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I help fund the movie with my Kickstarter contribution, and I'm going to get the DVD in June.
These people are finally getting their due as the soundtrack of a generation.
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looking forward to this... it plays in Winston-Salem on Mar 31
meanwhile, there are lots of trailers on youtube... maybe the whole film if you add up all the snippets
Last edited by Pat Marr; 03/13/15 04:44 AM.
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It's amazing how much music those guys actually did and never really got the credit they deserved.
I looked at Tommy Tedesco's sheets and saw that he played on the BatMan theme and the show..... then just by coincidence, my wife, who is the TV watcher and channel surfer in this house, just happened to flip into the BATMAN show from the 60's and we watched the show.... I was listening to the music..... and when the credits rolled..... you guessed it, no credits to the musicians who played the music.
A side bar to the Tedesco story.... One day, here in Wilson NC, I went into the place where I was getting my hair cut at the time and like so many times before, got a brand new hair stylist. She looked kind of emo.... typical stereotype Goth.... black fingernails, dark lipstick..... black clothes....
So as she starts to work on my hair, I strike up a conversation and said "So... you ain't from around these parts are you?"
Her: nope... I'm passing through and needed some money
Me: So where are you from?
Her: LA
I had noticed her license on the wall and of course her name on the license....
Me: I see your name is Tedesco ..... I'm wondering if you know anybody by the name of Tommy out there in LA?
Her: Oh yeah, that's my crazy Uncle Tommy.... he's pretty cool actually but the rest of the family thinks he's crazy...
We had a really cool conversation about LA, music, and her guitar virtuoso Uncle Tommy. By the time I returned to get my hair cut the next time.....she had moved on.
Last edited by Guitarhacker; 03/13/15 01:53 AM.
You can find my music at: www.herbhartley.comAdd nothing that adds nothing to the music. You can make excuses or you can make progress but not both. The magic you are looking for is in the work you are avoiding.
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It's amazing how much music those guys actually did and never really got the credit they deserved.
I looked at Tommy Tedesco's sheets and saw that he played on the BatMan theme and the show..... then just by coincidence, my wife, who is the TV watcher and channel surfer in this house, just happened to flip into the BATMAN show from the 60's and we watched the show.... I was listening to the music..... and when the credits rolled..... you guessed it, no credits to the musicians who played the music. Probably because of the way they sold their work. Musician for hire in those days was probably not much different than paying somebody by the hour to dig a ditch. Looking back, all of these guys and gals probably kick themselves for not having a better understanding of the contractual side of the music business... but then, that's also probably why they got so much work. The people who KNEW the business side knew they were working by the hour, not asking for residuals or recognition, and they jumped at the chance to get that much skill for so little compensation. They had some of these guys washing windows when there were no sessions going on! That tells you how they regarded them... The movie is just lip service, and that's free. Harry Nilsson washing windows In fact, the people who own the rights to the music in the movie will be the ones who make most of the money from this film... not the Wrecking crew. So in a way the same guys are screwing the Wrecking Crew all over again, using their story as an opportunity to make money in a spinoff kinda way.. I'd love to know what the wrecking crew musicians are making from this film... and what the owners of the song rights are making.
Last edited by Pat Marr; 03/13/15 04:54 AM. Reason: added Nilsson link
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interesting story about the hair stylist from LA, Herb!
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Carol Kay is quoted as saying at one time she was making more money than the President of the USA.
Hal Blaine supposedly played drums on over 30,000 songs.
A lot of bands that you thought were playing their own instruments on the record were not. They had to go home and learn the licks the "Wrecking Crew" put on the records to include them in their live shows.
In a way, we listened to some incredibly good jam sessions.
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realtracks pgmusic's wrecking crew
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Remember too Pat that a lot of those guys were also live play musicians. Hal Blaine played in Vegas for years as well as doing all that session work. John Denver and Nancy Sinatra alone kept him rolling in dough and that was in tandem with the studio money. I think in the movie he said he made $5000 a week with John Denver and that ran like 10 years. Do THAT math, and that was just one gig.
