Very good, thanks Paulo! BTW, you can open, rotate and crop each of these PDFs in Photoshop, then use Acrobat Pro to merge them all into a single PDF. [PDF] Recording the Beatles: The Studio Equipment and Techniques Used to Create Their Classic Albums FOR DOWNLOAD. i'm looking for Recording The Beatles, by Kevin Ryan and Brian Kehew and Here , There too much, but well, there was a time when a pdf version of lewisohn's.
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PDF⋙ Recording the Beatles: The Studio Equipment and Techniques Used to Create Their Classic Albums by Brian; Ryan, Kevin (The. DownloadRecording the beatles full pdf. Hier ist jeder Schritt dokumentiert. Go do something I have 3 wavy lines in square located by the time of day. Free PDF Recording the Beatles: The Studio Equipment and Techniques Used to Create Their Classic Albums, by Brian; Ryan, Kevin (The.
Bo Diddley, you know. When John and Stuart were art students and me and George were at the grammar school next door, we used to go around to John's flat and stay the night on Saturdays be really wild and stay out all night! Well, we used to think it was very wild, it was very innocent actually. In the mornings I remember waking up with the light coming in and the cathedral out there and you'd been on a mattress on the floor all night, very studenty!
Someone had a gramophone and they'd put on 'All By Myself, which was by Johnny Burnette but his brother Dorsey played on it too. Great moments. They were trying to be black.
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Elvis was trying to be Arthur 'Big Boy' Crudup. But on the other side it was all the lesser known people who we secretly hankered after a little bit more: James Ray. These were exciting moments for us.
ML: Can you think of one of your own compositions where you tried to capture that? There's no doubt in my mind that George was the right man probably the only man for the Beatles, but with his background comedy, Charlie Drake, Bernard Cribbins PM: Guildhall School of Music too, a rather straight background. My Soul PM: Very sympathetic. He might not know the song but he was very cool. He was a super-sympathetic guy, George, still is, that is one of his greatest strengths.
And it wasn't as if we were young nitwits and yobs, and that he wasn't interested in our opinion. It was exactly the opposite. George was never a cultist about jazz or serious music although he did once or twice turn me on to bits of classical music, Debussy and other French composers.
He was very, very good. George would always listen to oddball ideas, like Sgt Pepper: "We'll have a dog noise, a frequency only a dog can hear! He was amused and we all laughed. It was never serious, but he was very, very sympathetic. He knew it was a number one hit so he gave us it on a demo, a little white acetate. We took it back to Liverpool and said, "What are we gonna do with this? This is what he wants us to do, he's our producer, we'll have to do it, we'll have to learn it. It's a different thing we're going for, it's something new.
And he understood. George later took our demo and played it to Gerry [and the Pacemakers] and said "They don't want it, it's a major hit, you do it" and Gerry leapt at the chance. He kept it very similar in tempo to our version which was quite changed from the original demo because it was our arrangement, basically.
PM: 'Love Me Do' was us trying to do the blues. It came out whiter because it always does. We're white and we were just young Liverpool musicians. We didn't have any finesse to be able to actually sound black. But 'Love Me Do' was probably the first bluesy' thing we tried to do. Come on, ching ching Come on, ching ching Come on, ching ching Come on, ching ching Please pleeeeeaaase me!
It's very Roy Orbison when you slow it down. George Martin up-tempo'd it, he thought that it was too much of a dirge and probably too like Roy Orbison. PM: Yes, some of them are not bad. ML: Did you think of doing these on record?
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PM: I think we probably played them all to George and said "How about this one? PM: Yeah, we all had little B-sides and we did the kind of thing that I did many many years later in Jamaica, which was to go in a record shop and look for offbeat stuff. You'd have a name like, let's say Johnny Burnette, then we'd know Dorsey Burnette was his brother because he sang on one of the tracks on the album that we liked. So when Dorsey Burnette himself had a single out it might be the B-side we'd be interested in.
It was digging round the hacks of everything just to find an idea. All the research we did then is our roots, our musical roots. Black people have gospel choirs.
All we had was Sunday School and an absolutely ordinary C of E English upbringing until teenage years, then we went from Cliff Richard to all the very black, exciting and musically interesting stuff. I still know songs that could be hits. A new version of that could be a hit.
It's a great number. ML: It would make a TV commercial hit these days. PM: Yeah, it would probably be a good Levi's commercial. Now the Coasters did that, and you obviously liked the Coasters, yet your version was nothing like theirs. Where would you have got your arrangement from? PM: We were well into the Coasters but I'm not sure how we came to do that one. It may have been our own arrangement.
I looked at the recording scene and realised that a few people were taking offbeat songs, putting them into their acts and modernising them a bit. So I looked at a few songs with that in mind. That one always intrigued me. They used to appear on telly and the greatest thing about them was they had a volume pedal! I was the force behind that, the others thought it was a real soppy idea, which I can see now!
We modernised that because, again,-it's a lovely song, the Dietrich recording. I used to spend time at home looking at B-sides of this and that and thinking "Oh, we could do a good version of that". And those songs then went down quite well with the club crowds, but when it came to the recording studio there had to be more integrity behind it. We figured, "Now, wait a minute, we are now starting a reputation, a major reputation, hopefully, so we must be careful as to what we do".
