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Maximum Volume: The Life of Beatles Producer George Martin, The Early Years, 1926�1966
Foreword Magazine IndieFab Book of the Year's Gold for Biography 2017
Maximum Volume offers a glimpse into the mind, the music, and the man behind the sound of the Beatles. George Martin’s working-class childhood and musical influences profoundly shaped his early career in the BBC’s Classical Music department and as head of the EMI Group’s Parlophone Records. Out of them flowed the genius behind his seven years producing the Beatles� incredible body of work, including such albums as Rubber Soul, Revolver,Sgt. Pepper’s Lonely Hearts Club Band, and Abbey Road.
The first book of two, Maximum Volume traces Martin’s early years as a scratch pianist, his life in the Fleet Air Arm during the Second World War, and his groundbreaking work as the head of Parlophone Records when Martin saved the company from ruin after making his name as a producer of comedy recordings. In its most dramatic moments, Maximum Volume narrates the story of Martin’s unlikely discovery of the Beatles and his painstaking efforts to prepare their newfangled sound for the British music marketplace. As the story unfolds, Martin and the band craft numerous number-one hits, progressing toward the landmark album Rubber Soul—all of which bear Martin’s unmistakable musical signature.
Maximum Volume offers a glimpse into the mind, the music, and the man behind the sound of the Beatles. George Martin’s working-class childhood and musical influences profoundly shaped his early career in the BBC’s Classical Music department and as head of the EMI Group’s Parlophone Records. Out of them flowed the genius behind his seven years producing the Beatles� incredible body of work, including such albums as Rubber Soul, Revolver,Sgt. Pepper’s Lonely Hearts Club Band, and Abbey Road.
The first book of two, Maximum Volume traces Martin’s early years as a scratch pianist, his life in the Fleet Air Arm during the Second World War, and his groundbreaking work as the head of Parlophone Records when Martin saved the company from ruin after making his name as a producer of comedy recordings. In its most dramatic moments, Maximum Volume narrates the story of Martin’s unlikely discovery of the Beatles and his painstaking efforts to prepare their newfangled sound for the British music marketplace. As the story unfolds, Martin and the band craft numerous number-one hits, progressing toward the landmark album Rubber Soul—all of which bear Martin’s unmistakable musical signature.
368 pages, Hardcover
Published September 1, 2017
44 people are currently reading
648 people want to read
About the author
Kenneth Womack
60books165followersKenneth Womack is a world-renowned authority on the Beatles and their enduring cultural influence. His latest book project involves a two-volume, full-length biography devoted to famed Beatles producer Sir George Martin.
Womack's Beatles-related books include Long and Winding Roads: The Evolving Artistry of the Beatles (2007), The Cambridge Companion to the Beatles (2009), and The Beatles Encyclopedia: Everything Fab Four (2014).
Womack is also the author of four novels, including John Doe No. 2 and the Dreamland Motel (2010), The Restaurant at the End of the World (2012), Playing the Angel (2013), and I Am Lemonade Lucy! (2019).
Womack's Beatles-related books include Long and Winding Roads: The Evolving Artistry of the Beatles (2007), The Cambridge Companion to the Beatles (2009), and The Beatles Encyclopedia: Everything Fab Four (2014).
Womack is also the author of four novels, including John Doe No. 2 and the Dreamland Motel (2010), The Restaurant at the End of the World (2012), Playing the Angel (2013), and I Am Lemonade Lucy! (2019).
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Displaying 1 - 30 of 52 reviews
September 12, 2017
This is the first in a two volume biography about George Martin, taking him through the first forty years of his life, from 1926 � 1966. I have often thought that some of those closely involved with the Beatles deserved their own, in-depth biography, and so I was pleased when this title was announced. Having read it, I feel it is, overall, a good read, but there are some issues with it.
Firstly, if you have not read Mark Lewisohn’s mammoth first volume of his biography of the Beatles, “Tune In,� (especially the extended version) then you will learn a lot from this book. However, if you have read it, then much of this will be familiar. George Martin’s early life was covered in, “Tune In,� and, indeed, Lewisohn finally uncovered the circuitous route by which the Beatles actually got their recording deal with Parlophone and the way in which the Beatles came into George Martin’s orbit. This is not really the author’s fault, but it does mean the beginning is fairly repetitious if you have read, Lewisohn’s biography.
That aside, there is more detailed information on Martin’s first marriage, with Jean Chisholm, known as “Sheena,� and her difficult relationship with Martin’s mother. However, unlike Lewisohn, Womack is apt not to tie up all his threads. For example, he mentions that Martin’s mother, Bertha, suffered a ‘head injury,� which affected, and altered, her behaviour. However, at no point in the book could I find where she had sustained this injury, which seemed an odd lapse. Also, it is well known that George Martin began an affair with Judy Lockhart Smith, who he met at EMI, and they were eventually married. It is obvious that neither Judy, nor her children, were interviewed for this book and so we have the strangely skewed account of this relationship, mostly from the point of view of the children from his first marriage, Alexis and Gregory. Obviously, they are very important witnesses to events, but, at the end of this volume George and Judy are still not married � although they marry later in 1966. George and Judy go on holiday with John and Cynthia at one point, as well as travelling together on Beatles tours, but it is unclear how either he, or Judy, felt about being unable to marry after so many years together, whether they were openly living together and whether, indeed, their relationship was accepted outside of their immediate friends and family.
This is subtitled, “The Life of Beatles Producer George Martin,� and, of course, the Beatles are central to this story. As most fans know, Parlophone, under George Martin, was best known for comedy records; indeed Martin struggled to discover his own musical success and was jealous of his rival, Norrie Paramor, who had a string of hits with Cliff Richard and others. As we know, though, Martin would soon outstrip any success Paramor could have achieved, with the Beatles. Oddly, Womack refers to the Beatles, and Brian Epstein’s stable of acts, as ‘North County� acts; a term I haven’t really heard before. In England we would say, ‘Northern,� or perhaps “Merseyside,� but not ‘North County�.� There is lots in here about the Beatles; Martin’s early meetings with Brian Epstein, his involvement with Dick James, his first encounter with the band, his work with them in the studio and how, to his astonishment, the Beatles just kept on improving and writing hit after hit.
