about most of the outside contributors
(musicians, engineers, producers) who have rolled with the Stones
throughout the years, onstage and on record.
Written by Ian Gordon McPherson, 2000-2013.
(All rights reserved. Like all files
on Time Is On Our Side,
this is the exclusive intellectual property
of Ian McPherson and cannot be duplicated, in any form, without his authorization.)
click on a name or scroll down
Green Valley High School Choir
Guns N' Roses
John Lee Hooker
John Paul Jones
The Kick Horns
B. B. King
Charlie Jolly Kunjappu
Etherington played percussion in Mick's 1950s
teenage group, Little Boy Blue and the Blue Boys.
MARIANNE FAITHFULL (1946- )
Born in London, before becoming one of Mick's
ill-fated lovers, Marianne had already established a career as a pop singer.
She was discovered by Stones manager Andrew
Oldham, who gave her first hit in 1964 with the Jagger-Richards penned
Tears Go By. Faithfull's actual contributions to Stones recordings
were slim: she sang backup vocals with Anita
Pallenberg on Sympathy for the Devil,
and co-wrote Sister Morphine.
After her break-up with Mick and a long heroin addiction, she made a comeback
in 1979 and has been releasing acclaimed albums ever since, singing Kurt
Weil songs and the like in a croaky voice. In 1993, Keith, Ronnie &
Charlie contributed to a Marianne Faithfull album. In November 1999, Ronnie
played at one of Marianne's club gigs in London.
FARAFINA (1973- )
Farafina is an African vocal and instrumental
worldbeat group that started performing in the 1970s in Europe. In 1989
the Stones enlisted them to play on Steel
Drift (1989). Their latest record was
released in 1998.
Farley engineered the Stones' debut album in London
in 1964. When they did more work in London on their return from the States
throughout 1964, he was also the engineer (songs like Congratulations,
the Boardwalk). He also engineered some
Oldham Orchestra sessions that year.
Misspelled and credited only as "Vanetta" on Exile On Main Street, Field is a rock/R&B vocalist who, like Clydie King with who she worked often, had a big career as a backup vocalist for other musicians in the 1970s. Field and King, in fact, worked most of the decade together. She had worked with King with artists like B. B. King, Paul Butterfield, Arlo Guthrie, Rita Coolidge, Tim Buckley, Al Kooper and Billy Preston before working with the Stones. She was probably suggested to the Stones by Billy Preston. Field sang on the same numbers that King and Sherlie Matthews did for Exile.
Field went on to record with artists like Neil
Diamond, Joe Cocker, Steely Dan, the Doobie Brothers, Humble Pie, Pink
Floyd, Boz Scaggs and Blondie
ANTON FIG (1952- )
Before session drummer Anton Fig replaced Steve Jordan as drummer for Late Night with David Letterman in the mid-1980s, he had performed with Ace Frehley and Cindy Lauper amongst other artists. In 1984, he drummed behind Woody and Charlie Sexton, who covered the song It's Not Easy for a movie soundtrack. Soon after, he teamed up with Woody again to record sessions with Bob Dylan. And a few months later, he was enlisted by Mick to do work on his first solo album. The following year, Fig attended some sessions with the Stones during the mixing of Dirty Work in New York City in 1985, and is credited on the album.
Since then, Fig has played with other artists,
but his main gig has remained playing with David Letterman.
Chuck Findley was, like Tom Scott, a much-in-demand session horn player, primarily trumpet, through most of the 1970s and beyond. Prior to his brief tenure with the Stones, he had recorded in the '60s and early '70s with artists like Buddy Rich, B. B. King and the Spencer Davis Group. In 1972-73 he contributed trumpet to the Stones' Goats Head Soup album. For the rest of that decade he performed with artists like Carole King, George Harrison, Bobby Bland, Quincy Jones, Steely Dan, Jackson Browne, George Benson, Earth Wind & Fire, Diana Ross, The Emotions, Yvonne Elliman and Frank Sinatra, among many, many others.
In the 1980s and '90s, he worked with the likes
of The Pointer Sisters, Al Jarreau, Toto, The Carpenters, Julio Iglesias,
Rod Stewart, John Hiatt, Robert Palmer, Madonna and Lyle Lovett.
Born in New York, Lisa Fischer has been one of the most sought after R&B/pop backup vocalists in the 1980s and '90s. She got her career going by playing heavily with soul singer Luther Vandross, both on his albums and tours in the 1980s. She also played with artists such as Billy Ocean, Randy Crawford and Dionne Warwick.
As early as 1984, she was hired by Mick, who used her on his first solo album. Four years later, he hired her, along with Bernard Fowler, for his first solo tour, in Japan. As with Fowler, this gig led to an extremely stable gig with the Stones over the next decade. In 1989, she contributed vocals to the Stones' Steel Wheels and the band hired her for their 1989 North American and 1990 Japanese tours. Though she did not participate on Stones studio albums thereafter, she was a backup singer, and an onstage foil for Mick, for the Stones' next two world tours in 1994-95 and 1997-99. Recently she's contributed to albums by Chuck Leavell and Luther Vandross again, among others, and in 2000 is touring with Tina Turner on the latter's supposedly final run.
She was back with the Stones on their last Licks
Tour. She appears on the Stones' last four live albums. Fischer was also back
performing with the Stones on their A
Bigger Bang 2005-07 world tour and appears on the associated live album and films/DVDs (The Biggest Bang, Shine a Light). In 2012-13, she is once again on tour with them for the 50 Years & Counting Tour.
JOHN FOGERTY (1945- )
The singer, songwriter and guitarist for Creedence Clearwater Revival overdubbed handclaps on the Stones' Some Girls outtake Tallahassee Lassie released in 2011. On May 8, 2013, Fogerty performed It's All Over Now with the Rolling Stones onstage in San Jose, California.
Along with Chuck Leavell, vocalist Bernard Fowler has been one of the musicians most frequently associated with the Stones in the last decade and a half. In the early to mid 1980s, Fowler was a singer used frequently by producer Bill Laswell. Fowler contributed to Laswell-produced records by artists the like of Material and Herbie Hancock. When Laswell produced Mick's She's The Boss in 1984, this led to Fowler also contributing background vocals on the album.
When Mick decided to tour solo in 1988 and decided to use backup singers for the first time in his career, he enlisted Fowler for the tours of both Japan and Australia. Fowler's destiny with the Stones was set. The following year, he contributed to the Steel Wheels album and was enlisted for the world tour that followed in 1989-90. Over the next few years, he contributed to Charlie and Ronnie's albums, becoming a member of the new formed Charlie Watts Quintet. In 1991, he narrated passages and sang for the Quintet's Tribute to Charlie Parker with Strings album while on tour with Charlie, which was released in 1992. That same year, 1992, Fowler co-produced and co-wrote Ronnie's new album Slide On This, on which he also performs, and accompanied Ronnie on his solo tour as well. He also did backup vocal work for Keith's album of that same year, Main Offender. As if that wasn't enough, 1993 saw him help out Mick on his February 1993 Webster Hall solo concert, and guest and sing on a new Charlie Watts album, Warm and Tender.
