DOCSLIB.ORG

The Cool Caddy in Hal Blaine's Gear Locker

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Cool Caddy in Hal Blaine's Gear Locker 1980s Time Capsule By Donn Bennett 1950 1960 1970 1980 1990 2000 2010 2020 DRIVE Machined Chain Drive + Machined Direct Drive Pedals The Cool Caddy In Hal Blaine’s Gear Locker al Blaine is believed to be one of the endorsement agreement with the Pearl commonplace in the drum industry. I world’s most recorded musicians. drum company, which supplied him with plan on writing a column in the near Between the 1950s and the 1980s, this month’s featured drum set. They future devoted to Faucher and several he played on countless thousands were considered the state of the art at the of his innovations. Hof tracks with such artists as Frank Sinatra, time, with all maple shells, heavyweight I once read an interview where Blaine Elvis Presley, Phil Spector, The Beach Boys, hardware, and a beautiful White Marine compared playing this Pearl set to driving John Lennon, Neil Diamond, and the list goes Pearl nish. The set includes a 22" x 16" a Cadillac, while his old Ludwigs were on. During this period, he racked up 150 Top bass drum; a 14" x 6.5" free- oating brass more like driving a Mustang. The Pearls 10 hits, including 40 #1 singles. snare drum; and 12" x 10", 13" x 11", and were big, strong, and powerful while the Between 1966 and 1971 he played on 16" x 16" toms. Ludwigs were lighter and more nimble. the Grammy Awards’ Record Of The Year It’s doubtful that he ever used the 12" Both are great sets, but very different for six consecutive years. To say that Hal tom. Every photo I’ve ever seen of him from each other. Blaine was in high demand would be a playing this set shows the single 13" tom I acquired the Pearl set directly from dramatic understatement. For decades, mounted on Blaine’s left-hand side. The Blaine in the late 1990s. He had just entered he worked constantly, playing on as many bass drum features Blaine’s legendary into a new endorsement agreement with as ve different sessions per day. His “Hal Blaine Strikes Again” logo, which the Mapex drum company and planned to discography is loaded with some of the was copied from a rubber stamp Blaine donate the set to a local elementary school most signi cant recordings of our time. used to identify sheet music he had band. Having witnessed rsthand the torture During the 1960s and ’70s, Blaine’s played on, and eventually became his and abuse elementary school drummers most proli c period, he played various unof cial trademark. can in ict on a drum set, I offered to buy con gurations of a blue sparkle Ludwig The bass drum also features a calfskin this set. In short order, it was on display in drum set. By the 1980s, his pace slowed to batter head with a piece of foam weather my drum shop near Seattle where they can a degree, but Blaine still worked steadily stripping attached to the inside, in a sort still be seen today. both live and in the studio. Some of the of amoeba shaped pattern, which acted artists he worked with in this period as a muf er (see inset photo above). It included John Denver, J.J. Cale, Emmylou was the brainchild of Blaine’s longtime Donn Bennett is an eminent collector and dealer Harris, Johnny Cash, and Nancy Sinatra. friend and drum tech, Rick Faucher, who of rare and vintage drums. His collection is on Blaine also became a very popular deserves credit for inventing numerous display at Donn Bennett Drum Studio in Bellevue, clinician. During this time, he entered an drum accessories that have since become Washington. [email protected] The drive to engineer the optimal drive system. PERIODICAL - Drum (ISSN – 1097-0614, USPS - 23586) is published monthly by String Letter Media, Inc., 501 Canal Blvd., Suite J, Richmond, CA 94804. Periodical postage paid at Richmond, CA 94804 and additional mailing offices. Printed in the USA. Canada Post: mfg Publications Mail Agreement #40612608. Canada Returns to be sent to Imex Global Solutions, PO Box 32229, Hartford, CT 06150-2229. POSTMASTER: Please send address changes to Drum, String Letter Media, Inc., PO Box 92227, Long Beach, CA 90809-2227. Geometry, fulcrum and motion become one. Direct Drive or Chain Drive, always The Drummer’s Choice®. www.DWDRUMS.COM/hardware/dwmfg/ U.S.A. 82 DRUM! March 2017 DRUMmagazine.com ©2017 DRUM WORKSHOP, INC. ALL RIGHTS RESERVED. MCD/MDD Drive AD - 2017 (DRUM).indd 1 1/19/17 11:33 AM 082 - 084_249_Time Capsule.indd 82 1/26/17 12:19 PM.
