Mike Nesmith, music, the Monkees

Wool Hat: The Ballad of Mike Nesmith

So many great artists are buried by celebrity. I wrote recently about ‘paying the bills’; the idea that an artist can sometimes get stuck doing what he is popular for as opposed to what he likes to do or can do well. (https://wordsbywellsy.wordpress.com/2017/11/04/paying-the-bills/) Virtuoso guitarist Glen Campbell gets ‘stuck’ being a country singer. Michael Nesmith found himself in a similar situation at the start of 1967. An earnest songwriter and guitarist, Michael found himself on television playing a quiet country boy hanging out with three goofballs. He also found his name on a record that he said was the worst album in history.

Robert Michael Nesmith was born in Houston, Texas. When he was only four years old, his parents divorced. Bette Nesmith took Michael – an only child – to live near family in Dallas. Bette worked many clerical jobs to support her and her son before ending up at Texas Bank and Trust, eventually reaching the elevated position of executive secretary. Like many secretaries, she was constantly frustrated by the inability to properly correct mistakes made while typing on the typewriters of the day. Bette got an idea. She took some water-based paint with her to work one day and started using it to ‘paint over’ her mistakes. Some bosses gave her static about it but her co-workers used it and loved it and Bette carried on this way for five years. Eventually, she decided to market and sell her correction fluid as “Mistake Out” in 1956. She began a ‘factory’ of sorts in her kitchen and changed the name of her product to “Liquid Paper”. She was boss of her own revolutionary company until 1979 when she sold it to Gillette – for $47.5 million. Mike’s life was off to an interesting start.

Mike was an indifferent student and did not graduate high school before joining the Air Force. Once he got out, he began to focus on writing songs and performing in clubs. He moved to Los Angeles in 1965 and entered in to a publishing deal for the songs he was writing. One day, an associate brought in an ad asking for young men to audition for a television show centered around a fictitious rock band; “The Monkees”.

Wool Hat

Mike as ‘Mike’. And his green wool hat.

Now, I don’t know Michael Nesmith personally but, having been a fan of the Monkees for more than 30 years, I think I can make a few assumptions about his feelings about being involved in this fledgling television show. Maybe the same could be said for how Micky Dolenz, Davy Jones and Peter Tork – the other Monkees – felt as well. Mike was a songwriter. He was a singer and guitarist who had been operating in the music business for a while. I will assume that his desire was to be allowed to make records; get a record deal, take his songs into a studio with a band, record them and put out records. But anyone can understand that as you begin to feel your way at the dawn of your career, you will take any opportunity that comes your way.

Mike found himself playing a wool-hat wearing, quirky country boy – a variation on himself – on a weekly television show. The intention of the producers all along had been to put out records under the name “The Monkees”. The original ad for the auditions did stipulate that successful candidates would have musical abilities; songwriting, singing, instrument playing, etc. so obviously the four boys who would make up the group would be utilized somehow when it came to making the records. The Monkees get a bad rap and are referred to as the ‘Pre-fab Four’. They are not considered a real band because they didn’t play their own instruments. But here’s the thing – it was common practice in the music industry at the time for producers to ‘create’ bands and then utilize session musicians to make the records. If you’ve ever heard of the Wrecking Crew than you know that this crack group of L.A. session musicians played on the bulk of the hit records released in the mid-1960’s. Fully functioning bands like the Beach Boys, the Byrds, the Grass Roots, the Association, Gary Puckett and the Union Gap and Paul Revere and the Raiders used these seasoned studio players to create music in the studio. Producers of the time wanted perfect recordings in the shortest amount of time possible – this meant bringing in the pros. It was not uncommon and it was not just the Monkees that employed session musicians. But because it was supposedly so obvious – I mean, it was a TV show, not a ‘real’ band – the Monkees had a stink on them from the get-go.

All this would have rankled a musician like Mike Nesmith. He was in the business to make records – NOT act on TV, playing air guitar to music performed by others. You can see from the outset, from the very first album, that Mike was doing his best to focus on his music as opposed to engaging in the hit-making combine that comprised songwriters Tommy Boyce and Bobby Hart and producer Don Kirshner. This is borne out by taking a look at the first album, “The Monkees”, released in October of 1966.

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Their first album went to #1 and stayed there for 13 weeks.

Micky Dolenz does NOT get enough love. He had perhaps the perfect voice and vocal delivery for the pop/rock of the day and was called upon to sing lead on the majority of the group’s hit singles. Such was the case with the first 45RPM, the #1 hit “Last Train to Clarksville”, released shortly before the first album. Mike is represented on the first LP by two songs. “Papa Gene’s Blues” perfectly exhibits Mike’s country/rock leanings. “Twangy”, you might say, or “jangly”. “Sweet Young Thing” is more of a rocker with the added touch of fiddle. Mike had been promised by the powers-that-be that he could have a modicum of control over his songs in the studio. What’s interesting is that, although Mike could be considered a neophyte, he was producing sessions featuring the Wrecking Crew, the best studio musicians in the country. Also interesting; his two songs are VERY “Mike” and stand out from the rest of the tracks. In fact, Mike does not participate in any other song on the album. However, on his own compositions, that he produced, he utilizes Micky (vocals) and Peter Tork (guitars). Micky sings harmony with Mike on “Papa Gene” which started a pairing I love. Michael often would call on Micky either to sing lead on a song he had written or to sing some wonderful-sounding harmony with him. This tells me that, from the outset, Michael wanted to make his own music and to use the others in the group whenever possible.

The Monkees’ second album – “More of the Monkees” – was released January 9, 1967. It came as a complete surprise to the boys in the band. Svengali Don Kirshner had rushed the album out to capitalize on the Monkees’ massive success. The album being compiled and released without the band’s knowledge coupled with Kirshner’s liner notes, in which he praises his songwriters and producers before he mentions the Monkees themselves, confirmed Mike’s assertion that the boys were not in control of their own fate and sent a disturbing message to the other three guys. At a meeting in which the boys vented their spleen to the powers-that-be, Mike became so enraged that he punched a hole in a wall, exclaiming to the record company’s lawyer in attendance “that could’ve been your face!”. In the aftermath, Michael’s lobbying was successful and the boys were given artistic control of their next album. Don Kirshner was eventual fired. (He would go on to ‘create’ The Archies)

Mike was quoted in a magazine interview saying that “More of the Monkees” was “probably the worst album in the history of the world”. It’s apparent, though, that it was the state of affairs that made him feel this way about it. The album is better than their debut and fared even better on the charts. “More of the Monkees” displaced “The Monkees” in the #1 slot and the sophomore effort would spend 18 weeks on top. Mike’s contributions are again very “Mike” and very interesting. He sang lead and played steel guitar on “The Kind of Girl I Could Love”. He again produced the Wrecking Crew and the backing vocals feature all four Monkees. “Mary, Mary” is a great song and an example of one that Mike wrote but gave to Micky to sing. Peter plays guitar, joining the Crew in the studio. The song was eventually covered by Run-D.M.C. Again, Mike does not appear in any way on any other track on the album.

Their third album, “Headquarters”, was made by the boys operating as a proper band. Mike plays guitar throughout, bringing his soon-to-be-trademark 12-string electric sound to the fore. He also plays some great organ on “For Pete’s Sake” – co-written by Peter but, again, given to Micky to sing – which was used as the closing credits song during season 2 of the show. Mike wrote and sang the album opener, “You Told Me” and also “Sunny Girlfriend”. “You Just May Be the One” is quintessentially “Mike” and is one of his best songs. It’s another great example of how good Mike and Micky sound singing together, Micky again taking the harmony line. “Headquarters” peaked at #1 but was overtaken the very next week by the Beatles’ “Sgt. Pepper’s Lonely Hearts Club Band”. They would be 1 and 2 in the land for the next 11 weeks. “Headquarters” is often cited as the only one of the Monkees’ albums to be considered “essential”.

I would be remiss to not mention what is maybe – with “Sometime in the Morning” – my absolute favourite Monkees song, “The Girl I Knew Somewhere”. This song, released as the B side of “A Little Bit Me, A Little Bit You” in March of ’67, is notable as being the first track that the Monkees took charge of themselves. They all played instruments and recorded the track alone in the studio with producer Chip Douglas, who also played bass. Michael wrote the song and took the lead on an early version. Another take was recorded with Micky singing lead and this became the master. It is perfect pop. Perfect pop. I tend to short shrift Peter Tork and his contributions to the band but he lays down some stellar harpsichord on this song. It is a gem.

Mike had a success outside the Monkees in the fall of 1967. A 2-year-old song of his, “Different Drum”, became the first hit of Linda Ronstadt’s career. Her group, the Stone Poneys, took Mike’s tune in to the Top 20. They had been rehearsing the song as a slow ballad but their producer, Nick Venet (credited as producer on the Beach Boys’ first two albums), re-envisioned it as baroque pop with prominent harpsichord. He wanted a specific sound and employed seasoned session musicians to play on the record. In the end, Linda was the only Stone Poney to perform on the recording. Sound familiar? It is interesting to note that this is what happened in the early days of the Monkees and supports the claim that it happened all the time to many different groups.

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The lads – in their “Monkee” shirts – between romps. Micky, Davy, Peter and Mike.

Their fourth album, I think, is just as good if not better than “Headquarters”. “Pisces, Aquarius, Capricorn and Jones, Ltd.” was released at the end of 1967 and also reached #1. Mike’s lead vocal is featured prominently on this alum and it contains another gem from him although in this case it’s just a vocal and not a composition. Again, the opener goes to Mike although he did not write the song, “Salesman”. One of the best Monkees songs ever, “The Door Into Summer”, was not written by Michael but features his lead with Micky coming in to sing harmony. The two have never sounded better together. Mike and Micky give out with more of the same on the very next track, “Love is Only Sleeping”, written by the formidable team of Barry Mann and Cynthia Weil. Maybe the greatest “Mike” song in the Monkees catalog was not written by him but given to him to sing because of it’s country sound. “What Am I Doing Hangin’ ‘Round?” is 3 minutes and 9 seconds of bliss taken at a rolling gait accentuated by banjo. Michael wrote the intriguing “Daily Nightly” but again turned the vocals over to Micky. Mike’s lyrics are a veiled commentary on the recent Sunset Strip riots and the song is one of the first rock songs to feature the Moog synthesizer. Micky was the third person to ever own one and he plays it on this track. By contrast, the next cut on the album is “Don’t Call on Me”, written and sang by Mike. It is a gentle track that starts off as a tongue-in-cheek lounge lizard number.

