His wonderful fan-based story, which finds him first as an impressionable lad encountering the Beatles in the hallways of EMI Studios, where he is tempted to "scream like one of the girls" at the sight of them, is merged with his knowledge of sound technology which is as telling as his personal narrative. For true sound buffs, a more specified "tech talk" is included on separate highlighted pages of the book.
His anecdotes on the legion of rock-and-roll royalty offer a brand new history that finds Yoko Ono and Linda McCartney most welcome and passive in the studio while recording the Beatles. He can't recall a single incident of agitation regarding The Beatles' wives. It is no surprise that John Lennon is described as a wonderful guy who could be a bit of an "arsehole."
My enthusiasm for the book is curbed a bit in the second half which isn't nearly as thrilling as the first as Scott takes his career into the 1980s and '90s. Peculiar anecdotes still abound as Devo is described as "standoffish," Duran Duran are seen as foolishly extravagant with money, and medical emergency personnel are summoned to Scott's posh Los Angeles pool party when a guest gets his "thingy" stuck in the Jacuzzi suction cup.
Far too many chapters (three!) are devoted to L.A. new wave band Missing Persons, a group that Scott managed, who scored a hit record with "Words", and quickly faded into obscurity. There is a significant number of testimonial letters and quotes from record label executives, musicians, and fellow engineers and producers, pasted throughout the book attesting to Scott's value as a producer, that become gratuitous and leaves an air of insecurity.
But the importance of the documentation of such monumental music is not to be underestimated. It helps that Scott was strictly anti-drug when working and his vivid recollections are vital and studious. His song-for-song account of The Beatles' "White Album" is historic.
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