Posts Tagged ‘Recording Studio 1960s’

1960s music recording studio

LISTEN_April 6 to 16_1966_Beatles-Velvet Und-Etc_6:30

April  6 through 16, 1966.

New chief engineer Geoff Emerick  puts John Lennon’s microphone through a rotating Leslie speaker designed for Hammond organ, to give it a distant, swirling effect to make him sound like “the Dalai Lama on a mountaintop,” and George’s tamboura and Paul’s tape-loop experimentation combine to create Tomorrow Never Knows. Brian Wilson  finishes vocals for three songs on Pet SoundsGod On Knows, Wouldn’t Be Nice, and I Just Wasn’t Made for These Times, and the album is complete.  Paul McCartney toys with Got to Get You Into My Life.

In New York, Lou Reed has his guitar strings all tuned to the same pitch, and John Cale is bowing a harsh viola he has strung with guitar and mandolin strings, on the song Venus in Furs as the Velvet Underground record tracks for their first album with Nico.

Introspection, mysticism, sex, drugs and rock and roll…hear the highlights in this audio episode.

LISTEN_Late-February-1966_Dylan_James-Brown_Brian_5:18

My 60-second version of Bob Dylan’s quick evolution, leads us to February 1966 with Bob recording cuts for Blonde on Blonde in Nashville, after giving up in NYC.  James Brown has gone the other way, recording in New York the same day. You gotta love lyrics like:  “It’s a man’s world, but it would be nothing without a woman or a girl.”  (you have to be careful to cover all age groups and demographics obviously).

And Brian Wilson finally lets his bandmates actually play on a backing track for Pet Sounds. Hear it here.

Tuesday, January 18th, 1966…and subsequent January recording sessions.

1960s music recording studioLISTEN_January 18-31 1966-Pet Sounds Session Highlights   5:05

Brian Wilson is back in the studio after the holidays to accelerate sessions for the Pet Sounds project. He departs even further from typical pop-rock instrumentation on “Wouldn’t it be Nice,” employing two accordion players, two guitarists,  both acoustic and electric bass, two pianos, low baritone sax, and timpani.  Veteran session drummer Hal Blaine has trouble with the intro.

Brian uses plucked piano strings on “You Still Believe in Me.”  And the month ends with Brian’s personal “Caroline No” being built in the studio.  Listen to highlights of it all, here.

1960s music recording studio LISTEN_Late-December-1965_4:27

Last episode for 1965.  The Byrds break from their jangley folk-rock mode and record an early version of the terse “Eight Miles High.” The same afternoon (Dec. 22),  Brian Wilson is across town in LA. tweaking the gorgeous track for “Sloop John B” and beginning to construct the lavish vocals.

Developments during 1965 foreshadowed rock-pop innovations to come: Minimalism is born as Steve Reich builds his first tape-loop piece, a technique that will soon influence the Beatles, Pink Floyd and others.

And a brief preview of what’s soon to come.

Happy Holidays everybody.

45 years ago, early December 1965.

First recording sessions by The 13th Floor Elevators, a “psychedelic” music pioneering band … and by a young Grace Slick with her first band, Great Society. Poor folk singer Paul Simon is coaxed into electrifying and re-recording his  “I Am a Rock.”

And Brian Wilson is deeply challenged by the release of the Beatle’s Rubber Soul.

1960s music recording studio

LISTEN_Early-December-1965-in-the-studios_2:40

First two weeks of November, 1965

On Monday, November 1st, Brian Wilson officially begins recording tracks for what would become his most influential album, Pet Sounds. You’ll hear some of the first fully-fleshed-out backing track for a song that never made it onto the original album.  A half day later,  the Beatles are recording Michelle in London, in the final stages of Rubber Soul work.

Later, Brian starts constructing a “James Bond movie soundtrack” idea that would become the instrumental title track of Pet Sounds.

1960s music recording studio

LISTEN_Early-November-1965-in-the-studios_6:47

Week of October 18, 1965

The Beatles continue work on Rubber Soul;  George struggles with the sitar on John’s Norwegian Wood. In My Life is underway.  In LA, Brian Wilson finishes his last pre-Pet Sounds single, The Little Girl I Once Knew

And I preview what’s in rehearsal and just around the corner in New York.

1960s music recording studio

LISTEN: Week of October 18, 1965 in the Studios – 4:40

 

1960s music recording studio


LISTEN: Audio Eclecticism Introduction; 3:09

As the 1960s came to a close, the recording studio had become a free-form playground for audio eclecticism for pop and rock as well as experimental music. Funk and Jazz and vocal music collided with the avant-garde, and with each other.

1966 and 1967 were the equivalent of evolution’s “Cambrian Explosion” in terms of recording and arranging techniques, and new music style “phyla.”  In this audioblog, you’ll hear what was going on in the studio, week by week, month by month, 45 years ago.

Our anchor is the creative competition between Brian Wilson of the Beach Boys and John Lennon and Paul McCartney working with producer George Martin. But you’ll also be hearing tracks being developed by Zappa’s Mothers of Invention, the Byrds and many others.

In this audioblog, a series of podcasts, we’ll explore what was happening simultaneously in a given week, beginning in October 1965. You’ll hear exactly what these pioneers were working on at the same time.

The journey begins, the week of October 18th.

Cosmic results going on in the studios back then