*******************************************************************************
                    Phil Spector - Back To Mono (1958-1969)
*******************************************************************************

CD: Phil Spector: Back to Mono (1958-1969) [disc 1]

01. The Teddy Bears / To Know Him Is To Love Him    [0:02:24.15]
02. Ray Paterson / Corrine, Corrina    [0:02:41.20]
03. Ben E. King / Spanish Harlem    [0:02:52.57]
04. Curtis Lee / Pretty Little Angle Eyes    [0:02:46.45]
05. Gene Pitney / Every Breath I Take    [0:02:45.45]
06. The Paris Sisters / I Love How You Love Me    [0:02:07.50]
07. Curtis Lee / Under The Moon Of Love    [0:02:52.40]
08. The Crystals / There's No Other Like My Baby    [0:02:31.40]
09. The Crystals / Uptown    [0:02:21.05]
10. The Crystals / He Hit Me (It Felt Like a Kiss)    [0:02:33.70]
11. The Crystals / He's A Rebel    [0:02:27.48]
12. Bob B. Soxx & The Blue Jeans / Zip-A-Dee-Doo-Dah    [0:02:50.10]
13. The Alley Cats / Puddin' N' Tain    [0:02:48.35]
14. The Crystals / He's Sure The Boy I Love    [0:02:45.45]
15. Bob B. Soxx & The Blue Jeans / Why Do Lovers Break Each Others Hearts    
[0:02:49.20]
16. Darlene Love / (Today I Met) The Boy I'm Gonna Marry    [0:02:48.50]
17. The Crystals / Da Doo Ron Ron    [0:02:18.00]
18. The Crystals / Heartbreaker    [0:02:35.25]
19. Veronica / Why Don't They Let Us Fall in Love    [0:02:40.00]
20. Darlene Love / Chapel of Love    [0:02:25.47]
21. Bob B. Soxx & The Blue Jeans / Not Too Young to Get Married    [0:02:28.05]
22. Darlene Love / Wait Til My Bobby Gets Home    [0:02:23.58]
23. The Crystals / All Grown Up    [0:02:49.17]



CD: Phil Spector: Back to Mono (1958-1969) [disc 2]

01. The Ronettes / Be My Baby    [0:02:41.38]
02. The Crystals / Then He Kissed Me    [0:02:37.12]
03. Darlene Love / A Fine, Fine Boy    [0:02:48.25]
04. The Ronettes / Baby, I Love You    [0:02:50.63]
05. The Ronettes / I Wonder    [0:02:46.25]
06. The Crystals / Girls Can Tell    [0:02:37.10]
07. The Crystals / Little Boy    [0:03:00.02]
08. The Treasures / Hold Me Tight    [0:02:54.23]
09. The Ronettes / (The Best Part Of) Breakin' Up    [0:03:03.25]
10. The Ronettes / Soldier Baby of Mine    [0:02:53.55]
11. Darlene Love / Strange Love    [0:03:02.02]
12. Darlene Love / Stumble and Fall    [0:02:24.43]
13. The Ronettes / When I Saw You    [0:02:45.30]
14. Veronica / So Young    [0:02:36.62]
15. The Ronettes / Do I Love You    [0:02:52.00]
16. The Ronettes / Keep On Dancing    [0:02:33.28]
17. The Ronettes / You, Baby    [0:02:57.37]
18. The Ronettes / Woman in Love (With You)    [0:02:57.28]
19. The Ronettes / Walking in the Rain    [0:03:16.45]



CD: Phil Spector: Back to Mono (1958-1969) [disc 2]

01. The Righteous Brothers / You've Lost That Lovin' Feelin'    [0:03:47.40]
02. The Ronettes / Born to Be Together    [0:02:59.05]
03. The Righteous Brothers / Just Once in My Life    [0:03:54.65]
04. The Righteous Brothers / Unchained Melody    [0:03:38.15]
05. The Ronettes / Is This What I Get for Loving You^    [0:03:23.60]
06. Darlene Love / Long Way to Be Happy    [0:02:48.22]
07. The Righteous Brothers / (I Love You) For Sentimental Reasons    
[0:02:48.00]
08. The Righteous Brothers / Ebb Tide    [0:02:49.73]
09. The Modern Folk Quartet / This Could Be the Night    [0:02:40.70]
10. The Ronettes / Paradise    [0:03:37.67]
11. Ike & Tina Turner / River Deep-Mountain High    [0:03:37.58]
12. Ike & Tina Turner / I'll Never Need More Than This    [0:03:27.12]
13. Ike & Tina Turner / A Love Like Yours (Don't Come Knockin' Everyday)    
[0:02:58.15]
14. Ike & Tina Turner / Save the Last Dance For Me    [0:02:47.23]
15. The Ronettes / I Wish I Never Saw the Sunshine    [0:03:49.07]
16. The Ronettes / You Came, You Saw, You Conquered    [0:02:49.63]
17. Sonny Charles & The Checkmates / Black Pearl    [0:03:19.25]
18. The Checkmates / Love Is All I Have to Give    [0:04:09.45]


CD4: A CHRISTMAS GIFT FOR YOU
       YEAR: 1963

01. Darlene Love / White Christmas    [0:02:56.65]
02. The Ronettes / Frosty The Snowman    [0:02:20.53]
03. Bob B. Soxx & The Blue Jeans / The Bells Of St. Mary    [0:02:58.70]
04. The Crystals / Santa Claus Is Coming To Town    [0:03:28.20]
05. The Ronettes / Sleigh Ride    [0:03:05.67]
06. Darlene Love / Marshmallow World    [0:02:27.05]
07. The Ronettes / I Saw Mommy Kissing Santa Claus    [0:02:41.40]
08. The Crystals / Rudolph The Red-Nosed Reindeer    [0:02:34.40]
09. Darlene Love / Winter Wonderland    [0:02:30.13]
10. The Crystals / Parade Of The Wooden Soldiers    [0:02:58.62]
11. Darlene Love / Christmas ( Baby Please Come Home)    [0:02:49.73]
12. Bob B. Soxx & The Blue Jeans / Here Comes Santa Claus    [0:02:07.22]
13. Phil Spector & Artists / Silent Night    [0:02:10.40]




-------------------------------------------------------------------------------
                                    REVIEW
-------------------------------------------------------------------------------


Review	by Stephen Thomas Erlewine

At the time Back to Mono was released in 1991, Phil Spector's reputation as one 
of pop's great visionaries was intact, but there was no way to hear his genius. 
It wasn't just that there were no collections spotlighting his productions, 
there weren't collections of artists he produced. It wasn't until Back to Mono 
that there was a thorough overview of Spector's greatest work, and while it's 
not without flaws, it still stands as one of the great box sets. Some may 
complain that there are no selections from his superstar '70s productions for 
John Lennon, George Harrison, Leonard Cohen, and the Ramones, but that's for the 
best, since their presence would have been incongruous, taking attention away 
from the music that forms the heart of Spector's legacy. All of that music is 
here, not just on the first three discs, all devoted to singles, but also on the 
fourth disc, his seminal 1963 holiday album, A Christmas Gift for You, which 
isn't just the greatest rock Christmas album, but a crystallization of his 
skills. It could be argued that the song selection overlooks some obscure fan 
favorites, such as "Do the Screw," but that's simply nitpicking, because what's 
here are all the great Spector records, which were hardly just great 
productions, they were great songs as well. As the set plays, it's hard not to 
be stunned by the depth of the material and clarity of Spector's vision for his 
famed Wall of Sound, whether you've heard these songs hundreds of times or not 
at all -- especially because they gain power when grouped together. Many 
producers have been credited as the true creative force behind many rock 
records, but usually that's hyperbole. In Spector's case, it wasn't, as this set 
gloriously proves. 

