The hectare ( /ˈhɛktɛər/ or /ˈhɛktɑr/; symbol ha) is a metric unit of area defined as 10,000 square metres (100 m by 100 m), and primarily used in the measurement of land. In 1795, when the metric system was introduced, the 'are' was defined as being 100 square metres and the hectare ('hecto-' + 'are') was thus 100 'ares' or 1/100 km². A hectare of land is about 2.47 acres.

When the metric system was further rationalised in 1960, resulting in the International System of Units (SI), the are was not included as a recognised unit. The hectare is one of the non-SI units accepted for use with the SI units.

History[link]

The metric system of measure was first given a legal basis in 1795 by the French Revolutionary government. The law of 18 Germinal, Year III (7 April 1795) defined five units of measure:^[1]

• The metre for length
• The are (100 m²) for area [of land]
• The stère (1 m³) for volume of stacked firewood^[2]
• The litre (1 dm³) for volumes of liquid
• The gram for mass

Although the law defined the length of the metre, there was no practical way of accurately measuring the metre (and hence the are) until 1799 when the first standard metre was manufactured and adopted.

The standard metre remained in the custody of successive French governments until 1875 when, under the Convention of the Metre, its supervision passed into international control under the auspices of the General Conference on Weights and Measures (GCPM). At the first meeting of the GCPM in 1889 when a new standard metre, manufactured by Johnson Matthey & Co of London^[3] was adopted, the are and hectare were automatically redefined.

In 1960, when the metric system was updated as the International System of Units (SI), the are did not receive international recognition. The International Committee for Weights and Measures (CIPM) makes no mention of the are in the current (2006) definition of the SI, but classifies the hectare as a "Non-SI unit accepted for use with the International System of Units"^[4]

In 1972, the European Economic Community (EEC) passed directive 71/354/EEC ,^[5] which catalogued the units of measure that might be used within the community. The units that were catalogued replicated the recommendations of the GCPM, supplemented by a few other units including the are (and implicitly the hectare) whose use was limited to the measurement of land.

The units[link]

The names centiare, decare and hectare are derived by adding the standard metric prefixes to the original base unit of area, the are.

Definition of a hectare and of an are.

Centiare[link]

The centiare (symbol ca) is a synonym for one square metre.

Are[link]

The are ( /ˈɛər/^[6] or /ˈɑr/;^[7] symbol a) is a unit of area, equal to 100 square metres (10 m × 10 m), used for measuring land area. It was defined by older forms of the metric system, but is now outside of the modern International System (SI).^[8]

It is commonly used to measure real estate, in particular in Indonesia and in French-, Portuguese-, Slovakian-, Czech-, Polish-, Dutch-, and German-speaking countries.

In Russia and other former Soviet Union states, the "sotka" (сотка 'hundredth') is identical to the are. It is used to describe the size of suburban dacha or allotment garden plots or small city parks where the hectare would be too large.

Decare[link]

The decare (symbol daa) is derived from deka, the prefix for 10 and are, and is equal to 10 ares or 1000 square metres. It is used in Norway^[9] and in the former Ottoman areas of the Middle East and the Balkans (Bulgaria)^[10] as a measure of land area. In the formerly Ottoman area, instead of the name 'decare', the names of traditional land measures are usually used, redefined as one decare:

• Stremma in Greece^[11]
• Dunam, dunum, donum, or dönüm in Israel, Jordan, Lebanon, Syria and Turkey^[12]

Hectare[link]

Trafalgar Square, which has an area of about one hectare.^[13]

The hectare ( /ˈhɛktɛər/ or /ˈhɛktɑːr/;^[14] symbol ha) is widely used throughout the world^[15] and is the legal unit of measure in domains concerned with land ownership, planning, and management, including law (land deeds), agriculture, forestry, and town planning throughout the European Union.^[16] The United States, Burma^{[citation needed]} and to some extent Canada instead use the acre.^{[citation needed]}

Some countries that underwent a general conversion from traditional measurements to metric measurements (e.g. Canada) required a resurvey when units of measure in legal descriptions relating to land were converted to metric units.^{[citation needed]} Others, such as South Africa, published conversion factors which were to be used particularly when preparing consolidation diagrams by compilation.^[17]

In many countries, metrication redefined or clarified existing measures in terms of metric units. (cf. Category:Metricated units) The following legacy units of area have been redefined as being equal to one hectare:^[18]

• Jerib in Iran
• Djerib in Turkey^[19]
• Gong Qing (公顷 - gōngqǐng) in mainland China
• Manzana in Argentina
• Bunder in The Netherlands (until 1937)^[20]

Conversions[link]

The most commonly used units are in bold.