In 1994, Fowler resumed work with the entire band, contributing both to the Voodoo Lounge album and world tour as a backup singer. 1996 saw him working and singing lead with Charlie again for yet another Charlie Watts album, called Long Ago and Far Away. And the next year he was back with the Stones, contributing extensively again to Bridges to Babylon and joining the band onboard again for the huge and lengthy tour that followed. Fowler appears on the live albums Flashpoint, Stripped and No Security.
Fowler's main gig for most of his career has obviously been the Stones and Charlie Watts. But he has also worked with Yoko Ono, Sly & Robbie, Bootsy Collins, Duran Duran, Living Colour and most recently with Herb Alpert and on the posthumous Michael Hutchence album.
In November 2001, Fowler backed up Mick's promotional
solo concert in Los Angeles. In 2002, he resumed his post again on the
road with the world's greatest rock and roll band and appears on Four
Flicks and Live Licks.
Fowler was back with the Stones on their 2005-2007 A
Bigger Bang world tour and appears on both The Biggest Bang and Shine a Light. In 2012-13, he is once again on tour with them for the 50 Years & Counting Tour.
Fraboni, a percussionist who lives in Jamaica and also became an engineer and producer, first worked for the Stones in early 1973, at sessions for Goats Head Soup, where he worked with Jimmy Miller. In the 1970s, he went on to engineer or produce albums by Wayne Shorter, Bob Dylan, The Band and Eric Clapton among others. In the 1980s and '90s he worked with the likes of Bonnie Raitt, Etta James and Buckwheat Zydeco. He also recently remastered the entire Bob Marley catalogue.
In 1996, Fraboni was asked by Keith to produce
his Wingless Angels project. The following year, Fraboni was enlisted
as one of the principal engineers on the Bridges
to Babylon, where he worked on a good
half of the tracks. He also mixed the three Keith Richards-sung songs,
and co-produced the track You Don't Have
to Mean It.
Freeland is a mixer who mostly assists Bob
Clearmountain. He assisted Clearmountain on his work for
Stripped and Bridges
to Babylon. He's also worked on records
for Bon Jovi, Bruce Springsteen, Tori Amos, The Corrs and Sixpence None
An engineer who assisted on the recordings the
Stones made in Japan for Stripped
Fullan assisted the mixing of the track Thief
in the Night for Bridges
to Babylon. He's worked with artists like
John Tesh and Cindy Lauper.
Gagel mixed the song Out
of Control for Bridges
to Babylon. He works for alternative pop
rock acts like Orbit, Swish and Folk Implosion.
Fiddle player and flute player Frankie Gavin is
a member of the well-known traditional Irish folk music group De Danaan.
While recording in Dublin in 1993 for Voodoo
Lounge, the Stones got him to contribute
The Worst and
Faces. Gavin also later worked on Keith's
Angels project. In November 2002, Gavin guested onstage with the Stones
at their Oakland concert, performing on Sweet
An assistant who helped Glyn
and Andy Johns engineer the
Exile on Main Street
album. He had worked
on the Jesus Christ Superstar soundtrack before that, and went on
to engineer on a Bill Wyman-produced Tucky Buzzard album. He did some more
assisting for the Stones' Black and Blue
An engineer specializing in live recordings who
did assisting work on the Stones' Still
Life (1982). He's also worked on live
albums by U2, the Allman Brothers Band, Heart, Barbra Streisand, Neil Young,
Bryan Adams, Portishead and others.
Another engineer who helped Don
Smith mix the Stones' Voodoo Lounge
in L.A. in 1994. He'd worked with Don Henley, Melissa Ethridge, Bon Jovi
and Bruce Springsteen among others.
Gooden did assistant engineering duties on Saint
of Me and
Anybody Seen My Baby? in 1997.
RIC GRECH (1946-1990)
Born in France, Grech was a violinist and bassist
who was a member of the band Family during the 1960s. That's when he met
the Stones and they brought him to record fiddle on Factory
Girl. Grech went on to play with Ginger
Baker, Blind Faith, Eric
Clapton, Traffic, Steve Winwood and many other similarly styled artists.
He also played on Gram Parsons's
solo albums in the early 1970s. He appears on Ron Wood and Ronnie
Mahoney's Last Stand project.
Like Clydie King, Venetta
Field and Jesse Kirkland, Joe Green was another
backup vocalist that Billy
Preston had worked with, and who had also worked with Quincy Jones.
He added his vocals to the Stones' soulful Let
a Light. He went on to record with Ringo
Starr and Gloria Jones among others.
GREEN VALLEY HIGH SCHOOL CHOIR
A local Las Vegas high school choir that sang You Can't Always Get What You Want onstage with the Rolling Stones at the MGM Grand Garden on May 11, 2013.
STEVE GREGORYAn English saxophonist who played on Honky Tonk Women. Gregory played with Alan Price, Screaming Jay Hawkins, Fleetwood Mac, Georgie Fame, Ginger Baker, Queen and Van Morrison among others.
DAVE GROHL (1969- )Ohio-born rock musician who was the drummer for Nirvana (1990-94) and thereafter the lead member of Foo Fighters. Foo Fighters opened for the Rolling Stones on dates of their 1997-98 Bridges to Babylon tour. Dave Grohl and Foo Fighters backed Mick Jagger during his solo performance on U.S. TV's Saturday Night Live on May 19, 2012. On May 18, 2013, Dave Grohl joined the Rolling Stones onstage at the Honda Center in Anaheim, California, performing Bitch with them.
Don is a mastering engineer who cut the vinyl
albums for most of the Stones' recent SACD Abcko album remasters (Aftermath,
Banquet, etc.). He has worked for Pink
Floyd, Bruce Springsteen and many other artists. Check out his web site
GUNS N' ROSES (1985- )
Helping to repopularize heavy metal in the late
1980s, along with Metallica, L.A.'s Guns N' Roses were an opening act for
some of the shows on the Stones' 1989 Steel
Wheels tour. At the televised tour finale
in Atlantic City, singer Axl Rose and guitarist Izzy Stradlin joined the
Stones onstage for the band's first ever live performance of
of the Earth (apart from the 1968 Rock
and Roll Circus show). Ronnie contributed to Izzy Stradlin's solo album
in 1992 and he jammed with Guns N' Roses onstage in 1993.