“The Birds, the Bees and the Monkees” was released in April of 1968. By this point, an odd thing had happened. After fighting to work together and alone and doing so on their last two successful albums, the boys decided they wanted to work separately from each other. Yes, they had proven the critics wrong and could do things well themselves – it’s just that they didn’t want to do them together anymore. Michael was still pioneering country/rock and also exploring psychedelia. His contributions to this album included the outstanding – if ridiculously titled – “Auntie’s Municipal Court”. A glorious guitar orchestra opens the track before Mike’s oft-chosen vocalist, Micky, comes in singing the lead. As a rarity, it’s Mike singing the harmony here to Micky’s lead. “Tapioca Tundra” was a far-out excursion on which Mike plays almost all the instruments including some typically stellar 12-string. “Writing Wrongs” is more of the same; only less so. “Magnolia Simms” was more experimentation from Mike, this time emulating a 1920’s sound. The album was very successful for the boys as it included the hits “Daydream Believer” and “Valleri” but Peter Tork left during the making of the album and the three remaining were working – as often happens with bands – as three solo artists. Staying together though was somewhat of a necessity. Neither of the three were big enough to make it on their own but they were more than able to ply their individual trades under the umbrella of “The Monkees”. Michael’s songs were beginning to show signs of an eccentricity that would mark his music throughout the rest of his career.

The soundtrack to the Monkees’ movie, “Head”, was released near the end of 1968. The film defies understanding but the soundtrack contains some fine moments (Rolling Stone ranked it the 25th best soundtrack). Mike’s lone contribution was the energetic rocker “Circle Sky” on which he plays some excellent guitar and delivers some of the best grunts in rock history. The “Instant Replay” album is the first output of what could be called the Monkees’ ‘second phase’; the show was now off the air and this was the first record to be made after Peter Tork had left the group. Michael’s songs include “Don’t Wait For Me” which is VERY country and includes prominent steel guitar and was recorded and co-produced in Nashville with Felton Jarvis, who had only recently started working with Elvis Presley. “While I Cry” is absolutely devastating. One of the saddest songs you’ll ever hear, it is another example of Mike’s specific brand of fine guitar playing. The swan song of Mike’s initial period with the Monkees came with the next album, “The Monkees Present”. Released in October of 1969 into a music scene that had long since left the boys behind, it was another patchwork of songs from three individuals. The twelve tracks were divided up evenly, 4 a piece. Mike brought one more great track to the Monkees’ fold with “Listen to the Band”. Here Michael is producing crack session men in Nashville, taking them through a trademark Nesmith country/rock number with steel guitar again prominent. “Listen to the Band” was the last song resembling a hit from the original run of the group, charting at #63. Shortly after the release of this record, Mike announced he was leaving the group to start his own outfit called The First National Band.

Michael had released records before joining the Monkees under the name Michael Blessing. Also, in 1968, he released the hard-to-explain orchestral album “The Wichita Train Whistle Sings”. The instrumental album was made over two sessions in Hollywood with the Wrecking Crew and featured versions of lesser-known Monkees songs. With the First National Band, however, Mike Nesmith was stepping out for the first time as a solo artist with the cache of having been a Monkee and with all the attendant expectations.

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Red Rhodes, John London, John Ware and Mike: The First National Band. Photo courtesy of their Facebook page.

Finally out from under the umbrella of the Monkees – Michael paid out the remainder of his contract – Mike was now free to completely ply his trade as he saw fit. His trade was “country/rock”, a genre that he did not invent but you can certainly count him among it’s pioneers. Mike had built up a back log of songs during his time with the Monkees so much so that his new band was able to release three albums in an 18-month period. Mike teamed with steel guitar player Orville “Red” Rhodes who’s playing defined the sound of the First National Band. The group’s first album, “Magnetic South”, yielded the Top 40 hit “Joanne”, a surprise for the fledgling band. However, country/rock was not commercially viable and Mike was concerned not one bit with writing a “hit song” so after the First (and Second) National Band had petered out, Michael carried on, following his muse and releasing albums that virtually no one heard. Mike struggled to keep his career solvent and had difficulties with the IRS until a sad event helped him out. His mother, Bette, passed away in 1980 and Mike inherited half of her $50 million estate. This freed him up to pursue his next venture.

“The Monkees” television show had been directly inspired by the Beatles’ first film, 1964’s “A Hard Day’s Night”. The idea of “The Monkees” was to have the manufactured band live together and get into adventures. But also there was records to be sold and the TV show could pump the music into living rooms every week. And while the record would play – as in “A Hard Day’s Night” – the Monkees would get up to a lot of zany antics: somersaulting through a park, running along the beach, chasing the bad guys around the house, etc. This all sounds like what would eventually become “music videos” and, indeed, Richard Lester, who directed the Beatles’ first two films, is considered a sort of ‘godfather’ of the music video. And rightfully so. But also the producers of “The Monkees” television show should also get recognition as pioneers as they presented these “clips” week in and week out for two years.

No doubt this experience was in Mike’s mind when he decided to make a “clip” to accompany his song “Rio” from his 1977 album “From a Radio Engine to the Photon Wing”. He began to explore the idea of “music videos” and of releasing his subsequent albums as “video albums”. Problem was that there was nowhere to show these “videos”, except for maybe on a late night talk show that Mike happened to be a guest on. Subsequently, Mike would find a home for his “music videos”. In 1981, he released an hour-long program called “Elephant Parts” which was made available on VHS and LaserDisc and was one of the first new programs made available for home viewing. “Elephant Parts” was a collection of comedy skits, commercial parodies and five full-length music videos for recent recordings of Mike’s. At the Grammys the following year Michael won the first ever award given out for a “music video” and the success of this innovation inspired Mike to take his music video idea further.

Many other artists began to make music videos and Michael came up with the idea for “PopClips”, a show that featured videos by some popular and emerging artists. Early videos shown on “PopClips” were for songs by George Harrison, the Rolling Stones and the Police – but also Jo Jo Zep and the Falcons, Pearl Harbor and the Explosions and Tycoon. “PopClips” ran on Nickelodeon – owned by Time-Warner – for one season. Michael then sold the show to Time Warner, who subsequently redeveloped the show into the “MTV” network.

Through the rest of the ’80’s and the 1990’s, Mike continued to release albums. He also started a production company responsible for music videos by other artists and feature films. He also continued to avoid returning to the Monkees. Mike did not join the boys for the Monkees’ 20th anniversary reunion but the four Monkees did get together in 1996 to release “Justus”, an album that harkened back to “Headquarters” in that it was completely written and performed by the four of them alone. (The lead-off track was a re-recording of “Circle Sky”) Starting in 2012 and continuing after the untimely death of Davy Jones, Nesmith toured with Micky and Peter although he did not join the two other remaining Monkees for the band’s 50th anniversary tour in 2016. Also that year the band released “Good Times!”, a critically acclaimed album that featured one composition from Mike and three vocals.

In early 2018, Mike performed a handful of concerts with a revamped First National Band that included two of his sons and later in the year he hit the road with Micky for a series of shows billed as “The Monkees Present the Mike Nesmith & Micky Dolenz Show”. It seems that now, 52 years after the band’s formation, the death of Davy Jones and the apparent ‘retirement’ of Peter Tork, the Monkees has finally ceased to exist as an entity. Contrary to the perception that Mike Nesmith has ill feelings towards the Monkees and the ‘box’ the band put him in, Mike’s statement in 2012 about the experience wraps things up nicely: “I never really left. It is a part of my youth that is always active in my thoughts and part of my overall work as an artist. It stays in a special place.”

Mike Nesmith’s legacy is an interesting one. In some respects, he never truly has emerged from under the umbrella of the Monkees. But, really, that’s OK. Some artists, as I’ve said, get trapped by celebrity; typecast, or whatever you want to call it. Maybe in the end these artists never get to spread their wings as they may have liked but the one role they played or the one group they were in are cherished by many people. Many people love and adore the Monkees; the show and the group’s music truly ‘mean something’ to many people. That is no small thing.

I think to understand Mike as a solo artist, it helps to look at his perception of his time plying his trade as one of the original country rockers with his First National Band. I have read that Michael “was agonized” when he heard the first album from the Eagles, a band that was recording music in the same vein as the First National Band. He has said that he was “heartbroken”: how are the Eagles moving so many units when my albums are invisible? I understand his pain but I have to say that the Eagles’ first few albums contain a wonderfully accessible sound. “Tequila Sunrise” and “Take It Easy” are infinitely easy to like. The First National Band was much more “country” than the Eagles and the FNB lacked the ability to deliver the gorgeous harmonies that Glenn Frey, Don Henley, et al. could deliver.

In my opinion, Mike’s music in general always seemed to lack that one final ingredient. That elusive something that makes the masses embrace an artist or an album or a song. And his persona was never easy to grasp. His intelligence and dry humour made him a challenge to “get”. If you were browsing the record shops back in the day and came upon an album called “Pretty Much Your Standard Ranch Stash” or “From a Radio Engine to the Photon Wing” or “Infinite Rider on the Big Dogma” you may have looked askance – it was especially hard to understand that the craziness of the titles was not reconciled to the music; the music on the records was not as crazy or avant-garde as the titles suggested. His was an eccentric talent, he was on his own path and the music he made and the persona he projected simply could not be easily processed by the average young person listening to his radio in his pick-up truck. That’s not to say that Mike was and is not possessed of innate talent and ability as a songwriter and musician. Mike Nesmith belongs in that rare group of artists that are greatly respected by the industry and those who “know” but that are misunderstood by the general, record-buying public: Lee Hazlewood, Warren Zevon, Tom Waits and others. These are artists that ‘travel to the beat of a different drum’.

