乔治·马丁是如何打造出披头士的

sina · 发表于 2016-4-10 11:46:03

乔治·马丁是如何打造出披头士的

George Martin, Redefining Producer Who Guided the Beatles, Dies at 90
乔治·马丁是如何打造出披头士的

George Martin, the urbane English record producer who signed the Beatles to a recording contract on the small Parlophone label after every other British record company had turned them down, and who guided them in their transformation from a regional dance band into the most inventive, influential and studio-savvy rock group of the 1960s, died Tuesday. He was 90.

温文尔雅的英国唱片制作人乔治·马丁(George Martin)曾在“披头士”(Beatles)遭到英国所有唱片公司拒绝后，代表小厂牌派洛风(Parlophone)与他们签下唱片合约，并带领他们从一支地方舞曲乐队一变而为20世纪60年代最有创造力、最有影响、最善于运用录音室的摇滚乐队，他于周二在英格兰威尔特郡家中去世，享年90岁。

“We can confirm that Sir George Martin passed away peacefully at home yesterday evening,” Adam Sharp, a founder of CA Management, a British company that represented Mr. Martin, said Wednesday in an email. Mr. Sharp did not say how Mr. Martin had died.

他的死讯由CA经纪的创始人亚当·夏普(Adam Sharp)宣布，这家英国公司代表马丁的利益。

“God bless George Martin,” Ringo Starr, the former Beatle, wrote on Twitter.

“上帝保佑乔治·马丁，”“披头士”前成员林戈·斯塔(Ringo Starr)在Twitter上写道。另一位“披头士”在世的成员保罗·麦卡特尼(Paul McCartney)在自己网站上的一篇回忆中写道，马丁“就像我的第二个父亲。”

Mr. Martin helped redefine a record producer’s role in pop music. He was one of a handful of pop producers — Phil Spector and Quincy Jones among them — to become almost as famous as the musicians they recorded. And when he left Parlophone, a subsidiary of EMI Records, to start his own production company in 1965, his reputation as the producer of the Beatles helped raise the stature of record production as an independent career, rather than a record label function.

马丁协助定义了流行乐中录音制作人的角色。他是为数不多的与自己录制的乐手们同样出名的流行音乐制作人之一——其他人还包括菲尔·斯佩克托(Phil Spector)与昆西·琼斯(Quincy Jones)。1965年，他离开EMI唱片的子公司派洛风，开创了自己的制作公司，当时，他作为“披头士”制作人的名声令唱片制作提升为一种独立的职业，而不仅仅是唱片厂牌的一种功能。

In the dozen years before he met the Beatles, Mr. Martin produced symphonic, chamber and choral recordings, jazz albums and a string of popular comedy records by Peter Ustinov, Peter Sellers and Spike Milligan. In the 1960s, as the recordings he made with the Beatles rode the top of the charts, he also produced hits by other British Invasion acts, among them Gerry and the Pacemakers, Cilla Black, and Billy J. Kramer and the Dakotas. He later worked with a diverse roster of pop and jazz performers, including Ella Fitzgerald, the Bee Gees, Jeff Beck, the Mahavishnu Orchestra, Paul Winter, Cheap Trick, America and Ultravox.

在遇到“披头士”之前的十几年里，马丁制作交响乐、室内乐与合唱，还有爵士乐唱片以及彼得·优斯迪诺夫(PeterUstinov)、彼得·塞勒斯(Peter Sellers)与斯派克·米利根(Spike Milligan)等人的一系列流行喜剧专辑。60年代，随着他与“披头士”合作的一系列唱片登上排行榜首位，他也开始为其他“不列颠入侵”(British Invasion)乐队制作进去，其中包括“杰里与步行者”(Gerry and the Pacemakers)、西拉·布莱克(Cilla Black)以及“比利·J·克拉默与达科塔”(Billy J. Kramer and the Dakotas)。他后来还曾与各种流行和爵士艺人合作，包括艾拉·菲茨杰拉德(Ella Fitzgerald)、“比基斯”(Bee Gees)、杰夫·贝克(Jeff Beck)、玛哈毗湿奴交响乐队(Mahavishnu Orchestra)、保罗·温特(Paul Winter)、“廉价诡计”( Cheap Trick)、“美国”(America)及“Ultravox”。