Along with the success, are the battles that Martin had with EMI and his attempts to be properly recompensed for his work. His frustration, at not feeling he was receiving a fair pay, especially with his huge chart success with the Beatles, led to his deciding to branch out on his own at the end of this volume. He was also unimpressed by the company’s penny pinching attitude to change and to their delays in providing the up to date equipment that was already familiar in US recording studios. Womack is keen to suggest that Martin liked to be ‘right� and was keen to confirm this whenever possible. He also stresses that Martin, born to fairly humble origins, was eager to improve his lot and quickly changed his accent when he felt it was essential to improving his career. The class system in Britain at that time was fairly rigid and so I don’t think Martin can be blamed for attempting to fit in with those around him.
I enjoyed this book, with a few minor niggles, and will certainly read on. It was interesting to read how Martin, for example, clashed with Richard Lester, how closely he worked with Brian Epstein and how much he aided the Beatles to grow in the studio, and helped them realise their ideas. I do wish there had been a little more about Martin’s personal life, once the Beatles come into the picture, as I do feel the studio takes over at that point and you begin to see Martin as a producer and lose sight of his personal concerns. Still, this is an interesting work and I do feel that the second volume will add more that is less familiar. Overall, I was impressed with Martin as a person. He was principled, immensely supportive of the Beatles, and, as his actions in not attending the only Oscar ceremony he was nominated for, because he felt he had no chance of winning, always realistic and self deprecating.
Rated 3.5
Firstly, if you have not read Mark Lewisohn’s mammoth first volume of his biography of the Beatles, “Tune In,� (especially the extended version) then you will learn a lot from this book. However, if you have read it, then much of this will be familiar. George Martin’s early life was covered in, “Tune In,� and, indeed, Lewisohn finally uncovered the circuitous route by which the Beatles actually got their recording deal with Parlophone and the way in which the Beatles came into George Martin’s orbit. This is not really the author’s fault, but it does mean the beginning is fairly repetitious if you have read, Lewisohn’s biography.
That aside, there is more detailed information on Martin’s first marriage, with Jean Chisholm, known as “Sheena,� and her difficult relationship with Martin’s mother. However, unlike Lewisohn, Womack is apt not to tie up all his threads. For example, he mentions that Martin’s mother, Bertha, suffered a ‘head injury,� which affected, and altered, her behaviour. However, at no point in the book could I find where she had sustained this injury, which seemed an odd lapse. Also, it is well known that George Martin began an affair with Judy Lockhart Smith, who he met at EMI, and they were eventually married. It is obvious that neither Judy, nor her children, were interviewed for this book and so we have the strangely skewed account of this relationship, mostly from the point of view of the children from his first marriage, Alexis and Gregory. Obviously, they are very important witnesses to events, but, at the end of this volume George and Judy are still not married � although they marry later in 1966. George and Judy go on holiday with John and Cynthia at one point, as well as travelling together on Beatles tours, but it is unclear how either he, or Judy, felt about being unable to marry after so many years together, whether they were openly living together and whether, indeed, their relationship was accepted outside of their immediate friends and family.
This is subtitled, “The Life of Beatles Producer George Martin,� and, of course, the Beatles are central to this story. As most fans know, Parlophone, under George Martin, was best known for comedy records; indeed Martin struggled to discover his own musical success and was jealous of his rival, Norrie Paramor, who had a string of hits with Cliff Richard and others. As we know, though, Martin would soon outstrip any success Paramor could have achieved, with the Beatles. Oddly, Womack refers to the Beatles, and Brian Epstein’s stable of acts, as ‘North County� acts; a term I haven’t really heard before. In England we would say, ‘Northern,� or perhaps “Merseyside,� but not ‘North County�.� There is lots in here about the Beatles; Martin’s early meetings with Brian Epstein, his involvement with Dick James, his first encounter with the band, his work with them in the studio and how, to his astonishment, the Beatles just kept on improving and writing hit after hit.
Along with the success, are the battles that Martin had with EMI and his attempts to be properly recompensed for his work. His frustration, at not feeling he was receiving a fair pay, especially with his huge chart success with the Beatles, led to his deciding to branch out on his own at the end of this volume. He was also unimpressed by the company’s penny pinching attitude to change and to their delays in providing the up to date equipment that was already familiar in US recording studios. Womack is keen to suggest that Martin liked to be ‘right� and was keen to confirm this whenever possible. He also stresses that Martin, born to fairly humble origins, was eager to improve his lot and quickly changed his accent when he felt it was essential to improving his career. The class system in Britain at that time was fairly rigid and so I don’t think Martin can be blamed for attempting to fit in with those around him.
I enjoyed this book, with a few minor niggles, and will certainly read on. It was interesting to read how Martin, for example, clashed with Richard Lester, how closely he worked with Brian Epstein and how much he aided the Beatles to grow in the studio, and helped them realise their ideas. I do wish there had been a little more about Martin’s personal life, once the Beatles come into the picture, as I do feel the studio takes over at that point and you begin to see Martin as a producer and lose sight of his personal concerns. Still, this is an interesting work and I do feel that the second volume will add more that is less familiar. Overall, I was impressed with Martin as a person. He was principled, immensely supportive of the Beatles, and, as his actions in not attending the only Oscar ceremony he was nominated for, because he felt he had no chance of winning, always realistic and self deprecating.
Rated 3.5
July 4, 2023
An excellently written and mostly fascinating look into one of the men most influential on the Beatles and their rise. I will be honest unless you’re really into music production (which I’m sadly not) some parts might feel like a bit of a slog, but to be fair they don’t last long before you’re back to the juicy stuffy.
