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Ebook About "Vic's book is an amazing read, full of his entertaining sense of humour and a reservoir of miscellaneous facts and tales of the studios and the musicians who made London such a fabulous place to be in the '60s. Miss it at your peril." - Pipeline (UK)This book is by a musician who worked in every major recording and television studio in London during that wonderful musical period of the 1960s and 1970s.One of the first call session guitarists in the UK, Vic Flick has a bounty of true stories. Stories of the drama and humor, the tensions and the rewards of working with first class musicians and internationally known artists in the world of recording, Television and Radio..Vic Flick's connection with the James Bond films is legend. His guitar sound on the James Bond Theme stirred the hearts and imaginations of a generation. Here is a book that tells of the music business from the inside, about the music, the good and the bad business practices, the money, the agents and the managers.From the Beatles to Nancy Sinatra, from Tom Jones to Dusty Springfield, it's all within the pages of Vic's autobiography.Book VIC FLICK, GUITARMAN: FROM JAMES BOND TO THE BEATLES AND BEYOND Review :
Enjoyed the book, seems like a decent guy, certainly an important figure in movie and 60s British rock history.As a musician, I have to agree with other reviewers that this book is light on the types of detail that I'm interested in, specifically recollections of sessions with the hit makers of the 60 during the 'British Invasion', and discussions of the instruments and amps used on various recordings, etc. However, I'm looking at this from the perspective of a music lover who is passionate about a particular guitar part or sound from one of my favorite songs as a youth and have a mental image of a recording session that's wildly different from reality. I imagine hours in the studio with the band, painstakingly crafting a pop song, with take-after-take until something magical happens. The recording industry eventually evolved to that way of doing things, but when Vic Flick was appearing on countless sessions that produced hit singles, this was far from an accurate picture.He explains that producers often brought in the session guys with the ability to read music, to play parts that were written out so that a song could be recorded in a minimal amount of time -- far less than having the actual band playing in the studio. This was a by-product of recording industry and union regulations that limited the way things were done. So, the bottom line is, a song that became a 'Golden Hit' 50 years ago may be cemented in my mind as absolutely fascinating and unforgettable, but, to Mr. Flick, it represented one session that lasted just a very short time, after which he probably never played any of the songs again. It's not surprising that there are few anecdotes arising from most of those work sessions.Vic Flick came on my radar screen as a result of my enjoyment of the old Herman's Hermits tune, Silhouettes. It has often been stated that Jimmy Page was the guitarist who played the signature riff on this song, but other sources claimed that it was Mr. Flick. Reading this book has clarified this, but I was kinda hoping to read what type of guitar and amp was used, along with other technical details of the recording. This book, for the reasons cited, simply doesn't go into that level of detail.But I did enjoy the read, and salute him for his work and legacy.One note about the Kindle version, which is the format I read -- don't know if this also appears in the print copies: There's a rather lengthy section where a lot of punctuation -- namely periods, or 'full-stops' are omitted. This makes sentences appear jumbled together and hard-to-read. Overall a great book! I am a long-time guitarist with much interest in the British music scene and British musicians. They are some of my favorites, including Jeff Beck, Justin Hayward, David Gilmour, Paul McCartney, and George Harrison, to name but a few. Vic provides an insight into Jimmy Page that you may not be aware of. Jimmy was a studio player before he got into the Yardbirds and later into Led Zeppelin.I gave this four stars but could have just as easily given it five. I would have preferred that Vic included more technical information as to studio equipment used, guitarists' favorite equipment and instruments used during the timeframe covered (mostly 60's to early 70's). I know that he is well-versed in this area. But, some guitarists are more interested in the technical side than others, and presumably Vic was more interested in telling the basic story rather than get into the technicalities. Regardless, I really liked this book and will read it a second and probably a third time. Some of Vic's stories involving the musical directors and studio musicians he worked with still cause me to laugh when I think of them. Don't be drinking anything or be chewing on anything when you read the story about the Chinese restaurant or the stage incident during a live television program. Like the adage, the truth is always stranger than fiction. This book is a good run-down of the British studio musicians who REALLY played on all of your favorite rock and pop tunes originating in Britain from the late 1950's through the early 1970's. This is the British equal to the American Wrecking Crew that started with Phil Spector's use of so many Los Angeles based studio players to create his famous "wall of sound." 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