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Abbey Road to Ziggy Stardust
Autographed copy by Ken Scott! Ken Scott holds a unique place in music history as one of only five engineers to have recorded The Beatles, but his experiences as a producer may be just as profound. Abbey Road to Ziggy Stardust shares the intimate memories of Ken Scott s days working with some of the most important artists of the 20th century while crafting a sound that has influenced several generations of music makers. 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, and as a producer and/or engineer of six David Bowie albums (including the groundbreaking Ziggy Stardust and the Spiders from Mars), as well as other timeless classics from a who's-who of classic rock and jazz acts, including Elton John, Pink Floyd, Jeff Beck, Duran Duran, The Rolling Stones, Lou Reed, America, Devo, Kansas, The Tubes, Missing Persons, Mahavishnu Orchestra, Billy Cobham, Dixie Dregs, and Stanley Clarke. Funny, poignant, and oh, so honest, Ken pulls no punches as he tells it as he saw it, as corroborated by a host of famous and not-so famous guests who were there as well. Plus, you'll be privy to several exclusive stories, facts, and technical details only available in Abbey Road to Ziggy Stardust. National press campaign planned around 40th anniversary of Ziggy Stardust release on June 6, 2012 Includes never-before-told stories of The Beatles, David Bowie and Elton John Many never-before-seen photographs
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)
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)
414 pages, Hardcover
First published June 6, 2012
40 people are currently reading
276 people want to read
About the author
Ken Scott
2 books5 followersThere'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.
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.
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Displaying 1 - 30 of 31 reviews
August 11, 2012
A very easy read from a man who was there. From the Beatles latter period to Bowie's Ziggy days to Elton John's classic years, Ken Scott was there, producing, engineering, mixing. His stories of working with these bands and many others right through to almost the present day are enlightening and entertaining. Do you know what Simon LeBon likes to be called while working in the studio? It's in the book. DO you know what happens when the band doesn't like your wife? It's in the book. The behind the scenes deals, the double crosses, the enduring friendships, the drugs, the successes and failures... It's in the book. But so is the technical side of recording, but not to the point that non tech people will be bored. I place this one on the shelf with Geoff Emerick's similar book, Here, There & Everywhere, My Life Recording The Beatles.
December 8, 2018
This was an okay read. Scott sounds like an amazing gentlemen who was very gracious and forthcoming with his career as an engineer, producer, and even manager at one point for a lot of bands. He has engineered or produced such great albums as Magical Mystery Tour, The Beatles "White Album", Elton John's Madman across the water & Honky Chateau as well as Bowie's Hunky Dory, Ziggy Stardust and Aladdin Sane to Super tramp's Crime of the Century and Crisis ? What Crisis ? albums.
The part I found the most touching was a chapter on Scott's work with George Harrison on his triple album All Things Must Pass where Scott goes back to George's house in England at Friar Park to work on the reissue. Just neat insight into George's humor and humbleness.
Where the book does lose me is with all the technical jargon which Scott mostly puts into grey toned side boxes, but at times throws in as part of the ongoing read. I have zero interest in the details of amps, mic set ups, and consoles and was more interested in the stories in and about these amazing artists that Scott has worked with over the years. But I also knew going into an autobiography by an engineer that there would be plenty of talk about tech.
Overall, a pretty good read.
The part I found the most touching was a chapter on Scott's work with George Harrison on his triple album All Things Must Pass where Scott goes back to George's house in England at Friar Park to work on the reissue. Just neat insight into George's humor and humbleness.
Where the book does lose me is with all the technical jargon which Scott mostly puts into grey toned side boxes, but at times throws in as part of the ongoing read. I have zero interest in the details of amps, mic set ups, and consoles and was more interested in the stories in and about these amazing artists that Scott has worked with over the years. But I also knew going into an autobiography by an engineer that there would be plenty of talk about tech.
Overall, a pretty good read.