December 3, 2017
Part one of a two-volume set on the life and works of British record producer George Martin. The author, Kenneth Womack, does his research well, and for those who can't get enough of how the Fab Four got their sounds in the studio, this is the source book to go to. Also happy to read about Martin's work with the great Goons. It's ironic that George Martin's great production work before The Beatles was making classic British humor albums with Peter Sellers, etc. Also, I didn't realize that Martin produced the sessions for the John Barry era of James Bond music. For the Beatle geek, but also anyone interested in the record label life in the UK circa the late 1950s to 1966.
June 24, 2020
Meticulously researched, an absolute must for any Beatles nerd like me.
Fascinating to hear the story of the band’s discovery from a different perspective for once too. Firstly, Martin’s initial reluctance to sign them, and then the random set of events that had to fall into place for them to begin their recording career. Makes you wonder how many great acts may well never find success by pure chance alone.
Fascinating to hear the story of the band’s discovery from a different perspective for once too. Firstly, Martin’s initial reluctance to sign them, and then the random set of events that had to fall into place for them to begin their recording career. Makes you wonder how many great acts may well never find success by pure chance alone.
July 16, 2018
A must-have addition to any Beatlemaniac’s “Fab Four� library. This is the first in a planned two-volume biography of the Beatles� producer and the executive overseeing EMI’s Parlophone Records label from 1951 to 1965. This volume covers Martin’s life from his birth in a decidedly working class family in 1926 up until his departure from EMI/Parlophone to set up his independent production company AIR and the completion of the Beatles� landmark “Rubber Soul� album in late 1965.
The coming together of Martin, Beatles� manager Brian Epstein, and the band was a perfect alignment of the stars�.it’s unlikely any of them would have reached the heights they did without the collaboration of all six. Martin was a musical/piano prodigy from a young age (composing his first songs by the age of 8) but remained largely self-taught until formal music education via the UK version of the GI Bill following his service in the Royal Navy during WW2. His mastery of the largely primitive state of recording technology during his time at Parlophone in the 50’s including the use of vari-speed recording, double-tracking, echo, and electronic effects would come to the fore along with his expertise at scoring, arranging and composition when he finally connects with the Beatles in 1962 after a multi-year search for a “beat group� of his own to produce after years of producing ground-breaking comedy records with the likes of Peter Sellers & Spike Milligan of the UK’s the Goons.
While this book contains a lot of overlap with the first volume of the epic trilogy by Mark Lewisohn (only the first has been published and it ends with the Beatles signing with Parlophone in 1962), there’s enough here to make it a must-read. The insight into the recording of 6 albums and over a half-dozen non-album singles is worth the price of admission. Highly recommended for serious Beatles fans.
The coming together of Martin, Beatles� manager Brian Epstein, and the band was a perfect alignment of the stars�.it’s unlikely any of them would have reached the heights they did without the collaboration of all six. Martin was a musical/piano prodigy from a young age (composing his first songs by the age of 8) but remained largely self-taught until formal music education via the UK version of the GI Bill following his service in the Royal Navy during WW2. His mastery of the largely primitive state of recording technology during his time at Parlophone in the 50’s including the use of vari-speed recording, double-tracking, echo, and electronic effects would come to the fore along with his expertise at scoring, arranging and composition when he finally connects with the Beatles in 1962 after a multi-year search for a “beat group� of his own to produce after years of producing ground-breaking comedy records with the likes of Peter Sellers & Spike Milligan of the UK’s the Goons.
While this book contains a lot of overlap with the first volume of the epic trilogy by Mark Lewisohn (only the first has been published and it ends with the Beatles signing with Parlophone in 1962), there’s enough here to make it a must-read. The insight into the recording of 6 albums and over a half-dozen non-album singles is worth the price of admission. Highly recommended for serious Beatles fans.
March 7, 2024
Quite a good biography of one of the most influential people in the history of popular music. There's no denying the influence Martin had on the sound and success of the Beatles, and Womack does a lot of good work to set the stage and fill in some of the blanks.
Overall, I really enjoyed it, however Womack has a bad habit of repeating himself, and truly overusing certain expressions (such as "calculus" and "soaring" and "for the ages", etc.).
For all of that, while he blithely skips over what feels like significant events (Martin's mother had a head injury that changed her personality and ultimately killed her, yet we aren't told what actually happened?), and Martin himself seems to get a bit of a short shrift once the Beatles come on stage, it's still a fascinating read, and I'm looking forward to the second volume.
Overall, I really enjoyed it, however Womack has a bad habit of repeating himself, and truly overusing certain expressions (such as "calculus" and "soaring" and "for the ages", etc.).
For all of that, while he blithely skips over what feels like significant events (Martin's mother had a head injury that changed her personality and ultimately killed her, yet we aren't told what actually happened?), and Martin himself seems to get a bit of a short shrift once the Beatles come on stage, it's still a fascinating read, and I'm looking forward to the second volume.
August 15, 2024
explores a "fifth Beatle" as his career interleaves with theirs. He starts from a time of limited technology with 10" records for pop and the 12" LPs for classical, etc. which also got the cutting edge technology, such as it was. Martin embraced variable speed recording and other tricks required for comedy recordings which fed into the advanced techniques that surfaced with Beatles recordings. It is interesting to see the arc of British popular music crushed by American trends -- performers expected to cover American songs, and then see the eventual domination of the US by The Beatles. This "Early Years" volume ends with . Included is, of course, a career biography of Martin including how he was compelled to strike out on his own when under appreciated by EMI.
December 3, 2023
Hard to say, a lot of stuff is already covered in Tune In which isn’t this books fault, but while it’s got some interesting details about George Martin it often goes off on tangents about non-George related Beatles stories or the listing of what went on which numbered track again and again (which to be fair a lot of Beatles books do)
November 6, 2018
If you want to know what made George Martin tick, this is not the book for you. If you want a detailed list of his activities at practically every Beatles recording session, you're in for a treat.
