R & B record, "Country Line Special." I was surprised to learn that Nicky came from Wembley, just outside of London. With his style, he should have been from New Orleans, or Memphis. ... His best work in his short spell with the Kinks was on the album Face to Face. I had written a song called "Session Man," inspired partly by Nicky. Shel Talmy asked Nicky to throw in "something classy" at the beginning of the track. Nicky responded by playing a classical-style harpsichord part. When we recorded "Sunny Afternoon," Shel insisted that Nicky copy my plodding piano style. Other musicians would have been insulted but Nicky seemed to get inside my style and he played exactly as I would have. No ego. Perhaps that was his secret. With the Who Hopkins was first invited to join the Who by Shel Talmy in 1965, while recording their debut album My Generation. His trademark licks and fills bounced effortlessly off the rest of the band and he received a rare songwriting co-credit for the riotous instrumental The Ox. Due to the band breaking ties with Shel Talmy he didn't record again with the band until the quirky single Dogs in 1968. However he was front and centre for the Who's Next album in 1971, contributing massively to Song is Over and Getting in Tune. In addition, during those sessions he played on the single Let's See Action as well as Too Much of Anything. His worth and repute among fellow musicians was such that Pete Townshend offered him a full time role in the band, adding "if you would ever like to join a band, we'd love to be considered first". Hopkins missed the Quadrophenia album, before making a full return in 1975 on The Who by Numbers. He was also a key instrumentalist on the soundtrack for Ken Russell’s 1975 film, Tommy. Hopkins played piano on several tracks and is acknowledged in the album's liner notes for his work on arrangements for most of the songs. In later years Hopkins always maintained a soft spot for the band, stating they were probably his all time favourite act to work with. Solo albums and soundtrack work In 1966, Hopkins released The Revolutionary Piano of Nicky Hopkins, produced by Shel Talmy. His next solo project released was The Tin Man Was a Dreamer in 1973 under the aegis of producer David