Award-winning producer Scott Sherratt brings musical touch to audiobooks Jim Bessman 1/14/2016
If it’s Grammy season, it’s a given that Scott Sherratt has a vested interest. High on the list of “first call” producers/directors of audio and video specializing in the publishing industry, Sherratt has Scott Sherratt and Elvis Costello (Courtesy of Scott Sherratt) helmed seven Grammy-nominated titles, including this year’s Best Spoken Word nominee Yes Please by Amy Poehler. His productions have won over 20 Audio Publishers Association Audie Awards and more than 60 Audiofile Magazine Earphones Awards for Excellence. Since commencing his audiobook production career, Sherratt has worked on over 600 titles, written and/or recited by the likes of Oprah Winfrey, Billy Crystal, Rachel Maddow, Elizabeth Warren, Kim Kardashian, Gene Simmons, Lena Dunham, Mindy Kaling, Colin Powell, Mitt Romney, Ted Kennedy, Nelson Mandela, Malala Yousafzai, Michael Chabon, Harper Lee, John Waters, Robert Ludlum, Poehler and most recently, Carly Simon, Chrissie Hynde and Elvis Costello. “I work with people for days and it’s a very personal experience for them,” says Sherratt of his award-winning methods. “I take their trust
and confidence very seriously: It’s all about showing a side of them that’s best in telling their story.” He distinguishes between the “producer” and “director” credit as applied to his niche in the recording industry. “As they relate to standard music recording terminology they are essentially the same,” says Sherratt. “There is a lot of overlap and blurred lines between these job descriptions—meaning that the director is the person in the recording sessions guiding the performance just as a producer does in music sessions. I am most often producer and director– booking studios, contracting talent, directing sessions, and supervising edit, mix, mastering and delivery.” Each project is unique and presents it’s own challenges and opportunities, he notes. “It often comes down to communication. I am very comfortable speaking with performers, actors, narrators, and authors and helping to develop a vibrant, energetic, comfortable, and collaborative environment in which to create something amazing. I absolutely love working with creative people–brilliant actors, personalities, and fabulous writers. It is really thrilling and I find the whole process to be tremendously rewarding.” Sherratt says he always looks to bring added value to his productions, “so each audiobook I produce can stand on it’s own as it’s own creative work rather than simply being a companion to or alternative way of consuming the printed version of a book.” The audiobook, actually, “often kicks the crap out of the print version,” he adds.
Making it all work is a post-production team made up of editors and other crafts people around the country. “We live in an exciting time where transferring large files is easy and fast, allowing me to hire the absolute best people in the business regardless of where they live,” Sherratt explains. “I am a bit of an audio nerd, and it is truly important to me that everything sounds great. The mastering legend Bob Ludwig recently complimented some of my productions, and that in itself makes all the extra effort feel worthwhile.” Being an “audio nerd” comes natural to Sherratt, who brings his extensive background as a musician to his audiobook projects. A guitarist, bassist, vocalist and composer—as well as studio engineer and producer—Sherratt has also acted on stage, film and TV; he has managed stages and tours, and produced live shows in addition to albums and audio books. And he’s toured and recorded with various rock bands for years before settling into his current vocation: He toured with and produced three albums of music for experimental theater playwright/ director Richard Maxwell, and produced The Lonesome High album with Willem Dafoe. Sherratt has since composed and performed music on many of his audiobook productions. “It’s the most fun when I can call upon some of my favorite musician friends to help out with music for a particular project,” he says. “Last year Rodney Crowell—for whom I produced the audiobook for [his 2011 memoir] Chinaberry Sidewalks–gathered some musicians together in Nashville and wrote and performed some terrific music for Harper Lee’s Go Set a Watchman, which I produced in L.A. with narrator Reese Witherspoon. Rodney also wrote and performed a perfect guitar piece for Sissy Spacek’s memoir [My Extraordinary Ordinary Life] that I produced a few years ago.”
Music artists frequently provide or perform exclusive material for their audiobook projects with Sherratt. “[Sonic Youth’s] Kim Gordon gave me a track I loved for her book Girl in a Band and I was thrilled to record Elvis Costello playing guitar for [his new memoir] Unfaithful Music & Disappearing Ink. It is, of course, perfect, and we also recorded some pieces for a track we included on the companion soundtrack album released by Universal Records.” Observing that it’s a “golden age for audiobooks” in that “more audio is being produced than ever before,” Sherratt has a hard time naming favorites. “I’ve had so many wonderful opportunities and recorded many amazing people in their homes, most notably Oprah,” he says. “She drove us around her unbelievable California estate in a golf cart and had her private chef prepare delicious meals. I even got her to sing on the recording—and yes, she can really sing! I also recorded Jennifer Lopez at her house last year—also fun.” Poehler’s Yes Please was “a true production standout” in that Sherratt not only recorded Poehler in Los Angeles along with Michael Schur, but Carol Burnett in Santa Barbara, Patrick Stewart in New York, Poehler’s parents in Boston, and Poehler with Seth Meyers and Kathleen Turner at Saturday Night Live. “I also produced and recorded a live show with Amy at The Upright Citizen’s Brigade Theater in Hollywood, which we included on the audiobook. Add to that terrific music by Freddie Khaw, and a track from Steve Albini, and it’s a one-of-a-kind, fabulous item.” But working with Costello “really was a dream come true,” says Sherratt. “I have been a fan for so many years, and it was such a treat to
go to Canada and lock myself in the studio with Elvis for a week. He is every bit as brilliant as I knew him to be.” Besides working with all the major publishers and numerous independents, Sherratt is additional dialogue replacement (ADR) and casting director for the U.S. version of the animated U.K. TV series Chuggington, and produces and directs other TV and video projects. Sherratt will stay in Los Angeles after the Grammy Awards to produce a project with X’s John Doe and music publisher/former A & R rep Tom DeSavia. “They’ve written a fabulous personal history of the L.A. punk scene called Under the Big Black Sun—named after an early hit by X.” But he now laments the one that got away. “My ‘Great White Whale,’ the long-rumored autobiography by David Bowie!” says Sherratt. “But even if it happened now it wouldn’t be the same: Every author should narrate their own memoirs while they can, because every autobiography that is not read by the subject is less than it might have been.”