Phil Spector: The Rolling Stone Interview

An untamed talk with the visionary producer about what makes great music and the characters he's met along the way to become the "Tycoon of Teen"

Phil Spector in the studio in the 1960s.
Ray Avery/Redferns
November 1, 1969

Baron and I sat in a rented Mustang outside the Sunset Strip office of Phil Spector Productions for 40 minutes one April night, listening to the car radio and waiting for the man. A black Cadillac Limousine pulls up, and then away, circles the block and parks behind us. Out steps the chauffeur, who in reality is one of Spector's several bodyguards. The whole Tom Wolfe legend is about to take place in front of our eyes. We change cars and the chauffeur pulls way with us in the back seat.

Phil Spector, the first "Tycoon of Teen," is finally about to make good the promise for an interview, after two months of hassling over time and place. The interview is going to happen on the night of "Mission: Impossible." Spector, it turns out, lives only ten blocks or so from his office.

The grounds are surrounded by electric fences and gates, and what's more amazing is that after pulling into his driveway, you see electric fencing also covers the windows and front door of his house. Once inside the doors and gates it's Phil Spectorland, with framed pictures and clippings, all the famous articles about Phil, pinball machines and jukeboxes with all his hits still on the playlist.

The 100 Greatest Artists of All Time: Phil Spector

The living room is around the corner: the house used to belong to one of the Hollywood starlets, and it's a beauty: 20 foot gabled ceilings, sunken rooms, a grand piano, Irish wolfhounds and two Borzoi's running around on the patio off the living room. Next to the living room is the game room, a huge pool table in the center, the walls covered with framed photos of Phil playing pool with Willie Moscone, Phil playing pool with Minnesota Fats, and dozens of others.

We waited in the living room another half hour, while Phil was "getting ready." We were offered something to drink, something to eat: candy-filled dishes on the coffee tables (long with the books and magazines, with bookmarks in place, which carried more of the famous articles about Phil), slices of pizza and cokes. Baron and I sat, almost whispering, because the place must have been wired for sound as well as everything else. The chauffeur-bodyguard returns to check the last minute details, and he comes in without his coat on, displaying his shoulder holster and his gun.

We didn't know whether to laugh or to faint. Like, they never checked for the stick of dynamite I had in my tape recorder and the .38 Baron was carrying in his camera kit.

In walks the man: Phil Spector, short little Phil, all dressed up for the interview in outrageous yellow plastic rimmed glasses, a tie-piece around his collar, sucking a candy cane. What a show tonight!

Do you see any black militancy in the record business? Let's take Stax which is owned by . . .
Let's take it, man. Like, you take $4 million, and I'll take $3 million, and we all be very rich very quick. I'm rich already, what am I talking about? Go ahead, what about Stax-Volt?

Do you find any black resentment against the whites. You worked at Atlantic, another white-owned company, dealing primarily with black music. Was there any resentment from the artists?
Oh yeah, man, "We bought your home, goddamn, and don't you forget it, boy. You livin' in the house we paid for, you drivin' a Cadillac we got, man. It's ours. You stole it from us."

You heard that from the beginning of time. All the Drifters were gettin' was $150 a week and they never got any royalties. It wasn't that Atlantic didn't pay them; it was that everybody screwed everybody in those days. I mean I was in the Teddy Bears and what did we get – one penny a record royalties!

What has disappeared completely is the black groups, other than what you have comin' out of Motown and your other few – and I don't mean Stax-Volt because I don't consider that what I'm talking about. The group on the corner has disappeared. It's turned into a white psychedelic or a guitar group, there are thousands of them. There used to be hundreds and hundreds of black groups singin' harmony and with a great lead singer and you'd go in an record them.

You used to go down to Jefferson High or 49th & Broadway and could get sixteen groups. Today you can't find them; they're either involved in the militant thing or they just passed, like it's not their bag anymore, or like it's just disappeared. It's not the big thing to get together after school and harmonize. And it used to be a real big thing. It was very important. I guess they just got tired of knocking on record doors, and they saw that a whole new regime had taken over.

