Friday, December 30, 2016

Diane Dufresne ‎– Strip Tease

Diane Dufresne ‎– Strip Tease
Barclay 80294 (1979)

Side One:
1. Alys En Cinemascope
2. J'Ai Douze Ans
3. Une Fille Funky
4. Cinq A Sept
5. Strip Tease

Side Two:
1. Week End Sur La Lune
2. Le Parc Belmont
3. Fellini
4. Hymne A La Beauté Du Monde

Jim Keltner - Drums
Diane Dufresne - Vocals
Claude Engel - Acoustic Guitar
Denny Christianson - Arranger Brass
Jean Cousineau - Arranger Strings
Paul Stallworth - Bass
Ian Terry - Producer
Tom Canning - Piano
Luc Plamondon- Producer
Jacques Normand - M.C. Vocals
Seacruise - Backing Vocals
L'Ensemble Des Petites Violons

100 Greatest Drummers Of All Time

Thursday, December 29, 2016

Eros Ramazzotti ‎- Perfetto

Eros Ramazzotti ‎- Perfetto
Universal Music Group 0602547321619 (2015)

Track Listing:
1. Alla Fine Del Mondo
2. Il Tempo Non Sente Ragione
3. Perfetto
4. Sbandando
5. Sogno N.3
6. Rosa Nata Ieri
7. Vivi E Vai
8. Un'Altra Estate
9. L'Amore È Un Modo Di Vivere
10. Il Viaggio
11. Tu Gelosia
12. Sei Un Pensiero Speciale
13. Buon Natale (Se Vuoi)
14. Tra Vent'Anni

Jim Keltner - Drums (10)
Eros Ramazzotti - Vocals, Producer
Claudio Guidetti - Acoustic Guitar, Twelve-String Guitar, Ukulele, Keyboards, Producer, Synth Bass, Synth, Dobro, Bouzouki, 5-String Banjo, Piano, Nylon String Guitar
Monica Hill, Roberta Montanari, Alex Brown, Jim Gilstrap, Kristle Murden, Philip Ingram, Marco Guarnerio - Backing Vocals
Sean Hurley, Neil Stubenhaus - Bass
Vinnie Colaiuta, Aaron Sterling - Drums
Michael Landau - Electric Guitar, Baritone Guitar, Acoustic Guitar
Caitlin Evanson - Fiddle
Tim Pearce - Mandolin, Guitar Banjo, Acoustic Guitar
Rafael Padilla - Percussion
Deron Johnson - Piano, Hammond B3 Organ, Fender Rhodes
Brandon Fields - Saxophone
Peppe Vessicchio - Strings Conductor
Davide Tagliapietra - Keyboards
Albert Vardanyan - Duduk

Tuesday, December 13, 2016

Conor Oberst ‎– Tachycardia

Conor Oberst ‎– Tachycardia
Nonesuch 2xFile (2016)

Track Listing:
1. Tachycardia
2. Afterthought

Jim Keltner - Producer, Drums (1)
Conor Oberst - Producer, Harmonica, Piano
James Felice - Accordion, Organ
Jim James - Backing Vocals
Josh Rawson - Bass
Ian Felice - Electric Guitar
Blake Mills - Guitar
Greg Farley - Violin

Sunday, December 11, 2016

Christine Lakeland - Fireworks

Christine Lakeland - Fireworks
Loft Records CDL-1305 (1989)

Tracks Listing:
1. Details
2. Borrowed Time
3. The Kid
4. Dream Or Cry
5. My Baby Blues
6. Temptation
7. Let Me Give It To You
8. Everything Makes Me Nervous
9. Tar & Feathers
10. Mr. Completely
11. I Think I'm Losing My Mind
12. Bad Habits
13. Roll With It
14. Movin' Blues
15. Everything Is Ok

Jim Keltner - drums
Christine Lakeland - guitar, vocals, synthesizer, producer
J.J. Cale - guitar, producer
Bill Boatman - guitar
John Garretson - guitar
Steve Ripley - guitar
Fred Tackett - guitar
Tim Drummond - bass
Eric Ajaye - bass
Billy Cox - bass
Wolfgang Meltz - bass
David Briggs - piano
James Stewart - piano, organ
Red Young - piano
Bobby Emmons - organ
Kenneth Buttrey - drums
Lee Spath - drums
Francisco Aguabella - congas
Joe Sublett - sax

Tuesday, December 6, 2016

Ry Cooder ‎– Try Me

Ry Cooder ‎– Try Me
Great Dane Records GDR CD 9122 Unofficial Release (1991)

Track Listing:
1. Little Sister
2. Go Home, Girl
3. I Think Is Going To Work Out Fine
4. If Walls Could Talk
5. Eight Men And Four Women
6. Trouble, You Can't Fool Me
7. The Girls From Texas
8. Christiane Automobile
9. Smack Dab In The Middle
10. The Good Book
11. Why Don't You Try Me?
12. The Very Thing That Makes You Rich
13. Crazy 'Bout An Automobile
14. Teardrops Will Fall
15. 634-5789
16. Down In Hollywood

Jim Keltner - Drums
John Hiatt - Guitar
Ry Cooder - Guitar, Vibraphone, Vocals
Chris Ethridge - Bass
George "Baboo" Pierre - Percussion
Jim Dickinson - Piano
Bobby King, Willie Green Jr. - Vocals

Jim On Leon Russell

For Leon Russell

Multi-instrumentalist Leon Russell, the former Claude Russell Bridges, left the physical world on November 13th, dying of a heart attack in Nashville, Tennessee.


I met Leon in 1978. I spent six weeks at his Paradise recording studio in North Hollywood. There were times during sessions where he had a typewriter on top of a keyboard and would write a lyric on the spot. I later learned Leon was a onetime state typing champion in Oklahoma. During breaks we would talk about records he guested on or tunes he penned for the Carpenters, Joe Cocker, Bob Dylan and Gene Clark. Some tracking and overdubbing on Love’s Forever Changes was done at his home studio in 1967.

My friend, journalist Michael Macdonald worships Russel’s arrangements on the Clark and Gosdin Brothers’ collaboration, Echoes. Leon played piano on a project I produced.

I felt it was very appropriate to offer a tribute to “Brother Leon,” who played keyboards on many inspirational and landmark West Coast recordings with guitarist Barney Kessel, father of David Kessel, guiding light of the Cave Hollywood portal.

Over the decades I asked three musicians about Leon Russell’s highly influential piano and songwriting abilities: Jack Nitzsche, Jim Keltner and Ian Hunter.

“I met him [Leon Russell] with Jackie DeShannon; she introduced me,” remembered arranger, composer and record producer, Jack Nitzsche to me during a 1988 interview published in Goldmine magazine.

“Leon at the time was playing piano in a bar in Covina. He was an innovative piano player. He was good. I heard him on a Jackie DeShannon record. In those days it was real hard to find rock ‘n’ roll piano players who didn’t play too much. Leon talked the same language. You could really hear Leon play in the Shindig! TV band. I put him in The T.A.M.I. Show band, and he’s all over the soundtrack.

