Abbey Road The inside story of the world's most famous recording studio

British music journalist Hepworth (Nothing Is Real) reveals the nearly 100-year history of a facility for audio-recording instrumental and vocal performances that began before--and continues after--its association with its most iconic artists, the Beatles. Established in 1931 by Electric and Musical Industries (EMI), the Abbey Road studio has cut albums for classical stars Arturo Toscanini, Igor Stravinsky, and Pablo Casals, as well as pop figures Frank Sinatra, Nat King Cole, Paul Robeson, Judy Garland, Eartha Kitt, Tina Turner, Pink Floyd, Adele, Oasis, and Kanye West. Since 1981, it has also been a major venue for movie scoring. Using the company's archives, Hepworth traces the studio's technological trajectory from 78 shellacs and vinyl LPs to audiotapes, CDs, and streaming. On the management side of the industry, the book has much to say about George Martin, the producer, instrumentalist, and mentor to the Fab Four. Abbey's staff is now approximately 25 percent women, many of whom are engineers. VERDICT After this substantive look at Abbey Road beyond the famous zebra-stripe crossing album cover, music mavens might also consider Alistair Lawrence's Abbey Road and Kenneth Womack's Solid State.--Frederick J. Augustyn Jr.

A sprightly history of the legendary recording studio. Abbey Road claims that exalted status, of course, because it's where the Beatles made their iconic, innovative albums with the assistance of producer George Martin, who developed his knack for sonic experimentation by recording comedy albums for the likes of Peter Sellers. As veteran British music writer Hepworth, author of Never a Dull Moment, notes in this well-researched overview, the Beatles titled their 1969 album Abbey Road not to mythologize the place (or its now-famous nearby crosswalk) but to honor its role as their humble workplace. The author's thesis is similarly nuts and bolts: More than just Fab Four headquarters, the studio is where the British record industry, and recording technology, evolved over a century. Opened by EMI in 1931, its initial showpiece was Studio One, designed to accommodate symphony orchestras. However, as microphones better captured nuanced vocals, crooners and pop music became more prominent, and an army of fussy technicians (EMI was a "belt-and-braces organization") stood ready to assist. The Beatles get their due--and Paul McCartney contributes a breezy foreword--but Hepworth emphasizes the diversity of acts and technology Abbey Road has attracted over time: Pink Floyd, cello virtuoso Jacqueline du Pré, Paul Simon, Fela Kuti, Tina Turner, Oasis, Lady Gaga, Frank Ocean, and Kanye West have left their marks on the place, and the author usually has a wry anecdote to share in each case. For example, when Turner arrived to record Private Dancer, she asked "Where's the band?" and was pointed to a synthesizer. In recent years, the place has changed hands and faced financial challenges, especially as digital technology has reduced the need for full-service studios. But in the closing chapters, Hepworth shows Abbey Road doing brisk business in high-tech remixing--and attracting acts looking for some of its old magic. Smart music writing, historically savvy without lapsing into easy nostalgia. Copyright (c) Kirkus Reviews, used with permission.