The Journey of Louie Shelton: Crafting the Iconic Sound of the Monkees
Between the late 1960s and the 1980s, few session guitarists matched the demand for Louie Shelton. His remarkable guitar skills, both electric and acoustic, can be heard on countless hit tracks, including Boz Scaggs’ ”Lowdown,” Lionel Richie’s “Hello,” Neil Diamond’s “Play Me,” and the Jackson Five’s classics like “I Want You Back,” ”ABC,” and “I’ll Be There.” As a vital member of the legendary Wrecking Crew, Shelton also contributed to recordings for the fictional band, the Partridge Family.
His impressive resume extends to collaborations with music legends such as John Lennon,Whitney Houston,Barbra Streisand,Marvin Gaye,Diana Ross,the Carpenters,Joe Cocker,Kenny Rogers,the Mamas & Papas,James Brown,and Ella Fitzgerald. Additionally, he played a notable role in producing Seals & Crofts’ biggest hits, including “Summer Breeze,” “Diamond Girl,” and “We May Never Pass This Way Again.”
A Fortuitous Introduction to the Music Scene
Louie Shelton’s ascent from relative obscurity to a sought-after studio musician was marked by a stroke of serendipity. His journey into the los Angeles music scene began in the early 1960s, thanks to his friend Glen Campbell, who was already a member of the wrecking Crew. Although shelton occasionally filled in for Campbell, his initial involvement in the tightly-knit studio community was limited to recording demos for lesser-known publishing projects.
“Glen Campbell’s former drummer joined my band in Santa Fe,New Mexico,just before we headed to Los Angeles in 1963,” shelton shared in an interview with Guitar player from his home on Australia’s Gold Coast. “Somehow, he connected with the songwriting duo Tommy Boyce and Bobby Hart, working on their demos.”
This connection eventually led Shelton to collaborate with boyce and Hart. By the time he met them in 1965,they had already penned hits for groups like Jay & the Americans (“Come a Little Bit Closer”) and Paul Revere & the Raiders (“(I’m Not Your) Steppin’ Stone”).
Seizing the Opportunity with the Monkees
Despite his growing connections,work was inconsistent,prompting Shelton to leave Los Angeles. While performing with Seals and Crofts in Las vegas, he was approached by Boyce and Hart, who informed him they were pitching songs for a new television series about a fictional rock band called the Monkees.
“Boyce and Hart came to me and said, ‘We’d love for you to come back and work with us,’” Shelton recalled. “So, I began traveling back and forth to record demos for the Monkees.”
In the following weeks, Shelton recorded with Boyce and Hart as they competed for the Monkees gig. “It was a race against time to see if Boyce and Hart would be chosen to create the music for the Monkees,” he explained. “Others were also vying for the opportunity.”
The Breakthrough Riff
While working on one of Boyce & Hart’s new songs, “Last Train to Clarksville,” Shelton struck gold with a guitar riff that would alter the course of his career. “It all began with a suggestion to create something reminiscent of the Beatles, like a riff from ‘Ticket to Ride’ that would kick off the song,” he recalled.
“They brought in the TV executives to hear what we had developed so far. At that point, we had the Monkees theme song, but all we had for ‘Last Train to Clarksville’ was my guitar riff. Just that lick was enough to secure their approval for the Monkees project. ‘Clarksville’ was the catalyst that propelled everything forward.”
“It’s fascinating how a simple guitar lick can have such an impact. It resonates with listeners instantly,and evidently,it captivated the executives as well.”
Once the song was finalized,they entered RCA Victor’s studio for recording. “I used my 1964 Fender Telecaster and a ’64 Fender Super Reverb amp with four 10-inch speakers, which I had been using in clubs,” Shelton revealed. “As we recorded ‘Clarksville,’ they kept urging me to ‘Turn it up! Turn it up!’ They wanted a loud, radiant sound.”
Released in August 1966 as the Monkees’ debut single, “Last Train to Clarksville” soared to number one on the Billboard chart. This marked the beginning of an impressive streak, with the Monkees releasing four albums within the next 16 months. Their success in 1967 even surpassed that of the Beatles and Rolling Stones combined.
Following the single’s triumph, Shelton became the go-to guitarist for boyce & Hart. ”I essentially played on all their projects,” he noted. “While other musicians contributed to the Monkees’ sound, including notable guitarists like James Burton and Glen Campbell, my work was primarily with Boyce and Hart.”
Musical Versatility and Unique Contributions
Shelton’s diverse musical influences considerably shaped the sound he created.His versatility was particularly evident in “Valleri,” another Boyce and Hart composition for the Monkees, where he infused flamenco guitar elements into the pop structure.
“In my early days, I listened to flamenco guitarist Sabicas, and many of those flamenco pieces featured specific chord progressions,” he explained.”When we started playing ‘Valleri’ with its E minor to D major to C major chord progression, it struck me as very flamenco-like.”
“As a playful gesture, I began incorporating rapid notes over those chords, drawing from flamenco. It was a cheeky move, but they loved it, so I went with it. Interestingly, I’ve received more feedback over the years for that guitar part than for any other solos I’ve played, simply as it was such an unusual addition to a pop record.”
It’s well-known that while the monkees were musically talented,they were initially not permitted to play instruments on their early recordings or contribute to the material being recorded by Shelton and the session musicians.
“they were never present to offer their input. I hadn’t even met them until after we completed all the recordings,” he explained. “We would come in during the day to lay down tracks while they filmed the TV show, and they would only come in later to record their vocals.”
“I know it was frustrating for them, and there’s been much written about it. However, I believe they eventually accepted that they might not have been able to create that music at that stage in their careers.”
Eventually, the Monkees convinced RCA to allow them to play their instruments on their mid-1967 album, Headquarters.Shortly thereafter, they embarked on a tour where Jimi Hendrix opened for them.
“When that first record hit the charts,” Shelton recounted, “we had a brief meeting with the Monkees to show them, ‘Here’s what I played and how I played it, so try to replicate that as closely as possible.’ We had that one day together, and that was the last time I saw them.”
Shelton’s collaboration with the Monkees opened doors to further opportunities, including work with the Wrecking Crew. By this time, his friend Campbell had become a successful solo artist with hits like “By the Time I Get to Phoenix” and ”Wichita Lineman.” Campbell left the Wrecking Crew at the end of 1967, paving the way for Shelton to step into his role. His ambition to break into the elite studio session scene was finally realized.
“The Monkees were the key that unlocked that door for me,” he reflected. “Joining the wrecking Crew, I was one of the younger members, as many of the older musicians were retiring or facing health issues, allowing new talent to emerge.”
“It was a long journey for me, starting with my first group in L.A. in ’63-a folk duo called Joe and Eddie. I recorded a few albums with them, but there was a significant gap between that gig, the Monkees a couple of years later, and finally becoming part of the Wrecking Crew.”
Today, Shelton remains active, recording in both Australia and the U.S., while sharing stories from his illustrious career through his website and youtube channel.
