Nothing earth-shattering, but this book kind of pulled me along. I skipped about the first and last 10%. ( )

I loved this book which really surprised me. I was a fan of the Beatles so I thought I'd enjoy the book, but what surprised me the parts I liked the most was when the author was explaining how he the engineer got the sounds that the band was looking for. So come read it for the music but stay to find out about sound engineers.

After his descriptions of Revolution and Sgt. Peppers I had to stop reading and go listen to the albums so I could hear for myself what Emerick is describing. ( )

Just when I thought I had nothing more to say about the Beatles:

I haven't read a book on the Beatles in nearly ten years at least. In fact, I can't think off the top of my head that I've read any book--at least cover to cover--chronicling a music artist since I graduated high school. Perhaps it's because I did it to death as a fanatical teenager, and I'm sure working at record stores plus this crazy, new contraption they call "The Internet" where you can just read snippets here and there PLUS having many musically-minded friends and family has sufficed in the meantime as well. And indeed, this book has been lying around my apartment for a year before I finally figured, "Huh. Maybe I should give this one a whirl."

Let me start by saying that it's been a while since I've read a book that I had so many qualms with and yet really ultimately enjoyed. Anyone who's spent a little time with me knows my history with the Beatles. To say I was (am?) obsessed is an understatement. I learned the word "monomaniacal" at the age of 13 when used by my parents to categorize my behavior (and appearance) after the anthologies first aired. To this day, of course decades after the group was together, I have yet to meet anyone personally, other than of course my dear friend Erin (who recommended this book), who have taken the obsession to such an extreme (which, yes, I feel qualified to say, especially experiencing the Event that is Beatlefest many times). I say all this because I already know a lot about the group with the addition of having so much of my life tied up with my experience of getting into the Beatles--it absolutely resounds a deep chord within me.

So I found reading Emerick's account at times quite frustrating. For one, the writing was not top-notch even with a music journalist in tow (although this makes me think of the Zappa quote: "Most rock journalism is people who can't write, interviewing people who can't talk, for people who can't read"), and Emerick occasionally adds some details of his own personal life that seem irrelevant and disrupt the flow at times. I mean, really--we're reading this book to find out about the Beatles. Also, I found his attitude a little off-putting when it came to addressing the albums he wasn't involved with...especially dismissing Rubber Soul, which, though it doesn't contain as much experimentation as Revolver, to me stands out as their point of departure in both musicality and songwriting from their earlier work.

My primary beef, though, was the rather heavy-handed idol worship of Paul McCartney. Granted, this is Emerick's story, Emerick's experience, but it really got hard to stomach at times. There were several points within his recollections where he made the other three Beatles seem little more than bumbling idiots who had no business being in the music business at all (and George Martin to be nothing short of a tyrant). They all had their problems, but Paul certainly was no exception. Besides, having read/watched/listened to so much of the Beatles and so many of the people they've ever associated with, I wasn't reading this to get another character analysis of the band--I wanted to get the technical side of the recording process, which is certainly not as frequent a commentary to be found. This reflection on character subsequently seemed to reveal inconsistencies in Emerick's approach to recording the Beatles. Take, for instance, the Sgt. Pepper sessions. If I read this correctly, to get the rich sound, he mentions how he put Paul's bass on a separate track--different from before when bass and drums were often heaped together--which was a bigger deal since they were recording on EMI's notoriously behind-the-times four-track machine. Yet, a little later he bemoans not being able to separate the distinct guitar styles of George and John...why not give them a chance then and record them on separate tracks, and putting the bass and drums back on the same track? He also complains about Lennon's abstractions, but seems blind to it when Paul speaks in them. Similarly, John's attention to detail--when it occured--was unwelcomed, but he bent over backwards for Paul. I actually started making a list of the bias, but got tired of keeping track.

