Release date : Monday, November 20, 2006
Love
By The Beatles • Official album • Part of the collection “The Beatles • Post break-up albums”
Last updated on December 22, 2023
Release date : Monday, November 20, 2006
By The Beatles • Official album • Part of the collection “The Beatles • Post break-up albums”
Last updated on December 22, 2023
Previous album Oct 24, 2006 • "Givin' It Up" by Al Jarreau released in the US
Article Nov 13, 2006 • "The Space Within US" DVD released
Classical concert Nov 14, 2006 • United States • New York
Album Nov 20, 2006 • "Love" by The Beatles released globally
Article Dec 04, 2006 • Paul McCartney Takes Over Classic FM for 24Hours
Session January-February, 2007 • "Memory Almost Full" sessions (Hog Hill Studio & RAK Studios)
Next album Jun 04, 2007 • "Memory Almost Full" by Paul McCartney released in the UK
This album was recorded during the following studio sessions:
Circa 2004-2006
Jun 30, 2006
2:44 • Studio version • C • The track includes the bird sounds used in the World Wildlife Fund version of Across the Universe. In addition, a new recording of a wood pigeon was implemented to make it more British, according to George Martin.
George Martin : Producer Giles Martin : Producer Paul Hicks : Remix engineer Sam Okell : Remix engineer assistant Chris Bolster : Remix engineer assistant Mirek Stiles : Remix engineer assistant
Session Recording: Circa 2004-2006 • Studio EMI Studios, Abbey Road
Session Mixing: Circa 2004-2006 • Studio EMI Studios, Abbey Road
Details & description coming from Wikipedia
2:05 • Studio version • F • As reported, the track uses the opening guitar from "A Hard Day's Night", the drum and guitar solos from "The End", percussion from "Sgt. Pepper's Lonely Hearts Club Band (Reprise)", and the orchestral swell from "A Day in the Life".
George Martin : Producer Giles Martin : Producer Paul Hicks : Remix engineer Sam Okell : Remix engineer assistant Chris Bolster : Remix engineer assistant Mirek Stiles : Remix engineer assistant
Session Mixing: Circa 2004-2006 • Studio EMI Studios, Abbey Road
Details & description coming from Wikipedia
1:20 • Studio version • E • This track is much shorter than the original version, containing less vocals. The track contains Paul's falsetto "Oh, No" and "Hello, Hello" both from "Hello, Goodbye", guitar from "Things We Said Today", and brass from "Magical Mystery Tour" and "Penny Lane."
George Martin : Producer Giles Martin : Producer Paul Hicks : Remix engineer Sam Okell : Remix engineer assistant Chris Bolster : Remix engineer assistant Mirek Stiles : Remix engineer assistant
Session Mixing: Circa 2004-2006 • Studio EMI Studios, Abbey Road
Details & description coming from Wikipedia
3:05 • Studio version • F • (with "Julia" transition) – After the "Julia" transition it contains elements from "A Day in the Life" and "Strawberry Fields Forever", as well as sound effects from "Revolution 9".
George Martin : Producer Giles Martin : Producer Paul Hicks : Remix engineer Sam Okell : Remix engineer assistant Chris Bolster : Remix engineer assistant Mirek Stiles : Remix engineer assistant
Session Mixing: Circa 2004-2006 • Studio EMI Studios, Abbey Road
Details & description coming from Wikipedia
4:28 • Studio version • D • Giles Martin: "The guitar from Julia in the transition into "I am the Walrus" is so beautiful and peaceful it seemed to act as a good counterpoint to the madness within the main track. The song is timeless, and it still sounds like nothing else out there today. There was certainly nothing we could add to make it any more psychedelic so we decided to bring the band out a bit more."
George Martin : Producer Giles Martin : Producer Paul Hicks : Remix engineer Sam Okell : Remix engineer assistant Chris Bolster : Remix engineer assistant Mirek Stiles : Remix engineer assistant
Session Mixing: Circa 2004-2006 • Studio EMI Studios, Abbey Road
Details & description coming from Wikipedia
1:22 • Studio version • E • An interview with George and Giles Martin stated that elements from both the studio recording and the Hollywood Bowl live performance were mixed to create this version.
