Following one-off productions for Leonard Cohen (Death of a Ladies' Man), Dion DiMucci (Born to Be with You), and the Ramones (End of the Century), from the 1980s on, Spector remained largely inactive, amid a lifestyle of seclusion, drug use, and increasingly erratic behavior.[15] In 2009, after two decades in semi-retirement,[16] he was convicted of the 2003 murder of actress Lana Clarkson and sentenced to 19 years to life in prison, where he died, in 2021.
In April 1949, Spector's father, who was deeply in debt, committed suicide; on his gravestone were inscribed the words "Ben Spector. Father. Husband. To Know Him Was To Love Him".[26][27] In 1953, Spector's mother moved the family to Los Angeles where she found work as a seamstress.[28] Spector attended John Burroughs Junior High School (now John Burroughs Middle School) on Wilshire Boulevard, then in 1954 attended Fairfax High School.[29] Having learned to play guitar, Spector performed "Rock Island Line" in a talent show at Fairfax High.[30] He joined a loose-knit community of aspiring musicians, including Lou Adler, Bruce Johnston, Steve Douglas, and Sandy Nelson.[31] Spector formed a group, the Teddy Bears, with Nelson and three other friends, Marshall Leib, Harvey Goldstein and Annette Kleinbard.[32][33]
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While recording the Teddy Bears' album, Spector met Lester Sill, a former promotion man who was a mentor to Jerry Leiber and Mike Stoller.[36] Sill and his partner, Lee Hazlewood supported Spector's next project, the Spectors Three.[citation needed] In 1960, Sill arranged for Spector to work as an apprentice to Leiber and Stoller in New York.[36] Spector co-wrote the Ben E. King Top 10 hit "Spanish Harlem" with Leiber and also worked as a session musician, playing the guitar solo on the Drifters' song "On Broadway".[37]
Spector's first true recording artist and project as producer was Ronnie Crawford.[citation needed] Spector's production work during this time included releases by LaVern Baker, Ruth Brown, and Billy Storm, as well as the Top Notes' original recording of "Twist and Shout".[38] Leiber and Stoller recommended Spector to produce Ray Peterson's "Corrine, Corrina", which reached number 9 in January 1961. Later, he produced another major hit for Curtis Lee, "Pretty Little Angel Eyes", which made it to number 7. Returning to Hollywood, Spector agreed to produce one of Sill's acts. After both Liberty Records and Capitol Records turned down the master of "Be My Boy" by the Paris Sisters, Sill formed a new label, Gregmark Records, with Lee Hazlewood, and released it. It reached only number 56, but the follow-up, "I Love How You Love Me", was a hit, reaching number 5.[39]
In late 1961, Spector formed a record company with Sill, who by this time had ended his business partnership with Hazlewood. Philles Records combined the first names of its two founders.[40] Through Hill and Range Publishers, Spector found three groups he wanted to produce: the Ducanes, the Creations, and the Crystals. The first two signed with other companies, but Spector managed to secure the Crystals for his new label. Their first single, "There's No Other (Like My Baby)" was a success, hitting number 20. Their next release, "Uptown", made it to number 13.[41]
Spector continued to work freelance with other artists. In 1962, he produced "Second Hand Love" by Connie Francis, which reached No. 7.[42] Ahmet Ertegun of Atlantic paired Spector with future Broadway star Jean DuShon for "Talk to Me", the B-side of which was "Tired of Trying", written by DuShon.[citation needed]
By the time "He's a Rebel" went to number 1, Lester Sill was out of the company, and Spector had Philles all to himself. He created a new act, Bob B. Soxx & the Blue Jeans, featuring Darlene Love, Fanita James (a member of the Blossoms), and Bobby Sheen, a singer he had worked with at Liberty. The group had hits with "Zip-a-Dee-Doo-Dah" (number 8), "Why Do Lovers Break Each Other's Heart" (number 38), and "Not Too Young to Get Married" (number 63). Spector also released solo material by Darlene Love in 1963. In the same year, he released "Be My Baby" by the Ronettes, which went to number 2.