January 27, 2013
ken scott's memoir is a fun book for people (like me) that don't know a lot about how recording studios work ... it's also a fanboy letter to lots of classic albums that were recorded during scott's tenure as engineer at a few of the more prestigious studios (emi, which later became abbey road, trident, electric ladyland, et al) - where he made quite a few classic records with the beatles, david bowie, elton john and countless others, including lots of prog rock and jazz fusion classics from the 70's.
the book is set up to read easy - the principal text is the fanboy memoir stuff - scott recounts his early days as an assistant during the recording of MEET THE BEATLES, and was a full-fledged engineer working with george martin on the beatles MAGICAL MYSTERY TOUR - he also recorded THE WHITE ALBUM (who wouldn't want to read about how that was recorded?). but there are lots of sidebars for you recording gear geeks who want to know what kind of microphones were used on the drums on a track like YER BLUES, or what kind of mics were used on paul mc cartney's guitar on BLACKBIRD - and all the advances in technology since the mid-60's in terms of mixers, tape decks - all the works from analog four track recorders to pro tools.
sure, i'm a musician, but i pay people to record my music so i don't have to stress out in the studio - so, while i have been recording music for nearly 35 years, i really don't know that much about the ins and outs of a recording studio. this was a fun way to get some more insight into the process of recording, and the role of producer and how important that is to the group sound of any great record.
the book is set up to read easy - the principal text is the fanboy memoir stuff - scott recounts his early days as an assistant during the recording of MEET THE BEATLES, and was a full-fledged engineer working with george martin on the beatles MAGICAL MYSTERY TOUR - he also recorded THE WHITE ALBUM (who wouldn't want to read about how that was recorded?). but there are lots of sidebars for you recording gear geeks who want to know what kind of microphones were used on the drums on a track like YER BLUES, or what kind of mics were used on paul mc cartney's guitar on BLACKBIRD - and all the advances in technology since the mid-60's in terms of mixers, tape decks - all the works from analog four track recorders to pro tools.
sure, i'm a musician, but i pay people to record my music so i don't have to stress out in the studio - so, while i have been recording music for nearly 35 years, i really don't know that much about the ins and outs of a recording studio. this was a fun way to get some more insight into the process of recording, and the role of producer and how important that is to the group sound of any great record.
July 17, 2015
Ken Scott tells of his days as a recording engineer/producer to The Beatles, Eric Clapton, David Bowie and many others.
I work as a film editor. I was struck by the similarity of the relationship Ken Scott had with the artists. Like him, I may not be the actor or the writer of a show, but I use all sorts of *tricks* of pacing and storytelling to enhance and make the story compelling. Here Ken talks about the careful artistry of recording, using mic placement, double tracking, specialized reverbs, editing and such that adds so much to our enjoyment of artists such as The Beatles, Elton John, Mahavishnu Orchestra and the like. He also talks about how he handled some very difficult personalities and situations with varied results.
This book brought me back to the 70's when I enjoyed the dimensionality of these recordings though my Audiofile Dynaco Amp, Fulton Speakers or Koss Headphones. Through this book I realized that Ken Scott was the commonality between these fine recordings that transported me so effortlessly in my younger years.
I am not giving this five stars because this is not a book with general appeal. However its a fantastic book for people who are interested in a behind-the-scenes look at how some of the greatest albums in history where made.
I work as a film editor. I was struck by the similarity of the relationship Ken Scott had with the artists. Like him, I may not be the actor or the writer of a show, but I use all sorts of *tricks* of pacing and storytelling to enhance and make the story compelling. Here Ken talks about the careful artistry of recording, using mic placement, double tracking, specialized reverbs, editing and such that adds so much to our enjoyment of artists such as The Beatles, Elton John, Mahavishnu Orchestra and the like. He also talks about how he handled some very difficult personalities and situations with varied results.
This book brought me back to the 70's when I enjoyed the dimensionality of these recordings though my Audiofile Dynaco Amp, Fulton Speakers or Koss Headphones. Through this book I realized that Ken Scott was the commonality between these fine recordings that transported me so effortlessly in my younger years.
I am not giving this five stars because this is not a book with general appeal. However its a fantastic book for people who are interested in a behind-the-scenes look at how some of the greatest albums in history where made.
October 4, 2017
I was tempted to give this 5 stars. However, Goodreads defines 5 stars as "amazing," and I can't say the book rose to quite that level.
I did, however, find it very fun and a fast page turner. Not only did it provide an engaging engineering-side historical perspective on many classic bands and albums, it was an enjoyable memoir in its own right, with Scott (with help from his co-author) serving as a witty and charming down-to-earth narrator with a pleasant conversational style.
