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.

MI0000601304

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.

7b5417ed44dd4ab8b30dcf4fcd2426b4.600x600x1

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.

whipped.jpg

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.

A&M

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.

IMG_4401

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.

HyperFocal: 0

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.

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

This is the Story: The Best Recordings of Elvis Presley Part 3

I remember the day I bought the “Walk a Mile in My Shoes” boxed set. I was so happy thinking that now I had ALL of the songs Elvis Presley recorded in the 1970’s. Then I read the book that came with the boxed set. Seems that King recorded so many songs in the ’70’s that they wouldn’t fit on one boxed set. This was a real revelation to me and it also excited me. I was excited because now I knew that there was MUCH more Elvis music for me to discover. Even if you only own say, six or seven Elvis albums or compilations, he is the rare type of artist that can keep you interested even if you are only listening to the same 70-80 songs over and over. But learning that there was still some King songs that I could hear for the first time was thrilling. 

In time, I collected all of his recordings from the 1970’s and discovered many gorgeous performances. There were times I wondered how a song had flown under the radar all these years: “Pieces of My Life”, “For Ol’ Times Sake”, “If You Talk in Your Sleep”, “It’s Midnight”, “I’m Leavin'” and, y’know what, the list literally goes on. So many fantastic tunes that were new to me. This Top Ten list, however, is made up of songs I grew up with. Maybe a stunning song like “Pieces of My Life” just hasn’t traveled with me as long as, say, “Separate Ways” has. This just proves my point that, while the following ten songs may indeed be his best of the ’70s, you could easily come up with an alternate list that I couldn’t argue with.

It became harder for Elvis to have successful and comfortable recording sessions as he got older and his health failed him but there are still many great recordings from later in his life: “Hurt”, “It’s Only Love”, “Way Down”, “She Thinks I Still Care”, etc. You really should look these songs up to add some variety to your Elvis listening experience. As I’ve said in the two previous posts in this series, I’m focusing on the popular material King recorded through the years. In the ’70’s, Elvis recorded his second Christmas album that features excellent original songs. “I’ll Be Home on Christmas Day” is no less than one of his very best recordings. “Elvis Sings the Wonderful World of Christmas” (1971) also features Red’s “Holly Leaves and Christmas Trees” and a stellar arrangement of “O Come All Ye Faithful”. 1972 saw Elvis release his last and best gospel album, “He Touched Me”. Our boy is in great voice here and the title track and “Reach Out to Jesus” are both moving and magnificent. “Bosom of Abraham” and “I, John” give us the kind of singing Elvis would do for hours ’round the piano with the fellas. Some of you sharp-eyed King fans will look through this list and realize that the bulk of the songs are from 1970’s “Elvis: That’s the Way It Is”, the soundtrack to his concert film of the same name. While this album may be lesser known to casual fans, I think it is his very best LP. His voice is the best it ever was and the material is contemporary, fresh and exciting. It was hard for me to leave any of the songs on this album off this list. Anyways, let’s run down The Top Ten Elvis Presley Songs: the ’70’s.

dce52b8c4ae856b888e9c780a0c020ee--elvis-presley-

He may never have looked cooler. In rehearsal, Las Vegas, 1970.

10. “Always on My Mind” (1972) — A chart hit for King in the winter of 1972-73. Significant in Elvis World due to the fact that it was recorded only weeks after Elvis and Priscilla separated. Of course, the lyric speaks of regret, of losing something the value of which you only fully appreciate after the fact. It may or not have been intended to be biographical but the fact remains that this recording is heartbreaking. There is video from the recording session that is interesting to watch as it shows solemnity in the studio as opposed to the usual lighthearted atmosphere of an Elvis session. Sad, sad song co-written by the man who gave us “Suspicious Minds”, Mark James. Willie Nelson did a great version in 1982 that was a huge hit for him. ITV television network in England conducted a poll in 2013 and it resulted in this song being voted Elvis’ best. Interesting. See? SO MANY different songs could qualify as his best.

