The Crystals tjener et #1 -hit med "He's A Rebel"

The Crystals tjener et #1 -hit med

I en hændelse, der var velkendt for alle fans af popmusikskandaler, rejste en stor nuance og skrig sig i pressen og i musikindustrien, da slutningen af ​​1980'erne dansesensation Milli Vanilli blev afsløret som blot læbesynkroniserende kunstnere. Pludselig afsløret som ulovligt blev duoen, der havde tjent et #1 -hit med "Baby Don't Forget My Number" (1989) straks frataget sin Grammy Award for bedste nye artist. Men fans af popmusikhykleri ved, at musikbranchens definitioner af "legitim" og "illegitim" altid har været fleksible, og at Milli Vanilli næppe var den første chart-topping-handling med en skandaløs hemmelighed. En anden sådan handling scorede et #1 hit den 3. november 1962, faktisk, da deres navn stod øverst på Billboard Hot 100 ved siden af ​​sangen "He's A Rebel" - en plade, hvor de krediterede kunstnere, Crystals, ikke havde sunget en eneste tone.

Crystals blev dannet i Brooklyn af fem gymnasiekammerater og var en legitim vokalgruppe, der formåede at få en kontrakt med det nyoprettede Philles-pladeselskab i 1961. Philles var under kreativ kontrol af den snart legendariske producer Phil Spector , der tog krystallerne under sin vinge og hjalp dem med at indspille to top 20 hits i "There is No Other" (#20, december 1961) og "Uptown" (#13, maj 1962). Mens deres tredje udgivelse-Gerry Goffin-Carole King-skrev "He Hit Me (And It Felt Like A Kiss)"-floppede, da radiostationer afviste det af hensyn til emner, ville den næste single udgivet under deres navn gå til alle vej til #1.

Selvom få mennesker vidste det på det tidspunkt, tilhører den berettigede kredit for den plade imidlertid en gruppe kaldet Blossoms, hvis forsanger, Darlene Love, ville tjene to mindre top 40 hits i 1963 med “(Today I Met) The Boy I'm Gonna Marry ”og“ Wait Til ’My Bobby Gets Home”, men hvem ville ikke få noget af æren for “He A Rebel”. Med Crystals tilbage i New York valgte Phil Spector at indspille "He's A Rebel" med Blossoms i Los Angeles for at få pladen frem foran en konkurrerende version af Vicki Carr. Da Blossoms og Darlene Love var fuldstændige ukendte, blev pladen krediteret Crystals

The Crystals fortsatte med at "tjene" endnu et stort hit med en sang indspillet af Darlene Love and the Blossoms: "He's Sure The Boy I Love" (#11, februar 1963). De ville dog også tjene endnu større hits med sange, de faktisk optog: "Da Doo Ron Ron (When He Walked Me Home)" (#3, juni 1963) og "Then He Kissed Me" (#6, september 1963 )


Han er en oprører

"Han er en oprører"er en sang skrevet af Gene Pitney, der oprindeligt blev indspillet af pigegruppen Blossoms. Produceret af Phil Spector, blev deres version udgivet som en single krediteret Crystals, som toppede Billboard Hot 100 chart i november 1962. Det var Spectors anden chart-topper efter "To Know Him Is to Love Him" ​​(1958).

I 2004 blev "He a a Rebel" nummer 263 på Rolling Stones 500 største sange nogensinde. [1] Billboard udnævnte sangen nr. 31 på deres liste over 100 Greatest Girl Group Songs of All Time. [2]


Indhold

Love blev født Darlene Wright den 26. juli 1941 i Los Angeles, Californien af ​​Ellen Maddox og pastor Joe Wright. [2] Hendes yngre søster Edna Wright voksede op til at være forsanger i gruppen Honey Cone. [3] Hun voksede op i det sydlige Los Angeles, længe før racespændingen, kriminaliteten og volden, som området senere blev berygtet for, havde overtaget samfundet. Kærlighed huskede senere sin barndoms Los Angeles som "en by, der hovedsagelig fandtes i folks fantasi ... Men for os havde Los Angeles ikke noget at gøre med filmstjerner eller stubbende, hårdtdrikkende gumlesko, der forsøgte at sammensætte ødelagte drømme efter timer. For os var Los Angeles indeholdt i omkring 20 blokke, bogført på den ene side af vores projekter og legepladser og på den anden af ​​kirken. " [4]

Som præstens datter voksede hun op med at lytte til gospelmusik og var et dedikeret medlem af hendes kirke. Wright begyndte at synge med sit lokale kirkekor som tiårig i Hawthorne, Californien. Under korpraksis fangede hun korleder Cora Martin-Moores opmærksomhed. Efter at have sunget for Martin-Moore blev hun bedt om at gå til Music Mart, hvor hun sang og lavede nogle udsendelser. [5] Da det var hendes første musikalske oplevelse, var det også den største indflydelse for hende at forfølge en musikkarriere. De, der kendte hende, beskrev hendes vokal som "en nattergals stemme." Hun hævdede, "[sang i] koret var en stor indflydelse på mit liv. Jeg kalder det mit læringsgrundlag. At synge i koret, jeg lærte harmoni." [6]

Tidlig karriere Rediger

Mens hun stadig var i gymnasiet (1957) sang hun også med Echoes, [7] en blandet køn-doo-wop-gruppe. Hun blev derefter inviteret til at deltage i en lidt kendt pigegruppe kaldet Blossoms. [8]

I 1962 blev Blossoms hyret til at synge på en session af producer Phil Spector. [9] Hans pigegruppe, Crystals, kunne ikke nå til Los Angeles i tide til sessionen, så Wright blev betalt $ 5.000 for at synge lead på "He a a Rebel." [9] Dette var Wrights første gang på en Spector -optagelse. [10] Singlen, der blev krediteret Crystals, blev hurtigt udgivet af Spector på Philles Records for at få sin version af Gene Pitney -sangen på markedet før den af ​​Vikki Carr. [11] Spøgelsens udgivelse af denne single kom som en total overraskelse for Crystals, der var en erfaren og meget rejst pigeharmonigruppe i sig selv, men de blev ikke desto mindre forpligtet til at optræde og promovere den nye single på tv og på turné som hvis det var deres eget. [12] Singlen nåede nr. 1 på Billboard Hot 100 i november 1962. [11]

Efter udgivelsen af ​​"He's a Rebel" underskrev Wright en aftale med Spector, der omdøbte hende til Darlene Love. [9] Hun indspillede "He's Sure the Boy I Love", som hun troede ville blive frigivet under hendes navn, men Spector krediterede det til Crystals. [9] Cynthia Weil, der co-skrev sangen sammen med sin mand Barry Mann var uvidende om, at Love havde sunget på nummeret: "Det hele kom ud senere. Jeg synes, det var en frygtelig ting at gøre ved hende." [9] Spector fik Love til at synge "Da Doo Ron Ron" i studiet, men han besluttede at indspille den med en anden sanger i sidste øjeblik. [9]

Love indspillede nummeret "Christmas (Baby Please Come Home)" til 1963 -feriesamlingsalbummet, En julegave til dig fra Phil Spector. Sangen blev skrevet af Jeff Barry og Ellie Greenwich sammen med Phil Spector med den hensigt at blive sunget af Ronnie Spector fra Ronettes. Ifølge Love var Ronnie Spector ikke i stand til at lægge så meget følelser i sangen som nødvendigt. I stedet blev Love bragt ind i studiet for at indspille sangen, som med tiden blev en stor succes og en af ​​Love's signaturmelodier.

