She & Him - Classics

She & Him - Classics
Columbia Records 88875 01599 1 (2014)








Side One:
1. Stars Fell On Alabama
2. Oh No, Not My Baby
3. It's Not For Me To Say
4. Stay Awhile
5. This Girl's In Love With You
6. Time After Time




Side Two:
1. She
2. Teach Me Tonight
3. It's Always You
4. Unchained Melody
5. I'll Never Be Free
6. Would You Like To Take A Walk?
7. We'll Meet Again








Personnel:
Jim Keltner - Drums
M. Ward - Vocals, Guitar, Bells, Percussion, Producer, Arranger
Zooey Deschanel - Vocals, Wurlitzer Organ, Piano
Tim Luntzel, Tyler Tornfelt - Bass
Pierre De Reeder - Percussion
Doug Wieselman - Arranger, Backing Vocals, Baritone Saxophone, Clarinet, Tenor Saxophone, Flute, Bass Clarinet
Tom Hagerman - Arranger, Violin
Charlie Pillow - Backing Vocals, Alto Saxophone, Flute, Oboe
Steven Bernstein - Cornet, Backing Vocals
Art Baron - Trombone, Backing Vocals
Amanda Lawrence - Viola
Steven Bernstein - Trumpet
Curtis Hasselbring, Trombone Shorty - Trombone
Boo Reiners - Banjo
Abigail Chapin, Lily Chapin - Vocals
Pierre De Reeder - Drums, Bass
Nate Walcott - Piano

Ann McNamee - Crazy In Heaven

Ann McNamee - Crazy In Heaven
Not On Any Lable (2003)






Track Listing:
1. Crazy In Heaven
2. Distance
3. Marilyn
4. If The Morning Never Comes
5. Inside The Lightning
6. Sleep In The Hallway
7. Don't Unfreeze My Heart
8. Give The Drummer Some
9. Kneeling In The Rubble
10. Waiting For The Rest Of You
11. Meant To Say
12. Call It A Night
13. All













Personnel:
Jim Keltner - Drums, Percussion
Ann McNamee - Vocals
GE Smith - Guitars, Piano, Background Vocals, Producer
Roger Love - Background Vocals, Piano
Jack Casady - Bass, Bass Balalaika
Wayne Jackson - Trumpet
Tom McGinley - Saxophone
Adam Theis - Trombone
T Bone Burnett - Guitar
Keefus Ciancia - Piano, Organ
Willa Caughey - Violin
Nellie Kosakowski - Alto Saxophone
Stacy Parrish - Background Vocals

Joe Cocker - Space Captain/Live In Concert

Joe Cocker - Space Captain/Live In Concert
Cube Records INT 136.309 (1982)






Side One:
1. Honky Tonk Woman
2. Cry Me A River
3. St. James Infirmary
4. Hitchcock Railway
5. Dear Landlord
6. Space Captain



Side Two:
1. She Came In Through The Bathroom Window
2. High Time We Went
3. Love The One You're With
4. Midnight Rider
5. The Letter
6. Delta Lady








Personnel:
Jim Keltner - drums
Joe Cocker - vocals
Leon Russell - guitar, piano, producer
Chris Stainton - piano, organ, keyboards
Don Preston - guitar, backing vocals
Carl Radle - bass
Sandy Konikoff - percussion
Bobby Torres - conga
Jim Price, Rick Alphonso - trumpet
Bobby Keys - tenor saxophone
Rita Coolidge, Claudia Linnear, Donna Weiss, Pamela Polland, Matthew Moore, Donna Washburn, Nicola Barcley, Daniel Moore, Bobby Jones, Viola Willis, Virginia Ayers, Beverly Gardner, Gloria Jones - backing vocals
Denny Cordell, Nigel Thomas - producer
Alan Spenner - bass
Neil Hubbard - guitar
Jim Gordon - drums
Jim Karstein - drums
Alan White - drums
Conrad Isidore - drums
Felix Falcon - percussion
Fred Scerbo, Milton Sloane - saxophone
Jim Horn - saxophones, flute

Bryan Ferry - Avonmore

Bryan Ferry - Avonmore
BMG Rights Management BMGLP2146 (2014)






Track Listing:
1. Loop De Li
2. Midnight Train
3. Soldier Of Fortune
4. Driving Me Wild
5. A Special Kind Of Guy
6. Avonmore
7. Lost
8. One Night Stand
9. Send In The Clowns
10. Johnny & Mary







Personnel:
Jim Keltner - drums
Bryan Ferry - vocals, producer
Nile Rodgers - guitar
Marcus Miller - bass
Johnny Marr - guitar
Flea - bass
Ronnie Spector - vocals
Mark Knopfler - guitar
Maceo Parker - saxophone
Rhett Davies - producer
Todd Terje - loops
Cherisse Osei - drums
Steve Ferrone - drums
Andy Newmark - drums
Rick Marotta - drums
John J.R. Robinson - drums
David Gilmour - guitar

When Sessions Reigned Supreme

When Sessions Reigned Supreme: The Players, Studios from L.A.’s Golden Age

Editorial - By Arend

On October 1st 2014 MixOnLine.com published a great article by Robyn Flans about the golden years of the L.A. session scene. Flans was supported by David Foster, Bob Glaub, Dean Parks, Jim Keltner, John Robinson and Steve Lukather to make this a memorable story.

The Record Plant in Los Angeles was the place to be on Sunday nights in 1973, when owner Gary Kellgren convinced drummer Jim Keltner to host a weekly jam session called the Jim Keltner Fan Club Hour—despite Keltner’s distaste for “jamming,” and for the moniker.



“I said, ‘The only thing I know and love is going in and learning a song and playing a song,’” Keltner recalls. “And Gary said, ‘Well, let’s just do that and call it whatever we want to call it.’”



So many huge artists played and recordings were made, though they never saw the light of day, except for one monumental evening Keltner recalls that was bootlegged for many years and finally released by Mick Jagger on the Very Best of Mick Jagger in 2007.



“One night John [Lennon] and May [Pang] were out for dinner with Richard Perry on a Sunday night,” Keltner recalls. “I didn’t think about inviting John because I didn’t think he would want to come down and do that, but Richard told him there were these jam sessions and John said, ‘What? He’s my buddy, let’s go down there.’”



That night Lennon showed up and produced “Too Many Cooks,” which Danny Kortchmar had brought in to the session. Jagger was on vocals, Harry Nilsson on backing vocals, and among the musicians were Kortchmar, Keltner, Jesse Ed Davis, Al Kooper and Jack Bruce. According to Keltner, Ringo was just hanging out that night.



Modest as Keltner is, artists came because of his reputation, even that early on, as the Los Angeles music scene was bursting at the seams in such recording studios as the Record Plant, Village Recorders, A&M, Conway, Dawnbreaker, Westlake, United Western, Sound City, Evergreen, Ocean Way, Capitol, Sound Factory, Sunset Sound, Paramount, Larrabee and many, many others. He was one of those musicians who remained at the core as a new wave of faces began to appear on the session scene.



David Foster says Keltner was responsible for adding him to a roster of musicians that included the likes of Bob Glaub, Danny Kortchmar, Russ Kunkel, Waddy Wachtel, Dean Parks, Leland Sklar, Greg Phillinganes, the Porcaro brothers—Jeff, Steve and Mike—Steve Lukather, David Paich and John Robinson. These guys were taking over studios and honoring the work of their predecessors, namely The Wrecking Crew of Hal Blaine, Earl Palmer, Joe Osborne, Carol Kaye, Tommy Tedesco and Glen Campbell, a force that didn’t get much credit until much later for the magnificent work they did.



Foster describes the session scene back then as a “club.”



“We all kept a book, we all had that phone service, Your Girl, and we would wait for those calls,” he remembers. “My book for those three or four years that I was a session player was just filled with ink every day. I would do Don Piestrup’s jingles at 8:00 in the morning with glorious musicians like Hal Blaine—I was at the tail end of that—and we worked 10 to 1, then 2 to 5 on sessions like the Fifth Dimension. And then at night we would do all-nighters with the rock ’n’ rollers like Rod Stewart and George Harrison. They were 16- and 18-hour days. And the next day you’d do it all over again. You never knew who you were going to be hooked up with on those sessions. You’d get there and be surprised and thrilled that David Paich would be the other keyboard player or Michael Omartian or Jay Graydon or Ray Parker or Larry Carlton was playing guitar, and you were always anxious to see who the drummer was because that was obviously the foundation.”



The work was plentiful and the budgets bountiful. Record companies were spending money, and time, nurturing artists.



Those were the glory days of the late 1970s, or as Foster called it, “the heyday”; the Los Angeles recording scene was alive with creativity and innovation. But the innovation led to invention, which ultimately led to the technology that would dramatically change the playing field for musicians, studios and all those involved in the industry. Those first-call session players are still working, most of them a lot, but it will never be the same again. They know that.



