Happy Birthday, Pierce Brosnan!

A very Happy Birthday to one of our favorite Bonds! To celebrate, check out this excerpt from James Bond FAQ that describes how Brosnan rose to Bond-dom:

 

00314951Pierce Brosnan was well known as the title character of private investigator Remington Steele, from the NBC-TV show of the same name. But that notoriety nearly cost him the role of James Bond.

Pierce Brendan Brosnan was born in County Meath, Ireland, on May 16, 1953. He was an only child to mother May and dad Thomas, a carpenter who walked out on the family after only a few years. May moved to London to seek work as a nurse, leaving Pierce to move among relatives, friends, and even a Christian Brothers mission. In a 1997 interview in Cigar Aficionado magazine, Brosnan admitted, “It wasn’t all bleak . . . you learn how to create your own happiness.” When May remarried, eleven-year-old Pierce joined the couple in London. One day, stepdad William took the boy to the cinema to see a film called Goldfinger. Young Pierce was very impressed, realizing “James Bond was very cool.”

Brosnan attended school to be a commercial artist and landed an apprentice job in a small South London studio at the age of eighteen. But he had become enamored with movies and, at the urging of a coworker, joined up with a local theater workshop. Soon, they had formed the Oval House Theater Company, and Pierce quit his art job. He waited tables, cleaned houses, anything that allowed him to be free to act in the evenings. Brosnan attended drama school, acting in repertory theater and London West End productions like The Red Devil Battery Sign by Tennessee Williams. The playwright had personally selected Brosnan for the lead role.

British theater led to appearances on British TV by 1980. His wife, actress Cassandra Harris, landed a supporting role in the 1981 Bond flick For Your Eyes Only. Brosnan would amuse Harris by offering his impression of 007 when he would drive her home from the studio. (Perhaps a view of things to come for Brosnan. Tragically, Harris would succumb to ovarian cancer in 1991.) A successful 1981 ABC-TV miniseries, The Manions of America, led to Brosnan’s casting in NBC-TVs Remington Steele in 1982. The detective show ended up being in the top twenty-five TV ratings, but was canceled after four seasons as those numbers waned. Broccoli recalled Brosnan from the For Your Eyes Only days, and he tested for the role of Bond for the upcoming The Living Daylights. Pleased with the results, producers named Pierce Brosnan as the new James Bond.

Apparently, NBC read the trade papers that day, and, realizing the ratings boost having the “next James Bond” would give the network, they immediately renewed Brosnan’s contract as Remington Steele—effectively blocking his chances to play Bond. Ironically, the series would only air six episodes before getting the ax once more, but the damage was done. The Living Daylights would shoot with Timothy Dalton as 007.

Brosnan was understandably upset, but continued to work on TV and in films, including hits like Lawnmower Man in 1992 and Mrs. Doubtfire in 1993. When the 007 legal snafus were cleared up in 1994, it became apparent that Pierce Brosnan would be Bond in GoldenEye (over suggestions that included Mel Gibson and Ralph Fiennes), and it wouldn’t be enough to rescue the world—this time, he was expected to rescue the character from oblivion.

So, with that small task at hand, it was Pierce Brosnan who brought Bond into the twenty-first century. It was Pierce Brosnan who had to come to terms with a new boss—still M, but this time, a female (gasp!). It was Pierce Brosnan who, with his four Bond films, brought nearly $1.5 billion to box offices worldwide. In his four turns as James Bond, Pierce Brosnan brought the suave and calm demeanor to the character that one would expect from an experienced performer. In 1995, he told Big Screen magazine, “The way I see James Bond is as a man with a passion to get the job done . . . This film is . . . not a cure for cancer, it’s supposed to be fantasy.” Film critics like Roger Ebert praised his portrayal of 007, offering that Brosnan was “somehow more sensitive, more vulnerable, more psychologically complete, than the [other] Bonds.” High praise indeed.

No matter, producers Barbara Broccoli and Michael G. Wilson decided to (get ready, here it comes . . .) “reboot” the role of Bond once more in 2005, just as Brosnan was in negotiations for a fifth whirl as 007. In a 2005 interview for Premiere magazine, he said, “It would have been sweet to go back for a fifth . . . It would have been wonderful to go out there for one last game and pass the baton.” Less poetically, he added, “it f . . . ing sucks.”