His collaboration with the Beatles inevitably overshadowed his other accomplishments. Between 1962 and 1970, Mr. Martin produced 13 albums and 22 singles for the group, a compact body of work that adds up to less than 10 hours of music but that revolutionized the popular music world. After the Beatles broke up, he virtually doubled that output, overseeing archival releases drawn from the group’s concerts at the Hollywood Bowl, BBC radio performances and unreleased studio recordings that reveal a great deal about the Beatles’ working process.

他与“披头士”的合作难免令他的其他成就黯然失色。从1962年到1970年，马丁为这支乐队制作了13张专辑，22支单曲，加起来时长不到10个小时，但它们却为流行音乐世界带来了革命。“披头士”解散后，他监制发行了乐队的各种录音资料，包括他们在好莱坞剧场的演唱会、BBC广播电台的表演，以及未经发行的录音室录音，大量展示了“披头士”的工作过程，也令他们的音乐产出增长了一倍。

Musicians, celebrities and political leaders paid tribute to Mr. Martin on social media on Wednesday, including the producers Mark Ronson and Quincy Jones, who described him on a Facebook post as “my musical brother” who “knew the secrets of our craft that so few know today.”

周三，音乐家、名人与政治家们纷纷在社交媒体上向马丁致敬，包括制作人马克·罗森(Mark Roson)与昆西·琼斯。琼斯在自己的Facebook上称马丁为“我的音乐兄弟”，他“知道我们这一行如今已经罕为人知的秘密。”

A modest man who had been trained as a classical pianist and oboist, Mr. Martin always deflected credit for the Beatles’ success, telling interviewers over the years that his own efforts were secondary to the songwriting genius of John Lennon, Paul McCartney and, to a lesser extent, George Harrison. The Beatles, for their part, recognized that Mr. Martin came to the job with a virtually infallible ear for arrangements. His advice and his behind-the-scenes scoring and editing gave some of the Beatles’ greatest recordings their characteristic sound.

马丁是一个谦虚的人，是学习古典钢琴与双簧管出身，他并不把“披头士”的成功归功于自己，多年来，他一直对采访者说，同约翰·列侬(John Lennon)、保罗·麦卡特尼(Paul McCartney)与少数时候的乔治·哈里森(George Harrison)的创作天才相比，他所做的工作是第二位的。而“披头士”这方面则认为马丁在制作时，对配乐有着万无一失的品味。他的建议与幕后的配乐和编辑工作为“披头士”若干最伟大的录音作品赋予了典型的特色。

When the Beatles played “Please Please Me” for him for the first time, for example, it was in a slow arrangement meant to evoke the style of Roy Orbison, one of their heroes. Mr. Martin told them the song sounded dreary, and insisted that they pick up the tempo and add a simple harmonica introduction. His suggestions transformed “Please Please Me,” which became their first big hit.

比如说，“披头士”第一次为他演奏《请让我快活》(Please Please Me)时，它还是一首慢版歌曲，令人联想起他们的偶像之一罗伊·奥比森(Roy Orbison)的风格。马丁告诉他们，这首歌听上去很糟，坚持让他们加快速度，并加上一段简单的风琴前奏。他的建议彻底改变了《请让我快活》，后来这首歌成了他们的第一首金曲。

Always intent on expanding the Beatles’ horizons, Mr. Martin began chipping away at the group’s resistance to using orchestral musicians on its recordings in early 1965. While recording the “Help!” album that year, he brought in flutists for the simple adornment that enlivens Lennon’s “You’ve Got to Hide Your Love Away,” and he convinced Mr. McCartney, against his initial resistance, that “Yesterday” should be accompanied by a string quartet.