A Different Time



Guitarist Dean Parks says back then there was an abundance of artists signed and a lot of gambles taken. He says record companies were making money so they were willing to take chances. He recalls working with Joan Baez on Diamonds and Rust at A&M after she had cut several albums that had not yielded any hits.



“They were big sessions at A&M Studios with a room full of musicians and it felt great,” Parks says. “You could tell it was going to do something. There was a glow around it while we were doing it.”



In the late ’70s, after Parks took a short detour to produce albums for such artists as Dolly Parton and Tom Snow, he missed the playing scene so much that “I put out my shingle again.”



“Say you’re on a week of tracking sessions, you’re going to do the definitive performance of 10 songs no one has ever heard with some of the greatest players in the world through the best sound system you can imagine,” Parks says. “That’s fun.”



Session bassist Bob Glaub remembers the fun in recording Nicolette Larson’s debut album, Nicolette, at Amigo Studios in the late ’70s with a rhythm section that included drummer Rick Shlosser and Bill Payne on keys with Ted Templeman at the helm. They cut “Lotta Love,” which brought the former background singer to public attention.



And down the hall, Glaub recalls, Rickie Lee Jones was cutting with Jeff Porcaro. Glaub says those were the days you’d run into your pals all the time at the studio. “There were so many musicians and we’d see each other all the time.”



They’d run from one studio to the next, booked on doubles and triples in three-hour blocks, based on union rules, and cartage was becoming a boom business.



Parks describes a typical scenario of the times:



“The 9 a.m. session ended at 1 sharp in the Valley, and I arrived at Western 3 in Hollywood at 1:49. The cartage guys had my gear set up already [a Princeton Reverb amp, a fuzz pedal, wah pedal, and a trunk with a dozen guitars].



“I cleared away the cigarette butt someone left on the music stand, saw that the stack of music called for 12-string acoustic and electric, which I got from the trunk in the hall, and brought one to the piano to tune a string, then went to my seat to tune the rest.



“The headphones were a single [one ear], so I asked the engineer for a double set, although I knew his phone mix would be mono. I heard the multitrack’s alignment tone…don’t put on the phones yet!



“2 p.m., time to begin. The leader was getting pushy; they’d need to get tracks on four songs before 5, or we’d have to go into an hour’s overtime [an extra 50-percent pay per hour]. We hoped that wouldn’t happen, so we would have more time for dinner before the 7 p.m. double-session at Sunset Sound.



“Soon, in the first take, the drummer stopped. There was something not right about the feel, and there would be no repairing a drum track, so he counted it again, looking to the engineer: Should he wait for rewind, or keep it rolling? They do the take, and go in to hear playback, discuss the tempo, etc. As expected, my electric guitar sound was completely different from my morning session. What could have changed? Different mic? Mic pre? EQ? Console? Multitrack? Compression? Engineer? Control room monitors? I was on a riser here, and this morning I was on the floor? Mic placement? Whatever, adjust accordingly and move ahead.”



Lukather says the doubles, triples and that period were “some of the best times of my life.”



“We were all studying music back then,” he remembers. “It was music, music, music all day long. You would go to school and practice, take harmony, theory, study privately, take orchestration; we lived, breathed, ate and went to bed with it. We were obsessed. There’s nothing we had to wish for anymore.”



The New Kids in Town



Jeff Porcaro told me in 1982: “[David] Paich, [David] Hungate, myself and a few other guys like David Foster and Jay Winding, all started getting into the studio at the same time. I’m talking about ’72, ’73 and ’74... We were real radical. I mean, I know myself, we hated contractors. I just remember a time observing studio sessions when nobody said anything. You didn’t speak your mind: It was, ‘Yes sir,’ and, ‘No, sir,’ and you just did your stuff. We weren’t brought up to be studio musicians. We were guys who played in power trios, rock ’n’ rollers who happened to read and play Barbra Streisand dates, too. People didn’t know how to take 19-year-old cats speaking musical sense...”



It was no coincidence that drummer John Robinson, a relative newcomer to the scene at the time, and a member of Rufus, was asked to test the waters on Michael Jackson’s Off the Wall album by cutting two “B” sides, “Girlfriend” and “It’s the Falling in Love” at Allen Zentz Recording Studios. He says the record had been cut previously by other musicians, but now there was a new influx of players.



“After we cut those two, I heard them milling around in there and then they pushed the talk button and said, ‘What’re you doing Monday?’ I said, ‘Nothing.’ They said, ‘You wanna come record the rest of the album?’ I said, ‘Yes!’”



Robinson says the first group of tracks were cut at Allen Zentz because Bruce Swedien liked the Harrison console. The second batch, which included “Rock With You,” was cut at Westlake B.



Lukather says there was a period of time that it seemed to him that money was being burned. “Drum sounds would take a day,” he remembers.



“Three hours on a kick drum,” Glaub recalls. “It was crazy. We’d be making phone calls. This was back 30 years before cell phones, before even answering machines. We all had answering services, and some of the studios had a direct line like a house phone at a hotel.”



“They would hire us to sit around in the hallway,” Lukather says. “We were going, ‘Why don’t you hire the drummer for the day and hire us to come the next day?’ That was just included in the budget.”



Technology Emerging



For many varied and often unrelated but interconnected reasons, the vibrant, exciting scene took a turn in the early 1980s. Lukather attributes the changes to two main factors.



The first was a prophecy made by Jeff Porcaro, sitting in product designer Roger Linn’s apartment, circa 1978. Lukather, Jeff and Steve Porcaro, and David Paich had been invited over to check out his new gadget.



“There were alligator cables coming out of his Roland rhythm box,” Lukather recalls, “and when this f–ing little diabolical homemade box started going, ‘boom smack, boom-boom smack,’ with a kick, hi-hat and snare and it sounded pretty real, the look on Jeff’s face... Well, he looked around the room and he said, ‘We have to destroy this now, it’s going to ruin everything.’



“All of a sudden we started the era of, ‘We don’t need humans to make music anymore; we have machines to do the job.’ And when they figured out how to hook up a clock to a synthesizer to the drum machine, then the bass players were out of work.”



Case in point: Foster says he loves playing synth bass, which he learned from Gary Wright when he worked on the Dream Weaver album in 1978.



“He was an amazing synth bass player,” Foster says. “Then when I was producing Chicago XXVI in 1981, on the very first session, Peter Cetera, who is a great bass player, was playing and I was young and cocky and something went down and he was uncomfortable with what I said, and he took me aside and said, ‘Hey you know I’ve heard your synth bass playing and I don’t really want to play bass on these records. Why don’t you play.’ And I played synth bass on the next three Chicago records, and that kind of contributed to their ’80s sound.”



“For me things changed when the [Yamaha] DX7, the first digital keyboard [1983], and the LinnDrum came out,” Glaub says. “They changed everything for a lot of brass players, bass players, some drummers. Work did change for a while. I’ll credit my good friend Jim Keltner for this. A lot of guys couldn’t hang in for the long haul. He’s probably an anomaly.” Keltner was one of the first to embrace technology.



“When the home studio thing came along and the keyboard guys could do everything, if you were a drummer who had a good feel and a good sound, you probably wouldn’t be replaced by Roger Linn,” Keltner says. “The record may have been made with a Linn machine, but you would be called to replace the machine. And that’s something that hasn’t changed, except it’s no longer a Linn machine. But it really wiped out bass players because there are tremendous bass samples, and if you are a keyboard player, you can play a great bass. But, then again, as a musician, hopefully you have something unique about your playing that can’t be replaced by a machine.”



“I had slow years,” Glaub remembers. “You have to be willing to wait it out and be in for the long haul. I had a couple of slow years right then in ’83 and ’84 when I had just bought a house and we had just had a second child. But then things changed again and I started working a ton. The budgets are different, and if you want to work with some of the younger indie artists, you have to be willing to negotiate fees that make sense.”



Parks, who still remembers how great it was when the first Korg tuner hit the marketplace in the mid-’70s, says the advent of the drum machine changed recording, and it was better for some drummers than others. “Some drummers had not made friends with the click, and unless you could do that, you couldn’t replace fake drums on a track, and as a drummer you had to learn how to do that because things started to be based on a click track.”



Foster, who gave up a six-figure income in 1978 as a studio player to make $5,000 as a producer in his first year, remembers witnessing some key historical musical moments. “The first time I saw a Minimoog, I just about freaked; the first time I saw a string ARP [synthesizer], I freaked.



The first time I saw a MIDI controller, I couldn’t believe it. It was on my Olivia Newton-John record [Two of a Kind, 1983]. Steve Kipner had written a song [“Catch 22 (2 Steps Forward, 2 Steps Back)”] and brought in this machine and pressed a button and this damn track played. I couldn’t believe it. Everything was tight, the piano part was tight, the bass part was tight, the drums were tight. It was phenomenal.” Foster also remembers the birth of automation at the Complex, circa 1981.



