Новые книги о "Битлз"

Одна маленькая деталь - на всех этих рукописях и газетах сзади стоит штампик, что это литография :))
Книжка действительно замечательная (c точки зрения оформления по крайней мере), хотя вот новой я бы ее ну никак не назвал :)

Чевой-то переизданий столько навыходило. Переиздали Сэнфорда "Маккартни". Книжка уже в мягком переплете и меньших размеров. С гордой надписью Updated. Как так? Шрифт уменьшили? Фотки вроде те же. Сделали новый Beatles Gear - Revised Edition (оригинал не видел. чем отличаются - не знаю). Боба Спитца переиздали. Ну там хоть обложку кардинально подменили. Magical Mystery Tour Брэмвелла тоже в какой-то новой обработке. Old Gods Almost Dead Стоунз тоже странная какая-то. Народ резвится.

Еще вот такой кирпич появился. В руках пока не вертел, но судя по всему штука сильная

ЗЫ Купил еще и Спайзера Beatles Solo On Apple Records. Сильная штуковина. Только я одного понять не могу - а дальше ему лень писать стало? Чтобы просто Beatles Solo. И дело 75-м годом не ограничивалось

2Standing Stone:
>ЗЫ Купил еще и Спайзера Beatles Solo On Apple
>Records. Сильная штуковина. Только я одного понять
>не могу - а дальше ему лень писать стало? Чтобы
>просто Beatles Solo. И дело 75-м годом не ограничивалось

Просто "Яблоко" в 75 году приказало долго жить!
А у Спайзера обзор только "прижизненных" изданий, а не реанимированных!

Это я писал 25.11:
Вот и Сюрприз!
Ранее многие хотели поиметь книгу, см. картинку.
Теперь это все помещается на один СиDюк


Все Забрал Один Из Модераторов.

Почему не выкладывает?
Д.

Money for Nothing: A History of the Music Video from the Beatles to the White Stripes
Hardcover: 288 pages
Publisher: Continuum International Publishing Group (December 22, 2006)

The Complete Beatles Chronicle (Paperback)
by Mark Lewisohn
Paperback: 365 pages
Publisher: Hamlyn (August 30, 2006)
Language: English
ISBN: 0600610012
Product Dimensions: 11.1 x 9.4 x 1 inches

Такое впечатление, что предыдущая книга -
переиздание этой:
Complete Beatles Chronicle, The (Hardcover)
by Mark Lewisohn
Hardcover: 365 pages
Publisher: Harmony (September 22, 1992)
Language: English
ISBN: 0517581000
Product Dimensions: 1.2 x 9.8 x 11.2 inches
Если есть счачтливый обладатель нового издания - можем сверить...

2Дед_Alex:
>Почему не выкладывает?
К рождеству (западному) все будет покладено.

:)

The Beatles: 10 Years That Shook The World (Paperback)
by DK Publishing

The Beatles: 10 Years that Shook the World is an unrivalled day-by-day account of the band that changed the face of music, by the world's greatest rock writers and key personalities of the era. The book chronicles the private and public events that revolutionized the music world, led to Beatlemania, and culminated in the Beatles' dramatic split. The foreword is written by Brian Wilson of the Beach Boys.

Product Details
Paperback: 464 pages
Publisher: DK ADULT (January 15, 2007)
Language: English
ISBN: 075662620X

