Bones Howe

Dayton Burr "Bones" Howe (born March 18, 1933) is an American record producer, recording engineer, and music supervisor renowned for engineering and producing a series of pop and rock hits during the 1960s and 1970s, including collaborations with artists such as the 5th Dimension, the Turtles, the Association, and Tom Waits.^[1]^[2]^[3] Born in Minneapolis, Minnesota, Howe moved to Sarasota, Florida, at age eight, where he developed an early interest in jazz and attended Sarasota High School before studying electrical engineering at the Georgia Institute of Technology.^[1]^[4] His career began in 1956 at Radio Recorders in Los Angeles, where he quickly rose as a sound engineer, working with the Wrecking Crew session musicians and pioneering techniques like using condenser microphones on rhythm sections and chamber reverb at studios such as Western Recorders.^[5]^[1] Howe's production credits include the 5th Dimension's Grammy-winning "Aquarius/Let the Sunshine In" (1969), which earned him Record of the Year, as well as hits like the Turtles' "Happy Together" (1967) and the Association's "Never My Love" (1967); he also engineered Elvis Presley's "Teddy Bear" (1957) and co-produced Presley's 1968 NBC comeback special.^[1]^[5] In the 1970s, he recorded Tom Waits' early albums, including Closing Time (1973) and The Heart of Saturday Night (1974), capturing the singer's raw, jazz-influenced style.^[2]^[5] Beyond music, Howe served as music coordinator for films like Back to the Future (1985) and Stand by Me (1986), and later became vice president at Columbia TriStar, from which he retired in the early 1990s to focus more on jazz performance while continuing involvement in music production.^[1]^[3] Over his career, he amassed over two dozen gold and platinum records and seven Grammy nominations. As of 2025, at age 92, he continues to be involved in independent music production companies and film music supervision.^[1]^[6]^[7]

Early Life and Education

Childhood

Dayton Burr Howe, known professionally as Bones Howe, was born on March 18, 1933, in Minneapolis, Minnesota, during the Great Depression.^[1] His father, Burr Howe, had served as an ambulance driver in World War I and worked as a stockbroker, while his mother, Ann Elizabeth Hankinson, came from a debutante background; he was their first child, followed by a brother, Stanley, born in 1936.^[1] In 1941, at the age of eight, Howe's family relocated to Sarasota, Florida, where they had previously spent winters, settling on Siesta Key.^[1] The move immersed him in a new environment that would shape his early years, though specific details of his immediate childhood experiences there remain limited in records. Howe attended The Out-of-Door Academy, a private school in Sarasota, where he excelled academically and was involved in music, theater, and swimming.^[1] As an adolescent in Sarasota, Howe developed a profound passion for jazz, spending much of his time immersed in the genre and teaching himself to play the drums.^[1] This interest led to early musical performances, including gigs with local jazz combos influenced by touring artists such as drummer Shelly Manne.^[1]^[5] During his high school years, he actively participated in the music scene, serving as a drummer in both a dance band and a jazz quintet.^[1] Howe graduated from Sarasota High School in 1951, where his involvement extended beyond music to student government and the Naval Reserve Officers Training Corps.^[1] These teenage experiences solidified his dedication to jazz and drumming, laying the foundation for his future in music.^[1]

Education

Howe enrolled at the Georgia Institute of Technology in Atlanta, where he pursued a degree in electrical engineering.^[8]^[1] During his time there, he continued his interest in drumming, performing as a jazz musician at clubs such as the San Souci and Peachtree in Atlanta and participating in jam sessions with road bands.^[8]^[5] His coursework emphasized electrical engineering principles, providing a strong technical foundation essential for understanding audio signal processing and equipment operation.^[1] The electronics curriculum at Georgia Tech equipped Howe with practical skills in circuit design and communication systems, which directly informed his later proficiency in audio engineering techniques such as tape editing and mixing.^[8] These studies highlighted the manipulation of electrical signals, paralleling the precise control required for balancing sound levels and editing multitrack recordings in a studio environment.^[5] Upon graduating with a B.S. in Electrical Engineering in 1956, Howe opted against conventional electronics career paths, such as offers from major corporations, to instead channel his technical expertise into the burgeoning field of recording engineering.^[8] This decision reflected his passion for music, allowing him to apply his academic training to innovative audio production rather than traditional engineering roles.^[1]

