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Review
Ken became a part of the team latterly, which over the years recorded the band to such a high standard - a standard that remains a benchmark today. I was lucky to have Ken to assist me during that period of extraordinary creativity. --George Martin, producer (The Beatles)I credit Ken for probably one of the most thrilling recording experiences I have ever had. And all of us would agree that was probably one of the high spots of our recording achievements. --Roger Hodgson, SupertrampI learned to stay calm under pressure from Ken. He was always unflappable, which is a trait that he passed on to me. --Alan Parsons, The Alan Parsons ProjectI credit Ken for probably one of the most thrilling recording experiences I have ever had. And all of us would agree that was probably one of the high spots of our recording achievements. --Roger Hodgson, SupertrampI learned to stay calm under pressure from Ken. He was always unflappable, which is a trait that he passed on to me. --Alan Parsons, The Alan Parsons ProjectI credit Ken for probably one of the most thrilling recording experiences I have ever had. And all of us would agree that was probably one of the high spots of our recording achievements. --Roger Hodgson, SupertrampI learned to stay calm under pressure from Ken. He was always unflappable, which is a trait that he passed on to me. --Alan Parsons, The Alan Parsons Project
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About the Author
There's no question that producer/engineer Ken Scott holds a unique place in music history. As one of only five engineers on The Beatles records, Ken s work has left an indelible mark on hundreds of millions of fans with his skilled contributions to Magical Mystery Tour and The White Album. As producer of four David Bowie albums (including the seminal Ziggy Stardust and the Spiders from Mars) and two of the biggest-selling Supertramp albums (Crime of the Century and Crisis, What Crisis), the sound Ken crafted has influenced several generations of music makers. Those credits alone would be enough to set his name in the annals of music, but that's only a brief slice of what Ken has done. He has literally worked with a who's-who of classic rock acts, including Elton John, Pink Floyd, Procul Harum, Jeff Beck, Duran Duran, Harry Nilsson, the Rolling Stones, Lou Reed, America, Devo, Kansas, The Tubes and Missing Persons, among many others. Ken has also played a big part in the world of jazz, being the first to integrate a more powerful rock sound into the genre via albums by Mahavishnu Orchestra, Billy Cobham, Dixie Dregs, Jeff Beck and Stanley Clarke. Not only an innovator in the studio, Ken has proved to be one in the music library world as well, having recently developed EpiK DrumS, a new library based on his past work with such world-class drummers as Terry Bozzio (Missing Persons), Billy Cobham (Mahavishnu Orchestra), Rod Morgenstein (Dixie Dregs), Bob Siebenberg (Supertramp), and Woody Woodmansey (David Bowie's Spiders From Mars). The product is unique not only because it's based around these drummers most popular albums with Ken, but also because it features odd time signatures and superior MIDI feels making it an excellent tool for drummers, engineers, and producers alike. As a counterpart to this Alfred Music Publishing has released EpiK DrumS EDU, an educational tool which contains instructional videos on how Ken records and mixes drums as well as multitrack drum grooves from each of the 5 drummers enabling the user to practice and learn, hands on, about mixing live drums. Over the years Ken has received multiple Grammy nominations as well as dozens of gold and platinum records from around the world for the acts he's engineered and produced, but no honor stands as large as his recent election to the Sound Fellowship of the United Kingdom's Association of Professional Recording Services (APRS), a lifetime achievement award recognizing his contribution to music. Considering his body of work and its subsequent influence on today's music, it's easy to see why so many see Ken Scott as one of the best of the best.
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Product details
Hardcover: 448 pages
Publisher: Alfred Music (May 1, 2012)
Language: English
ISBN-10: 0739078585
ISBN-13: 978-0739078587
Product Dimensions:
6.2 x 1 x 8.8 inches
Shipping Weight: 1.8 pounds (View shipping rates and policies)
Average Customer Review:
4.2 out of 5 stars
77 customer reviews
Amazon Best Sellers Rank:
#353,236 in Books (See Top 100 in Books)
Hardcover-4 page Prologue, 393 pages of text, 4 page Glossary, 4 page Discography, and an Index. Also included are 14 pages of good quality b & w photos (several taken by the author and never previously seen), with many more sprinkled throughout the book. There's also recording data sheets and other documents from the period when pertinent.This memoir by Ken Scott of working with various artists will be interesting to those (like me) who like to know something behind all the great music we hear. The author, with the help of Bobby Owsinski, has written about his time "behind the glass" recording many great artists.His first job was engineering THE BEATLES' "Magical Mystery Tour" album. From there he worked extensively with David Bowie, including the "The Rise and Fall of Ziggy Stardust..." album. PINK FLOYD, PROCOL HARUM, Elton John, Duran Duran, Jeff Beck, THE ROLLING STONES, AMERICA, Lou Reed, and a number of other well known artists have all used Scott's talents. Also included are MOTT THE HOOPLE, Al Kooper, HAPPY THE MAN, the DIXIE DREGS, and a few others that crossed paths with Scott.Scott talks about a single track he recorded with Rick Wakeman for example, about Wakeman's American car being so big, he took up two parking spaces. And when the parking meter had expired, the traffic warden gave Wakeman two tickets-one for each parking space. Or how touched he was when George Martin took Scott aside, and in a fatherly way, told him not to expect "The White Album" to win a Grammy because the album was such a departure for the group-hopefully not hurting Scott's feelings. Or working with Nilsson, and the heavy drug use he witnessed. He also talks very briefly about working with artists like SCAFFOLD, HARD MEAT, DADA, Doris Troy, Lord Sitar-certainly lesser known artists (even Troy sadly wasn't all that well known) of the time-proving his life in the studio wasn't spent working with just the big names, but for Scott they were enjoyable nonetheless. One band he did work with early on was THE IVEYS-who later morphed into Apple Records BADFINGER. Another great but sadly unsung band was