FREE WHITE BICYCLES: MAKING MUSIC IN THE 1960S PDF Joe Boyd | 288 pages | 01 Jan 2011 | Profile Books Ltd | 9781852424893 | English | London, United Kingdom Books similar to White Bicycles: Making Music in the s Uh-oh, it looks like your Internet Explorer is out of date. For a better shopping experience, please upgrade now. Javascript is not enabled in your browser. Enabling JavaScript in your browser will allow you to experience all the features of our site. Learn how to enable JavaScript on your browser. NOOK Book. When Muddy Waters came to London at the start of the '60s, a kid from Boston called Joe Boyd was his tour manager; when Dylan went electric at the Newport Festival, Joe Boyd was plugging in his guitar; when the summer of love got going, Joe Boyd was running the coolest club in London, the UFO; when a bunch of club regulars called Pink Floyd recorded their first single, Joe Boyd was the producer; when a young songwriter named Nick Drake wanted to give his demo tape to someone, he chose Joe Boyd. More than any previous '60s music autobiography, Joe Boyd's White Bicycles offers the real story of what it was like to be there at the time. His greatest coup is bringing to life the famously elusive figure of Nick Drake - the first time he's been written about by anyone who knew him well. As well as the '60s heavy-hitters, this book also offers wonderfully vivid portraits of a whole host of other musicians: everyone from the great jazzman Coleman Hawkins to the folk diva Sandy Denny, Lonnie Johnson to Eric Clapton, The Incredible String Band to Fairport Convention. Home 1 Books 2. Read an excerpt of this book! Add to Wishlist. Sign in to Purchase Instantly. Explore Now. Buy As Gift. Overview When Muddy Waters came to London at the start of the '60s, a kid from Boston called White Bicycles: Making Music in the 1960s Boyd was his tour manager; when Dylan went electric at the Newport Festival, Joe Boyd was plugging in his guitar; when the summer of love got going, Joe Boyd was running the coolest club in London, the UFO; when a bunch of club regulars called White Bicycles: Making Music in the 1960s Floyd recorded their first single, Joe Boyd was the producer; when a young songwriter named Nick Drake wanted to give his demo tape to someone, he chose Joe Boyd. Product Details About the Author. He produced the documentary 'Jimi Hendrix' and the film 'Scandal'. In he started Hannibal Records and ran it for White Bicycles: Making Music in the 1960s years. Boyd lives in London where he writes for the Guardian and Independent. Record and film producer Joe Boyd was born in Boston in and graduated from Harvard in He produced the documentary Jimi Hendrix and the film Scandal. In he started Hannibal Records and ran it for 20 years. His next book is about World Music. Related Searches. Discover and explore exciting Broadway rhythms while singing and playing these 10 famous showtunes. Each is arranged for unison voices and three optional rhythm band instruments. Use the practice patterns to study and prepare first, sing and play the individual View Product. This unorthodox duo are a major part of the backbone of today's music scene, and This unorthodox duo are a major part of the backbone of today's music scene, and are certainly not in any short supply of creativity. Money for Nothing: A History of the Music. Picture yourself in a darkened movie theater, or soothed by the pleasing glow of a Picture yourself in a darkened movie theater, or soothed by the pleasing glow of a television screen. You are watching as a history of the moving image unfolds onscreen, but this history will not take note of D. Griffith or Consapevoli della delicatezza degli interessi in gioco in questo campo White Bicycles: Making Music in the 1960s convinti che la White's Confession: A Novel. Peters' White Bicycles: Making Music in the 1960s Music Book White. Wide spacing. Easy-to-remove sheets. Includes reference pages on notation, notes and rests, Includes reference pages on notation, notes and rests, major and minor scales, musical terms, and vocal ranges. Twists, turns, and suspects aplenty! My tiny town of Fig Harbor's just recovering from our last My tiny town of Fig Harbor's just recovering from our last tango with murder, only to be faced with yet another—and this time, it sure looks an awful lot like a vampire's on the loose in This is a book to read for pleasure, rather than merely refer to. Combining fast-paced witty White Bicycles: Making Music in the s by Joe Boyd | NOOK Book (eBook) | Barnes & Noble® Writing about music, so the saying goes, is like dancing about architecture. No wonder, then, that most journalists and memoir-writers