Michael was the true artist of the Monkees. He had the talent to write and record music himself. He didn’t need to join the group but he took the opportunity for the advancement it could provide. He battled for his artistic individuality while with the Monkees and then, when he left, he had a hand in pioneering country/rock. Later, his vision lead him to not create the music video but to become an early proponent of the concept of presenting videos in a regularly recurring format; indeed, the iconic “MTV Network” was based on an idea of his. And before any of this happened, his mother invented a product that virtually everyone in the developed world has used either in school or business. And yet it seems he will always be remembered as “Monkee Mike”, “Wool Hat”. And that’s OK.

Nez

Papa Nez. Monkee Mike. Wool Hat. All of those things. And more.

The Best of Mike Nesmith: The Monkees and Beyond

Honourable Mention: “Different Drum” – the Stone Poneys — lovely song with a sweet vocal from a young Linda Ronstadt.

5. “Joanne” – the First National Band — surprise hit for the fledgling country/rockers. Nice vocal from Nez.

4. “You Just May Be the One” – the Monkees — nice strumming. One of the highlights of the Nesmith/Dolenz vocal tandem.

3. “What Am I Doing Hangin’ ‘Round?” – the Monkees — not written by Mike but a very “Mike” sound. An exciting, banjo-laden trip south of the border.

2. “The Door Into Summer” – the Monkees — another one not written by Mike but a joyful jaunt. Micky shines again in his role as Mike’s vocal shadow.

1.  “The Girl I Knew Somewhere” – the Monkees — like I said: perfect pop. Mike was savvy enough to give the lead to Micky. They again sound great together. An absolutely delightful song.

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Herb Alpert, history, music

Stayin’ Alive: Herb Alpert

Herb Alpert is 83 years old. You probably don’t know who he is. Or maybe you’ve heard of him but don’t know much abut him. My “Stayin’ Alive” series attempts to shine a light on legends who are still with us. It’s surprising how many major contributors to pop culture are still alive but, the way ‘celebrity’ works, they don’t get near as much love as they deserve. After they die, the tributes fly but I am hoping to point out the impact these people had before they go to meet Houdini.

First and foremost, Herb Alpert is a trumpeter. However, the list of other things he is goes on for quite some time: composer, arranger, producer, songwriter, singer, record executive, painter, sculptor, philanthropist, actor… I like to refer to him as a mogul. I’ve seen mogul described as “a great personage, an important or powerful person, especially in the motion picture or media industry”. “An influential person: big gun, big hitter, high level honcho, superior”. My favourite is “power derived from experience and skill, not popularity (most celebrities, while called moguls, are in fact not)”. An apparently low-key guy like Mr. Alpert would likely cringe at being described as such and I think in Herb’s case, I would tend to use the word “influential” more than “powerful”. Definitely, though, he was a major player in a major market at a major point in the history of the music business.

Herb was born near the start of spring in the Boyle Heights section of East Los Angeles to Tillie and Louis, two Jewish immigrants from the Ukraine and Poland. When Herb was growing up, Boyle Heights was a predominantly Jewish neighbourhood. Later, the area saw an influx of Latinos. While today Boyle Heights is made up of 95% Latinos, the neighbourhood has a history of Jews and Latinos working together, politically and civilly, to improve living conditions. As a musician, Herb embodies this combination of Jew and Latin; he was of Jewish heritage and immersed himself in a Latin sound that he sought to share with the world. Record producer Lou Adler also grew up in Boyle Heights and became an associate and good friend of Herb (Adler, once married to Shelley Fabares, is also ‘stayin’ alive’ at 84 years of age). Other notable one time residents of the area include: Verve’s Norman Granz, will.i.am, Mickey Cohen and Anthony Quinn.

Herb’s whole family was musical and Herb began to play trumpet at age 8 and he experimented at an early age recording himself. He went to Fairfax High School which, at the time, had a predominantly Jewish student body. The school boasts an impressive list of notable alumni, everybody from Carole Lombard and Darla Hood to Mickey Rooney and Ricardo Montalban and up to Phil Spector, Anthony Kiedis and Demi Moore. Herb graduated in 1952 and then joined the Army. After his hitch, he tried his hand at acting, appearing as an extra (“drummer on Mt. Sinai”) in Cecil B. DeMille’s “The Ten Commandments”.

In 1957, Herb took to songwriting and wrote hits for Jan & Dean (“Baby Talk” – #10) and Sam Cooke (“Wonderful World” – #12) before starting a recording career of his own. Herb took his son’s name, Dore, and released a handful of singles, none of them making much of an impression on the charts. It was at this point that he joined forces with his good friend, Jerry Moss. The two buddies decided to start their own label to release Herb’s recordings and also to record other artists they hoped to discover and develop. A&M Records was born.

The fledgling record company set up shop in Herb’s garage where Herb started working with a song a friend had written called “Twinkle Star”. On a break from working on this track, Herb went to Tijuana, Mexico to watch the bull fights. Alpert was taken with the atmosphere and the enthusiastic roars of the crowds. When he got back to his garage he took a different direction with “Twinkle Star”, adding crowd noises and double-tracking his mournful trumpet. He was happy with the sound which was decidedly “Mexican”. Alpert released the single as A&M’s first, renaming it “The Lonely Bull”. Still using their own money to fund operations, Alpert and Moss shopped the single around to various radio stations. The song began to receive airplay and eventually struck fire, reaching #6 on the pop charts in the fall of 1962. Oh, to be back in an era when a song like this could be Top Ten in the country. Now that they had a hit on their hands, Alpert needed an album. “The Lonely Bull” LP was released at the end of the year credited to “Herb Alpert and the Tijuana Brass”; in reality this was Herb’s trumpet backed by the legendary session band, the Wrecking Crew.

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The simplicity of the early 1960’s. The bare-bones cover of the first album released on A&M Records.

For later releases and live performances, Herb would put together an actual band and released “Volume 2” in 1963 and “South of the Border” in 1964. “South of the Border” may be considered the first “essential” TJB album. The disc signaled a move away from predominantly Spanish flavoured songs to a more easy listening style which would become their trademark – the style is more easy listening. However, 8 of the twelve titles contain Spanish/Latin references. Their versions of “The Girl from Ipanema” and “All My Loving” pointed the way to a lighter, middle-of-the-road sound.

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A decidedly “Mexican” setting is actually the Patio del Moro apartment complex in West Hollywood. The model is Sandra Moss – wife of Jerry – and the boys are billed as “Herb Alpert’s Tijuana Brass”.

Their fourth album was a legendary release and remains their most popular record. “Whipped Cream and Other Delights” has been called the “Sgt. Pepper” of easy listening. It is the pinnacle of the early style of the genre and is firmly entrenched in pop consciousness. With this record, mass audiences became aware of Herb Alpert’s music. Songs from this album were used on “The Dating Game” which started a trend of hip, contemporary music being used incidentally on television. The cover alone is iconic and features model Dolores Erickson – three months pregnant at the time – covered in what is supposed to be whipped cream. The quality of the music and Alpert’s arranging both peaked with this album as best heard in the stunning and emotional “Lemon Tree”. The album reached number one and sold 6 million copies. It is the quintessential adult LP of the mid-1960’s. The sound and the cover spawned scores of imitators.

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If you scrounge through the second hand stores, as I do, you’ve seen this record a thousand times.

Other albums that deserve mention are “What Now My Love” and “Christmas Album”. The title track of the former won Herb two Grammy awards – one for arranging – and is the example I always use when I talk about what a great arranger Alpert is. This song – and you can hear it in many different forms from Sinatra to Presley – is just gorgeous in Herb’s hands, one of my favourites. “What Now My Love” was the #1 album in the country for 9 weeks – the longest stay at the top for any Brass album. The Christmas album may be an acquired taste. Most of the songs feature wordless vocals arranged by Shorty Rogers. This whispering chorus will gently introduce a song and then Herb and the boys come in with their jaunty TJB sound. This technique threw me at first but now all I can tell you is that it is one of the albums – not just Christmas albums – that I am most fond of. Herb has written some special arrangements of seasonal chestnuts that make for wonderful fireside listening. With many significant LP releases then, Herb and the TJB became among the first of the great “album artists” and they became known for their album releases – a full program of music as opposed to singles. In the days of the “hi-fi” and the bachelor pad, their records sold impressively and charted well. Seven of their first nine albums reached the Top Ten, five of these reaching #1. 1965 through 1967 was a particularly successful period for Herb and the Brass. In this era that is remembered for the cultural and musical contributions of the Beatles, the Rolling Stones, the Beach Boys, the hippie movement and the origin of hard rock, Herb Alpert and the Tijuana Brass outsold them all, winning six Grammy Awards along the way. For 81 consecutive weeks during this time, the Brass had at least one album in the Top Ten. And the oft-quoted fact is true – in 1966, the TJB sold 13 million records, more than the Beatles did. Also in ’66, the Guinness Book of Records acknowledged that, at one point, Herb had 5 albums in the Top 20 at the same time, a feat that has never been repeated. Consider that, in April of 1966, four of the Top Ten albums in the land were Herb Alpert records. Even more ridiculously, Herb took a rare vocal on the Bacharach/David song “This Guy’s in Love With You” and it went to #1.

