I’m in the middle of reading the autobiography (written with help) of recording engineer and producer Geoff Emerick — Here, There and Everywhere: My Life Recording the Music of THE BEATLES. This is an excellent, excellent book, a great read, and it’s enormously, vastly better than George Martin’s All You Need Is Ears.
Emerick’s vivid accounts of the Beatles’ recording sessions make a perfect companion to the superb — but highly technical — reference text, RTB Book — Recording the Beatles, by Kevin Ryan and Brian Kehew. He tells many stories that others have told in ways that were either exaggerated, off-the-mark, or incomplete. For example, Emerick has the best account I’ve read of why Ringo was pulled after the first take of “Love Me Do.”
Ringo was having difficulty maintaining a steady beat, and Paul was starting to get annoyed with him. George Martin did his best to prop them up over this talkback mic, but in his private conversations with Norman [Smith], he criticized the unsteady drumming.
Another interesting moment was when Emerick met Brian Epstein for the first time.
Friendly though he was, Brian struck me as a bit odd. He was a quiet man, obviously upper class. He didn’t come to many sessions, but he was always very polite to me when he did; however, I always got the impression that the Beatles didn’t like having him around.
Despite Epstein’s importance to the success of The Beatles, they felt the recording studio was their domain, and Epstein didn’t belong there. Also, Epstein was gay, and from what I’ve read elsewhere, at that time The Beatles weren’t comfortable with his lifestyle.
Emerick loves to describe the various recording tricks that were employed to give The Beatles’ records their distinctive sound. And unlike the RTB book, his explanations aren’t technical. In the spirit of audio experimentation, I recommend checking out a link on the WFMU blog, where the entire Beatles album catalog has been compressed into one hour. You may find yourself getting bored quickly with that, so I suggest listening to the time-compressed songs that have been slowed down. EMI/Capitol may not appreciate these mashed-up recordings, but they’re exactly the sort of playing around that The Beatles loved to do in the studio.