Som medlem af Blossoms bidrog Love med vokal bag mange af de største hits i 1960'erne, herunder Ronettes "Be My Baby", Shelley Fabares "Johnny Angel", Bobby "Boris" Picketts "Monster Mash", Frank Sinatras version af "That's Life", og Krystallernes "Da Doo Ron Ron". The Blossoms indspillede singler, normalt med lidt succes, på Capitol 1957-58 [pre-Darlene Love], Challenge 1961-62, OKeh 1963, Reprise 1966-67, Ode 1967, MGM 1968, Bell 1969-70 og Lion 1972. )

Som soloartist bidrog Love også med backing vokal til Ronettes '"Baby, I Love You". Hun var også en del af en trio kaldet Bob B. Soxx & amp the Blue Jeans, der indspillede Spectors version af "Zip-a-Dee-Doo-Dah", en Oscar-vindende sang fra Walt Disney-filmen fra 1946 Sydens sang, der kom ind i Top 10 i 1963.

The Blossoms landede en ugentlig del på Shindig!, et af tidens bedste musikprogrammer. De optrådte også på Johnny Rivers hits, herunder "Poor Side of Town" "Baby I Need Your Loving" og "The Tracks of My Tears". Blossoms var en del af de meget roste Elvis Presleys comeback -special fra 68, der blev sendt på NBC. Darlene and the Blossoms sang backup til Sharon Marie (Esparza) (en Brian Wilson -akt), samt John Phillips 'soloalbum John, Wolfking fra L.A., optaget i 1969.

I 1970'erne arbejdede Love videre som backupsanger, inden han tog en pause for at stifte familie. I 1973 indspillede hun vokal som cheerleader sammen med Michelle Phillips til Cheech & amp Chong -singlen "Basketball Jones", der toppede sig som nr. 15 på Billboard Hot 100 singler chart. [ citat nødvendig ]

1980'ernes retur Rediger

Kærligheden vendte tilbage til musikken i begyndelsen af ​​1980'erne og til et anerkendende publikum, som hun troede måske havde glemt hende for længst. Hun havde optrådt på spillesteder som Roxy i Los Angeles, og det var en samtale med Steven Van Zandt, der smurte hjulene for hende til at tage til New York og begynde at optræde der i 1982 på steder som The Bottom Line. Hun sang også "OOO Wee Baby" i filmen fra 1980 Idolmakeren. Sammen med at optræde i små spillesteder arbejdede Love som stuepige i Beverly Hills. En dag mens hun rengjorde et af disse hjem, hørte hun hendes sang "Christmas (Baby Please Come Home)" i radioen. Hun tog dette som et tegn på, at hun havde brug for at ændre sit liv og gå tilbage til at synge. [13]

I midten af ​​1980'erne portrætterede hun sig selv i den Tony Award-nominerede jukebox-musical Leder af flokken, som bød på de ikoniske rock and roll -sange skrevet af Ellie Greenwich, mange af dem til den unge Love. Showstoppet nummeret på det show, "River Deep - Mountain High", var blevet optaget af Phil Spector med Ike & amp Tina Turner. Leder af flokken begyndte som en revy på Greenwich Village natklub The Bottom Line, ligesom det senere show om Love's liv, Portræt af en sanger, som aldrig gjorde flytningen uptown. Portræt inkluderet covers til "A Change Is Gonna Come" og "Don't Make Me Over" samt "River Deep, Mountain High" og original musik fra nogle af de instrumentale forfattere fra tidlig rock and roll, herunder Barry Mann og Cynthia Weil. Love bidrog med et cover af Hollywood Argyles -sangen "Alley Oop" til soundtracket til filmen fra 1984 Polterabend.

I 1986 kom Love's anden chance, da hun blev bedt om at synge "Christmas (Baby Please Come Home)" på David Lettermans juleshow. Dette blev en årlig tradition. [13]

I 1987 sang Love backup til U2's nyindspilning af "Christmas (Baby Please Come Home)".

Senere karriere Rediger

I 1990 udgav Love albummet Mal et andet billede, der omfattede en opdatering af hendes gamle hit "He Sure the Man I Love", af Mann og Weill, samt en ballade skrevet specielt til hende, "I'm Never Been the Same", af Judy Wieder. Albummet kom ikke på de amerikanske hitlister. I 1990 inviterede Cher Love og hendes søster Edna Wright som baggrundsvokalister til Heart of Stone -turnéen. Love udgav en mindre single i 1992 med "All Alone on Christmas", skrevet og komponeret af Steven Van Zandt, som findes på Home Alone 2: Tabt i New York lydspor. Sangen var også med i den britiske film Kærlighed Faktisk. Kærlighed bidrog også med vokal til filmens soundtrack Jingle hele vejen.

I 1993 stævnede Love Spector for ubetalte royalties og blev tildelt $ 250.000. [9]

Kærlighed sammen med Rob Hoerburger, redaktør og forfatter for New York Times skrev hendes selvbiografi med titlen Mit navn er kærlighed, udgivet i 1998. [14] I erindringsbogen skriver Love om sit liv i musikindustrien, hendes mangeårige kamp og hendes nuværende projekter. [15]

Love fortsætter med at lave et juleshow hvert år i New York City, som altid er dækket af "Christmas (Baby Please Come Home)". I 2007 frigav hun Det er selvfølgelig jul, et album med coverversioner med juletema, herunder "Happy Xmas (War is Over) af John Lennon og Yoko Ono og" Thanks for Christmas "af XTC. Love optrådte med Bruce Springsteen og E-Street Band i november 2009 på Rock og Roll Hall of Fame 25 -års jubilæumskoncert på Madison Square Garden.

Kærlighed er med i dokumentarfilmen 20 fødder fra stjernestatus (2013), der havde premiere på Sundance Film Festival og vandt derefter Oscar for bedste dokumentar ved 86. Academy Awards. 20 fødder fra stjernestatus vandt også 2015 Grammy Award for bedste musikfilm, hvor prisen blev overrakt til de fremhævede artister såvel som produktionsholdet.

Love indspillede en duet, "He Sure the Boy I Love", med Bette Midler på sidstnævntes 2014 -udgivelsesalbum "It's the Girls!", En samling sange, der hylder pigegrupper.

I august 2014 annoncerede Oprah Winfrey Network (OWN), at det producerer en biopic for den store skærm baseret på Love's liv, med sangikonet Toni Braxton i hovedrollen. [16]

Kærligheds seneste album Vi præsenterer Darlene Love blev udgivet 18. september 2015 på Steve Van Zandts etiket, Wicked Cool Records. [17] Der er 10 sange på dette album, herunder singler og funktioner af Van Zandt, to nye sange af Bruce Springsteen og covers af blandt andet Joan Jett og Elvis Costello -sange. "Forbidden Nights", det første nummer, er en af ​​de mere succesrige sange på dette album. Det er en sang, som Elvis Costello tidligere producerede til en ufærdig Broadway -musical. [17] I 2016 begyndte Love at turnere på sit nye album i hele USA.

Darlene Love indspillede sin første solo -videokoncert den 23. februar 2010 på NJPAC. Darlene Love - Kærlighedens koncert blev udgivet som cd og dvd senere samme år. Koncerten blev også sendt på udvalgte offentlige tv -stationer. [18]

I slutningen af ​​1980'erne og også i 1990'erne begyndte Love også en skuespillerkarriere, hvor hun spillede Trish Murtaugh, konen til Danny Glovers karakter, i de fire Dødbringende våben film. [8]

Kærlighed har haft mange stjerneroller i forskellige Broadway -produktioner. Hun handlede og sang ind Fedt, i den kortvarige musikalske tilpasning af Stephen Kings Carrie, og spillede hovedrollen som Motormouth Maybelle i Broadways Hårspray fra august 2005 til april 2008. [19] Hun gentog senere rollen i Hollywood Bowl -produktionen af ​​showet i 2011.

I 2019 optrådte hun i den originale Netflix -film Holiday Rush. [20]

I 2020 dukkede hun op og sang i Netflix originale film Julekronik 2.

Love fremførte hvert år sangen "Christmas (Baby Please Come Home)" på den sidste pre-jul episode af Sent nat med David Letterman (NBC, 1986–92) og Sent show med David Letterman (CBS, 1993–2014). Hendes sidste juleoptræden var den 19. december 2014, ni dage efter den officielle meddelelse om showets finale i maj 2015. [21] Letterman har udtalt, at den årlige forestilling er hans yndlingsdel af julen. På grund af strejken i Writers Guild of America i 2007 kunne Love ikke optræde på Letterman -showet i 2007 [22] en gentagelse af hendes forestilling fra 2006 blev vist i stedet.