马丁一直热衷于拓展“披头士”的视野，1965年初，他渐渐打消了乐队对于在录音中使用管弦乐手的顾虑。那一年，录制《帮帮忙！》(Help!)这张专辑时，他请来长笛手，为列侬的《你得把你的爱藏起来》(You’ve Got to Hide Your Love Away)做简单的修饰，为之增添活力；他还不顾麦卡特尼最初的抗拒，说服他为《昨日》(Yesterday)使用弦乐四重奏作为伴奏。

A year later, during the recording of the album “Revolver,” Mr. Martin no longer had to cajole: The Beatles prevailed on him to augment their recordings with arrangements for strings (on “Eleanor Rigby”), brass (on “Got to Get You Into My Life”), marching band (on “Yellow Submarine”) and solo French horn (on “For No One”), as well as a tabla player for Harrison’s Indian-influenced song “Love You To.”

sina · 发表于 2016-4-10 11:46:23

一年后，在录制《左轮手枪》(Revolver)时，马丁用不着再去哄劝他们：“披头士”说服他大量扩展了他们录音中的编配，比如在《伊莉诺·里格比》(Eleanor Rigby)中使用弦乐。在《让你进入我的生活》(Got to Get You Into My Life)中使用铜管乐、在《黄色潜水艇》(Yellow Submarine)中使用军乐、在《致无人》(For No One)中使用圆号独奏，在哈里森受印度音乐影响的歌曲《爱你》(Love You To)中请来一个手鼓乐手。

It was also at least partly through Mr. Martin’s encouragement that the Beatles became increasingly interested in electronic sound. Noting their inquisitiveness about both the technical and musical sides of recording, Mr. Martin ignored the traditional barrier between performers and technicians and invited the group into the control room, where he showed them how the recording equipment at EMI’s Abbey Road studios worked. He also introduced them to unorthodox recording techniques, including toying with tape speeds and playing tapes backward.

至少有部分是由于马丁的鼓励，“披头士”才开始对电子声效愈来愈感兴趣。马丁注意到，他们对录音中的技术与音乐层面都有着强烈的求知欲，于是不顾表演者与技术人员之间的传统壁垒，邀请他们走进控制室，在EMI的艾比路录音室里，给他们讲解各种录音设备的使用。他还引导他们尝试非传统的录音机巧，包括调整磁带转速，倒放磁带等。

Mr. Martin had used some of these techniques in his comedy and novelty recordings, long before he began working with the Beatles.

在同“披头士”合作不久前，马丁在自己的喜剧和滑稽录音中就曾经使用过这些技巧。

“When I joined EMI,” he told The New York Times in 2003, “the criterion by which recordings were judged was their faithfulness to the original. If you made a recording that was so good that you couldn’t tell the difference between the recording and the actual performance, that was the acme. And I questioned that. I thought, O.K., we’re all taking photographs of an existing event. But we don’t have to make a photograph; we can paint. And that prompted me to experiment.”

“加入EMI的时候，”2003年，接受《纽约时报》采访时他说，“录音的标准就在于它们是否忠于原声。如果你做了一份录音，它和原来的演奏毫无区别，那就太好了，坐高标准就是这样的。我质疑这个标准。我是想，好吧，我们都给东西拍照片。但我们不用去制作一张照片；我们还可以绘画。这促使我去进行试验。”

Soon the Beatles themselves became intent on searching for new sounds, and Mr. Martin created another that the group adopted in 1966 (followed by many others). During the sessions for “Rain,” Mr. Martin took part of Lennon’s lead vocal and overlaid it, running backward, over the song’s coda.

“披头士”开始尝试新的声音之后，马丁又开创了另一种方式，于1966年被乐队所使用（其后还有不少后继者）。在录制《雨》(Rain)时，马丁取了列侬的一部分人声，对之做了叠录，然后倒放，放在这首歌的结尾部分。

“From that moment,” Mr. Martin said, “they wanted to do everything backwards. They wanted guitars backwards and drums backwards, and everything backwards, and it became a bore.” The technique did, however, benefit “I’m Only Sleeping” (with backward guitars) and “Strawberry Fields Forever” (with backward drums).

