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18 March, 2018 @ 2:00 pm - 5:00 pm
For more than half a century, Carl Lynch reigned as one of main session guitarists associated with the recording scene in New York City. R&B was in the process of being invented when Lynch did his first recordings in the early ’40s. By the time he might have been thinking about retiring, Lynch was playing great gobs of fusion-funk, having managed to digest fellow picker George Benson’s “Giblet Gravy.” Typical of any great and busy session player, Lynch can be used as a connection between ridiculously disparate elements: Pearl Bailey and the Fugs, for example. Wonderful as they are, sides such as the latter group’s Golden Filth hardly represent this guitarist’s most widely heard works. While recording credits do not always come with dotted “i”s and crossed “t”s, Lynch’s participation not only in hit records but in the entire process they came out of is a given. To start by backing the guitarist up against a literal wall, Lynch has been credited as one of the main “tracking” players on many singles created by producer Phil Spector, whose so-called “Wall of Sound” process often began by bricking up the sound of pairs of basses and guitarists with percussion. Lynch’s partners in these episodes included guitarist Billy Butler and bassists Russ Savakus and Dick Romoff.