Elvis said to me, "Wes, Rick is a true person."
Elvis liked Rick Nelson as a human being and that's why he made friends with him and invited him to play football on his team, EP Enterprises. Johnny Rivers is the person who first introduced me to Rick Nelson and his brother David Nelson. Soon I was playing on the team with Rick.
This song MAD MAD WORLD which came out in 1963 still has so much innocence in it, but by the end of 1963 we as American's would loose our innocence...
Earlier we blogged on the contribution of songwriter JERRY FULLER on Rick's career. Rick also recorded songs written by JOHNNY and DORSEY BURNETT like this one... and by the way, two great studio musicians who worked a bit for me (I like to say they were once part of my "Wrecking Crew") and went on to back ELVIS PRESLEY as musicians are on this recording, Joe Osborne, and James Burton.
Showing posts with label Joe Osborne. Show all posts
Showing posts with label Joe Osborne. Show all posts
Friday, July 30, 2010
Tuesday, February 23, 2010
A CONVERSATION with WES BRYAN on CAROL KAYE
It's Tuesday February 22nd, 2010 at 4:19 PM. Wes Bryan and I are sitting here together on the computer...
WES BRYAN: I knew Carol Kaye. "The Wrecking Crew" was originally all of Phil Spector's people... people like Jerry Cole. Carol was a member of Musicians Local 47 and in the studios with a lot of other great musicians, some who became my friends or who I hired when I was producing.
CHRISTINE TRZYNA: Which friends were those?
WB: Glen Campbell for one. Jerry Cole...
CT: Did you ever work with Carol?
WB: No, I was working with Jerry Cole and Joe Osborne but I saw her around studios and I knew her work. Carol could play the hell out of that bass. In fact if you were giving out a GOLD MEDAL, a SILVER MEDAL, and a BRONZE MEDAL, Carol, Joe, and Jerry would be scrambling to win within seconds of each other...
CT: What was the relationship between Carol, a woman in the studio in the early 1960's music business in Los Angeles, and the men?
WB: There was a hell of a lot of competition, because there is good money to be made as a studio musician, and lots of people went from the road into the studio or the studio onto the road. THE GREATEST BASS PLAYERS WERE IN LA!
Carol Kaye was THE ONLY WOMAN playing the bass in the studios. The guys treated her like a little sister. She was personally a little bit on the shy side and very particular about her playing.
She had a lot of class, a lot of elegance - bet she still does!
CT: If there was anything you could say to Carol Kaye right now what would it be?
WB: She's been there and done that, and I look forward to reading the memoir she's been working on for a decade! It'll be a big seller, especially among the music loving crowd, and all the people - the fans - who love all the people she worked with as well! I'll be sitting in the front row at her book signing, waiting to buy my copy!
C Wes Bryan and Christine Trzyna All Rights including Internet and International Rights Reserved.
WES BRYAN: I knew Carol Kaye. "The Wrecking Crew" was originally all of Phil Spector's people... people like Jerry Cole. Carol was a member of Musicians Local 47 and in the studios with a lot of other great musicians, some who became my friends or who I hired when I was producing.
CHRISTINE TRZYNA: Which friends were those?
WB: Glen Campbell for one. Jerry Cole...
CT: Did you ever work with Carol?
WB: No, I was working with Jerry Cole and Joe Osborne but I saw her around studios and I knew her work. Carol could play the hell out of that bass. In fact if you were giving out a GOLD MEDAL, a SILVER MEDAL, and a BRONZE MEDAL, Carol, Joe, and Jerry would be scrambling to win within seconds of each other...
CT: What was the relationship between Carol, a woman in the studio in the early 1960's music business in Los Angeles, and the men?
WB: There was a hell of a lot of competition, because there is good money to be made as a studio musician, and lots of people went from the road into the studio or the studio onto the road. THE GREATEST BASS PLAYERS WERE IN LA!
Carol Kaye was THE ONLY WOMAN playing the bass in the studios. The guys treated her like a little sister. She was personally a little bit on the shy side and very particular about her playing.
She had a lot of class, a lot of elegance - bet she still does!
CT: If there was anything you could say to Carol Kaye right now what would it be?
WB: She's been there and done that, and I look forward to reading the memoir she's been working on for a decade! It'll be a big seller, especially among the music loving crowd, and all the people - the fans - who love all the people she worked with as well! I'll be sitting in the front row at her book signing, waiting to buy my copy!
C Wes Bryan and Christine Trzyna All Rights including Internet and International Rights Reserved.
Saturday, November 24, 2007
(77) JERRY FULLER - RICK NELSON'S SPECIAL SONGWRITER
Jerry Fuller was another of my talented musical peers at American Music. Jerry had also once been on Challenge Records, Gene Autry's label, like Jerry Cole. He had a hit with the "Tennessee Waltz" which had first been a hit for Patti Page, on Challenge. Jerry is best known for being the writer of "Travelin' Man" which was recorded by Sam Cooke, but more famously, Rick Nelson. The demo record went from Joe Osborne, the base player, to Rick.
Sometimes a demo, for all the creative talent, energy, and money, it took to make it, got lost under a stack of other demos an artist was sent. A demo could sit for years waiting for someone to play it, so personal contacts and recommendations were important - the "pitch."
Sometimes a demo, for all the creative talent, energy, and money, it took to make it, got lost under a stack of other demos an artist was sent. A demo could sit for years waiting for someone to play it, so personal contacts and recommendations were important - the "pitch."
The Rockin Country Style's Discography for Jerry Fuller is linked above!
Now, listen to "First Loves Never Dies." Elvis used to play that song himself. He loved it. And when the lyrics "first loves never dies" was heard, he would put his finger in the air as if he were making a point to the guys. The woman he was thinking about, was a woman he loved before he was famous - Dixie Locke. Elvis never knew, after he was famous, if a woman loved him for himself or not. Dixie had.Jerry Fuller's web site here tells his success story as a songwriter best.
Jerry plays his frets like Jimmie Rodgers.
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