George Martin : Producer Giles Martin : Producer Paul Hicks : Remix engineer Sam Okell : Remix engineer assistant Chris Bolster : Remix engineer assistant Mirek Stiles : Remix engineer assistant
Session Mixing: Circa 2004-2006 • Studio EMI Studios, Abbey Road
Details & description coming from Wikipedia
Medley
1:54 • Studio version • D • As reported, the medley features the guitar solo from "Taxman" and the horns section from "Savoy Truffle".
George Martin : Producer Giles Martin : Producer Paul Hicks : Remix engineer Sam Okell : Remix engineer assistant Chris Bolster : Remix engineer assistant Mirek Stiles : Remix engineer assistant
Session Mixing: Circa 2004-2006 • Studio EMI Studios, Abbey Road
Details & description coming from Wikipedia
0:00 • Studio version • C • As reported, the medley features the guitar solo from "Taxman" and the horns section from "Savoy Truffle".
George Martin : Producer Giles Martin : Producer Paul Hicks : Remix engineer Sam Okell : Remix engineer assistant Chris Bolster : Remix engineer assistant Mirek Stiles : Remix engineer assistant
Session Mixing: Circa 2004-2006 • Studio EMI Studios, Abbey Road
Details & description coming from Wikipedia
0:00 • Studio version • E • As reported, the medley features the guitar solo from "Taxman" and the horns section from "Savoy Truffle".
George Martin : Producer Giles Martin : Producer Paul Hicks : Remix engineer Sam Okell : Remix engineer assistant Chris Bolster : Remix engineer assistant Mirek Stiles : Remix engineer assistant
Session Mixing: Circa 2004-2006 • Studio EMI Studios, Abbey Road
Details & description coming from Wikipedia
0:55 • Studio version • C • As suggested in its title, the track contains the vocal arrangement of "Sun King" played in reverse.
George Martin : Producer Giles Martin : Producer Paul Hicks : Remix engineer Sam Okell : Remix engineer assistant Chris Bolster : Remix engineer assistant Mirek Stiles : Remix engineer assistant
Session Mixing: Circa 2004-2006 • Studio EMI Studios, Abbey Road
Details & description coming from Wikipedia
Written by George Harrison
3:29 • Studio version • C • (with "Blue Jay Way" transition) – The track contains vocal elements from "Nowhere Man", laughter from "Hey Bulldog" and possibly even "Carnival of Light" in the "Blue Jay Way" transition.
George Martin : Producer Giles Martin : Producer Paul Hicks : Remix engineer Sam Okell : Remix engineer assistant Chris Bolster : Remix engineer assistant Mirek Stiles : Remix engineer assistant
Session Mixing: Circa 2004-2006 • Studio EMI Studios, Abbey Road
Details & description coming from Wikipedia
Medley
Being for the Benefit of Mr. Kite!
3:22 • Studio version • E • As the title suggests, the track contains the whole of "Being For the Benefit of Mr. Kite", the guitars from "I Want You (She's So Heavy)" and heavily delayed vocals from "Helter Skelter". This track also contains horse sounds from "Good Morning, Good Morning", harmonium and other elements from "Cry Baby Cry" and laughter from "Piggies".
George Martin : Producer Giles Martin : Producer Paul Hicks : Remix engineer Sam Okell : Remix engineer assistant Chris Bolster : Remix engineer assistant Mirek Stiles : Remix engineer assistant
Session Mixing: Circa 2004-2006 • Studio EMI Studios, Abbey Road
Details & description coming from Wikipedia
3:22 • Studio version • B • As the title suggests, the track contains the whole of "Being For the Benefit of Mr. Kite", the guitars from "I Want You (She's So Heavy)" and heavily delayed vocals from "Helter Skelter". This track also contains horse sounds from "Good Morning, Good Morning", harmonium and other elements from "Cry Baby Cry" and laughter from "Piggies".
George Martin : Producer Giles Martin : Producer Paul Hicks : Remix engineer Sam Okell : Remix engineer assistant Chris Bolster : Remix engineer assistant Mirek Stiles : Remix engineer assistant
Session Mixing: Circa 2004-2006 • Studio EMI Studios, Abbey Road
Details & description coming from Wikipedia
3:22 • Studio version • D • As the title suggests, the track contains the whole of "Being For the Benefit of Mr. Kite", the guitars from "I Want You (She's So Heavy)" and heavily delayed vocals from "Helter Skelter". This track also contains horse sounds from "Good Morning, Good Morning", harmonium and other elements from "Cry Baby Cry" and laughter from "Piggies".