LINDISFARNE, and their fine album "Fog On The Tyne"-which more people should hear. But these are just a very few of the reminiscences found throughout the book.He also relates the time when Keith Moon, after recording a tympani part for Jeff Beck's first album, left the studio late at night, and spying an old lady walking by, used a PA system he had installed in his Rolls Royce to scream epithets at her. Needless to say Moon was banned from the studio (and the neighborhood) for quite some time. This is just one example of Scott's memories of those wild times that run through this book.Scott goes into some detail about his work with David Bowie on several albums, and his memories of that period are pretty interesting-especially for Bowie fans. He writes about jazz-fusion and the "Birds of Fire" album with guitarist John McLaughlin, drummer Billy Cobham and keyboard player Jan Hammer, and Cobham's solo albums, beginning with "Spectrum". Bassist Stanley Clark is also here, and Scott talks about his solo album. Or SUPERTRAMP-and the album "Crime of the Century". Or KANSAS-the list goes on and on. Needless to say, along the way Scott has been nominated several times for a Grammy award, and has a number of both gold and platinum albums for his work.He also writes about being fired from the studio because he worked with pop artists-which the new management hated. Scott then went to work for Trident Studios. It's here that Scott worked on George Harrison's "All Things Must Pass" album. He talks about the fact that no one really knows who played on a number of the tracks because there was no documentation! When he asked Ringo about playing on it, for the 2001 reissue, Ringo responded with "Did I play on it?"With the help of Osinski, the book is laid out in an easy to read (but not chronological) style. Everything is laid out as it happened, and Scott's no nonsense style is a plus. The different events are laid out under that particular artist or a particular genre of music. But this isn't a dry treatise on recording. Anything technical is in a sidebar for ease of use, and can be skipped over for those who have no interest in such things.Throughout the book Scott talks about many different artists-taking us where outsiders haven't the privilege of going. Scott's clear cut memories bring us closer to what actually happened in the studio without bogging down in useless minutiae. His many asides and reminisces are at times very interesting and sometimes enlightening-and sometimes funny. When his memory may not be as clear on a point, he has talked with someone else who was there at the time to verify his memories. But virtually every page contains some interesting tidbit of information-no matter if it has to do with the actual recording, or with one of the many artists he worked with.In some ways this book is reminiscent of Geoff Emerick's 2006 book "Here,There and Everywhere", about his time behind the glass as an engineer with THE BEATLES. But this book is broader in scope, and for that reason even more interesting. Fans of these artists and this whole era of music/recording will like reading this book from someone who was there. It's interesting, enlightening, and just plain fun to read about artists and albums we'veall heard so many times. And to have the chance to hear it from someone so close to it all brings the music to life a little bit more.
Some very good stories, especially of the early years, but the writing style is often adequate at best. I found Tony Visconti 's and Glynn John's books to be better reads, but this one has it's place as well.
Thoroughly enjoyed this book. Ken provides insights into the process of being an engineer / producer / manager, is forthcoming about the interpersonal relationships with the artists he worked with and is remarkably candid about himself. He provides a taste of the technical aspects, but recording engineers will always want more. One thing that seems consistent in this book and in other comments he has made is typical of others who have had similar success - that of being lucky to be in the right place at the right time.
Entertaining stories from a man who has lived a blessed and unique life! Hard to follow chronologically, but all stories are grouped by artist or project.
Producer/engineer Ken Scott's memories of working with The Beatles, David Bowie, Mahavishnu Orchestra, Missing Persons, Happy the Man, and many others are clear and vivid, but I wish there had been more. Scott's book clearly shows some of the perils of ego -- the grumpy Beatles grinding away in the studio on the "White Album," how guitarist John McLaughlin helped break up Mahavishnu by hogging all the songwriting credits, Beatles producer George Martin looking like an even bigger pain than previously described by others -- but there's also lots of details about how Scott helped the young bands Missing Persons and Happy the Man to reach their musical goals. Only disappointment -- there's no mention of Scott's engineering work on Van der Graaf Generator's 1971 cult classic "Pawn Hearts," a spooky one-of-a-kind art-rock album you'd think he might remember better. A CD collection of the best music Scott was involved with would be stunning ... And probably better than this book.
Definitely interesting to those of us who want to know the technical details of the recording process and background to Bowie and the Beatles, et al. Trouble is, the author turns what should be a fascinating look into an extraordinary career into a largely pedestrian tale. I far preferred "Here, There and Everywhere: My Life Recording the Music of the Beatles" by Geoff Emerick and The Beatles Recording Sessions: The Official Abbey Road Studio Session Notes 1962-1970 by Mark Lewisohn (and the new book by Lewisohn and McCartney should be worth reading). Anyway, I liked this book because I enjoy books like these, and this adds additional insight from one of the principal players, but I seriously doubt a casual reader would find much of interest, especially with so many other books out their to choose from for this sort of thing.
Wonderful book if you’re really into recording. One of the giants. Not the best writer ever, but still an entertaining read
A great biography from some one who was "there". Authentic, great stuff for people in the music/ recording business or just for those who love the music.
This book contains a lot of technical information that is of most interest to anyone with recording or performing skills, and the personal anecdotes about the stars behind the scenes were fascinating.
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September 26, 2017
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