Spent the evening with Geoff Emerick last night

[Memphis Blue]

well...me and about 100 other folks.
The local NARAS/Grammy office brought him here to speak...saw some great videos and pics and heard some audio clips.
He is a great guy and spent a lot of time answering questions and signing the bokk...which is a MUST HAVE for all Beatle queers like me.
He was talking about how REVOLVER was his first to engineer...and the fact that it was almost recorded here in Memphis at STAX but plans fell through....lucky for him.
First track to engineer?
Tomorrow Never Knows...talk about getting thrown into the fire!

[beatlefreak]

Very cool!

[iamthebassman]

I'm sure that was fun.
The band and I got to have supper with Geoff one evening a few years back, the mayor of Austin(a big Eggmen fan) set it up. Of course, after dinner we had to play, with frickin' Geoff Emerick in the front row! Afterwards he said we did a great job and he was happy that we played a lot of his faves, Tomorrow Never Knows, A Day in the Life, and Paperback Writer.

[kiramdear]

Cool, Ronn. No pressure there, eh?

I'm reading his book right now; I think everyone interested in recording should read it.

[kenindfw]

The book is interesting. I have read it, however it has been criticized due to numerous errors in fact in it. I believe he got into somewhat of a feud with Ken Scott about some of the factual errors. I've copied the text from the following link (http://www.daytrippin.com/letters.htm).




Rebuttal from Ken Scott regarding Geoff Emerick's response addressing criticism to his book

March 12, 2006

Dear Daytrippin',

Many thanks for allowing me to respond to Geoff's letter (see below).

First and foremost I wish to sincerely apologize to Geoff for my comment about his employment being only by Paul. I was wrong and I openly admit it. I would very much like to now see Geoff admit, and apologize for, his errors.

On February 10th, 2006, I sent 3 letters to Gotham Publishing. I wrote to the president of the company, the editor of the book and also to the editorial department notifying them of substantive factual mistakes in the book. To this date I have still had no response. I also have in my possession copies of letters sent to the publishers by other people mentioned in the book, each one complaining of errors. All parties to this publication had plenty of warning and if any one connected with this book were at all interested in the truth they could have made changes before it hit the book shelves not "in future editions".

With regard to Geoff's assertion that my complaints are based on an uncorrected proof, he is totally incorrect. Yes, my first reading was that version, but prior to writing my first letter I obtained a corrected copy to check for changes. They were negligible. If anyone connected with Geoff had bothered to look properly at what I wrote they would have noticed that all the page numbers given were for the final copy, not the proof copy. This is exactly the kind of sloppiness and lack of attention to detail that pervades this book.

My next admission. I am biased. I was and still am very fond of George. To see him described the way he is on numerous pages makes me mad. To quote a very good friend of his, " He was always called the quiet one, but anyone who knew him knew that once he started there was no way you could shut him up". "Dour" ? This is the man that made the Rutles and Monty Python movies possible. "Sarcastic" ? Well I can't argue that, except to say it was always with humor. And everyone dreading when he had to record a solo? In all the time I worked with the band I saw absolutely no evidence of this. Geoff in fact states, in an interview from Good Day Sunshine, issues 79 & 80, that George ".....was very meticulous. It didn't matter how long that sort of thing took, he'd just do it". Sounds just the same as Paul to me, but that's just my opinion.

Now to the facts. I would be most interested to hear how the errors I point out can be called "differences of opinion". There is no opinion contained in any of them. Opinion is that Rubber Soul is "not especially noteworthy" (I have to assume this is Geoff's opinion because he incorrectly states it was the feeling of those working the sessions; I was on all but 3 of those sessions and certainly didn't feel, or hear that anyone else felt, that way) or that the "White Album" is "virtually unlistenable", as the book so eloquently states. As for Geoff's other statement, I gave page numbers for every error, I therefore invite him to show me where I misquoted, mischaracterized or I'm "flat out wrong".

Let's try a couple more and see if these contain opinions, misquotes, mischaracterizations or are flat out wrong.

The book tells how a hurriedly done mix of "Penny Lane" was rushed to Capitol Records, inadvertently missing the end David Mason piccolo trumpet flourish. A new mix with the flourish, destined to be the released version, was later done and sent out to Capitol. If someone had even bothered to listen to the record they would have discovered it was the other way round. Paul decided he didn't like the ending and so the second mix was done without the flourish and it was this version that became the single. If the book is correct, I, and a lot of other people, have "quite a collector's item" in our record collections.