-------------------------------------------------------------------------------
                           SOME INFO FROM WIKIPEDIA
-------------------------------------------------------------------------------

The Teddy Bears

With three friends from high school, Marshall Lieb, Harvey Goldstein, and singer 
Annette Kleinbard, Spector formed a group, The Teddy Bears. During this period, 
Spector also began visiting local recording studios, and he eventually managed 
to win the confidence of record producer Stan Ross, co-owner of Gold Star 
Studios in Hollywood, who began to tutor the young man in record production and 
who exerted a major influence on Spector's production style.

By the spring of 1958, Spector and his bandmates had raised enough money to buy 
two hours of recording time at Gold Star. With Spector producing, the Teddy 
Bears recorded the Spector-penned "Don't You Worry My Little Pet," which helped 
them secure a deal with Era Records. At their next session, they recorded 
another song Spector had written — this one inspired by the epitaph on Spector's 
father's tombstone. Released on Era's subsidiary label, Dore Records, "To Know 
Him Is to Love Him" went to #1 on Billboard Hot 100 singles chart, selling over 
a million copies by year's end.

Following the success of their debut, the group signed with Imperial Records, 
but their next single, "I Don't Need You Anymore," only reached #91. While 
several more recordings were released, including an album The Teddy Bears Sing!, 
the group never again charted in the Hot 100. The Teddy Bears went their 
separate ways in 1959.

-------------------------------------------------------------------------------

Record producer

After the split, Spector's career quickly moved from performing and songwriting 
to production. While recording the Teddy Bears' album, Spector had met Lester 
Sill, a former promotion man who was a mentor to Jerry Leiber and Mike Stoller. 
His next project, the Spectors Three, was undertaken under the aegis of Sill and 
his partner, Lee Hazlewood. In 1960, Sill arranged for Spector to work as an 
apprentice to Leiber and Stoller in New York.

Spector quickly learned how to use a studio. He co-wrote the Ben E. King Top 10 
hit "Spanish Harlem", with Jerry Leiber and also worked as a session musician, 
most notably playing the guitar solo on the The Drifters' song, "On Broadway". 
His own productions during this time, while less conspicuous, included releases 
by LaVern Baker, Ruth Brown, and Billy Storm, as well as The Top Notes' original 
version of "Twist and Shout".

Leiber and Stoller recommended Spector to produce Ray Peterson's "Corrina, 
Corrina," which reached #9 in January 1961. Later, he produced another major hit 
for Curtis Lee, "Pretty Little Angel Eyes," which made it to #7.

Returning to Hollywood, Spector agreed to produce one of Lester Sill's acts. 
After both Liberty Records and Capitol Records turned down the master of "Be My 
Boy" by The Paris Sisters, Sill formed a new label, Gregmark Records, with Lee 
Hazlewood and released it. It only managed to reach #56, but the follow-up, "I 
Love How You Love Me", was a smash, reaching #5.

-------------------------------------------------------------------------------
Philles Records

In the fall of 1961, Spector formed a new record company with Lester Sill, who 
by this time had ended his business partnership with Hazlewood. Philles Records 
combined the names of its two founders. Through Hill and Range Publishers, 
Spector found three groups he wanted to produce: The Ducanes, The Creations, and 
The Crystals. The first two signed with other companies, but Spector managed to 
secure The Crystals for his new label. Their first single, "There's No Other 
(Like My Baby)" was a success, hitting #20. Their next release, "Uptown", did 
even better, making it to #13.

Spector continued to work freelance with other artists. In 1962, he produced 
"Second Hand Love" by Connie Francis, which reached #7. In the early '60s, he 
briefly worked with Atlantic Records' R&B artists Ruth Brown and LaVerne Baker. 
Ahmet Ertegün of Atlantic paired Spector with Broadway star Jean DuShon for 
"Talk to Me", the b-side of which was "Tired of Trying", written by DuShon.

Spector briefly took a job as head of A&R for Liberty Records. It was while 
working at Liberty that he heard a song written by Gene Pitney, for whom he had 
produced a #41 hit, "Every Breath I Take", a year earlier. "He's a Rebel" was 
due to be released on Liberty by Vicki Carr, but Spector rushed into Gold Star 
Studios and recorded a cover version using Darlene Love on lead vocals. The 
record was released on Philles, attributed to The Crystals, and quickly rose to 
the top of the charts.

By the time "He's a Rebel" went to #1, Lester Sill was out of the company, and 
Spector had Philles all to himself. He created a new act, Bob B. Soxx & the Blue 
Jeans, featuring Darlene Love and Bobby Sheen, a singer he had worked with at 
Liberty. The group had hits with "Zip-a-Dee-Doo-Dah" (#8), "Why Do Lovers Break 
Each Other’s Hearts?" (#38), and "Not Too Young To Get Married" (#63). Spector 
also released solo material by Darlene Love in 1963. In the same year, he 
released "Be My Baby" by The Ronettes, which went to #2.

Although predominantly a singles-based label, Philles did release a few albums, 
one of which was the perennial seller A Christmas Gift for You in 1963.

-------------------------------------------------------------------------------

The Wall of Sound

Spector's trademark during that era was the so-called Wall of Sound, a 
production technique yielding a dense, layered effect that reproduced well on AM 
radio and jukeboxes. To attain this signature sound, Spector gathered large 
groups of musicians (playing some instruments not generally used for ensemble 
playing, such as electric and acoustic guitars) playing orchestrated parts — 
often doubling and tripling many instruments playing in unison — for a fuller 
sound. Spector himself called his technique "a Wagnerian approach to rock & 
roll: little symphonies for the kids".

While Spector directed the overall sound of his recordings, he took a relatively 
hands-off approach to working with the musicians themselves (usually a core 
group that became known as The Wrecking Crew, including session players such as 
Hal Blaine, Steve Douglas, Carol Kaye, Roy Caton, Glen Campbell, and Leon 
Russell), delegating arrangement duties to Jack Nitzsche and having Sonny Bono 
oversee the performances, viewing these two as his "lieutenants".

Spector frequently used songs from songwriters employed at the Brill Building 
(Trio Music) and at 1650 Broadway (Aldon Music), such as the teams of Ellie 
Greenwich and Jeff Barry, Barry Mann and Cynthia Weil, and Gerry Goffin and 
Carole King. Spector often worked with the songwriters, receiving co-credit for 
compositions.

Spector was already known as a temperamental and quirky personality with strong, 
often unconventional ideas about musical and recording techniques. Despite the 
trend towards multi-channel recording, Spector was vehemently opposed to stereo 
releases, claiming that it took control of the record's sound away from the 
producer in favor of the listener. Spector also greatly preferred singles to 
albums, describing LPs as "two hits and ten pieces of junk".

