To promote the album, George Martin did an extensive interview with Beatles historian, Martin Lewis in 1998. The audio interview and transcript was released to the media to help publicize the In My Life album in 1999. This interview with Sir George provides great insight into his work with The Beatles.
Here is a brief excerpt:
Q: So there you are in 1962, something happened then that changed everything for you – you met Brian Epstein, who managed The Beatles. Tell me about that.
George Martin: Brian Epstein brought along a tape of a group that he called the most unlikely name of The Beatles, a very corny name I thought, and [the tape] was not very good, in fact it was awful. But it did have something, it had a sound that was very rough and raw. The songs weren’t anything to write home about. My reaction to him – he was very persuasive, he was convinced “this is going to be the best group ever. They’d been in Germany, they’re turning people away when they’re doing gigs.”
He didn’t tell me that he’d been to every other record company in the country, and been turned down by every record company. If I had known that, I would have chucked him out the door, but I listened very politely to him, he was a very nice man, very persuasive. And I said, “If you want me to judge it on this I would have to say never, but if you like I will give these characters some time. If you bring them down from Liverpool, I will take them into the studio and I will see what we can do with them, and then I’ll tell you if they’re any good or not.”
But when The Beatles came down, we spent an afternoon in the studio together and that was quite different.
Q: In what way was it different when they actually came into the studio in June 1962?
George Martin: They had tremendous charisma, these four boys. At least three of them did. The guy who played drums [Pete Best] was very good-looking but he didn’t say much and just kept very quiet in the background. But the other three were full of life and joking around with each other…
When Paul first brought me the song, he started it off [imitates music] ba-da-da-da-da at the beginning of the song, and I said we need something more hooky than that, something to grab your attention. Which is why I took out “Can’t Buy Me Love” and constructed a beginning by repeating the hook into an introduction which seized upon your mind. You had to sell things quickly in those days.
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