![]() ![]() Quick rip-offs were not, and could not be, on the table. However, in his case it was not so easy, for not only were the combination of sounds, arrangements and studio ambiance difficult to replicate, but the pomp and extravagance of Spector's productions inspired other producers to greater heights. #Crystals group annette williams and phil spectre full#Mary Wells' One Block From Heaven and the Righteous Brothers' self-produced Night Owl draw from 1962/3 when Phil was beginning to build the full sound with the early Crystals releases, and at the other end of the spectrum Joe South's Don't You Be Ashamed (To Call My Name) owes everything to River Deep Mountain High, including lyrics and melody! By the time Spector hit with the Crystals and The Ronettes biggest hits, the industry was ready to churn out the inevitable and time-honoured copyist sounds. Volume Two of Phil's Spectre offers examples that have been influenced by various phases of Spector's golden hit period. ![]() when spaces in the sounds and delicate electric bass or percussive use lifted a record every bit as much as the power sounds. This collection offers examples of both the kitchen sink approach and the finer and lighter touches. Whilst we think readily of ambitious in-your-face Wall Of Sound rumbling re-creations in the wake of his hits, there was actually a good degree of subtlety in Spector's work that was eagerly taken up by the young and open-minded producers of the day. This second fabulous collection of Phil Spector Soundalikes serves to underline the depth and breadth of the effect that the producer's work had on the music industry in the 60s. ![]()
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