Kærlighed var en særlig gæst den 17. december 2005, udsendelse af Saturday Night Live, synger "Hvid jul" med SNL band og sørger for vokal til en Robert Smigel -tegneserie med titlen "Christmastime for the Jews."

Kærlighed var den musikalske gæst på Sent show med David Letterman den 7. maj 2007, der udførte "River Deep-Mountain High". Med afslutningen på Letterman -showet har Love fremført "Christmas (Baby Please Come Home)" på ABC -morgenshowet Udsigten hver december siden 2015. Hun har normalt fremført sangen som en duet, hvor hun fik selskab af Patti LaBelle i 2016, Fantasia i 2017 og Bryan Adams i 2018.

Love udførte også "Christmas (Baby Please Come Home)" i sæson seks, afsnit 10 af Fox -tv -serien Ny pige (2016).

I 1995 modtog Love Rhythm and Blues Foundation's Pioneer Award. [5]

I 2008 blev Love rangeret nr. 84 på Rullende sten's 100 største sangere liste. [1]

Den 15. december 2010 blev det annonceret, at Love var blevet valgt til introduktion til Rock and Roll Hall of Fame. [23] Den 14. marts 2011 blev Love optaget i Rock and Roll Hall of Fame, [24] med en tale af Bette Midler. [25] [26] Midler sagde "hun ændrede mit syn på verden, lyttede til de sange, du var nødt til at danse, du var nødt til at bevæge dig, du var nødt til at blive ved med at lede efter den oprørske dreng." Nær tårer bemærkede Love, at hun fylder 70 år senere på året og takkede Spector "for at have genkendt mit talent og gjort mig til hovedstemmen i hans Wall of Sound." Hendes tale fremkaldte en stående applaus. Senere sang hun "Zip-A-Dee-Doo-Dah" med Springsteen som en guitar solo. [27]

I 2015 vandt Love sin første Grammy Award for bedste musikfilm for dokumentaren 20 fødder fra stjernestatus. [28]

I 2015 blev Love omtalt i september -udgaven af Underholdning ugentligt. I musikafsnittet i magasinet introducerer det Love's fem årtier med musikalske præstationer såsom forskellige soloer og album.

Love leverede den indledende forestilling til at døbe åbningen af ​​Clermont Performing Arts Center i Clermont, Florida den 26. september 2015. [29]


Krystallerne tjener et #1 -hit med "He's A Rebel" - HISTORIE

Dette blev skrevet af Connecticut singer/songwriter Gene Pitney, der scorede 16 Top-40 hits i 60'erne som soloartist. Hans største solohits var "Only Love Can Break A Heart" og "(The Man Who Shot) Liberty Valance", som begge blev skrevet af teamet af Burt Bacharach og Hal David.

Pitney skrev det specifikt til The Crystals efter at have hørt deres sang "Uptown", som havde en funky stikning, der blev konstrueret af deres producer, Phil Spector. Pitney var fast besluttet på at skrive noget i en lignende vene og kom med "It's A Rebel".

Spectors version af denne sang, krediteret krystallerne, men sunget af Blossoms, ramte #1. Vikki Carr måtte vente tre år mere, før hendes første hitliste i USA ("It Must Be Him").

I New York fandt den indflydelsesrige disc jockey på WINS, Murray the K, ud af, at Phil Spector brugte et andet sæt krystaller på denne sang og brød historien i luften. Som La La Brooks fortæller os, ringede Murray til hende for at spørge om det, og hun fortalte ham, at de egentlige krystaller ikke havde noget at gøre med sangen.

Historien var langt fra en skandale, da producenter var kendt for at skifte musikere ud og nogle gange havde en helt anden gruppe foran bandet. For La La var det en lettelse, at historien var ude, selvom da The Crystals turnerede rundt i verden, forklarede de aldrig, at de ikke sang på "He A Rebel."

Denne sang er en stor del af Darlene Love's historie, som bliver fortalt i filmen fra 2013 20 fødder fra stjernestatus. Selvom hun var forsanger på dette nummer, blev hun ikke krediteret og forblev ukendt. Hun hævder, at hun blev betalt $ 5.000 for sit arbejde, men hun forventede en soloudgivelse fra Spector, der aldrig blev til noget.

Da hun indspillede sangen, gik hun stadig under sit rigtige navn, Darlene Wright. Phil Spector underskrev hende en kontrakt og omdøbte hende til Darlene Love. Han indspillede hende på sangen "You're Sure The Boy I Love", men udgav den som The Crystals og holdt Love anonym. Under sit eget navn havde hun tre beskedne hitlister i 1963 til Spectors Philles -etiket: "Wait Til 'My Bobby Gets Home" (#26), "(Today I Met) The Boy I'm Gonna Marry" (#39) og "En fin fin dreng" (#53).

Den mest varige sang, der krediteres Darlene Love, er "Christmas (Baby Please Come Home)", der blev udgivet på Phil Spectors julealbum fra 1963.

Phil Spector brugte royalties fra denne sang til at købe sine partnere ud, med den betingelse, at hans eks-partnere ville dele i overskuddet fra de næste to Crystals-singler.

Spector brugte The Blossoms til at posere som krystallerne (igen) til #11 -hittet "He Sure the Boy I Love", men krystallerne sang faktisk på den næste single, der blev krediteret dem, med titlen "(Let's Do) The Screw" - en femmer -minute sang punkteret med stemmen fra Phil Spectors advokat, der sagde "Do the Screw." Kun et eksemplar af de 45 blev presset og distribueret: til eks-partner Lester Sill. Det fik nul airplay og tjente nul royalties. Spector var nu eneejer af Philles Records.

Da The Crystals fremførte denne sang live, lavede La La Brooks, der sang lead på deres hits "Da Doo Ron Ron" og "Then He Kissed Me", hovedvokalen. Da vi talte med La La i 2013, forklarede hun, at Phil Spector blev stærkt opfordret til at få en anden Crystals -plade ud, da han flyttede til Californien. Som La La fortæller det, sendte gruppens manager Joe Scandore en bøller til Los Angeles for at hjælpe med at opmuntre Spector. Hvad de ikke regnede med var, at producenten brugte en anden gruppe til at indspille den single, de bad om.

"Den næste ting, du ved, vi kører i en bil, vi alle piger skal på en koncert, og vi hører: 'Han er en oprører, og han bliver aldrig god'," sagde La La. "Vi hører 'Han er en oprører', men vi synes ikke noget om det. Til sidst sagde DJ'en: 'Krystallerne', han er en oprører '.' Vi så på hinanden som: 'Krystallerne? Hvor kom det fra? ' Så vi var forvirrede. "

The Crystals måtte lære sangen sammen med den anden kærlighedssungede udgivelse "He Sure the Boy I Love" i tide til deres næste koncert. La La gjorde sit bedste for at slukke sin Brooklyn -accent og matche Darlenes stemme til forestillingerne.


Indhold

Phil Spectors arrangement var ildevarslende og tvetydigt. [1]

Det var en brutal sang, som ethvert forsøg på at retfærdiggøre sådan vold må være, og Spectors arrangement forstærkede kun dens vildskab og indrammede Barbara Alstons ensomme vokal midt i et hav af ætsende strygere og begravelsestrommer, mens bagvokalen næsten trillede deres egen tro på, at drengen havde ikke gjort noget forkert. I mere ironiske hænder (og en mere forstående alder) kunne 'He Hit Me' have passeret mindst som satire. Men Spector viste ingen tegn på at sætte pris på det, og det følte han heller ikke nødvendigt. Ikke mindre end sangens forfattere prædikede han ikke, han dokumenterede blot.

