George Martin Producer Quotes

When nine-and-ninety hostages had shuffled by them to pass beneath the Wall, Tormund Giantsbane produced the last one. “My son Dryn. You’ll see he’s well taken care of, crow, or I’ll cook your black liver up and eat it.

Two years later, she produced a daughter for the king, Helaena; in 110 AC, she bore him a second son, Aemond, who was said to be half the size of his elder brother, but twice as fierce.

Merger Evers/John F. Kennedy/Malcolm X/Martin Luther King/Robert Kennedy/Che Guevara/Patrice Lamumba/George Jackson/Cynthia Wesley/Addie Mae Collins/Denise McNair/Carole Robertson/Viola Liuzzo It was a decade marked by death. Violent and inevitable. Funerals became engraved on the brain, intensifying the ephemeral nature of life. For many in the South it was a decade reminiscent of earlier times, when oak trees sighed over their burdens in the wind; Spanish moss draggled blood to the ground; amen corners creaked with grief; and the thrill of being able, once again, to endure unendurable loss produced so profound an ecstasy in mourners that they strutted, without noticing their feet, along the thin backs of benches: their piercing shouts of anguish and joy never interrupted by an inglorious fall. They shared rituals for the dead to be remembered.

24. The Rutles, “Cheese and Onions” (1978) A legend to last a lunchtime. The Rutles were the perfect Beatle parody, starring Monty Python’s Eric Idle and the Bonzos’ Neil Innes in their classic mock-doc All You Need Is Cash, with scene-stealing turns by George Harrison, Mick Jagger, and Paul Simon. (Interviewer: “Did the Rutles influence you at all?” Simon: “No.” Interviewer: “Did they influence Art Garfunkel?” Simon: “Who?”) “Cheese and Onions” is a psychedelic ersatz Lennon piano ballad so gorgeous, it eventually got bootlegged as a purported Beatle rarity. Innes captures that tone of benignly befuddled pomposity—“I have always thought in the back of my mind / Cheese and onions”—along with the boyish vulnerability that makes it moving. Hell, he even chews gum exactly like John. The Beatles’ psychedelic phase has always been ripe for parody. Witness the 1967 single “The L.S. Bumble Bee,” by the genius Brit comedy duo Peter Cook and Dudley Moore, from Beyond the Fringe and the BBC series Not Only . . . ​But Also, starring John Lennon in a cameo as a men’s room attendant. “The L.S. Bumble Bee” sounds like the ultimate Pepper parody—“Freak out, baby, the Bee is coming!”—but it came out months before Pepper, as if the comedy team was reeling from Pet Sounds and wondering how the Beatles might respond. Cook and Moore are a secret presence in Pepper—when the audience laughs in the theme song, it’s taken from a live recording of Beyond the Fringe, produced by George Martin.

I was beginning to get too producery for everyone,” Paul admitted. “George Martin was the actual producer, and I was beginning to be too definite, and George [Harrison] and Ringo turned around and said, ‘Look, piss off, we’re grown-ups and we can do it without you fine.’ People like me who don’t realize when they’re being very overbearing, it comes as a great surprise to be told.”30

(Mushroom also claims that Vermax left a clutch of dragon’s eggs at Winterfell, which is equally absurd. Whilst it is true that determining the sex of a living dragon is a nigh on impossible task, no other source mentions Vermax producing so much as a single egg, so it must be assumed that he was male. Septon Barth’s speculation that the dragons change sex at need, being “as mutable as flame,” is too ludicrous to consider.)

What exactly does a record producer do? Before George Martin no one ever paid attention to producer credits. That recognition pushed the expectations of a producer into ever more peripatetic realms as shared only by quantum physicists and neurosurgeons. Silk purse to sow’s ear? Easy. Capturing that flittering butterfly of musical genius? You’re guess is as good as anyone’s.

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After the Civil War battle at Shiloh, Tennessee, in 1862, thousands of injured soldiers were left lying in the mud, in some cases for two days and two nights, as the number of casualties on both sides was so great that it overwhelmed their armies' capacity to retrieve and treat them. Many died from their injuries and the consequent infections. But at night, some of the injured men noticed a strange blue glow emanating from their wounds. Their ghostly penumbra could be seen from a distance. Field surgeons observed that the soldiers who luminesced healed more quickly and had a higher survival rate than those who didn't. They called it the Angel's Glow. An explanation for the Angel's Glow was proposed 139 years later, when a seventeen-year-old high-school student, William Martin, acting on a hunch, persuaded his friend Jonathan Curtis to help him investigate. Their paper, which won a national science prize, argued that the soldiers appear to have been attacked by insect-eating nematodes in the soil contaminating their wounds. The nematodes regurgitated their bacteria, and the antibiotics these microbes produce are likely to have destroyed the other pathogens infecting the wounds. Because the luminous bacteria have evolved to infect insects, whose body temperature is lower than that of humans, the students speculated that only hypothermic soldiers were inoculated. When they were brought in for treatment, and warmed up, the bacteria that had saved them died, preventing complications. (A related species, adapted to mammalian temperatures, causes severe infections.)

The band spent much of June 29 jamming and playing through ‘To You,’ the song Paul wanted to record once the studio was set up and tested. If having two new band members wasn’t enough of a wild card for Paul, there was also his decision to bring Chris Thomas in to co-produce. Paul had mixed feelings about producers, George Martin excepted. It was handy having another pair of trusted and experienced ears in the studio, and in theory having someone who would challenge you could yield a better album. But Paul was secure enough in his ideas that challenges were often batted away. “I don’t care what you think, this is what we’re going to do.” The few times Paul tried working with a producer, post-Beatles, had ended in grief. Jim Guercio, brought in to help get Ram over the line, lasted only a few days. Glyn Johns left the sessions for Red Rose Speedway early, complaining that Wings were unfocused.

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