George Martin, Producer and Arranger for The Beatles, Dies at 90
Source: Billboard
George Martin, Producer and Arranger for The Beatles, Dies at 90
3/9/2016 by Jennifer Frederick and Mike Barnes
George Martin, the Fifth Beatle and British treasure who signed the Fab Four to a label contract when no one else would, produced virtually all their songs and introduced lavish arrangements into Yesterday and A Day in the Life, has died. He was 90.
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The producer, executive, arranger, musician and British knight was behind a whopping 23 No. 1 singles in the U.S. and 30 in the U.K.
As head of EMIs Parlophone Records, which then concentrated on jazz and comedy, Martin was on the lookout for a rock act when he met Beatles manager Brian Epstein in February 1962. Every other British label had passed on signing the foursome -- John Lennon, Paul McCartney, George Harrison and Pete Best.
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Martin also served as The Beatles arranger. He suggested strings be added to Yesterday, which would become one of the most covered songs of all time, and conducted the string section for Eleanor Rigby. He played piano on In My Life and composed its harpsichord section; was responsible for the breathtaking orchestral windup in A Day in the Life; and used backward tapes to help shape the psychedelic elements of Sgt. Peppers Lonely Hearts Club Band.
Martin described his relationship with The Beatles in his 1979 book, All You Need Is Ears.
I must emphasize that it was a team effort, Martin wrote. Without my instruments and scoring, very many of the records would not have sounded as they do. Whether they would have been any better, I cannot say. They might have been. That is not modesty on my part; it is an attempt to give a factual picture of the relationship.
Martin received an Academy Award nomination for best music, scoring of music, adaptation or treatment for The Beatles 1964 classic film A Hard Days Night, directed by Richard Lester; arranged the score for their 1968 animated movie Yellow Submarine; and scored, with Paul and Linda McCartney, the 1973 James Bond film Live and Let Die.
Read more: http://www.billboard.com/articles/news/6913528/george-martin-producer-and-arranger-for-the-beatles-dies-at-90
C Moon
(12,213 posts)onehandle
(51,122 posts)RIP.
Wilms
(26,795 posts)...it's something that I like about you.
William Seger
(10,778 posts)When he talked about them, you could tell that he truly loved and respected the group. Rest in peace, Sir George, and thanks.
brentspeak
(18,290 posts)Hissyspit
(45,788 posts)Beatles drummer Ringo Starr shared the news on Twitter, writing "Peace and love... George will be missed." A Universal Music Group spokesperson confirmed Martin's death, though details are not yet clear
LibDemAlways
(15,139 posts)Last edited Wed Mar 9, 2016, 02:52 AM - Edit history (1)
young musicians from Liverpool and changed the course of music history. RIP Sir George. Job well done.
Cavallo
(348 posts)I didn't realize he was 90. Wow.
Tab
(11,093 posts)He did more than anyone to shape the formative sound of the Beatles.
dhill926
(16,337 posts)he helped shape our lives...a glass or three being raised...
rusty quoin
(6,133 posts)I'm glad he lived so long. Good go George Martin.
Elmer S. E. Dump
(5,751 posts)That would have been great fun reading!
shenmue
(38,506 posts)Denzil_DC
(7,233 posts)"He played piano on 'In My Life' and composed its harpsichord section"
There is no harpsichord section (or solo) on "In My Life".
Martin composed the piano part when Lennon requested he come up with something "Baroque-sounding", then recorded the solo at half-speed played an octave down on piano (the suggestion is that Martin found it too difficult to play it at full-speed). When it was mixed into the rest of the track, they doubled the piano part's tape speed.
Somebody picks the solo apart:
My point is that not only is the solo highly musically literate, but Martin married that with the technology to produce a unique sound. Speeding the tape up heightens the attack on each note, which is why some have mistaken it for a harpsichord.
The Beatles' music has plenty of examples of this marriage between musicality and technological tricks and experiments, always in service of the song, always trying to stretch the limits of the possible.
RIP, George. You were an inspiration.