McCartney (Paperback)
by Christopher Sandford

From Publishers Weekly
McCartney's success has long affronted rock aesthetes as proof that facile talent and showmanship trump soulfulness, an opinion that will be complicated, but not reversed, by this serviceable biography. Sandford, a music journalist and biographer of Kurt Cobain and other rock stars, considers McCartney the Beatles' true visionary, the driving force behind Sgt. Pepper's Lonely Hearts Club Band and other artistic milestones and a perennially interesting pop innovator throughout his Wings period and recent solo efforts. In contrast, Sandford's unremittingly negative portrait of John Lennon paints the deep one as a musical philistine as well as a morose, spiteful personality, regularly drunk, stoned or strung out on heroin. Nonetheless, McCartney feels far less compelling than his music. He emerges as an ambitious, disciplined artist, a hardheaded businessman and "a genuinely nice, down-to-earth fellow," but his Mozartean gift for melody seems unrooted in any profundity of character. The author has trouble imparting an arc to his story, and the post-Beatles narrative devolves into a busy but aimless routine of record releases, tours, reunion rumors, minor marijuana busts and an ever-shifting kaleidoscope of lawsuits pitting various Beatles against each other and assorted managers, publishers, record companies, memorabilia vendors and copyright violators. Sandford offers more of a comprehensive chronicle than a coherent character study.

Book Description
Between 1962 and 1970, Paul McCartney sold 140 million albums throughout the world: co-authored with John Lennon twenty-six US and UK number one singles: recorded the first rock album (Revolver) and took the whole thing to a pinnacle (Sgt. Pepper's Lonely Hearts Club Band). As a member of the most important rock band ever, Paul McCartney convinced millions of fans to pick up electric guitars and others to denounce him as a degenerate — or worse. He helped usher in the Love Generation, took a personal stance on the "drug problem," and left the world dumbfounded when the Fab Four called it quits in the early seventies. However, to this day McCartney remains one of the most beloved and respected of musicians, and the biggest box office draw in the world.

McCartney is a tale of self-destruction and epic excess, as well as creative genius and brilliant music. The Beatles' bloody infighting, the sex, drugs, and McCartney's extraordinary marriages are revealed here in full. This book remains a celebratory feast for millions of fans, capturing the glorious rush of the best songs and revealing the untold stories behind them.

Product Details
Paperback: 448 pages
Publisher: Carroll & Graf (December 28, 2006)
Language: English
ISBN: 0786718714

Recording The Beatles (Deluxe Edition)

Recording The Beatles (Deluxe Edition)
by Kevin Ryan and Brian Kehew (Curvebender Publishing, 2006).

A magnificently produced 11- by-11-inch hardcover, packaged in a slipcase designed to look like an EMI tape box, this book includes everything you could possibly want to know about the equipment used at the Abbey Road Studios when the Beatles worked there, and a great deal of information about how the group made its classic recordings. Mr. Ryan and Mr. Kehew’s imprint, Curvebender, is named for a piece of equipment described in the book.

Complete Beatles Audio Guide, by Doug Sulpy

The latest in a regularly updated series of bootleg guides, this volume points collectors to the best sources for every circulating (officially or otherwise) Beatles recording. Mr. Sulpy’s imprint, The 910, refers to his quarterly bootleg review magazine, which in turn refers to the Beatles song “One After 909.”

http://dougsulpy.com/dougsulpy.com/Doug%20Sulpy.html

http://www.nytimes.com/2006/12/26/books/26beat.html...2&pagewanted=1&ref=books&oref=slogin


A Book Publisher, Beatlemaniacs? Why Don’t You Do It on Your Own?

Maybe you thought the publishing world had exploited every bit of information about the Beatles, useful and trivial, in the Himalayan stack of books published since the group’s heyday in the 1960s: biographies both straight and gossipy, musical analyses, chronologies, as well as Beatles-theme novels. Guess again. Now, if mainstream publishers reject their work as too specialized, even the most Beatles-obsessed authors are finding audiences for their books by publishing them themselves. But don't even think the phrase 'vanity press.' Many of these self-published books are lavishly produced and packed with original research that makes them invaluable to Beatles scholars and collectors, and some have been startlingly successful through online sales. They range from meticulous descriptions of the Beatles’ recording process to multi-volume examinations of the group’s American releases, to evaluations of unreleased studio and concert recordings now on the bootleg market. Like indie rock bands rebuffed by major record labels, some of the self-published authors tried getting publishing deals before deciding to go it alone. But a growing number are saying: Why bother? Self-publishing, on top of giving the authors all the profits, gives them editorial and design control too, which they feel outweighs the drawback of having to research on their own dime rather than on a publisher’s advance.

