The story goes that Spector lost a lawsuit, and the guy he lost it to demanded the royalties to the next Crystals record as compensation. So Spector recorded a little ditty in which a man says the title over and over, and pressed up a couple of copies. Neat revenge.
Origins: The relationship between the worlds of art and commerce has long been an uneasy one. Artists, beholden to commercial concerns, have often found themselves having to compromise both the quality and the quantity of their work in order to live up to contractual obligations.
The music, publishing, and film industries are rife with tales of the extremes creative types have sometimes resorted to in order to get out from under commitments they found to be no longer desirable yet still binding. After the breakup of Creedence Clearwater Revival,
The other end of the spectrum involves artists who deliberately create substandard work in order to fulfill the technical requirements of a contract while "kissing off" the other party by delivering product practically guaranteed not to sell. Most contracts now have an "acceptability" clause to guard against such an eventuality, a concept that was played out in the tabloids in 1996 when actress Joan Collins was sued by her publisher, Random House. Collins had signed a deal to write two novels for Random House in exchange for
Of course, no one claimed that Collins had deliberately submitted substandard work, but that claim has been attached to one of the most famous producers in popular music history, and an infamously legendary record.
In 1958, at the tender age of 17, wunderkind musician Phil Spector wrote, sang on, and produced the #1 hit "To Know Him Is To Love Him." Record production was Spector's forte, however, and three years later, after having produced singles for a variety of labels, the notoriously temperamental and egotistical Spector finally gained the complete artistic control he wanted with the formation of his own record label, Philles Records in 1961.
Philles Records wasn't quite Spector's own label, though. The company was a partnership between Spector and Lester Sill, "the most ubiquitous and well-connected figure in the West Coast rock scene," for whom Spector had crafted his highest-charting record to date as a professional producer, the Paris Sisters' "I Love How You Love Me" (a #5 hit in 1961). Hence the label was an amalgam of the two men's names:
Over the next few years, Phil Spector turned out a string of hits on Philles with groups such as the Crystals, the Ronettes, and the Righteous Brothers, all utilizing his famous "Wall of Sound" production techniques. But along the way, Spector — whose "peevish independence" doomed his being a joint participant in any creative venture — inevitably had a falling-out with his partner. It was his artistic genius that had made Philles a success, Spector felt, and he wasn't about to share the rewards with someone else any longer than necessary — especially after Lester Sill had the impudence to interrupt Spector's string of hits by producing and releasing non-charting singles of his own on Philles. When Spector started calling meetings at which he failed to appear, made himself nearly impossible to reach, and began signing contracts and arranging business deals without consulting Sill, the end of the partnership was in sight, only a year after it had begun.
Lester Sill eventually sold out his share of Philles Records to Phil Spector for $60,000, and he didn't even manage to collect that small sum as Spector withheld the money, claiming that Sill still owed him royalties for his work with the Paris Sisters the year before. Sill then had to sue Spector to recoup payment for his share of Philles, precipitating Spector's creation of the most notorious contracting-ending recording in pop music history.
In January 1963, Phil Spector went into the studio with Philles' best-selling act, the Crystals, along with pianist Michael Spencer and two other musicians, to record a Spector-penned tune entitled "(Let's Dance) The Screw -
C'mon and do it.
To the right,
to the left.
The legend surrounding this act of musical revenge is that as part of his legal settlement with Spector, Lester Sill was awarded the royalties from the sales of next Philles single. By deliberately creating an unreleasable product, the tale went, Spector had "screwed" his former partner out of any additional money.
The "screwed out of royalties" aspect of the legend can't be verified, however. Mark Ribowsky's biography of Phil Spector quotes Lester Sill extensively, and Sill says nothing about having demanded royalties from the next Philles single as part of his settlement. It also seems unlikely that Sill would have wanted his compensation to be dependent upon Spector's future commercial success rather than simply asking for a set amount of money, especially since he originally agreed to sell out for a mere $60,000 just to be shed of Spector:
If "(Let's Dance) The Screw" wasn't intended as a royalty-killing non-seller, then what was the point? Perhaps nothing more than the obvious, as Lester Sill noted: "He wanted to get me. That was him saying, 'Fuck you, buddy.'"
A similar story is true about the Rolling Stones, though. When the Stones decided to leave Decca Records and start their own label (Rolling Stones Records) in 1970, Decca informed them that their contract obligated them to deliver one more single. The Stones dutifully complied by handing over the unreleasable "Schoolboy Blues," also known as "Cocksucker Blues." (Strangely enough, the song was eventually released by Decca in Germany, as a bonus single included with the 1983 four-LP boxed set The Rest of the Best. The set was quickly pulled and rereleased without the single.)
Last updated: 16 May 2007
Bordowitz, Hank. Bad Moon Rising: The Unauthorized History of Creedence Clearwater Revival. New York: Schirmer Books, 1998. ISBN 0-8154-1044-1. Gray, Paul. "Damsel in Distress." Time. 19 February 1996. Karnbach, James and Carol Bernson. It's Only Rock 'n' Roll: The Ultimate Guide to the Rolling Stones.. New York: Facts on File, 1997. ISBN 0-8160-3547-4 (p. 298). Ribowsky, Mark. He's a Rebel. New York: Cooper Square Press, 1989. ISBN 0-8256-7157-4.