The first time Spector put the same amount of effort into an LP as he did into 
45s was when he utilized the full Philles roster and the Wrecking Crew to make 
what he felt would become a hit for the 1963 Christmas season. A Christmas Gift 
for You arrived in stores the day of the assassination of President Kennedy on 
November 22, 1963. The somber mood of the country may have contributed to the 
album being a flop in its initial release. Despite its initially poor reception, 
selections from the album are now Yuletide mainstays on radio stations, and the 
album has since been a regular seller during the holiday season.

-------------------------------------------------------------------------------

The mid-Sixties

In 1964, The Ronettes appeared at the Cow Palace, near San Francisco. Also on 
the bill were The Righteous Brothers. Spector, who was conducting the band for 
all the acts, was so impressed with Bill Medley and Bobby Hatfield that he 
bought their contract from Moonglow Records and signed them to Philles. In early 
1965, "You've Lost That Lovin' Feelin'", became the label's second #1 single. 
Three more major hits with the group followed: "Just Once in My Life" (#9), 
"Unchained Melody" (originally the B side of "Hung On You") (#4) and "Ebb Tide" 
(#5). Despite having hits, Spector lost interest in producing The Righteous 
Brothers, and sold their contract and all their master recordings to Verve 
Records. However, the sound of The Righteous Brothers' singles was so 
distinctive that the act chose to replicate it after leaving Spector, notching a 
second #1 hit in 1966 with the Bill Medley-produced, "(You're My) Soul and 
Inspiration".

The Spector-produced recording of "Unchained Melody" had a second wave of 
popularity 25 years after its initial release, when it was featured prominently 
in the 1990 hit movie, Ghost. A re-release of the single re-charted on the 
Billboard Hot 100, and went to number one on the Adult Contemporary charts. This 
also put Spector (as a producer) back on the U.S. Top 40 charts for the first 
time since his last appearance in 1971 with John Lennon's "Imagine", although he 
did have U.K. top 40 hits in the interim with The Ramones.

Spector's final signing to Philles was the husband-and-wife team of Ike and Tina 
Turner in 1966. Spector considered their recording of "River Deep - Mountain 
High", to be his best work, but it failed to go any higher than #88 in the 
United States. The single, which was essentially a solo Tina Turner record, was 
more successful in Britain, reaching #3.

Spector subsequently lost enthusiasm for his label and the recording industry. 
Already something of a recluse, he withdrew temporarily from the public eye, 
marrying Veronica "Ronnie" Bennett, lead singer of the Ronettes, in 1968. 
Spector emerged briefly for a cameo as a drug dealer in the film Easy Rider, in 
1969. He also appeared as himself in an episode of I Dream of Jeannie in 1967.

In 1969, Spector made a brief return to the music business by signing a 
production deal with A&M Records. A Ronettes single, "You Came, You Saw, You 
Conquered" flopped, but Spector returned to the Hot 100 with "Black Pearl", by 
Sonny Charles and the Checkmates, Ltd. The record reached #13.

-------------------------------------------------------------------------------
                               INDIVIDUAL TRACKS
-------------------------------------------------------------------------------

SPANISH HARLEM

Song Review	by Thomas Ward

One of the biggest hits of Phil Spector’s early career, “Spanish Harlem” is a 
beautifully constructed song, sung magnificently by Ben E. King, yet ironically 
in the production is displays a minimal amount of orchestration and is arguably 
the barest sounding track the producer ever recorded. As a pop song, it’s 
certainly of it’s time, although the lyrics are quite charming – “There is a 
rose in Spanish Harlem/A red rose up in Spanish Harlem”. Spector gives the 
singer room in the verses, only adding glorious strings in the chorus. As a 
production, it’s incredibly mature for someone just out of his teens, and as a 
song it’s certainly one of Spector’s most approachable from the beginning of the 
producer’s career. 

-------------------------------------------------------------------------------

PRETTY LITTLE ANGEL EYES

Song Review	by John Bush

Phil Spector was fresh off his first Top Ten hit production ( "Corrina Corrina" 
by Ray Peterson on the Dunes label) when he returned to the same label to 
oversee this firecracker of a pop single. A standard four-chord pop song written 
by Lee with then-songwriting partner Tommy Boyce (later of Boyce- Hart), "Pretty 
Little Angel Eyes" benefitted slightly from Lee's assured teenage vocal, but 
more so from the song's ultra-tight groove, a honking sax solo, and the backing 
harmonies of the Halos. Released on Dunes in 1961, it climbed to the number 
seven spot and was never equalled by Lee, despite recording one more hit with 
Boyce, "Under the Moon of Love." 

-------------------------------------------------------------------------------
I LOVE HOW YOU LOVE ME

Song Review	by John Bush

The Paris Sisters had been performing and recording since the mid-‘50s with 
little success until they stepped into the studio one day to meet a wunderkind 
named Phil Spector and exited with one of 1961's most bewitching singles. The 
sisters, Priscilla, Albeth, and Sherrell, weren't incredible performers -- their 
earlier lack of success was justified -- but Spector proved his genius by 
accenting the breathy lead of Priscilla and leaving in a few miscues to lend the 
song a winning naivete. This was, of course, no Wall of Sound pounder. Instead, 
Spector layered the track with faraway strings and a slowly swinging rhythm 
section. Released on Lester Sill's Gregmark label, the single reached the number 
five position, just one of several Top Ten notches in Phil Spector's belt during 
1961. 

-------------------------------------------------------------------------------

HE'S A REBEL

Song Review	by Richie Unterberger

Producer Phil Spector had had a fair amount of success already in the early '60s 
before the Crystals issued "He's a Rebel" in 1962. "He's a Rebel," though, was 
the record that elevated Spector from one of many middling hitmakers into an 
industry phenomenon, also blueprinting the "Wall of Sound" for which he's been 
lauded. The record, oddly enough for a girl-group classic that was (naturally) 
sung by women, was written by a male star, Gene Pitney, who himself was not 
noted as a prolific composer. Spector heard the song on a demo and went to town 
on the production, making an already-strong pop/rock song into an anthem. The 
track begins with a dramatic drum roll, the brief instrumental intro 
establishing an almost martial beat, embellished by layers of percussion and 
tinkling piano. As has since been revealed, as on many Crystals tracks, the 
vocalists were not the Crystals, and the lead singer was non- Crystal Darlene 
Love. On "He's a Rebel," Love sang a tough, soulful, streetwise lyric guaranteed 
for youth appeal: the guy who marches to his own beat, and the girl who loves 
him all the more for it. Her low vocals were seconded by strong, full soul 
backup vocals by the Blossoms. The arrangement was unusually dense for the 
period, with two bass players and two guitarists. The song really took off, 
though, when it dramatically jumped to a higher key for the chorus, remaining in 
that key, in fact, for the rest of the track. The chorus, with its loving 
defiance, was instantly memorable, particularly when the backup largely dropped 
out for Love to sing, largely on her own, stirring lines in which she asserted 
that just because he didn't do what everyone else did, that wasn't any reason 
why the couple couldn't share love. That was the cue for the band to re-enter 
full-on for a stirring ensemble vocal finish to the chorus, and then for Steve 
Douglas to take over with a sax solo. "He's a Rebel" actually doesn't have the 
strings that were found in many a Spector production, but the sound was rich and 
full, and the single an enormous success, reaching number one. There was brief 
concern that sales of the Crystals' "He's a Rebel" single might suffer from a 
simultaneous cover version by Vicki Carr, whose arrangement was actually not 
dissimilar, though it was stiffer and employed strings. 

