Here, There and Everywhere: My Life Recording the Music of the Beatles

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.

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 show more 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. show less

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 show more 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. show less

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 !

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 show more 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. show less

Lots of interesting details and compulsively readable, but this book doesn’t always feel reliable because the narrative seems too massaged by the ghostwriter. The recording technicalities were the most interesting aspect, but reconstructed conversations decades after the event aren’t entirely convincing.

This book should be read by every Beatles fan. Similarly, it is probably just as important for any musician to delve into this story of the engineer who worked on almost every Beatles album. And, while I am not removed enough from these two titles to properly evaluate the reaction, I would think anyone with a passing acquaintance to either of these subjects would find it fascinating.

This is the autobiography of Geoff Emerick. Emerick started working with EMI just as the Beatles were getting started and, in short order, he was a part of their initial work. As time went on, Emerick became more and more involved and in charge of engineering their albums.

This leads to what is probably the most fascinating part of the book – the recording show more of Seargent Pepper’s. The Beatles needed innovation, and he was there to innovate.

His story also lays the groundwork for the eventual breakup. This has all been chronicled in Peter Jackson’s “Get Back”. But Emerick was there during the White Album. And the fractures were already there.

Because it is an autobiography, there may be more of his private life – life as a child, dating, etc. – than most of us care about. But it does paint the picture of who he was/is.

My one quibble is that there are very exact quotes throughout the book and, unless Emerick has an eidetic memory, one has to question just accurate those are. (As poet Olen Miller said, “Of all liars, the smoothest and most convincing is memory.”) I think these must be taken with a grain of salt. But I think it is safe to assume that, while the words might not be perfect, the sentiment behind them is probably accurate

A fascinating, engrossing piece of pop culture history. show less