Hal Blaine, the ubiquitous drummer whose work in the 1960s and ’70s with Elvis Presley, Frank Sinatra, Barbra Streisand, the Beach Boys, Simon & Garfunkel, the Ronettes and many others established him as one of the top session musicians of all time, died on Monday at his home in Palm Desert, Calif. He was 90.
His son-in-law, Andy Johnson, confirmed the death.
Mr. Blaine, who played on at least 40 singles that reached No. 1 on the Billboard pop chart, was a reliable and adaptable musician, able to offer delicate brushwork on a ballad or a booming beat on records produced by Phil Spector, who was known for his so-called Wall of Sound.
Mr. Blaine brought drama to a song’s transitions, often telegraphing a big moment with a flurry of strokes on a snare drum or tom-tom.
If he had a signature moment on a record, it was on the Ronettes’ 1963 hit, “Be My Baby,” produced by Mr. Spector. The song opened cold, with Mr. Blaine playing — and repeating — the percussive earworm “Bum-ba-bum-BOOM!” But the riff came about accidentally.
“I was supposed to play more of a boom-chicky-boom beat, but my stick got stuck and it came out boom, boom-boom chick,” he told The Wall Street Journal in 2011. “I just made sure to make the same mistake every few bars.”
Three years later, he used the same beat, but in a softer way, on Frank Sinatra’s “Strangers in the Night.”
Mr. Blaine was part of a loosely affiliated group of session musicians who in the early 1960s began dominating rock ’n’ roll recording in Los Angeles. Along with guitarists like Glen Campbell and Tommy Tedesco, bassists like Carol Kaye and Joe Osborn, and keyboardists like Leon Russell and Don Randi, Mr. Blaine played on thousands of recordings through the mid-1970s.
He famously said he gave the group its name, the Wrecking Crew, although Ms. Kaye has insisted that he did not start using that term until years after the musicians had stopped working together.
His skills led producers to use Mr. Blaine as the drummer for various groups’ studio work, replacing their credited drummers. The drummer heard on the Beach Boys’ records was often Mr. Blaine and not the drummer the group’s fans knew, Dennis Wilson, whose brother Brian was the band’s creative force.
“I must tell you, first of all, Dennis was not really a drummer,” Mr. Blaine told Modern Drummer magazine in 2005. “I mean, they had bought him drums because they needed drums in the group. So he learned as they went on.”
Asked if Mr. Wilson was angry that he was replaced in the studio, Mr. Blaine said he was not.
“He was thrilled,” he said, “because while I was making Beach Boy records, he was out surfing or riding his motorcycle. During the day, when I was making or , that night he was making ,000” performing live.
Mr. Blaine’s other studio credits include Presley’s “Can’t Help Falling in Love,” Simon & Garfunkel’s “Mrs. Robinson,” the 5th Dimension’s “Aquarius/Let the Sunshine In,” the Byrds’ “Mr. Tambourine Man,” Ms. Streisand’s “The Way We Were,” the Crystals’ “Da Doo Ron Ron” and Herb Alpert and the Tijuana Brass’s “A Taste of Honey.”
In 2000, Mr. Blaine was inducted into the Rock & Roll Hall of Fame with four other studio musicians, including the drummer Earl Palmer, who had helped introduce him to session work. The Recording Academy gave Mr. Blaine a lifetime achievement Grammy Award last year.
Hal Blaine was born Harold Simon Belsky on Feb. 5, 1929, in Holyoke, Mass., to Meyer Belsky, who worked in a leather factory, and Rose (Silverman) Belsky. When he was 7 the family moved to Hartford, where he was inspired to learn drumming by watching the fife and drum corps of the Roman Catholic school across the street from his Hebrew school.
“One of the priests noticed I was watching, and before long I was playing with these kids,” he told The Hartford Courant in 2000.
On Saturdays, he regularly went to a theater in Hartford to watch big bands, singers and vaudeville acts, and he grew to admire virtuoso drummers like Buddy Rich and Gene Krupa.
When he was 14, he moved with his family to Southern California. He attended high school in San Bernardino while his parents opened a delicatessen in Santa Monica.
After serving as an Army cartographer during the Korean War, Mr. Blaine attended a drum school in Chicago run by Roy C. Knapp, who had been Mr. Krupa’s teacher. He began to play drums in strip clubs, and by the late 1950s he was working with a jazz quartet. He then worked with the teenage idol Tommy Sands and the pop singer Patti Page. He also played briefly with Count Basie’s big band at the Waldorf Astoria in New York, filling in when Mr. Basie’s regular drummer, Sonny Payne, was sick.
Until the early 1960s, Mr. Blaine thought of himself as a jazz drummer. But his work in the Los Angeles studios identified him, almost exclusively, as pop music’s go-to session drummer.
