Confession: when I first fell head over heels in love with the wall of sound in the early 00s, it was by way of the Righteous Brothers. Being a die-hard soul fan, it took me a little longer to warm to the other parts of the Philles catalog. However, those glorious, soulful vocals by Bill Medley and Bobby Hatfield?… Pure bliss! I was hooked rightaway. To this day, ‘Just Once in my Life’ is probably my favourite Spector production.
When singing together these guys were incredible but they could also pack a punch on their own as plenty of tracks on the various Righteous Brothers albums prove.
Allegedly, Bobby Hatfield was frustrated by the immediate attention bestowed to Bill Medley by Spector on follow-ups to ‘You’ve Lost that Lovin’ Feeling’, but luckily Hatfield was given quite a few opportunities to shine amid shimmering, echo-soaked backing tracks. ‘I Love You (for Sentimental Reasons)’ and ‘Ebb Tide’ have always been especially dear to me, even more so than the iconic ‘Unchained Melody.’ (and let’s skip the discussion of who really produced that gem!)
It’s about time Bobby Hatfield got his proper due and what better company to do his musical legacy justice than the fine folks at UK label Ace Records? They have just released a superb compilation with the apt title ‘The Other Brother’ that is a must-buy for any Cue Castanets reader.
The compilation displays the high standard we’ve come to expect from Ace projects; well-chosen tracks – including never before released recordings, beautiful cover artwork and very informative liner notes as well as top-notch sound quality. Believe me, ordering this release is a no-brainer. Your ears will thank you!
There can be no doubt that Bobby was an extraordinary singer who made the most of the songs he was given, even though the material at hand on occasion was of lesser quality. There are a few instances of this on the disc but it doesn’t mar the overall listening experience. Bobby could obviously inject life and drama into even the most mediocre songs.
Having said that, there is an overload of great recordings on ‘The Other Brother’, none the least a smattering of previously unreleased songs of high quality which makes one wonder why they never saw the light of day. I’m especially fond of Bobby’s velvet-soft take on ‘Crying in the Chapel.’
Of particular interest for Spector connoisseurs is a hitherto unreleased version of ‘Paradise’; here reimagined as a mid-tempo soul song with a James Jamerson-type bass line, punchy horns and strings that bring forth a bit of the grandeur we know from the Spector-produced version with the Ronettes. Even though Bobby and the uncredited mystery producer involved do not achieve the same level of sophistication as the Tycoon of Teen, theirs is still a very good version – and one that’s very refreshing to hear after having played the Ronettes track to death.
Besides this song and a few other nice, unreleased recordings, Bobby also turns in a fine version of ‘See that Girl’, which of course graced side 2 of the ‘Just Once in my Life’ Philles album by the Righteous Brothers.
Outside of recording as a Righteous Brother Bobby Hatfield wasn’t really that prolific. Eventually only issuing one album, the soulful ‘Messin’ in Muscle Shoals’ from 1971, his career was dogged by lukewarm reception to singles that were meant to test the waters for album projects.
A planned solo album for 1969 fell on the wayside after slow ’45 sales which is a shame; two of the songs for planned inclusion on this scrapped album is on ‘The Other Brother’, but it’s a shame that Ace hasn’t included strong cuts like ‘My Prayer’ and ‘Answer Me’ since they showcase Bobby at his best.
On the other hand, the whole ‘Messin’ in Muscle Shoals’ album is included – if you like southern soul, this album is right up your alley. You could argue that some of these later songs could have been left off to make room for more 60s Hatfield-leads like the Righteous Brothers take on ‘I Believe’ or the sublime ‘Answer Me’, but that’s all a matter of taste.
Personally, I was glad to have ‘Hang-Ups’ as the collection’s lead off track since it’s probably my favorite solo Hatfield recording and thus makes for the perfect opener. When released as a single it was paired with the groovy ‘Soul Café’ which is also a welcome inclusion on the disc.
All in all, this is a great and long overdue set highlighting different parts of Bobby’s career. Tip of the hat to compiler Tony Rounce and the rest of the team at Ace for continuously documenting the best pop of the 60s with care and affection.
You can order your own copy and listen to sound samples here:
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
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.
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.
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. “
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.
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.
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.’
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.
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:
Today’s post marks post # 100 since starting Cue Castanets in the fall of 2014. Here’s to the next hundred! And I hope you’ve enjoyed the ride so far.
Some of you have written me directly to give your thumbs up, others have left positive comments on the blog. I really appreciate your feedback and I’m glad that you enjoy my ramblings on all things Spector & the Wall of Sound. Thank you.
