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THE LIFE OF BEATLES PRODUCER GEORGE MARTIN, THE LATER YEARS 1966-2016

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The second volume of the first full-length biography of George Martin, Sound Pictures: The Life of Beatles Producer George Martin, The Later Years 1966-2016 by Kenneth Womack, is coming on Sept. 4. The book “takes readers behind the scenes and reveals Martin’s diligent efforts to consolidate the Beatles’ fame in the face of the sociocultural pressures of the time.”

Volume one, George Martin—The Early Years, 1926-1966 was published on Sept. 1, 2017. That book traced Martin’s working-class childhood in North London, his early years as a scratch pianist, his life in the Fleet Air Arm during World War II and his groundbreaking work as the head of Parlophone Records, when Martin saved the company from ruin after making his name as a producer of comedy recordings.The first volume took a close look at his unlikely discovery of the Beatles in 1962 through to the production of the landmark album Rubber Soul. Volume two, The Later Years, picks up where that story left off.

From the volume two announcement: “In 1966, the Beatles and George Martin stood at a creative crossroads. The bandmates had started to feel stunted in their musical growth, so they started engaging in brash experimentation both inside and outside the studio. With more recognition, the band began to feel like prisoners of their fame and grew frustrated by the culture’s inability to grasp the meaning behind their work.
“Martin worked with the band as they navigated the changing landscape of mid-1960s rock ’n’ roll. Martin’s work ethic and studio savviness earned him a long-lasting partnership with the Beatles that continued throughout the later years of his life.”

Sound Pictures: The Life of Beatles Producer George Martin, The Later Years 1966-2016

PRE-ORDER IS AVAILABLE HERE:

#USA … H E R E.

#UK  …  H E R E.

AIR STUDIOS, FOUNDED BY GEORGE MARTIN, GOES UP FOR SALE

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London’s AIR Studios, one of the world’s largest and most prestigious recording facilities, has been put up for sale by its owners. Initially founded by The Beatles’ producer Sir George Martin in 1969, the studio has been used by some of the biggest names in music with Paul McCartney, Adele, Coldplay, U2, Muse, George Michael, Kate Bush, Liam Gallagher, David Gilmour, Mumford & Sons, Scott Walker, The Jam and Katy Perry among the many artists to have recorded there.

The facility’s cavernous hexagonal shaped 300m squared live room big enough to house a full symphony orchestra and choir simultaneously — has also made AIR an in-demand booking for film composers and Hollywood studios. Film scores for Darkest Hour, Dunkirk, Wonder Woman, Justice League and Alien Covenant are among recent projects recorded at the state-of-the-art studio, based at Lyndhurst Hall, a Grade II listed converted church in Hampstead, North London, since 1991.

Prior to that, AIR — which stands for Associated Independent Recording — was located in central London. A sister studio in the tiny Caribbean island of Montserrat was opened by George Martin in 1979. It would go on to play host to some of the biggest-selling acts of the 1980s with Dire Straits, The Police, Duran Duran, Michael Jackson, Stevie Wonder, The Rolling Stones and Eric Clapton all cutting hit records at the facility. AIR Studios Montserrat was forced to close after much of the island was destroyed by a hurricane in 1989.

“The sale of AIR Studios is a significant moment in the history of the music industry,” announced co-owner Richard Boote, who acquired the London facility from Chrysalis Group and Pioneer in 2006. “Some of the most legendary soundtracks and records of the 20th and 21st century have been recorded at AIR and we know that there is still scope to expand and grow the business further,” said Boote in a statement.

As for who buys AIR, which includes an enviable collection of state-of-the-art and vintage equipment (including one of the world’s largest Neve 88R consoles), collectively said to be worth around £3 million ($4 million), co-owner Paul Woolf says they want someone who appreciates the heritage of the building and will carry on its legacy.

“It’s a very family cultured place,” he told Billboard. “We’re not corporate in how we run it and we’re very conscious of finding someone who buys into that and supports the staff. We’ve got probably the best tech team in the U.K., so we want them looked after and we want [the buyer] to take AIR onto the next step. To look at opportunities to develop and grow the place and treasure its history and heritage.”

In October 2017, the studio won a two-year legal battle to stop a neighbour from building a basement cinema, sauna, hot tub and swimming pool. AIR’s owners had feared that the noise and vibrations from the construction work would force the complex to close down. George Michael and Queen’s Brian May were among the signatories of an open letter opposing the plans, while more 13,000 people signed a petition in support of the historic studio.

Paul Woolf cites the “unbelievable” industry-wide response as one of his most abiding memories from his time at AIR. “That outpouring of support and love was so enormous it made me realize that I was involved in something very special,” he nostalgically reflects. “I honestly don’t think I’ll ever forget that. It will live with me for a long time.”

BOOK REVIEW: MAXIMUN VOLUME: THE LIFE OF BEATLES PRODUCER GEORGE MARTIN (THE EARLY YEARS 1926-1966)

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Maximum Volume offers a glimpse into the mind, the music, and the man behind the sound of the Beatles. George Martin’s working-class childhood and musical influences
profoundly shaped his early career in the BBC’s Classical Music department and as head of the EMI Group’s Parlophone Records. Out of them flowed the genius behind his seven years producing the Beatles’ incredible body of work, including such albums as Rubber Soul, Revolver, Sgt. Pepper’s Lonely Hearts Club Band, and Abbey Road.

The first book of two, Maximum Volume traces Martin’s early years as a scratch pianist, his life in the Fleet Air Arm during the Second World War, and his groundbreaking work as the head of Parlophone Records, when Martin saved the company from ruin after making his name as a producer of comedy recordings. In its most dramatic moments, Maximum Volume narrates the story of Martin’s unlikely discovery of the Beatles and his painstaking efforts to prepare their newfangled sound for the British music marketplace. As the story unfolds, Martin and the band craft numerous number-one hits, progressing toward the landmark album Rubber Soul—all of which bear Martin’s unmistakable musical signature.