Indeed. But bad luck for Brosnan meant good fortune for the next actor to don the shoulder holster and cock the Walther PPK (or Walther P99, as the case may have been). Once again, Broccoli and Wilson considered hundreds of actors to play 007 (the list this time around included Hugh Jackman, Jude Law, Ewan McGregor, Jason Statham, Gerard Butler, Colin Firth, Colin Farrell, Clive Owen, Colin Clive . . . no, wait—he played Dr. Frankenstein years ago). After a search that took most of the remaining months in 2005, the winner was: Blond, James Blond.

Dawn of the Planet of the Apes and Armageddon Films FAQ

After watching the trailer, we are more excited than ever for the July premier of Dawn of the Planet of the Apes! Here is what Armageddon Films FAQ author Dal Sherman had to say about the 1968 original film (as well as its many sequels): 

 

Planet of the Apes (1968)

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The Planet of the Apes series of five films (1968–1973), not to mention its various sequels, certainly have a place in any bookabout apocalyptic futures. It’s also a very downbeat run of films, seeing the rise of a new order with the apes that is in every way just as prejudiced and mad as the humans before them—plus, the world gets blown up at least twice. Even the fifth and final movie, Battle for the Planet of the Apes, which spends much of the film trying to suggest an alternate “happy” ending for the world in the future, can’t quite escape from the prede- termined insanity of hate and war in its final scene.

While terrible things do happen, and there are certainly ramifications for the characters once they ”arrive” after these events, the first film opens with the biggest “you’ve slept through it” moment in cinema history, namely because it’s supposed to be a mystery until the final moments of the movie. That mystery I already spoiled for you at the beginning of this book, but the reason behind it has not been discussed. At the beginning of Planet of the Apes, we have Charlton Heston as Taylor, an astronaut on a spaceship traveling away from Earth in 1972. Upon wondering what the future will be like and foreshadowing the daylights out of the whole “will the world be a better place?” thing, Taylor goes into hibernation with the other three astronauts. He awakens in 3978 with the ship having crash-landed in a lake and rapidly taking on water. Taylor and two of the others (the lone female astronaut died previously in the journey due to a malfunction with her hibernation chamber) escape the sinking ship and head to land. There they ponder where they are and what they will find on the planet that they assume to be in the correct trajectory for their ship, somewhere in the constellation of Orion.

They eventually meet up with mute and rather mindless human scavengers just as they are attacked by humanlike apes on horseback. One of the astronauts dies at the scene, another is eventually seen to have been lobotomized, and Taylor is shot in the throat and thrown in with the other humans in Ape City. (This brings to mind—are there other cities full of apes? Is this it? If not, how did they get away with calling their city Ape City? Do the other ape communities wince a bit at that? “Oh, why can’t we have a nice name like Ape City instead of being Monkeytown?” And, really, isn’t this a bit pretentious? We don’t see a lot of Human Village or Mankind Junction locations on the map, after all. Maybe a few Peckerwoods. But this is a huge digression. Sorry.)

After various adventures in the city, with Taylor trying to communicate with the apes and attempting to plead his case to those in charge, he finally breaks out and travels into the “forbidden zone.” What he finds is the Statue of Liberty and the realization that somehow the spaceship had returned the crew to Earth in 3978. Taylor makes the (as we later discover) correct assumption that mankind destroyed itself, resulting in the mute, simple-minded humans still left on the planet.

The reveal of the Statue of Liberty is the big shocker of the movie—the one discussed in the introduction that left the audience stunned in disbelief. Up to this point, the audience could center their reactions on the idea that the movie is essentially a metaphor of man’s inhumanity to those not like themselves (only with juxtaposition of apes being man and man being animals). Yet throughout the plot are sprinkled moments where there’s an underlying mystery to resolve: how did this world come into being? Taylor’s jump into the future allows for the surprise ending and could only be done if—up to that point—we have no awareness that this is Earth in the future instead of some unnamed planet in the constellation of Orion.