Career

Early Recording Work

Bones Howe began his career in the recording industry in 1956 as an apprentice engineer at Radio Recorders in Hollywood, following his graduation with a degree in electrical engineering from Georgia Tech.^[1] There, he started with basic tasks such as setting up microphones and assisting established engineers, gradually learning the intricacies of tape editing, mixing, and studio operations on Ampex machines.^[5] His apprenticeship provided hands-on training in the era's predominantly mono recording techniques, using equipment like RCA 77-DX ribbon microphones for instruments and Neumann U47s for vocals, which honed his foundational skills in capturing and balancing live performances.^[5] By 1957, Howe had advanced to mixing engineer, contributing to high-profile sessions at Radio Recorders for artists including Elvis Presley, Pat Boone, and B.B. King.^[8] Notable among these were Presley's January 1957 recordings, such as "(Let Me Be Your) Teddy Bear," where he assisted chief engineer Thorne Nogar in producing safety backup tapes on two-track machines, a novel approach at the time that preserved the sessions' dynamic range.^[1]^[5] These experiences exposed him to the pressures of working with major talents and refined his ability to achieve clarity in dense arrangements under tight deadlines. In 1961, Howe transitioned to United Recording Studios (later United Western Recorders) under studio owner Bill Putnam, drawn by access to advanced equipment like three-track and early four-track machines.^[9] At United, he engineered key sessions, including Frank Sinatra's 1961 album Sinatra Swings (also known as Swing Along with Me), where he applied reverb techniques using the studio's EMT plate to enhance the swing-era sound.^[10] He also handled engineering for Jan and Dean's 1963 hit "Surf City," capturing the duo's surf-rock energy with precise overdubbing, and contributed to early recordings by the Mamas & the Papas, such as elements of "California Dreamin'," blending folk harmonies with pop polish.^[11]^[5] During this period at United, Howe developed expertise in multi-track recording, pioneering techniques for bouncing tracks between machines to layer complex arrangements without losing fidelity—a critical advancement as sessions grew more intricate.^[5] He frequently collaborated with the Wrecking Crew, the elite Los Angeles session musicians including drummer Hal Blaine and bassist Carol Kaye, whose versatile playing allowed him to experiment with multi-microphone setups and overdubs, setting the stage for the polished sound of mid-1960s pop.^[9]^[5]

