Five session musicians transformed these stunning classic 1970s songs

As a lifelong music enthusiast and connoisseur of all things melodic, I find myself continually amazed by the tales of these unsung heroes who have graced some of our most iconic songs with their talent. The stories of these session musicians, whose names we may not know but whose voices and instruments we hear daily, are a testament to the collaborative spirit of music-making.

Back in the day, I used to be part of an impressive crew of session musicians who played on countless iconic tunes from the ’70s. Many big-name artists either kicked off their careers as session players or relied on this work for extra cash. It was a significant part of what made those classics soar!

In many songs, they primarily offered support through vocal or instrumental accompaniment, enhancing tracks with their skills in creating and contributing background sounds or specific styles. At times, however, their role within the music would take center stage and become increasingly vital.

As I played a few tunes from the 1970s, it struck me how profoundly influential some of those tracks turned out to be. Instead of merely setting the scene, they became integral components of the music itself. One striking aspect of their composition and style was transformative rather than complementary. Without the unique touch provided by the session musician, the song would have lost much of its impact.

Five 1970s stunning session musician performances

Among numerous possibilities, here’s one way to rephrase the given text: In my opinion, these five examples are truly outstanding regarding this topic. Each instance showcases how a session musician played a crucial role in creating iconic classic songs from the 1970s. Furthermore, I couldn’t resist including a couple of additional songs that deserve a mention along the way.

“Baker Street” – Session musician Raphael Ravenscroft

To kick things off, let’s discuss the 1978 hit “Baker Street” by Gerry Rafferty. There’s frequently a discussion about who performed the iconic saxophone solo in this song. In Britain, a humorous radio program claimed that it was actually TV host Bob Holness who played it. This joke has persisted and is often recounted as truth, despite being completely off the mark.

In a different rendition: Session musician Raphael Ravenscroft played the solo, but there’s been a dispute about who actually composed that saxophone piece. Ravenscroft himself has asserted that he improvised the piece on the spot when asked to play some temporary music.

Rafferty has voiced disagreement on this matter, stating that he sang the melody to Ravenscroft to make clear his intentions. Similarly, another session musician on the recording, guitarist Hugh Burns, supports Rafferty’s claim, mentioning that in an early demo, Rafferty played the sax solo part on his guitar instead.

Regardless of the reason, it’s an incredible solo, a memorable segment in a timeless melody, and a musical piece that is instantly identifiable. However, contrary to speculation, Ravenscroft has expressed annoyance about it, not due to the writing disagreement or the nominal payment of £27 for his work. Instead, he claims it grates on him because it seems slightly out of tune. To others, it might sound perfectly harmonious and only adds to the song’s charm.

Continued on next page

“Walk On The Wild Side” – Session musician Herbie Flowers

Herbie Flowers is a remarkable bassist who has contributed his skills to numerous records throughout his career. One of his most notable performances can be found on Lou Reed’s 1972 single, “Walk On The Wild Side.” This iconic track is from Reed’s acclaimed album, Transformer, and is recognized for its unique bassline. Flowers’ performance on the song is particularly noteworthy and plays a crucial role in the overall composition.

In a different phrase, Flowers composed a double bass melody for the song. Not only did this fittingly suit Reed’s tune, but Flowers also noticed an extra perk: Two bass lines counted as two separate instruments played in the track, thereby doubling his payment for the session. However, it’s uncertain if this strategy entirely worked out since he apparently earned just £17 for it, raising questions about the success of the scheme.

In 1973, flowers were prominently featured in the popular hit “Rock On” by David Essex. The song’s distinctive bass line was another notable aspect that contributed significantly to its style and success. Interestingly, Flowers, the session musician, is reported to have created two unique bass lines for this song, earning him £12 per line. This just goes to show that session musicians are not only musically talented but also creatively versatile.

