This gig lasted less than two years, however. By 1958 Devens' new foundation was as a house musician for the CBS network, and he was also playing regularly on film soundtrack recording sessions. All this added up to a fine location to be in during the growth of the pop recording industry through subsequent decades, whether Devens was leaning over the vibraphone or seated behind a conga drum. His presence on pop recordings immediately establishes a strong '70s vibe: the carefully, sometimes indulgently produced pet projects involving instrumental panoramas at times vastly more vivid than the stars themselves, for example Jim Croce, Neil Diamond, and Melissa Manchester. Devens is at his best when adding sophistication to the already sophisticated, such as RB diva Esther Phillips. He also played on a lot of the early Van Morrison sides cut for the Bang! label. The percussionist's surname is treated to many variations in liner notes: he shows up as George Devons, George Devins, and so forth; he has also been known as Debella Devens. ~ Eugene Chadbourne, Rovi