The Classroom Ep 1 Final Edit Written by Christopher Silva and Ryan
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The Heart of Rock and Soul by Dave Marsh
The Heart of Rock and Soul by Dave Marsh 20 BE MY BABY, The Ronettes Produced by Phil Spector; written by Phil Spector, Ellie Greenwich, and Jeff Barry Philles 116 1963 Billboard: #2 DA DOO RON RON, The Crystals Produced by Phil Spector; written by Phil Spector, Ellie Greenwich, and Jeff Barry Philles 112 1963 Billboard: #3 CHRISTMAS (BABY PLEASE COME HOME), Darlene Love Produced by Phil Spector; written by Phil Spector, Ellie Greenwich, and Jeff Barry Philles 119 1963 Did not make pop charts To hear folks talk, Phil Spector made music out of a solitary vision. But the evidence of his greatest hits insists that he was heavily dependent on a variety of assistance. Which makes sense: Record making is fundamentally collaborative. Spector associates like engineer Larry Levine, arranger Jack Nitzsche, and husband-wife songwriters Jeff Barry and Ellie Greenwich were simply indispensable to his teen-art concoctions. Besides them, every Spector track featured a dozen or more musicians. The constant standouts were' drummer Hal Blaine, one of the most inventive and prolific in rock history, and saxophonist Steve Douglas. Finally, there were vast differences among Spector's complement of singers. An important part of Spector's genius stemmed from his ability to recruit, organize, and provide leadership within such a musical community. Darlene Love (who also recorded for Spector with the Crystals and Bob B. Soxx and the Blue Jeans) ranks just beneath Aretha Franklin among female rock singers, and "Christmas" is her greatest record, though it was never a hit. (The track probably achieved its greatest notice in the mid-eighties, when it was used over the opening credits of Joe Dante's film, Gremlins.) Spector's Wall of Sound, with its continuously thundering horns and strings, never seemed more massive than it does here. -
Rolling Stone Magazine's Top 500 Songs
Rolling Stone Magazine's Top 500 Songs No. Interpret Title Year of release 1. Bob Dylan Like a Rolling Stone 1961 2. The Rolling Stones Satisfaction 1965 3. John Lennon Imagine 1971 4. Marvin Gaye What’s Going on 1971 5. Aretha Franklin Respect 1967 6. The Beach Boys Good Vibrations 1966 7. Chuck Berry Johnny B. Goode 1958 8. The Beatles Hey Jude 1968 9. Nirvana Smells Like Teen Spirit 1991 10. Ray Charles What'd I Say (part 1&2) 1959 11. The Who My Generation 1965 12. Sam Cooke A Change is Gonna Come 1964 13. The Beatles Yesterday 1965 14. Bob Dylan Blowin' in the Wind 1963 15. The Clash London Calling 1980 16. The Beatles I Want zo Hold Your Hand 1963 17. Jimmy Hendrix Purple Haze 1967 18. Chuck Berry Maybellene 1955 19. Elvis Presley Hound Dog 1956 20. The Beatles Let It Be 1970 21. Bruce Springsteen Born to Run 1975 22. The Ronettes Be My Baby 1963 23. The Beatles In my Life 1965 24. The Impressions People Get Ready 1965 25. The Beach Boys God Only Knows 1966 26. The Beatles A day in a life 1967 27. Derek and the Dominos Layla 1970 28. Otis Redding Sitting on the Dock of the Bay 1968 29. The Beatles Help 1965 30. Johnny Cash I Walk the Line 1956 31. Led Zeppelin Stairway to Heaven 1971 32. The Rolling Stones Sympathy for the Devil 1968 33. Tina Turner River Deep - Mountain High 1966 34. The Righteous Brothers You've Lost that Lovin' Feelin' 1964 35. -
Be My Baby”—The Ronettes (1963) Added to the National Registry: 2006 Essay by Cary O’Dell