In a biography like this, when the subject has a pretty boring childhood and is basically known for one thing (producing the Beatles' records), it's important to build a sense of momentum and anticipation in the early chapters. Womack does so. Martin's early struggles at EMI are well chronicled. He basically saved the Parlophone label from the ash heap. It took an interesting string of coincidences for the Beatles to make their way into Abbey Road studio #2, but the rest truly is history, as the say. Womack records for the reader Martin's lead role in the band's recording efforts. He helped with arranging, playing, and other elements of making the actual music, then did all of the mixing and other technical work as well. This is not new information for any Beatles fan, but it is a good look at the profound impact Martin had on the group. But, as I alluded to earlier, it does get a bit repetitive/monotonous.
Womack made a few horrible decisions in the writing of this biography. Worst of all, he refers to Martin as "George" throughout the entire novel. What on earth was he thinking? By the end of the book he's almost forty years old! And must I mention that he worked closely with a band whose members are often referred to by their first names, one of which is George? What an idiotic idea. There were times Womack was describing studio work and my brain naturally thought he was talking about Harrison, only later to realize that he was referring to Martin. I can't repeat enough what a bad decision this was. Hopefully, it will be fixed in a later edition. Can you imagine a biography of the first president describing how "George stayed with the troops at Valley Forge"? How about, "George led the Third Army across Sicily"? Or, "George and Dan lost their re-election effort to Bill and Al"? Hardly. What a disaster.
Womack is also way too easy on Martin and his monstrous, barbarous treatment of his first wife and their two children. It is merely a plot wrinkle in this novel, not a fatal character flaw demonstrating a severe lack of judgment.
And yet, I enjoyed this book. How could you not enjoy reading about the marathon, magical, entire-career-for-most-bands-yet-just-nine-hours-in-the-studio-of-music efforts of the greatest band of all time? I should mention that the book ends just after the release of Rubber Soul (thus the subtitle is misleading; it basically ends in December 1965). I hope to catch volume 2 when it comes out.
In a biography like this, when the subject has a pretty boring childhood and is basically known for one thing (producing the Beatles' records), it's important to build a sense of momentum and anticipation in the early chapters. Womack does so. Martin's early struggles at EMI are well chronicled. He basically saved the Parlophone label from the ash heap. It took an interesting string of coincidences for the Beatles to make their way into Abbey Road studio #2, but the rest truly is history, as the say. Womack records for the reader Martin's lead role in the band's recording efforts. He helped with arranging, playing, and other elements of making the actual music, then did all of the mixing and other technical work as well. This is not new information for any Beatles fan, but it is a good look at the profound impact Martin had on the group. But, as I alluded to earlier, it does get a bit repetitive/monotonous.
Womack made a few horrible decisions in the writing of this biography. Worst of all, he refers to Martin as "George" throughout the entire novel. What on earth was he thinking? By the end of the book he's almost forty years old! And must I mention that he worked closely with a band whose members are often referred to by their first names, one of which is George? What an idiotic idea. There were times Womack was describing studio work and my brain naturally thought he was talking about Harrison, only later to realize that he was referring to Martin. I can't repeat enough what a bad decision this was. Hopefully, it will be fixed in a later edition. Can you imagine a biography of the first president describing how "George stayed with the troops at Valley Forge"? How about, "George led the Third Army across Sicily"? Or, "George and Dan lost their re-election effort to Bill and Al"? Hardly. What a disaster.
Womack is also way too easy on Martin and his monstrous, barbarous treatment of his first wife and their two children. It is merely a plot wrinkle in this novel, not a fatal character flaw demonstrating a severe lack of judgment.
And yet, I enjoyed this book. How could you not enjoy reading about the marathon, magical, entire-career-for-most-bands-yet-just-nine-hours-in-the-studio-of-music efforts of the greatest band of all time? I should mention that the book ends just after the release of Rubber Soul (thus the subtitle is misleading; it basically ends in December 1965). I hope to catch volume 2 when it comes out.
December 29, 2018
This was a pleasant surprise. Even for lunatics who have read as many Beatle-related books as I have, Womack's story of George Martin has some fresh insights. But don't skip ahead to Martin's work producing the Fabs, whom he met in 1962 and initially didn't like, read about his early years as a boy raised in real poverty who nevertheless made the best of it, deliberately worked on his accent to sound more "posh," and ended up producing comedy and novelty records for an EMI subsidiary label known as Parlophone. If you know about "Beyond the Fringe," a British comedy stage revue written and performed by Peter Cook, Dudley Moore, Alan Bennett, and Jonathan Miller, it was Martin who originally recorded it for vinyl. (If you don't know about this show, find out - it's the precursor of the best kind of satirical television and is great.)
The second half of the book is a relatively meticulous but not overcooked description of Martin's work with the Beatles, often song by song. There are many other books that discuss the making of each song, notably "Revolution In The Head" by Ian MacDonald, and if you've read some of those, Womack's recounting can seem a bit too familiar. One thing that puzzled me: Beatles nuts have for years preferred the mono mixes of these songs to the stereo mixes, and the argument for that was that the band and its producers labored carefully and with attention over the mono but that the stereo mix was typically a toss-off. There is nothing in this book that addresses that. In fact, the contrary is implied: they finished the song, the engineer made a mono mix, the engineer made the stereo mix, next question. Very odd. I have a strong and distinct preference for the mono mixes, all the way through the White Album, where the mono mix (which used to be impossible to find) is vastly better and often quite different, notably on "Helter Skelter."
This is part one of a two-book biography. I will definitely read Womack's follow-up as well. A nice addition to the canon of Beatles books.
The second half of the book is a relatively meticulous but not overcooked description of Martin's work with the Beatles, often song by song. There are many other books that discuss the making of each song, notably "Revolution In The Head" by Ian MacDonald, and if you've read some of those, Womack's recounting can seem a bit too familiar. One thing that puzzled me: Beatles nuts have for years preferred the mono mixes of these songs to the stereo mixes, and the argument for that was that the band and its producers labored carefully and with attention over the mono but that the stereo mix was typically a toss-off. There is nothing in this book that addresses that. In fact, the contrary is implied: they finished the song, the engineer made a mono mix, the engineer made the stereo mix, next question. Very odd. I have a strong and distinct preference for the mono mixes, all the way through the White Album, where the mono mix (which used to be impossible to find) is vastly better and often quite different, notably on "Helter Skelter."
