From the Archives of the London Beatles Fanclub Magazine.
In September 1991, I was asked to do an interview with a Japanese satellite TV channel about my London Beatles Walks. I had only been doing them for a few years, and was delighted and flattered to be asked. I was even more delighted when I was told that the interview would take place INSIDE Studio 2 at Abbey Road, and that I would be interviewed the same time as Alan Parsons!
After we gave our interviews to the TV station, I rather cheekily asked Alan if I could interview him for the London Beatles Fanclub magazine, and he agreed! Here is that interview:
I believe you first met the Beatles at Saville Row, during ‘Let it Be’. Can you tell me how that came about?
I must have originally been sent down the day ‘Magic Alex’s’ console was put in. Glyn Johns was trying to get some noise ouyt of it! Everybody was waiting to start filming but basically, as we all know, the whole thing was a complete farce, nothing worked.
What was basically wrong with it?
It looked like it had been made by a 12 year old. All the holes had been roughly filed out, things were held together with one screw and nothing was on a straight line and it was banged together with bits of wood and chewing gum – it was an horrendous looking object! It was advanced in its concept, but the execution of the concept left a great deal to be desired. It was two days later that I was brought in to work with Glyn Johns with the Abbey Road equipment.
Was Glyn Johns producing?
No, he was engineering. George Martin was very much in attendance, though he didn’t show his face every day. As often happens, he had other records to make as well. It must be emphasised, however, that it was very much a recording of an event at Apple, there was little in the way of production tricks. It was just the group in front of their instruments and record what happens, although when Phil Spector got his hands on it, it was far from that.
What was your actual role?
Tape operator – also coffee maker and cigarette buyer!
Just a few days after you became involved,t he famous rooftop session occurred – when did you first know about that?
The night before! They said ‘Let’s play in front of an audience’. ‘OK, when and where?’ ‘Why not play on the roof tomorrow!’ In normal circumstances, of course, it would have been crazy, but this was the Beatles.
An hour before, we were testing the mikes and it was a very windy day and the mikes were making a horrendous noise. I had to run out to Marks and Spencer to buy some stockings to hang on the mikes to stop the wind getting in. It was very strange walking into the lingerie department and them saying ‘What size do you want’ and me saying, ‘Doesn’t matter’ ‘What colour?’ ‘Doesn’t matter’. I think they thought I was about to rob a bank!
Did you have any problems recording the roof top session?
Well, I was actually up on the roof. I was just on the other end of a communications system to sort out any problems. I had a wale of a time. I didn’t really have anything to do once everything was up and running and so I was just watching them play – it was brilliant. Everyone was buzzing.
I believe you did a lot of work on the Abbey Road LP. What was the atmosphere on that like?
Tense. There were various personal incompatilities between certain parties and their wives.
I think everyone was amazed the ‘Abbey Road’ LP was so good, considering the atmosphere it was recorded under. Was that down to George Martin?
I think it was a lot down to the individual writers. As you know, Paul sang on songs by Paul, John sang on songs by John…. However, the most noticeable things about the Abbey Road album is that they weren’t working together very much. They tended to come in and do their bits individually. But I was more involved in the later stages, John Kurlander did the early tracks.
Was the medley on side 2 recorded to fit together, or was that done afterwards?
A bit of both. It was just called ‘The Long One’ at the time. I wasn’t there at the conversation which led to the piecing together of it, but it was very much considered as one piece. It was worked one and always listened to as one piece. We were always running off rough mixes of it as a whole piece as it had developed to the end of that day and everyone would take it home to listen to it.
I believe you were present in the studio the last day all four Beatles were in the studio together?
What actually happened that day?
The banding of the album.
Oh yes, I remember it distinctly. Tony Hicks of the Hollies was also there to hear it. I was also present the day the Abbey Road cover was taken.
Have you worked with a Beatle since?
Yes, ‘Red Rose Speedway’ was the main time, and I went on tour with Wings on the European tour in 1972 – I was recording it. I’m not sure what happened to that. There were very interesting versions of ‘Hi Hi Hi’ on that with a different rhythm. I always preferred the live version and told Paul he should have recorded it like that.
When was the last time you worked with a Beatle?
A year and a half ago [circa 1993] with Paul at my own studio. which came to nothing. We were just experimenting together in the studio to see if anything came out of it, but nothing did.
A few years later, Alan Parson took over as Managing Director of Abbey Road Studios, and I had a meeting with him about the possibility of setting up a shop for the studios. It didn’t happen until much later….
Then in late 2015, I attended a lecture that Alan gave in Studio 2, mainly about his work with Pink Floyd on ‘Dark Side of the Moon’. It was nice to meet him again.
Blogger Richard Porter is a full time Beatles tour guide in London. For more info on his tours, see http://www.beatlesinlondon.com