“During the [Phil] Spector sessions, a lot of the time we had two or three piano players going at once. I played piano as well. Phil knew the way he wanted the keyboards played. It wasn’t much of a problem who played. Leon was there for the solos and the fancy stuff, rolling pianos. The pianos would interlock and things would sound cohesive. I knew Leon would emerge as a band leader.

“I didn’t have to do a lead sheet for ‘He’s A Rebel,’ just the arrangement. I put the band together for the session, a lot of the same guys I had been working with for years. Phil didn’t know a lot of these people: he had been in New York in 1960-1962. Leon Russell, Harold Battiste, Earl Palmer, Don Randi, Hal Blaine, Glen Campbell: A lot of the players came out of my phone book. Phil knew Barney Kessel. At one time he had taken guitar lessons from Barney, years before.”

In my 2014 book, Turn Up The Radio! Rock, Pop, and Roll in Los Angeles 1956-1972, I spoke with noted drummer, Jim Keltner, about Leon Russell.

“I joined Gary Lewis and the Playboys after ‘This Diamond Ring’ put them on the map. I played on the next single and album, and then did a couple of tours.

“Snuff Garrett from Liberty Records made me shave my mustache and get a professional haircut. Then he took me to meet Leon Russell at the studio. Leon was raised in Tulsa, and I loved that, because that’s where I was born. I didn’t realize I would be following in the footsteps of the great session studio drummers Earl Palmer, Hal Blaine, and Jim Gordon.

“Leon was the first record producer and arranger I ever worked with. I was very fortunate to have him as the first producer I came in contact with, because Leon always had a slightly different musical angle that he came from. I think Leon was always looking for something a little bit out of the box. I didn’t know that at the time. Hal Blaine was there, by the way. I thought he was there to play tambourine, but in actual fact, Hal was there just in case I couldn’t cut it [laughs].

“At the beginning of the Gary Lewis ‘She’s Just My Style’ recording session, Leon said, ‘Don’t play any fills. Not even one fill.’ And I understood that instinctively. I thought, ‘This is the way rock ’n’ roll singles are made.’ He asked for a fill just at the beginning, and I did. Then he said, ‘Can you do that backwards?’ And I thought, ‘Oh yeah. I can do that. That’s cool.’ So I played the fill backwards, and opened the hi-hat in the intro. He liked that a lot. So right away, we made a connection there. During the playback, he turned to me and said, ‘You’re gonna be a great rock drummer.’

“I remember, at that moment, I felt a real confidence. Right around that time, I had begun to realize that playing rock ’n’ roll was not just for morons. You really had to know what you were doing.”

In a 2011 edition of Goldmine magazine, Keltner earlier reflected on Russell to me.

“When I got to know John (Lennon) he told me he liked the Delaney Bonnie and Friends Accept No Substitute album. George Harrison had actually tried to sign Delaney and Bonnie to Apple Records in the U.K. Leon is all over that. His piano playing on the ‘The Ghetto’ is the greatest. No one else can do that.

“At the 1971 Concert for Bangla Desh, Leon Russell made it great to be there. I had played with Leon on quite a lot of stuff: Gary Lewis and The Playboys, Delaney & Bonnie and Friends, Joe Cocker and Mad Dogs and Englishmen.”

“I just love Leon’s piano playing on that first Delaney & Bonnie and Friends LP,” volunteered saxophonist Bobby Keys one evening backstage at a Rolling Stones’ concert at the Staples Center in Los Angeles.”

And, during a 2011 interview with Ian Hunter, bandleader of Mott the Hoople, we also discussed Leon Russell’s impact on his very late sixties’ recordings.

“On our [Mott the Hoople] first tour of America around 1969 I really discovered and got turned on to Delaney & Bonnie and Friends, especially Leon Russell.   My thing was Leon.  That movie, Mad Dogs and Englishmen.  Leon got a lot of slack from tour and film because people kept saying he was trying to put (Joe) Cocker away.  I don’t think Joe was that fit and healthy at that time, and Leon was really doin’ the business.

“The piano playing…  ‘In The Ghetto’ was the first time I heard Leon.  It was on an album.  I just couldn’t believe it.  It was Gospel Rock. It was unbelievable.  And I know where he got it from, like Dr. John and a couple of other people.  But for me the style of playing.  I went home and tried to do that for months.  I tried to learn that song for months.  I got near it but never got it right.  The feel.

“When we started there wasn’t any keyboards other than piano and organ.  We didn’t have these little keyboards that now can do everything.  And if you wanted piano and organ at the same time on a track, you couldn’t get a guy with his left hand on one keyboard and his right on another.  You had to get a piano player and an organ player.  So then you had the piano and organ color.  And then you had all the different guitar colors.  And it was also extremely powerful.  Like ‘Ballad of Mott.’  Some of those songs we would take ‘em down to zero and all of a sudden BANG, the whole lot would come in.  It was easier to put dynamics in and drama, and beautiful, quiet stuff too. Sustaining stuff.  Some things a guitar can’t do.  It’s just that fraction too jagged.  There’s a smoothness with a piano and an organ.”

By Harvey Kubernik for Cave Hollywood

Monday, December 5, 2016

Jim Benefit Music4Sight

Thanks to Skip for this article.

Rita Coolidge - Good Old Days

Rita Coolidge - Good Old Days
A&M Records L-38157 (1984)

Side One:
1. Mean To Me
2. Am I Blue
3. Hallelujah I Love Him So
4. Call It Stormy Monday
5. For The Good Times

Side Two:
1. Fever
2. Black Coffee
3. Bring It On Home To Me
4. Nobody Wins
5. The Man I Love

Jim Keltner - Drums (B1)
Rita Coolidge - Vocals
David Anderle - Producer
Barbara Carrol - Piano
Chuck Domanico - Bass
Mike Utley - Organ
Dean Parks - Guitar
Colin Bailey - Drums
Marc Benno - Guitar
Carl Radle - Bass

Tuesday, November 22, 2016

Timothy B. Schmit - Leap Of Faith

Timothy B. Schmit - Leap Of Faith
Benowen Records 860826000321 (2016)

Track Listing:
1. My Hat
2. Slow Down
3. All Those Faces
4. I Refuse
5. What I Should Do
6. Goodbye, My Love
7. You're So Wild
8. It's Alright
9. Red Dirt Road
10. The Island
11. Pearl On The String
12. This Waltz

Jim Keltner - Drums, Percussion
Timothy B. Schmit - Vocals, Acoustic Guitar, Electric Guitar, Bass, Percussion, Marxophone, Resonator, Electric Piano, Wah Wah, Drums, Harmonica, Ukulele, Baritone Ukulele, Cigfiddle, Producer
Hank Linderman - Acoustic Guitar, Electric Guitar, Slide Resonator, Quattro, 12 String Baritone Guitar, Producer
Herb Pedersen - Background Vocals
Gary Burton - Vibraphone
Marlena Jeter, Mortonette Stevens, Lynne Fiddmont - Background Vocals
Paul Franklin - Steel Guitar
Jeddrah - Background vocals
Benmont Tench - Electric Piano, Organ, Piano, Harmonium
Taylor Hawkins - Drums
Donna DeLory - Background
Herman Matthews - Drums, Percussion
Van Dyke Parks - Accordion
John McFee - Fiddle, Harpsichord
Adam Jardine, Matthew Jardine - Vocals
David Ralicke - Alto, Tenor, Baritone Saxophones, Cornet, Euphonium, Trombone, Trumpet

Jim Keltner's 900 Record

The next record published on my blog will be his 900.
Congratulations Mr. Keltner!

