The group leaped to No. 2 in 1963 with “Be My Baby,” the most dramatic and thunderous of Spector’s early productions. Spector’s Wall of Sound found its ultimate expression in the work of the Ronettes, a familial New York-bred trio fronted by Veronica “Ronnie” Bennett, whose puissant, quavering lead vocals defined them as much as their beehive hairdos and Cleopatra-style eyeliner. (Director Martin Scorsese unforgettably used the song under the credits of “Mean Streets” in 1973.)
The blue-eyed soul duo of Bill Medley and Bobby Hatfield had recorded without distinction for Moonglow Records. 4) and “Ebb Tide” (No. (“Unchained Melody” returned to the top 20 twice in 1990 after it was used in the hit feature “Ghost.”) 5). But they scored immediately with Spector in 1964 with the huge No. 9), “Unchained Melody” (No. Philles struck major paydirt for the last time with the Righteous Brothers. 1 smash “You’ve Lost That Lovin’ Feelin’” — BMI’s most performed song of the 20th century. It was succeeded in rapid order by “Just Once in My Life” (No.
5 single “I Love How You Love Me” by the Paris Sisters for Sill’s Gregmark imprint. In 1961, Spector returned to L.A., where he produced the No. Spector and Sill subsequently set up the label Philles as an outlet for Spector’s production output.
1 with the vocal group’s ode to teen outlawry “He’s a Rebel.” By the time the latter record hit the apex, Spector had bought out Sill’s interest in Philles and established his signature production sound — immense, percussive, densely orchestrated (usually by arranger Jack Nitzsche) and over-the-top. Spector cracked the top 20 in 1962 with the Crystals’ “There’s No Other (Like My Baby)” and “Uptown” but vaulted to No.
The Ronettes landed some lesser top 40 hits for Philles — “Baby I Love You,” “The Best Part of Breaking Up,” “Do I Love You?,” “Walking in the Rain” — and were prominently featured on Spector’s 1963 seasonal album “A Christmas Gift to You,” which stiffed on release but later became a yuletide standard. In 1965, they appeared in “The Big TNT Show,” a filmed concert produced by Spector.
His medium was a series of bombastic, cavernous-sounding singles that turned angst-ridden Brill Building love songs into highly orchestrated three-minute operas – or, in Spector’s own memorable description, “little symphonies for the kids.” His extravagant style — dubbed the “Wall of Sound” — influenced contemporaries like the Beach Boys’ Brian Wilson and later acolytes like Bruce Springsteen.
A breathy ballad, with lyrics inspired by the inscription on the tombstone of Spector’s father, was recorded; issued by Dore Records, “To Know Him Is to Love Him” reached No. In 1958, Spector scraped together $40 for a Gold Star session with his vocal trio the Teddy Bears, which included friends Marshall Leib and Annette Kleinbard. 1 that fall, selling an estimated 1.4 million copies.
He also produced Gene Pitney’s “Every Breath I Take” for Musicor and Curtis Lee’s “Pretty Little Angel Eyes,” a No. King’s 1960 hit “Spanish Harlem,” worked as a session guitarist, produced Ruth Brown and La Vern Baker for Atlantic and briefly served as Atlantic’s head of A&R. 7 hit, for Dunes. During his two-year apprenticeship in the Big Apple, Spector co-wrote Ben E.
Spector is survived by his ex-wife Rachelle, a vocalist whose 2010 debut album, “Out of My Chelle,” he produced while free on bail between his two trials (their divorce was finalized in 2019); three children adopted during his marriage to Ronnie Spector; and a daughter born to ex-girlfriend Janis Zavala.” />
The British Invasion — led by the Beatles and the Rolling Stones, the latter of whom invited Spector to their sessions — had pushed girl-group pop off the charts (some obvious impact on soul’s Motown Sound notwithstanding), and Spector’s opulent style had begun to sound dated. Even his devotion to monophonic sound was being challenged by the growing acceptance of stereo recording. However, in 1966, Spector and Philles began to hit the skids. However, the producer envisioned a personal renaissance in the form of a single by the husband-and-wife R&B duo Ike and Tina Turner.
Spector recorded briefly for L.A. Other Teddy Bears hits failed to materialize on Imperial, and the act splintered. producer-publisher Lester Sill and Lee Hazlewood as the Spectors Three. Sill recommended Spector to Leiber and Stoller, installed in New York’s Brill Building as hitmaking writer-producers, and the 19-year-old headed east.
Producer Phil Spector, the legendary studio revolutionary of the ’60s and ’70s who ended his life imprisoned for a 2003 murder, has died. He was 81.
Except for production of a pair of tracks for the English band Starsailor in 2003, an increasingly reclusive Spector had virtually disappeared from view before the shocking Lana Clarkson murder that year.