Major Productions

Howe's producing career reached its zenith in the 1960s and 1970s, where he crafted a series of chart-topping pop and rock recordings that defined the era's sunshine pop and vocal harmony styles. Beginning in 1965 at White Whale Records, he produced the Turtles' debut album It Ain't Me Babe, transforming Bob Dylan's folk tune into a Top 10 hit single that peaked at No. 8 on the Billboard Hot 100 and introduced the band's signature sunshine pop sound, characterized by bright harmonies and upbeat arrangements.^[1]^[12] His work with the Turtles continued through several singles and albums, solidifying his reputation for polished, radio-friendly productions.^[13] Transitioning to Soul City Records, Howe collaborated extensively with the 5th Dimension, producing their breakthrough hits that blended soul, pop, and orchestral elements. He helmed their 1967 single "Up, Up and Away," written by Jimmy Webb, which rose to No. 7 on the Billboard Hot 100 and earned four Grammy Awards, including Record of the Year.^[14]^[1] The partnership yielded further successes, notably the 1969 medley "Aquarius/Let the Sunshine In (The Flesh Failures)" from the musical Hair, which topped the Billboard Hot 100 for six weeks, sold over three million copies, and secured the 1969 Grammy for Record of the Year while achieving RIAA Gold certification.^[8]^[1] These tracks, along with others like "Stoned Soul Picnic," contributed multiple Gold records to Howe's tally during this period.^[15] Howe also produced key recordings for the Association, capturing their intricate vocal arrangements and baroque pop sensibilities at Western Recorders. His work on the 1967 single "Windy," penned by Ruthann Friedman, propelled it to No. 1 on the Billboard Hot 100 for four weeks and earned RIAA Gold status.^[1]^[15] The follow-up "Never My Love," co-written by the band's Don and Brian Addrisi, reached No. 2 on the chart and became one of the most-played songs in radio history, further exemplifying Howe's ability to balance lush orchestration with commercial appeal.^[1]^[16] In a stark contrast to his pop successes, Howe formed a decade-long creative partnership with singer-songwriter Tom Waits at Asylum Records starting in 1974, producing all of Waits' albums for the label except the debut Closing Time.^[9]^[17] He shaped Waits' early sound on releases like The Heart of Saturday Night (1974), Nighthawks at the Diner (1975)—a double live album recorded in the studio with a jazz rhythm section—and Small Change (1976), emphasizing raw, jazz-inflected storytelling with minimalistic instrumentation such as upright bass and piano.^[15]^[18] This collaboration extended through Foreign Affairs (1977), Blue Valentine (1978), and Heartattack and Vine (1980), helping establish Waits as a distinctive voice in American music.^[9] Beyond studio albums, Howe's engineering expertise extended to landmark live events, including serving as chief engineer for the 1967 Monterey Pop Festival's concert film, where he oversaw audio capture for performances by artists like Jimi Hendrix and Janis Joplin.^[8]^[19] He also co-produced the music for Elvis Presley's 1968 NBC Christmas Special, known as the '68 Comeback Special, directing the recording sessions at Radio Recorders and integrating rock elements with Presley's performances to revitalize his career.^[15]^[1] Throughout this era, Howe's productions amassed over 20 RIAA Gold and Platinum certifications, reflecting their commercial dominance and enduring influence on pop music.^[15]

Film and Executive Roles

In the 1980s, Bones Howe transitioned from his earlier work as a record producer to music supervision in film, drawing on his extensive experience in pop music production to oversee soundtrack development and integration. This shift began in the late 1970s when he started offering free supervision services to build credits, marking a move toward the broader entertainment industry.^[8]^[5] Howe served as music supervisor for several notable films, including The Adventures of Buckaroo Banzai Across the 8th Dimension (1984), where he handled sound design and music coordination alongside composer Michael Boddicker. He also supervised the music for Back to the Future (1985), contributing to its iconic soundtrack that blended contemporary pop tracks with original score elements. These roles allowed him to apply recording techniques from his studio background, such as precise microphone placement and live session acoustics, to enhance film audio quality.^[20]^[1]^[21]^[5] In 1986, Howe was appointed Vice President and head of the Music Department at Columbia Pictures, a position that expanded his influence over film soundtrack production across the studio's slate. By 1989, following the acquisition by Sony Corporation, he advanced to Executive Vice President, overseeing music integration for multiple projects until his departure in 1992. During this period, he emphasized collaborative processes between composers, performers, and editors, incorporating tools like early digital audio workstations to streamline soundtrack creation.^[8]^[5]^[1]

Later Independent Work

After departing from his executive role at Columbia Pictures in 1992, Bones Howe resumed independent work as a producer and engineer, focusing primarily on film music supervision and select recording projects. He served as music supervisor for the 1994 black comedy Serial Mom, directed by John Waters, where he coordinated the soundtrack featuring a mix of classic rock and original compositions to enhance the film's satirical tone. Similarly, in 2001, Howe contributed to the science fiction horror film Ghosts of Mars as part of the music department, overseeing audio elements that supported the movie's intense atmospheric score composed by Basil Poledouris. These freelance engagements marked a shift back to hands-on creative involvement after years in studio oversight, allowing Howe to apply his engineering expertise to cinematic sound design without the constraints of corporate structures.^[8] In addition to film work, Howe continued his musical pursuits as a performer, occasionally credited under his birth name, Dayton Howe, though his later contributions emphasized live drumming rather than studio sessions from his earlier career. Well into his 80s, he performed with jazz combos in Southern California and Arizona, maintaining a connection to the improvisational style that influenced his production approach decades prior. During retirement, he recorded a few personal albums, capturing informal jazz sessions that reflected his lifelong passion for the genre. These activities provided a low-key outlet for creativity amid scaling back from major industry commitments.^[1] Howe eventually settled in Santa Barbara, California, where he embraced a quieter lifestyle, including playing tennis and assisting with editing his wife Melodie Johnson Howe's mystery novels. In reflections on the music industry's evolution, he noted the isolating effects of digital tools like Pro Tools and home studios, lamenting how they diminished the collaborative energy of traditional recording sessions: "One of the great losses is that when people began getting home studios... it separated people." This perspective underscored his appreciation for the communal "Wrecking Crew" era he helped define, contrasting it with the more solitary production methods that emerged in the late 20th and early 21st centuries.^[1]^[5]