“Everything I read seemed to suggest that self-publication would be a good idea,” said John C. Winn, the author of “Way Beyond Compare,” “That Magic Feeling” and “Lifting Latches,” a self-published series that offers annotated source information about all the Beatles’ known audio and video recordings, including interviews. “My books are targeted to a specific audience that I’m able to reach directly. Being a Beatlemaniac, I hung around with other Beatlemaniacs, and I knew where to find them and what they’d be interested in reading about.”

Some authors report surprisingly brisk sales. Published in August, “Recording the Beatles,” a 540-page study of the equipment and techniques used to make the Beatles’ recordings, has sold out its first run of 3,000 copies at $100 apiece. The authors, Kevin Ryan and Brian Kehew, have a second printing on order and plan a less expensive edition in 2007. Mr. Ryan and Mr. Kehew, who both work as producers and engineers, took a decade to research their book, which includes pictures and descriptions of every piece of recording and sound-processing equipment used at the Abbey Road Studios in London, as well as diagrams showing how the Beatles set up for particular recordings, and step-by-step analyses of how the songs were assembled. Bruce Spizer, a lawyer in New Orleans, began his work as a do-it-yourself Beatles author with a study of the fraught legal relationship between EMI, the Beatles’ British record label, and Vee-Jay, which licensed the group’s early recordings. His four sequels to “The Beatles Records on Vee-Jay” include books about the Beatles’ releases in the United States on Capitol and on their own imprint, Apple, each offering reproductions of cover art (including rejected designs), labels (including variations), correspondence and promotional materials. A final installment, “The Beatles Swan Song,” is due in March. He has also published “The Beatles Are Coming!,” about the band’s first visit to America, in February 1964.

All told, Mr. Spizer said, he has sold 37,000 copies of his six books, which have brought in more than $1 million since the first was published in 1998. But more important for Mr. Spizer, the books put him on the radar at EMI and Apple. When they released CDs of the Beatles’ albums in their American configurations (the original CDs follow the British album versions, which have different track sequences), they hired Mr. Spizer as a consultant.

“I could do this full time,” Mr. Spizer said. “But I’m keeping my day job. I like to say that as a tax attorney, I make $210 an hour, and as a Beatles publisher, I make $2.10 an hour.”

The books are part of a growing self-published library of must-haves for anyone fascinated with the Beatles’ music, released and unreleased. Others include Doug Sulpy’s regularly updated “Complete Beatles Audio Guide,” which sorts out the tangled bootleg market, and Chip Madinger and Mark Easter’s “Eight Arms to Hold You,” a catalog of every known live, studio, television and radio recording by the solo Beatles. (Full disclosure: I contributed a foreword, without compensation.) Mr. Madinger is at work, with Scott Raile, on a two-volume study of John Lennon and Yoko Ono’s work together, in which one book is a day-by-day chronology, and the other is a detailed sessionography.

“The goal is to answer any question you might have about their life and work together,” Mr. Madinger said of his Lennon project. One thing these books have in common is that they began as private research projects, not as book ideas, because the authors sought information that was not readily available. In some cases their Beatles research intersected with their day jobs. Mr. Ryan and Mr. Kehew, as musicians and engineers, became fascinated with how the Beatles and their production team created the band’s sound on disc. They began working separately, Mr. Ryan in Houston, Mr. Kehew in Los Angeles in the early 1990s.

“When I started writing and recording my own songs, I tried to make them sound like the Beatles’ records, but I couldn’t do it,” Mr. Ryan said. “So I wanted to know: What were they doing? What were their tools? Writing the book was a good excuse to contact people and ask questions.”

Mr. Ryan began traveling to Britain to interview EMI engineers and quickly learned that Mr. Kehew was covering similar ground. They decided to pool their resources.

“And it was great,” Mr. Ryan said, “because wherever our overlapping research agreed, it was corroboration; and wherever there were discrepancies, we knew we had to look more closely and figure out why.”

