(For reference, ctrl+F the word “fuck” in Spector’s 1969 interview with Rolling Stone-dude had a filthy mouth.) Early ’60s pop was a key part of the band’s DNA-some of their first covers were “California Sun,” “Let’s Dance,” and “Surfin’ Bird.” It was gnarly music unafraid of being pretty, and while their nuts-and-bolts songs appealed to Spector, he also loved how irreverent they were. Their song structures were simple and the harmonies were there. The Ramones were loud, back to basics rock‘n’roll in an era of disco, yacht rock, prog, the Eagles, Journey, Boston, and Kansas. Spector’s infatuation with the band definitely made sense. after that, he’d attend their shows, meet them, and give them the same line: “Do you guys wanna be great or good? ‘Cause I’ll make you great.”
But at the urging of close friends Dan and David Kessel (sons of Wrecking Crew legend Barney Kessel and fans of L.A.’s punk scene), Phil saw the Ramones at the Whisky a Go Go in 1977. Given his penchant for schmaltz, there was no reason to expect Spector to show interest in punk. There was the aforementioned fraught Leonard Cohen album Death of a Ladies’ Man. His other projects, with their huge production value, weren’t all that visible-records with Cher (including a Nilsson collaboration), Dion, Ronnie Spector, and Darlene Love. He was responsible for finishing up Let It Be (to the disdain of Paul McCartney) and co-produced two of the best solo Beatles albums: Plastic Ono Band and All Things Must Pass. He returned to the game at the request of the Beatles. If the Ramones were interested in becoming more popular, why not roll the dice with a guy who made “Be My Baby” and “You’ve Lost That Loving Feeling”?Īfter he reached his creative and commercial peak in the ’60s, Spector briefly left the business when Ike & Tina Turner’s “River Deep -Mountain High” failed to become a bigger hit. It’s amazing to think that anyone would hire him at that point, but they had their reasons: Sales were slipping, Spector persistently offered his services, and their label was willing to pay the legend’s rate. This was the same Phil Spector who kept Ronnie Spector locked in a closet, shot a bullet into the ceiling of John Lennon’s studio, and held a gun to Leonard Cohen’s neck. He was an untethered, erratic, odd man, and that’s sugarcoating it heavily. Marky Ramone described the producer rolling up to his hotel room with a cape, bodyguard, bottle of kosher wine, and unprompted tirade about the 1966 death of Lenny Bruce. For 1980’s End of the Century, they dumped Tommy-their guiding hand in the studio since day one-and hired Phil Spector.Ĭonsider that for a minute-the beacons of rock‘n’roll restraint hired the “wall of sound, little symphonies for the kids” wildcard. Contemporaries like the Talking Heads and the Clash were about to reach new heights the Ramones decided that a change was in order. For all its high points, it was their weakest effort and biggest commercial flop to date.
With Marky Ramone behind the kit and Tommy behind the boards, they made 1978’s Road to Ruin. Then, Tommy Ramone resigned as the band’s drummer-life on the road wasn’t treating him well-and decided to do what he did best: produce Ramones albums.
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