9. “An American Trilogy” (1973) — The version referred to here is from the “Aloha from Hawaii via Satellite” concert and album. I taped this concert of off TV when it was broadcast for the tenth anniversary of Elvis’ death in 1987. I don’t have the words, really, except to say that this concert is like an old friend. Or more like part of my family. Literally. This concert represents the last triumph for Elvis Presley. This was the last time he was operating at the peak of his powers and it ended a 4-year run of staggering artistic proportions. There are one or two other moments from this concert I could have picked. “Steamroller Blues”, “What Now, My Love”, “It’s Over”. “An American Trilogy” is notable because it is the perfect example of a ‘showpiece’. Maybe not the final song of a concert but definitely a show stopper midway through a performance. The song itself is stunning and perfectly suited for Elvis in the ’70’s. Written by Mickey Newbury, it is a medley of traditional 19th century songs: “Dixie”, an anthem of the South, “The Battle Hymn of the Republic”, the marching song of the Union Army during the Civil War and “All My Trials”, a spiritual that traces it’s roots to the West Indies. When you think about it, it is an ‘American’ trilogy: the North and the South are both represented as is the black cultural contribution.  Sociology aside, this is a performance of staggering emotional intensity. If you know anything about Presley’s story, it is devastating to see this man sing “all my trials, Lord, will soon be over”. Presley tweaked the original version recorded by Newbury to heighten the intensity. You see him calling to the brass section. You see him looking back at the band as the timpanis begin to roll and you see him gesture to the Stamps to start singing. He comes in and rides the song out to an incredible climax. The note he hits at the end is magnificent.

8. “I Just Can’t Help Believin'” (1970) — The opening track of Elvis Presley’s greatest LP. The “That’s the Way It Is” concert film features this song being rehearsed ahead of a Vegas engagement. We get to see Elvis struggling to remember the words to this lovely song that was written by the legendary team of Barry Mann and Cynthia Weil that was a Top Ten hit for B.J. Thomas the same year. It’s just a gorgeous recording that showcases Presley in smooth voice.

7. “Blue Eyes Crying in the Rain” (1976) — A country and western song written in 1947 and recorded by Hank Williams, Sr. The song reached iconic status in 1975 when Willie Nelson recorded the song for his “Red-Headed Stranger” album. Both the song and the album played a big part in Willie’s ascendancy in the country music world. Elvis recorded it in the den (the ‘Jungle Room’) at Graceland in 1976 and it appeared on his “From Elvis Presley Boulevard, Memphis, Tennessee” album. Here is another example of his melding country and R&B. The song itself is pure country but Elvis’ delivery is a slow groove. The band is tight and keyboardist David Briggs particularly shines. Listen for his left hand running ascending lines and for his sparkling Fender Rhodes fills. And the four notes David and bassist Jerry Scheff play in unison before Elvis sings the title. It is notable as the last song Elvis was ever known to have sung. The day he died, he sat at the piano in the lounge area of his racquetball court and played and sang it. Every time I go to Graceland, I take a long look at that piano.

71d0AfezVIL._SL1500_

The cover art and album titles were bland. The music on the records was sublime.

6. “How the Web Was Woven” (1970) — This song feels like it’s all mine. How does this gorgeous song remain so hidden? Why was it recorded and released on “That’s the Way It Is” and then that’s it? This is a transcendent recording with a passionate delivery from our boy. The song originally came out of England and has an interesting, Beatles-related history. It is a love song with a dark, dramatic theme that Presley nevertheless renders with a delicate touch. It has been called “perfectly pleasant”. Here’s a brief but interesting clip of King rehearsing it. (You may have to turn up the volume)

