Don Gehman
Don Gehman | |
---|---|
Born | Blue Ball, Pennsylvania, U.S. |
Occupation | Record producer |
Years active | 1976–present |
Don Gehman is an American record producer, engineer, and executive, best known for his work with John Mellencamp and Hootie & the Blowfish.[1][2] He was one of "the most successful producers of the 1980s and 1990s."[1] As a sound engineer, he also helped invent the modern rock P.A. and monitor systems.[3]
Early life
Gehman was born in Blue Ball, Pennsylvania.[3] As a child, he was interested in science and his parents' Magnavox stereo.[3] His interests evolved from a photography dark room in the basement to chemistry to physics to electronics.[3]
He played bass guitar in a rock band when he was fourteen years old.
Career
Clair Brothers
In 1969, Gehman became a sound engineer with Clair Brothers Sound, a position he kept for seven years.[4] Together, Clair and Gehman "virtually invented the modern rock band P.A. system and were the first people to create functional P.A. systems that bands could bring on the road with them."[3] They also allowed bands to hear themselves on stage for the first time with their invention of the stage monitor system.[3] As one writer notes, Clair Brothers "was the Apple of live performance and sound equipment. …This is Edison level shit we are talking about."[3]
Soon, Gehman began traveling with bands and their equipment, doing as many as 300 one-night shows a year.
Stephen Stills
Gehman said, "I had been on the road for about seven years—off and on. Well, actually, quite consistently for about three years, I was getting pretty burned out. The conditions working on the road in the seventies were really horrible. Nothing like it is today. I just felt that if I was going to live, I'd better find myself another job. I started asking around. Stephen mentioned he was working at Caribou Studios in Colorado on a new solo album and needed some help."[4] After spending a week locked in the studio with Stills in 1973, Gehman earned his first production credit on Stills' 1976 solo album Illegal Stills.[1][6]
That same year, he produced Long May You Run for The Stills-Young Band, a collaboration of Neil Young with Stephen Stills.[7]
Criteria Studios
With Stills' help, Gehman became an engineer at
At Criteria, he was the engineer for recordings for the Bee Gees, Eric Clapton, Firefall, Robin Trower, Barbra Streisand, and Jesse Colin Young.[1][7] In 1978, he was the engineer for Back to Earth by Cat Stevens, Hot Streets by Chicago, and Double Dose by Hot Tuna.[7] He was also the engineer of Pure Prairie League's Can't Hold Back which was released in 1979.[7] He also mixed Joy Division's single "Love Will Tear Us Apart" which was released 1980.[7]
John Mellencamp
In 1979 and 1980, Gehman first began working with John Mellencamp who was then known as John Cougar, engineering the self-titled album John Cougar.[1] Mellencamp came to Criteria to work with Tom Dowd; when Dowd was not available and Gehman did much of the work on the project.[5] Mellencamp returned to Gehman to co-produce his 1982 release, American Fool.[1][5]
Mellencamp recalls, "Really, Don Gehman's job was to keep me from not going crazy all the time. Back then, I was very angry, always mad at somebody or something, fighting and screaming. Not a very pleasant person. Don's job was to go, 'John, you're out of line. John, you don't need to do that—stop it."[8] Gehman also oversaw the setup The Shack, a studio in Indiana for Mellencamp, moving equipment from Criteria to the new location.[9]
American Fool yielded the hits "
He also produced 1987's The Lonesome Jubilee which earned another Grammy nomination for Gehman.[1] However, that was his last project for Mellencamp.[1]
R.E.M.