Herb’s original record-setting run with the Tijuana Brass came to an end in 1969. He disbanded the group, reforming the band for a few album releases over the next 15 years. Having conquered the pop charts with the Brass, Herb – and partner, Jerry – now turned their attention to expanding their label, A&M Records. Headquartered at the famous Charlie Chaplin Studios at 1416 North La Brea Avenue in Hollywood, A&M’s roster grew to include an impressive list of artists across different genres. Herb himself discovered Sergio Mendes and Brasil ’66, an act that enjoyed colossal success with their mod brand of jazzy Brazilian pop. Sergio and Herb began a lifelong friendship and business relationship and Herb married Lani Hall, one of the vocalists in the group. Herb and Lani – who has also released albums on A&M – are still married 45 years later.

The list of artists who recorded for A&M Records is as impressive as it is long. To be fully appreciated, though, you have to remember that most of the major record labels of the time were off-shoots of or owned by large movie studios or conglomerates. They had buckets of money to place at artists’ disposal. Herb and Jerry – remember, this label was started in a garage – were able to attract some very big names because of their reputations in the industry, because of their savvy and because of their ability to personally deal with artists and take care of their needs, both in the studio and out. The list of artists on the label includes: Burt Bacharach, Baja Marimba Band, the Sandpipers, We Five, the Carpenters, Captain and Tennille, Quincy Jones, Stealers Wheel, Liza Minelli, Gino Vanelli, Wes Montgomery, Paul Desmond, Paul Williams, Joan Baez and Billy Preston. Later, A&M added to their roster Cat Stevens, Joe Cocker, Procol Harum, Humble Pie, Fairport Convention, Carole King, Cheech and Chong, Nazareth, Styx, Supertramp, Chris DeBurgh, Chuck Mangione and Peter Frampton. The 1980’s saw the label continue to sign notable acts including Janet Jackson, the Police and later Sting, the Go-Go’s, Bryan Adams, the Human League and Amy Grant. Next time you’re looking through some records at a garage sale, look for records with the A&M Records logo – the one with the trumpet.

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Started by two buddies in their garage. The trumpet is the perfect touch.

Throughout the 1970’s, Herb continued to record as a solo artist. His records from this era have a wonderfully smooth sound. Today’s listeners may dismiss them as lightweight but they all possess Herb’s particular brand of exquisite musicianship and are infinitely listenable. With the Brass in the mid-’60’s, Herb was tops among the artists that were purveyors of a “middle-of-the-road” sound that began to be favoured by a specific demographic. “Easy listening” can trace it’s roots back to the early ’50’s albums of Paul Weston and others but through the 1960’s, Herb and the TJB took this sound to the masses. Into the ’70’s, Herb was still practicing his brand of jazz-flavoured easy listening. Actually, his sound at this time helped give rise to what came to be known as “smooth jazz”. Significantly, smooth jazz can trace it’s roots to three albums that guitarist Wes Montgomery made with producer Creed Taylor. These three albums, from 1967 and 1968, featured Wes’ incomparable playing on renditions of pop hits of the day. What label were these three albums released on? A&M Records. Though the sound of today’s smooth jazz may have gone in an unfortunate direction, the origin of the genre is a further example of Herb Alpert being instrumental in yet another aspect of the industry.

My regular readers have heard me reference the “victory lap” that can occur in a performer’s career. After the initial blaze of popularity, often an artist’s career will wane. Then, sometimes circumstances will align and a singer will make a sort of comeback – release an album that cements his or her place in history and elevates them to “legend”. It allows their earlier work to be reassessed and appreciated all over again. Sinatra and Bennett both wrote the template for the “victory lap”. Think also of Eric Clapton and Rod Stewart. Herb Alpert’s victory lap – as a recording artist, at least – came quite out of the blue. After years of releasing quality albums of jazz/pop, Herb teamed with South African trumpeter Hugh Masekela for a couple of interesting albums. Then, in 1979, Herb was given a song by his nephew, Randy Badazz Alpert. “Rise” was a departure of sorts for Herb. Randy Alpert and his production partner Andy Armer had written the tune as an up-tempo dance number. At the recording session, it was decided to slow it down – this decision has been credited to both Herb and the drummer on the session, Steve Schaefer. The slower tempo was key. A highlight of this slow funk groove is the bass line laid down by studio legend Abe Laboriel – it is my all-time favourite bass line. Clocking in at 7 minutes and 40 seconds, the tune is an aural delight combining a disco/early hip-hop mood with Herb’s flawless, ethereal playing.

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This is how much I love this record.

The single was released in the summer of ’79 and was immediately picked up by club DJs who would play it on two turntables at once, imaginatively staggering the records to make the song play longer and playing one off the other. As the song began it’s ascent up the charts, it received an unexpected boost in it’s promotion from it’s use as a back-drop for the relationship of “Luke and Laura” on the daytime soap opera, “General Hospital”. With the success of the single, Herb went into the studio to record an LP. The result – also titled “Rise” – is one of my favourite albums of all-time. It’s a fantastic record that manages to sound like the late ’70’s but still sound engaging and somehow relevant almost 40 years later. The album starts with the fanfare “1980”, which had originally been commissioned for use during the Summer Olympics but was instead used as the official theme of the 1986 FIFA World Cup. “Rotation” is another Badazz/Armer track that shimmers along at a nice easy pace. It also was released as a single and hit the top 30. I heard it used once on an episode of “Sex and the City”. “Rotation” has been called one of the first “chillout” tunes making Herb a pioneer in yet another sub-genre. The glowing gem of side two is undoubtedly “Angelina”. The gorgeous song features lyrical playing from Herb and steel guitar. Co-written by Gary Brooker, founder of Procol Harum, this song sounds like sunset looks. This song sounds like a young California guy in love with a Mexican girl. Her family doesn’t like him and her brothers want to kill him but the two lovers manage to steal away for walks down by the water, watching the boats come back in while the sun dips golden behind the horizon. *sigh* The album closes with Herb’s interpretation of “Concierto de Aranjuez” by Joaquin Rodrigo. The guitar piece, written in 1939, is considered the pinnacle of Spanish music. Miles Davis had done a version of it on his “Sketches of Spain” album and here Herb takes it to the night club. The piece is titled “Aranjuez (Mon Amour)” here and is an exhilarating piece that combines the drive and flair of Spanish music with the snapping hi-hat of disco and the R&B/funk of the late 1970’s. The album is, simply put, fantastic and the single release of the title track went to Number One. As if Alpert hadn’t achieved enough, this chart-topper makes him the only artist in history to have a number one song as a vocalist (“This Guy’s in Love With You”) and as an instrumentalist. “Rise” was notably sampled by Sean Combs for “Hypnotize” by the Notorious B.I.G.

Herb Alpert and his partner and friend Jerry Moss decided to sell A&M Records in 1989. There’s a really interesting interview with Jerry Moss that I can highly recommend. In this interview, Jerry explains that he and “Herbie” (as Jerry affectionately refers to Alpert), while they weren’t ‘shopping’ A&M, had a good relationship with PolyGram when that company offered to purchase A&M. Purchase price? $500 million. Jerry says the purpose of selling A&M was to expand it, to make it bigger. By the mid-’90’s, artists were getting huge advances from record companies and A&M simply couldn’t compete. And PolyGram liked Jerry and Herb and wanted them to stay on and run the label. It’s an interesting story and I’ll try to give it to you in a nutshell. Jerry had a good connection with a guy at PolyGram. This guy, though, soon retired and his replacement wasn’t into A&M and didn’t like Jerry personally. This type of breakdown was the opposite of what Herb and Jerry had been promised when they sold. Instead of working with Alpert and Moss, PolyGram bought them out of their agreement. For $200 million. So, in the end, PolyGram purchased the organically birthed and nurtured label, a label with humble beginnings, that started with two employees and a garage, a label that had built a reputation as one that treated their employees and the stars on their roster well, for $500 million. Add to that the $200 million buy-out money and the total is $700 million. Think about that. This is a part of Herb’s story that I love and it puts me in mind of Berry Gordy, Jr. who started Motown Records with an $800 loan and sold it 25 years later for $61 million. Regular Joes who thought they’d try their hands at making records. In the end, not surprisingly, considering today’s record industry, A&M was absorbed into it’s parent company and A&M Records, as an active entity, was no more. The lot on La Brea was shuttered. Jim Henson Productions took over the old Chaplin studios and Herb and Jerry’s adventure was over – and they were $700 million dollars richer.

Herb Alpert’s “retirement” years have been busy. He has indulged his love of creating abstract expressionist art and sculpture and has enjoyed exhibits of his work. He and Moss (at Jerry’s urging) started another record label – Almo Sounds – predominantly to release Alpert’s subsequent albums. But here again they ran a label that nurtured new acts, signing Garbage and Lazlo Bane. In 2000, Alpert regained the rights to his past albums and began lovingly remastering and re-releasing them. Alpert has been embraced by purveyors of electronic music and many of his tracks have been remixed by DJs. The “Whipped Cream” album was remixed in it’s entirety in 2006 with Herb offering up some new trumpet work. Yet another genre that has thrown a nod to Herb Alpert.

Herb has received several lifetime achievement awards and in 2012 the National Medal of Arts award from then President Obama. Sting inducted Alpert and Moss into the Rock ‘n’ Roll Hall of Fame in 2006 as non-performer lifetime achievers. Today, Herb continues to maintain a social media presence and still releases what he calls “positive” music. In 2017, he released “The Christmas Wish” and “Music Vol. 1” with more volumes on the way.

Herb himself may be most satisfied with his work as a philanthropist. In the 1980’s, Herb founded the Herb Alpert Foundation, which supports youth and arts education as well as environmental issues. Herb and wife, Lani, have donated millions in scholarships to various arts schools in the US. This includes $30 million to UCLA, $24 million to the California Institute of the Arts, $10 million to Los Angeles City College and $5 million to the Harlem School for the Arts. All of these gifts are aimed at providing education to youths who otherwise may not have the opportunity to pursue these avenues of learning.