“Be My Baby”—The Ronettes (1963) Added to the National Registry: 2006 Essay by Cary O’Dell The Ronettes Original label Phil Spector Instantly infectious and memorable, “Be My Baby” has been described as the “Record of the Century” and the “greatest pop record ever made.” It was recorded by the Ronettes in 1963. It was written by Phil Spector, Jeff Barry and Ellie Greenwich and was produced by Phil Spector. It was named to the National Recording Registry in 2006. The Ronettes were a group of girls from Spanish Harlem, sisters Veronica (“Ronnie”) and Estelle Bennett and their cousin Nedra Talley. Before becoming a trio, the young women were a group of five joined by two other cousins, Elaine and Diane. (Sometimes they were also joined by their male cousin, Ira.) They sang together and perfected their harmonies at their grandmother’s house before branching out to play local dances and talent contests. Along with refining their line-up and sound, the girls also defined their look. In his biography of Phil Spector, author Mick Brown says of the group: The standard demeanor of girl groups of the day was one of demure innocence…But the Ronettes looked as if it was a Saturday night and they were cruising for trouble—figure- hugging dresses, hair piled into improbable beehives and lashings of mascara, which transformed the youthful high school girls into vamps. Today, the Ronettes are nearly as remembered for their look (which would later be largely carbon-copied by Amy Winehouse) as for their sound. After first being signed by and recording for the Colpix label (under the name Ronnie and the Relatives), the Ronettes came to the attention of Phil Spector who immediately took a liking to the group and especially to its de facto leader Ronnie. -
Philles Records Singles Labels
Philles Records Singles Labels 61 October, 1961 to June, 1962 Orange label with “Philles” at top 62c July, 1962 to September, 1962 Light Blue label with California address 62co August, 1962 Orange label with Philles logo at left and California address 62s September, 1962 to August, 1963 Light Blue label with Phil Spector rim text 62so December, 1962 Orange label with Philles logo at left and Spector rim text 63 August, 1963 to June, 1967 Yellow and Red label with no comma in rim text. Under the Philles logo is a thin horizontal line. 63m August, 1963 to June, 1967 Yellow and Red label with comma in rim text. Under the Philles logo is the old-style “thick” color bar. PHILLES Singles 1st Appearances in Billboard Single Date Nature of Appearance Monarch #s Monarch Date 100 30Oc61 Review 40661? 101 03Mr62 Review -- 102 03Mr62 Review 42170 103 19My62 Review 43082 104 09Jn62 Review Not Known 105 21Jl62 Review 43952 106 25Ag62 Review 44463 107 27Oc62 Review 45209 108 12Ja63 Debut 45783 109 22De62 Review Not Known 110 26Ja63 Review 46137/46309 111dj -- -- -- 111 23Mr63 Top Tips 46914/47111 112 13Ap63 Review 47441/2 113 18My63 Review Not Known 114 29Jn63 Review 47530/1 115 03Ag63 Review 48977/48810 116 17Ag63 Review 48779/48810-X 117 05Oc63 Review 49689-X/49420 118 14De63 Review 50590/50566 119 04Ja64 Review 50710/? 119X 18Ja64 Review 50773/? 120 04Ap64 Debut 51641/2 121 13Jn64 Review 52861/702 122 04Jl64 Review 52836/988 123 08Ag64 Programming Specials 52990/? 123 (2) 17Oc64 Review 54128/394 124 28Nv64 Bottom 50 Potential -
The Crystals - Singles
The Crystals - Singles The Crystals were originally 5 New York girls – later on only 4 Barbara Alston , Dolores "Dee Dee" Kenniebrew , Mary Thomas , Patricia "Patsy" Wright and Myrna Girard . Myrna was later replaced by Dolores "La La" Brooks (who still are touring with two new members as The Crystals) – Mary left when she was married (The Crystals went on as a quartet). Later on both joined forces in The Butterflys. 0955 The Crystals There’s no other (Like my baby)/ Oh yeah, maybe baby Philles 100 (US) 1961 The first couple of Philles singles are pop songs “supervision” by Phil Spector. They sound more like Jack Nitzsche’s productions with strings. Leon could be the piano player on track 1. No piano on 2. 0956 The Crystals Uptown/ What a nice way to turn seventeen Philles 102 (US) 1962 No piano on “Uptown” – piano intro and outtro on “What a…” It could be Leon, but a maybe only. The Crystals He hit me/No one ever tells you Philles Records 105 (US) 1962 The single was withdrawn and is very hard and expensive to find. “He hit me and it felt like a kiss” was too much to stomach in those days. Don’t think Leon was involved in that one. 1235 The Crystals He’s a rebel (Darlene Love & The Blossoms)// I love you Eddie - blue/black Philles 106 (US) 1962 1423 The Crystals He’s a rebel (Darlene Love & The Blossoms)/ I love you Eddie - yellow/red Philles 106 (US) 1962 Nice hammering piano on “Hes a rebel” with an arrangement that gives way to a xylophone? Is it Leon? It could be, I think it is. -