BUDDY GUY (1936- )
Born in Louisiana, Buddy Guy was one of the young Rolling Stones' Chicago blues heroes, both in terms of his own work (they covered his Let Me Love You Baby onstage) and a sideman for blues greats like Muddy Waters and Howlin' Wolf.
The Stones have jammed with Guy several times over the years, notably when they dropped by Chicago during their U.S. tours, notably in 1978 and 1981 (with Willie Dixon & Muddy Waters). Buddy Guy also played at Ron Wood's Miami restaurant/club in the late 1980s. He opened onstage for the Stones during their last four tours (Voodoo Lounge, Bridges To Babylon, Licks and the current A Bigger Bang tour).
On September 10, 2002, he finally played onstage
with the Stones after opening for them at the United Center in Chicago,
joining them for
Rock Me Baby. Later that night, Mick and Ronnie
joined Guy onstage again at his own club. Three years later, on September
8, 2005, Guy rejoined the Stones onstage for their rendition of Ray Charles'
Time Is) The Right Time at their concert in Milwaukee. In October and
November 2006 he performed Muddy Waters' Champagne & Reefer
with them at the Beacon Theatre in New York City.
An engineer who helped Glyn
Johns and Keith Harwood for the Black
and Blue sessions held in 1975. He also
helped out on the 1978 Peter Tosh
recordings in which Mick and Keith participated in.
Hansen helped out Glyn
Johns and Bruce Botnick on engineering duties on
Let It Bleed.
Harrison is a string arranger who worked on Goats
Head Soup. He had been part of a short-lived
group called Driftwood. He went on to work with Elliott Murphy among others.
KEITH HARWOOD (d. 1977)
Olympic Studios engineer Keith Harwood formed
a team with Andy Johns to engineer the Stones
in 1974 for their It's Only Rock 'n' Roll
He then teamed up with Andy's older brother, Glyn,
to engineer the next album,
Black and Blue.
Harwood was a much-in-demand engineer in the mid-1970s, primarily working
with British rock acts such as David
Bowie, Led Zeppelin, the Pretty Things and Ron Wood. (He had also worked
with the Wyman-produced Tucky Buzzard before engineering the Stones.) His
last work was engineering the mixing sessions in New York for
Love You Live in the spring of 1977. He
died soon after and the album was dedicated to his memory.
Along with Ron Malo in Chicago, David Hassinger was the first truly important engineer for the Stones. Hassinger worked for RCA Studios in Los Angeles, and when the Stones arrived to record there in November 1964 he became their steady engineer for the next few years. Given that Oldham had no extensive musical/producing background, it speaks of how Hassinger was important in helping to create the sound on the albums that followed (the same ones Jack Nitzsche appeared on): The Rolling Stones Now!, Out of Our Heads, December's Children and especially Aftermath, recorded entirely at RCA, and for which Hassinger wrote the liner notes. Hassinger's last work with the Stones was in August 1966, when the Stones started Between the Buttons sessions at RCA in London.
Afterwards Hassinger worked with artists such as the Jefferson Airplane, the Monkees, Love, Crosby Stills Nash & Young, and especially the Grateful Dead. More recently, he's worked with country artist George Strait among others.(RCA) wasn't as funky as Chess obviously but it was more commercial. And (Dave Hassinger) really... he had a good ear, he'd get good sounds, and we experimented with more instruments... And he'd always get good sounds so we'd always get a good take at 3 or 4 shots at a song.
American hip hop producer, born in Buffalo, New York, who rose to prominence in the 2000s. He co-produced and provided drum programming for the Rolling Stones' 2012 Doom and Gloom.
Engineer David Hewitt helped Bob Clearmountain
record and mix the Stones' 1981 Tour shows for the album Still
Life, and did the same for 1991's Flashpoint.
He's worked with many rock acts, including Eric
Clapton, Grand Funk Railroad, the Allman Brothers Band, Blue Oyster
Cult, the Scorpions, Pink Floyd, U2, Mariah Carey, Neil Young, the Eagles
and Bryan Adams, almost always on live albums (U2's Rattle & Hum,
Carey and Adams' Unplugged, the Eagles' Hell Freezes Over,
An engineer who did assisting duties on
No Security. He's worked with Savage Garden,
Barbra Streisand, Burt Bacharach and others.
JOHN LEE HOOKER (1917-2001)
The Mississippi-born, Detroit-recording giant
of the blues of the 1950s and '60s, one of the Stones' many heroes, was
invited onstage by the Stones at their Atlantic City shows in 1989 to jam
on his classic Boogie Chillen.
Keith recorded some tracks for a new Hooker album in 1991. Hooker died
in June 2001.
NICKY HOPKINS (1944-1994)
Apart from Ian Stewart, if there's one outside artist whose contributions have been the most significant to the Stones' recordings, it's been pianist and keyboardist Nicky Hopkins. Born in London, Hopkins was hanging around the Alexis Korner scene at the same time as the Stones and other musicians. He joined Screaming Lord Sutch's Savages, before winding up as part of the Cyril Davies R&B All-Stars, a short-lived but exciting R&B band. In 1964, Hopkins was then enlisted by groups such as the Who and the Kinks to play on their early albums. By 1967, he had graduated to the Stones, who employed him for his services first on Between the Buttons, and then more substantially on Their Satanic Majesties Request. It was the beginning of a long and fruitful relationship. Already on the following album, Hopkins was gracing Stones songs like No Expectations with delicate, gorgeous piano playing.
Hopkins remained an integral part of the Stones' albums for all their subsequent albums until Black and Blue in 1976. For most of that period, the Stones used Ian Stewart, Billy Preston and Hopkins on keyboards. Although the roles were by no means non-negotiable, usually Preston was employed on soulful, gospelly numbers where an organ was required, Stu played boogie-woogie on fast rock and roll numbers, and Hopkins played on the ballads. His playing graced songs like She's a Rainbow, You Got the Silver, Sway, Loving Cup and Time Waits for No One among many others. Hopkins also often played onstage with the Stones for the period from 1968 to 1973, starting with the Stones' rock and roll circus event, and then joining them for the 1970 European tour.
Though the Stones were the peak of Hopkins' career, he played with other artists as well during that span of time, including most notably the Beatles, Jeff Beck, the Jefferson Airplane, Quicksilver Messenger Service, the Steve Miller Band, Carly Simon, Joe Cocker, John Lennon, George Harrison and Ringo Starr. Significantly, he was also a member of the Jeff Beck Group starting in 1968, along with Rod Stewart and Ron Wood, though the group broke up in 1969. Mick Taylor played on a 1973 Nicky Hopkins solo album.
Hopkins' health problems were the reason for his not wanting to tour with the Stones anymore after the 1973 Australian tour and for the lessening of his work with them in general after 1974. Hopkins did not work on Some Girls. He did work in the late '70s recording with Rod Stewart, Eddie Money, Badfinger, as well as with Bill Wyman. He also appeared as a guest onstage with the Stones at an Anaheim show in 1978, with Bobby Keys.