5. “Separate Ways” (1972) — Red West wrote better songs than many of Elvis’ regular contributors. This song was released as a single in ’72 and was a sort of emotional companion to “Always on My Mind”, which was on the B side – making it one sad 45. Red’s lyrics directly comment on the break up of Elvis and Priscilla. The tune starts with some gentle piano leading to Elvis singing what are literally some of the saddest words ever sung. “All that’s left between us are the memories we shared and times we thought we cared for each other. There’s nothing left to do but go our separate ways and pick up all the pieces left behind us. And maybe someday, somewhere along the way, another love will find us”. It is an absolutely heartrending song that finishes with some piano work that sounds as sad as the lyrics, piano that sounds like a man broken, taking his first steps down the road alone. Piano that sounds like closing credits after a devastating final scene.

4. “You’ve Lost That Lovin’ Feelin'” (1970) — This is the premier example in Elvis’ canon of him making a song his own. The “That’s the Way It Is” album was one of the first two or three Elvis albums I ever owned. At the time, I was also heavily into “oldies radio” and was very familiar with all the big pop hits of the ’60’s, including Phil Spector’s sparkling Wall of Sound gem, “You’ve Lost That Lovin’ Feelin'” by the Righteous Brothers. When I heard Elvis’ version, I was thrown. It didn’t sound anything like the original. But I soon learned that that is what he did – he could put his stamp on anybody’s song and make it unique. (He didn’t always make the song better. Not even the King could improve on Little Richard’s seminal 1950’s recordings) In concert in Las Vegas, he would start this song with his back to the crowd and just a spot on his head. The eruption of the “Baby!!”‘s in this song are thunderous. He bites off the words of the title – “You’ve lost – that – lovin’ – feelin’!” – and breaks down into a stone groove for the bridge – “Baby, baby, I’d get down on my knees for you – if this suit wasn’t too tight!” – and the Sweet Inspirations behind him – “that’s how much I love you, sweet baby”. This is his wheel house. He takes the Righteous Brothers polished gem down into the earth, the soil, and adds heaping helpings of soul and gospel and heart. There are several different live recordings of Elvis’ version of this song out there. He never did it in the studio.

3. “Burning Love” (1972) — This tune is in a very small group of Elvis songs. Along with “Hound Dog”, it may be his most iconic recording. Unfortunately, people often equate “a-hunk a-hunk a-burnin’ love” with the worst of the Elvis Impersonators – sorry: Elvis Tribute Artists (ETAs). But, fact is – again, like “Hound Dog” – if you can possibly listen to this song again and try to forget all that you think you know about King, you’ll hear an excellent, high energy, early-’70’s-style rock song. It starts off with some ringing guitar that has become for me an actually spell-binding sound that runs throughout the song. This guitar was played by the author of the song, Dennis Linde. Some pumping piano comes in and we’re off. There seems to be an echo to EP’s vocal that makes for an interesting sound. The song went to #2 and was his last Top Ten hit. Another great song from the fertile year of 1972, reinforcing the idea that 1969-1972 was indeed a stellar period in King’s career.

2. “Stranger in the Crowd” (1970) — And the casual Elvis fans are scratching their heads. Again I say that it is amazing to me that a song like this is so undervalued even in Elvis World. The prime example of what makes the songs from “That’s the Way It Is” so good, this song is captivating mostly because of it’s contemporary, middle-of-the-road pop sound. Yes, King’s wheelhouse, as we’ve seen, is rock ‘n’ roll or more accurately his unique blend of gospel, R&B and country. But I feel like had he pursued this sound further in the early ’70’s it may have lead to another domination of the pop charts and even a run of Grammy Awards. Tune starts off with some great strumming from John Wilkinson and gets in to a nice groove with a really smooth vocal from our boy and a beauty guitar solo from James Burton. And check out Ronnie Tutt on the drums near the end. This tune is just delightful and so terribly unique among Elvis recordings. “Stranger” leaves me feeling good. Here’s a clip of Elvis rehearsing the song. You should listen to the master of the song as it was released, too, as it is, obviously, more polished.