ORIGINAL ORCHESTRAL MUSIC OF GEORGE MARTIN COMING OUT NOVEMBER

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“The Film Scores and Original Orchestral Music of George Martin” coming out November 10.

Double vinyl out in January.

TRACK LISTINGS

Disc: 1

  1. Pepperland
  2. March of the Meanies
  3. Sea of Holes
  4. Sea of Monsters
  5. Pepperland Reprise
  6. Whisper Who Dares
  7. Bond Meets Solitaire
  8. Snakes Alive
  9. Baron Samedi’s Dance of Death
  10. Westward Look!
  11. Old Boston
  12. New York, New York
  13. Judy’s Theme
  14. Under Milk Wood (Main Theme)
  15. Love Duet
  16. Waldo’s Song
  17. Belle Étoile
  18. Waltz in D Minor for Flute and Chamber Orchestra
  19. Prelude for Strings
  20. Prelude
  21. Chorale 1
  22. Chorale 2
  23. Orchestral Interlude
  24. Chorale 3
  25. Chorale 4
  26. Orchestral Interlude 2
  27. Chorale 5
  28. Chorale 6
  29. Chorale 7

ORDER … H E R E.

 


ORCHESTRAL WORKS OF GEORGE MARTIN WILL BE COLLECTED ON A NEW ALBUM

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The orchestral works of George Martin will be released on a new album, George Martin: The Film Scores and Original Orchestral Compositions, November 10th via Atlas Realisations/Pias Classics. A limited edition double vinyl LP will be available in January 2018.

Conductor Craig Leon and the Berlin Music Ensemble recorded the album at the Meistersaal in Emil Berliner Studios in Berlin. The LP will feature the music Martin penned for films like Yellow Submarine and Live and Let Die, as well as his previously unrecorded choral and orchestral score for The Mission. It will also include new versions of the overture Martin wrote for a 1988 album version of the famous British radio drama Under Milk Wood, as well as his Three American Sketches suite for violin and chamber orchestra and other previously unreleased original compositions.

A short documentary offers a behind-the-scenes look at the making of the album, including footage of Leon conducting the Berlin Music Ensemble through Martin’s Live and Let Die score and “The Pepperland Suite” from Yellow Submarine. Leon said he decided to put together the George Martin project after finding the producer’s original composition manuscripts.

“When I was going through it, I was just struck by the elegance of the composition and how much they fit the era that I grew up in music, and again made me think how much I wouldn’t have even had the life I had if George Martin hadn’t done what he did,” Leon said. “He bridged the gap between an interpretive producer and a creative producer, which was the thing that I wanted to do.” (Like Martin, Leon has worked in both classical and rock, producing records for the Ramones, Blondie, Suicide and more).

Martin, who produced much of the Beatles’ catalog, died in 2016 at the age of 90.


MYSTERY OF £20,000 ELEANOR RIGBY SCORE PULLED FROM AUCTION OF BEATLES MEMORABILIA

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It was a sentimental gift, bought at a charity auction with the blessing of The Beatles and legendary producer Sir George Martin.But now a highly sought after piece of Beatles memorabilia–an original Eleanor Rigby score penned by Sir George— has emerged as the subject of an extraordinary dispute involving relatives of the man he gifted it to. Colin Sanders, a world renowned musical entrepreneur and founder of the mixing console manufacturer Solid State Logic (SSL), is understood to have won the score from the band several years after the song’s release.

Now, however, the much cherished heirloom has become centre of a bizarre whodunit involving his widow, Dr Rosemary Sanders, and their adopted daughter, Terri-Louise. The controversy arose after the rare manuscript, signed by Sir George and Sir Paul McCartney, turned up for sale at an obscure Warrington-based auction house.

After learning of its disappearance, Dr Sanders contacted Omega Auctions, a specialist in music memorabilia, and claimed ownership.  The auction house was forced to pull the lot hours before it was due to go on auction.

The score is only of only two known to have been written by Sir George; the original was left to his daughter, Alexis Stratfold, when he died last year. It was until Monday advertised alongside a collection of rare Beatles memorabilia, and had been valued at £20,000. Dr Sanders has also alerted Thames Valley Police, which is now attempting to determine the manuscript’s true ownership and how it came to be consigned for sale.

When approached by The Daily Telegraph for comment, Dr Sanders said that the score had been won by her late husband at a charity auction and had been passed to her after his death in 1998 in a helicopter accident. “My late husband won it at a charity auction,” she said. “He knew Sir George well, they used to move in the same circles. They [The Beatles] would come to parties occasionally. “He went to Abbey Road as well, and of course some of the studio was fitted out by SSL.” A spokeswoman for Omega Auction confirmed that the score was no longer for sale. “Having been contacted by his widow, Dr Rosie Sanders, it is understood that she is the rightful owner of the score and has no wishes to part with it”. She revealed that the score had been consigned for sale by someone claiming to be Colin Sanders’ daughter Terri-Louise, adding that the auction house had understood that ‘Terri-Louise’ had inherited it from her father and was therefore entitled to sell it.

However when approached by The Daily Telegraph last night Ms Sanders denied any knowledge of the incident, saying she had never approached the auction house about any potential sale.
It is understood that Dr Sanders reported the incident to Thames Valley Police.  She declined to comment further, but said that the ordeal had been “distressing” for the family.’
A spokeswoman for Thames Valley Police said: “On 8 Sept we were called by a resident of Souldern near Bicester regarding  a dispute over of piece of music memorabilia. We are currently investigating this matter.”