Just listened to side 1 (on ear phones admittedly) Take Isn't It A Pity - not the most adventurous song, in fact bit of a George dirge. He does tend to write songs that drone a bit, without big verses or stand out refrains, more just repeating phrases. And he has chord changes that I sometimes find a it jarring. But Spectre makes it magnificent with a real soaring finale.
Maybe George Martin could have done the same - I hold him in the highest regard. I don't think Spectre could have made I Am The Walrus or Rain, where all the sounds distort into one to make that glourious swirl. And Martin had a real soft touch with arrangements - take the closing of Hey Jude, where a lesser man would have lain it on. But Martin does just enough, never more, to get the effect he wants. But Spectre does that wall of sound thing like no other - he can have so much going on but if you listen you can hear everything that's in there. And he manages to make so much space. Yes I have a hard on for Spectre. And George Martin. In the most histories of The Beatles, and music in general, producers tend to be mentioned as an after thought, or at best the icing on the cake. I think a true story would place them much higher in the hierachy.