Question: What time signature is the first track on Phil Spector's "Back to Mono" in?
Context: Phil Spector is a television film directed and written by David Mamet.  The film is based on the murder trials of record producer, songwriter and musician Phil Spector, and was released by HBO Films on March 24, 2013, in United States.  It stars Al Pacino as Phil Spector, Helen Mirren as defense attorney Linda Kenney Baden, and Jeffrey Tambor as Bruce Cutler.  It focuses primarily on the relationship between Phil Spector and Linda Kenney Baden, his defense attorney during the first of his two murder trials for the 2003 death of Lana Clarkson in his California mansion. The time signature (also known as meter signature, metre signature, or measure signature) is a notational convention used in Western musical notation to specify how many beats (pulses) are to be contained in each measure (bar) and which note value is equivalent to one beat.  In a music score, the time signature appears at the beginning, as a time symbol or stacked numerals, such as or (read "common time" and "three-four time", respectively), immediately following the key signature or immediately following the clef symbol if the key signature is empty.  A mid-score time signature, usually immediately following a barline, indicates a change of meter. "To Know Him Is to Love Him" is a song written by Phil Spector, inspired by words on his father's tombstone, "To Know Him Was To Love Him."  It was first recorded by the only vocal group of which he was a member, the Teddy Bears.  Their recording spent three weeks at No. 1 on the "Billboard" Hot 100 singles chart in 1958, while reaching No. 2 on UK's "New Musical Express" chart.  Peter & Gordon and Bobby Vinton later had hits with the song, with its title and lyrics changed to "To Know You Is to Love You".  In 1987, the song was resurrected by Dolly Parton, Linda Ronstadt and Emmylou Harris, whose "Trio" recording topped the U.S. country singles charts.  The song is in 12/8 time. "(The Best Part of) Breaking Up" is a song written by Phil Spector, Pete Andreoli and Vince Poncia.  It was first recorded by The Ronettes, produced by Phil Spector and arranged by Jack Nitzsche with Ronnie Spector on lead vocals and with backing vocals by Nedra Talley and Estelle Bennett, ably abetted by Darlene Love and the Blossoms, Bobby Sheen (a.k.a. Bob B. Soxx), and Sonny and Cher.  The song was released in April 1964, the year widely recognized as the group's most successful year, and proved to be the group's third consecutive top forty hit in the US.  The single peaked at number 39 on the U.S. "Billboard" Hot 100 and number 43 on the UK Singles Chart. A Christmas Gift for You from Phil Spector (originally released as A Christmas Gift for You from Philles Records) is an album of Christmas songs, produced by Phil Spector, and originally released as Philles 45 in 1963.  Spector treated a series of mostly secular Christmas standards to his trademark "Wall of Sound" treatment, and the selections feature the vocal performances of Spector's regular artists during this period.  The album peaked at number 13 on "Billboard" magazine's special, year-end, weekly Christmas Albums sales chart in December 1963. Back to Mono (1958–1969) is a box set (4 compact discs or 5 vinyl LPs) compilation of the recorded work of record producer Phil Spector, through the 1960s, released in 1991 by ABKCO as #7118-2.  The first track, "To Know Him Is to Love Him," released in 1958, features Spector performing as part of the group the Teddy Bears.  Initially a vinyl album-sized package, the box contained a booklet with photographs, complete song lyrics, discographical information, and a reproduction of the essay on Spector by Tom Wolfe, "The First Tycoon of Teen."  The package also contained a small, round, red "Back to Mono" pin. Mono Masters is a compilation album by the Beatles, and is an alternate, all-mono version of the album "Past Masters".  "Mono Masters" was originally a two-CD set included as part of "The Beatles in Mono" box set.  The premise of this box set was to compile only Beatles material which was released or prepared for release with a dedicated mono mix (the set excludes later material mixed and released only in stereo, and material whose mono version was simply created as an equal mix of the two channels of the stereo version).  As a result, the track listing for "Mono Masters" differs from "Past Masters" on the second half of disc two, omitting some later songs that never had a mono mix ("Old Brown Shoe", "The Ballad of John and Yoko" and "Let It Be"), and adding several songs released on stereo-only albums that had unreleased mono mixes.  Tracks 9–12 and 15 were prepared in March 1969 for release as a 7" mono "Yellow Submarine" EP, two months after the release of the similarly titled soundtrack album, but the project was scrapped, although the EP was mastered.  Subsequently, the tracks were only released in stereo (and in an electronically produced mono mixdown, or "fold-down", of the stereo mix), while the true mono mixes remained unreleased.  "Get Back" (with B-side "Don't Let Me Down") was the final Beatles single mixed for mono format.  It was released in the UK in mono, though the US release was in stereo.  Thus, the songs that were originally released on stereo singles in the UK are omitted on this release. Dedicated to astronaut John Glenn the album was another in a series of concept albums studying the exploration of unusual meters and polytonality within a jazz context.  Recorded between May 3, 1961 and February 12, 1962, it was put on tape in many of the same sessions that appear on "Time Further Out".  Brubeck encouraged the quartet members towards development of new time signatures for this album.  The first track, "Countdown," is based on a typical "8 to the bar" boogie, stride piano in the manner of Earl Hines or Teddy Wilson, but with two extra notes added in, giving a meter count of 10.  AC/DC's song "Whole Lotta Rosie" has an opening riff directly mimicking this track.  Michael Katzif considers the track so smoothly played that some people may be unaware of the unusual time signature.  "Eleven Four" uses a pattern of five beats, then two sets of three to create the feel of eleven.  In the track "Why Phillis" some players stick to 3/4 time, others adhere to 4/4, while others move between the time signatures.  "Someday My Prince Will Come" had been previously recorded by the Quartet before, juxtaposing triple and quadruple meters in the album "Dave Digs Disney", but the track was re-done on this album to further realize the rhythmic possibilities of poly-rhythm, including adding a rhythm of 2/4 to the mix.  "Castilian Blues" and "Castilian Drums" have time signatures of 5/4, the latter being unsurprisingly a percussion showpiece.  The next four tracks, "Fast Life," "Waltz Limp," "Three's a Crowd," and "Danse Duet" were written for a ballet entitled "Maiden in the Tower."  Different characters in the performance have themes with different time signatures, and as they interact the interplay and contrasts of the various rhythms are paraded.  The album's final track, as originally issued, is a standard blues in 4/4 time, hence the title "Back to Earth." On February 3, 2003, actress Lana Clarkson was found dead in the mansion belonging to record producer Phil Spector.  In the early hours of that morning, she met Spector while working at the House of Blues in Los Angeles.  They left the House of Blues in Spector's limousine and drove to his mansion.  Spector and Clarkson went inside while his driver waited outside in the car.  About an hour later, the driver heard a gunshot before Spector exited his house through the back door with a gun.  He was quoted as saying, according to affidavits, "I think I just shot her."  Spector later said Clarkson's death was an "accidental suicide" and that she "kissed the gun". "You've Lost That Lovin' Feelin'" is a song written by Phil Spector, Barry Mann, and Cynthia Weil.  It was first recorded by the Righteous Brothers in 1964, and was produced by Phil Spector.  Their recording is considered by some music critics to be the ultimate expression and illustration of Spector's "Wall of Sound" recording technique.  It has also been described by various music writers as "one of the best records ever made" and "the ultimate pop record".
Answer: 12/8 time