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Willy DeVille (born William Paul Borsey Jr.; August 25, 1950 – August 6, 2009) was an American singer and songwriter. During his thirty-five-year career, first with his band Mink DeVille (1974–1986) and later on his own, DeVille created songs rooted in traditional American musical styles. He worked with collaborators from across the spectrum of contemporary music, including Jack Nitzsche, Doc Pomus, Dr. John, Mark Knopfler, Allen Toussaint, and Eddie Bo. Latin rhythms, blues riffs, doo-wop, Cajun music, strains of French cabaret, and echoes of early-1960s uptown Soul music can be heard in DeVille's work.
Mink DeVille was a house band at CBGB, the historic New York City nightclub where punk rock was born in the mid-1970s. DeVille helped redefine the Brill Building sound. In 1987 his song "Storybook Love" was nominated for an Academy Award. After his move to New Orleans in 1988, he helped spark the roots revival of classic New Orleans R&B. His soulful lyrics and explorations in Latin rhythms and sounds helped define a new musical style sometimes called "Spanish-Americana".For example, the term "Spanish-Americana appears on DeVille's MySpace Music page (Retrieved Jan 24, 2008)
DeVille died of pancreatic cancer on August 6, 2009, at the age of 58.Fusilli, Jim (August 7, 2009) "Willy DeVille Dies at 58." Wall Street Journal. (Retrieved 8–11–09)Editors (August 10, 2009) "Punk pioneer Willy DeVille dies." BBC News. (Retrieved 8–11–09.)Grimes, William (August 10, 2009) "Willy DeVille: Punk Rock Pioneer." The Miami Herald. (Retrieved 8–12–09) Although his commercial success waxed and waned over the years, his legacy as a songwriter has influenced many other musicians, such as Mark Knopfler and Peter Wolf.
DeVille quit high school See Rhodes, Dusty (1978) "Issue 13: Mink DeVille: Smooth Running Caddy: The Tale of the Mink", Rock Around the World (Retrieved Jan 29, 2008) DeVille said, "I was always considered an asshole ... I never fit in at school ... I was always looked upon as the weird." and began frequenting New York City's Lower East Side and West Village. "It seemed like I just hung out and hung out. I always wanted to play music but nobody really had it together then. They had Psychedelic rock but that wasn't my thing."Rhodes, Dusty (1978) "Issue 13: Mink DeVille: Smooth Running Caddy: The Tale of the Mink" Rock Around the World. (Retrieved Jan 29, 2008) In this period, DeVille's interests ran to blues guitarists Muddy Waters, John Lee Hooker,DeVille said "I heard John Lee Hooker when I was twelve years old. When I heard that voice, I said, 'Man I gotta sound like that.' So I was 12 years old, with my face full of freckles ... I went around saying 'Yeah, yeah, yeah, yeah ... ' trying to sound like John Lee Hooker. I'm very happy that he has finally got the commercial success, because he has influenced so many people ... ", Editors (1994) " Interview: Concierto Básico" Canal magazine. (Retrieved September 3, 2008) and especially John Hammond.Marcus, Richard (2006) "Interview: Willy DeVille." Leap in the Dark (blogsite) (Retrieved 1–29–08) Harris, Craig (2006) . AllMusic. (Retrieved 1–29–08) "I think I owe a lot about my look, my image on stage, and my vocal riffs to John Hammond. A lot of my musical stance is from John," Deville said.Billy Pinnell interview with DeVille on Australian radio on the 1994 Raven Records of Miracle He credited Hammond's 1965 album So Many Roads with "changing my life."
His next band, The Royal Pythons ("a gang that turned into a musical group"FaceCulture Interview (June 7, 2006) Willy DeVille: Willy about funerals, songwriting, second sight, his grandmother FaceCulture.com (Retrieved June 4, 2008)), was not a success either. Said DeVille: "I decided to go to San Francisco; there was nothing really happening in New York. Flower power was dead. All the Blacklight paint paint was peeling off the walls. People were shooting Amphetamine. I mean, it was real Night of the Living Dead. So I bought a truck and headed out west. I traveled all around the country for a couple of years, looking for musicians who had heart, instead of playing 20-minute guitar solos, which is pure ego."Rhodes, Dusti (1978) "Issue 13: Mink DeVille: Smooth Running Caddy: The Tale of the Mink" Rock Around the World (Retrieved Jan 29, 2008)
During three years, from 1975 to 1977, Mink DeVille was one of the original at CBGB, the New York nightclub where punk rock music was born in the mid-1970s. Their sound from this period is witnessed by Live at CBGB's, a 1976 compilation album of bands that played CBGB and for which the band contributed three songs.
