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|Also Known As:||Sir George Martin||Died:|
|Born:||January 3, 1926||Cause of Death:|
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e 1960s and Montserrat in the 1970s; the latter played host to some of the biggest names in the business in the 1970s and 1980, including the Rolling Stones, the Police and Elvis Costello before its destruction in 1989 during Hurricane Hugo, while a third was built in Hampstead, England in 1991, and served as the recording studio for numerous major features, including the "Lord of the Rings " trilogy (2001, 2002, 2003). The move allowed Martin to hire himself out to whatever label or artist wished to utilize his skills; in exchange, he would receive a share of the royalties generated by the recordings. In the case of the Beatles, who continued to work with Martin until their rancorous dissolution in 1970, the end result was exceptionally lucrative.Following the Beatlesâ¿¿ breakup, Martin continued to work with some of the former members. For McCartney, he produced the hit theme to "Live and Let Die" (1973) as well as the score to the Bond film, and later returned for the albums Tug of War (1982), which featured the song "Ebony and Ivory" with Stevie Wonder; 1983â¿¿s Pipes of Peace, which included the Michael Jackson duet "Say, Say, Say"; and 1997â¿¿s Flaming Pie. Martin also produced Ringo Starrâ¿¿s...
e 1960s and Montserrat in the 1970s; the latter played host to some of the biggest names in the business in the 1970s and 1980, including the Rolling Stones, the Police and Elvis Costello before its destruction in 1989 during Hurricane Hugo, while a third was built in Hampstead, England in 1991, and served as the recording studio for numerous major features, including the "Lord of the Rings " trilogy (2001, 2002, 2003). The move allowed Martin to hire himself out to whatever label or artist wished to utilize his skills; in exchange, he would receive a share of the royalties generated by the recordings. In the case of the Beatles, who continued to work with Martin until their rancorous dissolution in 1970, the end result was exceptionally lucrative.
Following the Beatlesâ¿¿ breakup, Martin continued to work with some of the former members. For McCartney, he produced the hit theme to "Live and Let Die" (1973) as well as the score to the Bond film, and later returned for the albums Tug of War (1982), which featured the song "Ebony and Ivory" with Stevie Wonder; 1983â¿¿s Pipes of Peace, which included the Michael Jackson duet "Say, Say, Say"; and 1997â¿¿s Flaming Pie. Martin also produced Ringo Starrâ¿¿s solo effort, Sentimental Journey, and served as music supervisor for the 1988 documentary "Imagine: John Lennon." In 1994, he returned to the original recordings for the massively successful Beatles at the BBC and three volumes of Anthology, which compiled a working history of the Beatlesâ¿¿ recordings. For the project, Martin unearthed an old 8-track recorder â¿¿ the same sort of recorder he and the group had virtually invented during the making of Sgt. Pepperâ¿¿s â¿¿ in order to reproduce the warmth and vitality of the canon, rather than using digital means to emulate the sound. However, he declined to produce "Free as a Bird" and "Real Love," the two singles which featured McCartney, Harrison and Starr performing over unreleased demos by Lennon. Years of studio time had worn down Martinâ¿¿s hearing, and he passed the baton to former ELO frontman and frequent Harrison collaborator Jeff Lynne.
Martinâ¿¿s legacy with the Beatles made him a much in-demand producer for numerous musicians and groups from the 1970s through the early decade of the new millennium. Among the major acts that collaborated with him were Elton John, who tapped Martin to helm his chart-topping tribute to Princess Diana, "Candle in the Wind 1997," as well as Celine Dion, Jeff Beck, Cheap Trick, Kenny Rogers, Jimmy Webb, the Mahavishnu Orchestra, and America, for which he produced seven albums. Martin also produced The Glory of Gershwin, a 1994 tribute to the legendary composer that featured covers of his work by Sting, Elvis Costello, Peter Gabriel and Cher, as well as a recording of Dylan Thomasâ¿¿ "Under Milk Wood" with spoken word performances by Anthony Hopkins and Jonathan Pryce and songs by Tom Jones and Catherine Zeta-Jones. In 1994, he netted a Grammy for producing the cast album for the Broadway production of the Whoâ¿¿s rock opera, "Tommy." Martin also composed several film and television scores during this period, including 1972â¿¿s "Pulp" and 1981â¿¿s "Honky Tonk Freeway," and arranged the music for "Give My Regards to Broad Street" (1984), starring McCartney and Starr, and "Rupert and the Frog Song" (1985), an animated film written and produced by McCartney and his wife Linda, that featured several songs penned and sung by the ex-Beatle. Martin also produced and served as arranger on the camp classic film "Sgt. Pepperâ¿¿s Lonely Hearts Club Band" (1978), the Bee Gees/Peter Frampton vanity vehicle that utilized Beatles material for its outlandish plot.