Herb Alpert’s career has checked all the boxes. He may not be regularly referred to or often heralded but the fact remains that he is a legend of serious weight, one that is still active in the fields he loves. Herb’s fingerprints are all over the record industry and through his foundation, he and Lani are doing what they can to ensure that the next generation has a chance to excel. For me, Herb’s greatest legacy is the music. Constantly seeing Tijuana Brass records in thrift stores fascinated me and got me into collecting vinyl. “Rise” means the world to me. And all this is capped off by the fact that Herb Alpert is ‘stayin’ alive’ – still with us, still making us feel good. Thanks, Herb.

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In a shady industry, the Alpert’s seem like good people.

Postscript: I’m a “ranker” so I can’t close out this tribute without running down Herb Alpert’s Top 5 Best Songs. OK, maybe not his best but here’s five tracks that can serve as a sampler of Herb’s work. Check out these tunes and see if you’re not hooked.

5. “Jerusalem” (1971 – from “Summertime”) — From the final stages of the initial run of the TJB, this dramatic track was written by Herb.

4. “Lemon Tree” (1965 – from “Whipped Cream and Other Delights”) — Trini Lopez’ jaunty version has nothing on Herb’s arrangement. This song – and #2 on this list – are the best examples of Alpert’s expertise and unique touch as an arranger. The TJB’s version of “Lemon Tree” is mournful yet beautiful with gentle playing from Herb and some great chord changes.

3. “Angelina” (1979 – from “Rise”) — I can’t say much more about this track than I already have. It is sublime and can evoke an extreme flutter in the chest. Emotional. Wonderful.

2. “What Now, My Love” (1966 – from “What Now My Love”) — This French song has been done many different ways by many different singers, from Sinatra to Presley to Andy Williams. All excellent. But again here Herb adds his special touch with a fine arrangement. The bouncy joy of this track does not totally avoid the wistfulness of the chord changes and the melancholy of the lyrics – omitted here, of course. Herb’s playing is clipped and precise while still exhibiting warmth. Delightful acoustic guitar from, I’ll assume, John Pisano. Probably the finest Tijuana Brass song.

1. “Rise” (1979 – from “Rise”) — Just perfect. A stone groove. Drama in the song structure while maintaining a relaxed playfulness. Exciting electric guitar punctuations and a thrilling bass line, my favourite ever. Very “’70’s” and timeless at the same time. This tune has heavy street cred as Herb expertly blends ’70’s dance music with the R&B origins of hip-hop.

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Elvis Presley, rock 'n' roll, Top Ten List

This is the Story: The Best Recordings of Elvis Presley Part 1

The holidays are over so depression automatically sets in? I don’t buy that. Gladys Love Presley saw fit to have her baby, Elvis Aaron Presley, on January 8th, 1935. That means that January’s Elvis Week begins on January the 2nd. New Year’s Day marks the official end of the Christmas season and the next morning you wake up and – bam! – it’s Elvis Week!

For this Elvis Week, I’ve decided to tackle the enormous task of ranking the best recordings of Elvis Presley. In a way, though, this is an easy task. He has SO MANY stellar records that a Top Ten list could include many different songs and still be valid. It would be pretty hard to debate any one person’s choices. And how do we define “best”? I’ve tried to be really clinical and highlight songs that are sung and played well – which is a ridiculous statement, they all are but what I mean is: songs that are universally held to be “great”, with maybe some personal faves thrown in. This “greatness” will also include intangibles like a wonderful turn of phrase, a stellar performance from a musician, a connection to an event in Elvis World, or historical and cultural significance. I’ve also broken his career down into decades: ’50’s, ’60’s and ’70’s, all distinct eras of Presley recordings. Other categories could have included best movie songs, best Gospel songs, best live recordings, best Christmas tunes… I’ve decided to go with the three decades and movie music. As a fifth and final post, I’ll try to take the best from each list and arrive at “The Best Elvis Presley Song”. This will obviously not be definitive but instead will simply serve as a good starting point for debate and comparison. Although, again, I have to say that it will probably be hard to say that the song that emerges here as his ‘best’ is NOT his best – it just may not be your favourite or the one you think is the best representation of the King at the top of his form.

Anyways, blah, blah, blah. I think you know what I mean. Here’s my Top Ten Elvis Presley Song: the ’50’s:

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On the cusp. Publicity photo, early RCA days. January, 1956.

10. “(There’ll Be) Peace in the Valley (for Me)” (1957) — It could be argued that Elvis Presley was a gospel singer who got stuck singing rock ‘n’ roll just to pay the bills. (https://wordsbywellsy.wordpress.com/2017/11/04/paying-the-bills/) Indeed, in the early days, he auditioned to join legendary gospel quartet the Blackwood Brothers but was turned down. In 1956, Presley burst onto the scene and the powers that be denounced him as ‘evil’. The idea of him singing gospel or revered Christmas carols was repugnant to the establishment. But I have always maintained that, as the Lord had blessed him with his singing voice, that voice shined particularly bright when he sang certain gospel music. “Peace in the Valley” was written by Tommy Dorsey – not that Tommy Dorsey but gospel songwriter Thomas A. Dorsey. It appeared on the biggest selling Christmas album of all time, “Elvis’ Christmas Album”. His recording, featuring the Jordanaires and some fine, mellow guitar playing, is stellar. In a particularly moving moment, EP performed it on his third and final appearance on “The Ed Sullivan Show” in 1957. The screaming teenagers quieted down and Presley showed the frowning parents watching at home another side of his talent and personality. Watch how he backs up into the Jordanaires as he looks down and sings “there will be peace…”. It’s not showmanship – it’s the singing he had done in his church and in his homes all of his life. Sullivan had once sworn to never have Presley the reprobate on his show. After King sang “Peace in the Valley”, Sullivan came out and solemnly declared Elvis to be a “decent, fine boy”. It is actually an emotional moment and one of great cultural significance.

9. “Heartbreak Hotel” (1956) — In many respects, this song marks The Beginning. It’s writing was inspired by a newspaper report of a suicide and the note that was left behind (“I walk a lonely street”) and it was presented to Elvis in late 1955, before he had moved from Sun Records to RCA. Elvis loved it immediately and memorized the song vowing to record it at his next session. That came in January of ’56 and it was the second song Elvis recorded at his first session for RCA. The songwriters, upon hearing Presley’s echoy, bluesy recording, could not recognize their song. This started a trend that saw Presley take a song and make it his own. Although he almost NEVER received a credit as such, from the VERY BEGINNING Elvis was the arranger and producer at all of his recording sessions. In Sam Phillips words, the credited producer at Elvis’ sessions was “not a producer. (They were) just at every session”. “Heartbreak Hotel” became a hit of gargantuan proportions. Number 1 on the pop and country charts, top 5 on the R&B chart, 27 weeks in the Top 100, the biggest selling single of 1956 and EP’s first million-seller. It started a chart run lasting 21 years that is unrivaled in music history. Number 45 on Rolling Stone Magazine’s list of the “500 Greatest Songs of All Time”. Co-written by Mae Boren Axton. Her son, Hoyt, wrote “Joy to the World” and “Never Been to Spain” in the ’70’s, the latter of which King recorded. See? This is what I’m talking about. This song could easily be called his best of the ’50’s and even his best EVER but here it’s 9th! Whatever. Onward.

8. “(Now and Then There’s) A Fool Such As I” (1959) — I can see some of you have your eyebrows raised. This tune over “Heartbreak Hotel”?! Well, yeah. It’s the vocal. Maybe this tune, recorded by Elvis on a leave from the Army, serves as sort of a bridge between the animalistic singing of ’56-’57 and the pop vocalizing to come in the early ’60’s. It’s still sexy but it is delivered with such finesse, the lyrics are caressed. Simply, it’s the sounds he makes on this record that are so delightful. “I’m a fool but I’ll love you, dear…”. Written in 1952, it was recorded by Canadian Hank Snow, Tommy Edwards and Jo Stafford before Elvis released his version as the B side of “I Need Your Love Tonight”. “A Fool Such As I” went to #2 in the US and #1 in the UK. King’s version was nominated for Record of the Year at the 2nd annual Grammy Awards. It was later recorded by Bob Dylan.

7. “All Shook Up” (1957) — This song is notable in Elvis’ canon for being what I think is his most successful single ever in terms of chart activity. Number 1 on the US pop charts for 7 weeks, in the Top 40 for 21 weeks, #1 on the R&B charts for 4 weeks, #1 in the UK for 7 weeks and Billboard’s #1 song for 1957. Two million copies sold that year. Elvis biographer, Peter Guralnick, says – so it’s true – that Elvis suggested the title to songwriter Otis Blackwell which resulted in King getting one of his few writing credits. The song rolls along in mid-tempo with a vocal that is quintessential EP. #361 on Rolling Stone’s list. Listen to it again – for the first time. The Beatles recorded this during the “Get Back” sessions but it was never officially released and Billy Joel’s 1992 version for the “Honeymoon in Vegas” soundtrack cracked the Top 100. A re-release of Elvis’ version charted again in the weeks after King’s death.

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“All Shook Up” single art. March 22, 1957.

6. “That’s All Right” (1954) — It’s often said that it all started in the summer of 1954. “It” being everything. Recorded July 5 at Sun Studio in Memphis and released July 19th. Written and recorded by blues man Arthur “Big Boy” Crudup in 1946, Elvis Presley’s recording is truly the stuff of legend and it is not far-fetched to suggest that “rock ‘n’ roll” was invented by Elvis, Scotty Moore and Bill Black that hot summer afternoon. Long story short: Sam Phillips had been trying to record King in a mellow, ballad setting and things hadn’t been working. On a break, the boys worked out their frustrations by kicking out the jams with a spirited version of Crudup’s old blues. It was literally what Phillips had been looking for; marketable white boys that played music like black guys – the way it should be played. With emotion, energy and grit. Balls. Phillips hit ‘record’, had the boys run through it again and the rest, as they say… To try to understand the significance of the recording, you have to try to understand American society at the time, especially in the South. Such was the climate that, when bassist Bill Black heard the playback – he and his white buddies “sounding black” – he remarked, only half-jokingly: “Damn. Put that on the radio and they’ll run us out of town”. Probably the most significant recording in history that didn’t chart at the time of it’s release, “That’s All Right” sold 20,000 copies and hit #4 on local Memphis charts. In 2004, exactly 50 years after it’s initial release, it was released as a single in England and went to #3! Rolling Stone has argued that it is the first rock ‘n’ roll record and placed it at #113 on it’s Best 500 list.