Load more

Recommended publications
  • The Heart of Rock and Soul by Dave Marsh
    The Heart of Rock and Soul by Dave Marsh 20 BE MY BABY, The Ronettes Produced by Phil Spector; written by Phil Spector, Ellie Greenwich, and Jeff Barry Philles 116 1963 Billboard: #2 DA DOO RON RON, The Crystals Produced by Phil Spector; written by Phil Spector, Ellie Greenwich, and Jeff Barry Philles 112 1963 Billboard: #3 CHRISTMAS (BABY PLEASE COME HOME), Darlene Love Produced by Phil Spector; written by Phil Spector, Ellie Greenwich, and Jeff Barry Philles 119 1963 Did not make pop charts To hear folks talk, Phil Spector made music out of a solitary vision. But the evidence of his greatest hits insists that he was heavily dependent on a variety of assistance. Which makes sense: Record making is fundamentally collaborative. Spector associates like engineer Larry Levine, arranger Jack Nitzsche, and husband-wife songwriters Jeff Barry and Ellie Greenwich were simply indispensable to his teen-art concoctions. Besides them, every Spector track featured a dozen or more musicians. The constant standouts were' drummer Hal Blaine, one of the most inventive and prolific in rock history, and saxophonist Steve Douglas. Finally, there were vast differences among Spector's complement of singers. An important part of Spector's genius stemmed from his ability to recruit, organize, and provide leadership within such a musical community. Darlene Love (who also recorded for Spector with the Crystals and Bob B. Soxx and the Blue Jeans) ranks just beneath Aretha Franklin among female rock singers, and "Christmas" is her greatest record, though it was never a hit. (The track probably achieved its greatest notice in the mid-eighties, when it was used over the opening credits of Joe Dante's film, Gremlins.) Spector's Wall of Sound, with its continuously thundering horns and strings, never seemed more massive than it does here.
    [Show full text]
  • The Wrecking Crew—Whether You Knew It Or Not
    HISTORY JUNE 2012 Kent Hartman “You are in for a big surprise!” —Dusty street The Inside StoryWrecking of Rock and Roll’s Best-Kept Crew Secret Part Hit Men and part Laurel Canyon, this hidden history of rock and roll chronicles the uncredited studio musi- cians who provided the soundtrack for a generation dur- ing the 1960s and 1970s. 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 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 Read by Dan John Miller careers of such session masters as drummer Hal Blaine Category: History/Music and keyboardist Larry Knechtel, as well as trailblazing Running Time: 10 hrs 30 min - Unabridged bassist Carol Kaye. Listeners will discover the Wrecking Hardcover: 02/14/2012 (35,000 Thomas Dunne Books) Territory: US and Canada Crew members who would forge careers in their own right, On Sale Date: 06/18/2012 including Glen Campbell and Leon Russell, and learn of Trade 9781452608068 9 Audio CDs $39.99 the relationship between the Crew and such legends as Phil Library 9781452638065 9 Audio CDs $83.99 Spector and Jimmy Webb.
