You, the producer, had to tell the conductor where he should end. So if you've got a 15-minute overture, you have to chop it up into four parts. "Four minutes, 15 seconds was about the length of a disc. "But of course you'd have to chop up the music into little bits and pieces," he explains. Martin joined EMI as a producer in 1950, initially working mostly on classical recordings. He said 'Dad, how many 80 year-old people do you know who're experts in sound?'" Through The Ages "One day," George recalls with a smile, "I was apologising to Giles because I couldn't hear the top. Even though his hearing is bad, he has a great ability in his brain to work things out." "I would rush forward and do stuff, then find myself lost without him. ![]() "He refuses to get old, which is great," laughs Giles. But I couldn't have done it without Giles. This, however, was an offer I couldn't refuse, when they asked me to produce the music for the show. But I've given up recording, because my ears aren't good enough. "Because it suggests you're giving up everything, and I certainly haven't done that. "It's a funny word, 'retirement'," he says. The legendary producer, who turned 81 in January, had in fact gone into retirement, but the thought of returning to the Beatles' masters proved too tantalising a prospect. The project also marked the first collaboration between George Martin and his son Giles. ![]() ![]() Upon its release as an album, listeners were invited to play spot-the-elements, as well as to hear new mixes of classic recordings. Part high-concept mash-up, part elaborate restoration job, the Beatles' Love was originally conceived as the soundtrack to Cirque du Soleil's Las Vegas show, but became much more. When the Beatles' record company tempted their producer out of retirement for one last project, no-one had any idea how radical the resulting album would be.
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