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The guitarist laid licks on everything from girl group records to folk cuts. Listen to Jimmy Page's arpeggio riffs on " Silhouettes.

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Check out his version. Brown You've Got a Lovely Daughter Hold On! Songwriter P. Sloan penned the song "A Must to Avoid," which became the name of the movie until someone sharp at the studio realized that was perhaps not the best title for marketing. The raucous Who first hit our shores in , opening a package tour headlined by the Hermits. Imagine the sonic whiplash that occured after Pete Townshend smashed his gear, leaving the stage in a plume of smoke and distortion, only to lead into Peter Noone strolling out singing, "Mrs. Like many musicians of the early pop era, the Hermits were railroaded by the industry and mismanaged.

As chronicled in the book Baby You're a Rich Man , the band fought for years to gain its due royalties.

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Chimeron LLC. Prev Article Next Article. Peter Noone appeared on a soap opera before fronting the band. Image: The Everett Collection. Image: Hold On! Half of Led Zeppelin played on many of their songs. Brown, You've Got a Lovely Daughter" was a cover of a song from a television play. Image: Decca Records.

Please Please Me: Sixties British Pop, Inside Out by Gordon Thompson

Their movie 'Hold On! The Who opened for Herman's Hermits on their first American tour. Brown…" Image: The Everett Collection. The band was awarded half a million dollars after a nearly half-century legal battle over royalties. There was a problem with saving your item s for later. You can go to cart and save for later there. Pre-Black Friday deals are here!

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Manufacturers, suppliers and others provide what you see here, and we have not verified it. See our disclaimer. The Beatles, the Rolling Stones, the Kinks, the Who, and numerous other groups put Britain at the center of the modern musical map. Please Please Me offers an insider's view of the British pop-music recording industry during the seminal period of to , based on personal recollections, contemporary accounts, and all relevant data that situate this scene in the economic, political, and social context of postwar Britain.

Author Gordon Thompson weaves issues of class, age, professional status, gender, and ethnicity into his narrative, beginning with the rise of British beat groups and the emergence of teenagers as consumers in postwar Britain, and moving into the competition between performers and the recording industry for control over the music.

He interviews musicians, songwriters, music directors, and producers and engineers who worked with the best-known performers of the era. Drawing his interpretation of the processes at work during this musical revolution into a wider context, Thompson unravels the musical change and innovation of the time with an eye on understanding what traces individuals leave in the musical and recording process. Customer Reviews.

Please Please Me: Sixties British Pop, Inside Out by Gordon Thompson

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