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The Wrecking Crew: The Inside Story of Rock and Roll's Best-Kept Secret, by Kent Hartman
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Review
“It makes good music sound better.†―Janet Maslin in The New York Times“Hartman's book is a great tour through the California music scene of the 60s and 70s and a great introduction to how the music business functioned back then. This story has all the makings of a great HBO series.†―The Hollywood Reporter“A sweet and wistful meditation on the early days of the music business, full of little gems and wonders fit for serious music fans and a commendable, long-overdue tribute to the legendary Wrecking Crew - the ridiculously talented, go-to guys behind so many hits. This book will make your head spin.†―Shirley Manson, lead singer, Garbage“I've been in the music business for over forty years and I didn't know any of this! The Wrecking Crew is a total page-turner. I couldn't put it down. Kent Hartman is one gifted storyteller.†―John Kosh, three-time Grammy-winning art director and legendary album cover designer of Abbey Road, Who's Next, and Hotel California“Hartman makes a compelling case for the skill of his subjects, who often fabricated the crucial hooks that brought their clients fame. Some chapters, such as one about the recording of "Bridge Over Troubled Water," are rich in fly-on-the-wall detail.†―Kirkus“Is Larry Knechtel one of your favorite 1960s musicians? How about Hal Blaine? Carol Kaye? Oh yes they are. These three were part of The Wrecking Crew, a group of brilliant performers who supplied the music for many of the biggest hits during the blazing high noon of American rock. But nobody knew. Until now, that is, because Kent Hartman has at last written, with a verve and enthusiasm underpinned by scrupulous research, rock's great missing chapter.†―Richard Snow, former editor-in-chief of American Heritage, author of A Measureless Peril“Turns out the heart of rock and roll isn't Cleveland after all. It's the Wrecking Crew. Kent Hartman's behind the scenes look at the early days of rock turns much of what we thought we knew about popular music upside down. So many secrets revealed. You won't think about artists such as The Beach Boys, The Mamas & the Papas, or Simon and Garfunkel quite the same. Mr. Hartman's book should go platinum.†―Larry Colton, author of No Ordinary Joes, Counting Coup and Goat Brothers, and founder of the Wordstock literary festival“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 on stage, you are in for a big surprise!†―Dusty Street, legendary radio air talent (KMPX, KSAN, KROQ) and current host of "Classic Vinyl," broadcast live around the world from the Rock and Roll Hall of Fame on Sirius/XM“From 1962 to 1975, one group of studio players, the Wrecking Crew, provided the tracks for records as various as "He's a Rebel," "Surfer Girl," "California Dreamin'," "MacArthur Park," "Classical Gas," and "Bridge over Troubled Water." Industry insider Hartman opens our eyes to this fascinating group of musicians, tracing the careers of three members of this group--Glen Campbell, Carol Smith, Hal Blaine--who shared little more than an innate inner drive, musical talent, and a work ethic shaped by grinding poverty. Campbell, for example, lit out on the road when he was 13 to play guitar. Eight years later, Campbell joined the Champs, whose "Limbo Rock" Chubby Checker would soon record as "The Twist." In 1962, Phil Spector gathered Campbell, Smith, Blaine, Billy Strange, Bill Pitman, and seven other highly skilled session musicians to lay down the tracks for "Zip-a-Dee-Do-Dah," added the voices of Bob B. Soxx and the Blue Jeans, and a #1 record and the Wrecking Crew were born. Hartman also traces the work of later members of the Crew such as Leon Russell, Larry Knechtel, and Jim Gordon, as well as the successful solo careers of Campbell and Russell. Hartman's fast-paced tale offers dazzling insights into a little known chapter of rock and roll history.†―Publishers Weekly“In Los Angeles in 1960s-70s, if you wanted to record a chart-topping track or album, you called in the crack session musicians collectively known as the Wrecking Crew. Consisting of artists unknown outside the music industry, like drummer Hal Blaine and bass player Carol Kaye, as well as those who would go on to recording fame of their own, such as Glenn Campbell and Leon Russell, the Wrecking Crew was the West Coast's cream of the crop of session players, backing top-notch hit makers Phil Spector, Frank Sinatra, the Beach Boys, Simon & Garfunkel, and many more. Hartman (marketing, Portland State Univ.), who has worked with many well-known recording artists including Hall & Oates, Three Dog Night, and Lyle Lovett, tells the group's definitive story with a music industry insider's insight and enthusiasm. The only other work on these behind-the-scenes pros is Blaine's Hal Blaine and the Wrecking Crew, which is more narrowly focused on the experiences of the stalwart drummer. Verdict: Recommended for readers interested in popular music and the music industry, particularly West Coast pop and classic rock.†―Library Journal“One of the key innovations of rock and roll was that it empowered young artists to not only write their own material but also play their own music. But in the music industry capital of L.A. in the sixties, even some of rock's most innovative performers sometimes needed a helping hand in the studio. They got it from the assortment of L.A. session players collectively known as "The Wrecking Crew," who are, in many ways, the unsung heroes of the West Coast sound. Dan John Miller narrates the book with the sly tone of an L.A. hustler, chewing on the words, making sure they snap with the same vibrant resonance as a twangy guitar or shimmering cymbal, as befits this fascinating story of musical and cultural legend.†―AudioFile
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About the Author
KENT HARTMAN is a longtime music industry entrepreneur who has worked with dozens of well-known artists, including Three Dog Night, Steppenwolf, Hall & Oates, Counting Crows, and Lyle Lovett. He has written for American Heritage, The Oregonian, and Portland Tribune. Hartman teaches marketing at Portland State University and for several years produced The Classic Comedy Break, a nationwide radio feature. He lives in Portland.
