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Will of soundPhil Spector's influence seen on three recent releasesBy Todd Leopold ![]() ON CNN TV Watch "Showbiz Tonight" on CNN Headline News, weekdays at 7 p.m. ET.
YOUR E-MAIL ALERTS(CNN) -- In the real world, Phil Spector is surrounded by bad vibes, awaiting the September 16 beginning of his murder trial and trailed by countless stories of strange behavior. In the music world, the sound is much better. It's not just the joy that comes from a radio playing "(Today I Met) The Boy I'm Going to Marry" or "You, Baby." It's the vibrations through pop music history, which resonate with Spector's influence. I once kept a list of songs that paid tribute to the dramatic opening drumbeats of a single Spector-produced song, "Be My Baby." It's a chronicle of rock history: from the Four Seasons' "Rag Doll" to Elvis Costello's "No Dancing" to Richard and Linda Thompson's "Jet Plane in a Rocking Chair" to the Jesus and Mary Chain's "Just Like Honey." And that's just scratching the surface. (Thanks to Google and Mr. John Burger for helping to refresh my memory.) This summer, at least three Spector-related CDs are in shops, each providing insight into what went into the "Wall of Sound," as Spector's production style was called. Eye on Entertainment takes a listen. Eye-openerThe first to come out was "The Jack Nitzsche Story: Hearing Is Believing 1962-1979" (Ace), devoted to the work of Spector's longtime arranger, which was released in May. Nitzsche's arranging work predated his introduction to Spector, and he kept having hits long after Spector placed his famous "Benedict Arnold Was Right!" ad after the failure of "River Deep, Mountain High." The tracks on the Nitzsche collection include the original "Needles and Pins" by Jackie DeShannon (co-written by Nitzsche and Sonny Bono), songs by Doris Day (!) and "Elusive Butterfly's" Bob Lind (!!), as well as tracks by Buffalo Springfield (Neil Young's incredible "Expecting to Fly"), Marianne Faithfull (a pre-Stones version of "Sister Morphine") and Graham Parker (the delicate -- like a scalpel's edge -- "You Can't Be Too Strong"). It also features Nitzsche's own "The Lonely Surfer" -- perhaps the only surf instrumental with what sounds like French horns. The aces at Ace are also behind "Phil's Spectre II -- Another Wall of Soundalikes," which was released in July. Listening to the songs on the collection, one is struck by the number of groups that wanted to echo Spector's work with the Righteous Brothers (including the Righteous Brothers) and the sheer thrill of a Wall of Sound attempt when it worked. Indeed, the album's standout cut is a version of "Climb Ev'ry Mountain," the Rodgers and Hammerstein tune that, in many mouths, turns into a hoary lounge-act cliche. In the hands of producer Marty Cooper and his group the Victorians (Gloria Jean Hargis and a renamed Blossoms, featuring Darlene Love), however, the song takes on an unearthly transcendence. "Climb Ev'ry Mountain," indeed: This song is a peak. Finally, there's Rhino's exhaustive Ramones box set, "Weird Tales of the Ramones." The four-disc collection, which came out August 9, goes beyond previous Ramones compendiums (there are at least two -- "Ramones Mania" and "Hey! Ho! Let's Go: The Anthology"), offering several cuts from the Spector-produced "End of the Century" and every other Ramones record. Best of all, the history of the band is traced in comics from artists and observers including Matt Groening, Sire Records' Seymour Stein, Bill Griffith and Sergio Aragones. Johnny Ramone oversaw the compilation himself. All are available in record stores or over the Internet. On screenOn the tubeSound wavesPaging readersVideo center
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