“When I was working with Earth, Wind & Fire, George Massenburg brought me into his workshop and he said, ‘Move this fader.’ It was one fader, and he said, ‘Go up to here and go up to this mark and then come back to this mark and then go back to zero,’ and I did it and he said, ‘Now watch,’ and he pressed a bunch of electronic shit and the fader did the exact same moves that I had just done. Those were huge moments.”



MTV was the other change that hurt the industry, in Lukather’s estimation. He doesn’t mince words, but because he is a still a session musician and a member of Toto, he has a unique perspective, which he is able to share with his equally unique sense of humor.



“We were told it was a promotional thing, no one was ever going to make money, but they found a loophole, turned it into a commercial channel, turned it into a money-soaking bunch of losers that ruined music and turned musicians into actors,” he says. “In the ’60s, if there was a good-looking guy in the band, that was a plus, but it wasn’t a deal breaker because you had to be great to make records. Now all of a sudden you had to be pretty, too. Pretty became more important than good. We were forced to make videos with our own money, against our own will, with people dressing us up like idiots and we had to recoup that money with the promise that MTV was going to play it, and then they wouldn’t because there was payola involved...”



Glaub says even though the days are no longer full of doubles and he is now doing his own cartage, he still loves making music.



“The work was so abundant and I probably took it for granted for a while,” Glaub admits. “It was just such a buzz. We were working all the time. We were trying to spend time with families and get sleep and not be too hung-over the next day. It was an amazing period of about 10 years.”



Keltner, arguably one of the only session players that has spanned from the Wrecking Crew days into this current generation of studio musicians, says one session a day was really only all he has ever cared to do, anyway.



“When the Internet started shaking the record companies up and everything and sessions went way down and all that, it changed as far as the volume goes, but nothing really changed in my life,” Keltner says. “I still was doing records and I’m still doing them today and that’s all, Lord willing, I’ll be doing until I drop.”





THE PLAYERS


Of the dozens and dozens of amazing L.A. session players over the years, the following contributed to our story.



David Foster

Canadian-born David Foster has done everything in the music business from having a hit song with a pop group called Skylark to making music as a session player in the ’70s, first hired by contractor Frank DeCaro. “I was living in an apartment in Coldwater Canyon and had laid out in the sun and gotten second degree burns,” Foster remembers. “I showed up at my first session—a Helen Reddy date—on crutches. At the end of the date, I overheard DeCaro saying, ‘We should get the crippled guy to play piano again.’”



Ultimately Foster went on to become one of music’s top record producers, winning 16 Grammys and recording the likes of Earth, Wind & Fire, Andrea Bocelli, Celine Dion, Mariah Carey, Chicago, Madonna, Jennifer Lopez, Barbra Streisand and Beyonce.





Jim Keltner



Jim Keltner, from Tulsa, Oklahoma, has been a leading session drummer since the early ’70s, getting his big start with Delaney & Bonnie and then Joe Cocker. He has the auspicious distinction of having worked often with John Lennon, George Harrison and Ringo Starr, as well an eclectic mix of artists such as Bob Dylan, Van Dyke Parks, Leon Russell, Eric Clapton, Dolly Parton, Warren Zevon, Barbra Streisand, Bonnie Raitt, Randy Newman, Neil Young, Harry Nilsson and Bill Wyman. He was also a member of two super groups, the Traveling Wilburys and Little Village.





Bob Glaub

Originally from California, major recording and touring bassist Bob Glaub got his session start on a Jesse Ed Davis record and from there he went on to work with such artists as Dave Mason, Rod Stewart, Warren Zevon, Gladys Knight, Nicolette Larson, Cher, Stevie Nicks and Jackson Browne, whose band he joined in 1978 for more than a decade. He is currently back with Browne on his new record and tour.





Dean Parks



Texas-born Dean Parks moved to Los Angeles to work with Sonny & Cher in 1970, and his career took off with such artists as Steely Dan, Elton John, Stevie Wonder, Michael Jackson, Neil Diamond, Billy Joel, Barbra Streisand, B.B. King, the Crusaders and an eclectic list. He has also composed and produced.





John Robinson

Drummer John “J.R.” Robinson arrived in Los Angeles in 1978 from Iowa with Rufus after they discovered him in a bar band in his home state. Not long after, he was nabbed to work on Michael Jackson’s Off the Wall and then his phone began to ring... artists such as George Duke, Quincy Jones, Herb Alpert, Herbie Hancock, the Pointer Sisters, Lionel Richie, Glenn Frey, Frank Sinatra and Barbra Streisand, with whom he’s worked since 1993.





Steve Lukather



Born in the San Fernando Valley, guitarist Steve Lukather says he owes everything to his second family, the Porcaros. From a rehearsal band with Willie Ornelas, Jai Winding and Steve Porcaro, Winding got him on a Terence Boylan record. From there, drummer Jeff Porcaro brought him into one of his earliest sessions with Boz Scaggs, “which really upped the stock,” Lukather says. Then dates with Diana Ross, Michael Jackson, Lionel Richie, Chicago, Donna Summer, an endless list, going on to become a prolific composer and then a member of Toto with his buddies.

Jerry Lee Lewis - Rock & Roll Time

Jerry Lee Lewis - Rock & Roll Time
Vanguard Records 783342 (2014)






Track Listing:
1. Rock & Roll Time
2. Little Queenie
3. Stepchild
4. Sick And Tired
5. Bright Lights, Big City
6. Folsom Prison Blues
7. Keep Me In Mind
8. Mississippi Kid
9. Blues Like Midnight
10. Here Comes That Rainbow Again
11. Promised Land





Personnel:
Jim Keltner - drums, producer
Jerry Lee Lewis - piano, vocals
Keith Richards - guitar, backing vocals
Ron Wood - guitar
Neil Young - guitar, backing vocals
Robbie Robertson - guitar, backing vocals
Nils Lofgren - guitar, backing vocals
Doyle Bramhall II - guitar
Derek Trucks - guitar
Jon Brion - bass
Shelby Lynne - vocals
Daniel Lanois - guitar, backing vocals
Steve Bing - producer
Ivan Neville - backing vocals

Jim Keltner Was Inducted In Hall Of Fame

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The Oklahoma Music Hall of Fame is set to induct five new members with its 2014 class this Saturday at Cain’s Ballroom in Tulsa.

You might not know the name Jim Keltner, but you’ve probably heard him playing drums on some of your favorite songs for the last 50 years.

Founding board member of the Oklahoma Music Hall of Fame and author of the Oklahoma Music Guide Dr. Hugh Foley says that Keltner’s status among rock drummers is unquestionable.

“He is the session drummer of the rock and pop era, from the mid-1960s to the present day. That includes an incredible list of artists. It’s one of those jaw-droppers, whether it’s John Lennon or Ringo Starr or George Harrison, with whom he played on all significant tracks by those three former Beatles.”

George Harrison was such a fan of Keltner, he created a fictitious Jim Keltner Fan Club, which was listed on the back cover of his 1973 album, Living in the Material World. Fans were told that more information would be given after they sent in a "stamped undressed elephant" to a Los Angeles postal address.

The list of artists Keltner has recorded with is exhaustive. From almost every era and seemingly every imagined genre, Keltner just keeps reappearing.

“He’s on Bob Dylan’s music, Roy Orbison, Jerry Garcia, Eric Clapton, Barbra Streisand, The Rolling Stones and many of their solo projects, Joni Mitchell, Elvis Costello, Neil Young, The Bee Gees, Jackson Browne, Los Lobos, Pink Floyd…”

...you get the point. He was simply everywhere.

Keltner lived in Tulsa from his birth in 1942 until at least 7th grade, when he first learned how to read music. His father was also a drummer and his uncle played bass with Johnnie Lee Wills at the Cain’s Academy. Things were so rowdy at Cain’s then that Keltner’s parents made a conscious decision to move to California to get away from it all.

“This year’s induction is at Cain’s Ballroom – the same place that his parents essentially had moved away from fifty years ago to get away from that environment. He said that if they were still living today, they’d have a big laugh.”

At the age of 72, Keltner’s work continues to appear in popular music and film.

“His most recent projects include working on the recent John Mayer album, two number one Michael Buble albums, the most recent Diana Krall album, he’s done all three Toy Story movies, Cars, Princess and the Frog, Meet the Fockers, Charlie Wilson’s War – I mean, the drums that you hear are his in a lot of that soundtrack music.”

The other drummer being inducted on Saturday is Chuck Blackwell, who began playing drums in Tulsa bars at the age of 13, carrying a permission note from his father since he was underage.

He played early shows with other Tulsa Sound musicians like Leon Russell and David Gates and eventually became the house drummer for the TV show ‘Shindig.’

Dr. Foley says Blackwell’s drumming earned him a high level of appreciation and respect from other musicians, including Jim Keltner.