This is why you have the music business dominated in the black area by just two companies. Because there is just really no place for them to go. They've just sort of disbanded. Other than Motown you don't see any groups, colored groups. The Dells happened for a while on that Cadet label from Chicago or whatever. That's where black something has affected it. I don't know if it's black militancy or whatever, but something has definitely effected the complete destruction of the black groups that used to be dominating the record industry.

How has that changed the music?
It's changed the music drastically. It's given birth to English groups to come along and do it like Eric Burdon. It's also given birth for the Stones and the Beatles to come along and do it – not that they wouldn't have done it otherwise – but the first place the Beatles wanted to see when they came to America (cause I came over on the plane with them) was the Apollo Theatere.

As bad as a record as "Book of Love" by the Monotones is, you can hear a lot of "Book of Love" in the Beatles' "Why Don't We Do It the Road." I think you hear a lot of that dumb, great-yet-nonsensical stuff that makes it – even though it's silly. It's got the same nonsense.

I believe that the English kids have soul. Really soul. When I watch Walter Cronkite or Victory at Sea, or You Are There – any of those programs, I see bombs flying all over England and little kids running. Now that's probably Paul McCartney running. You know, 'cause that's where the bombs fell. They say soul comes through suffering. Slavery for the blacks. And gettin' your ass bombed off is another way of gettin' some soul, so I would say that these English cats have a lot of soul legitimately. You're gonna have Dave Clark in there who don't know too much about it, and just like you're gonna have a Rosy and the Originals in America who don't know too much about it.

What do you think of groups like Sly and the Family Stone or the Chambers Brothers who have such a large white audience, almost primarily white?
The Chambers Brothers have been around so long that they're just like a group I think of as "having" to have made it – a must. In other words, if they hadn't made it, it would be as much of a crime as Roy Orbison not being a star today or the Everly Brothers not making it today. It was criminal that they weren't big before.

The fact that they appear for white audiences is, I think, only because black music – if there can be such a phrase – or music as interpreted by black people – is a lot more commercial than music interpreted by white people.

The biggest English records are really when they are imitating. It's much more commercial when Eric Burdon sings a black copy. Just like Al Jolson was much more commercial when he did the black face than he ever was than when he went out and sang "My Yidishe Momme." They love "mammy" with the black face – Stephen Foster, I mean. Which is probably why the black people resent so much of America. "We are the most commercially imitated people, we write and sing the most commercial music and yet we are the least talked about and the most oppressed."

So the black man got to figure that may be the reason he's passed from the musical scene to a large extent. Now when I say passed, I really mean passed. I mean it's as good as Sam Cooke being dead. You don't hear Ben E. King or any of the real soulful music anymore, and that was really commercial music, and it was good music.

I don't remember where we were. You asked me something.

The Chambers Brothers.
I don't know why they appeal to white people really. I would imagine that if you went into a black Baptist church, you'd dig it a whole lot because it's groovy music. I don't know why they are more commercial. I don't know even if they do appeal to a larger white audience than the black audience.

Being on Columbia Records has a lot to do with it. White people hear them much more. You don't see colored people going into a store sayin', "Let me have the Columbia Master Works series number 129." Or just like you wouldn't see any of the young cats doing it. It's just not their bag.

I think that Columbia doesn't really get them played on R& B stations, because it doesn't say "this is a new Chambers Brothers album." It just comes in a Columbia package with Tony Bennett and Andy Williams and they sort of put it, you know, I mean you can't hear Jocko or Rosco or any of them getting all excited about – "Oh, a new shipment from Columbia came in today, any free goods runnin'?" I mean there ain't gonna be any free goods or money inside. So, I mean they ain't gonna get too excited.

The Chambers Brothers play white audiences; they dig Melodyland. You don't see them very often in the same parts of town that you see the Four Tops when they come. The Four Tops do the Coconut Grove, but they also do Joe Louie's Club on 189th Street, keepin' cool with him. Maybe the Chambers Brothers paid dues so long that they're a little bit tired of payin' dues. They just sort of want to make it, and if it means makin' it before the white kids – then they're gonna make it. I don't really feel that the Chambers Brothers have really been recorded right yet; they haven't really hit it yet for me. I mean they're groovy, but their records havn't hit it yet.

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