Eventually they interviewed just about everyone who worked on the Beatles sessions between 1962 and 1970, with a few notable exceptions: the former Beatles themselves; George Martin, their producer; and Geoff Emerick, their engineer from 1966 to 1969. Mr. Martin and Mr. Emerick have each written books about their work with the group.

“We found that the people who were a real gold mine were the ones who haven’t been asked about this every day of their lives,” Mr. Ryan said. “You’re asking them things they haven’t been asked before, and you’re getting fresh, undiluted responses that haven’t become simplified through constant repetition.”

Ms. Ono was taken with “Recording the Beatles” when she saw it. “Because I was lucky enough to have been there in some of the later sessions,” she wrote in an e-mail message, “I am happy that Kevin Ryan and Brian Kehew have done such a great job. It’s a strong magical and nostalgic trip for me.”

They were able to solve a few mysteries along the way. Collectors have long noted, for example, that the stereo and mono versions of “Help!” have different lead vocal tracks from Lennon. All 12 takes of the song recorded at Abbey Road circulate among collectors, and the vocal on Take 12 is in the stereo version. But the vocal in the mono mix is nowhere among them.

While collecting illustrations for their book, Mr. Ryan and Mr. Kehew found photographs taken during dialogue dubbing sessions for the film “Help!” at C.T.S. Studios in London. Some shots showed Mr. Martin, even though there was no reason he should have attended a dialogue session; others showed the group in a typical singing configuration, with Lennon at one microphone and George Harrison and Paul McCartney sharing another.

Each is holding a sheet of paper that, when magnified and reversed, showed the lyrics of “Help!” Clearly, the group remade the vocals at C.T.S., and because that studio’s equipment was incompatible with EMI’s, the mono version was mixed on the spot and handed over for use on the soundtrack.

“I think it’s a marvelous book; in fact it embarrasses my ‘Recording Sessions’ book,” said Mark Lewisohn, the British author whose 1988 book, “The Beatles Recording Sessions” (Harmony Books), was the first detailed examination of the group’s recording process, and whose other books, “The Beatles Live!” (Henry Holt) and “The Complete Beatles Chronicle” (Harmony), set the standard for serious Beatles research in the 1980s and ’90s.

Mr. Lewisohn has taken the more traditional publishing route. (His current project, a three-volume Beatles biography, is to be published by Crown, starting in 2009.) But he said he understood the attraction of doing it on your own.

“When you self-publish, you have the opportunity to be as indulgent as you like,” he said. “You can go into everything with a thoroughness that a conventional publisher would try to limit for reasons of cost.”

That said, self-publication forces authors to become fluent in budgeting, printing, copyrights, design and other details of getting their books into print.

“We did talk to some publishers, small and large,” Mr. Ryan said, “but I don’t think we were ever convinced that was the way to go. We had strong ideas about how the book should look, and about its content and organization. “Also,” he added, “Brian and I have both dealt personally with record company contracts in the past, and we could see a correlation between the world of publishing and the music world. In both cases, unless you’re going to sell a million copies of your product, you will never make a significant chunk of money. The publisher or record company takes the lion’s share and you get scraps.”

На мой взгляд, несколько печальная статья о перспективах жанра, способного к существованию, как выясняется, в первую очередь за счет автора, выступающего следом в качестве издателя. Одновременно речь идет и о тенденциях, проявившихся после труда Льюисона Recording Sessions - все большая деталировка, все более специальные сведения, в которых массовый читатель заинтересован, понятное дело, быть не может...
Но по крайней мере, еще раз названа дата выхода видимо главной книги о Битлз - ныне готовящегося трехтомника Льюисона - to be published by Crown, starting in 2009.

Первая партия рождественско-новогодних подарков от Деда Алекса и Ко.

+ Andy Babiuk “Beatles Gear” (2001) (все об инструментах и «примочках» битлов)
+ Paul McCartney “Chord Songbook Collection” (2005) (кое-что из сольного (!) Маккартни с аккордами)

Enjoy!
(продолжение следует)

P.S. Деду Алексу наше большое нечеловеческое спасибо!