Fact #88635
When:
Short story:
The Beatles record She Loves You and I'll Get You at EMI's Abbey Road Studios, London, England, UK, Europe.
Full article:
Johnny Dean (Editor, The Beatles Book) : We got a contract with Brian Epstein to do the official Beatles Book, so I was in No2 studio to cover the recording for the book. Brian Epstein, George Martin and their music publisher Dick James were all there, uncertain whether or not The Beatles even had a new song written. So The Beatles walked in and after messing around for a couple of minutes, Paul and John stood there and sang this song with just one acoustic guitar.
It was She Loves You, and to be honest, the photographer and myself weren't immediately impressed. It was very basic, with all this 'Yeah, yeah, yeah' stuff that didn't sound terribly wonderful. But after just a few bars Dick James was shouting, 'It's fantastic. It's a huge hit!'
But the song underwent a transformation from when we first heard it to the finished product, and that was The Beatles magic.
George Martin : The 'yeah, yeah, yeah' in She Loves You was a curious singing chord. It was a major sixth with George Harrison doing the sixth, and the other two the third and fifth. It was just the way Glenn Miller wrote for the saxophone.
Jerry Wexler (producer, Atlantic Records) : You can't say enough about George Martin. I have the utmost regard for him, both as a wonderful gentleman and as a superb record producer. Think of the progression from 'She loves you, yeah, yeah, yeah' to Norwegian Wood. Think of the harmonic sophistication and the chords and the raising of the level of musicianship. This highly evolved transition must have been largely to do with George Martin's musicianship. The BBC did a documentary of George reviewing of The White Album and I treasure it. George was moving the faders on the eight track and he would push a particular fader and say, 'That's the ride cymbal and there's a vocal with it.' I think George Martin had a lot to do with the evolution of the four lads from Liverpool into the world class entity that they became.
(Source : not known)rn
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It was She Loves You, and to be honest, the photographer and myself weren't immediately impressed. It was very basic, with all this 'Yeah, yeah, yeah' stuff that didn't sound terribly wonderful. But after just a few bars Dick James was shouting, 'It's fantastic. It's a huge hit!'
But the song underwent a transformation from when we first heard it to the finished product, and that was The Beatles magic.
George Martin : The 'yeah, yeah, yeah' in She Loves You was a curious singing chord. It was a major sixth with George Harrison doing the sixth, and the other two the third and fifth. It was just the way Glenn Miller wrote for the saxophone.
Jerry Wexler (producer, Atlantic Records) : You can't say enough about George Martin. I have the utmost regard for him, both as a wonderful gentleman and as a superb record producer. Think of the progression from 'She loves you, yeah, yeah, yeah' to Norwegian Wood. Think of the harmonic sophistication and the chords and the raising of the level of musicianship. This highly evolved transition must have been largely to do with George Martin's musicianship. The BBC did a documentary of George reviewing of The White Album and I treasure it. George was moving the faders on the eight track and he would push a particular fader and say, 'That's the ride cymbal and there's a vocal with it.' I think George Martin had a lot to do with the evolution of the four lads from Liverpool into the world class entity that they became.
(Source : not known)rn