George Martin : Producer Giles Martin : Producer Paul Hicks : Remix engineer Sam Okell : Remix engineer assistant Chris Bolster : Remix engineer assistant Mirek Stiles : Remix engineer assistant
Session Mixing: Circa 2004-2006 • Studio EMI Studios, Abbey Road
Details & description coming from Wikipedia
2:18 • Studio version • D
George Martin : Producer Giles Martin : Producer Paul Hicks : Remix engineer Sam Okell : Remix engineer assistant Chris Bolster : Remix engineer assistant Mirek Stiles : Remix engineer assistant
Session Mixing: Circa 2004-2006 • Studio EMI Studios, Abbey Road
Details & description coming from Wikipedia
Medley
2:31 • Studio version • D
George Martin : Producer Giles Martin : Producer Paul Hicks : Remix engineer Sam Okell : Remix engineer assistant Chris Bolster : Remix engineer assistant Mirek Stiles : Remix engineer assistant
Session Mixing: Circa 2004-2006 • Studio EMI Studios, Abbey Road
Details & description coming from Wikipedia
0:00 • Studio version • F
George Martin : Producer Giles Martin : Producer Paul Hicks : Remix engineer Sam Okell : Remix engineer assistant Chris Bolster : Remix engineer assistant Mirek Stiles : Remix engineer assistant
Session Mixing: Circa 2004-2006 • Studio EMI Studios, Abbey Road
Details & description coming from Wikipedia
4:31 • Studio version • F • A review of the album noted that this version builds from an acoustic demo. It includes the orchestral section from "Sgt. Pepper's Lonely Hearts Club Band", the piano solo from "In My Life", the brass included in "Penny Lane", the cello and harpsichord arrangement from "Piggies" and the coda of "Hello, Goodbye".
George Martin : Producer Giles Martin : Producer Paul Hicks : Remix engineer Sam Okell : Remix engineer assistant Chris Bolster : Remix engineer assistant Mirek Stiles : Remix engineer assistant
Session Mixing: Circa 2004-2006 • Studio EMI Studios, Abbey Road
Details & description coming from Wikipedia
Medley
Written by George Harrison
3:07 • Studio version • C • This track combines the vocals and the dilruba from "Within You Without You" with the bass and drums from "Tomorrow Never Knows."
George Martin : Producer Giles Martin : Producer Paul Hicks : Remix engineer Sam Okell : Remix engineer assistant Chris Bolster : Remix engineer assistant Mirek Stiles : Remix engineer assistant
Session Mixing: Circa 2004-2006 • Studio EMI Studios, Abbey Road
Details & description coming from Wikipedia
0:00 • Studio version • E • This track combines the vocals and the dilruba from "Within You Without You" with the bass and drums from "Tomorrow Never Knows."
George Martin : Producer Giles Martin : Producer Paul Hicks : Remix engineer Sam Okell : Remix engineer assistant Chris Bolster : Remix engineer assistant Mirek Stiles : Remix engineer assistant
Session Mixing: Circa 2004-2006 • Studio EMI Studios, Abbey Road
Details & description coming from Wikipedia
4:10 • Studio version • E • This track contains the drum roll from "Being for the Benefit of Mr. Kite!", the clavioline from "Baby, You're a Rich Man," horns, guitars, bass and drums from "Sgt. Pepper's Lonely Hearts Club Band", and sound effects from "Tomorrow Never Knows".
George Martin : Producer Giles Martin : Producer Paul Hicks : Remix engineer Sam Okell : Remix engineer assistant Chris Bolster : Remix engineer assistant Mirek Stiles : Remix engineer assistant
Session Mixing: Circa 2004-2006 • Studio EMI Studios, Abbey Road
Details & description coming from Wikipedia
Written by Ringo Starr
3:18 • Studio version • C • This track contains the string arrangement from "Good Night", sound effects and vocal elements from "Yellow Submarine" and elements from "Lovely Rita" and "Helter Skelter".
