• Complain

Fender Leo - The birth of loud: Leo Fender, Les Paul, and the guitar-pioneering rivalry that shaped rock n roll

Here you can read online Fender Leo - The birth of loud: Leo Fender, Les Paul, and the guitar-pioneering rivalry that shaped rock n roll full text of the book (entire story) in english for free. Download pdf and epub, get meaning, cover and reviews about this ebook. City: United States, year: 2019, publisher: Scribner, genre: Non-fiction. Description of the work, (preface) as well as reviews are available. Best literature library LitArk.com created for fans of good reading and offers a wide selection of genres:

Romance novel Science fiction Adventure Detective Science History Home and family Prose Art Politics Computer Non-fiction Religion Business Children Humor

Choose a favorite category and find really read worthwhile books. Enjoy immersion in the world of imagination, feel the emotions of the characters or learn something new for yourself, make an fascinating discovery.

No cover
  • Book:
    The birth of loud: Leo Fender, Les Paul, and the guitar-pioneering rivalry that shaped rock n roll
  • Author:
  • Publisher:
    Scribner
  • Genre:
  • Year:
    2019
  • City:
    United States
  • Rating:
    3 / 5
  • Favourites:
    Add to favourites
  • Your mark:
    • 60
    • 1
    • 2
    • 3
    • 4
    • 5

The birth of loud: Leo Fender, Les Paul, and the guitar-pioneering rivalry that shaped rock n roll: summary, description and annotation

We offer to read an annotation, description, summary or preface (depends on what the author of the book "The birth of loud: Leo Fender, Les Paul, and the guitar-pioneering rivalry that shaped rock n roll" wrote himself). If you haven't found the necessary information about the book — write in the comments, we will try to find it.

The electric guitar spelled money -- Hes the reason you can hear us tonight -- Thats not Les Paul -- Im gonna do something about it -- You say you can make anything. Right? -- All hell broke loose -- A newfangled guitar -- Point it toward my belly button, so I can play -- We perform like were singing in the bathtub -- If Leo misses the boat now I will never forgive him -- The time when it will be delivered is indefinite -- Guess I shouldnt have fought you so long about releasing this -- If you dont do something, Fender is going to rule the world -- Like a surging undertow -- Dim lights, thick smoke, and loud, loud music -- Les has actually made a new instrument! -- He doesnt like to get involved with things that are unpleasant -- Why dont you ask for the moon? -- Lets try this again -- We had no idea that Maybellene was recorded by a niggra man -- Two donkeys on each end of a rope, pulling in opposite directions -- If were going over well, our guitars weigh less than a feather -- I realized it was all over for musicians like me -- Why do you have to play so loud? -- You wont part with yours either -- I just dont understand him at all -- Where you going, Leo? -- Prone to loose talk -- That man just done wiped you up -- I cant believe I have to play this shit -- Its a Rickenbacker -- Id broken my cardinal rule -- He is clearly not growth-minded -- Which is worth more? -- I thought Dylan was abandoning us -- Give God what he wants -- It is a giant step -- I dont have my own guitar -- From completely different angles -- Here was the real thing -- The guitars nowadays play just as good -- You finally heard what that song was about.;A riveting saga in the history of rock n roll: the decades-long rivalry between the two men who innovated the electric guitars amplified sound--Leo Fender and Les Paul--and their intense competition to convince rock stars like the Beatles, Jimi Hendrix, and Eric Clapton to play the instruments they built.;In the years after World War II, music was evolving from big-band jazz into the primordial elements of rock n roll--and these louder styles demanded revolutionary instruments. When Leo Fenders tiny firm marketed the first solid-body electric guitar, the Esquire, musicians immediately saw its appeal. Not to be out-maneuvered, Gibson, the largest guitar manufacturer, raced to build a competitive product. The company designed an axe that would make Fenders Esquire look cheap and convinced Les Paul--whose endorsement Leo Fender had sought--to put his name on it. Thus was born the guitar worlds most heated rivalry: Gibson versus Fender, Les versus Leo. While Fender was a quiet, half-blind, self-taught radio repairman from rural Orange County, Paul was a brilliant but egomaniacal pop star and guitarist who spent years toying with new musical technologies. Their contest turned into an arms race as the most inventive musicians of the 1950s and 1960s--including bluesman Muddy Waters, rocker Buddy Holly, the Beatles, Bob Dylan, and Eric Clapton--adopted one makers guitar or another. By the time Jimi Hendrix played The Star-Spangled Banner at Woodstock in 1969 on his Fender Stratocaster, it was clear that electric instruments--Fender or Gibson--had launched music into a radical new age, empowering artists with a vibrancy and volume never before attainable.--Amazon.com.

