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Temples of Sound
 
 

Temples of Sound (Paperback)

by William Clark (Author), Jim Cogan (Author) "Rock and roll may have ruled near the end of the decade, but the 1950s were really the golden age of pop ..." (more)
1.5 out of 5 stars See all reviews (2 customer reviews)

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Product details

  • Paperback: 224 pages
  • Publisher: Chronicle Books (30 May 2003)
  • Language English
  • ISBN-10: 0811833941
  • ISBN-13: 978-0811833943
  • Product Dimensions: 25.1 x 18.8 x 2.3 cm
  • Average Customer Review: 1.5 out of 5 stars See all reviews (2 customer reviews)
  • Amazon.co.uk Sales Rank: 663,023 in Books (See Bestsellers in Books)

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Product Description

Product Description
Temples of Sound tours the greatest American recording studios where much of the 20th century's most important music was preserved for all time. Whether they were cramped or improvised spaces (an appliance shop's back room that was New Orleans' J&M, or the van Gelder studio, a suburban living room that produced legendary John Coltrane and Miles Davis records), or were state-of-the-art spaces from inception (Capitol) these are the studios that recorded the hits of the 20th century. Each chapter focuses on one studio, outlining the history of each in text and images. Readers get a tour of the studios and sessions that recorded hitmakers such as Aretha Franklin, Elvis Presley, Bob Dylan, Otis Redding, John Coltrane, and Miles Davis. The studio photographs capture the energy of the singers, musicians, producers, and engineers hard at work. With anecdotal contributions from the producers, engineers, and artists who made the signature sounds, and rarely seen photographs, Temples of Sound unlocks the secrets behind the places where classic music was born.

About the Author
William Clark is an award-winning writer and producer of films, plays, and books. Jim Cogan has worked in Chicago for fifteen years as a recording engineer and producer. He has recorded some of the most critically acclaimed albums in jazz of the past twenty years.

Inside This Book (Learn More)
First Sentence
Rock and roll may have ruled near the end of the decade, but the 1950s were really the golden age of pop. Read the first page
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Concordance
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Front Cover | Copyright | Table of Contents | Excerpt | Index | Back Cover
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1.5 out of 5 stars (2 customer reviews)
 
 
 
 
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4 of 4 people found the following review helpful:
2.0 out of 5 stars +1/2 -- Fails to deliver on its excellent thematic promise, 12 May 2005
The book's stated theme, "inside the great recording studios," is a tantalizing one. Unfortunately the authors rarely deliver the reader inside the temples themselves. Instead, they spend an inordinate amount of text rehashing introductory material about artists, songs, labels, musical genres and scenes. It's not necessarily uninteresting, but it leaves readers in the lobby, rather than actually taking them into the studio.

Worse, the writing is hugely uneven. The chapter on Atlantic is just that, a chapter on the Atlantic label, with tidbits about the studios they used. The chapter on Columbia, on the other hand, does a nice job of communicating the label's producers' emotional attachment to their studios. The text itself ranges from well-written to hyperbolic ("It is indisputable: there is no one label that had as much impact on the development of rock from the 1950s to the 1970s as Chess.") and overly clever ("Everyone wanted in, and the [Chess] brothers, refashioned as record men, kept adding more pawns to the Chess set.").

What this book does accomplish is a grounding of hit songs at their physical points of creation. It untangles the juxtaposition of Top-40 radio and strips away the music industry's placelessness by re-contextualizing songs with the writers, producers, engineers and musicians who created them. Who knew that Eric Clapton's "Layla" was recorded in Florida, within the same studios that reverberated with Hank Ballard's "The Twist," The Eagles' "Hotel California," and The Bee Gees "How Deep is Your Love?"

The book's photos provide intimate views of studios in use (not to mention, under construction), it's a shame that the accompanying text isn't as fully detailed on the technical and artistic inner-workings of these "temples of sound."

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2 of 2 people found the following review helpful:
1.0 out of 5 stars Missed opportunity for a great subject, 4 Feb 2007
By Michael J. Parker (London, England) - See all my reviews
(REAL NAME)   
This book aspires towards serious historic documentary, but is ultimately disappointing. The authors have adopted a "coffee-table" approach to the subject, couching too much of the language in NME style music journalist hyperbole, alliteration and smart-alec phraseology that really doesn't do justice to an enormously interesting subject.
The best two parts of this book are the introduction by Quincy Jones (who actually has something meaningful to say), and the excellent collection of photographs; though nothing new is presented it is certainly good to have all of these in one book.
While not an out and out tech-head, I would have hoped for a bit more information about this aspect of the recording process; the book would have been a great opportunity to have explored some of the technical innovations in a more journalistic way, as a counterpoint to much of the froth which attempts to pass itself off as socio-cultural insight. The context in which many of these innovations were used for the first time (or in radical ways) in a recording environment is inextricably linked to the creative forces inspiring many of the featured artists, engineers and producers, but this is largey glossed over.
The "interviews" are equally frothy; there is no attempt to reference these in time, so one is forever wondering if these were conducted specifically by the authors for the book, or whether they are sourced from articles elsewhere. Ultimately the weakness of this book is that it falls between two stools, unable to make up its mind whether it is either coffee-table fare or serious documentary. Given the subject, this is a missed opportunity.
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