Once he established himself in the studios, Mr. Blaine rarely performed live. One exception came in the 1960s, when Nancy Sinatra persuaded him to work with her at Caesars Palace in Las Vegas; she put his name on the marquee and arranged for a nanny for his daughter, Michelle. And in the mid-1970s, John Denver brought him on tour.
“His favorite time was with John,” Mr. Johnson, Mr. Blaine’s son-in-law, said in a telephone interview. “They were like brothers, and he was really torn up when John passed.” Mr. Denver died in 1997 when the single-engine airplane he was piloting crashed into Monterey Bay in California.
Mr. Blaine is survived by his daughter, Michelle Blaine, and seven grandchildren. He was married and divorced five times.
Mr. Blaine was far less busy in studios in the 1980s. By then producers were increasingly relying on drum machines, and more self-contained bands insisted on playing their own instruments. He started giving drum clinics and worked on commercial jingles. He played most recently at a party for his 90th birthday at a Los Angeles nightclub.
Jim Keltner, a drummer who also became known for his session work, recalled the first time he saw Mr. Blaine play, in the 1960s.
“I can hardly describe the effect it had on me,” Mr. Keltner wrote in the foreword to “Hal Blaine & the Wrecking Crew” (1990), an autobiography written with David Goggin. “He was playing a beat I’d heard thousands of times but was giving it a certain kind of sophisticated funk that I’d never heard before.”
“How was he able to do these things with his drums?”B:
马经历史图库tcom【时】【光】【匆】【匆】，【转】【眼】【间】【两】【人】【的】【婚】【礼】【已】【然】【过】【去】【了】【半】【月】，【可】【是】【两】【人】【却】【再】【也】【没】【见】【过】【面】。 【作】【为】【野】【心】【家】【的】【信】【玄】，【当】【然】【不】【会】【对】【一】【个】【女】【人】【投】【入】【太】【多】【的】【感】【情】，【生】【活】【的】【磨】【砺】【让】【他】【变】【得】【铁】【石】【心】【肠】，【只】【相】【信】【自】【己】【掌】【握】【的】【力】【量】。 【纲】【手】【作】【为】【一】【个】【独】【立】【女】【性】，【自】【然】【也】【不】【会】【依】【附】【男】【人】，【若】【不】【是】【因】【为】【信】【玄】【手】【中】【有】【大】【量】【的】【人】【质】，【她】【早】【已】【远】【走】【高】【飞】。 【这】【天】
【几】【天】【后】，【太】【子】【宋】【铭】【到】【了】【大】【牢】【的】【时】【候】，【官】【差】【也】【把】【他】【带】【到】【了】【关】【押】【的】【地】【方】。 “【如】【今】【这】【么】【惨】【啊】，【都】【被】【关】【起】【来】【了】，【你】【还】【想】【着】【我】【那】【二】【弟】【救】【你】【呢】？，【他】【现】【在】【可】【是】【在】【温】【柔】【乡】【呢】” 【胡】【玥】【也】【是】【在】【这】【里】【关】【了】【几】【天】【了】，【也】【不】【知】【道】【外】【面】【是】【什】【么】【情】【况】！，【宋】【煜】【的】【事】【自】【己】【也】【管】【不】【着】【才】【是】，【可】【是】【不】【知】【道】【怎】【么】【了】，【心】【里】【忍】【不】【住】【的】【想】【到】【了】【他】【们】【两】【个】【柔】【情】【的】