This is part one of a two-book biography. I will definitely read Womack's follow-up as well. A nice addition to the canon of Beatles books.
May 12, 2018
Pretty detailed account of Beatles producer George Martin's life up to 1966. The Beatles remained a group until 1970, so Martin's story will continue in the next volume. While this book is written in a straightforward manner, the story itself is interesting. With the decades, Beatles scholarship has become so thorough that great detail is available to many. The author makes note of Mark Lewisohn's groundbreaking work, still ongoing, and all books about the Beatles will, from now on, have to be judged in light of Lewisohn's scholarship.
MAXIMUM VOLUME may even be a better place to start reading about the Beatles than Lewisohn's books because its focus on their producer allows readers to get a good, general view of their rise.
If mist interest to me are the chapters about Martin's Depression-era upbringing, service in Workd War Two and his climb at EMI before the Beatles met him. Martin is quoted extensively, but there are areas he himself never wrote about. This book shows string research there.
It is an informative book.
MAXIMUM VOLUME may even be a better place to start reading about the Beatles than Lewisohn's books because its focus on their producer allows readers to get a good, general view of their rise.
If mist interest to me are the chapters about Martin's Depression-era upbringing, service in Workd War Two and his climb at EMI before the Beatles met him. Martin is quoted extensively, but there are areas he himself never wrote about. This book shows string research there.
It is an informative book.
December 9, 2017
Tough to rate this book. It's a interesting and breezy read for Beatles fans, although it's not particularly revealing about Martin or his what drove his approach in the studio. A lot of the book is made up of what seem to be little more than strings of dates noting when the Beatles recorded what. (It is incredible to see how quickly they recorded so many of their early albums.) Womack appears to have relied overwhelmingly on second-hand sources; I wasn't keeping close track, but I don't remember a single interview with any of the principals involved.
May 3, 2018
This biography offers a fascinating window into the heady early days of the Beatles and the life of the man who recorded and produced their most infectious and enduring pop hits. If you like the Fab Four's music and learning how many of their songs came to be then you will enjoy this book. I loved it, look forward to reading Part Two and, most importantly, have a ticket for Paul McCartney's concert in Austin this October.
September 10, 2017
I did not read the ebook, I read the harcover.
One of the best books ever written revolving around the Beatles.
An essential read to understand George Martin.
Brilliant
One of the best books ever written revolving around the Beatles.
An essential read to understand George Martin.
Brilliant
January 20, 2018
Good to learn more about George and, of course, some new things about the Beatles.
February 18, 2020
ספר בעייתי מאוד. מצד אחד החומר מרתק ומקיף. מצד שני הספר זקוק נואשות לעורך. הוא חוזר על עצמו והמבנה מבלבל ומבולבל. עדיין, כספר המקיף ביותר על המפיק הגאון של הביטלס, כדאי לקרוא.
May 6, 2025
# The Fifth Beatle's Origin Story: A Review of "Maximum Volume"
In the pantheon of music producers, George Martin stands as a colossus—the man who helped transform four scruffy Liverpudlians into the cultural phenomenon we still can't stop obsessing over. Kenneth Womack's "Maximum Volume: The Life of Beatles Producer George Martin, The Early Years, 1926-1966" peels back the curtain on the man who earned the title "Fifth Beatle" before most of us were even born.
Womack's biography is like finding that rare Beatles bootleg you didn't know existed—illuminating, slightly revelatory, and absolutely essential for the completist. The book chronicles Martin's journey from his humble beginnings to the moment he became inextricably linked with the Fab Four, and does so with the meticulousness of someone arranging a perfect three-part harmony.
Born to a working-class family, Martin's trajectory from poverty to Abbey Road wasn't exactly a "Ticket to Ride." Womack details Martin's classical training and early career producing comedy records (think Goons, not Beatles), painting a portrait of a man whose musical sophistication would later serve as the perfect counterbalance to the Beatles' raw talent. It's this unlikely marriage of highbrow and Liverpool swagger that would eventually birth "Sgt. Pepper" and revolutionize popular music.
The book shines brightest when exploring the initial skepticism Martin had about the band—famously telling Brian Epstein they had "no commercial potential" after their first audition. Oh, George, if you only knew! Womack captures that pivotal moment when Martin's opinion shifted, recognizing something special in these rough-edged musicians who couldn't read a note of music but somehow created magic.
What makes "Maximum Volume" particularly delicious is how it demystifies the recording process without diminishing its wonder. Martin wasn't just twiddling knobs; he was arranging strings for "Yesterday," suggesting tempo changes for "Please Please Me," and generally serving as the adult in the room who could translate the Beatles' increasingly ambitious ideas into reality.
Womack occasionally gets bogged down in minutiae that only the most ardent Beatles archaeologists might appreciate. Yes, we get it—Martin was detail-oriented. But when you're dealing with the architect behind "A Day in the Life," perhaps no detail is too small.
For those of us who worship at the altar of Abbey Road, this book is a sacred text—the origin story of the man who helped the Beatles transcend from pop sensation to artistic innovators. Martin's contribution to the band's sound is incalculable, and Womack gives him the spotlight he so richly deserves.
"Maximum Volume" ends in 1966, just as the Beatles were entering their most experimental phase. Like side one of "Abbey Road," it leaves you desperately flipping the record over for more. Thankfully, there's a sequel. Because when it comes to George Martin and the Beatles, enough is never enough.
In the pantheon of music producers, George Martin stands as a colossus—the man who helped transform four scruffy Liverpudlians into the cultural phenomenon we still can't stop obsessing over. Kenneth Womack's "Maximum Volume: The Life of Beatles Producer George Martin, The Early Years, 1926-1966" peels back the curtain on the man who earned the title "Fifth Beatle" before most of us were even born.
