Limited Numbered Edition of 600 


Side 1.

1. To Know Him Is To Love Him –The Teddy Bears 2:21
2. Bumbershoot –Phil Harvey 2:14
3. Willy Boy –Phil Harvey 1:53
4. I Really Do –Spectors Three 2:12
5. I Know Why –Spectors Three 1:41
6. That’s Alright Baby –Kell Osborne 1:52
7. Corinna Corinna –Ray Peterson 2:40


Side 2.

1. Spanish Harlem –Ben E. King 2:51
2. Some Of Your Lovin’ –Johnny Nash 2:17
3. A World Of Tears –Johnny Nash 2:26
4. Pretty Little Angel Eyes –Curtis Lee 2:45
5. Hearts Of Stone –The Top Notes 1:58
6. When You Dance –Billy Storm 2:26
7. You Can Get Him Frankenstein –The Castle Kings 2:27


Side 3.

1. Honey Love –Billy Storm 2:05
2. Twist And Shout –The Top Notes 2:04
3. I’m So Happy (La La La La La) –The Ducanes 2:33
4. Every Breath I Take –Gene Pitney 2:43
5. Dream For Sale –Gene Pitney 2:32
6. I Love How You Love Me –The Paris Sisters 2:04
7. The Bells –The Creations 2:17


Side 4.

1. Under The Moon Of Love –Curtis Lee 2:48
2. There’s No Other (Like My Baby) –The Crystals 2:30
3. Raincoat In The River –Sammy Turner 2:10
4. I’d Like To Miss My Graduation –Karen Lake 2:19
5. Talk To Me, Talk To Me –Jean DuShon 2:37
6. Tired Of Trying –Jean DuShon 2:09
7. He Knows, I Love Him Too Much –The Paris Sisters 2:33


Side 5.

1. That’s Alright Baby –Gary Crosby 2:07
2. Here I Stand –Joel Scott 2:25
3. Na-Ne-No –Troy Shondell 2:35
4. How Many Nights (How Many Days) –Bobby Sheen 1:57
5. Hey There Mountain –Obrey Wilson 2:43
6. Uptown –The Crystals 2:43
7. Malaguena –Ali Hassan 2:06


Side 6.

1. He Hit Me (And It Felt Like A Kiss) –The Crystals 2:31
2. He’s A Rebel –The Crystals 2:30
3. Zip-A-Dee-Doo-Dah –Bob B. Soxx And The Blue Jeans 2:47
4. Flip And Nitty –The Phil Spector Wall Of Sound Orchestra 2:07
5. Puddin’ N’ Tain –The Alley Cats 2:47
6. He’s Sure The Boy I Love –The Crystals 2:42
7. Walkin’ Along (La La La) –The Phil Spector Wall Of Sound Orchestra


The Wall of Sound (also called the Spector Sound) is a music production formula developed by American record producer Phil Spector at Gold Star Studios in the 1960s, with assistance from engineer Larry Levine and the session musician conglomerate later known as “the Wrecking Crew”. The intention was to exploit the possibilities of studio recording to create an unusually dense orchestral aesthetic that came across well through radios and jukeboxes of the era. Spector explained in 1964: “I was looking for a sound, a sound so strong that if the material was not the greatest, the sound would carry the record. It was a case of augmenting, augmenting. It all fitted together like a jigsaw.”

Critical shorthand usually reduces the Wall of Sound inaccurately to a maximum of noise. Levine recalled how “other engineers” mistakenly thought that the process was “turning up all the faders to get full saturation, but all that achieved was distortion.” To attain the Wall of Sound, Spector’s arrangements called for large ensembles (including some instruments not generally used for ensemble playing, such as electric and acoustic guitars), with multiple instruments doubling or tripling many of the parts to create a fuller, richer tone. For example, Spector would often duplicate a part played by an acoustic piano with an electric piano and a harpsichord. Mixed well enough, the three instruments would then be indistinguishable to the listener. Additionally, Spector incorporated an array of orchestral instruments (strings, woodwind, brass and percussion) not previously associated with youth-oriented pop music. Reverb from an echo chamber was also highlighted for additional texture. He characterized his methods as “a Wagnerian approach to rock & roll: little symphonies for the kids”.

The intricacies of the technique were unprecedented in the field of sound production for popular music.According to Beach Boys leader Brian Wilson, who used the formula extensively: “In the ’40s and ’50s, arrangements were considered ‘OK here, listen to that French horn’ or ‘listen to this string section now.’ It was all a definite sound. There weren’t combinations of sound, and with the advent of Phil Spector, we find sound combinations, which—scientifically speaking—is a brilliant aspect of sound production.”Session guitarist Barney Kessel noted how “terribly simple” it was, however, “the way [Spector] recorded and miked it, they’d diffuse it so that you couldn’t pick out any one instrument. Techniques like distortion and echo were not new, but Phil came along and took these to make sounds that had not been used in the past. I thought it was ingenious.”

PHIL SPECTOR 3xLP The Wall Of Sound 1958-1962

34,90 € Precio
24,90 €Precio de oferta
  • Label: Real Gone ‎– RGMLP015

    Format: 3 × Vinyl, LP, Compilation, Limited Edition, Numbered, Remastered 

    Country: UK & Europe

    Released: 31 Mar 2017