As a freelancer, he produced Leonard Cohen’s 1977 album “Death of a Ladies’ Man”; during the sessions, Spector reportedly drew a gun, pointed it at Cohen’s chest and said, “I love you Leonard,” to which the singer-songwriter coolly replied, “I hope so, Phil.” Firearms were also displayed during the arduous recording of the Ramones’ 1980 album “End of the Century,” Spector’s last major production. Spector’s life, already deeply colored by paranoia, continued to darken, and employing him became perilous. He was credited with work on Ono’s 1981 release “Season of Glass,” but his contributions were reportedly minimal.
Spector’s musical vision developed early: He took guitar lessons from Barney Kessel and Howard Roberts, both of whom would become members of the Wrecking Crew, the powerhouse studio band on his most famous recordings. City College, he began hanging out at Gold Star Studios, the Hollywood facility famed for its echo chamber, which would be the site of his epoch-making sessions. While studying at L.A.
The resounding flop of his 1966 magnum opus, Ike & Tina Turner’s “River Deep, Mountain High,” threw his career off track, but he rebounded with a controversial remix of the Beatles’ “Let It Be” and productions for John Lennon and George Harrison.
8, 1962), an idiosyncratic cover of a song from Disney’s “Song of the South,” introduced former Blossoms member Darlene Love as a lead voice; she would also power the Crystals’ “Da Doo Ron Ron” (No. 6, 1963) and have some minor Philles hits of her own. Soxx and the Blue Jeans’ “Zip-A-Dee-Doo-Dah” (No. The hits kept coming. Bob B. 3, 1963) and “Then He Kissed Me” (No.
"Phillip Spector, 80, was pronounced deceased of natural causes at 6:35 p.m. His official cause of death will be determined by the medical examiner in the San Joaquin County Sheriff’s Office," read the statement from the California Department of Corrections and Rehabilitation. on Saturday, January 16, 2021, at an outside hospital.
Biographer Richard Williams noted that Spector single-handedly “turned the producer from an obscure backroom boy…into a figure whose function paralleled that of a film director.”
He produced George Harrison’s luminous three-LP 1970 solo album “All Things Must Pass,” which reached No. Despite the criticism, Spector enjoyed strong creative relationships with two ex-Beatles. 1, and the all-star 1971 live set “The Concert For Bangla Desh,” which won a Grammy as album of the year.
He also produced the cheery Lennon-Yoko Ono single “Happy Xmas (War is Over).” 6, 1970) and “Imagine” (No. His work with Lennon was similarly fruitful, albeit less consistent and considerably more fraught with tension. Spector helmed Lennon’s albums “Plastic Ono Band” (No. 1, 1971), the latter of which contained the much-beloved title song.
Spector’s lucrative run of ’60s hits on his Philles label with the Crystals, Bob B. Soxx and the Blue Jeans, Darlene Love, the Righteous Brothers and the Ronettes led Tom Wolfe to dub him “the First Tycoon of Teen” in a celebrated 1964 profile.
Tasked with remixing the Beatles’ log-jammed back-to-basics project “Get Back,” the producer slathered strings, horns and choirs onto the tracks “Let It Be” and “The Long and Winding Road.” Though the latter number became the Fab Four’s last No. 1 single, Spector was universally attacked when the “Let It Be” album was released in 1970. In 1970, Beatles manager Allen Klein summoned Spector to London, where he produced “Instant Karma,” John Lennon’s first solo single under his own name.
The Righteous Brothers, the Ronettes and Darlene Love, whose careers were embodied in their work with Spector at the label, were all later inducted into the Rock and Roll Hall of Fame, in 2003, 2007 and 2010, respectively. Philles issued its last single in October 1966.
In the interim, after divorcing first wife Annette in 1966, he married the Ronettes’ Ronnie Bennett. 13 hit “Black Pearl” by Sonny Charles & the Checkmates in 1969. (The couple’s tumultuous life together, circumscribed by Spector’s terrifying jealousy, ended in divorce in 1974; Ronnie Spector recounted her side of the story in her hair-raising 1990 book “Be My Baby.”) In 1969, Spector took a wordless cameo as a dope dealer in Dennis Hopper’s “Easy Rider.” A production deal with A&M landed him the No. It would take a few years for Spector’s career to reignite.
A hung jury — 10-2 for conviction — forced a retrial, at which Spector was convicted. Not long after Spector’s conviction, Sony Music’s Legacy division announced a deal to license the producer’s long-out-of-print Philles catalog; a series of compilations and a boxed set followed in 2011. The producer had picked up the former B-movie starlet at House of Blues in West Hollywood, where she worked as a hostess, and drove her to his Alhambra mansion, where she was killed by a single gunshot wound to the head. Higher court appeals were rejected. At trial, Spector’s defense team maintained that Clarkson had killed herself. An HBO docudrama focusing on the Clarkson case, starring Al Pacino as Spector and written and directed by David Mamet, aired on the cable web in 2013.
