Neil Levang

Neil LeVang (January 3, 1932 – January 26, 2015) was an American guitarist, banjo player, and studio musician renowned for his versatile contributions to television, film, and recordings, most notably his 23-year stint as a featured performer on The Lawrence Welk Show from 1959 to 1982.^[1]^[2] Born in Adams, North Dakota, LeVang grew up in a rural setting where he was initially trained on violin before discovering his passion for guitar through radio broadcasts of jazz artists like Les Paul and George Barnes.^[1] LeVang's professional career began in the 1950s, playing in bands in Seattle and later joining Sheriff Tex's show, before relocating to Hollywood where he became a prolific session musician.^[3] Over three decades in Los Angeles studios, from the late 1950s to the late 1980s, he collaborated with renowned arrangers such as Neal Hefti, Nelson Riddle, and Henry Mancini, as well as artists including Frank Sinatra, Herb Alpert and the Tijuana Brass, the Jackson Five, Elvis Presley, and Frank Zappa.^[2] His guitar work graced numerous television themes like Green Acres, Batman, The Brady Bunch, and Family Affair, alongside film soundtracks for The Godfather, All the President's Men, and Good Morning, Vietnam.^[2] LeVang favored instruments such as the Fender Telecaster, Fender Bass VI, and Gibson ES-175D, often amplified through Fender Pro and Twin Reverb setups, blending jazz, Western swing, and pop styles.^[1] On The Lawrence Welk Show, LeVang gained widespread visibility among baby boomer audiences for his energetic guitar solos, including a memorable 1961 performance of "Ghost Riders in the Sky" that showcased his surf-inspired style and inspired figures like pickup designer Seymour Duncan.^[1] Balancing his Welk commitments with freelance studio dates, he maintained a demanding schedule until retiring from the show in 1982.^[2] LeVang passed away in Canyon Country, California, survived by his wife Nancy, son Mark, four daughters, 11 grandchildren, and seven great-grandchildren, leaving a legacy as a foundational figure in mid-20th-century American popular music.^[3]^[2]

Early life

Childhood and family

Neil Kenneth LeVang was born on January 3, 1932, in Adams, North Dakota, to parents Anton Peter LeVang (1899–1988) and Ethel Alice Eckdahl (1905–1975), who were of Norwegian and Swedish descent, respectively.^[4]^[5]^[6]^[7] The family consisted of Anton, Ethel, their older son Morris, and Neil, and they resided on a farm in rural Adams during LeVang's infancy.^[8]^[1] In 1940, when LeVang was eight years old, the family moved to Bemidji, Minnesota, settling on another farm in a small rural community with limited exposure to external cultural influences.^[1] Anton, who had a background in farming, managed the family's agricultural work, while Ethel fulfilled the role of homemaker, raising the two boys in this Midwestern setting.^[1]^[9] In 1945, at the age of 13, the LeVang family relocated to Riverside, California, shifting from the isolation of farm life in the Midwest to the expanding opportunities of a more urban environment.^[2]

Introduction to music

Neil LeVang's introduction to music was shaped by his rural upbringing in Adams, North Dakota, where radio broadcasts served as his primary window to the world of sound, sparking an early fascination despite the isolation of farm life.^[1] Born in 1932 to a musical family—his father played the fiddle and his brother the guitar—LeVang showed interest in music as young as age 3 or 4, but access to instruments was limited initially.^[10] LeVang was largely self-taught, beginning with the violin using instructional books and relying on his natural perfect pitch to learn notation, a skill he later applied to other instruments.^[1] By age 10, after his family moved to Bemidji, Minnesota, he transitioned to the guitar, teaching himself through persistent practice and ear training, influenced by radio programs featuring jazz artists such as Les Paul and George Barnes. At age 10, he began performing publicly, playing guitar for a local band whose first major gig was at the Shore Crest nightclub in Warren, Minnesota.^[1]^[10] He also picked up the banjo independently, drawing from family examples, though formal music education remained absent during these formative years; instead, he honed his abilities through informal listening and replication.^[10] In 1945, at age 13, LeVang's family relocated to Riverside, California, where he continued developing his skills without conservatory training, favoring ear-based learning and casual jam sessions over structured study. Following the move, he played amplified violin with Edgar Hayes and the Stardusters and formed his own combo to open shows for Smiley Burnette. His first performances in the Riverside area came at age 15, when he borrowed his father's fiddle to join local country swing bands, performing shortly after entering high school and establishing a reputation among regional musicians.^[2]^[10] These adolescent experiences, centered on acquiring and experimenting with basic instruments like the guitar and fiddle, laid the foundation for his versatile style, emphasizing intuitive playing over theoretical instruction.^[1]