Efter den første udgivelse modtog "He Hit Me" noget airplay, men så var der en udbredt protest mod sangen, hvor mange konkluderede, at sangen var en påtegning af ægtefællemishandling. [1] Snart blev sangen kun sjældent spillet i radioen, som nu.

Frank Borzage -filmen fra 1930 Liliom indeholder linjen "Han slog mig, og det føltes som et kys" i sin sidste scene. Filmen var ikke en succes, og intet tyder på, at Goffin eller King havde set den. Liliom, oprindeligt et stykke af den ungarske dramatiker Ferenc Molnár, var grundlaget for Rodgers og Hammerstein musikalske klassiker, Karrusel. Mens King og Goffin måske ikke har set Liliom, er det muligt, at de var bekendt med den succesrige filmversion fra 1956 af Karrusel, som indeholder stort set den samme linje. King har imidlertid udtalt, at Lille Eva, deres babysitter, der inspirerede sangen, havde brugt den præcise sætning til dem. [2]

Carole King sagde i samme radiointerview, at hun var ked af, at hun nogensinde havde haft noget at gøre med sangen. Hun overlevede gentagne overgreb i hjemmet (men ikke fra Goffin, der havde været hendes mand fra 1959 til 1969). [3]


Phil Spector bragte glæde til popmusik - og elendighed i så mange liv

Tre år før hans død i 2006 interviewede jeg Gene Pitney. Talk vendte uundgåeligt til Phil Spector. Han havde skrevet Spectors ægte gennembrudsplade-Crystals '1962 No 1 He's a Rebel-uden tvivl en af ​​de største singler i pophistorien, en perfekt cocktail af skyhøj melodi, ekko-gennemblødt produktion og Darlene Love's sprudlende vokal. Et år før det havde han sunget Every Breath I Take, der med sine buldrende pauker, overbelastning af bagvokal og dramatisk orkestrering var en af ​​de få tidlige Spector-produktioner, der antydede den mere-er-mere Wall of Sound-tilgang det ville gøre ham til en legende. Og i øvrigt var Spector, som Pitney udtrykte det, "en slags nyhed": han ventede på retssag for mord.

Ligesom mange andre, der kendte Spector, virkede Pitney rædselsslagen, men mærkeligt overrasket over denne begivenhed, som om sådan noget var nødt til at ske før eller siden: sprut, stofferne, den tydelige ustabilitet, besættelse af våben og historien om vold mod kvinder. Spector, foreslog han, havde været i problemer fra starten. "Jeg spiste middag med ham den første dag, han ankom til New York, og han sagde til mig, at hans søster var på et asyl, og at hun var den sunde i familien," huskede han. "Jeg tænkte: 'Wow, hvor kom det fra?'"

Ronnie Spector, cirka 1964. Foto: Michael Ochs Archives/Getty Images

Sandheden er, at alle vidste, hvordan Phil Spector var længe før han dræbte Lana Clarkson: efter hans egen regning havde en barndom, der var arret af hans fars selvmord og revet med mobning - af hans mor, af sine skolekammerater - efterladt ham "med djævle inde mig". Hans ekskone Ronnie Spectors selvbiografi fra 1990 Be My Baby afslørede deres fulde rædsel: huset omgivet af pigtråd og vagthunde truslerne om at dræbe hende, enten sig selv eller via en hitman den forgyldte, glasbelagte kiste han installerede i kælderen og truede med at vise hendes lig ind efter hun blev myrdet.

Historierne om optagelsessessioner, der var gået vildt skævt, var også legio: han skød en pistol ind i loftet på LA's A & ampM Studios, mens han arbejdede med John Lennon i 1973, han pegede en ladet pistol mod Leonard Cohens hals - Cohen sammenlignede ham efterfølgende med Hitler - og ifølge deres bassist, Dee Dee, holdt han Ramones som gidsler med gevær i løbet af 1980'ernes slutning af århundredet. Som forfatteren Sean O'Hagan engang bemærkede, var på en måde selv den ekstraordinære musik, han lavede mellem 1962 og 1966, en "hævnakt i en verden, der havde såret ham uden at blive repareret som barn", hvert slag en bekræftelse, som han håbede kunne dæmpe sine egne dybt rodfæstede mindreværd.

Men He’s a Rebel, Da Doo Ron Ron og Be My Baby lyder ikke som hævnaktioner, de lyder fuldstændig glædelige, uskyldige. Meget opmærksomhed tiltrækkes forståeligt nok af Spectors tendens til at overbelaste som producent - de umpteen musikere, der kræves for at lave sine singler, fordobling og tredobling af instrumentering. Men Spectors overskydende bagage tyngede aldrig hans rekorder. De tønder lystigt med, selv den dystereste af hans ballader - Ronettes ekstraordinære Is This What I Get for Loving You? og jeg ville ønske, at jeg aldrig så solskinnet, sidstnævnte uden tvivl den kunstneriske højdepunkt i Wall of Sound -årene - føles bemærkelsesværdigt let på deres fødder. Han var på en eller anden måde i stand til at skabe singler, der var lydmæssigt tætte, men som også havde en følelse af plads. De lyder aldrig over toppen eller klaustrofobisk, med den mulige undtagelse af Ike og Tina Turners River Deep, Mountain High-Spectors favorit blandt hans værker, men en sang, der måske havde nydt godt af en mere fjernet tilgang.

Den amerikanske fiasko af sidstnævnte sendte Spector ind i et halespin, hvorfra han aldrig rigtig kom sig. Hans næste højt profilerede job, på Beatles ’Let It Be, var et rod. Kildematerialet var ikke deres fineste - John Lennon kaldte det mindeværdigt "den lorteste belastning af dårligt indspillet lort med en elendig følelse til det nogensinde" - men ikke desto mindre nedsænkede Spector gode sange i upassende orkester- og korsirup. Hans produktion af George Harrisons All Things Must Pass var på samme måde kontroversiel - "For meget ekko," Harrison klagede år senere, hans søn Dhani hævdede, at "at få albummet til at lyde klarere var et af min fars største ønsker" - men hans arbejde med Lennons plastik Ono Band og Imagine -albums var fantastiske: skarpt, minimalt, det modsatte af, hvad du kan forvente, med kun de fabelagtigt eksplosive trommer på singlen fra 1970 Instant Karma! et ekko af hans 60’er -arbejde.

Resten af ​​hans karriere gav kun spredte øjeblikke, der antydede hans tidligere storhed, især sporene, han indspillede til Dions Born To Be With You i 1975. Han sluttede sin indspilningskarriere med at blive fyret af, af alle mennesker, det britiske indierockband Starsailor. Dengang virkede det som en uklar skæbne for en, der engang havde ledet en række æra-definerende klassikere, hvis arbejde ansporede Brian Wilson til at skabe Beach Boys 'Pet Sounds, der regelmæssigt varslet som det største album nogensinde, og hvis 60’er -lyd, du hørte ekkoer af overalt, ikke mindst i blusen fra Bruce Springsteens E Street Band. Men som det viste sig, var det langt værre at komme.


Krystallerne tjener et #1 -hit med "He's A Rebel" - HISTORIE

Phil Spector producerede denne sang og markerede sin første rigtige "Wall of Sound" -produktion. Han havde et massivt hit et par år tidligere med To Know Him Is To Love Him af The Teddy Bears, men "Da Doo Ron Ron" gav skabelonen til hans unikke studielyd, som han ville replikere på klassiske sange som "Be My Baby. "

Han indspillede det i Gold Star Studios i Los Angeles og pakkede alle musikerne ind i et rum, der målte kun 19 x 24 fod. Spector var omhyggelig med mikrofonplacering, især når det kom til trommerne (spillet på dette nummer og mange andre Spector -produktioner af Hal Blaine). Han indspillede sangen i mono, hvilket betød, at hvert instrument kom ud af begge højttalere for fuld kraft, og undgik nuancen i stereo for kraften i et enkelt nummer.