As it stands, the original novel by Pierre Boulle, La planète des singes (1963) isn’t even set on Earth—the protagonist lands on an ape-dominated, Earthlike planet, although in a final twist the protagonist returns to Earth to find it now run by apes as well (an element Tim Burton would return to in his 2001 adapta- tion). For this reason, and others in the novel, there is no mystery as to why apes are the dominant species; it is merely there for purposes of satire dressed in elements of science-fantasy. Thus, although the novel deals with the elements of the protagonist being hurled into the future and finding a strange new world waiting for him, there is no sense of some type of world-ending menace having hit Earth (or the Earth equivalent). It is only with the Heston movie that the point is driven home that Taylor missed the death of his world and has returned to see the results.

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A postapocalyptic Earth that we are not to recognize as such wasn’t new to cinema by 1968. Roger Corman’s Teenage Cave Man with Robert Vaughn (looking anything but a teenager or a caveman, even in his loincloth) had covered the same “shock ending” ten years before Heston and crew. The film also draws itself from the age-old science fiction plot of the battle-scarred lone male and female survivors of a nuclear war finding each other and becoming Adam and Eve (commonly referred to as a “Shaggy God” story, as per writer Brian W. Aldiss). Elements of this can be seen in episodes of The Twilight Zone as well, such as the episodes “Two” (featuring Charles Bronson and Elizabeth Montgomery as two enemies who must come together after the end of the world), “Probe 7, Over and Out” (which ends with nuclear war survivors becoming Adam and Eve), and even Richard Matheson’s “Third from the Sun” (featuring a group of people leaving a doomed planet to find Earth), just to name one program. Perhaps it is no wonder that Twilight Zone creator Rod Serling would cowrite the script to Planet of the Apes—its final twist makes the movie one long Twilight Zone episode.

An Iron Maiden excerpt

On this date in 1976, Iron Maiden played their first-ever gig at St. Nicholas Hall in London. Their payment was only £5 back then! In honor of today, here is an excerpt from Martin Popoff’s 2 Minutes to Midnight: An Iron Maiden Day by Day:

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Ah yes, Maiden. As much as we super-fans grit and grind our teeth at the ups and downs of Rod’s rock gods, we very much applaud the state of affairs that has the band slowly, methodically, inexorably over time overcoming adversity and just head-scratchingly becoming bigger and bigger as the years roll on. It is no less a victory for the New Wave of British Heavy Metal(NWOBHM) as it is for pure, old school heavy metal in general, as it is for working class rock ’n’ roll made with traditional tools. It’s all of those things, as well as a deeper concept: the idea that the band, in tandem with getting grand, has seeped into wider pop culture the way Kiss had before, and roughly at the same pace, in the same era and through the same yawning number of years, as AC/DC, Aerosmith, and even Skynyrd. Point is, regular non-rock folk understand references to Maiden, something that tickles the cockles of we, the patched-jean-jacket army that found something chaotic, danger- ous, and seductive about the self-titled first record, over and above similar propositions from the likes of Tygers, Quartz, Fist, Saxon, and even Angel Witch, the closest thing to a direct competitor Maiden had back in 1980.

Couple of other things at play as well, that have made Maiden the iconic army they’ve become. There’s the uniformity of merchandising, there’s the string of anthemic anti-hit singles the band has cranked over the years, and there’s the inspiring energy expended at the band’s live gigs, a leap- about that gets the point across that the band and their lockstep fans are fighting the same culture war together as one. And who are the villains in that war? Well, in many ways, it’s the same values put forth by the NWOBHM, in support of musicianship, against punk; only now it’s against synthetic, pathetic music made by computers and electronics, not the scrap ’n’ crap scratchings of one-chord wonders keeping blokes with jeans and long hair from getting pub gigs in 1976.

So this is the band we celebrate, with a twist, away from a standard narrative, mainly ’cos, well, the guys have always been well an’ good accessible, so their story has been told, not necessarily so much in book form, but through the piles of interviews in mags and on the net. With that in mind, I also appreciated and then leaned into the fact that Maiden’s career is one of event after event, milestone after milestone, productivity, side careers, reissues, major tours, singles with cool B-sides. And ergo, there goes a timeline with supporting quotes, along with contextual commentary, events outside of Maiden proper that color the times, an exercise with an academic bent just like the lyrics of Bruce Bruce and ’Arry.