“从那时开始，”马丁说，“他们就什么东西都想倒放。他们想倒放吉他、倒放鼓，什么都倒放，到最后真有点烦。”不过这项技术的确用在了《我只是在睡觉》（I’m Only Sleeping，吉他倒放）和《永远的草莓田》（Strawberry Fields Forever，鼓倒放）里。

Mr. Martin was never particularly trendy, and when the Beatles adopted the flowery fashions of psychedelia in 1966 and 1967 he continued to attend sessions in a white shirt and tie, his hair combed back in a schoolmasterly pre-Beatles style. Musically, though, he was fully in step with them. When Lennon wanted a circus sound for his “Being for the Benefit of Mr. Kite,” Mr. Martin recorded a barrel organ and, following the example of John Cage, cut the tape into small pieces and reassembled them at random. His avant-garde orchestration and spacey production techniques made “A Day in the Life” into a monumental finale for the kaleidoscopic album “Sgt. Pepper’s Lonely Hearts Club Band.”

马丁从不特意追求时尚，1966年到1967年，“披头士”和接受迷幻摇滚中的花童时尚时，他仍然穿着白衬衫，打着领带来录音，他的头发向后梳去，完全是“披头士”时代之前的校长风格。但在音乐上，他与他们的步调完全一致。当列侬像在他的《为了凯特先生的利益》(Being fo the Benefit of Mr. Kite)里加入马戏团风格时，马丁录了一段手摇风琴，按照约翰·凯奇(John Cage)的样子，把磁带剪成小片，随机重新拼装起来。他的前卫交响乐与富于空间感的制作技术令《生命中的一天》为万花筒般的《佩珀军士的孤独之心俱乐部乐队》(Sgt. Pepper’s Lonely Hearts Club Band)画上里程碑式的句号。

George Henry Martin was born in London on Jan. 3, 1926, to Henry and Bertha Martin. As a child, he was a talented and largely self-taught pianist who had perfect pitch and was able to learn classical pieces and popular tunes by ear. While a student at Bromley Grammar School he formed a dance band, George Martin and the Four Tune Tellers. He continued a part-time career as a pianist during World War II, when he was a pilot in the Fleet Air Arm of the British Navy. When one of his performances attracted the attention of a BBC producer, he was invited to play one of his compositions, a piano prelude, on the “Navy Mixture” radio program.

乔治·亨利·马丁于1926年1月3日生于伦敦，父亲是亨利·马丁(Henry Martin)，母亲是伯莎·马丁(Bertha Martin)。小时候，他就显露出天赋，靠自学成为钢琴手，他有着几号的乐感，可以仅靠耳听就学会古典乐曲和流行歌曲。在布罗姆利语法学校就读期间，他组了一支舞曲乐队，名叫“乔治·马丁和四个曲调讲述者”(George Martin and the Four Tune Tellers)。“二战”期间，他在英国海军航空兵部队服役，担任飞行员，业余弹钢琴。马丁的一次表演吸引了一位BBC制作人的注意，请他在《海军组曲》(Navy Mixture)广播节目中弹奏一段自己作曲的钢琴序曲。

After the war Mr. Martin attended the Guildhall School of Music, where he took up the oboe in addition to studying composition, conducting and piano. He worked briefly as a freelance oboist and as a clerk in the BBC’s music library before he was invited to become an assistant to Oscar Preuss, the recording manager at Parlophone Records. When he succeeded Mr. Preuss in 1955, at 29, he was the youngest label manager at EMI.