    [Show full text]
  • 47955 the Musician's Lifeline INT01-192 PRINT REV INT03 08.06.19.Indd
    181 Our Contributors Carl Allen: jazz drummer, educator Brian Andres: drummer, educator David Arnay: jazz pianist, composer, educator at University of Southern California Kenny Aronoff: live and studio rock drummer, author Rosa Avila: drummer Jim Babor: percussionist, Los Angeles Philharmonic, educator at University of Southern California Jennifer Barnes: vocalist, arranger, educator at University of North Texas Bob Barry: (jazz) photographer John Beasley: jazz pianist, studio musician, composer, music director John Beck: percussionist, educator (Eastman School of Music, now retired) Bob Becker: xylophone virtuoso, percussionist, composer Shelly Berg: jazz pianist, dean of Frost Music School at University of Miami Chuck Berghofer: jazz bassist, studio musician Julie Berghofer: harpist Charles Bernstein: film composer Ignacio Berroa: Cuban drummer, educator, author Charlie Bisharat: violinist, studio musician Gregg Bissonette: drummer, author, voice-over actor Hal Blaine: legendary studio drummer (Wrecking Crew fame) Bob Breithaupt: drummer, percussionist, educator at Capital University Bruce Broughton: composer, EMMY Chris Brubeck: bassist, bass trombonist, composer Gary Burton: vibes player, educator (Berklee College of Music, now retired), GRAMMY 182 THE MUSICIAN’S LIFELINE Jorge Calandrelli: composer, arranger, GRAMMY Dan Carlin: award-winning engineer, educator at University of Southern California Terri Lyne Carrington: drummer, educator at Berklee College of Music, GRAMMY Ed Carroll: trumpeter, educator at California Institute of
    [Show full text]
  • Johnny Rivers
    Johnny Rivers... Chart Hits Include: * 17 Gold records * 29 chart hits * Two Grammy Awards, Memphis * Sold more than 30 million records * In 2006, the Maybelline singer/songwriter/producer continues to perform before sell- Mountain of Love out crowds worldwide. *The “Secret Agent Man” has many other accomplishments and has made significant Midnight Special contributions to the history of rock ‘n roll. Seventh Son Where Have All the Flowers Gone • Born in New York City, grew up in Baton Rouge, Louisiana. Secret Agent Man • Began playing professionally at age 14 when he formed his first band, Poor Side of Town “Johnny and The Spades.” Baby, I Need Your Lovin’ • Recorded his first single 1957 for Suede Records of Natchez, MS, at Tracks of My Tears Cosmos Studios in New Orleans. “Hey Little Girl” became a regional Summer Rain chart hit. Look to Your Soul • In late 1957 at age 15, Johnny Ramistella went back to New York City Rockin’ Pneumonia – Boogie Woogie Flu where he met the legendary D.J. Alan Freed, who got him a record deal Sea Cruise with Gone Records and changed his last name to Rivers. Blue Suede Shoes • In 1958, while performing on the “Louisiana Hayride” in Shreveport, LA, Help Me Rhonda Rivers was introduced to Ricky Nelson’s guitar player James Burton, who Slow Dancin’ took a song Rivers wrote, “I’ll Make Believe,” back to Hollywood and played it for Nelson who recorded it. Rivers hopped a plane from New Curious Mind Orleans to Los Angeles where he hooked up with Burton, met Ricky Nelson and struck up a friendship.
    [Show full text]
  • By Ro6 Bowman
    SteveS I D E M E N H Douglas By Ro6 Bowman — lthough f e w f a n s k n e w s t e v e d o u g l a s b y After Douglas left Eddy in i960, he became an in- name, the sound of his muscular, R&B- demand session player on a cornucopia of R&B, rock inflected baritone and tenor sax playing and pop sessions. Douglas also led a band that includ­ was an essential ingredient of innumerable ed Spector as lead vocalist and guitarist. The band Alate-Fifties and early-Sixties hits, including the Ven­ broke up when Spector headed to New York in 1961. tures’ “Walk - Don’t Run,” Bob & Earl’s “Harlem Shuf­ W ithin a year, Spector had started Philles Records and fle,” the Crystals’ “He’s a Rebel,” the Beach Boys’ “Shut was flying Douglas to the East Coast to overdub his Down” and Jan & Dean’s “The Little Old Lady (From earthy sax tones on the earliest Crystals recordings. Pasadena).” In fact, virtually every sax solo on a rock W hen Spector elected to move Philles to Los Angeles, record emanating from Los Angeles in the first half of he tapped Douglas to put together a session band that the 1960s was played b y Steve Douglas, and every sub­ included Hal Blaine, pianists Leon Russell and Don sequent saxophonist in rock history, from Denny Pay- Randi, bassist Ray Pohlman (replaced by Carol Kaye ton of the Dave Clark Five to Clarence Clemons o f the after his death) and guitarists Glen Campbell, E Street Band, owes a significant debt to Douglas’s pal­ Howard Roberts and Tommy Tedesco.
