By Philippe Margotin, Jean-Michel Guesdon
Each album and each track ever published through the Beatles—from "Please Please Me" (U.S. 1963) to "The lengthy and Winding Road" (U.S. 1970)—is dissected, mentioned, and analyzed via tune historians during this energetic and completely illustrated work.
All the Songs delves deep into the historical past and origins of the Beatles and their track. This first-of-its-kind booklet attracts upon a long time of study, as tune historians Margotin and Guesdon recount the conditions that resulted in the composition of each music, the recording strategy, and the tools used.
Here, we study that one in all John Lennon's favourite guitars used to be a 1958 Rickenbacker 325 Capri, which he received for £100 in 1960 in Hamburg, Germany. We additionally study that "Love Me Do," recorded in Abbey highway Studios in September 1962, took 18 takes to get correct, although it used to be one of many first songs John and Paul ever wrote jointly. And the authors show that after the Beatles played "I are looking to carry Your Hand" at the Ed Sullivan exhibit in 1964, John's microphone wasn't grew to become on, so audience heard merely Paul singing.
All the Songs is the must-have Beatles ebook for the any actual Beatles fan.
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Extra resources for All The Songs: The Story Behind Every Beatles Release
Julie Sanders sums up the text accurately as containing a ‘sexually aggressive element . . 60 The fact that the ‘sexually aggressive element’ is portrayed in relation to a character adopted from a Victorian narrative (Walter Hartright from Wilkie Collins’s The Woman in White, 1860), who commits a sexual attack on a character from the same story (Marion Halcombe), is but an example of how contemporary writers use nineteenth-century texts as an imaginative repository. M. Turner, the subject of the biography Hartright has been commissioned to write.
But Mister Pip is a strange hybrid of the postcolonial and the Victorian. At the novel’s end we are left with the question of whether the narrator, in reinventing Dickens and in rereading incessantly his novel Great Expectations as somehow a text personal to her, has been strengthened or conned; what does it really mean for her to have her own ‘Mr Dickens’? For is not that final longing to ‘return home’ little more than nostalgia in its older sense, a kind of cultural sickness that distorts the mind rather than liberating its potential?
Memory, mourning, misfortune: one of the most abiding and recurring plots in neo-Victorianism is that dealing with a misplaced, hidden or disrupted legacy, a ‘missed fortune’. S. Byatt (Possession, 1990) onwards have been preoccupied with the development of broken lineages which their texts set out to recover and heal, in a manner evocative of the relationships drawn up in literary histories, highlighting the connections between the neo-Victorian novel itself and the Victorian precursor text. But this is often not a simple matter of delineating the bonds between the nineteenth-century Urtext and contemporary fiction; it is more complicated because that very relationship reveals multiple perspectives on the present’s concepts of history and also the fundamental sense of mourning exhibited in post-millennial literature that consciously seeks to echo the certainties and formalism of the classic Victorian novel while simultaneously adding new perspectives on both the nineteenth and twenty-first centuries.