In December 1976, Ben Edmonds, an A&R man for Capitol Records signed the band to a contract with Capitol Records after spotting them at CBGB. Edmonds paired Mink DeVille with producer Jack Nitzsche who had apprenticed under Phil Spector and helped shape the Wall of Sound production technique. Assisted by saxophonist Steve Douglas and a cappella singers the Immortals they recorded the band's debut album Cabretta (simply called Mink DeVille in the U.S.) in January 1976. Cabretta, a multifaceted album of Soul music, R&B, rock, and blues recordings, was selected number 57 in the Village Voices 1977 Pazz & Jop critics poll.Christgau, Robert (1977) "The 1977 Pazz & Jop Critics Poll" Robert Christgau website (Retrieved January 2, 2008) Its lead single "Spanish Stroll" reached number 20 on the UK Singles Chart, the only Willy DeVille recording to ever hit the charts in the United Kingdom.
The band's follow-up album, Return to Magenta (1978), continued in the same vein as Cabretta, except that Willy DeVille and producers Nitzsche and Steve Douglas employed string arrangements on several songs. On this album Dr. John played keyboards and, once again, Douglas played saxophone. To promote the album, Mink DeVille toured the United States in 1978 with Elvis Costello and Nick Lowe. Return to Magenta reached number 126 on the Billboard 200, making it Willy DeVille's highest charting album ever in his home country.
In 1979, Willy DeVille took his band in a new direction and recorded an album in Paris called Le Chat Bleu. For the album, DeVille wrote several songs with Doc Pomus who had previously seen the band play in New York City.Halberstadt, Alex (2007) Lonely Avenue: The Unlikely Life and Times of Doc Pomus. New York: Da Capo Press; p. 213 DeVille hired Jean Claude Petit to supervise String section, and he dismissed the members of the band except for guitarist Louis X. Erlanger in favor of new musicians: Kenny Margolis, Jerry Scheff (bass), Ron Tutt (drums) and, once again, Steve Douglas (saxophone), who also served as producer. Capitol Records was not happy with Le Chat Bleu, believing that American audiences were incapable of listening to songs with accordions and lavish string arrangements; consequently they initially released the album only in Europe, in 1980. However, the album sold impressively in America as an import and Capitol finally released it in the United States later the same year.Loder, Kurt (December 11, 1980) "Willy DeVille's best: Le Chat Bleu." Rolling Stone; no. 332, p 55-56. Ironically, Rolling Stone yearly critic's poll ranked Le Chat Bleu the fifth best album of 1980, Rolling Stone magazine. Rolling Stone End off Year Critics & Readers Polls. (Retrieved 3–14–08.) and music historian Glenn A. Baker declared it the tenth best rock album of all time.Baker, Glenn A. (1987) The World Critics Lists ~ 1987. (Retrieved 3–14–08.)
By this time no members of the original Mink DeVille save Willy DeVille remained in the band, but DeVille continued recording and touring under the name Mink DeVille.Palmer, Robert (September 25, 1981) "Pop Jazz; Willy DeVille and the Mink in Weekend at the Savoy", The New York Times He then recorded two albums for Atlantic Records, 1981's Coup de Grâce—on which Jack Nitzsche returned as producer—and 1983's Where Angels Fear to Tread. Both sold well in Europe but fared less well in the United States. Coup de Grâce was DeVille's last album ever to enter the Billboard 200, peaking at number 161.
Mink DeVille's last album, Sportin' Life, was recorded for Polydor Records in 1985. For this album, DeVille penned two more songs with Doc Pomus. The album was recorded at the Muscle Shoals Sound Studio in Alabama with the Muscle Shoals Rhythm Section, and DeVille and Duncan Cameron producing. The album was a hit in some European countries, entering the top 20 in Switzerland and Sweden. In 1986, DeVille filed for bankruptcy as part of what Billboard called "a major restructuring of his career". He fired his personal manager, Michael Barnett, and announced that he would "put Mink DeVille to bed" and start a solo career. Consequently, Mink DeVille played its last concert on February 20, 1986 in New York City.Wilner, Rich (March 1, 1986) "DeVille Files for Bankruptcy." Billboard; Vol. 98, No. 9. Page 77.
