The real drag is that there's not a way, at least that I know, to actually track how many things this cat played on.
Someone'd have to actually comb through all those files of the Mus Union---
& even then, per Earl Palmer's autobio, they often worked under aliases, etc,
to get by Union limits on # of sessions for individuals (an effort at fairness).

A few, uh, hits
in no particular order
Blaine’s brushes on the snare are nuanced and dynamic,
but the real iconic element of “A Taste of Honey” is his four-on-the-floor bass drum.
Blaine said the band was coming in “like a train wreck,” so he provided a pulse. It became the most memorable part of the song.

A couple reminders of the mix of focus & tedium that goes into musicians's work

This has been called "a missing link between Motown and punk rock".

Speaks for itself

Looped to play three times, Blaine’s funky opening beat (and Jim Gordon’s percussion) on this Monkees classic was
the first thing you heard on the first volume of Ultimate Breaks and Beats, the record series that served as an essential D.J. and producer tool in the 1980s.
Twenty years after it was recorded, Blaine would end up the unwitting participant in hip-hop records like Run-D.M.C.’s “Mary Mary” (1988), De La Soul’s “Change in Speak” (1989)

Blaine’s last era of chart success and prolific session work was during the late Seventies and early Eighties explosion of pop-country
artists like Shelly West (“Jose Cuervo”), John Denver (“I’m Sorry,” “Thank God I’m a Country Boy”) and era-appropriate works by Emmylou Harris and Johnny Cash.
On Tanya Tucker’s “Lizzie and the Rainman” — a No. 1 country hit and a Top 40 pop crossover —
Tucker says “beat the drum” in the middle of each refrain as Blaine plays a descending drum fill that pans across the speakers.

The SpinDizzy Section
Hold onto yer hat