Book Reviews

Making Records: The ScenesBehind The Music

By Phil Ramone and Charles L. Granata

Price: $24.95

Making Records isn’t simply a collection of name droppings from legendary producer, Phil Ramone but a thorough telling of both humorous and profound anecdotes working with his superstar clients. Paul Simon, Billy Joel, Ray Charles, Frank Sinatra, Bob Dylan and Barbara Streisand are the seemingly cringe-worthy subjects featured in each chapter, being as well-written and lively as they are, but even the Streisand chapter is a good read.

Ramone’s style is written with both the musician and the casual music fan in mind. There are many technical situations Ramone discusses but they are written well enough, with accurate description and ease, that a “civilian” would understand the oft-used studio jargon. Of course, given the subject matter, more technical information would have been much appreciated for a book about a record producer that mostly musicians will read. Unfortunately, we get a brief glimpse into the technical side (i.e. the distinctly watery MXR phaser used on Joel’s cheese-tastic “Just The Way You Are”) but aren’t truly let into what makes Ramone such a renowned technical producer.

Never possessing a signature sound (i.e. Phil Spector, Jeff Lynne, Steve Albini) Ramone’s production style has always suited the artist and the songs, never letting his own personal philosophies mar a session. His subjectivity isn’t always clear or obvious, but this lack of subjectivity is why Ramone is a legend — his tastes are across the map and given his early background as a Juilliard student, his musicality is well schooled in all genres.

The standout chapters include Ramone’s sessions with Billy Joel and Paul Simon. The former is a happy-go-lucky guy looking to constantly change his ballad-loving image, hurriedly writing lyrics on the day of his vocal sessions while his band eggs him on for being unprepared, or his uncanny talent to randomly write a hit song while recording another. Simon, however, is written as being extremely meticulous and ambitious in attaining certain sounds from his session musicians or his aspirations to create new sounds using “world musicians” as a new phenomenon in American pop.

Though the entire book is vibrantly written (with some help from Charles L. Granata, writer of 2005’s magnificent Wouldn’t It Be Nice: Brian Wilson and the Making of the Beach Boys’ Pet Sounds), the subjects and situations are definitely rose-colored, avoiding the grittier details undoubtedly happening in the 1970s studio scene. There are no mentions of any struggles or real obstacles happening at any point, either in Ramone’s personal life or the artists’. Even Beatles engineer Geoff Emerick’s excellent Here, There and Everywhere went off to slag EMI’s studio practices and even George Harrison. Then again, given Ramone’s clients, it’s doubtful Paul Simon or Tony Bennett were at all riotous or snorting lines off of the faders. Nonetheless, it’s the only facet lacking in an otherwise outstanding tome of the studio lives of superstars. (Hyperion)

-Brian E. King

Artist Development: A distinctive guide to the musicindustry’slost art

By Eugene Foley

Price $15.00

Artist Development gives musicians something rarely seen in the advice market: quick and concise tips on developing as an artist in a constantly changing medium. No, Foley isn’t passing along songwriting tips (well, kind of) but rather lends in his own experience in the music industry to give budding artists an easy guide to further themselves in a simple and clear manner.

Foley’s style isn’t a narrative, but short and sharp tips that are thankfully so obvious that even the starting musician can learn the rules and standards. Think of Artist Development as an even simpler Cliff’s Notes or one of those incredibly captivating bathroom readers to the music industry. Simple tips such as bio writing, press photos and CD duplication are covered as well as the far more intensive practices, such as attorneys, touring and even (yikes) alternate career paths.

From a musician’s standpoint, Artist Development is a bible of strategy, almost leaning towards being a checklist of industry practices but without the boring diatribe — just the facts.

Practices such as hiring a radio promoter to handle radio-based promotional needs are a necessary tool, as is knowing the difference between mainstream radio practices and the more willing (and better quality) local and indie stations. These may be obvious steps in the music world, but they are essentially important to a potential career. After all, being a musician is a career. Submitting a CD to a label or a radio station is nearly as important as writing a resume or a cover letter for a job. The discs’ recipients are the audience as well, and nobody wants a CD wrapped in duct-taped packaging with a five-page letter of introduction detailing your life story. Trust me.

Artist Development is a must-own and a must-read for anyone who’s played an instrument or sang a song and is looking for a potential career or audience. And with its razor-sharp points and friendly, non-condescending tone, Foley has created a book as impressive as his growing credentials in the industry. (Morris Publishing)

-Brian E. King