Phil Gernhard, Record Man, by Bill DeYoung. University Press of Florida. 208 pages. Hardcover $24.95.
The University Press of Florida has published an unofficial series of books about the state’s role in American’s popular music. These include “Florida Soul: From Ray Charles to KC and the Sunshine Band,” “Music Everywhere: The Rock and Roll Roots of a Southern Town” (about the Gainesville scene), and “Elvis Ignited: The Rise of an Icon in Florida” (all reviewed in these pages). Mr. DeYoung’s effort is essentially a biography of a relatively unknown giant in the popular music world. Following along the trail Phil Gernhard’s life, the author paints a vivid picture of the U. S. music industry in the second half of the twentieth century.
Trained neither as a musician nor a businessman, Gernhard picked up what he needed to know through hustle and hard work. He began early, and by the time he was nineteen he had produced a million-copy recording: “Stay,” a monstrous hit performed by Maurice Williams and the Zodiacs. It was 1960, and Gernhard had already recorded a few other songs by his group.
Gernhard’s career was hardly a straight or unbroken line. He had many ups and downs. Still, he managed to produce an amazing amount of recorded music, and a high percentage of those releases become hits, bringing money into the pockets of the musicians, songwriters, studio technicians, and owners of record labels. He succeeded through changing times and changing tastes.
Mr. DeYoung makes it only too clear that Gernhard was an accomplished and somewhat greedy dealmaker, negotiating contracts that gave him many slices of the pie. Sometimes songwriter credit for doctoring a needy lyric, sometimes a percentage for enhancing production quality, and sometimes simply by writing himself into the contract for being able to put all the pieces together. He was labeled as a producer, and he produced.
He worked to get studio time, rehearsal time, radio play, engagements for live performances, and whatever else might make a record a success. When the industry changed from one in which singles lost out to albums in the economics of the industry, Gernhard learned how to adapt and how to help others adapt.
Originally based in his home state of Florida, Gernhard also rose the ladder of influence in such music capitals as Los Angeles and Nashville.
Now it’s time to name names: Dion DiMucci’s career was resurrected by Gernhard with the improbably successful ballad “Abraham, Martin and John.” He produced hits for Lobo, Jim Stafford, the Bellamy Brothers, Rodney Atkins, and Tim McGraw. It wasn’t just hustling. Gernhard was credited with having “magic ears.” He could tell that a song (or a singer) had a lucrative future. He knew how to match a song and a singer for maximum effect. . . .
To read the full review, as it appears in the June 27, 2018 Fort Myers Florida Weekly and the June 28 Naples, Bonita Springs, Charlotte County, and Palm Beach editions, click here: Florida Weekly – Record Man
See also: Skyway