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The Wrecking Crew: The Inside Story of Rock and Roll's Best-Kept Secret
Winner of the Oregon Book Award for General Nonfiction and Los Angeles Times bestseller
"It makes good music sound better."-Janet Maslin in The New York Times
"A fascinating look into the West Coast recording studio scene of the '60s and the inside story of the music you heard on the radio. If you always assumed the musicians you listened to were the same people you saw onstage, you are in for a big surprise!"-Dusty Street, host of Classic Vinyl on Sirius XM Satellite Radio
If you were a fan of popular music in the 1960s and early '70s, you were a fan of the Wrecking Crew-whether you knew it or not.
On hit record after hit record by everyone from the Byrds, the Beach Boys, and the Monkees to the Grass Roots, the 5th Dimension, Sonny & Cher, and Simon & Garfunkel, this collection of West Coast studio musicians from diverse backgrounds established themselves in Los Angeles, California as the driving sound of pop music-sometimes over the objection of actual band members forced to make way for Wrecking Crew members. Industry insider Kent Hartman tells the dramatic, definitive story of the musicians who forged a reputation throughout the business as the secret weapons behind the top recording stars.
Mining invaluable interviews, the author follows the careers of such session masters as drummer Hal Blaine and keyboardist Larry Knechtel, as well as trailblazing bassist Carol Kaye-the only female in the bunch-who went on to play in thousands of recording sessions in this rock history. Readers will discover the Wrecking Crew members who would forge careers in their own right, including Glen Campbell and Leon Russell, and learn of the relationship between the Crew and such legends as Phil Spector and Jimmy Webb. Hartman also takes us inside the studio for the legendary sessions that gave us Pet Sounds, Bridge Over Troubled Water, and the rock classic "Layla," which Wrecking Crew drummer Jim Gordon cowrote with Eric Clapton for Derek and the Dominos. And the author recounts priceless scenes such as Mike Nesmith of the Monkees facing off with studio head Don Kirshner, Grass Roots lead guitarist (and future star of The Office ) Creed Bratton getting fired from the group, and Michel Rubini unseating Frank Sinatra's pianist for the session in which the iconic singer improvised the hit-making ending to "Strangers in the Night."
The Wrecking Crew tells the collective, behind-the-scenes stories of the artists who dominated Top 40 radio during the most exciting time in American popular culture.
"It makes good music sound better."-Janet Maslin in The New York Times
"A fascinating look into the West Coast recording studio scene of the '60s and the inside story of the music you heard on the radio. If you always assumed the musicians you listened to were the same people you saw onstage, you are in for a big surprise!"-Dusty Street, host of Classic Vinyl on Sirius XM Satellite Radio
If you were a fan of popular music in the 1960s and early '70s, you were a fan of the Wrecking Crew-whether you knew it or not.
On hit record after hit record by everyone from the Byrds, the Beach Boys, and the Monkees to the Grass Roots, the 5th Dimension, Sonny & Cher, and Simon & Garfunkel, this collection of West Coast studio musicians from diverse backgrounds established themselves in Los Angeles, California as the driving sound of pop music-sometimes over the objection of actual band members forced to make way for Wrecking Crew members. Industry insider Kent Hartman tells the dramatic, definitive story of the musicians who forged a reputation throughout the business as the secret weapons behind the top recording stars.
Mining invaluable interviews, the author follows the careers of such session masters as drummer Hal Blaine and keyboardist Larry Knechtel, as well as trailblazing bassist Carol Kaye-the only female in the bunch-who went on to play in thousands of recording sessions in this rock history. Readers will discover the Wrecking Crew members who would forge careers in their own right, including Glen Campbell and Leon Russell, and learn of the relationship between the Crew and such legends as Phil Spector and Jimmy Webb. Hartman also takes us inside the studio for the legendary sessions that gave us Pet Sounds, Bridge Over Troubled Water, and the rock classic "Layla," which Wrecking Crew drummer Jim Gordon cowrote with Eric Clapton for Derek and the Dominos. And the author recounts priceless scenes such as Mike Nesmith of the Monkees facing off with studio head Don Kirshner, Grass Roots lead guitarist (and future star of The Office ) Creed Bratton getting fired from the group, and Michel Rubini unseating Frank Sinatra's pianist for the session in which the iconic singer improvised the hit-making ending to "Strangers in the Night."
The Wrecking Crew tells the collective, behind-the-scenes stories of the artists who dominated Top 40 radio during the most exciting time in American popular culture.
320 pages, Paperback
First published February 14, 2012
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January 3, 2024
"As [young songwriter/composer Jimmy] Webb began playing an singing the basic verses of his new tune [in early 1968], Glen Campbell simply flipped. He immediately knew that this was the song he was hoping and praying for. A story of desolation and longing, it spoke to the human condition, the universal need for love. What could be better than that? And it was real . . . 'What's it called?' Campbell finally asked Webb. 'Wichita Lineman,' came the reply." -- page 201
It was sort of an industry secret in the 1960's that various rock / pop / R&B / country groups did not often or necessarily play the instrumental parts backing their hit songs, but that the tunes were instead created / recorded by talented but usually-uncredited session musicians. The Motown label in Detroit had the 'Funk Brothers' while the Nashville studios had 'The Cats' a.k.a. 'The A-Team.' As for the vibrant and exploding music scene in perpetually-sunny Los Angeles? Well, it was blessed with 'The Wrecking Crew.' Utilized for a time by eccentric-yet-gifted producers like Phil Spector and Brian Wilson, said squad had an amazing run circa 1963-1971 working with notable acts like the Beach Boys, the Byrds, Sonny & Cher, the Monkees, the Mamas & the Papas, the 5th Dimension, the Carpenters and even Frank Sinatra. Anchored by the dependable drumming of Hal Blaine (also credited with coining this informal group's moniker) and featuring innovative bassist Carol Kaye (the sole female member) and guitarist Tommy Tedesco - among many others - they performed on over one hundred distinct and occasionally Grammy-winning songs that charted high on the U.S. Top-40 radio. (I could gamely attempt to compose of a list of said songs here, but it's actually more fun to just find listings online and marvel at the mind-boggling scope of those 'three minute / three chord' wonders.) Two members - guitarist Glen Campbell and pianist Leon Russell - even eventually made to the jump to solo stardom after putting in their time as anonymous but reliable sidemen. Author Hartman provides a peak behind the pop cultural curtain with his detailed The Wrecking Crew, nicely (and finally) giving this consummate team of professionals their moment of recognition for helping to supply a veritable soundtrack of American music that has entertained multiple generations.
