CD 1:

01. Kell Osborne - The Bells Of St. Mary's

02. Kell Osborne - That's Alright Baby

03. Ben E. King - Spanish Harlem

04. Ray Peterson - Corinna Corinna

05. Ray Peterson - Be My Girl

06. Johnny Nash - Some Of Your Lovin'

07. Johnny Nash - A World Of Tears

08. Ben E. King - Young Boy Blues

09. Curtis Lee - Pretty Little Angel Eyes

10. Curtis Lee - Gee How I Wish You Were Here

11. The Paris Sisters - Be My Boy

12. The Paris Sisters - I'll Be Crying Tomorrow

13. Ben E. King - First Taste Of Love

14. The Top Notes - Hearts Of Stone

15. The Top Notes - The Basic Things

16. Billy Storm - When You Dance

17. Billy Storm - Dear One

18. Castle Kings - Anyone But You

19. Castle Kings - You Can Get Him Frankenstein

20. Castle Kings - Loch Lomond

21. Billy Storm - Honey Love

22. Billy Storm - A Kiss From Your Lips

23. The Topnotes - Always Late

24. The Topnotes - Twist And Shout

CD 2:

01. Lavern Baker - Hey Memphis

02. The Ducanes - I'm So Happy

03. The Ducanes - Little Did I Know

04. Gene Pitney - Every Breath I Take

05. The Paris Sisters - I Love How You Love Me

06. The Paris Sisters - All Through The Night

07. The Creations - The Bells

08. The Creations - Shang Shang

09. Curtis Lee - Under The Moon Of Love

10. Curtis Lee - Beverly Jean

11. The Crystals - There's No Other Like My Baby

12. The Crystals - Oh Yeah Maybe Baby

13. Ray Peterson - I Could Have Loved You So Well

14. Ray Peterson - Why Don't You Write Me

15. Arlene Smith - Love Love Love

16. Arlene Smith - He Knows I Love Him Too Much

17. Karen Lake - I'd Like To Miss My Graduation

18. Karen Lake - Air Mail Special Delivery

19. Sammy Turner - Raincoat In The River

20. Sammy Turner - Falling

21. The Blackwells - You Took Advantage Of Me

22. The Blackwells - I

23. Jean Du Shon - Talk To Me, Talk To Me

24. Jean Du Shon - Tired Of Trying

Strictly speaking, Phil Spector wasn't even a performer -- he's a musician, but he very rarely released records under his name. However, as a producer -- and, to a significant extent, songwriter, label owner, and session player -- he has influenced the course of rock & roll for more than all but a handful of performers. The Wall of Sound that he perfected in the early '60s opened unlimited possibilities for arrangements and sound construction in rock and pop, and his brilliant talents imprinted the discs that he produced with an artistic vision that was much more attributable to him than the talented performers with whom he worked.

Spector entered the record business in 1958 as songwriter, guitarist, and backup singer for the L.A. group the Teddy Bears, who landed a left-field number one with their first release, "To Know Him Is to Love Him." The Teddy Bears couldn't follow their hit up and soon disbanded, but Spector almost immediately moved to New York and became a songwriter and producer. After producing a few hits, he founded his own label, Philles, and ran off a series of brilliant smashes, primarily with girl groups the Crystals and the Ronettes.

To an extent that had never been imagined in rock & roll, Spector pumped his records full of orchestration -- strings, horns, rattling percussion -- that coalesced into teenage symphonies, never overwhelming the material or the passionate vocals. Often called a mad genius because of his eccentric and temperamental behavior, Spector's idiosyncrasies were almost always validated by the artistic and commercial results of his sessions, which combined dozens of instruments and innovative production techniques into end products which only he could combine into works of art. His influence was immense, not only in the dozens of imitation Wall of Sound productions (some very accurate and worthy, it must be added) that flooded the market between 1962 and 1965, but as an inspiration to Brian Wilson of the Beach Boys, Rolling Stones producer Andrew Loog Oldham, and others.

Spector was hip to the British Invasion before it had even reached the U.S., befriending the Beatles and Rolling Stones, but had nearly as much trouble as the rest of the industry in maintaining his success. Self-contained bands were writing more adventurous material and finding more adventurous sounds, and Spector's teen operas were becoming out of fashion, although he enjoyed a lot of success with blue-eyed soul duo the Righteous Brothers in the mid-'60s. After the failure of Ike & Tina Turner's 1966 single "River Deep, Mountain High" -- which he always considered among his greatest achievements, blaming a vengeful U.S. music industry for its poor sales (although it was a big hit in Britain) -- he retired to his L.A. mansion, marrying Ronnie Bennett, lead singer of the Ronettes.

Spector re-emerged in the late '60s and was hired by the Beatles to do post-production on their controversial Let It Be album; critics and Paul McCartney himself found his work faulty, although it must be pointed out that the material he was given to work with didn't rank among the Beatles' best. He then produced George Harrison's and John Lennon's first solo albums; though these were artistic triumphs, they were hardly Spector productions in the classic sense, owing much more of their success to the talents of the performers than the producer. After that, he was active only sporadically, producing isolated albums by Dion, Leonard Cohen, and the Ramones. He became one of rock's most legendary recluses and eccentrics, rarely appearing in public, but his accomplishments cast a shadow over all performers and producers who aspire to create works of art in the studio. That reclusiveness took a public turn in 2003 with the death of Lana Clarkson. The actress/fashion model was shot and killed in Spector's home, though Spector denied any involvement, citing an "accidental suicide." It took four years for the case to go to trial, the first of which resulted in a mistrial, and the second of which found Spector guilty of murder in the second degree. He was sentenced on May 29, 2009 to 19 years to life in the California state prison system. ~ Richie Unterberger



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