Personal Life and Legacy

Family and Residences

Dayton Burr Howe, known professionally as Bones Howe, was born on March 18, 1933, in Minneapolis, Minnesota, to Burr Howe, a stockbroker who had served as an ambulance driver during World War I, and Ann Elizabeth Hankinson, an early-20th-century debutante. Public details on his parents and immediate family are limited, though he had a younger brother named Stanley Howe, born around 1936.^[1] The Howe family relocated permanently to Sarasota, Florida, in 1941, seeking a warmer climate for the health of his mother, and settled on Siesta Key, where young Howe spent his formative years and graduated from Sarasota High School in 1951; this move exposed him to local music scenes that sparked his early interests. In 1956, he moved to Los Angeles, California, to pursue opportunities in the recording industry, residing in the San Fernando Valley during the height of his career. Following retirement, Howe made his home in the Santa Barbara area, including Montecito, where he lived in a modest ranch house overlooking the Pacific Ocean as of 2023.^[1]^[8] Howe was first married to Helen Irvine on June 30, 1956, with whom he had three children—two sons and a daughter—before their divorce around 1965; details on these children remain largely private. On March 27, 1965, he married Melodie Johnson, a former film and television actress who later became a mystery novelist, forming a blended family with no additional biological children together, though the couple shares four grandchildren. One known child from his first marriage is son Geoffrey Howe, an Emmy Award-winning high-definition television engineer. His full name, Dayton Burr Howe, appears occasionally in personal and archival contexts.^[1]^[4]^[8]^[22]

Awards and Influence

Bones Howe received numerous industry recognitions for his production work during the 1960s and 1970s, including over 20 gold and platinum certifications from the Recording Industry Association of America (RIAA) for albums and singles he produced or engineered.^[5] He also earned a Grammy Award in 1969 for Record of the Year for his production of The 5th Dimension's "Aquarius/Let the Sunshine In," a track that briefly exemplifies his contributions to hits like those with the group, alongside six additional Grammy nominations throughout his career.^[1]^[23] Howe is widely recognized as a pioneer in the dual role of producer and engineer, a practice that allowed him to seamlessly integrate technical precision with creative oversight, profoundly influencing the sunshine pop genre and extending to broader pop and rock productions.^[5] His approach emphasized hands-on involvement in both studio and live settings, setting a model for future professionals by blending engineering expertise with artistic direction.^[8] Howe's legacy is evident in his shaping of the distinctive sounds associated with The Wrecking Crew, the elite group of Los Angeles session musicians, through collaborations on iconic tracks that defined the era's pop landscape.^[1] He played a key role in launching Tom Waits' early career by producing and engineering several of his early albums in the 1970s, including The Heart of Saturday Night (1974) and Nighthawks at the Diner (1975), capturing a raw, jazz-inflected style that helped establish Waits as a unique voice in American music.^[5] Additionally, Howe served as the chief engineer for the 1967 Monterey Pop Festival's concert feature film, contributing to the documentation of a pivotal moment in rock history.^[8] On a broader scale, Howe's innovations in audio engineering practices, such as advanced tape splicing for seamless edits and the use of echo chambers for lush reverb in both live festival recordings and studio mixes, have influenced modern production techniques by prioritizing spatial depth and dynamic clarity.^[5] These methods, honed during his work with diverse artists, underscored the importance of adaptive engineering to enhance musical expression across genres.^[1]