1. “Promised Land” (1975) — “Aw, get on it!” And with that we are off on maybe the most thrilling ride Elvis Presley ever took us on. The song was written in 1964 by Chuck Berry while he was in prison. The lyric is pure Berry. It’s the story of “the poor boy” who starts off in the backwoods and slowly makes his way to ‘the promised land’: the big time, Los Angeles. You can imagine an incarcerated Berry dreaming of the day of his release when he could get back to his career. Once again, in the hands of Elvis Presley, a song goes to another level. Presley’s version is an aggressive, driving, sonic juggernaut. One of my favourite instruments is the clavinet. Stevie Wonder’s “Superstition” starts off with the very best playing you’ll ever hear of this funky, percussive-sounding keyboard. King employed this instrument throughout the ’70’s and it gets things off to a flying start on “Promised Land”. EP then exclaims “aww, get on it!” and his drummer – the most underrated rock drummer in history – Ronnie Tutt, fires up the Greyhound and propels things down the interstate. Tutt is definitely ‘driving the bus’ on this tune that also features guitarist James Burton putting on a clinic. “Los Angeles gimme Norfolk, Virginia Tidewater four-ten-oh-nine…” Presley’s obviously enjoying himself and it is infectious. Recorded at the famous Stax Studios in Memphis, the song went to #14 on the pop charts. This is one of the 3 or 4 songs you play when you are trying to convince someone that Elvis is “cool”. Gotta hand it to Barry Sonnenfeld, director of “Men in Black”. When the script of that film mentions Elvis and depicts a car going incredible speeds he puts “Promised Land” on the soundtrack. Natch.

Up next: sometimes you really have to dig but there are some great songs in Elvis Movies!

Elvis_singing2_t700.jpg

The King laying it down during his historic “Aloha from Hawaii via Satellite” concert. January 14, 1973.

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

 

 

 

 

 

 

 

 

Standard
Christmas, music, Top Ten List

The Greatest Christmas Songs

Now, I know what you’re thinking and you’re right: music is subjective. And Christmas music all the more so. Mainly because of the immense amount of sentiment attached to the Christmas season. Your heart and spirit can latch on to a song, maybe you heard it as a child or it relates to memories of the past, connections to family members, etc. Not only that but I’ve always felt that anything was OK at Christmas; meaning nothing was too cornball to listen to or watch. Even things overly sentimental that may even have made you cringe in your better instincts were not only acceptable at Christmas but welcomed. After all, it is the season of such things. So, those who love Christmas music love it. All of it. Well, most of it. Lists like the one I’m about to present are almost redundant because of the sentimental connection I’ve tried to explain. My list of the best Christmas songs will bring blank stares from a lot of you because your own Christmas memories usually are accompanied by your own Christmas soundtrack which may be very different from mine or anyone else’s. However, what I’ve tried to pinpoint are the songs that are generally accepted as favourites, songs that are significant historically and culturally. Yes, opinions will vary but this list, I think, contains songs that serve to enrich the Christmas experience. Chances are, if Christmas is your thing, if you truly love the season for Christ-related or Santa-related reasons or both, than you love most of these songs. Or at least you understand and accept them as priceless elements of the season. For each track I’ve tried to state a case for their inclusion on anyone’s Christmas playlist. And, yeah, ranking can be really sketchy but I went ahead and ranked them anyways. Lastly, there are no carols here as they deserve their own post.

