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17 Mar 2015

The Guest Book: Kim Bullard seen by Eltonites

This is Kim Bullard's guest book. There are several eltonites who, after the interview with Bullard, send me their pictures and thoughts about him, so we were agree to make it public. One thing is obvious, Kim Bullard  has conquered the hearts of fans with his kindness, passion and professionalism. So there's a taste of comments sent to Jack Rabbit about our guest, in the past days. Feel free to send whatever thoughts or wishes you have for him, just to show how much we love him. Thanks so much for your collaboration. Eltonites, this is your time.

"Loved reading the article Kim, It shows your passion for Music, and for Elton himself.. You make the EJ band cool!!! Look forward to seeing you in June... I will have my "madman" tee shirt on.. 2nd row.. ready to rock!!!.Cant wait" .. Pic from Leigh in June.. xxx" (Janet Lois Speariett, UK, 43 concerts, since 1973)

"Kim Bullard,a fine genuine person and a great musician. This photo was at the Elton John LATW in Las Vegas,Nevada. It was a pleasure meeting you.You have filled in beautifully into the Elton John band. All the best wishes for continued success" (Richard Georgeou, USA, 88 concerts, since 1970)

"I've had the privilege of meeting Kim Bullard in person twice now.  First, at the Elton Expo in Vegas in October 2013, and most recently, before my 43rd Elton John concert in Jacksonville, Florida. I've always had great respect for him, and I have a special place in my heart for piano and keyboard players. What a gracious (and might I add very handsome) man! In Vegas, I introduced myself as "I'm a Kim, too" and he high-fived me. He signed my GBYBR CD, so I now have all 5 of the current touring band members' signatures on that same CD.  A prized possession! In Jacksonville, he gladly took a photo op with me, signed my tour book and we chatted for a few minutes. (Burn Down the Mission is his current favorite song to play.  Glad they added it back to the set list)! Since then, I found out his daughter (Katy Rose) was born on January 27 - same day as my son! Thank you, Kim, for your graciousness and for all the years of amazing music! Hope to meet you again sometime soon" (Kimberlee Kemble, USA, 43 concerts, since 1974)

"Anybody who has ever heard FFAF/LLB knows what a demanding synthezizer piece it is. Kim Bullard has managed to reproduce it perfectly live. Using several complex electronic sounds at once, the audience is blown away every time it hears this. He arrives from out of the smoke on stage.  In fact, Kim is often the one who starts the shows, since this piece is often the opening number. Alice also gives Kim, along with Davey, the chance to add unusual sounds. Now with more string drama towards the end, the song is more exciting than ever. However, he also has an ear for Elton’s more melodious music. The soft strings you hear in the background in ballads like Tiny Dancer and Your Song make the songs sound soft and smooth. Elton’s music is so varied that for a keyboard player’s point of view, it’s like working for ELO, Carole King and Scissor Sisters at the same time. Some of my favourite playing of his is in The Blues. He has completely made the harmonica solo his own at the same not forgetting the original solo by Stevie Wonder. Kim adds to the magic but never overplays. He interacts with the band from his platform and often poses for a smile or laughs with other band members, at the same time as he’s delivering the goods. We have been very lucky to have met him twice in person. He was so kind to take some time with us and share our Elton experiences. Both times were awesome as he really seemed to enjoy the fans company as well and we couldn’t be more pleased. We are completely overwhelmed to attend our very first show in The Colosseum in Vegas this April. An event we never would have imagined. We can’t wait to live this experience with Elton & The Band" (Mariona Calafell, Spain, 31 concerts, since 1997)

"Picture was taken at Fayetteville, North Carolina on March 11th by my good friend Tommy T Baughman. Please let Kim know that I am a big fan and I'm sure he knows who I am from seeing me at the front at UK concerts! I'm looking forward to seeing him and all the Band this summer" (Ros Dinsdale, UK, 40 concerts, since 1973)

"Kim is a SUPER nice guy !!! I had the pleasure to meet him a few times... He is a lovely man and during this years he has become a precious member of the EJ's Band! Can not wait to see him again in italy this Summer" (Silvia Corsaletti, Italy, 35 concerts, since 1993)

