Phil Spector dead at 81 - Rest in piss

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Phil Spector, the revolutionary music producer who transformed rock 'n' roll with his "Wall of Sound" method and who later was convicted of murder, has died. He was 81.

California state prison officials said he died Saturday of natural causes at a hospital.

Spector was convicted of murdering actress Lana Clarkson in 2003 at his castle-like mansion on the edge of Los Angeles. After a trial in 2009, he was sentenced to 19 years to life in prison.

Clarkson, star of Barbarian Queen and other B-movies, was found shot to death in the foyer of Spector's mansion in the hills overlooking Alhambra, a modest suburban town on the edge of Los Angeles.

Until her death, which Spector maintained was an "accidental suicide," few residents even knew the mansion belonged to the reclusive producer, who spent his remaining years in a prison hospital east of Stockton, Calif.

Decades before, Spector had been hailed as a visionary for channelling Wagnerian ambition into the three-minute song, creating the "Wall of Sound" that merged spirited vocal harmonies with lavish orchestral arrangements to produce such pop monuments as Da Doo Ron Ron, Be My Baby and He's a Rebel.

He was the rare self-conscious artist in rock's early years and cultivated an image of mystery and power with his dark shades and impassive expression.

Tom Wolfe declared him the "first tycoon of teen." Bruce Springsteen and Brian Wilson openly replicated his grandiose recording techniques and wide-eyed romanticism, and John Lennon called him "the greatest record producer ever."

The secret to his sound: an overdubbed onslaught of instruments, vocals and sound effects that changed the way pop records were recorded. He called the result "Little symphonies for the kids."
 

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I had to take a history of rock 'n' roll class for my GE music credits, and Phil Spector's work is actually really great... when played in mono. The sounds overlap and complement each other really well. However he just couldn't make the jump to stereo and trying to listen his works in stereo just makes it all a discordant clang.

That aside, I'm glad a drugged-up paranoiac killer finally met his end.
 
Ever try listening to "Let It Be...Naked"? It SUUUUUUCKS.
Eh... I kind of take Paul McCartney's side when it comes to the production of that album. I personally find the unpolished versions of "Let it Be" and "The Long and Winding Road" to be quite lovely. It really is a shame, because I do think that had the album had a little more time and was produced by George Martin it could have been a masterpiece on the same level as The White Album and Abbey Road. All of the songs are great ("Dig It" and "Mean Maggie Mae" excepted of course), and George Martin could clearly do something special with them as evidenced by the single versions of "Get Back" and "Let it Be". It really can't be overstated just how instrumental George Martin was in making The Beatles, well, The Beatles. Also, I have no idea what Phil Spector was thinking leaving "Don't Let Me Down" off the album, the second-best song from those sessions IMO. And yes, his version of "The Long and Winding Road" really is that bad.

Phil Spector could absolutely do amazing things with some of the solo Beatles albums though. Plastic Ono Band and Imagine showed he had some restraint, and I think the grandiose, dense production complements All Things Must Pass beautifully.

(Yeah, I was a really big Beatles fan in my teens. Still love them even though that's kind of uncool among music snobs).
 
Última edición:
Modern record producers and mix engineers still use Spector's techniques in the same way that NASA still uses Josef Mengele's data.
 
I remember the first time I heard He Hit Me (And It Felt Like A Kiss) by The Crystals it creeped me the fuck out. It was unsettling enough to hear a woman singing a pop ballad about how happy and loved she felt over her man beating the shit out of her but that fucking music that goes with it sounds like it belongs in a psychological horror film. I was completely unsurprised to find out years later that it was written and produced by a convicted murderer.

 
My dad supposedly met him once in the 70s, said he was batshit even then. Rest in piss.
 
Eh... I kind of take Paul McCartney's side when it comes to the production of that album. I personally find the unpolished versions of "Let it Be" and "The Long and Winding Road" to be quite lovely. It really is a shame, because I do think that had the album had a little more time and was produced by George Martin it could have been a masterpiece on the same level as The White Album and Abbey Road. All of the songs are great ("Dig It" and "Mean Maggie Mae" excepted of course), and George Martin could clearly do something special with them as evidenced by the single versions of "Get Back" and "Let it Be". It really can't be overstated just how instrumental George Martin was in making The Beatles, well, The Beatles. Also, I have no idea what Phil Spector was thinking leaving "Don't Let Me Down" off the album, the second-best song from those sessions IMO. And yes, his version of "The Long and Winding Road" really is that bad.

Phil Spector could absolutely do amazing things with some of the solo Beatles albums though. Plastic Ono Band and Imagine showed he had some restraint, and I think the grandiose, dense production complements All Things Must Pass beautifully.

(Yeah, I was a really big Beatles fan in my teens. Still love them even though that's kind of uncool among music snobs).

I think George Martin would have done a fantastic job on Let It Be, of course. It's fun to imagine how it would have sounded. The stripped back versions are certainly missing something though. Phil Spector's versions aren't perfect, some aren't tasteful and the album is an anomaly in their catalogue as a result. It's hard to know how much guidance he received from both the band and the executives to arrive where he did with the finished product. But it's still a good Beatles album and in my opinion a more realised album than "...Naked" - which to me feels like more of Paul trying to convince the public that they should like him more than they do.
 
Phil Spector may have been a typical Jew creepy, power-mad, money-hungry, manipulative scumbag but his Wall Of Sound technique paved the way for all modern recording techniques.
I think you could also argue that it shifted the balance from the band to the producer when it came to finding a band's sound. Not that there wasn't already a lot of the producer in what a record sounded like, but that it ended up making the band just a part of some huge production instead of the center. And it got really bad when you started getting producers sniffing their own farts and putting in small orchestras to back a four piece rock band.
 
Mayyyyyyyybe....but I'm pretty sure Tom Parker, George Martin and Sam Phillips were already doing that long before Spector arrived on the scene.
Spector wasn't the first at all. I suspect if we really researched it, we would find producers pushing bands in certain directions in studios as far back as there have been recordings. It could range from small tweaks to the point that the band was little more than the guys on the album covers and the performers on stage who had no place in the recording booth. And Spector was in rarified company with Parker, Martin, Phillips, in just how much he was able to to do without the approval of the stars in question. And from a technical perspective Spector may not have been the first to utilize multitrack recording, but he certainly was able to show just what it really could be used for with his Wall of Sound approach. That said, he was more or less left behind in the 1970s when producers and musicians alike started dabbling with effects and synths and orchestras and the like, or with going back to completely stripped down sounds withour all the studio tricks for punk and heavy metal.
 
doesn't wall of sound amount to cassettes and radio sounds like shit compared to proper albums, so let's just make it sound like a complete cacophony so people can't tell the quality is dogshit?
 
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