“When Jim Keltner was approached about being in the Oklahoma Music Hall of Fame, he said, ‘Is Chuck Blackwell in the Oklahoma Music Hall of Fame?’ And we said, ‘he’s not been inducted yet, but he has been selected for induction.’ And he said, ‘I won’t go in before Chuck Blackwell because Chuck was a big hero of mine.”

Blackwell played drums for the Everly Brothers, Little Richard and Jerry Lee Lewis, and recorded with Taj Mahal, Freddie King, and Leon Russell. Dr. Foley’s says Blackwell’s style wasn’t flashy, rather steady and always providing the needed bedrock beat.

Keltner and Blackwell have been part of rock fans’ music consciousness for nearly five decades and thanks to the Oklahoma Music Hall of Fame, their legacies will be preserved for countless decades more.

Jim Keltner and Chuck Blackwell will be inducted into the Oklahoma Music Hall of Fame on Saturday night at Cain’s Ballroom in Tulsa. Other inductees to the 2014 class include guitarists J.J. Cale, Lowell Fulson, and Elvin Bishop.

By RYAN LACROIX

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Smokey Robinson - Smokey & Friends

Smokey Robinson - Smokey & Friends
Verve 001901602 (2014)





Track Listing:
1. The Tracks Of My Tears (feat. Elton John)
2. You Really Got A Hold On Me (feat. Steven Tyler)
3. My Girl (feat. Miguel, Aloe Blacc, JC Chasez)
4. Cruisin' (feat. Jessie J)
5. Quiet Storm (feat. John Legend)
6. The Way You Do (The Things You Do) (feat. CeeLo Green)
7. Being With You (feat. Mary J. Blige)
8. Ain't That Peculiar (feat. James Taylor)
9. The Tears Of A Clown (feat. Sheryl Crow)
10. Ooh Baby Baby (feat. Ledisi)
11. Get Ready (feat. Gary Barlow)







Personnel:
Jim Keltner - Drums, Percussion
Smokey Robinson - Vocals
Ray Angry - Keyboards
Jeff Babko - Keyboards, String Arrangements, Synthesizer Flute, Synthesizer Strings
Gary Barlow, Aloe Blacc, Mary J. Blige, JC Chasez, Sheryl Crow, Cee Lo Green, Jessie J, Elton John, Ledisi, Miguel, Steven Tyler - Vocals
Terron Brooks, Sherree Brown, Sharlotte Gibson, Mischke, Nicole Scherzinger, Sarah West - Background Vocals
Jim Cox - Hammond B3, Piano, Synthesizer Strings
Theron "Neff U" Feemster - Drums, Keyboards, Programming, Synthesizer Horn
Raul Ferrando - Synthesizer Strings
James Gamble - Drums
Larry Goldings - Organ, Wurlitzer
Loris Holland - Keyboards
Randy Jackson - Bass, Producer
Jimmy Johnson, Mark Kelly, Cornelius Mims - Bass
Songa Lee - Violin
John Legend - Vocals, Piano
Wayne Linsey - Keyboards
John Mayer - Guitar
Dave O'Donnell - Producer
Tim Pierce, Doc Powell, John Shaks, Michael Landau, Randy Bowland - Guitar
Roger Squitero Tambourine
James Taylor - Acoustic Guitar, Vocals
Ahmir Thompson - Drums
Beate Walden - Violin
Chris Walden - String Arrangements, Synthesizer Strings
Jim Wright - Keyboards
Phil X. - Guitar

Jackson Browne - Standing In The Breach

Jackson Browne - Standing In The Breach
Inside Recordings INR 14107 (2014)






Track Listing:
1. The Birds of St. Marks
2. Yeah Yeah
3. The Long Way Around
4. Leaving Winslow
5. If I Could Be Anywhere
6. You Know the Night
7. Walls and Doors
8. Which Side?
9. Standing In the Breach
10. Here







Personnel:
Jim Keltner - Drums
Jackson Browne - Acoustic Guitar, Piano, Vocals
Alex Al - Bass
Jay Bellerose - Cymbals, Drums (Snare), Percussion, Tambourine
Luis Conte - Djembe, Shaker, Tambourine, Udu
Aldo López-Gavilán - Piano
Bob Glaub - Bass
Mark Goldenberg - Guitar
Griffin Goldsmith - Drums, Tambourine, Vocal Harmony
Taylor Goldsmith - Bass, Vocal Harmony
Julio Cesar Gonzalez - Bass
David Goodstein - Drum Loop
Doug Haywood - Vocal Harmony
Don Heffington - Drums
Greg Leisz - 12 String Guitar, Acoustic Guitar, Electric Baritone Guitar,  Tenor Guitar, Lap Steel Guitar, Pedal Steel Guitar, Weissenborn
Kipp Lennon - Vocal Harmony
Mauricio Lewak - Drum Fills, Drums
Val McCallum - Baritone Guitar, Guitar, Vocal Harmony
Kevin McCormick - Bass
Alethea Mills - Vocal Harmony
Sebastian Steinberg - Bass
Chavonne Stewart - Vocal Harmony
Benmont Tench - Hammond B3 Organ, Piano
Pete Thomas - Drums
Mike Thompson - Hammond B3 Organ
Carlos Varela - Acoustic Guitar, Vocals
Tal Wilkenfeld - Bass
Jonathan Wilson - Vocal Harmony
Jeff Young - Hammond B3 Organ
Paul Dieter - Producer

Roy Orbison: Mystery Girl - Unraveled

Jim Keltner Radio Interview

   Thank God For The Music!

Charles Lloyd: Arrows Into Infinity

Directed by Jeffrey Morse and Dorothy Darr, the latter who is Charles Lloyd's painter/filmmaker wife, the documentary Charles Lloyd: Arrows Into Infinity chronicles the influential saxophonist and composer's life and career range.
Charles Lloyd was one of the most influential jazz musicians of the 1960s. His music crossed traditional boundaries and explored new territories. Born in Memphis, he grew up steeped in the blues but with an ear for modernity. At the age of 26, he was a bandleader with two successful records on Columbia Records, including Forest Flower, recorded live at the Monterey Jazz Festival in 1966. His group, the Charles Lloyd Quartet, was comprised of an undiscovered Keith Jarrett, Jack DeJohnette and Cecil McBee.
Lloyd shattered boundaries and charted new territories. Catapulted into worldwide fame in his 20s, by his early 30s, he was burned out and left a public life behind to go into seclusion in Big Sur, Calif. for over a decade.
Arrows Into Infinity is a journey in sound through the unusual life and career of this jazz legend. Through contemporary and archival film, along with commentary from the jazz, pop, art and literary worlds, we come to better understand this enigmatic man and his spiritual pursuit through music. Lloyd launched the careers of Keith Jarrett, Jack DeJohnette, and French pianist Michel Petrucciani. He is a mentor to young musicians Jason Moran and Eric Harland, giving them a platform of freedom upon which to discover themselves. Musicians Jack DeJohnette, Jim Keltner, John Densmore, Robbie Robertson, Don Was, Jason Moran, Ornette Coleman, Zakir Hussain, Geri Allen, writer Stanley Crouch, painter Arthur Monroe, producers Manfred Eicher and Michael Cuscuna and others reveals to us Lloyd “the band leader,” Lloyd “the rebel” and Lloyd “the tender warrior.” But it is through Charles Lloyd's own poignant words and music that a poetic thread is created weaving together the unique aspects of his life.

2013, Dorothy Darr and Jeffrey Morse, USA, 114 minutes.

Blake Mills - Heigh Ho

Blake Mills - Heigh Ho
Verve Records #4700110 (2014)






Track Listing:
1. If I'm Unworthy
2. Cry To Laugh
3. Just Out of View
4. Seven
5. Don't Tell Our Friends About Me
6. Gold Coast Sinkin'
7. Silence Is Sincerity
8. Half Asleep
9. Three Weeks In Havana
10. Before It Fell
11. Shed Your Head
12. Curable Disease








Personnel:

Jim Keltner - Cowbell, Drums, Percussion
Blake Mills - Bass, Bass Harmonica, Drums, Guitar, Guitarron, Harmonica, Organ, Percussion, Producer, Tiple, Vocals
Fiona Apple - Bells, Vocals
Tony Berg - Guitar
Jon Brion - Piano, Tiple
Mike Elizondo - Bass
Griffin Goldsmith - Brushes, Percussion
Gabriel Kahane - Piano
Rob Moose - Strings
Benmont Tench - Piano
Don Was - Bass

Jim At R'N'R Fantasy Camp

The Beach Boys - Made In California

The Beach Boys - Made In California
Capitol/Universal Records 2323452 (2013)







Track Listing:

