The Wrecking Crew (43 page)

folk rock

KHJ's influence

as marketing for record labels

meaningful material

rock and roll

song-length barrier

by underground stations

Radle, Carl

Rafelson, Bob

Randi, Don

Raybert Productions

Ray Charles Orchestra

recording industry

dance-based music

embrace of rock and roll

Grammy Awards as marketing tool

in Los Angeles

producer's job

radio airplay as marketing tool

sales of singles

technological changes

unionization of musicians

use of studio musicians

“Rhinestone Cowboy”

Rhythm Orchids

Richards, Emil

Righteous Brothers

Ritz, Lyle

“River Deep, Mountain High”

Rivers, Johnny

Roberts, Bobby

Roberts, Howard

rock and roll

American Bandstand
showcase

British Invasion

Hall of Fame inductees

on indie record labels

late adoption by big-label record companies

mainstream status

meaningful material

minimalistic formula and simple arrangements

popularity and revenue potential

radio airplay

scorn for

T.A.M.I. Show live concert film

Ronettes

Ross, Stan

Rubber Soul
(Beatles)

Rubini, Michel

adolescence

after disbandment of Wrecking Crew

as assistant producer at Reprise

career ambition

concern at Phil Spector's behavior

film and television work

first session work

instrumentation

“Strangers in the Night”

“The Beat Goes On”

role in Jim Gordon's career

at Phil Spector's final session

talent and reputation

Rundgren, Todd

Russell, Leon

instrumentation

All Things Must Pass

“Be My Baby”

“Little Old Lady (from Pasadena)”

“Mr. Tambourine Man”

Rock ‘n' Roll

Look Inside the Asylum Choir

with Mad Dogs & Englishmen concert tour

police encounter

reputation and earnings

solo recording and concert work

songwriting and producing

in T.A.M.I. Show

“Tight Rope”

Sands, Tommy

Saraceno, Joe

Schneider, Bert

Screen Gems

Seals, Jim

Sedaka, Neil

Seeger, Pete

session musicians.
See also
Wrecking Crew

anonymity

in Detroit

gender equality

in Memphis

in Nashville

in New York

opportunities for

pay scale

union representation

Shaffer, Paul

Shank, Bud

Sharp, Sid

Sheen, Bobby

Sheldon, Jon

Shelton, Louie

Sill, Lester

Simon, Paul/Simon & Garfunkel

Sinatra, Frank

Sklar, Lee

Sloan, P. F.

Smothers, Tommy

Smothers Brothers Comedy Hour, The

social issues

impact on popular music

Los Angeles riots

New Left youth

post-World War II prosperity

racial segregation

Vietnam War

Women's Movement

“Softly, As I Leave You”

Sonny and Cher.
See also
Bono, Sonny

Spector, Phil

career ambition

decline in influence and relevance

employment of Sonny Bono

final session

guitar lessons

Philles Records

recordings produced

All Things Must Pass

“Be My Baby”

“Da Doo Ron Ron (When He Walked Me Home)”

“He's a Rebel”

“He's Sure the Boy I Love”

Let It Be

“River Deep, Mountain High”

“Then He Kissed Me”

“To Know Him Is To Love Him”

“Zip-a-Dee-Doo-Dah”

successes

in Teddy Bears

uncharacteristic behavior

Wall of Sound orchestral approach

Stoller, Mike

Strange, Billy

after disbandment of Wrecking Crew

as father

instrumentation

“Little Old Lady (from Pasadena)”

“Sloop John B”

“Zip-a-Dee-Doo-Dah”

“Monotonous Melody” (renamed “Limbo Rock”)

skill and reputation

“Strangers in the Night”

Street, Dusty

Studio 56 complex

studio musicians.
See
session musicians; Wrecking Crew

Summer Brothers Smothers Show

Tackett, Fred

T.A.M.I. (Teenage Awards Music International) Show

Tedesco, Tommy

after disbandment of Wrecking Crew

career ambition

childhood aversion to work

instrumentation

“Be My Baby”

“By the Time I Get to Phoenix”

Cantata, The

“He's a Rebel”

“Limbo Rock”

“Little Old Lady (from Pasadena)”

“Strangers in the Night”

“Up, Up and Away”

in Elvis Presley's TV Special

at Phil Spector's final session

in T.A.M.I. Show

as union member

television programs.
See
TV programs

Tempo, Nino

“Tennessee Waltz, The”

“Then He Kissed Me”

“(They Long to Be) Close to You”

“Things We Should Have Said”

13th Floor.
See
Grass Roots

“This Guy's in Love with You”

“To Know Him Is to Love Him”

Tork, Peter.
See
Monkees

Torrence, Dean.
See
Jan and Dean

Tramp Shining, A
(Harris)

“Travelin' Man”

Turner, Tina

TV programs

American Bandstand

Glen Campbell Goodtime Hour, The

Grammy Awards special

Monkees, The

Elvis Presley special

Smothers Brothers Comedy Hour, The

social issues influencing

Summer Brothers Smothers Show

“Twist, The”

Union Gap

United/Western Recorders

Universal Recording

“Up, Up and Away”

Versatiles.
See
5th Dimension

Vescio, Ralph

Wachtel, Waddy

Wallace, George

Waronker, Si

Webb, Jimmy

“By the Time I Get to Phoenix”

Cantata, The

career ambition and advancement

Grammy Awards

“MacArthur Park”

Magic Garden, The

Tramp Shining, A

“Up, Up and Away”

“Wichita Lineman”

Wechter, Julius

Weiss, Larry

West, Bob

Western Recorders

“What'd I Say”

Wheatbread, Paul

Wheatley, William J.

“Where Were You When I Needed You”

Whitlock, Bobby

“Wichita Lineman”

Williams, Mason

Wilson, Brian

creativity and innovation

demands of musicians

disillusionment and end of career

generosity and kindness

as producer of
Pet Sounds

“Surf City”

Wilson, Carl

Wilson, Dennis

Withem, Gary “Mutha”

Wolf, Murray

“Woman, Woman”

“Wouldn't It Be Nice”

Wrecking Crew.
See also
session musicians

anonymity

demand for

displacement by younger musicians

earnings

employment downturn

Grammy Award winner

Grammy Award winner contributions

hit recordings

innovative arrangements

low regard for

membership

name

resentment of

Wright, Arthur G.

Wright, Darlene

“Zip-a-Dee-Doo-Dah”

Glen Campbell ready to play as part of the Wrecking Crew in the studio at Western Recorders, mid-Sixties.
Courtesy of Michael Ochs Archives/Getty Images

Carol Kaye swings it on her P-Bass, late Sixties.
Courtesy of Michael Ochs Archives/Getty Images

Hal Blaine lays down the beat at Western Recorders, mid-Sixties.
Courtesy of Hal Blaine

Virtuoso guitarist Tommy Tedesco with his Fender Telecaster in the studio, mid-Sixties.
Courtesy of Denny Tedesco

Carol Kaye and Bill Pitman on guitar at Gold Star, circa 1963.
Courtesy of GAB Archive/ Redferns