It was sort of an industry secret in the 1960's that various rock / pop / R&B / country groups did not often or necessarily play the instrumental parts backing their hit songs, but that the tunes were instead created / recorded by talented but usually-uncredited session musicians. The Motown label in Detroit had the 'Funk Brothers' while the Nashville studios had 'The Cats' a.k.a. 'The A-Team.' As for the vibrant and exploding music scene in perpetually-sunny Los Angeles? Well, it was blessed with 'The Wrecking Crew.' Utilized for a time by eccentric-yet-gifted producers like Phil Spector and Brian Wilson, said squad had an amazing run circa 1963-1971 working with notable acts like the Beach Boys, the Byrds, Sonny & Cher, the Monkees, the Mamas & the Papas, the 5th Dimension, the Carpenters and even Frank Sinatra. Anchored by the dependable drumming of Hal Blaine (also credited with coining this informal group's moniker) and featuring innovative bassist Carol Kaye (the sole female member) and guitarist Tommy Tedesco - among many others - they performed on over one hundred distinct and occasionally Grammy-winning songs that charted high on the U.S. Top-40 radio. (I could gamely attempt to compose of a list of said songs here, but it's actually more fun to just find listings online and marvel at the mind-boggling scope of those 'three minute / three chord' wonders.) Two members - guitarist Glen Campbell and pianist Leon Russell - even eventually made to the jump to solo stardom after putting in their time as anonymous but reliable sidemen. Author Hartman provides a peak behind the pop cultural curtain with his detailed The Wrecking Crew, nicely (and finally) giving this consummate team of professionals their moment of recognition for helping to supply a veritable soundtrack of American music that has entertained multiple generations.
October 13, 2019
What is your favorite song from the 1960s-1970s? If it was recorded in Los Angeles, and most songs were, it is very likely the music was played by "studio" musicians known as The Wrecking Crew. But "wait!" you say, "why would Simon & Garfunkel hire someone to play the grand piano in Bridge Over Troubled Water, when I'm pretty sure they both played instruments?" Well, there are generally two reasons: 1) the record labels often REQUIRED bands to record using these session players because getting the songs laid down without mistakes early on reduced the cost of producing, and 2) the Wrecking Crew turned good songs into HITS. Thing is, you just didn't know the band members of The Byrds or The Mamas & Papas weren't playing the instruments (well, I guess we all knew the Monkees didn't do any playing!), because the record labels didn't want you to know. They kept this all hush-hush cause they thought it would diminish the popularity of the bands. But in fact, having musicians work on the music while, for example, the Beach Boys (except Brian Wilson) were on concert tour, just helped the band meet its production quota of hits while the "talent" was out on the road.
Hal Blaine, the drummer from The Wrecking Crew, was on speed dial for the likes of Brian Wilson, Phil Spector and Jan Berry (Jan & Dean), and played in no less than forty #1 hits and was the drummer for six consecutive Grammy songs. Carol Kaye, maybe the most prolific bass player of the time (she played bass on 10,000+ tracks, many of which are songs you'd recognize), embellished the backbeat of countless hits, as well as theme songs of TV shows such as The Brady Bunch, Hawaii 5-0, Mission Impossible, MASH, Hogan's Heroes and Adams Family. Glen Campbell is probably the best known member of The Wrecking Crew, because he left to start his own career, with such hits as Rhinestone Cowboy, Wichita Lineman, and By The Time I Get To Phoenix. But aside from his career as a singer, Campbell was an amazing guitar player, and even was a member of the Beach Boys for a short stint.
The twenty or so musicians who informally called themselves the Wrecking Crew, often playing at Gold Star Recording Studios, were originally assembled by Phil Spector for his "wall of sound". Producing such hits as You've Lost That Loving Feeling by The Righteous Brothers, and Be My Baby by The Ronettes, Spector and The Wrecking Crew caught the eye of other record labels who tried to imitate the sound. Before long, bands as diverse as Sonny & Cher, Tina Turner, Frank Sinatra, Rickey Nelson, Captain & Tennille, John Lennon, The Carpenters, Paul Revere & The Raiders, Herb Albert & Tijuana Brass, etc. were booking sessions with these talented musicians. Unfortunately, the Wrecking Crew, though being exceptionally popular and in demand, were only paid scale and were not credited on the hits they helped produce. But next time you listen to the scaling down bass after Nancy Sinatra sings "one of these days these boots are gonna walk all over you...", know that the song was probably not going to be hit material if Carol Kaye hadn't offered to throw in one of her signature bass riffs.
This book will appeal to anyone with a recollection of songs from this great era in music.
Hal Blaine, the drummer from The Wrecking Crew, was on speed dial for the likes of Brian Wilson, Phil Spector and Jan Berry (Jan & Dean), and played in no less than forty #1 hits and was the drummer for six consecutive Grammy songs. Carol Kaye, maybe the most prolific bass player of the time (she played bass on 10,000+ tracks, many of which are songs you'd recognize), embellished the backbeat of countless hits, as well as theme songs of TV shows such as The Brady Bunch, Hawaii 5-0, Mission Impossible, MASH, Hogan's Heroes and Adams Family. Glen Campbell is probably the best known member of The Wrecking Crew, because he left to start his own career, with such hits as Rhinestone Cowboy, Wichita Lineman, and By The Time I Get To Phoenix. But aside from his career as a singer, Campbell was an amazing guitar player, and even was a member of the Beach Boys for a short stint.