10. “Here Comes Santa Claus” – Gene Autry (1947) — Sub-titled “Down (or Right Down) Santa Claus Lane”, this perennial favourite was written by “The Singing Cowboy”, Gene Autry in 1947. Christmas of 1946, Autry was riding his horse in the Santa Claus Lane Parade (now the Hollywood Christmas Parade) and heard the spectators chanting “Here comes Santa Claus, here comes Santa Claus!”. This inspired Gene to write the lyrics to the song. (Gene relates this story on one of his Christmas albums) Autry recorded his song three times. The first came out on Columbia Records and was a Top Ten hit on the pop and country charts. It’s appreciation was increased by it’s use in the Rankin-Bass Christmas special from 1974, “A Year Without a Santa Claus”. It’s a pleasant, charming song that sings the praises of good, ol’ Saint Nick. And, again, people of a certain age no doubt grew up with Gene Autry’s Christmas music, specifically the “Rudolph, the Red-Nosed Reindeer” LP. “Here Comes Santa Claus” was also recorded notably by Bing Crosby and the Andrews Sisters, Elvis Presley, Willie Nelson, Glen Campbell, Bob Dylan, Mariah Carey and Billy Idol (!?).

1200x630bb (1)

9. “Christmas Time is Here” – Vince Guaraldi (1965) — Here’s a perfect example of the ‘connection’ thing I was talking about. People my age grew up with the Peanuts gang and “A Charlie Brown Christmas” in particular. The special from ’65 is notable for it’s assertion that the ‘real meaning of Christmas’ is the Nativity. Because we all grew up with Charlie Brown and Snoopy, this special is near and dear to us, that includes the music that goes with it. Peanuts specials were unique in that they presented the adventures of these kids against a backdrop of jazz music. The man who created it all was Vince Guaraldi. His soundtrack to the Christmas special featured not only “Christmas Time is Here” but also the immortal theme, “Linus and Lucy”. The album featured an instrumental version of “Christmas Time” and a version featuring vocals from the children’s choir of St. Paul’s Episcopal Church in San Rafael, California. The song reminds you of the special, which is all is has to do. But, on top of that, it is a quiet gem, driven by Guaraldi’s gentle piano and drummer Jerry Granelli’s brushes. The song has been covered countless times but it is rare among Christmas songs in that Guaraldi’s version is the only one that ‘counts’. Oddly, it wasn’t covered at all until 1982 – and then it was flood gates. Other artists recording versions include: Mel Torme, Rosemary Clooney, R.E.M., Stone Temple Pilots (!?), Tony Bennett, Diana Krall, and LeAnn Rimes.

8. “Jingle Bells”/”Santa Claus is Comin’ to Town” – Bing Crosby (1943) — I’ve cheated a bit here with this tie but these are two similar recordings from the greatest of all the Christmas crooners. In 1935, Bing Crosby recorded the most beloved of all Christmas carols, “Silent Night”. As a religious man, Bing was hesitant to record the venerable song as he thought it was inappropriate for a singer of popular songs – and an owner of racehorses – to profit from so sacred a song. But record it he did and it began his 40-year run as the finest interpreter of seasonal warmth. By 1943, Bing Crosby was just about as big as you can get and the thing you need to understand about Bing is that, in Artie Shaw’s words, “he was the first hip white man born in the United States”. His jazz sensibilities and his sense of “swing” were highly tuned by this point. Never was this more apparent than in these two seminal recordings both recorded the same September day in 1943. Teaming with his regular singing partners, the Andrews Sisters, Bing swings like nobody’s business on these two numbers. “Jingle Bells” should have it’s own post. It may be one of the most recorded songs in history and lends itself well to a swinging treatment. “Santa Claus…” is taken at a more middling tempo but the rhythm inherent in Bing’s vocal and the spry accompaniment from the brass make for an excellent recording. Two definitive Christmas recordings from a man at the very height of his powers. “Jingle Bells” has been recorded countless times, most notably by: Herb Alpert and the Tijuana Brass, Booker T. and the MG’s, Jose Feliciano, the Hollyridge Strings, Dean Martin, Frank Sinatra, the Brian Setzer Orchestra, Ben Rector and about a thousand others. “Santa Claus is Coming to Town”: the Crystals, Bruce Springsteen and the E Street Band, the Jackson 5, the Beach Boys, Michael Buble and Dokken (!?).