The end result, one hopes, is like having an atlas to go with yer tales of travel, a reference work packed with facts and figures and most significantly, a sense of the sweep of time. The quotes, hopefully, makes this tome a nice read, and the yummy pictures (mostly provided by esteemed Maiden scholar and buddy from the DC area Dave Wright) help us all relive visually all this headbanging fun we’ve had living with Maiden through so many eras and arcs, from punk through NWOBHM, hair metal, grunge and hard alternative, into whatever weird context we’ve had during the last decade. Added bonus I was striving for were those little magic moments where you see, for example, what AC/DC or Ozzy were doing that same month, what Bruce was up to as a solo artist that same year that Maiden were struggling with Blaze, in other words, those interesting cross- hatches that are revealed through the timeline process.

In any event, generally speaking, the idea I was after was a reference book meant to be visited again and again as you listen and re-listen to Maiden’s music, as you get ready for the next time Rod’s charges invades your town, or as you check out interviews new and old every time Maiden do something of substance, which is often. Okay, enough from me. Time to turn up the calendar and let them triple harmony axes chop holes in your edbanged ’ead.

Monday Night is Wagner Night

Happy Monday!  Below is an excerpt from Richard Wagner: The Lighter Side, by Terry Quinn.

Monday Night Is Wagner Night

Concerts devoted exclusively to Wagner’s music are a rarity these days, but at the end of the nineteenth century they were popular weekly events in England. The weekly “Monday Night Is Wagner Night” tradition started in 1873 in the Hanover Square Rooms. The Wagner Society sponsored the concerts with Edward Dannreuther, its founder, as conductor. The Monday-night tradition switched to the new Queen’s Hall when it opened in 1893. The Queen’s Hall Orchestra was founded in 1893 under the direction of Henry Wood; and their first public concert started with the Rienzi overture. Three years later the promenade concerts adopted the theme-night idea. Monday was Wagner Night, Tuesday was devoted to Arthur Sullivan, Wednesday was classical night, Thursday was Franz Schubert only, and Friday night was classical night. Saturday was promoted as popular night.

In addition to Henry Wood, prominent conductors who led the Wagner Monday-night concerts included Hermann Levi (the first conductor of Parsifal), Hans Richter (the first conductor of The Ring), George Henschel, Felix Mottl, and the then-twenty-five-year-old Siegfried Wagner.

Queen’s Hall, on Langham Place, was destroyed by an incendiary bomb in December 1940.

Richard Wagner: The Lighter Side appeals to classical music and opera enthusiasts in general, but particularly the many thousands of members of the 135 Wagner Societies around the world. There are many books about every aspect of Wagner’s life and works, but none has focused on the trivia, the interesting facts, anecdotes, and quotations about the man and his operas. For more than twenty years, Terry Quinn has collected information on each of Wagner’s 13 completed operas and the difficulties encountered in staging them; famous Wagnerian directors, conductors, and singers; key persons in the composer’s life, especially the women, not to mention the dysfunctional Wagner family; Wagner’s visits to London; the festival and theater he created in Bavaria; and a great deal more. Also included are interviews with current Wagnerian scholars.

Richard Wagner: The Lighter Side contains more than 300 tidbits and features, ranging from a few paragraphs to several pages. The light side of the book is immediately apparent via its lively headings, as well as its fascinating tales of the fanatical enthusiasts who travel the world to see Wagner’s operas performed.

Illustrations include photographs, dozens of contemporary caricatures, beautiful postage stamps on Wagnerian subjects, and other reproductions of ephemera.

Happy Birthday, Yoko Ono

Yoko Ono turns 81 today! Below is a New York Times magazine article celebrating the enigmatic life and art of the avant-garde activist, excerpted from Lisa Carver’s book, Reaching Out with No Hands: Reconsidering Yoko Ono.

Yoko Ono is not pretty, she is not easy, her paintings aren’t recognizable, her voice is not melodious, her films are without plot and her Happenings make no sense. One of her paintings you are told to sleep on. One of her paintings you are told to burn. One of her paintings isn’t a painting at all — it’s you going outside and looking at the sky. Most of her stuff is not even there. This is why I love her. This is why we need her. We have too much stuff already. It clutters our view, inward and outward.

