By Gareth Murphy
Cowboys and Indies is not anything below the 1st definitive historical past of the recording on either side of the Atlantic.
From the discovery of the earliest recognized sound-recording gadget in 1850s Paris to the CD crash and electronic increase this day, writer and insider Gareth Murphy takes readers on an immensely wonderful and encyclopedic trip during the many cataclysmic musical, cultural, and technological adjustments that formed a century and a half the industry.
This priceless narrative focuses particularly at the online game changers---the label founders, expertise scouts, and mythical A&R males. Murphy highlights:
· Otto Heinemann’s pioneer label Okeh, which unfold blues and jazz “race” files throughout America
· how one guy, Henry Speir, came upon approximately all of the Delta blues legends (Robert Johnson, Charlie Patton, Son apartment, Tommy Johnson)
· Sam Phillips’s seminal paintings with Chess and sunlight Records
· John Hammond’s discoveries (Billie vacation, Aretha Franklin, Bob Dylan, Leonard Cohen, Bruce Springsteen)
· the behind-the-scenes gamers of the British Invasion
· Clive Davis, Ahmet Ertegun, David Geffen, and the company tune machine
· the Machiavellian strikes of punk impresario Malcolm McLaren (Sex Pistols)
· Chris Blackwell’s triumphs for Island documents (Bob Marley, U2)
· Sylvia Robinson and Tom Silverman, the hip-hop explorers in the back of the Sugarhill Gang, Grandmaster Flash, and Afrika Bambaataa
…and a lot, even more. Murphy additionally bargains a provocative examine the longer term during the ruminations of such leading edge figures as Martin generators (4AD, XL Recordings, Matador, tough alternate) and genre-busting manufacturer Rick Rubin (Run-D.M.C., pink scorching Chili Peppers, Metallica, Johnny Cash).
Drawing from memoirs, information, and multiple hundred specific interviews with the legends of the checklist undefined, together with the founders and CEOs of Atlantic, Chrysalis, Virgin, A&M, Sub Pop, and Sire, this booklet unearths the key heritage in the back of the hit-making craft. extraordinary in scope and bold intensive, Cowboys and Indies chronicles the pioneers who set the stylus at the most vital labels and musical discoveries in history.
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Extra resources for Cowboys and Indies: The Epic History of the Record Industry
With almost twenty years of experience, Leon Douglass knew the trade inside out—the personalities, the technology, the music, and above all the audience. Eldridge Johnson, who was a relative newcomer to the game, gave Douglass free rein to formulate Victor’s image and commercial plan, even paying him a higher salary than he paid himself. The trust was mutual. ” It was Leon Douglass who understood the iconic power of a novelty painting by Francis Barraud that Berliner had received from his London office back in 1899.
It was Leon Douglass who understood the iconic power of a novelty painting by Francis Barraud that Berliner had received from his London office back in 1899. Called His Master’s Voice, it depicted a fox terrier called Nipper peering into the phonograph trumpet out of which his dead master mysteriously spoke. After the transfer of Berliner’s patents to Johnson, Leon Douglass labeled all of Victor’s products with a simplified logo of the dog and gramophone. In time, the image and the slogan “His Master’s Voice” would be among the most striking and enduring trademarks of the twentieth century.
Illustrating the deep affection at the top of the company, Eldridge Johnson allowed Douglass all the convalescence time he needed on full pay, $25,000 per year. As things turned out, Leon Douglass’s office would remain a dusty museum in the Camden, New Jersey, headquarters. He was nominated in absentia as the corporation’s symbolic chairman. His protégés continued to scoop up exclusive deals with the biggest stars of the day: violin virtuoso Fritz Kreisler; Irish tenor John McCormack; sopranos Alma Gluck, Nellie Melba, and Luisa Tetrazzini.