past editions of the on-going ‘Would-be Spector’ feature I have been able to point to various one-off singles by obscure artists produced by the various people who decided to give Spector a run for his money. A blog post focusing on Sonny Bono can’t follow the same pattern since he decided to focus all his attention on his own releases, – something that sets him apart from most other would-be Spectors of the time.
As legend has it, Sonny brought along his new girlfriend and future bride Cherilyn Sarkisian to Spector sessions in the early 60s which quickly resulted in the deep-voiced Cher singing background along with Sonny and a gazillion other people on a number of Philles releases. In 1965 it was time for Sonny & Cher to carve out their own niche in the LA music business and after a short stint as Ceasar & Cleo, they finally found worldwide fame with a merging of the wall of sound and the emerging jingle-jangle folk-rock style. Ironically, it was a hybrid sound that Spector could or should have also pursued. Around this time, he certainly came close with both the Modern Folk Quartet’s ‘This Could be the Night’ and ‘Paradise’ by the Ronettes. Both of these top productions remained unreleased however and one can only speculate which direction Spector’s career could have taken, had he followed up on this interesting mixing of styles.
Instead, it was up to Sonny to milk the jingle-jangle angle for all it was worth within a wall of sound context – and he did so brilliantly. According to Sonny himself in his biography and Binia Taminiecka’s early 80s Spector documentary, he lost his position as Spector’s promo man and gofer after suggesting to him that the wall of sound was becoming stale and predictable. How ironic then, that he took it as his own point of departure once on his own with Cher. It does make sense though. Singing backgrounds and playing percussion at Gold Star among the Wrecking Crew and seeing how Spector painstakingly build up his otherworldly productions, Sonny basically took an in-the-studio masterclass at how to create hit records.
With Battiste as the glue who kept it all together, Sonny set out to make a name for himself and Cher with many of the same musicians who graced the Spector productions. The major difference though was the lack of strings on the majority of Sonny’s records. Whether or not this was to keep in line with the more down-to-earth aesthetic of folk-rock or just a case of not spending too much time or money on recordings, the result was a sound that’s a bit rougher around the edges than Spector’s. A comparison between Sonny’s work and Spector’s will quickly reveal that the latter used strings as a key element to broaden and also beef up the overall sonic impact than what Sonny was able to with his set-up.
Some claim that Sonny couldn’t sing. I’ve never understood that sentiment. To these ears, Sonny had the perfect voice for what he set out to do; combine the rebellious, gritty feel of folk-rock with the wide-eyed romanticism of the Wall of Sound. At his best, as with ‘I Got You, Babe’ or ‘Just You’, Sonny & Cher recorded godlike pop records which will continue to appeal and inspire. Good things are to be found on the first three Sonny & Cher albums as well as among the solo stuff Sonny produced for both Cher and himself.
For now, I’ll conclude with three particular favorites of mine.
Sonny & Cher – Just You (1965)
Even though it’s in part a blatant rip-off of the melody of ‘Baby, I Love You’ by the Ronettes, this is a fantastic song with a great production / arrangement by Sonny Bono and Harold Battiste. And lo and behold; Sonny actually decided to wheel in some strings for this lovely odé to love.
Sonny – The Revolution Kind (1965)
Here’s a solo single by Sonny that is every bit as good as his more well-known ‘Laugh at Me.’ Just like on that track, he’s channeling Dylan in both topic and vocal style to great effect – and with a thunderous ‘Da Doo Ron Ron’-styled backing to boot! Very good.
Sonny & Cher – Stand by Me (1967)
This one is easily overlooked on the duo’s third longplayer, tucked away as it is half-way through side B. Ok, so it’s not like Sonny & Cher top the iconic Ben E. King hit recording, but nevertheless, I’ve always enjoyed this version for it’s sheer over-the-top backing track. It sounds as if Sonny gathered a zillion percussionists and what not and made them all have a field day in Gold Star. The end results is a powerhouse backing track that is all over the place.
Time for another installment of the ‘Odds & Ends’ feature I introduced some months ago with a blog post about the Crystals version of ‘I Wonder’.
You may remember that this feature was meant as a means for writing a bit more in depth about some of the obscure Spector productions out there. You know, those that always get lost in the shuffle among ‘Be my Baby’, ‘You’ve Lost that Lovin’ Feeling’ and ‘River Deep, Mountain High’ in the general write-ups about Phil Spector’s achievements.
