The podcast dedicated to exploring the untold story behind producer George Martin's revolutionary collaboration with The Beatles.
012 John Lennon, "Love" (S1 bonus episode)
In the first bonus episode for Season 1, we step outside of our regular format and take a peek into solo Beatles territory, with a look at the recording of John Lennon’s song “Love” from his first post-Beatles solo album, John Lennon/Plastic Ono Band. We trace the song’s development all the way from home demo to finished recording, sampling the session tapes and discovering the role both Yoko and Phil Spector played in reaching the final take.
011 Nothing Is Real: Strawberry Fields Forever, take 26
Recording Strawberry Fields Forever was a complicated, layered process, famously requiring the cutting together of two different takes in two different keys and tempos. Today we put our magnifying glass on the second of those takes, take 26, with special attention given to George Martin’s dramatic score for three cellos and four trumpets. We go into the recording studio with seven musicians to re-record Martin’s complete score, and cellist Karen Ray returns to help us deconstruct the arrangement and understand what Martin was doing with this composition.
010 It's Gonna Be Alright: Revolution — Part II (single version)
In Part 2 of our look at the trio of songs titled “Revolution,” we dive into the recording of the electric guitar driven single version of the song.
009 It's Gonna Be Alright: Revolution - Part I (Revolution 1 & 9)
Sparked by the air of social upheaval in 1968, John's song "Revolution" spawned three very different recordings: Revolution 1, Revolution 9, and Revolution (the single version). Today, in the first of a two part episode, we look at how Revolution 1 gave birth to Revolution 9, and discover the mesmerizing missing link between the two. Former New York Times music critic Allan Kozinn helps us deconstruct Revolution 9, and to make sense of why John created such a challenging recording in the first place.
008 Producing an "Unproduced" Album - Get Back/Let It Be
In this episode, we discover what role George Martin played in the infamous Get Back sessions of January 1969, a project where John Lennon made clear they didn't want any of Martin's "production shit."
007 Changing Speeds - The 'Varispeed' Technique
Starting in 1966, George Martin and The Beatles used varispeed – variable speed recording – to change the textures of their recordings to create a variety of effects.