[55] In early 1962, Martin collaborated with Maddalena Fagandini, then working at the BBC Radiophonic Workshop, to create two electronic singles, "Time Beat" and "Waltz in Orbit", which were released as records by the pseudonymous Ray Cathode.

In 1955, Martin worked with BBC radio comedy stars the Goons on a parody version of "Unchained Melody", but the song's publishers objected to the recording and blocked it from release.

"[83] By the time he signed a three-year contract renewal in 1959, Martin sought—but failed—to obtain a royalty on Parlophone's record sales, a practice becoming common in the U.S.: "I reckoned that if I was going to devote my life to building up something which wasn't mine, I deserved some form of commission", he reflected.

[84] The issue continued to linger in his mind, and Martin claimed he "nearly didn't sign" his spring 1962 contract renewal over this issue—even threatening EMI managing director L. G. ("Len") Wood that he would walk away from his job.

With their relationship strained, Wood exacted a measure of revenge by having Martin sign the Beatles to a record contract to appease interest from EMI's publishing arm, Ardmore & Beechwood.

[93] In December 1962, Martin complained to EMI managing director Len Wood that he "would not wish to recommend Capitol Records to any impresario who was thinking of launching a future British show in the States".

[102] As Martin exited the company in August 1965, he recruited a number of other EMI staffers, including Norman Newell, Ron Richards, John Burgess, his wife, Judy, and Decca's Peter Sullivan.

[108] Epstein met with EMI's general marketing director Ron White, with whom he had a longstanding business relationship, and left a copy of the Beatles' German single with Tony Sheridan, "My Bonnie".

[110] By coincidence, Martin gave an interview that week in Disc magazine in which he explained that "beat groups" presented unique challenges for A&R directors, and that he sought a "distinct sound" when scouting them.

[135] Martin considered recording the Beatles' first LP as a live album at their home venue in Liverpool, The Cavern Club, and promoted this idea in an NME interview in late November.

[140] At this early stage of their working relationship, Martin played a major role in refining and arranging the Beatles' self-written songs to make them commercially appealing: "I taught them the importance of the hook.

[154] On 29 January 1964, Martin and Smith travelled to Paris, where the Beatles were performing a residency, to have them record German-language versions of "She Loves You" and "I Want to Hold Your Hand" for the West German market.

[165] When Ringo Starr fell ill with laryngitis just before the Beatles' 1964 world tour began in early June, Martin recruited session drummer Jimmie Nicol as a temporary replacement.

[191] In early January 1966, the Beatles and Martin gathered at CineTele Sound Studios in London to re-record vocal and instrumental tracks from the band's August 1965 concert performance at Shea Stadium.

"[250] During the 25 June simulcast, the Beatles' segment started broadcasting 40 seconds early, startling Martin and Emerick and forcing them to quickly hide a Scotch whisky supply they were using to calm their nerves.

Worse, the production truck lost contact with the studio cameramen just before the segment started; this forced Martin to verbally relay the producer's instructions to the camera crew live.

[258] For this song, which Martin initially disliked but grew to appreciate,[259] he provided a quirky and original arrangement for brass, violins, cellos, and the Mike Sammes Singers vocal ensemble singing nonsense phrases.

In early 1967, Brian Epstein and media producer Al Brodax signed a contract to have the Beatles provide four original songs to support an animated feature film, Yellow Submarine.

As Magic Alex had failed to deliver on a promised 72-track studio there, Martin called EMI to request two mobile four-track mixing desks and soundproofing equipment to enable a suitable recording environment.

Martin was not involved in producing the two new singles reuniting McCartney, Harrison, and Starr, who wanted to overdub two old Lennon demos provided by Yoko Ono—"Free as a Bird" and "Real Love".

[345] Martin also reunited with other artists from his Parlophone days, such as Matt Monro, Rolf Harris, and Ron Goodwin, though these reunions often failed to produce the same success as earlier records had.

[366] 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.

Other notable movie scores include Crooks Anonymous (1962), The Family Way (1966), Pulp (1972, starring Michael Caine and Mickey Rooney), the Peter Sellers film The Optimists of Nine Elms (1973), and the John Schlesinger-directed Honky Tonk Freeway (1981).

The album of new recordings collected a selection of Martin's compositions together for the first time, including previously unheard pieces Belle Etoile and sketches from the feature film The Mission (1986) which were not used in the original soundtrack.

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.

[377] In 1979, Martin 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.

[380] In 1997–98, Martin hosted a three-part BBC co-produced documentary series titled The Rhythm of Life, in which he discussed various aspects of musical composition with professional musicians and singers, among them Brian Wilson, Billy Joel, and Celine Dion.

[384] The film, with over 50 minutes of extra footage, including interviews from Rick Rubin, T-Bone Burnett and Ken Scott, was released worldwide by Eagle Rock Entertainment on DVD and Blu-ray on 10 September 2012.

In the mid-1970s, Martin's hearing started to decline;[394] in an interview with the Institute of Professional Sound, he stated that he first noticed it when realizing that he couldn't detect high frequencies that an engineer was using to evaluate tonality.

A memorial service was held on 11 May at St Martin-in-the-Fields, attended by, among others, Paul McCartney, Ringo Starr, Yoko Ono, Olivia Harrison, Elton John, Bernard Cribbins, and former colleagues.