CD 1
1. Home Recordings / “Surfin’” Rehearsal Highlights (2012 Edit – Mono)
2. Surfin’ (with Session Intro – Mono)
3. Their Hearts Were Full Of Spring (Demo – Mono)
4. Surfin’ Safari (Original Mono Long Version)
5. 409 (Original Mono Long Version)
6. Lonely Sea (Original Mono Mix)
7. Surfin’ U.S.A.
8. Shut Down (2003 Stereo Mix)
9. Surfer Girl
10. Little Deuce Coupe
11. Catch A Wave
12. Our Car Club
13. Surfers Rule (with Session Intro)
14. In My Room
15. Back Home
16. Be True To Your School (Mono Single Version)
17. Ballad Of Ole’ Betsy
18. Little Saint Nick (Stereo Single Version)
19. Fun, Fun, Fun (Stereo Single Version)
20. Little Honda
21. Don’t Worry Baby (2009 Stereo Mix)
22. Why Do Fools Fall In Love (2009 Stereo Mix)
23. The Warmth Of The Sun
24. I Get Around (with Session Intro – Mono)
25. Wendy (2007 Stereo Mix)
26. All Summer Long (2007 Stereo Mix)
27. Girls On The Beach
28. Don’t Back Down
29. When I Grow Up (To Be A Man) (2012 Stereo Mix)
30. All Dressed Up For School (Mono)
31. Please Let Me Wonder (2007 Stereo Mix)
32. Kiss Me, Baby (2000 Stereo Mix)
33. In The Back of My Mind (2012 Stereo Mix)
34. Dance, Dance, Dance (2003 Stereo Mix)

CD 2
1. Do You Wanna Dance (2012 Stereo Mix)
2. Help Me, Rhonda (Mono Single Version)
3. California Girls (2002 Stereo Mix)
4. Amusement Parks USA (Early Version)
5. Salt Lake City (2001 Stereo Mix)
6. Let Him Run Wild (2007 Stereo Mix)
7. Graduation Day (Session Excerpt and Master Take, 2012 Mix)
8. The Little Girl I Once Knew (Mono)
9. There’s No Other (Like My Baby) (2012 “Unplugged” Mix with Party Session Intro)
10. Barbara Ann (2012 Stereo Mix)
11. Radio Spot “Wonderful KYA” (Mono)
12. Sloop John B (1996 Stereo Mix)
13. Wouldn’t It Be Nice (2001 Stereo Mix)
14. God Only Knows (1996 Stereo Mix)
15. I Just Wasn’t Made For These Times (1996 Stereo Mix)
16. Caroline No (1996 Stereo Mix)
17. Good Vibrations (Mono)
18. Our Prayer (2012 “Smile Sessions” Stereo Mix)
19. Heroes And Villains: Part 1 (“Smile Sessions” Mix – Mono)
20. Heroes And Villains: Part 2 (“Smile Sessions” Mix – Mono)
21. Vega-Tables (“Smile Sessions” Stereo Mix)
22. Wind Chimes (“Smile Sessions” Stereo Mix)
23. The Elements: Fire (Mrs. O’Leary’s Cow) (“Smile Sessions” Mix – Mono)
24. Cabin Essence (“Smile Sessions” Mix – Mono)
25. Heroes And Villains (2012 Stereo Mix)
26. Wonderful (2012 Stereo Mix)
27. Country Air (2012 Stereo Mix)
28. Wild Honey (2012 Stereo Mix)

CD 3
1. Darlin’ (2012 Stereo Mix)
2. Let The Wind Blow (2001 Stereo Mix)
3. Meant For You (Alternate Version)
4. Friends
5. Little Bird
6. Busy Doin’ Nothin’
7. Sail Plane Song (2012 Stereo Mix)
8. We’re Together Again (2012 Stereo Mix)
9. Radio Spot “Murray The K” (Mono)
10. Do It Again (2012 Stereo Mix)
11. Old Man River (Vocal Section)
12. Be With Me
13. I Can Hear Music
14. Time To Get Alone
15. I Went To Sleep
16. Can’t Wait Too Long (A Cappella)
17. Break Away (Alternate Version)
18. Celebrate The News
19. Cotton Fields (The Cotton Song) (Single Version, 2001 Stereo Mix)
20. Susie Cincinnati (2012 Mix)
21. Good Time
22. Slip On Through
23. Add Some Music To Your Day
24. This Whole World
25. Forever
26. It’s About Time
27. Soulful Old Man Sunshine
28. Fallin’ In Love (2009 Stereo Mix)
29. Sound Of Free (Mono Single Version)
30. ‘Til I Die
31. Surf’s Up

CD 4
1. Don’t Go Near The Water
2. Disney Girls (1957)
3. Feel Flows
4. (Wouldn’t It Be Nice To) Live Again
5. Marcella
6. All This Is That
7. Sail On Sailor
8. The Trader
9. California Saga (On My Way To Sunny Californ-I-A)
10. Rock And Roll Music (2012 Mix w/Extra Verse)
11. It’s OK (Alternate Mix)
12. Had To Phone Ya
13. Let Us Go On This Way
14. I’ll Bet He’s Nice
15. Solar System
16. The Night Was So Young
17. It’s Over Now (Alternate Mix)
18. Come Go With Me
19. California Feelin’
20. Brian’s Back (Alternate Mix)
21. Good Timin’
22. Angel Come Home
23. Baby Blue
24. It’s A Beautiful Day (Single Edit) (2012 Mix)
25. Goin’ To The Beach

CD 5
1. Goin’ On
2. Why Don’t They Let Us Fall In Love
3. Da Doo Ron Ron
4. Getcha Back
5. California Dreamin’
6. Kokomo
7. Soul Searchin’
8. You’re Still A Mystery
9. That’s Why God Made The Radio
10. Isn’t It Time (Single Version)
THE BEACH BOYS LIVE:
11. Runaway (Chicago 1965 — w/Concert Promo Intro – Mono)
12. You’re So Good To Me (Paris 1966 – Mono)
13. The Letter (Hawaii Rehearsal 1967)
14. Friends (Chicago 1968 – Mono)
15. Little Bird (Chicago 1968 – Mono)
16. All I Want To Do (London 1968)
17. Help Me, Rhonda (New Jersey 1972)
18. Wild Honey (New Jersey 1972)
19. Only With You (New York 1972)
20. It’s About Time (Chicago 1973)
21. I Can Hear Music (Maryland 1975)
22. Vegetables (New York 1993)
23. Wonderful (New York 1993)
24. Sail On Sailor (Louisville 1995)
25. Summer In Paradise (Wembley 1993)

CD 6
FROM THE VAULTS:
1. Radio Spot (1966 — Mono)
2. Slip On Through (A Cappella Mix)
3. Don’t Worry Baby (Stereo Session Outtake w/ Alternate Lead Vocal)
4. Pom Pom Play Girl (Vocal Session Highlight)
5. Guess I’m Dumb (Instrumental Track w/Background Vocals)
6. Sherry She Needs Me (1965 Track w/1976 Vocal)
7. Mona Kana (Instrumental Track)
8. This Whole World (A Cappella)
9. Where Is She?
10. Had To Phone Ya (Instrumental Track)
11. Smile Backing Vocals Montage (from “The Smile Sessions”)
12. Good Vibrations (Stereo Track Sections)
13. Be With Me (Demo)
14. I Believe In Miracles (Vocal Section)
15. Why (Instrumental Track)
16. Barnyard Blues
17. Don’t Go Near The Water (Instrumental Track)
18. You’ve Lost That Lovin’ Feeling
19. Transcendental Meditation (Instrumental Track)
20. Our Sweet Love (Vocals w/Strings)
21. Back Home (1970 Version)
22. California Feelin’ (Original Demo)
23. California Girls (“Lei’d In Hawaii” Studio Version)
24. Help You, Rhonda (“Lei’d In Hawaii” Studio Version)
25. Surf’s Up (1967 Version) (2012 Mix)
26. My Love Lives On
27. Radio Spot (1964 – Mono)
28. Wendy (BBC — Live in the Studio 1964 – Mono)
29. When I Grow Up (To Be A Man) (BBC — Live in the Studio 1964 – Mono)
30. Hushabye (BBC — Live in the Studio 1964 – Mono)
31. Carl Wilson: Coda (2013 Edit)












