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The transcription discusses a special edition of a radio show celebrating the musical legacy of Brian Wilson and the Wrecking Crew. It features interviews with Don Randy, a keyboard player, and a film producer known for documentaries on the Wrecking Crew. The discussion touches on Brian Wilson's influence, the studio musician lifestyle, and the eclectic music produced by the Wrecking Crew. The conversation delves into specific songs and musicians involved in recording hits like "Be My Baby" by the Ronettes and "La Bamba." The Wrecking Crew's innovative sound and impact on the music industry are highlighted. The night came that I knew I needed to go And if I had to bid, I'd never let you go So won't you say you love me? I'll make you so proud of me We'll make you turn your back Every place we go So won't you please be mine? Be my baby I want it only, baby So won't you be mine? Be my baby I want it only, baby I'll make you happy, baby Just wait and see For everything you give me I'll give you free Most of the day I adore you I have been waiting for you So I'll wait for you For eternity So won't you be mine? Be my baby I want it only, baby So won't you be mine? Be my baby I want it only, baby So won't you be mine? Be my baby I want it only, baby So won't you be mine? Be my baby I want it only, baby So won't you be mine? Be my baby I want it only, baby So won't you be mine? Be my baby I want it only, baby So won't you be mine? Be my baby I want it only, baby Good morning and welcome to a special edition of the Global Village. My name is Mangula Peek, and in the next two hours, we're going to celebrate the repping crew and the wonderful musical legacy of Brian Wilson, singer-songwriter, record producer, and co-founder of the Beach Boys. Wilson was the creative force behind the band, writing, producing, and arranging their songs, including hits like California Girls and Good Vibrations, He was known for his innovative songwriting and recording techniques, which expanded the sonic possibilities of rock and roll. Brian Douglas Wilson was born June 20, 1942, and made his transition June 11, 2025. Joining me in studio is Don Randy, a keyboard player extraordinaire, songwriter, arranger, band leader, and one of the most prolific session musicians in history. Don was born in New York City, but raised in the Catskill Mountains, where he studied classical music. He moved to Los Angeles in 1954, and by the early 60s, Don was leading his own group and working with a who's who of now legendary artists. Don is also the founder and owner of the long-standing L.A. nightclub, The Baked Potato, which he opened way back in 1970. Also in studio, a film producer known for the documentaries Immediate Family and The Wrecking Crew, although Mr. Dadesco has worked on films over the years as a set director, lighting technician, grip, and location producer. We are honored and thrilled to have Don and Denny here in this video to talk about the revolving cast of musical characters we now know as The Wrecking Crew. And in the second hour, we'll turn our focus on the passion of Brian Wilson and his beautiful legacy. Don and Denny, welcome back to KPFK. Thank you. Good to be here again. It's wonderful to have you both here. So we began with a classic song that's part of the legacy of The Wrecking Crew, the Ronettes' Be My Baby, which first off features you, Don, on the track. Don Randy, are you on piano? Yes. There was three of us on piano on that date. Wow. Al DeLore and I think Mike Rubini also. And Denny, your dad, the great Tommy Dadesco. Yeah. Dad was, I think, well, I know for Bill Pittman, there was probably four guitar players, but Bill Pittman, for sure. And in the backside, actually... How do you hear me now? Yeah, perfect. New at the studio bit. No, Dad, on the backside of Be My Baby, if you remember, Phil would... Oh, wait. Customers. That's someone calling in to make a pledge. That's good. Take it. So keep going now. We're just going to let that phone ring. But it might be something to do with... It might be Jeff Bezos. He should get it. He's going to donate. Okay. Go ahead. The backside, if you remember, Phil would always do B-sides so that no one would ever play the B-side, the DJs. He didn't trust DJs. And so he made Dad and Bill Pittman just start playing, and the band would just start jamming, and it was called Sadasko and Pittman. That's the B-side of Be My Baby. So I wanted, Don, for you to tell us about, actually, since we're going to be celebrating Brian Wilson throughout the two hours, the story you told me about when Brian heard the song Be My Baby and how he heard it and said, I think he called you. No, I'll tell you exactly who he was. Tell us the story. Tell us the story when Brian heard Be My Baby by the Roundhouse. There was a great saxophone player by the name of Steve Douglas. He would do music contracting for Phil Spector and for Brian. And when he heard the Be My Baby record, he said, I've got to have all of those guys. I've just got to have them. He already had some of us, but he wanted to have a closer to that band. And Steve Douglas was the one that put it together, and then we all started making history after that. It was a wonderful time. Absolutely amazing. So that Brian was so impressed by the arrangements and the level of musicianship that he said, hey, this is what I want. This is what Brian was hearing in his own head. Sure. And when you hear a guitar player like Tommy Nadesko playing, nobody else is going to play like that. Or you'll hear the piano sound. We were called the Wall of Sound in the very beginning, and then we became the Wrecking Group. It was pretty wild. So Don, many of our listeners know so little about what a studio musician is, much less what he or she does in the course of their working days and nights. Would you describe for us what your work day was like at the