Het is vandaag 55 jaar geleden dat “Monday, monday” van The Mama’s and the Papa’s op nummer één stond in de Billboard Top 100.
“Monday, Monday” is a song written by John Phillips using background instruments played by members of The Wrecking Crew for their 1966 album “If You Can Believe Your Eyes and Ears”. It was the group’s only number-one hit on the U.S. Billboard Hot 100.
Phillips said that he wrote the song quickly, in about 20 minutes. The song includes a false ending, when there is a pause before the coda of the song, and goes up a half note for the bridges and refrains of the song. It was the second consecutive number-one hit song in the U.S. to contain a false ending, succeeding “Good Lovin'” by the Young Rascals, and the first time this novelty had occurred between consecutive number one hits.
On March 2, 1967, The Mamas & the Papas won a Grammy Award for Best Pop Performance by a Duo or Group with Vocal for this song.
Arguably the best live or studio version of the song was performed at the Monterey Rock Festival (California) in 1967. The performance was recorded for film at the time but not in a solo album. (Wikipedia)
 “The Wrecking Crew” was a loose-knit circle of Los Angeles’ top studio session musicians whose services were constantly in demand during their heyday in the 1960s and early 1970s. In varying configurations, often anonymously, they backed dozens of popular acts on numerous top-selling hits of the era. They are considered one of the most successful session recording units in music history (zie ook de gelijknamige documentaire op Canvas op vrijdag 20 mei 2016 om 22.45u). The group’s ranks began to materialize in the late 1950s, but in the early 1960s they fully coalesced into what became their most recognizable form when they became the de facto house band for Phil Spector, sometimes credited as the Phil Spector Wall of Sound Orchestra, playing on many of the hits that he produced at the time, and contributing to the development of his Wall of Sound production methods. After the initial success of Spector’s records, they became the most requested session musicians in Los Angeles, playing behind many popular recording artists such as Jan & Dean, Sonny & Cher, Barry McGuire and the Mamas & the Papas. They were sometimes used as “ghost players” on recordings credited to rock groups, such as the first two albums by the Monkees, the Byrds’ cover version of Bob Dylan’s “Mr. Tambourine Man” (1965), and the Beach Boys’ album “Pet Sounds” (1966). Keyboardist Leon Russell and guitarist Glen Campbell later became popular solo acts, while drummer Hal Blaine is reputed to have played on over 140 top ten hits (including approximately forty number one hits). Other musicians that constituted the unit’s ranks were drummer Earl Palmer, saxophonist Steve Douglas, guitarist Tommy Tedesco, and multi-instrumentalist Larry Knechtel. (Wikipedia)