The Stones rehired Hopkins for parts of Emotional
Rescue, and it is likely that some of
his playing appears on Tattoo You
(possibly the piano on Waiting on a Friend,
which was started in 1972). He also worked on Ron Wood's 1 2 3 4 solo
album during that period. That marked the end of Hopkins's association
with the Stones, however. Afterwards, he went on to play with artists as
varied as Meat Loaf, Julio Iglesias, Belinda Carlisle, Paul
McCartney, Graham Parker and Izzy Stradlin. He died of a stomach ailment
and heart condition.
Jim Horn is a saxophonist and flutist whose career
was launched in the 1960s and who contributed to the Stones' Goats
Head Soup in 1973. In 1966, he had already
contributed much on a rock classic, the Beach Boys' Pet Sounds,
as well as with the Carpenters just prior to this work with the Stones.
Since, he's played mostly with light pop, blues and country artists such
as Bobby Bland, George Harrison,
Starr, Joe Cocker, Steely Dan, Air Supply, Toto, John Denver, Chet
Atkins, Hank Williams Jr., George Strait and many others. He also played
on Ron Wood's 1 2 3 4 album.
CHRISSIE HYNDE (1951- )
The legendary leader of the Pretenders joined
the Stones onstage for a Honky Tonk Women
duet at their concert in Leipzig on June 20, 2003.
Like saxophonist David
McMurray, trumpet player Mark Isham was brought in to play on
Voodoo Lounge's Brand
New Car and Suck
on the Jugular. He too had played with
Was's group Was (Not Was). Born in New York, Isham has also played
with artists such as Taj Mahal,
Van Morrison, Marianne Faithfull
and Bruce Springsteen.
Mick's younger brother released a few solo albums
in the mid 1970s before pursuing other interests like acting and journalism.
In 1989, he was credited as "literary editor" on the Stones' Blinded
By Love. At their shows in Detroit later
that year, he joined the band onstage, singing backup on
Sympathy for the Devil. In the 1990s,
Chris started releasing solo albums again, as well as forming the group
Atcha Acoustic. Mick has helped out on his albums.
ELIZABETH JAGGER (1984- )
I wanna sing too, daddy! Mick's first daughter
with Jerry Hall joined her fellow Stones "sibling" Leah Wood on backing
vocals at some of the Stones' 1999 European shows. She also sings backup
vocals with her sister Georgia on Mick's song Brand New Set of Rules
(2001). As of September 2002, she is now, like Mommy, a model in her own
right, as a representative for Lancombe.
Jardim is a percussionist who has been contributing
to rock artists' records since the 1970s. Before working with the Stones,
he played with ABC, Wham!, Elvis Costello, Mike & the Mechanics and
the Neville Brothers among others. In 1989, the Stones enlisted him to
play on Steel Wheels
(1989), and did the same five years later for Voodoo
Lounge. He's also played with artists
like Björk, Bryan Ferry, Boy George, Seal, Asia and Eric
Before working with the Stones, engineer Dave Jerden had worked with artists such as Talking Heads (Remain In Light) and Herbie Hancock. His connection with Hancock and producers like Nile Rodgers and Bill Laswell led to his engineering Mick's first solo album in 1984, co-produced by Bill Laswell. The following year, the Stones chose Steve Lillywhite to produce Dirty Work, but they decided to hire Jerden as the chief engineer for the album, who was already working with the Stones on the album before Lillywhite arrived.
That ended Jerden's association with the Stones.
Since then, he's mostly worked with hard rock, alternative rock and post-punk
bands like the Meat Puppets, Social Distortion, PiL, Jane's Addiction,
Alice in Chains, the Red Hot Chili Peppers, Anthrax and the Offspring.
Chinese rock star since the mid 1980s who duetted
with Mick Jagger on Wild Horses
during the Rolling Stones' concert in Shanghai on April 8, 2006. Jian was
supposed to open for the Stones' cancelled China concerts in 2003.
FLACO JIMENEZ (1939- )
Born in San Antonio, Texas, singer and accordion player Jimenez is one of the most successful and constant disseminators of Tex-Mex music, making solo albums since the 1970s. He's also played on records by Ry Cooder, Linda Ronstadt and Dwight Yoakam among others. In 1994, the Stones employed Jimenez to play on Voodoo Lounge's Sweethearts Together, along with his music mate Max Baca.I went there and wasn't sure what they wanted. Mick let me hear the song once or twice, and the third time I took my accordion and played, just trying. I told Mick, All right, let me hear it once again and I'll do the thing you can record. And Jagger said, Got you, we just recorded it... It was hit and run and one hour and a half later I was outside again. Not demanding, very cool guys, who know exactly what they want, very professional and very relaxed. So normal and so steady that I only realized Oh man, I just played with the Rolling Stones when I was back home.
ELTON JOHN (1947- )
The king of 1970s pop rock guested with the Stones
onstage, at the height of his popularity, during a Stones show in Fort
Collins in 1975. In 1997 Keith said some wry comments about John's singing
at Princess Di's funeral and John shot back some nasty words. Don't expect
him to gig at any Stones show soon.
ANDY JOHNS (1950-2013)
Glyn Johns' younger brother, Andy also started working at Olympic Studios in London, and though he wasn't working with them yet, he first met the Stones there when they were working on Their Satanic Majesties Request. Johns' first engineering jobs came in the late 1960s, carving a niche for himself by working with blues-based rock and hard rock bands such as Free, Jethro Tull, Traffic and Ten Years After. In 1970 he finally got the opportunity to work with the Stones, assisting his brother Glyn in engineering the album Sticky Fingers at Olympic Studios. The following year, when the Stones recorded Exile on Main Street in the South of France, Johns was on hand again, now working at an equal status with his brother Glyn. Glyn then left, and for Goats Head Soup Andy was the sole chief engineer. His next album with the Stones, however, It's Only Rock and Roll, was his last one, which he engineered with Keith Harwood.
During those same years that he worked with the Stones, Andy Johns worked with many other famous rock artists, most notably Led Zeppelin, Free and Jethro Tull again, and Mott the Hoople. In the late 1970s, Johns started producing as well but got less work. Some of the artists he worked with included Eddie Money, Television and Rod Stewart. In the late 1980s, his career revived again and he started engineering and producing mostly hard rock acts like Cinderella, Ozzy Osbourne, Joe Satriani, Steve Winwood, Bon Jovi and Van Halen. In 1981, he also worked on Ronnie's album 1 2 3 4.It drives you fuckin' nutty because they are SO good but they can sound like the WORST fuckin' band in the world. Keith can be out of tune, Charlie will miss a beat, everyone will play too loud, and Wyman will give up in frustration. But when they do get a take, everything converges into one.