    [Show full text]
  • The Cascades - Single
    The Cascades - single 1248 The Cascades Flying on the ground/ Main Street Smash S 2101 (US) 06.1967 No piano on 1 (written by Neil Young), but piano intro on 2. Arr. by Jack Nitzsche who recalls that Neil Young played guitar on his own song. Produced by Andy di Martino. Cascades was a vocal/pop band from San Diego, CA, notable for a classic early 1960's Top 3 hit, "Rhythm of the Rain”. From Lead-singer John Gummoe’s homepage: Gummoe: In 1962, Gummoe, (in 1967 replaced by Gabe Lapano) along with band mates Dave Wilson, Eddie Snyder, Dave Stevens and Dave Zabo ("everyone in the group sang") hooked up with a San Diego based guitar teacher with Hollywood connections – Andy Di Martino. Di Martino became the manager and took their demos to Barry DeVorzon's Valiant label, a Warner Bros.' subsidiary (and later the home of the Association). "Out of the stuff that was on the demo tape, DeVorzon liked 'Rain' and 'There's A Reason'." Valiant offered the group a deal and they changed their name to the Cascades. "The name was taken from a popular dishwashing detergent at the time." "The entire first album was done at Gold Star Studios in Hollywood with studio musicians known as 'The Wrecking Crew', but we did all the singing. Hal Blaine and Glen Campbell played on those sessions. Phil Spector happened to be recording at Gold Star at that time and I remember him asking us if we were recording a demo for Rick Nelson." For music history buffs, the Cascade's second most famous musical mark came that same year.
    [Show full text]
  • January 1983
    VOL. 7 NO. 1 Cover Photo by William Coupon FEATURES PETER ERSKINE Over the past dozen years, Peter Erskine has continued to live up to the promise he showed back when he was the youngest person ever accepted at a Stan Kenton summer band camp. Here, Peter discusses how each phase in his career—including his recent departure from Weather Re- port to join Steps, and his first solo album—have brought him closer to being the kind of musician he wants to be. by Rick Mattingly 8 CHESTER THOMPSON Playing with Frank Zappa requires a special kind of drummer; playing with Weather Report takes a different type; playing for Genesis has yet another set of require- Photo by Joost Leijen ments. That Chester Thompson has been able to handle Photo by Paul Natkin/Photo Reserve all three situations says a lot about his versatility and abil- ity, which he comments on in this MD exclusive. by Stanley Hall 14 MD FORUM: Audio Engineers—on Miking & Recording Drums: Part II by Mark Z. Stevens 18 JIM GORDON One of the true legends of rock drumming, Jim Gor- don began his studio career playing extra percussion parts beside such master drummers as Hal Blaine and Earl Palmer, and he began his touring career with the Everly Brothers. Gordon talks about how he went on to play and record with some of the biggest names in rock, while giving insights into the professional and personal aspects of his life. by Scott Fish 22 INSIDE THE WORLD OF DRUM CORPS by Jay A.
    [Show full text]
  • Hal Blaine 2000.Pdf
    most successful studio drummer on the West Coast. His sound and style captured the imagination of the recording industry, particularly the producers, songwriters and musicians. Drummers all over Los Angeles aspired to the standards Hal established, and these drummers emulated his LEFT: HAL BLAINE By Max Weinberg approach. IN THE STUDIO, Someone once said that there ca. 1968; a b o v e : KING CURTIS -F HAL BLAINE HAD PLAYED DRUMS ONLY ON THE are probably fewer people for OUSLEY, CA. 1 9 6 2 Ronettes’ “Be My Baby,” his name would still be for- whom Hal hasn’t drummed than . ever uttered with reverence and respect for the power those for whom he has. His list of credits is both long and impressive. The classic Hal Blaine )f his big beat. But “Be My Baby,” however stirring, is but one of literally sound is the one he produced in the course of his work with lundreds of hits on which Hal Blaine appears. During the the Mamas and the Papas, the Fifth Dimension and the vari­ Sixties, Hal was, undoubtedly, the busiest, most recorded and ous rock and folk-rock groups with whom he recorded in the Sixties. His popping snare, glittering cymbals and tasteful bers of the studio group dubbed the Wrecking Crew who fills and accents propelled the Byrds’ “Mr. Tambourine Man” played on these sessions translated it into hits - “He’s a Rebel” (1965) , the Mamas and the Papas’ “California Dreamin’ ” (1962) , “Da Doo Ron Ron” (1963) and “Then He Kissed Me” (1966) and the Fifth Dimension’s “Up, Up and Away” (1967), (1963) by the Crystals, and the phenomenal “Be My Baby” to name a few.
