Show Notes
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.
More from Producing The Beatles
We kick off Season 2 with one of the Beatles’ most revolutionary recordings, “Tomorrow Never Knows,” the closing track on Revolver but the first song recorded for the album. It would be both a creative and technical breakthrough, but getting the final master on tape was quite an involved process. To help explore the mysteries of a song that still sounds unstuck in time, I’m joined by composer and music professor Joel Friedman and author Elizabeth Alker, who spoke to Paul McCartney about this recording for her new book, Everything We Do Is Music: How 20th Century Classical Music Shaped Pop.
Beatle author Ken Womack and Ranking the Beatles host Jonathan Pretus join me to discuss the tech that made the Beatles’ new single “Now and Then” possible. And from John's haunting vocal to Giles Martin's stirring string arrangement, we peel back the layers of the production and consider Paul's nearly 30 year mission to complete John's demo.
A little extra mini-episode examining George Martin’s orchestration for “Live and Let Die,” with a recreation of part of the arrangement.
In our penultimate Season 1 bonus episode, we examine another solo recording, this time Paul McCartney’s thrilling theme song for the 1973 James Bond film, Live and Let Die. I’m joined by Allan Kozinn, co-author of The McCartney Legacy Volume 1, who takes us through all the details of the writing and recording process. We also learn how Paul debuted the song before the film’s release, we walk through George Martin’s Grammy-winning arrangement, and we consider Martin’s droll story about the film’s producer, as well as what Martin left out of that story.
In the second episode looking at the making of All Things Must Pass, we explore the recording of the largest production on the album. We hear from participants at the sessions, listen to outtakes and isolations, peek into Mal Evans’ diaries, and sample a reconstruction of the song’s epic orchestral score.