Instead you clarify, without cleaning up, or making it sound sterile. So how do you improve an album that many believe is one of the best, if not the best, produced by any group? The answer, according to Giles Martin, is that you don’t. The original tape box for Taxman and And Your Bird Can Sing, two of the 14 songs on the album. “Next morning they would often come in, hear a track and then do another take,” said Martin. He said his hands were so sweaty with nerves that the instrument was like an eel in his hands.”įans can also hear Lennon claiming that an early, comparatively lacklustre take of his song And Your Bird Can Sing was good enough. And his son reveals now: “He was a nice enough piano player but he actually failed his Guildhall instrument exam on the oboe. “It nearly killed me,” the great producer confesses. His father is also caught admitting that a screech from the strings recalls his own days learning the violin as a child. “People have said classical musicians were not keen on joining these sessions, but you can hear the violinists enjoying talking to Paul, who puts on a slightly posh voice,” said Martin. It sounds, as Martin notes, more like a “maudlin, Woody Guthrie” chant than the oompah band final version.Īlso revealed are a tense debate about the opening of Got to Get You Into My Life, in which an organ stands in for the horns, and discussions about the vibrato on the violins in Eleanor Rigby. “In the town where I was born, No one cared, no one cared,” he wails in an early demo. That’s the truth.”Īnd the truth about Yellow Submarine is that John Lennon imagined a sorrowful, wry ballad, rooted in his own childhood. “So it is fantastic they stuck together as long as they did, because they were hardly meeting up at all outside the studio. They had started moving apart when they stopped doing live gigs that summer,” he said this weekend.
Everything was so speeded up.”įor Voormann, the influential German the band met in a Hamburg bar in 1960, the album remains a touchstone: “It’s a very important thing in my life and they felt especially proud of it. “The lifespan of the Beatles was like a mayfly’s really. You think: ‘Oh, this is what they were like!’ ” said Martin. “This is not that long before the period covered in Get Back, but the tone is so different. In contrast to the rancour evident later, band disagreements were quickly settled and largely about music. The feted cover of Revolver, designed by Klaus Voormann, a friend from the Hamburg days.
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