After a 2007 mistrial, Spector was retried in 2009 and convicted of second-degree murder and sentenced to 19 years in prison. Spector, who was inducted into the Rock and Roll Hall of Fame in 1989, did little work from the early ’80s on, as tales of his increasingly erratic and violent behavior spread in the industry. 3, 2003, he was arrested after actress Lana Clarkson was found shot to death in his home. On Feb.
TMZ reported that he had recently been hospitalized with COVID complications.
Cut at great cost with an army of session musicians at Gold Star, the volcanic “River Deep, Mountain High” was released with a flourish in May 1966. However, while it managed to reach No. 3 in the U.K., the single bombed domestically, peaking at No. 88 and falling off the charts after just four weeks.
Spector also tracked the politically flat-footed Lennon-Ono collection “Some Time in New York City” (1972). Spector absconded with the tapes; after a protracted legal clash, an album, “Rock ’n’ Roll,” was released in 1975, employing just four of Spector’s tracks. kept Spector in the studio producing singles by Cher and Harry Nilsson and a set by Dion, “Born to Be With You.” In the mid-’70s, a deal with the international arm of Warner Bros. Sessions for Lennon’s throwback album of rock ’n’ roll covers during the musician’s L.A. “lost weekend” of 1973 devolved into chaos and reports of occasional gunplay by the producer.
The school’s alumni included songwriters Jerry Leiber and Mike Stoller, who would play an important role in his early career. When he was 8, his father killed himself, and his mother later moved the family to Los Angeles, where he began attending Fairfax High in 1954. He was born Harvey Phillip Spector in the Bronx.
It was not immediately clear why the prison system listed a different age.

“All Things Must Pass” – George Harrison (1970)
“To Know Him is To Love Him” – The Teddy Bears (1958)
“Born to Be with You” – Dion (1975)
Spector crafted the role of record producer (to say nothing of his songwriting skills) into something iconic and cinematic, building his treasured Wall of Sound aesthetic brick by brick, with wind-swept orchestration, booming and steady rhythms, luxuriously multi-layered vocals and soulful, operatic melodies as his sand and cement. As loathsome as he may have been as a human being, the eccentric and obsessive genius of Phil Spector — pronounced dead on January 16, at age 81, while imprisoned for life for a 2003 murder — cannot be ignored.
"You've Lost That Lovin' Feelin'" – The Righteous Brothers (1965)
This is where David Letterman’s annual obsession with "Christmas (Baby Please Come Home)” and Darlene Love started. So why not turn the Spector-ian grandeur of one single into an LP’s worth of toweringly soulful singles with his label’s artists and the merriest time of the year? Of course, Spector was the king of pre-Beatles teens and their obsession with the 45.
“Instant Karma!” is a different kettle of fish from the rest of Lennon's solo-album output, with a crisp, echoing drum beat, a convivial spiritual riff, and something unbound for both producers, Lennon and Spector. Though they ignited similar flames on “Power to the People,” it’s a shame such raucous tones and vibes couldn’t be carried through their full albums together.
Stealing “My Sweet Lord” from the Chiffons’ 1963 “He’s So Fine” (a meta Spector-like hit if ever there was one) aside, three albums' worth of solo Harrison was unleashed on the world. The cushiony wall of sound surrounding his tense and holy melodies ("What Is Life," “Isn't It a Pity") sounds as rich now as it ever has.
Though sung by what seemed like a tight choir of street angels, the Spector-produced co-write with Jeff Barry and Ellie Greenwich put the sensual, savvy voice of Ronnie Bennett (soon to be Ronnie Spector) up front, beyond the song’s complex layers of orchestration, thus creating Phil’s and his Philles Records label's first true "star" beyond the man himself.
“End of the Century” – Ramones (1980)
Spector’s self-formed "band" was nothing more than him and a few friends finding an early excuse to test his mettle as a producer and a writer. Its processional pace and hymnal melody, combined with its unsteadying sweet-and-sour vocal harmonies, acted as the shape of things to come.
Love the sound or hate it, this is Joey Ramone and company at their most impassioned and somehow graceful.” /> Bone-dry, two-chord, street-wailing cheetah New York City rockers given the wall of sound treatment at a time when spare punk was moving into the glossy new wave?
