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Phil Spector
There are only a handful of people from the 1960s who can truly be
said to have had a major and lasting effect on the record
business: Ray Charles, Dylan, Lennon and McCartney, Brian Wilson,
Hendrix, Berry Gordy and Aretha Franklin all immediately come to
mind. But to their ranks should be added Harvey Phillip Spector,
whose production skills not only created some of the most enduring
pop records ever, but also had a direct and lasting influence on
succeeding generations of artists and producers.
Known as "The Tycoon of Teen", Spector was the
first rock producer whose ability to achieve a distinctive sound
in the studio came to be regarded as the defining quality of the
records he worked on. It was known as his "wall of
sound", and Spector applied it to recordings by The
Crystals, The Ronettes, The Righteous Brothers and more, often
effectively relegating the artists' performances to a secondary
role in the architecture of the music.
In essence, to create what he termed his "little
symphonies for the kids" he packed large instrumental
ensembles into tiny studios, and employed previously unknown
multiple-echo techniques to build up a huge sound, unrivalled in
its day. Doubling, tripling and quadrupling instruments was
regularly done with guitars, pianos and basses, building up a
block of sound that produced its own overtones.
Phil almost battered his musicians into submission with
rehearsals and gradual alterations to the sound before he recorded
them, but his hard core of players thrived on it and session tapes
from that period show an obvious affection and good humour between
producer and players, and knowledgeable musicality from Spector.
Key players included pianists Don Randi, Al De Lory, Larry
Knechtel and Leon Russell; guitarists Glen Campbell, Al Casey,
Barney Kessell (Phil's own teacher and long-time jazz hero),
Tommy Tedesco, Billy Strange, Don Peake, Bill Pitman, Irv Rubins
and Gene Estes; Fender bass players Ray Pohlman and Carol Kaye,
with upright bass by Lyle Ritz and Jimmy Bond; horn players Steve
Douglas, Jim Horn, Lou Blackburn, Jay Migliori and Nino Tempo;
percussion from Sonny Bono, Frank Capp and Jack Nitzsche; and
finally the drum chair usually being filled by Hal Blaine.
It is often forgotten that Spector was also an accomplished
songwriter, having contributed to the penning of Ben E King's Spanish
Harlem, The Drifters' On Broadway and The Teddy
Bears' million-seller To Know Him Is To Love Him as well
as many others.
His particular forte was simple, irresistible hooks, for which
his criterion was the question "is it dumb enough?",
by which he meant, was the hook simple enough to cut through
everything else and sell the record? Classic Spector hooks
are the heartbeat drum intro to The Ronettes' Be My Baby,
the mesmeric guitar lick that opens The Crystals' Then
He Kissed Me and the insidiously repetitive piano of He's
A Rebel.
Born Harvey Phillip Spector on 26 December 1940 in the Bronx,
New York, he became involved in the music industry only after
moving to Fairfax, California in 1953. There he joined a group of
aspiring musicians including Sandy Nelson - who was later to play
drums on To Know Him Is To Love Him. His career
really started when Lee Hazelwood recommended him to the New York
production team of Jerry Leiber and Mike Stoller. He then tasted
success with his own group The Teddy Bears, before moving
wholeheartedly into production.
At a time when whole albums were made in a day, Spector would
spend a week perfecting just one single. His success peaked in
1966 when Ike & Tina Turner's River Deep Mountain High,
a UK Top 3 hit, flopped completely in America, not because of the
record itself which has since become a classic, but because the
industry had had enough of Spector's self-aggrandising,
dismissive arrogance and simply refused to get behind the record.
Even so, he went on to work with The Beatles on the Let It
Be album, although his melancholic orchestration on The
Long and Winding Road infuriated the song's composer, Paul
McCartney, who cited Spector as a reason for The Beatles'
break-up.
In 1969, three years after his once-great Phillies label
fizzled out, Spector revived his production career with a
short-lived liaison with A&M which spawned a moderately
successful 45 by a revised Ronettes line-up, and three substantial
hits for Sonny Charles and his Checkmates Ltd.
After the end of his marriage with his former protégé,
Ronnie Spector of The Ronettes (she divorced him in 1974 claiming
he abused her and his children), his behaviour grew increasingly
erratic, reclusive and unfathomable. rn
He would often threaten people with a pistol that he kept
strapped to his hip. He also battled drug addictions, notably
cocaine and alcohol.
In February 2003, Spector allegedly took a 40-year old B-movie
starlet to his Los Angeles mansion and shot her in the face. When
police were called to the house they found Lana Clarkson dead on
the marble floor of the foyer beside the murder weapon. Spector
was the only other person in the house and struggled with police
after they burst in.
Freed on $1 million bail, Spector hired the lawyer who won an
acquittal for O J Simpson.
He was found guilty of the murder in 2009 and will be 88 before
he is eligible for parole

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