From Wikipedia: Earle Mankey (sometimes misspelled "Earl" in credits) (b. March 8, 1947, Washington, USA) was a guitarist for the seminal band Halfnelson, later called Sparks. He became a record producer, predominantly for offbeat Los Angeles area bands like Possum Dixon, The Queers, The Beach Boys, The Runaways, The Lazy Cowgirls, Concrete Blonde, The Long Ryders, The Three O'Clock, Adicts, The Cramps, Pat Todd & The Rankoutsiders, and Kristian Hoffman. From Earle's Myspace page: Apart from being a great guitarist, Earle Mankey is a wizard of sound effects and has a degree in engineering from UCLA. In 1981 Earle Mankey performed, produced and engineered some of his own wonderful creative music on a six-songs self-titled mini-Lp. Three years later he issued another six-song "Real World" CD. Both were later reissued together as a CD courageously titiled, "Earle Mankey"- which you are most likely seconds away from purchasing (buy it, buy it, buy it)... The album is truly a Mankey family affair: the cover features a primitive portrait of Earle Mankey by his son; his brother Jim Mankey "yells" on one track and his wife Geri helps out too. Oh yes, and Earle plays just about everything on it... Earle Mankey is best known for producing and engineering recordings for the Beach Boys, The Quick, The Runaways, The Lazy Cowgirls, Concrete Blonde, The Elevators, The Three O'Clock, The Weirdos, The Long Ryders, Pat Todd & THe Rankoutsiders, Helen Reddy, 20/20, The Heaters, Elevators, Kristian Hoffman, and many others. Earle Mankey runs his own studio in California, he is now a legendary producer of many bands. From the original notes on "Earle Mankey": This compact disc derives from digital transcriptions of the best surviving sources for the two EPs, the vinyl records themselves. No attempt has been made to conceal the limitations of the original destination medium. Surface noise, pops, clicks are audible, as they were during the Reagan Administration, and it is hoped that they will add to the warm, fuzzy feelings engendered by Mr. Mankey's music, as they did back then. Incidentally nowadays (1998) it's fairly easy to create drum loops. You just program a measure of your beat, press "loop", and, Hey Presto!- drum loop. But back when Earle made these records (1981, 1984) it wasn't so simple. He had to create, say, a snare sound by patching it together on his ARP 2600 analog synthesizer and then play it in real time. And then go back and do it again with a kick drum sound, etc... Earle is justifiably proud of this, and wanted us to mention it.