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Geoff Emerick (2010)

Geoffrey Emerick (born 1946) is an English recording studio audio engineer. He worked with The Beatles on their albums Revolver, Sgt. Pepper's Lonely Hearts Club Band, The Beatles and Abbey Road.[1]



Early career at EMIEdit

Emerick first started working as an assistant engineer at EMI at the age of 15. To familiarise him with his work, he was placed under the supervision of another assistant engineer, Richard Langham. On his second day of work at EMI, Langham was assigned to be the assistant engineer of Norman Smith, who would be doing the first recording session of the Beatles in the evening. As a new recruit, Emerick was not entitled to get over-time pay, but was lucky enough to witness the first-ever EMI recording session by the finalised line-up of the Beatles in 1962, during which the group recorded for the first time with new drummer Ringo Starr on what would eventually become their first hit single "Love Me Do".[2] As assistant engineer, Emerick worked on numerous early recordings by the Beatles, and also helped record other artists for the label, including Judy Garland. He assisted at the EMI artist test of the Hollies.[2] After working his way up to the position, Emerick engineered the 1966 Manfred Mann single Pretty Flamingo, which became a number 1 hit in the UK.[3]

Emerick took over as the Beatles' first engineer, at the request of producer George Martin, when that spring Smith became a producer. Emerick's first album with the Beatles as chief engineer (under producer Martin) was Revolver.[2] "Tomorrow Never Knows" was the first track recorded for the sessions and first that he worked on.[2] It was Emerick's suggestion to record John Lennon's vocal through a Leslie speaker on the song, to get the ethereal sound Lennon wanted, and to close-mic Starr's drums, formerly a prohibited practice at EMI Studios.[3] In 1967, Emerick engineered "Being for the Benefit of Mr. Kite!", one of the most musically complex songs on Sgt. Pepper's Lonely Hearts Club Band. Lennon told Martin he wanted to re-create the "carnival atmosphere" of the Pablo Fanque circus poster that inspired the song. For the middle eight bars, Emerick spliced together multiple recordings of fairground organs and calliope in an attempt to create the effect; after a great deal of unsuccessful experimentation, Martin instructed Emerick to chop the tape into pieces with scissors, throw them up in the air, and re-assemble them at random.[4]

Emerick abandoned work on The Beatles (also known as the "White Album") on 16 July 1968, fed up with the intra-band tensions and arguments that hampered the sessions.[5] Emerick also objected to Chris Thomas, George Martin's inexperienced assistant, being elevated to the role of producer in Martin's absence, with the band's acceptance.[6] He returned to work with the Beatles on Abbey Road.[7] Emerick received Grammy Awards for the engineering of Sgt. Pepper's Lonely Hearts Club Band and Abbey Road.

Despite his departure from the White Album sessions, Emerick remained on good terms with the Beatles, particularly Paul McCartney, who invited Emerick to quit EMI and come and work for their company Apple Corps in 1969. In addition to engineering duties, Emerick oversaw the building of the Beatles' Apple Studio.

After the BeatlesEdit

Following the Beatles' break-up in 1970, Emerick continued to work with McCartney. He served as recording engineer on McCartney albums such as Band on the Run (1973), which netted Emerick another Grammy, London Town (1978), Tug of War (1982) and Flaming Pie (1997). Emerick later said that he had always been perceived by the other ex-Beatles as "Paul's guy". As a result, for their solo recordings, Lennon and George Harrison chose to work instead with Phil McDonald, another former EMI engineer.[8]

Following the success of EMI's The Beatles at Abbey Road presentation in 1983, Emerick prepared an album of the Beatles' studio outtakes, to be titled Sessions, for release. The former Beatles initiated legal proceedings to prevent EMI from issuing the album, saying that the work was substandard;[9] when made available on bootleg compilations, his mixes and editing of some of the tracks were widely criticised by collectors.[10] In the mid 1990s, these recordings were used for the Beatles Anthology CD releases.

Emerick has also worked on albums by Elvis Costello (for whom he produced Imperial Bedroom and All This Useless Beauty), Badfinger, Art Garfunkel, America, Jeff Beck, Gino Vannelli, Supertramp, Cheap Trick, Nazareth, Chris Bell, Split Enz, Trevor Rabin, Nick Heyward, Big Country, Gentle Giant, Mahavishnu Orchestra and Ultravox. Other recording projects have included Matthew Fisher's first solo album, Journey's End; Kate Bush's demo tape to EMI, which landed her a record deal;[11] and Nellie McKay's critically acclaimed 2004 debut CD Get Away from Me.

He was the sound engineer on Robin Trower's album Bridge of Sighs, and credited by both Trower and producer Matthew Fisher for that album's sound. He also recorded some of the backing tracks for the debut album for Stealers Wheel, but resigned early on in the process handing over to Apple recording engineer John Mills to continue working with producers Jerry Leiber and Mike Stoller. The album featured "Stuck in the Middle with You" and went on to receive the European Edison Award, European equivalent of the Grammy. Emerick continued with the Zombies album Odessey and Oracle featuring "Time of the Season".