And with that, indulge me in a bit of a ‘what if’ scenario if you will. The thing is, I’m sure that all of us know songs from around the time of Spector’s golden 60s period that we deep down wish the Tycoon of Teen had taken a liking to and decided to give the full Spector treatment in Gold Star.
Basically, what I’m thinking about are either released 60s recordings by artists not in Spector’s stable or even obscure song demos that didn’t see an actual release at all. The mind boggles thinking about what could have been when hearing songs that would have worked particular well beefed up with a grandiose Wall of Sound backing. Off the top of my head, here are five examples that could easily have been turned into ‘little symphonies for the kids’ – I’d love to hear your suggestions…
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Neil Sedaka – ‘Tonight Will Tell’
As far as I know, this awesome ‘does he love me or not’ teen angst anthem by the superb Neil Sedaka was never released by anyone. What a shame – the melody is great and the lyrics work very well.
As bare bones as this recording is, imagine the monster this song could have been had Spector enveloped it with the majestic sound of the Wrecking Crew in Gold Star. Would have been a perfect fit for the Ronettes. I can almost hear Ronnie croon that chorus with her gorgeous vibrato!
The Cinderellas – Baby, Baby (I Still Love You)
This classic girl group cut was actually the Cookies under a pseudonym. Written by Spector’s friends Cynthia Well and Russ Titelman, this is as good as it gets when it comes to the girl group genre, if you ask me. Yet, as good as this recording is – and Titelman’s production is very sympathetic – I have always felt it lacked a bit of punch.
Had Spector had a go at it, he’d probably had the drums be much more pounding in the ‘Da Doo Ron Ron’-vein and no doubt had a gigantic rumble drone beneath, courtesy of a legion of guitarists strumming along in unison. And don’t even get me started thinking about what a sweeping Jack Nitszche string arrangement could have brought to all this! File under ‘perfect for the Crystals’, then.
PF Sloan – “Cry over You”
I wrote about this fantastic, jaw-droppingly great demo when I wrote my tribute to PF Sloan last year the day after he passed. Sloan was a music chameleon capable of writing within any genre. For some reason though, he never seriously dabbled in big Wall of Sound recordings, but if he did, this song seems tailormade for the Righteous Brothers.
Oh man, Bill Medley on the first verse, Bobby Hatfield stepping up to the mike on the second. And both of them belting out together on the chorus – swathed in a gazillion strings and bombastic backing reverberating in that big, fat Gold Star echo. It’s incredible that no one seems to have recorded this superb song!
Four Tops – “Reach Out (I’ll Be There)”
This choice may be a bit cliché since ‘Reach Out’ has often been likened to the tour-de-force that was ‘River Deep, Mountain High’ in intensity and impact. Two monster productions that came out only two months apart. As tasty as Holland-Dozier-Holland’s production is, imagine the stratospheric heights Spector could have taken this superb song to. The tune in itself I like much more than ‘River Deep’, so I really fantasize about the mad Tycoon of Teen tackling this pop gem in the midst of a sweeping strings, booming drums and a 30-member chorus.
We know for a fact that Spector really dug the Four Tops – singling out ‘Baby, I Need Your Loving’ and ‘Reach Out’ in particular during interviews. Levi Stubbs of the four tops; gosh, one of the greatest singers ever – it’s a shame his over-the-top vocals never graced a Spector production! As for Spector’s own stable of acts, I guess only Darlene Love or Tina Turner could have supplied the type of juggernaut vocal required, had Spector covered the song.
The Staccatos – “Cry to Me”
Time to slow things down a bit here at the end,… ‘Cry to Me’ was a hit by Solomon Burke in the early 60s and was covered quite a lot. One version that has struck a chord with me is this one by South African band the Staccatos – not to be confused with a Canadian band by the same name.
The SA Staccatos slowed down the song considerably and had some very soulful vocals on top. But come on, this way of doing the song is just begging for someone like Spector or Jack Nitszche to go completely over the edge, building up the backing track as some sort of audio Tower of Babel. Everything but the kitchen sink would be their modus operandi, I suspect. Nothing less! Perfect for Bobby Hatfield or Bobby Sheen!
To tell the story about Phil Spector, his use of the Wrecking Crew and Gold Star studios is also to tell the story about the dawning of 60s Los Angeles as one of the world’s premier pop capitals.
This, and much, much more, is at the heart of a very entertaining book by music journalist Harvey Kubernik that I’ve just finished reading. I got ‘Turn Up the Radio – Rock, Pop and Roll in Los Angeles 1956-1972’ as a Christmas present but it’s only now, during the summer holiday, that I’ve taken the plunge and read this lengthy, coffee-table format book.