DeVille recorded Miracle in London with Mark Knopfler serving as his sideman and producer. He said, "It was Mark (Knopfler's) wife Lourdes who came up with the idea (to record Miracle). She said to him that you don't sing like Willy and he doesn't play guitar like you, but you really like his stuff so why don't you do an album together?"Marcus, Richard (2006) "Interview: Willy DeVille" Leap in the Dark (blogsite) (Retrieved June 3, 2008.) "Storybook Love", a song from Miracle and the Theme music of the movie The Princess Bride, was nominated for an Academy Award in 1987; DeVille performed the song at that year's Academy Awards telecast.
Knopfler heard ("Storybook Love") and asked if I knew about this movie he was doing. It was a Rob Reiner film about a princess and a prince. The song was about the same subject matter as the film, so we submitted it to Reiner and he loved it. About six or seven months later, I was half asleep when the phone rang. It was the Academy of Arts and Sciences with the whole spiel. I hung up on them! They called back and Lisa (his wife) answered the phone. She came in to tell me that I was nominated for "Storybook Love." It's pretty wild. It's not the Grammy Award — it's the Academy Awards, which is different for a musician. Before I knew it, I was performing on the awards show with Little Richard. It was the year of Dirty Dancing, and they won.Rene, Sheila (1996) "Interview with Willy DeVille", Willy DeVille Fan Page (Retrieved 01-30-2008)
In 1990, DeVille made Victory Mixture, a tribute album of classic New Orleans soul music and R&B which he recorded with some of the songs' original composers. The album was recorded without the use of overdubbing or sound editing with the goal of capturing the spirit of the original recordings.
I got all the original guys to come back in, like Earl King, Dr. John and Eddie Bo. Allen Toussaint played side piano. I brought in the rhythm section of The Meters on a couple of cuts. We call it the "little" record. It's funny, because I was just trying to get them money, the writers of the songs, 'cause they all got ripped off in the 1950s and 1960s. They were all fascinated, and Dr. John (who had played on DeVille's 1978 album Return to Magenta and who DeVille knew from his association with Doc Pomus) convinced them that they wouldn't get ripped off by this northern white boy. That's when I crossed over to being a local here in New Orleans. We were all pleased with it. It's recorded the way it was originally done back then. It's live with no overdubs anywhere, no digital, no editing. We played the song several times and just picked the best take, the one that was the most natural. It's on Fnac/Orleans Records. I'm really proud of that one.
Victory Mixture was recorded for a small independent label, Orleans Records, which licensed it to Sky Ranch (Fnac Music) in France. "It sold over 100,000 units in Europe very quickly—our first gold disc," said Carlo Ditta, founder of Orleans Records and the producer of Victory Mixture.Sinclair, John (August 24 – September 5, 1998) "Orleans Records Story." On the Road with John Sinclair. (Retrieved June 3, 2008)
In the summer of 1992, DeVille toured Europe with Dr John, Johnny Adams, Zachary Richard, and The Wild Magnolias as part of his "New Orleans Revue" tour. "The travel, buses, and planes and the accommodations had to be some of the worst I've ever experienced ... but the shows themselves were great. At the end of each show we'd throw Mardi Gras throws out to the audience, you know strands of purple and gold beads, and they'd never seen anything like it and they loved it."Marcus, Richard (2006) "Interview: Willy DeVille" , Leap in the Dark (blogsite) (Retrieved June 3, 2008)
For Backstreets of Desire, he was joined by David Hidalgo of Los Lobos, Efrain Toro, Mariachi los Camperos, and Jimmy Zavala, as well as New Orleans musicians Dr. John and Zachary Richard and L.A. session musicians Jeff Baxter, Freebo, Jim Gilstrap, and Brian Ray. Allmusic said about the album:
Willy DeVille's Backstreets of Desire stands tall as his masterpiece as both a singer and a songwriter. DeVille's considerable reputation in Paris buoyed him up to make this disc ... With guest spots by Dr. John, Zachary Richard, and David Hidalgo, DeVille creates a tapestry of roots rock and Crescent City second line, traces of 1950s doo-wop, and elegant sweeping vistas of Brown-eyed soul balladry, combined with lyrics full of busted-down heroes, hungry lovers, and wise men trying to get off the street. The sound of the album balances Creole soul and pure rock pyrotechnics. DeVille sounds like a man resurrected, digging as deep as the cavernous recesses of the human heart.Jurek, Thom (2007) Allmusic. (Retrieved 02-02-2008)
Backstreets of Desire included a novel mariachi version of the Jimi Hendrix standard "Hey Joe" that was a hit in Europe, rising to number one in Spain and France. See Rene, Sheila (1996) "Interview with Willy DeVille" Willy DeVille fan page. (Retrieved February 2, 2008) DeVille said about "Hey Joe": "The song originally comes from the Texas-Mexico border area ... They call it Texico. I tried, instead of doing something that sounded like Jimi Hendrix that would have been a cliché, I tried to take the song back to the way that it must originally have sounded, which would be with mariachis. It's classic, but it's classic with a little twist. A little different. I put a bit of pachuco Canal Street slang talking. I added a couple of verses of my own."Editors (1994) " Interview: Concierto Básico." Canal magazine. (Retrieved September 3, 2008) Backstreets of Desire was released in the United States in 1994 on Rhino Record's Forward label.
