
4406cuda
Well-known member
Jim Keltner may be his generation's equivalent of Hal Blaine. After working in the early 1970s with Joe Cocker, he quickly reached the stratum of star session player. He would go on to sit with stars ranging from Pink Floyd to B.B. King, Jackson Browne to the Bee Gees, Elvis Costello to Willie Nelson, Barbra Streisand to Fiona Apple.
Keltner remembers a fellow drummer who told him in the 1970s that he was leaving the L.A. scene because the drum machines were gobbling up work. "I told him that instead of going back to Tulsa, he should get one of those machines," Keltner recalls. The technology of today does not alarm or offend Keltner but it occasionally disappoints him. He says he hears a steady stream of new albums that are so filtered and finessed that he can almost see the numbers inside the digital sound.
"You suddenly realize: These albums have real likable songs, they have likable performances from everybody, all the singing is good and very in tune, all the playing is good and the guitars are in tune," Keltner says. "But then you realize maybe that's what is wrong. That's why I don't like it. It's more like a mannequin. From a distance it looks like a really beautiful human being, but you get up close and it's not alive. It's standing there with painted-on features. That is the technology being abused."
Keltner remembers a fellow drummer who told him in the 1970s that he was leaving the L.A. scene because the drum machines were gobbling up work. "I told him that instead of going back to Tulsa, he should get one of those machines," Keltner recalls. The technology of today does not alarm or offend Keltner but it occasionally disappoints him. He says he hears a steady stream of new albums that are so filtered and finessed that he can almost see the numbers inside the digital sound.
"You suddenly realize: These albums have real likable songs, they have likable performances from everybody, all the singing is good and very in tune, all the playing is good and the guitars are in tune," Keltner says. "But then you realize maybe that's what is wrong. That's why I don't like it. It's more like a mannequin. From a distance it looks like a really beautiful human being, but you get up close and it's not alive. It's standing there with painted-on features. That is the technology being abused."