GLYN JOHNS (1942- )
British-born engineer and producer Glyn Johns has worked with many rock legends apart from the Stones. His first contact with the Stones came very early, in March 1963, when the Stones entered IBC Studios to record some demos. Johns has gone on to work with none other than the Beatles, Led Zeppelin, the Who, the Eagles, the Clash and many other rock artists.
Johns did occasional work with the Stones in their early years: he recorded the live British EP in 1965, engineered the As Tears Go By session for December's Children and engineered a year later the Have You Seen Your Mother Baby? sessions. This led to more full-time work for him with the Stones, recording the live album Got Live If You Want It! that same fall of 1966 and then engineering the London Between the Buttons sessions in November of that year. He was subsequently the chief engineer for the producer-less Their Satanic Majesties Request in 1967.
After Majesties, working with the Steve Miller Band at the time, it was Johns who suggested to the Stones they employ Jimmy Milleras their next producer. Although he was no longer the sole chief engineer, Johns did some work for Beggars Banquet with Eddie Kramer, before being reinstated as chief engineer for the albums Let It Bleed and Sticky Fingers, and also engineered beside his brother Andy for Exile On Main Street. During that period, he also engineered the Stones' rock and roll circus event, and engineered and co-produced the live album Get Yer Ya-Ya's Out (1970). After being absent for an album, Johns returned to work with the Stones for some minor engineering duties during mixing sessions for It's Only Rock and Roll (1974), and then engineered Black and Blue with Keith Harwood, which has been, however, as of this date, his last work with the group.
Among his more recent work has been his working with Bill Wyman, in 1997, for Struttin' Our Stuff.The machinery was unsophisticated in those days, 4-track was the biggest there was. Suddenly a whole new breed of engineers appears, like Glyn Johns, people who are willing to work with you, and not with someone from the record company.
Not to be mistaken with the great Chicago blues
guitarist, this Jimmy Johnson, born in Alabama, was a guitar player in
Muscle Schoals for Stax Records's rhythm section there, who as such recorded
classic material with soul greats like Percy Sledge (When a Man Loves
a Woman), Wilson Pickett (Mustang Sally, Land of a 1000 Dances)
and Aretha Franklin (I Never Loved a Man). In 1969 he left the company
to start his own studio in Muscle Shoals, called Muscle Shoals Studios,
where he engineered as well as played with artists. IIn December
1969, the Stones were already thinking about creating their own label and
were associating with Atlantic Records. That led them to start work on
Fingers at Johnson's Muscle Shoals Studios
in December 1969. Johnson engineered the sessions, which produced the classics
Horses and You
Gotta Move. Johnson helped engineer,
produce and play with many artists, such as Aretha Franklin again, Paul
Simon, Bobby Womack,
Bob Seger, Millie Jackson, Lynyrd Skynyrd, Bobby Bland and Etta James.
In recent years he's worked a lot with Johnnie Taylor. Johnson still works
today at the same studio.
JOHNNIE JOHNSON (1924-2005)
Chuck Berry's pianist, who is often credited as a founder of rock and roll because Berry basically transcripted his boogie-woogie playing to the guitar, had his career rehabilitated when Keith enlisted him for his 1986 Chuck Berry Hail! Hail! Rock and Roll project. Keith went on to use him again on his first solo album, and in 1989 he joined the Stones onstage for a show in St. Louis. Keith went on to contribute to a solo album by Johnson in 1991. Johnson joined the Stones onstage again in Houston in 2003.Johnnie had amazing simpatico. He had a way of slipping into a song, an innate feel for complementing the guitar... I was fascinated by those huge hands, doing such incredibly precise, delicate work. I always compared them to a bunch of overripe bananas. But he could do amazing things with those bananas... In a way, Johnnie reminded me a lot of Ian Stewart. It was Ian who pointed Johnnie out to me, because he was a Johnnie Johnson freak. So it all comes around.
DARRYL JONES (1961- )
Jones had a good track record before getting with the Stones, but he will undoubtedly be remembered by history as the bassist who replaced Bill Wyman in the world's greatest rock and roll band.
Born in Chicago and also an occasional guitarist and vocalist, Jones started out playing bass with jazz musicians in the Chicago scene in the early 1980s before latching on to a prestigious gig working with jazz legend Miles Davis, and then playing on Sting's first jazz-pop solo albums. After which, Jones went on to play with many other artists, including Eric Clapton, Bemshi and Tania Maria.
Jones first met Keith in 1987 when he was working on his first solo album in New York, through their mutual friends Steve Jordan and Charley Drayton. The following year Darryl attended a few of his shows and wound up jamming with Keith at his hotel one night. Jones had also previously met Mick through while working with Sting.
Five years later, in 1993, when he heard the Stones were auditioning bassists to replace Wyman, Jones applied and he got the job. He subsequently traveled to Dublin with the band to record the Voodoo Lounge album, and was sketched in to join the Stones onstage for the succeeding 1994-95 world tour.
Jones has not been made an official Rolling Stone and most assuredly will not be. Nevertheless he looks to be assured of a permanent spot as a touring member. In 1997, he contributed to only a few Bridges to Babylon tracks (You Don't Have to Mean It, Always Suffering and Thief in the Night), yet he was the one who accompanied the band on tour again. He appears on the live albums Stripped and No Security. He recorded again with the Stones on their new 2002 studio material and was back again onstage with them on their 2002-03 Licks tour, appearing on the subsequent DVD and live album.
(T)hey were all such good players (the bassists we auditioned) and hey, you're playing a couple of hours with a guy and then another. It's so difficult to tell. And eventually I thought, well, what really counts is what the drummer thinks. So to get to that question - why Darryl - I think that 5 years with Miles Davis didn't hurt as far as Charlie Watts is concerned! Because Charlie, being a jazz drummer himself, you know... I mean, to Charlie, rock and roll is part of jazz, and it still has to swing.
Darryl Jones recorded extensively again with
the Rolling Stones on their 2005 album A
Bigger Bang and accompanied them on
the 2005-07 world tour and appears on the related live audio and video releases. In 2012, he recorded the new songs on GRRR! and is joining them again for the 50 Years & Counting Tour.
JOHN PAUL JONES (1946- )
Page, before joining Led Zeppelin John Paul Jones was a session musician,
working with artists like Dusty Springfield and Donovan. In 1967, he was
brought in by Glyn Johns as a string
arranger for Their Satanic Majesties Request(She's
a Rainbow). Since Zeppelin's demise he's
worked sporadically with artists such as Paul
McCartney, REM, Heart, the Butthole Surfers and Brian Eno.