Personnel:
Jim Keltner - Drums, Programming
Brian Wilson - Arranger, Bass, Drums, Keyboards, Producer, Vocals
Carl Wilson - Arranger, Bass, Drums, Guitar, Keyboards, Producer, Vocals
Carnie Wilson - Sleigh Bells, Vocals
Dennis Wilson - Arranger, Drums, Harmonica, Keyboards, Producer, Vocals
Jim Ackley - Guitar, Keyboards
Robert Adcock - Cello
Murray Adler - Violin
Bob Alcivar - Arranger, Conductor
Randall Aldcroft - Trombone
John Alder - Dobro, Guitar
Tandyn Almer - Arranger
Ron Altbach - Accordion, Arranger, Kazoo, Keyboards, Trombone, Vibraphone, Vocals
Mike Altschol - Clarinet, Saxophone
David Anderle - Vocals
Dale Anderson - Percussion
Michael Andreas - Arranger, Flute, Saxophone
Michael Anthony - Guitar
Ray Armando - Steel Drums
Victor Arno - Violin
Tony Asher - Sleigh Bells
John Audino - Trumpet
Margaret Aue - Cello
Don Bagley - Upright Bass
Mike Baird - Drums
Adrian Baker - Guitar, Piano, Vocals
Israel Baker - Violin
Marilyn Baker - Viola, Vocals
Peggy Baldwin - Cello
Brian Banks - Keyboards
Phillip Bardowell - Guitar, Vocals
Robert Barene - Violin
Gary Barone - Trumpet
Michael Barone - Trombone
Alisha Bauer - Cello
Jeff "Skunk" Baxter - Guitar
Eddie Bayers - Drums, Percussion
Paul Beaver - Moog Synthesizer
Curt Becher - Arranger, Guitar, Vocals
Gerry Beckley - Vocals
Myer Bello - Viola
Arnold Belnick - Violin
Harold Bemko - Cello
Ben Benay - Guitar
Max Bennett - Electric Bass, Upright Bass
Scott Bennett - Keyboards, Percussion, Vibraphone, Vocals
Ronald Benson - Guitar, Ukulele
Chuck Berghofer - Upright Bass
Paul Bergstrom - Cello
Roberleigh Bernhart - Arranger, Cello
Jan Berry - Vocals
Jackie Bertone - Percussion
Harry Betts - Arranger, Conductor, Trombone
Allan Beutler - Saxophone
Harold Billings - Trumpet
Jessica Bish - Finger Snaps
Curt Bisquera - Drums
George Black - Synthesizer
Lou Blackburn - Trombone
Hal Blaine - Drums, Percussion, Vocals
Ginger Blake - Vocals
Chris Bleth - English Horn
Harry Bluestone - Violin
Samuel Boghossian - Viola
Ross Bolton - Keyboards
Jimmy Bond - Electric Bass, Upright Bass
Tim Bonhomme - Keyboards
Norman Botnick - Viola
Alan Boyd - Producer, Vocals
Nelson Bragg - Drums, Percussion
Kevin Brandon - Bass
Joey Brasler - Guitar
Allen Reid Breneman - Drums
Alfred Breuning - Violin
Emil Briano - Violin
Arthur Briegleb - French Horn
Verlye Mills Brilhart - Harp
Bud Brisbois - Trumpet
Graham Broad - Drums, Percussion
Junior Brown - Vocals
Marvin Brown - Trumpet
Raymond Brown - Trumpet
Ron Brown - Bass
T. Graham Brown - Vocals
Bob Brunner - Saxophone
Dennis Budimir - Guitar
Thomas Buffum - Violin
Tom Bukovac - Guitar
Lance Buller - Trombone, Trumpet
David Burk - Viola
Mike Burney - Saxophone
James Burton - Dobro, Guitar
Bill Byrne - Trombone
Kim Calkins - Drums
William Calkins - Clarinet, Flute
Red Callender - Tuba
Glen Campbell - Banjo, Bass, Guitar, Vocals
Trisha Campo - Vocals
Richie Cannata - Flute, Keyboards, Percussion, Saxophone
Frank Capp - Drums, Percussion
Andrea Carlo - Vocals
Barbara Carlson - French Horn
Steve Carnelli - Guitar
Ed Carter - Bass, Guitar
Jim "Chick" Carther - Flute, Saxophone
Dwight Carver - Mellophonium
Al Casey - Guitar
Stella Castellucci - Harp
Roy Caton - Trumpet
Blondie Chaplin - Arranger, Bass, Guitar, Producer, Vocals
Vince Charles - Steel Drums
Joe Chemay - Arranger, Bass, Vocals
Marion Childers - Trumpet
Peter Christ - English Horn
Pete Christlieb - Flute, Saxophone
Gene Cipriano - Oboe, Saxophone
Rod Clark - Bass
Todd Clark - Upright Bass
Michael Clarke - Drums
Alf Clausen - French Horn
Herman Clebanoff - Violin
John Coan - Cornet
Luther Coffee - Bass
David Cohen - Guitar
Vinnie Colauita - Drums
Jerry Cole - Guitar
Ervan F. "Bud" Coleman - Guitar
Gary Coleman - Marimba, Percussion
William Collette - Flute
Michel Colombier - Arranger, Conductor
Marisa Conover - Vocals
Jack Conrad - Bass
Ry Cooder - Guitar
Ronald Cooper - Cello
Craig Copeland - Guitar
John Cowsill - Drums, Guitar, Percussion, Piano, Vocals
Chad Cromwell - Drums
Rodney Crowell - Vocals
Sonny Curtis - Guitar
Mike D'Amico - Bass, Drums
Jasper Dailey - Vocals
Rollice Dale - Viola
Isabelle Daskoff - Violin
Douglas Davis - Cello
Mike Deasy - Guitar
Jim Decker - French Horn
Frank DeLaRosa - Upright Bass
Al DeLory - Keyboards
Joey DePompeis - Drums
Vincent DeRosa - French Horn
Joel Deroulin - Violin
Stephen W. Desper - Moog Synthesizer, Vocals
Frank DeVito - Drums
John DeVoogdt - Violin
Harold Dicterow - Violin
Joseph DiFiore - Viola
Doug Dillard - Banjo
Alvin Dinkin - Viola
Eugene Dinovi - Piano
Joseph Ditullio - Cello
Justin DiTullio - Cello
Jerry Donahue - Guitar
Bonnie Douglas - Violin
Steve Douglas - Clarinet, Contractor, Flute, Piano, Saxophone, Tambourine
Daryl Dragon - Arranger, Bass, Guitar, Keyboards, Marimba, Vibraphone
Dennis Dragon - Drums, Percussion
Doug Dragon - Keyboards
Kathy Dragon - Flute
Dennis Dreith - Clarinet, Saxophone
Assa Drori - Violin
Timothy Drummond - Bass
David Duke - French Horn
Earle Dumler - Oboe
Steve Dvoreck - Vibraphone
Darryl Eaton - Trumpet
Steven Edelman - Upright Bass
Bob Edmondson - Trombone
Dave Edwards - Flute
Scott Edwards - Bass
Arni Egilsson - Upright Bass
Ernie Ehrhardt - Cello
Jesse Ehrlich - Arranger, Cello
Steve Eisen - Flute
Don Englert - Clarinet, Saxophone
Alan Estes - Percussion
Gene Estes - Keyboards, Percussion, Vibraphone
Bob Esty - Arranger
Virgil Evans - Trumpet
Gilbert Falco - French Horn
Craig Fall - Guitar, Keyboard Bass, Mandolin
Vincent Fanuele - Trombone
Chris Farmer - Bass, Musical Director, Vocals
Ricky Fataar - Arranger, Drums, Flute, Guitar, Keyboards, Pedal Steel Guitar, Producer, Vocals
Paul Fauerso - Keyboards, Producer, Vocals
Victor Feldman - Percussion
Marie Fera - Cello
Henry Ferber - Violin
Glenn Ferris - Trombone
Ernie Fields Jr. - Saxophone
George Fields - Harmonica
Bobby Figueroa - Drums, Percussion, Vocals
David Filerman - Cello
Chuck Findley - Trumpet
Clare Fischer - Piano
Elliott Fisher - Violin
Bernard Fleischer - Flute, Saxophone
Ronald Folsom - Violin
Larry Ford - Trumpet
Rusty Ford - Bass
Steve Forman - Drums, Percussion
Dick Forrest - Flugelhorn, Trumpet
Carl Fortina - Accordion
Jeffrey Foskett - Guitar, Vocals
John Foss - Trumpet
John Foster - Guitar, Vocals
Bo Fox - Drums
Larry Franklin - Fiddle
Elliot Franks - Percussion
Ian Freebairn-Smith - Arranger
Vanessa Freebairn-Smith - Cello
Sam Freed - Violin
David Frisina - Violin
Donald Frost - Drums
Richie Frost - Drums
Gene Gaddy - Vocals
Bryan Garofalo - Bass, Vocals
Sonny Garrish - Pedal Steel Guitar
David Gates - Bass
Arny Geller - Vocals
Irving Geller - Violin
Chuck Gentry - Clarinet, Saxophone
Richard Gerdine - Violin