The twenty or so musicians who informally called themselves the Wrecking Crew, often playing at Gold Star Recording Studios, were originally assembled by Phil Spector for his "wall of sound". Producing such hits as You've Lost That Loving Feeling by The Righteous Brothers, and Be My Baby by The Ronettes, Spector and The Wrecking Crew caught the eye of other record labels who tried to imitate the sound. Before long, bands as diverse as Sonny & Cher, Tina Turner, Frank Sinatra, Rickey Nelson, Captain & Tennille, John Lennon, The Carpenters, Paul Revere & The Raiders, Herb Albert & Tijuana Brass, etc. were booking sessions with these talented musicians. Unfortunately, the Wrecking Crew, though being exceptionally popular and in demand, were only paid scale and were not credited on the hits they helped produce. But next time you listen to the scaling down bass after Nancy Sinatra sings "one of these days these boots are gonna walk all over you...", know that the song was probably not going to be hit material if Carol Kaye hadn't offered to throw in one of her signature bass riffs.
This book will appeal to anyone with a recollection of songs from this great era in music.
June 8, 2012
I have a friend who was in school in Poland when the Soviet Union collapsed. Soon after, his school received new textbooks. In those new textbooks was a completely new and different retelling of history. Suddenly, overnight, everything that had happened in the 20th century was completely different. In one Orwellian moment, everything he knew was wrong.
If you grew up in the 60's, or have ever hummed along or danced to a pop or rock hit from that era, prepare for an equally jarring re-write of History As You Know It. After you read this book, everything you thought you knew about the pop and rock music of the era will be, completely and utterly, false.
I tend to read "weighty" non-fiction almost exclusively, yet I found this book to be entertaining, informative and, as mentioned above, jarring.
I found myself searching my memories for the melody line and lyrics of long forgotten pop hits (which I tended to avoid once I discovered, among other things, non-mainstream music). I also found myself instantly transported back to the time and place I first heard or memorably enjoyed epic hits and songs that defined me (or so I thought) during that era.
All in all, it's a great read. And whether you are a rock historian or somebody who just gave it a 9 because it had a good beat and was easy to dance to, you owe it to yourself to read this book. In doing so, you'll find out what really happened and who really created all those tunes still filling the airwaves of the oldies and classic rock stations.
Just be prepared, your history is about to be rewritten.
If you grew up in the 60's, or have ever hummed along or danced to a pop or rock hit from that era, prepare for an equally jarring re-write of History As You Know It. After you read this book, everything you thought you knew about the pop and rock music of the era will be, completely and utterly, false.
I tend to read "weighty" non-fiction almost exclusively, yet I found this book to be entertaining, informative and, as mentioned above, jarring.
I found myself searching my memories for the melody line and lyrics of long forgotten pop hits (which I tended to avoid once I discovered, among other things, non-mainstream music). I also found myself instantly transported back to the time and place I first heard or memorably enjoyed epic hits and songs that defined me (or so I thought) during that era.
All in all, it's a great read. And whether you are a rock historian or somebody who just gave it a 9 because it had a good beat and was easy to dance to, you owe it to yourself to read this book. In doing so, you'll find out what really happened and who really created all those tunes still filling the airwaves of the oldies and classic rock stations.
Just be prepared, your history is about to be rewritten.
May 4, 2012
Having read the original magazine article (American Heritage, 2007) and watched the film documentary, I was expecting to enjoy this. Even though different people were highlighted to some extent than in the film, it was still just a very fun read, especially for someone who listened to nearly everything these musicians created. I was glad to see the author mention the studio musicians who worked in New York, Detroit, Memphis and Nashville because their work was and is significant. Drummer Hal Blaine's work is probably another book-in-waiting. Insights on songs like "These Boots Were Made for Walkin'," "The Beat Goes On," "Classical Gas" and others demonstrate the great effect they had on 1960s music.
June 17, 2012
Pedestrian bit of blown-up magazine journalism intended to celebrate a talented, rotating collection of studio musicians who played on many of the hit singles that emerged from Los Angeles in the 1960s and 1970s. Hartman means well but neither writes well nor benefits much from his research opportunities. There are tons of folks cited for interviews with the author but they seem only to have given him blurbs. Motown’s Funk Brothers played more inventively on more hits than The Wrecking Crew and the hits they played on are more enduring than the more shallowly commercial songs to which the Wrecking Crew was too often assigned. They start well working with two mad geniuses, Phil Spector and Brian Wilson, but before long they are backing up Richard Harris, the Carpenters, and Captain and Tennille.
In their time they had a great commercial run, helping a couple of Sinatras and Dean Martin have late hits on the radio with lesser songs that have only nostaglia’s legs into the future. The house musicians in Detroit, Memphis, Muscle Shoals, and Nashville created a more signature sound, as many hits, and more enduring music. There are interesting characters here: Hal Blaine, Carol Kaye, Jim Gordon and others but you largely get a People magazine level backstory so not much is revealed. A stronger researcher and writer may have put together a more illuminating and convincing account of these musicians and their role in pop music but what Hartman accomplishes is a contiguous set of chapters, each with a song for its title, that lacks discrimination and insight.
In their time they had a great commercial run, helping a couple of Sinatras and Dean Martin have late hits on the radio with lesser songs that have only nostaglia’s legs into the future. The house musicians in Detroit, Memphis, Muscle Shoals, and Nashville created a more signature sound, as many hits, and more enduring music. There are interesting characters here: Hal Blaine, Carol Kaye, Jim Gordon and others but you largely get a People magazine level backstory so not much is revealed. A stronger researcher and writer may have put together a more illuminating and convincing account of these musicians and their role in pop music but what Hartman accomplishes is a contiguous set of chapters, each with a song for its title, that lacks discrimination and insight.
September 21, 2012
Even for a Baby-Boomer Music-Slut like myself, this was a little weak. The author offers up lots of gee-whiz and aw-shucks sentiments and stories, but fails to dig much deeper.
That being said, we're still talking about the studio musicians behind virtually every pop/rock record to come out of LA in the 60's including the Beach Boys, the Byrds, Sonny & Cher, Jan & Dean, the Righteous Brothers, Mama's and Papa's, Frank Sinatra, Dean Martin, Simon and Garfunkle, the Monkees, Phil Spector, Glen Cambel.