Pkilspedor Back to MONO (1958-1969) to KNOW HIM IS DA
Back To MONO PKILSPEdOR (1958-1969) TO KNOW HIM IS DA TOO RON RON STRANGE LOVE THIS COULD Bi THE NIGHT TO LOVE HIM THE CRYSTALS. DARLENELOVE THE MODERN FOLK QUARTET THE TEDDY BEARS HEARTBREAKER STUMBLE AND FALL PARADISE CORRiNE, CORRINA THE CRYSTALS DARLENELOVE THE RONETTES RAY PETERSON WHYDONTTHEY WHEN 1 SAW YOU RIVER DEEP- SPANISH HARLEM LET US FALL IN LOVE THE RONETTES MOUNTAIN HIGH BEN E.KING VERONICA SOYOUNG IKE & TINA TURNER PRETTY LITTLE ANGEL EYES CHAPEL OF LOVE VERONICA I'LL NEVER NEED CURTIS LEE DARLENELOVE DO 1 LOVE YOU? MORE THAN THIS EVERY BREATH 1 TAKE NOT TOOYOUNG THE RONETTES IKE & TINA TURNER GENE PITNEY TO GET MARRIED KEEP ON DANCING A LOVE LIKE YOURS (TONT 1 LOVE HOW YOU LOVE ME BOBB.SOXXAND THE RONETTES COME KNOCK8N' EVERYDAY) THE PARIS SISTERS THE BLUE JEANS YOU, BABY IKE & TINA TURNER UNDER THE MOON OF LOVE WAIT TIL MY BOBBY THE RONETTES SAVE THE LAST DANCE CURTIS LEE GETS HOME WOMAN IN LOVE FORME THERE'S NO OTHiR DARLENELOVE (WITH YOU) IKE & TINA TURNER LIKE MY BABY ALL GROWN UP THE RONETTES '8 WISH 8 NEVER THE CRYSTALS THE CRYSTALS WALKING IN THE RAIN SAW THE SUNSHINE UPTOWN BE MY BABY THE RONETTES THE RONETTES THE CRYSTALS THE RONETTES YOU'VE LOST THAT YOU CAME, YOU SAW, HE HIT ME THEN HE KISSED ME LOVIN' FEELIN' YOU CONQUERED (IT FELT LIKE A KISS) THE CRYSTALS " THE RIGHTEOUS BROTHERS THE RONETTES THE CRYSTALS A FINE, FINE BOY BORN TO BE TOGETHER . BLACK PEARL HE'S A REBEL DARLENELOVE THE RONETTES SONNY CHARLES AND THE CRYSTALS BABY, 1 LOVE YOU JUST ONCE IN MY UFi THE CHECKMATES ZIP-A-DEE-BOO-DAH . -
AGONY and the ECSTASY of PHIL SPECTOR Press
THE AGONY AND THE ECSTASY OF PHIL SPECTOR Directed by Vikram Jayanti Produced by Vikram Jayanti & Anthony Wall USA / UK / 2008 / 102 Minutes Press Kit Booking Contact: Jim Browne Argot Pictures 718-369-1180 [email protected] THE AGONY AND THE ECSTASY OF PHIL SPECTOR In a 50-year career stretching back to his first hit in 1958, To Know Him is to Love Him, Phil Spector has never given a substantial filmed interview – until now. Director Vikram Jayanti was given unprecedented access. Spector is filmed in his own home - literally his castle - before the piano he bought with John Lennon for Imagine. He discusses his relationship with music greats from the girl groups of the Sixties through to The Beatles and Tina Turner. He also talks about his troubled personal life, his sense of being hounded and the anger and rage which helped him to develop his art, long before it was recognized as anything other than mere pop music. THE AGONY AND THE ECSTASY OF PHIL SPECTOR is an exploration of one of the single most important careers in popular music. Spector’s classic hits dramatized and articulated teenage life, his “little symphonies for the kids” soundtracked a generation. Phil Spector transformed rock n’ roll; John Lennon told him “you kept rock n’ roll alive for the two and a half years that Elvis was in the army”. With Be My Baby, You’ve Lost That Lovin’ Feelin’, River Deep – Mountain High, Spector was the first music producer as star. He went on to produce The Beatles’ Let It Be, the great solo work of John Lennon and George Harrison and even The Ramones. -
The Rise of the “Girl Groups”
