The author of an exhaustive new Phil Spector biography dishes on the reclusive record producer’s life and murder trial.
By Brian Braiker | Newsweek Web

Two days after the publication of the first extensive interview with Phil Spector in more than 25 years, the reclusive record producer was arrested for the fatal shooting of 40-year-old B-movie actress Lana Clarkson. Mick Brown, who wrote the profile for the Britain’s Daily Telegraph, had a fleeting terror: what if Spector hated the piece and took murderous revenge on the first person he found? Like Spector himself, the real story would prove much more complicated and terribly fascinating.

Brown would spend the next three years researching the life of Spector for his new book, “Tearing Down the Wall of Sound” (Knopf), which will be published next week.

Spector’s influence on pop music is incalculable. He either co-wrote, produced or performed (or, in many cases, all of the above) on the most enduring songs of the 20th century. This is no hyperbole: “Spanish Harlem,” “On Broadway,” “Da Doo Ron Ron,” “Be My Baby,” “You’ve Lost That Lovin’ Feeling,” “Unchained Melody,” “River Deep, Mountain High,” the Beatles’ farewell album “Let It Be” (which infuriated Paul McCartney), both George Harrison and John Lennon’s first solo albums as well as Lennon’s “Imagine” all bear his stamp. He created the “Wall of Sound” production style that resulted in an almost overpowering sonic wash—no expense or lavish instrumentation was spared on his singles, which he called “little symphonies for the kids.”

But there was a dark side to the genius. Spector, whose father committed suicide when the boy was just 9, was raised by a smothering mother and tormented by an unhinged sister. He was painfully insecure about his ferret looks, bitter and revenge-minded for his mistreatment by high school’s cool kids. He would affect bizarre hairstyles and attire, hire bodyguards and retreat to the creepy seclusion of his Hollywood Hills castle. Eventually he would take to booze and carrying a gun. Now on trial for the murder of Lana Clarkson, Spector’s eccentric side has been made more public than ever. NEWSWEEK’s Brian Braiker recently spoke with Brown about Spector’s life, legacy and murder trial. Excerpts:

NEWSWEEK: Clarkson was killed two days after your profile of Spector appeared. You must have been surprised.
Mick Brown: I was stunned. I was staggered, shocked. I was in the Telegraph magazine offices that day and someone came down from the offices upstairs and said “What have you done to upset Phil Spector?” What really staggered me was that throughout the interview he kept emphasizing that he wanted to be a reasonable man. That was one of the factors of wanting to give the interview in the first place, that he was on even keel and the Phil Spector of legend was of the past.

Have you been following the trial?
I was out there for the beginning of the trial and the first week or so. I’ve been sort of experiencing withdrawal symptoms. It’s very fascinating and compelling to watch all of this unfold. Just to see him, he’s the shadow of the figure I met four years ago. He looks like a small boy who’s lit a firework and burned down a house, a completely stricken look about him, which he has. I think he’s had some sort of facial surgery. He looks altogether unwell—the trembling hands, the agitated movements, the way his tongue flickers in and out.

Have you learned anything you didn’t already know from your reporting by watching this trial?
What struck me forcefully is how vividly the contradiction, the paradox in his character is emerging, particularly in the testimony of the four women [he allegedly pulled guns on], all of whom have universally testified how charming he could be, what great company he could be and how quickly and rapidly he could change. Literally, there are two Phil Spectors: the sweet humble Jewish man, and then this sort of crazy acting-out braggadocio, the venomous tongue, explosive fits of temper and rage. It’s day and night.