5. “Too Much” (1957) — This one may not be as well known but it is a personal fave. I also believe it to be a wonderful example of some of Presley’s finest rock ‘n’ roll singing. He is strutting and the way his voice intentionally cracks on the “take” in “take me back, baby, in your arms” is just perfect. This song is exactly what you want from the most staggering 24-month span in any performer’s career. It went to #2 on the pop charts and was top 3 on many lists at the time: Best Sellers in Stores, Most Played by Jockeys, Most Played in Jukeboxes, #3 on the Country chart and #3 on the R&B chart.

4. “Mystery Train” (1955) — “That’s All Right” is his most legendary Sun recording but this may be his best. Junior Parker released the song on Sun in ’53 and one of the mysteries about the track was where the title came from as it is mentioned nowhere in the lyrics. Released by Presley in the late summer of ’55, it’s enduring appeal stems from it’s ominous sound. The echo from Scotty Moore’s guitar sounds sinister in a way and the track brings to mind so many other blues songs from the past that feature lyrics depicting some dark and calamitous happenings in the singer’s life. In “Mystery Train”, the train is the villain and has taken the singer’s baby away. As a single, the song was released as the B side of the country tune “I Forgot to Remember” and made some noise on local country charts. Indeed, “Mystery Train” was the first song to make Presley known as a country singer. The fact that it is not really a country song is further testament to EP’s unique blend of country and R&B. Rolling Stone’s ranking it as high as #77 on it’s 500 list speaks to how highly it is regarded.

3. “Hound Dog” (1956) — There are fewer recordings more iconic than this one. There are fewer tracks that completely encapsulate everything that rock ‘n’ roll was meant to sound like. Like Elvis Presley himself, this song has catapulted into the stratosphere as something other than what it was originally. Like “Rock Around the Clock”, “Hound Dog” is understood historically and culturally but you need to work hard to hear it as a “song”; a song of vicious import, a feral moment in music history that has been taken for granted. Everything about this recording is the foundation of all rock music to come. A direct line can be traced starting with “Hound Dog” and running through Led Zeppelin and all the way to Jack White. Stories of the song’s history before it reached King are legendary and I suggest you read up on it. It was written by two 19-year-olds, Jerry Leiber and Mike Stoller, who were soon to become legendary in their own right penning classic songs for Elvis and the Coasters. Presley’s version was not only immediately iconic and indicative of the whole rock ‘n’ roll movement but it was extremely successful for Elvis. It was simultaneously No. 1 on the US pop, country, and R&B charts in 1956, and it topped the pop chart for 11 weeks — a record that stood for 36 years. And with a preposterous 10 million copies sold it is one of the biggest-selling singles ever and is the 19th Greatest Song of All-Time according to Rolling Stone Magazine. Presley’s vocal is savage and Scotty Moore invents rock guitar with his work here.

2. “Santa Claus is Back in Town” (1957) — So, somebody from Mars – or a teenager of today, same thing – says to you “Who is Elvis Presley? What was he? What did he do that was so great?”. You would show this person some television performances or some concert footage. You would also, surely, play this person some recordings. If you had to pick only, say, five records that would perfectly pinpoint for this stranger ‘what’ Elvis Presley was, you would (or could or should) play them “Santa Claus is Back in Town”. “He’s one of the best singers ever” you would say, “his voice….” you would add, shaking your head. In this seasonal chestnut you would have one of the finest examples of what he did so well with his voice. Not only that but you have that voice in a gritty, blues setting that allows the voice to growl and claw it’s way through the lyrics. The white, clean and neat sound of the Jordanaires does not detract from the raunchy proceedings. Dudley Brooks plays the piano as if he’s recalling days pounding the ivories in seedy juke joints all over the South. And DJ Fontana pounds his snare drum like he’s back in his living room and his parents have just gone out to the hardware store. On top of all this, it’s a Christmas song, a song from a season near and dear to Elvis in many ways. The song is so ridiculously “Elvis” and it’s a shame we can only listen to it during the last six weeks of the year. This is his second-best vocal performance of the 1950’s. Bettered only by…

1. “Jailhouse Rock” (1957) — One of the best-known Elvis Presley songs due to the production number version of the song contained in the film of the same name. That’s all I’m going to say about that number in the film as I feel it neuters this remarkable recording. The song is another written by Lieber and Stoller; the top three songs on this list are Leiber/Stoller numbers. It had a goofy lyric about life behind bars, the type of song they would have written for their act, the Coasters. But Presley plays it straight and handles it as pure rock ‘n’ roll. This is the prime example of ALL of Presley’s recordings of the relationship between rock singer and rock guitarist. Both Elvis Presley and Scotty Moore lay down performances for the ages on their respective instruments. Along with his work on “Hound Dog”, it is his playing on “Jailhouse Rock” that cements Scotty Moore’s rep as the man who invented rock guitar; no less is he than the man that gave birth to Keith Richards, Jimmy Page and Slash. And Presley’s vocal? I dunno…what can I say? This is the pinnacle of what he was as a vocalist. He did well on many ballads throughout his career but this type of singing was his bread and butter and this is probably the best example there is of that type of singing.

Next: The 1960’s – Elvis returns from the Army – and the Colonel has a plan…

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Press conference, private railway car, Los Angeles. 1960.

(**the images and media used in this post are not mine**)

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James Bond, movies, music, Top Ten List

Tunes. Bond Tunes. Or Music to Dig James Bond By

To say the James Bond franchise is unique is a major understatement. It has so many cool things attached to it. The world’s most famous English civil servant was the brainchild of novelist Ian Fleming, who himself has so much story attached to him. There’s a good 2014 BBC miniseries that offers a somewhat fictionalized account of his clandestine activities during World War 2. Through these experiences he devised the Bond character and made him a part of the “00” section – a section comprised of operatives in Her Majesty’s Secret Service trusted enough to be allowed to kill opponents at their own discretion. The books Fleming wrote – starting with 1953’s “Casino Royale” – were initially seen as sensational pulp paperbacks but soon earned a certain cachet in the public consciousness. Fleming eventually wrote 12 Bond novels and they are a wonderful part of popular culture in and of themselves. In 1962, the phenomenon reached sensational heights with the first James Bond feature film, “Dr. No”, with Scotsman Sean Connery chosen to play Bond. The films really created the template of all things ‘Bond’: exotic locales, beautiful women, fine dining, cocktails, fast cars, dangerous adventure and music. One of the coolest things about the ‘world of Bond’ is that it has it’s very own soundtrack.

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United Artists was savvy enough to issue soundtrack albums right from the start.

“Dr. No” features the song that has come to be known as “James Bond Theme” over the opening credits and variations of it are used throughout the film. There has been a lot of debate throughout the years over the actual origin of “James Bond Theme”. Suffice it to say that it has been credited as having been written by Monty Norman.  The producers of the first film hired Norman to do the score but were apparently unhappy with the arrangement of the main theme and had John Barry come in to provide a fresh take on it. Barry – born November 3rd, like me – had some success in the late ’50’s with his own group, the John Barry Seven, and then got into film scoring, eventually being called upon to work on the Bond theme as heard in “Dr. No”. Barry has also claimed authourship of the song and twice it has gone to court with the ruling going in Norman’s favour and Norman – still with us at 89 – has been receiving royalties for the song for 60 years. Historically, we have to look at it this way: Monty Norman wrote “James Bond Theme” and that is significant. John Barry arranged it to make it sound like the song we all hear in our heads and that, too, is significant. One thing is for certain; the song is fantastic in and of itself, even apart from the Bond mystique. I love what David Arnold, another Bond film composer, says about the theme: “(it had a) bebop-swing vibe coupled with that vicious, dark, distorted electric guitar, definitely an instrument of rock ‘n’ roll … it represented everything about the character you would want: It was cocky, swaggering, confident, dark, dangerous, suggestive, sexy, unstoppable. And he did it in two minutes”. Norman, it should be noted, went on to do nothing. Barry subsequently scored 11 Bond films and many other movies including “Born Free”, “Midnight Cowboy”, “King Kong (1976)”, “Body Heat”, “The Cotton Club”, “Out of Africa”, “Dances With Wolves” and “Chaplin”. Barry won five Academy Awards and four Grammys for his film work.

The second film in the series was “From Russia, With Love”. While this film doubled the gross of “Dr. No” and people really began to take notice of the franchise, the music from the films had not yet cemented itself into popular culture. Subsequently, the theme from “From Russia, With Love” by English singer Matt Monro (Sir George Martin said Monro was the best singer he ever worked with) was an excellent if somewhat generic and low-key song. And while it was not featured over the opening credits, as became the norm, it was nominated for a Golden Globe. Where things really began to take off for the franchise was the third film, 1964’s “Goldfinger”. This marked the first time John Barry wrote the title song and scored the film as well. This was also the first time the theme was performed over the opening credits. Welsh singer Shirley Bassey had a Top Ten hit in the States with the title song. There are singers that sing to the back rows and then there is Shirley Bassey. She sings past the back rows and out the door. The guy drying his clothes in the laundromat across the street feels the breeze from her belting. The soundtrack album went to #1 Stateside and now the music had become a major element of the mystique. Speaking of Welsh belters, Tom Jones lent his formidable talents to “Thunderball” a year later. Two notable recordings from consecutive films with odd titles for songs. I’ve always thought the lyricists had a tough time writing these songs: “so, he strikes like Thunderball”? 1967 was a big year for Nancy Sinatra so the producers brought her in to sing the theme for “You Only Live Twice”. Nancy became the first American to interpret a Bond theme.