The Rolling Stones - Blue & Lonesome

The Rolling Stones - Blue & Lonesome
Interscope/Polydor 5714944 (2016)

Track Listing:
1. Just Your Fool
2. Commit A Crime
3. Blue & Lonesome
4. All Of Your Love
5. I Gotta Go
6. Everybody Knows About My Good Thing
7. Ride 'Em On Down
8. Hate To See You Go
9. Hoo Doo Blues
10. Little Rain
11. Just Like I Treat You
12. I Can't Quit You Baby

Jim Keltner - percussion (9)
Mick Jagger - vocals
Keith Richards - guitar
Charlie Watts - drums
Ronnie Wood - guitar
Darryl Jones - bass
Eric Clapton - guitar
Chuck Leavell, Matt Clifford - keyboards

Gillian Welch - Boots No. 1 The Official Revival Bootleg

Gillian Welch - Boots No. 1 The Official Revival Bootleg
Acony Records CDACNY1601 (2016)

Track Listing:
Disc One
1. Orphan Girl (Alternate Version)
2. Annabelle (Alternate Version)
3. Pass You By (Alternate Version)
4. Go On Downtown (Revival Outtake)
5. Red Clay Halo (Revival Outtake)
6. By The Mark (Alternate Mix)
7. Paper Wings (Demo)
8. Georgia Road (Revival Outtake)
9. Tear My Stillhouse Down (Home Demo)
10. Only One and Only (Alternate Version)

Disc Two
1. Orphan Girl (Home Demo)
2. I Don’t Want to Go Downtown (Revival Outtake)
3. 455 Rocket (Revival Outtake)
4. Barroom Girls (Live Radio)
5. Wichita (Revival Outtake)
6. One More Dollar (Alternate Version)
7. Dry Town (Demo)
8. Paper Wings (Alternate Mix)
9. Riverboat Song (Revival Outtake)
10. Old Time Religion (Revival Outtake)
11. Acony Bell (Demo)

Jim Keltner, Buddy Harman - drums
Gillian Welch - vocals, acoustic guitar, electric guitar
David Rawlings - vocals, acoustic guitar, electric guitar, Optigan, 6-string bass
Jay J. Joyce - guitar, E-bow
James Burton - guitar, National steel guitar
Greg Leisz - dobro, Weissenborn
John R. Hughey - pedal steel guitar
T-Bone Burnett - Optigan, producer
Armando Campean - acoustic bass, electric bass
Roy Huskey Jr. - acoustic bass

Monday, October 10, 2016

Neil Young - Peace Trail

Neil Young - Peace Trail
Reprise Records 558314 (2016)

Track Listing:
1. Peace Trail
2. Can’t Stop Workin’
3. Indian Givers
4. Show Me
5. Texas Rangers
6. Terrorist Suicide Hang Gliders
7. John Oaks
8. My Pledge
9. Glass Accident
10. My New Robot

Jim Keltner - drums
Neil Young - vocals, guitar, producer
Paul Bushnell - bass
John Hanlon - producer

Concert For George

Ringo Starr And His All-Starr Band 1989

Monday, July 18, 2016

Palito Ortega ‎– Por Los Caminos Del Rey

Palito Ortega ‎– Por Los Caminos Del Rey
Bueno Records 52233 (2012)

Track Listing:
1. La Voz De La Verdad    
2. Importa Ser Feliz    
3. Te Busque Por El Mundo    
4. Una CanciÓN No Me Alcanza    
5. Tu Foto Me Mira    
6. Del Lado Del CorazÓN    
7. Señales De La Tierra    
8. Vale La Pena Vivir    
9. Estrecho En MI Corazon    
10. Para QuÉ Has Vivido    
11. Madre Te Dicen    
12. Un Soplo De Amor

Jim Keltner - drums
Palito Ortega - vocals
Rusty Anderson - guitar
The Memphis Boys
…..and many more.

Saturday, July 9, 2016

Ringo Starr - The Anthology...So Far

Ringo Starr - The Anthology...So Far
Eagle Records EEECD011 (2001)

Track Listing:

Disc One:
1. It Don't Come Easy
2. The No-No Song
3. Iko-Iko (Dr. John)
4. The Weight (Levon Helm)
5. Shine Silently (Nils Lofgren)
6. Honey Don't
7. Quarter To Three (Clarence Clemons)
8. Raining In My Heart (Rick Danko)
9. Will It Go Round In Circles (Billy Preston)
10. Life In The Fast Lane (Joe Walsh)
11. Desperado (Joe Walsh)
12. Norwegian Wood (Peter Frampton)
13. Walking Nerve (Nils Lofgren)
14. Boris The Spider (John Entwistle)
15. You're Sixteen, You're Beautiful And You're Mine
16. Photograph

Disc Two:
1. The Really Serious Introduction
2. I’m The Greatest
3. Don't Go Where The Road Don't Go
4. I Can't Tell You Why (Timothy B. Schmidt)
5. Girls Talk (Dave Edmunds)
6. People Got To Be Free (Felix Cavaliere)
7. Groovin' (Felix Cavaliere)
8. Act Naturally
9. Takin' Care Of Business (Randy Bachmann)
10. You Ain't Seen Nothin' Yet (Randy Bachmann)
11. In The City (Joe Walsh)
12. Bang The Drum All Day (Todd Rundgren)
13. Black Maria (Todd Rundgren)
14. American Woman (Burton Cummings)
15. Weight Of The World
16. Back Off Boogaloo

Disc Three:
1. Yellow Submarine
2. Show Me The Way (Peter Frampton)
3. Sunshine Of Your Love (Jack Bruce)
4. I Hear You Knocking (Dave Edmunds)
5. Shooting Star (Simon Kirke)
6. Boys
7. Baby I Love Your Way (Peter Frampton)
8. A Salty Dog (Gary Brooker)
9. I Feel Free (Jack Bruce)
10. All Right Now (Simon Kirke)
11. I Wanna Be Your Man
12. A Whiter Shade Of Pale (Gary Brooker)
13. Hungry Eyes (Eric Carmen)
14. All By Myself (Eric Carmen)
15. With A Little Help From My Friends

