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Author Topic: Confusion over The Beatles first contract.  (Read 1531 times)

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nimrod

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Confusion over The Beatles first contract.
« on: January 29, 2019, 01:29:39 AM »

Many historians over the years have written that the first recording session on 6 June 1962 was an "artists test", an audition. An artists test is an audition - the artists are not paid for appearing at the the recording session.
Research by the author Mark Lewisohn proved that the recording contract was signed previous to the 6 June 1962 recording session, by uncovering EMI's red form, proving that the first session was not an "artists test" but a commercial test'.
Each Beatle was paid the union rate of 5 guineas.

This site claims that their first contract was June 4th 1962.

https://web.archive.org/web/20120210162825/http://emimusic.co.uk/history/page3.html

It seems to be a contentious issue, George Martin has said when asked by Mark Lewisohn that he wouldnt have given them a contract without seeing them (on June 6th)

Pete Best has claimed that the June 6th audition was not an audition but they were already under contract.

So what was the date of their first EMI contract ?

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Kevin

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Re: Confusion over The Beatles first contract.
« Reply #1 on: January 29, 2019, 02:03:01 PM »

Anything in Mark Lewisohns book on this matter?
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Bobber

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Re: Confusion over The Beatles first contract.
« Reply #2 on: January 29, 2019, 02:59:11 PM »

From The Beatles Bible:

Most documentation for the session has long been destroyed, but we know it was produced by George Martin with assistant Ron Richards, and was The Beatles' only EMI session to feature Pete Best on drums; when the band returned to Abbey Road on 4 September, Ringo Starr was the group's new drummer.

Prior to the session Brian Epstein assembled a list of song suggestions, the majority of which were never recorded by The Beatles at EMI.

Brian Epstein's list of song suggestions for The Beatles' first EMI recording session on 6 June 1962



Ron Richards was initially in charge of the session – George Martin was only brought in when balance engineer Norman Smith was struck by the quality of Love Me Do. It was unusual for a producer to be present for an artist test. However, on this day Martin stayed for most of the session.

    The control room door opened and in walked George Martin himself. And I thought to myself, 'This must be some kind of special artist test for him to show up.' Because producers didn't normally attend artists test. It was always their assistants. And, of course, up to that time, George was not involved at all with any guitar groups. He did a lot of comedy records, like Peter Sellers and stuff like that.

Norman Smith
Recording The Beatles, Brian Kehew and Kevin Ryan

Smith instructed tape operator Chris Neal to fetch Martin, who took over the rest of the session. Afterwards he invited them to the control room to talk and listen to the playback.

    We gave them a long lecture about their equipment and what would have to be done about it if they were to become recording artists. They didn't say a word back, not a word, they didn't even nod their heads in agreement. When he finished, George said 'Look, I've laid into you for quite a time, you haven't responded. Is there anything you don't like?' I remember they all looked at each other for a long while, shuffling their feet, then George Harrison took a long look at George and said 'Yeah, I don't like your tie!' That cracked the ice for us and for the next 15-20 minutes they were pure entertainment. When they left to go home George and I just sat there saying 'Phew! What do you think of that lot then?' I had tears running down my face.

Norman Smith
The Complete Beatles Recording Sessions, Mark Lewisohn

Only the recordings of Besame Mucho and Love Me Do survive today – the former was discovered in a private collection in the 1980s, and the latter in 1994. Both appear on the Anthology 1 album.

The other recordings were destroyed after it was decided that nothing from the session could be commercially released – a practice not uncommon in the early 1960s.

    They left, and George turned to me and said, 'Well, what do you think?' And I said, 'I've seen a lot of groups come in for artists test, but this one – there is something special about them. I can't tell you what, but there is something there.' As I said, the test hadn't gone too well, and I wasn't impressed by their sound. But they had an appealing quality, a kind of charisma. And I told George, 'In my view, I think they should be signed.' And I'll never forget, his last words to me before he left were, 'Okay. I'll think about it.' Now, there was quite a bit of controversy that came about after that, as to whether they were actually signed before the artist test. A lot of it that came out did make sense as to why, in my view, George Martin turned up himself for an artist test, when no other producer ever did that. As I said, it was always their assistants.