-------------------------------------------------------------------------------

HE'S SURE THE BOY I LOVE

Song Review	by Thomas Ward

One of the greatest and best known songs of Spector’s career, “He’s Sure The Boy 
I Love” is build around one of his finest productions, and is emblematic of much 
of the producer’s greatest work. As a song, it’s a simple teen love song, but in 
Spector’s hands, it’s transformed into something huge and positively gothic. 
Sung with great ambition by Darlene Love, her tremendous, powerful vocal is 
still dwarfed by the production – it’s somewhat cliché to say Spector’s “wall of 
sound” is huge, but here there’s no other word for it. A great teen pop song, 
“He’s Sure The Boy I Love” is one of the producer’s undisputed masterpieces. 

-------------------------------------------------------------------------------

WHY DO LOVERS BREAK EACH OTHERS' HEARTS?

Song Review	by Matthew Greenwald

Written as a tribute to Frankie Lymon, "Why Do Lovers Break Each Others Hearts" 
was the first songwriting collaboration between Phil Spector and Ellie Greenwich 
and Tony Powers. The song certainly has a strong Frankie Lymon & the Teenagers 
feel, not unlike "Why Do Fools Fall in Love." The air of innocence and charm is 
abundant throughout the song. 

-------------------------------------------------------------------------------

HEARTBREAKER

Song Review	by Matthew Greenwald

A swinging, mid-tempo ballad, "Heartbreaker" contains one of the fine vocal 
performances from La La Brooks that Phil Spector utilized quite a bit during 
this period. Highlighted by a funky, bluesy saxophone break, the song contains 
all of the innocence that marked Spector's productions of this era. 

-------------------------------------------------------------------------------

WHY DON'T THEY LET US FALL IN LOVE?


Song Review	by Matthew Greenwald

Led by a very distorted (especially for 1963) electric guitar, this song is one 
of the earliest vocal performances by Ronnie Spector. Ostensibly a Ronettes 
track, it's clear by the billing that Phil Spector had solo stardom planned for 
his soon-to-be (and now ex) wife. The yearnings of teenage romance and a desire 
to be an adult are at the core of this fine track. It's also the fourth song 
that Spector wrote with the Ellie Greenwich/ Jeff Barry team. 

-------------------------------------------------------------------------------

CHAPEL OF LOVE

Song Review	by Thomas Ward

Seemingly worn out by it’s use in motion pictures, “Chapel Of Love” is a 
charming, warm song – firmly dated in the innocence of the early 1960s, yet 
still sounding strangely comforting to modern ears. Without being one of 
Spector’s grandest productions, it nevertheless sounds like Spector, it just 
doesn’t have the dramatic resonance of ”He’s Sure The Boy I Love” or ”A Fine 
Fine Boy”. Indeed, Spector may take the tempo of the song a little too slowly, 
and it becomes rather plodding after a while. Regardless of this, it’s still 
head and shoulders above most other early 1960s pop music. 

-------------------------------------------------------------------------------

NOT TOO YOUNG TO GET MARRIED

Song Review	by Matthew Greenwald

Opening with the spontaneous sounds of party chatter, this recording is one of 
the earliest examples of utilizing ambient sounds for a pop record. Sung with 
great style by Darlene Love, the song is a freewheeling exercise in making a 
party record. A jumping tempo, handclaps, and a honking saxophone break 
highlight this song, which continues the Spector/ Greenwich/ Barry songwriting 
team's themes of serious young romance and the desire to grow up. 

-------------------------------------------------------------------------------

WAIT 'TIL MY BOBBY GETS HOME

Song Review	by Matthew Greenwald

The simple theme of testing a romance while a lover is away is the subject of 
this fine, if simple song. One of the things that makes it an interesting record 
is the fact that Phil Spector and is engineering/arrangement team of Larry 
Levine and Jack Nitzsche were now achieving a more expansive sound in the 
confines of Gold Star Studios. Possibly cut during the sessions for A Christmas 
Gift for You, there is a distinctive holiday spirit here, with the classy, pop 
piano riffs and chimes and bells. Another fine vocal performance from Darlene 
Love, this time as a duet with her sister, Edna Wright. 

-------------------------------------------------------------------------------

ALL GROWN UP

Song Review	by Matthew Greenwald

Driven by a funky, almost surf guitar, "All Grown Up" is one of the grittier 
sides that Phil Spector cut during this period. A driving rhythm and general 
explosive atmosphere highlight the track. The song itself is a celebration of 
the coming of age for a teenage that can now "go on dates," etc. Such innocence 
would soon seem simplistic, yet the overall charm is still infectious. A fine 
vocal from La La Brooks rounds out the effort. 

-------------------------------------------------------------------------------

BE MY BABY

Song Review	by Jason Ankeny

"Be My Baby" announces its arrival with arguably the most dramatic introduction 
in all of rock & roll -- Hal Blaine's drums are the Morse code of the gods -- 
and somehow just keeps getting better from there; the quintessential Phil 
Spector production, it begins as the Wall of Sound but ends up a full-blown Taj 
Mahal, a gleaming sonic temple erected in eternal tribute to Ronettes frontwoman 
(and the future Mrs. Spector) Veronica Bennett. Hot on the heels of the classic 
"Da Doo Ron Ron" and "Then He Kissed Me," "Be My Baby" unveils the complete 
scope of Spector's vision: a slow-burn pop symphony, it builds momentum with 
each passing verse, propelled by horse-gallop castanets and muted piano figures 
until it achieves maximum density in a majestic convergence of vocals, strings, 
horns, and thunderclap percussion. That Spector's most grandiose production to 
date would serve the least polished vocalist in his stable might seem like 
perverse irony, but in truth "Be My Baby" works because of Bennett, not in spite 
of her. While never a singer on par with, say, Darlene Love, her voice radiates 
pure baby-doll sexuality -- she somehow transforms the sweetly sappy sentiments 
of Jeff Barry and Ellie Greenwich's song into a veritable siren's call (her 
"whoa-oh-oh-oh" exclamations, reprised on the brilliant follow-up "Baby, I Love 
You," say it all), and the plaintive longing of the lyrics aside, there's never 
a moment of doubt that it's she who is the real object of desire here. Although 
it's been regularly covered in the years since, the Ronettes' original recording 
has never really gone away -- a staple of oldies radio, it's also something of a 
fixture on film soundtracks, used most effectively by Martin Scorsese over the 
opening credits of his early masterpiece Mean Streets before resurfacing over a 
decade later in the smash Dirty Dancing. No less an authority than Brian Wilson 
has declared "Be My Baby" the greatest pop record ever made -- no arguments 
here. 

