Check out this 1999 article by J.R. Jones from the Chicago Reader. Very insightful commentary on Chips's musical philosophy and approach to recording:
http://www.chicagoreader.com/chicago/soul-of-the-city/Content?oid=899754
Friday, July 31, 2009
Wednesday, July 15, 2009
Larry Jon Wilson on studio musicians
Enjoyed reading this interview with singer/songwriter Larry Jon Wilson. He talks about how studio musicians are so much more revered in Europe than here in the good 'ole USA. He specifically mentions Reggie who played some very soulful guitar on Larry's 70s era Monument albums.
Here's the link:
http://www.the9513.com/larry-jon-wilson-the-intervie/
A brief excerpt:
LJW: There are so few American record-buying, music-listening people who know who Reggie Young is, and Spooner Oldham, and David Hood, and these people. Reggie is the best guitar player there ever was. I think he’s Clapton’s favorite player. He’s on all my Monument albums. Audiences in Europe know these things. The people in the liner notes aren’t like credits rolling by on a movie to them. If they saw the name of one of my session players in the press there, it would jump out at them like neon, but it would pass by the American’ listener’s eye like the wind. That sounds like I am choosing them above this audience. I’m actually not. But to answer your question, audiences in Europe are more involved in the record. Once they get one, they really digest it. I don’t know that that happens here. I’m sure it does. It’s not as widespread and commonplace here.
Here's the link:
http://www.the9513.com/larry-jon-wilson-the-intervie/
A brief excerpt:
LJW: There are so few American record-buying, music-listening people who know who Reggie Young is, and Spooner Oldham, and David Hood, and these people. Reggie is the best guitar player there ever was. I think he’s Clapton’s favorite player. He’s on all my Monument albums. Audiences in Europe know these things. The people in the liner notes aren’t like credits rolling by on a movie to them. If they saw the name of one of my session players in the press there, it would jump out at them like neon, but it would pass by the American’ listener’s eye like the wind. That sounds like I am choosing them above this audience. I’m actually not. But to answer your question, audiences in Europe are more involved in the record. Once they get one, they really digest it. I don’t know that that happens here. I’m sure it does. It’s not as widespread and commonplace here.
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