KENNEY JONES (1948- )
London-born drummer Kenney Jones started his career with Steve Marriott's band called the Pioneers. That group transformed itself in 1965 into the Small Faces. When Steve Marriott left the band in 1969, Rod Stewart and future Stone Ron Wood joined, and Kenney remained, for the successful early-to-mid '70s band that became simply the Faces.
The Stones were befriending Ron Wood already in 1973, and Mick and Keith participated on his first solo album in 1974. When Mick decided to record a demo for the song It's Only Rock and Roll, Ron Wood and Ken Jones were on hand. Apparently Jones' drums are the one that remained on the final cut.
Jones also played on some Rod Stewart records
of those days, and appears on Ronnie's 1975 Now Look album and the
soundtrack he did the following year for Mahoney's Last Stand. The
Faces broke up in 1975, but in 1978 when the Who's Keith Moon died, Jones
became their permanent drummer, touring and recording with them until their
demise in 1983. In 1983 Jones drummed alongside Charlie for the short ARMS
charity tour organized to help multiple sclerosis, lead by Joe Cocker,
and others, in which Bill and Ronnie also participated. In 1985 Jones participated
in Bill Wyman's Willie & the Poor Boys project for the same
PAUL JONES (1942- )
Vocalist and harmonica player Paul Jones was hanging
around the Alexis Korner scene in London in 1962 when the Stones formed.
When Mick and Keith initially arrived, Brian and Ian
Stewart were rehearsing with Paul Jones and guitarist Geoff
Bradford. Eventually a decision had to be taken, and Paul Jones and
Bradford were kicked out. A talented R&B singer, Jones went on to become
lead vocalist for Manfred Mann from 1963 to 1966. Afterwards his career
dwindled and he set up a new career as an actor.
A member of Tom Petty & the Heartbreakers,
percussionist Phil Jones joined the Stones' camp at the same time as bandmate
Tench, contributing to Voodoo Lounge.
He's also worked on albums by Bob
Dylan and the Tragically Hip among others.
Backup vocalist Sophia Jones was hired by the
Stones for their 1990 Urban Jungle European tour when Lisa
Fischer and Cindy Mizelle couldn't
make it. She had played with U2.
An engineer who helped mix Love
You Live and Keith's
They Make Me Run on Some
Girls. He went on to work with groups
like the Specials and the Pogues.
It's possible that Keith and session drummer Steve Jordan first met in the late 1970s, since at that time Jordan was playing drums for the Blues Brothers, amongst other things, with whom Keith and Ron Wood were frequently hanging out (c. 1978-80). Jordan also played with numerous artists during those years, such as George Benson, Patti Austin, Taj Mahal and Cat Stevens.
One of Jordan's later gigs was playing on the Late Night with David Letterman TV show band in its early years in the early to mid 1980s, before Anton Fig became the permanent drummer. (It's easy to see the Blues Brothers-David Letterman connection: Paul Shaffer, as musical director of Saturday Night Live, was involved heavily with the Blues Brothers project, before leaving SNL for David Letterman.) Jordan established (or re-established) contact with fellow co-New Yorker Keith Richards in those years, appearing during the Dirty Work mixing sessions and contributing to the album. Keith remembered Jordan and hired him for his production of Aretha Franklin's cover of Jumpin' Jack Flash, and then in his project with Chuck Berry in 1986, giving rise to the Hail! Hail! Rock and Roll movie and album. Afterward Keith enlisted Jordan as his partner in crime for his first solo album, Talk Is Cheap (1988), for which Jordan acted as co-producer, co-composer as well as musician for all the songs. Jordan also accompanied Keith on tour. A song Jordan co-wrote that was left over from those sessions, Almost Hear You Sigh, was recorded for Steel Wheels by the Stones the following year.Steve Jordan and I had done Aretha Franklin's Jumpin' Jack Flash video, and that's where we started to work together, although we had been looking at each other for several years. And Charlie Watts had said, If you're gonna work with somebody else, work with Jordan. I had Charlie's blessing on that one, so that was a great boost.
An established X-Pensive Wino, Jordan worked again with Keith on the Main Offender album in 1992, co-producing the album and co-writing most of the material, and participated on the following tour. Since then, Jordan has kept busy working with the Fabulous Thunderbirds, Roberta Flack, Neil Young and Johnnie Johnson, among others. In 2012, Jordan wrote and recorded with Keith Richards again. One of the resulting songs was the Rolling Stones' One More Shot in 2012.
The son of Nigerian-Swedish percussionist Remi
Kabaka (a member of Traffic and Ginger Baker's Air Force) who guested onstage
with the Stones at two of their Los Angeles/Anaheim concerts during their
JIM KELTNER (1942- )
Oklahoma-born Jim Keltner is one of rock's most widely used session drummers and percussionists of all time, having worked on an incredible number of artists' records from the late 1960s to the present.
Keltner played with Delaney & Bonnie and Joe Cocker in the late '60s and early '70s, playing with the same people that wound up gracing a lot of the Stones' records of that era (Billy Preston, Jim Price, Bobby Keys, Leon Russell, etc.). It is therefore curious that he never wound up playing with the Stones proper until 1997. Keltner was particularly involved in the ex-Beatles' albums in the 1970s. He worked on practically every George Harrison, John Lennon and Ringo Starr album. He also worked extensively with Carly Simon, Bob Dylan, Randy Newman, Ry Cooder, Jackson Browne and Dolly Parton. In the 1980s and '90s, he's worked with J. J. Cale, Don Henley, Elvis Costello, Richard Thompson, Pink Floyd, Willie Nelson, Bobby Womack and Fiona Apple, to name just those.
In 1975, Keltner contributed to Bill's second album, and a few years later on Ronnie's Gimme Some Neck and 1 2 3 4 albums. His collaboration in Los Angeles with Mick on 1993's Wandering Spirit, however, is the work that led him to play with the Stones in 1997 when they arrived to record Bridges to Babylon in the same city. Keltner contributed percussion to many of the album's tracks, in a way few drummers usually do on Stones albums. His work with Charlie on that album also led them to simultaneous studio recordings that laid the groundwork for an experimental album, finished in 1998, and released in 2000 as the Charlie Watts/Jim Keltner Project. Keltner also recently plays on Mick's Goddess in the Doorway album.
On November 4, 2002, Keltner joined the Stones
onstage at their L.A. theater concert, performing on Can't
You Hear Me Knocking.
An engineer specializing in live albums who provided
assisting duties on No Security.
He's worked with the likes of George Thorogood and Patti Austin.
DOUG KERSHAW (1936- )
Born in Louisiana, Cajun guitarist and fiddler
Kershaw had country hits in the 1960s as part of the duo Doug & Rusty.
