Archive for George Martin

All You Need is Heutagogy

Posted in Open Context Model of Learning with tags , , , , , , , , , , , , , , on August 27, 2014 by fred6368

Beatles Creativity

I’ve just summarised the 6 blog posts on Beatles Creativity as a graphical slideshare called All You Need is Heutagogy

I think the Beatles Career went through 6 phases;

1. Live 1957-1963 From That’ll Be The Day;

Until Love Me Do

2. Singles 1963-1964 From Please Please Me;

to Hard Days Night Continue reading

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Magical Mystery Tour

Posted in Magical Mystery Tour with tags , , , , , , , , , , , , , , , , , , , , , , on October 8, 2012 by fred6368

It’s Easy! All You Need is Love 🙂

Magical Mystery Tour, like Let It Be, exists as a cultural artefact that was under-prepared, it was rushed. In the Beatles canon their best work was nearly always properly prepped; Revolver, Pepper, White Album, Abbey Road. Mystery was a TV film made by four musicians, with a little help from their friends, who were inspired by the chaos and creativity that was going on around them in 1967, not least in the emerging psychedelic underground. What it does do really well, much better than Let It Be, is to capture the spirit of its time and, yet again, provide another cultural breakthrough. So roll up, roll up to this surreal slice of English holiday nostalgia inspired by The Goons, come with me on a fantastic cheery summer of love trip; Magical Mystery Tour;

The Beatles had stopped touring after their world tour in summer 1966 when governments (Philippines), the media (Chicago) and individuals (the Bible Belt) made it dangerous to be a Beatle; “thank God I’m not a Beatle any more” commented George after their last concert in San Franciso. They spent most of the following year in the studio perfecting the sound of Sgt. Peppers, alter-egos they assumed in order to cope with their ridiculous fame so that they could continue to be creative as musicians; the essence of being John, Paul, George and Ringo. The absence of live shows to publicise their music was the first consequence of their unprecedented decision to continue recording whilst not playing live. They needed to make promotional films instead. The first song they recorded as studio musicians was Strawberry Fields, and the ‘experimental’ promo film made for it in Knole Park in Sevenoaks, Kent could have slotted right into Magical Mystery Tour. Here is The Beatles first slice of psychedelic nostalgia Strawberry Fields Forever;

It wasnt just Lennon experimenting with Mellotrons and complex musical recording technniques. McCartney lived in central London with the musical Asher family and had a little music room, where he played the first version of I Wanna Hold Your Hand to Peter Asher, and Continue reading

Beatles – Love Me Dr

Posted in history with tags , , , , , , , , , , , , , , , , , on October 5, 2012 by fred6368

No! Do; The Beatles 50th

It was 50 years ago today, October 5th 1962, when the two biggest British popular culture phenomena of the last century first made their public appearances; initially to quite different levels of acclaim. James Bond in Dr No came out as a full-colour cinematic experience, letting us know that in the post-Imperial Cold War Britain would need alpha-males engaging in dubious shenanigans, whilst the girl-group inspired The Beatles were still resolutely in black and white. Neither of them had quite worked out the formulae by which they would go mega. The Beatles and James Bond would both reach their mature forms in 1964 but, compared to what else was on offer, they represented massive potential. Here’s the confused and wonky Bond opening sequence then, welcoming us to Dr No with an interesting musical melange, starting with a nod to the Sputnik-inspired space-age classic Telstar (Number 1 on October 5th) and ending up with a Jamaican calypso, with some nascent Bond orchestration in between;

Love Me Do with Pete Best; was also a confused and wonky production when they first tried it out for a Decca recording audition. Mike Smith at Decca (not Dick Rowe) was ultimately to reject The Beatles in favour of Brian Poole & The Tremeloes, as Dick Rowe would only let him sign one of them because, in 1962, “guitar groups are on the way out”. Mike Smith picked the Tremeloes who, ironically would only score their first hit record for Decca with a cover of The Beatles version of Twist & Shout. Meanwhile The Beatles at least had a recording to tout around of Love Me Do;  

