Beatles

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Michael Fremer  |  Apr 30, 2004  |  4 comments

MF: For the most part, you chose the material; it was only a few people who…

Martin: Pretty well, pretty well. I mean the idea of Vanessa Mae doing "Because": The idea of a mini violin concerto came first, and I had to find someone to play it.

MF: But she put so much into that. Sometimes that kind of thing doesn’t work—when you try to “classical-ify” something. But that was very good.

So aside from the Beatles, who were the most memorable artists that you’ve produced? Any standouts?

Martin: Any other artists? Well, I’ve been so lucky to produce so many people. It’s difficult to name one. It’s like saying, what’s your favorite track? Obviously, Peter Sellers comes pretty high on that list. We worked very well together.

Michael Fremer  |  Oct 23, 2018  |  36 comments
If you want to quickly know if you’re going to like Giles Martin’s The Beatles remixes start with “Long, Long, Long”. If you don’t like that one, you’re probably not going to like the rest, but for me, that remix in particular is far superior to the one on the two original “Top Loader” U.K. pressings I have: more transparent and more spacious, with a holographic George front, center and three-dimensional as he’s not presented on the original.

Michael Fremer  |  Sep 07, 2014  |  24 comments
Before leaving for a long planned mid-February 1968 trip to India to meet with Maharishi Mahesh Yogi (a/k/a “Sexy Sadie” but not back then) The Beatles began work on “Lady Madonna”, the gorgeous “Across the Universe” and the now somewhat obscure “The Inner Light”, which was chosen as the “Lady Madonna” “B” side but only because Lennon wasn’t happy with “Across the Universe” for reasons known only to him and not to anyone else because everyone else loved it.

Michael Fremer  |  Nov 19, 2013  |  16 comments
“I don’t object to people inheriting or having a big lot of money I never did but I do object to people being stony broke and starving”.—John Lennon
Michael Fremer  |  Jan 26, 2016  |  24 comments
Music re-mixes may not be as complicated or as critical as brain surgery but when it comes to The Beatles, you could make the case.
Malachi Lui  |  Sep 21, 2021  |  12 comments
This month, AnalogPlanet launches The Rear View Mirror, an ongoing series extensively reviewing notable albums from the past. Entries, which will be posted at least once a month, are limited to one album per artist per year. And what better way to launch it than with a 50th anniversary review of Yoko Ono’s Fly?

Michael Fremer  |  Apr 30, 2013  |  4 comments
Woody Allen famously said "80% of success is showing up." 16 year old recording engineer/producer Ken Scott showed up at EMI Studios less than a week after writing a letter requesting a job interview. He "passed the audition" and was rewarded with a job in EMI's tape library.

Michael Fremer  |  Sep 06, 2014  |  33 comments
Rubber Soul was released on Friday, December 3rd 1965 three short years after The Beatles first entered Abbey Road Studios and met George Martin. It was their fifth album and the final one engineered by Norman Smith who was promoted a few months after Rubber Soul’s release to EMI’s A&R (artist and repertoire) Dept.

Malachi Lui  |  Nov 27, 2019  |  18 comments
Before I get further into this follow-up review, a short disclaimer: other than the US Apple/Capitol singles of “We Can Work It Out”/“Day Tripper” and “Hey Jude”/“Revolution” (which, as expected, sound lousy), I don’t have any Beatles 7” singles other than this new The Singles Collection box. All my Beatles listening is on LP (the 2014 mono series, the Giles Martin remix LPs, and a few mono and stereo UK and European pressings) and the occasional lossless digital format, therefore from these recordings I’m used to great sound quality. My expectations for The Singles Collection (generously gifted to me by AnalogPlanet editor Michael Fremer) were likely different from most others’: sure, I expected the all-analog lacquer cuts to sound good, but sound quality on 7” singles isn’t the first thing I think about. With the 7” format, it’s primarily about the musical content, collectibility, packaging (when applicable), and finally, sound quality.

Michael Fremer  |  Nov 16, 2012  |  30 comments
As expected, Rubber Soul, sourced from George Martin's 1987 16 bit, 44.1k remix sounds like a CD. Why should it sound like anything else? That's from what it was essentially mastered.
Michael Fremer  |  Sep 02, 2014  |  19 comments
"Product", "Filler", whatever you want to call it, the appropriately titled Beatles For Sale was a "have to meet the two album a year schedule" interim album due out for the 1964 Christmas season—a hodgepodge return to covers, George really asserting his country and western licks, John feeling his inner Bob Dylan, John and Paul channeling the Everly Brothers, Ringo given a real chance to stretch out in the percussion department and Paul rocking, rolling and screaming on reissue and breaking your heart on one of his achingly beautiful ballads.

Michael Fremer  |  Nov 15, 2019  |  29 comments
The Beatles The Singles Collection arrived the other day and it was opened with great anticipation and the embedded YouTube video was quickly produced in a single take before listening to a note. As you'll see when you watch, the packaging is "top shelf" and imaginative and Kevin Howlett's booklet notes are illuminating and useful. Using original artwork from around the world was a nice touch that every Beatles fan with appreciate!

Michael Fremer  |  Apr 30, 2004  |  0 comments

This interview with George Martin was conducted in July of1998 and was originally intended for The Tracking Angle. Unfortunately, we ceased publication before it could be run. It appeared later in Art Dudley’s wonderful Listener magazine, also sadly defunct. Martin was in New York on a media tour publicizing In My Life his farewell production. It wasn’t particularly well received in the press, but it was what Martin wished to do, and that was good enough for him and for me. Meeting Martin was a memorable experience that I shall never forget.

The hotel door cracks open and you're startled to see Sir George Martin has answered your knock, looking just as you've seen him in the photographs, only taller and even more imposing. He welcomes you sincerely, in a polished voice that's soothing yet terribly aristocratic and proper sounding.

Foolishly, involuntarily, (and you hope surreptitiously) your eyes momentarily lose contact with Martin's to dart around the room looking for those other familiar faces always in the photos. You lock onto Martin's eyes, which say to you, "Don't worry. We're used to it. You're not the only one who's looked."

Michael Fremer  |  Aug 30, 2014  |  25 comments
On the afternoon of September 4th, 1962 The Beatles arrived at Abbey Road for their first official session. They rehearsed, had dinner, returned to the studio and recorded “How Do You Do it” chosen for them as their first single by George Martin.

Michael Fremer  |  Sep 08, 2014  |  44 comments
Lovers of original British vinyl had to hand it to Capitol: they collected the "B" sides and British EP tracks and packed them onto Beatle LPs of their invention, keeping the track total skimpy to help create even more LPs. One could buy the EPs to complete the collection but they were less convenient to play though the laminated picture sleeves added value.

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