To be fair, he has become close with Paul over the years in both their musical and personal lives, which makes his assessments a little easier to understand. I also realize that Paul had the most musical ability and variety of the group when first coming into the studio, which I'm sure that makes a sound engineer's job a lot easier to develop an overall sound, plus he's obviously the most pop oriented of the four. Additionally, his attitudes towards all four Beatles seemed fairer towards the end of their career. And for any egotism I found unsettling, I just reminded myself, "Well, it IS the Beatles we're talking about, and this IS the guy who helped develop some truly fantastic and innovative albums..." It's hard to live that one down.

Above all, though, I truly got a lot out of this memoir. Some of the more flamboyant recording tricks are pretty well documented (e.g., the whole of "Tomorrow Never Knows") so I already knew plenty about a lot of it. However, I've also forgotten a lot, too, as my rabid mania has calmed a bit over the last decade or so (or perhaps simply found different avenues) and delighted in refreshing my memory. I reveled in learning about the normal aspects of the recording process as well as the details pertaining to the laborious creativity of having to work with EMI's limited equipment. Ultimately, I truly appreciated the inspiration I got to go back and pour over the Beatles' albums once again (and am gearing up to watch the Anthologies over again). Unlike other things I've obsessed over, I've never really had a phase where I got burnt out on the Beatles, but it's definitely been a while since I've paid extra close attention to the nuances of the songs. And in listening so closely to the songs once again, I found myself completely overwhelemed. I am reminded of what the Beatles mean to me in the context of my life--how these sounds have shaped, influenced, and inspired me and will continue to do so. And so, in spite of the issues I had during the reading, I am grateful to have had Emerick's account provoke an awareness within of my connection to music. ( )

Geoff Emerick was the recording engineer on many of the Beatles records, such as Revolver, Sergeant Pepper and Abbey Road (and parts of the White Album). The book has a ton of interesting details on how the records were made, and about the personalities of the four Beatles.
In particular it was extremely interesting to learn how they experimented and developed new sounds on Revolver and Sergeant Pepper. There is also a lot of information about John, Paul, George and Ringo, and many other people in their orbit, including many interesting anecdotes. The book is well written, and easy to read.
If you are interested in the Beatles, and want to learn more about how their music was developed and recorded, this is an excellent read. ( )

I enjoyed this a lot and read it almost straight through. Emerick's recollections of events that happened 35-40 years before seem almost too detailed to believe, but given their importance and the personalities involved, I'm willing to give him he benefit of the doubt. He is definitely in Paul McCartney's camp, showing Paul as the leader and the stabilizing force who kept the Beatles together as long as he could. George Martin gets a lot of credit, but Emerick clearly considers his own contributions to be equal to achieving the best moments in the Beatles' recordings. (I didn't find Emerick to be the modest fellow Elvis Costello portrays him as in his introduction.) Throughout the book, George Harrison's guitar playing comes in for a LOT of criticism, as he fails take after take and, in a few cases, Paul McCartney has to step in to reel off an effortless solo after hours of Harrison's attempts. John Lennon emerges as the conflicted character we expect him to be. Certainly he's the most erratic and ultimately most interesting person here, but Emerick's depiction of Lennon's interactions with Yoko Ono are just plain weird. And I guess they were...

Definitely a book any Beatles fan will want to read. There are lots of details about the recordings that will have you pulling them out again, or streaming them, to see what Emerick is talking about. Most of us will agree with his observations on more modern music when there are unlimited recording tracks and unlimited digital tricks so that what emerges lacks the human element that made the Beatles such a lasting phenomenon. ( )

I have to add a disclaimer on here - I'm a huge Beatles nut, so I'm going to devour just about anything written about them. But I have to say that this book is by far one of the best I've read so far. Geoff Emerick worked on several of the Beatles' early albums, and in 1966, he became their main sound engineer, which meant he helped create Revolver, Sergeant Pepper's Lonely Hearts Club Band, Abbey Road, and part of the White Album. This also means that he had a lot of insight into how the Beatles worked together, both creatively and personally.

