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The Wrecking Crew: The Inside Story of Rock and Roll's Best-Kept Secret Kindle Edition
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About the Author
Dan John Miller has earned multiple Audie Award nominations, winning for The Wrecking Crew by Kent Hartman; has twice been named a Best Voice by AudioFile magazine; and has received several AudioFile Earphones Awards. --This text refers to an out of print or unavailable edition of this title.
- File size : 3150 KB
- Text-to-Speech : Enabled
- Print length : 305 pages
- Publication date : February 14, 2012
- Word Wise : Enabled
- X-Ray : Enabled
- Publisher : Thomas Dunne Books; Illustrated edition (February 14, 2012)
- Enhanced typesetting : Enabled
- Language: : English
- ASIN : B005XMMMRY
- Lending : Not Enabled
- Best Sellers Rank: #135,107 in Kindle Store (See Top 100 in Kindle Store)
- Customer Reviews:
Top reviews from the United States
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Absolutely fascinating in so many ways and yet...
Carol Kaye's very recent (January 2020) comments on the appellation 'Wrecking Crew' gave me pause.
"“We were never known as that pet name of Hal Blaine’s — our name has always been ‘studio musicians,’ ” she said of The Wrecking Crew, her voice rising. “[Viewers] were lied to.”
Additionally, from the news story:
Kaye considers the film one big ego trip with drummer Hal Blaine downplaying the work of his peers.
Rock & Roll Hall of Famer Blaine, who died at age 90 in March 2019, publicly trashed Kaye to veteran DJ Eddie Winters in 2015, claiming the session scene “only helped her out” because “she’s a woman, she’s got kids.”
Now, all that said, it's revelations very much ABOUT Ms. Kaye's studio contributions that, for me, were the most important discovery from both this book and the documentary.
Consider these two hit-making seminal & essential components of her bass guitar studio work:
“These Boots Are Made for Walking”
"The Beat Goes On"
And these instantly-recognizable TV themes too:
There's very much more, of course, to Ms Kaye's career as well as so many of those musicians about whom little had been known prior to Mr. Tedesco's tribute begun, in part, to salute and remember his father's astonishing skills and marvelous work both in-studio and elsewhere.
Whatever name by which you choose to call them, their story is incredible!
And sometimes Hartman veers off in tangents that don't add much to the story. For example, he goes into detail about Creed Batton, original bassist for the Grass Roots, who he interviewed for the book. Batton's reactions to having studio musicians replace the Grass Roots for the instrumental tracks are informative. Spending the rest of the chapter detailing Batton's chaning relationship with Grass Roots isn't.
All in all, this book is an easy read and good for someone casually interested in the Wrecking Crew and their legacy.
Top reviews from other countries
It is also the way in which author Hartman interviews the leading members of the Wrecking Crew, telling their individual stories, which are usually from humble beginnings, and describing how they became a so solid crew in the studio, often driven by the brutal dictates of three-hour recording sessions with producers striving to avoid the crippling costs of overtime.
The Sixties were my era, and so I read this book entranced, as the old names and the old songs hove into view. The sadness comes at the end. Into the studios came 48-track recording machines, computerised drumbeats, and synthesisers. Producers no longer needed to assemble a crew. They could overdub or erase single musicians as and when they wished. The creativity and hot-house atmosphere of an ensemble was lost. As was the soul of that most beautiful recording era.
Unfortunately there's not much about the sessions, and not much about the musicians. What we have is a novelisation of some interviews with some of these people but it's very heavy on the early background of the players (where they came from, what their family was like, etc.). When we get to the studio we then have a story about the artists (how they needed a hit, the state of their career, etc.) the same kind of thing about the producer and maybe one or two anecdotes about the music.
For example, there's loads about Phil Spector's career, a potted history of The Monkees, a potted history of The Beach Boys but unfuriatingly little about the title matter of the book.
The story elements are also written in the style of band dialogue from Fame which is very wearing by about halfway through.
Finally, the dates are often vague when it really matters. The story of Carol Kaye switching from lead to bass is mentioned but there's no detail about which session it was or even what year it was. (Carol Kaye herself is often mentioned and there's a lot about her family background but there are probably only 3 or 4 stories from her session work.)
If you're looking for a book about the music side of The Wrecking Crew this is not it.
Thank you, my grandad is now happily reading the book.