THE RISE OF THE “GIRL GROUPS” OVERVIEW ESSENTIAL QUESTION Were the Girl Groups of the early 1960s voices of female empowerment or reflections of traditional female roles? OVERVIEW Tucked between the popularity of the early Rock and Rollers and the mid-1960s British Invasion was the phenomenon known as the “Girl Groups.” With names like the Bobbettes, the Shangri-Las, the Ronettes and the Chantelles, they offered a style rich in vocal harmonies that was eagerly embraced by a wide audience. A number of Girl Group hit songs were co-written by female songwriters, including Carole King, Ellie Greenwich, Cynthia Weil, and Florence Greenberg (who also launched her own record label and whose life served as the basis for the 2011 Broadway musical Baby It’s You). If, up to that point, male voices and male songwriters dominated the popular music scene, things were changing. Rock and Roll had a new female sound that produced a string of hits. The Girl Groups rarely if ever performed material they had written themselves and rarely if ever played the instruments featured on their recordings, a job left to male studio musicians. Lyrically, most of their songs -- from the Dixie Cups’ “Chapel of Love” to the Angels’ “My Boyfriend’s Back” -- focused on the males in their lives and the promise of a satisfying relationship with that perfect guy. But there was nonetheless something new at work: a female voice was emerging despite it all. In this lesson, students will evaluate what the emergence of the Girl Groups says about the roles of girls and women in the early 1960s, as the nation sat on the threshold of a new Women’s Rights movement that would challenge traditional female roles. -
Women in Rock OLLI Berkeley Course Material
Syllabus for Women in Rock: From the 1950s to the 1980s Instructor: Richie Unterberger, [email protected] OLLI Berkeley Week One: Women in Rock: The Early Years and The Girl Groups In the 1950s, rhythm and blues singers like Ruth Brown and LaVern Baker have some of the first rock’n’roll hits; Wanda Jackson and the Collins Kids are top rockabilly acts; and Brenda Lee becomes the first woman rock superstar. As New York’s Brill Building becomes established as the top place for rock publishers, women like Carole King, Cynthia Weil, and Ellie Greenwich become some of pop-rock’s most successful songwriters. Girl groups like the Shirelles, the Crystals, the Ronettes, the Chiffons, and the Cookies have numerous hits in the early 1960s, forming one of the major trends in rock of the period. In the early 1960s, some of the most R&B-oriented girl groups become some of the first soul stars, especially for Motown Records, with the Marvelettes, Martha & the Vandellas, the Supremes, and Mary Wells. Week Two: Women in Soul and British Rock Women soul singers emerge throughout the country, some of them more pop-oriented (Maxine Brown, Dionne Warwick), some of them earthier (Carla Thomas, Irma Thomas, Etta James). Aretha Franklin is anointed the Queen of Soul after moving to Atlantic Records and adopting a tougher, more spiritual sound. Other women soul singers with a forceful style emerge and increase in popularity, like Gladys Knight, Nina Simone, and the Staple Singers. Although all-male guitar bands dominate the British Invasion, a good number of women singers also make an impact both in their native UK and in the US. -
The Vandellas
p r f m Martha and THE VANDELLAS f YOU HAD A p u l s e in the summer of 1964 and heard Martha and Gloria Jean Williamson, with whom she’d sung as the Del-Phis. Reeves’ piercing cry — "Calling out, around the world, are you ready Reeves and her friends became the frisky female chorus you heard behind for a brand-new beat?” — you might have recognized it as the siren Marvin Gaye on many of his early recordings. Backup singers aren’t sup sound of Berry GordyJr.’s Motown Records. When you are inside posed to jump out at you, but once you know it’s Reeves, it’s impossihfe that song, Motown’s Sound of Young America is happening, and to miss her "Hitchhike, baby!” behind Gaye’s lead on "Hitch Hike.” all is well in the world. As Reeves sings, "Summer’s here, and the Inevitably, Reeves and her colleagues were ushered into Gordy’s sec time is right for dancing