Spector var ikke stor til at redigere eller efterproduktion, så han brugte meget af sin studietid på at få musikerne til at løbe igennem sporet, før han ville rulle bånd. Typisk ville han have guitaristerne til at spille et stykke tid, mens han udarbejdede sangen og derefter bringe klaverer, bas og trommer ind. Vokal blev optaget i et ekkokammer placeret bag kontrolrummet på Gold Star. Blandt baggrundssangerne var en af ​​Spectors favoritter: Cher.

Jeff Barry og Ellie Greenwich skrev denne sang. Afståelsen af ​​"da doo ron ron" kom fra nonsens stavelser, de satte sig fast i som fyldstof, men det var præcis, hvad Phil Spector ledte efter, da han ikke ønskede, at en cerebral lyrik kom i vejen for hans massive produktion og det ryddelige dreng-møder-pige historie linje. Sonny Bono, som også var en pladeproducent på det tidspunkt og hang ud på sessionerne, husker Spector og spurgte, om sangen var "dum nok", hvilket betyder, at den var tilgængelig for de teenagere, der var målgruppen. Spector vidste, at han havde et hit med denne og sagde til Bono under afspilning: "Det er solidt guld, der kommer ud af den højttaler."

Sangen var guld for Spector, der ikke bare var producent af nummeret, men også fik æren som sangskriver sammen med Barry og Greenwich, hvilket er et vidnesbyrd om hans indflydelse i studiet.

Der er stor uenighed om, hvem der sang bly på dette nummer. Darlene Love, som var med i 2013 -dokumentaren 20 fødder fra stjernestatus, har sagt, at hun var forsanger på denne sang, som blev optaget i Gold Star Studios i Los Angeles. Love sang lead på The Crystals 'tidligere hits "It's A Rebel" og "You're Sure the Boy I Love", fordi Phil Spector kaldte sin gruppe The Blossoms ind for at indspille disse sange, når The Crystals ikke kunne nå det til Los Angeles. Sangene blev stadig krediteret The Crystals, og Love hævder, at hun forventede, at hendes egen singleudgivelse ville følge.

Love har givet forskellige beretninger om hendes side af historien og fortalte Katie Couric, at hun sang lead på "Da Doo Ron Ron", men bakkede op om den påstand i senere interviews og sagde, at hendes hovedvokal blev udslettet og erstattet af Crystals forsanger Dolores "La La" Brooks i gengældelse af Spector, da hun bad ham om en kunstners kontrakt. Når filmen 20 fødder fra stjernestatus - som indeholdt Love - blev udgivet i 2013, New York Times løb en historie om filmen, der hævdede, at Love sang bly på sangen. Two weeks later, they ran a correction, stating: "While she did sing, it was as backup, not as the lead."

Whether she appeared on the song at all is in dispute. The person who can best answer that question is Phil Spector, but since he was in jail when 20 Feet From Stardom was released, journalists couldn't use him to fact check Love's claims. La La Brooks, however, has her own account, which includes a phone call Spector made to his wife, Rachelle, who married him while his trial was going on. Brooks' friend, Roger L. Chemel, provided us with this photo of Brooks, Rachelle Spector, and Art Cohen (Brooks' manager), taken where this conversation took place. Here's the account:

On August 27, 2012, La La Brooks and Art Cohen, La La's manager, met with Rachelle Spector after an attendance at the David Letterman Show in New York City. As the three of them joined to have dinner together at a local restaurant, Phil Spector called his wife Rachelle from the prison where he is incarcerated. La La recalls telling Rachelle to say "hi" to Phil. After the conclusion of this telephone call, La La Brooks explained the situation with Darlene Love claiming to have sung the original track of "Da Doo Ron Ron."

Rachelle Spector tells La La Brooks and Art Cohen that she was flying back to California on August 28, 2012 and that she would explain the situation to Phil Spector. Rachelle Spector flies back to California for her allowed once a month visit on that date, and Rachelle explains to Phil what Darlene Love is saying. Phil Spector tells his wife that Darlene Love did not record a track of DDRR that Darlene Love never sang background and that Darlene Love was never a Crystal. Phil told Rachelle that he thought Darlene Love's voice was too mature and gospely for DDRR and never considered Darlene at all for the song. Rachelle called La La Brooks that day and told her what she found out from Phil Spector.

interview with La La Brooks, she talked about recording this song:

"When I went to the studio to do 'Da Doo Ron Ron,' Phil had taught me the song. When I walked in the studio, all the musicians were there, and after they finished putting down the track, I sat there for hours. Me and Cher went out to get something to eat. We come back, they're still putting down the track. All of the sudden, when the track is finished, Phil says, 'La La, go in the booth and put down the song now.' I went in there, put down the song. I had trouble with (singing) 'Yeah, yeah, yeah, yeah, yeah.' I had trouble with that because he liked my ending, because it was my ending in my head, and he said, 'I want that again.' I had to double it, and it was hard for me to double it, because I couldn't get together with the 'Yeah, yeah, yeah, yeah,' and then (in lower voice), 'Yeah, yeah, yeah, yeah.' It was confusing. He said, 'La La, try it again.' And that's how we recorded it."

A version by Shaun Cassidy reached US #1 in 1977 (switching gender for the lyrics so "Bill" becomes "Jill").Cassidy, who was 18 years old at the time and better known as the half-brother of The Partridge Family star David Cassidy, claimed that he wanted to record it because it was the first record he ever bought. His version was his first hit, and it introduced the song to a new generation.

Other artists who have covered this song include the Carpenters, Billy J. Kramer with the Dakotas, Jack Nitzsche, The Raindrops, and The Searchers.

During the same year of this song's release, a French version by Frank Alamo was released in France and a German version by Ted Herold was released in Germany. >>

