The Wrecking Crew (music)
The Wrecking Crew | |
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Steve Douglas, and Ray Pohlman . | |
Background information | |
Also known as |
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Origin | R&B |
Years active | 1960 | s–1970 s
Past members |
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The Wrecking Crew is a loose collective of US session musicians based in Los Angeles whose services were employed for a great number of studio recordings in the 1960s and 1970s, including hundreds of top 40 hits. The musicians were not publicly recognized in their era, but were viewed with reverence by industry insiders. They are now considered one of the most successful and prolific session recording units in music history.
Most of the players associated with The Wrecking Crew had formal backgrounds in jazz or classical music. The group had no official name in its early years, and it remains a subject of contention when they exactly were first referred to as "The Wrecking Crew". Drummer Hal Blaine may have first used this name as early as the late 1960s. The name was in common use by April 1981 when Hal Blaine used it in an interview with Modern Drummer magazine. The name became even more widely known when Blaine used it in his 1990 memoir, attributing it to older musicians who felt that the group's embrace of rock and roll was going to "wreck" the music industry. Some of Blaine's colleagues corroborated his account, while guitarist/bassist Carol Kaye contended that they were called "the Clique". Another unofficial name was "the First Call Gang",[1] sometimes used in the 1950s for an early version of the group headed by bassist Ray Pohlman that featured some of the same musicians.
The unit coalesced in the early 1960s as the de facto
The Wrecking Crew's contributions to so many hit recordings went largely unnoticed until the publication of Blaine's memoir and the attention that followed. Keyboardist
Historical context
Recording practices in the 1960s
In the era when the Wrecking Crew was in demand, session players were usually active in local recording scenes concentrated in cities such as New York City,
At the time, multi-tracking equipment, though common, was less elaborate, and instrumental backing tracks were often recorded "hot" with an ensemble playing live in the studio.[5] Musicians had to be available "on call" when producers needed a part to fill a last-minute time slot.[6] Los Angeles was then considered the top recording destination in the United States—consequently studios were constantly booked around the clock, and session time was highly sought after and expensive.[7] Songs had to be recorded quickly in the fewest possible takes.[4][8] In this environment, Los Angeles producers and record executives had little patience for needless expense or wasted time and depended on the service of reliable standby musicians who could be counted on to record in a variety of styles with minimal practice or takes, and deliver hits on short order.[4][6][9]
Musical backgrounds
The Wrecking Crew were the "go to" session musicians in Los Angeles during this era.
Name
The name "Wrecking Crew" was popularized by drummer and member Hal Blaine in his 1990 memoir, Hal Blaine and the Wrecking Crew.[17][18][19] Though the unit did not have an official moniker during their years of activity, Blaine has stated that the term was sometimes used disparagingly in the early 1960s by members of the industry's old guard of "coat and tie" session players, who felt that, with their penchant for wearing "t-shirts and jeans" to sessions and their embrace of rock and roll, they were going to "wreck" the music industry.[17][12] According to biographer Kent Hartman, "Some of the studio musicians I interviewed swear they heard it applied to themselves as early as 1963; others say it was later. One says it was never used at all."[20] Blaine's memoirs, and the attention that followed, cast new light on the Wrecking Crew's role in many famous recordings.[21]
Guitarist and bassist Carol Kaye has disputed Blaine's account of the name and stated, "We were never known as that. Sometimes we were called 'the Clique', but "the Wrecking Crew" is a Hal Blaine invented name for his own self-promotion in 1990 ..." Songfacts stated: "We couldn't find any references to 'The Wrecking Crew' in any publications from the era."[22] In response to Kaye's contention, Blaine denied that anyone had ever heard the name "The Clique".[23]
Formation of unit: 1957–1962
The beginnings of the group can be traced to session musicians of the late 1950s including
In 1962, Phil Spector started a new label,
Peak years: 1963–1971
After Spector, the Wrecking Crew worked with dozens of producers, such as
