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Author Topic: The Wrecking Crew DVD...  (Read 18574 times)
Pretty Funky
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« Reply #50 on: July 31, 2015, 02:56:19 PM »

Sorry for the bump, just a head's up.

THE WRECKING CREW will be coming to Netflix on July 30th.

Is this now up on the US Netflix?
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« Reply #51 on: July 31, 2015, 03:33:02 PM »

Sorry for the bump, just a head's up.

THE WRECKING CREW will be coming to Netflix on July 30th.

Is this now up on the US Netflix?

Sure is!
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Pretty Funky
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« Reply #52 on: July 31, 2015, 08:48:57 PM »

Thanks. Hopefully on other countries Netflix soon.
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filledeplage
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« Reply #53 on: August 01, 2015, 05:21:40 AM »

Thanks. Hopefully on other countries Netflix soon.
It's been on axs TV a couple of times. 

So checking their schedule out might get you a viewing or two!  Wink
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« Reply #54 on: August 02, 2015, 08:59:36 PM »

I have finally bothered watching it via Netflix.  In ten second increments.  With a squeaking toddler in one ear and a complaining preteen in the other ear.  And I have to say, Beach Boys got mentioned more than I expected, but less than I was hoping for.  If that makes any sense?
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« Reply #55 on: August 02, 2015, 10:09:49 PM »

As someone who's seen the movie, I understand that to mean that the title "The Beach Boys" was mentioned numerous times but their musical contributions were summarily dismissed. Denny Tedesco perpetuates this myth by asserting that most of The Beach Boys mid-1960s instrumental tracks didn't feature any of The Beach Boys where the opposite is true. Carl especially played extensively on those two albums.  In fact, Today and SDSN include two and three tracks respectively that don't feature any members of The Wrecking Crew.
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« Reply #56 on: August 03, 2015, 05:35:46 AM »

I have finally bothered watching it via Netflix.  In ten second increments.  With a squeaking toddler in one ear and a complaining preteen in the other ear.  And I have to say, Beach Boys got mentioned more than I expected, but less than I was hoping for.  If that makes any sense?
God Bless you watching, with a toddler and a teen! I caught it on my online-only Netflix, so I've seen it about a dozen times. The BB's are headliners but Cher and Nancy Sinatra did great interviews as well. They were part of this scene and did great work in that era's TV work as well. They weren't a one trick pony.
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« Reply #57 on: August 09, 2015, 09:12:39 PM »

just watched this.     WOW!      What is the story on why this is just now coming out?   Opening credits say 2008.  I've heard about this for sometime now but had no idea it was actually made some time ago.

I loved it.   Been a fan of this group of musicians for many many years.    What a treat to watch it tonight......and again tomorrow.   WAY better than I anticipated.   
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Wirestone
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« Reply #58 on: August 09, 2015, 09:57:46 PM »

just watched this.     WOW!      What is the story on why this is just now coming out?   Opening credits say 2008.  I've heard about this for sometime now but had no idea it was actually made some time ago.

The movie played some festivals in 2008, I believe, but because of music clearance issues, it couldn't be released more widely until this year.

There was actually a Kickstarter a couple of years ago to help pay those fees. The film finally made it to theaters this spring, and to disc and streaming this summer.

Despite what that 2008 date may suggest, Danny T. has almost certainly added some elements in the years since, notably the Leon Russell interview.

As someone who's seen the movie, I understand that to mean that the title "The Beach Boys" was mentioned numerous times but their musical contributions were summarily dismissed. Denny Tedesco perpetuates this myth by asserting that most of The Beach Boys mid-1960s instrumental tracks didn't feature any of The Beach Boys where the opposite is true. Carl especially played extensively on those two albums.

That's not really true, as least as I see it. For one thing, Carl is included in the film -- at least visually. He's in a lot of the pictures of BB recording dates used in the film. For another thing, the narration is very careful not to say that the session guys played on every BB song, or were the sole players on the group's records.