One hectare is also equivalent to:

• 2.4710439 U.S. survey acres
• 15 mǔ or 0.15 qǐng^[21]
• 10 dunam or dönüm (Middle East)^[22]
• 10 stremmata (Greece)
• 6.25 rai (Thai)^[23]
• ≈ 1.008 chō (Japanese)

Visualising a hectare[link]

Visitors to London can visualize a hectare by visiting Trafalgar Square.^[13]

International rugby field[link]

Waikato Stadium – Hamilton, New Zealand The maximum playing area of an international-sized rugby union field is about one hectare On an international rugby union field the goal lines are up to 100 metres apart. Behind the goal line is the in-goal area (which is also a playing area). This area extends between 10 and 22 metres behind the goal line, giving a maximum length of 144 metres for the playing area. The maximum width of the pitch is 70 metres, giving a maximum playing area of 10,080 square metres or 1.008 hectares.[24]

Statue of Liberty[link]

The Statue of Liberty – New York Harbor The Statue of Liberty requires a square of land with an area of one hectare 40°41′21″N 74°2′40″W / 40.68917°N 74.04444°W / 40.68917; -74.04444 The Statue of Liberty, a gift from the French people to the American people dedicated on 28 October 1886 to commemorate the hundredth anniversary of the French and American Revolutions, is located on Liberty Island at the entrance to New York Harbor. Its base is built on eighteenth-century fortifications. The distance between the apex of the bastions in the front of the base to those at the back (where the entrance to the statue is located) is approximately 100 m while the distance between the apexes of the left-hand and right-hand bastions is a little under 100 m. Thus, if a square were to enscribe the bastions, it would have sides of approximately 100 m, giving it an area of one hectare.

Interior of all-weather athletics track[link]

Hansen Field at Western Illinois University in Macomb, Illinois incorporates an all-weather running track The grass in the centre of a standard athletic track is a little over one hectare in extent Athletics tracks are found in almost every country of the world. Although many tracks consist of markings on a field of suitable size, where funds permit, specialist all-weather tracks have a rubberized artificial running surface with a grass interior (as shown in the picture and diagram). The perimeter of the inside kerb of the track is a little under 400 metres, as the actual length of the track is measured 300 mm from the inside kerb.[25] The IAAF specifications state that the radius of the kerb is 36.5 m, from which it can be calculated that the area inside the kerb is 1.035 ha.[26]

See also[link]

• 1 E+4 m² for further comparisons
• Conversion of units
• Hecto-
• Hectometre
• Order of magnitude

References[link]

External links[link]

Wikimedia Commons has media related to: Hectare

• Official SI website: Table 6. Non-SI units accepted for use with the International System of Units

v t e SI units Base units Ampere · Candela · Kelvin · Kilogram · Metre · Mole · Second Derived units Becquerel · Coulomb · Degree Celsius · Farad · Gray · Henry · Hertz · Joule · Katal · Lumen · Lux · Newton · Ohm · Pascal · Radian · Siemens · Sievert · Steradian · Tesla · Volt · Watt · Weber Accepted for use with SI Dalton (Atomic mass unit) · Astronomical unit · Day · Decibel · Degree Celsius · Degree of arc · Electronvolt · Hectare · Hour · Litre · Minute · Minute of arc · Neper · Second of arc · Tonne Atomic units · Natural units See also SI prefixes · Systems of measurement · Conversion of units · New SI definitions · History of the metric system Book:International System of Units  · Category:SI base units

Sir George Martin CBE
Sir George Martin, 2007
Background information
Birth name	George Henry Martin
Born	(1926-01-03) 3 January 1926 (age 86)
Origin	Highbury, London, England
Genres	Rock, pop, classical
Occupations	Record producer, arranger, composer, musician, conductor
Instruments	Oboe, piano, keyboards
Years active	1950–present
Labels	EMI, Parlophone
Associated acts	The Beatles, Wings, America, Cilla Black, Jeff Beck

Sir George Henry Martin CBE (born 3 January 1926) is an English record producer, arranger, composer, conductor, audio engineer and musician. He is sometimes referred to as "the Fifth Beatle"—a title that he has described as "nonsense"—in reference to his extensive involvement on each of The Beatles' original albums.^[1] He is considered one of the greatest record producers of all time, with 30 number one hit singles in the UK and 23 number one hits in the USA.