Jim Keltner - drums
Ringo Starr - drums, vocals, producer
Billy Preston - keyboards, organ
Burton Cummings - piano, vocals
Clarence Clemons - saxophone
Dave Edmunds - guitar, vocals
Dr. John - piano, vocals
Eric Carmen - vocals
Felix Cavaliere - piano
Gary Brooker - keyboards. vocals
Jack Bruce - bass, vocals
Joe Walsh - guitar, vocals
John Entwistle - bass
Levon Helm - vocals
Mark Farner - guitar, vocals
Mark Rivera - saxophone
Nils Lofgren - guitar
Peter Frampton - guitar, vocals
Randy Bachman - guitar, vocals
Rick Danko - bass, vocals
Simon Kirke - drums, vocals
Timmy Capello - vocals
Timothy B. Schmit - guitar, vocals
Todd Rundgren - keyboards. vocals
Zak Starkey - drums
David Fishof - producer

Sunday, May 15, 2016

Neil Young With Booker T. & The MG's ‎– Tuning My Guitar Right

Neil Young With Booker T. & The MG's ‎– Tuning My Guitar Right
Rocks 92080 Unofficial Release (1993)

Track Listing:
1. Mr. Soul
2. The Loner
3. Southern Man
4. Helpless
5. Like A Hurricane
6. Love To Burn (1st Attempt)
7. Motorcycle Mama
8. Love To Burn
9. Separate Ways
10. Powderfinger
11. Live To Ride
12. Down By The River
13. All Along The Watchtower

Jim Keltner - Drums
Neil Young - Guitar, Vocals
Donald "Duck" Dunn - Bass
Steve Cropper - Guitar
Booker T. Jones - Keyboards
Annie Stocking, Astrid Young - Backing Vocals

Friday, May 13, 2016

Aske Jacoby ‎- Luna Plena Super Me

Aske Jacoby ‎- Luna Plena Super Me
Sony Music 88875197141 (2016)

Side One:
1. Trash Can Man    
2. To Turn The Last Page    
3. Perpetual Pleasure    
4. Earthquakes & Lovebombs    
5. My Heart Is A Muscle

Side Two:    
1. The CPH Blues    
2. The Hunt    
3. Fundamentalist    
4. Reincarnation Blues

Jim Keltner - drums, percussion
Aske Jacoby - vocals, guitar
Tony Scherr - bass
The National Danish Symphony Orchestra - strings
The Symphony Orchestra, The Danish National Radio Big Band - horns

Buster Sidebury aka Jim Keltner

Wednesday, May 11, 2016

The Challengers - Vanilla Funk

The Challengers - Vanilla Funk
GNP Crescendo GNPS 2056 (1970)

Side One:
1. Soulful Strut
2. Games People Play
3. For What It´s Worth
4. Soul Deep
5. I´m Gonna Make You Love Me
6. Vanilla Funk

Side Two:
1. Mercy Mercy
2. The Weight
3. We´ll All Get By
4. Wheel´s (Keep On Turning)
5. Camel Back

Jim Keltner - drums
Craig Doerge - piano
Carl Radle - bass
Richard Delvy - drums, producer
Dave Roberts - arranger
Glenn Grey — lead guitar
Don Landis — rhythm guitar
Randy Nauert — bass
Jim Roberts — keyboards
Nick Hefner — saxophone

The Great Music Experience 1994

The Great Music Experience was a concert starring Japanese and international musicians staged at the eighth century Buddhist temple of Tōdai-ji, in Nara, Japan in May 1994. The concert, held over three nights (May 20 - May 22) and partly backed by UNESCO, took place in front of the world's largest wooden building, housing the largest Buddha statue in the world.

UNESCO hoped that the event would be the first of seven annual concerts that would take place at some of the world's architectural treasures - the sites it had in mind included the Pyramids, China's Forbidden City and the Taj Mahal but nothing came of the idea. A concert earmarked for a Mexican pyramid was called off because of the collapse of the peso.

The Tōdai-ji concert brought together Japanese and Western musicians playing music showing the influences of both cultures. The musicians included Bob Dylan, Jon Bon Jovi, Joni Mitchell and INXS. Dylan played in front of the Tokyo New Philharmonic orchestra, the first time he had played with an orchestra.

The priests of Tōdai-ji agreed to stage the concert only after talks lasting several months with British producer Tony Hollingsworth. Shinkai Shindō, the head priest, said that Buddhism aimed to make people happy and that the concert would make the religion more appealing to young people.
UNESCO said that it would not have gone ahead if it was not convinced that the site would be respected in a physical, cultural and religious sense.
UNESCO hoped that a series of concerts would be able to use the appeal of rock musicians to widen the audience for the world's cultural heritage. The Tōdai-ji concert would also help to promote traditional Japanese music. It was important for traditional musicians to stand on the same stage with Dylan and Bon Jovi.

Hollingsworth said that his aim was to create a "roller coaster of musical cultures", with Japanese and Western artists playing together after a week of rehearsals. The final night's concert on May 22 was broadcast to 50 countries but, with a breakdown of equipment, a tape recording of the second night was interwoven with the live concert for some of the time. Two documentaries were also broadcast, showing western artists watching Japanese cultural events and rehearsing with Japanese musicians.

The star of the show turned out to be Dylan who said as soon as he came off-stage that he had not sung so well for 15 years. Dylan opened with A Hard Rain's A-Gonna Fall which Q magazine said was "no ordinary version...[he] really opens his lungs and heart and sings, like he's not done for many a year...The only word for it majestic."

Hollingsworth's original idea for the concert was to help overcome western hostility towards Japan caused by the highly successful Japanese economy. The economic bubble, however, had burst by the time the concert took place.

Artists appearing at the event:
Bob Dylan
Cara Butler
Hasedera Temple Shomyo
Hiroshi Hori
Jon Bon Jovi
Joni Mitchell
Koji Tamaki
Leonard Eto and His Drummers
Richie Sambora
Roger Taylor
Ry Cooder
Ryu Hongjun and Tempyo Gafu
Shoukichi Kina
The Chieftains
Todai-ji Shomyo
Tokyo New Philharmonic Orchestra
Tomoyasu Hotei
Toshinori Kondo
Wayne Shorter
X Japan

Backing musicians:
Ray Cooper
Ed Shearmur
Jim Keltner
Phil Palmer
Pino Palladino
Wix Wickens

Vanessa Fernandez - When The Levee Breaks

Vanessa Fernandez - When The Levee Breaks
Groove Note LGN 1088 (2016)

Track Listing:
Side A:
1. Immigrant Song
2. Black Dog

Side B:
3. Kashmir
4. Trampled Underfoot

Side C:
5. When the Levee Breaks (acoustic)
6. The Lemon Song

Side D:
7. Ramble On
8. Whole Lotta Love

Side E:
9. Babe I'm Gonna Leave You
10. Immigrant Song

Side F:
11. Babe I'm Gonna Leave You (alternate mix - LP only bonus cut)
12. Whole Lotta Love (full rock mix - LP only bonus cut)

Jim Keltner - drums
Vanessa Fernandez - vocals
Tim Pierce - guitars, arranger
Chris Chaney - bass
Jim Cox - keyboards
Charlie Bisharat - violin
Luis Conte - percussion
Ying Tan - producer