Starting around the time of the success of “Goldfinger” in 1964, “spy jazz” became a sub-genre. The strength and popularity of the Bond themes and the scores of John Barry gave rise to a host of imitators. Other spy movies and television shows emerged and it was essential to have attached to them a soundtrack full of noisy brass and sinister guitar riffs. United Artists, the studio that produced the Bond films, released the soundtracks to the Bond films on their record label and also commissioned like-sounding records that would feed the public’s appetite for ‘Bond-y’ sounds. They released two volumes of “Music to Read James Bond By”, consisting of artists on their roster performing some music from and inspired by the films. I’ve been fortunate enough to have found the first one on vinyl. The soundtracks and themes from “Our Man Flint”, “Charade”, “The Man from U.N.C.L.E” and others also became part of the genre. Many instrumental albums by artists performing what today we would call lounge music also appeared, referencing Barry’s incidental music and coming up with their own contributions. Even surf music got into the act with the Menn releasing “Ian Fleming Theme”. Legendary band leader Count Basie put out the very brassy and jazzy “Basie Meets Bond” in 1966 which featured the themes from the movies and also songs from the scores. In 1967, a “non-canon” Bond spoof was released called “Casino Royale” which featured the hit title track which was performed by Herb Alpert and the Tijuana Brass. Music mogul Alpert showed up years later for the soundtrack of the other non-canon film, “Never Say Never Again”. Herb produced his wife, Lani Hall, singing the theme. An alternate theme was written for the film “Thunderball” and was performed by Dionne Warwick. At the time, an Italian journalist had dubbed Bond “Mr. Kiss Kiss Bang Bang” and a song was written for and recorded by Miss. Warwick with this title but not used. The iconic “James Bond Theme” as been covered countless times, notably by prolific purveyor of spy jazz Leroy Holmes, Glen Campbell, Brian Setzer, the Ventures, the Art of Noise and Moby.

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The “spy genre” took off in the mid-’60’s. Themes and music was an essential component.

A new era of Bond started in 1973 with Roger Moore taking over the role for “Live and Let Die”. Here we have what is loosely referred to as the worst film and the best theme. Paul McCartney got the call to write the title track which he co-wrote with his wife, Linda. His old buddy, Beatles producer George Martin, scored the film. Oddly, once the song had been written, the producers hired obscure singer B.J. Arnau to sing the theme over the titles. Martin, having already recorded Paul’s version, was surprised, having assumed that the Paul McCartney and Wings recording would be used. In the end, Paul insisted, stating he would withdraw his composition if his band’s recording was not utilized. Thankfully, the producers acquiesced. This became the first rock song to be used as a theme for a Bond film and the recording is stellar. Martin’s freight-train orchestration is absolutely exhilarating. The interplay of the guitar and the brass is striking while the pianist’s left hand is riveting and ominous. At the time, it was the most successful Bond theme, reaching #2 in the US. The song was nominated for an Oscar but lost to “The Way We Were” (C’mon!!). Years later, it was covered by Guns ‘n’ Roses who wisely did not tinker with the song and kept Martin’s orchestral assault basically intact. Sidebar: the mysterious B.J. Arnau sings a watered-down version in a night club scene in the film. In 1977, “The Spy Who Loved Me” was released with a score by the popular composer Marvin Hamlisch. The soundtrack is sadly dated and generally reviled because of it’s obvious disco leanings. This film marks the first time that the main theme song bore a different title than the film. It’s probably for the best they didn’t try to write a song called “The Spy Who Loved Me”. The song used over the opening titles was “Nobody Does it Better” and was recorded by Carly Simon. It is an excellent song featuring wonderful piano and was also nominated for an Oscar for Best Song but lost to “You Light Up My Life” (C’mon!!). It was a Top Ten hit all over the world. Still, hearing the line “like heaven above me, the spy who loved me…” always brings a chuckle. The excellent Bond film “For Your Eyes Only” premiered in 1981 and Scotland’s Sheena Easton sang another Academy Award-nominated theme. Easton sang this song – another huge international hit – on screen during the opening titles, the only time this has happened in a Bond film. The soundtrack was done by American Bill Conti, who had given us “Gonna Fly Now”, the stirring theme from 1977’s “Rocky”. 1985’s “A View to a Kill” was 57-year-old Roger Moore’s last go-’round as the MI6 agent and this film’s theme gave Bond his biggest chart success. In the early ’80’s, England’s Duran Duran were hugely popular. The band’s bassist, John Taylor, approached Bond producer ‘Cubby’ Broccoli at a party and drunkenly asked when ‘Cubby’ was going to “get a decent band to do a theme”. This unlikely beginning led to Duran Duran being paired with John Barry and the result was the title track. The song was nominated for a Golden Globe and went to #1 in the US and many other countries. Bond went through a transition period after Moore left the role. Timothy Dalton starred in two films in the late 1980’s and the highlight of his tenure is undoubtedly the theme to his second outing, “Licence to Kill”. Sung by the greatest female voice in soul and R&B, Gladys Knight, the song borrows the horn line from “Goldfinger” and Gladys – a rare American Bond theme vocalist – puts her indelible stamp on the tune that was a Top Ten hit in the UK. It is the longest Bond theme song – of course, a song this good is never long enough.

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“Live and Let Die” soundtrack album cover (1973)

Super-handsome Irishman Pierce Brosnan successfully ushered James Bond into the modern era of film making with the excellent “GoldenEye”. For this film, the producers scored the services of U2’s Bono and the Edge who wrote the title song for Tina Turner – giving us the rarity of back-to-back African American female theme singers. The film was partially advertised as being the “new era” of Bond, which indeed it was. Interesting to note that this new generation of Bond theme composers utilized the lyric “you’ll never know how I watched you from the shadows as a child”, as if Bono and the Edge are recalling watching Bond in a darkened theater in their youth. I love Pierce Brosnan. Unfortunately, the direction the franchise took during his tenure was a poor one. The films became overly sensational and needed a reset; similar to the one that took place with “For Your Eyes Only” after the space exploits seen in “Moonraker”. The themes of the Brosnan films also suffered a downward spiral after “GoldenEye”. Perhaps it was their decision to go with American artists. History has shown that the themes seem to go over better in the hands of artists from the UK. All of the Brosnan themes are performed by American women save for “The World is Not Enough”, which was sung by the Scottish female lead singer of the American band Garbage. Their name says it all.

The franchise was reset once again with Daniel Craig’s introduction in 2006’s “Casino Royale”. During this era, film music composer David Arnold cemented himself as the new ‘John Barry’ of the franchise. “Casino Royale” was Arnold’s fourth Bond film. The grittiness of Craig’s ‘blunt instrument’ take on the character was mirrored in Chris Cornell’s pounding theme, “You Know My Name”. Cornell became the first American male to perform a Bond theme and, to date, his theme is the only one performed solo by an American male. Another American male, Jack White, teamed with Alicia Keys to perform the theme to the next Bond film, “Quantum of Solace”, “Another Way to Die”. The first duet in Bond film history, this great tune features White’s trademark grinding fuzz. Just when you thought the Yankees were taking over Bond themes – and the themes were going to have different titles than the films – in comes England’s Adele with the theme to “Skyfall”. Adele’s excellent theme continued the trend of hearkening back to dramatic Bond themes of old in part by utilizing a 77-piece orchestra. “Skyfall” became perhaps the most successful Bond theme to date as it won a Golden Globe, a Grammy and – the most coveted prize – the Academy Award. This pattern was continued with the theme from the next film, “Spectre”. English singer Sam Smith wrote and recorded “Writing’s on the Wall”. Smith utilizes his falsetto which makes this track the audio opposite of the virile style of Tom Jones. On first listen, the song seems very understated and inaccessible. But it tends to grow on you and it’s ominous chords in the true John Barry style put one in mind of “From Russia, With Love”, which makes it at once nostalgic while still being contemporary. While it was not the hit single that “Skyfall” had been, it garnered the Golden Globe and became the second consecutive Bond theme to win the Academy Award for Best Original Song.

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Adele’s “Skyfall” single art (2012)

As of this writing, the themes to James Bond films seem to be in good hands. A return to artists from the UK and the compositions utilizing orchestras and striving for a cutting edge yet timeless, and even nostalgic aura make for some quality recordings. Rumour has it, though, that Beyonce has been tapped to perform the next theme. Hopefully, that won’t undo some of the progress of the last few films. In the final tally, we’ve had 13 artists from the UK and 10 Americans (“The Living Daylights” was performed by Norway’s A-ha). Also, we’ve had 14 female theme artists and 7 male. One was a duet and two were instrumentals. So, after all this jabbering, what are the Top Ten James Bond Theme Songs? Glad you asked….

10. “A View to a Kill” – Duran Duran (1985) — Written by Duran Duran and John Barry. Only Bond theme to reach #1 in the US. Nominated for Golden Globe. Excellent tune. Catchy and upbeat.

9. “Another Way to Die” (from “Quantum of Solace”) – Jack White and Alicia Keys (2008) — Only Bond theme done as a duet. Nominated for a Grammy. Despite receiving generally negative criticism, this tune and the previous film’s theme both are indicative of the new era of Bond films and fit well with Daniel Craig’s grim, blunt, violent take on the role.

8. “Goldfinger” – Shirley Bassey (1964) — Top Ten in the US. #53 on AFI’s list of the Top 100 movie songs. Despite my dislike of Bassey’s voice and singing style, the song must rank high here if only for it’s iconic status in the Bond Music canon. In many ways, it is the Bond theme that started it all.