Nathan Gershman - Cello
James Getzoff - Violin
Joe Gibbons - Guitar
Bob Glaub - Bass
Sam Glenn, Jr. - Clarinet, Flute, Saxophone
Mark Goldenberg - Guitar
Harris Goldman - Violin
Pamela Goldsmith - Viola
Anne Goodman - Cello
Jack Gootkin - Violin
Jim Gordon - Drums, Percussion
Stuart Gordon - Cello, Viola, Violin
Conrad Gozzo - Trumpet
Steve Grainger - Saxophone
Endre Granat - Violin
Gary Gray - Clarinet
John Gray - Piano
Jay Graydon - Guitar
Bill Green - Flute, Saxophone
Urbie Green - Trombone
Ed Greene - Drums
Probyn Gregory - Banjo, Bass, French Horn, Guitar, Theremin, Trombone, Trumpet
Gary Griffin - Accordion, Arranger, Keyboards
Mark Grosclose - Drums
Henry Gross - Vocals
Scott Grusin - Guitar
James William Guercio - Bass, Producer, Vocals
Mark Guercio - Bass, Vocals
John Guerin - Drums, Percussion
Frank Guerrero - Percussion
Lynn Hammann - Drums
Robert Hardaway - English Horn, Oboe
Allan Harshman - Viola
Allan Harstian - Viola
Leonard Hartman - Clarinet, English Horn
Roy Hay - Arranger, Guitar, Keyboards, Programming
Stevie Heger - Drums
Robert S. Helfer - Orchestra Manager
Jimmy Helms - Guitar
James Henderson - Trombone
William Henderson - Violin
Rick Henn - Producer
Arthur Herfurt - Clarinet
Dave Hessler - Bass
Cliff Hills - Upright Bass
Billy Hinsche - Bass, Guitar, Keyboards, Percussion, Vocals
William Hinshaw - French Horn
Meyer Hirsch - Saxophone
John Hobbs - Keyboards
Mitch Holder - Guitar
Dr. Eric Hord - Guitar
Jim Horn - Flute, Saxophone
Paul Horn - Flute, Saxophone
Igor Horoshevsky - Cello
Bill House - Guitar
James House - Vocals
Francis Howard - Trombone
Steve Huffsteter - Trumpet
James Hughart - Upright Bass
Cliff Hugo - Bass
Larry Hulley - Guitar
Simon Humphrey - Bass
Richard Hurwitz - Trumpet
Danny Hutton - Vocals
Dick "Slyde" Hyde - Trombone
Harry Hyams - Viola
George Hyde - French Horn
William Hymanson - Viola
Mark Isham - Trumpet
Sharon Jackson - Violin
Jules Jacob - Flute, Oboe
Tom Jacob - Organ
Gregg Jakobson - Contractor
Adam Jardine - Saxophone, Vocals
Al Jardine - Electric Bass, Upright Bass, Arranger, Guitar, Keyboards, Producer, Vocals
Drew Jardine - Finger Snaps
Mary Ann Jardine - Vocals
Matt Jardine - Finger Snaps, Handclapping, Percussion, Vocals
Robbie Jardine - Finger Snaps
Norm Jeffries - Drums, Percussion
JoAnn Johannsen - Cello
Plas Johnson - Saxophone
Bruce Johnston - Arranger, Bass, Keyboards, Producer, Vocals
Harriet Johnston - Contractor
Jimmy Joyce & His Children's Chorus - Vocals
Jon Joyce - Vocals
Judy Perett - Cello
Kathryn Julye - Harp
Jerry Jumonville - Saxophone
Robert Jung - Saxophone
Steve Kalinich - Kazoo
Anatol Kaminsky - Violin
Artie Kaplan - Contractor
Jeff Kaplan - Bass, Guitar, Keyboards
Armand Kaproff - Cello
Nathan Kaproff - Violin
George Kast - Violin
Carol Kaye - Banjo, Bass, Guitar
Toby Keith - Vocals
Jan Kelley - Cello
Raymond Kelley - Cello
Richard Kelley Sr. - Upright Bass
Wells Kelly - Bass, Keyboards
Jackie Kelso - Clarinet, Saxophone
Peter Kent - Violin
Robert Kenyatta - Percussion
Barney Kessel - Guitar
Jerome Kessler - Violin
Louis Kievman - Viola
Chuck Kirkpatrick - Guitar
Randell Kirsch - Bass, Guitar, Vocals
Mort Klanfer - Electric Bass, Upright Bass
Lou Klass - Violin
Harry Klee - Flute
Bobby Klein - Flute, Saxophone
Ernie Knapp - Bass
Larry Knechtel - Bass, Keyboards
Robert Knight - Trombone
Danny Kortchmar - Guitar
Steve Korthoff - Vocals
Cynthia Kovacs - Violin
Mark Kovacs - Viola
Mike Kowalski - Drums, Percussion
Fred Koyen - Trumpet
Raphael Kramer - Cello
Seymour Kramer - Violin
Bernie Krause - Moog Synthesizer
Bernard Kundell - Violin
Russ Kunkel - Drums
William Kurasch - Violin
Edward Kusby - Trombone
Stephens La Fever - Bass
Judd Lander - Harmonica
Mike Lang - Piano
Ronald Langinger - Saxophone
Henry Laubach - Trumpet
Jack Laubach - Trumpet
Denzil Laughton - Harp
Earl Leaf - Vocals
Songa Lee - Violin
Jeff Legg - Conductor, Guitar
Paul Leim - Drums
Greg Leisz - Guitar, Pedal Steel Guitar
Tony Leo - Percussion
Hy Lesnick - Upright Bass, Conductor, Contractor
Neil Levang - Dobro, Guitar
Gayle Levant - Harp
Joel Levin - Cello
Steve Levine - Producer, Programming
Stan Levy - Drums, Percussion
Carroll "Cappy" Lewis - Harmonica
Don Lewis - Keyboards
Kenny Lee Lewis - Bass
Marvin Limonick - Violin
Julian Lindsey - Arranger, Keyboards, Programming
Mark Linett - Producer
Larry Lingle - Guitar
Irving Lipschultz - Violin
Linda Lipsett - Viola
Charles Lloyd - Flute, Percussion, Saxophone
Charles Loper - French Horn
Sinclair Lott - French Horn
Christian Love - Guitar, Vocals
Hayleigh Love - Vocals
Maureen Love - Harp
Mike Love - Arranger, Producer, Saxophone, Tambourine, Theremin, Vocals
John Lowe - Flute, Saxophone
Abe Luboff - Upright Bass
Alfred Lustgarten - Violin
Edgar Lustgarten - Cello
Jacqueline Lustgarten - Cello
Kathleen Lustgarten - Cello
Glenn Lutz - Trumpet
Joy Lyle - Violin
Ian Lynne - Keyboards, Programming
Jimmy Lyon - Guitar
Arthur Maebe - French Horn
Willie Maiden - Flute, Saxophone
Roy Main - Trombone
Virginia Majewski - Viola
Leonard Malarsky - Violin
Gary Mallaber - Drums, Percussion
Ronnie Mancuso - Guitar
John Markowski - Guitar
David Marks - Guitar, Vocals
Frank Marocco - Accordion
Sal Marquez - Trumpet
Gordon Marron - Fiddle, Ring Modulator
Dale Martel - Guitar
Gail Martin - Trombone
Ricci Martin - Keyboards, Tambourine, Vocals
Tony Martin, Jr. - Pedal Steel Guitar, Vocals
Nick Martinis - Drums
Sal Marullo - Percussion
Skip Masters - Vocals
Scott Mathews - Drums, Percussion
Timothy May - Guitar
Frank Mayes - Arranger, Saxophone
Charlie McCarthy - Saxophone
Van McCoy - Arranger
Lew McCreary - Trombone
George McFarlaine - Bass
James McGee - French Horn
Kenneth McGregor - Trombone
Roger McGuinn - Guitar
Dick McQuary - Trombone
Terry Melcher - Keyboards, Producer, Tambourine, Vocals
Mike Melvoin - Keyboards
Don Menza - Saxophone
Peter Mercurio - Upright Bass
Sammy Merendino - Drums
Mike Meros - Keyboards
Walt Meskell - Banjo
Frank Messina - Accordion
Kevin Michaels - Percussion
Chris Middaugh - Pedal Steel Guitar
Jay Migliori - Clarinet, Flute, Saxophone
Larry Millas - Bass
Carol Lee Miller - Autoharp
Mark Miller - Vocals
Maurice Miller - Drums
Taylor Mills - Vocals
Ollie Mitchell - Trumpet
David Montagu - Violin
Gary Moore - Guitar, Synthaxe
Mark Morales - Rap
John Morell - Guitar
Dorinda Morgan - Producer
Lorrie Morgan - Vocals
Tommy Morgan - Harmonica
Abe Most - Clarinet
Carli Munoz - Keyboards, Percussion
Susan Murphy - Vocals
Alexander Murray - Violin
Don Myrick - Saxophone
Dick Nash - Trombone
Ted Nash - Saxophone
The Nashville String Machine Orchestra - Strings
Steve Nathan - Keyboards
