28 May 2011
Actually, I applaud Emerick for letting us in on what really went on in the recording studios when George Martin tried to protect The Beatles from anything of the dirty stuff (All You Need Is Ears)…
Clearly, Emerick's favorite was Paul, but like I tried to state, how else could he not be? He was about the only one trying to keep quality going and took recording seriously, something John even thanked him for later on.
I don't even think he liked Paul all that much, anyway. (He stated that in all those years, none of them ever offered him a ride home).
After reading this book, I thought a lot less of John and after reading others, even less of John, although I think he was the most important performer in rock/pop history.
Emerick also states later in the book that George came a long way with his guitar playing.
19 September 2010
I haven't read the Emerick book in 5 months ish, so my memory may be faulty. As long as Emerick says "that George came a long way with his guitar playing," I'm happy, because the man who did the first solos and the man who soloed on Something were completely different.
28 May 2011
26 July 2011
I still haven't had a chance to read this book cover to cover, but I've certainly read excerpts (as well as Ken Scott's opinions of it), plus I've read interviews with Emerick in magazines such as GUITAR WORLD, and there's no doubt he favoured Paul McCartney.
Also, the impression I get is that he believes nearly every good idea that came up during those years was his. And perhaps they were; after all he was there, and I wasn't. Still, it seems odd, considering how much praise George Martin has always showered on "I Am the Walrus", that Emerick claims Martin hated the song when John first demo'ed it.
And I do have to question Emerick's memory, judging by what he told GUITAR WORLD -- he said that George was not really into being a Beatle anymore, during the recording of REVOLVER. Yet George himself always spoke very positively about both that album and RUBBER SOUL -- in 1994, he told a reporter (I believe this was also in GUITAR WORLD) something like "that's when I really got into everything we did as a band, including the songs the others wrote". It was during SGT PEPPER and the remainder of 1967 that George seemed to pull away from The Beatles, and you can hear that when you listen to recordings from that year (the guitar solo on "All You Need Is Love" for example is pretty ordinary). His first contribution to PEPPER was, by his own admission, a throwaway ("Only a Northern Song") and was eventually shelved until the YELLOW SUBMARINE album, and he only really put effort into "Within You Without You" -- obviously those were the sounds he was tuning into at the time.
But I still want to read this book and see for myself. It's always interesting to get the "inside story" on these incredible recordings -- even if the memories of those telling them are sometimes faulty.
10 April 2012
A great book to read with insight into the recording of Revolver onwards BUT I had two faults with this book:
1. Emerick was scathing in his attitude towards George. He as good as portrayed him an an imcompitant guitarist;
2. He is so far up Paul's "arse" it's not true! Yes we know you are still great friends Geoff, but Paul wasn't the only Beatle you know!
Well I am glad I am not the only one who thought these things as I read the book. I thought Emerick was very harsh with George and Ringo… and he was quite the Paul suck-up. My guess is that Emerick had a thin skin and was the subject of some very unkind barbs. And Emerick wouldn't have been forced to think of some of "his" solutions if he hadn't been pushed that direction by John interest in the odd and unusual. I also found his attitude about the use of marijuana by the Beatles as rather childish and priggish, as if Emerick was jealous that he wasn't asked to join in the activity. Some great insights but, on the whole, I thought very little of Emerick personally after his trash job on George, Ringo, John and many others.
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