Personnel includes: Dave Koz (vocals, soprano, alto, tenor & baritone saxophones, piano); Arnold McCuller, Sweet Pea Atkinson, Sir Harry Bowen (vocals); Gary Herbig (tenor & baritone saxophones); Greg Adams, (trumpet); Nick Lane (trombone); Tolla Ollestad (harmonica); Sid Page (fiddle); Brian Kilgore (vibraphone, drums, percussion); Chester Thompson (Hammond B-3 organ); Jim Cox (Wurlitzer electric piano; Hammond B-3 organ); Leo Kottke (acoustic guitar); Jeff Koz (acoustic & electric guitars); Greg Leisz (guitar, lap & pedal steel guitars); Tim Pierce (acoustic, electric & slide guitars, dobro, mandolin); Dave Piltch (acoustic & electric basses, percussion); Kenny Aronoff (drums, percussion); Lenny Castro (percussion); Mark Lennon, Stevie Nicks, Sharon Celani (background vocals).
Producers: Thom Panunzio, Jeff Koz, Dave Koz.
Engineers: Thom Panunzio, Bob Salcedo.
Recorded at Groove Masters Studio, Santa Monica, California and A&M Studio C, Hollywood, California.
All tracks have been digitally mastered using HDCD technology.
Personnel: Dave Koz (vocals, guitar, acoustic guitar, soprano saxophone, alto saxophone, tenor saxophone, baritone saxophone, piano, hand claps); Jim Gilstrap, Arnold McCuller, Sir Harry Bowens, Sweet Pea Atkinson (vocals, background vocals); Tim Pierce (guitar, acoustic guitar, electric guitar, 12-string guitar, slide guitar, dobro, mandolin); Jeff Koz (guitar, acoustic guitar, steel guitar); Gregg Arreguin (acoustic guitar, electric guitar); Leo Kottke (acoustic guitar); Greg Leisz (lap steel guitar, E-bow); Sid Page (fiddle); Larry Corbett (cello); Phil Ayling (tin whistle); Tollak Ollestad (harmonica); Brian Mann (accordion); Gary Herbig (tenor saxophone, baritone saxophone); Greg Adams (trumpet, alto horn); Chuck Findley (trumpet); Nick Lane (trombone); Jim Cox (piano, Wurlitzer organ); Jamie Muhoberac (keyboards); Brian Kilgore (vibraphone, bass drum, snare drum, maracas, chimes); David Piltch (acoustic bass, electric bass, percussion); John Pierce (electric bass); Kenny Aronoff (drums, bongos, djembe, shaker); Mark Schulman (drums); Lenny Castro (djembe, tambourine, percussion); Deb Tennen, D.K., RC, Bob Salcedo (hand claps); Richard d'Andrea (programming); Sharon Celani, Kipp Lennon, Mark Lennon, Stevie Nicks (background vocals).
Audio Mixer: Thom Panunzio.
Recording information: A&M Studio C, Hollywood, CA (01/1996-03/1996); Groove Masters Studio, Santa Monica, CA (01/1996-03/1996); House Of Blues Studio, Encino, CA (01/1996-03/1996).
Photographer: Lisa Peardon.
Unknown Contributor Roles: Dave Koz; Lou Beach; Kenny Aronoff ; Brian Kilgore.
Arrangers: Dave Koz; Jeff Koz.
Dave Koz's complete 180 twist Off the Beaten Path is full-fledged musical proof that digging deep and exposing certain vulnerabilities can yield dead-on results. The saxman's first two hits (including the gold "Lucky Man") were solid pop/funk gems, but heavy on the slick, urban-tinged production machinery. If it ain't broke, don't fix it? How droll and uninspiring. Instead, Koz has chosen to veer slightly off the smooth and onto a rockier, less certain road for a more organic, acoustic-oriented experience, all of which reflects the sweeping changes in his life these past few years. A combination of high energy and tight synergy with his supporting players shines through from the raw, fast, and furious folk-to-rock fusion drive-time cut "Don't Look Back" to a wild, brassy, and bluesy "Wake Up Call" and on through the polyrhythmic alto jam "Follow Me Home" (featuring violin and Irish pennywhistle). Hootie & the Blowfish would envy the Jeff Lorber-tinged Southern rocker "Flat Feet," a true barn burner that features call and response between Koz and Greg Leisz's pedal steel guitar. The trappings may have changed, but the sweetheart in Koz's soul isn't far away melodically, judging by the silky "Lullaby for a Rainy Night" and "I'm Ready." Hard to say where Sausalito meets the Southern porch swings, but there's a definite John Grisham film score feel on many of the cuts. Guest wise, it might be more fun to mention Stevie Nicks asking Koz to "Let Me Count the Ways," but Brian Mann's accordion actually makes more impact. ~ Jonathan Widran