9781529114010

This Is What It Sounds Like is a journey into the science and soul of music. It’s also the story of a musical trailblazer who began as a humble audio tech in LA and went on to become Prince’s chief engineer for Purple Rain and one of the most successful female record producers of all time.

Now an award-winning professor of cognitive neuroscience, Dr Susan Rogers takes readers behind the scenes of record-making and leads us to musical self-awareness.

She explains that everyone possesses a unique ‘listener profile’, shows how being musical can mean actively listening, and encourages us to think about the records that define us. Lively and illuminating, this book will refresh your playlists, deepen your connection to artists, and change the way you listen to music.

‘Fizzing with energy and insight . . . a crucial addition to the canon of music must-reads’ Kate Hutchinson

Dr Susan Rogers and Dr Ogi Ogas

‘A provocative blend of studio stories and fascinating neuroscience’ Alan Light, author of Let’s Go Crazy: Prince and the Making of Purple Rain

This Is What It Sounds Like

Times Literary Supplement

What the Music You Love Says About You

‘Superb . . . this book can show you how to be a better listener’

Cover from photograph © Getty Images

VINTAGE I S B N 978-1-529-11401-0 £10.99

Penguin Random House penguin.co.uk/vintage 9

90000 781529 114010

RAN5_NP_01ThisisWhatitSoundsLikePB_OUT_85368.pgs 14.08.2023 07:38

RAN5

Praise for This Is What It Sounds Like ‘This Is What It Sounds Like is a revelation . . .

An instant classic. It should be read by anyone who has ever been moved by a piece of music – in other words, everyone’ Daniel Levitin, author of This Is Your Brain on Music ‘Superb . . . this book can show you how to be a better listener’ Times Literary Supplement ‘Rogers’ words dance on the page with their sheer enthusiasm and eloquence . . .

This Is What It Sounds Like is a triumph of the personal, technical and philosophical, fizzing with energy and insight, and a crucial addition to the canon of music must-reads’ Kate Hutchinson ‘A provocative blend of studio stories and fascinating neuroscience’ Alan Light, author of Let’s Go Crazy ‘A deliciously nerdy resource for music lovers’ Jessica Hopper, author of The First Collection of Criticism by a Living Female Rock Critic

‘Rogers is unusually well qualified to investigate the mysterious, drug-like impact music has . . . Rogers’ theories, both scientific and romantic, come as close to a breakthrough as anything I’ve read’ Big Issue ‘Inspired me as both a listener and musician’ Steven Page, Barenaked Ladies ‘A gift to music listeners of all kinds’ Dan Charnas, author of Dilla Time

DR SUSAN ROGERS Dr Susan E. Rogers is a Professor of Music Cognition at Berklee College of Music in Boston, where she received the Berklee Distinguished Faculty Award, the college’s highest teaching honour. Prior to her science career, Rogers was a multi-platinum record producer, recording engineer and mixer. She is best known for her work with Prince on Purple Rain, as well as with David Byrne, Barenaked Ladies and many others.

DR OGI OGAS Dr Ogi Ogas is a mathematical neuroscientist and the author of Journey of the Mind: How Thinking Emerged from Chaos. He was a Department of Homeland Security Fellow and a Research Fellow at the Harvard Graduate School of Education.

DR SUSAN ROGERS and DR OGI OGAS

This Is What It Sounds Like What the Music You Love Says About You

1 3 5 7 9 10 8 6 4 2 Vintage is part of the Penguin Random House group of companies whose addresses can be found at global.penguinrandomhouse.com

First published in Vintage in 2023 First published in hardback by The Bodley Head in 2022 Copyright © Susan Rogers and Ogi Ogas 2022 Susan Rogers and Ogi Ogas have asserted their right to be identified as the authors of this Work in accordance with the Copyright, Designs and Patents Act 1988 penguin.co.uk/vintage Printed and bound in Great Britain by Clays Ltd, Elcograf S.p.A. The authorised representative in the EEA is Penguin Random House Ireland, Morrison Chambers, 32 Nassau Street, Dublin D02 YH68 A CIP catalogue record for this book is available from the British Library ISBN 9781529114010 Penguin Random House is committed to a sustainable future for our business, our readers and our planet. This book is made from Forest Stewardship Council® certified paper.

For Art, whom music saved

That Thatsense senseofofabsolute absolutefreedom, freedom,that thatsense sense ofofno nodirection directionbut butthe thegreatest greatestdirection directionin in the theworld, world,ofofbeing beingable ableto tofeel, feel, I’m I’maapart partofofthis thissomehow. somehow.

—Sam —SamPhillips, Phillips,producer, producer, on onpursuing pursuingaalife lifeininrecord recordmaking making

CC O ON N TT EE N N TT SS OOVVEERRTTUURREE 11 CCHHAAPPTTEERR 11

AAUUTTHHEENNTTIICCIITTYY This ThisIsIsWhat WhatExpression ExpressionSounds SoundsLike Like 13 13 CCHHAAPPTTEERR 22

RREEAALLIISSM M This ThisIsIsWhat WhatMusic MusicLooks LooksLike Like 33 33 CCHHAAPPTTEERR 33

NNOOVVEELLTTYY This ThisIsIsWhat WhatRiskRisk-Taking TakingSounds SoundsLike Like 61 61 CCHHAAPPTTEERR 44

M MEELLOODDYY This ThisIsIsWhat WhatMusic MusicFeels FeelsLike Like 87 87 CCHHAAPPTTEERR 55

LLYYRRIICCSS This ThisIsIsWhat WhatIdentity IdentitySounds SoundsLike Like 113 113

x xi ii i CCOONNT TEENNT TSS

CCHHAAPPTTEERR 66

RRHHYYTTHHM M This ThisIsIsWhat WhatMusic MusicMoves MovesLike Like 141 141 CCHHAAPPTTEERR 77

