The Ronettes - "Be My Baby" b/w "Tedesco and Pitman" 45 rpm 7" single, 1963 (Philles)

It's sad that I bought this piece of vinyl masterpiece for $2.99 at my local second-hand record shop here in Los Angeles.  The feeling I get is exactly like when one finds a photo album in one's closet, and haven't seen it for years.    The drum pattern that starts off the song is probably one of the most identifying physical marks of any introduction for a recording.  The work is only 2:20 long, yet, it's after-effect lasts a lifetime.   

The beauty of a Phil Spector recording is not its perfection, but the violence and tragedy behind such recordings.  For those who try to place The Ronettes recordings as an oldie but goodie are missing the big landscape.  Spector represents not the teenager, but the idealized idea of a teenager, and the emotional pains that life gives them.  The truth is, even as an older fellow, Spector never really grew out of his childhood fears and passions.   Everything he did in the recording studio left a physical tattoo on the musicians, the aural sound, and how the audience (the listeners) respond to his productions.  "Be My Baby" is both a brilliant performance by Ronnie Spector, who captures that vulnerability in her vocals, but also brings up the drama between the instrumentation or arrangements (by Jack 'Specs' Nitzsche) and the strong presence of Phil Spector himself. 

For whatever reason, "Be My Baby" is not a happy-go-lucky love song.  It's almost a prayer during an emotional turmoil.   The melody is haunting, and seductive at the same moment.  Whenever I hear it as a soundtrack ("Mean Streets") or on a jukebox in some diner or bar, I immediately stop whatever I'm doing and I have to focus on the record.   It's a brilliant piece of work.   No doubt a masterpiece.  Many fingers are in the Phil Spector world, and in a sense, his name is like a company or a label like Motown or Factory Records.  He's not only a brand, but he's also a presence that is equally disturbing and profound.  

Joe Meek - "The Joe Meek Story" Compilation, 2 x Vinyl, LP, 1977 (Decca)

My first Joe Meek recording I have ever heard was The Honeycombs "Have I The Right," in 1964.  I was ten-years-old at the time, I knew nothing of the world of the record producer, or even aware of the identity of the songwriter.  I knew the artists that were The Honeycombs and they had a girl drummer.  Did I need to know more?  It wasn't until my year-long stay in Japan that I found a Joe Meek compilation at a swanky music store in Roppongi called 'The Wave.'  I was intrigued to hear more sounds similar to The Honeycombs, which from the very first time of the hearing, I was a life-long fan of that unique echo sound.  

Shortly I became a Meek addict, especially when I read his biography in various publications.  I have always had an interest in the Gay subculture in London, and Meek is a character that was very much part of that world.  Also the fact that he was insane and killed his poor landlady, and then committed suicide.  A tragic incident, but one can hear traces here and there in his recordings that expressed his interest in the after-life, UFOs, and perhaps hidden messages between men.  Meek, perhaps even more important, was a sonic genius.  Once you hear the sound of Meek, you will never forget it.

Over the years there have been numerous compilations on Meek's recordings, which in theory, is difficult to pull off, due to the fact that the record's ownership is often in question, due that Meek often licensed his recordings to other labels.   Therefore we have this Decca Records release "The Joe Meek Story" which is very good, but not complete by any means.  What excited me to have this record is to obtain Meek recordings that are not digitalized for the CD format.  It's not that difficult to find an original Meek production as a 45 rpm single, but locating vinyl compilation of his works is rather difficult.  Except for a handful of original vinyl releases, most of his work came out as singles. 

The plus side of the Meek compilations is that one comes upon a song or recording never released on another compilation.   I have at least 10 compilations of Meek's (all on CD) and often they don't repeat their songs/recordings.   "The Joe Meek Story" is missing some famous recordings, but it's the obscure tracks that I find totally fascinating and great.  Mike Barry and The Outlaws' (featuring Richie Blackmore on guitar) captures the essence of Meek's obsession with Buddy Holly as well as a weird outer-space version of Rockabilly.   Most of the songs here were written by Meek, and as a songwriter, he's never consistent.  But his productions never fail.  Someone like Phil Spector is more consistent with quality, but every Meek record has a tinge of weirdness or eccentricity.   Which is one of the reasons why I like to collect Meek, both on CD and more importantly on vinyl.  I feel each recording by this lunatic expresses a sense of hysteria and desire.  Meek was very much of his culture of the 1950s, that he rebelled against by becoming an independent producer with his own studio - mostly built by his own hands.  The majority of his work is from the early 1960s, yet there is something distant and far away from his music for that era.   He was an artist that wasn't attached to the times, compared to The Fab Four or the work of Andrew Loog Oldham.  Meek is or was very much an outsider artist.

"The Joe Meek Story" comes with fascinating liner notes.  A small biography as well as a breakdown of all the songs selected for this compilation.   The one odd thing is mentioning the suicide (not in detail), and staying away from the fact that he murdered someone before shooting himself in the head.   Art comes with darkness, like life itself. 