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Product details
Paperback: 320 pages
Publisher: St. Martin's Griffin; Reprint edition (May 21, 2013)
Language: English
ISBN-10: 1250030463
ISBN-13: 978-1250030467
Product Dimensions:
5.6 x 0.9 x 8.2 inches
Shipping Weight: 9.6 ounces (View shipping rates and policies)
Average Customer Review:
4.5 out of 5 stars
403 customer reviews
Amazon Best Sellers Rank:
#68,044 in Books (See Top 100 in Books)
Research and some (but not enough) first hand accounts by Wrecking Crew participants, with drummer Hal Blaine and bassist Carol Kaye (and many others including Glen Campbell) emerging (or reemerging for those who knew of their contributions) as great stars of the era. A good lead up to the documentary that will soon be released on dvd. But imagine the wealth of anecdotes, musical and otherwise, that Blaine and Kaye could provide if pressed. The author misses the boat here, a couple of humorous incidents about a studio full of musicians laughing reveals little in the way of content.For all the biographical details, it feels like the author gets some of it wrong, with the chronology a bit askew. He glosses over the epic Good Vibrations sessions (even though entitling a chapter Good Vibrations) having written Brian Wilson off as a burnout immediately after Pet Sounds. He writes off By The Time I Get To Phoenix as a minor hit for Glen Campbell even after featuring it in a prior chapter as a multi-Grammy winner. Odd. Yet another bio with way too much unnecessary made-up banal dialogue ostensibly to move the story along. ("I'd like to talk to Phil Spector, please" he said. 'Who may I ask is calling?' a female voice responded." is a scintillating example. Where are the editors?)The Wrecking Crew are given their just due here, no complaints about the book's intent. Well researched but not well written. Buy it for the short bios of the obscure but not for the prose.
This is a book I recommend to readers who love pop music and rock and roll in its early hit machine era via the personal stories of a group of very talented musicians you have never heard but will learn to like and admire.Like many reviewers, I found the writing weak in some spots and, yes, predictable and formulaic. I am being a generous reviewer on my rating but not for any objective reasons. I rated it highly for very subjective reasons since I believe it it uses the personal stories of the producers, arrangers, song writers, sessions musicians, breakout artists and executives in the late 50's to mid 70's hit record making machine in LA to tell an important history of our culture.Just to set some context, The Wrecking Crew, the individual members of it I mean, created the music my parents loved. During the main years covered in the book, I was a kid and so I "missed' the era of their prominence. But the music of that era is anything but forgettable and so well crafted that this books serves an important history of those times and the pop culture all the participants helped to create. There's a lack of an overarching thesis to the book but it isn't difficult to understand that The Wrecking Crew, and their partners in the business of making hits, songwriters, arrangers, producers and engineers, embedded rock and roll into the culture of North America, Europe and the rest of the world. They contributed greatly to the dominance of LA based record labels and studios through enterprise and excellence in all aspects of the music business, including the fueling of the success of Top 40 AM radio in North America.So pick up this book and read the history of that era through powerful and poignant personal stories of the individuals who made up The Wrecking Crew, worked along side them and ultimately rewarded them with well with money but short changed their legacy by not crediting them on the records they made into hits.The music industry practices are, as well known, not the most ethical and the author does not shy away from the reality of the seamy parts. But he does find the princes amongst the rogues and his research helps understand the nature of the ambition of all kinds of music makers from all over the world who make their way to LA to becomes some of the biggest rock stars and entertainers of the late 20th century.
I was hoping for more from this book. I've seen the movie trailer and was excited to see it. When I saw the book it was a no-brainer to grab. But in fairly short order the writing turns formulaic, chapters often ending in a teaser reference to some unknown about to hit success....and the next chapter is about that person. Yeah, I got it already. Think of another approach, can't ya?There are plenty of neat scenes and inspiring stories, especially if you are a musician yourself. If you already understand the studio practices in the time period being chronicled there are no giant surprises here. You know the Monkees, like the Spice Girls, for example, were a manufactured entity for the purpose of commerce. At least in their defense the Monkees made a stink and played on their later albums! For those who don't already know of the players this book is about, you will have your eyes opened and you'll probably enjoy the read.I see Carol Kaye hotly disputes the veracity of this book and unfortunately it would be hard for the average reader to determine what in it is truth and what is fiction. I was not there, so I have no idea myself. So if the premise interests you, give it a read. It won't take long, and you can decide for yourself whether to believe it or not. The writing is passable, the ending is abrupt. Not much more to say. I hope the film is better.
Some may dispute the personal/individual anecdotes, but what I really liked was how he explained and told about how records were actually made, or produced--all the different roles and parts and how they fit together. I'd consider myself a serious fan of the music makers, but know nothing about the actual making of the recorded music.This talks about so much of that. In a fun and readable way. People in the business may be dismissive, but thought it was fascinating, and increases the appreciation and notice of all those involved.Maybe some will argue over various biographical details, but that's not what this book was about, for me. It's for the bigger picture.
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