Today, I’d like to dwell on one of the three sides Spector recorded with his old session singer from the 60s, Cherilyn Sarkisian, – or Cher, as the record-buying public came to know her.
In the early 60s Cher sang background vocals on numerous classic Spector cuts. As ‘Bonnie Jo Mason’ she even debuted on one of Spector’s sub-labels with the Pete Anders & Vinni Poncia-produced Beatles-knock-off ‘Ringo, I Love You’. All this was down to her relationship with Spector flunky Sonny Bono – the pair was soon to re-invent themselves as Sonny & Cher and find tremendous success with a very close adaptation of the formula that had worked so well for Spector in Gold Star studios.
Come the mid-70s, Cher was shortly reunited with Spector as a result of a new label, Warner-Spector, that the Tycoon of Teen set up with Warner Bros. Records in 1974. Cher was a Warner artist at the time and so it was decided that her distinctive voice and Spector’s trademark Wall of Sound would make a winning combination. But if the head honchos at Warner Bros. Records had fantasized about energetic, booming drums and throbbing rhythms jumping out of speakers, they were sorely disappointed!
Instead, the three tracks Cher and Spector recorded were super-slow and heart-wrenching odes to love that some have described as more of a dirge of sound than the well-known Wall of Sound. The tempo on ‘Baby, I Love You’ is almost non-existent, a duet with Harry Nilsson on ‘A Love Like Yours (Don’t Come Knocking Every Day)’ was only a tad faster and brighter and with a Nilsson vocal sounding like a punched-in afterthought. And then there was ‘A Woman’s Story’ – the only new song and a co-write between Spector and his longtime friends, siblings April Stevens and Nino Tempo.
Let me emphasize that I’m a big fan of Spector’s 70s productions – I find something interesting in all of them and to these ears the very best of the bunch are just as good as his iconic 60s hits.
‘A Woman’s Story’ is one of those stellar 70s productions as far as I’m concerned. Dark, brooding and enveloped in an otherworldly chorus, the song almost comes across as a requiem if not for the chorus where Cher declares that she’s finally found light at the end of the tunnel; love.
Rather unusually, the lyrics dramatically tell the story of an down-on-her-luck former prostitute who’s ‘seen every room with a bed inside it.’ The production is extremely powerful, almost strangely mesmerizing in all its slow grandeur no doubt due to the dramatic contrast between Cher’s low register vocals and the eerie ghost-like backing vocals. The backing track is almost overpowered by the mass of vocals floating in and out but if you listen past those there are lots of interesting things going on in the background. The three Cher productions definitely heralded a new sound that Spector would work to perfection on Dion’s soon-to-follow ‘Born to Be with You’ LP.
Alas, the interesting pairing of Cher and Spector went nowhere. Despite a respectable promotional push, ‘A Woman’s Story’ backed with ‘Baby, I Love You’ failed to chart. In their book ‘Collecting Phil Spector’ John Fitzpatrick and James Fogerty write about how a quarrel between Spector and record executive David Geffen, Cher’s then-boyfriend, may have played a part in the single’s failure. But honestly, as great as ‘A Woman’s Story’ is, it is so unusual and ‘un-hit-like’ that it’s lack of chart success comes as no surprise. The single was even re-released in 1976 but still to no avail.
So let’s dust off this fantastic production and enjoy this rare, extended mix of ‘A Woman’s Story’ found on a US promo single:
As a postscript, what Cher and Spector couldn’t do in the 70s, UK singer Marc Almond of Soft Cell-fame did in 1986. That year he released a cover version that, lyrics untouched, finally made the charts. It reached #41 on the UK Top 100. Here’s Almond’s version:
Time for another interview and I’m pleased to announce that former Spector employee Devra Robitaille has agreed to answer some questions for Cue Castanets.
For a short time during the mid 70s, Devra worked as ‘Administrative Director’ for Phil Spector’s short-lived Warner-Spector label after getting to know him while she worked for Warner Brothers records. As we shall learn, her new job was far from a walk in the park – something she has described before in Mick Brown’s seminal book on Spector, ‘Tearing Down the Wall of Sound.’
Overall, the 70s proved to be both enjoyable and frustrating for Spector fans. On the one hand, they were served with a smorgasbord of fantastic productions, both newly recorded and unreleased gems that had languished in the vaults since the 60s. On the other hand, many planned projects failed to materialize or if they did, did not receive proper promotion.
