I think the fact that the Beatles stopped touring gave them the opportunity to play around and experiment in the studio more. Having said this the shift seemed to occur from writing short pop songs to more complex style songs which I think was nurtured by George Martin. He had a background in classical music which influenced the "Beatles" and saved them from just beinging a pop band! The song "Something" by George is probebly the farthest thing away from a pop song the band did. Without George Martin the Beatles would have been a far different group.

I dont think George Martin 'Saved' the Beatles. The Beatles (more Paul than the rest actually) were experimenting with the loops and studio sounds as early as 65'. When they had trouble putting their ideas down to tape, George was called upon. Yes, Martin threw out his ideas and they were used sometimes, but 'Saved' the Beatles? I hardly think so.

I think the Beatles had a ton of songs that were farther away from pop than 'Something'. The White Album itself is almost full of tunes that arent pop. What about songs from 'Revolver' like Eleanor Rigby and Tomorrow Never Knows? Do we really need to go into Sgt. Peppers and Magical Mystery Tour? 'Pop' bands sure as hell werent writing material like that.

"Saved" might not be the right word, but I've been listening to "Between the Buttons" and "Aftermath" by the Stones and wondering what somebody like Sir George could have done for those records.  Both are kinda great messes in terms of the songs, but Loog Oldham and a young Glyn Johns certainly don't give them the kind of precision and clarity that Sir George gave to Rubber Soul and Revolver.  Hell, even Shel Talmy did better with the Kinks of the same period.  

I hate to think what Rubber Soul or Revolver would have sounded like if produced by Loog or Shel.  

I think "Loog Oldham" was more of a "manager" then producer within the studio. Glyn Johns didn't have much thinking out of the box so to speak. I do think the Beatles figured out how to write longer songs by themselves, but Martin's background in classical music did take the band in a different direction.

Martin helped the Beatles from the very first album dubbing piano on toMisery.
I don't think he suddenly became important in the studio years.
He was always important but the Beatles could and would have existed without him.
He was a great help to the Beatles but had no tunes or lyrics of his own and when left to his own devices could only come up with boring instrumental versions of their songs.

That's hardly the case. He taught them how to use the studio. His speciialty was comedy and soudtracks. He taught the Beatles a ton, and they turned him on to different things as well--vis a vis John saying 'Make this sound Orange'. He didn't have as much to do with the "White Album" as Geoff Emerick did, same with "Let it Be". And he told them, during the 'Abbey Road' sessions that he wanted to make an album like they used to. It was a brilliant distillation of band, Producer, and Engineer. Moment of Zen, no doubt.

I always have huge respect for Martin.
Although he was older, and from another generation, he was 'turned on' so to speak, and totally in touch with what the Beatles were trying to get across sound wise. I always admire the part on the Anthology where he plays the first take of A Day In The Life - a very talented man.

i think he influenced them but not as much as people make out.

Somewhere I saw the list of songs "Sir George" has produced. Stunning!!! The one I thought was funny was My Bomerang Won't Come Back which I use to listen to as a younger kid.

I wouldn't say GM "saved" The Beatles, but they definately hit gold with him.
I think his background was a huge asset - recording classical music must have helped him get that clean sound. And his recording of plays and comedy is perfect - all those background noises and wierd effects.

Originally I think they were at odds and George Martin did not know what to make of them or their music. It's only after a getting to know you "time" if you will that the Beatles saw what Mr. Martin could do for them.

Quoted from apple sauce

Originally I think they were at odds and George Martin did not know what to make of them or their music. It's only after a getting to know you "time" if you will that the Beatles saw what Mr. Martin could do for them.

I really think it's quite the opposite.As I already said, from the beginning he participated on records, especially on the piano.
But he was at odds with them, above all with Lennon, when they got over-indulgent on the White Album.

As stated by "George Martin" himself he really did not know what to make of the Beatles upon meeting them and listening to the songs they had written. All the Beatles were wary of George Martin "until" he worked with them for awhile.

Quoted from Indica

I bought it yesterday - has a great little George Martin Interview.
Thought I'd scan the article and post it for the people who don't have access to the magazine 'Mojo' -

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from here: http://www.dmbeatles.com/forums/b-books/m-1170340894/s-0/

I personally did think they needed George Martin for those records & he gave them
chance at the first EMI session.
The Beatles traded off ideas with him & him with them.
We know the beatles wrote all the stuff, but like any other band needed people to tell them
if's 'this or that's ok. the Yesterday backing gave the song that extra magic & it was
GM's idea.
I totally dislike what he did with 'while my guitar gently weeps' on the Love
Soundtrack though.

The Fifth Beatle...
For example, for Strawberry Fields John asked Martin for strings. And John choose which takes he liked best and Martin put together the song...
That's why we have things like this:

0:59
    Perhaps the most famous Beatles edit ever. In fact, it is actually two edits. The famous one is between take 7 and take 26. Take 7 was slower and a whole note lower in key. The two were edited together right between the words "cause I’m" and "going to". The lesser known edit occurs right before the words "Let me take you down". It’s also less noticeable (0:55.5) as a slight blip out in the Mellotron

The main edit (0:59) can be heard clearly by listening to the drums and Mellotron on the left channel. The drums go very dead, and the Mellotron stops. At the same time on the right, the orchestra appears from nowhere.

http://www.pootle.demon.co.uk/wgo.htm