George Martin : Producer Giles Martin : Producer Paul Hicks : Remix engineer Sam Okell : Remix engineer assistant Chris Bolster : Remix engineer assistant Mirek Stiles : Remix engineer assistant
Session Mixing: Circa 2004-2006 • Studio EMI Studios, Abbey Road
Details & description coming from Wikipedia
2:56 • Studio version • D • The song includes the percussion intro from "Why Don't We Do It in the Road?", the piano from "Ob-La-Di, Ob-La-Da", the guitar riff from "Hey Bulldog", Eric Clapton's guitar solo from "While My Guitar Gently Weeps" and Billy Preston's organ solo from "I Want You (She's So Heavy)".
George Martin : Producer Giles Martin : Producer Paul Hicks : Remix engineer Sam Okell : Remix engineer assistant Chris Bolster : Remix engineer assistant Mirek Stiles : Remix engineer assistant
Session Mixing: Circa 2004-2006 • Studio EMI Studios, Abbey Road
Details & description coming from Wikipedia
Written by George Harrison
4:18 • Studio version • B • (with "The Inner Light" transition) – As mentioned by Giles Martin, the track includes tabla from "Within You Without You", backing vocals from "Oh! Darling" and a bass line from "I Want You (She's So Heavy)".
George Martin : Producer Giles Martin : Producer Paul Hicks : Remix engineer Sam Okell : Remix engineer assistant Chris Bolster : Remix engineer assistant Mirek Stiles : Remix engineer assistant
Session Mixing: Circa 2004-2006 • Studio EMI Studios, Abbey Road
Details & description coming from Wikipedia
Medley
4:45 • Studio version • D
George Martin : Producer Giles Martin : Producer Paul Hicks : Remix engineer Sam Okell : Remix engineer assistant Chris Bolster : Remix engineer assistant Mirek Stiles : Remix engineer assistant
Session Mixing: Circa 2004-2006 • Studio EMI Studios, Abbey Road
Details & description coming from Wikipedia
4:45 • Studio version • C • Medley with "Come Together"
George Martin : Producer Giles Martin : Producer Paul Hicks : Remix engineer Sam Okell : Remix engineer assistant Chris Bolster : Remix engineer assistant Mirek Stiles : Remix engineer assistant
Session Mixing: Circa 2004-2006 • Studio EMI Studios, Abbey Road
Details & description coming from Wikipedia
2:14 • Studio version • B
George Martin : Producer Giles Martin : Producer Paul Hicks : Remix engineer Sam Okell : Remix engineer assistant Chris Bolster : Remix engineer assistant Mirek Stiles : Remix engineer assistant
Session Mixing: Circa 2004-2006 • Studio EMI Studios, Abbey Road
Details & description coming from Wikipedia
1:53 • Studio version • C • 1:53 (CD version) / 2:34 (DVD and iTunes version)
George Martin : Producer Giles Martin : Producer Paul Hicks : Remix engineer Sam Okell : Remix engineer assistant Chris Bolster : Remix engineer assistant Mirek Stiles : Remix engineer assistant
Session Mixing: Circa 2004-2006 • Studio EMI Studios, Abbey Road
Details & description coming from Wikipedia
Written by George Harrison
3:46 • Studio version • D • A BBC article reported that George Martin chose to use an early version of the recording for the album and wrote a new orchestral backing for the track; the demo version used is found on Anthology 3. This was also stated in the fifth chapter of The Beatles 'LOVE' Podcast.
