George Martin (musician)

George Henry Martin (London, January 3, 1926 – Oxfordshire, March 8, 2016) was a British music producer, arranger, composer, conductor, sound engineer and musician.. He is frequently referred to as "The Fifth Beatle" with reference to his extensive involvement on each and every original album by British rock band The Beatles. He is regarded as one of the world's greatest producers. album of all time, with thirty singles reaching number one on the UK charts and 23 on the US Billboard charts.

Influenced by a wide range of musical styles, ranging from Cole Porter to Johnny Dankworth, he attended the Guildhall School of Music and Drama from 1947 to 1950, where he studied piano and oboe. Following his graduation, he worked for the BBC's classical music department, and in 1950 joined EMI. Martin produced comedies and novelty songs in the early 1950s, working with Peter Sellers and Spike Milligan, among others.

In a career spanning more than 60 years, Martin has worked in music, film, television, and live performance. He has also held various executive positions at media companies and contributed to a wide range of charitable causes, including his work for The Prince's Trust and the Caribbean island of Montserrat.

In recognition of his services to the music industry and popular culture, he was made a Knight of the Realm in 1996.

Early Years

When Martin was six years old, his family acquired a piano, which sparked his interest in music. At the age of eight, Martin convinced his parents that he should take piano lessons, but after only eight lessons, the classes they broke up due to a conflict between his mother and the teacher. Later, Martin explained that he taught himself to play the piano.As a child he attended various schools, including a convent in Holloway, St. Joseph's Grammar School in Highgate, and St. Ignatius' College. 39; at Stamford Hill, where he won a scholarship.When the war broke out and the students at St. Ignatius & # 39; they were evacuated to Welwyn Garden City, Martin's family left London and Martin was enrolled at Ravensbourne Grammar School in Bromley.

I remember very well the first time I heard a symphonic orchestra. I was a teenager when Sir Adrian Boult brought the BBC Symphony Orchestra to my school for a public concert. It was absolutely magical. When I heard those glorious sounds I found it difficult to connect them with ninety men and women blowing bronze and wood instruments or scraping ropes with horse-haired arches.

Despite Martin's persistent interest in music and his "fantasies of being the next Rachmaninov", he did not choose music as a career. He worked briefly as a rigger and then for the War Office as a temp (Grade Three), at a job that involved filing papers and making tea. In 1943, when he was 17 years old, he joined the Royal Navy Air Fleet and became a pilot and commissioned officer. The war ended without Martin seeing any combat, and the young pilot left the service in 1947. At the encouragement of Sydney Harrison, a member of the Commission for the Promotion of New Music, Martin used his veteran's allowance to attend between 1947 and 1950 to the Guildhall School of Music and Drama, where he studied piano and oboe, and became interested in the music of Rachmaninov and Maurice Ravel, as well as Cole Porter and John Dankworth. Martin's oboe teacher was Margaret Eliot (mother of Jane Asher, who would later have a relationship with Paul McCartney). On 3 January 1948, while still at the academy, Martin married Sheena Chisholm, with whom he had two children, Alexis and Gregory Paul Martin. Later, he married Judy Lockhart-Smith on June 24, 1966, with whom he would have two other children, Lucy and Giles Martin.

Parlophone

The first LP of the Beatles produced by Martin

After graduation, he worked for the BBC's classical music department. In 1950, he joined EMI, and until 1955 he served as assistant to Oscar Preuss, head of EMI-owned Parlophone. Despite being considered by EMI as a major publisher in Germany in the past, it was not taken seriously at the time and the Parlophone record label was relegated to EMI's more menial tasks. Taking over Parlophone after the Retired from Preuss in 1955, as artist and repertoire manager, Martin spent his early years with the record label recording classical and baroque music, original hit recordings, and regional music from across the UK and Ireland.

Martin also produced numerous comedies and novelty recordings. Martin scored his first success for Parlophone in 1952, with Peter Ustinov's single Mock Mozart, a recording reluctantly released by EMI due to Preuss's insistence that they give him his young assistant, Martin., an opportunity. Later in the decade, Martin worked with Peter Sellers on several hits and thus met Spike Milligan, with whom he became good friends, to the point that he was best man in Milligan's second marriage: "I loved the Goon Show, I put out an album of that with Parlophone, which is how I got to know Spike". The album was Bridge on the River Wye. It was a parody of the movie Bridge on the River Kwai, based on Goon Show An African Incident, from 1957. It was intended to have the same name as the movie, but shortly before its release, the film company threatened legal action if the name was used. Martin removed the 'K' whenever the word 'Kwai' was mentioned, resulting in Bridge on the River Wye. The album included Milligan, Sellers, Jonathan Miller and Peter Cook, playing various characters.