We need more impossible in our culture. Go out and capture moonlight on water in a bucket, she commands. Her art is instructions for tasks impossible to complete. We already have a billion lovely things and a million amazing artists who have honed their talent and have lorded it above us. People who have achieved the highest of the possible. People wearing their roles as artist or writer or filmmaker or spokesman as a suit of armor or as an invisibility cloak or as an intimidatingly, unacquirably tasteful outfit.

Even other artists can’t figure out Ono or accept her as legit, nor can she obey the club rules. Her stuff is all wrong. She tells you to spend a whole year coughing. Listen to a two-minute song of recorded silence, music lovers. As for you, the most imperialist and arms-profiteering superpower in the history of the world, give peace a chance.

There are two schools of art. One is what is made beautiful by the artist; the other is to make way for the viewer to see or feel what is already beautiful.

The first is to make something ornate and unreachably special with skills. The viewer or listener is awed, their belief regarding the order of things is confirmed and they are reminded by this unachievable beauty of their own powerlessness. And I do love that kind of art, the beautiful kind.

The other way to make art is to tear down what’s between us and nature, us and eternity, us and the realization that everything is already perfect. In this experience of art, the viewer or listener loses respect for the current order or arrangement of civilization and thus becomes powerful, like King Kong, and outside civilization, like God — or simply like the shuffling janitor who is pleased with his own work and sleeps well.

I always admired the Japanese use of negative space in decorating and the unspoken in conversations (or so I gather from old films). Ono uses the negative positively. She is a classically trained operatic student who uses silence or screeches in her singing; a recipient of coveted gallery showings who hangs unpainted canvases with requests for you to pound holes in them or to walk on them. She was the first woman admitted to the philosophy program at Gakushuin University in Tokyo, and could travel the world discoursing multisyllabically, yet instead she tries lying in bed and not lifting a finger to cure a war.

It takes an enormous lack of ego to not put your imprint on everything you do, to notemploy your learning and position. To stand back, to hold back, to keep your mouth shut. To yell with your silence, when you know you very well could make soothing and welcomed sounds at the drop of a hat. She could sing; she knows how. And being a Beatles wife could have been a magic charm — but she wasn’t interested. It takes willpower to overpower the will to power. To be accepted, to be thought nice, is traditionally woman’s power. That is something Ono doesn’t need.

To continue reading, go to NYTimes.com!

Reaching Out with No Hands

John Lennon once described her as “the world’s most famous unknown artist: everybody knows her name, but nobody knows what she does.” Many people are aware of her art, and her music has always split crowds, from her caterwauling earliest work to her later dance numbers, but how many people have looked at Yoko Ono’s decades-spanning career and varied work in total and asked the simple question, “Is it any good?”

From her earliest work with the Fluxus group and especially her relationship with John Cage, through her enigmatic pop happenings (where she met John Lennon), her experimental films, cryptic books, conceptual art, and her long recording career that has vacillated between avant-garde noise and proto-new wave, earning the admiration of other artists while generally confusing the public at large who often sees her only in the role of the widow Lennon,Reaching Out with No Hands is the first serious, critical, wide-ranging look at Yoko Ono the artist and musician.

A must-read for art and music fans interested in going beyond the stereotyped observations of Yoko as a Lennon hanger-on or inconsequential avant noisemaker.

ASCAP’s 100th Anniversary

Hal Leonard is proud to release two books in conjunction with ASCAP’s centennial: A Friend in the Music Business: The ASCAP Storyby Bruce Pollock, and The ASCAP Centennial Songbook. Below is Quincy Jones’s foreword to A Friend in the Music Business, “Why ASCAP Matters.”

I first joined ASCAP in 1955. I had previously spent a lot of time in France, and I knew about SACEM (Société des Auteurs, Compositeurs et Éditeurs de Musique), the French equivalent of ASCAP. I heard the United States had their own version of it, so that’s why I became a member. Also, many other composers and songwriters that I was familiar with were members too, like Duke Ellington and Count Basie.

For nearly 60 years, I’ve worked as a producer, arranger, songwriter, and composer in almost every musical style – including pop, jazz, R&B, rock ’n’ roll, and classical – and in all media forms, including records, film, and TV. It’s been an amazing journey. And through it all, ASCAP has always been there for me, making sure I received fair compensation for my work, thereby ensuring I could continue to work and grow as a creative artist. This has always been their main role – to be the champion for all their member songwriters and composers.