TTIIM MBBRREE This ThisIsIsWhat WhatMusic MusicConjures Conjures 165 165 CCHHAAPPTTEERR 88

FFOORRM M AANNDD FFUUNNCCTTIIOONN This ThisIsIsWhat WhatItItSounds SoundsLike LiketotoaaRecord RecordProducer Producer 195 195 CCHHAAPPTTEERR 99

FFAALLLLIINNGG IINN LLOOVVEE The TheMusic MusicofofYou You 223 223

CCOODDAA 249 249 Acknowledgments Acknowledgments 253 253 Notes Notes 255 255 Bibliography Bibliography 263 263

LLI INNEERR NNOOTTEESS

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Music. You You can can fifind nd aa list list ofof This ThisIsIsWhat WhatItItSounds SoundsLike Likerecords recordson onthe thewebsite websitewe’ve we’ve created, created,ThisIsWhatItSoundsLike.com.

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O OVVEERRTTUURREE I I ca cann ident identififyy tthe he ex exac actt moment moment wwhen hen mmyy jour journney ey totobecoming becomingaaprofessional professionalmusic musiclistener listenerbegan. began.ItItwas wasatataaLed LedZepZeppelin pelinconcert concertatatthe theForum Forumarena arenaininLos LosAngeles Angeleswhen whenI Iwas wastwenty twenty years yearsold. old.Hundreds Hundredsofofconcerts concertslater, later,I’d I’dstill stillrank rankititasasone oneofofthe the best bestI’ve I’veever everseen. seen.Robert RobertPlant Plantwas wasatatthe theheight heightofofhis hisfame fameasas aarock rockgod, god,mesmerizing mesmerizingthe thecrowd crowdwith withhis hisvocals, vocals,while whileguitarist guitarist Jimmy JimmyPage, Page,clad cladininaablack blacksilk silksuit suitembroidered embroideredwith withorangeorange-andandcrimson crimsondragons, dragons,struck struckincendiary incendiarypower powerchords. chords.But Butasasthe theconcert concert approached approachedthe thehalfway halfwaypoint— point—the theband bandstill stillhadn’t hadn’tperformed performedclasclassics sicslike like“Kashmir” “Kashmir”and and“Stairway “StairwaytotoHeaven”— Heaven”—I Irealized realizedthat thatititwas was time timefor forme metotoleave. leave.

ItItbroke brokemy myheart hearttotogo. go.Music Musicwas wasthe thetruest truestsource sourceofofpassion passion and andmeaning meaningininmy mylife lifeand andthe theconcert concerthad hadlifted liftedme metotoaastate stateofof pure purerapture. rapture.But ButififI Iwasn’t wasn’thome homeby bytenten-thirty thirtyp.m., p.m.,there therewould would be behell helltotopay. pay.Not Notfrom frommy myparents. parents.My Mymother motherhad haddied diedwhen whenI I was wasfourteen fourteenyears yearsold, old,and andI Ino nolonger longerlived livedwith withmy myfather. father.I Ihad had dropped droppedout outofofhigh highschool schoolatatage ageseventeen seventeenand andmarried marriedan anolder older boyfriend, boyfriend,thinking thinkingthat thatmatrimony matrimonywould wouldbe beaaquick quickticket tickettotosecusecurity rityand andindependence. independence.Instead, Instead,my mymarriage marriagehad hadbecome becomeaatrap trapofof desperation desperationand andloneliness. loneliness.My Myhusband husbandresented resentedmy myattraction attractiontoto music, music,and andififI Ididn’t didn’treturn returnhome homeby byhis hiscurfew, curfew,I Iwould wouldbe bemet metatat the thedoor doorwith withjealous jealouswrath— wrath—ororworse. worse.So SoasasPage Pagelaunched launchedinto intothe the acoustic acousticarpeggios arpeggiosthat thatopen open“Bron-Y-Aur “Bron-Y-AurStomp,” Stomp,”I Iapologized apologizedtotomy my bewildered bewilderedfriends friendsand andsolemnly solemnlymade mademy myway waytotothe theexit. exit.

I Ifelt feltsosopowerless powerlessand andlow. low.All Allmy mylife lifeI Ihad hadenjoyed enjoyedan anintense, intense,

22 T THHI SI S I SI S WWHHAAT T I TI T SSOOUUNNDDSS L LI K I KEE

irresistible, irresistible, and and what what seemed seemed like like aa necessary necessary relationship relationship with with music—when music—when I I listened listened toto music, music, every every note note felt felt important important and and every everylyric lyricfelt felttrue— true—yet yetI’d I’dbeen beenintimidated intimidatedinto intoabandoning abandoningone one ofofthe themost mostexhilarating exhilaratingmusical musicalexperiences experiencesofofmy mylife lifetotoreturn returntotoaa place placeofofisolation. isolation.Unexpectedly, Unexpectedly,defi defiance anceovertook overtookme. me.I Istopped stoppedinin my mytracks tracksand, and,inindramatic dramaticScarlett ScarlettO’Hara O’Harastyle, style,leaned leanedback, back,raised raised my myeyes eyestoward towardthe therafters, rafters,and andvowed, vowed,One Oneday dayI Iwill willreturn returntotothe the Forum Forumand andmix mixlive livesound soundfor foran anamazing amazingband! band!

ItItwas wasan anutterly utterlyimplausible implausiblevow. vow.For Forstarters, starters,I Iwasn’t wasn’tentirely entirely sure surewhat whataasound soundmixer mixeractually actuallydid, did,let letalone alonehow howtotobecome becomeone. one.

