Tag Archives: soul

The geniuses behind the hits

In the history of popular music there have been certain groups of musicians with a profound impact on the making and recording of hit records. They consist of the session players largely responsible for the sound of many great songs we all know and love, but never cared to look beyond the names of the star performers they’re usually associated with.  So let’s get to know some of these unsung heroes…

Hidden in the shadows

Known as The Funk Brothers, the Detroit-based session musicians who performed on Motown recordings from 1959 to 1972 played on more No.1 hits than The Beatles, Elvis Presley, The Rolling Stones, and The Beach Boys combined! Despite this astonishing feat, they were essentially uncredited  as Motown did not list session musician credits on their releases until 1971.

Consisting of phenomenal talents such as bass player James Jamerson and drummer Benny “Papa Zita” Benjamin, The Funk Brothers played on a long string of classic recordings including I Heard It Through the Grapevine, Papa Was a Rollin’ Stone and Ain’t No Mountain High Enough. Their extraordinary story is told in the documentary Standing in the Shadows of Motown (2002).

Looking back at their list of achievements, one indeed understands why they have been called “the greatest hit machine in the history of pop music.”

Meet The Wrecking Crew

Another group of session musicians that played a big part in how American pop music sounded during the 1960s was The Wrecking Crew. This assembly of highly skilled and versatile musicians, many of whom were formally trained in jazz or classical music, recorded practically every style of pop music in existence and worked with artists such as Nat King Cole, Nancy Sinatra, The Mamas & the Papas, The Carpenters and Simon & Garfunkel.

Moreover, The Wrecking Crew was used by legendary producer Phil Spector for his trademark “Wall of Sound”, while songwriter Brian Wilson also worked with the Crew to materialize many of his sonic visions during the 1960s, including the album Pet Sounds and songs such as Good Vibrations and California Girls.

The remarkable story of The Wrecking Crew was also made into a film, which can serve as a great introduction to the musicians responsible for the sound of some of the most successful pop music the world has ever known (such as guitarist Tommy Tedesco, drummer Hal Blaine, and bassist/guitarist Carol Kaye – one of the few female session players of that period).

The secret of Muscle Shoals

There are some special places where the conditions for making great music seem to be just right. One such place is Muscle Shoals, Alabama.

The musicians largely responsible for what came to be known as the “Muscle Shoals Sound” were The Swampers (aka The Muscle Shoals Rhythm Section), a group of soul, R&B, and country studio musicians based in Muscle Shoals who have appeared on more than 75 gold and platinum hits in total.

The Swampers worked originally at the legendary FAME Studios, established by American record producer Rick Hall. Some of the artists they recorded with at FAME were Wilson Pickett, Aretha Franklin, Otis Redding, Duane Allman, Paul Anka and Tom Jones.

FAME Recording Studios in Muscle Shoals

Immortalized in Lynyrd Skynyrd’s classic Sweet Home Alabama (“Now Muscle Shoals has got the Swampers / And they’ve been known to pick a song or two”), The Swampers left FAME in 1969 to form The Muscle Shoals Sound Studio, becoming first time rhythm section -consisting of Barry Beckett (keyboards), Roger Hawkins (drums), Jimmy Johnson (guitar) and David Hood (bass)- to own a studio they could use for recording and production purposes.

Several rock and pop artists arrived to record at the new studio, including The Rolling Stones, Traffic, Elton John, Paul Simon and Bob Dylan. The incredible story of  Rick Hall, The Swampers and a small town that would become the mecca of America’s most celebrated recording artists  is the theme of the recent documentary Muscle Shoals.

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The High Fidelity lists

“As everyone knows, Al Green Explores your Mind is as serious as life gets.”

(Nick Hornby, High Fidelity)

In case you are already familiar with Nick Hornby’s work, High Fidelity (published in 1995) needs no further introduction. A brilliantly entertaining and yet remarkably insightful take on life, relationships and pop music, it remains a classic of its genre. In 2000 it was also made into a film starring John Cusack as the audiophile Rob Gordon. Rob (whose last name in the book is actually Fleming) is the novel’s main character and a music geek who takes pleasure in coming up with top 5 lists of ex-girlfriends, records, films, artists and pretty much everything else.

A big plus to Hornby’s novel are the many musical tips scattered across the text. A whole playlist full of soulful and funky tunes that can still be enjoyed long after the reading is over, and which also served as a basis for the film’s groovy soundtrack.

So here are my all-time, top five most memorable musical references in High Fidelity in chronological order:

1) Solomon Burke – Got To Get You Off My Mind

2) Otis Redding – You Left The Water Running

3) Smokey Robinson and the Miracles – It’s a Good Feeling

4) Donny Hathaway – The Ghetto

5) Elvis Costello – Alison

Followed by my top five, most memorable quotes from Hornby’s book in order of appearance:

1) “What came first, the music or the misery? Did I listen to music because I was miserable? Or was I miserable because I listened to music? Do all those records turn you into a melancholy person?”

2) “I reorganize my record collection; I often do this at periods of emotional stress. When I’ve finished I’m flushed with s sense of self, because this, after all, is who I am.”

3) “To me, making a tape is like writing a letter – there’s a lot of erasing and rethinking and starting again. A good compilation tape, like breaking up, is hard to do.”

4) “You know the worst thing about being rejected? The lack of control. If I could only control the when and how of being dumped by somebody, then it wouldn’t seem as bad. But then, of course, it wouldn’t be rejection, would it? It would be by mutual consent. It would be musical differences. It would be leaving to pursue a solo career.”

5) “How can you like Art Garfunkel and Solomon Burke? It’s like saying you support the Israelis and the Palestinians.”