Womack's biography is like finding that rare Beatles bootleg you didn't know existed—illuminating, slightly revelatory, and absolutely essential for the completist. The book chronicles Martin's journey from his humble beginnings to the moment he became inextricably linked with the Fab Four, and does so with the meticulousness of someone arranging a perfect three-part harmony.
Born to a working-class family, Martin's trajectory from poverty to Abbey Road wasn't exactly a "Ticket to Ride." Womack details Martin's classical training and early career producing comedy records (think Goons, not Beatles), painting a portrait of a man whose musical sophistication would later serve as the perfect counterbalance to the Beatles' raw talent. It's this unlikely marriage of highbrow and Liverpool swagger that would eventually birth "Sgt. Pepper" and revolutionize popular music.
The book shines brightest when exploring the initial skepticism Martin had about the band—famously telling Brian Epstein they had "no commercial potential" after their first audition. Oh, George, if you only knew! Womack captures that pivotal moment when Martin's opinion shifted, recognizing something special in these rough-edged musicians who couldn't read a note of music but somehow created magic.
What makes "Maximum Volume" particularly delicious is how it demystifies the recording process without diminishing its wonder. Martin wasn't just twiddling knobs; he was arranging strings for "Yesterday," suggesting tempo changes for "Please Please Me," and generally serving as the adult in the room who could translate the Beatles' increasingly ambitious ideas into reality.
Womack occasionally gets bogged down in minutiae that only the most ardent Beatles archaeologists might appreciate. Yes, we get it—Martin was detail-oriented. But when you're dealing with the architect behind "A Day in the Life," perhaps no detail is too small.
For those of us who worship at the altar of Abbey Road, this book is a sacred text—the origin story of the man who helped the Beatles transcend from pop sensation to artistic innovators. Martin's contribution to the band's sound is incalculable, and Womack gives him the spotlight he so richly deserves.
"Maximum Volume" ends in 1966, just as the Beatles were entering their most experimental phase. Like side one of "Abbey Road," it leaves you desperately flipping the record over for more. Thankfully, there's a sequel. Because when it comes to George Martin and the Beatles, enough is never enough.
November 27, 2024
I am a devout and devoted fan of The Beatles -- have been since I heard their first song, Love Me Do. In fact, I am the only person I know who has seen them perform live three times (at the Hollywood Bowl in 1964 and '65; and at Dodgers Stadium in 1966, the band's penultimate concert as they announced their retirement from touring after their 1966 San Francisco concerts that immediately followed LA).
I thought I had read everything available about The Beatles...but then I discovered this book: Maximum Volume: The Life of Beatles Producer George Martin, The Early Years, 1926-1966. If you love The Beatles, you will love learning all about George Martin, the magnificent musical wizard who produced almost all of their recordings.
We learn about Martin's early life, his stint in the British military at the tale end of WWII, and how, after spending time studying music, learning how to play the oboe, and singing with a choir, he landed a job as an assistant A&R man at EMI Records.
Making a measly annual salary, he was still threatened with termination if he didn't find a band that could make a hit record. He earlier had rejected Brian Epstein's band of Liverpudlians but Martin became so stressed about his potential expulsion from EMI that he gave the band with the funny name and a bad drummer another go. After insisting they replace their first drummer (Pete Best), the boys brought on Ringo. Soon after, history was born!
Author Kenneth Womack tells us all about the songs written by Paul McCartney and John Lennon, along with a smattering of others by George Harrison, and how Martin's expertise in the recording studio helped the lads turn out one No. 1 hit after another. Womack peppers his biography with interesting anecdotes about The Beatles and George Martin as they become ever more famous with each song.
He stops right after Rubber Soul is released, which many Beatles aficionados know and recognize as the album that changed everything. But never fear...the sequel is near...
I thought I had read everything available about The Beatles...but then I discovered this book: Maximum Volume: The Life of Beatles Producer George Martin, The Early Years, 1926-1966. If you love The Beatles, you will love learning all about George Martin, the magnificent musical wizard who produced almost all of their recordings.
We learn about Martin's early life, his stint in the British military at the tale end of WWII, and how, after spending time studying music, learning how to play the oboe, and singing with a choir, he landed a job as an assistant A&R man at EMI Records.
Making a measly annual salary, he was still threatened with termination if he didn't find a band that could make a hit record. He earlier had rejected Brian Epstein's band of Liverpudlians but Martin became so stressed about his potential expulsion from EMI that he gave the band with the funny name and a bad drummer another go. After insisting they replace their first drummer (Pete Best), the boys brought on Ringo. Soon after, history was born!
Author Kenneth Womack tells us all about the songs written by Paul McCartney and John Lennon, along with a smattering of others by George Harrison, and how Martin's expertise in the recording studio helped the lads turn out one No. 1 hit after another. Womack peppers his biography with interesting anecdotes about The Beatles and George Martin as they become ever more famous with each song.
He stops right after Rubber Soul is released, which many Beatles aficionados know and recognize as the album that changed everything. But never fear...the sequel is near...
January 14, 2022
Definitely one for Beatles geeks. For those such as me the endless lists of which songs were rehearsed on which day and in which order are worth wading through, just to get to priceless information on how the instrumentation and personnel on each track came about. Also how George Martin developed his working relationship with the Beatles, from arranging and rearranging their songs (I'll never hear She Loves You without being reminded of him telling them the song had to start with the chorus) to facilitating their ideas. George's assessment on the different methods of John and Paul was quite revealing, with one starting from structure and the other starting with melody. With the Get Back films being released currently on Disney, this was an excellent chance to revisit the Beatles when they were riding high, working very hard and coming up with so many brilliant compositions. Even amid this though, there was the sense of how much pressure they were under, particularly with touring, which must have taken a huge toll and led to burnout. Plenty to enjoy, though the angle taken for the American market did grate a little at times.
