From the days when the staff wore white coats, through the rock 'n' roll years to today's big stars, Abbey Road's fascinating history is brought to life for everyone who's ever wondered what goes on behind the graffiti-covered walls. This work includes a foreword by Sir Paul McCartney, and a preface by Sir George Martin.
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3 of 4 people found the following review helpful
By A Customer
Format:Paperback
This book is a very in depth view of the history of England's (if not the world's!) most famous recording studio. Lots of pictures and information from people who were there! A definite read for anyone who is interested in recording studios and the Beatles!
1 of 2 people found the following review helpful
By a.m.hardwick
Format:Paperback|Amazon Verified Purchase
A book worth having but still a big disappointment.!
Nice pictures (the few colour ones are pointless) with an easy to read style.
It could be a golden opportunity for a major rewrite by Peter Vince now that he has retired a few years ago.
Much of it is simply style over substance with loads of interesting tittle-tattle ie people but zero technical data.
No layout or diagrams or equipment (microphones or mixing desks etc) of all 4 studios by the decade. Virtually no costs, costings, labour charges and so on.
Many Beatles 'fairy' stories remain unchallenged until ex-EMI Abbey Road engineer Malcolm Addey (now based in New York) publishes his autobiography very soon.
For example, Jet Harris's Vox AC30 wasn't good enough so they used one Tannoy speaker and a quad amp as a bass amplifier for his Fender Precision bass guitar during a studio 2 session for the Shadows. The Shadows were the first band to record music during a night session back in 1960. And Bruce Welch brought his then fiance Olivia Newton-John (a pioneer WAG.?) into the studios to meet his mate Paul MacCartney in 1967 several months before John Lennon first brought Yoko Ono into the studios. Plenty more anecdotes in the same ilk.
The only book with any technical data is "That Sound" by Malcolm Addey et al (One copy at the British Library and two copies held by The EMI Abbey Road Studios Library).
Almost no secrets divulged as to how this studio got its mythical sound quality that The Shadows, Cliff Richard and Olivia 'Neutron-Bomb' aka Newton-John plus those omnipresent Beatles and many others obtained during their careers.
The real point is that the building itself is the only real constant with all the sound engineers and other technicians the actual variables who inevitably will come and go over time.
Nice pictures (the few colour ones are pointless) with an easy to read style.
It could be a golden opportunity for a major rewrite by Peter Vince now that he has retired a few years ago.
Much of it is simply style over substance with loads of interesting tittle-tattle ie people but zero technical data.
No layout or diagrams or equipment (microphones or mixing desks etc) of all 4 studios by the decade. Virtually no costs, costings, labour charges and so on.
Many Beatles 'fairy' stories remain unchallenged until ex-EMI Abbey Road engineer Malcolm Addey (now based in New York) publishes his autobiography very soon.
For example, Jet Harris's Vox AC30 wasn't good enough so they used one Tannoy speaker and a quad amp as a bass amplifier for his Fender Precision bass guitar during a studio 2 session for the Shadows. The Shadows were the first band to record music during a night session back in 1960. And Bruce Welch brought his then fiance Olivia Newton-John (a pioneer WAG.?) into the studios to meet his mate Paul MacCartney in 1967 several months before John Lennon first brought Yoko Ono into the studios. Plenty more anecdotes in the same ilk.
The only book with any technical data is "That Sound" by Malcolm Addey et al (One copy at the British Library and two copies held by The EMI Abbey Road Studios Library).
Almost no secrets divulged as to how this studio got its mythical sound quality that The Shadows, Cliff Richard and Olivia 'Neutron-Bomb' aka Newton-John plus those omnipresent Beatles and many others obtained during their careers.
The real point is that the building itself is the only real constant with all the sound engineers and other technicians the actual variables who inevitably will come and go over time.
3 of 6 people found the following review helpful
By A Customer
Format:Paperback
Sorry but I found the book to be a bit boring. There was not enough insight into the actual recording processes and the equipment.
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