Phil Spector et. al.

Steve Murray a-smurr@microsoft.com
Wed Mar 30 20:52:18 EST 1994


David Silberberg  said:


Phil Spector knew what he was doing - in his hands, the 'Wall' was very
effective.  The Chrystals, Ronnettes - listen to Gene Pitney's "Every Breath
I Take", or the Checkmates "Black Pearl", or Tina Turner's "River Deep,
Mountain High".  The problem was that most of those who copied him didn't
understand the subtleties of it all - equating overblown, constant lush horns
and strings with technical prowess as well as romantic songs.  Which, of
course, leads directly to those like Michael Bolton and Whitney Houston.

It's the same old story - done a few times, by capable people, any sound can
be good listenning.  But when the copiers take over, they can kill a sound.
But don't blame Phil for doing what he liked best.

As far as Mikes comment about Dr. John criticizing Spector for  "cramming
thirty-odd musicians into a room to get the same size sound that a good
Nawlins combo could get with just four or five people..." - I do think that
is unfair of Mac to criticize someone on that basis who is trying to make a
different kind of music the the "good Nawlins combo"s.  Accept Spector, and
either like him or not, for what he was, not what someone else is / was.

But maybe, when I was growing up, I just liked pop music more than most on
Blues-L.

______

Hi David,

Just rented the video of "What's Love Got to Do With It" and would
recommend it HIGHLY.  And there's a great scene of Spector's recording
session for "River Deep, Mountain High."  I felt it was a parody, in a
way--maybe you'd feel it was good background for Tina Turner's voice?
Check it out.

By the way, if you have that album, it's now worth $7500 in good shape...

Steve




More information about the Blues-l mailing list