-------------------------------------------------------------------------------

A FINE, FINE BOY

Song Review	by Matthew Greenwald

A blinding, rollicking tempo (not unlike "Da Doo Ron Ron") is the rhythmic 
centerpiece here. In a certain way, this is one of the last examples of what 
could be the difference between Phil Spector's early and mid period. A honking 
saxophone and a tremendous vocal from Darlene Love highlight this simplistic 
love song, which is bookended by a charming spoken word recital. 

-------------------------------------------------------------------------------

I WONDER

Song Review	by Matthew Greenwald

A decidedly Spanish rhythm and melodic shading is one of the unique features of 
this fine, early Ronettes cut. As usual, the themes of innocence and teenage 
angst are the lyric themes here. One of Phil Spector's greatest talents was 
choosing the right artist for the right composition, and in this case he 
utilizes Ronnie Spector's pleading, sexy voice to his advantage. You can almost 
visualize a teenage girl lying on her bed dreaming and languishing over here 
near-future romantic fate. This was a hallmark to many of these records, and it 
was rarely bettered than here. 

-------------------------------------------------------------------------------

GIRLS CAN TELL

Song Review	by Matthew Greenwald

This is a previously unreleased version of "Girls Can Tell" that appears on the 
Back to Mono box set. However, when the Ronettes' version surfaced, it was 
credited to the Crystals. That bit of confusion out of the way, the song itself 
is a breezy bit of early-'60s pop and features one of Jack Nitzsche's finest 
string arrangements. The sense of operatic grandeur is one of the highlights of 
this song, which is a pop meditation on women's intuition. The chorus is indeed 
one of the catchiest of any of Phil Spector's records of its time, making its 
belated inclusion on the box set worthwhile. 

-------------------------------------------------------------------------------

LITTLE BOY

Song Review	by Matthew Greenwald

Featuring the great La La Brooks on lead vocals, "Little Boy" is one of the more 
definitive Phil Spector-produced records of this era. A pounding, almost tribal 
rhythm and tempo drive the song, and its operatic overtones underline the fact 
that Spector described his records as "little symphonies for the kids." Although 
not one of Spector's biggest hits, its overall production and song quality 
render it as a great example of progressive pop music, circa late 1963. 

-------------------------------------------------------------------------------

HOLD ME TIGHT

Song Review	by Matthew Greenwald

After Phil Spector visited England in late 1963 (and ended up sharing a plane 
with the Beatles on their maiden visit to the U.S. in early 1964), he 
immediately went into the studio with designs to cover a Lennon/ McCartney tune. 
Utilizing the vocal talents of Vinnie Poncina and Peter Andreoli (who were 
Spector songwriting collaborators at the time), dubbing them the Treasures, they 
came up with this unusual, but fine cover. The recording is quite an interesting 
blending blend of British pop and '50s doo wop, and the result is one of 
Spector's more black sounding records of the period. 

-------------------------------------------------------------------------------

(THE BEST PART OF) BREAKIN' UP

Song Review	by William Ruhlmann

After topping the charts with their first release, "Be My Baby," in October 
1963, the Ronettes peaked outside the Top 20 with their second, "Baby, I Love 
You," in February 1964. That single was such an effective example of 
producer/co-writer Phil Spector's wall of sound production techniques that its 
relative failure, even before the Beatles arrived in America to lead the British 
Invasion, boded ill for future releases in the same style. But its follow-up, 
"(The Best Part Of) Breakin' Up" was another mid-tempo pop symphony, brilliant 
but increasingly out of step with the marketplace. The week that it peaked just 
inside the Top 40 in May 1964, there were ten singles ranked above it either by 
the Beatles or another newly emerged British act, but even without them it would 
not have matched the success of "Baby, I Love You," much less "Be My Baby." To 
the extent you could extrapolate upon pop music trends just by watching the 
progress of Phil Spector-related singles, you'd have to say the British Invasion 
simply took advantage of a sea change already occurring. And yet, what a 
wonderful record this was. The song itself, written by Spector, Pete Andreoli, 
and Vini Poncia, revealed a previously unexamined truism about romance (the best 
part of breakin' up "is when you're makin' up") and had a typically catchy tune. 
Veronica Bennett (later to be Ronnie Spector) sang it winningly, suspended above 
the massive instrumentation that meshed beautifully. In retrospect, on 
compilations issued decades later, "(The Best Part Of) Breakin' Up" seemed like 
just another in Spector's long line of masterpieces. But when it was released, 
the time for such works had already passed, and the song never achieved a 
significant life beyond its initial recording. 

-------------------------------------------------------------------------------

SOLDIER BABY (OF MINE)

Song Review	by Matthew Greenwald

Another dramatic, almost operatic record from Phil Spector, "Soldier Baby of 
Mine" captures all of the romantic yearning of a long-lost loved one in just 
under three minutes. One of the more beloved sides of the era, it seems strange 
(and indicative) that a song like this could succeed just prior to the 
escalation of protest over the Vietnam war. This certainly highlights the 
general air of innocence that was a hallmark of Spector's records. An overall 
doo wop atmosphere highlights this piece, which is an excellent example of the 
Ronettes' ability as group singers. 

-------------------------------------------------------------------------------

STRANGE LOVE

Song Review	by Matthew Greenwald

A somewhat unusual Phil Spector-produced track. Although this is merely 
conjecture, the wordless, singsong vocal melody is remarkably reminiscent of the 
theme song from the film Lolita, "Lolita Ya-Ya." The fact that the film came out 
during the same year and the subject matter of the movie and the title of the 
song makes it seem like there is a connection. Aside from that, the song is one 
of the period classics, with a lighter feel than some of the other Spector-
produced sides of the period. Containing an almost lullaby feeling, it's one of 
the more well-crafted dark classics of the time. 

-------------------------------------------------------------------------------

STUMBLE AND FALL

Song Review	by Matthew Greenwald

A biting incitement of a future breakup and its repercussions, this song is yet 
another one of the more definite Phil Spector-produced records of the era that, 
unfortunately, wasn't a major hit. With the same locomotive tempo that propelled 
such hits as "Da Doo Ron Ron," "Stumble and Fall" had a slightly more elegant, 
almost jazzy feel than that landmark record. Impeccably sung by the always 
soulful Darlene Love, the song's unique tempo changes and general momentum make 
it a bit of a minor classic. 

-------------------------------------------------------------------------------

WHEN I SAW YOU

Song Review	by Matthew Greenwald

One of Phil Spector's most reserved productions ever, "When I Saw You" is also 
one of the few recorded songs that he wrote by himself. A simple, jazzy blues, 
the song is based in the trio jazz format, and the only other instrumentation is 
the superb orchestral arrangement by Jack Nitzsche. A pleading tale of the 
longing of love, its sparse feel makes it one of the best songs that Ronnie 
Spector ever sang. Given the fact that Phil and Ronnie were in the throws of 
early romance, it's particularly effecting. One of the standouts on the album 
The Fabulous Ronettes Featuring Veronica as well as the Back to Mono box set. 
Chilling and beautiful, all at the same time. 

-------------------------------------------------------------------------------

SO YOUNG

Song Review	by Matthew Greenwald

Retracing his doo wop leanings, Phil Spector put his all into this classic '50s 
ballad. Even the songwriter, William "Prez" Tyus, commented that this was the 
best version of the song. A bluesy ballad statement that focuses on a sentiment 
that was common to Spector-produced sides, it focuses on the passion of preteen 
romance. Brian Wilson produced and arranged another excellent version for the 
Beach Boys Today album, but this version is indeed the most effective. 

