The Session Musicians Who Secretly Played for the Beatles' Rivals
In nineteen sixties Los Angeles, an uncredited collective of freelance studio players performed on hits by the Beach Boys, the Byrds, and artists who did not play on their own records. This episode examines how union contractors quietly authored the sound of an era while pop stars took the stage.
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Strict union rules limited nineteen-sixties studio sessions to fifteen minutes of finished music per block.
The Byrds were barred from playing their own instruments on their debut hit single.
Carol Kaye used flatwound strings and taped felt so basslines cut through tiny transistor radios.
The famous 'Wrecking Crew' moniker was coined decades later in a nineteen ninety memoir.
Brian Wilson layered electric and acoustic double bass together across months of complex recording sessions.
- 01Intro1 min
- 02The Industrial Machinery of Local Forty-Seven3 min
- 03The Myth of the Crew and the Ghost Production2 min
- 04Replacing the Teen Idols on Vinyl2 min
- 05Acoustic Architecture and Wilson's Sound3 min
- 06Outro1 min
- Chuck Berghofer And His Most Famous Bass Slide
- Meet ‘The Wrecking Crew’ – interview w/ Denny Tedesco
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