November 26, 2020
Probably not for everyone as it contains quite detailed listings of numerous recording sessions. And if you're not a fan of The Beatles (I guess a few aren't).
But for me? Loved it. Not just for the above but also generally for George's life from his humble beginnings and the build-up to the crowning achievements with The Beatles.
The book ends just as Rubber Soul has come out, which marked a turn from The Beatles quite (of the time) boy band-ish (but still brilliant) earlier records.
I can't wait for the next one 'Sound Pictures: The Life of Beatles Producer George Martin (The Later Years, 1966-2016)'.
But for me? Loved it. Not just for the above but also generally for George's life from his humble beginnings and the build-up to the crowning achievements with The Beatles.
The book ends just as Rubber Soul has come out, which marked a turn from The Beatles quite (of the time) boy band-ish (but still brilliant) earlier records.
I can't wait for the next one 'Sound Pictures: The Life of Beatles Producer George Martin (The Later Years, 1966-2016)'.
May 30, 2023
I listened to the second volume of this two-book saga, first, remembering it fondly as part of my Audible subscription many moons ago. Since then, I've done a lot of related reading and podcast listening connected to my beloved Beatles, and I have to say- having more background knowledge and reading this account of George Martin and his early years as a producer of The Beatles was very eye-opening.
I just can't get enough of books that walk me through the intricacies and philosophies behind the recordings that became much-loved songs.
Now I have to go back and read volume two again.
This was also a great companion to Revolution in the Head by Ian MacDonald.
I just can't get enough of books that walk me through the intricacies and philosophies behind the recordings that became much-loved songs.
Now I have to go back and read volume two again.
This was also a great companion to Revolution in the Head by Ian MacDonald.
October 28, 2023
Excellent account following George from his humble origins to his work as a recording producer at EMI. We went through many different step to get to where he was an effective producer, but a lot of his success was due to the risks he took to try new things, despite the resistance he received from EMI. I really enjoyed the detail covered in the recording sessions with the Beatles. The audio book format helped me get through this long volume so I didn't linger on a lot of the details. Highly recommended to serious Beatles fans (about the details of the construction of the songs).
January 22, 2025
A must for all serious Beatles fans. I know a lot of this material, but it's fun to see it from George Martin's perspective, even though it's in third person, of course, so there's a lot of emphasis on the Beatles (naturally). I loved learning about Martin's roots, early life, and his pre-Beatles career. I like the fact that Womack doesn't skip the less savory parts of Martin's biography, including his treatment of his first wife and his affair with Judy. A great chronicle written in highly readable prose.
March 1, 2022
A wonderful insight into the life of George Martin up to 1966. I definitely learned a lot about his personal as well as professional life and how it revolved around recording not only The Beatles but other standout artists at the time to make a name for himself and finally be able to leave EMI and create AIR on his own terms. Looking forward to reading Part 2.
December 14, 2018
This is the first in a two volume biography about George Martin, taking him through the first forty years of his life, from 1926 � 1966. I have often thought that some of those closely involved with the Beatles deserved their own, in-depth biography, and so I was pleased when this title was announced. Having read it, I feel it is, overall, a good read, but there are some issues with it.
Firstly, if you have not read Mark Lewisohn’s mammoth first volume of his biography of the Beatles, “Tune In,� (especially the extended version) then you will learn a lot from this book. However, if you have read it, then much of this will be familiar. George Martin’s early life was covered in, “Tune In,� and, indeed, Lewisohn finally uncovered the circuitous route by which the Beatles actually got their recording deal with Parlophone and the way in which the Beatles came into George Martin’s orbit. This is not really the author’s fault, but it does mean the beginning is fairly repetitious if you have read, Lewisohn’s biography.
That aside, there is more detailed information on Martin’s first marriage, with Jean Chisholm, known as “Sheena,� and her difficult relationship with Martin’s mother. However, unlike Lewisohn, Womack is apt not to tie up all his threads. For example, he mentions that Martin’s mother, Bertha, suffered a ‘head injury,� which affected, and altered, her behaviour. However, at no point in the book could I find where she had sustained this injury, which seemed an odd lapse. Also, it is well known that George Martin began an affair with Judy Lockhart Smith, who he met at EMI, and they were eventually married. It is obvious that neither Judy, nor her children, were interviewed for this book and so we have the strangely skewed account of this relationship, mostly from the point of view of the children from his first marriage, Alexis and Gregory. Obviously, they are very important witnesses to events, but, at the end of this volume George and Judy are still not married � although they marry later in 1966. George and Judy go on holiday with John and Cynthia at one point, as well as travelling together on Beatles tours, but it is unclear how either he, or Judy, felt about being unable to marry after so many years together, whether they were openly living together and whether, indeed, their relationship was accepted outside of their immediate friends and family.
This is subtitled, “The Life of Beatles Producer George Martin,� and, of course, the Beatles are central to this story. As most fans know, Parlophone, under George Martin, was best known for comedy records; indeed Martin struggled to discover his own musical success and was jealous of his rival, Norrie Paramor, who had a string of hits with Cliff Richard and others. As we know, though, Martin would soon outstrip any success Paramor could have achieved, with the Beatles. Oddly, Womack refers to the Beatles, and Brian Epstein’s stable of acts, as ‘North County� acts; a term I haven’t really heard before. In England we would say, ‘Northern,� or perhaps “Merseyside,� but not ‘North County�.� There is lots in here about the Beatles; Martin’s early meetings with Brian Epstein, his involvement with Dick James, his first encounter with the band, his work with them in the studio and how, to his astonishment, the Beatles just kept on improving and writing hit after hit.
Along with the success, are the battles that Martin had with EMI and his attempts to be properly recompensed for his work. His frustration, at not feeling he was receiving a fair pay, especially with his huge chart success with the Beatles, led to his deciding to branch out on his own at the end of this volume. He was also unimpressed by the company’s penny pinching attitude to change and to their delays in providing the up to date equipment that was already familiar in US recording studios. Womack is keen to suggest that Martin liked to be ‘right� and was keen to confirm this whenever possible. He also stresses that Martin, born to fairly humble origins, was eager to improve his lot and quickly changed his accent when he felt it was essential to improving his career. The class system in Britain at that time was fairly rigid and so I don’t think Martin can be blamed for attempting to fit in with those around him.