Influenced by a range of musical styles, encompassing Cole Porter and Johnny Dankworth, he attended the Guildhall School of Music and Drama from 1947 to 1950, studying piano and oboe. Following his graduation, he worked for the BBC's classical music department, then joined EMI in 1950. Martin produced comedy and novelty records in the early 1950s, working with the likes of Peter Sellers and Spike Milligan.

In a career spanning over six decades, Martin has worked in music, film, television and live performance. He has also held a number of senior executive roles at media companies and contributes to a wide range of charitable causes, including his work for the Prince's Trust and the Caribbean island of Montserrat.

In recognition of his services to the music industry and popular culture, he was made a Knight Bachelor in 1996.

Early years[link]

When he was six, Martin's family acquired a piano that sparked his interest in music.^[2] At eight years of age, Martin persuaded his parents that he should take piano lessons, but those ended after only eight lessons because of a disagreement between his mother and the teacher. After that, Martin explained that he had just picked it up by himself.^[3] As a child he attended several schools, including a "convent school in Holloway", St. Joseph's elementary school in Highgate, and St Ignatius' College in Stamford Hill, to which he won a scholarship.^[4] When war broke out and St. Ignatius College students were evacuated to Welwyn Garden City, his family left London and he was enrolled at Bromley Grammar School.^[4]

Despite Martin's continued interest in music, and "fantasies about being the next Rachmaninov", he did not initially choose music as a career.^[6] He worked briefly as a quantity surveyor and then for the War Office as a Temporary Clerk (Grade Three) which meant filing paperwork and making tea.^[7] In 1943, when he was seventeen, he joined the Fleet Air Arm of the Royal Navy and became a pilot and a commissioned officer. The war ended before Martin was involved in any combat, and he left the service in 1947.^[8] Encouraged by Sidney Harrison (a member of the Committee for the Promotion of New Music) Martin used his veteran's grant to attend the Guildhall School of Music and Drama from 1947 to 1950, where he studied piano and oboe, and was interested in the music of Rachmaninov and Ravel, as well as Porter and Dankworth. Martin's oboe teacher was Margaret Eliot (the mother of Jane Asher, who would later have a relationship with Paul McCartney).^[9][10][11] On 3 January 1948—while still at the Academy—Martin married Sheena Chisholm, with whom he had two children, Alexis and Gregory. He later married Judy Lockhart-Smith on 24 June 1966, and they also had two children, Lucy and Giles.^[12]

Parlophone[link]

The Beatles’ first LP—produced by Martin.

Following his graduation, he worked for the BBC's classical music department, then joined EMI in 1950, as an assistant to Oscar Preuss, the head of EMI's Parlophone Records from 1950 to 1955. Although having been regarded by EMI as a vital German imprint in the past, it was then seen as a joke and only used for EMI's insignificant acts.^[9][13] After taking over Parlophone when Preuss retired in 1955, Martin spent his first years with the record label recording classical and Baroque music, original cast recordings of hit plays, and regional music from around the British Isles.^[14][15]

Martin also produced numerous comedy and novelty records. In the early 1950s, he worked with Sellers, and thus came to know Milligan, with whom he became a firm friend, and best man at Milligan's second marriage: "I loved the Goon Show, and issued an album of it on my label Parlophone, which is how I got to know Spike."^[16] The album was Bridge On The River Wye. It was a spoof of the film The Bridge on the River Kwai, being based on the 1957 Goon Show An African Incident. It was intended to have the same name as the film, but shortly before its release, the film company threatened legal action if the name was used. Martin edited out the 'K' every time the word 'Kwai' was spoken, with Bridge on the River Wye being the result. The album included Milligan, Sellers, Jonathan Miller and Peter Cook, playing various characters.^[17][18]