So . . . I did end up plowing through it in a night.
That being said, we're still talking about the studio musicians behind virtually every pop/rock record to come out of LA in the 60's including the Beach Boys, the Byrds, Sonny & Cher, Jan & Dean, the Righteous Brothers, Mama's and Papa's, Frank Sinatra, Dean Martin, Simon and Garfunkle, the Monkees, Phil Spector, Glen Cambel.
So . . . I did end up plowing through it in a night.
May 15, 2018
3.5 stars rounded up. If I was born 10 years earlier this book would’ve probably been close to a five star read for me. Not really because of the quality of writing but more so due to the interesting and sometimes bazaar elements that went into creating countless hit songs back in the 60s and 70s.
Just as I enjoy a novelist who can create a fictional world in which I can get lost, I also enjoy a producer’s collaboration of songwriters, musicians, and vocalists who can create a song that takes me to a unique place.
Even though the story telling to me seemed disjointed, Kent Hartman brought to life many entertaining examples of such collaborations, most of which came together with ingenuity and harmony, some of which morphed into being, through (despite) much discord. The amount of hard work in research and interviews Hartman put into this book is evident throughout.
I am glad I read The Wrecking Crew - which also included several detours to YouTube, so I could listen to the aspects within the songs that were being described. There are several songs (oldies) that I know now I will hear and have a much more in-depth appreciation for (e.g., the crashing of tire chains onto concrete in the final versus of Bridge Over Troubled Water).
If you are into rock ‘n’ roll and interested in some of its early years, give this book a spin.
Just as I enjoy a novelist who can create a fictional world in which I can get lost, I also enjoy a producer’s collaboration of songwriters, musicians, and vocalists who can create a song that takes me to a unique place.
Even though the story telling to me seemed disjointed, Kent Hartman brought to life many entertaining examples of such collaborations, most of which came together with ingenuity and harmony, some of which morphed into being, through (despite) much discord. The amount of hard work in research and interviews Hartman put into this book is evident throughout.
I am glad I read The Wrecking Crew - which also included several detours to YouTube, so I could listen to the aspects within the songs that were being described. There are several songs (oldies) that I know now I will hear and have a much more in-depth appreciation for (e.g., the crashing of tire chains onto concrete in the final versus of Bridge Over Troubled Water).
If you are into rock ‘n’ roll and interested in some of its early years, give this book a spin.
April 23, 2017
Fascinating and detailed romp through the emergence of the American rock and roll music business in Los Angeles, arguably the epicenter of Pop/Top 40 hit machine. The Wrecking Crew were the unsung heroes of the emergence of rock. They were the studio musicians who brought the music to life and gave legs to countless hits by injecting their skill, creativity, and ear, adding dimension and heart to every recording. I got a kick out of learning how the business side was so unrefined in the beginning. Success of a group, individual, or song, could be completely haphazard. And the recording technology was blissfully primitive. At one point Hal Blaine thinks a song needs a distinctive percussive riff and empties an ashtray he then uses to add a few tinny sounding beats. Turned out to be a huge hit for Dean Martin. Crazy. The writing moves along and the author packs a staggering amount of information into the narrative. The characters are clear but there are so many people to keep track of it can get a little dizzying. Still, it was a fun and stimulating journey through the '60s and '70s American rock scene. I had no idea when I was growing up how this all came about. I'm glad I know now. Great book. Highly recommend for rock music fans.
November 8, 2015
Hi, my name is Don and I'm a music nerd. If you grew up listening to rock and roll in "The Sixties" (I don't like that term it is disingenuous) and you listened to 45 RPM records this is the book for you. It speaks to those of us who ran down to the corner record store on Saturday to buy the newest 45. But we were mislead by the record producers. Did I say mislead? I meant lied to. You see, when you listened to your records the producers wanted you to think that the same band you saw on stage, consisting of 3 or 4 musicians, were the same musicians you heard on the record. Unfortunately the record was the polished product of engineers, producers and 10 or 12 "studio musicians" crammed into a small recording studio. Pretty sneaky. The studio musicians or side men received no credit for their contribution to the music. They were paid handsomely but you never saw there names in the liner notes on the back of an album. Such a group was the wrecking crew. A loosely connected group of free lancers who made rock and roll of the era what it was. They gave Phil Spector his "Wall of Sound" that gave us the Ronettes. They gave Jan and Dean the surf sound and gave Brian Wilson his Pet Sounds. Most of the wrecking crew lived and played in relative obscurity outside Los Angeles. And unless your a full fledged music nerd there names will not elicit much of a reaction. Hal Blaine, Jimmy Web, Carol Kane and Tommy Tedesco just to name a few. Some of the crew went on to have successful careers. Paul Schafer, Todd Rundgren, Russell Bridges (who took the stage name Leon Russell) and Glenn Campbell. Glen Campbell? How could the Wichita Lineman with the immaculately coiffured hair and the boom chicka boom guitar style play rock and roll? Not only did he play rock and roll, he toured with the Beach Boys and backed up The Chairman of the Board. Sadly as music technology progressed the need for multiple musicians declined. And one by one The Wrecking Crew found them selves replaced by 40 track tape machine, Moogs and computer synthesized music. One of there last hurrahs was Brian Wilsons "Pet Sounds". Up until this time albums were seen as two hits and a bunch of filler. And it wasn't until the cassette era that the listening public got to make their own "Greatest Hits" collection. But that all changed when The Beatles released Rubber Soul. That album was seen as a complete smash where each song was better than the last. A perfect album. So Brian Wilson set out to out do The Beatles. Pet Sounds was his tour de force, his creme de la creme.
Gone were songs about surfing, hot girls and hot cars. In their place were deeply introspective songs like Caroline No, Wouldn't it be Nice and Sloop John B. The album was widely accepted by the musician world. Mick Jäger and Paul McCartney both ordered copies. But the album was a commercial failure panned by critics and fans alike. That failure broke Brian Wilsons spirit. But that's another story.