In a decade where Spector soundalikes by ABBA, Bruce Springsteen, Meat Loaf and others were riding high in the charts, the stars seemed aligned for a triumphant comeback. It was not to be. And it didn’t help that the release schedule was both erratic and often limited to select countries, no doubt due to Spector’s increasingly difficult personality. In the midst of all this was Devra, trying to nurture both the music and business side of things.
Devra, thank you very much for taking your time to answer some questions about this often overlooked phase of Spector’s career.
First off, according to Mick Brown’s book you began working for Spector in 1975. He appointed you ‘Administrative Director’ of the Warner-Spector label. Looking back, how do you feel about that label?
Warner Spector started out so great. It was a brain-child of Joe Smith and Marty Machat I think, and intended to be an outlet for Phil’s music and a celebration of his production talents after some rough criticism. I remember there being high expectations. It was supposed to be a wonderful homage and great collaboration between Warner Brothers and Phil…. but unfortunately, it spiraled down for oh so many reasons.
Do you think Spector achieved what he’d set out to do when he established the deal with Warner Brothers?
Absolutely not. He was deeply disappointed and offended. He never really spelled it out to me exactly what happened, but his expression when the subject was brought up even years later spoke volumes. I am sure it was mutual, Phil was very difficult to deal with on every level.
In his book ‘Magical Mystery Tours’, Tony Bramwell who oversaw Warner-Spector from the UK, claims that Spector wanted to set up the label to release everything. According to the book, Bramwell went to LA to crate Spector’s tapes up personally in his mansion and later ran them through tests in London, preparing a reissue campaign.
I hung out with Tony a lot during this and other visits. I also spent a lot of time on the phone with him once he was back in England on Phil’s behalf setting all this up. Tony was a really great guy. I feel privileged to have known him. There was another guy too, Malcolm. I don’t remember his last name. They were both gentlemen and the real deal. I hope they remember me kindly.
Those tapes have been the cause of much speculation among Spector fans as to what they contain. Do you remember if there were more unreleased, fully realized 60s recordings than what eventually came out on the wonderful Rare Masters vol. 1 and vol. 2 collections? According to rumors there was at least enough material for a third volume.
You are asking me to cast back a lot of years in my memory, and because of all the more recent ugliness, a lot of it has been suppressed. But I do remember there being controversy about the tapes. I never knew exactly what was on them. Phil tended to hold things hostage so he could get his own way, to try to ransom his music for deals or circumstances as a manipulation ploy and it caused a great deal of turmoil.
This may well be why Warner-Spector ended after only three years. The stealing and hiding of masters was very common at that time. I remember a lot of wrangling about this with both Leonard Cohen and Dion, and also heard rumours about the John Lennon tapes, although possibly it was John in that case. Anyway, I am sure he did hide them at Collina Drive, although I can’t prove it as I never saw them. But I doubt he would trust anyone else, even a professional tape archive.
Do you recall which state Spector’s tapes were in generally? It would seem odd for him to keep them in his mansion instead of a professional tape archive? Do you know if what Tony Bramwell brought to the UK was the entire cache of tapes or just specific master tapes sorted beforehand by Spector? I wonder if tape copies still exist in the Warner archives?
That’s a very good question and I’m afraid I can’t throw any light on it for you. What I do know is that I myself personally recorded one of my own original songs at Phil’s request one night in the studio for use as a “b” side. He later named it “Roy Carr and Devra Robitaille” or some such – don’t ask me why, because that wasn’t the name of the song and I had forgotten about it until Tony Bramwell brought it up on Facebook. I have never been able to find out where the tape ended up. So one could conjecture that if there’s one that went missing there of course must be others?
You were present during the sessions with Cher in Gold Star Studios in 1975. I personally love the three songs cut; ‘A Woman’s Story’, the super slow take of ‘Baby I Love You’ and the duet with Harry Nilsson, ‘A Love Like Yours.’ ‘A Woman’s Story’ is a particular favorite of mine. Are you in the haunting backing chorus on this majestic production? Any anecdotes from the sessions you’d like to share? Were those three songs the only ones worked on?
Yes. I am singing backgrounds on the Cher and the Jerri Bo Keno tracks. I did some back-up vocals on the John Lennon album too, Stand by Me and Be Bop a Lula, I think. And of course on the Leonard Cohen as well as Dion album. I had the honor of sharing a mic with many interesting people, not the least of which was Bob Dylan. [Cue Castanets: on the Leonard Cohen album.]