Other comedians Martin worked with included Joan Sims, Rolf Harris, Flanders and Swann and Shirley Abicair.^[19] Martin worked with the Vipers Skiffle Group, with whom he had a number of hits. In early 1962, under the pseudonym "Ray Cathode", Martin released an early electronic dance single, "Time Beat"—recorded at the BBC Radiophonic Workshop—in much the same style as the Doctor Who theme tune. As Martin wanted to add rock and roll to Parlophone's repertoire, he struggled to find a "fireproof" hit-making pop artist or group.^[20]

As a producer Martin recorded the two-man show featuring Michael Flanders and Donald Swann called At the Drop of a Hat, which sold steadily for twenty-five years, although Martin's breakthrough as a producer came with the Beyond the Fringe show, which starred Peter Cook, Dudley Moore, Alan Bennett and Jonathan Miller. Martin's work transformed the profile of Parlophone from a "sad little company" to a very profitable business.^[21]

The Beatles[link]

Martin was contacted by Sid Coleman of Ardmore & Beechwood, who told him about Brian Epstein, the manager of a rock band he had met. He thought Martin might be interested in the group, even though they had been turned down by Decca Records among other major British labels. Until that time, although he'd had considerable success with the comedy records and a number 1 hit with the Temperance Seven, Martin had had only minor success with pop music, such as "Who Could Be Bluer" by Jerry Lordan, and singles with Shane Fenton and Matt Monro. After the telephone call by Coleman, Martin arranged a meeting on 13 February 1962 with Brian Epstein.^[22] Martin listened to a tape recorded at Decca, and thought that Epstein's group was "rather unpromising", but liked the sound of Lennon and McCartney's vocals.^[23]

After another meeting with Epstein on 9 May at the Abbey Road studios, Martin was impressed with Epstein's enthusiasm and agreed to sign the unknown Beatles to a recording contract without having met them or seen them play live.^[24] The contract was not what it seemed, however, as Martin would not sign it himself until he had heard an audition, and later said that EMI had "nothing to lose," as it offered one penny for each record sold, which was split amongst the four members.^[25] Martin suggested to EMI (after the release of "From Me to You") that the royalty rate should be doubled without asking for anything in return, which led to Martin being thought of as a "traitor in EMI".^[26]

The Beatles auditioned for Martin on 6 June 1962, in studio three at the Abbey Road studios.^[27] Ron Richards and his engineer Norman Smith recorded four songs, which Martin (who was not present during the recording) listened to at the end of the session. The verdict was not promising, however, as Richards complained about Pete Best's drumming, and Martin thought their original songs were simply not good enough.^[24] Martin asked the individual Beatles if there was anything they personally did not like, to which George Harrison replied, "Well, there's your tie, for a start." That was the turning point, according to Smith, as John Lennon and Paul McCartney joined in with jokes and comic wordplay that made Martin think that he should sign them to a contract for their wit alone.^[28]

The Beatles' first recording session with Martin was on 4 September, when they recorded "How Do You Do It", which Martin thought was a sure-fire hit even though Lennon and McCartney hated it.^[29] (He was correct: Gerry & the Pacemakers's version, which Martin produced, spent three weeks at No. 1 in April 1963 before being displaced by "From Me to You".) Richards complained about new-member Ringo Starr's drumming on the next song, "Love Me Do", and so on 11 September, they re-recorded "Love Me Do" with Andy White. Starr was asked to play tambourine and maracas, and although he complied, he was definitely "not pleased".^[30] (Martin would later praise Starr's drumming, calling him "probably ... the finest rock drummer in the world today.")^[31] "Love Me Do" peaked at number 17 in the British charts, so on 26 November 1962 Martin recorded "Please Please Me", which he only did after Lennon and McCartney had almost begged him to record another of their original songs. Martin's crucial contribution here was to tell them to speed up what was initially a slow ballad. After the recording Martin looked over the mixing desk and said, "Gentlemen, you have just made your first number one record".^[32][33] Martin directed Epstein to find a good publisher—as Ardmore & Beechwood had done nothing to promote "Love Me Do"—telling Epstein about three publishers who, in Martin's opinion, would be fair and honest, which led them to Dick James.^[34]

As arranger[link]

Abbey Road Studios, where Martin recorded Parlophone's artists.