【风】【漓】【湮】【垂】【在】【身】【侧】【的】【手】【有】【些】【无】【力】【地】【握】【了】【握】，【开】【口】【道】：“……【她】【当】【时】【为】【了】【留】【住】【你】【的】【魂】【魄】，【使】【用】【禁】【术】，【将】【自】【己】【反】【噬】，【魂】【飞】【魄】【散】【了】，【我】【寻】【遍】【妖】【冥】【两】【界】，【也】【只】【找】【回】【了】【一】【魂】。” 【当】【时】，【君】【陌】【闫】【为】【了】【救】【温】【小】【艾】，【为】【了】【救】【死】【去】【的】【无】【辜】【冤】【魂】，【耗】【尽】【灵】【力】，【魂】【归】【天】【地】。 【温】【小】【艾】【赶】【在】【他】【神】【魂】【彻】【底】【消】【散】【前】【活】【了】【过】【来】，【不】【顾】【劝】【阻】，【使】【用】【禁】【术】，马经历史图库tcom【一】【个】【小】【时】【后】，【霍】【普】【离】【开】【了】【赛】【克】【的】【工】【坊】。 【这】【一】【次】【他】【与】【赛】【克】【缔】【结】【的】【契】【约】【内】【容】【与】【上】【一】【次】【大】【体】【一】【样】，【不】【同】【之】【处】【在】【于】【赛】【克】【承】【诺】【将】【完】【整】【的】【秘】【法】【给】【他】，【而】【他】【也】【受】【到】【契】【约】【限】【制】，【不】【得】【在】【奥】【术】【帝】【国】【境】【内】【发】【展】【任】【何】【提】【供】【信】【仰】【的】【组】【织】。 【当】【然】，【完】【整】【的】【秘】【法】【需】【要】【霍】【普】【和】【赛】【克】【一】【同】【前】【往】【荒】【芜】【大】【陆】【后】【才】【能】【获】【得】，【在】【此】【之】【前】，【他】【只】【能】【借】【用】【赛】【克】【给】【他】
【叶】【安】【阳】【跑】【的】【速】【度】【还】【挺】【快】，【半】【点】【不】【像】【刚】【刚】【要】【在】【水】【里】【溺】【死】【的】【人】。 【叶】【安】【阳】【刚】【刚】【是】【溺】【水】【了】【没】【错】，【但】【溺】【水】【和】【受】【了】【刀】【剑】【伤】【不】【一】【样】，【一】【旦】【上】【岸】【得】【救】【了】，【很】【快】【就】【能】【恢】【复】，【且】【宫】【里】【的】【人】【营】【救】【及】【时】，【叶】【安】【阳】【救】【上】【岸】【的】【时】【候】【都】【没】【晕】，【她】【身】【体】【底】【子】【又】【是】【好】【的】，【回】【去】【换】【了】【身】【衣】【裳】，【喝】【了】【热】【汤】，【也】【就】【缓】【过】【来】【了】。 【不】【过】，【人】【还】【是】【难】【受】【的】，【尤】【其】【是】【胸】
【偌】【大】【的】【验】【室】【显】【得】【愈】【发】【安】【静】。 【陆】【知】【衡】【狠】【狠】【地】【闭】【了】【闭】【眸】，【心】【脏】【揪】【成】【一】【团】，【隐】【隐】【作】【痛】，【垂】【在】【身】【侧】【的】【手】【指】【微】【微】【弯】【曲】，【攥】【成】【拳】【头】，【骨】【节】【之】【间】【微】【微】【泛】【白】。 【他】【深】【吸】【了】【口】【气】，【刚】【想】【开】【口】—— “【嗒】” 【突】【然】【一】【阵】【颤】【动】【的】【铃】【声】【划】【破】【了】【宁】【静】。 【司】【嘉】【凌】【飞】【快】【的】【拿】【出】【手】【机】。 【信】【息】【栏】【的】【消】【息】【清】【晰】【的】【显】【示】【在】【屏】【幕】。 【君】【肆】：【快】【回】
【几】【轮】【交】【战】【下】【来】，【双】【方】【都】【损】【失】【惨】【重】。 【不】【过】【只】【要】【城】【墙】【不】【丢】，【一】【切】【都】【不】【是】【问】【题】，【坚】【城】【利】【炮】【才】【是】【杨】【知】【风】【等】【人】【最】【大】【的】【依】【仗】。 【城】【外】【的】【外】【国】【玩】【家】【依】【旧】【人】【山】【人】【海】，【但】【是】，【人】【数】【再】【多】【也】【有】【上】【限】，【所】【有】【人】【不】【可】【能】【全】【都】【铺】【开】【了】【去】【打】，【几】**【击】【之】【后】，【对】【方】【的】【士】【气】【也】【遭】【受】【到】【了】【巨】【大】【的】【打】【击】。 【十】【分】【钟】【后】，【攻】【击】【停】【止】，【激】【战】【了】【数】【个】【小】【时】【的】【天】
“【我】【凭】【什】【么】【相】【信】【你】？”【征】【儿】【冷】【冷】【地】【问】【了】【一】【声】。 “【征】【儿】【可】【曾】【见】【过】【此】【物】？”【他】【从】【怀】【里】【掏】【出】【一】【个】【玉】【佩】，【这】【是】【洛】【云】【硕】【收】【他】【为】【徒】【的】【时】【候】，【送】【给】【他】【的】【见】【面】【礼】。 【征】【儿】【没】【有】【伸】【手】【去】【接】，【也】【没】【想】【去】【看】。【对】【于】【她】【来】【说】，【这】【个】【男】【人】，【满】【口】【的】【谎】【言】，【还】【有】【他】【对】【她】【的】【处】【处】【压】【制】。【导】【致】【她】【对】【这】【个】【男】【人】【并】【没】【有】【任】【何】【好】【感】。 【现】【在】【父】【母】【虽】【然】【已】【经】【去】