后来马丁在市政厅音乐学院就读，开始学习作曲、指挥，钢琴，也学习双簧管。他短暂地做过一段自由双簧管乐手，也在BBC曲库做过志愿，后来受邀请成了派洛风唱片公司的录音总监奥斯卡·普洛斯(Oscar Preuss)的助理。1955年，29岁的他接任普洛斯的职务，成了EMI旗下最年轻的厂牌总监。

Parlophone was a poor relation among EMI’s labels — HMV and Columbia were more prestigious — but it had a varied roster when Mr. Martin joined its staff in 1950. He was first assigned to the company’s classical projects, including recordings by the London Baroque Ensemble and the conductors Malcolm Sargent and Charles Mackerras. But he soon moved on to orchestral pops, with Sidney Torch and the Queen’s Hall Light Orchestra; jazz, with John Dankworth and Humphrey Lyttelton; popular vocal music, with Matt Monro; and comedy, with Mr. Ustinov, Mr. Sellers and the “Beyond the Fringe” troupe of Jonathan Miller, Peter Cook, Dudley Moore and Alan Bennett.

当时派洛风算是EMI旗下的一个穷亲戚，HMV和哥伦比亚更有声望，但当马丁于1950年加入厂牌时，它旗下已经有了多种多样的艺人。马丁是第一个被分派去做公司的古典乐项目的人，包括为伦敦巴洛克乐团(London Baroque Ensemble)与指挥马尔科姆·萨金特(Malcolm Sargent)和查尔斯·马克拉斯(Charles Mackerras)论银。但他很快开始与西德尼·托奇(Sidney Torch)和女王厅轻音乐团(Queen’s Hall Light Orchestra)合作录制交响流行乐；与约翰·丹克沃斯(John Dankworth)和汉弗雷·利特尔顿(Humphrey Lyttelton)合作录制爵士乐；与马特·门罗(Matt Monro)合作录制流行声乐；与尤斯蒂诺夫、塞勒斯，以及乔纳森·米勒(Jonathan Miller)、彼得·库克(Peter Cook)、杜德利·摩尔(Dudley Moore)和艾伦·本奈特(Alan Bennett)组成的“边缘之外”(Beyond the Fringe)团体合作录制喜剧。

For all its diversity, though, Parlophone had little success with rock ’n’ roll until Mr. Martin began recording the Beatles. When Brian Epstein, the group’s manager, called on Mr. Martin in early 1962, the Beatles had already been rejected by virtually every British record label, including the other EMI subsidiaries. Mr. Martin turned them down, too.

sina · 发表于 2016-4-10 11:47:52

尽管派洛风的艺人非常多样化，但在摇滚乐方面却没有取得什么成绩，直到马丁开始为“披头士”录音。1962年初，乐队的经纪人布莱恩·爱泼斯坦(Brian Epstein)给马丁打电话时，“披头士”已经基本上被英国的所有唱片厂牌拒绝，包括EMI旗下的其他子公司，马丁也拒绝了他们。

But Sid Colman, the director of EMI’s publishing arm, Ardmore & Beechwood, had heard demonstration discs of some early Lennon-McCartney songs, and pushed EMI to sign the group so that he could publish their music. The company resisted at first, but finally agreed, and assigned the band to Mr. Martin’s Parlophone label.

但是EMI的版权发行机构阿德摩尔与比奇伍德(Ardmore & Beechwood)总裁希德·科尔曼(Sid Colman)听过列侬-麦卡特尼早期作品的一些小样，希望EMI能签下这支乐队，让他来发行他们的音乐。公司一开始拒绝，后来同意了，把这支乐队分派在马丁的派洛风名下。

Mr. Martin remained uninterested, assigning the group’s first session, on June 6, 1962, to Ron Richards, his assistant. But Mr. Richards found the Beatles interesting enough to send for Mr. Martin, who took over the session and was quickly won over by their charm and originality.

马丁仍然不感兴趣，把乐队的第一次录音安排在1962年6月6日，让他的助理洛恩·理查兹(Ron Richards)为他们录音。但是理查兹觉得“披头士”很有意思，就让马丁过来，他接手录音后，很快就为他们的魅力和新颖所打动。

Still, he had doubts. He told the Beatles that their drummer at the time, Pete Best, was not good enough to record. They had their own doubts about Mr. Best, and quickly replaced him with Mr. Starr. Mr. Martin also had qualms about the first Lennon-McCartney songs he heard — “Love Me Do,” “P.S. I Love You” and “Hello Little Girl” — regarding them as derivative. He helped them find the spark that soon became their hallmark by insisting that they think carefully about their vocal harmonies and such niceties of the arranger’s art as introductions and endings. They quickly internalized his advice.