Brian Wilson of the Beach Boys produced and co-wrote many of his band's most famous tracks and used the Wrecking Crew's talents extensively in the mid-1960s, including on songs such as "Help Me, Rhonda", "California Girls", and "Good Vibrations" as well as the albums Pet Sounds and Smile.[33][23][34] Some reports falsely claim that the Wrecking Crew replaced the Beach Boys on record after their first few hits;[35][36][37] however, this misconception derived from incomplete written documentation of the recording sessions.[35][37] After audio documentation surfaced, it was revealed that the Beach Boys' first ten albums leading up to Pet Sounds and Smile were, by and large, self-contained efforts, and the band members played instruments on most of their singles and key album tracks.[35][36][nb 2] It was not until the 1965 album The Beach Boys Today! that Wrecking Crew musicians began to figure heavily on the band's studio recordings, an arrangement that lasted until 1967.[36][35]
Members of the Wrecking Crew served as "ghost players" on the first single by the Byrds, "Mr. Tambourine Man", because Columbia Records—namely, producer Terry Melcher—did not feel that the group (except for Roger McGuinn, who played guitar on the single) were seasoned enough to deliver the kind of perfect take needed, particularly in light of the limited time and budget allocated to the newly signed and unproven group—on a label that was only just beginning to embrace rock.[40][41]
Lou Adler was one of Los Angeles' top music executives and produced records by acts such as Jan and Dean and The Mamas & the Papas, which were often backed by the Wrecking Crew, as on "California Dreamin'" and "Monday, Monday".[42] Bones Howe had worked as an engineer under Adler and used the Wrecking Crew when he produced hits by the Association (including "Windy", "Everything That Touches You", and "Never My Love") and the 5th Dimension (including "Up, Up and Away", "Stoned Soul Picnic", and "Aquarius").[43][31]
Wrecking Crew members backed the
Musicians
Bass, drums, and percussion
Joe Osborn played bass on numerous Wrecking Crew-backed songs, such as Glen Campbell's "By the Time I Get to Phoenix", The Mamas & the Papas' "California Dreamin'", Richard Harris' "MacArthur Park", and the 5th Dimension's "Up, Up and Away".[56] Other notable electric bassists who played with the Wrecking Crew were Bill Pitman, Max Bennett, Red Callender, Chuck Rainey, and Bob West, as well as Jimmy Bond, Lyle Ritz, and Chuck Berghofer, who played acoustic upright bass.[57][58][59]
Drummer
Other drummers who played in the Wrecking Crew were
Guitars and keyboards
Guitarist and sometimes bassist
Though
The Wrecking Crew's ranks included a circle of keyboardists who contributed piano and organ parts to many of the famous songs of the era.
Brass, woodwinds, harmonica, and backing vocals
Saxophonist
Other saxophonists who played sessions with the Wrecking Crew were
T.A.M.I. Show (1964)
Several members of the Wrecking Crew played in the house band for 1964's T.A.M.I. Show, which was captured on film and sent to theaters around the country.[110] Seen in camera shots showing the right-hand side of the stage are musical director Jack Nitzsche, Hal Blaine, Jimmy Bond, Tommy Tedesco, Bill Aken, Glen Campbell, Lyle Ritz, Leon Russell, Plas Johnson, among others, all providing incidental music and backing for many of acts such as Chuck Berry, the Supremes, Marvin Gaye, and Lesley Gore.[110][111][112]
1970s–2010s
Diminished output
The Wrecking Crew's level of success could not be maintained indefinitely, and their services eventually fell out of demand.[113] Kent Hartman cites several factors in the Wrecking Crew's demise, beginning as far back as 1968 when the unit was at their peak of popularity: "By the middle of 1968, popular music was changing once again. In fact it was getting downright heavy. In the aftermath of the recent Bobby Kennedy and Martin Luther King, Jr. slayings, the bloody Tet Offensive in Viet Nam, and the ever-growing level of campus unrest at universities around the country, Top 40 radio gradually began to lose step with the times."[114] Hartman mentions that the runaway success that year of Richard Harris' elaborate seven-minute epic hit, "MacArthur Park", written by Jimmy Webb and featuring the Wrecking Crew's intricate backing, might have been another seed in their eventual decline:
Webb's creation additionally generated another unexpected consequence, one that would begin to subtly affect the Wrecking Crew's livelihood. Because the song had broken through the AM radio barrier, it had suddenly made it okay for lengthier songs to make the playlist. And the longer each song, the fewer minutes left during each hour for the station to play other songs. That was the unfair, mathematical irony of the whole equation; the Wrecking Crew had just played their hearts out on an all-time award-winning hit, yet its very success contributed toward a drop in the total number of songs making it on the air. And with fewer songs finding airtime, there gradually evolved a diminishing number of rock-and-roll recording dates for them to play on.[115]
The Wrecking Crew remained in demand in the early 1970s, even enjoying several hits, but by the end of 1973 they began to experience a downturn in bookings, as a series of changes in the recording industry began to take hold.