height of your career as a session musician in the Wrecking Crew years? Well, because of us being so in demand, we would work day and night all the time. From 1963, I think, almost to 1970 for a lot of people, and for me, it kept on going almost to 80. But the home life, there was hardly any. You were busy earning a living for your family and being a studio musician. So you'd go from one day to another, one day to another, and you'd see basically the same guys on those dates for one main reason. We were making the hit records. So if you were a corporate producer and not an independent guy, we'd better get those guys because it's almost a guarantee, so to speak. But they all weren't hits, I guarantee you that. Well, yeah. If you're working that much, you're bound to be on the sessions of a few lemons. Sure. Don, was there anyone that you first started working with in your early L.A. years that you credit with sort of launching your career as a studio musician? Steve Douglas, the saxophone player, heard me playing at a little club called Sherry's on the Sunset Strip, and he brought Phil in because they both had gone to Fairfax High School. Who was your first actual studio date? My first studio date, I think, was with the Parris sisters. Before that, Russ Heidelman told me that, and I didn't realize it, but we may have been in there and done that. And so it's kind of, everything was a conglomerate in 1963. One thing, once you did one, everything started happening. And you could handle it, and that was it. Yes, that was it. Most of the things we did, Denny, were chord sheets. Yeah. So that we were making up our own parts. Maybe about 10% of the time somebody would actually write out. But most of the time, either eighth notes or sixteenth notes. So was that with Phil, the Parris sisters? Oh, yeah, and all of those things. So Phil was your first producer? Yes, yeah, in rock and roll, absolutely. And when you go through, for example, this box set, Denny, that you put out music from the film that you directed and produced, the selection of songs is so amazingly eclectic. Yeah. You've got everything. That was one of the things, for the Wrecking Crew, what was interesting was, for years, it took so many years to actually get it out because of the cost of the music. Not so much each song, but there were 110 songs in the soundtrack. And people would say, well, why don't you just put 20? I said, here's the thing. If you put Michael Jackson, you put Supremes, you put Smokey Robinson, you know what that is. It's Motown. But when you put Beach Boys, Sinatra, Monkeys, Jan and Dean, Mamas and Papas, Sam Cooke, and the Chipmunks, well, you've got something very weird. But that was the thing. You had to show that LA was different than all the other cities. It was not derogatory, but it was a factory here, and they were knocking this stuff out. And so I wanted to show how much they did. We weren't disappointed if somebody asked you to play like somebody else. We were emulating somebody. Can you do it more like Nashville? Can you do it more like this? And then all of a sudden, they were trying to emulate us after that for years. So I wanted to play some music, and of course from the set. And I wanted to play La Bamba because when we all saw the movie that came out now probably like 40 years ago that was so great depicting Richie Ballon's life, there's a section in the film where they go to the guy that manages him. I can't remember the actor's name, but he wants to give Richie a better sound because he's working with his brother. His brother's like a drummer who's not really that great. He's okay, but he wants to give him sort of upgrade the band and give him a bigger sound. So what we now know is that he takes them to a recording studio with the Wrecking Crew cats. Yeah, the Gold Star. Yeah, and so we're going to hear the classic La Bamba, but I just wanted to ask you, Don, about Rene Hall and Irving Ashby. They're the two other guitarists on this track with Richie. And then Ray Johnson on piano, and then we got Buddy Clark on bass. Buddy Clark, wow. Yeah, and then Earl Palmer on drums, who I knew very, very well because when I moved here in 1990, I was a jazz DJ back in the Midwest and I was very young, and when I moved out here with my sister and brother-in-law, I started waitressing in Burbank right down the street from Chadney and found out that Chadney's was kind of a cool hip spot, you know, and I was like one of the youngest persons that was hanging out in the club, but Earl Palmer, you know, he's one of the guys that was there all the time, and then he had a Tuesday Night Jam. But I started meeting all of these incredible musicians. That's how I met Bill Miller and became very good friends with him and started house singing for him because Frank Sinatra was still alive and they were touring, and you know, just the stories are endless, but it's just amazing that these musicians, you know, came to work with, you know, this little, you know, this unknown, you know, kid from way out in the valley and it's so tragic, his story, that we lost him so early, but what a gift it was that he was able to record, you know, some of these songs. You know, the true story of all those guys that you're mentioning, they were capable of doing so many other, you know, if you had to play a country record, that was the same guys. If you had to play a bebop jazz record, the same guys. If you had to play a pop hit, the same guys because they were capable of being able to move from genre to genre. When the folk rock era started, you know, and all those guitar players were playing with some of them with the picks on their fingers and stuff like that, all the guys would pick up and they knew how to do it, you know, if that's what they needed. And they'd come close. My father would say, you know, the description of how my father describes a studio guitar player versus a specialist, he