Michael Menager - Not The Express

Michael Menager - Not The Express
? (2016)

Track Listing:
1. Unfamiliar Place
2. Take To Wing
3. Pieces
4. Not The Express
5. Looking Good, Going Nowhere
6. Don't Baby Don't
7. Bad Habits
8. From Father To Son
9. A Time Of Turning
10. Rise In Love

Jim Keltner - drums, percussion
Michael Menager - vocals, acoustic guitar
Heath Cullen - electric guitar, acoustic guitars, banjo, producer
Matt Nightingale - upright bass
Aaron Embry - acoustic piano,  electric piano, keyboards

Zucchero "Sugar" Fornaciari - Black Cat

Zucchero "Sugar" Fornaciari - Black Cat
Universal 5072752 (2016)

Track Listing:
1. Partigiano Reggiano
2. 13 Buone Ragioni
3. Ti Voglio Sposare
4. Ci si Arrende
5. Ten More Days
6. L’Anno Dell’Amore
7. Hey Lord
8. Fatti Di Sogni
9. La Tortura Della Luna
10. Love Again
11. Terra Incognita
12. Voci (Namanama Version)
13. Streets Of surrender (S.O.S.)

Jim Keltner - drums
Zucchero - vocals, piano, acustic guitar, Hammond organ, keyboards, farfisa, harmonium
Mark Knopfler - national guitar
Mark Goldenberg - acustic guitar
Stavros Ioannou - guitar, bass
Colin Linden - guitar
Max Marcolini - guitar, bass, harp, dobro, mellotron, piano
Brendan O'Brien - guitars, bass, synthesizer, producer
Davide Rossi - guitar
Tim Pierce - electric guitar, acustic guitar
Barry Balese - upright bass
Nathan East - bass
Greg Leisz - pedal steel guitar, acustic guitar
Russell Pahl - pedal steel guitar
Jerry Douglas - lap steel guitar, dobro
Federico Biagetti - dobro
Matt Chamberlain - drums
Jay Bellerose - drums, percussion
Lenny Castro - percussion
Aaron Sterling - percussion
Michael Finnigan - piano
Jamie Muhoberac - piano, moog, mellotron
Patrick Warren - mellotron
Nils Ruzicka - keyboards
Darrell Leonard - trumpet
Lester Lovitt - trumpet
Ira Nepus - trombone
Thomas Peterson - saxophone
Joe Sublet - saxophone
Gene Cipriano - english horn
Stephanie O'Keefe - french horn
Biagio Antonacci - vocals
Kurt Lykes - backing vocals
Jason Morales - backing vocals
James McCrary - backing vocals
Linda McCrary - backing vocals
Arthur Miles - backing vocals
Louis Pardini - backing vocals
Melody Perry - backing vocals
Cheryl Porter - backing vocals
Leslie Sackey - backing vocals
Alfie Silas - backing vocals
Lisa Stone - backing vocals
Jennifer Vargas - backing vocals
Vincenzo Draghi - backing vocals
Mike Piersante - hand claps
Don Was, T-Bone Burnett - producer

Monday, April 18, 2016

Dan Phelps - Arc

Dan Phelps - Arc
Oceanographicrecords (2016)

Track Listing:
1. God Is...
2. Stump
3. Modern Bunker
4. Bird
5. Mysterium Cosmographicum
6. It Grows on You
7. Shroom
8. Float

Jim Keltner - drums
Dan Phelps - guitar, synth, producer
Jon Evans - bass
Steve Moore - wurlitzer, synth, trombone
Roger Joseph Manning Jr. - string arranger
Michael Iveson, James McAlister - drums
Songa Lee - violin
Jennifer Takamatsu - violin
Steve Zander - violin
Michelle Jade - violin
Erik Arvinder - viola
Mike Whitson - viola
Vanessa Freebairn-Smith - cello
Alisha Bauer - cello

Tuesday, April 12, 2016

Hans Zimmer & Junkie XL - Batman v Superman: Dawn Of Justice (OST)

Hans Zimmer & Junkie XL - Batman v Superman: Dawn Of Justice (OST)
WaterTower Music 39748 (2016)

Track Listing:
1. Beautiful Lie
2. Their War Here
3. The Red Capes Are Coming
4. Day Of The Dead
5. Must There Be A Superman?
6. New Rules
7. Do You Bleed?
8. Problems Up Here
9. Black And Blue
10. Tuesday
11. Is She With You?
12. This Is My World
13. Men Are Still Good (The Batman Suite)
14. Blood Of My Blood (Bonus Track)
15. Vigilante (Bonus Track)
16. May I Help You, Mr. Wayne? (Bonus Track)
17. They Were Hunters (Bonus Track)
18. Fight Night (Bonus Track)

Jim Keltner - Percussion
Hans Zimmer - Composer, Producer, Synthesizer Programming
Junkie XL - Conductor, Producer
Curt Bisquera - Percussion
Bernie Dresel - Percussion
Eric Whitacre Singers - Choir/Chorus
Peter Erskine - Percussion 
Walt Fowler - Orchestration
Josh Freese - Percussion 
Gavin Greenaway - Choir Arrangement, Conductor
Tina Guo - Electric Cello
Taurees Habib - Sampling 
The Hollywood Studio Symphony Orchestra
Drew Jordan - Sampling 
Kevin Kaska - Orchestration  
Tori Letzler - Vocals
Dominic Lewis - Vocals
Steve Mazzaro - Producer
Alan Meyerson - Producer
Toss Panos - Percussion
Hila Plitmann - Vocals
Ben Powell - Violin
Satnam Ramgotra - Percussion
John "J.R." Robinson - Percussion
Sheila E. - Percussion
Raul Vega - Sampling
Eric Whitacre - Choir Arrangement, Chorus Master

Wednesday, March 30, 2016

Anthony Wilson ‎– Frogtown

Anthony Wilson ‎– Frogtown
Goat Hill Recordings GHR-004CD (2016)

Track Listing:
1. She Won't Look Back
2. Frogtown
3. Your Footprints
4. Occhi Di Bambola
5. Silver And Flint
6. Our Affair
7. The Cares Of A Family Man
8. Mopeds
9. Arcadia
10. The Geranium
11. Shabby Bird
12. I Saw It Through The Skylight
13. Downtown Abbey

Jim Keltner (tracks: 1,2,5,9,10,12), Matt Chamberlain (tracks: 3 to 8,11) - Drums, Percussion
Anthony Wilson - Guitar, Vocals
Adam Schroeder - Baritone Saxophone, Bass Clarinet
Mike Elizondo - Bass, Synth Bass, Producer
Jesse Harris - Harmonica
Josh Nelson - Piano
Patrick Warren - Piano, Organ, Pump Organ, Autoharp, Keyboards, Sampler
Bob Reynolds, Charles Lloyd - Tenor Saxophone
Daniel Rosenboom - Trumpet
Petra Haden - Violin, Bird Whistle