George Martin : Producer Giles Martin : Producer Paul Hicks : Remix engineer Sam Okell : Remix engineer assistant Chris Bolster : Remix engineer assistant Mirek Stiles : Remix engineer assistant
Session Recording: Circa 2004-2006 • Studio EMI Studios, Abbey Road
Session Mixing: Circa 2004-2006 • Studio EMI Studios, Abbey Road
Details & description coming from Wikipedia
5:08 • Studio version • D
George Martin : Producer Giles Martin : Producer Paul Hicks : Remix engineer Sam Okell : Remix engineer assistant Chris Bolster : Remix engineer assistant Mirek Stiles : Remix engineer assistant
Session Mixing: Circa 2004-2006 • Studio EMI Studios, Abbey Road
Details & description coming from Wikipedia
3:58 • Studio version • D
George Martin : Producer Giles Martin : Producer Paul Hicks : Remix engineer Sam Okell : Remix engineer assistant Chris Bolster : Remix engineer assistant Mirek Stiles : Remix engineer assistant
Session Mixing: Circa 2004-2006 • Studio EMI Studios, Abbey Road
Details & description coming from Wikipedia
Sgt. Pepper's Lonely Hearts Club Band (Reprise)
1:22 • Studio version • D
George Martin : Producer Giles Martin : Producer Paul Hicks : Remix engineer Sam Okell : Remix engineer assistant Chris Bolster : Remix engineer assistant Mirek Stiles : Remix engineer assistant
Session Mixing: Circa 2004-2006 • Studio EMI Studios, Abbey Road
Details & description coming from Wikipedia
3:39 • Studio version • D • This track is mostly unchanged until the fade out which contains vocals from "Baby, You're a Rich Man", "Rain", "Sgt. Pepper's Lonely Hearts Club Band" and the guitar riff from "Ticket To Ride". The track ends with orchestration from "Goodnight" and the sign off from The Beatles Third Christmas Record.
George Martin : Producer Giles Martin : Producer Paul Hicks : Remix engineer Sam Okell : Remix engineer assistant Chris Bolster : Remix engineer assistant Mirek Stiles : Remix engineer assistant
Session Mixing: Circa 2004-2006 • Studio EMI Studios, Abbey Road
Details & description coming from Wikipedia
iTunes bonus tracks
3:30 • Studio version • E • This track includes sitar from "Sea of Holes", piano from "Dear Prudence" and vocals and horns from "Mother Nature's Son", and drums from "Maxwell's Silver Hammer".
George Martin : Producer Giles Martin : Producer Paul Hicks : Remix engineer Sam Okell : Remix engineer assistant Chris Bolster : Remix engineer assistant Mirek Stiles : Remix engineer assistant
Session Mixing: Circa 2004-2006 • Studio EMI Studios, Abbey Road
Details & description coming from Wikipedia
2:43 • Studio version • E • This track includes sitar from "Within You Without You", guitar from "And I Love Her" and drums from "Being for the Benefit of Mr. Kite!".
George Martin : Producer Giles Martin : Producer Paul Hicks : Remix engineer Sam Okell : Remix engineer assistant Chris Bolster : Remix engineer assistant Mirek Stiles : Remix engineer assistant
Session Mixing: Circa 2004-2006 • Studio EMI Studios, Abbey Road
Details & description coming from Wikipedia
From The Beatles official website:
After being asked by the remaining Beatles, Ringo and Paul, along with Yoko Ono Lennon and Olivia Harrison, to make experimental mixes from their master tapes for a collaboration with Cirque du Soleil, Sir George Martin and his son Giles Martin worked with the entire archive of Beatles recordings to create LOVE.
The result is an unprecedented approach to the music. Using the master tapes at Abbey Road Studios, Sir George and Giles created a unique soundscape. The release of the album, which is also featured in the Cirque du Soleil/Beatles collaborative production of the same name at The Mirage in Las Vegas, was greatly anticipated.
“This album puts the Beatles back together again, because suddenly there’s John and George with me and Ringo,” said Paul McCartney. “It’s kind of magical.“
“George and Giles did such a great job combining these tracks. It’s really powerful for me and I even heard things I’d forgotten we’d recorded” commented Ringo Starr.
“The album has the feeling of love and that’s why the title is Beatles LOVE,” added Yoko Ono Lennon, “They have let everything that is beautiful and daring come out.“
“The music is stunning. I think the most amazing thing about it is that you can pull it apart and all the elements carry with it the essence of the entire song,” said Olivia Harrison.
From Wikipedia:
Love is a soundtrack remix album of music recorded by the Beatles, released in November 2006. It features music compiled and remixed as a mashup for the Cirque du Soleil show of the same name. The album was produced by George Martin and his son Giles Martin, who said, “What people will be hearing on the album is a new experience, a way of re-living the whole Beatles musical lifespan in a very condensed period.“
George Martin and his son Giles began work on Love after obtaining permission from Paul McCartney, Ringo Starr, Yoko Ono and Olivia Harrison (the latter two representing the estates of John Lennon and George Harrison, respectively). The idea for using the Beatles’ music in a Cirque du Soleil production had originally come from Harrison, who died in November 2001, through his friendship with the company’s founder, Guy Laliberté.