    For the artist test, it was George Martin himself. And there was no question of them them being signed at that time. But, later I began to wonder, 'Were they already signed? Is this why George Martin himself turned up? Was it because this was the first time that he'd seen them? Was there something more attached to the whole thing?'

Norman Smith
Recording The Beatles, Brian Kehew and Kevin Ryan

Ken Townsend was the tape operator on the session. He later recalled how The Beatles failed to make much of a lasting impact.

    We did that test, and the tape went into the library. And about a week later, Norman says to me, 'Here Ken, what's the name of that group we had in last week? I've got to send a tape down to Manchester Square.' I said, 'The Beatles'. I mean, he'd actually forgotten the name of the group!

Ken Townsend
Recording The Beatles, Brian Kehew and Kevin Ryan
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zipp

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Re: Confusion over The Beatles first contract.
« Reply #3 on: January 29, 2019, 06:29:21 PM »

Anything in Mark Lewisohns book on this matter?

Yes. And it's one of the most interesting parts of the book.

To cut a long story short, George Martin met Brian Epstein on Wednesday 9th May 1962 at 11.30 a.m. at Abbey Road EMI studios. He had been instructed to offer the Beatles a recording contract because EMI wanted the possibilty of getting publishing rights to their original songs, especially Like Dreamers Do. That's why Epstein immediately sent a telegram to Bill Harry saying "HAVE SECURED CONTRACT FOR BEATLES TO RECORDED (sic) FOR EMI ..."

The contract in question was to be received by Brian "within two weeks" so that would be around the 20th of May. I'm not sure if the actual date is known and in any case the contract could be predated to the 9th of May. The main thing being that the session of June 6th was NOT an audition. It was for George Martin to decide what exactly he was going to record with this new Parlophone signing.
« Last Edit: January 29, 2019, 06:34:15 PM by zipp »
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zipp

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Re: Confusion over The Beatles first contract.
« Reply #4 on: January 29, 2019, 08:33:22 PM »

I've just found the detail of what happened between May 9th and June 6th.

On May 24th the EMI one-year contract (with options for three annual renewals) is sent from EMI admin to Brian Epstein via George Martin.

On June 5th George Martin forwards to EMI admin the signed contract he has received back from Brian Epstein.

The contract was DATED JUNE 4th with the first year set to begin June 6th.

So the date on the EMI link is correct concerning the date of the actual document.
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Moogmodule

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Re: Confusion over The Beatles first contract.
« Reply #5 on: January 29, 2019, 08:50:54 PM »

From The Beatles Bible:



Prior to the session Brian Epstein assembled a list of song suggestions, the majority of which were never recorded by The Beatles at EMI.

Brian Epstein's list of song suggestions for The Beatles' first EMI recording session on 6 June 1962





It’s interesting that the list looks similar to the songs chosen for the Decca audition. Which is generally thought of now as not a good song selection, contributing to their lack of success. Too much novelty stuff and not enough serious rock and roll. The blame for who selected the Decca songs often gets laid at Brian’s feet. This list doesn’t seem to suggest anyone at the time had a particular problem with the Decca list. It seems to confirm that it was just reflective of the stage show.
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zipp

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Re: Confusion over The Beatles first contract.
« Reply #6 on: January 29, 2019, 11:03:26 PM »

It’s interesting that the list looks similar to the songs chosen for the Decca audition. Which is generally thought of now as not a good song selection, contributing to their lack of success. Too much novelty stuff and not enough serious rock and roll. The blame for who selected the Decca songs often gets laid at Brian’s feet. This list doesn’t seem to suggest anyone at the time had a particular problem with the Decca list. It seems to confirm that it was just reflective of the stage show.

At Decca they only sang three original compositions, here they sang seven.

And Lennon's songs seem much stronger here. Baby It's You and Please Mister Postman for example, both became major songs on those first albums.

Only George's songs remain somewhat gimmicky ... but they kept those for the end.

I bet one day, when Apple get round to doing a special Please Please Me Album De Luxe box set, these long lost recordings will suddenly be 'found' and we'll all get finally to hear Pinwheel Twist.
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