7. “For Your Eyes Only” – Sheena Easton (1981) — Co-written by Bill Conti. Top Ten in US and UK. Nominated for Oscar. Just a nice, classy ballad. It sounds like 1981 but not really in a bad way. I like Sheena Easton. She was Sonny Crockett’s wife on “Miami Vice”.

6. “Nobody Does It Better” (from “The Spy Who Loved Me”) – Carly Simon (1977) — First Bond theme to be titled differently from the film since “Dr. No”. Top Ten in US and UK. Nominated for Oscar, Golden Globe and Grammy. #67 on AFI’s Top 100 movie songs list. I love the sound of a piano and this one has some great piano playing, particularly to open the tune. The coda of the song is an example of excellent orchestrating and arranging. Carly singing “sweet baby you’re the best” over the wonderful scoring of the strings and horns is a treat for the ears.

5. “GoldenEye” – Tina Turner (1995) — Top Ten throughout Europe and the UK. Bond enjoyed his first successful ‘reset’ since 1973 and this charismatic theme was a part of that. Written by Bono and the Edge, it was the perfect first theme for the new era. Fantastic, dramatic song. Ominous and dark in the best John Barry tradition.

4. “Licence to Kill” – Gladys Knight (1989) — Interesting how I’ve talked about how artists from the UK seem better suited to perform Bond themes and yet four of my top ten are by Americans. Top Ten in the UK. Most of the appeal here is the sublime voice of Gladys Knight. The song could actually function as simply a ‘song’, apart from the world of Bond. I love the key change near the end as it adds emotion.

3. “Skyfall” – Adele (2012) — Most successful Bond theme to date. First theme to win the Oscar and also copped the Golden Globe and a Grammy. #1 on the charts in several countries around the world. Co-written by Adele, the song definitely benefits from her extraordinary voice. She could sing the phone book and it would be enchanting. But the very best thing about this theme is it’s acknowledgment of past themes. It maintains a modern sound but also contains ‘Bond-esque’ musical cues and simply sounds to the listener like a ‘Bond theme’. The accompaniment of a full orchestra certainly helps this cause, something that Sam Smith will emulate with the next Bond theme.

2. “Live and Let Die” – Paul McCartney and Wings (1973) — Absolutely stunning. The introduction of Roger Moore as Bond was accompanied by the first rock song to be used as a theme. At the time, it became the most successful Bond theme ever, reaching number 2 on the American charts and #9 in the UK. The first Bond theme to be nominated for an Academy Award. The thing that makes this song so great is the same thing that makes the Beatles so listenable. Sir Paul McCartney is such a song craftsman and when he marries that ability to the orchestral genius of Sir George Martin, magic appears. McCartney’s song is hip, cool and contemporary and then the orchestral score that Martin provided for his ensemble – the driving orchestra break – sends this over the top. It is a high-speed thrill ride. Martin adds rock guitar to these timeless classical instruments and comes up with a sinister sonic force. Exhilarating.

1. “James Bond Theme” (from “Dr. No”) – John Barry and Orchestra (1962) — Some find it hard to consider this a “James Bond theme” but it was the theme to the first film, “Dr. No”, and then became the character’s theme; which makes it even cooler. I can’t say anymore about this iconic piece of music than I – or rather David Arnold – have said above. Suffice it to say that it is one of the most recognizable pieces of music in history. Some may say that with the Daniel Craig films the “James Bond Theme” is no longer used or it has been replaced with other pieces of music but consider this: the arc of the Craig films is the origin of Bond as a “00” agent so really he hasn’t ‘earned’ his theme yet. However, you can hear snippets of it in Craig’s “Casino Royale” during action scenes or when Bond is doing something particularly ‘Bond-y’. You’ll also hear it during the closing credits of these films. You’ll notice at the end of “Skyfall” that the franchise has officially been reset with M and Moneypenny in place and Bond ready to function as the agent that we all grew up with. Then, once we’re ready to ‘start fresh’ at the beginning of “Spectre”, that film starts ‘where we came in’; Bond in the gun barrel with his “James Bond Theme” playing.

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JAMES BOND WILL RETURN…

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Stayin’ Alive: Hal Blaine

Harold Simon Belsky  is 88 years old. Some consider him the world’s greatest drummer. Which I imagine you think is funny because you’ve likely never heard of him. If I told you his professional name was Hal Blaine I’d probably still get a blank stare. What band was he with, you ask? Well…all of them. Hal Blaine is a session musician which is something that probably needs a bit of explanation in this day and age. The session musician or ‘studio musician’ is a highly skilled musician who is hired on a short term basis to provide backing musical accompaniment for a singer or band. They are mostly utilized in the studio for recordings and also will sometimes join a band to play live dates in support  of a touring artist. Confusion may be apparent due to the fact that we have all become accustomed to established, self-contained bands: The Beatles, The Rolling Stones, Led Zeppelin. All made up of four+ guys who recorded and toured together. But if you consider singers as wide ranging as Barbara Streisand, Johnny Mathis and Neil Diamond all the way up to Taylor Swift, Bruno Mars and Michael Buble, these artists – for the most part – need musicians to perform on recordings and back them in concert. Now, granted, some artists form their own bands and they stick together for years. But a lot of the time solo singers will go with ‘hired guns’ in the studio: experienced pros who know what they’re doing. I remember once when I was a kid listening to Simon and Garfunkel and I wondered who was playing all the instruments I was hearing. It certainly wasn’t the two of them. Session musicians almost never achieve celebrity but the best of them gain recognition and respect in the musical community.

Perhaps the most recognized and respected and probably the most recorded and the most successful session drummer in rock history is Hal Blaine of Holyoke, Massachusetts. Early on in his career, Hal decided that what he wanted to be was an ‘accompanist’: along with maybe a keyboardist or a bassist, he would ‘back’ singers as opposed to looking for a band to join. His earliest ‘accompanying’ jobs entailed him playing the drums all night in strip clubs. He persevered in small clubs until he joined up with singer Tommy Sands which gained Hal a certain amount of attention in the industry. Then Hal settled in Los Angeles where he could easily secure jobs playing on television and on film soundtracks. Word spread quickly. Here was a meticulous professional who could read music, keep a perfect back beat, contact and hire musicians and – sometimes most importantly – crack a joke to relieve the tension at a session that maybe wasn’t going too well. He soon became known as the ‘first call’ drummer for any and all sessions in Hollywood and the Los Angeles area, where most of the big records of the time were being made. The list of artists he worked with and legendary recordings he played on is truly staggering. It started with the aforementioned Tommy Sands, who was a lightweight singer known more for being Nancy Sinatra’s first husband, and continued with Patti Page. Then he came to the attention of master record producer Phil Spector. At this point, Spector was just starting his own record label and building a roster of stars, all of whom were backed by Hal and the rest of the ‘Wrecking Crew’ – the unofficial name given to the cream of the studio musicians that were starting to be heard backing many different singers on many different hit records. Many critics agree that the pinnacle came with Phil Spector’s recording of the Ronettes’ “Be My Baby” which went to number 2 in late 1963. The song – with Hal’s distinctive opening drum phrase – was ranked 22nd in Rolling Stone Magazine’s list of the top 500 songs of all time. Indeed, E Street drummer Max Weinberg has said that if “Be My Baby” was the only song that Hal Blaine ever played drums on his name would still be revered. And famously Brian Wilson was so obsessed with the song and the overall production of it that at one point in the ’70s Brian’s daughter Carnie says that her dad played the song all the time – literally ALL THE TIME. It has been called the greatest pop record ever made. To break down the significance of all the recordings that Hal Blaine played drums on would take more time than I’ve got here but that very fact tells you how prolific and successful he was. The artists he recorded with is a list of the very best – the VERY best – artists of all -time, not just the ’60s: Frank Sinatra, Elvis Presley, John Lennon, the Beach Boys,  Dean Martin, Johnny Cash, Herb Alpert and the Tijuana Brass, America, Paul Anka, Frankie Avalon, Pat Boone, the Byrds, Captain and Tennille, the Carpenters, Ray Charles, Cher, Leonard Cohen, Bobby Darin, Sammy Davis, Jr., Doris Day, John Denver, Neil Diamond, Connie Francis, Jan And Dean, Michael Landon, The Mamas and the Papas, Henry Mancini, the Monkees, Gerry Mulligan, Roy Orbison, Patti Page, The Partridge Family, Louis Prima, Diana Ross, Simon and Garfunkel, Nancy Sinatra, Steely Dan, Barbra Streisand, The Supremes and Andy Williams to name just most of them. He was the first sideman to be inducted into the Rock ‘n’ Roll Hall of Fame. He is credited with pioneering the modern drum kit. In his heyday, producers demanded he provide the signature tom fills he was becoming noted for. To achieve this sound, Hal built a ‘tom rack’ consisting of eight tom drums. Rolling Stone Magazine has ranked him 5th on their list of the greatest drummers in history. Think about that: only Neil Peart, Ginger Baker, Keith Moon and John Bonham rank ahead of him. But it gets crazier. Hal has played on 40 – FORTY – #1 hit singles, from “Johnny Angel” by Shelley Fabares in 1962 to the Captain and Tennille’s “Love Will Keep Us Together” in 1975. He’s played on over 150 Top Ten hits and on an estimated 35,000 songs, making him the most prolific and successful drummer in history. Unreal. And here’s one more for you. Hal holds an actual Grammy Award record. He played drums on 6 consecutive winners of the Grammy Award for Record of the Year. For six years in a row, from 1966 to 1970, the song that won the Grammy for being the best song of the year featured drums played by Hal Blaine.

The sad part of the story comes when you consider that Hal and his associates were being paid meagerly to make records for stars who would go on the road performing and make fortunes. To make matters worse for Hal, he was taken to the cleaners in a divorce settlement and at one time had to take a job as a security guard. For the last 15-20 years, Hal has been making the rounds of conventions, holding seminars and offering his story for print and media interviews. As I said, Hal is now 88 years old. He deserves recognition now. His accomplishments are singularly unique. He is a true legend.

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