"I met Kim this past January and had a wonderful time just chatting and hanging out. He's so down to earth and easy going and so fan lucky to have had the chance to meet him...." (Jennifer Keller, USA, 10 concerts, since 1980)

"Kim, you are a keyboard wizard! The way you've mastered "Funeral For A Friend" is just incredible. I am so happy and thrilled for you that you joined the band! When I saw you with EJ and the band in Denver on 9/20/2014 from the 3rd row, I felt the vibrations beneath my feet! Even more so at the front of the stage. (I wore the flashing blue sequined hat.) It was great seeing you enjoying yourself, having realized a dream. I have friends who have met you and say how nice and cool you are, and always happy to take a picture with them. I admire your humility and kindness when it comes to meeting fans! I am hoping to get to Vegas for the show on 4/14 (there is a free front row ticket and hotel for me; all I need is airfare and I'm there! !) Wishing you many blessings and much happiness, always". (Stacie Purcell Pearson, USA, 50 concerts, since 1970)

"I had the opportunity to meet Kim twice. Once in 2011 and the other time was in 2013 at the Elton Expo in Vegas. I cannot say enough good things about this man. He is very personable as well as professional. He took the time to chat with me. When I spoke with him, I informed him that I am a gymnast. I shared with him that I am using Elton’s music for my gymnastics routines". (Missy Gymns, USA, 10 concerts, since 2002)

"Besides being an outstanding professional who gives a special color to the repertoire of Elton John with your fantastic keyboard, Kim Bullard earned his place at EJ Band definitely with talent and charisma. And just like all his band mates, he's always very friendly with all the fans. I wish Kim all the success. He deserves!" (Vera Lucia Piovesani, Brazil, 5 concerts, since 2009)
"Since Kim joined the band he has kept a steady line between keeping the integrity of Elton's music intact and stamping his own personality on it. Because he 'gets' Elton's music it's no chore for him to carefully navigate the myriad of colours that Elton's music has conjured up over the years. Whether it be Synth strings, Moog, Hammond, Fender Rhodes and all other keyboards in between. Even though Kim might not wear a cape he's still got the versatility to keep any man awake! See what I did there... like all his colleagues in the band he's a terrific ambassador for Elton and his music. Both to the common man on the street and most importantly, the diehard fans. I can't wait to hear him on the new album later this year!!" (Paul Purcell, Ireland, 12 concerts, since late 80s)

"Hello from Italy, I look forward to see you live in Italy this summer and to hear the new Elton album featuring your work for the first time ever...I'm sure it will be a success!" (Andrea Grasso, Italy)

"Would love if you could tell Bullard how much I love the band and his playing. He's a genius, and I'm looking forward to the summer, in Bergen, Norway" (Inge Alexander Simonsen, Norway, 7 concerts, since 2008)

* Picture of Kim Bullard behind Elton, with Matt Bisonette, courtesy of Rudy Garrido, Spain

"I have been a diehard fan of Elton's band members since ever since. Since I was a kid, my dream was seeing Elton playing with any member of the band. Kim Bullard is part of the impeccable sound which I will feel eternal devotion. A musician worthy to be part of my loving Elton's band. Thanks for existing" (Mayra Fuentemayor, Venezuela, 1 concert, since 1974)

"Hi Kim and Katy Rose, I never got to see you play with Elton yet. I hope to someday soon, I enjoyed reading your articles and learning a little more about both of you. Take care........... (Jim Oksen newloneranger, USA, 7 concerts, since 1980)

* Intro picture by the greatest Jennifer Keller, USA, she took the picture of him after leaving the stage, after Elton finished SNARFF at The MDP show. How appropiated for the intro of the article. Thanks so much Jennifer. (Jack Rabbit)

14 Mar 2015

"I have always been an Elton fan. First and foremost, he made it cool to be a piano player" Chattin' With Kim Bullard: The Interview