DeVille did not have a recording contract with an American label in the mid-1990s. His next two albums, Willy DeVille Live (1993) and Big Easy Fantasy (1995), were recorded for Fnac Music, a French label. Willy DeVille Live was a number one record in Spain.Eagle Rock Entertainment (2007) "DeVille, Willy", Web site of Eagle Rock Entertainment. (Retrieved August 3, 2008.) Big Easy Fantasy presents live recordings of the Mink DeVille Band playing with New Orleans legends Eddie Bo and The Wild Magnolias and remixes from the Victory Mixture sessions.
DeVille said, "I was pissed off and I didn't have a record deal for a few years. At the time I didn't want one. I was getting very gun-shy about labels. I was performing in Europe and I was doing great without one. When you get to that stage in your mind, they all start coming around. It's pretty strange the way that happens".
In 1995, he returned to Los Angeles to record Loup Garou, again with producer John Philip Shenale. Musician said about the album: " Loup Garou is subtle in nuance but staggering in scope, it connects the dots between all of the artist's sacrosanct influences, often within the framework of a single song ... All of it is on the money, performed from the heart ... "Editors (September 1996) "Review of Loup Garou", Musician magazine, p. 90 Loup Garou featured a duet with Brenda Lee; DeVille said: "She didn't know who the hell I was. I just called her up, played the song for her, and she loved it. She had her business people check me out, and they reported that I was big in Europe and had been recording for twenty years. So I flew to Nashville to ... That's got to go down in my book as one of the most memorable experiences in my career."
The cover of Loup Garou showed DeVille in turn of the 20th century New Orleans garb posing on a street corner in New Orleans' French Quarter. It included Louisiana Voodoo chants and a song subtitled "Vampire's Lullaby". The singer had completely immersed himself in New Orleans culture. Percussionist Boris Kinberg, a longtime member of the Mink DeVille Band, said about the stages of Willy DeVille's career:
To my mind there were three main eras. The first era was the Lower East Side, skinny tie, purple shirt, West Side Story, Puerto Rico Sharks gang vibe. Then it transmuted into the Mississippi plantation-gambler riverboat rogue, the Rhett Butler thing where he had had custom-made suits, and really got into the period and the clothes and just totally immersed himself in New Orleans, not the present New Orleans, but the New Orleans of the 1880s and 1890s—the absinthe-drinking, voodoo New Orleans. He totally immersed himself in that. Then he left New Orleans and moved to the Southwest and came back as the second coming of Black Elk. See interviews on Live in the Lowlands (DVD) (2006; Eagle Rock).
Before moving to the Southwest in 2000, DeVille recorded Horse of a Different Color in Memphis. The 1999 album, produced by Jim Dickinson, includes a Chain gang song, a Cover version of Fred McDowell's "Going over the Hill," and a cover of Andre Williams's "Bacon Fat". Allmusic said about the album, "Simply put, no one has this range or depth in interpreting not only styles, but also the poetics of virtually any set of lyrics. DeVille makes everything he sings believable. 'Horse of a Different Color' is the most consistent and brilliant recording of Willy DeVille's long career."Jurek, Thom (2007) Allmusic. (Retrieved September 3, 2008) Horse of a Different Color was the first Willy DeVille album since 1987's Miracle to be released simultaneously in Europe and the United States. His previous five albums had been released first in Europe and picked up later, if they were picked up at all, by American record labels.