I Icouldn’t couldn’tplay playan aninstrument. instrument.I Ididn’t didn’tsing. sing.I Ididn’t didn’tknow knowany anymusimusicians ciansororanyone anyoneininthe themusic musicindustry. industry.I Istitched stitchedheart heartvalves valveson onaa biomedical biomedicalassembly assemblyline linefor foraaliving. living.Yet Yetthis thisimprobable improbablemusical musical fantasy fantasyhad hadbeen beengerminating germinatingininthe theback backofofmy mymind mindever eversince sinceI’d I’d seen seenaaphotograph photographon onthe theback backofofaaSonny Sonny&&Cher Cheralbum albumwhen whenI Iwas was very veryyoung. young.ItItshowed showedaaman mansitting sittingininfront frontofofan anelaborate elaborateconsole console ofofknobs, knobs,buttons, buttons,and andsliders. sliders.The Thelabel labelbelow belowhim himread, read,“Sound “Sound engineer.” engineer.”When WhenI Isaw sawthis thisphoto, photo,I Ifelt feltmore morethan thanthought, thought,He’s He’s making makingrecords recordsbut butnot notplaying playingan aninstrument— instrument—maybe maybeI Icould coulddo dothat! that!

Not Not long long after after that that Led Led Zeppelin Zeppelin concert, concert, I I decided decided toto act act on on my myvow. vow.I Idivorced divorcedmy myhusband husbandand andmoved movedtotoHollywood Hollywoodwith withless less than thanaahundred hundreddollars dollarsininmy mybank bankaccount. account.I Ipersuaded persuadedaaprofesprofessional sionalaudio audiocompany companytototake takeaachance chanceand andhire hireme measasan anaudio audio technician techniciantrainee. trainee.They Theytaught taughtme metotoinstall installand andrepair repairthe thesophissophisticated ticatedelectronic electronicequipment equipmentininrecording recordingstudios, studios,the themagical magicalworkworkshops shopswhere wheremusical musicalwizards wizardsmade madealbums. albums.Working Workingasasan anaudio audiotech tech wasn’t wasn’tnearly nearlyasasglamorous glamorousasasmaking makingmusic— music—orormixing mixingit,it,for forthat that matter— matter—but butininaafew fewyears’ years’time timeititprovided providedme mewith withan anintimate intimate view viewofofrecord recordmaking makingby bytalented talentedartists artistssuch suchasasCrosby, Crosby,Stills Stills&& Nash, Nash,Jackson JacksonBrowne, Browne,and andBonnie BonnieRaitt.

Raitt.

I Iadmired admiredall allthe theartists artistswhose whosemusic musicI Iwas wasfortunate fortunateenough enoughtoto serve, serve,but butmy myfavorite favoritekind kindofofmusic musicwas wassoul: soul:performers performerslike likeJames James Brown, Brown, Marvin Marvin Gaye, Gaye, Al Al Green, Green, and and Sly Sly Stone.

Stone. And And there there was was

OOVVEERRT TUURREE 33

no noquestion questionwhich whichartist artistwas wasmy myfavorite. favorite.The Thenewcomer newcomermowing mowing down downall allthe theconventions conventionsofofrock, rock,pop, pop,and andsoul: soul:Prince.

Prince.But ButPrince Prince recorded recordedhis hismusic musicelsewhere, elsewhere,and andI Iknew knewthat thathe hewasn’t wasn’tever evergoing going totowalk walkthrough throughthe thedoor doorofofthe theLos LosAngeles Angelesstudio studiowhere whereI Iworked. worked.

Then Thenone onelifelife-changing changingday dayininthe theearly earlysummer summerofof1983, 1983,I Igot gotaa call callfrom fromaaformer formerboyfriend boyfriendwho whoworked workedasaschief chieftech techfor forWestlake Westlake Audio, Audio,Michael MichaelJackson’s Jackson’schosen chosenstudio. studio.In Inhis histhick thickBoston Bostonaccent accent John Johnsaid, said,“Yah “Yahdream dreamjob jobisiswaitin’ waitin’fah fahya— ya—Prince Princeisislookin’ lookin’fah fah aatechnician!” technician!”Instantly InstantlyI Iknew knewthat thatthe thejob jobwould wouldbe bemine. mine.I Ihad had been beenaaPrince Princefan fanfrom fromthe themoment momentI’d I’dheard heardhis hisfifirst rstsingle, single,“Soft “Soft and andWet,” Wet,”coming comingout outofofaaboom boombox boxheld heldon onthe thelap lapofofaayoung young Black Blackteen teenon onthe theback backofofan aneasteast-bound boundbus buscrawling crawlingalong alongSunset Sunset Boulevard BoulevardininHollywood.

Hollywood.I Ihad hadseen seenPrince Princeaacouple coupleofoftimes timeson ontour tour and andhad hadall allhis hisalbums. albums.I Ialso alsoknew knewthrough throughthe theprofessional professionalgrapegrapevine vinethat thathe heliked likedworking workingwith withwomen. women.

His Hisgenregenre-bending bendingsound soundand andavantavant-garde gardeprofi profilelemade madehim himaarare rare bird, bird,an aneclectic eclecticoutsider outsidertotothe thefolkfolk-rock rockmusicians musicianssurrounding surroundingme me ininSouthern SouthernCalifornia.