Post–Wrecking Crew careers
In 1969, after scoring hits as a solo artist such as "By the Time I Get to Phoenix" and "Wichita Lineman", Glen Campbell left the Wrecking Crew.[123] [124] Carol Kaye, exhausted from the constant pressure of the L.A. recording scene, went on to other musical endeavors.[124] According to guitarist Bill Pitman, "You leave the house at seven o'clock in the morning, and you're at Universal at nine till noon; now you're at Capitol Records at one, you just got time to get there, then you got a jingle at four, then we're on a date with somebody at eight, then the Beach Boys at midnight, and you do that five days a week ... jeez, man, you get burned out."[96] Campbell went on to become one of country music's most popular performers during the 1970s with hits such as "Rhinestone Cowboy" and the Allen Toussaint-penned "Southern Nights".[125]
By the mid-1970s many of the Wrecking Crew's members scattered and drifted into different spheres. Some members, such as Carol Kaye, Tony Terran, Gary L. Coleman, Earl Palmer and Tommy Tedesco, switched to television and motion picture soundtrack work.[126] Leon Russell and Mac Rebennack (as Dr. John) both went on to become successful solo artists and songwriters, enjoying hit singles and albums during the 1970s.[127][128] Jim Keltner went on to a successful career as a session drummer for much of the 1970s–90s; he played in Ringo Starr's All-Starr band and was the drummer on both albums by the supergroup Traveling Wilburys, where he is credited as "Buster Sidebury".[129][130] Beginning in 1973 he hosted a regular weekly jam session at Los Angeles clubs called "the Jim Keltner Fan Club" frequented by many of the younger L.A. session musicians of the time (Danny Kortchmar, Russ Kunkel, Waddy Wachtel, Leland Sklar, and Jeff and Steve Porcaro).[131]
The unit did a brief, but ill-fated reunion session with Phil Spector in 1992. In 2001, members of The Wrecking Crew reunited in the studio with David Cassidy to recreate Cassidy's hit songs from the 1970s, both solo and with The Partridge Family. These recordings resulted in the album Then and Now which was hugely successful internationally and went platinum in 2002. More recently, they backed Glen Campbell in his song "I'm Not Gonna Miss You" taken from the soundtrack of the 2015 documentary Glen Campbell: I'll Be Me.[132]
Legacy
The Wrecking Crew backed dozens of popular acts and were one of the most successful groups of studio musicians in music history.[133][134] According to Kent Hartman, "... if a rock-and-roll song came out of an L.A. recording studio from between about 1962 and 1972, the odds are good that some combination of the Wrecking Crew played the instruments. No single group of musicians has ever played on more hits in support of more stars than this superbly talented—yet virtually anonymous group of men (and one woman)."[135] According to The New Yorker, "The Wrecking Crew passed into a history that it largely created, imperfectly acknowledged but perfectly present in hundreds of American pop songs known to all."[96] In 2008, the Wrecking Crew were featured in the documentary film The Wrecking Crew, directed by Tommy Tedesco's son, Denny Tedesco.[136] In 2014, its musicians were depicted in the Brian Wilson biopic Love & Mercy (playing the instrumental track Pet Sounds).[137]
Two of their members, drummers Hal Blaine and Earl Palmer, were among the inaugural "sidemen" inductees to the Rock and Roll Hall of Fame in 2000, and the entire Wrecking Crew was inducted into the Musicians Hall of Fame in 2007.[138][139][140] In 2010, Blaine was elected into the Modern Drummer Hall of Fame.[141]
List of members
Sources: Kent Hartman (The Wrecking Crew)[142] and Robert Lloyd ("Time of the Session"; LA Weekly)[59]
- Electric bass: Max Bennett, Carol Kaye, Larry Knechtel, Joe Osborn, Bill Pitman, Ray Pohlman
- Double bass (upright bass): Chuck Berghofer, Jimmy Bond, Red Callender, Lyle Ritz
- Drums: Hal Blaine, Jim Gordon, Jim Keltner, Earl Palmer, Joe Porcaro
- Guitar: P.F. Sloan, Billy Strange, Tommy Tedesco
- Keyboards: Mac Rebennack, Al De Lory, Larry Knechtel, Mike Melvoin, Don Randi, Mike (Michel) Rubini, Leon Russell
- Percussion:
- Vibraphone & Marimba: Julius Wechter, Terry Gibbs
- Other Percussion: Jingle Bells and Tambourine Sonny Bono[144][nb 7]
- Saxophone:
- Trombone: Richard "Slyde" Hyde, Dick Nash, Lou Blackburn
- Trumpet: Bud Brisbois, Roy Caton, Chuck Findley, Ollie Mitchell, Tony Terran
- Flute: Jim Horn
- Harmonica: Tommy Morgan
- Vocals: Ron Hicklin Singersoften performed backup vocals on many of the same songs on which the Wrecking Crew had played instrumental tracks.
