Back to Mono

Phil Spector is one of the most unique figures in rock n' roll history and in popular culture as well. More than anything Phil Spector changed the way the producer was viewed in pop music. He stole the show, almost literally because of his domineering and larger than life presence in the studio. Artists, to Phil, were as replaceable as instruments and they could be manipulated equally as such. Though Phil's trademark Wall of Sound was revolutionary, it also came with a price. Phil was difficult to work with and as a result became a polarizing figure in the music industry. Some musicians, like Brian Wilson, loved and adored Spector, others, like Johnny Ramone, clashed with him. Phil was a total weirdo, and we might be able to go as far to say that he was a douchebag. But despite what you may think about Phil, we have to agree that he was a genius and changed the way we listened to music.

He is famous for using the best session musicians in the industry, "The Wrecking Crew" who I talked about in the Sounds of the City post, but I'll talk more about them now. The Crew included rock hall of fame drummer Hal Blaine, hall of famer Carol Kaye on bass, Glen Campbell on guitar who was a famous country singer and a one time Beach Boy, sometimes I cover his song "Gentle on My Mind." Leon Russell played piano. Leon worked with George Harrison, Bob Dylan, and other lesser known artists like the International Submarine Band (one of Gram Parsons' first bands) and The Flying Burrito Brothers, the best, but least ambitious country-rock band ever. Others in the wrecking crew were bass player Larry Knechtel and guitarist Billy Strange. What made Spectors sound so unique? It was the force, it was the aural assault that he created by taking all of these players and not only maximizing their utility, but multiplying them and creating thunderous drums, humming guitars, and taking an orchestral like approach to rock n' roll. If you want a good example other than Spector of what this might sound like, listen to "Wouldn' It Be Nice" by the Beach Boys. I would say it's a fantastic example of the Spector sound, even though it's Brian Wilson.

Spector used this sound most proficiently with girl groups. In fact, Spector is famous for coining the "girl group sound" with the quintet The Crystals and the Trio The Ronettes. If you listen to "Then He Kissed Me" by the Crystals you'll notice that the sound is much more full than let's say Motown acts like The Shirelles or The Vandellas. The vocals are a bit more piercing too. But Spector liked that. He always seemed to choose girl groups that could at times sound dissonant or nasal, but they were always powerful and operatic. The Ronettes exemplified this perfectly. Spector was obsessed with Veronica Bennett, the lead singer and later married her. Other than the fact that she sounds fantastic on "Be My Baby" and "Baby I Love You" you'll also notice that her voice and line from "Be My Baby" is the refrain from my favorite drunk song of a all time, Eddie Money's "Take Me Home Tonight." "Just like Ronnie sang, just like Ronnie sang....BE MY LITTLE BABY!" It's unclear whether he truly loved her as a person or wanted to control her musically and emotionally, I wouldn't doubt either. The Crystals and The Ronettes earned Spector wide acclaim and praise and this only boosted his already king-sized ego. Spector was probably the first producer to receive credits on the front of an LP. Spector was the show, his acts were only the conduits for his vision of what rock n' roll should sound like. It should be insanely melodic, deceptively powerful, loud, and should straddle the line between high art and popular art. If you'll remember, we discussed that rock n' roll was the art of the masses. Any motherfucker with a guitar and some friends could make rock n' roll. Spector wanted to destroy that image. To him rock was high art. His records pretty much said, ONLY "I" CAN MAKE THIS, YOU MIGHT AS WELL QUIT NOW.

The particulars of Phil: He worked with the Righteous Brothers and produced their smash hit "You've Lost That Lovin' Feelin'". Worked with the Ike and Tina Turner Revue after he became obsessed yet again with a female voice, that of Tina Turner. First it was Darlene Love, then Ronnie, then Tina. He produced "Let It Be" for the Beatles and would later work on the solo projects of John Lennon and George Harrison. The best examples of the Spector sound from these artists I think are "Oh, Yoko" or "Instant Karma" by John Lennon or "My Sweet Lord." In "My Sweet Lord" listen especially to the part, I think around the 1:30 mark where the chorus and piano come in. It's vintage Spector. Also worked with the Ramones in the late 70's.

My recommended listenings are..."All Things Must Pass" by George Harrison, "Imagine" and "Plastic Ono Band" by John Lennon, "The Best of the Crystals" by The Crystals (their albums aren't worth much, you're better off with the singles). It's kind of funny but this is a pretty good juxtaposition of early and late Spector and pre and post British Invasion rock n' roll.

As a side note...I have thought about getting Back To Mono tattooed on my inner right bicep. Any thoughts? I don't have any money right now but if anyone would like to donate or contribute an idea that would be great. It's been swell, and I'd have you anytime...DXL