Comments: 20

  • Tony Vossbrink from Honolulu, Hi . TOo bad lead- singer of the BLOSSOMS didnt get full-credit for several of the the songs as i heard that crook Phill Spector stole,from her for the Crystals, just ask some of the Old Timers, Cher, Bette Midler, etc whata bum he was.
  • Aiken Nutz from Tahlequah Ok Phenomenal hit. In 1963, I was in junior high & heard it on the radio when it first entered the Top 40. Wow! That "Wall of Sound" was wild back then!! I just had to have that record. And I got it just a few days later at a Woolworth's Dept. Store. That intense beat, fast pace, and the piano made this one of rock & roll's best! I don't think any other record had the drums going "full tilt" like that. Very cool classic !!
  • Barry from Sauquoit, Ny On April 9th 1977, Shaun Cassidy lip-synced "Da Doo Ron Ron" on ABC-TV program 'American Bandstand'.
    One month later, saved a day, on May 8th, 1977 it entered Billboard's Hot Top 100 chart at position #89.
    .
  • Barry from Sauquoit, Ny On February 13th 1972, Ian Matthews' covered version of "Da Doo Ron Ron (When He Walked Me Home)" entered Billboard's Hot Top 100 chart at position #97 and for the next two weeks it was at #96 and then fell off the chart.
    As a solo artist, Ian Matthews had two other Top 100 records, "Shake It" <#13 in 1979>and "Give Me An Inch" <#67 in 1979>.
    And he charted three times as a member of Matthews' Southern Comfort "Woodstock" <#23>, "Mare, Take Me Home" <#96>, and "Tell Me Why" <#98>, and they all charted in 1971.
  • Barry from Sauquoit, Ny On January 30th 1977, the TV series "The Hardy Boys Mystery Show", starring Shaun Cassidy and Parker Stevenson. debut on the ABC-TV network .
    And just over three months later on May 8th, 1977 Shaun Cassidy's covered version of "Da Doo Ron Ron" entered Billboard's Hot Top 100 chart at position #89 and nine weeks later on July 10th, 1977 it peaked at #1 and spent 22 weeks on the Top 100.
    One week after reaching #1 on the Top 100 it peaked at #1 on the Canadian RPM 100 chart.
    He had five records make the Top 100 and three of them made the Top 10, this one, "That's Rock 'N Roll" , and "Hey Deanie" .
  • Barry from Sauquoit, Ny On October 6th, 1984, Karen Kamon performed "Da Do Ron Ron"* on the ABC-TV program 'American Bandstand'.
    The song was track five from her 1984 album 'Heart of You' and it never made the Top 100 chart.
    Her main claim to fame was performing the song "Manhunt" from the soundtrack album for the 1983 movie 'Flashdance'.
    Earlier in 1984 she did make Billboard's Hot Top 100 chart with "Loverboy", it peaked at #89.
    * Ms. Kamon's version is on You Tube.
  • Barry from Sauquoit, Ny On April 21st 1963, "Da Doo Ron Ron (When He Walked Me Home)" by the Crystals entered Billboard's Hot Top 100 chart at position #80 and on June 2nd it peaked at #3 (for 1 week) and spent 13 weeks on the Top 100.
    And the week it was at #3 the #1 record was "It's My Party" by Lesley Gore and at #2 was "Sukiyaki" by Kyu Sakamoto.
    Between 1960 and 1964 the group had eight Top 100 hits with three making the Top 10 and one reaching #1 ("He's A Rebel" for 2 weeks in 1962).
    Two covered version of "Da Doo Ron Ron" have charted on the Top 100 Ian Matthews (#96 in 1972) and Shaun Cassidy (#1 for 1 week in 1977).
  • Bubblesk from Memphis, Tn Back in '63 there was nothing else similar to "Da Doo Ron Ron" on the record charts. Those frantic drums & the girls' vocals put this one solidly into rock & roll history. Then before rock & roll fans could catch their breathes, along came the Crystals' follow-up, "Then He Kissed Me" (often called one of Phil Spector's first masterpieces of The Wall of Sound). When I was a teenager in '63, this song was simply stunning to hear on our mono radios in our cars of the times. And The Crystals were awarded a gold record for this exceptional recording.
  • Jon from Destin, Fl Agree with Eisso. The original had it all.
  • Eisso from Groningen, Netherlands Great song! It should be forbidden for anybody but the Crystals to sing it. The covers sound allright, but mostly for people who never heard the original, which sound like an avalanche, a thunderstorm, extasis, you name it.
  • Matt from Galway, Ireland I'm a sucker for this kind of songs. Love them, and sometimes I would listen to nothing else. Phil Spector's wall of sound sure was hard hitting!
  • Barry from Sauquoit, Ny Bruce Springsteen sang this song in concert at the United Center in Chicago on 09-20-2009, he also mentioned Ellie Greenwick and praised her as a great songwriter.
  • Teresa from Mechelen, Belgium My dear and wonderful Ellie Greenwich, you left us on August 26 and I feel sad. R.I.P. and thanks for the beautiful songs you wrote with Jeff Barry and with Jeff Barry and Phil Spector.
  • Kevin from Birmingham, United Kingdom This Song was also featured in two Mcdonald's Adverts With Ronald McDonald dancing around a hall and a house,
    There was two of these adverts the hall was the first one then the one in the house was the second one telling the children that they should love their mother
    One was in I think it was in a school hall with pre school children dancing around
    Ronald McDonald singing his own words and the children singing we do ron ron ron we do ron ron
    Then there was one in a house
    With the children singing we do ron ron ron we do ron ron
    Kids or anyone remember thse two adverts

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The Crystals earn a #1 hit with “He’s A Rebel” - HISTORY

The Blossoms were probably the most successful unknown group of the '60s. They made a career of singing backup for scores of artists from Paul Anka to Elvis Presley with a versatility that allowed them to be a choral group one minute and a surf sound doo wop group for Jan and Dean's hits the next minute.

Members:
Fanita Wright Bennett - first tenor
Annette Williams - first tenor - left 1961
Nanette Williams Jackson - second tenor - left 1961
Gloria Jones - baritone
Darlene Wright - joined 1961

The Dreamers with Johnny Otis

Starting out as the Dreamers, the Blossoms were students at Fremont High School in Los Angeles in 1954 and were discovered by singer Richard Berry at a school talent show. At that time the group consisted of Fanita James, sisters Annette and Nanette Williams, and Gloria Jones. They backed Richard Berry on several of his singles that were recorded in 1954 and released in 1955 on the Flair label. All three of the releases received local air play, but only "Bye, Bye" sold, and made the national R&B charts. By late 1956 the Dreamers had their first chance to record on their own. The results were two beautiful R&B ballads. "Since You've Been Gone" and "Do Not Forget," both written by Richard Berry and are recognized as forerunners of the girl group sound.

"Since You've Been Gone" never got the full support that tiny Flip Records had to offer the reason being that the label had its hands full following the success of the Six Teens' "A Casual Look" with their new release "Far into the Night." They were also preparing a recording by Richard Berry and his new group the Pharaohs "Louie, Louie."

Though their records weren't hits, the Dreamers stirred interest from numerous places in the music business, garnering the group a great deal of backup work. Their first chart record came as backup vocalists with Jessie Belvin on Etta James' 1955 hit "Good Rockin' Daddy."

The Blossoms circa 1957 (clockwise from top left) Fanita James, Gloria Jones, Annette Williams and Nanette Williams

It was through vocal coach Eddie Beale that the Dreamers were brought to their first major label, Capitol Records. Executive Tom Fransend renamed the group the Blossoms. Between 1957 and 1958 the group had three singles that didn't do much. However, they did have another backup hit with Ed Townsend on "For Your Love" in April 1958.

That year also brought a lineup change: Fanita James attended a wedding and heard a twenty-year old Darlene Wright sing. James then invited the gifted Wright to become the lead of the Blossoms. By 1960, the Williams twins had left and the group was now a trio.

The Blossoms' first solo chart record was for the small Challenge label. The group just barely cracked the Billboard's top 100 with "Son-In- Law' (#79) in May 1961, but neither that nor immediate follow-ups were enough to make the public aware of them. Still, they kept earning a good living doing backup, as on Sam Cooke's hit "Everybody Love's to Cha-Cha-Cha" (#13, 1959) and as Duane Eddy's Rebelettes on "Dance with the Guitar Man" (#12, 1962).

In the summer of 1962, fate stepped in to make the Blossoms the ultimate unaccredited group of the '60s. Producer Phil Spector was in Los Angeles with newest discovery "He's a Rebel." Convinced that this was #1 hit, Spector was mortified to learn that the Crystals were reluctant to come to Los Angeles from Brooklyn because they were afraid of flying. Knowing that if he sat on the song someone else would certainly record it, Spector consulted with his Philles Record's partner Lester Sill who recommended the Blossoms. So on July 13 one of the classic rock and roll songs of the '60s was cut with the Blossoms and with vocalist Bobby Sheen singing high tenor. The Blossoms never imagined that "He's a Rebel" would be released under the name of the Crystals, nor did they guess that by November that it would be the #1 record in the U.S. and reach #19 in England.

Bobby Sheen and Darlene Love

A few weeks after the release of "He's a Rebel," Darlene Wright was signed by Spector, but she never knew whose named would be used on released records. For example, on August 24, they recorded a "wall of sound" version of the Disney classic "Zip-A-Dee-Doo-Dah," with Bobby Sheen singing lead and the Blossoms doing the backup. When it was released in November the label read Bob B. Soxx and the Blue Jeans.Though the Blossoms continued backing artists as diverse as Doris Day and Duane Eddy, their main claim to fame came from their Spector recordings from 1962-1964. They began in 1963 with "He's Sure the Buy I Love" (#11), which again was credited to the Crystals. In February it was back up the charts as Bob B. Soxx and the Blue Jeans with "Why Do Lover's Break Each Other's Heart?" (#38).

In April, "(Today I Met) the Boy I'm Going to Marry" was released and credited to the new name Spector had given Wright, Darlene Love.