Other comedians Martin worked with included Bernard Cribbins, Charlie Drake, Terry Scott, Bruce Forsyth, Michael Bentine, Dudley Moore, Rolf Harris, Flanders and Swann, Lance Percival, Joan Sims, Bill Oddie, Ian Wallace, The Alberts, and The Master Singers. Martin worked with Jim Dale and the Vipers Skiffle Group , with whom he achieved a string of hits. In early 1962, under the pseudonym Ray Cathode, Martin released an electronic dance single called Time Beat, recorded at the BBC Radiophonic Workshop, much to the same name. style of the Doctor Who theme tune. Because Martin wanted to add rock and roll to Parlophone's repertoire, he struggled to find a pop artist or group that would make hits.

As a producer, Martin recorded the duet show with Michael Flanders and Donald Swann, called At the Drop of a Hat, which sold steadily for twenty-five years, although Martin's success as Producer came on with the show Beyond the Fringe, starring Peter Cook, Dudley Moore, Alan Bennett and Jonathan Miller, and would also produce the soundtrack for David Frost's satirical BBC television show, That Was the Week That Was, in 1963. Martin's work transformed Parlophone's profile from a "sad little company" to a highly profitable business.

The Beatles

Martin working with the Beatles under study during the Beatles for Sale recording sessions

Martin was contacted by Sid Coleman of Ardmore & Beechwood, who told him about Brian Epstein, the manager of a band he had known. Coleman thought that Martin might be interested in the group, despite the fact that they had been turned down by Decca Records, among other major British labels. Up to that point, despite having had considerable success with comedies and a number one hit with The Temperance Seven, Martin had only had one minor success with pop music, which was Who Could Be Bluer by Jerry Lordan, and singles with Shane Fenton and Matt Monro. After Coleman's phone call, Martin arranged a meeting for February 13, 1962, with Brian Epstein. Martin listened to a tape made on Decca, and thought Epstein's group was "unpromising", but he liked the sound of the voices of John Lennon and Paul McCartney.

After another meeting with Epstein, on May 9 at Abbey Road Studios, Martin was impressed with Epstein's enthusiasm and agreed to sign the unknown Beatles to a recording contract without having met or seen them play live. The contract was not what it seemed, however, Martin would not sign it until hearing an audition, later saying that EMI had "nothing to lose" as they were offering a penny for each copy. sold, which was split between the four members. Martin suggested to EMI (after the release of "From Me to You") that the royalty rate should be doubled without asking for anything in return, which led to Martin being seen as a "traitor" in EMI.

The Beatles performed for Martin on June 6, 1962, at Abbey Road Studios, Studio 3. Ron Richards and his engineer Norman Smith recorded four songs, which Martin, absent during the recording, heard at the end of the recording. the session. The verdict was not promising, however, as Richards complained about Pete Best's drumming, Martin thought his original songs weren't enough. Martin asked the Beatles if there was anything they personally hadn't liked, to which they George Harrison replied: "Well, there's your tie, for starters." That was the turning point according to Smith, and as Lennon and McCartney joined in with jokes and comedic puns, they made Martin think he should sign them to a contract purely because of his wit.

The Beatles' first recording session with Martin was on September 4, where they recorded "How Do You Do It?", a song that was going to be a sure hit for Martin, even though Lennon and McCartney didn't want to. release it, as it was not one of his compositions. Martin was right, the Gerry & The Pacemakers, which was produced by Martin, spent three weeks at the top of the charts in April 1963, before being displaced by "From Me to You". On September 11, 1962, the Beatles re-recorded "Love Me Do" with Andy White playing drums. Ringo Starr was invited to play the tambourine and maracas, and although he complied, he definitely "didn't like it." Due to an EMI library error, the September 4 version with Starr playing drums was issued on the single; the tape was later destroyed and the 9/11 recording with Andy White on drums was used on all subsequent releases. Martin later praised Starr's drumming, calling Starr "probably... the best rock drummer in the world today". November 1962 Martin recorded "Please Please Me", after Lennon and McCartney nearly begged him to record one of their own compositions. Martin's crucial contribution to the song was to suggest they speed up what was initially a slow ballad. After the recording Martin looked over the mixer and said, "Gentlemen, you just recorded your first number one." Martin asked Epstein to find a good promoter, as Ardmore & Beechwood had done nothing to promote "Love Me Do," telling Epstein about three music publishers he thought would be fair and honest, and that's how they landed on Dick James.

