Studio Musicians and Record Sales in the 1960s: The Art of Collaboration

In the 1960s, the music industry witnessed a fascinating interplay between record producers and studio musicians. This era was marked by the innovative use of session artists to craft hits, with the eventual transition to live performance by groups. This article explores how studio musicians played a pivotal role in the creation of singles and the subsequent tours to support these hits, with a focus on notable producers and groups.

The Role of Studio Musicians

During the 1960s, record producers often relied on studio musicians to create polished and hit-worthy tracks. This approach allowed for greater flexibility and efficiency, as session players could be called in to record tracks without the need for a specific band's availability or skill level. This practice was particularly common for 45 RPM singles, as producers could quickly turn out a polished product without the limitations of touring or recording equipment.

Notable Groups and Producers

The Wrecking Crew, a group of session musicians in Los Angeles, is a prime example of the skilled ensemble that contributed to iconic hits of the era.

The Wrecking Crew

This group of studio musicians played on numerous hits during the 1960s, working with renowned producers and artists, including Phil Spector, Brian Wilson of The Beach Boys, and many others. Among their notable contributions is Phil Spector's work with the Ronettes (an example of this dynamic), and they influenced the rich sound of Brian Wilson's early hits (another example).

A significant case in point is the formation of The Monkees, initially created as a TV show band. However, many of their early recordings featured The Wrecking Crew. It wasn't until later that The Monkees began to perform their own music, leading to their transition from a fictional band to a lineup that included original members.

The Funk Brothers

In the RB and Motown scene, The Funk Brothers have left an indelible mark. They were the session musicians responsible for the distinctive Motown sound, playing on hits for artists like Marvin Gaye, The Supremes, and The Temptations. Many of The Supremes' memorable tracks, including 'Stop! In the Name of Love,' are a testament to their collaborative efforts.

Producers like Phil Spector and Don Kirshner were instrumental in selecting and working with these talented session musicians to create the hit sounds of the era. Don Kirshner, for instance, hired skilled session musicians to create The Monkees' sound, even when the band had not yet learned to play their instruments.

The Transition to Live Performance

While the use of studio musicians was a hallmark of the 1960s, many of the groups that benefited from this collaboration eventually transitioned to live performances. The Monkees, for example, initially did not play their instruments on many recordings. Over time, they learned to perform their own music, leading to a transition from studio recordings to live performances.

Similarly, The Beach Boys, though they performed their own songs, relied heavily on session musicians to enhance their sound. This collaborative approach not only produced memorable recordings but also laid the groundwork for the groups' eventual prominence in live performances.

Conclusion

The role of studio musicians in the 1960s music industry was monumental, allowing producers to craft hits with flexibility and speed. This collaborative approach between session players and producers shaped the sound of the decade. Many of the iconic songs of the era were the result of this partnership, and the subsequent tours by these groups were crucial for sustaining record sales and building a loyal fan base.