Here, There and Everywhere
My Life Recording the Music of the Beatles
By Geoff Emerick, Howard Massey
Penguin Publishing Group
Copyright © 2007 Geoff Emerick
All rights reserved.
ISBN: 978-1-59240-269-4
Here, There and Everywhere
Here, There and Everywhere
My Life Recording the Music of THE BEATLES
Geoff Emerick and Howard Massey
GOTHAM BOOKS
Foreword by Elvis Costello
PROLOGUE
1966
CHAPTER 1
Hidden Treasure
CHAPTER 2
Number Three Abbey Road
CHAPTER 3
Meeting the Beatles
CHAPTER 4
Early Sessions
CHAPTER 5
Beatlemania
CHAPTER 6
A Hard Day’s Night
CHAPTER 7
Innovation and Invention: The Making of Revolver
CHAPTER 8
It’s Wonderful to Be Here, It’s Certainly a Thrill: Sgt. Pepper Begins
CHAPTER 9
A Masterpiece Takes Shape: The Pepper Concept
CHAPTER 10
All You Need Is Love…and a Long Vacation: Magical Mystery Tour and Yellow Submarine
CHAPTER 11
The Day I Quit: The Making of the White Album
CHAPTER 12
The Calm After the Storm: Life After the White Album
CHAPTER 13
An Anvil, a Bed, and Three Gunslingers: The Making of Abbey Road
CHAPTER 14
And in the End: The Final Stroll Across Abbey Road
CHAPTER 15
Fixing a Hole: The Apple Years
CHAPTER 16
Drainage, Lizards, and Monsoons: The Making of Band On The Run
CHAPTER 17
Life After the Beatles: From Elvis to the Anthologies
EPILOGUE
I Read the News Today, Oh Boy
Acknowledgments
Index
• Foreword •
by Elvis Costello
It has been ten years since Geoff Emerick and I last worked together. One of my favorite memories of that last occasion is Geoff politely cursing the recording desk when it proved impossible to make it distort in an attractive and interesting fashion.
So many of the sounds in today’s recording studios come out of little boxes that merely imitate the sonic innovations of the past. The range of choices is vast but, in unimaginative hands, it seems to create fewer surprises.
Despite all the endless theorizing about pop music of the 1960s, the contribution of a small handful of engineers is still not fully appreciated. Inspired by particular musicians, these innovations brought about a change in the very nature of the recording studio, from a place where musical performances were simply captured in the best available fidelity to an experimental workshop in which the transformation and even the distortion of the very sound of an instrument or voice became an element in the composition. Not that you would ever hear any of this grand talk from Geoff Emerick. You could not meet a more modest and self-effacing man.
When we first worked together in 1981, I had decided to take a very different approach to the recording of what would become the album Imperial Bedroom. My first album had been recorded in a total of twenty-four hours of studio time; the second took eleven days. Now the Attractions and I had booked AIR Studios for twelve weeks and granted ourselves the license to work on the sound of the record until it reflected the mood of the songs. We would hire anything that seemed to help: a harpsichord, a trio of French horns, or even a small orchestra. If we were not to be railroaded to that deadly place called “Geniusville,” where every passing notion in the mind of the musical submariner is mistaken for sunken treasure (believe me, the recording studio can have more than a passing resemblance to the depths of the ocean), we would need someone to retain perspective, to bring some kind of order, and to occasionally act as a referee.
This is how I met Geoff Emerick, a tall, gentle man with a resonant voice and, at that time, an occasionally jittery pattern of speech that I put down to his almost constant intake of vending-machine coffee that blended nicely with the taste and aroma of melted plastic. Over our weeks in the studio, an instrumental tone or sonic effect that seemed fleetingly familiar would suddenly appear, but we never got the impression that Geoff was shaping the sound from a clichéd “box of tricks.” The songs and the moods of the performance always took precedence over the way they might be filtered, altered, or changed on their way to tape. By the end of our time together, we found that Geoff had helped us produce the richest and most varied-sounding record of our career to date.
I had made the band promise that they would not pester Geoff for Beatles stories, but as we got deeper into the process of recording and mixing, the occasional anecdote would emerge. These tales never sounded worn out or rehearsed. There was never a hint of self-aggrandizement or boastfulness about them. They were usually used as examples of how a problem might be solved. The fact that the “problem” might have generated the sound of “Being For The Benefit Of Mr. Kite” seemed merely incidental.
Well, now we can all enjoy Geoff’s reminiscences about his most famous work. Without meaning any disrespect to George Martin, I think I could find many contemporary musicians and record makers who might agree with me that Geoff Emerick would be regarded as the coproducer of Sgt. Pepper’s Lonely Hearts Club Band by modern definitions. What makes this memoir so entertaining to read is that these fabulous inventions and innovations always seemed to be made out of elastic bands, sticky tape, and empty cotton reels. It was the stuff of the hobby shop or do-it-yourself enthusiast rather than the computer-assisted boffin, and always in service of a brilliant musical idea rather than in place of it. None of this is told with any sense of pomp or portentousness, although there is certainly plenty of youthful enthusiasm, described in the accounts of Geoff’s work as a teenage assistant engineer on the very first Beatles’ sessions.
The fact that four young musicians from Liverpool were assigned to the EMI comedy imprint, Parlophone, and staff producer responsible for the comedy output, gives us a glimpse of a number of casual regional assumptions and the hierarchies of early ’60s England. American readers may only be able to equate the class-bound stiffness of Abbey Road to something out of Monty Python. I remember Geoff telling me about the staff engineer’s Rebellion of the White Coats, in which they donned ludicrously mismatched sizes in response to a management directive that they once again wear these garments—last seen in the days when they had to handle the more volatile wax medium of recording—just as hair started to creep over collars that were now sporting floral ties.
The book captures the mood of claustrophobic England that was suddenly illuminated by such imaginative music. It was still postwar England, in which the buses stopped running very shortly after the pubs shut. If I had to give a précis of the contents, it would be in the sentence, “We recorded ‘Tomorrow Never Knows’ and then I went home and had some nice biscuits.”
Geoff would be the first to say that none of the sonic flights of fancy that he helped shape in the music of the Beatles would have been possible without the incredible apprenticeship and experience offered by...
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