Gone were songs about surfing, hot girls and hot cars. In their place were deeply introspective songs like Caroline No, Wouldn't it be Nice and Sloop John B. The album was widely accepted by the musician world. Mick Jäger and Paul McCartney both ordered copies. But the album was a commercial failure panned by critics and fans alike. That failure broke Brian Wilsons spirit. But that's another story.
January 22, 2015
“The Wrecking Crew” by Kent Hartman, published by Thomas Dunne Books.
Category – Media/Music Publication Date – May 21, 2013
If you liked the music of the 60’s and 70’s this is a must read for you. If I told you that groups such as The Beach Boys, The Union Gap, The Monkees, and many more did not do the instrumentals on their recordings you would not believe me, believe me. The instrumentals for hundreds of recordings during this time was done by, “The Wrecking Crew”. The Wrecking Crew were musicians that excelled in their choice of instruments and became the studio musicians that made the music, a fact that the record companies kept secret.
The reason for using The Wrecking Crew was that most of the groups were good enough to play on a concert tour but were unable to produce the sound that was needed to make a hit record. This also allowed the record companies to put together instrumentals while the groups were on tour and when they came back they only had to do the vocals. The book is also full of tidbits about the music industry and some of the people associated with it. Glen Campbell was one of The Wrecking Crew before coming into his own. Some of the artists that became famous were close to giving up when they found a song that The Wrecking Crew made changes to that solidified it as a hit. Their input on sound arrangements was highly prized. The book also explores the song writers of the day. The most interesting may be Sonny Bono and how he put together his and Cher’s first big hit, “I’ve Got You Babe”, a song that relates to their own lives.
A very interesting book that will have you going back to those old records and listening to them with a different perspective.
Category – Media/Music Publication Date – May 21, 2013
If you liked the music of the 60’s and 70’s this is a must read for you. If I told you that groups such as The Beach Boys, The Union Gap, The Monkees, and many more did not do the instrumentals on their recordings you would not believe me, believe me. The instrumentals for hundreds of recordings during this time was done by, “The Wrecking Crew”. The Wrecking Crew were musicians that excelled in their choice of instruments and became the studio musicians that made the music, a fact that the record companies kept secret.
The reason for using The Wrecking Crew was that most of the groups were good enough to play on a concert tour but were unable to produce the sound that was needed to make a hit record. This also allowed the record companies to put together instrumentals while the groups were on tour and when they came back they only had to do the vocals. The book is also full of tidbits about the music industry and some of the people associated with it. Glen Campbell was one of The Wrecking Crew before coming into his own. Some of the artists that became famous were close to giving up when they found a song that The Wrecking Crew made changes to that solidified it as a hit. Their input on sound arrangements was highly prized. The book also explores the song writers of the day. The most interesting may be Sonny Bono and how he put together his and Cher’s first big hit, “I’ve Got You Babe”, a song that relates to their own lives.
A very interesting book that will have you going back to those old records and listening to them with a different perspective.
August 4, 2017
Although the writing style is little bit high school, the stories contained within were interesting. I picked this up after seeing the documentary on Netflix about the legendary players behind all the hit records. For some reason, the film was enjoyable but not as good as I had hoped it would be. The same is true of this book. I guess the reason is because most of these musicians lacked star power even if they were brilliant players (Only Glen Campbell and Leon Russell managed to become celebrities).
One thing I did not realize is that most of the records made in the 1960s were made by having all of the musicians do practice runs while the producer adjusted the levels. Once that was accomplished, the final take was recorded live with minimal overdubbing. This changed once 16 track recording became the norm. Because one musician could overdub multiple instruments, as there was no need to hire so many people to play at once. While it did not end the practice of hiring session musicians, there were many fewer opportunities for musicians to make a living playing on other people's records. Also, the increasing length of singles -- from the under-three-minute time limit necessary to get added to radio playlists -- meant that fewer songs could be hits, further reducing the amount of work available.
This lack of playing as a band probably explains why Top 40 of the 1970s seemed so dull at the time. So thus ends my brief Ph. D. in California music of the 60's (Head, Riot on Sunset Strip and The Wrecking Crew)
One thing I did not realize is that most of the records made in the 1960s were made by having all of the musicians do practice runs while the producer adjusted the levels. Once that was accomplished, the final take was recorded live with minimal overdubbing. This changed once 16 track recording became the norm. Because one musician could overdub multiple instruments, as there was no need to hire so many people to play at once. While it did not end the practice of hiring session musicians, there were many fewer opportunities for musicians to make a living playing on other people's records. Also, the increasing length of singles -- from the under-three-minute time limit necessary to get added to radio playlists -- meant that fewer songs could be hits, further reducing the amount of work available.
This lack of playing as a band probably explains why Top 40 of the 1970s seemed so dull at the time. So thus ends my brief Ph. D. in California music of the 60's (Head, Riot on Sunset Strip and The Wrecking Crew)
December 8, 2017
This is a really interesting view into the LA session scene from a really influential period of musical history.
There's a lots of value here if you're a musician and/or have an interest in recorded music. As a musician myself I was thoroughly entertained, and furthermore as a bass player I'm more inspired by Carol Kaye than ever.
It does have some downsides. It seems rather biased towards Glen Campbell. It also makes me wonder how accurate some of the accounts really are, and how many are exaggerated for the sake of the narrative. The writing itself was a little weak at times, but it was an easy read and the flaws were mostly forgivable in light of the entertainment value.
There's a lots of value here if you're a musician and/or have an interest in recorded music. As a musician myself I was thoroughly entertained, and furthermore as a bass player I'm more inspired by Carol Kaye than ever.
It does have some downsides. It seems rather biased towards Glen Campbell. It also makes me wonder how accurate some of the accounts really are, and how many are exaggerated for the sake of the narrative. The writing itself was a little weak at times, but it was an easy read and the flaws were mostly forgivable in light of the entertainment value.