I enjoyed this book, with a few minor niggles, and will certainly read on. It was interesting to read how Martin, for example, clashed with Richard Lester, how closely he worked with Brian Epstein and how much he aided the Beatles to grow in the studio, and helped them realise their ideas. I do wish there had been a little more about Martin’s personal life, once the Beatles come into the picture, as I do feel the studio takes over at that point and you begin to see Martin as a producer and lose sight of his personal concerns. Still, this is an interesting work and I do feel that the second volume will add more that is less familiar. Overall, I was impressed with Martin as a person. He was principled, immensely supportive of the Beatles, and, as his actions in not attending the only Oscar ceremony he was nominated for, because he felt he had no chance of winning, always realistic and self deprecating.
Firstly, if you have not read Mark Lewisohn’s mammoth first volume of his biography of the Beatles, “Tune In,� (especially the extended version) then you will learn a lot from this book. However, if you have read it, then much of this will be familiar. George Martin’s early life was covered in, “Tune In,� and, indeed, Lewisohn finally uncovered the circuitous route by which the Beatles actually got their recording deal with Parlophone and the way in which the Beatles came into George Martin’s orbit. This is not really the author’s fault, but it does mean the beginning is fairly repetitious if you have read, Lewisohn’s biography.
That aside, there is more detailed information on Martin’s first marriage, with Jean Chisholm, known as “Sheena,� and her difficult relationship with Martin’s mother. However, unlike Lewisohn, Womack is apt not to tie up all his threads. For example, he mentions that Martin’s mother, Bertha, suffered a ‘head injury,� which affected, and altered, her behaviour. However, at no point in the book could I find where she had sustained this injury, which seemed an odd lapse. Also, it is well known that George Martin began an affair with Judy Lockhart Smith, who he met at EMI, and they were eventually married. It is obvious that neither Judy, nor her children, were interviewed for this book and so we have the strangely skewed account of this relationship, mostly from the point of view of the children from his first marriage, Alexis and Gregory. Obviously, they are very important witnesses to events, but, at the end of this volume George and Judy are still not married � although they marry later in 1966. George and Judy go on holiday with John and Cynthia at one point, as well as travelling together on Beatles tours, but it is unclear how either he, or Judy, felt about being unable to marry after so many years together, whether they were openly living together and whether, indeed, their relationship was accepted outside of their immediate friends and family.
This is subtitled, “The Life of Beatles Producer George Martin,� and, of course, the Beatles are central to this story. As most fans know, Parlophone, under George Martin, was best known for comedy records; indeed Martin struggled to discover his own musical success and was jealous of his rival, Norrie Paramor, who had a string of hits with Cliff Richard and others. As we know, though, Martin would soon outstrip any success Paramor could have achieved, with the Beatles. Oddly, Womack refers to the Beatles, and Brian Epstein’s stable of acts, as ‘North County� acts; a term I haven’t really heard before. In England we would say, ‘Northern,� or perhaps “Merseyside,� but not ‘North County�.� There is lots in here about the Beatles; Martin’s early meetings with Brian Epstein, his involvement with Dick James, his first encounter with the band, his work with them in the studio and how, to his astonishment, the Beatles just kept on improving and writing hit after hit.
Along with the success, are the battles that Martin had with EMI and his attempts to be properly recompensed for his work. His frustration, at not feeling he was receiving a fair pay, especially with his huge chart success with the Beatles, led to his deciding to branch out on his own at the end of this volume. He was also unimpressed by the company’s penny pinching attitude to change and to their delays in providing the up to date equipment that was already familiar in US recording studios. Womack is keen to suggest that Martin liked to be ‘right� and was keen to confirm this whenever possible. He also stresses that Martin, born to fairly humble origins, was eager to improve his lot and quickly changed his accent when he felt it was essential to improving his career. The class system in Britain at that time was fairly rigid and so I don’t think Martin can be blamed for attempting to fit in with those around him.
I enjoyed this book, with a few minor niggles, and will certainly read on. It was interesting to read how Martin, for example, clashed with Richard Lester, how closely he worked with Brian Epstein and how much he aided the Beatles to grow in the studio, and helped them realise their ideas. I do wish there had been a little more about Martin’s personal life, once the Beatles come into the picture, as I do feel the studio takes over at that point and you begin to see Martin as a producer and lose sight of his personal concerns. Still, this is an interesting work and I do feel that the second volume will add more that is less familiar. Overall, I was impressed with Martin as a person. He was principled, immensely supportive of the Beatles, and, as his actions in not attending the only Oscar ceremony he was nominated for, because he felt he had no chance of winning, always realistic and self deprecating.
November 5, 2021
Learned things
I grew up with and have loved the Beatles from their beginning. I’ve read a number of books about them, but learned a number of things from this well written book. Recommended.
I grew up with and have loved the Beatles from their beginning. I’ve read a number of books about them, but learned a number of things from this well written book. Recommended.
December 27, 2022
A fine first volume of the major biography that George Martin deserves.
Whilst much of the detail of his work with The Beatles is familiar, it does succeed in providing a different perspective.
The tale of his career both before and beyond The Beatles is enlightening.
Whilst much of the detail of his work with The Beatles is familiar, it does succeed in providing a different perspective.
The tale of his career both before and beyond The Beatles is enlightening.
August 28, 2023
it’s not a bad book. there are some musical inaccuracies that i tried to overlook but how can you write a musical book and not know or use the correct terms! either way, this was an interesting read and when i’m ready, i’m pumped to read the second volume.
August 21, 2024
A very well-written book that inevitably spends about 60% of its length recycling the Beatles stories. I guess it makes sense but do we really need a bit about Jimmie Nicol in the book about George Martin? Anyways, looking forward to read the second book.
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