Midnight Confessions

The Wrecking Crew: The Inside Story of Rock and Roll’s Best-Kept Secret by Kent Hartman (Thomas Dunne Books/St. Martin’s Press, $25.99, 292 pages)

Carol Kaye is the female bass player/musician who came up with and played the opening notes on “The Beat Goes On” (Sonny and Cher), “These Boots Were Made for Walkin'” (Nancy Sinatra) and “Midnight Confessions” (The Grass Roots).   She also came up with the opening notes for Glen Campbell’s first hit, “Wichita Lineman.”   These are the kinds of unique, Behind the Music-style, facts cited in The Wrecking Crew, a book whose second subtitle is, “The unknown studio musicians who recorded the soundtrack of a generation.”

Kent Hartman writes about most of the hit songs recorded between 1962 and 1975, starting with “The Lonely Bull” (Herb Alpert) and ending with “Love Will Keep Us Together” (Captain and Tennille).   Special attention is paid to 19 specific songs, and if one or more of these happens to be a favorite of yours, you’ll want to read Hartman’s account to find out how the song(s) were written and recorded.   Here’s the list (I’m eliminating the quote marks here for the purpose of clarity):  California Dreamin’; Limbo Rock; He’s a Rebel; The Little Old Lady (from Pasadena); What’d I Say; I Got You, Babe; Mr. Tambourine Man; River Deep, Mountain High; Eve of Destruction; Strangers in the Night; Good Vibrations; Let’s Live for Today; Up, Up and Away; Classical Gas; Wichita Lineman; MacArthur Park; Bridge Over Troubled Water; (They Long to Be) Close to You; and Love Will Keep Us Together.

Back in the day when these songs were first released, not too many radio listeners and record buyers realized that the Mamas and the Papas, The Byrds, Jan and Dean, The Beach Boys, The Grass Roots, The Monkees and others were not playing the instruments on their songs.   A group of select musicians, informally known as The Wrecking Crew, recorded the music in Los Angeles studios while the “performers” played the songs on stage when they toured.   It was generally a “win-win” situation for both the high-paid touring musicians and the highly paid studio musicians, and it allowed Brian Wilson to create and record on his own while the official members of the band that he created were off touring.

To his credit, Hartman does cover the occasional conflicts that arose, especially among the musicians – such as Creed Bratton of The Grass Roots and Mike Clarke of The Byrds – who felt insulted by not being permitted to play on their band’s “own” recordings.   Most of the musicians who couldn’t handle the public fame but private shame were shown the door; one exception being the four members of The Monkees, who eventually gained enough power to overrule their managers and record their own songs.

MacArthur Park is melting in the dark, all the sweet green icing flowing down…  Someone left the cake out in the rain, and I don’t think that I can take it, ’cause it took so long to bake it, and I’ll never have that recipe again.   (J. Webb)

The stories of how some of these songs came to be written are perhaps even more engaging and intriguing than the tales of how they were recorded.   And likely the most interesting of all the composition stories is that behind the song “MacArthur Park” and the song suite by Jimmy Webb that eventually became the best-selling album A Tramp Shining by Richard Harris.   It turns out that Webb was quite gun-shy about offering the suite to anyone after it was soundly rejected by the soft-rock group, The Association.   The story of how Harris came to hear what he was to sing as “MacArthur’s Park” is almost worth the price of admission itself.

One caveat about The Wrecking Crew is that Carol Kaye has some personal objections to the book which she has expressed on Amazon.   (I won’t attempt to summarize her concerns here.)   Still, this is a worthwhile read for music fans, musicians and future composers.

Well recommended.

Joseph Arellano

A review copy was provided by the publisher.   The Wrecking Crew is also available as a Nook Book and Kindle Edition e-book, and as an unabridged audiobook.

Note:  The personal story of the musician Glen Campbell (pictured on the cover of The Wrecking Crew) is covered in some detail in this book.   Campbell was a member of The Wrecking Crew for several years, as well as a member of The Beach Boys touring band.   Interestingly, he went on to record a relatively successful cover version of “MacArthur Park.”

I Ain’t Living Long Like This

Chinaberry Sidewalks: A Memoir by Rodney Crowell (Knopf; $24.95; 256 pages)

“To be well-loved is to be free of the evil lurking around the next darkened corner.   Every child should know that feeling.”

The country music artist Rodney Crowell is known for his singing and songwriting skills.   His singing voice, often compared to that of Kris Kristofferson (but higher pitched), may leave something to be desired.   But the artist who has written songs like Shame on the Moon, I Ain’t Living Long Like This and (The Way You Burn Me I Should Be) Ashes by Now, has shown himself to be a bright star in this category.   Crowell is also known as being the ex-husband of Rosanne Cash, which has presented other issues, such as coming off second in comparison to her singing, songwriting and writing skills.

It proves to be true again.   For while Chinaberry Sidewalks is interesting in some places, it does not hold the reader’s imagination and interest the way that Rosanne Cash’s brilliantly written memoir Composed does.   Cash displayed a skill for always finding the right interesting words to describe the happenings in her life; and her voice was just as unique as Bob Dylan’s in Chronicles.