Also, it's amazing to realize just how many albums I love were either engineered or produced by this one guy: Magical Mystery Tour, The White Album, A Salty Dog, Fog on the Tyne, Pawn Hearts, Ziggy Stardust, Hunky Dory, Birds of Fire, Spectrum, Madman Across the Water, the first two Happy the Man albums, Crime of the Century, What If... etc.
I did, however, find it very fun and a fast page turner. Not only did it provide an engaging engineering-side historical perspective on many classic bands and albums, it was an enjoyable memoir in its own right, with Scott (with help from his co-author) serving as a witty and charming down-to-earth narrator with a pleasant conversational style.
Also, it's amazing to realize just how many albums I love were either engineered or produced by this one guy: Magical Mystery Tour, The White Album, A Salty Dog, Fog on the Tyne, Pawn Hearts, Ziggy Stardust, Hunky Dory, Birds of Fire, Spectrum, Madman Across the Water, the first two Happy the Man albums, Crime of the Century, What If... etc.
January 20, 2023
Fine enough, somehow mildly interesting and boring at the same time. The Beatles, David Bowie, and Elton John were all written about with the same kindly spirit and slight detachment as the lesser known and less successful acts he worked with, which has a kind of charm.
The most interesting part was his work with the late 60s and early 70s jazz fusion drummers.
We checked out a band he became involved with as a manager, Missing Persons, but it was pretty godawful 80s shit so that really coloured our entire estimation of his work.
Eh….
The most interesting part was his work with the late 60s and early 70s jazz fusion drummers.
We checked out a band he became involved with as a manager, Missing Persons, but it was pretty godawful 80s shit so that really coloured our entire estimation of his work.
Eh….
January 12, 2024
What It Was Like To Be There
As one of many, who have always been interested in both sides of recorded music, the performance and the production, Scott’s book gave me the most satisfactory experience of the production side I’ve read. I’ve read Jac Holzman’s, Glyn John’s, John Simon’s, George Martin and Todd Rundgren’s perspectives but I never felt the resonant experience Ken Scott conveyed. He was more technical and maybe that’s partially why I enjoyed it more. The historical context was equally part of its appeal. I highly recommend it.
As one of many, who have always been interested in both sides of recorded music, the performance and the production, Scott’s book gave me the most satisfactory experience of the production side I’ve read. I’ve read Jac Holzman’s, Glyn John’s, John Simon’s, George Martin and Todd Rundgren’s perspectives but I never felt the resonant experience Ken Scott conveyed. He was more technical and maybe that’s partially why I enjoyed it more. The historical context was equally part of its appeal. I highly recommend it.
January 7, 2018
Good and Entertaining, but no Masterpiece
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.
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.
September 21, 2018
an easy and fascinating read about producing and engineering in the recording industry since the 60's from someone who's worked on some of the biggest classic albums of all time.
October 28, 2018
Wonderful anecdotes from some of the most influential albums of the period.
December 19, 2019
Very little about the man but tons about the sessions he worked. It’s interesting that most of the artists he worked with he didn’t get enough respect from.
March 20, 2021
Ken was all about the drums, perfect performances and fat audio.
You don't have to be a musician to enjoy this book.
You don't have to be a musician to enjoy this book.
March 2, 2022
Skimmed it lot. Surprisingly boring, info on Beatles/gh good.
April 3, 2022
Somehow Ken Scott has managed to make a fascinating career rather dull. Disappointing.
September 2, 2015
I think I land somewhere between 2 and 3 stars on this one. A friend of mine worked with Ken Scott, and he sent my friend an autographed copy. My friend decided to pass it on to any interested friends. I understand I was the only friend who expressed interest.
I'll start by saying my husband picked it up and decided it was too boring after the first few chapters. This book isn't for everyone.
Obviously, someone who is into the minutiae/evolution of engineering would LOVE this book. As for me, with my OCD need to read it all, did just that....including the engineering notes...*sigh*. While that aspect was a little boring, I enjoyed the fly-on-the-wall perspective of the sessions. It threw me back into the 70s. The Elton albums he [Ken Scott] did were the ones I consider his [Elton's] best. I remember David Bowie's evolution in the US (thanks to KROQ and Rodney Bingenheimer), and it was fun to read about his genesis. I recalled a high school memory from 1977. My friend [yes, the same one that sent me this book] and I sitting in my Ford Pinto listening to KROQ on the radio and hearing/singing along to Star Star with no fcc mandated bleeps.