He also produced R.E.M.'s album Lifes Rich Pageant, which was released in 1986.[1][11] R.E.M. was familiar with Gehman's work with Mellencamp; although they did not like that music, they appreciated that Gehman was able to achieve a sound that was "AOR friendly" and yet still retained a roots-rock sound.[12] Mike Mills says, "We wanted a clearer, more powerful sound."[12] This meant achieving upfront vocals and a bigger drum sound.[12] In short, "if R.E.M. were to make a jump into mainstream, Gehman was a better than average bet."[12]
Yet, the partnership was not a sure thing—Gehman attended a live R.E.M. show, recalling, "I was intrigued. I wouldn't say impressed."[12] In addition, the band asked Gehman to come to Athens, Georgia for a trial run.[13] He recalls, "They were leery of record companies, and they were leery of anyone who would be answering to a record company. And so that made them leery of me."[13] In addition, the trial studio experience of recording demos was a challenge for both parties—John Kean noted, "Gehman was a little taken aback by their insistence on doing things their own way. They definitely weren't accustomed to taking directions from anyone."[11] Even if Gehman didn't understand how R.E.M. operated, he knew how to make hit records.[11] He says, "I think they were taken aback at the process that I worked in. I didn't just record things—I liked to spend time on the arrangement and layer in the overdubs and comp the vocals—all this process which, to me, was normal record-making, they had never been through before. When they saw that kind of record-making process didn't take anything away—that it actually added another level of artistic expression—they were very excited by it. That's when they said, 'Let's go make a record.'"[13]
They decided to record the album at the Belmont Mall Studio, which Gehman had built for Mellencamp in Belmont, Indiana, in April and May 1986.[11][13] Gehman says, "Making that record was a blast. There was a tremendous amount of creative energy, it just came flying out. Also, between me and them, there was that chemistry that you hear about. I was enough of a disciplinarian to make sure everybody got the job done. Other than that, I was willing to accept their ideas and they were willing to accept mine."[14]
In the studio, Gehman pushed his rule that listeners should be able to understand a song's lyrics.[11] Michael Stipe recalled, "[Gehman was] the first person to challenge me on my lyrics, just saying. 'What the f*ck is this about?' I crossed my arms and walked out of the room."[11] Gehman was just looking for less "self-indulgence."[11] Gehman also introduced a special microphone that removed Stipe's singing lisp, making the vocals easier to understand.[11] He allowed Mills to experiment with a variety of keyboards to add textures to the music, challenged Peter Buck to consider why he made certain choices with his guitar playing, and gave Bill Berry the drum sound he had always wanted.[11]
Ultimately, Stipe realized their producer knew what he was doing.[11] Yet, Stipe says, "The direction of Don Gehman pushed me in Lifes Rich Pageant really paralyzed me for several records because he had such an idea for what a vocal should be, that it threw me into this place of wild insecurity."[11] Regardless, the fans and reviewers were impressed, and it yielded the band its first gold record and first hit single, with "Fall On Me" reaching number five on Billboard's Mainstream Rock Chart;[11][13] however, the band believed that Gehman's "meticulously high standards" meant he did not consider the album a complete success.[14] When getting ready for their next album Buck says, "We were talking to Don, but he was getting kinda cold feet. He was saying, 'I really want to make a record that's a huge commercial success, and as much as I like you all as people, and I like the band, the way you work, I can't hear that you're going to have a huge hit.'"[14] When Gehman was not available as readily as the band wanted for their next recording needs, he recommended Scott Litt who went on to work with the band on future projects.[15]
Gehman did teach the band, especially Mills, how to arrange songs.[14] Gehman said, "I felt I was responsible for giving them a set of tools that worked for them. I showed them a methodology of approaching a song, and production and sound, and they just took it to the next step."[14]
Other 1980s projects
He produced Eric Carmen's self titled 1984 album, Eric Carmen, along with Billy Satellite's 1984 eponymous album.[7] Gehman's other production credits of the era include The Knife Feels Like Justice by Brian Setzer in 1986, Tied to the Tracks by Treat Her Right in 1986, After Here Through Midland by Cock Robin in 1987, Victory Day by Tom Cochran in 1988, Say Something Good by River City People in 1989.[16][7]
Australia
In the early 1990s, most of Gehman's work was in
Hootie & the Blowfish
Gehman says, "My career was kind of in a slump. I was looking for a way to work into this whole alternative, new band movement. Figuring it was not much different than what I had been doing for a long time. I was making the rounds of new A&R people, that I had yet to meet. One of them was Tim Sommer, who had just signed Hootie [& the Blowfish] to Atlantic. He wasn't sure yet if they wanted to remix an existing CD the band had made, or make a new one. He thought that I might be interested in the band. The band had already expressed an interest in me. He played me the tape, and I liked it. They sent me off to meet with the band."[4]