Kubernik may be familiar to Cue Castanets readers in that he has often championed Phil Spector in his writing and also been within Spector’s actual inner circle. Allegedly, Kubernik was even featured on percussion on some of Spector’s late 70s sessions with Leonard Cohen, the Paley Brothers and the Ramones.
Before I proceed further, allow me to point readers towards a great four-part Kubernik article on Spector published by Goldmine Magazine. Believe me when I say it’s worth your time:
The Spector connection, though, is but only one strand in Kubernik’s interesting career; besides working as a music journalist since 1972, he’s produced records as well as dabbled in A&R for the West-coast division of MCA Records.
Seeing that Kubernik grew up in LA and had his teenage years played out to the music by Spector and his contemporaries, it’s only natural for him to go back and try to explain the sort of cultural and audio revolution that happened in town during a timespan of little more than 15 years.
In doing this, the book serves as a very nice companion to Barney Hoskyns’ ‘Waiting for the Sun – Strange Days, Weird Scenes and the Sound of Los Angeles’ and Domenic Priore’s ‘Riot on Sunset Strip: Rock’n’Roll’s Last Stand in Hollywood’ – both great books that contextualize Phil Spector and Philles Records as well as give readers a good, basic understanding of LA’s rise to pop prominence.
Whereas Hoskyns and Priore both use the tried and tested chronological narrative written in their own words, Kubernik has chosen another path – that of oral history. Spread out throughout the nearly 300 pages is only a limited amount of writing by Kubernik himself. His own words either only serves to set the scene as each new chapter begins or shift the focus within a chapter.
Basically, the majority of the text is made up of quotes from people who were present themselves back in the day and whom Kubernik have interviewed over the years – some of the excerpts may also come from interviews conducted by other journalists. In any event, it makes a basic storyline which is well-known to anyone who’s read up on the recording history of Los Angeles come alive in an engaging and down-to-earth manner.
Reading the book, it’s as if all these icons, heroes and out-of-this-world characters parade into your living room and regale you with stories from a sizzling hot bed of recording creativity the likes the world will probably newer hear again. Everyone you can think of have a say throughout the book; Phil Spector, Jack Nitszche, Brian Wilson, LaLa Brooks, Sonny Bono, Russ Titelmann, Terry Melcher, Stan Ross, PF Sloan, Andrew Loog Oldham, Lester Sill, Carol Conners, Kim Fowley, Don Randi, Dan & David Kessel, Bones Howe, Jimmy Webb, Don Peake, Lou Adler etc. You get the drift – it’s very entertaining to hear all these talented people tell how they remember things happened,… or at least what they’d like us to think happened.
As with every book that is based solely upon oral history, one must remain sceptic. No doubt some of the claims and stories should be taken with a grain of salt. Music lore is notorious for people trying to talk up their importance and it’s difficult to tell while reading when this occurs since conflicting accounts don’t pop up during the storyline. Kubernik could have played the devil’s advocate by questioning the validity of some of the statements but has chosen not to. It means that readers have to take everything at face value and take it from there.
Having said that, the only obvious, factual error I picked up while enjoying the book was this comment by Henry Dilz about the Modern Folk Quartet and Spector: “We later recorded ‘Night Time Girl’ with Phil at Gold Star, with Jack Nitszsche’s arrangement.” Nitszsche had the production credit on the single and I find it very hard to believe that Spector had anything to do with this recording. Dilz also couldn’t have mixed up the song with ‘This Could be the Night’ because he talks about the production of it just before ‘Night Time Girl.’ Strange indeed!
Besides all sorts of interesting stories, and just the sheer joy of reading personal thoughts by people you know from label credits, ‘Turn Up the Radio’ also stands out by virtue of lots and lots of interesting photographs.
There were many shots I hadn’t seen before and Spector’s productions are nicely covered with some cool images. The book is definitely eye candy for any serious lover of 60s pop and the smorgasbord of photos makes the book ideal for casual browsing, reading a little bit here, a little bit there. Hence, I guess, the choice of the coffee-table book format.
My only gripe with the book is that the format makes it difficult to read lying down as I always do, – its size and weight makes that a bit trying. But that aside, I’d really recommend getting your hands on this fun and entertaining read. Preferably along with the aforementioned books by Hoskyns and Priore. Those three titles together will give you a much broader understanding of the LA pop landscape.
Whenever Phil Spector’s iconic string of hit records is discussed the emphasis is always on how he pioneered a groundbreaking approach to production – the Wall of Sound – and carved out his own path as a true original within the recording industry. And indeed he was!