-------------------------------------------------------------------------------

DO I LOVE YOU?

Song Review	by Matthew Greenwald

Probably the apex of the Spector/ Poncina/ Andreoli songwriting team, "Do I Love 
You" barely scraped the Top 40, which is a sad fact indeed. A funky and elegant 
guitar/keyboard riff propels the song. Lyrically, its focus is common to many of 
the Phil Spector-produced sides, being about preteen romance and devotion. The 
overall grandeur and elegance of the melody is undeniable, making it one of the 
finest Spector-produced obscurities ever. A worthy inclusion on the Wall of 
Sound box set. 

-------------------------------------------------------------------------------

KEEP ON DANCING

Song Review	by Matthew Greenwald

Capitalizing on the Ronettes' impeccable ability to bring out the best in ballad 
statements, '50s doo wop/ R&B chord changes highlight this fine song, which 
unfortunately was a bit outdated for the 1964 pop airwaves. Nevertheless, the 
general elegance (highlighted by Jack Nitzsche's awesome string arrangement) is 
undeniable. The pleading, desperate leaning of the sad teen angst of the lyric 
is underlined by the excellence of the Ronettes' fabulous group vocals. 

-------------------------------------------------------------------------------

YOU BABY

Song Review	by Matthew Greenwald

A subtle, tribal rhythm is the basis for this fabulous Ronettes track, which is 
one of the transitional records in Phil Spector's mid-'60s record productions. 
As usual, Ronnie Spector's pleading, kittenish vocals underline the passion of 
the lyric thrust, which focuses on teenage love and its innocent devotion. 
Although this version is certainly definitive, the Lovin' Spoonful did an 
excellent version on their Daydream album in early 1966, underlining the 
influence that Spector's records had on more "progressive" rockers. As a strange 
twist of fate, Spector himself was briefly considering signing the Spoonful in 
early 1965. 

-------------------------------------------------------------------------------

WOMAN IN LOVE (WITH YOU)

Song Review	by Matthew Greenwald

As usual, Phil Spector was ahead of the current recording trends, in terms of 
"sound," and this is a great example. As far as the song goes, it's a slightly 
doo wop-oriented slice of pop, but the production has the chiming quality of 
some of the bigger folk-rock hits of 1965. Some ornate and elaborate 
orchestration by arranger Jack Nitzsche highlights this great track, which 
contains some excellent use of modulation, also ahead of its time. 

-------------------------------------------------------------------------------

WALKING IN THE RAIN

Song Review	by Matthew Greenwald

One of the last major chart hits for the Ronettes, "Walking in the Rain" is also 
a landmark record for another reason. Containing some authentic sound effects of 
thunder and lightning by engineer Larry Levine (which rightfully earned him a 
Grammy nomination) made this a very important record for the time. The overall 
elegance of this fine love song also was on a par with any record from 1965, 
even though it was released in 1964. This record sort of marked the end of Phil 
Spector's 1964-1965 period and opened the door for his more complex productions 
for Ike & Tina Turner and the Righteous Brothers. 

-------------------------------------------------------------------------------

BORN TO BE TOGETHER

Song Review	by William Ruhlmann

"Born to Be Together," which was released in January 1965 as the Ronettes' sixth 
single on Philles Records, was a love song written by the Brill Building team of 
Barry Mann and Cynthia Weil with Phil Spector, who produced the record. It 
followed "Walking in the Rain," which had been the group's fifth consecutive Top 
40 hit and had marked an uptick in their chart success without coming close to 
the popularity of their only really big hit, 1963's "Be My Baby." As its title 
implied, "Born to Be Together" was a song in which the singer declared and 
described her affection for her lover, culminating in the chorus, which made the 
love seem destined. Arranger Jack Nitzsche seemed to be knitting together 
several different songs, as the tempo changed and instrumentation shifted from a 
spare accompaniment behind Veronica Bennett's lead vocal to a full-scale 
representation of the legendary Spector wall of sound, with its pummeling drums, 
soaring strings, and brightly played horns. Unfortunately, this was a style that 
was passing out of popularity even as Spector was recording it. The single, 
billed for the first time to " the Ronettes Featuring Veronica," didn't even 
cross the halfway mark of the Top 100 singles charts, and later Ronettes singles 
fared even worse. "Born to Be Together" remains an interesting example of a wall 
of sound production, but it is rarely heard outside of a Ronettes hits 
compilation. 

-------------------------------------------------------------------------------

JUST ONCE IN MY LIFE

Song Review	by William Ruhlmann

After the arrival of the Beatles and the rise of Motown in 1964, writer/producer 
Phil Spector started to have trouble scoring hits with his stable of girl groups 
like the Crystals and the Ronettes on his Phillies Records label. But in the 
fall of 1964, he came up with a new hitmaking team when he made "You've Lost 
That Lovin' Feelin'" with the Righteous Brothers, for whom the term " blue-eyed 
soul" was invented. Though another term, " power ballad," wasn't coined until 
the 1980s, it might have been used to describe "You've Lost That Lovin' 
Feelin'," a song performed at a slow tempo that nevertheless built to powerful 
crescendos. The song topped the charts in December 1964, and it wasn't until 
March 1965 that Phillies issued its follow-up, "Just Once in My Life." For this 
song, Spector, who had teamed with the Brill Building team of Barry Mann and 
Cynthia Weil for the previous song, co-wrote with another Brill Building duo, 
Gerry Goffin and Carole King. The song was a boy's plea to a girl to stay with 
him when everything else in his life was going badly. The recording repeated 
many of the same elements from "You've Lost That Lovin' Feelin'": It began 
slowly with a dramatic vocal by baritone Bill Medley, joined on the chorus by 
tenor Bobby Hatfield. The arrangement continually built up, as the tempo 
quickened, and then subsided and slowed, with each peak getting higher as the 
singers emoted soulfully. "Just Once in My Life" was not as compelling a song as 
"You've Lost That Lovin' Feelin'," but it was in the same mold, and that was 
enough to get it into the Top Ten (as, indeed, the next three Righteous Brothers 
singles -- "Unchained Melody," "Ebb Tide," and "[You're My] Soul and 
Inspiration" -- also would do). Its similarity to its predecessor has hurt its 
long-term success, no doubt, as has its title, which is perhaps a little to 
close to that of Stevie Wonder's 1968 hit "For Once in My Life," which went on 
to become a much-recorded standard. Among the few covers of "Just Once in My 
Life," the most prominent is the one by the Beach Boys that served as the 
closing track on their 1976 comeback album, 15 Big Ones, with producer Brian 
Wilson, always a Phil Spector admirer, closely following the original 
arrangement. 

-------------------------------------------------------------------------------

IS THIS WHAT I GET FOR LOVING YOU?

Song Review	by Matthew Greenwald

Listening to this song, which was recorded in 1965, the listener can see why the 
music of Phil Spector was 180 degrees for the new, hip pop marketplace. A '50s-
ish pop ballad with some elegant Burt Bacharach overtones, it sounded old, at 
the time. This, however, takes nothing away from the quality of the song, which 
has aged gracefully. One of the finest Ronettes obscurities that graces the Back 
to Mono box set. 