- Conductor and arranger: Jack Nitzsche
Blaine, Osborn and Knechtel were often collectively referred to as the Hollywood Golden Trio.[146]
Selected recordings
Compilations
- The Wrecking Crew (2015, RockBeat; 4-CD set)[155]
See also
- Booker T. & the M.G.'s
- The Funk Brothers
- MFSB
- Muscle Shoals Rhythm Section
- The Nashville A-Team
- Salsoul Orchestra
- The Section
- World Class Wreckin' Cru
Explanatory notes
- ^ In 1977 Spector would once again use the Wrecking Crew to do the backing tracks on Leonard Cohen's fifth album, Death of a Ladies' Man.[27]
- ^ For example, although it is often reported that drummer Dennis Wilson was replaced on record by studio musicians,[35][38] his drumming is documented on a number of the group's singles, including "I Get Around", "Fun, Fun, Fun", and "Don't Worry Baby".[39]
- ^ Blaine (born Harold Simon Belsky in Holyoke, Massachusetts) spent most of his childhood in Hartford, Connecticut, but his family moved to southern California in the late 1940s where he became a professional drummer.[65]
- ^ He would eventually play in Derek and the Dominos in the early 1970s.[70]
- ^ Its release was delayed until 1975 due to numerous problems legal and otherwise, such as when producer Phil Spector ran off with the sessions' tapes.[75][76]
- ^ Campbell and the Wrecking Crew played on "Strangers in the Night" by Frank Sinatra.[90]
- ^ Max Weinberg in his book "The Big Beat" does include Bono in a list of members of the Wrecking Crew as "percussion" and Bono appears in the photograph labeled, "The Wrecking Crew" on p. 79 of the book.[145]
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- ^ Hartman 2012, pp. 49, 51–55, 57–58, 71–72, 93–95, 98–102, 112–113, 120–124, 126–127, 134–139, 152, 162–163, 164–165, 169, 181–182, 185–186, 191–195, 198–201, 203–205, 207, 212–214, 222–226, 228–233, 249, 251–252, 261–263 – all songs mentioned in Hartman, except for those with other citation presented next to song entry.
- ^ Whitburn, Joel The Billboard Book of Top 40 Hits, Billboard Books, New York, 1992
- ISBN 0-00-717931-6.
- ^ Blaine & Goggin 1990, p. xviii.
- ISBN 9781480367111.
- ^ Tedesco, Denny (Director). The Wrecking Crew (DVD extras) (DVD).
- ^ Bosso, Joe (October 26, 2011). "Carol Kaye: My 10 Greatest Recordings of All Time". Music Radar. Retrieved August 14, 2016.
- ^ "Phonograph Recording Contract Blank - American Federations Of Musicians" (PDF). Wrecking Crew Film. November 13, 1967.
- ^ Prince, Patrick (September 5, 2015). "Music release highlights for September 2015". Goldmine Magazine: Record Collector & Music Memorabilia. Retrieved December 20, 2020.
General and cited references
- ISBN 978-0-918371-01-0.
- Blaine, Hal; Goggin, David (2010). Schwartz, David M. (ed.). Hal Blaine and The Wrecking Crew (3rd ed.). Rebeats Publications. ISBN 978-1-888408-12-6.
- Einarson, John (2005). Mr. Tambourine Man: The Life and Legacy of The Byrds' Gene Clark. Hal Leonard Corporation/Backbeat Books. ISBN 0-87930-793-5.
- ISBN 978-0-312-61974-9.
- Miller, Michael (2003). The Complete Idiot's Guide to Playing Drums. Alpha Books. ISBN 978-1-59257-162-8.
- Rumsey, Francis; McCormick, Tim (2014). Sound and Recording: Applications and Theory (7th ed.). New York and London: Focal Press, Taylor and Francis Group. ISBN 978-0-415-84337-9.
- Savona, Anthony (2005). Console Confessions: The Great Music Producers in Their Own Words (1st ed.). San Francisico: Backbeat Books. ISBN 978-0-87930-860-5.
External links
- The Wrecking Crew discography at Discogs
- The Wrecking Crew at IMDb