March 8, 2019
Filled with fantastic stories of behind the scenes of many of the all time greatest pop songs. Very much enjoyed reading it, and I'm going to spend a lot of time going over the playlist in the back. -Matt
September 30, 2023
A very enjoyable history of the REAL musicians who recorded the music I grew up with in the 1960s.
August 23, 2017
"The Wrecking Crew" by Kent Hartman is a nice overview of the studio musicians who made the pop and rock music we loved from Los Angeles in the 1960's and early 70's. Unless you were "in the know" at the time you had no idea that these artists were responsible for bringing the hits of the Byrds, the Beach Boys, the Monkees, the Mamas and Papas, the Carpenters and many others to life. Thanks to the recent documentary about the Wrecking Crew, many more fans are aware of their contribution, but this book doesn't get much deeper than that. So many of the players deserve (or already have) their own biographies, but this is a good introduction to the names behind the hits.
October 11, 2017
From the time that the Do-Wop and Brill Building sounds of New York filled most radios through the Beatles and the English Invasion, there was a persistent drive in pop music percolating in the Los Angeles area. Some of this was driven by producers like Phil Spector, others by musicians with a unique California perspective like The Beach Boys and Jan and Dean.
Riding behind this music was a loose group of studio musicians who came to be known as The Wrecking Crew. Many were extremely inventive musicians in their own right, a few who were working toward their own stardom while others preferred the regular lifestyle and salaries that came from recording jobs in the LA area.
These musicians provided their own musical creativity to everything from recordings by Frank Sinatra and Dean Martin to massive productions by Phil Spector and albums like Pet Sounds by the Beach Boys.
This book reads like an oral history of those rich years, sharing stories from recording sessions along with some gossip by many of the people who were there. Some went on to their own careers. Glen Campbell was one, who worked as a studio guitarist on scores of records as well as Leon Russell who had a phenomenal career (and went on to support and nurture artists like Tom Petty) following his Wrecking Crew days.
The stories here give the artists' perspectives on what they brought to the recordings. These were guitarists, bass players, drummers, and keyboard artists who would be expected to create the perfect bit of fill at just the right moment. More than that, they were often the recording studio version of several bands, including the first two albums by The Monkees, mostly actors chosen for their TV personas, and groups as well known as The Byrds, where producers convinced the artists that stage performances could be loose but recordings had to be perfect.
Some of the stories are amazing or horrifying ... or a bit of both. There's the story of the multi-talented Jim Gordon, a long time member of The Wrecking Crew who was hired as the drummer for Derek and the Dominoes. Gordon was already suffering from undiagnosed schizophrenia when he signed on. The group was looking for a way to round out the sound of the song Layla. Between takes Gordon was at the piano playing a piece he'd been working on that the rest of the group was sure would bring the song to a perfect end. So, with Gordon on piano, they recorded the long piano exit for the song. However, given the drug fest the whole band was on they only recorded one album and never toured. Gordon later, in a drugged and/or schizophrenic state, later drove to his mother's house and bludgeoned and stabbed her to death. He still resides in a psychiatric facility in California.
It's an interesting picture of careers rising, stalling, and collapsing over 20 or so years. Some of the stories are interesting, like Frank Sinatra improvising the "doo-be-doo-be-doo" during the second take of Strangers in the Night. Some less-so, like Mama Cass Elliot of the Mamas and the Papas forgetting the lyrics to a song and calling a local music store to dictate the the lyrics over the phone.
It's an atmosphere, in a digital age where any den or garage can become a recording studio, that will probably never happen again. At the time The Wrecking Crew had competition in other regions, such as the studios at Mussel Shoals and Nashville. One of the book's more insightful moments comes when actor Richard Harris used some of the musicians to record MacArthur Park, a song originally rejected by radio stations as too long but eventually received extensive radio play. Hartman notes that this song, in some ways, had the musicians writing their own epitaph. As longer songs began to fill the airways the call for studio musicians began to fade, no longer needed to fill the constant market for three-minute classics.
It's a fun book for anyone raised in that era. Hartman says he still finds out about new recordings backed by Wrecking Crew members through union records of studio sessions. It's also an interesting look at the rise and fall of musical icons from the heart of the rock-and-roll era.
Riding behind this music was a loose group of studio musicians who came to be known as The Wrecking Crew. Many were extremely inventive musicians in their own right, a few who were working toward their own stardom while others preferred the regular lifestyle and salaries that came from recording jobs in the LA area.
These musicians provided their own musical creativity to everything from recordings by Frank Sinatra and Dean Martin to massive productions by Phil Spector and albums like Pet Sounds by the Beach Boys.
This book reads like an oral history of those rich years, sharing stories from recording sessions along with some gossip by many of the people who were there. Some went on to their own careers. Glen Campbell was one, who worked as a studio guitarist on scores of records as well as Leon Russell who had a phenomenal career (and went on to support and nurture artists like Tom Petty) following his Wrecking Crew days.
The stories here give the artists' perspectives on what they brought to the recordings. These were guitarists, bass players, drummers, and keyboard artists who would be expected to create the perfect bit of fill at just the right moment. More than that, they were often the recording studio version of several bands, including the first two albums by The Monkees, mostly actors chosen for their TV personas, and groups as well known as The Byrds, where producers convinced the artists that stage performances could be loose but recordings had to be perfect.
Some of the stories are amazing or horrifying ... or a bit of both. There's the story of the multi-talented Jim Gordon, a long time member of The Wrecking Crew who was hired as the drummer for Derek and the Dominoes. Gordon was already suffering from undiagnosed schizophrenia when he signed on. The group was looking for a way to round out the sound of the song Layla. Between takes Gordon was at the piano playing a piece he'd been working on that the rest of the group was sure would bring the song to a perfect end. So, with Gordon on piano, they recorded the long piano exit for the song. However, given the drug fest the whole band was on they only recorded one album and never toured. Gordon later, in a drugged and/or schizophrenic state, later drove to his mother's house and bludgeoned and stabbed her to death. He still resides in a psychiatric facility in California.