When we went to record with Phil we never which record was going to be by who. After "He's a Rebel," the next thing he wanted was another record by the Crystals. i said that this time you're going to pay me a royalty, not just no $1500. But I didn't get it. Well the next record was :He's Sure the Boy I Love which was suposed to be my Darlene Love record - I was going to record it under my own name. But no. When I heard it on the radio, they announced it by the Crystals.

I asked for a contract again with Da Doo Ron Ron". Phil said OK, but I wasn't convinced and I never gave him a clean finish of the song so brought La La Broks in from the Crystals and put her voice on top of what I already had done. We didn't sign contracts in the end until after Da Doo Ron Ron".

Just as it had become predictable that Sheen or Wright would lead the Blossoms on Spector's new recordings, Darlene's lead was removed from what would be another Crystal classic. Lala Brooks, second lead of the Crystals, replaced Wright's lead vocal on "Da Doo Run Run" while all three Blossoms did their usual backup ( that's three Blossoms that included Wright, since they had already recorded the backup track. "Da Doo Run Run" went to #3 and became the Blossoms last unaccredited or credited top 10 record. They finished out the year with and another Bob B.Soxx and the Bluejeans song and three more Darlene Love singles.

The first was "Wait Until My Bobby Gets Home" reminiscent of the Angel's "My Boyfriends Back," and "A Fine, Fine Boy" (#53), which showed some nice vocal work.. However, by this time it was apparent that Spector was more interested in his new find, the Ronettes, than in developing his backup vocalists into stars, even though they had collectively had more hits than most groups at the time ( nine in one year for Philles Records alone). The fourth Darlene Love and the Blossoms single of 1963 was what might be the most exciting, emotion wrenching Christmas recording ever made " Christmas Baby Please Come Home." It included not only the Blossoms' vocals, but also the Ronettes, the Crystals and Cher. It could have been a number one record, but the assassination of John F. Kennedy put a shroud over anything that was not traditionally Christmas for that season.

The Blossoms on Shindig

In 1964, the Blossoms with Jeanie King, now in place of Gloria Jones, were introduced to producer Jack Goode by recording artist Jackie DeShannon. Goode brought the group to an audition for the television show Shindig, which led to two years as regulars on the show.. They issued one record under the name the Wildcats ("What Are You Gonna Do" in 1964), but it wasn't until 1966 that they recorded under their own name with "Good, Good Lovin'," written by Barry Mann and Cynthia Weil. They released several non-charting singles, while singing backup for Bobby Darin, Paul Anka, and Buck Owens.

The Blossoms with their 1965 Teen Screen magazine award

From 1967 through 1972, the Blossoms recorded ten records on various labels, most notably covers of the Righteous Brothers' hits "You've Lost that Lovin' Feeling" and "Soul and Inspiration" in 1969. In the early '70s the group toured with Elvis Presley. The Blossoms also toured with Tom Jones from the early70s through the mid-80s. Love left the group in the '80s, performing first in Las Vegas and then singing in Jeff Barry's soundtrack for the film The Idolmaker while doing backup work for Dionne Warwick in 1982. She did The Darlene Love Music Special on cable TV, performing old Crystals, Bob. B. Soxx, and Darlene Love songs backed by her sister Edna and Gloria Jones. In 1985 she appeared in Ellie Greenwich's musical The Leader of the Pack, for which a cast album was released. As the '80s ended, Love had a budding film career (Hairspray and Lethal Weapon) and a Columbia album was released in 1988.

In 1989, a Blossoms released a single under their own name for the first time in seventeen years when they recorded "Lonely Friday Night" for Classic Artists Records. The song was reminiscent of the Chiffons' "One Fine Day," but was even more reminiscent of the time the Blossoms were the premier West Coast hit vocal group that the public never knew.


The Crystals earn a #1 hit with “He’s A Rebel” - HISTORY

Dolores "La La" Brooks is the only Crystal to perform on this song. Spector recorded the group's first recordings in New York City, where they were from. When he relocated to Los Angeles, he had a group called The Blossoms (with Darlene Love singing lead) record the songs "He's A Rebel" and "He's Sure the Boy I Love," which he issued as The Crystals.

On all subsequent Crystals recordings, Spector flew Brooks from New York to Los Angeles to perform the lead vocals, but the other Crystals never made the trip, as Spector preferred to use local backup singers.

This was also around the time when the group shrunk from five members to four, losing Mary Thomas, who left to get married.

To coax the vocal performance out of La La Brooks, Phil Spector dimmed the lights in the studio and gave her specific instructions. "He said, 'Think of somebody kissing you,'" Brooks told us. "I was a kid, so I'm not going to think like that. So he would turn off the lights, I would have a little light on my music, on my words, and then he said, 'Now, concentrate.' And I said (singing), 'Well, he walked up to me and he asked me if I wanted to dance.' He said, 'That's the way you do it!'

So I guess he had to train my mind to think that I was talking about a boy. He knew how to get things out of you."


The Crystals earn a #1 hit with “He’s A Rebel” - HISTORY

Grammy Award-winning producer Keith Olsen mugs for the camera behind the mixing console with client and pal Ozzy Osbourne in 1988 inside Olsen's Goodnight L.A. recording studio as the pair work on Osbourne's upcoming album, No Rest for the Wicked. Photo courtesy of Keith Olsen.

By Kent Hartman
March 1, 2018

It was 1962, and the rock and roll record business was on the rise after the multiyear slump that had followed the debuts of artists like Elvis, Chuck Berry, and Little Richard. The industry’s savior, in large part, was a manic, diminutive, wig-wearing, Hollywood-based record producer (and future convicted murderer) named Phil Spector.

The mastermind behind such throbbing, multi-instrumental hits as “He’s a Rebel,” “Da Doo Ron Ron,” and “Be My Baby,” Spector was a gesticulating wunderkind on the other side of the control room glass. And the effects of his so-called “Wall of Sound” were immediate and profound 14 Top 40 singles from 1962 through 1963 dwarfed that of Spector’s competition. Soon seemingly everyone wanted to work with the tiny titan, or copy him, or both. Rock and roll had found its bombastic rebirth—and L.A. had solidified its place at the center of the action.

The late ’50s and early ’60s represented a time and place like no other in American history, particularly in sun-drenched Southern California. Convertibles, palm trees, bikinis, surfboards, and ever-present transistor radios advertised a post-war optimism that reigned supreme among teens and twentysomethings. And the record business’s rebound into a new kind of hot-sounding (and selling) style of rock and roll, exemplified in the simultaneous rise of many of Los Angeles’ vaunted recording studios, was a critical part of the story.

Starting during Spector’s heyday, one iconic studio after another came to prominence in the city: Gold Star, at the corner of Santa Monica and Vine Crystal Sound, just two blocks south TTG, about a mile away from them both, near Hollywood High and a few dozen more. The windowless, nondescript buildings, jammed with expensive recording gear, would become the epicenter of America’s musical universe, humming with activity 24/7, for the better part of almost four decades. They generated an unprecedented string of million-seller singles and albums, and attracted all the hottest musicians: Neil Young. Steppenwolf. Joni Mitchell. Three Dog Night. Paul Revere and the Raiders. Van Halen. Tina Turner. Fleetwood Mac. Sam Cooke. The Doors. Cheap Trick. REO Speedwagon. Madonna. Earth, Wind and Fire. Steely Dan. The Eagles. Guns N’ Roses. Sly and the Family Stone. Even Led Zeppelin and the Rolling Stones made frequent pilgrimages.

Producers like Spector fueled the studios’ rise. Picking the right studio for the right project was a crucial task, and—at least at first—was a producer’s domain. Many record labels, including A&M, Motown, Liberty, Paramount, MGM, Warner Bros., and CBS maintained their own L.A. recording studios, which their artists were expected to use. But stature had its privileges, and successful producers found ways to get back to their favorite haunts.

Spector, who mostly worked with artists on his own Philles Records label (until 1966 when he faded from the business after the stinging, much-publicized failure of “River Deep, Mountain High,” sung by a young Tina Turner), liked recording at Gold Star. Brian Wilson, the Beach Boys’ production mastermind, loved the cozy confines of Studio 3 at Western Recorders—even though the Beach Boys’ label, Capitol Records, had a world-class, in-house studio nearby that the band could have used for free.

