• Freddy Fender - vocal
• Ry Cooder - guitar
• Sam Samudio - organ, backing vocals
• John Hiatt- guitar
• Jim Dickinson - piano
• Tim Drummond - bass
• Jim Keltner - drums
• Ras Baboo - percussion
• Bobby King, Willie Greene Jr. - backing vocals

For years, when I listened to this song I thought I was hearing the great Flaco Jiménez on accordion, because he has often played with Ry Cooder over the years — listen, for instance, to his amazing playing on Cooder’s cover of the old Jim Reeves classic “He’ll Have to Go” — but apparently that’s Sam Samudio imitating an accordion on the organ. Sam Samudio was born Domingo Samudio, but is better known as Sam the Sham, leader of Sam the Sham and the Pharaohs, the people who brought us “Wooly Bully.”

But the really interesting figure here is Jim Dickinson, the heart and soul of Memphis music — and the father of Luther and Cody Dickinson, AKA the North Mississippi Allstars. (Also a one-time drama major at Baylor, though he dropped out to return to Memphis.) There are a thousand Jim Dickinson stories but here’s one:

Dickinson was working at the Muscle Shoals Sound Studio when The Rolling Stones were recording there. When they got to “Wild Horses” they ran into a problem. Their road manager and occasional pianist Ian Stewart refused to play the song’s piano part. This was not unusual for Stewart, who had very defined ideas of what he would and would not play, though he didn’t always explain his reasoning to others. In any case, he refused, and Dickinson stepped in — and a career was born. He was always in demand after that.

Years later, Dickinson got to spend some time with Stewart and asked him why he refused to play that song. Stu said, “Minor chords — I don’t play minor chords. When I play with the lads onstage and a minor chord comes by, I lift me hands.” So there you go.

Dickinson’s popularity as a session musician was a function not of technique — he didn’t have much — but of feel. He knew just how and when to add a lick and, maybe more important, when to be silent. You can hear his perfectly tasteful restraint on both “Wild Horses” and “Across the Borderline.”

In a wonderful late interview, he explained how, after he was well established, he met an old Memphis musician called Dish Rag who revealed to him what he had been doing all along. Dish Rag told him that everything in music is about codes. Dickinson was a bit puzzled until he realized that Dish Rag meant “chords.”

He said, ‘This is how you makes a code.” He said you take any note then you go up three and four down. He was talking about keys, not half-steps or whole steps. He was talking about the keys on the keyboard. It was a physical thing I could see. Of course, it works anywhere on the piano. Your thumb ends up on the tonic note and what it makes is a triad. Dish Rag had no idea that’s what it was, but it was a code to him. So, with a triad chord in my right hand and an octave in my left, y’know, I kind of taught myself to play. That’s what I still do … listen to what I’m playing on “Wild Horses” — I’m playing a major triad or a minor with my left hand and an octave with my right … that’s all I play. It’s so simple it works in the studio. It creates space and tension and all the things you want a keyboard to do and it doesn’t get in the way of the damn guitar because rock and roll is about guitars. So, thank god I’ve had a career because I play simple and stupid. It really boils down to the simplicity of what I do. I had a friend ask about the Stones session once, he says “Tell me the truth man, you were holding back weren’t you?” I said, “Dude I was going for it with everything I had [laughs]. It’s just all I got.”