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Here, There and Everywhere: My Life Recording the Music of the Beatles Paperback – February 15, 2007

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Editorial Reviews

From Publishers Weekly

Emerick was a fresh-faced young engineer in April 1966 when producer George Martin offered him the chance to work with the Beatles on what would become Revolver. He lasted until 1968, when tensions within the group, along with the band members' eccentricities and the demands of the job, forced him to quit after The White Album, exhausted and burned out. In this entertaining if uneven memoir, Emerick offers some priceless bits of firsthand knowledge. Amid the strict, sterile confines of EMI's Abbey Road studio, where technicians wore lab coats, the Beatles' success allowed them to challenge every rule. From their use of tape loops and their labor-intensive fascination with rolling tape backwards, the Beatles—and Emerick—reveled in shaking things up. Less remarkable are Emerick's personal recollections of the band members. He concedes the group never really fraternized with him—and he seems to have taken it personally. The gregarious McCartney is recalled fondly, while Lennon is "caustic," Ringo "bland" and Harrison "sarcastic" and "furtive." Still, the book packs its share of surprises and will delight Beatle fans curious about how the band's groundbreaking records were made. (Mar.)
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved. --This text refers to an out of print or unavailable edition of this title.

From Booklist

Emerick was only 15 when he began working with the Beatles as an assistant engineer at Abbey Road Studios. Later, as a 19-year-old full engineer, he was on board for the seminal Revolver and Sgt. Pepper's Lonely Hearts Club Band. Always aiming for perfection, the Beatles never took no for an answer, and he did his best to oblige by developing innovative recording techniques, some simple (e.g., using a loudspeaker as a microphone), others more sophisticated. Being the Beatles' engineer wasn't entirely pleasant. Eventually, during the tense and uncomfortable White Album sessions, the Beatles barely spoke to one another without anger, and Emerick quit before recording was finished. But he returned to work on Abbey Road and several McCartney solo records, including Band on the Run. Anyone interested in the Beatles and their music ought to love Emerick's as-told-to insider's account of working with the world's most famous band when they made their most famous music. June Sawyers
Copyright © American Library Association. All rights reserved --This text refers to an out of print or unavailable edition of this title.

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Product Details

  • Paperback: 400 pages
  • Publisher: Gotham; Reprint edition (February 15, 2007)
  • Language: English
  • ISBN-10: 1592402690
  • ISBN-13: 978-1592402694
  • Product Dimensions: 5.3 x 0.9 x 8 inches
  • Shipping Weight: 10.4 ounces (View shipping rates and policies)
  • Average Customer Review: 4.5 out of 5 stars  See all reviews (398 customer reviews)
  • Amazon Best Sellers Rank: #70,298 in Books (See Top 100 in Books)

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179 of 189 people found the following review helpful By Mitchell Cassman on March 25, 2006
Format: Hardcover Verified Purchase
When it comes to books about The Beatles, they usually fall in one of two categories: "memoirs" and "archives" (including timelines, analysis, photos, recording info, etc). Now Geoff Emerick has joined the throe of Beatles authors by publishing his account that actually falls in between the memoir/archive genre. His new book "HERE THERE AND EVERYWHERE-My Life Recording the Music of The Beatles" is no "cash in", but a valuable insight to the workings of the group. While there are no real "Beatles revelations" contained other than those that true Beatle aficionados already know, such as the working title of the "White Album", John's accidental acid trip on the rooftop of EMI etc), the true value of this book is the first hand observances of the Beatles in their most important environment: the recording studio!

Some people are lucky enough to realize their "calling" early in life - and Geoff Emerick was one of those lucky few. An early love of music caused a natural fascination with the mechanics behind recording. His experiments with tape recording and his persistence led him to a job at EMI! While Geoff Emerick wasn't the Beatles recording engineer during their early years at EMI (he started as an assistant engineer), his employment there did grant him occasional views of The Beatles at work during the time of 1962-1966 when Norman Smith was their engineer. However, when Smith left to become a producer (going on to produce Pink Floyd's first two albums at EMI) it was Emerick who was promoted to the position of Beatles' engineer. So, Emerick was there during the true renaissance of the Beatles studio years: Revolver, Sgt. Pepper, Magical Mystery Tour, (part of) The White Album, and Abbey Road.

What about Let It Be, you ask?
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101 of 115 people found the following review helpful By Mark D Burgh on March 27, 2006
Format: Hardcover
Other recent books about the Beatles,like Spitz's biography or Bramwell's gossip collection, had tended to be more about group politics than about the one thing that made the Beatles great: their music. In his book, Here There and Everywhere, Geoff Emerick, along with music journalist Howard Massey, correct this trend, presenting Beatles fans with a memoir of how the Beatles, along with the production team of George Martin and Geoff Emerick pushed the boundries of recording during act of creating the greatest music of the 20th century.

Beginning as an extremely young boy, Emerick learns the ropes of recording according to EMI policies, which he shows are anti-intunitive and throttling. Using their financial clout, the Beatles override all sense about the technology, allowing Emerick to experiment in various dire ways, trying (and mostly suceeding) to please the Princes of Pop. He is plainspoken about the musical deficiencies of the band, showing Paul McCartney to be the consummate music within the group. The rise of George Harrison from the fumbling guitarist who had his solos rerecorded by the ever more invented McCartney, to the writer of his later hits is one of the more interesting pieces of the book. Happily, Emerick is light on the Lennon/Ono debacle, although perforce by his observation of the recording studio during the White Album and Abbey Road session, we see how Lennon's new obsession ruined the band. Interestingly, the only verge into rancor is directed towards Ringo, who unforgivingly to Emerick, ruined the new Apple recording studios. Et tu, Rings?

Having now read many many books on the Beatles, I can say that Emerick's memoir is among the best. Compare this book, if you will, with George Martin's two slight memoirs, and you may find yourself agreeing with me, especially if you want to know about the music, as opposed to the mayhem.
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49 of 54 people found the following review helpful By Michael OConnor TOP 500 REVIEWER on October 11, 2006
Format: Hardcover
In the early 1960s Geoff Emerick landed the dream job music fans would have killed for; assistant recording engineer at EMI Studio working with George Martin. It was a dream job because one of the first groups Emerick worked with was the Beatles. The next seven years of musical magic and misery Emerick spent in the control room are wonderfully chronicled in this book.

Though Emerick was a Beatles insider, he wasn't the 'Fifth Beatle' and makes no claim to that title in this book. Rather he was a young, impressionable teenager who worked with the Beatles for thousands of hours and occasionally helped them in realizing the musical vision they heard in their heads.

What was most enjoyable about Emerick's book was his recounting of the group's musical development, the friendship and chemistry between John, Paul, George and Ringo and especially those magical moments when a song came together. Later on, when the group started to self-destruct, the magical moments were much fewer but even then, as for instance when recording 'Abbey Road,' making the music would melt away the animosity.

Emerick was never a confidant or even a friend of any of the Beatles. He was an employee working in the control booth and the Beatles were down in the studio and the twain didn't meet that much. Some may object to his opinions about the four but, given his vantage point, those opinions are perfectly valid. Having read lots of Beatle books, I didn't come across any smoking guns in Emerick's book. Could John be short-tempered and nasty? Sure. Could he be a wonderfully funny and compassionate man? Yup. Was Paul the most approachable Beatle? Well, duh! And on and on.

What I find most impressive about the Beatles in the studio was this fact.
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