As arranger

Martin's musical background helped bridge the gap between the raw talent of the Beatles and the sound the band wanted to achieve. Most of the Beatles' arrangements and orchestral instrumentation (as well as keyboard parts frequent on early records) were written or performed by Martin in collaboration with the band. It was Martin's idea to put a string quartet on Yesterday, against McCartney's initial reluctance. Martin played the song in the style of Bach to show McCartney what voices were available. Another example is the song Penny Lane, which featured a piccolo trumpet solo. McCartney hummed the tune he wanted to get to, and Martin wrote it down for David Mason, a classically trained trumpeter.

Martin's distinctive arrangements appear on many Beatles songs. For Eleanor Rigby she orchestrated and conducted a string accompaniment inspired by Bernard Herrmann. On a speaking tour of Canada in 2007, Martin said that his orchestra in Eleanor Rigby was influenced by the one Herrmann did for Alfred Hitchcock's thriller Psycho. For Strawberry Fields Forever, he and recording engineer Geoff Emerick turned two very different takes into a single through careful use of speed variance and editing. For I Am The Walrus , Martin provided a quirky and original arrangement for brass, violins, cellos, and the vocal ensemble of Mike Sammes. On In My Life, he played an up-tempo baroque piano solo. He worked with McCartney to implement the climax orchestra on A Day In The Life and the two shared conductive duties on the day the song was recorded.

He did less to point out integral parts in other songs, such as the piano on Lovely Rita, the harpsichord on Fixing A Hole, the organs, and the arrangement of tape loop that created the Pablo Fanque circus atmosphere Lennon requested in Being For The Benefit Of Mr. Kite! (a song in which both Lennon and Martin played organ parts), and the orchestration on Good Night. The first song Martin did not arrange was She's Leaving Home, as he had a prior commitment to produce a Cilla Black session. Therefore, McCartney contacted arranger Mike Leander to replace him on that song. Martin was affected by this, but continued to produce subsequent recordings and conduct the orchestra himself. Martin was frequently in demand as an arranger in the white album era, so the Beatles had to produce several songs themselves.

Martin arranged the orchestra for the Beatles film Yellow Submarine and for the James Bond film Live And Let Die, for which McCartney wrote and sang the title song.

Paul McCartney once praised Martin saying, "George was pretty experimental for what he was, an older person."

As a composer

Starting in the late 1950s, Martin began supplementing his income as a producer by publishing music and having his artists record it. He used the pen names Lezlo Anales and John Chisholm before settling on Graham Fisher as his primary pen name.

Martin has composed, arranged, and produced film scores since the 1960s, including the instrumental orchestrations for the films A Hard Day's Night (for which he earned an Academy Award nomination), Yellow Submarine and Live And Let Die. Other film scores include The Family Way, the 1962 comedy Crooks Anonymous, Honky Tonk Freeway directed by John Schlesinger, Pulp with Michael Caine and Mickey Rooney, and The Optimists Of Nine Elms with Peter Sellers.

He also composed the David Frost song By George, Adagietto For Harmonica & Strings by Tommy Reilly, Theme One for BBC Radio 1 and Magic Carpet for The Dakotas.

The Beatles Anthology

Martin supervised post-production on The Beatles Anthology, which was originally titled The Long And Winding Road in 1994 and 1995, again working with Geoff Emerick. Martin decided to use an old 8-track analog console to mix the songs for the project, for which EMI already had an engineer, instead of using a modern digital console. Martin explained this by saying that the old console created a completely different sound, which a new one could not recreate. He also said that the whole project was a strange experience for him, something McCartney agreed with, as they had to listen to each other. themselves chatting in the studio 25 or 30 years earlier.

Martin gave up producing the two new singles that united McCartney, Harrison and Starr and that sought to overcome Lennon's old demos. Martin had suffered hearing loss, and left the job for musician and producer Jeff Lynne, famous for his work with ELO.

Cirque du Soleil and Love

In 2006, Martin and his son Giles remixed 80 minutes of Beatles music for the Las Vegas performance of Love, a joint project between Cirque du Soleil and the Beatles' Apple Corps. A soundtrack album for the show was released that same year.

Public Image

Martin's contribution to the Beatles' oeuvre has received regular critical acclaim and has led to his being known as "the fifth beatle". However, Martin has distanced himself from that claim, saying that his assistant Neil Aspinall would be more worthy of that title.

