02.22.2010
Ken Scott shares his stories about recording songs like “Helter Skelter” and “Rocket Man” and also sidebars EpiK DrumS: A Ken Scott Collection
Barbara Schultz’s Report for MIX features Ken Scott discussing his career and Sonic Reality’s EpiK DrumS: A Ken Scott Collection in an in-depth “Classic Tracks” Feature, here are quotes from the article:
“Scott’s desire to offer these classic sounds to the masses stemmed from a conversation he had at a re-visit to Abbey Road Studio 2, where he became re-acquainted with Brian Gibson, a maintenance engineer he’d worked with on Beatles sessions back in the day. ‘We hadn’t seen each other in donkey’s years,’ Scott says. ‘He told me had specifically asked to work that day so we could have a chat about old times. And he said, ‘Do you remember, when we started here, there were all these old timers who had the most incredible stories of the beginnings of recording? And we used to just sit there listening, fascinated by what they were saying.’ And I said, ‘Yeah, absolutely.’ And he said, ‘Well we’ve now become them. The next generation now wants to hear our stories.’ The Beatles: “Helter Skelter” (The White Album, 1968) Scott sets the record straight about the mood in Abbey Road Studio 2 for these sessions, which took place early in his long career. George Harrison: “What Is Life?” (All Things Must Pass, 1970) Scott overdubbed and mixed tracks for this singular, Phil Spector-influenced song. Elton John: “Rocket Man” (Honky Château, 1972) After leaving Abbey Road and joining Trident Studios, Scott found himself traveling to France with Gus Dudgeon and a cutting-edge artist called Elton John. America: “I Need You” (America, 1972) Back at Trident, Scott tracked and mixed the debut album from a transplanted folk-rock trio. Devo: “Secret Agent Man” (Duty Now for the Future, 1979) Scott and his family moved to L.A. when Scott was working steadily with Supertramp. During this period, he was frequently found at Chateau Recorders in North Hollywood, Calif. Missing Persons: “Walking in L.A.” (Spring Session M, 1982) Scott saw something in the Missing Persons that contradicted label rejections and even his own better judgment.” – Barbara Schultz, MIX
