The Ghost of Electricity: A Conversation with Eddie Hawkins
Show Notes:
In his 1978 Playboy interview with Ron Rosenbaum, Bob Dylan said, “The closest I ever got to the sound I hear in my mind was on individual bands in the Blonde on Blonde album. It’s that thin, that wild mercury sound. It’s metallic and bright gold, with whatever that conjures up. That’s my particular sound.”[1] He continues, adding Highway 61 Revisited and Bringing It All Back Home as examples of that sound is mid-sixties work. Throughout his career, Dylan’s shifts in sound, from “going electric” that led to finding him “that thin, that wild mercury sound,” to the sparse instrumentation of John Wesley Harding, to the carnival of sound on The Basement Tapes and the songs Leon Russell produced, to the atmosphere of the Lanois albums, and through the Jack Frost-era, Dylan’s exploration of and experimentation with sound and traditional music are a defining throughline in his career. In this episode, producer, Eddie Hawkins and I talk about his decades-long career in sound engineering, his own experimentation with song writing and sound, and, of course, Bob Dylan.
Bio:
Eddie Hawkins is a Houston-based producer, audio engineer, musician, sound effects designer, song writer, composer, and electro-acoustic composer whose career spans decades across recording and experimental art. His early fascination with sound began in early childhood through his experimentation with reel-to-reel tape systems and playing a number of musical instruments, including piano and guitar. This led to him performing live with bands like Jyn, Paradox, and Racecar and exploring recording techniques in his teens, ultimately laying the foundation for his long career in production, design, and live performance. Throughout the 1980s, Hawkins developed into a multifaceted artist and technical innovator, working as a sound designer, producer, songwriter, and composer while deeply engaged in experimental music and performance art. His work ranged from studio production to immersive creative projects, which established his reputation throughout the industries. In the 1990s, he transitioned into high-level audio engineering roles, including positions with major Houston arts institutions such as the Houston Symphony, Houston Grand Opera, and Houston Ballet. Alongside this work, he continued performing, writing, and producing music. In recent years, Hawkins has produced new work and contributed to major recordings like Jake Heggie’s Intelligence, a 2026 Grammy-winning opera, all while building an extensive solo catalog. He remains deeply engaged in music, driven by curiosity and a passion that has defined his entire life.
Links:
Instagram: @ehawehaw
YouTube:
https://youtube.com/playlist?list=PLfGBdy2Gn94dYHSJpb7xxJVpXlufkWM_9&si=XERF8KRjnMazzuJ3
[1] Ron Rosenbaum, “Playboy Interview: Bob Dylan,” Playboy, Mar. 1978.