But in today’s music business, there is a proliferation of piracy everywhere in the world. Songwriters and music industry professionals are challenged to stave off this epidemic, because the means for producing, replicating, and disseminating intellectual property such as music is so quick, easy, and accessible to everyone. In this climate, the challenge is, how do songwriters and composers continue to be properly compensated for their work? The solutions are not easy to find, but if we don’t discover them, there aren’t going to be songwriters to write the great songs of the future. That’s why ASCAP is absolutely as essential now as it ever was and maybe even more so. It’s a game-changing time throughout the business, with people reluctant to pay for various uses of music. That’s why it’s important for ASCAP to persevere – to make every effort to work with the entire music industry, as well as legislative bodies, in making sure songwriters continue to be treated fairly in terms of appropriate compensation. So far, for the first 100 years of their existence, they’ve done a great job; they’ve consistently worked very hard to represent us at every turn, whenever there’s been a challenge to our right to make a living from our creative work. ASCAP has their hands full, but they keep working at it and finding solutions. As songwriters, we certainly need them. They are essential to our existence.

I talk to young songwriters all the time. I tell them don’t forget God’s rules, and that’s to have humility with your creativity and grace with your success. Start with that. That’s very important. Then I tell them join ASCAP and you’ll get protected from piracy, because ASCAP is a rights protection organization. I tell them ASCAP will champion your right to earn a living based on your creative work, and what’s more, will collect revenue on your behalf for that work.

Right now, as a society, we are not respecting the rights of songwriters – that they need to be compensated for their intellectual property, which is their songs and compositions. The world is running outside the boundaries of the concept of intellectual property rights, and we’ve got to get back in them, because it’s about respect for people’s property and the morality of not just stealing it because it is so easy to do. But even though the business is in trouble, young songwriters are creating great music. Music and water will be the last things to disappear from this planet. People can’t live without music. So we’ll need ASCAP to be doing their job until the very end.

I was so honored when I received the ASCAP Founders Award in 2013. Some incredible musicians have been recipients of this prestigious honor. ASCAP has an amazing legacy and a long heritage of nurturing and supporting the creative process. That’s why I try to do as many ASCAP events as my schedule permits. We all need to do our part to keep ASCAP visible and in the public’s eye, so everyone knows how important it is that they are there.

I was elected to be on the board of ASCAP, but at the time I was in the middle of an incredibly heavy workload, especially working with Michael Jackson and all my other endeavors in the ’80s. So I wrote a long letter to ASCAP recommending that Marilyn Bergman take my place on the board – which she did, and not surprisingly, she later became an awesome president and chairman of ASCAP for a period of fifteen years, until 2009. (Currently, Paul Williams has taken the reins and is continuing to do a wonderful job). I’ve known Marilyn and Alan Bergman since we were next-door neighbors and worked together on the songs for In the Heat of the Night in 1967. She’s like family. I knew she’d be right for the board because I knew her soul, her mind, and her God-given gifts. She definitely has a leader’s mind. She’s brilliant. You can hear it in her lyrics.

If you want to know what ASCAP’s mission is and always has been, just read the first few lines of “How Do You Keep the Music Playing?” with music by Michel Legrand and lyrics by Marilyn and Alan Bergman:

How do you keep the music playing?

How do you make it last?

How do you keep the song from fading too fast?

 Quincy Jones

A Friend in the Music Business

On February 13, 1914, a group of the nation’s most distinguished and popular songwriters gathered together in New York City to support the mission of ASCAP, a new organization for publishers and songwriters. A few years later, ASCAP received its mandate from the Supreme Court to collect royalties for the public performance of copyrighted material. Over the course of the next century, ASCAP has been as prominent a force for the advancement and nurture and financial well-being of songwriters as any record label or publishing outfit one would care to name. With a responsive board of directors made up entirely of songwriter/composer and publisher members, ASCAP has defended creators’ rights at every turn against those who would seek to devalue music. Today, with copyright under renewed assault, its mission is as resonant and vital as ever, along with its relatively new role as a nurturer of the young artists who represent the future of music.