Crowell never seems to find his voice or his style here, although he has stated that he felt freed from the strict rules of song writing in putting together – over a decade – this autobiographical account.

“With my grandmother and Charlie (the shoe shine man)…  I experienced love as something tangible between myself and another human being.”

This is a tough read because much of it covers the sad scenes of a childhood filled with bickering parents and domestic violence.   No doubt Crowell is being brutally honest, but it is often difficult to wish to read about a childhood described as filled with nothing “but a primal instinct for survival, theirs and mine.”   In one of the hard-to-concentrate on scenes, Crowell’s inebriated mother hits his father whereupon his very drunk dad responds by punching his mother in the face.   The young Crowell intervenes by breaking a Coke bottle over his own head, requiring a trip to the hospital for stitches.   Yes, a few stories like this go a long way.

It must be noted that this memoir contains some near-charming stories of growing up as a boomer child (Crowell was born in August of 1950).   But the reader interested in tales of playing soldier, or cowboys and Indians, etc. will find better written accounts in the memoirs of Bob Greene (When We Get to Surf City).

“…my parents’ deaths were unique to their personalities.”

At the end of Chinaberry Sidewalks, Crowell’s parents have found a sense of normalcy in their lives before they depart the earth.   And love in a marriage that somehow lasted for decades.   It is a comforting message but one that arrives only after a narrative that might have benefited from tighter editing.   Crowell’s narrative never equates to the level of his songwriting skills in this account.

This is not a bad first effort, but the Rodney Crowell that’s found in Cash’s Composed – such as in the classic scene where a nervous young Crowell meets his legendary future father-in-law for the first time – is a far more interesting person than the one found here.

Joseph Arellano  

A review copy was provided by the publisher.   Chinaberry Sidewalks was released on January 18, 2011.  

Dead Man’s Curve

Cat Coming Home by Shirley Rousseau Murphy (William Morrow; $19.99; 354 pages)

This latest Joe Grey mystery oozes with picturesque Carmel charm.   Shirley Rousseau Murphy extolls the architectural beauty of her coastal hometown in the thinly veiled story location, Molina Point.   The plot revolves around Joe, Dulcie and Kit – three cats who speak to their pet parents and sometimes unsuspecting people.   The characters in the mystery that the cats solve are a grandma named Maudie, her six-year-old grandson Benny and, of course, the evil doers.   It’s not fair to describe the villains as their identities are the key to the mystery.   Keep in mind that appearances can be very deceiving!

The story opens with a ghastly double murder that devastates a perfectly lovely family.   Benny’s dad, his new wife, her two children, Benny and his grandma are driving up a mountain road on their way to an Easter weekend of relaxation at Lake Arrowhead when a vehicle pulls up alongside them and shoots the dad and stepmom.   Chaos follows as their car tumbles off the road and everyone is tossed about.   After being rescued, Maudie becomes so distraught that she decides to leave her home in Los Angeles, bringing Benny with her to Molina Point, her childhood home.

Joe Grey and his buddies become part of the story when a series of home invasion crimes occur in Molina Point not long after Maudie and Benny arrive in town.   Added to the intrigue is the presence of an older yellow tom cat that lurks nearby and seems to have something important in mind.   Kit is fascinated by this stranger and makes it her business to find out what he’s doing in town.   Kit’s need for a focus in her life seems to be a continuing thread in these books.

The home invasions are targeted at ladies who are home alone.   They are being viciously attacked by intruders, the interiors of their homes are trashed, but not much is stolen.   One of the home invasions happens on Maddie’s block.   To make matters worse, Molina Point’s dedicated chief of police, Max Harper, is being singled out in the local newspaper for failing to bring the crime wave to a halt.   As usual, the cats are quick-witted and fleet of foot as they race around town just a paw or two behind the villains.

Whether the setting for a mystery novel is a big city or a small town, human frailties are usually at the core of the story.   This tale (or tail) is no exception.   Author Murphy does a wonderful job of developing her characters and providing insight into human nature and feline nature as well.   She refrains from rehashing the premise of her Joe Grey series which allows for more action and intrigue.

Highly recommended.  

This review was written by Ruta Arellano.   This book was purchased for the reviewer.

When we get to Surf City…

Bob Greene has written several fine books that look back at the 1960s.   When We Get to Surf City is an account of the four summers he spent singing and playing guitar with Jan and Dean.   For music fans, this is a tale of a dream come true as Greene both travels and performs with a pair of childhood idols.   The author did well enough to sing lead on “Little Honda” for both Jan and Dean and the Beach Boys.

Yes, this is one joyful tale, and Greene’s writing radiates his happiness.   He is one lucky man.   Yet the tale is appropriately balanced with some sadness.   As we join Greene, he gets to know not only Dean Torrance but also Jan Berry, a near-genius who came close to being killed in a real life “Dead Man’s Curve” automobile accident.   In this account, Berry hobbles and has memory problems, each day having to re-learn the songs he wrote.   But it’s clear that Berry was a strong man, the foundation of Jan and Dean.   He died in 2004, of a seizure, at age 62.   His fans will always miss him and in this book they have one marvelous tribute to his memory.

St. Martin’s Griffin, $15.95, 368 pages

Reprinted courtesy of Sacramento Book Review.