California.But Butthe thefact factthat thatI Iwas wasone oneofofaatiny tinyhandhandful fulofoffemale femaleaudio audiotechnicians techniciansininthe theindustry industrymade mademe meaarare rarebird, bird, too. too.None Noneofofthe themore moreexperienced experiencedtechnicians techniciansininLos LosAngeles Angeleswere were interested interestedinintaking takingthe thegig, gig,because becauseititrequired requiredrelocating relocatingtotothe the Midwest, Midwest,thousands thousandsofofmiles milesfrom fromthe theepicenter epicenterofofthe theentertainentertainment mentindustry. industry.I,I,on onthe theother otherhand, hand,was waswilling willingtotoleave leaveeveryone everyone and andeverything everythingbehind, behind,move movetotoMinneapolis, Minneapolis,and andbecome becomethe theperpersonal sonaltech techfor forthe theartist artistwho whomeant meantthe themost mosttotome. me.

Prince Princehad hadjust justfifinished nishedtouring touringfor forhis hisgroundbreaking groundbreakingdouble double album album1999.

1999.He Hewas wasatatan anearly earlypoint pointininhis hisnext nextrecord, record,and andthe the fifirst rstthing thinghe heneeded neededme metotodo dowas wasinstall installaanew newrecording recordingconsole console ininhis hishome. home.That Thattask tasktook tookme meabout aboutaaweek weektotofifinish, nish,after afterwhich which we webegan begantotohave haveshort shortexchanges. exchanges.(Prince (Princewas wasfamously famouslytaciturn, taciturn, especially especiallywhile whileworking.) working.)What Whatlittle littleconversation conversationwe wedid didhave havewas was about aboutequipment equipmentand andpractical practicalmatters, matters,but butone oneday dayasasI Idrove droveup uptoto the thegate gateoutside outsidehis hishouse houseI Ihad hadSly Sly&&the theFamily FamilyStone’s Stone’s“Thank “Thank

44 T THHI SI S I SI S WWHHAAT T I TI T SSOOUUNNDDSS L LI K I KEE

You You(Falettinme (FalettinmeBe BeMice MiceElf ElfAgin)” Agin)”cranked crankedup upon onmy mycar carstereo. stereo.

I Ilowered loweredthe thecar carwindow windowand andpressed pressedthe thebutton buttonfor forthe theintercom. intercom.

Prince Princeanswered answered. .. .. .by bysinging singingalong. along.

That Thatmight mighthave havebeen beenthe thefifirst rsttime timehe herealized realizedthat thathe heand andI I shared sharedthe thesame samemusical musicaltaste— taste—that thatwe we“lived “livedon onthe thesame samestreet,” street,” asashe heliked likedtotoput putit.it.Perhaps Perhapsthat’s that’swhy whyafter afterI Ififinished nishedinstalling installing the theequipment, equipment,he heunexpectedly unexpectedlyinvited invitedme metotosit sitininthe therecording recording engineer’s engineer’schair. chair.

There’s There’saaworld worldofofdifference differencebetween betweenan anaudio audiotech techand andaarecordrecording ingengineer. engineer.To Touse usean ananalogy analogyfrom fromthe themovie moviebusiness: business:the therecordrecording ingengineer engineerisislike likethe thecinematographer, cinematographer,while whilethe theaudio audiotech techisislike like the thecrewperson crewpersonwho whorepairs repairsthe thecamera. camera.But ButPrince Princedidn’t didn’trealize— realize— or, or,more morelikely, likely,didn’t didn’tcare— care—that thatI Ihad hadno noexperience experienceininthe theart artofof manipulating manipulatingsound. sound.He Hetrusted trustedmy mytechnical technicalknowledge knowledgeand, and,somesomewhat whataudaciously, audaciously,was waswilling willingtototrust trustmy myability abilitytotolisten. listen.For Forsomesomeone onesosodetermined determinedtotomake makeher herway wayininthe themusic musicindustry, industry,ititwas wasan an astonishing astonishingopportunity. opportunity.I Iwas waslearning learningtotomake makerecords recordsfrom fromone one ofofthe themost mostoriginal originalmusical musicalminds mindsofofhis hisgeneration, generation,hearing hearingwhat what he heheard, heard,listening listeningthrough throughhis hisears. ears.My Myfifirst rstprofessional professionalexperience experience ininthe theengineer’s engineer’schair chairhelped helpedme merealize realizethat thatall allthe thehappy happyhours hours I’d I’dspent spentlistening listeningtotorecords recordshad hadsupplied suppliedme mewith withaarich richmental mental framework frameworkfor formaking makingmusical musicaldecisions. decisions.Once Oncean anengineer engineermasters masters the thetechnical technicaltools toolsofofthe thetrade, trade,the thenext nextstep stepisistotouse usethose thosetools toolstoto make makesomething somethingshe shelikes. likes.My Mylifelong lifelonglove— love—listening listeningtotorecords— records— helped helpedme mepush pushsound soundaround aroundand andarrive arriveatatsomething somethingmy mynew newboss boss approved approvedof. of.

The The album album we we worked worked on on inin that that basement basement studio studio was was Purple Purple Rain.

Rain.ItItbecame becameone oneofofthe themost mostsuccessful successfuland andinfl influential uentialalbums albums ofofall alltime, time,selling sellingmore morethan thantwentytwenty-fifive vemillion millioncopies copiesand andearning earning Prince Princetwo twoGRAMMYs GRAMMYsand andan anAcademy AcademyAward.

Award.ItItstayed stayedatatNo. No.11 on onthe theBillboard BillboardTop Top200 200chart chartfor fortwentytwenty-four fourweeks, weeks,tied tiedfor forthe the sixthsixth-longest longestrun runininhistory. history.

I Iaccompanied accompaniedPrince Princeon onthe thePurple PurpleRain Raintour tourasasaasound soundengineer, engineer,

OOVVEERRT TUURREE 55

and andone oneofofour ourtour tourvenues venueswas wasthe theLos LosAngeles AngelesForum.

