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Bobby Gregg
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Bobby Gregg
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Robert J. Gregg (born Robert Grego; April 30, 1936 – May 3, 2014)[1] was an American musician who performed as a drummer and record producer. As a drum soloist and band leader he recorded one album and several singles, including one Top 40 single in the United States. But he is better known for his work as a drummer on several seminal 1960s songs, including Bob Dylan's "Like a Rolling Stone" and Simon and Garfunkel's "The Sound of Silence". He was also temporarily a member of the Hawks, which later became known as the Band.

Early career

[edit]

Gregg first attracted attention by 1955 as the only white member of the otherwise all-black group Steve Gibson and the Red Caps.[2] By 1962, he fronted Bobby Gregg and His Friends for an instrumental single, "The Jam - Part 1", which reached #14 on the Billboard R&B chart and #29 on the Billboard Hot 100 chart.[2][3] The B-side of the single was "The Jam – Part 2".[4] That same year, Gregg put out another instrumental single titled "Potato Peeler", which only reached #89 on the Billboard's Hot 100, but became well known for containing the first ever known pinch harmonic to be in a song. Guitarist Roy Buchanan crafted the technique. The song bears a strong resemblance to another instrumental record, "The Hunch" performed by The Bobby Peterson Quintet, which was released 3 years earlier in 1959. In 1963, he put out an album, released on Epic Records, called Let's Stomp and Wild Weekend.[4][5] In 1964 and 1965, he released the singles "Any Number Can Win", "MacDougal Street", "It's Good to Me" and "Charly Ba-Ba".[2] He also acted as a record producer at this time, producing songs by Sun Ra, Erma Franklin, Richard "Popcorn" Wylie and Frank Hunter.[2][4] He sometimes played the drums on the records he produced.[2][4] Gregg was also a house studio drummer for Cameo-Parkway Records (a successful independent record label based in Philadelphia) in the late 1950s and early 1960s. While he was there, he played for artists such as Bobby Rydell, Chubby Checker, The Dovells, Dee Dee Sharp, and others on many of the label's hits. He continued to do this until the hits dried up for the label during the British Invasion, and that is when he moved from Philadelphia to New York officially in 1964.

Work with Bob Dylan

[edit]

In 1964, as an experiment, Bob Dylan's producer Tom Wilson wanted to see what Dylan's 1962 recording of "House of the Rising Sun" would sound like if the original solo acoustic guitar backing was replaced by a band playing electric instruments.[6] Gregg was brought in to play drums on the replacement backing track.[2]

In January 1965, Gregg got to work with Dylan as the drummer on the songs on the electric side of the album Bringing It All Back Home.[2] Gregg recorded the album takes of "Subterranean Homesick Blues", "She Belongs to Me", "Love Minus Zero/No Limit", "Outlaw Blues" and "Bob Dylan's 115th Dream" on January 14, 1965, and recorded the album takes of "Maggie's Farm" and "On the Road Again" on January 15, 1965.[2][7]

On June 15, 1965, when Dylan was ready to record "Like a Rolling Stone", several of the musician from the Bringing It All Back Home sessions including Gregg were called on to back him.[8] Thus, it is Gregg's pistol-like snare drum shot that opens the song, as well as the album Highway 61 Revisited.[2][9] "Like a Rolling Stone" eventually reached #2 on the Billboard Hot 100 chart, and in 2004 was named by Rolling Stone as the #1 song of all time.[10][11]

The remainder of the Highway 61 Revisited album was recorded between July 29 and August 4, 1965.[12] Gregg was the drummer for the July 29 and 30 sessions that produced "Tombstone Blues", "It Takes a Lot to Laugh, It Takes a Train to Cry" and "From a Buick 6".[13] He was also the drummer for the July 29 recording of "Positively 4th Street", which was left off the Highway 61 Revisited album but became a Top 10 single in both the United States and the UK.[13] At the August 2 session at which "Queen Jane Approximately", "Highway 61 Revisited", "Just Like Tom Thumb's Blues" and "Ballad of a Thin Man" were recorded, Sam Lay played the drums early in the session due to Gregg's other commitments, with Gregg joining the session later.[14][15] Although Lay is believed to be the drummer on the album take of "Highway 61 Revisited" and played on several takes of "Just Like Tom Thumb's Blues", the album take of the latter song is generally believed to be one that Gregg played on.[14][16] Gregg was also the likely drummer for "Queen Jane Approximately" and "Ballad of a Thin Man", meaning that he played on all the songs on the album except "Highway 61 Revisited" and "Desolation Row" (on which there is no drum part); he is the only drummer credited on the album.[16][17]