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Remember too Pat that a lot of those guys were also live play musicians. Hal Blaine played in Vegas for years as well as doing all that session work. John Denver and Nancy Sinatra alone kept him rolling in dough and that was in tandem with the studio money. I think in the movie he said he made $5000 a week with John Denver and that ran like 10 years. Do THAT math, and that was just one gig. I should qualify my statement. I realize most of these people made good money... especially for musicians. But there's a difference between working for an hourly wage and working for a stake in anything that can continue generating income long after you worked on it. I don't know for sure whether any of these people negotiated any kind of residuals... I'd almost bet they didn't. So even though they made good money while they worked, as soon as the hourly worker stops working, the money stops flowing. It doesn't work that way for the people who hired them. That's the point I was trying to make.
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Remember too Pat that a lot of those guys were also live play musicians. Hal Blaine played in Vegas for years as well as doing all that session work. John Denver and Nancy Sinatra alone kept him rolling in dough and that was in tandem with the studio money. I think in the movie he said he made $5000 a week with John Denver and that ran like 10 years. Do THAT math, and that was just one gig. And John Denver toured a LOT. http://www.johndenverclub.com/JOHN_DENVER_SPAIN_ENG/Concerts..html
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realtracks pgmusic's wrecking crew exactly! The same bunch of studio musicians playing on everybody's recordings! LOL! What a great observation! Muscle Shoals had the Swampers... LA had the Wrecking Crew... and everybody else has the RTA (Real Tracks Artists)
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Thanks for the head ups Bob. Looking forward to seeing it.
"Beach Boy" pick. LOL!
Josie
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Originally Posted By: pghboemike
realtracks pgmusic's wrecking crew
exactly! The same bunch of studio musicians playing on everybody's recordings!
LOL! What a great observation! Absolutely brilliant pghboemike. fascinating article/video, what a bunch of talented musicians Alyn
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Since the beginning and for most of time, musicians have made money by playing music. Profits from recordings were a blink of the eye in the history of musicians and most musicians on records never got residuals.
When we were being courted by Motown, our lawyers and manager figured out how much we would make at Motown's final offer of 2 cents per record. By the time we paid Motown's inflated recording costs, inflated promotional costs, and inflated distribution costs, we would have to sell at least a million records to break even. (The costs were to come out of our royalties.) And in the late 1960s a million record sales was not common.
Motown wanted songwriter and publisher rights for themselves. They said they might give us partial songwriting credits if they felt our contribution was big enough (in other words, dream on).
That's why so many one-hit or few hit wonders ended up playing in bars again.
Now if the record did the equivalent of today's term 'going viral', and you sold a few million on your first release, you could negotiate a better deal for the next one. If not, the second one would be paid for you in advance and it would not get promoted. At least that was what the manager and lawyers relayed to us.
So the Studio musicians at the Wrecking Crew, Muscle Shoals, Stax and other magic places were probably making more money than most of the stars they were recording the background music for.
Insights and incites by Notes
Bob "Notes" Norton Norton Music
https://www.nortonmusic.com
100% MIDI Super-Styles recorded by live, pro, studio musicians for a live groove
& Fake Disks for MIDI and/or RealTracks
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Speaking of John Denver: My next door neighbor makes nearly a living as the flautist for a John Denver tribute band that does pretty well for themselves. They play with many tier 1 and 2 symphony orchestras.
Notes, thanks for funding the Kickstarter!
-Scott
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It was selfish Scott. I wanted to see the movie, and the way those things go around here, it may not make it to my local theater.
And if it does, (a) it will be too cold in there (b) they will have pumped up the volume to ear damaging levels and (c) there will be a number of rude people in the audience who don't respect the fact that some people come to watch the movie and not have a party.
Plus I'll have the DVD to play whenever I want.