Speaking to Mojo editor Jim Irvin in December 2006, Giles Martin said that he first created a demo combining “Within You Without You” with “Tomorrow Never Knows“, which he then nervously presented to McCartney and Starr for their approval. In Martin’s recollection, “they loved it“, with McCartney saying: “This is what we should be doing, more of this.“
In discussing the project, Giles Martin noted that elements were used from recordings in the Beatles catalogue, “the original four tracks, eight tracks and two tracks and used this palette of sounds and music to create a soundbed“. Because he was concerned that they might not get the green light to proceed with Love, he began by making digital back-ups of the original multi-track recordings, just to get started on the project. He also said that he and his father mixed more music than was eventually released, including “She’s Leaving Home” and a version of “Girl” that he was particularly fond of, which was eventually released in 2011 as a bonus track on the album on iTunes.
McCartney and Starr both responded very positively to the completed album. McCartney said that it “puts The Beatles back together again, because suddenly there’s John and George with me and Ringo“. Starr commended the Martins for their work, adding that Love was “really powerful for me and I even heard things I’d forgotten we’d recorded“.
Love was first played publicly on Virgin Radio’s The Geoff Show. DJ Geoff Lloyd, the show’s host, chose to play the entire work uninterrupted, to allow younger fans to experience an album premiere.
Love placed at number 3 in the UK Albums Chart during its first week of release, trailing Westlife’s The Love Album and Oasis’ Stop the Clocks compilation. It was also successful in the United States, debuting at number 4 on the Billboard 200, where it was certified Platinum in late 2006. At the 50th annual Grammy Awards on 10 February 2008, the album won Grammys in two categories – Best Compilation Soundtrack Album and Best Surround Sound Album.
The album was released as a standard Compact Disc version, a two-disc CD and DVD-Audio package, a two-disc vinyl package, and as a digital download. The DVD-Audio disc contains a 5.1-channel surround sound mix (96 kHz 24-bit MLP), downmixable to two-channel. For backwards compatibility it also contains separate audio-only DVD-Video content with two-channel stereo (48 kHz 16-bit PCM) and 5.1-channel surround (448 kbit/s Dolby Digital and 754 kbit/s DTS).
The DVD-Audio and iTunes release have longer versions of “Revolution” and “Back in the U.S.S.R.“, increasing the total running time by about two minutes.
Track elements
Love contains elements from 130 individual commercially released and demo recordings of the Beatles, and is a complex remix and polymix of multiple songs known as a mashup. While a complete list has not been disclosed, highlights of how the elements were mixed have been noted by the press. [See track descriptions]
Liner notes:
Introductions by George Martin & Giles Martin
In June 2006 the show “Love” opened to a wonderful reception in the Mirage in Las Vegas. Years before, the original idea was born in the most unlikely of places. George Harrison and Guy Laliberte, the founder of Cirque du Soleil, were both enormous fans of motor racing and when they met they became firm friends. As a consequence a unique collaboration was formed between the fantastic world of Cirque du Soleil and the brilliance of Beatles music. Guy discussed the concept with Gilles Ste-Croix, his Head of Creation, and plans were laid, negotiations commenced and eventually I was approached to work on the music. My brief was to create a soundscape of around one and a half hour’s length using any sound I needed from the original Beatles multi-track recordings. It was an offer one could hardly refuse, and I asked my son Giles if he would work with me on this project.
So we embarked on a unique odyssey, traveling with some great artistes and designers from Cirque du Soleil. A gifted director, Dominic Champagne, was appointed, heading a team of prodigious creativity. Giles and I were lucky; not only were they all talented in their respective roles, they were extremely nice people to work with and we all become firm friends. We started as we meant to continue by pushing the musical boundaries. It was a risky strategy considering the material we were experimenting with, but it started to pay dividends immediately. It was Giles who suggested that we utilize that marvellous and hypnotic drum beat from Ringo to combine “Within You Without You” with “Tomorrow Never Knows.” It worked brilliantly and set us on our way.
