It’s interesting to think that in 12 months the Beatles had gone from recording almost an entire album in one day, to showing up at EMI’s Abbey Road studio with songs half complete. But by the spring of 1964, needing to finish their 3rd album (which would accompany their first film), that’s just what they did with John’s “Any Time At All.” Coming up with an inventive instrumental bridge in the studio, and a cracking arrangement, the band, George Martin, and the EMI production staff turn in an inspired performance all around for what would be considered by any other band’s standard, a “filler song.” But as with so many Beatles tracks, there’s a lot hiding behind the surface. John’s vocal melody seems to be pulled more from the Paul school of melody writing, with a melody moving all over the place, as opposed to more single or double note melodies where the lyric is the focus, a trait John would lean on throughout his career. It’s a gorgeous line, buoyed by a great low-key verse vocal and a scorching, raspy chorus. A swinging Ringo groove (while on the verge of collapsing from tonsillitis the next day), a chiming George 12 string, and great support from Paul on bass and piano (as well as figuring out the instrumental bridge), and that classic 1964 Beatlemania production shimmer all add up to a filler track that probably would’ve been a hit for any other band. The icing on the cake is the rare example of a single snare hit that’s just as much a hook as the chorus itself. All in all, it’s a great song (aren’t they all), but by no means the best they’d come up with. But oh man, isn’t it exciting?

Our guest this week is Canadian-American recording artist, producer, recording and mix engineer Jerry Hammack, author of the brilliant "The Beatles Recording Reference Manuals." If you want to know how these songs were made, from demo to final take, Jerry’s books are the Bible for how they were done. He’s got great points of view as a producer and musician, and honestly, we could’ve talked to him all day. We talk about putting your all into filler tracks, a producer’s role of saying “yes,” the Beatles as a measuring stick in recording, putting in the work in the studio, and so much more! You can learn more about his work as a mix-engineer at www.jerryhammack.com, his music at www.throttlebodymc.com and more about The Beatles Recording Reference Manuals at www.beatlesrecordingreferencemanuals.com.

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