In sharing his experiences of working with Billy Joel, Barbra Streisand, Frank Sinatra, Ray Charles, and a plethora of others, the consistent factor is how Ramone approached (and still approaches) each project with the artist’s intent foremost in his mind. He astutely notes that his name doesn’t appear on the covers of the albums he produces. Thus, instead of attempting to conform an artist to a certain style or standard, he respects and caters to each artist’s creative goal.

At the same time, Ramone justifiably points out the credentials that he brings to the making of an album. A classically trained musician in his own right, he understands music from both sides of the glass. Even when he has worked with artists who’ve had production experience, like Paul Simon or Paul McCartney, Ramone says that he contributed a sense of objectivity that the artists found helpful.

Accommodating in his profession as well as in his prose, Ramone has graciously written a book that music fans of any age or education can appreciate. Given his expertise, he could have easily filled these pages with professional terminology related to record production. While he certainly refers to technological aspects and specific equipment associated with his work, he does so without leaving the average reader overwhelmed or confused. Rather, he only mentions something of this sort within the context of recounting a pertinent (and understandable) experience.

Making Records: The Scenes Behind The Music offers an intriguing glimpse into the art of music production. Few careers in this field have rivaled that of Phil Ramone. Now, in addition to albums, concerts, and other live events, he has once again produced a quality work. And this time, finally, his name is on the cover.