Martin's musical expertise helped fill the gaps between the Beatles' raw talent and the sound they wanted to achieve. Most of the Beatles' orchestral arrangements and instrumentation (as well as frequent keyboard parts on the early records) were written or performed by Martin in collaboration with the band.^[35] It was Martin's idea to put a string quartet on "Yesterday", against McCartney's initial reluctance.^[35][36] Martin played the song in the style of Bach to show McCartney the voicings that were available.^[37] Another example is the song "Penny Lane", which featured a piccolo trumpet solo. McCartney hummed the melody he wanted, and Martin wrote it down in music notation for David Mason, the classically trained trumpeter.^[38]

Martin's distinctive arranging work appears on many Beatles recordings. For "Eleanor Rigby" he scored and conducted a strings-only accompaniment inspired by Bernard Herrmann. On a Canadian speaking tour in 2007, Martin said his "Eleanor Rigby" score was influenced by Herrmann's score for the Alfred Hitchcock thriller, Psycho.^[39] For "Strawberry Fields Forever", he and recording engineer Geoff Emerick turned two very different takes into a single master through careful use of vari-speed and editing.^[40] For "I Am the Walrus", he provided a quirky and original arrangement for brass, violins, cellos, and the Mike Sammes Singers vocal ensemble.^[41][42][43] On "In My Life", he played a sped-up Baroque piano solo.^[44] He worked with McCartney to implement the orchestral 'climax' in "A Day in the Life" and he and McCartney shared conducting duties the day it was recorded.^[45]

He contributed less-noted but integral parts to other songs, including the piano in "Lovely Rita",^[46] the organs and tape loop arrangement that create the Pablo Fanque circus atmosphere that Lennon requested on "Being for the Benefit of Mr. Kite!" (both Martin and Lennon played organ parts for this song), and the orchestration in "Good Night".^[47][48][49] The first song that Martin did not arrange was "She's Leaving Home", as he had a prior engagement to produce a Cilla Black session, so McCartney contacted arranger Mike Leander to do it. Martin was reportedly hurt by this, but still produced the recording and conducted the orchestra himself.^[50] Martin was in demand as an independent arranger and producer by the time of The White Album, so the Beatles were left to produce various tracks by themselves.^[51]

Martin arranged the score for the Beatles' film Yellow Submarine^[52] and the James Bond film Live and Let Die, for which Paul McCartney wrote and sang the title song.^[53]

As composer[link]

Martin has composed film scores since the early 1960s, including the instrumental scores of the films Yellow Submarine and Live and Let Die, as well as being a producer and arranger. He also composed Adagietto for Harmonica & Strings for Tommy Reilly, Theme One for BBC Radio 1, and Magic Carpet for The Dakotas.

[edit] The Beatles Anthology

Martin oversaw post-production on The Beatles Anthology (which was originally entitled "The Long and Winding Road") in 1994 and 1995, working again with Geoff Emerick.^[54] Martin decided to use an old 8-track analogue deck to mix the songs for the project—which EMI found out an engineer still had—instead of a modern digital deck. He explained this by saying that the old deck created a completely different sound, which a new deck could not recreate.^[54] He also said the whole project was a strange experience for him (with which McCartney agreed) as they had to listen to themselves chatting in the studio, 25–30 years previously.^[54]

Martin stepped down when it came to producing the two new singles reuniting McCartney, Harrison and Starr, who wanted to overdub two old Lennon demos. Martin had suffered a hearing loss, and left the work to writer/producer Jeff Lynne of ELO fame.^[55][56]

[edit] Cirque du Soleil and Love

In 2006, Martin and his son, Giles Martin, remixed 80 minutes of Beatles music for the Las Vegas stage performance Love, a joint venture between Cirque du Soleil and The Beatles' Apple Corps Ltd.^[57] A soundtrack album from the show was released that same year.^[58]

Other artists[link]

Martin has produced recordings for many other artists, including contemporaries of the Beatles, such as Matt Monro, Cilla Black, and Gerry & The Pacemakers, as well as The King's Singers, the band America,^[59] guitarist Jeff Beck, sixties duo Edwards Hand, Ultravox, country-singer Kenny Rogers, Cheap Trick and Yoshiki Hayashi of X Japan.^[60][61]