7. “Christmas (Baby, Please Come Home)” – Darlene Love (1963) — Where do I start? Bing Crosby was at the vanguard of the initial wave of popular singers recording Christmas music in the late 1930’s-early 1940’s. Then, with the advent of rock ‘n’ roll, few artists indulged in seasonal sounds, the Drifters and Presley notable exceptions. And then, in November of 1963, Phil Spector released “A Christmas Gift for You”, a Christmas record filled with songs by artists in his stable. It has been called the greatest Christmas album ever made and it started the second wave of prolific pop/rock Christmas recordings. The only new song on this album, “Christmas…” is absolutely heartbreaking. The lyrics speak of separation at Christmas but what is most gut-wrenching about it is the chord changes. The song itself – vocals aside – is filled with longing. It’s songs like this that Springsteen channeled for his most emotive work. Indeed, “Bobby Jean” from “Born in the U.S.A.” is almost a carbon copy. Add to this the power of the voice of Darlene Love and you have a potent package. Thing is, the potency of this track does not necessarily come from it’s “Christmas-ness” but it is a Christmas song, often called the greatest Christmas rock song ever. It is heavy. Unsuccessful when it first came out, it has since been covered by U2 (Love sang back-up), Michael Buble and Mariah Carey.

MI0001891426

6. “Let It Snow! Let It Snow! Let It Snow!” – Vaughn Monroe (1945) — The hardest Christmas song title to type. There are a handful of staples in this genre and this is one of them. If you are going to put out a Christmas album, this is going to be on it, particularly if you operate in the traditional pop idiom. Big-voiced Vaughn Monroe introduced this tune with an RCA Victor release in 1945. It was written by legendary and prolific songwriters Jule Styne and Sammy Cahn and is one of those tunes that make no specific reference to Christmas. It is a great swinger that rolls at the end of “Die Hard” and has been covered – and covered well – by virtually every jazz/traditional pop singer, including: Frank Sinatra, Dean Martin (twice), Ella Fitzgerald, Diana Krall, Bing Crosby, Andy Williams, Robert Goulet and Herb Alpert and the Tijuana Brass slow it down for an outstanding mellow version.

5. “An Old Fashioned Christmas” – Frank Sinatra (1964) — What a shock for me to learn that the biggest swinger of them all did not really swing at Christmas time. When I first heard Sinatra’s Christmas albums (technically three), I could not immediately connect until I realized that what he was doing so well was being reverent. In 1964, Sinatra teamed up with Bing Crosby and Fred Waring and the Pennsylvanians and put out the hard to find “12 Songs of Christmas”. Written by regular Sinatra writers (and pals) Sammy Cahn and Jimmy Van Heusen and sung solo on the album by Frank, “An Old Fashioned Christmas” is the perfect mid-century Christmas song. If you’re like me – and I sincerely hope you’re not – you love any depiction of the past, be it in novel, film or song. Whether it’s 2017 or 1964, the song is all about nostalgia. It’s about a swinger who’s domain is the happenin’ city. But it’s late in December and this cat is thinking of home: “Give me an old-fashioned Christmas…my heart remembers smoldering embers warmly aglow. I’d trade that whole Manhattan skyline, the shimmering steel and chrome, for one old-fashioned Christmas back home”.

4. “The Most Wonderful Time of the Year” – Andy Williams (1963) — Everything needs an opener and this song is the perfect opening tune for the Christmas season. George Wyle was a songwriter who worked for “The Andy Williams Show”. George wrote this song for Andy’s second annual Christmas show and it was released on Andy’s first Christmas record that year. (George Wyle also wrote the theme to “Gilligan’s Island”) All this makes it one of the more recently introduced Christmas standards. It’s an exciting composition in triple time and the lyrics are chock full of Christmas imagery. It is one of the most regularly heard Christmas songs of them all, as it is a celebration of all that we love about the season. For such an iconic song of the season, it has not been covered often. Johnny Mathis did a carbon copy version while Harry Connick, Jr. – as he is wont to do – wrote a very unique arrangement for it and recorded it on his Christmas album of 2008.