In 2003, he received his fourth Grammy, a Special Merit/Technical Grammy Award.

In 2006, Emerick released his memoir, Here, There, and Everywhere: My Life Recording the Music of The Beatles, co-authored by veteran music journalist Howard Massey. The book caused controversy for its factual errors,[12] and for its allegedly unfavourable portrayal of Harrison,[13] bias towards McCartney,[14] and belittling and dismissal of Lennon and Starr's contributions.[citation needed] Beatles historian Erin Torkelson Weber says that, apart from Lennon's account in Lennon Remembers, the book also presents arguably the most negative depiction of Martin as a record producer.[15] The publication led to an internet flame war, as former Beatles engineer Ken Scott challenged the accuracy of Emerick's recollections and stated that, before writing the book, Emerick had contacted him and other EMI technical staff saying he had limited memory of the events.[16] Scott's 2012 autobiography, From Abbey Road to Ziggy Stardust, sought to correct Emerick's statements in Here, There, and Everywhere, especially with regard to Harrison's musicianship and character.[13] According to Beatles biographer Robert Rodriguez, Emerick's recurring theme that Harrison lacked prowess as a guitar player until the late 1960s is more reflective of Emerick's personality, and is countered by several other sources, and some of his descriptions of the Beatles' recordings are negated by the availability of bootleg compilations of the band's multitrack masters.[17]

On 3 April 2007, it was announced that Emerick would be in charge of a re-recording of Sgt. Pepper's Lonely Hearts Club Band by contemporary artists, including Oasis, the Killers, Travis and Razorlight. Emerick used the original equipment to record the new versions of the songs, and the results were broadcast on BBC Radio 2 on 2 June 2007, marking the album's 40th anniversary.

Emerick now resides in Los Angeles.[18]


  1. ^ Droney, Maureen (1 October 2002). "Geoff Emerick". Mix Magazine. Archived from the original on 18 January 2013. Retrieved 4 March 2013. 
  2. ^ a b c d Emerick, Geoff; Massey, Howard (2006). Here, There, and Everywhere: My Life Recording the Music of The Beatles. New York, NY: Penguin. p. 387. ISBN 1-59240-179-1. 
  3. ^ a b " – The teenager who shaped the Beatles – Apr 7, 2006". CNN. Retrieved 3 May 2010. 
  4. ^ Lewisohn, Mark (1988). The Beatles Recording Sessions. New York: Harmony Books. pp. 98, 99, 105–106. ISBN 0-517-57066-1. 
  5. ^ "Guide to The Beatles' White Album: the Recording Equipment, the Songs, the Conflicts". Guitar World. Retrieved 29 April 2017. 
  6. ^ Womack, Kenneth (2007). Long and Winding Roads: The Evolving Artistry of the Beatles. New York, NY: Continuum. p. 224. ISBN 978-0-8264-1746-6. 
  7. ^ "Guide to the Recording Equipment, Songs and Instruments Featured on The Beatles' 'Abbey Road' Album". Guitar World. Retrieved 29 April 2017. 
  8. ^ Emerick & Massey 2006, p. 318.
  9. ^ Doggett, Peter (2011). You Never Give Me Your Money: The Beatles After the Breakup. New York, NY: It Books. pp. 284–85. ISBN 978-0-06-177418-8. 
  10. ^ Unterberger, Richie (2006). The Unreleased Beatles: Music & Film. San Francisco, CA: Backbeat Books. p. 210. ISBN 978-0-8793-0892-6. 
  11. ^ "The Rightful Heir?". Q Magazine No. 48. September 1990. Archived from the original on 27 September 2011. Retrieved 23 July 2011. 
  12. ^ Rodriguez, Robert (2012). Revolver: How the Beatles Reimagined Rock 'n' Roll. Milwaukee, WI: Backbeat Books. pp. 98–99. 
  13. ^ a b Torkelson Weber, Erin (23 June 2016). "The 'Normal' Version of Beatles History". The Historian and the Beatles. Retrieved 6 March 2018. 
  14. ^ Torkelson Weber, Erin (2016). The Beatles and the Historians: An Analysis of Writings About the Fab Four. Jefferson, NC: McFarland. pp. 201–02. ISBN 978-1-4766-6266-4. 
  15. ^ Torkelson Weber 2016, p. 202.
  16. ^ Rodriguez 2012, p. 99.
  17. ^ Rodriguez 2012, pp. 98–99, 127.
  18. ^ Johnson, Brett (21 November 2012). "Recording engineer Geoff Emerick will dish about his days with The Beatles next week in Camarillo". Retrieved 29 April 2017. 

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