The book is fairly straightforward: it chronicles Geoff's initial love of music, his first job at Abbey Road studios under producer George Martin, and his first encounters with the Beatles in 1962. While the narration deviates slightly to talk about other side projects Geoff was working on, it always comes back to his time with the Beatles in the studio, and watching their music evolve over the years.

The middle part of the book is where it really starts to get interesting, though, because these are the chapters when Geoff explains how Revolver & Sgt. Pepper were made, and how the tensions between the Beatles began to grow. The stories behind these innovative songs are fascinating, but the true heart of the book is Geoff's account of how the band came together to make music, and how outside pressures and creative differences ultimately drove them apart. There's a lot of emphasis on the Beatles' personalities, both individually and as a group, and it's this perspective that makes the book unique, as there weren't many people allowed inside the studio when the Beatles were recording.

There's a brief account of the work Geoff did on the Paul McCartney & Wings album, Band on the Run, but for me, this wasn't as interesting as his accounts of working with the entire band. The book is also very heavy on the technical details, which are likely to be foreign to anyone who doesn't have a background in music or in sound engineering, but I found it easy to skim over these parts. At any rate, the technical passages are a good representation of how much work went into these songs, particularly in the last half of the Beatles's career.

Despite the jargon-heavy nature of this book, there's a real sense of tragedy and loss when Geoff recalls the last few months before the Beatles dissolved for good. As a reader, I was present from the first energetic recording sessions at Abbey Road, so to see the Beatles grow, transform, and then fall apart before my eyes was heartbreaking. But Geoff's account also breathes new life into these songs; after all, who would have guessed that there was so much stress associated with the production of "All You Need is Love?"

This book is highly recommended for music fans & for Beatles fans, regardless of their familiarity with the technical aspects of music and recording. It breathes new life into the near-mythic story of the Beatles's rise and fall from power.

For an even more in-depth look at the Beatles's career, try Bob Spitz's biography, which tops out at one thousand pages - plenty of well-researched information to satisfy even the most die-hard Beatles fan. ( )

Highly recommended. The book is a survey of the recording of many of the major Beatles albums from the recording room's perspective, which is to say from that of Geoff Emerick, the band's longtime engineer. It also provides a peek into some of Paul McCartney's solo work, including an incident when the band was threatened by supporters of Fela, who felt McCartney might be in Lagos to steal his rhythms. The book is valuable for its insight into the creative life of the Beatles (who did what, how they related and — more to the point — didn't relate with each other), but for two other key reasons as well.

The first reason is the extent to which the engineer-as-composer is an underlying theme of the book. Emerick makes negligible claims to any traditional compositional activity — he doesn't suggest himself to have written a major part, or to have penned a lyric — but his role in creating the recordings that we generally think of as the songs is paramount throughout. Initially he's a technological interpreter of John Lennon's mumbled and hazy requests for particular effects, and later he's more of a direct instigator of such things. This book is essential reading for anyone who has a serious interest in musique concrète, in Brian Eno's pioneering ambient work, and in Glenn Gould's studio seclusion.

The second reason is more tangential, but I'll mention it here. In many ways, Geoff Emerick's book about working with the Beatles in the 1960s is the best book I've ever read about manga (Japanese comic books and graphic novels). It is by far the closest thing I've read to my personal experience observing how manga is produced today in Japan. This is because he gives a great presentation of how bands during the 1960s were signed to record labels and then how those bands' music was produced in what was, in effect, a fairly traditionally managed business environment. That old-school business model, as with so many ancient mid-century norms (from workplace suits to institutional sexism to presumed lifelong employment), remains the way much mainstream culture is produced in corporate Japan, manga especially.

I've read a lot of books about the Beatles, some good, and others not. This was one of the best. It was great to read about how their studio sound was created by their balance engineer: Geoff Emerick. ( )

Le meilleur livre qu'il m'ait été donné de lire sur les Beatles ! Que vous soyez musicien, producteur ingé-son ou tout simplement fan des Beatles, ce livre est une vrai leçon de musique !