Forum.Though ThoughI I wasn’t wasn’tmixing mixingsound soundatatthe the“front “frontofofhouse” house”console, console,I Ihad hadwhat whatI I considered consideredan aneven evenbetter bettergig: gig:I Iwas wasrecording recordingthe theshow showininaamobile mobile audio audiotruck truckparked parkedbehind behindthe thestage. stage.This Thisshow showwould wouldbe becaptured captured for forposterity, posterity,and andI Iwas wasinincharge chargeofofit.it.

In Inmost mostrespects, respects,this thiswas wasaaroutine routinetour tourdate. date.The Thelight lightand andsound sound systems systems were were rigged rigged and and tested. tested. The The risers risers and and stage stage props props were were placed. placed.The Theinstruments instrumentsand andmicrophones microphoneswere wereset setup, up,routed, routed,and and lineline-checked. checked.All Allthis thiswas wasaccomplished accomplishedby bythe theeffi efficient cienthands handsofofaa wellwell-trained trainedroad roadcrew. crew.But Butthis thisparticular particulartour tourdate datewas wasanything anything but butroutine routinefor forme. me.

I Iwent wentthrough throughthe theusual usualmotions motionsofofmy mytasks: tasks:mic micadjustment, adjustment, gain gain staging, staging, and and meticulous meticulous sound sound sculpting sculpting during during the the band’s band’s soundcheck. soundcheck.But Butall allthe thewhile whileI Icould couldfeel feelthose thoserafters raftershigh highabove above my myhead. head.I Iremembered rememberedexactly exactlywhere whereI’d I’dstood stoodininthe thestands standseight eight years yearsbefore, before,when whenI’d I’dmade mademy myimpossible impossiblevow. vow.Now Nowititwas wascoming coming true: true:I Iwas wasaaprofessional professionalrecording recordingengineer engineerworking workingatatthe theForum Forum for formy myfavorite favoriteartist artistininthe theworld. world.

AAfew fewhours hoursbefore beforethe theshow, show,I Itook tookthe thecassette cassettefrom fromour oursoundsoundcheck checkinto intoPrince’s Prince’sdressing dressingroom roomtototouch touchbase baseon onsome somelastlast-minute minute details. details.He Hewas wassitting sittingalone aloneatataamakeup makeuptable. table.Although AlthoughI Irarely rarely divulged divulgedanything anythingpersonal personaltotohim, him,this thismoment momentmeant meanttoo toomuch muchtoto me metotokeep keepitittotomyself. myself.

“Prince, “Prince,I Iwant wanttototell tellyou yousomething something. .. ..”.”

He Heturned turnedtotome mewith withan aninquisitive inquisitivelook. look.I Itold toldhim himabout aboutmy my Led LedZeppelin Zeppelinconcert concertvow vowand andcapped cappedoff offmy mynarrative narrativewith withwhat what I Ihoped hopedwere wereplain plainwords wordsexpressing expressingaasimple simpletruth: truth:““. .. .. .and andI Ijust just wanted wantedtotothank thankyou youfor formaking makingmy mydream dreamcome cometrue.” true.”

Prince Princewas waswidely widelyknown knownasassomeone someonewho whoavoided avoidedsmall smalltalk talkand and unnecessary unnecessarypersonal personalconversations, conversations,preferring preferringtotoshare sharehis histhoughts thoughts ininhis hislyrics. lyrics.Whether Whetherininpublic publicororworking workingwith withcollaborators, collaborators,he he maintained maintainedaapoker pokerface facetotoprotect protecthis hisartistry artistryfrom fromthe therelentless relentless distractions distractionsofofstardom. stardom.I Iseldom seldomsaw sawthe thetrue, true,prepre-celebrity celebrityPrince Prince

66 T THHI SI S I SI S WWHHAAT T I TI T SSOOUUNNDDSS L LI K I KEE

under underthis thisveil, veil,but buttonight tonightwas wasone oneofofthose thoserare raremoments. moments.AAbroad broad smile smilelitlitup uphis hisface, face,expressing expressinggenuine genuinejoy joyatatmaking makingmy myfantasy fantasy come cometrue— true—and andininhis hiseyes eyesI Icould couldrecognize recognizethat thathe, he,too, too,was wasliving living out outaadream. dream.Nothing Nothingelse elseneeded neededtotobe besaid. said.This Thiswas wasone oneofofour our most mostresonant resonantmoments momentsduring duringfour fourextraordinarily extraordinarilyproductive productiveyears years together. together.

In Intime, time,I Ireturned returnedtotoLos LosAngeles Angelesand andbegan beganworking workingasasan anindeindependent pendentrecording recordingengineer. engineer.Soon, Soon,record recordlabels labelsand andartists artistsbegan began totorecognize recognizethat thatI Ihad hadaagood goodear earalong alongwith withtechnical technicalskills. skills.My My career careertook tookanother anotherstep stepforward forwardasasI Itransitioned transitionedinto intothe therole roleofof record recordproducer. producer.IfIfaarecording recordingengineer engineerisislike likeaamovie’s movie’scinematogcinematographer, rapher,then thenthe therecord recordproducer producerisislike likethe thedirector, director,guiding guidingperforperformances, mances,critiquing critiquingarrangements, arrangements,and andshaping shapingthe thefifinished nishedproduct product totomeet meetits itsartistic artisticgoals. goals.

