Kozinn, co-author of The McCartney Legacy Volume 1, who takes us through all the details of the writing and recording process. We also learn how Paul debuted the song before the film’s release, we walk through George Martin’s Grammy-winning arrangement, and we consider Martin’s droll story about the film’s producer, as well as what Martin left out of that story.

In the second episode looking at the making of All Things Must Pass, we explore the recording of the largest production on the album. We hear from participants at the sessions, listen to outtakes and isolations, peek into Mal Evans’ diaries, and sample a reconstruction of the song’s epic orchestral score.

Today, the first of two episodes exploring the production of George Harrison’s first solo album, All Things Must Pass, with new research and interviews drawn from the book Ken Womack and I wrote on the making of the album. In this episode, we cover the intricate and painstaking production of “My Sweet Lord.” We explode the myth of Phil Spector’s contributions, speak to a number of people who were there, and get an exclusive sneak preview of the contents of Mal Evans’ diary entries about these sessions, courtesy Ken Womack.

In the first bonus episode for Season 1, we step outside of our regular format and take a peek into solo Beatles territory, with a look at the recording of John Lennon’s song “Love” from his first post-Beatles solo album, John Lennon/Plastic Ono Band. We trace the song’s development all the way from home demo to finished recording, sampling the session tapes and discovering the role both Yoko and Phil Spector played in reaching the final take.

Examining the making of Strawberry Fields Forever, with special focus on George Martin's score for three cellos and four trumpets

In Part 2 of our look at the trio of songs titled “Revolution,” we dive into the recording of the electric guitar driven single version of the song.

John lying on the studio floor recording his vocal for “Revolution 1” (photo by Tony Bramwell) Sparked by the air of social upheaval in 1968, John's song "Revolution" spawned three very different recordings: “Revolution 1,” “Revolution 9,” and “Revolution” (the single version). Today in the first of a two part episode, we look at how “Revolution 1” gave birth to “Revolution 9,” and discover the mesmerizing missing link between the two. Former New York Times music critic Allan Kozinn helps us deconstruct “Revolution 9,” and to make sense of why John created such a challenging recording in the first place. MUSIC“Gesang de Junglinge” by Karlheinz Stockhausen“Hymnen” by Karlheinz StockhausenSymphonic Etudes, Op 13, No XII by Robert Schumann, performed by Dame Myra Hess“O Clap Your Hands” by Ralph Vaughn WilliamsSymphony No. 7 by Jean Sibelius, performed by John Barbirolli“Awal Hamsa” by Farid al-AtrashREFERENCESKehew, Brian, and Ryan, Kevin. Recording The Beatles.Lewisohn, Mark. The Beatles Complete Recording Sessions.

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In this episode, we discover what role George Martin played in the infamous Get Back sessions of January 1969, a project where John Lennon made clear they didn't want any of Martin's "production shit."

Starting in 1966, George Martin and The Beatles used varispeed – variable speed recording – to change the textures of their recordings to create a variety of effects.