PM: I loved it. I loved the variety of artists that went there. These days you go to a recording studio and you tend to see other groups, other musicians, because that's where the industry is now, that's where the money is. But then you'd see Sir Tyrone Guthrie, Barenboim.
There'd be a lot of acting. PM: Yeah, in number two. We were working and he came in wearing his navy blue pin-striped suit, carnation, [adopts upper crust voice] " Hello! But we were quite pleased, he gave us a big grin and stuff, he seemed like a nice bloke.
You'd see classical sessions going on in number one we were always being asked to turn down because a classical piano was being recorded in number one and they could hear us.
And the echo chambers, we used to have a laugh because you could patch in to other people's echo chambers. One of the great things about Abbey Road was that it almost became our own house, especially by the time Sgt Pepper was going on. A lot of people didn't work past ten in the evening and we did. We were pretty free on our time schedule because we weren't touring by then. ML: Was working late a deliberate thing, so that no one else would be in the building and you'd have the run of the place?
PM: No, we'd just heard that Sinatra recorded late, that's all I can remember. Somebody said "Sinatra never records until ten in the evening" and we thought "That sounds groovy! It was just a chance observation by someone that made us think "Great, we can have an evening out and then pop along later. Let's try it for a change. We were operating in quite a zany manner. ML: You were also attending other sessions, for other artists, weren't you?
PM: They'd ask me.
Recording The Beatles
Because we were doing so well many people would stick their head around the door and say " Give a listen to this track for us, will you? Cliff Bennett asked me to produce and I loved it. The only reason I don't do all that now is that I'm married with kids.
I just don't have the time. But that's something I do like, just to wander in and out of a studio and see who's doing what, "That's good, that guitar solo's no good, you ought to fix that" and just give a few pointers. Yes, I did do quite a bit of that. Some of those were pretty good songs!
PM: John and I were a songwriting team and what songwriting teams did in those days was wrote for everyone unless you couldn't come up with something or wanted to keep a song for yourself and it was a bit too good to give away. In our minds there was a very vague formula and we could do it quite easily. I read something just this morning where Geoff Emerick was saying that he and George Martin could sit and not say anything throughout a whole session and people would think they were very weird.
It was just that they read each other. You sometimes would pull one out of the drawer and say, "Maybe this would be good for you". It was quite pessimistic. And in the end Kenny Lynch did it. Kenny used to come out on tour with us and he used to sing it, that Paul McCartney interview was one of his minor hits. ML: With Bert Weedon on guitar as a session man! PM: Was he? I know I've never been so surprised in ms life as to find a chit in Abbey Road for Ivor Mairants, a session fee chit.
I mean, he was a God to us. He had shops! You don't do sessions when you've got shops do you?! And I saw the MU form, signed by Ivor. He'd obviously just done a session. ML: I'd like to throw one or two song titles at you and perhaps you could give me quick two-sentence answers about the writing and recording of them.
PM: You don't get couple-of-sentence answers with me! We sagged off school and wrote it on guitars and a little bit on the piano that I had there. I remember I had the lyrics "just 17 never been a beauty queen" which John it was one of the first times he ever went "What? Must change that That's really the major recollection.
To us it was just an opening line that, but you see I told you you wouldn't get two sentences! We were quite conscious of that. We wrote for our market. We were aware that that happened when you sang to an audience. Personal pronouns. We always used to do that. It was always something personal. ML: P. I Love You' PM: Exactly. We were in a rut, obviously! ML: Why did you open the song with that "one, two, three, four! You didn't open any other songs with a count-in. PM: There always was a count-in on the front of songs but I think that one was particularly spirited so we thought " We'll keep that one, sounds good".
PM: I can't remember much about that one. That's one of them. ML: I suppose that when you've had about compositions published you can't remember them all.
PM: That's what I mean. I remember the name of the tune. Some of them You just knew that you had a song that would work, a good melody. It was a bit Shirelles. I always consider that as your first major, really major song.
PM: You know, that was on an album and the first person I heard single it out was the disc-jockey David Jacobs, who was pretty hip. Still is actually he knows pop music. He was always quite an expert, for one of the older generation.
I remember him singling it out on his radio show and I think from that moment it did become a big favourite for people. And I heard it differently.
Till then I'd heard it as an album track. But when he played it on his radio show, and it went over to however many million people on network BBC, it was like "Woh! That is a good one". I always liked it. I think it was the first song where I wrote the words without the tune. I wrote the words on the tour bus during our tour with Roy Orbison. We did a lot of writing then. Then, when we got to the gig, I found a piano and worked out the music.
That was the first time that I'd actually written that way. Let's face it, if you were in my position, which was working with John Lennon, who was, we know, a great, great man And that's what it was.
I wasn't just talking about it I was living it. I was actually working with the great John Lennon. And, similarly, he with me.
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[PDF Download] Recording the Beatles : The Studio Equipment and Techniques Used to Create Their
From these sources, in combination with interviews with Paul McCartney and the producers, engineers, session musicians, and others who were in the studio with the band, Lewisohn has created a thorough, fascinating, and definitive record of the Beatles at work. We'd also use the house as a base.
Session drummer Andy White, in a photograph taken circa I hear Like this presentation? And when he joined the Beatles we said "Ah, what about drum solos then?