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Hank Williams based writing project

Below is a brief biog and overview of my project. I wonder if you may
know of any interested parties that I can contact.

Thanks again

Simon

I am a 48-year old recording engineer and music lecturer. Starting my
working life in my teenage years as a singer/songwriter and gig promoter I
soon found that I had an affinity for working on the other side of the
mixing desk. A number of years working in live sound and recording
studios followed, as well as a role in school workshops, before I was
asked to teach some adult education courses in recording. The move into
college lecturing was a fairly natural one and over the years I have
taught recording sciences, music technology, popular music and technical
theatre, whilst also completing my teaching qualifications and Masters
degree. My own particular interests have always been the development of
recording technology, music industry history and the cultural impact of
popular music forms.

My interest in Hank Williams started some thirty years ago, having been
pointed in his direction by reading about Bob Dylan, I was soon drawn by
his songwriting and his story. Having read a number of biographies a few
years ago, I found a copy of the Complete Hank Williams and soon started
to try to find the rest of Hank¹s recorded work, not as an obsessive
record collector, but as someone who wanted to hear all of the music. It
was at this point that I started to develop the ideas for my current
project.

Hank Williams was the first in a long line of prematurely dead musicians
whose recording catalogue has been posthumously exploited by their record
companies, finally coming full-circle in the search for authenticity. I
am looking at building an as full as possible ³sessionography² (and
supporting discography). Although I am aware that there are a number of
these available in biographies and online I want to also frame them into a
working context, looking at the recording venues and the available
technology and techniques used. I would anticipate this encompassing all
known live and ³home² recordings, including discussions of how these were
achieved, as well as the later overdubs and orchestrations. I would want
to support this with essays on record company marketing and release
formats (78¹s, Albums, LPs, etc); the workings of the Billboard charts;
typical recording session etiquette in the late forties/early fifties;
brief discussions on how the technology worked; full explanations of the
matrix numbers allocated at different times; how ³stereo widening² worked;
as well as providing brief biographies of all of the musicians, engineers
and producers involved. There is also scope to include as full a
time-line as possible depending upon the number of available sources of
performance dates.

Although it would be wonderful to provide the definitive word on Hank¹s
recording history, I fully appreciate that with lost and limited records
and the majority of eyewitnesses being no longer with us that much of this
work may well be educated guesses, but at least we can largely illustrate
how such an incredible legacy was created and why it remains so valuable
in an age of multi-tracking and autotune (with respect to Audrey!!).