And as for emphasizing the BB's instrumental contributions -- that's not really the job of a documentary about session musicians, is it? The guys (and gal!) were hugely important to BW and were instrumental (ha!) to his greatest records.
« Last Edit: August 10, 2015, 12:01:38 AM by Wirestone » Logged
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« Reply #59 on: August 09, 2015, 10:23:20 PM »

Wirestone thanks for the concise background on the delay of the release.  I suspected such an explanation.  glad to finally see this.  lovingly done IMHO.
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metal flake paint
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« Reply #60 on: August 09, 2015, 11:05:52 PM »

As someone who's seen the movie, I understand that to mean that the title "The Beach Boys" was mentioned numerous times but their musical contributions were summarily dismissed. Denny Tedesco perpetuates this myth by asserting that most of The Beach Boys mid-1960s instrumental tracks didn't feature any of The Beach Boys where the opposite is true. Carl especially played extensively on those two albums.

That's not really true, as least as I see it. For one thing, Carl is included in the film -- at least visually. He's in a lot of the pictures of BB recording dates used in the film. For another thing, the narration is very careful not to say that the session guys played on every BB song, or were the sole players on the group's records.

And as for emphasizing the BB's instrumental contributions -- that's not really the job of a documentary about session musicians, is it? The session guys were hugely important to BW and were instrumental (ha!) to his greatest records.

Sure, Carl is featured photographically (twice, and out of context) during The Beach Boy's segment. When the intro to "Fun, Fun, Fun" is played we are instantly presented with an image of Glen Campbell. This may lead the viewer to believe that it was Glen played the intro when in fact it was Carl as confirmed by the liner notes to KAEOS and by Glen himself in an earlier issue of Beach Boys Stomp. I realise that Glen did contribute 6-string bass to the track but if there was a time when an image of Carl should've been shown, it was at that moment.

Also, Denny Tedesco could have rephrased what he said with something like "A number of The Beach Boy's mid-sixties instrumental tracks featured The Wrecking Crew" rather than casting the group's contributions aside.
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« Reply #61 on: August 10, 2015, 08:18:51 PM »

As someone who's seen the movie, I understand that to mean that the title "The Beach Boys" was mentioned numerous times but their musical contributions were summarily dismissed. Denny Tedesco perpetuates this myth by asserting that most of The Beach Boys mid-1960s instrumental tracks didn't feature any of The Beach Boys where the opposite is true. Carl especially played extensively on those two albums.

That's not really true, as least as I see it. For one thing, Carl is included in the film -- at least visually. He's in a lot of the pictures of BB recording dates used in the film. For another thing, the narration is very careful not to say that the session guys played on every BB song, or were the sole players on the group's records.

And as for emphasizing the BB's instrumental contributions -- that's not really the job of a documentary about session musicians, is it? The session guys were hugely important to BW and were instrumental (ha!) to his greatest records.

Sure, Carl is featured photographically (twice, and out of context) during The Beach Boy's segment. When the intro to "Fun, Fun, Fun" is played we are instantly presented with an image of Glen Campbell. This may lead the viewer to believe that it was Glen played the intro when in fact it was Carl as confirmed by the liner notes to KAEOS and by Glen himself in an earlier issue of Beach Boys Stomp. I realise that Glen did contribute 6-string bass to the track but if there was a time when an image of Carl should've been shown, it was at that moment.


Actually, it's "I Get Around" that Glen plays the 6-string bass on (doubled on an overdub by Ray Pohlman). Glen's not on "Fun, Fun, Fun" at all.

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metal flake paint
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« Reply #62 on: August 10, 2015, 10:43:14 PM »

As someone who's seen the movie, I understand that to mean that the title "The Beach Boys" was mentioned numerous times but their musical contributions were summarily dismissed. Denny Tedesco perpetuates this myth by asserting that most of The Beach Boys mid-1960s instrumental tracks didn't feature any of The Beach Boys where the opposite is true. Carl especially played extensively on those two albums.

That's not really true, as least as I see it. For one thing, Carl is included in the film -- at least visually. He's in a lot of the pictures of BB recording dates used in the film. For another thing, the narration is very careful not to say that the session guys played on every BB song, or were the sole players on the group's records.

And as for emphasizing the BB's instrumental contributions -- that's not really the job of a documentary about session musicians, is it? The session guys were hugely important to BW and were instrumental (ha!) to his greatest records.

Sure, Carl is featured photographically (twice, and out of context) during The Beach Boy's segment. When the intro to "Fun, Fun, Fun" is played we are instantly presented with an image of Glen Campbell. This may lead the viewer to believe that it was Glen played the intro when in fact it was Carl as confirmed by the liner notes to KAEOS and by Glen himself in an earlier issue of Beach Boys Stomp. I realise that Glen did contribute 6-string bass to the track but if there was a time when an image of Carl should've been shown, it was at that moment.


