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An NPR Best Book of the Year • Winner of the Virgil Thomson Award for Outstanding Music Criticism “This is the best book about the Beatles ever written” —Mashable Rob Sheffield, the Rolling Stone columnist and bestselling author of Love Is a Mix Tape offers an entertaining, unconventional look at the most popular band in history, the Beatles, exploring what they mean today and why they still matter so intensely to a generation that has never known a world without them. Dreaming the Beatles is not another biography of the Beatles, or a song-by-song analysis of the best of John and Paul. It isn’t another exposé about how they broke up. It isn’t a history of their gigs or their gear. It is a collection of essays telling the story of what this ubiquitous band means to a generation who grew up with the Beatles music on their parents’ stereos and their faces on T-shirts. What do the Beatles mean today? Why are they more famous and beloved now than ever? And why do they still matter so much to us, nearly fifty years after they broke up? As he did in his previous books, Love is a Mix Tape, Talking to Girls About Duran Duran, and Turn Around Bright Eyes, Sheffield focuses on the emotional connections we make to music. This time, he focuses on the biggest pop culture phenomenon of all time—The Beatles. In his singular voice, he explores what the Beatles mean today, to fans who have learned to love them on their own terms and not just for the sake of nostalgia. Dreaming the Beatles tells the story of how four lads from Liverpool became the world’s biggest pop group, then broke up—but then somehow just kept getting bigger. At this point, their music doesn’t belong to the past—it belongs to right now. This book is a celebration of that music, showing why the Beatles remain the world’s favorite thing—and how they invented the future we’re all living in today.
An all-access, firsthand account of the life and music of one of history's most beloved bands--from an original mastering engineer at Abbey Road Geoff Emerick became an assistant engineer at the legendary Abbey Road Studios in 1962 at age fifteen, and was present as a new band called the Beatles recorded their first songs. He later worked with the Beatles as they recorded their singles “She Loves You” and “I Want to Hold Your Hand,” the songs that would propel them to international superstardom. In 1964 he would witness the transformation of this young and playful group from Liverpool into professional, polished musicians as they put to tape classic songs such as “Eight Days A Week” and “I Feel Fine.” Then, in 1966, at age nineteen, Geoff Emerick became the Beatles’ chief engineer, the man responsible for their distinctive sound as they recorded the classic album Revolver, in which they pioneered innovative recording techniques that changed the course of rock history. Emerick would also engineer the monumental Sgt. Pepper and Abbey Road albums, considered by many the greatest rock recordings of all time. In Here, There and Everywhere he reveals the creative process of the band in the studio, and describes how he achieved the sounds on their most famous songs. Emerick also brings to light the personal dynamics of the band, from the relentless (and increasingly mean-spirited) competition between Lennon and McCartney to the infighting and frustration that eventually brought a bitter end to the greatest rock band the world has ever known.
A leading rock music critic offers a critical study of the Beatles' inventive second album--which included such hits as "Roll Over Beethoven," "Long Tall Sally," and "You Really Got a Hold on Me"--offering a provocative look at the music industry of the era in both Britain and the U.S., the dynamics of the group, and the seminal influence of this important album.