Professional career

Early career in music

LeVang's professional music career began in earnest during the late 1940s, but his first significant paid engagements in the mid-1950s centered on West Coast country and swing ensembles. After moving to California following his time with Foy Willing and the Riders of the Purple Sage from 1948 to 1950, he returned to Hollywood around 1955 and focused on guitar, replacing Barney Kessel as the guitarist on Jimmy Wakely's weekly CBS radio show, where he performed using a Gibson ES-175D for two years.^[1]^[2] He also took on gigs in Los Angeles clubs, playing with local jazz and country groups, including sessions at venues like the Riverside bistro and Jack’s Basket Room.^[1] Prior to these mid-1950s commitments, LeVang gained early Hollywood exposure at age 17 through a brief acting role as a child extra portraying a cowhand in the 1949 Western film Rio Grande, directed by Norman Sheldon and starring Sunset Carson.^[11] This appearance marked his initial brush with the entertainment industry beyond music, though he soon pivoted fully to instrumental performance. Building on his self-taught foundations from adolescence, he honed a versatile style encompassing guitar, banjo, and mandolin, which proved essential for the diverse ensembles of the era.^[1] By the late 1950s, LeVang transitioned into session musician work in Los Angeles, contributing to recordings with emerging country artists such as the Sons of the Pioneers and Freddie Hart, as well as demos in pop and Western genres.^[1] These entry-level studio opportunities, often involving multi-instrumental duties, solidified his reputation as a reliable player in the competitive West Coast music scene before his television breakthrough.^[2]

The Lawrence Welk Show

Neil LeVang first appeared on The Lawrence Welk Show as a guest guitarist and banjo player in 1959, filling in temporarily for Buddy Merrill, who had been drafted into the U.S. Army.^[1] When Merrill returned from military service in 1961, Welk opted to retain LeVang as a permanent lead guitarist alongside Merrill, marking the start of his 23-year tenure with the orchestra.^[10] Throughout this period, LeVang contributed to the show's signature "champagne music" style, performing on guitar, violin, and banjo during weekly broadcasts that aired first on ABC and later in syndication.^[2] One of LeVang's most iconic performances came in 1961 with an instrumental rendition of "(Ghost) Riders in the Sky," showcasing his innovative electric guitar techniques, including reverb-heavy riffs that evoked the song's ghostly cowboy theme.^[1] This arrangement, which LeVang created himself, was released as a single by the Lawrence Welk Orchestra and peaked at No. 87 on the Billboard Hot 100 chart in September 1961, spending three weeks there.^[12] Beyond such solos, LeVang handled a range of live television performances across country, polka, and pop genres, often leading the rhythm section and delivering featured spots that highlighted his versatility.^[1] He also arranged charts for Welk Orchestra albums, ensuring the band's polished sound translated effectively from stage to recording.^[1] LeVang departed the show in 1982 following its final first-run syndicated episode, as Welk, then 79, retired the program after a farewell tour.^[1] This transition allowed LeVang to expand his studio session work in Hollywood, where he had already built a reputation prior to his Welk years, leveraging the stability of the TV gig—which provided insurance and family support—into broader professional pursuits.^[1]

Studio session work

Neil LeVang was a prominent member of the Wrecking Crew, the renowned collective of Los Angeles session musicians active in the 1960s and 1970s, where he contributed guitar to numerous hit recordings across genres.^[1] His work with the group included numerous hit recordings, showcasing his proficiency on electric guitar, pedal steel, and other instruments in high-profile studio environments.^[13] LeVang's collaborations included guitar parts on Elvis Presley's 1968 recording of "A Little Less Conversation" for the film Live a Little, Love a Little, where he provided rhythmic and melodic support alongside other Wrecking Crew members.^[14] He also played guitar on Frank Zappa's 1966 debut album Freak Out! with the Mothers of Invention, contributing to its experimental rock sound through innovative electric guitar techniques.^[13] In the country realm, LeVang worked on Glen Campbell's 1960s hits such as "Wichita Lineman," using his Fender Bass VI for its signature twangy fills that enhanced the song's emotional depth.^[1] His versatility extended to pop and rock, as seen in sessions for Harry Nilsson's early albums, including guitar on Aerial Pandemonium Ballet (1969), where he added textural layers to Nilsson's baroque-pop arrangements.^[1] Overall, LeVang amassed hundreds of session credits, spanning artists like Frank Sinatra, Herb Alpert's Tijuana Brass, and the Jackson 5, often drawing from his Lawrence Welk Show experience to secure invitations for diverse studio projects.^[2] His technical innovations, such as adapting the Fender Bass VI for unique bass-guitar hybrid tones in recordings like the "Batman" theme, underscored his adaptability in the fast-paced studio scene.^[13]