And though I did find the description of the novel use of a condom during the recording of "Yellow Submarine" amusing, I have to ask why it is that in previous interviews Geoff had stated it was a plastic bag, as do other people present at the time.

Last but not least. Geoff did incredible work and has an incredible story to tell. But, because there will always be differences of opinion, fact checking is essential and it shouldn't need the use of artistic licence and pure fiction in an attempt to turn his book into a big seller.

Cheers,

Ken Scott

Response from Geoff Emerick

March 8, 2006

Statement from Geoff Emerick Regarding Ken Scott's Comments about "Here, There and Everywhere : My Life Recording the Music of the Beatles"

I was saddened to learn that Ken Scott is attempting to discredit my book, Here, There, and Everywhere, despite the fact that he has obviously not seen the published edition.

I would not care to speculate on the motivations Ken has for publicly taking issue with my memoir, let alone on his evident need to rush his negative comments into print after apparently reading only an uncorrected proof of the book. Yes, these were events that occurred forty years ago, and Ken's memory may differ in some respects, but this is the true story of the Beatles in the recording studio as I and many of my colleagues remember it. As the Beatles' own Anthology project proved, put four people in a room and you will get four differerent recollections of the same event. That is simply human nature. Nonetheless, my co-author and I took great pains to ensure the accuracy of all that is stated in the book.

In the instances where Ken Scott is pointing out a substantive factual mistake and is not merely nit-picking, we will ensure that our publisher is notified and that the correction is made in future editions. However, most of what Ken refers to as "errors" are in fact either differences of opinion, or instances where he is misquoting or mischaracterizing what I say. In other cases, he is flat out wrong.

Regarding what Ken characterizes as the book's "relentless tirade against George Harrison," I would argue that I have in fact painted an honest, balanced and even affectionate picture of George, about whom I write, "Even though we were never close personally, we always got along well professionally, and I always had great respect for his musicianship and his abilities as a producer. Especially after he got interested in Eastern music, George brought a new dimension to Beatles records and his contribution was inestimable." That is hardly what I would call a "tirade."

And since Ken is so vehement about getting things correct, I will point out that he is wrong when he says that Paul McCartney was the only Beatle to have employed me after the group split up. I was asked by John to record numerous Plastic Ono Band projects, and I was brought in by Ringo to engineer the "Sentimental Journey" album and, years later, to mix "Vertical Man." Not to mention the fact that I was asked by all three surviving Beatles in 1994 to engineer "Free As A Bird" and "Real Love."

If and when Ken gets around to writing his memoir, I will certainly defend his right to share his recollections as he remembers them, even if I don't necessarily agree with them. Until that time, I hope he will extend me the same courtesy.

Geoff Emerick

Controversy surrounding Geoff Emerick's new book

Editor's Note: We received this letter from Ken Scott, former Beatles recording engineer, regarding Geoff Emerick's new book, "Here, There and Everywhere : My Life Recording the Music of the Beatles". The book is being released by Gotham on March 16.

Ken worked with the Beatles as a second engineer on "A Hard Days Night" (side 2), "Beatles for Sale", "Help!" and "Rubber Soul". As an engineer he worked on "Magical Mystery Tour" and The White Album. Then, after leaving Abbey Road, he worked on such things as "All Things Must Pass", "It Don't Come Easy", "Give Peace A Chance" and "Cold Turkey". He also worked with Harrison again on the re-release of "All Things Must Pass" and has since worked with the Harrison Estate.

------

March 3, 2006

Dear Daytrippin',

I must start of by thanking you for your efforts to bring the truth to the fore. I have followed with interest the Bob Spitz spectacle.

By way of an introduction my name is Ken Scott and I was honoured and privileged to work on a lot of recording sessions with The Beatles.

Being one of the few who got to see the Beatles record, up close and personal, I have always been bothered by the many people who disseminate false stories, always for a fast buck or some kind of ego boost. I have been waiting for someone with credentials - like Geoff Emerick - to come out, finally, with the true story. When his "Here, There and Everywhere" was announced I was so happy. The truth would be told, finally.

I was in for a big disappointment. I was one of the people interviewed for Geoff's book, as were many other former Abbey Road employees. We all came to understand that these interviews were arranged because he had very little recall of those days, and his co-author would use our memories to become Geoff's stories.

