The Beatles captured the hearts and ears of a generation with music that continues to resonate today. Here are 17 hits by The Beatles, produced by George Martin, whose contributions ranged far beyond the traditional producer role, from arranging to composing to playing instruments:
1. “Please Please Me” (1963)
When John Lennon and Paul McCartney first played “Please Please Me” for George Martin during their second EMI recording session on September 4th, 1962, the song was miles away from the uptempo tune that would become their first Number One. “At that stage ‘Please Please Me’ was a very dreary song,” Martin recalled to historian Mark Lewisohn. “It was like a Roy Orbison number, very slow, bluesy vocals. It was obvious to me that it badly needed pepping up.” He suggested they speed it up double-time, and suddenly they had a hit on their hands. “We were a bit embarrassed that he had found a better tempo than we had,” admitted McCartney in The Beatles Anthology.
2. “A Hard Day’s Night” (1964)
Song featured in the Beatles’ first film, with that title — taken from drummer Ringo’s response to a comment that he looked tired: “Yea, I’ve had a hard day’s night, you know.”
3. “Yesterday” (1965)
When Paul McCartney first completed the song he literally dreamed up, the rest of the band were at a loss for what to play on it. The somber tone and mournful lyrics didn’t really lend themselves to an effective drum pattern, jangly guitars or even vocal harmonies. Read the rest of this entry »
vintage everyday has a small collection of rare photos of John Lennon traveling in Hong Kong in May 1977 with Sean, who was about two years old, and was on his way to meet Yoko in Japan.
Billboard’s Track-by-Track Album Review
Kenneth Partridge writes: Over the course of 16 months beginning in early 1969, an ambitious project that was titled Get Back and intended to document the back-to-basics rebirth of the Beatles devolved into Let It Be, a heavily fussed-over hodgepodge of live and studio cuts finally issued a month after the band had broken up. It’s a messy end to the Fab Four story, though in some ways, it’s not an ending at all.
Released 45 years ago today, on May 8, 1970, Let It Be isn’t really the final Beatles studio album. It was recorded almost entirely in January 1969, shortly before the lads regrouped, worked their magic one last time, and cut the vastly superior Abbey Road, which dropped in September ‘69.
Whereas Abbey Road came together somewhat naturally—in a proper studio, with longtime producer George Martin at the helm—Let It Be (and its accompanying film) was completely forced. Its uncharacteristic spottiness has much to do with the wrongheaded approach.
From the beginning, Let It Be was Paul McCartney’s baby. He’d been leading the band since manager Brian Epstein’s death in 1967, and as relationships grew strained, and the greatest rock ‘n’ roll band of all time started to splinter, Paul seemed the least willing to, you know, let it be.
Somehow, he convinced John Lennon, George Harrison, and Ringo Starr that the best way forward was to hire a film crew and make a movie about the band’s efforts to rehearse for a live performance (or series of live performances) that would help wipe away the acrimony and make everything fab once again. As any reality-TV alum can attest, the presence of cameras rarely makes life easier, and it didn’t help that a completely checked-out John insisted on bringing then-girlfriend Yoko Ono to the sessions.
Not that she was the problem. Harrison was the first to snap, and he quit the band about a week into the sessions. He agreed to return, but only if they moved from the Twickenham soundstage where they’d been working to the basement studio at their own Apple Corps headquarters in London. It was there that the group hunkered down for the remainder of the month, amassing hours and hours of music Lennon described in a 1970 interview with Rolling Stone as “the shittiest load of badly recorded shit—and with a lousy feeling to it.”
That line is part of a longer quote wherein Lennon defends Phil Spector, who came on to mix the album after the group twice rejected versions put together by engineer Glyn Johns. Known for his bombastic “Wall of Sound” aesthetic, Spector tarted up several of the tracks with orchestral overdubs, and while Lennon was pleased with the results, Paul was incensed. Read the rest of this entry »
From today’s Fresh Air, a wonderful interview with producer Kevin Howlett. Worth a listen. Hearing about The Beatles early show business career, and early appearances on BBC radio programs, reminds me of interviews with members of Monty Python. As they described it, England’s radio and television landscape at the beginning of the 1960s, was buttoned-down and formal. The notion of performers talking informally in front of a microphone, improvising and being mischievous, was unprecedented. What the Beatles were allowed to do was — though it’s hard to imagine now — was revolutionary.
Also of interest, the BBC never preserved any recording of the Beatles broadcasts, in all those years. Producer Kevin Howlett had to seek them out from individual collectors who’d recorded the live broadcasts. Good thing he did!
NPR: England got a lot more of The Beatles than Americans did during the group’s formative years. Between 1962 and 1965, The Beatles were featured on 53 BBC radio programs, including their own series, Pop Go the Beatles. They performed originals and covers and chatted with BBC hosts.
The Beatles: On Air-Live At The BBC Volume 2 has just been released. Kevin Howlett produced both that and the newly remastered reissue of the first volume, which was originally released in 1994. For reasons he explains to Fresh Air host Terry Gross, Howlett had to search for many of these recordings, and they weren’t easy to find.
Howlett has written a new companion book called The Beatles: The BBC Archives,which includes transcriptions of the band’s BBC radio and TV interviews as well as fascinating internal memos about the Beatles and their music.
On the challenges of his project working in the BBC archive
My quest to restore the BBC archive [of the Beatles] goes way back to 1981 when I joined the national pop network in this country, BBC Radio 1, as a young rookie producer. I was 24 years old. The management knew I was a Beatles fanatic, I was a child in the ’60s growing up with the Beatles, and they gave me this task. What a dream thing to be handed. They said, “Can you investigate what programs the Beatles performed music in and what songs they did?” And the BBC’s written archives are a wonderful place where they kept every single piece of paper relating to the Beatles’ performances, so when I wrote the book it was a magnificent source of material: memos, contracts, audience research reports — so that was fine, you could find out all of the information.
But then finding the music on the tapes? That was a completely different matter. Some of these recordings come from transcription discs, LPs that were distributed by the BBC to other countries for broadcast. Some come from producer listening copies. There were some producers at the time that thought maybe it is worth keeping this material, and in some of these cases, listeners who taped off the radio.
On The Beatles’ audition for the BBC
The very first thing that Brian Epstein did when he took over the management of The Beatles was to fill out an application form for the variety department of the BBC. This, again, reminds us that there was no rock business as we know it. This was show business and they would be on with all sorts of other acts, radio ventriloquists even, that kind of thing. Read the rest of this entry »