A gentleman. When Jack Rabbit had the chance to meet Elton's current keyboard player, this words came to mind. So respectful, so passionate for what he is doing. It seems if they had knowing each other for a long time, and left a great experience on his side. Elton always had good keyboard players: remember the fantastic Guy Babylon, remember James Newton-Howard. Big names on the screen. Kim Bullard is on the level. He has a wide experience: playing live, in the studio, producing, composing, everything: Poco, Crosby Stills and Nash, Art Garfunkel, Elton John. Kim owns a home studio on a very nice piece of property, placed in the same old barn that once housed the talking horse Mr. Ed on TV. Anecdotes with the band? Davey recently explained on his question and answer website: that "Kim eats more than any human I (he) have ever witnessed" while he added he caught him once carrying a plate of food onstage. A source of energy. So loved by the rest of band member, counting Elton, although, while laughing, he takes some ice cubes from his glass to throw away at Kim on some concerts. So Eltonites, be ready to receive an outstanding artist, one of a kind, a very glamorous man. The doors of AllSongsList are all wide open to receive the greatest Kim Bullard.

Welcome Kim Bullard, so proud you are here sharing your free time with eltonites. So much a joy to be here departing a while. So, with your permission, let's start with the first question. Jack rabbit, begin please.

So, at what age you decide you wanted to be a musician, Kim? And what were your early musical influences?

hmmm, let me see… I went shopping with my mom at the local department stores when I was 5 years old,  sat down at the organ section of the store (yes, there used to be an “organ section” at department stores) and started to figure out songs on a little electronic organ.  My mother saw that, bought me that organ, which I still have. Then about a year later, they bought a piano and started me with lessons. So, you could say that my mom decided I was a musician long before I did.  I went on to play viola in the orchestra at school, and then started playing organ in soul bands in Atlanta when I was around 13, and was working steadily in bands by 15.  My parents still wanted me to do music as a hobby, but do something else professionally.  A shift in my thinking happened when I first moved to LA.  I went to my drummer’s house and met his father,  who was a professional “side man" musician. Back in Georgia I had met rock stars like Keith Emerson, Greg Allman,  Mark Farner, and knew a lot of dudes in the local bands, but I had never met a working, professional  “side man.”  Looking back, that one meeting had a big influence on me..... it allowed me to visualize that I could work in recording studios; not BE the star, but work with big artists, and still have a balanced life somehow. Until that moment, I did not know that scenario even existed.  Once you visualize something, you can make it happen, and I think that meeting helped put me on a path that I have followed since. 

Regarding early influences, my early musical influences stemmed from what I was exposed to living in the South… southern soul and gospel music.  I have some relatives in the ministry in the deep south, and the sound of a Hammond organ and a Baldwin piano rocking out to Baptist hymns in a hot, sweaty, country church feels like home to me.   I like playing at church. I actually have a few churches in LA that I sneak in to when they are empty and play. Other than that, the first bands I played in did covers of James Brown, Otis Redding, and Motown stuff, then later bands I was in played Yes, ELP, Grand Funk, Deep Purple, Bloodrock, Spirit, Jethro Tull, Led Zepplin, Hendrix… all that kind of stuff.  A big influence on me was Keith Emerson. He was the coolest.  I was lucky enough to have him give me an impromptu piano lesson after their concert when I was about 15 (lets just say they had bad security after the show), and something clicked after meeting him; I felt it in my core… I felt like I was supposed to do this.  Fast forward 30 years, ELP was on the bill on a festival tour through Europe that we did with Art Garfunkel, so I got to thank Keith; but I never got a second piano lesson from him. 

You began playing with bands at an early age but the best decision for you was, maybe, go to L.A. Why this decision?

It was not a decision, per se, it just kind of happened.  I lived in Atlanta, where I grew up, and I was in a band there as a teenager. Frank Zappa was playing in town, and his keyboard equipment broke.  The local promoter knew I had decent gear, so they called, and I rented them my gear.  Zappa’s manager, Herb Cohen, came to pick it up while my band was finishing a rehearsal.  They liked what they heard, wanted to hear more songs, so we played a few more. They thought our singer was a star (which he was), and decided to sign him and bring him to Los Angeles. The singer negotiated to bring me along with him.  Bless him.  I think that was actually the first time I ever flew in a plane. This was late 1972.  So that is how I ended up in California. There is a great deal more to that story, but that is the short answer.  I am glad it happened... my life would be completely different if not for that one event; Zappa's broken Leslie speaker. 

