The identity of the true "fifth Beatle" has been hotly debated for half a century, but the strongest case can be made for Sir George Martin. The band's trusted and loyal producer, Martin served as expert and conspirator, taskmaster and mad scientist, friend and father figure throughout the band's studio life. He shaped their songs in ways that are seldom appreciated but impossible to forget.
Unlike most producers of his era, his creative daring fostered an environment where it was acceptable to explore and expand the realm of the possible. He played with the Beatles, in every sense of the word — by picking up an instrument, or merely indulging their curiosity and translating their abstract musical fantasies into reality. "He was always there for us to interpret our strangeness," recalled George Harrison. It's difficult, and frightening, to imagine the Beatles' artistic trajectory had they been paired with anyone else. His role as a confidant, advocate and realizer cannot be overstated.
These are 10 of our favorite moments in the Beatles' catalog that we owe to George Martin.
"Please Please Me" (1963)
When John Lennon and Paul McCartney first played "Please Please Me" for George Martin durin details
“I don’t think of the Fifth Beatle as an activist book. I certainly don’t have a political agenda but I do hope it’s an inspiring book. I hope that when people finish reading it they close the book inspired to chase their own dreams in the world however they see fit.” – Vivek Tiwary
The Fifth Beatle is the graphic novel debut of Tony Award Winning Broadway Producer Vivek J. Tiwary. This New York Times #1 Best Selling exploration of pop culture & personal identity brilliantly chronicles the story of “Gay, Jewish, Kid from Liverpool” Brian Epstein, The Beatles visionary manager. Myself being a “Bleek (Black Geek) from The Bronx” could relate to Brian’s outsider status and my discussion with Vivek (pronounced like cake) a self described, “Weirdo Indian Kid from the Lower East Side” made me realize what we shared in common.
Vivek and I are both first generation Americans. Vivek’s folks are Guyanese of Indian extraction, my parents were from Barbados. We bonded sharing West Indian tidbits and his parents traditional expectations on career choice really hit home for me. While at Wharton Business School, on track to j details
Before George Martin's death on March 8th, the legendary producer and "fifth Beatle" aligned with PBS for an eight-part series titled Soundbreaking: Stories From the Cutting Edge of Recorded Music. For the series, which was five years in the making, Martin and his son Giles recruited over 150 artists to share behind-the-scenes stories about the art of recording.
The first two Soundbreaking episodes are scheduled to premiere March 14th at the SXSW Film festival with a PBS premiere set for November. Rolling Stone has the exclusive first look at the Soundbreaking trailer, featuring Ringo Starr, Elton John, St. Vincent, Bonnie Raitt and Don Was discussing their craft.
"My first meeting with the Rolling Stones, I ended up with Mick Jagger sitting here and Keith [Richards] sitting here, and they were both talking at the same time," says Was, who first worked with the Stones on 1994's Voodoo Lounge. "Keith said, 'You sure you want to be the meat in this sandwich?'"
Directed and produced by Jeff Dupre and Maro Chermayeff, the series features 150 exclusive and original interviews with both artists and producers. Paul McCartney, Tom Petty, Roger Waters, Roger Daltrey, Dave Grohl, Questlove, Bon Iver, Willie Nelson details
In the late Sixties, the Beatles and Eric Clapton kicked off a nearly five-decade-long tradition of recorded collaborations.
Sure, "While My Guitar Gently Weeps"—the only official EMI Beatles recording Clapton ever played on—is an undisputed highlight, but Slowhand's fretwork also graces recordings by all four solo Beatles. In fact, the former Yardbird is the only guitarist—ever—who played on a Beatles album and on official studio recordings by John Lennon, Paul McCartney, George Harrison and Ringo Starr.
Clapton even wrote (and played on) a tune for Ringo—"This Be Called a Song"—in 1976. As we'll see, Clapton and the former Beatles also played on the same sessions for different artists throughout the decades.
Today, however, we'll restrict our focus to the late Sixties through 1970, the golden era of Clapton-Beatle collaborations. We'll explore the the rest of the Seventies, Eighties, Nineties and beyond in the near future.
Although they had already been friends since the Beatles' "moptop" period, Clapton and Harrison never got together in a recording studio (to actually record something) until a few years later. And once they started, the floodgates were open details
Fifty years ago Wednesday, on Nov. 9, 1966, John Lennon met Yoko Ono. The English musician and the Japanese artist met at one of her art exhibits, were married in 1969, and had a son together, Sean, in 1975. With the exception of a year-and-a-half-long separation, which Lennon called his “lost weekend,” they created music — and controversy — together until his death in 1980.
On the day of their meeting, Lennon visited Ono’s conceptual art show in a gallery in London. He was won over by one of her pieces, which was experienced by climbing a ladder and looking through a spyglass onto an apparently blank canvas, where the viewer can see, in tiny letters, the word “yes.” “So it was positive,” Lennon told Rolling Stone’s Jann Wenner in 1971, in the series of interviews that would later comprise Lennon Remembers. “It's a great relief when you get up the ladder and you look through the spyglass and it doesn't say ‘no’ or ‘f--- you’ or something, it said ‘yes.’” The gallery owner introduced the Beatle and the artist, and the rest is history.