Fender Leo: author's other books


Who wrote The birth of loud: Leo Fender, Les Paul, and the guitar-pioneering rivalry that shaped rock n roll? Find out the surname, the name of the author of the book and a list of all author's works by series.

The birth of loud: Leo Fender, Les Paul, and the guitar-pioneering rivalry that shaped rock n roll — read online for free the complete book (whole text) full work

Below is the text of the book, divided by pages. System saving the place of the last page read, allows you to conveniently read the book "The birth of loud: Leo Fender, Les Paul, and the guitar-pioneering rivalry that shaped rock n roll" online for free, without having to search again every time where you left off. Put a bookmark, and you can go to the page where you finished reading at any time.

Light

Font size:

Reset

Interval:

Bookmark:

Make

Thank you for downloading this Simon & Schuster ebook.


Get a FREE ebook when you join our mailing list. Plus, get updates on new releases, deals, recommended reads, and more from Simon & Schuster. Click below to sign up and see terms and conditions.

CLICK HERE TO SIGN UP

Already a subscriber? Provide your email again so we can register this ebook and send you more of what you like to read. You will continue to receive exclusive offers in your inbox.

To my parents who gave the gifts of love writing and music CONTENTS An - photo 1

To my parents, who gave the gifts of love, writing, and music.

CONTENTS
An if ya listen youll hear a movin an a sneakin an a rustlin anan a - photo 2

An if ya listen, youll hear a movin, an a sneakin, an a rustlin, anan a reslessness. Theys stuff goin on that the folks doin it dont know nothin aboutyet. Theys gonna come somepin outa all these folks goin wesouta all their farms lef lonely. Theys comin a thing thats gonna change the whole country.

JOHN STEINBECK, THE GRAPES OF WRATH , 1939

PROLOGUE
SANTA MONICA 1964 The screams came in waves hysterical and elated punctuated - photo 3

SANTA MONICA, 1964

The screams came in waves, hysterical and elated, punctuated by applause. Then the camera found them: five men in matching striped shirts, teetering with nerves, grinning like children. The Beach Boys. A clap on the snare drum sent the song rumbling to life, and the players at the stages front tapped their feet to stay in time. Punches from the drum kit underpinned a sheen of male voices in harmony. But fighting for prominence was another noisea throaty, splattering sonic current.

Curious instruments hung over the striped shoulders of the men in front. Two of the instruments were painted white, with thin bodies and voluptuous curves that suggested spaceships, or amoebae, or the human torso. Behind their players sat cream-colored cabinets the size of refrigerators, massive speakers barely visible inside, components in a new system of noisemaking. These sleek guitars transformed single notes and chords into flows of electrons, while the amplifiers converted those electrons into wild new tonestones that came out piercingly human despite their electric hue.

There was no piano, no saxophone or trumpet, no bandleader, no orchestra. Besides their drums and voices, the Beach Boys wielded just these bloblike guitars, each dependent on electricity, each able to produce ear-piercing quantities of sound, and nearly all bearing the name Fender . Their amplified blare seemed to encourage the shrieks of fans buffeting the stage, their bodies swaying to the thrumming joys of Surfin USA.

When this scene played in American movie theaters just after Christmas 1964, it was a vision of the future. It was part of a filmed rock n roll concertthe very firstthat also showed the Rolling Stones seething and strutting, and James Brown pulling off terpsichorean heroics unlike anything most of the American public had yet seen. The Teenage Awards Music International Show looked like one more entry in a procession of frivolous teen movies, but it arrived with the shock of the new. It was a multiracial assemblage of the days most famous pop stars, captured on film alongside bikini-clad go-go dancers and howling youths. Movie critics mostly sniffed. Adults, unaware of the differences between these numerous young groups, view the combined efforts as fairly monotonous, went a typical assessment. But a new order was establishing itself.