You became touring keyboardist for Crosby Stills and Nash band from 1977 onward, and joined Poco’s band when they were once again a quintet, back in 1978. Also you collaborated with Yes; Peter, Paul and Mary; Tori Amos; Weird Al Yankovic; Art Garfunkel; Julieta Venegas, to name a few. What about all those experiences?

wow.. that is too broad of a question. I could write a book on each one of those experiences..I don't know how to narrow that question down......except to say that, yes, I have had the chance to make music with some amazing people. Every experience was a gift, and I learned a lot from all of them. 

You were also involved in the producing of such successful soundtracks, like “10 Things I Hate About You”, “Wedding Planner” or “Karate Kid III”, and you have credits on Disney’s “Tarzan” and “Country Bears”. What are the essential elements you need to make a great soundtrack record? Is there any difference between recording a soundtrack album than an original one?

Hey, you left out one my proudest moments... producing "Freedom Isn't Free"  for “Team America, World Police.”  We did that live, in one take, in my studio in Tarzana !!

I love doing songs and music for movies, because the song has a specific purpose it is supposed to do.  It has a job.  The confinement of assignment makes decisions much easier.

But your question was, how is it different… Technically speaking, for a soundtrack, we deliver separate sub mixes (stems) so the film mixing engineer can place music into the movie mix better, especially if there is competing dialog and background effects.  We use various forms of limiting and mastering when delivering a stereo mix for a CD, but music for film seems to work better with a wider dynamic range, so we use limiting differently, more sparingly.  

Maybe you know I have here in AllSongsList a Comittee of Experts. That’s a list of ten eltonites from 10 countries which I asked things related to Elton, just to create a current opinion from fans theyself. I invited for this interview one of them, Wim Greven, from Holland, and he wants to ask you some questions, Kim, do you mind? Wim, you’re ready? Go on, then:

How it feels to step into the Elton John band after such the great loss of Guy Babylon? Was it a difficult decision for you?

The decision itself was not hard.  When asked to play music with such a great band, and with an icon like Elton, the answer is always going to be ‘yes’……after that,  you figure out how to make it all work. 

I wanted to make the transition as smooth as possible, so I did a lot of homework on my own, trying to limit the amount of rehearsal  the band would have to do. I figured that was a way for me to serve the situation.  Davey really stepped up as band leader during that very rough time and handled everything in a super cool way; he set me up for success, and I am very grateful to him for that.  

Guy Babylon was a fine musician, a lovely guy with a wonderful family, and he meant a lot to everyone.  His loss put this touring family into shock… people were grieving. I was aware that different people have different grieving processes, and I was aware that my presence would  trigger some sadness for some people. There was nothing I could do about that except be compassionate towards everyone, knowing that if they were not particularly outgoing towards me, that they were probably having a difficult time with the situation, not with me personally. All I focused on was how to be of service to Elton, the crew, the band, everybody, so I kept suiting up and showing up and tried to be professional. 

The other side of that, the good thing about having Guy precede me, was that he took the keyboard parts to Elton’s songs to a very high level.  He did this job for a long time.  I got to use that experience, and add my own touches as I went along.  If I shine at all up there,  it is because he lit the way. 

How did you manage to learn the songs of Elton in such a short period of time? 

Endless repetition.   I set up a duplicate of Elton’s touring keyboard rig and played along to a show that Bob Birch gave to me.  Bob was an enormous help, too; he followed up with me all the time to make sure I had everything I needed. 

Also, I had Tony Smith, the keyboard tech, helping me out.  As you might expect, Elton has the best touring crew in the business, and Tony has been there for a long time.  He constantly does work on the keyboards,  updating things, programming sounds, etc. He was a calming, positive influence as I was trying to assimilate into the organization. He makes my job easy.

And how did the band members responded to you after the first performance? 

They were extremely generous.  I was horrified, because, having never rehearsed with the full production of the Red Piano show,  I missed some technical cues.  It was just one or two small things, but my expectation was that I should do it perfectly, so I thought the world was going to end.  But the guys in the band, and Elton, were all totally cool…. I got the cues right by the next show, but, man, there was a lot to stuff to remember on that first show.  Also, having Elton John right in front of you for the first time, playing songs you grew up with,  is kind of an out-of-body experience.  It was very disorienting; I did not know what planet I was on. 

Is it a big difference to play in a band like Crosby, Stills Nash & Young or do it with Art Garfunkel, in comparing with Elton’s band?