strike preposterous poses in their attempts to convey music's enigmatic essence. The opening sentence of Joe Boyd's memoir of his early career as a producer raises fears that White Bicycles may be yet another display of heaving hyperbole: "The Sixties began in the summer ofended in the autumn of and peaked just before dawn on Saturday, July 1, With disarming self-confidence and a subtle smile, Boyd argues that his memoir "disprove[s] at least one 60s myth: I was there, and I do remember". Many veterans of that lysergic, dope-foggy decade are ill-equipped to be historians, but Boyd is in remarkable mental shape for someone who nursemaided such psychedelic classics as The Incredible String Band's The Spirits, Dr Strangely Strange's Kip of the Serenes, and Pink Floyd's debut single "Arnold Layne" whose flip-side's original lyrics went "Let's roll another one! A Harvard-educated fellow from Princeton, New Jersey, Boyd co-managed London's White Bicycles: Making Music in the 1960s Club during the flower-power era but, although he occasionally inhaled, he always kept his head - especially when he was in the recording studio control booth. His productions for Fairport Convention and Nick Drake have worn particularly well, eschewing gimmicky effects in favour of a clear, warm, intimate sound. Boyd is a complex man whose motives for becoming a producer are typically mixed. On the one hand he recalls the "eureka moment" when he realised that his intensely philosophical, visceral love for musical sound could be turned into a career - "listening for a living! The Joe Boyd who thrilled to the hippy exoticism of The Incredible String Band as he captured "Cousin Caterpillar" on tape scarcely seems the same man as the one who writes: "Freddy Weintraub's office was my favourite stop on the executive floor at Warner Brothers Studios. Although Boyd has had a successful career by any standards, he details his failures and missed opportunities with some relish. Offered a chance in to buy the publishing rights to the future output of an obscure Swedish songwriting duo namely Abbahe White Bicycles: Making Music in the 1960s interest in the deal and goes off to Hollywood to produce the music for the movie Deliverance instead. The marketing execs suggest releasing "Duelling Banjos" as a single; Boyd humours them but is so convinced the record will sink without trace that he neglects to put his name on it. It White Bicycles: Making Music in the 1960s his only number one hit. Regrets are few, however, for the man who brought Muddy Waters to Britain for the first time, stage-managed Dylan's historic electric gig at Newport indiscovered Nick Drake, produced Fairport Convention's folk- rock masterpiece Liege and Lief one of the most influential LPs ever made and ran a club which, week upon week, hosted groups such as Pink Floyd, Soft Machine, Family and Procol Harum. Music memoirs are often sunk by the "you-had-to-be-there" factor, particularly when it comes to allegedly glorious live performances by artists whose legacy of recordings is feeble or White Bicycles: Making Music in the 1960s. There are a few such moments here, as when one-hit- wonders Tomorrow deliver a "tremendous" concert that represents the era's absolute "peak" the pre-dawn July 1 event referred to in the book's opening line. Mostly, though, Boyd demonstrates clear-eyed analysis and an unusual awareness of the broader picture. Indeed, White Bicycles is virtually unique among rock memoirs in its avoidance of woolly sentimentality and wild exaggeration. There is something of the scholar about Boyd, a detachment that belies his pivotal status as a participant. Occasionally, Boyd's self-discipline robs us of incidental pleasures that a more rambling raconteur might have offered. Describing a trip through the Deep South in search of authentic blues, he crafts single-sentence summaries of experiences that other writers would have spent paragraphs on. But there's more than enough vivid reminiscence to keep the book buoyant, and Boyd's prose can convey a lot in a few words. Recalling the Blues and Gospel Caravan tour he organised inBoyd notes that legendary blues buddies Sonny Terry and Brownie McGhee "cordially loathed" each other offstage. Meeting Pink Floyd's dandyish managers inhis first impression was that they "looked like monkeys dressed up for a PG Tips commercial". John Hopkins, his UFO Club confederate, is framed by a drug squad officer who, to clinch the bust, "reached, White Bicycles: Making Music in the 1960s, behind his sofa and pulled out an evidentiary plum". The 16 pages of black and white photographs, like Boyd's text, capture evanescent history with remarkable clarity.