However, what is often overlooked is the fact that even though his otherworldly productions were unlike anything that had ever graced the airwaves, the ‘feel’ and texture of some of his well-known songs were often inspired by releases by other acts and producers.
An obvious influence which has even been acknowledged by Spector himself in interviews is Frank Guida whose party-in-the-studio style was a key component for the hits of Gary US Bonds. Take a listen to ‘Quarter to Three’ and tell me the future Tycoon of Teen didn’t take notice when he first heard this one!
This following examples in this post aren’t showcased in order to take anything away from Spector and his significance, … far from it!
No musician or producer has ever entered the studio without bringing some influences to the table and Spector was definitely among those who were able to brilliantly expand of this situation by virtue of new, original ideas that more often than not blew the influences right out of the water. So the examples below are merely meant as a fun dissection of the kind of songs Spector would have had on his mind each time he entered Gold Star to record yet another brilliant single.
Credit where credit is due – the following examples have all been compiled by a good friend who has previously supplied guest posts on Cue Castanets under the moniker ‘Spectorlector.’ Some are very obvious, some are more open to debate. If you have any further suggestions or opinions on the matter, by all means leave a comment.
Ok, first off, here’s a 1958 recording by the Aquatones that surely must have served as a blueprint for the feel of ‘To Know Him is to Love Him.’
Similarly, Spector probably had his eyes set on creating a feel similar to this Shirelles hit when he recorded ‘There’s No Other (Like my Baby)’ with the Crystals.
And speaking of which, the ‘I Met Him on a Monday’ opening line as well as the gibberish da doo rons rons of the Crystals on one of their biggest hits must surely owe something to the Shirelles.
‘Under the Moon of Love’ by Curtis Lee was probably the closest Spector came to those Gary US Bonds records he loved – but he also made what’s almost a carbon-copy of this recording by the Pastel Six.
Basically, quite a few of Spector’s productions reflected his love of early doo wop and rock’n’roll, – the feel of which crept into his own releases. A song like ‘Why Do Lover’s Break each Other’s Hearts’, for example, isn’t that far removed from this frantic song by G Clefs and similar fast-paced songs by other doo wop groups.
Remember Darlene Love’s unreleased, slow take of ‘Chapel of Love.’ There are some similarities with this song by Faye Adams, even though the latter song is a bit slower.
The underlying Doo Wop-like progression that is basically the hook on ‘Why Don’t they Let us Fall in Love?’ can easily be identified here in this song by the Scarlets.
The Crystals recorded two versions of ‘All Grown Up’, one of which was the closest Spector came to the surf-pop sound of the Beach Boys; a sound that they themselves developed on the basis of Brian Wilson’s love for Chuck Berry. Which makes all the more sense then when you listen to this Chuck Berry song with a theme very similar to the Crystals tune.
The album-only track ‘Baby, I Love You’ by Bob B. Soxx & the Blue Jeans bears a striking resemblance to this hit by Rosie & the Originals. A song that Spector later recorded brilliantly with John Lennon for the Rock’n’Roll album.
One final example before I round off this blog post;
Spector followed Berry Gordy’s Motown hit machine closely and was allegedly inspired by ‘Baby, I Need your Loving’ by the Four Tops when he wrote ‘You’ve Lost that Lovin’ Feeling’ with Barry Mann and Cynthia Weill. If you’ve heard some of the earliest takes of the ‘River Deep Mountain High’ backing track off the Spector sessions bootleg, you’ll easily recognize a similarity between the intro on the early takes and the intro on this song by the Supremes.
Here’s another modern Spector soundalike for you, courtesy of UK band Spiritualized.
The band itself has had a revolving list of members with frontman and songwriter Jason Pierce being the mainstay that binds it all together. He is also a massive fan of Spector’s Wall of Sound. It comes as no surprise then that quite a few Spiritualized tracks bear trademarks of the Spector sound in one way or another.
‘Stop Your Crying’ is my favorite Spiritualized track and can be found on the band’s 2001 album ‘Let It All Down.’ The album itself saw Pierce trying, and succesfully at that, to follow in Spector’s footsteps. Allegedly, more than 100 session musicians were utilised for all the songs combined and many of the tracks feature a full orhestra.
‘Stop Your Crying’ really is a majestic track with a gradual build and a stately feel much like Spector’s slower 70s productions. Take a listen, close your eyes and tell me that you can’t hear Cher or Dion sing this at a Spector session with the wrecking crew as backing?
This is gospel Wall of Sound of the highest order.
Musings on Phil Spector's Wall of Sound and similar music…