Those three acts are very different musically, but I think the most different thing about those experiences for me, personally, is the time period they happened in.  Whatever you do in your 20’s is going to seem a lot different than if you were doing the same thing in your 40’s, and the first time you do something is always more exciting than the 100th time.  Regarding the time period, music meant something different to people in the 60’s and 70’s; it was more socially relevant.  In the 70’s when I toured with Crosby Stills and Nash, there was still an afterglow of the idealism from the 60’s permeating everything around that camp, which stemmed from the music itself, which was anti-establishment, activist, hippie music, with direct lineage to 1969 San Francisco, summer of love, Laurel Canyon, all of that. Graham and David still had houses in San Fransisco.   Think about the lyrics to “Wooden Ships”,  “Ohio,” or “For What Its Worth.” That music was attached to a huge generational and political sea change that happened from 1969 through 1972, which gave music, and that band in particular, a cultural relevance that not a lot of music has had since.  It was a different time.  And of course, I was  young then, so it all had a huge impact on me.   Joni Mitchell would come around, as did Judy Collins… James Taylor or Art Garfunkel would drop in to visit David and Graham, Ted Kennedy would come hang with Steven… we actually did a stadium tour with the Grateful Dead at one point.  That’s a lot of hippies!! Everyone’s stories were captivating for me.  Crosby was tight with Janis Joplin when she was alive, so she and Jimi Hendrix were talked about as if they were still alive…. it was all heady stuff for a 22 year old kid from Georgia.  My life through that time period was like watching a really cool movie, but  also being in the movie.  Also, while there was love between the three guys, there was also a great deal of volatility, and there was more decadent, crazy stuff going on than I had ever seen, so it all had a big impact on me. 

I started touring in the mid 70’s with Veronique Sanson in France.  Playing music, rock and roll touring, was a counterculture enterprise then.  The rebellious nature in the music was reflected in the touring business itself.  I remember lots of suitcases filled with cash…  concert promotors were more like wildcatters.  There was the settlement that happened after the show in the back room…  you never know if the promoter would try to get out of his commitments, maybe draw a gun.  People in rock and roll were more like pirates; touring reflected the spirit of the music of the time; it was a subculture, like a drug deal, in a way.. it was not Wall Street and accountants.   In France, with Vero,  gypsies would rent us tents to do concerts in, and then grab Vero by the throat at knifepoint to try to settle some difference they had with the promoter. I remember our promotor smashing a bottle of wine and holding the broken glass to someone’s face to settle a score. Needless to say, that stuff doesn’t happen with Elton…. well, at least I haven’t seen it!!

Back to your question, about the differences, musically one difference is that with CSN, they intentionally under-rehearsed.  We hit the road playing big arenas, and  I literally had never played about a third of the songs with them before.  They just figured I knew them. They liked the idea that the show was on the edge a bit, that anything might happen; they never wanted to be on auto-pilot, they kind of liked the rush of keeping things fresh…. its probably why they did not tour very much. 

But what all of the acts you mention have in common is they have fantastic set lists. As far quality and the enduring nature of songs, Bridge over Troubled Water, Sounds of Silence, Mrs. Robinson, are right up there with Elton John songs as some of the best songs ever written. These are songs that will be around long after all of us are gone.  So that was the same... I got to play some of the best songs ever written by working with all the people I have worked with. 

But really, you can't compare anybody with Elton John.  He is mega. What is different is how much energy Elton has, and frankly, how loud it is.  It is a full blown rock show. With Art, the stage volume is VERY low. On a loudness scale of 1-10, with Art, we danced in and explored the nuances between 1 and 2 every night. It was all about extreme sensitivity and subtlety.  We had fantastic pool of musicians on that gig including drummers like Steve Gadd and Tommy Igoe, so playing really soft worked, and it gave room for Art to use his incredible voice the way it should be used.  Those shows sounded fantastic.  With Elton, we START where most bands finish, on 10,  and then go up from there. He comes out on fire and you just have to hang on for the ride. Elton is a monster. 