By Bythe themidmid-1990s, 1990s,I Ihad hadbecome becomeone oneofofthe thevery veryfew fewsuccessful successful female femalerecord recordproducers producersininthe theprofoundly profoundlymalemale-dominated dominatedindusindustry. try.(During (Duringmost mostofofmy myproduction productioncareer careerininthe the1980s 1980sand and’90s, ’90s, you youcould couldcount counton onthe thefifingers ngersofofone onehand handthe thenumber numberofofwomen women who whoworked workedexclusively exclusivelyininaaproduction productionrole.) role.)I Iengineered, engineered,mixed, mixed, and/or and/or produced produced music music with with aa variety variety ofof artists, artists, including including David David Byrne, Byrne, Tevin Tevin Campbell, Campbell, Rusted Rusted Root, Root, Robben Robben Ford, Ford, and and Geggy Geggy Tah. Tah.I Iworked workedon ongold goldand andplatinum platinumalbums, albums,including includingcoco-producing producing the theBillboard BillboardNo. No.11hit hit“One “OneWeek” Week”with withBarenaked BarenakedLadies.

Ladies.I Ihad had reached reached aa pinnacle pinnacle ofof professional professional music music listening: listening: turning turning songs songs into intorecords— records—the theobjects objectsofoflisteners’ listeners’devotion devotionand andaffection. affection.Yet Yetfor for much muchofofmy mycareer, career,even eventhough thoughI Iwas wasworking workingclosely closelywith withsome someofof the themost mosttalented talentedmusicians musiciansininthe thebusiness, business,ininmy myprivate privatemoments moments I Ioften oftenfound foundmyself myselfasking askingan anunsettling unsettlingquestion. question.

Did Didlistening listeningtotomusic musicactually actuallymatter? matter?

Though ThoughI Iwas waswell wellpaid paidand andconsistently consistentlyearned earnedthe therespect respectofofmy my colleagues, colleagues,I Ifelt feltthere therewas wasan aninvisible invisibleline lineininthe thestudio studiothat thatI Icould could not notcross. cross.In Inmy mymind, mind,I Iremained remained“merely” “merely”aalistener. listener.I Icould couldoften often be beswayed swayedby bywhat whatthe themusicians musicianssuggested, suggested,even evenwhen whenI Iheld heldaaconcon-

OOVVEERRT TUURREE 77

trary traryview, view,because becauseI Ibelieved believedthat thatmy myown ownmusical musicalopinions opinionsdidn’t didn’t carry carrythe thesame sameweight weightasasaacomposer’s composer’sororperformer’s. performer’s.I Iembraced embracedand and cherished cherishedthe therole roleofofrecord recordmaker, maker,yet yetduring duringthe themore morenuanced nuanced conversations conversationsofofhow howmusic musicworked, worked,I Isometimes sometimesfelt feltlike likeaabystander. bystander.

My Mybeliefs beliefsabout aboutthe theimportance importanceofoflistening listeningdid didnot notchange changeoverovernight, night,but butI Ican cantrace tracethe thestart startofofthe theshift shifttotoaamemorable memorableencounter encounter with withone oneofofthe themost mostcelebrated celebratedmusicians musiciansofofall alltime: time:jazz jazzlegend legend Miles MilesDavis.

Davis.Though Thoughitittook tookseveral severalyears yearstotofully fullybloom, bloom,aagerm germofof wisdom wisdomhe heplanted plantedwould wouldeventually eventuallytransform transformmy myperspective perspectiveon on what whatmusic musiclistening listeningwas wasultimately ultimatelyall allabout— about—and andlead leadme metotowrite write this thisbook. book.

One Oneday dayMiles Mileswas wasvisiting visitingPrince’s Prince’sMinnesota Minnesotahome homefor fordinner dinner and andtotolisten listentotoaafew fewofofour ourworks worksininprogress. progress.After Afterthey theyfifinished nishedeateating, ing,they theycame camedownstairs downstairstotothe thestudio, studio,where whereI Iwas waswaiting. waiting.Miles Miles was wasstanding standingwith withhis hisback backdirectly directlyininfront frontofofme measashe headdressed addressed Prince’s Prince’sfather, father,John JohnNelson, Nelson,aajazz jazzpianist. pianist.The Thetwo twoveteran veteranmusimusicians cianswere wereininthe themiddle middleofofan anodd odddinner dinnerconversation conversationabout aboutpants. pants.

“I“Ireally reallylike likethose thosestriped stripedpants pantsyou youwear,” wear,”said saidPrince’s Prince’sdad. dad.

“I“Idon’t don’twear wearstriped stripedpants,” pants,”Miles Milesreplied. replied.

“Yes, “Yes,you youdo— do—I’ve I’veseen seenyou youwear wearthem.” them.”

“Where’d “Where’dyou yousee seeme meininstriped stripedpants?” pants?”

“On “OnTV. TV.At Atthe theGRAMMYs.” GRAMMYs.” “I“Idon’t don’thave haveany anystriped stripedpants!” pants!”

“Yes, “Yes,you youdo! do!They’re They’reblack blackand andwhite!” white!”

“I’m “I’mtelling tellingyou, you,I Idon’t don’thave haveany anystriped stripedpants!” pants!”insisted insistedMiles.

Miles.

All Allofofaasudden, sudden,he hespun spunaround aroundand andthrust thrusthis hisfamously famouslyintense intense globular globulareyes eyesjust justinches inchesfrom frommy myface faceand andexclaimed, exclaimed,“Yes, “Yes,I Ido!” do!”asas ififhe hehad hadbeen beentalking talkingtotome meall allalong. along.“They’re “They’remade madeout outofofeel, eel,like like ininVietnam!”

Vietnam!”

Holding Holdingmy myground, ground,I Iblurted, blurted,“EEL? “EEL?Like LikeininVietnam?”

Vietnam?”