I also played some keyboards, can’t remember which tracks, and my ex-husband, Bob Robitaille, who was an engineer with Motown and who owned a whole slew of lovely analog synths and would rent them out to studios, was also called in various times with his synths.
I remember Cher well. I had no idea who she was at first. Phil had a habit of just inviting people to the sessions so I didn’t realize at first she was the artist. it was a bit of a rabble usually, chaos. She just showed up, and I was on the microphone singing with this really tall girl with long straight black hair, and she kept “flipping” it and it kept hitting me in the face. I didn’t like her. Then of course it didn’t take long to realize that it was Cher! I also remember Harry Nilsson. I found out much later that an English engineer friend of mine was his engineer.
There are so many anecdotes and stories. I will save them for another time. Maybe my book? :-D
You were in charge of organizing the sessions for Dion’s ‘Born to Be with You’ album. I think it’s a masterpiece that stands up favorably to almost anything Spector did in the 60s.
Agreed! I just think some of the tracks need to be a little smidge faster in tempo, but that’s just my personal opinion. They feel to me like the sparkle is trying to come through but being dragged down – just an impression, take it for what it is.
Did Spector ever explain to you why, of all Warner Brothers artists available to him, he chose to work with Dion DeMucci?
Yes. He told me he really respected artists like Dion. He thought Dion was the real deal, really authentic. He admired that whole New York street cred kind of music and he felt a kinship with that.
I remember going to Las Vegas with Phil to see Dion perform, and when we went backstage being struck by a kind of reverence that Phil had for Dion which I had never seen in him before or even since. This was before the recordings began.
How would you describe the sessions? And do you know why the epic ‘Baby, Let’s Stick Together’ was left off the album?
Describing the sessions might have to be for another time. There is a lot to say and I don’t think you have the space! Suffice it to say that the phrase “barely controlled mayhem” usually applied, peppered with spells of sheer magic and genius. Actually, I didn’t know Baby Lets Stick Together was left off. I really liked that song.
Bruce Springsteen and Steven van Zandt paid a visit during the Dion sessions, hot on the heels of ‘Born to Run.’ How would you describe the atmosphere around their visit, seeing that they’d had a monster hit with the Spector sound?
I remember it well. I was priviledged to sing on a mic with them. Absolutely no idea what song it was as I was completely in awe of Springsteen, my own personal favourite type of music being Rock; I remember The Kessel brothers being there at the session and several others in the control room milling about. There was no gun play that night, at least none that I saw, so perhaps that is a huge compliment to Springsteen from Phil! Then again, one could say that it might have been a bigger compliment had there been…. One can only wonder.
After the Warner-Spector deal fell through, Spector launched the Phil Spector International deal with Polydor. Like with Warner-Spector, Tony Bramwell claims that Spector initially wanted to release everything. Why do you think he was keen set on that during the 70s?
To answer that one would have to have a deep insight into the complicated maze of personality that is Phil Spector, and I don’t claim to be able to unravel it all.
What I can say is what I experienced personally, and that is that Phil always very much needed validation for not only his musical creations but for himself as a person. He was too easily wounded by criticism and desperately craved approbation.
Some people are not cut out for fame, even while being addicted to it. Phil is a “perfect storm”; the perfect coming together of conditions and circumstances to create who he is and what he creates. You can’t pull the “Phil” out of Phil Spector music, it is his Soul expression. Maybe somewhere in here is the reason he always wanted to keep releasing everything.
The old Phil Spector Appreciation Society newsletters report rumors of enough material for a whole Darlene Love album. Only ‘Lord If You’re a Woman’ and ‘I Love Him Like I Love my Very Life’ came out of course but allegedly 10 tracks in total where recorded.
What do you remember about this project? Did you ever hear any other tracks? If so, do you remember anything specific about them? Were they release-worthy or were they just rough recordings?
I don’t remember there being any other tracks and didn’t hear any. I was at the sessions for ‘Lord If you’re a Woman’, particularly the mixing. A great track! There was some wrangling about the tempo as I recall. Of course Phil always won.
Another rumoured project in the Phil Spector Appreciation Society newsletters was a Manhattan Transfer-styled vocal group called the Brewers that Spector was supposed to have signed. What do you remember about this project? Do you think they ever got to record with him?
I don’t know anything about this group, never heard of them and don’t remember there being any sessions in that name – at least during my times.