Award-winning music writer Bruce Pollock explores the growth and changes within this complex society and its relationship to emerging technologies, in the context of 100 years of an ever-evolving music business, to see how ASCAP has become, for those who hope to make a living making music, now more than ever, “a friend in the music business.”

Bruce Swedien Recording Method

Tomorrow marks the start of the 2014 NAMM show in Anaheim, California, lasting until January 26th. What could be more apt than a few words from Quincy Jones in The Bruce Swedien Recording Method? You can also check out Bruce Swedien’s website here.

Bruce Swedien – I call him “Svensk,” which means “Swedish man” – is the best! Nobody can touch what he created with the Acusonic Recording Process, using SMPTE to sync the multitrack recorders together, and using stereo pairs of tracks to build a sound that still can’t be beat. I’ve traveled around the world several times, and everywhere I go they play the music we recorded together. And every time it’s played in the clubs, the dance floor is packed! When you record the music right, with the perfect balance, a solid foundation, and just the right amount of reverb, people can’t reproduce it. They can try, but there’s a musical and emotional component that we were able to create together that was magical.

There is no one who matches Svensk’s innate sense of balance and musicality. He has always been able to find the musical blend that brings a song to life, and his mixes have set the standard for all who have followed. Since the first session we did together in Chicago at Universal Studios with Dinah Washington, Bruce and I have enjoyed making some incredible music. From that first session with Dinah and then another with the Count Basie Orchestra to The Wiz, Off the Wall, Thriller, Bad, Back on the Block, Q’s Jook Joint, and everything in between, Svensk has been my friend, my engineer, and my musical colleague. When we all started working together on Michael Jackson’s Off the Wall, we were ready – ready to create something so special that it would make a profound mark on the music industry and world culture. Bruce had grown up listening to some of the best and most well-structured and well-balanced music in one of the best concert halls; I had been studying and honing my craft since I was a young teenager hanging around the Count Basie, Lionel Hampton, and Dizzy Gillespie Orchestras; Rod Temperton had discovered how to write great music and lyrics that would connect with music fans all over the world; and Michael had grown to be possibly the best and most professional singer I had ever seen. We had all the bases covered and were ready to go. And that’s just what we did!

If you’re going to make great music, you have to be able to maintain focus until the creative flow has found its course. Bruce, Rod, and I worked for days at a time, literally 24 hours a day, finding just the right direction for the music – finding the very best ways to communicate the music’s heart and soul. Many times, during the Thriller album, we worked five straight days and nights, but that’s how it had to be. That’s what it took and we all loved it. They’d be taking the studio assistants out on stretchers, but we were so focused on the fantastic music we were laying down that we hardly noticed the time.

For someone who wants to learn how to record great music, there’s no one better to emulate than Bruce Swedien. Pay attention to how he records music, but just as important, pay attention to why he records music and to the care and love that go into how he works. Making great recordings is about so much more than technical concerns, and Bruce has always known that. I truly believe that his part in the music we did together was irreplaceable.

Bruce, you’re absolutely the best – there’s no one better. You’re my musical soul mate, my close friend, and my brother – min vän och min bror. I love you, man!

The Bruce Swedien Recording Method is an incredibly timely and timeless reference for anyone interested in capturing and mixing the best possible music recordings. From the Michael Jackson albums (Off the WallThrillerBadDangerousInvincible, and HIStory), to many Quincy Jones hits (The DudeBack on the BlockQ’s Jook Joint, and many more), to classic greats from Count Basie, Duke Ellington, the Brothers Johnson, and Natalie Cole, Bruce Swedien’s impact on popular music has been undeniable. Engineers at all levels still use Swedien’s recordings as a standard by which they judge the sonic validity of their own work.

In The Bruce Swedien Recording Method, Swedien explains many of the techniques he has used to get award-winning drum, bass, guitar, keyboard, vocal, string, and brass sounds. On the accompanying DVD-ROM, he further reveals what he looks for in a recording and the steps he takes to imprint his characteristic world-class sonic signature on the music he mixes.

Throughout this book, Swedien consistently pinpoints the most important considerations in the recording process, with such insights as: You don’t listen to the equipment, you listen through the equipment… Nobody ever walked out of the studio whistling the console… The sound has to be so good to start with that it gives you goosebumps – the list goes on and on!