For his countless contributions to world music and the development of popular music, Martin was made a Knight Bachelor by Queen Elizabeth II in 1995. The achievement appeared to give Martin no reason to rest on his laurels; in 1997, he produced the "Music for Montserrat" concert at the Royal Albert Hall, which assembled an eye-popping host of musical talent, including McCartney, Eric Clapton, Sting and Elton John to raise funds for the tiny Caribbean island, which had been devastated by a volcanic eruption. The following year, he produced and hosted "The Rhythm of Life" (1998, BBC), a documentary about the power and effect of music, which featured interview with many of his collaborators and admirers, including McCartney, Billy Joel and the Bee Gees. The year also marked his retirement from studio production with two projects: In My Life featured new versions of Beatles tracks recorded by an eclectic roster of friends and fans, including Jeff Beck, Phil Collins, Celine Dion, Robin Williams, Goldie Hawn and Sean Connery, while "Grow Old With Me" was an orchestrated version of an unreleased track by John Lennon that was included on the John Lennon Anthology. Martin capped the year by being named Man of the Year by the British Phonographic Industry. The following year, he was inducted into the Rock and Roll Hall of Fame.
In 2001, Martinâ¿¿s storied career received a fitting tribute with Produced by George Martin, a six-CD retrospective featuring the greatest songs from his five-decade career. The accolades continued for the greater part of the decade, including induction into the U.K. Music Hall of Fame in 2006 and honorary doctorates from numerous colleges and universities. Perhaps the most fitting honor came from the College of Arms, which presented him with his own Coat of Arms in 2004; the shield was decorated with a recorder under its wing above a trio of beetles. Again, the honor appeared to slow him down only a little; while Martinâ¿¿s studio career had come to an end, he continued to work on specialty projects and live events, including the musical celebrations for the Queen of Englandâ¿¿s Golden Jubilee in 2001 and 2002. The same hearing issues that affected his decision to abdicate producing duties on Anthology, later required him to team with his son, producer Giles Martin, to remix Beatles material for Cirque du Soleilâ¿¿s elaborate dance production of "Love" in 2006. The album yielded a pair of Grammys for the Martins in 2007.psychedelic backbone of "Strawberry Fields Forever." And he pushed the technology of music recording to its limits during the production of the groundbreaking Sgt. Pepperâ¿¿s Lonely Hearts Club Band by linking together two four-track recorders to create the worldâ¿¿s first multi-track recorder in order to accomplish the overdubs and effects the band had conceived for the album. Martinâ¿¿s contributions to the music of the Beatles were so essential that he was frequently referred to as the "fifth Beatle." Amazingly, he netted only two Grammys as their producer â¿¿ for Best Contemporary Album and Album of the Year for Sgt. Pepperâ¿¿s â¿¿ but was the architect for a musical act that eventually counted six Diamond albums, 24 multi-platinum albums, an Academy Award (for their final release, Let It Be) and more chart-topping records than any other act in music history.
During this incredibly prolific and inventive period, Martin also worked with countless other U.K. acts, including Gerry and the Pacemakers, Cilla Black, and Shirley Bassey, with whom he recorded the iconic "Goldfinger" single for the James Bond thriller of the same name. He also composed the music for the Beatlesâ¿¿ acclaimed feature films "A Hard Dayâ¿¿s Night" (1964), which earned him an Academy Award nomination, and "Help!" (1965), and arranged the score for 1968â¿¿s animated Beatles film, "Yellow Submarine." Yet despite all the innovations and critical and financial success Martin was bringing to EMI, he was still laboring under the same salary he had earned when he first signed with the label. This dichotomy spurred him to split with EMI and establish his own production company, Associated Independent Recording (AIR), which was followed by recording facilities in London in th
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