"Ken McNab's in-depth look at The Beatles' acrimonious final year is a detailed account of the breakup featuring the perspectives of all four band members and their roles. A must to add to the collection of Beatles fans, And In the End is full of fascinating information available for the first time. McNab reconstructs for the first time the seismic events of 1969, when The Beatles reached new highs of creativity and new lows of the internal strife that would destroy them. Between the pressure of being filmed during rehearsals and writing sessions for the documentary Get Back, their company Apple Corps facing bankruptcy, Lennon's heroin use, and musical disagreements, the group was arguing more than ever before and their formerly close friendship began to disintegrate. In the midst of this rancour, however, emerged the disharmony of Let It Be and the ragged genius of Abbey Road, their incredible farewell love letter to the world"--
How the hell did four guys, from a city on the Northwest Coast of England, come to rule the world? I can not imagine what life would have been like without them. Can you? How would the current economic state or all of the sorrows of the world compare to going through life never hearing "She Loves You" or "A Day in the Life"? Instead, we were able to live vicariously through a story that would make a great novel (if someone ever chose to write it as such). It has everything you need: desire, early failures, bleak moments, heartbreak, love affairs, dragon women and helpless maidens, martyrs, incredible characters-some dark and some light- coming and going just when they were most needed, insecurity and loyalty, triumph against all odds, the world held in the sway of four men who changed it all, a breakup that was viewed with more despair than Charles and Diana and-finally-four figures, four separate Phoenixes, stumbling to their feet and learning for the first time how to stand up without their three mates at their side. The intention of this book is to capture some of that story with a focus on the evolution of the bass playing of Paul McCartney. The book's genesis was a website devoted to his bass guitar work (still online at www.alstrand.com) but it became clear that any discussion of one aspect of the Beatles leaves the rest of the story wanting. For example, to talk only about McCartney's most famous bass line-the one in "Come Together"-ignores the innovative drumming of Ringo Starr, the swampiness of Paul's electric piano, the quality of John Lennon's voice, and the mere fact that he is saying "shoot me" at the start of each instrumental riff. To talk about one thing, you have to talk about it all. Writing this book, I soon realized, was like riding on an emotional roller coaster. Pull out an old Beatles' chestnut and listen closely to it with the intention of explaining it to someone else and you'll see what I mean. In my case, maybe something about the structure of the arrangement would strike me as brilliant and I'd grapple for words to describe it. Words that did not make me sound like a wide-eyed, throat-gurgling, gob-smacked fanatic. Which I am, but I do try to hide it in these pages. The songs that I had the most fun with were "She Loves You," "A Day in the Life," "Hey Jude," "Come Together" and "I Want You (She's So Heavy)." Each song presents itself as a well-orchestrated masterpiece, complete in every way. To me, the Beatles were such an incredible team-such a tight unit-that whatever an individual did had an impact on the larger unit. In the early days, the group would generally run their songs through what I call the Beatles Machine. A song would go in with chords and melody and come out a full-fledged Beatles song.
A legendary record producer and performer takes readers on an alphabetical journey of insights into the music of the Beatles and individual reminiscences of John, Paul, George, and Ringo. Peter Asher met the Beatles in the spring of 1963, the start of a lifelong association with the band and its members. He had a front-row seat as they elevated pop music into an art form, and he was present at the creation of some of the most iconic music of our times. Asher is also a talented musician in his own right, with a great ear for what was new and fresh. Once, when Paul McCartney wrote a song that John Lennon didn’t think was right for the Beatles, Asher asked if he could record it. “A World Without Love” became a global No. 1 hit for his duo, Peter & Gordon. A few years later Asher was asked by Paul McCartney to help start Apple Records; the first artist Asher discovered and signed up was a young American singer-songwriter named James Taylor. Before long he would be not only managing and producing Taylor but also (having left Apple and moved to Los Angeles) working with Linda Ronstadt, Neil Diamond, Robin Williams, Joni Mitchell, and Cher, among others. The Beatles from A to Zed grows out of his popular radio program “From Me to You” on SiriusXM's The Beatles Channel, where he shares memories and insights about the Fab Four and their music. Here he weaves his reflections into a whimsical alphabetical journey that focuses not only on songs whose titles start with each letter, but also on recurrent themes in the Beatles’ music, the instruments they played, the innovations they pioneered, the artists who influenced them, the key people in their lives, and the cultural events of the time. Few can match Peter Asher for his fresh and personal perspective on the Beatles. And no one is a more congenial and entertaining guide to their music.
