In that film they made about the Wrecking Crew, I recall someone said that at the height of his session career Blaine was one of the richest musicians in America. But he lost it all apparently.
One thing I’ve always been curious about – his only appearance on a Steely Dan record was the track ‘Any World That I’m Welcome To’ off Katy Lied. It was an early song of theirs and probably the track with Blaine was not recorded at the same time as the other tracks on KL.
I remember seeing him being interviewed and saying he learned his chops playing in a mob strip club where you (a) needed to play stuff quickly, from the charts, and (b) get it right. Or else. Perfect training for being a session player!
When Love were first put into the studio to make a start on “Forever Changes”, the band were disorganised and playing badly so they were replaced for the initial session by Hal Blaine, Billy Strange, Don Randi and (probably) Carol Kaye, as a deliberate ploy to shake the band out of their lethargy and so that the studio time would not be wasted.
Andmoreagain and The Daily Planet were completed in a 3-hour session with Arthur Lee singing and playing guitar on his song, Bryan Maclean singing on his.
The rest of the band sat by in a state of shock. In the following sessions the band pulled together and session players weren’t needed. The two tracks with the sessioners were kept because they were good takes, unlikely to be bettered.
Hal Blaine and Earl Palmer were the twin kings of session drumming, always coming up with exactly what a song needed without unnecessary flash.
Undoubtedly a legend. A great, great session player who was solid and reliable, never mistiming the 2 and the 4. Producers were delighted he needed few takes to serve the song. However, was he truly a great drummer? How creative and inventive was he? His signature beat on Be My Baby, a great, great record, didn’t make me leap from my chair and punch the air. He never made my hair (the little I have) stand on end nor my pulse race with excitment. I appreciated his work with a knowing nod, nothing much else. He is credited with coming up with the push-shew sound of an open hi-hat being struck then almost closed, a sound beloved of disco producers, yet there are few of his performances that make me run to the dancefloor. When did he hit a groove? There is a purity, almost a sterility, in his playing, when it’s the tension of listening to a drummer who threatens to fall apart any moment that thrills me the most. Always, always on the beat, never a little bit ahead nor a little bit behind, Hal Blaine didn’t give me the impression he was ever going to fall off a cliff. Yes, a class act. Accurate, metronomic, tidy, effortless, never a fluffed moment, but he didn’t move me.
Still. What a career! Hat’s off to him for that.
Earl Palmer, however, was almost the exact opposite. Almost all his records get me dancing. His backbeat shuffle is irrisistable.
Brilliant post Tig. Compare with Bernard Purdey, whose fills on “Royal Scam” always add a frisson of tension every time I hear them….will he make it? Of course he always does, but you can see why B/F loved him. Jim Keltner had a similar feel, another B/F fave.
Same for me, it’s like the Universe moved slightly sideways for just a moment. Time, I think, for you to post a review of some jazzy bollocks so things can get back to normal
Mike_H says
A sad day.
https://www.revolvy.com/page/List-of-recordings-of-songs-Hal-Blaine-has-played-on?item_type=topic&fbclid=IwAR29zzQ8aWA9YNRouikN5gXR0gwDr3gTuKda9Nls2MoHTxXTv2rO40acs_w
nickduvet says
In that film they made about the Wrecking Crew, I recall someone said that at the height of his session career Blaine was one of the richest musicians in America. But he lost it all apparently.
One thing I’ve always been curious about – his only appearance on a Steely Dan record was the track ‘Any World That I’m Welcome To’ off Katy Lied. It was an early song of theirs and probably the track with Blaine was not recorded at the same time as the other tracks on KL.
John Walters says
RIP.
Loved his drumming on Pet Sounds ( and with Simon and Garfunkel ).
Twang says
I remember seeing him being interviewed and saying he learned his chops playing in a mob strip club where you (a) needed to play stuff quickly, from the charts, and (b) get it right. Or else. Perfect training for being a session player!
Mike_H says
When Love were first put into the studio to make a start on “Forever Changes”, the band were disorganised and playing badly so they were replaced for the initial session by Hal Blaine, Billy Strange, Don Randi and (probably) Carol Kaye, as a deliberate ploy to shake the band out of their lethargy and so that the studio time would not be wasted.
Andmoreagain and The Daily Planet were completed in a 3-hour session with Arthur Lee singing and playing guitar on his song, Bryan Maclean singing on his.
The rest of the band sat by in a state of shock. In the following sessions the band pulled together and session players weren’t needed. The two tracks with the sessioners were kept because they were good takes, unlikely to be bettered.
Hal Blaine and Earl Palmer were the twin kings of session drumming, always coming up with exactly what a song needed without unnecessary flash.
Tiggerlion says
Undoubtedly a legend. A great, great session player who was solid and reliable, never mistiming the 2 and the 4. Producers were delighted he needed few takes to serve the song. However, was he truly a great drummer? How creative and inventive was he? His signature beat on Be My Baby, a great, great record, didn’t make me leap from my chair and punch the air. He never made my hair (the little I have) stand on end nor my pulse race with excitment. I appreciated his work with a knowing nod, nothing much else. He is credited with coming up with the push-shew sound of an open hi-hat being struck then almost closed, a sound beloved of disco producers, yet there are few of his performances that make me run to the dancefloor. When did he hit a groove? There is a purity, almost a sterility, in his playing, when it’s the tension of listening to a drummer who threatens to fall apart any moment that thrills me the most. Always, always on the beat, never a little bit ahead nor a little bit behind, Hal Blaine didn’t give me the impression he was ever going to fall off a cliff. Yes, a class act. Accurate, metronomic, tidy, effortless, never a fluffed moment, but he didn’t move me.
Still. What a career! Hat’s off to him for that.
Earl Palmer, however, was almost the exact opposite. Almost all his records get me dancing. His backbeat shuffle is irrisistable.
Chrisf says
I think the man himself would agree with you….. from the Telegraphs obit……
Looking back over his career, he once reflected: “I’m not a flashy drummer. All I ever wanted was to be a great accompanist.”
Twang says
Brilliant post Tig. Compare with Bernard Purdey, whose fills on “Royal Scam” always add a frisson of tension every time I hear them….will he make it? Of course he always does, but you can see why B/F loved him. Jim Keltner had a similar feel, another B/F fave.
Tiggerlion says
Yes. Becker & Fagan particularly liked a drummer behind the beat, those who left it so late you’d worry they were never going to get there.
Twang says
Can’t see this too often
Tiggerlion says
Very Pretty.
Lodestone of Wrongness says
Just got round to seeing your comments, Tiggs. You couldn’t be more correct!
Tiggerlion says
It always worries me, Wrongness, when you think I’m right. 😉
Lodestone of Wrongness says
Same for me, it’s like the Universe moved slightly sideways for just a moment. Time, I think, for you to post a review of some jazzy bollocks so things can get back to normal
Moose the Mooche says
Jazzy Bollocks.. birth name of yer man from Soul II Soul.
John Walters says
The list of hit records he played on is staggering.
https://www.revolvy.com/page/List-of-recordings-of-songs-Hal-Blaine-has-played-on?item_type=topic