“Morning Has Broken” and “Life on Mars” – Session musician Rick Wakeman

As a gamer, let me share this: Back when these tunes were laid down, I was part of a folk band called The Strawbs and was about to jump ship to join Yes. Prior to that, I’d been playing as a guest musician, and I really shone in those roles on these two tracks. They’re just too good not to enjoy together, so I’ve grouped them as one for your listening pleasure.

Initially, there’s Cat Stevens’ 1971 recording of his single “Morning Has Broken.” This piece was derived from an old hymn and was quite brief. Consequently, Wakeman was asked to rework some music he was composing for a solo album titled “The Six Wives Of Henry VIII” and incorporate a modified version of that into Stevens’ song.

Keith Wakeman acknowledges that the song’s producer, Paul Samwell-Smith, cleverly adapted the arrangement. Instead of playing the piano throughout the verses, Wakeman was instructed to add short bursts of flourishes and runs instead. This is quite different from the richer sound on the chorus, yet it complements Wakeman’s unique piano style beautifully.

In the same year, Keith Emerson’s keyboard skills were showcased on various tracks from David Bowie’s “Hunky Dory” album, including the popular track “Life On Mars.” Notably, he also contributed to other Bowie songs and the T-Rex hit “Get It On.” His exceptional, unique, and memorable playing on “Morning Has Broken” and “Life On Mars” significantly enhanced both tracks.

Continued on next page

“Have A Cigar” – Session musician Roy Harper

This particular track on the 1975 Pink Floyd album “Wish You Were Here” is somewhat uncommon due to its unique choice of Roy Harper for the vocals. In fact, it’s one of just three Pink Flood songs where non-band members provided the singing. Composed by Roger Waters, this song serves as a critique of the music industry and greed, potentially serving as a sequel to his earlier hit “Money.

In a different approach, the lyrics and the tune required an unusual twist in vocal delivery. Initially planned for Waters to sing, his renditions didn’t quite fit. Similarly, neither Gilmour’s nor the duo’s versions were suitable. Roy Harper was around, a friend of the band, recording nearby. Noticing their difficulties, he offered to give it a shot with the vocals.

In the realm of music, I found myself captivated by Harper’s unique approach, injecting a more dramatic, theatrical flair into the vocals that perfectly resonated with the album’s theme. It’s almost impossible for me to imagine it any other way now, despite his contributions being hushed for quite some time, leaving fans in suspense for years on end. Little did we know, Harper’s compensation was an exclusive lifetime season ticket at Lords – a deal that, looking back, seems like a brilliant stroke of genius, considering the relatively modest fees prevalent during that era. It might have been an impromptu suggestion, but it certainly proved to be a lucrative move for him.

“The Great Gig In The Sky” – Session musician Clare Torry

Let’s carry on with the Pink Floyd motif and delve into their earlier work, specifically the album titled “The Dark Side Of The Moon“. Notably, “The Great Gig In The Sky” was one of the tracks where a non-band member provided vocals. Moving forward to 2022, the song “Hey, Hey Rise Up” was included, which featured the vocals of Andriy Khlyvnyuk from the Ukrainian band BoomBox, in support of the Ukrainian cause.

On the track “The Great Gig In The Sky,” the vocals are by Clare Torry. Producer Alan Parsons proposed her for the job, believing she could contribute some spontaneous vocal parts to the song. What she delivered was entirely improvised and consisted of sound and melodious notes rather than words. Her performance is often characterized as using her voice more like an instrument.

After attempting it thrice, Torry stepped out of the studio unsure if her performances would be selected, but the band was highly pleased with her input. Later, edits were made to her work, resulting in the rendition we currently enjoy on the album, an exceptional component that significantly contributes to the song and the entire record. It’s simply a fantastic part of the track and album.

The backing vocals aren’t merely simple additions; they play a significant role within the song. Initially, she charged a fixed fee of £30 per session, but later, a court ruling in 2005 acknowledged her input and granted her an unspecified amount for co-composition credit.

2024-12-15 14:00