Martin also worked with the Mahavishnu Orchestra and Gary Glitter. He worked with Glitter before he was famous, and recorded several songs with him in the 1960s under the name of "Paul Raven". He also produced the 1974 album The Man In The Bowler Hat for the eccentric British folk-rock group Stackridge.^[62] Martin worked with Paul Winter on his (1972) Icarus album, which was recorded in a rented house by the sea in Marblehead, Massachusetts. Winter said that Martin taught him "how to use the studio as a tool", and allowed him to record the album in a relaxed atmosphere, which was different from the pressurised control in a professional studio.^[63] In 1979 he worked with Ron Goodwin to produce the album containing The Beatles Concerto, written by John Rutter. In 2010, Martin was the executive producer of the hard rock debut of Arms of the Sun, an all-star project featuring Rex Brown (Pantera, Down), John Luke Hebert (King Diamond), Lance Harvill, and Ben Bunker.^[64]

In 1995, Martin contributed the horn and string arrangement for the song "Latitude" on Elton John's "Made in England" album, which was recorded at Martin's AIR Studios London.

Associated Independent Recording (AIR)[link]

Within the recording industry, Martin is noted for going independent at a time when many producers were still salaried staff—which he was until The Beatles' success gave him the leverage to start, in 1965, Associated Independent Recording, and hire out his own services to artists who requested him. This arrangement not only demonstrated how important Martin's talents were considered to be by his artists, but it allowed him a share in record royalties on his hits.^[65] Today, Martin's Associated Independent Recording (AIR) remains one of the world's pre-eminent recording studios.^[66] Martin later opened a studio on the Caribbean island of Montserrat, in 1979.^[12] This studio was destroyed by Hurricane Hugo ten years later.^[67]

Music from James Bond series[link]

Martin has also directly and indirectly contributed to the main themes of three films in the James Bond series. Although Martin did not produce the theme for the second Bond film, From Russia with Love, he was responsible for the signing of Matt Monro to EMI just months prior to his recording of the song of the same title.^[68]

Martin also produced two of the best-known James Bond themes. The first was "Goldfinger" by Shirley Bassey in 1964.^[69] The second was "Live and Let Die" by Paul McCartney and Wings for the film of the same name. He also composed and produced the film's score.^[70]

Books and audio retrospective[link]

In 1979, he published a memoir, All You Need is Ears (co-written with Jeremy Hornsby), that described his work with the Beatles and other artists (including Peter Sellers, Sophia Loren, Shirley Bassey, Flanders and Swann, Matt Monro, and Dudley Moore), and gave an informal introduction to the art and science of sound recording. In 1993 Martin published Summer of Love: The Making of Sgt Pepper (published in the USA as With a Little Help from My Friends: The Making of Sgt Pepper, co-authored with William Pearson),^[71][72] which also included interview quotations from a 1992 South Bank Show episode discussing the album. Martin also edited a 1983 book called Making Music: The Guide to Writing, Performing and Recording.

In 2001, Martin released Produced by George Martin: 50 Years In Recording, a six-CD retrospective of his entire studio career, and in 2002, Martin launched Playback, his limited-edition illustrated autobiography, published by Genesis Publications.^[73]

TV feature film[link]

In 2011 a 90-minute documentary feature film co-produced by the BBC Arena team, Produced by George Martin, aired to critical acclaim for the first time in the UK. It combines rare archive footage and new interviews with, among others, Paul McCartney, Ringo Starr, Jeff Beck, Cilla Black and Giles Martin.

Awards and recognition[link]