-------------------------------------------------------------------------------

LONG WAY TO BE HAPPY

Song Review	by Matthew Greenwald

One of the last tracks that Darlene Love cut with Phil Spector, "Long Way to Be 
Happy" is another great production of the day that didn't chart. A big, 
pulsating pop song, the literate lyric stance, always a hallmark of the Goffin/ 
King team, is the focus here. The burden and pain of romance, as well as the 
road there, are handled with the usual sense of craft and elegance from the 
songwriting team. Musically, the Burt Bacharach-influenced melody is the focus 
of the music, with the usual King shifts in melody. 

-------------------------------------------------------------------------------

(I LOVE YOU) FOR SENTIMENTAL REASONS

Song Review	by Matthew Greenwald

A classic pop ballad previously recorded by Sam Cooke, this song was a perfect 
choice for Bobby Hatfield's honey-laden tenor voice. The B-side of "Ebb Tide," 
it has a swirling, echo-enhanced arrangement -- one of the Phil Spector 
trademarks -- as the core of this version. Loaded with all of the blue-eyed soul 
power of the Righteous Brothers at their best, this record is indeed one of 
their finest. 

-------------------------------------------------------------------------------

EBB TIDE

Song Review	by Matthew Greenwald

Inspired by the fact the two previous versions of "Unchained Melody (by Rou 
Hamilton and Al Hibber) were followed by versions of this song, Phil Spector 
chose this song for the Righteous Brothers as a follow-up. It was indeed sound 
thinking, only marred by the litigation that Spector and the group were going 
through at the time. Reaching number five in the U.S. pop a charts (and Top Ten 
in the U.K.), the song has all of the sustained power of "Unchained Melody," as 
well as the hallmarks of the Spector/ Righteous trademarks of the period. 

-------------------------------------------------------------------------------

THIS COULD BE THE NIGHT

Song Review	by Matthew Greenwald

A truly great experiment in the Phil Spector production cannon. After failing to 
commit to signing and producing the Lovin' Spoonful and the Young Rascals, 
Spector finally invested in the obvious folk-rock electric politics of the 
period with the Modern Folk Quartet. This song, co-written by Spector and Harry 
Nilsson, is almost a Beach Boys version of folk-rock; it's a rousing, rich, and 
romantic pop classic with all of the buoyancy of the period. Used as the theme 
song from the T.A.M.I. film (one of the first rock movies, really), it captures 
a sense of optimism that was undeniable at the time. 

-------------------------------------------------------------------------------

PARADISE

Song Review	by Matthew Greenwald

Opening with an early use of ambient sounds (birdcalls and rivers), this 
fabulous Ronettes ballad was one of their great late sides. A great love ballad 
of escapism and release, this song (co-written by Harry Nilsson is probably as 
close as the Ronettes came to folk-rock. A big and swirling production surrounds 
the cut, and Ronnie Spector's kittenish vocals are the epitome of romanticism. 

-------------------------------------------------------------------------------

RIVER DEEP, MOUNTAIN HIGH

Song Review	by Jason Ankeny

Although Ike and Tina Turner's "River Deep, Mountain High" captures the 
Wagnerian majesty of Phil Spector's wall of sound production ethic at its 
deliriously grandiose peak, the record also signaled the end of an era; pulling 
out all the stops to create his magnum opus, Spector left himself no margin for 
error, and when the single failed at pop radio, the producer's artistic heyday 
was over. Originally recorded in 1966, "River Deep, Mountain High" was Spector's 
last-ditch attempt to return to the charts he dominated just months earlier. No 
longer collaborating with the Righteous Brothers, his last hitmaking vehicle, 
the producer suffered flop after flop, and in light of the stunning advances 
made by recent recordings from the Beatles and the Beach Boys, it seemed pop 
music was in danger of passing him by for good. Written by the team of Jeff 
Barry and Ellie Greenwich -- the authors of past Spector classics like "Da Doo 
Ron Ron," "Be My Baby," and "Then He Kissed Me" -- "River Deep, Mountain High" 
forsakes the puppy-love pathos of the team's previous hits to achieve a 
cathartic intensity rooted in R&B; the melody, actually a composite of three 
different unfinished songs, veers dangerously close to complete collapse, yet 
holds together seemingly through sheer force of will. Operatic excess simply 
unlike anything which came before it, the completed record employed close to two 
dozen session musicians and cost some 22,000 dollars, at the time an 
unbelievable price tag for an entire album, let alone a single; still, it was 
perhaps too radical -- whispers that "River Deep, Mountain High" was too black 
for white radio (and vice versa) aside, the song's commercial failure also spoke 
to massive shifts in consumer tastes, as well as industry-wide changes making it 
harder and harder for independent releases to crack the mainstream. Its 
indifferent response crushed Spector, who shut down his Philles label soon 
after; he would score later hits, including records with ex- Beatles John Lennon 
and George Harrison, but never again return to his creative peak. Both watershed 
and Waterloo, "River Deep, Mountain High" is nevertheless extraordinary by any 
measure -- the symphonic pop masterpiece even Spector's past landmarks only 
hinted at, it remains the apotheosis of the singular wall of sound aesthetic, a 
cohesive sonic force unmatched before or since. And Tina Turner's performance is 
electrifying -- for all the great singers under Spector's previous employ, none 
could possibly have topped her heartbreaking power. Everyone from Motown 
perennials the Four Tops to synth pop duo Erasure has covered the song since, 
but no one has come close to matching the grandeur of Spector's original 
production. When Celine Dion performed "River Deep, Mountain High" live on 
television's Late Show With David Letterman, Spector was sufficiently impressed 
to consider a comeback, entering the studio with Dion soon after. The producer's 
legendary eccentricities and tyrannical demands quickly proved too much for the 
singer to handle, however, and she fled the project, although another version of 
the song was eventually issued on her 1996 Live à Paris album. 

-------------------------------------------------------------------------------

I'LL NEVER NEED MORE THAN THIS

Song Review	by Matthew Greenwald

This soulful, R&B-soaked ballad was the follow-up to the classic "River Deep, 
Mountain High." Almost unbelievably, it actually comes very close to matching 
the power and fury of that classic record. With an almost operatic power, this 
song certainly utilizes all of Tina Turner's incredible voice. An important 
record in the hil Spector canon, it was indeed a worthy inclusion on the Back to 
Mono box set. 

-------------------------------------------------------------------------------

LOVE LIKE YOURS (DON'T COME KNOCKING EVERYDAY)

Song Review	by Matthew Greenwald

Another attempt at following-up "River Deep, Mountain High," this Motown-related 
side was transformed into an operatic, blasting piece in the hands of Phil 
Spector and Tina Turner. Although many critics have labeled this recording as 
overdone, there is a powerful romanticism to it, making it one of Spector's 
finer later-period sides. 