I've admired Carol's bass playing for years. Usually simple, to the point, and just right for the song. She hides her technique so you hear a solid bass line, not a show-off. Visiting The Wrecking Crew website, I heard her play 6 string guitar, and found she is quite an accomplished guitarist as well.
I've learned so many parts that these people created while playing sax, bass, keys, guitar and flute in cover bands, that I feel that these folks were some of my teachers.
I'm looking forward to finally seeing the movie.
Insights and incites by Notes
Bob "Notes" Norton Norton Music
https://www.nortonmusic.com
100% MIDI Super-Styles recorded by live, pro, studio musicians for a live groove
& Fake Disks for MIDI and/or RealTracks
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Session players are simply contract labor just like gazillions of other types of contract labor. If somebody is a physics major and contracts for 18 months with a tech company to help develop a warp drive or whatever, anything he discovers or invents while working with them belongs to that company and people sign contracts to that effect upfront. Musicians aren't the only ones who can be very creative and royalties from inventions are just as large if not larger than royalties from hit records.
I know we all like to think musicians get continually screwed (we do) but we're not the only ones. The exact same thing goes on in non music corporate America every day. We all have the same choice. Hire yourself out for a wage or fixed contract amount with bene's or form your own company and keep it all assuming there's anything left after expenses.
After my third failed attempt at self employment it was back to the 'for hire' grindstone. I gave it three good shots, didn't work, that's the way it goes.
Bob
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Session players are simply contract labor just like gazillions of other types of contract labor. If somebody is a physics major and contracts for 18 months with a tech company to help develop a warp drive or whatever, anything he discovers or invents while working with them belongs to that company and people sign contracts to that effect upfront. Musicians aren't the only ones who can be very creative and royalties from inventions are just as large if not larger than royalties from hit records.
I know we all like to think musicians get continually screwed (we do) but we're not the only ones. The exact same thing goes on in non music corporate America every day. We all have the same choice. Hire yourself out for a wage or fixed contract amount with bene's or form your own company and keep it all assuming there's anything left after expenses.
Bob This is spot on. I put almost 40 years in research for a once very large photo company. Our job was to invent and that we did. I am on 25 patents but the company owns the technology. Granted the more I did the more I got paid but I would be at least a millionaire it I owned the technology.
I got banned from Weight Watchers for dropping a bag of M&Ms on the floor.
It was the best game of Hungry Hippos I've ever seen!
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Some interesting info on the sessions that Hal Blaine played on, by year: http://www.halblaine.com/discography/
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We've just released XPro Styles PAK 9 for Windows & Mac Band-in-a-Box version 2025 (and higher) with 100 brand new RealStyles, plus 29 RealTracks/RealDrums!
We've been hard at it to bring you the latest and greatest in this 9th installment of our popular XPro Styles PAK series! Included are 75 styles spanning the rock & pop, jazz, and country genres (25 styles each) that fans have come to expect, as well as 25 styles in this volume's wildcard genre: funk & R&B!
If you're itching to get a sneak peek at what's included in XPro Styles PAK 9, here is a small helping of what you can look forward to: Funky R&B Horns, Upbeat Celtic Rock, Jazz Fusion Salsa, Gentle Indie Folk, Cool '60s Soul, Funky '70s R&B, Smooth Jazz Hip Hop, Acoustic Rockabilly Swing, Funky Reggae Dub, Dreamy Retro Latin Jazz, Retro Soul-Rock Fusion, and much more!
Special Pricing! Until July 31, 2024, all the XPro Styles PAKs 1 - 9 are on sale for only $29 ea (Reg. $49 ea), or get them all in the XPro Styles PAK Bundle for only $149 (reg. $299)! Order now!
Learn more and listen to demos of XPro Styles PAKs.
Video: XPro Styles PAK 9 Overview & Styles Demos: Watch now!
XPro Styles PAKs require Band-in-a-Box® 2025 or higher and are compatible with ANY package, including the Pro, MegaPAK, UltraPAK, UltraPAK+, and Audiophile Edition.
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