Phil Spector - Part D - "Philles' Subsidiary Labels"

[Philles/Motown Gary]

I have to admit this strikes me as strange, if I have it right: Radio DJs are telling Sonny Bono that Spector's sound is getting stale. He tells Spector this and for some reason , Spector responds by firing Bono??
But here's what I really don't understand, if the DJs are telling Bono that the sound is getting old , why in the world would he then bother to duplicate that sound as a means for breaking hits for him and Cher??



But duplicate it , he did! Splendidly. A top twenty hit. [[recorded at Gold Star?)

Why, hello there, Boog! You know, that never occurred to me, but you've raised an interesting question. Why WOULD Sonny duplicate Phil's sound if the DJ's were tired if it? By the time Sonny & Cher's first LP, "Look At Us", was released in 1965, Phil's Wall Of Sound had become overdone in a shroud of weirdness with echoed bongos and what have you as can be heard in The Ronettes "Born To Be Together" and "Is This What I Get For Loving You". Mind you, they're both great records which I loved and still do, but they were getting over the top with the echo. Sonny, on the other hand, avoided the excess, keeping the Wall Of Sound at the level that made Philles famous in the first place and, as you pointed out, "splendidly". And, yes, John, at Gold Star with Phil's Wrecking Crew on hand.

[mysterysinger]

Why, hello there, Boog! You know, that never occurred to me, but you've raised an interesting question. Why WOULD Sonny duplicate Phil's sound if the DJ's were tired if it? By the time Sonny & Cher's first LP, "Look At Us", was released in 1965, Phil's Wall Of Sound had become overdone in a shroud of weirdness with echoed bongos and what have you as can be heard in The Ronettes "Born To Be Together" and "Is This What I Get For Loving You". Mind you, they're both great records which I loved and still do, but they were getting over the top with the echo. Sonny, on the other hand, avoided the excess, keeping the Wall Of Sound at the level that made Philles famous in the first place and, as you pointed out, "splendidly". And, yes, John, at Gold Star with Phil's Wrecking Crew on hand.

Hmm but I think Sonny opted for that Spector wierdness in his production of "Dream Baby" for Cher which has some bongo madness [[a brilliant record by the way).

[Philles/Motown Gary]

Hmm but I think Sonny opted for that Spector wierdness in his production of "Dream Baby" for Cher which has some bongo madness [[a brilliant record by the way).

Oh, I love Cher's "Dream Baby", too, Mystery! It's one of my favorite girl-group records. But the echoed bongos in Sonny's production weren't featured as predominately as they were on the two Ronettes tracks I was referring to. Cher's record still boasts the Wall Of Sound style of Phil's 1963-64 Philles productions, whereas "Born To Be Together" and "Is This What I Get For Loving You" are representative of Phil's slowed-down, over-the-top 1965 Wall Of Sound. [[NOTE: I love The Ronettes' "BTBT" and "ITWIGFLY". The weird bongo parts are just a bit much for my personal taste. I think that's the "sound" that wore down the public's interest in Phil's Wall Of Sound, as it had already been featured heavily in the Righteous Brothers "Lovin' Feeling" and "Just Once In My Life". Just my personal opinion.]