Actually, it's "I Get Around" that Glen plays the 6-string bass on (doubled on an overdub by Ray Pohlman). Glen's not on "Fun, Fun, Fun" at all.


Thanks, Craig. My bad.
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« Reply #63 on: August 11, 2015, 10:03:57 AM »

As a documentary i found it to be rather mediocre and a bit on the amateur side (the production value, editing, research, and overall presentation of the material), but i really enjoyed watching it regardless, including hours of the bonus material, even if i had already seen so many of the clips online over the years. There wasn't really anything revelatory, but its strength lies in rounding up the principals and getting them to share their anecdotes and memories. Sadly, these musicians have steadily been leaving this earth and will only continue to do so in the next decade or so, so i think it was an important film to make, sooner rather than later. That said, it felt more like seeing some old friends again rather than watching a good documentary, which i suppose is not necessarily a bad thing. I loved seeing Tommy, Hal, Carol, and Plas sitting around a table reminiscing, telling stories and jokes, laughing. Same with the Goldstar staff. Glen Campbell is a joy, really charismatic. Cher has a great spirit and i was surprised and very touched by what a strong connection she had/has to all the musicians considering she was a sort of inside outsider in that scene. Leon Russell, i could watch hours of him speaking, what a guy. Earl Palmer is not having any of that sh*t, as was expected from him.

I do think Denny Tedesco was remiss in not dedicating more time to Phil Spector and any time at all to Jan & Dean, as those two were pivotal in bringing the WC into prominent use with more popular/rock & roll artists in the early days. But what really bothered me about the film is that most casual viewers are no doubt going to walk away believing that the Beach Boys didn't play on most (or even any?) of their records. I'm afraid that myth is not only not going to die anytime soon, but it's probably going to gain even more traction with this movie reaching mainstream audiences. The director really sold the group short as musicians, and although i was expecting as much, it was still frustrating to actually see the myth perpetuated in the finished film. I also thought some of his editing choices were bizarre. For example, while "Good Vibrations" is showcased, he pans across a photo of the Surfer Girl LP cover? Uh, ok. Is that supposed to demonstrate the incongruency between the public image of the band and the "reality" of the studio situation? It's a baffling choice no matter how much you try to justify or contextualize it.

The most bothersome aspect of the whole BB/WC thing, of course, is that the story could easily be told factually without taking any credit away from either the band or the session musicians. Those musicians played on the near entirety of Pet Sounds, a record universally hailed as one of the best and most influential albums of all time, and Smile, possibly the most mythical unfinished album. It's not like there isn't a journalistic angle to work this story. It's there. And in that case, i don't see what the controversy is. I don't understand why or how anyone would hear horns, woodwinds, strings, mallets, orchestral percussion, bass harmonica, accordion, and theremin and think that the band members could and would play all those instruments. Was it really revelatory and disappointing to Dick Clark and the general public back then to learn that five young guys in a garage band from Hawthorne, California weren't playing the "auxiliary" instruments on their records? And going back to 1964 when the crew started appearing on their records with more regularity, was it surprising that a band who was releasing 3 albums per year while touring the globe would occasionally use session musicians to augment their tracks, especially given that their leader was staying off the road to, you know, produce records? 
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« Reply #64 on: August 11, 2015, 12:09:41 PM »

I do think Denny Tedesco was remiss in not dedicating more time to Phil Spector and any time at all to Jan & Dean, as those two were pivotal in bringing the WC into prominent use with more popular/rock & roll artists in the early days.

I agree.

I have a con amore project of mine, Cue Castanets!, a blog solely devoted to dissecting the Wall of Sound. I've just posted an interview with Don Randi of the Wrecking Crew specifically focusing on their work with Phil Spector. I think you and others on the board will dig it - and hopefully other posts on the blog. Don briefly mentions his time with Brian in the studio as well:

www.cuecastanets.wordpress.com
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« Reply #65 on: August 12, 2015, 08:49:13 AM »

Look out, Carol's on the rampage again!!

https://m.facebook.com/permalink.php?id=168440386566810&story_fbid=281253788618802

There's a very good discussion going on via The Hoffman Board. Check it out before the Gorts remove it.
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« Reply #66 on: August 12, 2015, 10:35:12 PM »

She loves the word "phony", don't she ?  Grin

Mind, she's right about Kent Hartman's book.
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« Reply #67 on: August 12, 2015, 11:20:48 PM »

Her post in that link is from 2012.