Standing Standingrock rockstill, still,Miles MilesDavis Daviskept kepthis hisface faceuncomfortably uncomfortablyclose close and andbegan beganfifiring ringoff offaarapid rapidbarrage barrageofofquestions: questions: “Who’re “Who’reyou?” you?”

88 T THHI SI S I SI S WWHHAAT T I TI T SSOOUUNNDDSS L LI K I KEE

“Susan.”

“Susan.”

“Where “Whereyou youfrom?” from?”

“Anaheim.”

“Anaheim.”

“What “Whatdo doyou youdo?” do?”

“I’m “I’man anengineer.” engineer.”

“How “Howlong longyou youbeen beenhere?” here?”

“A “Afew fewyears.” years.”

As Asthe thebarrage barragecontinued, continued,ititgradually graduallydawned dawnedon onme methat thatthis this odd oddexchange exchangewas waswhat whatjazz jazzmusicians musiciansdo: do:Miles Mileswas was“playing” “playing”verbal verbal riffs riffsfor forme metotorespond respondto, to,going goingback backand andforth forthwithout withoutpause, pause,asasifif improvising improvisingwith withaafellow fellowinstrumentalist. instrumentalist.I Itook tookaamodest modestamount amount ofofpride prideininreturning returninghis hisserves servesand andkeeping keepingup upwith withthe thepace. pace.At At the theclimax climaxofofour ourduet, duet,Miles Milesfifired redoff offthe theproclamation proclamationthat thatwould would inspire inspireme metotoreconsider reconsiderthe thevalue valueofofmy mycontribution contributiontotomusic. music.

“You “Youaamusician?” musician?”

“I“Iam amnot.” not.”

“That’s “That’sokay,” okay,”he hedeclared, declared,his hisbig, big,round roundeyes eyesstill stilllocked lockedonto onto mine. mine.“Some “Someofofthe thebest bestmusicians musiciansI Iknow knowaren’t aren’tmusicians.” musicians.”

And Andwith withthat thathe heturned turnedaway, away,impromptu impromptujam jamsession sessionover. over.

I Ididn’t didn’tfully fullycomprehend comprehendMiles’s Miles’senigmatic enigmaticclaim claimthat thatday, day,but but I Ifelt feltthat thathe hehad hadsaid saidsomething somethingthat thatwas wasboth bothtrue trueand andcrucial crucialtoto understanding understandingthe thenature natureofofmusic. music.His Hiswords wordshovered hoveredaround aroundmy my consciousness consciousnessasasI Iworked workedwith withmusicians, musicians,producers, producers,and andengineers, engineers, exploring exploringmusic musicfrom fromthe theminuscule minusculedetails detailstotothe thebiggest biggestofofbigbigpicture pictureconcerns. concerns.As AsI Igained gainedconfi confidence denceininthe thestudio studioand andwatched watched aatremendous tremendousvariety varietyofofmusical musicalminds mindsatatwork, work,I Islowly slowlycame cametoto realize realizethat thatI Iwas wasdeveloping developingaaperspective perspectivethat thatcomplemented complementedthe the formal formal music music theories theories taught taught atat conservatories conservatories like like Juilliard Juilliard and and Berklee.

Berklee.

Listening Listeningtotomusic— music—attending attendingtotowhat whatworks worksand anddoesn’t doesn’twork workinin aasong, song,feeling feelingits itsrhythms rhythmsand andmelodies melodiesasasififthey theywere wereasasmuch much aapart partofofyour yourbody bodyasasyour yourfifingers ngersand andhips— hips—isisan anindispensable indispensable component componentofofwhat whatmusic musicis.is.Practically Practicallyspeaking, speaking,without withoutaalistener, listener,

OOVVEERRT TUURREE 99

music music does does not not exist. exist. By By perceiving, perceiving, feeling, feeling, and and reacting reacting toto the the many manydimensions dimensionsofofaasong, song,aalistener listenercloses closesthe thecreative creativecircle circleand and completes completesthe themusical musicalexperience. experience.Implicit ImplicitininMiles MilesDavis’s Davis’sdeclaradeclaration tionwas wasthe theconviction convictionthat thatwhen whenititcomes comestotothe thecreation creationofofaamusical musical experience, experience,the theact actofoflistening listeningcan canbe beevery everybit bitasasvital vitalasasthe theact actofof performance. performance.

But But note note that that crucial crucial qualifi qualification: cation: can can be. be. ItIt doesn’t doesn’t happen happen automatically. automatically.Listening Listeningisisnot notthe thesame sameasashearing. hearing.Listening Listeningisisan an active activeprocess, process,not notaapassive passiveone, one,and andbecoming becomingaacompetent competentmusimusical callistener listenerrequires requirescuriosity, curiosity,effort, effort,and andlove. love.But Butititrequires requiressomesomething thingelse, else,too— too—something somethingitittook tookme meyears yearstotofully fullycomprehend. comprehend.ItIt requires requiresunderstanding understandingand andembracing embracingyour yourunique uniqueidentity identityasasaalistener. listener.

That’s That’swhy whyI Iwrote wrotethis thisbook: book:totohelp helpyou youbetter betterunderstand understand“the “the street streetyou youlive liveon” on”sosothat thatyou youcan canget getmore moreout outofofyour yourrelationship relationship with withmusic, music,even evenifif(like (likeme!) me!)you youcan’t can’ttell tellan anAA-sharp sharpfrom fromaaBB-flflat. at.