Wednesday, March 23, 2016

Unloved ‎– Guilty Of Love

Unloved ‎– Guilty Of Love
Unloved Records URCD001 (2016)

Track Listing:
1. Guilty Of Love
2. After Dinner
3. Damned
4. Cry Baby Cry
5. When A Woman is Around
6. Xpectations
7. This Is The Time
8. The Ground
9. I Could Tell You
10. We Are Unloved
11. Silvery Moon
12. Forever Unloved

Jim Keltner (tracks: 1,3), Jay Bellerose (tracks: 2,5,6,7,11), Deantoni Parks (tracks: 4,9,10), Jonathan Wilson (tracks: 11) - Drums
David Holmes - Loops, Sampler, Percussion, Programmer, Producer
Jade Vincent, Raven Ciancia-Vincent, Sarah Rayne - Vocals
Gabe Noel - Strings, Arranger
Kat Khaleel, Nina Holmes, Penelope Fortier, Tanya Mellotte - Backing Vocals
Gus Seyffert, Tim Harries, Woody Jackson, Zach Dawes - Bass
Tommy Morgan - Bass Harmonica
Gus Seyffert - Double Bass  
Woody Jackson - Guitar
Keefus Ciancia - Keyboards, Piano

Friday, March 11, 2016

Overdub: A Story Of Session Musicians

I Played The Drums, And They Played Me

From the L.A. Times...

Sometimes the past isn't hard to find. Leave Los Angeles, drive 125 miles into the oven heat of Palm Desert, down Sonny Bono Memorial Highway and across Frank Sinatra Drive, and the past might even greet you at his front door. "You found me," Hal Blaine says from behind huge sunglasses. "Come on in."

Inside, a few gold records adorn the wall, all hits by John Denver, all featuring Blaine on drums. What's missing from the walls of his modest home says far more about the backbeat of Blaine's life today. "I used to have, oh, 150 other ones, but I had to sell them all." Blaine kept time on some of the most memorable American recordings of the 1960s — "California Dreamin'," "Strangers in the Night," "Good Vibrations," "Mrs. Robinson," "Can't Help Falling in Love," "I Got You Babe" among them — but that was during what he calls "the absolute golden age of session musicians."

It was also, he adds, before "those machines" changed the making of music.

Blaine says the phone that never stopped ringing in the 1960s and early 1970s went silent in the following decade as the drum machine arrived and music trends veered away from him. A bitter divorce left him without his Rolls-Royce, yacht and the house above Mulholland. "I have to be honest with you. I'd be homeless today without my pension." Blaine was the king of Los Angeles session drummers, and today the weary, 74-year-old royal in the desert reflects his former kingdom. It would be hyperbole to say the session drummer is dead, but, like John Henry hammering away at that steel, you wonder what the long-term health is for a profession that tries to match swings with a machine.

"It's a tough time now, a real tough time, especially if you're one of those young people trying to get in," says Jim Keltner, the drummer who became a titan of the field in the 1970s, playing on major recordings by Bob Dylan, John Lennon and many others. Keltner remains a player in great demand, but now that makes him a rarity in his field. "There has been an erosion. Things aren't the way they were. But you really have to say that you could see it coming. It shouldn't have been a surprise to anyone."

The rudimentary drum machines of the 1970s were alarming to many of the old guard who predicted then that the robotic drumstick eventually would elbow out the human player. They were right. Entire pop albums are sometimes recorded today without a traditional drummer in the studio, and one of the premier genres of the age, hip-hop, is almost defined by the computer creation of beats by celebrity producers, not by a drummer.

Then there's the overall malaise in the session recording business. Laptops and modest home studios can be used to make professional-level albums now, and many of the lavish recording studios in Los Angeles and New York are wondering if in a few years they will have the allure of, say, an extremely well-appointed typewriter factory.

Albums sales are down, record labels are shaky and cutting back, and film and television work — the lifeblood for players in Local 47 of the American Federation of Musicians — is often taken offshore for the discounted costs. It makes the local's president, Hal Espinosa, long for the days in the 1960s when he and other players scrambled across town to play session after session.

"There were 11 or 12 variety shows going on. I was doing Dean Martin's show, the Bob Hope specials, Carol Burnett's show. We were running from one studio to the next. Today you don't have that because of new technology. It's gone. It's not coming back." At least Espinosa was a trumpet man. "It's changed for all of us. But I imagine it's the worst for the drummers."

Some Learned To Adapt

Jimmy Bralower once believed drumming was a science only in the way boxing and whistling are sciences. "Look. Playing drums is holding two clubs in your hand. It doesn't get much more primitive than that, right?" Bralower is a New York record executive these days, a prominent vice president at Atlantic Records, but once he was a scrappy Long Island kid who dreamed of being a drummer. He bounced among bands in the 1970s, and by the 1980s he was working in the session rooms of SoHo with artists such as early hip-hop figure Kurtis Blow. It was cusp time — live R&B music and disco were giving way to the protean sound of hip-hop, and the beat of the new music was still being shaped.

"So one day someone brings in this box — it was a foot long and a foot wide and it had all these buttons on it. It was a Roland TR-808, a drum machine. They turned it on and, well, it was pretty daunting. There were beats and rhythms that were kind of impossible to play. This box could do stuff I couldn't do. It was a very threatening moment." Bralower came to embrace the new technology, at first out of career desperation, but then with the zeal of a painter finding whole new colors and canvas.

"Then I became the guy in New York who could program the drumming machines and I had reinvented myself," he said. He would work on some major albums, among them "So" by Peter Gabriel and "Back in the High Life" by Steve Winwood. Not all of his peers smiled on his success, and some producers, worried that the technology compromised their integrity, would ask the programmer if his name could be omitted from the credits. But the work kept coming.

The drummer was the most vulnerable of session players — a beat, a pulse, is the most mechanical of music, and therefore the easiest for a machine — but the synthesizer age has diminished the role of session players of all kinds as samples and swaths of sound made it easier to make music without musicians. The membership of Local 47 was once 16,000; now it's below 9,000. The refinements in technology continue too, so the declines continue. Just five years ago, more than 30,000 of the local's musicians were contracted for sound recordings. By last year, the number sagged to 23,500.

Advocates of the machines and software that create beats for so much of today's pop albums say they are cheaper, faster and easier than bringing in a human drummer. But veteran producer Rick Rubin (Beastie Boys, Red Hot Chili Peppers, Johnny Cash) says it goes beyond practicality. He says the rise of hip-hop in the 1980s created in pop an artist and audience taste for the relentless, inhumanly perfect beats of the machines instead of the more expressive and organic rhythms of Blaine's era.

"If you buy an album by somebody like Britney Spears today, you won't find a drummer on it, and it's because the sound, the flavor, of the drum machine is what people want now," Rubin said.

He added that there is also a quality control issue: "Now anyone with a good idea for a beat can program that into the machine and hear it at its very best rendering. Now it's more about the idea than the skill. There are only a couple of handfuls of truly great drummers out there. But there are thousands and thousands of drum machines."