One of its precepts was racial equality, or at least the sincere pursuit of such. It was a celebration that both targeted and was beholden to the American teenager. And it prized music played on electric instruments that gave individual musicians a vast new sonic paletteand volume levelwith which to express themselves.

Only fifteen years earlier, this scene would have been unrecognizable. Popular music had been the domain of dedicated artisans, trained pros in tuxedos who read notes on paper and sat on bandstands in disciplined regiments, led by a big name in a bow tie. Crooners like Bing Crosby acted out songs written for them by others, and sang for adults, not young people. Nearly everyone who joined them on the pop charts had white skin.

But in the boom years after World War II, teenagers had wrested control of the market for pop music, and many lacked their parents racial prejudice. Singers like Chuck Berry and Bo Diddley, and later Marvin Gaye and the Supremes, rose onto charts once ruled by whites. These cultural changes were accelerated by a complementary revolution in the technology of music-making. By the night The T.A.M.I. Show was filmed in 1964, anyone with the right equipment could achieve volumes that would reach hundreds or thousands of onlookers. The new rulers of music could manipulate electric guitars and amps to produce a universe of evocative or alien new sounds.

One company had done more than any other to usher in the technology that was changing listeners aural experiences. One company had made electric guitars into ubiquitous leisure accessories, by supplying cheap, sturdy instruments to amateurs and professionals alike. This firm was the first in its industry to align itself with the tastes of young people, among the first to paint guitars bright red and later metal-flake blue and purple, first to give its models sexy monikers like the Stratocaster and the Jaguar.

Competitors had long mocked the creations of the Fender Electric Instrument Company, but this Southern California upstart had an asset unlike any othera self-taught tinkerer whose modesty was utterly at odds with the brash characters who used his tools. Clad in perpetually drab workmens clothes, preferring to spend most of his waking hours designing and building in his lab, Clarence Leo Fender toiled endlessly to perfect the tools that ushered in pop musics electric revolution, yet he couldnt play a single instrument himself. Instead, he trusted musicians, whom he loved, to tell him what they wanted. In the waning days of World War II, Leo Fender had started building guitars and amplifiers in the back of his radio repair shop. By that night in 1964, the company hed built dominated the burgeoning market for electric instruments.

At least, for the moment.

Showing off their striped, short-sleeve shirts, the Beach Boys appeared clean-cut and respectable, apparently (if not actually) innocent young men. To close out The T.A.M.I. Show , a quintet of Brits arrived wearing modish dark suits and expressions of bemused insouciance, even outright hostility. The lead singers dark hair fell in curls down to his collar as he prowled the stage, thick lips pressed up against the microphone, hunting and taunting his young quarry. To his left, a craggy-faced guitarist beat on an unfamiliar instrument. That small, solid-bodied guitar responded with snarls and growls, a thick, surging sound that couldnt have been more different from the thin rays of light that had emanated from the Beach Boys Fenders.

The earlier act embodied rock n roll life as a teen idyll, a carefree jaunt in which sex was mentioned only euphemistically, and hardly ever as a source of conflict. Minutes later, the Rolling Stones made rock into a carnal fantasy, a dim mlange of ego and lust, betrayal and satisfaction. Already labeled rock n rolls bad boys, the five young Brits embraced the role in performance and offstage, viewing the Beach Boysanother band of white men using electric guitars to play music first created by black menas entrants in a completely different competition.

Next page
Light

Font size:

Reset

Interval:

Bookmark:

Make

Similar books «The birth of loud: Leo Fender, Les Paul, and the guitar-pioneering rivalry that shaped rock n roll»

Look at similar books to The birth of loud: Leo Fender, Les Paul, and the guitar-pioneering rivalry that shaped rock n roll. We have selected literature similar in name and meaning in the hope of providing readers with more options to find new, interesting, not yet read works.


Reviews about «The birth of loud: Leo Fender, Les Paul, and the guitar-pioneering rivalry that shaped rock n roll»

Discussion, reviews of the book The birth of loud: Leo Fender, Les Paul, and the guitar-pioneering rivalry that shaped rock n roll and just readers' own opinions. Leave your comments, write what you think about the work, its meaning or the main characters. Specify what exactly you liked and what you didn't like, and why you think so.