Despite Martin's experience working with many different artists, he has been criticized for paying too much attention to the Beatles. Howard Stern publicly criticized Martin for receiving too much credit for the group's success, though he was quickly refuted by others for "misjudging". Writer Sean Egan believes his "fifth Beatle" image 3. 4; has been "exaggerated by some." s Kevin.

Lennon downplayed Martin's influence on the Beatles' music. In an interview with Jann Wenner in 1970, Lennon said: (Dick James) is another one of those people who think they created us. They didn't. I'd like to hear Dick James music or George Martin music, please, just a little. In a 1971 letter to McCartney, Lennon wrote: When people ask me questions like "What did really George Martin for you?", I only have one answer, "What does he do now?" I realized that I had no answer for that. It's not cheap, it's the truth.

Lennon wrote that Martin took a lot of credit for the Beatles' music. Commenting specifically on Revolution 9, Lennon said: To claim that Martin was "painting a picture of sound" is pure hallucination. Ask any of the other people involved. The final edit was done by myself and Yoko. Lennon later retracted many of his comments, attributing them to his anger at the time. He subsequently spoke with great affection and affection for Martin. In 1971 he said: George Martin made us (referring to «The Beatles») what we were in the recording studio, he helped us develop a language to converse with other musicians .

Other artists

Martin in 2007

Martin produced recordings for many other artists, including Beatles contemporaries such as Matt Monro, Cilla Black, Gerry & The Pacemakers, Billy J. Kramer & The Dakotas, The Fourmost, David and Jonathan, and The Action, as well as The King's Singers, the band America, guitarists Jeff Beck and John Williams, 1960s duo Edwards Hand, Gary Brooker, Neil Sedaka, Ultravox, country singer Kenny Rogers, Cheap Trick, Elton John, Phil Collins with the songs "Golden Slumbers" "Carry That Weight" "The End", Celine Dion and Yoshiki Hayashi from X Japan.

Martin has also worked with the Mahavishnu Orchestra and Gary Glitter. She worked with Glitter before he was famous, and recorded several songs with him in the 1960s under the name "Paul Raven." He also produced the album The Man In The Bowler Hat for the eccentric British folk-rock group, Stackridge in 1974. Martin worked with Paul Winter on the album Icarus, from 1972, which was recorded in a rented house facing the sea in Marblehead, Massachusetts. Winter said that Martin taught him "how to use the studio as a tool", and that it allowed him to record the album in a relaxed environment, which was different from the pressure that exists in a professional studio. In 1979 he worked with Ron Goodwin to produce the album The Beatles Concerto, written by John Rutter. In 2010, Martin executive produced the debut Arms Of The Sun, a hard-rock project featuring Rex Brown, John Lucas Hebert, Lance Harvill and Ben Bunker.

In 1991, Martin contributed string arrangement and conducted the orchestra for the song Ticket To Heaven on Dire Straits' latest studio album, On Every Street. In 1992, Martin worked with Pete Townshend in the musical stage production of Tommy. The play would run on Broadway in 1993, with the original cast album released that summer. George Martin would win the Grammy for Best Album of a Musical in 1993, as producer of that album.

In 1995, he contributed the string and horn arrangement to the song Latitude on Elton John's album Made In England, which was recorded at AIR Studios London in Martin. She also produced Elton's Diana, Princess of Wales, 1997's Candle In The Wind tribute, which topped the charts in September of that year.

Independent Recording Association (AIR)

Within the recording industry, Martin is recognized for being independent at a time when many producers were still salaried staff, which was prompted by the success of the Beatles to start, in 1965, the Association of Independent Recording (AIR), and contract their own services to the artists who request it. This arrangement not only demonstrated how important Martin's talent was considered among his artists, but also allowed him a share of the royalties from their hits. Today, AIR continues to be one of the preeminent recording studios in the music industry. world. In 1979, Martin opened a studio on the Caribbean island of Montserrat. This studio was destroyed by Hurricane Hugo ten years later.

Music from the James Bond series

Martin has also contributed directly and indirectly to the main themes of three James Bond films. Although Martin did not produce the theme for the second Bond film, From Russia With Love, he was responsible for signing Matt Monro to EMI just months before the recording of the song of the same title.

Martin also produced two of the best-known James Bond themes. The first was Goldfinger by Shirley Bassey in 1964. The second, in 1973, was Live And Let Die, by Paul McCartney and Wings, for the movie of the same name. He also composed and produced the soundtrack.