In November 1965, Gregg joined the Hawks, who were then backing Dylan on tour, when Hawks' drummer Levon Helm left.[4][18] He remained with the Hawks for about a month before being replaced by Sandy Konikoff.[4][18] He recorded with Dylan in the November 30 sessions at which an early version of "Visions of Johanna" and possibly the single release of "Can You Please Crawl Out Your Window?" were recorded.[2][19] He also recorded with Dylan at the January 1966 Blonde on Blonde sessions at which "One of Us Must Know (Sooner or Later)" was recorded, as well as several other songs which either did not make the album or were rerecorded later for the album, including "I'll Keep It With Mine", which was eventually released on The Bootleg Series Volumes 1–3 (Rare & Unreleased) 1961–1991.[2][20]

Work with other artists

[edit]

In 1965 Tom Wilson, who had produced Dylan's Bringing It All Back Home and "Like a Rolling Stone" decided to experiment with electrifying the Simon & Garfunkel song "The Sound of Silence".[21][22] An acoustic version of "The Sound of Silence" had been released on the Simon & Garfunkel album Wednesday Morning, 3 A.M..[21] As he did with Dylan's version of "The House of the Rising Sun", Wilson employed a band to record an electric backing track for the song, without Paul Simon's or Art Garfunkel's knowledge.[21][22] Bobby Gregg was once again the drummer Wilson employed in the band creating this backing track.[22] The version of "The Sound of Silence" incorporating the electric band backing track became a #1 hit and was released on the Simon & Garfunkel album Sounds of Silence.[21][23] It was also listed by Rolling Stone as the #156 song of all time.[24]

In 1966, Gregg was one of the drummers backing Peter, Paul and Mary for their album The Peter, Paul and Mary Album.[2][22] In 1971, he backed John Cale and Terry Riley on their album Church of Anthrax.[4][22]

Death

[edit]

Gregg died on May 3, 2014, at the age of 78.[1]

References

[edit]
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Bobby Gregg

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Bobby Gregg (April 30, 1936 – May 3, 2014) was an American drummer, singer, and record producer renowned for his influential session work on landmark rock and folk recordings. Born in , , Gregg began his career in the late 1950s as a and , achieving early commercial success with the instrumental single "The Jam (Part 1)" by Bobby Gregg and His Friends, which peaked at No. 29 on the and No. 14 on the R&B chart in 1962. Gregg's most celebrated contributions came during his tenure as a New York session in the mid-1960s, where he collaborated with top producers and artists transitioning folk to rock. He provided the signature opening crack and driving beat on Bob Dylan's "," recorded in June 1965 at Columbia's Studio A, a performance that defined the track's revolutionary energy and helped propel Dylan's shift to electric rock on the album . Gregg also drummed on several other Dylan tracks from the same era, including "" and "It Takes a Lot to Laugh, It Takes a Train to Cry." In a parallel breakthrough, Gregg played drums on the electrified overdub of Simon & Garfunkel's "The Sound of Silence" in June 1965, arranged by producer Tom Wilson—who had recently worked with Dylan—without the duo's initial knowledge. This rock-infused version, featuring Gregg alongside guitarists Al Gorgoni and , transformed the acoustic original from their debut album into a No. 1 hit in early 1966, launching to international stardom and influencing the folk-rock genre. Beyond these highlights, Gregg's versatile career included drumming for artists like , , and various Philly soul acts during his time producing for Jamie/Guyden Records in the early 1960s. He briefly joined the Hawks (later known as ) for live performances and recordings with Dylan in 1965 before pursuing independent production and session work until later in life, settling in , .

