Results for The Mamas and the Papas

interviews

Hal Blaine of The Wrecking Crew

halblainealbum Hal Blaine may not be a household name, but if rock ‘n’ roll is all about the beat, then the 86-year-old drummer is arguably one of the biggest rock stars alive. It's his stamp you hear on some of the biggest records of the 1960's and early '70s. He recorded with Elvis, The Mamas and the Papas, Sam Cooke, Simon & Garfunkel, The Carpenters, Jan and Dean and even Barbra Streisand. That's 38 chart-toppers to be exact, and over 5,000 songs. So if we're comparing successful outputs, that really makes his only rival The Beatles!

Of course the idea of a session musician is something we're familiar with today, but many listeners can probably still remember their own revelation that their favorite acts might not have played their own songs. You expect that of The Monkees, but The Beach Boys? The Byrds? Many of their songs were actually recorded by Hal Blaine and The Wrecking Crew – a loose organization of California studio players whose members included Glen Campbell, Leon Russell, Earl Palmer and more. There was an unspoken pact to keep their hit-making machine a secret, but as time has gone on, they've gotten their due. Hal Blaine was inducted into the Rock and Roll Hall of Fame in 2000, and last month saw the release of The Wrecking Crew, a new documentary directed by Denny Tedesco, son of crew guitarist Tommy Tedesco.

Go to episode 488

Steve Wynn

In preparation for this week's guest, Steve Wynn, Jim and Greg do a little primer on the Paisley Underground music scene that developed in California in the 1980s. Jim plays a song by one of the seminal bands of this scene, The 3 O'Clock, whose very psychedelic name was inspired by Tom Wolfe's assertion in "The Electric Kool-Aid Acid Test" that if one drops acid in the early evening, the high of the trip will occur at 3:00 a.m. The 3 O'Clock was helmed by Michael Quercio, a musician who started as a punk rocker. After discovering psychedelic rock, however, his sound, and his look, began to change. It was Cuercio's affinity for the music of the '60s, as well as the brightly colored paisley clothes, that gave this scene its name. While the name did not do the music justice, the influence of the Paisley Underground on contemporary bands like Oasis and The Secret Machines is undeniable.

It may surprise to listeners who are only familiar with "Walk Like an Egyptian," but The Bangles were also pioneers of the Paisley Underground. Their original sound, with its three- and four-part harmonies and sing-songy melodies, paralleled that of The Mamas and the Papas and The Byrds. Lead singer Susanna Hoffs continues to work in this genre; she and '90s indie pop star Matthew Sweet just released a 1960s covers album featuring songs by The Left Banke, The Beach Boys and The Who.

Greg points out that the Paisley Underground sound was not a homogenous one — in fact, what bonded these bands was a punk sensibility that welcomed other musical styles. Unlike many other punk bands at the time, these acts didn't see why they had to conform to a strict policy of three-minute, Ramones-style songs. And what's more punk rock than non-conformity? One band that went above and beyond its punk and psychedelic influences was The Long Ryders. They took more of a country approach and can be seen as pioneers of the alternative country scene that now houses bands like Uncle Tupelo, Son Volt, and The Bottle Rockets.

The Rain Parade is the next Paisley Underground band up for discussion. While the members of The Rain Parade never saw the major label success like their peers in The Bangles or The 3 O'Clock (who were signed to Prince's Paisley Park label), many went on to work on successful projects. David Robeck formed the band Mazzy Star, which had an alternative hit single with "Fade Into You" in 1993 and Matt Piucci went on to work with Crazy Horse. The remaining bandmates reincarnated themselves as Viva Saturn.

Greg plays a song featuring this week's guest, Steve Wynn. His band The Dream Syndicate was a group that both Jim and Greg became fans of in the early '80s. They emerged in LA as one of the pioneers of the Paisley Underground sound. Steve then released a number of solo records and has spent the last few years with his most recent band, The Miracle 3. Steve and his band members, Linda Pitmon, Dave DeCastro and Kirk Swan, joined Jim and Greg for an interview and performance at the Chicago Recording Company.

The Dream Syndicate never made it into the 1990s, but its innovative sound continued to influence artists. While other LA bands at the time, like Black Flag, Social Distortion and Bad Religion, were making post-punk and punk music with a really hard edge, The Dream Syndicate stuck to a swirlier, psychedelic pop sound. For this reason, Jim and Greg explain, no matter how many solo projects he embarks on, our guest will most likely always be remembered as the lead singer of The Dream Syndicate.

After playing a track from Days of Wine and Roses, which Greg calls one of the masterpieces of the Paisley Underground era, our host asks Steve about the chemistry between two guitarists. In this case, Steve's partner in guitar is Kirk Swan, who was in another innovative '80s indie pop band, Dumptruck, Steve responds that the basic formula of guitar, drums, and bass is simple, but never gets old. He points to bands like Neil Young and Crazy Horse and Television as examples.

Jim asks Steve about why he continues on in this business after so many years. As Steve jokes on his website, this new album is one of several“comebacks,”but music is not such an easy life to come back to. After being pegged the“new Springsteen,”Steve and the band had somewhat of a difficult time. He explains how that hurt the band (and indirectly how he hurt Jim one drunken night). Thankfully they both came out on the other side.

Go to episode 21
specials

1967

Recently Jim and Greg began an exploration of one of the great watershed years in Rock and Roll: 1967. First up was the birth of the album as art. Now, they look at the growth of the live music business and the industry, for better or worse, growing up. There's no better example of this maturation than the Monterey International Pop Festival. For 3 days in June, thousands of music fans descended on Monterey, California to see The Mamas and the Papas, Jefferson Airplane, The Who and the spectacular debuts of Jimi Hendrix and Janis Joplin. They worked for free, with ticket proceeds going to charity, but the capitalist machine was not far behind. As Jim and Greg discuss with writer Harvey Kubernick, managers, promoters and label executives took notice of the festival's popularity and media attention, leading to new signings and savvy marketing plans. In terms of sound, the Monterey performers encapsulated the diversity of the psychedelic era. Rock, funk, jazz, country-it was all up for grabs. And artists like Otis Redding introduced a southern sound to white audiences, paving the way for landmark recordings like Aretha Franklin's I Never Loved a Man the Way I Love You.

Go to episode 325
news

Music News

Go to episode 611