Retrospective of books and audio

In 1979 he published a memoir, All You Need Is Ears, written with Jeremy Hornsby, in which he described his work with the Beatles and other artists, including Peter Sellers, Sophia Loren, Shirley Bassey, Flanders And Swann, Matt Monro and Dudley Moore, and provided an informal introduction to the art and science of sound recording. In 1993 Martin published Summer Of Love: The Making Of Sgt. Pepper (published in the US as With A Little Help From My Friends: The Making Of Sgt. Pepper, written with William Pearson), which also included quotes from an interview on an episode of the South Bank Show, in which they discussed the album. Martin also edited a book in 1983, called Music Making: The Guide To Writing, Performing And Recording.

In 2001, Martin released Produced By George Martin: 50 Years In Recording, a six-disc retrospective of his entire studio career, and in 2002, Martin released Playback, his limited-edition illustrated autobiography, published by Genesis.

Death

Martin died in his sleep at his home in the Oxfordian town of Coleshill, 1,000 feet east of the River Cole (which forms the border between the counties of Oxfordshire and Wiltshire), 9 miles north-east of the town from Swindon (and 133 km west of London), at 4:19 a.m. (UK local time) on 8 March 2016 at the age of 90, apparently from natural causes.

The Beatle Ringo Starr posted on his Twitter social network account:

God bless George Martin peace and love to Judy and his family love Ringo and Barbara. George will be missed.

God bless George Martin peace and love for Judy and his family with love Ringo and Barbara. George will be missed.

Six minutes later, at 4:25 a.m. (UK local time), he posted:

Thank you for all your love and kindness George peace and love.

Thank you for all your love and kindness George peace and love.

In the morning, via email, Adam Sharp (one of the founders of the CA Management company) stated:

We can confirm that Sir George Martin passed away peacefully at home yesterday evening.

We can confirm that Sir George Martin has died peacefully in his house last night.

Television

The Rhythm Of Life

Between 1997 and 1998, Martin organized a three-part BBC co-produced documentary series entitled The Rhythm Of Life in which he discussed various aspects of music composition with professional musicians and singers., such as Brian Wilson, Billy Joel and Celine Dion. The series aired on the Ovation channel in the United States.

Produced by George Martin

On 25th April 2011, a documentary film co-produced by the BBC team Arena, Produced by George Martin, aired to good reviews for first time only in the UK. Combining rare archival footage and new interviews with, among others, Paul McCartney, Ringo Starr, Jeff Beck, Cilla Black and Giles Martin, it tells the story of George Martin's life from his days as a student to the legendary music producer. The film, with over 50 minutes of bonus footage, includes interviews by Rick Rubin, T-Bone Burnett, and Ken Scott, was released worldwide by Eagle Rock Entertainment on DVD and Blu-ray on September 10, 2012.

Awards and recognitions

Oscar Awards

• Grammy Awards 1967 - Best contemporary album (as a producer of Sgt. Pepper's Lonely Hearts Club Band).
• Grammy Awards 1967 - Album of the Year (as a producer of Sgt. Pepper's Lonely Hearts Club Band).
• Grammy Awards 1973 - Best vocal accompaniment arrangement (as a fixist) Live And Let Die).
• British Awards 1977 - Best British Producer (from the last 25 years).
• British Awards 1984 - Highest contribution to music.
• Grammy Awards 1993 - Best musical album (as a producer of The Who's Tommy).
• Grammy Awards 2007 - Best compilation album of soundtrack for cinema, television or other visual media, produced alongside Giles Martin, for the Beatles Love album.
• Grammy Awards 2007 - Best surround sound album, produced alongside Giles Martin, for the Beatles album Love.
• Martin was appointed by the British Fonographic Industry as the man of the year in 1998.
• In April 1989, he was appointed Doctor Honoris Causa in music by the Berklee College of Music in Boston, Massachusetts.
• It was included in the Rock Fame Hall on 15 March 1999 and within the United Kingdom Hall of Fame on 14 November 2006.
• In 2002, he was awarded the World Soundtrack Academy Award for Film Services at the International Film Festival "Flanders" in Belgium.
• He was granted his own coat of arms in March 2004 by the College of Arms. His shield has three beetles, a house where Martin holds a recorder, and the motto in Latin Amore Solum Opus Est ("All You Need Is Love").
• In November 2006, he was appointed Doctor Honoris Causa in music by the Metropolitan University of Leeds.
• In September 2008, he was awarded the James Joyce Award for the literary and historical Society of University College Dublin.
• Martin has also been awarded a Gold Medal for his Services to the arts of CISAC (International Confederation of Authors and Composers' Societies).
• On 25 May 2010, he was appointed an honorary member of the Audio Engineering Society at the 128th AES Convention in London.
• On 29 June 2011, he received an Honoris Causa doctorate in music from the University of Oxford.
• On October 19, 2012, he won a career award at the 39th edition of the Golden Badge Awards.

