As Musician
- Drums, guitar, mandolin on John Hiatt's Stolen Moments - (1990)
- Drums on Fish's Internal Exile - (1991)
- Guitar on Mike Peters & The Poets Of Justice "Exodus Tour" - (1992)
- Electric and acoustic guitar, drums, percussion, and mandocello on Crosby, Stills and Nash's After the Storm - (1994)
- Drums on Joe Satriani - Joe Satriani "Luminous Flesh Giants" - (1995)
- Guitar, drums, percussion, omnichord, EBow, mandocello on Emmylou Harris "Red Dirt Girl" - (2000)
- Drums, bass, mandolin, mandocello, keyboards, percussion and guitars on Whiskeytown's Pnenmonia - (2001) - also producer
- Drums, guitar, mandocello, percussion, Hammond organ, vocals on Ryan Adams Gold - (2001) - also producer
- Drums and guitar on Luthea Salom Out Of Without - (2001)
- Guitar, percussion on Tift Merritt Bramble Rose - (2002) - also producer
- Percussion, piano, drums, harmonium, bass and additional guitars on Ray Lamontagne Trouble - (2004) - also producer
- Drums on Dave Palmer's Romance - (2006) - also producer
- Drums on Ryan Adams 29 - (2005) - also producer
- Drums in the Backing band for the Ray Lamontagne Tour for Gossip in the Grain
- Hammond organ, celesta, mandolin, mellotron, omnichord, electric and acoustic guitars, ukelele, dobro, mandocello, bass, tic tac bass, optigan, percussion on Paolo Nutini Sunny Side Up - (2009) - also producer
- Drums on Howard Eliott Payne "Bright Light Ballads" - (2009) - also producer
Read more about this topic: Ethan Johns, Selected Production Credits
Famous quotes containing the word musician:
“He doesn’t know a damn thing about China ... That’s what makes him an expert. He knows nothing about music, being tone deaf. That’s what makes him a musician ... And he’s batty in the head. That’s what makes him a philosopher.”
—William Carlos Williams (1883–1963)
“The mastery of one’s phonemes may be compared to the violinist’s mastery of fingering. The violin string lends itself to a continuous gradation of tones, but the musician learns the discrete intervals at which to stop the string in order to play the conventional notes. We sound our phonemes like poor violinists, approximating each time to a fancied norm, and we receive our neighbor’s renderings indulgently, mentally rectifying the more glaring inaccuracies.”
—W.V. Quine (b. 1908)