Early Life and Beginnings

Birth and Childhood

Robert Grego, known professionally as Robert J. Gregg or Bobby Gregg, was born on April 30, 1936, in , , to parents Anthony and Dorothy Gregg. Little is documented about his immediate family beyond his parents. Philadelphia's post-war cultural landscape profoundly shaped young Gregg's environment, as the city emerged as a key hub for emerging musical styles. The local scene buzzed with , , and the nascent that blended these traditions, fueled by African American migration from the South and performances in neighborhood clubs and venues. This vibrant atmosphere, including influences from and early R&B acts, provided an auditory backdrop to his formative years. Gregg developed an early fascination with percussion instruments, inspired by the music prevalent in at the time. He began learning to play at an early age, coinciding with the late 1940s when he first appeared on local television as a young performer. This initial exposure to drumming amid the city's rhythm-driven sounds laid the groundwork for his lifelong passion for the instrument.

Initial Musical Experiences

Bobby Gregg made his professional debut at the age of 13 in 1949, appearing as a on the music-variety television program Paul Whiteman's TV Teen Club, which aired in and featured young performers showcasing their talents. This early exposure marked his entry into formal musical engagements, where he performed regularly over the following years, contributing to more than 127 episodes as a and dancer. Gregg honed his drumming skills amid Philadelphia's vibrant music scene. By the mid-1950s, his involvement extended to more structured groups, including a stint as the drummer for Steve Gibson and the Red Caps, an otherwise all-Black ensemble, where he toured regionally and built his foundational expertise. These experiences collectively led him to pursue music as a profession by the mid-1950s, transitioning from youthful endeavors to sustained band work.

Rise to Prominence

Early Recordings and Hits

Bobby Gregg entered the recording industry as a and in the early , releasing his debut singles under his own name on small independent labels. These initial efforts included originals and covers that showcased his energetic drumming and arrangements, such as renditions of popular tracks aimed at the burgeoning and R&B markets. His breakthrough came in with the single "The Jam (Part 1)," released by Bobby Gregg and His Friends on the Cotton Records label (catalog 1003). Backed by his ensemble, which highlighted Gregg's dynamic drumming style, the track climbed to #29 on the chart and #14 on the R&B chart, marking his only Top 40 pop hit and establishing his reputation for upbeat, danceable instrumentals. In 1963, Gregg issued his sole solo album, Let's Stomp and Wild Weekend (Epic BN 26051), credited to Bobby Gregg & His Friends. The LP featured a collection of dance-oriented instrumentals and covers, including lively tracks like "Loop De Loop" and "South Street," alongside standards such as "Baby Workout" and "Yakety Sax," reflecting the era's twist and stomp craze. Between 1959 and 1964, Gregg released nearly a dozen singles, blending originals with covers to build his catalog. Notable examples include "The Hullabaloo" (1964, peaking at #96 on the ), "Potato Peeler" (1963, #62), "Scarlet O'Hara" (1963, #94), and covers like "Baby Workout" and "Mr. Bass Man," which underscored his versatility as a performer and arranger during the early rock boom.

Work at Cameo-Parkway Records

Bobby Gregg joined Cameo-Parkway Records, a prominent Philadelphia-based independent label, around 1960, serving as one of its primary house drummers until approximately 1964. During this time, he contributed tight, energetic rhythms that helped define the label's upbeat sound amid the early twist and , playing on sessions that produced numerous hit singles. Gregg's drumming appears on key recordings by label stars, including Chubby Checker's "," which peaked at number 8 on the in 1961, and various tracks from Bobby Rydell's catalog, such as those featured in his early Cameo releases from 1959 to 1960. He also supported on various hits, providing the driving percussion that fueled the label's dance-oriented success. Overall, as part of the core session team, Gregg helped back over 20 chart entries, including multiple top 10 smashes that captured the era's youthful energy. In addition to his session work, Gregg earned early production credits at the label. His behind-the-scenes role at Cameo-Parkway marked an important transition toward production, while the collaborations expanded his professional network, paving the way for subsequent opportunities in New York.