I have to add something here; Everyone knows that he does a great deal of philanthropic work that he is public about, the AIDS foundation, etc, but what I have seen in the  time I have been involved with him, is that he does good things for people all the time, quietly, without fanfare, as well. I have seen that he cares deeply for the people around him, and that he is generous with his time and resources in ways that no one will ever read about.  This is when you see someone’s true character. So yes, I am lucky to get to play  music with Elton, and I would certainly be here just for the music.  But I am truly blessed because in addition to being a great songwriter, performer, and all of that, he is a good man.

Sorry, I’m talking a lot… and getting a little off track.

What is the next question?

Is it true that you also played with Helen Reddy? She's one of my favourite artists too. Such a beautiful recognizable voice, hasn’t she?

Yes she does, a fantastic voice, but your detective work is off there, Wim.  I never worked with Helen Reddy..  I did do some intense work with Bette Midler for a bit, and I worked with Cher, Oliva Newton John, Rita Coolidge, and some other pop female artists kind of like Helen Reddy, but never Helen Reddy. 

Thank you Wim. 

Kim: have you been an Elton fan before? Remember the first time you heard Elton’s music and what moves you to buy his music, in that case?

I have always been an Elton fan. First and foremost, he made it cool to be a piano player.  He gave us all hope!  But what moved me about Elton, as a fan, is that there is a certain “cry” in his voice, in his soul, that connected with me, and of course with millions of other people..  No matter what he sings, you believe what he is saying.  He touches people.  And there was just this energy about where he was coming from; he had such commitment to what he was doing, that it forced you to pay attention.  I loved his phrasing. People might not categorize Elton as a “soul” singer, per se,  because he is a white British dude, but he is a very soulful singer.  The way he phrases, comes off notes, is like the great soul singers… like Ray Charles. There are certain moments on stage where I imagine he IS Ray Charles, which is really fun for me, because that means I get to imagine that I’m Billy Preston!!  

I was a big fan of the band, too, the whole package of the early Elton stuff...  Elton, Nigel, Dee, and Davey hit some high plateaus of creative synergy together. I loved the fact that the guys who played live were the same guys who recorded with Elton. The whole unit, the whole thing, had a great personality  to it that was not lost on us fans.

Asking to Katy Rose about your collaboration with her, producing her debut album, she said: “I've worked with so many musicians and producers all across the spectrum, and I still always chose him for the job when I need something to sound perfect". How’s working with her? She’s a great and talented artist too. Also said: “Being his daughter has definitely moulded me into the artist I am today”. Could you quote on her, Kim?

I can’t begin to explain the intricacies of that relationship, and I wouldn’t want to try.  Getting the opportunity to work with her has given me an unparalleled life experience, one that most fathers don't get to experience, one that makes writing and creating with other people seem a bit pale, because the experience with her has so many layers to it.  

But besides the fact that I have known her since her first breath, on a  professional level, I simply enjoy working with her.  She works fast, she’s a great lyricist, and has that ‘thing’ in her voice, too… a quality in her voice that reaches people.  My daughter Madelyn has many unique talents, too... she is brilliant at everything she does, and is one of the best people I know.  I am humbled and very blessed to get to share my life with both of them…and their Mom.  

I am always excited to work with Katy, because I respect real artists, and that is what she is; always has been.  She is working on an  EP right now, that should be coming out soon.  I hope you get to check it out. You can ‘like’ her and follow her on  and also get info on  Also, I think she has just started putting up videos on . 

Could you explain something about your future projects with Elton’s band, Kim?

We are doing some recording projects with Elton right now, as a matter of fact.  It is all going really well… we were in the studio for a few weeks recently,  had a great time, and came up with some great music. I don’t know what will ultimately happen, or when new material will come out, but Elton is a very creative guy, likes to keep moving forward, so I’m sure something will be announced soon.

Apart from music, which are your interests? What you like to do with your off time?

It might not sound true, but in all seriousness, I don’t have off time. I am always busy..  I try to hang on to my health, I do yoga whenever I can.. for fun I look at old footage of great B3 players like Jimmy Smith on Youtube, and I try to spend time with my friends and family. 

Oh, finally, could you tell me your five favourite Elton's songs in running order, for my AllSongsList, where I tried to find the best of Elton’s songs ever?

I need You to Turn to
Where to now St peter
Tiny Dancer
Madman Across the Water

Thanks so much Kim. A truly great experience.

