Thompson's Creativity in the Recording Studio: Alternative Takes sets out to demystify the studio practices and creative process(es) behind the Western popular music recording, noting that researchers have ‘historically given their attention to audiences, their reception and use of sound recordings, often overlooking the cultural producers’ (p. 3). Thompson aims to re-address this by adopting a multidisciplinary approach, combining research into creativity and applying it to the complex recording studio environment.

One of the recordings considered at some length in the book, indeed, its primary example and cover photo inspiration, is the Beatles's ‘Strawberry Fields Forever’. A track that most of us are familiar with, and readily available for those who are not, Thompson's application and analysis is both accessible and tangible. Even as an avid reader of both academic and non-academic texts regarding the Beatles, Thompson's analysis feels fresh and relevant. I was familiar with most of the elements Thompson draws on from previous material, but the way he negotiates it made it feel like I was discovering the track for the first time. Listening back to it after reading the book, I felt like I was hearing it through a brand new framework with a real, practical understanding of (some) of the technical obstacles the creative personnel faced and solved during the record process, leading to a very pleasant re-discovery of the track. Thompson also argues that not only is ‘Strawberry Fields Forever’ a ‘a critical point in the Beatles’ musical career’, it marks an important paradigm shift in the ‘practice of commercial record production more generally’ (p. 2) by creating an environment more open to experimentation, and with less emphasis on realism. This is particularly noteworthy as this is still the dominant production aesthetic, with realism long gone and illusion being the reality instead.

One of the challenges involved in writing about the recording studio is the technical aspect. Nevertheless, this text was very accessible regardless of previous studio experience. The recording studio remains a very exclusive environment that relatively few have access to, and, should one be able to gain access, some of the technologies and processes in the studio can be very difficult to digest. Both the discourse and specialised technical language can pose additional barriers even for researchers. Thompson's insight, knowledge and analysis of this working environment is, however, presented in a very relatable and straightforward way, and it is possibly in that, that my biggest compliment lies. I would feel comfortable recommending this text to students, colleagues and non-academics who are interested in the recording studio, but who are completely new to the area. However, I would also feel comfortable recommending the book to people who have worked extensively in a studio environment. The text offers entry points and critical analyses that are relevant, and exciting, irrespective of your previous experience.

Thompson's main premise is to combine ways of understanding creativity with ways of understanding how a popular music recording is made. What distinguishes Creativity in the Recording Studio: Alternative Takes is its application of Csikszentmihalyi's systems model of creativity to the process of studio recording. For some, this systems model is somewhat ‘static’, and we could potentially run the risk of homogenising complex practices. However, Thompson's application demonstrates a flexibility. For instance, when considering David Bowie's ‘Heroes’, he notes that the knowledge of microphones and their placement could – and should – be considered within ‘the domain field of [studio] engineering’ (p. 163). Through this process, Thompson is also successful in demonstrating that popular music, and the process of recording (popular, classical, or anything in between or outside of that music) is a collaborative effort, and that if we want to fullyunderstand how and/or why listeners are responding to a particular release, we consider isolated components and individual efforts at our own peril. As such, Thompson is also able to address various notions and myths surrounding romanticism and the lone, creative genius in terms of sound recording specifically, but also popular music more generally.

Considerations of the recording studio and record production from a popular music studies perspective are relatively new, and while there is some great academic work available for those who are interested in the field, I would argue that Creativity in the Recording Studio marks a maturity, a ‘coming of age’, that is both exciting and responsive. Since reading the book, I have already recommended it several times to colleagues and students, and imagine I will continue to do so for the foreseeable future. It is an enjoyable, and educational book, and I would recommend it to you too.