Buell Neidlinger - Upright Bass
Alexander Neiman - Viola
Willie Nelson - Vocals
Erno Neufeld - Violin
Roger Neumann - Arranger, Flute, Saxophone
Ira Newborn - Guitar
Jack Nimitz - Clarinet, Saxophone
Bob Norberg - Guitar
Milton Norman - Guitar
Rod Novak - Saxophone
Michael Nowak - Viola
Michael Nutt - Violin
Wilbert Nuttycombe - Violin
Brian O'Connor - French Horn
David Oppenheim - Sound Effects
Joe Osborn - Bass
Robert Ostrowsky - Viola
Rogier Van Otterloo - Arranger
Andy Paley - Drums, Guitar, Keyboards, Percussion, Producer, Vocals
Jonathan Paley - Bass
Earl Palmer - Drums
Dennis Parker - Bass
Thomas Parker - Saxophone
Jon Parks - Contractor
Van Dyke Parks - Accordion, Keyboards
Don Peake - Bass, Guitar, Percussion
Elmo Peeler - Arranger, Keyboards
Nick Pellico - Percussion, Vibraphone
Gene Pello - Drums
Nick Pentelow - Saxophone
Jack Pepper - Violin
Richard Perissi - French Horn
Al Perkins - Pedal Steel Guitar
Bill Perkins - Saxophone
Joel Peskin - Arranger, Flute, Saxophone
Jim Peterik - Percussion, Ukulele
Frank St. Peters - Clarinet, Flute, Saxophone
Jeff Peters - Producer
Mitchell Peters - Percussion
Bill Peterson - Trumpet
Nicholas Pisani - Violin
Bill Pitman - Fuzz Bass, Guitar
Ray Pizzi - Bassoon
Stanley Plummer - Violin
Ray Pohlman - Bass, Guitar
Val Poliuto - Percussion, Vocal Coach
Mel Pollan - Upright Bass
Joe Pollard - Drums
George Poole - Violin
Al Porcino - Trumpet
George Price - French Horn
Mike Price - Trumpet
Gary Puckett - Guitar
Caleb Quaye - Guitar
Lou Raderman - Violin
Donald Ralke - Arranger
Joe Randazzo - Trombone
Don Randi - Keyboards
Mickey Raphael - Harmonica
Collin Raye - Vocals
Jack Redmond - Trombone
William Frank "Bill" Reichenbach Jr. - French Horn
Joe Reilich - Viola
Jerome Reisler - Violin
Dorothy Remsen - Harp
John Renner - Flute, Saxophone
Morris Repass - Conductor, Contractor, Trombone
Dick Reynolds - Arranger, Conductor
Michael Rhodes - Bass
Red Rhodes - Pedal Steel Guitar
Emil Richards - Marimba, Vibraphone
Chet Ricord - Marimba
Jack Rieley - Narrator, Vocals
Billy Riley - Harmonica
Jim Riley - Guitar
Ian Ritchie - Arranger, Lyricon, Saxophone
Lyle Ritz - Electric Bass, Upright Bass, Ukulele
George Roberts - Trombone
Howard Roberts - Guitar
Alan Robinson - French Horn
Darren Robinson - Rap
Gale Robinson - French Horn
Marilyn Robinson - French Horn
Julie Rogers - Violin
Larry Rolando - Guitar
Eddie Rosa - Flute, Saxophone
Bob Rose - Vocals
Jay Rosen - Violin
Nathan Ross - Violin
Steve Ross - Guitar
Karl Rossner - Cello
Thom Rotella - Guitar
Henry Roth - Violin
Diane Rovell - Contractor, Vocals
Brent Rowan - Dobro, Guitar
Nick Rowe - Guitar
Jimmy Rowles - Piano
Meyer Rubin - Upright Bass
Mike Rubini - Keyboards
Washington Rucker - Drums
Bill Ruppert - Guitar
Leon Russell - Keyboards
Shelly Russell - Saxophone
Ambrose Russo - Violin
Darian Sahanaja - Keyboards, Musical Director, Vibraphone, Vocals
Ross Salamone - Drums, Percussion
Joe Sample - Keyboards
Sheldon Sanov - Violin
Emmet Sargeant - Cello
Joe Saxon - Cello
Victor Sazer - Cello
Ralph Schaeffer - Arranger, Violin
Jerry Scheff - Bass
Timothy B. Schmit - Vocals
Harold Schneier - Cello
Josef Schoenbrun - Violin
David Schwartz - Viola
Wilbur Schwartz - Flute, Saxophone
Tom Scott - Flute, Saxophone
Fred Selden - Saxophone
Leonard Selic - Viola
Frederick Seykora - Cello
Erica Sharp - Violin
Sid Sharp - Violin
Phil Shenale - Oberheim Synthesizer
David Sherr - Flute
Claude Sherry - French Horn
Bobby Shew - Trumpet
Harry Shlutz - Cello
Paul Shure - Violin
Stanley T. Sichell - Guitar
Jules Siegel - Vocals
Henry Sigismonti - French Horn
Brett Simons - Bass
Lou Singer - Vibraphone
Leland Sklar - Bass
Ernie Small - Flute, Saxophone
Arthur Smith - Ocarina, Piccolo
Putter Smith - Bass
Sterling Smith - Keyboards
Tommy Smith - Drums, Percussion
Wallace Snow - Percussion
Linn Sobotnick - Viola
David Sommerville - Vocals
Marshall Sosson - Violin
Jack Sparling - Drums
Dave Spence - Trumpet
Michael Sperry - Finger Snaps, Handclapping
John Stamos - Drums, Guitar, Percussion, Vocals
Spiro Stamos - Violin
Ringo Starr - Drums, Timpani
Joseph Stepansky - Violin
Lya Stern - Violin
Jerry Stevenson - Guitar
Baron Stewart - Vocals
Sheridon Stokes - Flute
David Stone - Upright Bass
Robert Stone - Upright Bass
Billy Strange - Guitar, Tambourine
Dana Strum - Bass
Doug Supernaw - Vocals
Robert Sushel - Violin
Ron Swallow - Tambourine
Ernie Tack - Trombone
Roy Tanabe - Violin
Paul Tanner - Theremin
Tommy Tedesco - Guitar, Mandolin
Benmont Tench - Keyboards
Toni Tennille - Keyboards, Vocals
Tony Terran - Trumpet
Darrel Terwilliger - Violin
Woody Thews - Percussion
Joe Thomas-  Keyboards, Percussion
Barbara Thomason - Viola
Richard Thompson - Clarinet, Flugelhorn, Flute, Keyboards, Saxophone
Julia Tillman - Vocals
George Tipton - Arranger
Russ Titelman-  Percussion
Richard D. Titus - Programming
Efrain Toro - Steel Drums
Dean Torrence - Vocals
Bobby Torres - Percussion
Scott Totten - Guitar, Vocals
Raymond Triscari - Trumpet
Kathy Troccoli - Vocals
Mari Tsumura - Violin
Eddie Tuduri - Drums, Percussion
Eddie Tuleja - Guitar, Vocals
Ron Tutt - Drums
Wayne Tweed - Bass
Lloyd Ulyate - Trombone
Ian Underwood - Keyboards
Gary Usher - Vocals
Ricky Van Shelton - Vocals
Marcia Van Dyke - Violin
Trevor Veitch - Contractor
Nick Venet - Producer
Al Vescovo - Banjo, Guitar
Dorothy Victor - Harp
Tommy Vig - Percussion, Vibraphone
Gerald Vinci - Violin
Al Viola - Guitar
Paul Von Mertens - Arranger, Flute, Harmonica, Musical Director, Saxophone
Michael Vosse - Vocals
Waddy Wachtel - Guitar
Dorothy Wade - Violin
Donald Waldrop - Tuba
Billy Joe Walker, Jr. - Guitar
Joe Walsh - Guitar
Nick Walusko - Guitar
Don Was - Producer
Richard Washington - Percussion
Wah-Wah Watson - Guitar
Ernie Watts - Saxophone
Derry Weaver - Guitar
Jimmy Webb - Arranger
Keith Wechsler - Drums, Keyboards, Programming
Julius Wechter - Percussion
Alan Weight - Trumpet
Bobby West - Bass
John Weston - Pedal Steel Guitar
Larry Whitman - Guitar
Walter Wiemeyer - Violin
Bob Williams - French Horn
Jerry Williams - Percussion
Carolyn Willis - Vocals
Jonah Wilson - Vocals
Justyn Wilson - Vocals
Marilyn Wilson - Vocals
Murry Wilson - Producer, Vocals
Wendy Wilson - Sleigh Bells, Vocals
Damon Wimbley - Rap
Jai Winding - Keyboards
Herschel Wise - Viola
John Wittenberg - Violin
Alfred Wohl - Cello
Stevie Wonder - Bass, Drums, Harmonica, Keyboards, Vocals
Roy Wood - Saxophone
Arthur Wright - Bass
Edna Wright - Vocals
Dan Wyman - Synthesizer Programming
Tammy Wynette - Vocals
Tibor Zelig - Violin
Shari Zippert - Violin
Jimmy Zito - Trumpet
Richie Zito - Guitar
Alex Del Zoppo - Piano