It was a pleasure talking with you, Miguel. Elton has the best fans. I look forward to seeing you at a show soon.

Sure. And yes Elton has best fans because he is the greatest and has the best band he could wish. Thanks again Kim Bullard, hope you enjoyed the Week Of... We are so expected to see your work and your credits on the new album. God Bless You!!!

Oh, before you go, we have some guests here, they would love to share something with you:

"Kim is a great guy and excellent musician/producer. I give him my best" (Jimmy Z, musician, has appeared and acted in the movies “Georgia,” “The Doors,” “Wild at Heart,” and “The Shrink Is In”, as well as concert films with Rod Stewart, Tom Petty, the Eurythmics, Jaguares, and Etta James)

Kim Bullard Photographed by Brian Powers, courtesy of Kim Bullard
Katy Rose picture with Kim Bullard courtesy of Katy Rose

13 Mar 2015

Kim Bullard in Music Charts

Kim Bullard's biography spans 40 years of career. It's quite difficult to select some of the albums that got impact enough on the music charts, because it is a vast discography, full of collaborations with the most renowned artists. You know that music chart results doesn't mean that an album has more quality than another, and also, you know Jack Rabbit's interest in music charts, so, that's just a selection of a few succesful albums:

Blue And Grey
Credited: Keyboards, vocals

Number 26 Norway
Number 27 Sweden
Stephen Stills
Right by You
Credited: Keyboards

Number 75 US

Big Generator
Credited: Keyboards, Programming

Number 15 US

The Doobie Brothers
Credited: Keyboards

Number 17 US
Number 32 New Zealand
Number 44 Australia
Number 69 Holland

Cheap Trick
Credited: Keyboards

Number 36 Australia
Number 48 US

Credited: Additional Keyboards

Number 2 Sweden
Number 3 US
Number 3 UK
Number 6 Japan
Number 7 New Zealand
Number 11 Australia

Richard Marx
Rush Street
Credited: Keyboards

Number 7 UK
Number 11 Australia
Number 12 Norway
Number 17 Switzerland
Number 31 New Zealand
Number 35 US

White Lion
Mane Attraction
Credited: Keyboards, Organ (Hammond), Synthesizer

Number 31 UK
Number 61 US

Belinda Carlisle
LIve Your Life Be Free
Credited: Keyboards

Number 7 UK
Number 21 Sweden
Number 32 Japan
Number 73 US

Bette Midler
Bathhouse Betty
Credited: Arranger, Keyboards, Piano

Number 32 US
Number 68 Germany

Phil Collins
Credited: Programming, Track Programmer

Number 5 US
Number 6 Germany
Number 9 France
Number 9 Austria

Revolución de Amor
Credited: Keyboards

Number 22 US
Number 23 Germany
Number 24 Italy
Number 59 Spain

Katy Rose
Because I Can
Credited: Arranger, Composer, Engineer, Guitar, Keyboards, Mixing, Producer, Programming, String Arrangements

Number 34 US Heatseekers Albums
Number 100 France

Kally Clarkson
All I Ever Wanted
Credited: Keyboards, Programming

Number 1 US
Number 2 Canada
Number 2 Australia
Number 3 SouthAfrica
Number 3 UK
Number 4 Germany

Guitar Heaven. The Greatest Guitar Classics Of All Time
Credited: Keyboards, Programming

Number 1 Poland
Number 3 Portugal
Number 3 Canada
Number 5 US
Number 9 France
Number 15 UK

"Weird Al" Yankovic
Credited: keyboards on "Stop Forwarding That Crap To Me"

Number 9 US
Number 13 Canada
Number 28 Australia

Kelly Clarkson
Credited: Keyboards

Number 3 Australia
Number 5 UK
Number 6 New Zealand
Number 8 Ireland
Number 12 Switzerland

Colbie Caillat
Christmas In The Sand
Credited: Keyboards, Programming

Number 41 US

Special mentions:

Veronique Sanson
Credited: Vocals

Musical director of the album by the original singer of the song Amoureuse (later covered by Kiki Dee)

Y Kant Tori Reed
Y Kant Tori Reed
Credited: Composer, Keyboards, Piano, Producer, Programming

 Band fronted by then-unknown singer and songwriter Tori Amos

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