Major Collaborations

With

Bobby Gregg played a pivotal role in Bob Dylan's transition to electric rock, serving as the drummer on several key tracks from the 1965 album . Recorded primarily in January 1965 at Columbia's Studio A in , Gregg contributed to the electric side of the album, providing a solid, driving rhythm that helped define Dylan's new sound. His drumming is featured on standout tracks such as "," "," "Love Minus Zero/No Limit," and "," where his precise, energetic style supported Dylan's raw vocals and the session musicians' contributions. Gregg's involvement extended to the sessions for Dylan's next album, , also released in 1965. He participated in recordings at Columbia Studios in New York during June 1965, drumming on iconic songs including ," "," "It Takes a Lot to Laugh, It Takes a Train to Cry," and "From a 6." His work on ," in particular, featured a distinctive drum that propelled the track's revolutionary six-minute structure, marking a high point in Dylan's electric evolution. These sessions highlighted Gregg's ability to adapt to Dylan's intense creative process, blending rock energy with folk roots. Gregg had a brief but notable role in the early New York sessions for Blonde on Blonde in late 1965 and early 1966. He drummed on outtakes from these preliminary recordings and the January 21, 1966, session that produced "One of Us Must Know (Sooner or Later)," the album's only track completed in New York before Dylan shifted to Nashville. This limited engagement underscored Gregg's continued reliability during Dylan's prolific period, though the bulk of the album was recorded without him. In November 1965, following drummer Levon Helm's departure from the Hawks (later known as ), Gregg joined Dylan's touring band for a short stint during the U.S. leg of the 1965 tour. He performed at several shows alongside Dylan and the Hawks, contributing to the raw, electric performances that fueled controversy and acclaim. During this time, Gregg also recorded with the group at Sunset Sound Studios in Hollywood in late November to early December 1965, capturing informal sessions that captured the band's emerging chemistry. Tensions within the group led to Gregg leaving after approximately one month, paving the way for other drummers in Dylan's backing lineup.

With Other Artists

Following his work at Cameo-Parkway Records in , Bobby Gregg relocated to , where he became a sought-after session in the mid-1960s. Gregg provided the drumming for the overdubbed electric version of Simon & Garfunkel's "," recorded in June 1965 at ' 30th Street Studio under producer Tom Wilson; his steady, understated rhythm helped bridge the duo's folk roots with emerging folk-rock elements, contributing to the track's transformation into a No. 1 hit. This overdub, featuring guitarists Al Gorgoni and , was arranged without the duo's initial knowledge. In the folk scene, Gregg offered rhythmic support on Peter, Paul and Mary's album Album, drumming on tracks that blended traditional folk with light percussion to underscore the trio's harmonious vocals. Venturing into experimental jazz, Gregg drummed and co-produced his rare 1964 singles for featuring and the Arkestra, including "Theme from 'Any Number Can Win'" and "Mac Dougal Street," where his versatile percussion complemented the group's sound featuring pianist , bassist Ronnie Boykins, and saxophonists John Gilmore and Pat Patrick. Beyond these, Gregg participated in dozens of New York studio sessions from 1964 to 1967 across , and folk genres, backing various artists and solidifying his reputation as a reliable percussionist in the city's vibrant recording scene.

Later Career and Legacy

Move to Las Vegas and Later Work

In 1985, Bobby Gregg relocated to , , where he continued his career as a session and live . There, he performed in casinos and lounges with various groups, leveraging the versatility he had developed in earlier decades across , folk, and styles. Gregg formed his own ensemble, The Chosen Few, which enabled him to maintain steady engagements in the local music scene through the late 1980s and 1990s. His work during this period focused on live performances in showrooms and entertainment venues, adapting to the demands of Nevada's while drawing on his extensive experience from New York studio sessions. Gregg retired from active music performance in 1998 after over four decades in the industry, concluding a phase marked by consistent but lower-profile contributions to live entertainment in .