Film and television credits

Neil LeVang contributed guitar to over 40 film soundtracks throughout his career, often participating in orchestral recording sessions for major Hollywood productions.^[15] His work included acoustic guitar on the soundtrack for True Grit (1969), where he supported composer Elmer Bernstein's score alongside vocalist Glen Campbell. He also played guitar on All the President's Men (1976), Smokey and the Bandit (1977), Good Morning, Vietnam (1987), and Dick Tracy (1990), contributing to the films' underscore and thematic elements under directors like Warren Beatty and composers such as Jerry Goldsmith.^[1] Additional credits encompassed The Apple Dumpling Gang (1975), Beyond the Valley of the Dolls (1970), and At Long Last Love (1975), highlighting his versatility in ensemble settings for Disney family films and satirical dramas.^[15] LeVang's extensive studio session experience facilitated his seamless integration into these film projects, where he often performed uncredited but essential guitar parts in large-scale orchestral sessions.^[2] Beyond films, LeVang provided music for numerous non-Welk television productions, appearing on dozens of episodes and specials as a session guitarist.^[13] He contributed to The Glen Campbell Goodtime Hour (1969–1972), playing guitar on various episodes featuring country and pop performers.^[16] Similarly, he backed Dean Martin on television specials, delivering guitar support for the singer's variety show segments and musical numbers.^[1] Other notable TV work included themes and episodes of The Beverly Hillbillies (1962–1971), where he played on the cast album and sessions; Green Acres (1965–1971) and Petticoat Junction (1963–1970), contributing first guitar to their themes; and The Brady Bunch (1969–1974) with arranger Frank DeVol.^[2] LeVang also featured on Batman (1966–1968), using Fender Bass VI for Neal Hefti's theme; The Monkees (1966–1968); Family Affair (1966–1971), with Spanish guitar solos; Highway to Heaven (1984–1989); and The Ed Sullivan Show (1948–1971).^[1]

Personal life

Marriages and family

LeVang's first marriage was to Marian Irene Elder on October 10, 1954, in Seattle, Washington; the couple had five children before divorcing.^[9]^[17] He remarried Nancy Reynoso, and the marriage lasted until his death in 2015.^[17]^[2] LeVang was the father of son Mark LeVang, a composer and studio keyboard player in Los Angeles, and four daughters: Coral, Sonja, Erika, and Tanya.^[2]^[1] By the time of his passing in 2015, he had 11 grandchildren and seven great-grandchildren.^[2] His family provided crucial support during his early career pursuits, including the family's relocation from North Dakota to Riverside, California, in 1945—near Los Angeles—to enable better music opportunities amid a relative's wartime employment.^[10] LeVang's passion for music extended to his children, notably inspiring son Mark to pursue a similar path in the industry.^[2]

Death

Neil LeVang died on January 26, 2015, at the age of 83 in Canyon Country, California, passing peacefully in his sleep at home.^[2] He was buried at Eternal Valley Memorial Park in Newhall, California.^[3]^[15] Tributes from the music community soon emerged, including an obituary from the American Federation of Musicians Local 47 that celebrated his over 60-year career as a versatile guitarist, banjoist, and violinist.^[2]

Legacy

Awards and nominations

Neil LeVang received a nomination for Best Specialty Instrument (mandolin) at the 1982 Country Music Association Awards for his performance on a Lawrence Welk recording.^[13] He was honored with life membership in the American Federation of Musicians (AFM) Local 47, which recognized his extensive contributions as a studio musician, including hundreds of session credits across television, film, and recordings.^[2] LeVang was a member of the loose collective of Los Angeles session musicians known as the Wrecking Crew, profiled in the 2015 documentary The Wrecking Crew and books chronicling the era's studio scene.^[18] Following his death in 2015, obituaries and tributes emphasized his excellence in session work, though he did not receive major solo awards during his lifetime.^[13]

Musical influence

LeVang's extensive career as a Hollywood session guitarist helped popularize a versatile approach to guitar playing that seamlessly bridged country, jazz, rock, and pop elements, contributing to the signature sound of mid-20th-century studio recordings and television themes.^[2]^[1] His proficiency in these genres stemmed from early influences like Les Paul and Western swing, enabling him to perform on hits such as Glen Campbell's "Wichita Lineman" and the Jackson 5's "I'll Be There," as well as soundtracks for films like The Godfather and All the President's Men.^[2]^[1] This adaptability made him a key figure in the loose collective of Los Angeles studio musicians who shaped the polished, genre-fusing aesthetic of the era. His 1961 performance of "(Ghost) Riders in the Sky" on The Lawrence Welk Show exemplified his pioneering guitar techniques, featuring rapid flatpicking and reverb-laden Fender Stratocaster tones that highlighted his innovative blend of country twang and instrumental flair.^[1] Such solos, often performed on vintage Fender instruments, inspired subsequent generations of guitarists; notably, pickup designer Seymour Duncan credited LeVang's Welk Show appearances with igniting his passion for the electric guitar and influencing his early experimentation with Stratocasters.^[1] Archival footage of LeVang's Welk performances, including his guitar solos, has been utilized in music education contexts to illustrate mid-century studio and television guitar techniques.^[1] Following his death in 2015, obituaries in industry publications underscored his enduring impact on session work and broadcast music, portraying him as a "tasty" player whose self-taught versatility left a lasting mark on Hollywood's recording scene.^[13]^[2] In the 2020s, online compilations of his Fender-driven solos from the Welk era have further amplified his posthumous legacy, drawing attention to his technical precision and genre-blending style among contemporary musicians and enthusiasts.^[1]