If a fellow was going to get to be "studio personnel" on a recording session, Hounds of Love by Kate Bush seems like it would be a top pick, for a variety of attractive reasons, none of which would do anything to illuminate just how Jim Jones prodded along the creation of an album some critics have called a masterpiece. Some masterpieces do require the presence of "studio personnel," but like all levels of employment related to recording studios, right up to the top and the producer's job, it is impossible to determine what anybody in a given title is actually required to do in a given moment.
What is clear in the case of Hounds of Love is that the participation of Jones didn't become a matter of public record until the release of the so-called "U.K. version." Alternate versions are usually required to include "more" of something; in this case there are more credits, the producers of the original release having drawn a line in the sand following a credit for hairdresser. This of course is a job not really connected to recording studios, so it easy to see what that person did; in fact it is possible some owners of the record spent more time looking at Bush's hair on the cover then listening to the songs themselves. Jones is one of several people added to the credits of the "U.K. version," bringing the total number of people documented as assisting in this masterpiece to 44 from a previous level of 41 -- this also includes a chamber sextet, two upright bassists, and eight engineers.