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Came across this video today...dont laugh,worth watching..


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In 1969 & 1970 there was an exceptionally diverse style of songs "allowed" on to the hit parade.

So there was a lot of musical culture mix..and all different walks of person in NY would hear the best from different styles..the only criteria was quality...not race,in a sense.

In Queens the black,Spanish & white dudes would hear Joe Cocker..BB King..Santana..Motown...Creedence ..Folk..brits..heavy rock..Soul..Crooners..Johnny Cash...and so got to dig it on its own merit.

Now its mostly segregated into "types of music".

Anyway..it was a good time..quality stuff..At least thats how I saw it back then as a kid.

 

Two songs by these people i got to like the heartbreaking "One less bell to Answer"..and this one.

This woman was a beauty with a voice to match. Her vocal is live & not a note missed.

I like the idea of a chick being in love with a dude to the extent this Laura Nyro song expresses.

http://www.youtube.com/watch?v=IkMhWQgkZ8c

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Laura, though, gave it to us with just a touch of pain and darkness. It was hard to cover. The 5th D a little too 'up' and cheery. Sat up late many a night sipping and sinking down listening to her albums. Thanks for the reminder.

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Yes, I remember it well. A thought to ponder: where have all the love songs gone? Much of the Motown music and 60's R&B was love songs. There was a complete genre of music from that era about growing up, first dates, teenage angst, being cool (or trying thereof). That said, it's refreshing to listen to music south of the border. Much of what is popular there is akin to the love songs of the 50's and 60's.

 

Yes, I agree, much of it seems sappy, looking back at it. But, in it's time, people were humming, singing and dancing and playing it. For me, it was the background music of my early years and I loved every note of it, however sappy it may now seem.

 

Thanks for the post.

 

MJ

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"Let the Sunshine In".... the bass line...omigod. I'd strangle a kitten to be able to play like that.

 

That recording and most of them from the 5th Dimension was backed by "The Wrecking Crew" so the bass player was probably the great Carol Kaye.

 

kaye-hub-image-660-80.jpg

 

The Wrecking Crew mainstays:

let-it-wreck.jpg?w=500&h=548

Clockwise from top left:

Tommy Tedesco (guitar)

Carol Kaye (bass)

Glen Campbell (guitar)

Hal Blaine (drums)

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Man, those guys doing Laura's song just doesn't work.

 

Give me the original any day, in fact this made me pull out "The Best of Laura Nyro" double CD to give the real deal a listen. Thirty two songs, thirty written by Laura including Wedding Bell Blues, And When I Die, & Eli's Comin'.

 

Good Stuff.

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That recording and most of them from the 5th Dimension was backed by "The Wrecking Crew" so the bass player was probably the great Carol Kaye.

 

kaye-hub-image-660-80.jpg

 

The Wrecking Crew mainstays:

let-it-wreck.jpg?w=500&h=548

Clockwise from top left:

Tommy Tedesco (guitar)

Carol Kaye (bass)

Glen Campbell (guitar)

Hal Blaine (drums)

What a "Band".....The wrecking Crew [tongue]

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That recording and most of them from the 5th Dimension was backed by "The Wrecking Crew" so the bass player was probably the great Carol Kaye.

 

kaye-hub-image-660-80.jpg

 

The Wrecking Crew mainstays:

let-it-wreck.jpg?w=500&h=548

Clockwise from top left:

Tommy Tedesco (guitar)

Carol Kaye (bass)

Glen Campbell (guitar)

Hal Blaine (drums)

 

Back in the day Guitar Player Magazine often featured Tommy Tedesco in articles..no wonder.

What a beauty that bass player was.

Till now I thought the Wrecking Crew were black dudes..I kind of mixed them up with the Motown guys that used to write may of the songs.

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Man, those guys doing Laura's song just doesn't work.

 

Give me the original any day, in fact this made me pull out "The Best of Laura Nyro" double CD to give the real deal a listen. Thirty two songs, thirty written by Laura including Wedding Bell Blues, And When I Die, & Eli's Comin'.

 

Good Stuff.

 

Whew..Eli's Comin..the recording by Three Dog Night ..I loved that tune.

When I was a kid I had the balls to fill out that offer in the middle of TV Guide from Columbia Record Club if anyone remembers that. 12 Records for $1.99 or something like that.

This is one of the albums that I got..the other really good one was the best of the Association.

Eventually I was recieving expensive corny abums that I was trying to get my mother to pay for...evidently I ticked Classical...I thought the Beatles were Classical..! Eventually I wrote to tell em that I was only 11 years old & couldn't pay for those classical records they were randomly sending.

 

Lastly Bobouz..thanks for turning me on to Laura Nyro today.

Till now I thought she was just a songwriter who made records on the side ..kind of like Carol King( whos barely a singer but plenty of character).

Im gonna get some records, beautifull voice.

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Im gonna get some records, beautifull voice.

The CD I mentioned is still available. There are two additional live cuts, including one of 'And When I Die' recorded in '94 with some nice solo piano (she recorded the original in '66). It is certainly not all inclusive & leaves out some excellent work, but it's a good starter. And btw, the CD is on your favorite label - Columbia. Always wondered who might possibly go for one of those old TV Guide offers!

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There were--and no doubt still are--stunningly talented studio musicians behind the successful recordings of many, many artists. I lot of them were people who didn't like performing before live audiences, who didn't want the grinding lifestyle of touring, or saw being a successful studio musician as a career in itself.

 

A studio musician has to be a talented instrumentalist, a good ensemble player, adaptable to multiple genres and styles, a quick study, and infinitely patient. Many of them are as good or better than much of the "name" talent. And then, of course, a lot of big names started out working as studio musicians.

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By the way, Glen Campbell, who's sinking into the quicksand of Althzeimer's syndrome, is one of the great jazz guitarists. I didn't think I could tolerate hearing Witchita Lineman one more time, when back a hundred years ago he appeared on his own short-lived variety show trading licks with George Benson. It blew me away, even as a teen. Bet it's out there somewhere in the ether.

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There were--and no doubt still are--stunningly talented studio musicians behind the successful recordings of many, many artists. I lot of them were people who didn't like performing before live audiences, who didn't want the grinding lifestyle of touring, or saw being a successful studio musician as a career in itself.

 

A studio musician has to be a talented instrumentalist, a good ensemble player, adaptable to multiple genres and styles, a quick study, and infinitely patient. Many of them are as good or better than much of the "name" talent. And then, of course, a lot of big names started out working as studio musicians.

 

Correct. When you hear almost any hit recording that came out of LA in the late 50' through mid 70's, most often than not, it was the "Wrecking Crew" on the recording. The bands (Beach Boys, Byrds, Simon & Garfunkle, Carpenters, Mama's and Papas, The Monkees, 5th Dimension etc.) may have written the songs and done the vocals (or just the vocals in the case of the 5th D and the Prefab Four), but these studio musicians played the instruments in the studio for the recordings mostly when the bands were out performing live.

 

The Wrecking Crew

 

Further to ksdaddy's comment about bass on "Let The Sunshine In", I'm pretty sure it was John Osborn.

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