Recorded in 1962, "Bridge on the River Wye" was the last of George Martin's elaborately produced "comedy" albums, and one of the most ambitious projects of his pre-Beatles career. Planned as a parody of the 1957 David Lean film Bridge on the River Kwai, when Columbia pictures threatened to sue, George Martin and engineer Stuart Eltham cut the "k" sound from each appearance of the word "Kwai" in the recording, rendering it "Wye," though the content of the story was the same. The cheeky sleeve note, likely written by Martin, just makes the whole affair that much more silly.
Spike Milligan based the script on an episode of the Goon Show entitled "African Incident" (also a parody of the film), which had been broadcast 30 December 1957 on the BBC. For "Wye," Peter Sellers reprised his Alec Guinness impersonation (here as Major Barbara) and, replacing third Goon Harry Secombe, were three members of Beyond The Fringe: Peter Cook, Jonathan Miller, and Dudley Moore (under the name "Peter Rawley"). Martin had recorded the original Fringe show in 1961 and was preparing to make another recording of it (on 3 June) at Abbey Road for Capitol Records to promote the show when it moved to America later in the year. (Incidentally, Martin first met the Beatles on 6 June.)
The voice recording for "Wye" took place 23 May 1962 from 10am - 1pm in EMI Studio 2. Over the next few months, Stuart Eltham compiled over 40 sound effects, deftly weaving them into the voice recording to create what Martin would later describe as a "sound picture." The result was essentially a detailed radio play meant to conjure images in the listener's mind. To complete the effect, Martin used various pieces of orchestral music from different Goon Shows to make a soundtrack for the action; these pieces were possibly re-recorded (in stereo) specifically for this album.
Mixing was completed in either September or October and the LP was initially scheduled for release in December 1962, though the release card at EMI indicates it was eventually delayed until January 1963.
While they also prepared a dedicated mono mix, this stereo mix demonstrates Martin and Eltham's sophisticated approach to stereo at such an early stage. Where many stereo mixes up through 1966 were "three point" mixes, here Martin and Eltham sometimes panned effects across the stereo soundstage to create a sense of movement and space.
Although much of the humor is dated (and some now downright offensive), the historical importance of this production lies in how Martin's mastery of the studio is already clearly evident. Very soon, Martin would find the Beatles to be enthusiastic about working in the studio, and he would meet their curiosity about recording with his own creative approach to production.
To learn more about producer George Martin's work with the Beatles, check out producingthebeatles.com and the podcast Producing the Beatles.
21 окт 2024