Sometimes a producer’s preference came down to superstition, not wanting to mess with a good thing. If a producer had recorded a big hit or two at a certain studio, then the odds were good that he (in those days, producers were virtually all male) would be back for more. Paul Rothchild, the Doors’ producer, only wanted to record at Sunset Sound after the surprise chart-topping success of the band’s second single, “Light My Fire,” in 1967. Peter Asher stuck with the Sound Factory after he scored a No. 1 hit there with Linda Ronstadt’s “You’re No Good” in 1974.

By the ’70s and into the ’80s, when album rock became the dominant force in popular music, the power balance in picking where to record began to tilt even further from label executives—this time, in favor of musicians, who also had pet studios. Jackson Browne initially favored the Sound Factory, then later Record One, on the other side of the Hollywood Hills in Sherman Oaks. Though the ’80s version of the light-rock hit-makers Chicago were signed to Full Moon Records, distributed (and eventually owned) by Warner Bros., the band recorded at West Hollywood’s Record Plant, in part because of its “artist-friendly” policies concerning in-studio partying.

Multi-platinum producer Val Garay shares a laugh with Martha Davis of The Motels in the early ’80s during a recording session inside Garay’s recording studio, Record One, in Sherman Oaks. With Garay at the helm, the Motels made the Top Ten twice with “Only the Lonely” and “Suddenly Last Summer.” Photo courtesy of Val Garay.

Costs of making an album in Los Angeles could get hefty, but it really made little economic sense to set up shop anywhere else. It was still cheaper to record in a city where everybody knew everybody, nobody needed a plane ticket or a hotel room, and there were plenty of well-known local session musicians at the ready. Great recording gear also set the Los Angeles studios apart. The incessant push for better sound led, by the early ’60s, to the creation of some of the most revered equipment in the business.

David Gold, the co-owner and co-founder (with Stan Ross) of Gold Star, hand-built that popular studio’s coveted microphone preamps and world-famous echo chamber. Nearby, at Western Recorders, owner and technical wizard Bill Putnam built most of his own equipment, too—from mixing consoles to EQ units to limiters and compressors—and started a separate business to sell his gear to other studios around the world.

Also distinguishing L.A. studios was the “hang,” a shorthand word among musicians for the vibe, accommodations, and/or people in any given recording studio. Smart owners knew how to cater to the specific, if sometimes decadent, demands of their clientele. Niceties varied from studio to studio: sumptuous lounge areas, gourmet kitchens with chefs, private bedrooms, hot tubs, waterbeds, 24-hour personal assistants known as runners. Sunset Sound, the Village Recorder, and Cherokee were all known for the quality of their hang.

Coffee, tobacco, liquor, and depending on the artist, marijuana all were standard issue during recording sessions sometimes harder drugs were, too (particularly cocaine, which some saw as a good tool to help stay awake). Liquor bottles might be everywhere. Ashtrays routinely overflowed with butts. About the only real no-no was spilling anything on the mixing console. That could actually get a person in trouble.

By the mid-’80s, the record industry was modernizing. Vinyl albums started falling out of favor, supplanted first by analog cassette tapes and then by digital CDs. At the same time, studios began moving away from analog recording equipment, which required engineers to use a razor blade to slice out a section of magnetic recording tape when they wanted to alter a portion of a song. Suddenly, a few clicks of a computer mouse could achieve the same result.

Despite the obvious benefits of digital technology, some classic L.A. studios, such as Sound City in the San Fernando Valley, didn’t want to make a hefty investment in new equipment and decided instead to ride out what they hoped would be a passing fad. It was a losing gamble the demand to record on digital equipment only increased. Sound City managed to remain open for a time, bolstered by the success of Nirvana’s Glem det in 1991. But the studio never regained its previous level of popularity and ultimately closed for good in 2011. (Note: an effort to revive Sound City, by the daughter of its late owner, occurred in 2017.)

The introduction of ProTools recording software in the ’90s further sped the old studios’ decline by lowering barriers to entry. Today, spare bedrooms and garages are routinely used to cut “professionally” recorded songs.

A full-throttle phase of record industry mergers and acquisitions during the 1980s, involving some very big companies, had an impact, too. The bottom line became far more important. Gone were the warm-and-fuzzy late ’60s and early ’70s, when labels—largely run by hustlers, dreamers, and music lovers—frequently covered the cost for fledgling acts to cut two or three albums before seeing a hit record out of the deal, if ever.

Inadvertently ushering in the new era of fiscal responsibility, in 1979 Fleetwood Mac—with the colossal success of 1977’s Rumours still reverberating—got their label, Warner Bros., to provide a custom, million-dollar rebuild of the Village Recorder’s Studio D in Westwood to record a follow-up album. Hvornår Tusk didn’t sell as well, Warner Bros. began taking a much harder look at album-related expenditures, no matter how big the musical act. As did most of the other labels in town.

Singer/songwriter/guitarist Walter Egan (middle) joins Fleetwood Mac members Lindsey Buckingham (second from right) and Stevie Nicks (far right) in the studio at Sound City in the Van Nuys area of Los Angeles in late 1977. Both Nicks and Buckingham were on hand to help Egan cut his second LP, Not Shy, upon which they added backing vocals to his breakthrough hit single, 1978’s “Magnet and Steel.” Photo courtesy of Walter Egan.

Today, some landmark recording studio buildings in Los Angeles remain standing—a few with functioning studios still inside—but gentrification has rendered many nearly unrecognizable. At the corner of Sunset and Gower, in the heart of old Hollywood, sit the remains of the celebrated CBS Columbia Square facility, birthplace of hit singles such as Simon and Garfunkel’s “Bridge Over Troubled Water.” Now a mixed-use complex called Columbia Square, the site features an upscale sushi bar, a high-end jewelry store, and about 200 high-rise condos.

Gone too are Wally Heider, Record One, RCA, Cherokee, Larrabee, Motown, Goodnight L.A., Crystal, TTG, Kendun, American Recording, Rumbo, Davlen, Clover, Amigo, Grandmaster Recorders, and more—names that were once commonplace on the jacket backs of scores of gold and platinum albums.

Radio Recorders on Santa Monica Boulevard, where Elvis cut many of his hits, is now an art exhibition space. Gold Star mysteriously burned to the ground in 1984, and is now a strip mall. Even A&M Records’ venerated in-house studios on La Brea Avenue in West Hollywood—the birthplace of Carole King’s Tapestry, Bruce Springsteen’s Tunnel of Love, Aerosmith’s Get a Grip, and “We Are the World,” the 1985 anthem that helped raise money for African famine relief—has morphed, becoming the headquarters of the Jim Henson Company, home of the Muppets.

Most of L.A.’s irreplaceable temples of sound have gone silent, leaving only a handful of still-intact studios— Capitol Records’ in-house facilities, Sunset Sound, the Village Recorder (now the Village Studios), the Record Plant, the Sound Factory and a few more. The glory days in the ’70s or ’80s of seeing Linda Ronstadt, Mick Jagger, and Tom Petty and the Heartbreakers laying down tracks at the same time, in the same building, are long gone.

Yet there may be hope. RCA’s historic Studio A in Nashville recently escaped the wrecking ball with the help of some well-heeled philanthropists. So did the revered Power Station in New York. A visionary local businessman saved Sun Studio in Memphis, where some very cool cats called Elvis, Johnny, Jerry Lee, and Carl all got their start. Perhaps the same kind of preservationist efforts could emerge in the City of Angels, to save the literal building blocks of its rich musical heritage.

Kent Hartman is the author of two books about the glory years of the Los Angeles music and recording scene during the ‘60s, ‘70s, and ‘80s: The Wrecking Crew og Goodnight, L.A. He lives in Portland, Oregon.

Primary Editor: Reed Johnson | Secondary Editor: Eryn Brown