By the early '70s, he was playing in rock circles, playing with Bob
Dylan and Eric Clapton
among others, as well as with country artists. In 1978 he guested onstage
with the Stones at their concert in Fort Worth on the U.S. tour, playing fiddle on Faraway
Eyes. He therefore appears on the DVD and CD of Some Girls Live in Texas '78.
BOBBY KEYS (1943- )
When Texas-born saxophonist Bobby Keys joined the Stones' circle in 1969, he was a musician playing amongst the same groups that people like Billy Preston and Jim Price did around the same time, artists such as Delaney & Bonnie, Joe Cocker, Eric Clapton, George Harrison and Harry Nilsson. He had been playing sax in rock and roll bands, however, since the 1950s, playing amongst others with none other than legendary Buddy Holly.It's a gas not to be so insulated and play with some more people, especially people like Bobby, man, who sort of on top of being born at the same time of day and the same everything as me has been playing on the road, man, since '56, '57. He was on Buddy Holly's first record... I didn't know it man, but we played on the same show as Bobby Keys in '64, first time we went to San Antone. San Antone State Fair... George Jones, Bobby Vee, that's who Bobby Keys was playing with, playing with Bobby Vee's backup band.
The period of 1970 to 1973 was the period of Keys' heaviest involvement with the band on record (the albums Sticky Fingers, Exile on Main Street and Goats Head Soup), as well being an onstage member during the tours of those years. His camaraderie with Keith on tour became legendary, almost as much as what he contributed to the band musically, and may have played a part in his being distanced from the band in the years that followed. (Though he did guest onstage with the Stones for their L.A. shows in 1975).
Keys nevertheless continued working as a session musician, for people such as John Lennon, Ringo Starr and Carly Simon. His status as a session musician declined somewhat in the latter part of the decade, but he continued to find work, particularly with the solo efforts of ex-Faces members such as Ian McLagan, Ronnie Lane and Ron Wood, having also recorded with the Faces in the early 1970s. In early 1978, Keys rejoined the Stones in the studio, as well as playing simultaneously on Ronnie's solo album (Gimme Some Neck), although his contributions did not make the Some Girls record. He guested onstage with the Stones during their last show of the 1978 U.S. Tour.
In 1979, Keys joined Ronnie's touring band the New Barbarians, in which Keith also played, and he contributed to Emotional Rescue. In 1981 he played again on Ronnie's album 1 2 3 4 and was occasionally refeatured onstage during some of the gigs of the Stones' 1981-82 tour.
Unlike other musicians who have gotten to play with the Stones, Keys has never been totally forgotten. His sax solo on Brown Sugar is perhaps the single most well-known instrumental part on a Stones record played by an outsider. Keith hired him as a player for his 1986 Chuck Berry Hail! Hail! Rock and Roll project, and then for his own first solo album and tour of 1988, after which Keys was reinvited by the Stones to follow along on their 1989-90 world tour.
In 1992, Keys guest starred at some of the shows on Ronnie's solo tour, after which he joined Keith on tour for his solo 1992-93 jaunt. And though he has not played on their most recent records, Keys has continued to accompany the Stones onstage throughout their tours of the 1990s, for Voodoo Lounge and Bridges to Babylon and their last Licks tour. He appears on their last four live albums, as well as on many of their concert movies.
Keys again accompanied the Stones on their 2005-07 A Bigger Bang
World Tour and in 2012-13 is back with them for the 50 Years & Counting Tour.
THE KICK HORNS
The Kick Horns are a brass section that have participated
on many rock artists' records in the 1980s and 1990s. They were used by
David Gilmour, Paul Young and Pete
Townshend among others, before the Stones hired them to play on Steel
Wheels. They used them again two years
later on the song Sex Drive.
They've since contributed to albums by The Verve, Eric
Clapton and the Spice Girls and others.
Kilgour is an engineer who assisted Andy
Johns for the mixing sessions of Goats
Head Soup in London in 1973. He assisted
again when the Stones mixed It's Only Rock
and Roll at the same studio the following
year. Kilgour had previously worked with Mott the Hoople, and went on to
engineer records with the Eagles and Savoy Brown among others.
British-born producer Chris Kimsey started out as an engineer at Olympic Sound Studios in London studios. In 1971 he participated on the B.B. King album In London, recorded with Alexis Korner among other British stars. At the same time, he got his early start with the Stones in 1970 as an assistant engineer on Sticky Fingers, working behind Glyn and Andy Johns. Following this, his work as engineer then involved artists like Ten Years After and Emerson, Lake & Palmer, before making several albums with Peter Frampton in the mid-to-late '70s.
No longer working with Glyn or Andy Johns, the Stones hired Kimsey as chief engineer and mixer when they moved into EMI-Pathé Marconi Studios in Paris in October 1977 to make Some Girls. Kimsey was probably hired because that summer Mick had participated in Peter Frampton sessions which Kimsey was engineering in New York, and by the time the Stones were ready to record their chief engineer Keith Harwood had died.
Kimsey has been credited, rightly or wrongly, with giving back the Stones a more "live", exciting sound on record. His status increased within the band over the years. No longer wanting to hire a "producer" after the departure of Jimmy Miller, Mick and Keith nevertheless used Kimsey as an equivalent, important third ear for the three succeeding studio albums, who graduated in the credits from chief engineer (Some Girls) to associate producer (Emotional Rescue) to co-producer (Undercover). He also co-produced sessions for Bill Wyman's 1982 solo album.
When the Stones wanted to make a fresh start with their CBS contract in 1985, they chose not to continue working with Kimsey and went for producer Steve Lillywhite. Meanwhile Kimsey worked with a number of British bands in a number of styles, from retro progressive rock band Marillion to alternative rock bands like the Cult and the Psychedelic Furs (who had earlier worked, ironically, with Lillywhite).
When the Stones reunited in 1989 after their disputes,
they conservatively rehired Kimsey as co-producer for the
Steel Wheels album and live album that
followed - probably with the notion that they did not have much time to
record and he was someone they already knew they could work with. Since
then the Stones have parted ways with Kimsey again, although he worked
as engineer under Don Was
for the half-live Stripped
album in 1995. More recently, Kimsey has worked with groups like Ash and
B. B. KING (1925- )
The Mississippi-born and Memphis-trained legendary
blues guitarist has been producing records and performing from the early
1950s to the present. The Stones hired him as an opening act for their
1969 U.S. Tour. In 1997, the Stones as a band took time off from recording
Bridges to Babylon to record a duet with
B. B. King called Paying the Cost to Be the Boss, which appeared
on King's Deuces Wild album of that year. This was only the second
time the Stones played on an artist's record as a band.
Although she went on to release a few solo albums (her 1974 effort was entitled Brown Sugar), Clydie King is mostly known for her tremendous career as an R&B background and assisting vocalist.