He worked with Hootie & the Blowfish, producing 1994's Cracked Rear View.[1] Darius Rucker, lead singer of the band says one of Gehman's tasks was to get the band to shorten some of their songs so that they could be played on the radio.[19] Gehman says, "Most of the work that I contributed was really just editing things down a little. Because they are such a strong live band—used to playing club gigs and stretching things out—the songs were a little long. I think I chopped a good minute out of most of the songs because they had an extra verse or they'd repeat the first verse or the chorus again, so they weren't really radio-ready to my liking. And the band was very willing to make changes."[19]
The turnaround on Cracked Rear View was quick, with just eighteen days to record and mix the album.[3] The album also only had a budget of $75,000, requiring Gehman to serve as an engineer.[6] It also meant that they needed reliable equipment—his solution was to bring his own.[6] He also brought some instruments that he knew would provide a good sound.[6] He spent a total of 28 days on the record, including twenty days of recording and eight days of mixing.[6] This equated to six weeks because he only worked five days a week.[6] Gehman says, "I've gotta say that this was probably one of the most charmed projects I've ever worked on. Of course, when I started out on the Hootie project, I thought to myself, 'Well, this is gonna be just an okay little album.' But as we went along, I became more and more excited about it, and by the time I was mixing it, it was like, 'Wow!'"[19]
Despite the limitations, the album yielded several hits, including "Hold My Hand," "Let Her Cry," and "Only Wanna Be with You," and was the best-selling album of 1995.[1][6] Rucker, recalls, "Don was so laid back, and he instantly and knew how to handle each of us in our own way. Making that record will always go down as one of the greatest moments of my life."[20] Gehman also worked with Hootie and the Blowfish on their album Fairweather Johnson which was released in 1996.[21] He was the producer, engineer, and mixer for their Musical Chairs which was released in 1998, and the mixer and producer for their Looking for Lucky which was released in 2005.[22][23]
Other 1990s projects
He produced
He worked with Pat Benatar for her 1993 album Gravity's Rainbow and for her greatest hits album All Fired Up: The Very Best of Pat Benatar in 1994.[7] He then produced 1996's Friction Baby for Better Than Ezra and 1997's Blue Roses from the Moons for Nanci Griffith, as well as her Other Voices, Too in 1998.[7] In the late 1990s, Gehman became head of Refuge Records, a new label of MCA Records.[2]
21st-century projects
In the 21st-century, Gehman has continued working, producing
He was the producer of Give Me Strength: The '74/'75 Studio Recordings of Eric Clapton which was released in 2013 and the Neil Young Archives Volume II: 1972–1976 which was released in 2021 by Neil Young.[7] He also worked on greatest hits albums, box sets, or collections for Jimmy Barnes, Better Than Ezra, Blues Traveler, Boom Crash Opera, Harry Chapin, Tracy Chapman, Chicago, Foreigner, Bruce Hornsby, Hootie & the Blowfish, Jonah Koslen, R.E.M., and Stephen Stills.[7]
Award nominations
Gehman has been nominated for seven Grammy Awards but had yet to win one.[25]
- 1996 Record of the Year – "Give Me One Reason" by Tracy Chapman[25]
- 1996 Best Pop Album – New Beginning by Tracy Chapman[25]
- 1996 Producer of the Year[25]
- 1987 Producer of the Year (Non-Classical)[25]
- 1982 Album of the Year – John Cougar[25]
- 1982 Best Engineered Recording - Non-Classical – John Cougar[25]
- 1982 Producer of the Year[25]
See also
References
- ^ a b c d e f g h i j k l m n Ankeny, Jason. "Don Gehman Biography". AllMusic. Retrieved 2022-06-22.
- ^ ISBN 978-1-61774-936-0.
- ^ ISBN 978-1-64336-276-2.
- ^ a b c d e f g h i "The Interview With Hootie Producer: Don Gehman". hootie4life.tripod.com. Retrieved 2022-06-22.
- ^ ISBN 978-0-85712-510-1.
- ^ ISBN 978-0-87288-730-5.
- ^ a b c d e f g h i j k l m n o p "Don Gehman | Credits". AllMusic. Retrieved 2022-06-22.
- ISBN 978-1-9821-1216-5.
- ISBN 978-1-9821-1216-5.
- ^ ISBN 978-1-9821-1216-5.
- ^ ISBN 978-0-87930-776-9.
- ^ ISBN 978-0-87930-776-9.
- ^ a b c d e Zaleski, Annie (July 28, 2016). "How R.E.M. Took a Big Step Forward With 'Lifes Rich Pageant'". Diffuser.fm. Retrieved 2022-06-24.
- ^ ISBN 978-1-78759-083-0.
- ISBN 978-0-87930-776-9.
- ^ a b c Droney, Maureen. Producer Don Gehman and Engineer Mark Dearnley on Production and Engineering Techniques Archived September 19, 2006, at the Wayback Machine, Mix. Published May 1, 2003. Accessed November 21, 2008.
- ^ ISSN 1320-0615.
- ^ Hepfidelity - Diesel | Credits | AllMusic, retrieved 2022-06-24
- ^ a b c Wheeler, Stephen P. (8 July 2019). "25 Years Ago: The Hootie Story". rokritr.com. Retrieved 2022-06-24.
- ISBN 978-1-64336-276-2.
- ^ Fairweather Johnson - Hootie & the Blowfish | Credits | AllMusic, retrieved 2022-06-24
- ^ Musical Chairs - Hootie & the Blowfish | Credits | AllMusic, retrieved 2022-06-24
- ^ Looking for Lucky - Hootie & the Blowfish | Credits | AllMusic, retrieved 2022-06-24
- ^ ISBN 978-0-306-82405-0.
- ^ a b c d e f g h "Artist: Don Gehman". Recording Academy Grammy Awards. Retrieved 2022-06-22.