Au delà des anecdotes incroyables sur l'enregistrements de leurs albums mythiques, Geoff Emerick ébauche le caractère de chacun des Beatles et, même s'il n'est pas tendre avec tous, il nous laisse entrevoir les raisons qui font qu'un groupe marche ou marche pas.



Bref un livre qui va bien au-delà des simples anecdotes d'un ingé-son particulièrement innovant et nous parle simplement de musique.



Personnellement, je l'ai dévoré en trois jours, tellement il est prenant !

An outstanding account from the engineer long known by Beatles fans, Emerick takes you into the studio with the Fab Four with stunning detail and outstanding stories. One of those rare works that has lots of unique information and perspective into the group rather than the same stories as a dozen other books. A vital addition to your Beatles library. ( )

Reviewed by Mr. Overeem (Language Arts)
If you are at all excited about the remastering of the Beatles albums, this is a must-read. Check out articles about the event on CNN or in The New York Times; none mention that Emerick was the man who made most of those sonic innovations on records like REVOLVER, SGT. PEPPER'S, and THE WHITE ALBUM possible. Emerick began working with the Beatles in what would become known as Abbey Road studios while in his early teens--got the job thanks to a school guidance counselor! The two best things the book has to offer are intriguing insights into how famous effects were achieved (often by sheer ingenuity in using whatever was on hand--a great teaching metaphor) and a counter-to-conventional-wisdom sizing-up of the Fab Four as individuals. ( )

a seriously incredible look on the Beatle's life. instead of a biographer, or a frend, this is a perspective of someone who worked with them in the studio. so it's very much more from a This is The Music They Made perspective and his insight is so valuable to any true Beatles fan. a must read for a Sgt Peppers' fan too, find out where those sounds came from! brilliant book. ( )

Geoff Emerick was the recording engineer behind such seminal works as Revolver and Sgt. Pepper. He was also privy to most of the innerworkings of the Beatles' recording sessions even if he wasn't the chief engineer on all their albums. Through careful observations of the Beatles' compositional styles and perceptive insights into the dynamics of their personalities, Emerick brings a welcome clarity to the subject of how the Beatles worked in the studio and how their vision of rock evolved. The early days are evoked with particular charm, especially the memories of recording "She Loves You" at the same time that frantic fans were invading EMI studios. Emerick's comments on the raw energy of "She Loves You" versus the more contained power of "I Want to Hold Your Hand," are more than worth the price for any serious Beatles historian. Interesting, detailed, and very readable. A gem in the ongoing treatises upon Beatle-ology. ( )

Geoff Emerick is one of two main engineers that the Beatles had in their 8 year career. The first was Norman Smith from 1962-1966, his last album being "Rubber Soul". Geoff became their main engineer (the guys who do most of the behind the scenes work) starting with "Revolver", there's a lot of really neat information here. Some of it is a bit biased towards McCartney as Geoff and Paul had a good working relationship and were and still are good friends. Some of the stories are apparently not true according to some of the Beatle fanatics over at the Steve Hoffman forums, but don't let that scare you away from this book. You get a chance to see what it was like working with the world's most infamous and highly regarded mythical musicians. It really is a good read. ( )

Reading Here There and Everywhere reminds you that it was the freshness of the Beatles sound--that got you in to the songs--got you to listen --to pay attention--
the sound kind of came with the territory
or seemed to --whether it was the odd use of classical instruments--the clarity of a guitar riff or a harmony--it was inextricable part of the package--the Beatles listening experience.

For the rest of the review go to my blog
http://mymemories.vox.com/ ( )

A fantastic account of Geoff's days with the Beatles. This text confirmed all my suspicions of how the Beatles interacted with each other and everyone else on a day-to-day basis. I highly recommend this book to anyone who has the faintest interest in the Beatles or is interested in learning how to be a successful audio engineer. Actually, the wisdom in this book is quite applicable to most scenarios and kindly reminds us to keep our egos in check at all times. ( )

http://www.neilfein.com/2006/06/to-cut-better-track.html ( )