I went back to work for Phil again in the mid eighties after I came back from England. My second tour of duty was quite tame compared to the first and only lasted a mere six months.
The Leonard Cohen album really divides Spector fans. Some like it, others hate it. Including, seemingly, Leonard Cohen himself! Looking back, how do you feel about it and the sessions that took place?
What a fantastic adventure in my life to have been involved in that project. I booked all the sessions and attended every excruciating moment! That is said with a smile though.
So many adventures, too much really to report here. I even received an album credit, the wording of which I have forgotten now, but it was a thank you from Phil for somehow keeping order in the face of all the chaos. I have the utmost respect for Leonard who was always a perfect gentleman and has so much class.
Were there any other steps taken towards recordings projects that either didn’t materialize or were left in the can?
Not that I can remember.
Did Spector for instance, to your knowledge, record more songs with Jerri Bo Keno than ‘Here It Comes (and Here I Go)’? Was there other acts he signed and worked with that the fans probably don’t know about?
I don’t know of any others, but that doesn’t necessarily mean they don’t exist.
He recorded a version of ‘Baby, Let’s Stick Together’ with the Paley Brothers that finally came out on a retrospective of theirs in 2013. Do you know if he recorded more stuff with them?
Also at this time, rare stereo versions of some of the 60s recordings became more widely available as part of reissues, for instance the songs off the lone Ronettes album. Do you think this was a decision of Spector himself or rather a case of someone involved in the reissue projects chancing it and releasing the much sought-after stereo versions behind his back?
I don’t really know, but if I had to make a guess I would say that no-one really wanted to “chance it” with Phil. His wrath was legendary, and I think he would always want to maintain control.
And finally, what are your personal top-five favorite Spector-produced recordings?
I am going to have to do some listening to rehabilitate my ears to this music. Off the top of my head though, I can say that I really liked ‘Lord If You’re a Woman’!
Debra, thank you very much for sharing your insights. I’m crossing my fingers that you’ll write a book about your adventures in the music business someday.
When investigating the Wall of Sound, at least the original source as heard on all those iconic Spector productions, you can’t underestimate the importance of legendary LA studio Gold Star.
It was Spector’s favorite haunt and the place he returned to time and again to commit his ‘little symphonies for the kids’ to tape. With the aid of a veritable legion of incredibly talented session musicians, later dubbed the Wrecking Crew, Gold Star almost became Spector’s laboratory, his marathon sessions devoted to concoct the formula for perfect, supersonic impact – a sound so strong, so overpowering that it would charge through speakers everywhere, grab listeners by the shoulders and envelop them with otherworldly splendor.
Much has been written about Gold Star, it’s famed echo chambers and its brilliant engineers, Stan Ross and Larry Levine. We have first-hand insights in the form of interviews with or accounts from people like Ross, Levine and various Wrecking Crew members; there are interesting photos shot at Gold Star sessions that show us how the studio and the various instrumental set-ups looked; and of course, there are actual tapes from Spector sessions floating around giving fans a fascinating opportunity to be a ‘fly on the Wall of Sound.’ (See what I did there?, he he)
Sadly, there’s a lack of moving images from Gold Star and the iconic session work taking place there during the 60s. We do however have this precious, but short AMC news reel filmed during a Sonny & Cher session in 1966:
This segment makes for fascinating viewing. You get a sense of how crammed the studio really was during sessions. And although Sonny & Cher and some of the session men are obviously goofing around for the camera, you can sense the professionalism in the whole set-up.
Sonny Bono was of course no stranger to either Gold Star or the Wall of Sound, having previously served as a gofer, percussionist and sometime back-up singer on numerous Spector sessions. When he found success with his girlfriend Cher, he did so by making the most of his first-hand knowledge of Spector’s recording methods. More about that in a later installment of ‘Would-be Spectors’ for this blog.
Enjoy the clip if you haven’t seen it already and then do yourself a favor and head over to the Classic Studio Sessions blog. The blog seems to be dead now, but from 2010 up until last year it featured some interesting research carried out by Josh Hoisington and Craig Clemens.
In their very first blog post back in 2010, Craig took his point of departure in this short clip and wrote a very detailed walk-through, pinpointing the recording set-up, some of the gear used and, perhaps most interestingly, identifying most of the session players. It’s a beautifully written and very insightful piece – perhaps a bit on the technical side for some but if you have any interest in the 1960s LA studio scene, it is a very worthwhile read.