in the street,” to one of the most irresistible rifeond-floor office and offered a contract The boss gave them 15 minutes IMotown’s Funk Brothers ever concocted, for that moment you are young to pick a new name, and so Reeves, Ashford and Sterling (Williamson and wild and utterly without a care. opted out) became Martha and the Vandellas. Their first record, "Til Such is the enchantment that Martha Reeves and the Vandellas were Have to Let Him Go,” went nowhere, but they soon scored with Hol- able to summon up out of a three-minute pop song - with the help of land-Dozier-Holland’s "Come and Get These Memories,” which Gordy and a fleet of Motown support reached No. -
Phil Spector and the Wall of Sound by Steven Quinn a Thesis Presented To
Phil Spector and the Wall of Sound by Steven Quinn A thesis presented to the Honors College of Middle Tennessee State University in partial fulfillment of the requirements for graduation from the University Honors College Spring 2019 Phil Spector and the Wall of Sound by Steven Quinn APPROVED: ____________________________ Name of Project Advisor List Advisor’s Department ____________________________________ Name of Chairperson of Project Advisor List Chair’s Department ___________________________ Name of Second Reader List Second Reader’s Department ___________________________ Dr. John Vile Dean, University Honors College OR (NOT BOTH NAMES) Dr. Philip E. Phillips, Associate Dean University Honors College 2 Acknowledgments A special thank you to my thesis mentor John Hill and my second reader Dan Pfeifer for all of their help and support. I also want to say thank you to the faculty at MTSU who helped me out along the way. A thank you to my parents for all of their encouragement and everyone who helped me create this project by playing a part in it. Without your endless support and dedication to my success, this would have never been possible. Abstract Phil Spector was one of, if not the most influential producer of the 1960s and was an instrumental part in moving music in a new direction. With his “Wall of Sound” technique, he not only changed how the start of the decade sounded but influenced and changed the style of some of the most iconic groups ever to exist, including The Beach Boys and the Beatles. My research focused on how Spector developed his technique, what he did to create his iconic sound, and the impact of his influence on the music industry. -
They're Playing Our Song
THEY'RE PLAYING OUR SONG So many films have been elevated to greatness by the unique compositional genius of screen composers like Ennio Morricone, John Williams, Bernard Herrmann, Max Steiner, or Howard Shore. By specifically matching their tonal approach to the themes, pacing and drama, these virtuosos gave life to emotional juxtapositions and syntheses that lifted the art form to unforgettable levels. Other movies just grabbed somebody else's old song and played it. It is these other films that we salute tonight. Please name the song (and artist) that is heard in each of the following movie scenes. 1. THE FILM: The Perks of Being a Wallflower THE SCENE: Sam stands up in the back of a truck while she rides through the tunnel. THE SONG: \Heroes" by David Bowie 2. THE FILM: Almost Famous THE SCENE: Everyone sings along on the bus. THE SONG: \Tiny Dancer" by Elton John 3. THE FILM: The Big Chill THE SCENE: The mourners drive away in separate cars from Alex's funeral. THE SONG: \You Can't Always Get What You Want" by the Rolling Stones 4. THE FILM: Little Miss Sunshine THE SCENE: Olive performs her final dance number at the beauty pageant. THE SONG: \Super Freak" by Rick James 5. THE FILM: Pretty in Pink THE SCENE: Ducky does an elaborate, lip-synching performance in the record store. THE SONG: \Try a Little Tenderness" by Otis Redding 6. THE FILM: Blades of Glory THE SCENE: Either of Chazz and Jimmy's skating performances, at the U.S. Cham- pionships or at the World Winter Sport Games.