goes, I get to work, the door's closed. We don't know what's behind it. So I walk in and maybe there's a mandolin part. Well, you're not going to bring in B.B. King for the mandolin part or Eric Clampton for the mandolin part. You'll bring me in to get close to it. I'm not the greatest mandolin player. I'm not the greatest rock player. I just have to get across the field. If you want a specialist, you bring the best in. And that's when you bring in your, you know, Eric Clampton or your Segovia if you want a classical part. You know what I mean? That's how it worked. And these guys were, you know, impressionists in a sense. Sure, exactly. But you have to, you couldn't get insulted by that either. A lot of guys, I'm not going to play that crap. That's rock and roll. And even when they played it, they were still pissed off about it. Tell this story about Dwayne. Oh, it's a wonderful story. Dwayne Eddy is a wonderful rock and roll guitar player. And I did quite a few albums with him over the years and we were good friends. So when I was writing my book, Dwayne says, I got a story for you, for your book. I said, what is that? He said, well, one day I was in Valley Arts Guitar and I was having some repairs done. Valley Arts was a famous guitar store and music store in Studio City. And while he was there, Tommy Dadesco and Lee Ritenour were there, but they were in the front of the store. And when Dwayne was coming down the stairs from where the repair was, Tommy sees Dwayne and he hollers, hey, Dwayne. Now Tommy Dadesco calling Dwayne Eddy, how does he even know Dwayne Eddy? He says, hey, Dwayne. And everything stops. Tommy spoke. You could hear his silence in the store. And he says, Dwayne. And he says, what do you want, Tommy? He says, does anybody ever ask you to play like me? And of course not, you know, but that's the true story because you had to be, but you also had to be aware of what they were asking you. If you weren't aware, then you're useless. So that meant you had to have known or listened to something that somebody else did. Well, I could try and do that, you know, get close. You had to be eclectic and be adaptable. Yes. Chameleonic. That was the word. I could have come up with it. So, but as promised, let's take a listen to the classic from Richie Valens and the Wrecking Crew guys with La Bamba. You're not going anywhere You're not going anywhere You're not going anywhere You're not going anywhere La Bamba La Bamba La Bamba La Bamba Ba la la la la Bamba Ba la la la la Bamba Ba la la la la Bamba Ba la la la la Bamba Ba la la la la Bamba Ba la la la la Bamba Ba la la la la Bamba Ba la la la la Bamba Ba la la la la Bamba Ba la la la la Bamba Ba la la la la Bamba Ba la la la la Bamba Ba la la la la Bamba Ba la la la la Bamba Ba la la la la Bamba Ba la la la la Bamba Ba la la la la Bamba Ba la la la la Bamba Ba la la la la Bamba Ba la la la la Bamba Ba la la la la Bamba Ba la la la la Bamba Ba la la la la Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba 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La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba La Bamba Memories Pass between the pages of my mind Memories Swing through the ages just like wind Quiet thoughts come floating down And settle softly to the ground Like gold upon a breeze around my feet I touch them and they burst apart With sweet memories Memories Sweet memories Of holy hands and red bouquets And twilight's trimmed in purple haze And laughing eyes and simple ways And quiet nights and gentle days with you Memories Pass between the pages of my mind Memories Swing through the ages just like wind Memories Memories Of holy hands and red bouquets And twilight's trimmed in purple haze And laughing eyes and simple ways And quiet nights and gentle days with you Memories Pass between the pages of my mind Memories Swing through the ages just like wind Memories Memories Sweet memories Memories Cutting-edge interviews about health, spirituality, and self-awareness Every Wednesday and Thursday, 1 o'clock, on The Aware Show Support for KPFK comes in part from Leavitt Pavilion, Los Angeles Presenting outdoor concerts starting Saturday, June 28th through August 30th in MacArthur Park The mission of Leavitt Pavilion, Los Angeles is to make live music accessible to all Creating stronger and more connected communities while celebrating the diversity of our city and beyond Further information is available at levittlosangeles.org That's L-E-V-I-T-T Los Angeles dot org And KPFK dot org This is Bradine White of Earth, Wind & Fire Encouraging you to make your tax-deductible decision today At 818-985-5735 Or kpfk.org 90.7 KPFK Los Angeles I may not always love you But long as there are certain of you You never need to doubt it I'll make you so sure about it God only knows what I'd do without you If you should ever leave me Life would look so amazing The world would show something to me So blessed is what you're meant to be God only knows what I'd do without you If you should ever leave me God only knows what I'd do without you God only knows what I'd do without you If you should ever leave me Life would look so amazing The world would show something to me So blessed is what you're meant to be God only knows what I'd do without you God only knows what I'd do without you God only knows what I'd do without you God only knows what I'd do without you God only knows what I'd do without you God only knows what I'd do without you God only knows what I'd do without you God only knows what I'd do without you God only knows what I'd do without you God only knows what I'd do without you God only knows what I'd do without you Ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, Ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, 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ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, 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