And Leon Russell is in the film now.
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« Reply #68 on: August 12, 2015, 11:36:39 PM »

Yes I think more footage has been added since the post.
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« Reply #69 on: August 13, 2015, 12:05:43 AM »

That being said, I think she might have a point about Tommy. That part of the movie felt off to me.

But she really needs to let the stuff with the name go. DT even addresses that, with some folks making Carol's point and some disputing it.

She's only hurting herself here.
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« Reply #70 on: August 13, 2015, 09:05:54 AM »

Look out, Carol's on the rampage again!!

https://m.facebook.com/permalink.php?id=168440386566810&story_fbid=281253788618802

There's a very good discussion going on via The Hoffman Board. Check it out before the Gorts remove it.
For what it's worth...I skimmed over that post. And, for every gender or racial or sexual preference group who breaks into a new sphere, there is always opposition.  The glass ceiling is alive and well.  What comes to mind is the females who were abused in the military branches, or in police departments, and in medicine and law, being called dummies, and not as smart or "taking up a "man's job"  in those studios.

And as much as I have felt this "story needs to be told" there is likely some merit in what Carol has been saying.  And Tommy's son has told an important story but from "his perch."

Carol Kaye might be 100% wrong on certain songs or dates, she played on, but I see there appears to be a genuine affection that Brian has for her and her work.  And, over time, that does not appear to have been diminished.

So, Carol might be off the mark, with performance dates, but I am becoming more convinced that she experienced "gender-based discrimination and a hostile work environment."  Just sayin'.  Wink
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« Reply #71 on: August 13, 2015, 09:39:47 AM »

I wonder if Carol felt this way, why she would participate in the roundtable "reunion" in the movie in which she talked to Tedesco and Hal Blaine as old friends and why when Hal brings up the origin of the term "wrecking crew" in said discussion, she didn't argue it?  Okay, so maybe a lot about the musicians is mythologized, I don't doubt that, but she did little to dispel any of those myths when she was interviewed for the movie.  Hey, whether it was true or not, it would have made for some good drama!
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« Reply #72 on: August 13, 2015, 10:04:18 AM »

I wonder if Carol felt this way, why she would participate in the roundtable "reunion" in the movie in which she talked to Tedesco and Hal Blaine as old friends and why when Hal brings up the origin of the term "wrecking crew" in said discussion, she didn't argue it?  Okay, so maybe a lot about the musicians is mythologized, I don't doubt that, but she did little to dispel any of those myths when she was interviewed for the movie.  Hey, whether it was true or not, it would have made for some good drama!
They were (those musicians) reunited, apparently because of the father's life-threatening illness, so "time was of the essence."  And likely "bad blood" was put aside for that purpose.

If Carol had objections or had a different recollection, of that era, it is highly doubtful that it would have been addressed in the film.  The story was important.  

But, the devil is in the details.  It would be hard to defend that there was no discrimination in a male-dominated industry.  That is just ridiculous.  

But, that movie was someone else's work, with someone else's perception.  The movie was about the session players role in the music industry from a "general" standpoint and not a "particularized version" of the dirty linen in the closet.  It was designed to open the door to the discussion.  

Once the door is opened, she can walk through it, and be specific about the details. And maybe get her own independent film going about the challenges women faced in that same situation, to break the glass ceiling in the industry.  

The ball is in her court.  If she takes the high road, she could create an opportunity. And not alienate people in the process.

Brian seems to really like her, so she must have done something right.

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Rocky Raccoon
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« Reply #73 on: August 13, 2015, 10:33:17 AM »

I don't think Carol is lying at all about the discrimination.  There's no doubt that the music world was an ugly place for women in the 60s and 70s.
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« Reply #74 on: August 13, 2015, 11:36:14 AM »

I wonder if Carol felt this way, why she would participate in the roundtable "reunion" in the movie in which she talked to Tedesco and Hal Blaine as old friends and why when Hal brings up the origin of the term "wrecking crew" in said discussion, she didn't argue it?

There is a jump-cut immediately after Hal's explanation for the name. It's likely that she did argue it, but the footage was left out.
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