Fusion 45

I’ve cashed in my 401K’s, divorced my wife, abandoned the little league and left my kids for a hermitage in the Idaho panhandle. I’ve furnished it with a cot from an abandoned Benedictine monastery, a table from Goodwill, a single light bulb stolen from a gas station restroom and an wireless card from T-Mobile.

It’s still very cold here in Northern Idaho. I’m burning antique copies of Creem magazine for heat, eating peanut butter sandwiches and granola bars for sustenance. When spring comes, I’ll forage for edible plants and acorns left behind by the squirrels. I’m dressed like Cass Elliot, wearing a haircut like Devendra Banhart.

I’m on a mission. Before I die, I’ll catalog the entire 35,000 songs recorded by Hal Blaine. I drink gallons of green tea, sprinkle No-Doz on my sandwiches and write 17 hours a day. I’ll have no conjugal visits. I’ll be 62 years old when I finish this project; it’ll all be worth it.

In California, ’round about 1966, everyone was happy. The sun shone bright as a model’s smile. The landscape was dotted cozy new homes, with barbecues and lawn gnomes. The air smelled of jasmine and orange blossoms and new car interiors.

In California, ’round about 1966, Hal Blaine was happy, too. In his late 30’s, he was the superstar’s superstar. Brian Wilson’s first call drummer; John Phillips first call drummer; the back beat for everyone from Sinatra to Simon and Garfunkel. Hits rolled from his kit like paradiddles from a drum corps practice room.

He pounded out quarter notes for The Mama’s and The Papa’s as they Saw Her Again Last Night, the progeny of a Nelson Riddle soundstage and Phil Spector recording studio. He created the lilting march of Monday, Monday and built the four-on-the-floor swing of the ultimate West Coast sunshine song, California Dreamin’. The DOT built the highways, GM built the cars but The Wrecking Crew built the soundtrack.

Out with the brushes, all swish and sizzle, a world-renowned hit immediately. Funny. Sinatra called Strangers In The Night “the worst song I ever fucking heard”.

When it came to swish and sizzle, though, no one could come close to Nancy. The original sex pistol in plastic Boots, a fashion idol straight from Sugar Town. Her boots were made for walking; Hal’s sticks were made for playing.

But what those beautiful Beach Boys? Not the ones who were riding their sports cars and dating the Nancy Sinatra look-a-likes. The real Beach Boys, the ones who were creating California!

Well, some of the were dating the beach bunnies, which is why Blaine was called to the fore by Brian Wilson. We’ll presume he didn’t play the ashtrays on Barbara Ann but, otherwise, he owned Sloop John B and, arguably, the most beautiful pop song of all time, Good Vibrations.

There’s more, of course, but why tarry with words? The music defines itself.

The Association - Along Comes Mary
Bobby Darin - If I Were A Carpenter
Bob Lind - Elusive Butterfly
Simon and Garfunkel - Homeward Bound
Johnny Rivers - Poor Side of Town
Simon and Garfunkel - I Am A Rock
Beach Boys - Wouldn’t It Be Nice

Inspired by IB at Art Decade

Between 1961 and 1964, Hal Blaine played drums on 36 Top 10 singles. In 1963 and 1964, alone, he recorded 30 of them. Here’s a selection of 16 that defined the West Coast pop sound that, in turn, shaped everything from ZZ Top to The Ramones.

The Beach Boys - Surfin’ Safari (#3 in 1963)

I was in my late 30’s before I realized that the first line is not “if everybody had an ulcer, across the USA”. This is one of the songs that defined the “four-on-the-floor” bass drum beat you hear in so many surf songs (emulating your heart pounding in your ears, I would guess).

The Beach Boys - Be True To Your School (#6 in 1963)

Blaine’s work on the television soundstage gave him a real symphonic feel, witnessed here by the triangle on the downbeat of every measure.

The Beach Boys - Surfer Girl (#7 in 1963)

I bought their ‘Endless Summer’ album sometime in the early seventies and played this one TO DEATH. I always liked the depth of the snare drum on this record, even though the beat itself is nothing special.

The Beach Boys - Little Deuce Coupe (#7 in 1963)

I’m contemplating a post called: “Songs With Great Opening Snare Drum Riffs”. This, and ‘Pretty Lady’ by Lighthouse, would be the first two.

The Crystals - Da Doo Ron Ron (#3 in 1964)

The original version of a song recorded 736,756 times (in America alone). Best part: the sax and tom-tom duet every measure starting at :20.

The Ronettes - Be My Baby (1963)

I threw it in because Blaine recorded on the original (but this ain’t it).

Dean Martin - Everybody Loves Somebody (1964)

From my Dad’s generation, the 50’s lived-on well into the 60’s (and Dean Martin is partly to blame). Another example of Blaine’s diversity.

Jan And Dean - Little Old Lady From Pasadena (#3 in 1964)

Love the classic eight-note snare pattern at the chorus…

Jan And Dean - Dead Man’s Curve (#8 in 1964)

‘Be My Baby’ but faster (and more morbid…).

Johnny Rivers - Mountain of Love (#9 in 1964)

Well, I love Johnny Rivers. He was the just the right mix of handsome pop star, rock and roller guitarist and cowboy sharpie. There are no great shakes here on the kit, but the song is perfect.

Lorne Green - Ringo (1964)

Herein lays a Cartwright…

The Beach Boys - I Get Around (#1 in 1964)

As radios began to improve sonic choices started to show through, witnessed here by the deeper snare sound.

The Beach Boys - Fun Fun Fun (#5 in 1964)

The great drum roll at :18 and the hi-hat/Telecaster rhythm duet make this song, hands down.

The Marketts - Out Of Limits (#4 in 1964)

I don’t know much about punk rock, but I can imagine The Ramones covering this.