Ronnie Spector - "Try Some, Buy Some / "Tandoori Chicken" Vinyl, 7" 45 rpm, 1971 (Apple)

Ronnie Spector's "Try Some, Buy Some" is the last great Phil Spector recording.  Or I should say the last bit of greatness on vinyl with Spector's participation.  He co-produced the 45 rpm single with George Harrison, who also wrote the song.  Must credit the arrangement of the song to John Barham, who with Harrison had/has a deep interest in Indian music.  Spector is normally a collaborative artist, but one wonders how he really felt giving co-credit to another producer, even though that person wrote the song.  The same goes for John Lennon/Yoko.   Nevertheless "Try Some, Buy Some" is not only a great Spector sounding disc but one of Harrison's best songs.   His version on "Living in the Material World" is totally fabulous as well.   David Bowie's version is great too.  

It's very much the sound of Harrison at the time.  Either he was swept up by the idea of a classic Spector wall of sound - especially in his first proper solo (song orientated) album "All Things Must Pass."  An album that I have a hard time relistening due that the production makes the material sound lifeless and stiff.  On the other hand, the Spector touch is fantastic on "Try Some, Buy Some."  Harrison was very much in tune with the orchestration of his voice fighting out with the amazing amount of strings, horns, and whatever there was in the studio at the time.  A beautiful melody, but Ronnie Spector's take, is the best, just due to the strength of her fantastic voice.  One can also imagine the horrible existence of Ronnie at the time of this recording, with respect to her marriage to Spector.  

Not the easiest record to find, but this is a fantastic single.  The B-side is "Tandoori Chicken, written by Harrison and Spector, and it's a great throwaway song that's perfect for the b-side of things. 

Jack Nitzsche - "The Lonely Surfer" LP, Album, Stereo, 1961 (Reprise)

More likely if one has Jack Nitzsche even in the studio while one is making a recording, there is a good chance that the record will be a masterpiece. Nitzsche was a brilliant arranger, producer, and on the classic Phil Spector recordings, the producer's right-handed man. It was his arrangements of "He's A Rebel," and "Da Doo Ron Ron" that gave it such magnificent power. "The Lonely Surfer" was Jack's first solo album, of his arrangments of various songs of that time. One can imagine "The Lonely Surfer" as a surf album, but it's surf as if it was arranged by a 19-century Russian composer. The fact is, I never heard such a sad sounding instrumental album before this one. Even an up-tempo "Baja" or "Puerto Vallarta" has a depressing aspect of exotica island music. The depth of feeling is Nitzsche's genius.

His version of "Da Doo Ron Ron," and as mentioned, he made the original arrangement, but here he slows it down that it's almost not identifiable. A sharp-suited man on the album cover, yet his eyes expose a certain hesitation or maybe even fear. There is a lot to read on this album, and it is one of my favorite records in my collection. I love all of Nitzsche's solo albums (three all together, then the soundtrack recordings, and of course production/arrangement works) and he gives any work that he's involved in a broad sense of feeling, which is unusual for a pop record of the 1960s. It's almost like he's giving the record a foot-note, giving it more depth or layer of emotion that is not yet settled. A classic Wrecking Crew era record album, but also one that I think is the best of the lot - including the Phil Spector recordings. Nitzsche was the real deal.

Gene Pitney - "That Girl Belongs To Yesterday" b/w "Who Needs It" 45 rpm Vinyl Single, 1964 (Musicor)

Gene Pitney is an interesting figure in the pop world.  A hit maker who sang other people's songs, but also wrote: "He's A Rebel" for The Crystals and Phil Spector.   One evening he finds himself, which I imagine was the RCA recording studio on Sunset, at a Rolling Stones session.  It's an interesting combination of the Stones world of R n B and Pitney's hardcore sensibility in the realm of Pop.  He and Spector are actually on an early Stones session.   The dynamic duo, Jagger and Richards, wrote Pitney a single "That Girl Belongs To Yesterday."  Co-produced by Pitney and Andrew Loog Oldham. 

Mick and Keith were fantastic in writing on or putting down the female race.  "Under My Thumb," "Stupid Girl," and this oddity of a song "That Girl Belongs To Yesterday."   I love the title so much that I actually want to have a bad relationship with a woman, just to say the title to her.  It's a beautiful under a three-minute piece of noise that clearly is influenced by the Phil Spector aesthetic but even goes beyond those type of recordings.  Spector has a sense of control and drama, but on this song and recording, Pitney pulls no stops in throwing his energy and emotion within the wax.  I'm curious to know who plays on this session.  Are Mick and the Stones on the recording?  Spector must have made an appearance, even a brief one.  It's an amazing record.   The B-Side is fantastic as well.  Wall of Sound coming out of my speakers. 

Darlene Love - "Stumble and Fall" / (He's A) Quiet Guy" 7" 45 rpm vinyl single, 1964 (Philles Records)

I just purchased this 45 rpm single at Rockaway Records.  Produced by Phil Spector and both the A and B side is arranged by the fantastic and great Jack Nitzsche.   There is the Wall of Sound, and then there is 'this' Wall of Sound.  Both songs, "Stumble and Fall" and "(He's a) Quiet Guy" is the iconic sound of Spector working with Nitzsche.  So much sound!  So many instruments!  Honestly, it's a fantastic record.  If the credit label is correct (and the songs are reversed, which makes this single a real collector's item) the songs are written by Phil Spector/V. Poncia/P. Andreoli.  According to Discogs, this single was pulled out of the market at the very last moment and replaced by The Ronettes "Walking in the Rain."  Using the same catalog number 123.   Not a bad find for $2.99.  But the music here is priceless.