Get The Knack is an album that divided opinion on release in 1979, with listeners either embracing its sharp pop songwriting or dismissing it as overly derivative. For me, I was a fan from the very beginning and still hold it in high regard. The album captures the sound of a band that was not only tightly rehearsed but also perfectly prepared for the studio. Most tracks were recorded live in just one or two takes with very few overdubs, giving the record an immediacy and energy that mirrored their live performances.
The standout track is undoubtedly My Sharona. Released in April 1979, it became a worldwide hit and the defining moment of The Knack’s career. The song features one of the most memorable guitar solos of its era, with Berton Averre displaying both technical brilliance and a gift for melody. His solo in the album version is rightly considered one of the greatest of the decade.
The sessions for Get The Knack were produced by Mike Chapman at MCA Whitney Studios in Glendale, already renowned for his string of hits with Blondie, Suzi Quatro, Sweet and Smokie. Chapman had a reputation for balancing commercial appeal with raw rock energy, often favouring streamlined arrangements and a focus on performance. For The Knack, he deliberately kept the sound uncluttered, capturing the band in a way that was close to their live presentation while still ensuring the tracks had chart-ready polish. Engineering was handled by Dave Tickle and Pete Coleman, with Coleman also taking care of the mixes.
The production approach was stripped back and relied heavily on the band’s energy rather than studio enhancements. The drum sound was not heavily processed but came from the natural acoustics of the large recording room. Positioned to the left and right of the drum kit, roughly 7.6 metres out on each side and elevated to around 3.7 metres, were a pair of Neumann KM 84 microphones, with another KM 84 placed directly on the snare. Plus Neumann FET 47s on the kick and tom-toms, and KM 84s on the cymbals.
The defining element, however, was the use of heavy compression, with Urei 1176 units applied to the room microphones. Mike Chapman’s engineer, Pete Coleman, also introduced an additional microphone placed approximately 3 metres above the drummer’s head, directly over the snare. This mic, driven hard with compression, played a significant role in shaping the drum sound, alongside the room itself, which featured a ceiling height of approximately 9 metres.
Guitars were tracked through Vox amps, each miked with a Neumann U67 about a foot away and a Shure SM57 up close. Vocals were tracked clean with a Neumann U47, with no added effects, maintaining their immediacy and presence. Only during mixing was a small amount of EMT 250 reverb applied to the snare and lead vocal, added by singer Doug Fieger himself. This minimalist style was in stark contrast to the increasingly layered productions of the late 1970s and gave the record a distinctive punch and clarity.
My Sharona went on to top the Billboard Hot 100 for six consecutive weeks in the summer of 1979, becoming one of the year’s biggest singles. It also achieved international success, charting in countries including Australia, Canada and the UK. The song’s driving riff was written by Berton Averre and inspired by Doug Fieger’s then girlfriend Sharona Alperin, whose name and presence influenced much of the album.
Decades later, My Sharona still stands as one of the most instantly recognisable rock singles of the late 1970s. Its mix of irresistible hooks, powerful performance and Chapman’s focused production style make it a perfect example of how less can sometimes be more in the recording studio.