Rubin is in the studio now with rapper Jay-Z and, instead of a live drummer, the beats will be created by the vintage TR-808, the same analog drum that had alarmed Bralower and was used in the 1980s by artists such as Public Enemy and Afrika Bambaataa. The TR-808 can create a variety of sounds, from congas to cowbells. By working its buttons, you can create the rhythm patterns for entire songs. Specialized gear like the TR-808 isn't even needed now; the software age has made computer hard drives into the newest drum kits.

There may be unexpected downsides to the new downbeats. Bralower worries that the ability to shape entire albums with little or no collaboration is creating a generation of musical loners.

"The idea of having a roomful of people there when you presented your ideas, that's kind of gone away," he says. "You could never make an album by yourself before; you could never create without working with other musicians There's also this whole generation now very used to computer-correct rhythm. That breathing thing that is people playing music is not presented as much. Even rock bands run their music through computers to clean it up. You know, once upon a time, Hal Blaine would just count it off. He was the metronome. Then came the ignorant third party, the technology that doesn't know what's going on in the room."


A Hall Of Famer

Ask people about session drummers and the name Hal Blaine always comes up. When the Rock and Roll Hall of Fame created the category of sidemen, Blaine was the first inductee. He played on 42 songs that hit No. 1 and more than 150 that cracked the Top 10. The Grammy Record of the Year is the most coveted trophy in music — Blaine played drums on seven of them. He became a brand name, a must-have guy whether it was for a Frank Sinatra single, an Elvis Presley film or a Coca-Cola commercial. "If the music in the second half of the 20th century were the Empire State Building," Art Garfunkel once said, "Hal Blaine would be the ground floor."

Blaine first hit the recording session scene in Los Angeles in the late 1950s. He had by then served in Korea, and played drums in Chicago strip joints, Las Vegas comedy shows and San Bernardino R&B clubs. He hooked up with Phil Spector, the successful and eccentric producer, and a group of session players who became known as the Wrecking Crew. The L.A. scene's veteran players inspired the nickname. "They're wrecking the business," the muttering went when the new rock 'n' roll generation came in.

There was a measure of truth in the old-timers' appraisal. The concept of the self-contained rock or pop band that took hold in the wake of the Beatles and Rolling Stones began a gradual downsizing of the session players' role. Still, by the 1970s, rock had grown so large and lucrative that the top session players lived like the stars themselves.

Many of the premier session drummers of that era have moved on. Rick Marotta was known for his work with Steely Dan, Paul Simon, Carly Simon, Aretha Franklin, James Taylor and many others. "Back then, I couldn't take all the jobs that were offered," he said. "Now, if I was doing just that, I wouldn't be able to make a living."

Instead of rock albums, Marotta now works in sitcoms. He's the composer for "Everybody Loves Raymond" and other shows, writing the music needed for background environments and the show's breaks.

In his studio behind a dentist's office in Hollywood, Marotta admits that the gig is not as completely satisfying as his session days, but he also feels fortunate to have the strong, steady work. As he flips on electronic drum pads to give an example of the modern craft, he glumly confides that one of his well-known peers from the 1970s is now working at a car dealership. He also says a friend who sells, rents and tunes drums for pro players in Nashville is watching his business shrivel.

Marotta marvels at what his nest of computer equipment can do as he weaves music together for television shows, but he marvels even more that the gadgetry could replace artists. "I don't know how they got lost. I really don't. Machines are machines. There are things that I hear people did on records that machines can't do. There are things that drummers like Steve Gadd did, things that Jeff Porcaro did and Keltner did — machines cannot do those things."

Keltner may be his generation's equivalent of Blaine. After working in the early 1970s with Joe Cocker, he quickly reached the stratum of star session player. He would go on to sit with stars ranging from Pink Floyd to B.B. King, Jackson Browne to the Bee Gees, Elvis Costello to Willie Nelson, Barbra Streisand to Fiona Apple.

Keltner remembers a fellow drummer who told him in the 1970s that he was leaving the L.A. scene because the drum machines were gobbling up work. "I told him that instead of going back to Tulsa, he should get one of those machines," Keltner recalls. The technology of today does not alarm or offend Keltner but it occasionally disappoints him. He says he hears a steady stream of new albums that are so filtered and finessed that he can almost see the numbers inside the digital sound.

"You suddenly realize: These albums have real likable songs, they have likable performances from everybody, all the singing is good and very in tune, all the playing is good and the guitars are in tune," Keltner says. "But then you realize maybe that's what is wrong. That's why I don't like it. It's more like a mannequin. From a distance it looks like a really beautiful human being, but you get up close and it's not alive. It's standing there with painted-on features. That is the technology being abused."

The drummer is not dead in rock music, not by any means. In bands, drummers, be they Dave Grohl, Meg White, Larry Mullen Jr. or Lars Ulrich, have inspired a new generation to pick up sticks, and they will continue to do so. ?uestlove of the Roots has even brought a live player into the rap world. For session drummers, the new model may be Josh Freese, the gifted young player who also has ongoing and formal membership in three bands: Perfect Circle, the Vandals and Devo.

Blaine has no idea what the future will be for session drummers, but he expresses a solemn gratitude that he was at the right place and time. He moved into the Palm Desert home late last year and, for the first time in his adult life, there are no drums under his roof. His famous drum kits are now in museums or with collectors.

"I played the drums for years, and they played me," he says with a smile. "It's a different time now."

Thursday, March 10, 2016

Ras Mikey - Isouljahs: A Decade Of Foundation

Ras Mikey - Isouljahs: A Decade Of Foundation
Creatchy Productions 8519909 (2004)

Track Listing:
1. Mossoro' Motion
2. Synthi-Sighs
3. Mr. Alibi
4. Uncle Will's Ting (Rub-A-Dub Style)
5. Joined Together
6. Indian Song
7. Hip Pop ("Ferrante and Creature")
8. Plantaichn Boogie Blues (To Randy, Bonnie and Leon)
9. Never Stop Dubbin
10. Fiyah Fe De Beast
11. Natty Dread (Take One)
12. Crucial Roots
13. Positive Life
14. Mystical Revelations
15. Mr. Muzik
16. Rasta Youth
17. Princess, Empress, Queen
18. Greetings Bredda Pablo
19. Green Herb
20. To De Top
21. Isouljahs
22. Freedom Is A Must
23. Ras Tai Chi
24. Wadada
25. Wadada Version

Jim Keltner - drums, tambourine, percussion, electronic percussion
Mikey Ras - vocal
David Garfield  - strings, piano, Fender Rhodes piano, keyboards, synthesizer, midi piano, programming, drum programming, Boesendorfer piano, arranger, producer
Michael O'Neill - bass voice, acoustic guitar
Steve Lukather - guitar
Terry Trotter - piano, electric piano, arranger
Jimmy Johnson, Abraham Laboriel, Freddy Washington - bass
Russell Ferrante - piano, synthesizer, bass synthesizer, arranger
Steve Porcaro - piano, synthesizer, programming, producer
David Witham - piano, string synthesizer
David Paich - guitar synthesizer, bass synthesizer, midi piano, Hammond B-3 organ, arranger, producer
Chuck Domonico - acoustic bass, arranger
Gerry "The Gov" Brown - drums, programming, drum programming
Carlos Vega - drums, drum programming
William Kennedy, Vinnie Colaiuta - drums
Alex Acuña, Luis Conte, Michito Sánchez - percussion
Alan Hirshberg - arranger, programming, drum programming, producer
Larry Klimas - programming, drum programming
Will Lee - drum programming
Phil Perry - vocals

Jim On Drum Smack!