“Let It Be” – The Beatles (1970)
“Spanish Harlem” – Ben E. King (1960)
Released in 1962, but not successfully charted until ’63, this neo-doo wop cut, produced and co-written by Spector with lead vocals by the divine Darlene Love, showed off a lighter touch in terms of its theatricality and rhythm. Yet its melody and message are as heavy and memorable as any of Spector’s heartbroken hits.
Turning away from his usual success with female vocalists, producer and co-writer Spector (with Barry Mann and Cynthia Weil) crafted a sweeping, emotional and halting arrangement around the equally soaring and passionate and vocals of Bobby Hatfield and Bill Medley. "Unchained Melody" and "Ebb Tide" followed suit for Phil and the Brothers, but the “Feelin’” started here.
"Black Pearl" – Sonny Charles and the Checkmates, Ltd. (1969)
That single book, however, couldn’t speak the necessary volumes to that track’s continued power and innovation. You could write a book about how the swell of Spector’s multi-layered brass, reeds and strings were set against a pulse that rose incrementally to meet Tina Turner’s nice-and-rough growl … and failed on the charts.
“Instant Karma! (We All Shine On)" – John Lennon and the Plastic Ono Band (1970)
“Death of a Ladies Man” – Leonard Cohen (1977)
But Spector’s experiment paved the way for Cohen to open up his sound to the spare synth-phonics of “I’m Your Man” years later. Some would argue that taking the gypsy folk bard of existential ennui and poetic distress, removing him from his usual skeletal sonic format, and giving him lush accompaniment was a tumultuous disaster.
Usually ignored by Spector-ians, this catchy track maintains the Technicolor widescreen scope of his Wall of Sound finest, pared down to smaller. Had he maintained this transitional tone, who knows where Spector could have gone on the soul or pop charts. smooth-R&B male-harmony scale.
Here are but a few of Spector’s signature, greatest moments.
And certainly an intriguing historical footnote for all concerned. No. Is it always great? Dynamic? Yes. Given the often unhappy job (unless Peter Jackson’s “Get Back” documentary is the truer record of the time) of creating an album from its abandoned “Get Back” sessions, Spector controversially spruced up the Beatles’ near-final tapes with plushly filmic strings and horns, in turn, cutting the tension.
“Be My Baby” – The Ronettes (1963)
“A Christmas Gift for You from Philles Records” – Various Artists (1963)
Worth looking up if you don’t know it. Well past each man’s hit-making prime, Dion and Spector made a messy but ebullient case for bringing the doo-wop so prevalent to their start into the then-present, as well as showing off their love of sly blues and folk.
"River Deep – Mountain High" – Ike & Tina Turner (1966)
Though Spector merely co-wrote this Latin-tinged track, putting music to the words of Jerry Leiber (who co-produced the song with his usual writing partner, Mike Stoller), the song introduced Phil’s epic, street-operatic ideal.
Soxx and the Blue Jeans (1962) "Why Do Lovers (Break Each Other's Heart)" – Bob B.

Me again
It’s heat again
Thats three of them
You’d think I was trying to achieve something
What’s the reasoning?
What’s been eating him?
Why’s he got this gusto?
I just finished playing tennis like I’m John McEnroe

Compare me to Brando, Eminem
Pen to pen
I’m better then him and him
20 men, 2 teams of QM’s, with new gems
Who all know him, could speak fluid
I just do this
The truth is, I’m Kubrick
You lose this
Your roof is in jeopardy
Ebro, needs no accessory
Please know you equal a cent to me
Your raps Phil Spector g
Alive for a century
Maintaining impressively

Give him a hand, not applause
His draws is hitting the sand
Can’t get it
Cause attempting Risks shit in his pants
Ignorant, insignificant man
The difference is damn!!!!!
Thats me and your like, “Uh-huh”
You better hide like Trump with Russia
You from the side where guys be stuck up
I’m from the side where guys get…

Emailing Ben to get at me
While I’m in Tallahassee
Pull my phone start writing in taxis
Paying the flat fee
Making it nasty
Great like I’m Gatspy
At you like you owe me
Re-cooper like Bradley
So you agree?
Are you beaten or what?
You got the demeanor.. of a vacuum-cleaner
You suck
Your archeology
I’m the shit—I’m colostomy
Eat you for the novelty
Harbor no animosity
This is all for fun and for free
Just killed rap’s bougoisie
You not hip-hop, you’re
Youre MM-Bop
Just an obscure fruit my dude your kumquat
I’m cultured
I’m umlaut
Above t-dot
That’s three dots like texts when your thinking bout the response
That’s my profession, holmes
I’m an accessible spectacle
I’ll be in Atlanta when my schedule’s flexible

Dealing with dummies both of you should take some classes The masses ask for this hat trick
Eating red vines and the guy who writes on sunglasses
Ashes to ashes and dust to dust
This my last line cause you cats ain’t rapping much