It's an interesting picture of careers rising, stalling, and collapsing over 20 or so years. Some of the stories are interesting, like Frank Sinatra improvising the "doo-be-doo-be-doo" during the second take of Strangers in the Night. Some less-so, like Mama Cass Elliot of the Mamas and the Papas forgetting the lyrics to a song and calling a local music store to dictate the the lyrics over the phone.
It's an atmosphere, in a digital age where any den or garage can become a recording studio, that will probably never happen again. At the time The Wrecking Crew had competition in other regions, such as the studios at Mussel Shoals and Nashville. One of the book's more insightful moments comes when actor Richard Harris used some of the musicians to record MacArthur Park, a song originally rejected by radio stations as too long but eventually received extensive radio play. Hartman notes that this song, in some ways, had the musicians writing their own epitaph. As longer songs began to fill the airways the call for studio musicians began to fade, no longer needed to fill the constant market for three-minute classics.
It's a fun book for anyone raised in that era. Hartman says he still finds out about new recordings backed by Wrecking Crew members through union records of studio sessions. It's also an interesting look at the rise and fall of musical icons from the heart of the rock-and-roll era.
November 27, 2025
a good read, an insight to the people and practices of the time, not just the wrecking crew.
May 17, 2012
I decided to write one review dealing with both “The Wrecking Crew” and “Hal Blaine and the Wrecking Crew” and post it at each book’s review slot.since both books were so closely related.
The recording industry, up until relatively recent times, supported an elite group of musicians who could create on cue, sight read music and, in short, deliver the goods in the time allowed. In large recording centers like NYC and LA this group could number several hundred musicians who jumped from studio to studio doing as many as four or five recording sessions a day. Although the work was largely anonymous, the pay was good and musicians who thought they played well enough to cut it vied for the work. Studio work was the pinnacle for the working musician and studio musicians were highly respected within the industry. Today this scene has largely dissipated, with musicians being the victims of computer technology and shrinking demand.
The two books under discussion deal with the musicians (in this case primarily rhythm section players) in LA during the 60s and 70s who occupied this spot and played on countless hits during that era. I enjoyed both books with a slight edge to the Hal Blaine book. Hal is a musician and his understanding of the scene speaks to me a shade better than Kent Hartman, who seems to include every recording rhythm section player in LA into the Wrecking Crew umbrella.Blaine just mentions fewer people in reference to the Wrecking Crew. Carol Kaye, a highly respected musician mentioned in both books as a WC member, has disputed the use of the name at all. She says she never heard it used and it is simply a publicity ploy by the writers. In any event, as a musician active in that era (although in the NYC area) I found reading these books very enjoyable. I learned a little bit more about who played on what and a little more about the differences in studio work between the two coasts. For one thing – in LA musicians had to bring their own drums and amplifiers to the studo. The NY studios all had amplifiers and drums available for use. This of course resulted in NY musicians being able to get from studio to studio quicker and with less of a problem.
Recommended for people with an interest in the recording industry of the 60s and 70s and the people making those records.
The recording industry, up until relatively recent times, supported an elite group of musicians who could create on cue, sight read music and, in short, deliver the goods in the time allowed. In large recording centers like NYC and LA this group could number several hundred musicians who jumped from studio to studio doing as many as four or five recording sessions a day. Although the work was largely anonymous, the pay was good and musicians who thought they played well enough to cut it vied for the work. Studio work was the pinnacle for the working musician and studio musicians were highly respected within the industry. Today this scene has largely dissipated, with musicians being the victims of computer technology and shrinking demand.
The two books under discussion deal with the musicians (in this case primarily rhythm section players) in LA during the 60s and 70s who occupied this spot and played on countless hits during that era. I enjoyed both books with a slight edge to the Hal Blaine book. Hal is a musician and his understanding of the scene speaks to me a shade better than Kent Hartman, who seems to include every recording rhythm section player in LA into the Wrecking Crew umbrella.Blaine just mentions fewer people in reference to the Wrecking Crew. Carol Kaye, a highly respected musician mentioned in both books as a WC member, has disputed the use of the name at all. She says she never heard it used and it is simply a publicity ploy by the writers. In any event, as a musician active in that era (although in the NYC area) I found reading these books very enjoyable. I learned a little bit more about who played on what and a little more about the differences in studio work between the two coasts. For one thing – in LA musicians had to bring their own drums and amplifiers to the studo. The NY studios all had amplifiers and drums available for use. This of course resulted in NY musicians being able to get from studio to studio quicker and with less of a problem.
Recommended for people with an interest in the recording industry of the 60s and 70s and the people making those records.
August 30, 2012
I heard the author of this book, Kent Hartman, being interviewed on KQRS radio on the way to work one morning a few months ago and he was so interesting and so knowledgeable it made for a great interview. I made a mental note to read the book. I found a $2 copy at a used book sale (not bad, it was just published in Feb. 2012). It was a fun read with a lot of details about hit records primarily of the 1960's that were recorded in Los Angeles. I never realized that so many of the same musicians played the instruments for so many artists (not just the Monkees). Some artists could deal with others recording the studio performances and others couldn't. I love some of the little music trivia bits, like how the bass line was developed for Sonny & Cher's "And the Beat Goes On". There were sad stories, too, like Brian Wilson's breakdown and Phil Spector's fall from favor. Mostly, it was just interesting learning the story of how musicians Hal Blaine, Glen Campbell, Carol Kaye, Larry Knechtel, Michel Rubini, Tom Tedesco and others became part of the reliable "Wrecking Crew" who performed on so many hit records, often uncredited. Their contributions went beyond just playing; they also suggested parts and arrangements that improved the recordings and helped to create the hits. It's an easy, enjoyable read.
July 17, 2013
Four stars because I think the book could have benefited from a stronger editorial hand. Still, this is a fun, thought-provoking read about a poorly understood period. It's about a period where rock music was becoming big business and also becoming "art", but where the recording process was too important to be entrusted to the nominal musicians. The good news was the great recorded legacy, and many of the "replaced" musicians had great careers anyway. And the rise of the rock band artiste/auteur/virtuoso ended the Wrecking Crew era...all the way to punk, when lack of skill was a badge of authenticity, and certainly not a reason to sit out an expensive recording session...Lots of good vignettes and mini-bios.