3. “Santa Claus is Back in Town” – Elvis Presley (1957) — The King of Rock ‘n’ Roll recorded two Christmas albums, one in 1957 and one in 1971. Only 20 Christmas songs and yet he has a sizable Christmas rep. “Elvis’ Christmas Album” of ’57 is the highest selling Christmas album of all-time (U.S. sales) and this was the first track on it. Presley went into the studio to make this album of Christmas and gospel classics and found himself one song short. His regular songwriters – Rock ‘n’ Roll Hall of Fame-ers Jerry Leiber and Mike Stoller – adjourned to a quiet room and emerged a short time later with this simple gem. The magic here is in Presley’s performance. King recorded many timeless rock ‘n’ roll classics between 1956 and 1958 – the years that cemented his legacy for all time – but few of them really display the sheer savage power of his voice. One example is “Jailhouse Rock”. And another is “Santa Claus is Back in Town”. How odd. Christmas songs are generally tender, warm, lovingly nostalgic and evocative of home and hearth. This tune is a beast. The Jordanaires chanting “Christmas”, J.D. Fontana punishing his drums and some stellar blues piano from Dudley Brooks all combine to make this a Christmas rock ‘n’ roll standard.

2. “The Christmas Song” – Nat ‘King’ Cole (1961) — For almost all of the songs on this list I’ve gone to ‘the source’. Actually, it’s better stated to say that most of the greatest Christmas recordings ever are cases where artists are introducing a song to the public. Another great example of this is “The Christmas Song”, first recorded by Nat ‘King’ Cole – often subtitled either “Merry Christmas to You” or “Chestnuts Roasting on an Open Fire”. Like “Let It Snow!”, it’s a case of songwriters sweltering in mid-summer and imagining the cooler, cozier vibe of Christmas time. Legendary singer Mel Torme wrote the lyrics and Robert Wells composed the tune. Nat Cole and his trio debuted the song in the ’40’s. The definitive 1961 version was their third recording of it. There is a sublime gentleness in the opening two guitar notes and the sweeping strings that transport you to a dimly lit, warm, cozy room. The fireplace is aglow. The tree is lit. And Nat Cole’s smoky voice sings of the many charms of the season. The ’61 version is actually a perfect recording, Christmas or no. Mel’s lyrics add to the warmth and heartfelt sentiment.

1. “White Christmas” – Bing Crosby (1947) — A no-brainer. An easy, even unimaginative choice for #1. Not even a choice, really. If you decide to write about Christmas music, you are going to talk about Papa Bing and his glorious 1947 version of “White Christmas”. It is the reason secular Christmas music exists. This song really deserves it’s own post so I’ll keep it simple. Written by Irving Berlin and first recorded by Bingo in 1942, it is the world’s best selling single. Crosby’s initial recording in 1942 was incredibly successful. In 1942, the song spent 11 weeks at #1. In 1945 and 1946, the song went to #1 again – no other single in history has reached the top of the charts in three separate years. Although the song has been recorded over 500 times, it has always been associated with Bing Crosby. Crosby always downplayed his role in making the song legendary: “a jackdaw with a cleft palate could have sung it successfully”. Along with Nat Cole’s “The Christmas Song”, this is one of the very few perfect recordings in history.

Merry Christmas LP

So…what do you think? It may be hard to argue with these choices as they are, for the most part, universally loved. But did I miss any? Do any of these songs place too high? Aside from some really obscure stuff I could name, there really is no bad Christmas music. By definition, it is pleasant, warm, tenderly nostalgic and evokes memories of home. It truly is one of the joys of the season.

Stay Tuned for my next post when we’ll look at the lesser known Christmas classics

– the Deep Cuts…

 

 

Standard
music

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.

HalBlaine_BlaemireKit

Standard