    [Show full text]
  • Eve of Destruction
    EVE OF DESTRUCTION ÀLEX VIDAL I RAÚL FUSTER FITXA TÈCNICA TÍTOL:EVE OF DESTRUCTION DATA DE LLANÇAMENT:12 d’agost de 1965 DURACIÓ:3:12 minuts DATES DE LA GRAVACIÓ: ARTISTA:BARRY McGUIRE - La gravació va tindre lloc entre el 12 i el 15 juliol de 1965 en Los COMPOSITOR:P. F. Sloan y Steve Àngeles. Barri - Fou publicada per Dunhill Records. - Els músics foren: P. F. Sloan a la ÀLBUM:Eve of destruction guitarra, Hal Blaine a la batería i Larry Knetchel al baix. VERSIONS Lletra original i lletra en valencià. The eastern world, it is explodin', El món oriental està explotant, Violence flarin', bullets loadin', crema la violència, carreguen les You're old enough to kill but not bales, for votin', ets prou gran per matar, però no You don't believe in war, but per votar, what's that gun you're totin', tu no creus en la guerra, però And even the Jordan river has estàs portant armes, bodies floatin', i fins al riu Jordà arriben cossos But you tell me over and over and flotants, over again my friend, però em diuen una i altra i una Ah, you don't believe we're on the altra vegada el meu amic, eve of destruction. que no estem en vigílies de la Don't you understand, what I'm destrucció. trying to say? And can't you feel the fears I'm No entens el que estic tractant de feeling today? dir? If the button is pushed, there's no No pots veure la por que sento running away, avui? There'll be no one to save with the Si es prem el botó, no hi ha per on world in a grave, escapar, Take a look around you, boy, it's No hi haurà ningú que salvi el món bound to scare you, boy, d'una tomba, And you tell me over and over and Si fas un cop d'ull al teu voltant, over again my friend, noi, et vas a espantar, noi, Ah, you don't believe we're on the però em diuen una i altra i una eve of destruction.
    [Show full text]
  • Under the Glass
    Larry Levine The Wall of Sound Deconstructed He was making hit records long before most of us were born. Together with a legendary producer, he fashioned a distinctive sound that was to dominate the industry for decades and inspire countless musicians and producers (including a young genius by the name of Brian Wilson) to creative excellence in the recording studio. His name is not nearly as recognizable as Phil Spector’s, but Larry Levine was arguably just as responsible for what became known as the Wall of Sound. Born in 1928 in New York, Levine spent most of his life in Los Angeles. Shortly after returning home from service in the Korean War, he took a job at his cousin Stan Ross’s fledgling Gold Star studio in Hollywood. “At the time, Stan couldn’t afford to hire anyone, which is how I got the job,” Levine recalls with a laugh. “Because I wasn’t married at the time, I’d hang around the studio in the evening because there were always some show people there, and they were fun to be around. Then when things started getting busy, they asked me to work there. They really couldn’t pay me anything, but I was able to do on-the-job training under the GI Bill, so I earned enough to live on... barely.” By the mid-1950s, Levine was an established engineer at Gold Star, recording many of Eddie Cochran’s greatest hits, including “Summertime Blues” and “Twenty Flight Rock.” A few years later, Spector began working at the studio, initially with Ross, then with Levine.