Death and Influence

Bobby Gregg died on May 3, 2014, in , , at the age of 78. In the years following his death, Gregg garnered posthumous appreciation for his instrumental role in bridging rock, folk, and elements during the transformative music scene. His distinctive drumming on Bob Dylan's landmark track "" exemplified a raw, propulsive energy that influenced subsequent generations of percussionists seeking to blend acoustic traditions with electric innovation. Similarly, his contributions to the electrified version of Simon & Garfunkel's "" helped propel the duo's resurgence, underscoring his subtle yet pivotal touch in elevating folk arrangements to broader commercial and artistic heights. Gregg's underrecognized influence on the shift toward electric sounds is frequently noted in biographies and album reissues, where his steady backbeat on records like is credited with facilitating the genre's evolution from folk roots to rock dynamism. Despite receiving no major awards during his career, he is cited in music histories for embodying the era's ethos, contributing to dozens of recordings that captured the vibrant interplay of styles. His enduring legacy in the and New York scenes is evident in compilations that highlight his versatility, from pop hits to jazz-inflected sessions, cementing his status as a foundational figure in American popular music.

References

  1. https://www.discogs.com/artist/264362-Bobby-Gregg
  2. https://www.billboard.com/charts/hot-100/1962-05-05/
  3. https://www.rollingstone.com/music/music-news/bob-dylan-recorded-like-a-rolling-stone-50-years-ago-today-65422/
  4. https://www.theguardian.com/music/2005/may/13/bobdylan
  5. https://faroutmagazine.co.uk/how-like-a-rolling-stone-launched-simon-and-garfunkel-to-stardom/
  6. https://www.theguardian.com/music/2015/jan/13/bob-dylan-subterranean-homesick-blues-50th-anniversary
  7. https://www.dignitymemorial.com/obituaries/las-vegas-nv/robert-gregg-5955499
  8. https://philadelphiaencyclopedia.org/essays/rhythm-and-blues/
  9. https://philadelphiaencyclopedia.org/essays/blues-music/
  10. https://www.findagrave.com/memorial/129403819/bobby-gregg
  11. https://www.imdb.com/title/tt0041062/
  12. https://www.thetimes.com/sunday-times-rich-list/profile/article/bobby-gregg-lz5p9xqjk23
  13. https://secondhandsongs.com/artist/162295/all
  14. https://www.musicvf.com/song.php?id=6133
  15. https://www.discogs.com/master/839908-Bobby-Gregg-And-His-Friends-Lets-Stomp-And-Wild-Weekend
  16. https://vinylphilly.squarepins.org/about.htm
  17. http://albumlinernotes.com/Cameo_Parkway_1957-1967.html
  18. https://www.discogs.com/release/10902435-Chubby-Checker-Lets-Twist-Again
  19. https://www.discogs.com/release/3486095-Bobby-Rydell-The-Best-Of-Bobby-Rydell-Cameo-Parkway-1959-1964
  20. https://www.discogs.com/release/12610827-Various-Cameo-Parkway-1957-1967
  21. https://books.google.com/books/about/Bob_Dylan.html?id=c9d62SgEJpkC
  22. https://www.rollingstone.com/music/music-news/happy-birthday-highway-61-dylans-weirdest-funniest-album-turns-50-32775/
  23. https://theband.hiof.no/band_members/bobby_gregg.html
  24. https://strathdee.wordpress.com/2013/12/11/bobby-gregg/
  25. https://www.smithsonianmag.com/arts-culture/sound-silence-surprise-hit-180957672/
  26. https://www.discogs.com/release/9860779-Peter-Paul-And-Mary-Album
  27. https://www.discogs.com/release/5124291-Bobby-Gregg-Theme-From-Any-Number-Can-Win-Mac-Dougal-Street
  28. https://www.rollingstone.com/feature/how-bob-dylan-made-rock-history-on-highway-61-revisited-249576/
  29. https://www.rollingstone.com/music/music-news/how-bob-dylans-bringing-it-all-back-home-stunned-the-world-158316/2/
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