Lennon discovered he was in love with Ono when “I called her over, details
John Lennon and Paul McCartney could write from different perspectives — a young woman in “She’s Leaving Home,” or a randy young man in “Lovely Rita” — but “Getting Better” may be one of the most personal tracks the duo ever recorded. A tale of optimism, humility, and a touch of what author Gary Tillery calls “cynical idealism,” “Getting Better” narrates how one man tries to learn from past mistakes and reinvent himself. In 1980, Lennon called the lyrics a “diary form of writing,” and the track allows the duo to reveal their own transformations from their Liverpool days to their London present.
According to Hunter Davies’ Beatles biography, the idea for “Getting Better” came from an unlikely source: Jimmie Nicol, the drummer who subbed for an ailing Ringo Starr during the Beatles’ 1964 tour of Europe, Hong Kong, and Australia. While on that tour, the group would frequently ask Nicol how he was holding up under the pressure. “It’s getting better,” Nicol replied.
That phrase randomly popped into McCartney’s head while he walked his dog Martha one day in March 1967. After returni details
From Badfinger to Black Sabbath...
Let's be honest: every band owes The Beatles a huge debt of gratitude. Here's some who owe more than others...
The Beach Boys
OK, so we're not really claiming The Beach Boys owe it all to The Beatles, but it’s clear the Fabs were crucial to their development. Staggered by the ingenuity of Rubber Soul, Brian Wilson was driven to create Pet Sounds in response. “No one had heard that in rock‘n’roll back then,” Wilson said, referring to The Beatles’ use of sitar and other exotica. “It really did inspire the instrumentation I ended up using for Pet Sounds.” He composed God Only Knows the morning after first hearing it.
Roger McGuinn was slipping Beatles beats under traditional folk tunes during his early days in Greenwich Village. When he hooked up with the rest of The Byrds in LA, their collective Fabs obsession took on whole new levels. The tipping point was a cinema trip to see A Hard Day’s Night, after which they reinvented their look, bought themselves a Gretsch and Rickenbacker and set about transposing Beatles harmonies onto their own brand of George-like jangle.
By: Rob Hughesdetails
How a stroll across a North London zebra crossing became one of the most iconic album shots of all time – and fuelled a macabre conspiracy theory.
In keeping with the pencil sketch that Paul McCartney had given to photographer Iain Macmillan, the sleeve simply shows the four Beatles walking across the zebra crossing outside Abbey Road Studios in North London.
The famous cover shot was one of six taken by Macmillan at 10am on August 8, 1969. As a policeman held up the traffic, the photographer had just 10 minutes to balance on a stepladder and get the shots. The result was striking and iconic. But few could have imagined the reaction it got.
Shortly before the release of the Abbey Road album, an American newspaper ran a story that claimed Paul McCartney had died in a car accident in 1966, and that the current ‘Paul’ was actually a lookalike called William Campbell. The rumours gathered pace and when Abbey Road arrived that October, its sleeve was pronounced by conspiracy theorists as final proof of Macca’s demise.
Inevitable, the ‘clues’ were somewhat tenuous, McCartney was out of step with his bandmates; his eyes were closed, and he wasn’t wearing shoes ( details
Incredible images show 1960s Beatlemania Liverpool in black and white merged with the colourful modern-day city. The stunning pictures offer a trip down memory lane as excited fans are pictured queuing for a Beatles gig at the Cavern Club while modern-day commuters stroll past on their way to work. Other shots show the young Fab Four playing in an otherwise empty bar, arriving at Speke airport and posing in the modern Derby Square. The nostalgic pictures are the work of Port Captain and amateur photographer Keith Jones, 45, from Liverpool.
He said: 'I'm biased, I know, but who doesn't love The Beatles? 'I'm a lifelong fan of their music and having travelled the world a bit, it has been particularly clear to me that, for people from other parts of the world, the group are absolutely synonymous with their hometown.
'Ask anybody from New York to Nepal, Auckland to the Arctic, to name someone or something from Liverpool and I imagine John, Paul, George and Ringo would be right out in front. 'I feel our city should be proud and thankful for their music, their impact and their message, and blending their image back into the modern day scenes makes me smile and also wish I had been around to be in that queue for details
The song came to Paul McCartney in a dream one night in London in 1963
In his two performances at the Californian Desert Trip festival last month, Paul McCartney played for nearly three hours each time but still managed to omit one of his most famous songs. “Yesterday” is one of the most regularly played numbers in the 74-year-old’s touring canon, but perhaps he decided that the audience at what was dubbed “Oldchella” didn’t want to be reminded that they were clinging on to the music of the past.
Despite its popularity — it’s one of the most covered songs in history — “Yesterday” has a divisive reputation among listeners: to fans, it’s a gorgeously simple, melancholy ballad; to detractors, it’s the first major manifestation of McCartney’s Achilles heel — his mawkish sentimentality. Whichever camp you fall into, “Yesterday” was certainly the seed of future ructions in the band dynamics.
McCartney has said that the tune came to him almost fully formed in a dream one night in London in 1963. The then 21-year-old McCartney was living in an attic room in the five-storey Georgian family home in London’s details