但他仍有疑虑。他告诉“披头士”，他们当时的鼓手皮特·贝斯特(Pete Best)不够好。他们对贝斯特也有疑虑，于是很快用斯塔换掉了他。马丁仍然对他听到的第一批列侬-麦卡特尼歌曲《爱我吧》(Love Me Do)、《又及，我爱你》(P.S. I Love You)和《你好，小姑娘》(Hello Little Girl)没有信心，觉得它们还有些平庸。他帮助他们找到歌曲中的闪光点，坚持让他们仔细思考人声的和声（这很快成了他们的特色），在前奏与结尾施展了编曲的种种巧妙细节。他们很快领会了他的建议。

By the end of 1963 Mr. Martin was virtually coining money for EMI, not only with the Beatles’ recordings but also with the hits he was producing for Gerry and the Pacemakers, Cilla Black and others.

1963年年底，马丁为EMI赚了大钱，不仅是由于“披头士”的唱片，也是因为他为“杰里与步行者”、西拉·布莱克等人打造的金曲。

Mr. Martin did not at first share in the wealth these successes generated. When Mr. Epstein offered him a share of the Beatles’ publishing, he turned it down on the grounds that it would be a conflict of interest. He had, however, been arguing since early 1962 that EMI should pay him a royalty on his productions, instead of a salary. In August 1965, when EMI refused to offer Mr. Martin more than a token bonus, he left the company and formed his own production company, Associated Independent Recording (AIR), along with two other producers from EMI and the competing Decca label. The Beatles insisted that EMI continue to engage Mr. Martin as their producer after AIR was established, as did most of Mr. Martin’s other artists.

一开始，马丁并未能分享这些成功所带来的财富。爱泼斯坦向他提供“披头士”的版权发行份额时，他拒绝了，觉得这会带来利益冲突。不过，1962年初，他认为EMI应当为他的制作工作支付版税，而非薪金。1965年8月，EMI只向马丁提供了一份象征性的分红，于是他离开公司，与EMI和竞争对手迪卡(Decca)公司的两名制作人成立了自己的制作公司，联合独立录音(AIR)。AIR成立后，“披头士”坚持要求EMI继续聘请马丁担任他们的制作人，马丁制作的大部分其他艺人也是如此。

In 1966, not long after he established AIR, Mr. Martin married Judy Lockhart-Smith, who had been his secretary at Parlophone. An earlier marriage, to Sheena Chisolm, ended in divorce.

1966年，继AIR成立不久，马丁娶了派洛风的秘书朱迪·洛克哈特-史密斯(Judy Lockhart-Smith)。两人有两个孩子，露西(Lucie)和吉尔斯(Giles)。他与离婚的前妻希娜·切索尔姆(Sheena Chisolm)亦有两个孩子，阿里克西斯(Alexis)与格里高利(Gregory)。他在世的亲人包括妻子与子女，以及若干孙辈。

AIR opened its own studio in London in 1970, and a Caribbean branch, on the Caribbean island Montserrat, in 1979. When the Montserrat studio was destroyed in a hurricane in 1989, Mr. Martin decided not to rebuild. But he compiled an album of recordings made at the studio by Mr. McCartney, the Rolling Stones, Dire Straits, the Police, Elton John and others as a charity for the 12,000 people who lost their homes in the storm.

1970年，AIR在伦敦开了自己的录音室，1979年，在加勒比海上的小岛蒙特塞拉特也开了一个分部。1989年，蒙特塞拉特的录音室毁于飓风，马丁决定不重建它。但他编纂了一张专辑，里面收录了麦卡特尼、“滚石”(Rolling Stones)、“恐怖海峡”(Dire Straits)、“警察”(Police)、埃尔顿·约翰(Elton John)等人在这个录音室里的录音，作为一张慈善专辑，为12000名在风暴中失去家园的人募捐。

In 1993 Mr. Martin opened AIR Lyndhurst, a state-of-the-art studio in a converted Victorian church in London, which has become an important studio for orchestral film soundtrack recording. Mr. Martin remained involved in its operation long after he stopped producing recordings in the late 1990s.