Martin is one of the few producers to have a number one hit on the charts in three or more consecutive decades. Others in this group include Phil Spector (1950, 1960, and 1970), Quincy Jones (1960, 1970, and 1980), Michael Omartian (1970, 1980, and 1990), and Jimmy Jam and Terry Lewis (1980, 1990, and 2000).

List of hits (non-Beatles) produced or co-produced by George Martin

Martin has achieved 30 number-one singles and 16 albums in the UK, plus 23 number-one singles and 19 albums in the US.

• "You're Driving Me Crazy", The Temperance Seven (25 May 1961, #1)
• "My Kind Of Girl", Matt Monro (31 July 1961, #5)
• "My Boomerang Won't Come Back", Charlie Drake (5 October 1961, #14)
• "Sun Arise", Rolf Harris (25 October 1962, #3)
• "Bad To Me, Billy J. Kramer with the Dakotas (August 22, 1963, #1)
• "Little Children", Billy J. Kramer with the Dakotas (19 March 1964, #1)
• "Hello Little Girl", The Fourmost (30 August 1963, #9)
• "Don't Let The Sun Catch You Crying", Gerry And The Pacemakers (4 July 1964, #4)
• "You're My World"Cilla Black (1 August 1964, #1)
• "How Do You Do It?", Gerry And The Pacemakers (11 April 1963, #1)
• "Can't Buy Me Love, Ella Fitzgerald (1 May 1964, #34)
• "Walk Away", Matt Monro (4 September 1964, #4)
• "I Like It", Gerry And The Pacemakers (7 November 1964, #1)
• "I'll Be There", Gerry And The Pacemakers (30 January 1965, #14)
• "Ferry Cross The Mersey", Gerry And The Pacemakers (20 March 1965, #6)
• "Goldfinger", Shirley Bassey (March 27, 1965, #8)
• "You'll Never Walk Alone", Gerry And The Pacemakers (3 July 1965, #48)
• "Trains And Boats and Planes", Billy J. Kramer with the Dakotas (July 31, 1965, #47)
• "Alfie"Cilla Black (10 September 1966, #6 in the United Kingdom, #95 in the United States)
• "Girl On A Swing", Gerry And The Pacemakers (October 22, 1966, #28)
• "Live and Let Die", Paul McCartney & Wings (1 June 1973, #9 in the United Kingdom, #2 in the United States)
• "Tin Man", America (9 November 1974, #4)
• "Lonely People", America (8 March 1975, #5)
• "Sister Golden Hair", America (14 June 1975, #1)
• "Oh! Darling", Robin Gibb (7 October 1978, #15)
• "Ebony And Ivory", Paul McCartney & Stevie Wonder (March 29, 1982, #1)
• "Say Say", Paul McCartney & Michael Jackson (10 December 1983, #1)
• "No More Lonely Nights", Paul McCartney (8 December 1984, #6)
• "Morning Desire", Kenny Rogers (10 July 1985, #1)
• "The Man I Love", Kate Bush & Larry Adler (18 July 1994, #27)
• "Candle In The Wind 1997", Elton John (11 October 1997, #1)
• "Pure", Hayley Westenra (2003, #1 in classic lists, #8 in pop lists)

Discography

• Off the Beatle Track (1964, Parlophone)
• A Hard Day's Night: Instrumental Versions of the Motion Picture Score (1965, United Artists)
• George Martin Scores Instrumental Versions of the Hits (1965)
• Help! (1965, Columbia)
• ..and I Love Her. (1966, Columbia)
• George Martin Instrumentally Salutes The Beatle Girls (1966)
• British Maid (1968, United Artists, relaunched in the United States as London By George)
• Yellow Submarine (1969, side one: The Beatles, side two: The George Martin Orchestra)
• By George! (1970, Sunset, reissue British Maid)
• Live and Let Die (producer for the song of Paul McCartney, and composer of the musical orchestra, 1973)
• Beatles to Bond and Bach (1978)
• In My Life (1998)
• Produced by George Martin (2001)
• The Family Way (2003)