He’s a recognised authority on The Beatles and their enduring cultural influence. His latest work is the first in what will become a two-volume biography devoted to Beatle producer, Sir George Martin.
First published last year in the United States, then quickly followed by a UK edition, the first installment is called Maximum Volume: The Life of Beatles Producer George Martin (The Early Years: 1926-1966).
Here’s the US jacket:
And here’s the somewhat more tame UK cover:
This book is long-overdue. There have been surprisingly few in-depth studies of the life of one of the most influential figures in popular music, a career spanning more than 60 years.
In Womack’s book we learn that George Martin scored his first real job in the music industry pretty much by accident when he joined the recording giant EMI as an A&R man for Parlophone Records and that in the 1950s being in A&R (or Artist and Repetoire) didn’t mean you were a producer – it was more about talent scouting and the artistic and commercial development of the artists signed to your label.
Martin had a natural musical talent and great training, and he’d had some success with comedy and novelty records for Parlophone. But he needed more than that. By the early 1960s to keep his label afloat George Martin needed to hit it big with a pop group – and soon.
Though he had tons of creativity, drive, and a solid musical background, Martin’s main handicap was that he had little knowledge or experience of the world of Rock & Roll.
Then, into his life walks a young, four-piece outfit from Liverpool.
These guys knew a lot about Rock & Roll, but had no knowledge about studios and how to record their music. The pairing of the two was a marriage made in heaven. What George Martin was able to bring to the table fitted perfectly with what the Beatles needed – and together they went on to make magic.
It wasn’t always plain sailing though, and Martin often had to be tough and give as good as he got because the Beatles were hard task masters. They were ambitious, confident, and didn’t suffer fools lightly. But George Martin had the chutzpah and the musical knowledge and ability to carry it off:
Martin: “Let’s have one more go at the backing, then we’ll record your voices separately. This time, we’ll get it exactly right.”
McCartney: “Why—what was exactly wrong?”
Martin: “The tuning sounded wrong. And you, George, should be coming in on the second beat every time instead of every fourth beat.”
Harrison: “Oh, I see.”
In its essence, this brief exchange demonstrated what people in the Beatles’ inner circle understood implicitly: namely, that George was possibly the single most influential person in their world, really the only one who could impinge upon the nature of their music. Even Brian [Epstein], whom they held in extraordinarily high esteem, held little, if any, sway in terms of influencing the direction of their creative lives. At one point, when Brian dared to offer an opinion about their efforts in the studio, John coolly replied, “You look after your percentages, Brian. We’ll take care of the music.” (pg. 252)
In Maximum Volume Womack candidly – and comprehensively – tells the story of George Martin from his very humble childhood and early adulthood, through to the heights of success he and the Beatles enjoyed globally. It’s a great read, a real page-turner in fact as the detail behind that enormous success unfolds.
As one reviewer put it, the book contains enough fresh information and informed insight about the group’s early years to satisfy [even] the most devout Beatlemaniac.
Maximum Volume takes a similar approach to that of Mark Lewisohn’s well-researched and highly regarded multi-volume telling of the Beatles story: there are footnotes detailing where Womack is getting his information and where his quotes come from; there’s an extensive bibliography; and there’s a comprehensive index. All these things point to the thorough research undertaken by Ken Womack and the efforts he’s gone to put the life and work of George Martin into a context that can be supported by facts.
The importance of this approach to writing about the Beatles, or any subject or person for that matter where so much has been written over many years, is imperative. Sifting through the mass of it to find those kernels of truth about your subject before forming it into an accurate and entertaining narrative is paramount – and Womack pulls it off. For a great reflection on this subject it’s worth a listen to the Something About the Beatles podcast episode called “The Beatles and the Historians“. See too the show’s interview with Ken Womack himself: “George Martin – Maximum Volume“.
Womack’s second and final volume on the life and work of Sir George Martin will be published in September this year. It’s to be called Sound Pictures: The Life of Beatles Producer George Martin (The Later Years: 1966-2016).