1993年，马丁开放了AIR林德赫斯特录音室，它采取当时最先进的设备，坐落在伦敦一处改建的维多利亚教堂里，成了电影管弦乐原声乐最重要的录音室。马丁在90年代末停止了制作唱片工作，但还参与这家录音室的运营。

“I’m there every week,” he said in 2003. “I listen to my friends who come and do film recording. I love sitting in a 100-piece orchestra and listening. And I still do a bit of writing, and I help a bit with studio work sometimes.”

“每星期我都到那里去，”2003年，他说。“我听着我的朋友们来录电影音乐。我喜欢坐在一个100人编制的交响乐团当中聆听。我仍然写点曲子，有时候我也在录音室帮忙。”

As a composer, Mr. Martin supplied incidental music to the soundtracks of several films, including the Beatles’ “A Hard Day’s Night” and “Yellow Submarine” as well as “Live and Let Die,” “Honky Tonk Freeway” and “Pulp.” He wrote the music for a recording of Dylan Thomas’s “Under Milk Wood” that he produced in 1989, using an entirely Welsh cast of actors and singers. Having made several recordings of his own arrangements of Beatles songs in the 1960s, he periodically conducted orchestras, mostly in Europe and Latin America, in concerts of Beatles music.

作为作曲家，马丁有时给电影写原声乐，包括“披头士”的《整天忙碌的晚上》(A Hard Day’s Night)和《黄色潜水艇》，以及《007之你死我活》(Live and Let Die)、《高速公路大疯狂》(Honky Tonk Freeway)和《低俗小说》(Pulp)。他为迪伦·托马斯(Dylan Thomas)朗诵的《牛奶树下》(Under Milk Wood)配上了音乐，并于1989年制作了这张专辑，全部使用威尔士演员和歌手。他也使用60年代为“披头士”的歌曲创作的配乐录过一些唱片，偶尔在演奏“披头士”音乐的交响音乐会上担任指挥，主要是在欧洲和拉丁美洲。

In the late 1990s, he toured as a lecturer, speaking about the making of “Sgt. Pepper” and tantalizing listeners with excerpts from the unreleased session tapes for that album. His last Beatles project was a collaboration with his son, Giles Martin, on the 2006 soundtrack for “Love,” the Cirque du Soleil show for which Beatles recordings were remixed and recombined.

90年代末期，他做过巡回演讲，谈论《佩珀军士》的制作过程，用专辑中未发表的录音诱惑听众们。他参与的最后一项“披头士”的项目是在2006年，与同为唱片制作人的儿子吉尔斯一起，为“太阳马戏团”(Cirque du Soleil)制作了《爱》(Love)这张原声集，把“披头士”的歌做了重新混音和重新组合。

Mr. Martin was also the host of several television programs, including “The Making of Sgt. Pepper” in 1992 and “The Glory of Gershwin” in 1993, and he wrote a handful of books, among them “All You Need Is Ears” (1979), “Summer of Love: The Making of Sgt. Pepper” (1994) and a lavishly illustrated limited-edition autobiography, “Playback” (2003). He was made a Commander of the British Empire in 1988 and was awarded a knighthood in 1996.

马丁还主持过一些电视节目，包括1992年的“制作《佩珀军士》”与1993年的“格什温的荣耀”，他写过几本书，包括1979年的《你所需要的只是耳朵》(All You Need Is Ears)和1994年的《爱之夏：制作<佩珀军士>》(Summer of Love: The Making of Sgt. Pepper)，以及2003年一本插图丰富的限量版自传《回放》(Playback)。1988年，他获得大英帝国官佐勋章(Commander of the British Empire)，1996年被封为爵士。

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[词曲转载] 乔治·马丁是如何打造出披头士的