    [Show full text]
  • December 1987
    VOLUME 11, NUMBER 1 2, ISSUE 98 Cover Photo by Jaeger Kotos EDUCATION IN THE STUDIO Drumheads And Recording Kotos by Craig Krampf 38 SHOW DRUMMERS' SEMINAR Jaeger Get Involved by by Vincent Dee 40 KEYBOARD PERCUSSION Photo In Search Of Time by Dave Samuels 42 THE MACHINE SHOP New Sounds For Your Old Machines by Norman Weinberg 44 ROCK PERSPECTIVES Ringo Starr: The Later Years by Kenny Aronoff 66 ELECTRONIC INSIGHTS Percussive Sound Sources And Synthesis by Ed Mann 68 TAKING CARE OF BUSINESS Breaking In MANU KATCHE by Karen Ervin Pershing 70 One of the highlights of Peter Gabriel's recent So album and ROCK 'N' JAZZ CLINIC tour was French drummer Manu Katche, who has gone on to Two-Surface Riding: Part 2 record with such artists as Sting, Joni Mitchell, and Robbie by Rod Morgenstein 82 Robertson. He tells of his background in France, and explains BASICS why Peter Gabriel is so important to him. Thoughts On Tom Tuning by Connie Fisher 16 by Neil Peart 88 TRACKING DRUMMING AT DISNEY Studio Chart Interpretation by Hank Jaramillo 100 WORLD DRUM SOLOIST When it comes to employment opportunities, you have to Three Solo Intros consider Disney World in Florida, where 45 to 50 drummers by Bobby Cleall 102 are working at any given time. We spoke to several of them JAZZ DRUMMERS' WORKSHOP about their working conditions and the many styles of music Fast And Slow Tempos that are represented there, by Peter Erskine 104 by Rick Van Horn 22 CONCEPTS Drummers Are Special People STEVE HOUGHTON by Roy Burns 116 He's known for his big band work with Woody Herman, EQUIPMENT small-group playing with Scott Henderson, and his teaching at SHOP TALK P.I.T.
    [Show full text]
  • Hal Blaine Remembered the Pros Weigh in on the Original Studio King
    COLLECTOR’S EDITION WIN A $12,000+ DW PACKAGE THE WORLD’S #1 DRUM MAGAZINE THE SHOCK 1969: OF THE NEW SANTANA’S MICHAEL SHRIEVE • MOUNTAIN’S CORKY LAING TONY WILLIAMS • BONZO ON LED ZEPPELIN II • RINGO’S MAPLE KIT CREEDENCE’S DOUG CLIFFORD • JOE COCKER’S BRUCE ROWLAND HAL BLAINE REMEMBERED THE PROS WEIGH IN ON THE ORIGINAL STUDIO KING OCTOBER 2019 GO LONG. Our popular XF extended footboard is now available on 5000 series pedals. Same unmistakable feel, road-worthy performance and adjustability with extra length for increased power. The longest running pedal in the industry just went long. www.dwdrums.com PEDALS AND ©2019 Drum Workshop, Inc. All Rights Reserved. HARDWARE 12 Modern Drummer June 2014 TRUST THE MICROPHONES THE LEGENDS TRUST Legendary soul supergroup Tower of Power relies on drummer David Garibaldi to lay down their infectious groove, night after night. And David relies on Audix microphones. DAVID GARIBALDI Tower of Power Drummer AUDIX D6, D4, i5, SCX1, MicroD, and SCX25A “I’ve used Auuddix for yeaars. Thee sound is connssisttennttly faat and our scchheddulle is the ultimmate test of duurraabiilitty. We do 150 to 2000 shows a year – all over thhe worlld – andd notthing breeakks. Audix is the best.” Check out their latest release “Soul Side of Town” on Mack Avenue Records. AudixUSA.com | 800.966.8261 CONTENTS Volume 43 • Number 10 CONTENTS Cover photo of Michael Shrieve/Santana by Baron Wolman Hal Blaine photo courtesy Hal Blaine Collection 46 HAL BLAINE REMEMBERED He helped pave the way for every great studio musician who came out of L.A., and his infl uence extends to this very day.
    [Show full text]