-------------------------------------------------------------------------------

I WISH I NEVER SAW THE SUNSHINE

Song Review	by Matthew Greenwald

Easily one of the most underrated Ronettes sides, this fabulous, unreleased (at 
the time) ballad made the greatest use of Ronnie Spector's kittenish voice. A 
bittersweet heartbreaking song, it has the usual Spector trademark echo-laden 
production that makes it sound like it's as deep as a wishing well. A catchy, 
major-key chorus earmarks it as a commercial hit, had it been released at the 
time. One of the highlights of the Back to Mono box set, this is Ronnie 
Spector's favorite Ronettes' record. 

-------------------------------------------------------------------------------

YOU CAME, YOU SAW, YOU CONQUERED

Song Review	by Matthew Greenwald

The final, Phil Spector-produced Ronettes side, "You Came, You Saw, You 
Conquered" was record shortly after Spector's 1969 "comeback" period with the 
Checkmates. Easily one of the more outdated sides for the period, it certainly 
sounds like a 1959 hit record. Whatever Spector's reasons for doing this, it 
sill has aged remarkably well. 

-------------------------------------------------------------------------------

BLACK PEARL

Song Review	by Matthew Greenwald

This fine, Motown-influenced ballad was Phil Spector's "comeback" record in 
early 1969. Inspired by the premise of the film For the Love of Ivy (about an 
African-American housekeeper in a white household), it has a strong period 
charm. In hindsight, the heavy, sleek production sheen makes it one of the 
finest productions of the era. A cross between white supper-club soul and R&B, 
the song made the most of Sonny Charles' pinched, soulful tenor. 

-------------------------------------------------------------------------------

LOVE IS ALL I HAVE TO GIVE

Song Review	by Matthew Greenwald

A heavy, Righteous Brothers-inspired production surrounds this fine, bittersweet 
ballad. Phil Spector was indeed searching for a unique mixture of Motown-
influenced pop and authentic R&B, and he found it here. The production is, of 
course, a powerful blend of Spector's over-the-top, echo-laden sound and white 
soul. Elegant strings and mandolins create a unique atmosphere here, making it 
one of his most exploratory records, ever. It ends the Back to Mono box set in 
grand style, too. 

-------------------------------------------------------------------------------


-------------------------------------------------------------------------------
                             EXTRACT FROM EAC LOGS
-------------------------------------------------------------------------------

Exact Audio Copy V0.99 prebeta 4 from 23. January 2008

EAC extraction logfile from 7. June 2009, 0:07

Various / Phil Spector: Back to Mono (1958-1969) [disc 1]

Used drive  : HL-DT-STDVD-RAM GSA-H55N   Adapter: 0  ID: 0

Read mode               : Secure
Utilize accurate stream : Yes
Defeat audio cache      : Yes
Make use of C2 pointers : No

Read offset correction                      : 102
Overread into Lead-In and Lead-Out          : No
Fill up missing offset samples with silence : Yes
Delete leading and trailing silent blocks   : No
Null samples used in CRC calculations       : Yes
Used interface                              : Installed external ASPI interface
Gap handling                                : Appended to previous track

Used output format              : User Defined Encoder
Selected bitrate                : 1024 kBit/s
Quality                         : High
Add ID3 tag                     : Yes
Command line compressor         : F:Archivos de programaExact Audio 
CopyFLACFLAC.EXE
Additional command line options : -6 -V -T "ARTIST=%a" -T "TITLE=%t" -T 
"ALBUM=%g" -T "DATE=%y" -T "TRACKNUMBER=%n" -T "GENRE=%m" -T "COMMENT=%e" %s -o 
%d

-------------------------------------------------------------------------------

Exact Audio Copy V0.99 prebeta 4 from 23. January 2008

EAC extraction logfile from 7. June 2009, 0:38

Various / Phil Spector  Back to Mono (1958-1969) [disc 2]

Used drive  : HL-DT-STDVD-RAM GSA-H55N   Adapter: 0  ID: 0

Read mode               : Secure
Utilize accurate stream : Yes
Defeat audio cache      : Yes
Make use of C2 pointers : No

Read offset correction                      : 102
Overread into Lead-In and Lead-Out          : No
Fill up missing offset samples with silence : Yes
Delete leading and trailing silent blocks   : No
Null samples used in CRC calculations       : Yes
Used interface                              : Installed external ASPI interface
Gap handling                                : Not detected, thus appended to 
previous track

Used output format              : User Defined Encoder
Selected bitrate                : 1024 kBit/s
Quality                         : High
Add ID3 tag                     : Yes
Command line compressor         : F:Archivos de programaExact Audio 
CopyFLACFLAC.EXE
Additional command line options : -6 -V -T "ARTIST=%a" -T "TITLE=%t" -T 
"ALBUM=%g" -T "DATE=%y" -T "TRACKNUMBER=%n" -T "GENRE=%m" -T "COMMENT=%e" %s -o 
%d

-------------------------------------------------------------------------------

Exact Audio Copy V0.99 prebeta 4 from 23. January 2008

EAC extraction logfile from 7. June 2009, 1:15

Various / Phil Spector: Back to Mono (1958-1969) [disc 3]

Used drive  : HL-DT-STDVD-RAM GSA-H55N   Adapter: 0  ID: 0

Read mode               : Secure
Utilize accurate stream : Yes
Defeat audio cache      : Yes
Make use of C2 pointers : No

Read offset correction                      : 102
Overread into Lead-In and Lead-Out          : No
Fill up missing offset samples with silence : Yes
Delete leading and trailing silent blocks   : No
Null samples used in CRC calculations       : Yes
Used interface                              : Installed external ASPI interface
Gap handling                                : Appended to previous track

Used output format              : User Defined Encoder
Selected bitrate                : 1024 kBit/s
Quality                         : High
Add ID3 tag                     : Yes
Command line compressor         : F:Archivos de programaExact Audio 
CopyFLACFLAC.EXE
Additional command line options : -6 -V -T "ARTIST=%a" -T "TITLE=%t" -T 
"ALBUM=%g" -T "DATE=%y" -T "TRACKNUMBER=%n" -T "GENRE=%m" -T "COMMENT=%e" %s -o 
%d

-------------------------------------------------------------------------------

Exact Audio Copy V0.99 prebeta 4 from 23. January 2008

EAC extraction logfile from 7. June 2009, 1:36

Various / A Christmas Gift For You

Used drive  : HL-DT-STDVD-RAM GSA-H55N   Adapter: 0  ID: 0

Read mode               : Secure
Utilize accurate stream : Yes
Defeat audio cache      : Yes
Make use of C2 pointers : No

Read offset correction                      : 102
Overread into Lead-In and Lead-Out          : No
Fill up missing offset samples with silence : Yes
Delete leading and trailing silent blocks   : No
Null samples used in CRC calculations       : Yes
Used interface                              : Installed external ASPI interface
Gap handling                                : Appended to previous track

Used output format              : User Defined Encoder
Selected bitrate                : 1024 kBit/s
Quality                         : High
Add ID3 tag                     : Yes
Command line compressor         : F:Archivos de programaExact Audio 
CopyFLACFLAC.EXE
Additional command line options : -6 -V -T "ARTIST=%a" -T "TITLE=%t" -T 
"ALBUM=%g" -T "DATE=%y" -T "TRACKNUMBER=%n" -T "GENRE=%m" -T "COMMENT=%e" %s -o 
%d

-------------------------------------------------------------------------------
-------------------------------------------------------------------------------