It took over two years for us to bring the rest of our work to its final form, but it proved to be a fascinating journey for Dominic, Giles and me. Our collaboration worked well. Dominic would listen to our experimental mixes and design his scenes around them and conversely he would describe an idea he had and ask us for a particular realization of a song. It was a two-way creation and for us similar to writing music for a film.
Listening again to all these great tracks in such detail you can’t help but be knocked out by the band’s writing and performances. “Come Together” is such a simple song but it stands out because of the sheer brilliance of the performers. Paul’s bass riff makes a fantastic foundation for Ringo’s imaginative drumming, and John’s vocal with heavy tape echo has a marvelous effect when he claps his hands and hisses into the microphone. George’s guitar is equally distinctive, and altogether I believe this is one of the Beatles greatest tracks.
We agonized over the inclusion of “Yesterday” in the show. It is such a famous song, the icon of an era, but had it been heard too much? The story of the addition of the original string quartet is well know, however few people know how limited the recording was technically, and so the case for not including it was strong, but how could anyone ignore such a marvellous work? We introduce it with some of Paul’s guitar work from “Blackbird” and hearing it now, I know that I was right to include it. Its simplicity is so direct; it tugs at the heartstrings.
During the process I was asked to write a string score for an early take of George’s poignant “While My Guitar Gently Weeps.” I was aware of such a responsibility but thankfully everyone approved of the result. “Yesterday” was the first score I had written for a Beatle song way back in 1965 and this score, forty-one years later, is the last. It wraps up an incredible period of my life with those four amazing men who changed the world.
Of course, nothing could happen without the endorsement of Paul, Ringo, Yoko and Olivia, and we would arrange for the four of them to hear what we were doing as we went along. Their support, advice and encouragement was invaluable and a marvellous spur to our efforts.
George Martin
Our work on the music for “Love” first started in 2003. Apple decided from the outset that this was to be a project where all the music heard was to be from original Beatles recordings.
We began by producing a demo behind closed doors in a small room above Studio 1 at Abbey Road. As soon as I heard the original master tapes I realized I had been given the best job in the world, the energy of a young band burst out of the speakers. From then on it was obvious that there was no need to be retrospective in our approach. All the music was so well recorded by the EMI engineers that the attitude and the passion were frozen in time. Had the music not been so familiar, the tapes sounded like they’d been recorded yesterday. The guitar sound on “Revolution” for example rips your head off, even today it defines the word ‘distortion.’ Tape after tape, I was expecting hiss and crackle and all I heard was the energy of a group of twenty year olds at the top of their game.
Everything they had done was recorded live, without a click and often all on one track, so the best approach was to recreate a performance that had only happened in the studio but present it to an audience as though it were live. A good start would be using a drum solo, so the band could come in one at a time. Apparently Ringo hated doing solos but the one he played on “The End” sounds great, and it’s in stereo! I found that the solo was the same speed as “Get Back” and so that became the song that started the show. It really was as simple as that. As the drum solo comes from a section of a song we had to disguise the cut so we used the opening chord from “A Hard Days Night” to hide the edit. And working backwards, to build into the chords we turned around the end piano from “A Day In The Life.” I guess we though that as it made such a great ending, turned around it was bound to make a great beginning.
So, in true Beatle tradition, tracks were reversed, sped up and slowed down. Early on in the project I had turned the cymbal backwards on “Sun King” for an effect for “Within You Without You/Tomorrow Never Knows” and I realized I’d turned the vocals around as well. My dad loved the melody line that this created and said that it’s exactly the sort of thing that John would have gone for. From this “Gnik Nus” was born!
The only new recordings are the strings on “While My Guitar Gently Weeps.” I was surprised to find that my dad was still apprehensive about doing it, there’s no one in the world better at this kind of thing, and even after all this time he still arranges with the same vitality and empathy that has made his work legendary.
At the beginning of the project, I knew that no one would ever hear my mistakes as we’d been secretively shut away, so I thought I’d start by trying to combine a few tracks to see what the result would be. Feeling like I was painting a moustache on the Mona Lisa I started work mixing the bass and drums of “Tomorrow Never Knows” with George’s track “Within You Without You.” The end result is what you hear on the album today, and it is the Beatles open-mindedness and support combined with my dad’s great musical insight that has made “Love” possible.
Giles Martin
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