Monday, February 8, 2016

William Sheller - Nicolas

William Sheller - Nicolas
PolyGram Records 9101 291 (1980)

Side One:
1. Une étonnante européenne
2. Promenade française
3. J’ose pas
4. Petit comme un caillou
5. Oh ! J’cours tout seul

Side Two:
1. Billy nettoie son saxophone
2. Un peu boogie-woogie sur les bords
3. Nicolas
4. Le petit Schubert est malade
5. Quand j’étais à vos genoux
6. Fier et fou de vous

Jim Keltner - Drums
William Sheller - Vocals, Producer, Arranger
Emory Gordy - Bass
Steve Lukather - Guitar
Micky Jones - Guitar
James Newton-Howard - Keyboards
Gary Mielke - Synthesizer
Lee Hallyday - Producer

Ry Cooder - Live On Air

Ry Cooder - Live On Air
Northworld Recordings (2010)

Track Listing:
1. Police Dog Blues
2. F.D.R. In Trinidad
3. If Walls Could Talk
4. Tamp 'em Up Solid
5. Ax Sweet Mama
6. Billy The Kid
7. Vigilante Man
8. How Can A Poor Man Stand Such Times...
9. Tattler
10. Comin' In On A Wing And A Prayer
11. Alimony
12. Teardrops Will Fall
13. I'm A Pilgrim

Jim Keltner - drums, percussion
Ry Cooder - guitars, vocals, mandolin;
Russ Titelman - bass
Milt Holland - percussion, drums
Bobby King - backing vocals
Gene Mumford - backing vocals
Cliff Givens - backing vocals

Friday, January 22, 2016

Isolated Jim

Rich Shapero ‎- Wild Animus/Part Three: Animus

Rich Shapero ‎- Wild Animus/Part Three: Animus
Outside Reading (2009)

Track Listing:
1. Spirit Body
2. Dawn
3. This Dazzling Dome
4. Across The Crevasse
5. Bogged
6. Inside Me, You Roar
7. Animus Is Pleased
8. Labyrinth Of Devotion
9. Lift Me Out
10. The Shrine
11. Nothing But Froth
12. I See Your Throne
13. Tower Of Blood

Jim Keltner - Drums, Cymbals, Frame Drum, Percussion
Rich Shapero - Acoustic Guitar, Arranger, Vocals, Producer, Mandola, Mandolin
Jerry Marotta - Drums
Mike Marshall - Mandolin, Mandocello, Resonator Mandola, Mandola
Dirk Powell - Accordion
Brian Courtney - Bass
David Raven - Drums
Lee Rocker - Upright Bass
Jim Campilongo - Guitar
Moses Sedler - Cello
Jim Boquist - Vocals
Josh Turner - Producer
Andy LeMaster - Guitar
Charles Bissell - Guitar, Vocals
Orenda Fink - Vocals
Maria Taylor - Vocals
Zack Hill - Drums
Paul Melnychuck - Organ, Producer, Keyboards, Dulcimer, Percussion
Steve Gorn - Wood Flute
Iva Bittová - Vocals
James "Hutch" Hutchinson - Bass, Guitar
Bryan Bowers - Autoharp
Marc Ribot - Electric Guitar, Acoustic Guitar
Airto Moreira - Percussion, Vocals
Robert Powel - Pedal Steel Guitar
David Boquist - Guitar
Cristinel Turturica - Cymbalom
Tom Britt - Guitar
Tony Levin - Chapman Stick

Rich Shapero ‎- Wild Animus/Part Two: The Wolves

Rich Shapero ‎- Wild Animus/Part Two: The Wolves
Outside Reading (2009)

Track Listing:
1. The Chimney's Fang
2. Death Rattle
3. You Will See
4. A Naked Gap
5. Snared
6. Dark Stars
7. The Ram Must Die
8. The Sheer Wall
9. A Great Power
10. Condemned
11. Scaffold Of Snow
12. Animus Shaking
13. Vigil Lights
14. Bursting The Case

Jim Keltner - Drums, Cymbals, Percussion, Gong
Rich Shapero - Acoustic Guitar, Electric Guitar, Arranger, Vocals, Bottleneck Guitar, Producer, Mandola, Mandolin
Jerry Marotta - Percussion, Drums
Mike Marshall - Mandolin, Mandocello, Lap Guitar
Dirk Powell - Accordion
Lee Rocker - Upright Bass
Jim Campilongo - Guitar
Moses Sedler - Cello
Jim Boquist - Vocals
Josh Turner - Producer
Andy LeMaster - Guitar
Charles Bissell - Guitar, Vocals
Orenda Fink - Vocals
Maria Taylor - Vocals
Paul Melnychuck - Organ, Producer, Keyboards, Marxophone
David Phillips - Pedal Steel Guitar
Robert Powel - Pedal Steel Guitar
Airto Moreira - Percussion, Vocals
Iva Bittová - Vocals
James "Hutch" Hutchinson - Bass
Marc Ribot - Guitar, Baritone Acoustic Guitar
Martin Carthy - Acoustic Guitar
Michael Hurley - Vocals
Jim Thomas - Guitar
Michael Manring - Bass
Justin Markovits - Percussion
Germaine Jack - Ruber Board
Mark Stewart - Guitar, Daxophone
David Boquist - Guitar
Tony Levin - Chapman Stick, Bass

Larry Groce & The Currence Brothers - Larry Groce & The Currence Brothers

Larry Groce & The Currence Brothers - Larry Groce & The Currence Brothers
Peacable Records 2 (1975)

Side One:
1. Bill Cheatin
2. Let The Trout Dart About
3. You Ain't Goin' Nowhere
4. I Still Miss Someone
5. The Little Old Lady In Cowboy Boots
6. Little Maggie
7. Coal Tattoo

Side Two:
1. The Biggest Whatever
2. Muddy Boggy Banjo Man
3. Old Home Place
4. At The End Of The Long Lonely Day
5. Calhoun County
6. Ole Slew Foot
7. Listen To The Mocking Bird
8. Turkey Calls

Jim Keltner - Drums
Larry Groce - Lead Vocals, Guitar, Mandolin
Jimmie Currence - Banjo, Fiddle, Vocals
Loren Currence - Guitar, Fiddle, Mandolin, Vocals
Berke McKelvey - Electric Bass
Malcolm Pastine - Vocals
C. Randolph Nauert - Producer