I got in a car accident because I got crazy. I think I was somewhat taunting death because somebody who I loved very much died. And I found them. That's what that lyric in that song means ("she hurts me still since I cut her down" from). I cut her down. Next thing you know the police show up, I was in tears ... I was in love with another woman and we were going through some hard times, and I got in the car and I wanted to go off the cliff. I was in the mountains in New Mexico ... They came right around the corner head on. You know how big a Dodge Ram truck is? I broke my arm in three places and my knee went into the dash board ... It was bone to bone ... I was on crutches and on a cane for about three years and I couldn't go anywhere or do anything. I was fucked up. I was ready for the scrapheap.FaceCulture Interview (June 7, 2006) Willy DeVille: Willy DeVille about his metal hip, his car accident, going crazy and sacred stuff! . FaceCulture.com (Retrieved 04-29-2009)
"I guess I was testing the waters to see if I would live through it", DeVille told another interviewer. "It was a foolish, foolish thing to do."Cohen, Elliot Stephen (August/September 2006) "Willy DeVille". Dirty Linen No. 125 p. 39 For the next five years, DeVille walked with a cane and performed sitting on a barstool, until he had hip replacement surgery in 2006.Cohen, op cit supra.
DeVille's stay in the Southwest awakened his interest in his Native American heritage. On the cover of his next album, 2002's Acoustic Trio Live in Berlin, recorded to celebrate his 25 years' of performing, DeVille wore long hair. He began wearing Native American clothing and jewelry on stage.
In 2004, DeVille returned to Los Angeles to record Crow Jane Alley, his third album with producer John Philip Shenale. The album continued his explorations of his Spanish-Americana sound and featured many prominent Los Angeles Latino musicians. On the cover, DeVille wore a Native American headdress and breastplate. Richard Marcus said of the album, "Crow Jane Alley is the work of an artist who after thirty plus years in the business still has the ability to surprise and delight his listeners. Listening to this disc only confirms that Willy DeVille is one of the greats who have been ignored for too long."Marcus, Richard (June 24, 2006) "CD Review: Crow Jane Alley Willy DeVille" Leap in the Dark (blogsite) (Retrieved Mar 25, 2008)
On Mardi Gras of 2008, Pistola, DeVille's sixteenth album, was released. Independent Music said about the album: "(Willy DeVille) has never been more artistically potent than on Pistola, confronting the demons of his past with an impressive lyrical honesty and unexpectedly diverse musical imagination."Gill, Andy (January 24, 2008) "Willy DeVille: Pistola" The Independent (Retrieved April 2, 2008)
In 2023, the film Heaven Stood Still: The Incarnations Of Willy DeVille by director Larry Locke premiered.
In 1984, DeVille married his second wife, Lisa Leggett, whom he met in California. She became his business manager. They lived near New Orleans and on a horse farm in Picayune, Mississippi. After her suicide in 2001, he married Nina Lagerwall (daughter of Sture Lagerwall), his third wife, whom he met in New York in August 2000. They returned to New York City, where he spent the rest of his life. Dangerous Minds (June 5, 2013) Where Angels Fear to Tread: Willy DeVille, rock's beautiful loser. (Retrieved January 6, 2014.)
About his legacy, DeVille told an interviewer, "I have a theory. I know that I'll sell much more records when I'm dead. It isn't very pleasant, but I have to get used to this idea."Rangel, Laura (January 1991) Interviews: King Creole . Willy DeVille: Spanish Stroll (Retrieved on 1–29–08)
Jack Nitzsche said that DeVille was the best singer he had ever worked with.Edmonds, Ben (2001) Liner notes to Cadillac Walk: The Mink DeVille Collection. Edmonds wrote, "During my last conversation with Nitzsche, only months before his death last year, the irascible old witch doctor couldn't stop taking about the new album he'd been plotting with Willy, and how DeVille was the best singer he had ever worked with."