Now, after reading his book, I KNOW how little he remembers. It appears we, the interviewees, didn't give enough, because much is clearly fabricated stories, something made up to fill out the book. A good example of this being the detailed recollection of the overdub session he worked on for Misery (Page 59). However, in an interview in 2003, with Ken Michaels on Total Access Live (http://www.totalaccesslive.com/geoffemerick.htm), Geoff was quoted as saying "...I was informed the other day, and I couldn't remember it, that Misery was the first track that I was actually present on." (Editor's Note: Geoff was a tape op on "Misery". He started engineering (mixing) a year after "Norwegian Wood") Amongst these stories are many things that could be proven untrue by astute Beatles fans, and things easily shown to be false by those who were there.

Taken as single points it is easy to say "so what", but when one turns into two turns into one hundred the veracity of everything comes into question. Unlike any other band The Beatles are now part of history and it is my feeling that their history should be told correctly. As part of that history Geoff did AMAZING work recording them, but if one can't remember or take the time to double check the facts, DON'T WRITE A BOOK.

There are so many errors in this book, some small, others not, so I offer the following examples only as an insider's starting point,

1) The book claims, on Page 108, that Geoff was the first engineer to be given the job before the age of 40.

Amongst our teachers/mentors were Peter Bown, Stuart Eltham, Malcolm Addey and Peter Vince. These 4 pop engineers were ALL promoted before they were 40.

2) It claims he was the first engineer to record a sitar at Abbey Road on Page 137. However, it was not Geoff who recorded "Norwegian Wood" - done the year before he first recorded the Beatles.

3) On Page 257 it states how early on John wanted a rawer sound for the "White Album" and yet on Page 264 it says they came up with that idea as an excuse for the roughness much later.

4) The story is told how they recorded "Blackbird" OUTSIDE the EMI studio at night, with birds chirping in the background. When mixing this song the only bird sounds present were from an EMI sound effects tape (which Paul and I put there) and interestingly there were no traffic noises, no plane sounds nor any other sound one would expect recording outside on Page 240's "soft summer eve" .

5) Paul's middle section on "A Day In Life" was there from Take 1. It was not edited in later as is claimed on Page 149.

6) On 31st July, 1968 "Hey Jude" was recorded at Trident Studios. At that time the only studio in London to have an 8 track machine and the very reason the Beatles chose to go to a virtually unknown and untested studio rather than one of the more well known studios. Every major studio certainly did not have an 8 track in 1967 as is claimed on Page 199.

7) Page 11 states that John showed he accepted Geoff by asking if he had heard the new Tiny Tim record -- this is highly unlikely as at this time the record had not been recorded and it would be at least a year before it was released.

Supposedly, according to Page 300, George recorded the "Something" solo at the same time and on the same tracks as the strings. Then why is it that on the track lineup it shows orchestra on tracks 3 & 4 and main guitar solo on track 1 ? Also, if isolated, the solo on the 5.1 version has no sign of an orchestra.

9) And last but not least, page 218. Many times over the years I have told the story of how Keith Moon was leaving the studio car park, after playing tympani on "Old Man River" on the first Jeff Beck Group album Truth, and when confronted by an elderly St Johns Wood resident walking her dog he used his car's built in p.a. system to tell her to "F*#! off" and the ensuing complaints to the studio. This is the first I have heard that such a surprisingly similar incident occurred with John.

Again, these are but a few of the MANY problems. Since copies of his book leaked out, there has been a movement from fans and EMI employees past and present; all are shocked at what Geoff is purported to say in this book, as SO much of it is untrue. There are long lists of factual errors being compiled around the world to be released when this book is published. (The last list I saw was well over 100 errors, and climbing as more people read the book).

In his defense, I must say it is likely Geoff did not write much of this book at all - it is a creation of co-author Howard Massey. Much of it is misleading 'creative' writing (such as his word-for-word recreations of something said casually over 40 years ago?) and elaborations on Mark Lewisohn's "Sessions" book; all done to "fill in" the memory of Geoff Emerick.

I cannot bring this missive to an end without mentioning the book's relentless tirade against George Harrison. As a second engineer I was on more Beatles sessions than Geoff and saw none of the problems talked about constantly, and as an engineer, the same. Sadly, George is not in a position to defend himself today. I think I know what his reaction would have been anyway... Mine is utter disgust.

This book is NOT accurate, it is not "the truth" and does not deserve to be supported. It is very damaging to the good reputations of such people as George Harrison, George Martin, John Lennon, Chris Thomas, Ringo Starr, Phil McDonald and the list goes on. The only one who is rarely mentioned negatively is Paul McCartney, the only one to have employed Geoff after the Beatles.

Good luck and keep up the good work.

Cheers,

Ken Scott