Preface

I really didn’t want to write this book. I had a strong sense of what a large undertaking it would be, and didn’t want to dedicate years to it. I was writing other interesting books and papers, making wonderful records, relishing my teaching and otherwise having a good life without being consumed by another big project—so I resisted. Still, this book was in the back of my mind for decades; numerous times I turned away from it, but always with a sense that this book would be important for the understanding of records. In April of 2015 I finally told my then current editor about this idea, and I offered to help find an author; Megan Ball’s response was “You want to write that book.” She persisted and soon we were negotiating a contract. I entered into the contract with trepidation, not really knowing where the boundaries of this writing would end, or the depths required to illuminate all facets of recording analysis. The length of this book is now more than twice what was proposed, and it has taken much longer to write than I imagined.

There are two reasons I decided to undertake this project now (actually four years ago, considering the time spanning proposal to completed manuscript).

First, studies of the art of record production and popular music analysis have steadily increased since the late 1980s. I am compelled to contribute to this momentum by compiling an in-depth examination of recording elements and of how they shape the artistry of tracks, and place them alongside the other central topics of popular music and song lyrics. My goal is to assemble all of these matters into a cohesive, bigger picture, one which emphasizes interrelations and that provides a framework for accessing and analyzing what is within records. The second reason is more personal; at this stage of my career, I am compelled to draw together many streams of my professional life into a more unified statement. This book spans my experience in the music and recording fields since the mid-1970s: my research (beginning in the early 1980s) exploring the dimensions of recorded sound and recorded music, and examining our myriad perceptions of the recorded sound qualities that augment the creative voice of records; and more than 35 years of teaching listening skills for recorded music, based on materials and techniques I developed and refined while carefully guiding, observing and teaching several thousand motivated individuals. Throughout my career I have sought to understand ‘how the record shapes the song’ by utilizing deep listening and open awareness. With this book, I am privileged to now share some of what I have uncovered.

I have examined and included a wide variety of perspectives and analyses in here, and have maintained a neutral tone throughout most discussions; there will be no critical reviews, only impartial presentations that open space for the readers’ ideas (and growth). I also offer some new ground and my own ideas; I identify and analyze several important dimensions of records and recording elements that have not previously come into focus, and share what I hear within many tracks. This book is not about technologies or production techniques; it is about how the sounds of the recording process add dimensionality and richness to the musical and socio-psychological experiences of records. To this end, I have examined a large number of tracks, from a wide variety of genres and time periods—with records (and lyrics) by the Beatles and lyrics (and records) of Bob Dylan providing a thread of common context as many diverse topics unfold.

This book was written for those that study records, and for those that make recordings and records— and particularly for those who want to acquire these skills. It is also for those who are curious about what is within the recorded songs that speak to them. This book is a resource for these practitioners, academics and learners; it may be used for teaching at a variety of levels of study and for curricula in recording production, recording analysis, song writing, critical listening, and popular music studies; it has been written to promote informal, self-directed learning.

In recent years the pace of scholarship in the analysis of recordings has quickened, and it offers streams of evolving perspectives and ideas that ensure the future vitality of recording analysis. There is much more to discover. It is my desire that this book provide support for this broadening scholarship— those in research, those teaching, and those learning. Most importantly, my wish is that this book benefit all those who seek to understand, or to discover more about the recorded songs they hold dear.

EXPRESSION OF APPRECIATION

I have received the support of many people during the course of writing this book. The kind staff at Routledge, Taylor & Francis and Focal Press have assisted me greatly, and made this long process as easy as it could be. I want to especially thank Megan Ball, Shannon Neill, Hannah Rowe, Lauren Ellis, Jacqueline Dias, Claire Margerison, Lara Zoble, Zoe Meyer, Kristina Ryan, Peter Linsley and the many good people at Routledge that provided excellent support, but who were invisible to me.

My deep gratitude to M. Nyssim Lefford and to Christopher Lee, who read draft versions of each chapter and offered valuable suggestions and pertinent questions; their input brought greater clarity, focus and breadth to this writing. Thank you for joining me on this journey.

My sincere thanks to valued colleagues who have read one or more chapters and provided valuable feedback: Michael Millner, Anne Danielsen, Serge Lacasse, and Alan Williams. My gratitude to others who have been involved in the process in various ways: Adam Fergusson, Serge Lacasse and Sophie Stévance—and most especially, to Penelope Gooch, who closely observed the birthing of this book (and often heard of its challenges): your support, your sensitive listening and your loving presence and companionship are deeply valued.

William Moylan
June 21, 2019