Starting in 1969, King recorded with an extraordinary number of mostly blues and folk-based rock musicians in the 1970s. Some of the early ones included Elvin Bishop, B. B. King, the Paul Butterfield Blues Band, Tim Buckley, Rita Coolidge, Jerry Garcia, Phil Ochs, Arlo Guthrie, Al Kooper, Leon Russell and Billy Preston. It is undoubtedly her work with Billy Preston that led to her working, with her colleague Venetta Field, as a backup vocalist on overdub sessions for Exile on Main Street in Los Angeles in 1971-72, most notably on Tumbling Dice and Shine a Light among others.
Though she did not work with the Stone again,
King went on to work with many other rock luminaries during the decade,
including Steely Dan, Elton John, Joe
Cocker, Humble Pie, Ringo Starr,
Carly Simon, Linda Ronstadt
and Blondie Chaplin. Bill Wyman also
employed her in 1976 for Stone Alone, while Ron Wood did the same
in 1981 for 1 2 3 4. She seems to have last recorded in the early
1980s, working with Bob Dylan
SIMON KIRKE (1948- )
Born in England, drummer Simon Kirke traveled through similar circuits as the Stones. After a stint with John Mayall, Kirke joined the British hard rock band Free in 1968, who were helped in acquiring a record deal by Alexis Korner. The band achieved success but broke up in 1973, when Kirke and singer Paul Rodgers formed the band Bad Company, who achieved even greater success.
Still a member of Bad Company, Kirke, who knew Chris Kimsey, started hanging out with the Stones at their sessions in Paris in early 1978. He reportedly plays the congas on Shattered on Some Girls. Through the years of the Stones recording in Paris (right through Dirty Work in 1985), Kirke became friends and would often attend their sessions. When Charlie cut his hand in the middle of the 1985 sessions, Kirke was a temporary replacement, though his work did not end up on the album. Kirke also replaced Charlie for a good part of the Stones' private memorial concert for Ian Stewart in February 1986, because Charlie was late in arriving. In 1988, Kirke got his biggest break yet when Mick hired him for his solo tour of Japan.
Bad Company originally folded in 1979, before
resurrecting in the mid 1980s and is still continuing, with Kirke still
a member. Kirke has also occasionally played on other artists records,
most recently (1999) with Wilson Pickett. In 1992 he played on Ronnie's
On This album.
Whoever wrote the credits for Exile
on Main Street (Mick?) did a bad job.
Kirkland's first name is Jesse, not Jerry. He was a backup soul/gospel
vocalist who, like Venetta Field and Clydie
King, had recently worked with Billy
Preston, when he contributed backup on the Stones' gospel-inspired
Just Want to See His Face and Shine
a Light. He had also previously sung on
Quincy Jones records. He went on to record with Gloria Jones and Neil Diamond
Kissoon is a background vocalist the Stones used
for their new recordings on Flashpoint
probably Sex Drive.
She'd previously worked with Van Morrison, Dexy's Midnight Runners, Wham!,
Roger Waters, Elton John and Eric
Clapton. She's since played with the Pet Shop Boys, Howard Jones and
Jamiroquai, to name a few.
Kolotkin assisted Glyn
Johns in the engineering for the Stones' Their
Satanic Majesties Request (1967). Kolotkin
went on to do engineering duties for many artists, including Jimi Hendrix,
Janis Joplin, Santana,
the Ramones, Joan Jett and Robert Palmer.
AL KOOPER (1944- )
Born in New York, Al Kooper is one of the great
keyboardists of 1960s rock. Kooper also plays guitar, sings and is a songwriter.
After forming a doo woo group in the 1950s, Kooper went on to write a No.
1 song for Gary Lewis and the Playboys (This Diamond Ring) in 1964.
Subsequently, as a guitarist, Kooper attended Bob
Dylan sessions in 1965 but was enlisted by Bob to play keyboard instead
on Like a Rolling Stone, recording that immortal keyboard track.
After touring with Dylan and also playing on Blonde On Blonde, Kooper
joined the Blues Project, which released several albums, before he formed
Blood, Sweat & Tears in 1967. Kooper left after one album, however,
and for the next while became a studio musician. That's when, in 1968-69,
he met up with the Stones, where he contributed to Beggars
Banquet and also played the immortal piano,
organ and French horn parts on You Can't
Always Get What You Want. During this
period, he also recorded with Jimi Hendrix (Electric Ladyland),
King, Taj Mahal and
the Who. He went on to play with Stephen Stills and Mike Bloomfield and
became a producer, working with Simon & Garfunkel and then discovering
and producing Lynyrd Skynyrd in the 1970s. But he also continued recording
and performing with artists in the 1970s and beyond, notably with Bob Dylan
again, Bill Wyman (on his 2nd also album in 1976), Alice Cooper, Nils Lofgren,
the Nitty Gritty Dirt Band and Tom Petty & the Heartbreakers.
Yet another engineer who helped Don
Smith mix the Stones' Voodoo Lounge
in L.A. in 1994. He's also worked with Bon Jovi, Aerosmith and Mötley
Crüe among others.
An Olympic Studios engineer, Kramer was assistant
to Glyn Johns for Their
Satanic Majesties Request, and also engineered
Beggars Banquet with him the following
year. He also contributed musically, playing claves on 2000
Light Years from Home. In the 1970s and
'80s, he worked mostly with Jimi Hendrix, Led Zeppelin, Peter Frampton,
Kiss and Triumph. He briefly teamed up again with the Stones to help engineer
1977's Love You Live.
LENNY KRAVITZ (1964- )
Born in New York, rocker Lenny Kravitz burst onto the musical scene with great success in the late 1980s with his mixture of rock, soul, funk and neo-psychedelia. In the early 1990s, he developed a friendship with Mick, who jammed with him onstage, and enlisted him to play on his 1993 album Wandering Spirit. They duetted on a remake of Bill Withers' Use Me.
In 1994, Kravitz opened for the Stones several
times, and was invited onstage to jam with them at a Cleveland show on
Expectations. Kravitz worked again with
Mick in 2001, co-writing, performing on, and producing the song God
Gave Me Everything for his album Goddess in the Doorway.
Krowiak is an engineer who assisted Dave
Jerden on the Stones' Dirty Work
album. Like Jerden, he had previously worked with Bill Laswell (who produced
Mick's first solo album a year earlier). Krowiak had already engineered
records for Herbie Hancock, Laurie Anderson and Til Tuesday among others.
He went on to do work for Paul Westerberg, Buddy Guy, Me'Shell
Ndegeocello and many Latin/jazz, folk, non-rock artists.
CHARLIE JOLLY KUNJAPPU
A musician who overdubbed tabla on the Stones'
recording of Fingerprint File in
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