The Rock and Roll Hall of Fame is ready to induct its class of 2009, and once again this year it is honoring sidemen who contributed, often namelessly, to many classic songs and albums loved by millions since Elvis jumped on the scene with legendary sidekicks like Scotty Moore, whose lead guitar prepelled many an early Elvis Hit. By the mid 60's, the session man, had become incognito giants in the music scene where LA's famous "Wrecking Crew" were the sound behind Phil Specter's cadre of hit makers, the Beach Boys, the Association, Sonny and Cher, and countless others. Some like Leon Russell would go on to become stars in their own right. Others would only be known only to those who meticulously read liner notes where they were creditted. Yet who could ignore Larry Knechtel's beautiful piano on Simon and Garfunkel's "Bridge Over Troubled Water," for instance. From old school to cutting edge, from country to funk, these versatile, higly talented musicians played it all and saw it all.
There is one fellow from London who rightfully belongs at the head of the class of session men.
He played for the Beatles and on solo albums by all four members of the “Fab Four.” At times he was thought of as the 6th Rolling Stone. His playing can be heard on the Who’s first album and played with them on several occasions as well as contributing to another major British band’s work of the 1960’s, the Kinks. Not limited to his motherland, England, this keyboards ace recorded with Jefferson Airplane and played as a member of the band in Woodstock. He recorded and toured with the Jerry Garcia Band. He was a band member of Quicksilver Messenger Service and laid down tracks with the Steve Miller Band. Jeff Beck invited him to be a member of the first Jeff Beck Group which introduced the world to Rod Stewart and Ronnie Wood. Many producers with a huge cache of hits hired him to play piano for artists like Carly Simon, Harry Nilsson, Martha Reeves, and the Pointer Sisters. He also contributed to the work of Rod Stewart, Donovan, Graham Parker, Joe Cocker, and even David Bowie in his earliest days.
Listen to “Revolution” by the Beatles, “Sympathy for the Devil” by the Rolling Stones, two great classics from the Who’s landmark album, Who’s Next, “The Song is Over” and “Getting in Tune,” “Photograph” by Ringo Starr, “Give Me Love, Give Me Peace on Earth” by George Harrison, “Old Dirt Road” by John Lennon, “Dead End Street” by the Kinks, Carly Simon’s recording of “Night Owl” and even Jefferson’s Airplane’s track on Woodstock, “Volunteers,” on all of these recordings this stellar performer’s versatile but recognizable piano playing helps drive these classic songs.
An avid comic book reader whose ability to perform on the road was severely limited by chronic health issues resulting from Crohn’s disease, his ability to instantly envision and perform brilliant keyboard parts without study or rehearsal made him the most in demand keyboard artist in the late 60’s and early 70’s until health issues limited his ability to maintain an active schedule.
He’d retreat to Mill Valley in the San Francisco bay area, angry and bitter regarding the way session men are compensated for their work receiving no royalties for the works they performed keeping alive his musical interests playing in a local jam band. Later, this gentle mannered keyboard ace would live in Nashville, Tennessee where he’d die at the age of 50 while the Rolling Stones were headed south during their Voodoo Lounge tour in 1994 from complications from intestinal surgery.
Often affectionately known by his alias, “Edward,” which turns up in some of his recording activities including a wild keyboard expose titled “Edward, the Mad Shirt Grinder” from his time with Quicksilver Messenger Service, the fellow portrayed by Ray Davies in the Kinks song, “Session Man,” NICKY HOPKINS surely belongs in the Rock and Roll Hall of Fame. No pianist or session man was as omnipresent as Nicky Hopkins was during perhaps the most creative epoch of pop music history.
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