• Academy Award 1964 – Nomination Scoring of Music (for A Hard Day's Night) "awardsdatabase.com". http://awardsdatabase.oscars.org/ampas_awards/DisplayMain.jsp;jsessionid=2B37F9CC81DC1329C798DE43CF6E736B.squash?curTime=1191603429786. 
• Grammy Award 1967 – Best Contemporary Album (as producer of Sgt. Pepper's Lonely Hearts Club Band)^[74]
• Grammy Award 1967 – Album Of The Year (as producer of Sgt. Pepper's Lonely Hearts Club Band)^[74]
• Grammy Award 1973 – Best Arrangement Accompanying Vocalist(s) (as arranger of "Live and Let Die")^[74]
• BRIT Awards 1977 – Best British Producer (of the past 25 years)^[75].
• BRIT Awards 1984 – Outstanding Contribution To Music^[76]
• Grammy Award 1993 – Best Musical Show Album (as producer of The Who's Tommy)^[74]
• Grammy Award 2007 – Best Compilation Soundtrack Album For Motion Picture, Television Or Other Visual Media, producer together with Giles Martin, of The Beatles album Love^[74]
• Grammy Award 2007 – Best Surround Sound Album, producer together with Giles Martin, of The Beatles album Love^[74]
• Martin was named the British Phonographic Industry's "Man of the Year" for 1998.
• In April 1989, he was awarded an Honorary Doctorate in Music by Berklee College of Music in Boston, Massachusetts, USA^[77].
• He was inducted into the Rock and Roll Hall of Fame on 15 March 1999^[78] and into the UK Music Hall of Fame on 14 November 2006.
• In 2002, he was given the Lifetime Achievement Award for Services to Film by the World Soundtrack Academy at Belgium's Flanders International Film Festival.
• He was granted his own Coat of Arms in March 2004 by the College of Arms. His shield features three beetles, a House Martin holding a recorder, and the Latin motto Amore Solum Opus Est ("All You Need Is Love").^[79]
• In November 2006, he was awarded an Honorary Doctorate in Music by Leeds Metropolitan University^[80]
• In September 2008, he was awarded the James Joyce Award by the Literary and Historical Society of University College Dublin.^[81]
• Martin has also been honoured with a Gold Medal for Services to the Arts from the CISAC (the International Confederation of Societies of Authors and Composers).
• On 25 May 2010 he was given an honorary membership in the Audio Engineering Society at the 128th AES Convention in London.
• On 29 June 2011 he was given an honorary degree, Doctor of Music, from the University of Oxford.^[82].

Selected non-Beatles hit records produced or co-produced by George Martin[link]

Records produced by Martin have achieved 30 number one singles and 16 number one albums in the UK—plus 23 number one singles and 19 number one albums in North America.^[83]

• "You're Driving Me Crazy", The Temperance Seven (25/5/61, #1)
• “My Kind of Girl,” Matt Monro (31/7/61, #18)
• “My Boomerang Won’t Come Back,” Charlie Drake (17/3/62, #21)
• “Sun Arise,” Rolf Harris (25/10/62, #3)
• “Tie Me Kangaroo Down, Sport,” Rolf Harris (13/7/63, #3)
• “Little Children,” Billy J. Kramer and the Dakotas (19/3/64, #1)
• “Bad to Me,” Billy J. Kramer and the Dakotas (27/6/64, #9)
• “Don’t Let the Sun Catch You Crying,” Gerry & The Pacemakers (4/7/64, #4)
• “You’re My World,” Cilla Black (1/8/64, #UK1)
• “How Do You Do It?,” Gerry & The Pacemakers (5/9/64, #9)
• “I Like It,” Gerry & The Pacemakers (7/11/64, #17)
• “Walk Away,” Matt Monro (9/1/65, #23)
• “I’ll Be There,” Gerry & The Pacemakers (30/1/65, #14)
• “Ferry Cross the Mersey,” Gerry & The Pacemakers (20/3/65, #6)
• “Goldfinger,” Shirley Bassey (27/3/65, #8)
• “You'll Never Walk Alone,” Gerry & The Pacemakers (3/7/65, #48)
• “Trains and Boats and Planes,” Billy J. Kramer and the Dakotas (31/7/65, #47)
• “Alfie,” Cilla Black (10/9/66,#UK6 #95)
• “Girl on a Swing,” Gerry & The Pacemakers (22/10/66, #28)
• “Tin Man,” America (9/11/74, #4)
• “Lonely People,” America (8/3/75, #5)
• “Sister Golden Hair,” America (14/6/75, #1)
• “Oh! Darling,” Robin Gibb (7/10/78, #15)
• "Ebony and Ivory" Paul McCartney & Stevie Wonder (29/3/82 US #1)
• "Say, Say, Say," Paul McCartney & Michael Jackson (10/12/83, #1)
• "No More Lonely Nights", Paul McCartney (8/12/84, #6)
• "Candle in the Wind 1997", Elton John (11/10/97, #1)
• "Pure" 2003, Hayley Westenra (#1 UK classical charts, No. 8 UK pop charts)

Discography[link]