Ken Scott talks about the first quad mix. That made me think about an old boyfriend of mine that had a quad 8 track tape player and speakers. I remember him playing a tape that had been recorded specifically for a quad system. (Now it's so old-school, but at the time...) I can't remember the exact tape he played (probably due to the fact it was also the first time I got drunk), but I remember the sound as it traveled from one speaker to the next. It was probably Pink Floyd or Emerson, Lake and Palmer. The feeling of being surrounded by music was amazing.
Anyway, I picked up on a lot of Ken's attempts to set the record straight. There were a couple times it seemed he was being a little catty (I'm sure there's some backstory there). I could relate to him wanting to document an art and industry that has evolved dramatically (I worked at a place that had a computer that used vacuum tubes, water cooling, and punch cards...I get it).
I'll start by saying my husband picked it up and decided it was too boring after the first few chapters. This book isn't for everyone.
Obviously, someone who is into the minutiae/evolution of engineering would LOVE this book. As for me, with my OCD need to read it all, did just that....including the engineering notes...*sigh*. While that aspect was a little boring, I enjoyed the fly-on-the-wall perspective of the sessions. It threw me back into the 70s. The Elton albums he [Ken Scott] did were the ones I consider his [Elton's] best. I remember David Bowie's evolution in the US (thanks to KROQ and Rodney Bingenheimer), and it was fun to read about his genesis. I recalled a high school memory from 1977. My friend [yes, the same one that sent me this book] and I sitting in my Ford Pinto listening to KROQ on the radio and hearing/singing along to Star Star with no fcc mandated bleeps.
Ken Scott talks about the first quad mix. That made me think about an old boyfriend of mine that had a quad 8 track tape player and speakers. I remember him playing a tape that had been recorded specifically for a quad system. (Now it's so old-school, but at the time...) I can't remember the exact tape he played (probably due to the fact it was also the first time I got drunk), but I remember the sound as it traveled from one speaker to the next. It was probably Pink Floyd or Emerson, Lake and Palmer. The feeling of being surrounded by music was amazing.
Anyway, I picked up on a lot of Ken's attempts to set the record straight. There were a couple times it seemed he was being a little catty (I'm sure there's some backstory there). I could relate to him wanting to document an art and industry that has evolved dramatically (I worked at a place that had a computer that used vacuum tubes, water cooling, and punch cards...I get it).
September 1, 2016
I really liked most of this book; I especially enjoyed pulling up samples of the music on youtube to listen to as Ken Scott discussed the various albums (although Scott probably hates the tinny sound of puny computer speakers!) The book also makes one more aware of the compromises modern music fans have made in sound quality (MP3's) for convenience. Graphic equalizers, full-range speakers, etc. used to be priorities, but no longer for the average listener. The book does get technical at times, but Scott judiciously placed the more specific engineering details in separate sidebars for readers interested in them. Being a huge Beatles, Bowie, and Elton John fan made me appreciate the first half of the book, and the Supertramp & jazz fusion sections were interesting as well. I understand that Scott was revisiting his entire career and consequently needed to cover his managerial forays of the 80's & 90's, but that part of the book was much less engaging for this particular baby-boomer (Missing Persons a great band--really?) Abbey Road to Ziggy Stardust contained some fascinating insights into the recording process and industry and the changes over the years, (usually not for the better), as well as some wonderful studio and artist anecdotes. The casual or very young pop music fan will probably not care for this much depth on the production of classic rock, jazz, & MTV music. However, readers and especially musicians who are interested in the behind-the-scenes process in making the fabulous (mostly British) albums of the aforementioned groups will definitely enjoy this book as much as I did.
December 28, 2012
Being a musician and recording engineer, I always enjoy reading stories of the recordings and band interactions by those who've been through it. Ken Scott started out at EMI Studios (later rechristined Abbey Road) working with the Beatles, among many others, then recorded with Bowie, including Ziggy Stardust; Supertramp; Mahavishnu Orchestra; and then recorded and managed Missing Persons. There's much more in here too. It's all told through short snapshot-like vignettes, which makes it a breezy read. There are bits and pieces of technical detail for those of us who like to read about mics and mixing boards, but it's more about the personalities, record labels, studio personnel, and so forth. I finished it feeling as though it was a bit too surface-level, because the occasions where Scott delves more into the real people, such as his time towards the end with George Harrison, are the most satisfying parts of the book. Overall, an enjoyable read.