Songwriters for Ardmore and Beechwood; The failed audition tapes were taken by The Beatles manager Brian Epstein to HMV on Oxford Street (yep the same one) where you could cut masters back in the day. The chap cutting the master heard that The Beatles had promise and suggested that they sign as songwriters with Ardmore & Beechwood with whom he had a contact.  They did so registering Love Me Do, written in 1958 at Paul’s house in Forthlin Road, which gained them a referral to Parlophone Records, where George Martin hung out mostly with a bunch of comedians, releasing 10″ novelty records like The Best of Sellers and hitting the pop charts with tracks like Right Said Fred

This wasnt the great meeting of minds Continue reading

The Real Best of the Beatles

Posted in remasters with tags , , , , , , , , , on April 22, 2012 by fred6368

Q Magazine May 2012

Q Magazine’s current issue looks at many artists and picks their “real” best tracks, which vary slightly with each artist.  In the case of the Beatles, whom they describe as “the only group in the history of pop music who are actually better than everyone says they are” they’ve decided to pick under-rated works; so nothing from hits CD 1.  Selected by journalist Rob Fitzpatrick, who says that there is “no such thing as a Beatles obscurity” (Richie Unterberger might disagree & Dehra Dun anyone?) there are 10 Beatles tracks in all. So I’m going to alternate his 10 with my 10 (although he has nicked a couple I would have  chosen) half this week, half next.

The World looks fine when the Rain drops on the Fab Four, Q’s choice of best track and the B-side of Paperback Writer. I remember first seeing the record in a shop in Arnhem whilst, yep, standing in the rain. Rob says “Rain marks the moment when popular music threw itself over the drug pop precipice” but he is an English music journalist; Rain is the first thing the Beatles did after Tomorrow Never Knows and is their finest B-side. 

Some kind of happiness is measured out in Hey Bulldog, the last track that all four Beatles jammed on together live in the studio (Feb 68). I remember seeing it in Yellow Submarine back then and being baffled when it wasn’t in the US release. Made up between them in just four hours whilst they were bored with the slow process of filming the Lady Madonna video (they are actually playing Hey Bulldog) this just rocks; joyfully   Continue reading

We Are All Together

Posted in Magical Mystery Tour with tags , , , , , , , , , , , , , , on September 5, 2009 by fred6368

Magical Mystery Tour

The feeling in the UK in the winter of 66/67 was that the Beatles had split up as they hadn’t released a new album for just a few months and had quit tourung. Consequently George Martin made the mistake of releasing the single Strawberry Fields/Penny Lane in February 1967 to cover the gap, and so scuppered the idea of the new album being a story about Liverpool. Even so by the time Sgt Pepper was released the Beatles had already completed 6 more new songs, had a rough idea for Magical Mystery Tour, and the cartoon film Yellow Submarine in the works. Oh, and they released the single All You Need is Love a month after Sgt. Pepper.

Magical Mystery Tour, which will be an album in the 9/9/9 Remasters, was released in various forms at the time. I was given the UK double EP edition for Christmas, and it had very odd track sequencing, the three psychedelic tracks mixed up with the three “mumsy” tracks. The US album release not only included the recent, wonderful, singles and B-sides, but has a brilliant track sequencing which both make the magical “Mystery Tour” tracks flow and sets up the bonus tracks as musically logical consequences of them. John called it “one of my favourite albums because it is so wierd”. This time the Americans got a better deal and created this canonical version of the album, which my brother bought on import and always put a big sunny smile on our faces.

Opening with the bright and cheery Magical Mystery Tour, which almost made Sgt. Pepper and was consciously made to highlight the upcoming film, this is an amazingly upbeat opening track which, as is common practice on TV today, prefigures the sequences of the story. It only works as a set up though and is, in effect, the film’s overture. Continue reading