The recording of "Unchained Melody", credited on some releases as a Spector production although Medley has consistently said he produced it originally as an album track,[47] had a second wave of popularity 25 years after its initial release, when it was featured prominently in the 1990 hit movie Ghost. A re-release of the single re-charted on the Billboard Hot 100, and went to number one on the Adult Contemporary charts. This also put Spector back on the U.S. Top 40 charts for the first time since his last appearance in 1971 with John Lennon's "Imagine", though he did have UK top 40 hits in the interim with the Ramones.[48]
Spector released another single by Ike & Tina Turner, "I'll Never Need More Than This", while negotiating a deal to move Philles to A&M Records in 1967.[52] The deal did not materialize,[53] and Spector subsequently lost enthusiasm for his label and the recording industry. Already something of a recluse, he withdrew temporarily from the public eye, marrying Veronica "Ronnie" Bennett, lead singer of the Ronettes, in 1968. Spector emerged briefly for a cameo as himself in an episode of I Dream of Jeannie (1967) and as a drug dealer in the film Easy Rider (1969).[54]
In 1969, Spector made a brief return to the music business by signing a production deal with A&M Records. A Ronettes single, "You Came, You Saw, You Conquered" flopped, but Spector returned to the Hot 100 with "Black Pearl", by Sonny Charles and the Checkmates, Ltd., which reached number 13.[55]
In early 1970, Allen Klein, the new manager of the Beatles, brought Spector to England.[56] After impressing with his production of John Lennon's solo single "Instant Karma!", which went to number 3,[57] Spector was invited by Lennon and George Harrison to take on the task of turning the Beatles' abandoned Let It Be recording sessions into a usable album.[58] He went to work using many of his production techniques, making significant changes to the arrangements and sound of some songs.[59] Released a month after the Beatles' break-up, the album topped the U.S. and UK charts. It also yielded the number 1 U.S. single "The Long and Winding Road".[60] Spector's overdubbing of "The Long and Winding Road" infuriated its composer, Paul McCartney.[59] Several music critics also maligned Spector's work on Let It Be; he later attributed this partly to resentment that an American producer appeared to be "taking over" such a popular English band.[60] Lennon defended Spector, telling Jann Wenner of Rolling Stone: "he was given the shittiest load of badly recorded shit, with a lousy feeling toward it, ever. And he made something out of it. He did a great job."[61]
For Harrison's multiplatinum album All Things Must Pass (number 1, 1970), Spector helped provide a symphonic ambience,[62] although his health issues meant that after recording the basic tracks, he was absent from the project until the mixing stage.[63] Rolling Stone's reviewer lauded the album's sound, calling it "Wagnerian, Brucknerian, the music of mountain tops and vast horizons".[64] The triple LP yielded two major hits:[65] "My Sweet Lord" (number 1) and "What Is Life" (number 10). That same year, Spector co-produced Lennon's Plastic Ono Band (number 6), a stark-sounding album devoid of any Wall of Sound extravagance.[66] Through Harrison, he also produced the debut single by Derek and the Dominos, "Tell the Truth", but the band disliked the sound and had the record withdrawn.[67]
That same year Spector oversaw the live recording of the Harrison-organized Concert for Bangladesh shows in New York City, which resulted in the number 1 triple album The Concert for Bangladesh.[75] The album won the "Album of the Year" award at the 1973 Grammys. Despite being recorded live, Spector used up to 44 microphones simultaneously to create his trademark Wall of Sound.[76][77] Following Harrison's death in 2001, Spector said that the most creative period of his career was when he worked with Lennon and Harrison in the early 1970s, and he believed that this was true of Lennon and Harrison also, despite their achievements with the Beatles.[78]
Lennon retained Spector for the 1971 Christmas single "Happy Xmas (War Is Over)" and the poorly reviewed 1972 album Some Time in New York City (number 48), both collaborations with Yoko Ono. In late 1972, Apple reissued Spector's A Christmas Gift for You from Philles Records (as Phil Spector's Christmas Album),[69] bringing the recordings the commercial success and critical recognition that had originally eluded the 1963 release.[79] Lennon and Ono's "Happy Xmas" single similarly stalled in sales upon its initial release, but later became a fixture on radio station playlists around Christmas.[80]
In late 1973, Spector produced the initial recording sessions for what became Lennon's 1975 covers album Rock 'n' Roll (number 6).[83] The sessions were held in Los Angeles, with Lennon allowing Spector free rein as producer for the first time,[84] but were characterized by substance abuse and chaotic arrangements.[85] Amid the party atmosphere, Spector brandished his handguns and at one point fired a shot while Lennon was recording.[86][nb 4] In December, Lennon and Spector abandoned the collaboration.[88] Since the studio time had been booked by his production company, Spector withheld the tapes until June the following year, when Lennon reimbursed him through Capitol Records.[87]
As the 1970s progressed, Spector became increasingly reclusive. The most probable and significant reason for his withdrawal, according to biographer Dave Thompson, was that in 1974 he was seriously injured when he was thrown through the windshield of his car in a crash in Hollywood.[89] Spector was almost killed, and it was only because the attending police officer detected a faint pulse that Spector was not declared dead at the scene. He was admitted to the UCLA Medical Center on the night of March 31, suffering serious head injuries that required several hours of surgery, with over 300 stitches to his face and more than 400 to the back of his head.[90] His head injuries, Thompson suggests, were the reason that Spector began his habit of wearing outlandish wigs in later years.[91] be457b7860
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