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Dowd’s various talents are further articulated in two interviews with Southern rock
icons, The Allman Brothers Band and Lynyrd Skynyrd. Both cite numerous
examples of his amazing listening skills, boundless enthusiasm, unrivaled
innovation (he invented the use of the modern channel fader and revolutionized
recording by popularizing eight-track recording a full 10 years before the Beatles
recorded “Sgt. Peppers”). He had the ability to draw musicians further up the
musical ladder, achieving heights they may not have thought possible.
A talented musician in his own right, Dowd played piano, tuba and bass. He
could dissect an arrangement, instantly catch intonation problems or suggest a
new part that would turn a faltering song idea into a worldwide hit. The
understated anecdote about his “Western movie” Indian drum beat (BUM-bum-
bum-bum) suggestion for Cream’s classic, “Sunshine of Your Love,” is worth the
price of the DVD by itself.
Importantly, filmmaker Moorman also includes footage about Dowd’s relationship
with Stax Records and their integrated group, Booker T. and the MGs. Dowd
rightly points out that in the 1960s, the MGs were not allowed to play in their
hometown of Memphis or the south because of the strict prohibition of interracial
acts. When he brought them to New York and later London, they became
internationally acclaimed. This sensitivity, be it musical, or personal is another
hallmark of the truly great in the area of arts production.
Near the end of the film, Dowd comments that most people believe him to be a
mega-millionaire due to the vast catalog of hit production credits associated
with his name. He mildly states, “Nope. 90% of the records I made were pay for
hire.” Meaning his estate earns not one cent of royalty when you hear Clapton’s
Layla or Aretha’s Respect on the airwaves today. This was before the day of the 3-
4% producers’ royalties calculated back to record one sales. But there is not one
ounce of remorse in his delivery of the line. It’s clear to students that his payoff
wasn’t in the form of so-called ‘bling’; it was in the life long respect and
relationships that he enjoyed his entire career, a treasure more precious than
gold.
The final lesson I hope students pick up from the film is the words and images of
how invisible truly great producers and engineers must be. Helping the artist to
shine and connect with their audience should be their sole raison d’etre. In the
words of legendary producer, Phil Ramone, who cites Dowd’s influence on the
art of producing, “So the star is the star, and the crew, everyone else, is there for
them. You have to be prepared [as a producer] that your name is on the back of
the record -- if you’re lucky.”
If we hear and understand music as a true language of its own, Tom Dowd was
certainly one of the finest interpreters of that language in modern times and as
such, has much to offer to our students today.
icons, The Allman Brothers Band and Lynyrd Skynyrd. Both cite numerous
examples of his amazing listening skills, boundless enthusiasm, unrivaled
innovation (he invented the use of the modern channel fader and revolutionized
recording by popularizing eight-track recording a full 10 years before the Beatles
recorded “Sgt. Peppers”). He had the ability to draw musicians further up the
musical ladder, achieving heights they may not have thought possible.
A talented musician in his own right, Dowd played piano, tuba and bass. He
could dissect an arrangement, instantly catch intonation problems or suggest a
new part that would turn a faltering song idea into a worldwide hit. The
understated anecdote about his “Western movie” Indian drum beat (BUM-bum-
bum-bum) suggestion for Cream’s classic, “Sunshine of Your Love,” is worth the
price of the DVD by itself.
Importantly, filmmaker Moorman also includes footage about Dowd’s relationship
with Stax Records and their integrated group, Booker T. and the MGs. Dowd
rightly points out that in the 1960s, the MGs were not allowed to play in their
hometown of Memphis or the south because of the strict prohibition of interracial
acts. When he brought them to New York and later London, they became
internationally acclaimed. This sensitivity, be it musical, or personal is another
hallmark of the truly great in the area of arts production.
Near the end of the film, Dowd comments that most people believe him to be a
mega-millionaire due to the vast catalog of hit production credits associated
with his name. He mildly states, “Nope. 90% of the records I made were pay for
hire.” Meaning his estate earns not one cent of royalty when you hear Clapton’s
Layla or Aretha’s Respect on the airwaves today. This was before the day of the 3-
4% producers’ royalties calculated back to record one sales. But there is not one
ounce of remorse in his delivery of the line. It’s clear to students that his payoff
wasn’t in the form of so-called ‘bling’; it was in the life long respect and
relationships that he enjoyed his entire career, a treasure more precious than
gold.
The final lesson I hope students pick up from the film is the words and images of
how invisible truly great producers and engineers must be. Helping the artist to
shine and connect with their audience should be their sole raison d’etre. In the
words of legendary producer, Phil Ramone, who cites Dowd’s influence on the
art of producing, “So the star is the star, and the crew, everyone else, is there for
them. You have to be prepared [as a producer] that your name is on the back of
the record -- if you’re lucky.”
If we hear and understand music as a true language of its own, Tom Dowd was
certainly one of the finest interpreters of that language in modern times and as
such, has much to offer to our students today.
Tom Dowd Cont.