(Guitar Recorded Versions). Notes and tab for 15 songs by one of country guitars greatest legends. Includes: Cannon Ball Rag * Dark as a Dungeon * Fat Gal * I Am a Pilgrim * Kentucky Means Paradise * Sixteen Tons * Start Even * Sweet Temptation * and more; plus a biography/introduction.
#988457 in eBooks 2011-05-01 2011-05-01File Name: B00GQZOEDW
Review
1 of 1 people found the following review helpful. How the Brits beat the Yanks in the 1960s...By WedloeDonrsquo;t be fooled by this bookrsquo;s innocuous (but appropriate) title! This niche tome is tantamount to an academicianrsquo;s serious take on the making of the British Invasion of the 1960rsquo;s. I have read several works on music production and the business of bringing music to market; but there are distinctly British things in this read that I never knew existed; and yet explain so many things about that very special decade. Irsquo;m a nerd this way and I enjoyed every chapter.Ladies and gentlemen; this is a deep treatment of the writers; artists; producers; music directors; studio/session musicians; AR men; record company executives; sales staff; and recording engineers/tape operators that were responsible for delivery of the terrific music all those years ago. Key individuals in each of the above categories are presented in short bioshellip;the behind the scenes folks whom you may or may not know. Examples: Mickie Most; Geoff Emerick; Andrew Loog Oldham; The Beatles; Shel Talmy; The Who; Big Jim Sullivan; George Martin; Norman Smith; Andy White; Dave Clark; John Paul Jones; Eric Burdon; The Kinks; Peter Noone; The New Vaudeville Band; just to name a few of the more common names. There are many others; and each played an integral part in making these recordings. As these personalities and their contributions are discussed; the subject of British social classes is also explored and the implied (and real) hierarchies based on wealth; education; even accent. This treatment and subject I find fascinating as an American. The idea that entitlement has direct impacts on success is a heavy concept; and many expectations were set based on it. Over time this bias seems to have become less of a factor; and not an indicator of success; at least in recording studios; yet this had to be worked through in the UK; and to some extent in New York as well.In addition; there is ample information on the 1940s; lsquo;50s; lsquo;60s British recording industry itself; the technologies and techniques beginning with what were used/available after WWII; and the efforts to duplicate; and in some cases surpass the sounds of US made recordings. The progression from 1960 to 1970 regarding recording gear; knowledge; expertise; and music performance is discussed at length and is fascinating reading.The authorrsquo;s extensive attention to bibliographic detail is impressive; as well as having separate indices by song title and by subject. This is a fine effort; and if yoursquo;re so inclined; Irsquo;m sure the takeaways will be worth your time.17 of 17 people found the following review helpful. I loved this book; but not everybody willBy David TownsendThis book wasnt what I expected; but I was delightfully surprised that it was much more than I expected.If you were a fan of British pop music in the 60s and want to read about how famous musicians died from drug overdoses and such; this is not the book for you.But if you are fascinated by the recording industry and the legends who engineered and produced all those great tunes; I know of no other book that covers it as completely.I already know everything I need to know about the Beatles. Im more interested in George Martin; Geoff Emerick and Norman Smith; the guys responsible for turning the Beatles musical genius into consumer products that we could all enjoy. Not to mention Micky Most; Shel Talby; Joe Meek; and the many others who really invented Brit-pop.There are many interesting anecdotes. Heres one: when the Animals recorded House of the Rising Sun; they had to travel by train with their gear and make an 8:00 AM session. The version we all know so well was Take 2(!); finished at 8:15 AM. That classic recording thats held up for all these years was recorded in 15 minutes. Nowadays; it takes longer than that to serve the cappuccinos.3 of 3 people found the following review helpful. London music 1960s from the studio angleBy TeroThe book is written by a music professor. The style is easy enough to read; but the book runs through hundreds of names in the London music business. It is organized by the various labels; producers; studio engineers. It is not chronological but by music production themes. The recording of Please Please Me is in the last chapter.The London music scene is well covered; from the studio and song writing angle. Prior to the Beatles; few bands got to record their own songs. The Who; The Kinks; Joe Meek bands (he as producer/engineer) and the Stones are well covered. The Beatles coverage is rather erratic past Revolver. See the song index if you want a particular era of The Beatles.Unexpected names appear; such as John Paul Jones before his Led Zeppelin days for his studio work. Many session players most of us have never heard of are featured. Not only was there Andy White on two Beatles tracks; but session drummers were featured on most of the British Invasion hits. Sometimes entire bands were replaced by studio musicians; leaving only the singing to the band on the release. Others were very professional. The Animals are presented making records in one take of a song.