January 18, 2014
I really really liked this book too (I read it right after Tony Bramwell's book about the Beatles). Ken Scott worked at EMI and on Beatles sessions, eventually becoming their recording engineer for the White Album. He also worked with Bowie, Elton John, Duran Duran, and he discovered Missing Persons. He's done a huge range of things, and it was fascinating to hear about his career. I liked how the book was organized, which wasn't strictly chronological, but by artist/era. He also has a lot of technical sidebars where he talks about the recording and mixing equipment he used and how he set it up. So if the technical side of recording is interesting to you, this is the book for you. But if you want to know about the Beatles and stories of the music and artists of the late 60s and 70s (and some 80s), you'll also enjoy it.
March 3, 2016
I couldn't make it through this book. Some of the stories were interesting, particularly ones that gave insight into what it was like to be around the Beatles in some amazing creative moments, but so many of the other bands' entries ended with "I don't remember why, but I guess we did that" that I just couldn't bring myself to keep going. Not quite memoir, not quite scattered journal entries, part venue for airing old grievances against previous employers and artists... It's too bad, because the topic seemed thrilling from all the other reviews, especially for someone who just trained as a recording engineer.
September 25, 2013
Ken Scott is a well-known name in rock music circles. He's worked with the Beatles and produced Elton John, David Bowie, Supertramp, Stanley Clarke and many other individuals and groups. This book not only tells some fascinating and funny anecdotes, it gives the reader genuine insight into the career of a recording engineer/producer, with technical details available in sidebars for those who care about such things. This is not primarily a Beatles book (although it tells some interesting stories); it's a marvelous recounting of what it's like to make records. Highly recommended for those who, like me, are intrigued by the making of music.
January 6, 2013
Interesting fly-on-the-wall tales told capably by a music producer who began working with The Beatles and David Bowie and progressed through many pioneering bands over the years. The only downside is it starts with the most interesting bands and personalities and progresses through fewer and fewer bands of similar stature and interest. Maybe not as riveting as Geoff Emerick's fine memoir Here, There and Everywhere, but a fine read nonetheless.
May 20, 2016
Overall Review: Good Read
Comments:
This is a memoir of Ken Scott - a recording engineer, record producer and manager whose experiences include recording the Beatles, David Bowie, Elton John, producing Supertramp's Crime of the Century and managing Missing Persons (among many others)
A fun and interesting look into the artists, the albums and how they were recorded, and the industry. Fascinating and fun.
Comments:
This is a memoir of Ken Scott - a recording engineer, record producer and manager whose experiences include recording the Beatles, David Bowie, Elton John, producing Supertramp's Crime of the Century and managing Missing Persons (among many others)
A fun and interesting look into the artists, the albums and how they were recorded, and the industry. Fascinating and fun.
January 25, 2016
What an amazing glimpse into a world that is forever gone. The Beatles, Bowie, Elton John...the list goes on & on. Ken got to take part in some of the most iconic recording sessions ever to hit tape. If you are interested in any of the aforementioned artists or the recording process in general, read this book.
December 23, 2013
Fantastic book for anyone interested in the music business. The drugs and sex stories are provided in voyeuristic fashion (Tubes, and Missing Persons), but for me I enjoyed the technical tidbits about how music was made prior to computers and Pro Tools.
October 4, 2014
Good for the music/trivia nerd, or anybody who is involved with musical production and grew up with the Beatles. Probably too tech oriented for the average Beatles fan, though it's not really all that tech. Lots of nice trivia and stories about what happened 'back in the day'.
September 4, 2015
This is one of the finest books I have ever read about the music industry. He is an insider who gives his honest perspective about the artists and performers with whom he worked. Very readable, and very very enjoyable.
August 20, 2012
Greta book for those into music production and/or recorded music. Very enjoyable
December 25, 2012
A one-man history of rock'n'roll! A very entertaining read.
October 26, 2013
Blasted through this one. Some interesting recording and industry stuff, but not quite as engrossing as I had hoped. What a musical life Ken Scott had, though!
May 26, 2014
An interesting memoir of an important first generation rock engineer. Later also producer and manager. Could have been more interesting on the technical bits and making of such great music.
Displaying 1 - 30 of 31 reviews