We Weeach eachseek seekout outdifferent differentsorts sortsofofexperiences experiencesand andemotional emotional rewards rewards from from our our musical musical encounters. encounters. Some Some listeners listeners favor favor songs songs that thatevoke evokesweet sweetnostalgia, nostalgia,while whileothers otherscrave craveaagroove groovethat thatmatches matches their theirinner innerrhythm. rhythm.Some Somelisteners listenersprefer prefertotolet lettheir theirimaginations imaginations wander wanderfreely freelywhen whenthey theyenjoy enjoytheir theirfavorite favoriterecords, records,while whileothers others visualize visualize specifi specificc scenes scenes evoked evoked by by aa song’s song’s lyrics. lyrics. Some Some listeners listeners covet covetinnovative innovativesound sounddesign, design,while whilefor forothers othersit’s it’sall allabout aboutthat that bass. bass.Science Sciencesimply simplycannot cannotpredict predicthow howaaperson personwill willrespond respondtotoaa piece pieceofofmusic musicfrom fromits itsobjective objectivefeatures featuresalone. alone.Music’s Music’sfeatures featuresdo do not notpredict predictlove— love—music musiclistening listeningdoes. does.Two Twopeople peoplecan canlisten listentotothe the exact exactsame samesong songand andreport reportdramatically dramaticallydifferent differentaccounts accountsofof“This “This isiswhat whatititsounds soundslike like. .. .. .totome.” me.”

This Thisbook bookisispremised premisedon onthe thenotion notionthat thatthese thesedivergent divergentreacreactions tionsare arenot notdue dueprimarily primarilytotoyour yourlevel levelofofmusical musicaltraining, training,your your circle circleofofteenage teenagefriends, friends,ororeven eventhe theyear yearyou youwere wereborn. born.The Themusic music that that delivers delivers the the maximum maximum gratifi gratification cation toto you you isis determined determined by by seven seveninfl influential uentialdimensions dimensionsofofmusical musicallistening: listening:authenticity, authenticity,realrealism, ism,novelty, novelty,melody, melody,lyrics, lyrics,rhythm, rhythm,and andtimbre. timbre.Collectively, Collectively,your your

1100 T THHI SI S I SI S WWHHAAT T I TI T SSOOUUNNDDSS L LI K I KEE

natural naturalresponse responsetotoeach eachofofthese theseseven sevendimensions dimensionsforms formsaapersonalpersonalized ized“listener “listenerprofi profile” le”unique uniquetotoyou. you.Your Yourlistener listenerprofi profileledetermines determines your yourthoughts, thoughts,feelings, feelings,and andphysical physicalresponses responseswhen whenyou youlisten listentoto music. music.

The Thedimensions dimensionsofofyour yourlistener listenerprofi profileleserve serveasasdistinctive distinctiveroutes routes through throughwhich whichyour yourbody bodyand andbrain braincan canfall fallininlove lovewith withaapiece piece ofofmusic. music.Each Eachdimension dimensioncontains containsaapersonal, personal,neural neural“sweet “sweetspot” spot” where wheremusic musiccan canprovide provideyou youwith withyour yourdeepest deepestexperience experienceofofmusimusical caljoy. joy.Your Yourmelodic melodicsweet sweetspot spotmay maybe betapped tappedby bysongs songsininaaminor minor key keywith withaasad sadrefrain, refrain,while whileyour yourfriend friendmay mayrelish relishtunes tuneswith withbrisk, brisk, uplifting upliftingmelodies. melodies.Your Yoursweet sweetspot spotfor forrhythm rhythmmight mightbe bethe thehopping hopping beats beatsofofska skaororreggae, reggae,while whilemine minemight mightbe bethe therolling rollingbass bassofofR&B. R&B. To Tohelp helpyou yourecognize recognizeand andappreciate appreciateyour yourown ownsweet sweetspots, spots,I Iwill will invite inviteyou youtotolisten listentotorecords recordsacross acrossall allmanner mannerofofgenres— genres—including including artists artistsyou youmight mightimagine imaginedon’t don’tmake make“your “yourkind kindofofmusic.” music.”

By Bygaining gainingaabetter betterunderstanding understandingofofyour yourmusical musicalidentity identityasasaa listener, listener,you youwill willdeepen deepenyour yourconnection connectiontotomusic, music,feel feelempowered empowered totolive liveaamore moremusical musicallife, life,hear hearthe themusic musicyou’ve you’vealways alwaysloved lovedwith with fresh freshears, ears,and— and—I Ihope— hope—learn learnsomething somethingnew newand andsurprising surprisingabout about yourself. yourself.

So Sothen. then.As AsPrince Princeliked likedtotosay saywhen whenhe hewas wasdone donewith withthe theprepreliminaries liminariesand andready readytotokick kickthings thingsoff: off: Band, Band,on onstage! stage!

LLI INNEERR NNOOTTEESS

Records Records Versus Versus Songs Songs I Iwill willbe beusing usingthe theterm term“record” “record”totorefer refertotoaaspecifi specificc physical physicalrecording recordingofofaapiece pieceofofmusic, music,which whichcould couldbe be on onaavinyl vinyldisc, disc,CD, CD,YouTube YouTubevideo, video,streamed streamedaudio audiofifile, le, ororPlayskool PlayskoolTape TapeRecorder.

Recorder.In Incontrast, contrast,I’ll I’lluse usethe theterm term “song” “song” toto refer refer toto the the words words and and melody melody ofof aa particuparticular lar piece piece ofof music, music, regardless regardless ofof who who isis performing performing oror recording recordingit.it.

CC HH AA PP TT EE RR 11

A AUU TTHEN HENTTICI ICITT YY This This Is Is W What hat Expression Expression Sounds Sounds Like Like ✧ ✧ The Thewrong wrongnote noteplayed playedwith withgusto gustoalways alwayssounds sounds better betterthan thanthe theright rightnote noteplayed playedtimidly. timidly.

—Tommy —TommyJordan, Jordan, lead leadsinger singerofofGeggy GeggyTah Tah