Monday, May 20, 2013

In This Version Of Cohen's Good Rock & Roll Stories About Phil Spector There Is Allegedly A Crossbow

From: Kelley Lynch <>
Date: Mon, May 20, 2013 at 12:26 PM
To: Dennis <>, "*irs. commissioner" <*>, Washington Field <>, ASKDOJ <>, "Kelly.Sopko" <>, "Doug.Davis" <>

Hello Mr. Riordan,

Of course Cohen was used against Phil Spector during his trials.  The motions where Cohen's gun story (directly contradicted by his testimony at my alleged trial) prove that fact.  Have you seen this version?  It involves a crossbow.
I wish Steven Machat t best of luck with Gianelli and Cohen fan, Walsh who continuously copies in Michelle Rice proving - to me - that Cohen and his lawyers condone this criminal harassment, etc. 

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Phil Spector sentenced

On May 29, Phil Spector, a major figure in the career of Leonard Cohen, was sentenced to 19 years to life in prison for the murder of his former girlfriend.  After establishing himself with an unprecedented string of hits in the late 1960’s, including songs by the Ronettes, Righteous Brothers, and the Beatles, Spector teamed up with Leonard Cohen for his 1977 album, Death of a Ladies’ Man.  Spector amped up Cohen's typically spare style, outraging the more dogmatic of his fans, but impressing others by adding a new texture to his oeuvre.   With his unique “wall of sound” recording techniques, Spector was arguably the first producer to become a bigger star than the artists he recorded.  The control he took in the production room paved the way for contemporary hip-hop producer-moguls like Jay-Z, Dr. Dre and Sean Combs, who, after stints as recording artists, have built their legacies around innovative productions of others' albums.  Phil Spector’s influence was so great in the 1960’s that the Beach Boys gave him a quiet acknowledgement by incorporating his initials into the title of their 1966 masterpiece, Pet Sounds, largely considered one of the best-produced albums ever made.  
The murder, six years ago, for which he has now been convicted, is an unfortunate culmination of a life of extreme eccentricity.  For a long time rumors flew about his irrational outbursts in the studio and in social situations, including gun-brandishing incidents involving friends and former girlfriends--fact that would not help his murder case.  In a 1979 interview with his friend Harry Rasky, Leonard Cohen recalls how he met and came to work with Spector, as well as some of his strange behavior:
We had a mutual friend and we were introduced.  And I was locked up in his house one evening, I visited him, and he locked the door.  Apparently it’s his way, he locks the door from the inside so that only he can determine when his guests can leave.  And he controls the environment very carefully.  You can’t turn a light on.  And he keeps the place at about fifty degrees so you generally have to wear an overcoat… A great genius… He wouldn’t let me out of the house so I said since I’ve got to be here let’s go to work and do something.  So we started working on some songs, and we wrote a number of songs very swiftly.  And one of them was the song I do in the concert called Memories.
It has been rumored that these sessions were not without their own dangerous moments where Spector aimed a crossbow at Cohen, telling him to sing like his life depended on it.

That collaboration with Cohen marked one of Spector's last successful creative endeavors.  Besides work on the 1980 Ramone’s album,  End of the Century, the last 30 years had been largely uneventful for Spector.  Most of it was spent reminiscing about his accomplishments, collecting handsome royalties, and taking provocative stands.  One of these was his impassioned defense of  Ike Turner as a musical genius after he had been thoroughly traduced by Tina Turner and the media.  The recent murder conviction throws a different light on the stories of his odd behavior.  We can now be all the more grateful that the artists he worked with kept their lives, let alone made outstanding records.