October 8, 2023
Having recently seen the documentary on the Wrecking Crew (which I recommend searching out), I found I was looking for more details about this impressive and largely unknown group of professional musicians who performed on so many best-selling records (especially singles) in the 60's and early 70's.
The author has organized the book basically chronologically, with each chapter focused primarily on a single song or person (like Brian Wilson or Phil Spector). Although this means the author has left out a lot of songs and performers the Crew worked on and with, but it allows for a somewhat deeper dive about a particular group or person. From Be My Baby through Mr Tambourine Man then Bridge Over Troubled Waters and even MacArthur Park which became a surprise hit for the actor Richard Harris, the author does a great job providing sufficient detail without overwhelming the reader.
This is a seminal work for anyone who loves rock 'n' roll. It is particularly signficant if you think about what was happening in the pop and rock music world during this time. Motown had The Funk Brothers who played on virutally all of Motown's biggest hits; Stax/Volt had Booker T. and the MGs as their house band, as did Muscle Shoals. However, starting from the mid-60's there were numerous bands in England and, ironically in Northern California that were writing AND recording their own songs themselves. Interesting to me, anyway!
The author has organized the book basically chronologically, with each chapter focused primarily on a single song or person (like Brian Wilson or Phil Spector). Although this means the author has left out a lot of songs and performers the Crew worked on and with, but it allows for a somewhat deeper dive about a particular group or person. From Be My Baby through Mr Tambourine Man then Bridge Over Troubled Waters and even MacArthur Park which became a surprise hit for the actor Richard Harris, the author does a great job providing sufficient detail without overwhelming the reader.
This is a seminal work for anyone who loves rock 'n' roll. It is particularly signficant if you think about what was happening in the pop and rock music world during this time. Motown had The Funk Brothers who played on virutally all of Motown's biggest hits; Stax/Volt had Booker T. and the MGs as their house band, as did Muscle Shoals. However, starting from the mid-60's there were numerous bands in England and, ironically in Northern California that were writing AND recording their own songs themselves. Interesting to me, anyway!
May 20, 2019
After watching a documentary on Hulu about The Wrecking Crew made by guitarist Tommy Tedesco's son, I decided to give this book a try.
It follows the general timeline of the Wrecking Crew story: stellar musicians congregate in Los Angeles in the late 1950s and start working on various recording projects by major names. I think it is good that the story has been documented given all the creative work they did went mostly unknown. The book is well-written and lively and traces the story of the main participants of the Wrecking Crew and ties them with the major producers and recording acts -- and the songs.
The Wrecking Crew's work could be subtle, but was always outstanding. Give a listen to The Fifth Dimension's "Up Up And Away" on youtube. You'll hear the flamenco guitar licks placed into the song by Tedesco. It is work of genius and talent.
It follows the general timeline of the Wrecking Crew story: stellar musicians congregate in Los Angeles in the late 1950s and start working on various recording projects by major names. I think it is good that the story has been documented given all the creative work they did went mostly unknown. The book is well-written and lively and traces the story of the main participants of the Wrecking Crew and ties them with the major producers and recording acts -- and the songs.
The Wrecking Crew's work could be subtle, but was always outstanding. Give a listen to The Fifth Dimension's "Up Up And Away" on youtube. You'll hear the flamenco guitar licks placed into the song by Tedesco. It is work of genius and talent.
May 21, 2018
Lol! Trip down memory lane for me! I was just at the right age to hear all of this stuff and actually knew many of the musicians began life as studio musicians! It was also about the time I started to listen to FM and often figured many of the bands I was listening to also had studio bands backing them. Especially after hearing so many of them in concert! Lol! Too many bands and solo singer/songwriters thought way to highly of their musical ability- good thing bands like the Wrecking Crew were around to aid them in creating music (and make them millionaires!)! Always knew most of the folks we idolized were nothing more than the figure heads or front office for the true talent. Book was a hoot for anyone around at the time, 50's-early 70's, who want to hear the real stories.
October 2, 2020
Oh my, were my eyes opened, so to speak, by this book. I had no idea that behind the wonderful songs of The Beach Boys, Simon & Garfunkel, Sonny and Cher, The Mamas & the Papas, The 5th Dimension, The Monkees, and so many other rock groups and singers were these unsung heroes and heroines of music. One member of The Wrecking Crew, Glen Campbell, achieved stardom on his own, but the rest would remain basically anonymous to the general public. I think from now on when I hear guitars, drums and keyboards playing on some of my all-time favorite songs from the 1960s and early 70s, I will think of Carol Kaye, Hal Blaine, Larry Knechtel, Michael Rubini, Jim Gordon, and the others who helped make music that will last forever.
August 13, 2021
Interesting stories about people I've never heard of and songs I remember well. I think my favorite part was about a guitarist who played for Ray Charles. But the book could have been better. With this many people to tell about, with interesting back stories, all doing things around the same time, the chronology gets a little hard to follow. A couple of my big questions were never addressed. Mostly, this needs to be a documentary so you can hear the nuances of the songs that are being described.
August 11, 2022
An interesting story about the unknown session musicians who were behind many of the 1960's most famous songs. Its mostly not all that chronological, so I probably found it a bit scattered and it introduced and reintroduced a few too many people - would have made a good documentary or maybe a slightly shorter book. Like all books about music, it's best accompanied by Spotify so that you can listen along.
September 3, 2023
A great “inside baseball” look at the great studio sessions of the 60’s and 70’s. Using individual songs as the chapter guidelines, we get to see how much these studio musicians shaped popular music for over a decade. New to me was how some bands weren’t even the bands that recorded in studio.
December 6, 2020
A great overview of a great era in music and the musicians who played on so many of the classic singles that still get played over and over.
June 1, 2021
What should be a fast and fun read about the studio musicians who played on many hit records is definitely weighed down by the hagiographic treatment of the principals.
July 27, 2023
Very interesting and fun to read. Especially if you used to be glued to your radio.
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