Critic Robert Palmer wrote about him in 1980, "Mr. DeVille is a magnetic performer, but his macho stage presence camouflages an acute musical intelligence; his songs and arrangements are rich in ethnic rhythms and blues echoes, the most disparate stylistic references, yet they flow seamlessly and hang together solidly. He embodies (New York's) tangle of cultural contradictions while making music that's both idiomatic, in the broadest sense, and utterly original."Palmer, Robert (September 18, 1980) "Pop: Willy DeVille Band", The New York Times; p. C32
In a 2015 interview, Bob Dylan suggested DeVille should be in the Rock and Roll Hall of Fame: "(DeVille) stood out, his voice and presentation ought to have gotten him in there by now."Dylan, Bob (February 13, 2015) "A Post-MusiCares Conversation with Bill Flanagan." bobdylan.com. (Retrieved Mar 23, 2015.)
Critic Thom Jurek said about him, "His catalog is more diverse than virtually any other modern performer. The genre span of the songs he's written is staggering. From early rock and rhythm and blues styles, to Delta-styled blues, from Cajun music to New Orleans second line, from Latin-tinged folk to punky salseros, to elegant orchestral ballads—few people could write a love song like DeVille. He was the embodiment of rock and roll's romance, its theater, its style, its drama, camp, and danger."Jurek, Thom (August 10, 2009) "Willy DeVille, RIP: Remembering an American Original." The Allmusic Blog. (Retrieved 8–14–09)
His sometime collaborator Mark Knopfler said of DeVille, "Willy had an enormous range. The songs he wrote were original, romantic and straight from the heart."Quote originally published as part of this much longer statement issued by Knopfler at Richard Marcus' request:
Source: Leap In The Dark: "Willy DeVille: RIP" I've been an admirer of Willy's since hearing his stunning voice on the radio for the first time. He has an enormous range, with influences from all corners of the country, from Muddy Waters and John Lee Hooker and New Orleans music to Latin, folk-rock, doo-wop, Ben E. King style soul and R&B – all part of the New York mix. The songs he writes are original, often romantic and always straight from the heart. He can paint a character in a few words. When we worked on his Miracle album I enjoyed the occasional opportunity to offer a chord or two to go with his great lyrics.
Thom Jurek wrote about him after his death, "Willy DeVille is America's loss even if America doesn't know it yet. The reason is simple: Like the very best rock and roll writers and performers in our history, he's one of the very few who got it right; he understood what made a three-minute song great, and why it mattered—because it mattered to him. He lived and died with the audience in his shows, and he gave them something to remember when they left the theater, because he meant every single word of every song as he performed it. Europeans like that. In this jingoistic age of American pride, perhaps we can revisit our own true love of rock and roll by discovering Willy DeVille for the first time—or, at the very least, remember him for what he really was: an American original. The mythos and pathos in his songs, his voice, and his performances were born in these streets and cities and then given to the world who appreciated him much more than we did."Jurek, Thom (August 10, 2009) "Willy DeVille, RIP: Remembering an American Original", The Allmusic Blog. (Retrieved Aug 14, 2009)
Singer Peter Wolf of the J. Geils Band said about him, "He had all the roots of music that I love and had this whole street thing of R&B – just the whole gestalt ... He was just a tremendous talent; a true artist in the sense that he never compromised. He had a special vision and remained true to it."Editors (April 1, 2010) "Peter Wolf on 'Totally Unrecognized' Singer Willy DeVille." Speakeasy: The Wall Street Journal blog. (Retrieved October 4, 2010.)
Writing in the Wall Street Journal about the posthumous release of DeVille's Come a Little Bit Closer: The Best of Willy DeVille Live (2011), Marc Meyers declared, "There was creative heat and pain in Mr. DeVille's eerie, edgy look and sound. While his punk-roadhouse fusion sailed over the heads of many at home, his approach inspired many British pop invaders of the 1980s, including Tears for Fears, Human League and Culture Club ... He was a punk eclectic with a heart of golden oldies and Joe Cocker's pipes. A seedy sophisticate, Mr. DeVille was decades ahead of his time."Meyers, Marc (May 20, 2011) Brilliant, Shook-Up Guy. The Wall Street Journal.
In 2022 the documentary Heaven Stood Still: The Incarnations of Willy DeVille was released portraying his life and music directed by Larry Locke and featuring Willy DeVille, Chris Frantz, Ben E. King, Jack Nitzsche, Hal Willner, John Philip Shenale and Peter Wolf.
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