• A Hard Day's Night: Instrumental Versions of the Motion Picture Score (1964)
• Off the Beatle Track (1964)
• Help! (1965)
• George Martin Instrumentally Salutes The Beatle Girls (1966)
• Yellow Submarine (side one: The Beatles, side two: The George Martin Orchestra, 1969)
• Live and Let Die (producer for Paul McCartney's song, and composer of musical score, 1973)
• In My Life (1998)
• Produced by George Martin (2001)
• The Family Way (2003)
• Completely Cilla: 1963-1973 (All 139 Cilla Black recordings produced by George Martin, 2012)

Selected discography (as producer)[link]

• Jimmy Shand "Bluebell Polka" (1952)
• Peter Ustinov "Mock Mozart" (1952)
• Roberto Inglez "From The Savoy Hotel" (1953)
• The Vipers Skiffle Group "Don't You Rock Me Daddy-O" (1957)
• Peter Sellers "A Drop of the Hard Stuff" (1958)
• Flanders and Swann – At the Drop of a Hat (1960)
• Matt Monro "Portrait of My Love" (1960)
• Peter Sellers and Sophia Loren "Goodness Gracious Me" (1960)
• Beyond the Fringe "The End of the World" (1961)
• Michael Bentine "Football Results" (1962)
• Joan Sims "Oh Not Again Ken" (1963)
• Shirley Bassey "I (Who Have Nothing)" (1963)
• Millicent Martin and David Frost – "That Was The Week That Was" (1963)
• Flanders and Swann – At the Drop of Another Hat (1964)
• Gerry and the Pacemakers – Ferry Cross the Mersey (1965)
• Edwards Hand – Edwards Hand (1969)
• Ringo Starr – Sentimental Journey (1970)
• Seatrain Seatrain (1970)
• The King's Singers "The King's Singers Collection" (1972)
• Paul Winter Consort – Icarus (1972)
• The King's Singers "A French Collection" (1973)
• The King's Singers "Deck the Hall" (1973)
• Stackridge – The Man in the Bowler Hat (released as Pinafore Days in the U.S. and Canada) (1974)
• Mahavishnu Orchestra – Apocalypse (1974)
• America – Holiday (1974)
• Jeff Beck – Blow by Blow (1975)
• America – Hearts (1975)
• America – Hideaway (1976)
• American Flyer – American Flyer (1976)
• Jeff Beck – Wired (1976)
• Jimmy Webb – El Mirage (1977)
• America – Harbor (1977)
• Cheap Trick – All Shook Up (1980)
• UFO – No Place to Run (1980)
• Little River Band – Time Exposure (1981)
• Ultravox – Quartet (1982)
• Paul McCartney – Tug of War (1982)
• Paul McCartney – Pipes of Peace (1983)
• Paul McCartney – Give My Regards to Broad Street (1984)
• Andy Leek – Say Something (1988)
• Yoshiki – Eternal Melody (1993)
• Tommy (Original Cast Recording) (1993)
• Celine Dion – Let's Talk About Love (1997)
• George Martin – In My Life (1998)
• The Beatles – Love (2006)

Notes[link]

References[link]

• Lewisohn, Mark (1990). The Beatles: Recording Sessions. Three Rivers Press; Reprint edition. ISBN 978-0-517-58182-7. 
• MacDonald, Ian (1994). Revolution in the Head: The Beatles' Records and the Sixties. New York: Henry Holt and Company. ISBN 978-0-8050-2780-8. 
• Martin, George (1995). All You Need Is Ears. New York: St. Martin's Press. ISBN 978-0-312-11482-4. 
• Lewis, Roger (1995). The Life and Death of Peter Sellers. London: Arrow. ISBN 978-0-09-974700-0. 
• Miles, Barry (2002). In the Sixties. Jonathan Cape. ISBN 978-0-224-06240-4. 
• Ventham, Maxine (2002). Spike Milligan: His Part In Our Lives. London: Robson. ISBN 978-1-86105-530-9. 
• Spitz, Bob (2005). The Beatles – The Biography. Little, Brown and Company. ISBN 978-0-316-80352-6. 
• The Beatles (2003). The Beatles Anthology (DVD). Apple records. ASIN: B00008GKEG. 

External links[link]

• George Martin at The Rock and Roll Hall of Fame
• Management biography
• Sir George Martin
• College of Arms. The Arms of Sir George Martin, Kt., C.B.E.