Greazy Will

history, right?

Because most of his competition is like 50, 40, right?

They're like old dudes, right?

It's like, like in the early days, like it's very funny, but they talk about this all the time.

And like, basically if you heard a song by a young black girl group, it was written by an old white Jewish man.

Without fail.

That's what, I mean, you know, not quite yet, but very soon the chess brothers are going to have chess records in Chicago.

It's going to be,

everything, you know, everything that exists, you know, in music is going to come out of there for a little while.

It's like, there is absolutely, uh, there, there is just a, a, a world of old white dudes writing, writing pop music for teenage girls and Phil Spector.

is the Maverick, he's the young guy, and he's doing it different, he's very different, right?

All right, so the studio becomes his creative space, the studio becomes everything to him, he's using it as part, it's like the, it's really in these moments too, when he's making these Wallace Sound productions, it is basically Phil Spector and the studio is the musician.

He's bringing in randos from the parking lot to sing backgrounds.

There's layers of percussion and shit.

It was like, if you could keep a beat at all, it was like, cool, go in there and play this thing.

He would have multiple drums, all sorts of stuff going on in these productions.

The musicians were interchangeable.

The studio was important to him.

Gold Star Studios in Hollywood on Vine, which is no longer there by the record.

It was a shitty studio in the 1960s.