Peter Bogdanovich, known primarily as a director, film historian and critic, has been working with professional actors all his life. He started out as an actor (he debuted on the stage in his sixth-grade production of Finian’s Rainbow); he watched actors work (he went to the theater every week from the age of thirteen and saw every important show on, or off, Broadway for the next decade); he studied acting, starting at sixteen, with Stella Adler (his work with her became the foundation for all he would ever do as an actor and a director). Now, in his new book, Who the Hell’s in It, Bogdanovich draws upon a lifetime of experience, observation and understanding of the art to write about the actors he came to know along the way; actors he admired from afar; actors he worked with, directed, befriended. Among them: Lauren Bacall, Humphrey Bogart, James Cagney, John Cassavetes, Charlie Chaplin, Montgomery Clift, Marlene Dietrich, Henry Fonda, Ben Gazzara, Audrey Hepburn, Boris Karloff, Dean Martin, Marilyn Monroe, River Phoenix, Sidney Poitier, Frank Sinatra, and James Stewart. Bogdanovich captures—in their words and his—their work, their individual styles, what made them who they were, what gave them their appeal and why they’ve continued to be America’s iconic actors. On Lillian Gish: “the first virgin hearth goddess of the screen . . . a valiant and courageous symbol of fortitude and love through all distress.” On Marlon Brando: “He challenged himself never to be the same from picture to picture, refusing to become the kind of film star the studio system had invented and thrived upon—the recognizable human commodity each new film was built around . . . The funny thing is that Brando’s charismatic screen persona was vividly apparent despite the multiplicity of his guises . . . Brando always remains recognizable, a star-actor in spite of himself. ” Jerry Lewis to Bogdanovich on the first laugh Lewis ever got onstage: “I was five years old. My mom and dad had a tux made—I worked in the borscht circuit with them—and I came out and I sang, ‘Brother, Can You Spare a Dime?’ the big hit at the time . . . It was 1931, and I stopped the show—naturally—a five-year-old in a tuxedo is not going to stop the show? And I took a bow and my foot slipped and hit one of the floodlights and it exploded and the smoke and the sound scared me so I started to cry. The audience laughed—they were hysterical . . . So I knew I had to get the rest of my laughs the rest of my life, breaking, sitting, falling, spinning.” John Wayne to Bogdanovich, on the early years of Wayne’s career when he was working as a prop man: “Well, I’ve naturally studied John Ford professionally as well as loving the man. Ever since the first time I walked down his set as a goose-herder in 1927. They needed somebody from the prop department to keep the geese from getting under a fake hill they had for Mother Machree at Fox. I’d been hired because Tom Mix wanted a box seat for the USC football games, and so they promised jobs to Don Williams and myself and a couple of the players. They buried us over in the properties department, and Mr. Ford’s need for a goose-herder just seemed to fit my pistol.” These twenty-six portraits and conversations are unsurpassed in their evocation of a certain kind of great movie star that has vanished. Bogdanovich’s book is a celebration and a farewell.
The Beatles, the most popular, influential, and important band of all time, have been the subject of countless books of biography, photography, analysis, history, and conjecture. But this long and winding road has produced nothing like Baby You're a Rich Man, the first book devoted to the cascade of legal actions engulfing the band, from the earliest days of the loveable mop-heads to their present prickly twilight of cultural sainthood. Part Beatles history, part legal thriller, Baby You're a Rich Man begins in the era when manager Brian Epstein opened the Pandora's box of rock 'n' roll merchandising, making a hash of the band's licensing and inviting multiple lawsuits in the United States and the United Kingdom. The band's long breakup period, from 1969 to 1971, provides a backdrop to the Machiavellian grasping of new manager Allen Klein, who unleashed a blizzard of suits and legal motions to take control of the band, their music, and Apple Records. Unsavory mob associate Morris Levy first sued John Lennon for copyright infringement over "Come Together," then sued him again for not making a record for him. Phil Spector, hired to record a Lennon solo album, walked off with the master tapes and held them for a king's ransom. And from 1972 to 1975, Lennon was the target of a deportation campaign personally spearheaded by key aides of President Nixon (caught on tape with a drug-addled Elvis Presley) that wound endlessly through the courts. In Baby You're a Rich Man, Stan Soocher ties the Beatles' ongoing legal troubles to some of their most enduring songs. What emerges is a stirring portrait of immense creative talent thriving under the pressures of ill will, harassment, and greed. Praise for They Fought the Law: Rock Music Goes to Court "Stan Soocher not only ably translates the legalese but makes both the plaintiffs and defendants engrossingly human. Mandatory reading for every artist who tends to skip his contract's fine print."-Entertainment Weekly
A deep, personal loss in his childhood sent Reggie Harper down an obsessive, taxing path to either become the best detective the state of New York ever saw, or die trying. But raw intensity wears down any soul, no matter how hardened. Eventually, they need anchors to keep them grounded in the real world. They need love, and Reggie is no exception. Enter journalism student Maryanne Hillard.