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Abbey Road (album)From Wikipedia, the free encyclopedia
Abbey Road is the eleventh official U.K. album and seventeenth U.S. album released by The Beatles. Though work on Abbey Road began in April 1969, making it the final album recorded by the band, Let It Be was the last album released before the Beatles’ dissolution in 1970. Abbey Road was released on 26 September 1969 in the United Kingdom, and 1 October 1969 in the United States. It was produced and orchestrated by George Martin for Apple Records. Geoff Emerick was engineer, Alan Parsons was assistant engineer, and Tony Banks was tape operator. It is regarded as one of The Beatles’ most tightly constructed albums, although the band was barely operating as a functioning unit at the time. Rolling Stone magazine named it the 14th greatest album of all time, even though the magazine initially gave the album a mixed reception: Their November 15, 1969 issue features two very different reviews—a strongly negative one from Ed Ward, who par-ticularly criticizes its overproduction, and a rave review from John Mendelsohn.
GenesisAfter the near-disastrous sessions for the pro-posed Get Back album (later retitled Let It Be) Paul McCartney suggested to Martin the group get together and make an album “the way we used to” free of the conflict that began with the ses-sions for The White Album. Martin agreed, stipu-lating that he must be allowed to do the album his way. In their interviews for the Beatles Anthol-ogy series the surviving band members stated they knew at the time this would very likely be the final Beatles product and therefore agreed to set aside their differences and ‘go out on a high note’. With the Let It Be album partly finished, the sessions for Abbey Road began in April, as the “Ballad of John and Yoko”/”Old Brown Shoe” single was completed. In fact recording sessions of John Lennon’s “I Want You (She’s So Heavy)” had started already in February 1969 in Trident studios with Billy Preston at organ—only three weeks after the Get Back sessions. Photos from these sessions are included in the book Get Back which came along with the Let It Be album but not in the Let It Be movie. Paul is shaved and John has started to let his beard grow.Most of the album was recorded between 2 July and 1 August 1969. After the album was finished and released, the Get Back / Let It Be project was re-examined. More work was done on the album, including the recording of additional music (see Let It Be). Thus, though the bulk of Let It Be was recorded prior to Abbey Road, the latter was released first, and Abbey Road properly was
the last album started by The Beatles before they disbanded. In September 1969, just shortly before the release of the album, Lennon was on hiatus from the group with the Plastic Ono Band, effec-tively being the first official sign of dissolution.The two album sides are quite different in charac-ter. Side one is a collection of single tracks, while side two consists of a long suite of compositions, many of them being relatively short and segued together. The main impetus behind the suite ap-proach was to incorporate the various short and incomplete Lennon and McCartney compositions the group had available into an effective part of the album.
SuccessAbbey Road became one of the most successful Beatles albums ever. In the UK the album debuted straight at #1. Abbey Road spent its first 11 weeks in the UK charts at #1, and then was knocked off just for 1 week to #2 by the Rolling Stones debut-ing at the top with Let It Bleed. However, the following week—which was the week of Christ-mas—Abbey Road returned to the top for another 6 weeks, completing 17 weeks at the top. In all it spent 92 weeks inside the UK Top 75, making a big re-entry after over 16 years in 31 October 1987, when it was released for the first time on CD and reached #30. In the UK Abbey Road was the best-selling album of 1969 and the fourth best-selling of the entire 1960s, and the eighth best-selling album of 1970.Reaction in the U.S. was similar. The album de-
buted at #178, then moved to #4 and in its third week to #1, spending 11 non-consecutive weeks at the top, but was not the best-selling album during the Christmas week. Abbey Road spent a total of 129 weeks in the Billboard 200, re-enter-ing the chart at #69 on 14 November 1987 when it was released for the first time on CD. It was the 4th best-selling album of 1970 in the US and is now certified 12x platinum by the RIAA.
Production notesAbbey Road was the only Beatles album mainly recorded on an 8-track tape machine, rather than the 4-track machines that were used for prior Beatles albums starting with the single I Want To Hold Your Hand in 1963 and the album A Hard Day’s Night in 1964. This is noticeable in the better sound separation and mixing of the drum kit. EMI’s conservative management had not yet approved the use of their then-new 8-track Studer deck, and that accounts for why this was one of the rare Beatles albums to be recorded at three different studios (Trident, Olympic, and Abbey Road). The album was also the first to be recorded and mixed entirely on a solid state sound board, giving the album’s sound a notice-ably different “feel” from its predecessors; Har-rison later remarked that the new sound was too “harsh” for his liking. Also, the Moog synthesizer is featured on the majority of tracks, not merely as a background effect, but sometimes playing a central role, as in “Because” where it is used for the middle 8. It is also prominent on “Maxwell’s
Silver Hammer” and “Here Comes the Sun”. The instrument was introduced to the band by Har-rison after a stay in Los Angeles where he was introduced to the instrument. (The first landmark pop song to employ the Moog was “Daily Nightly” by The Monkees.) Earlier in 1969, Harrison had re-leased Electronic Sound, which featured dissonant sounds entirely made from a Moog, on Apple’s short-lived experimental label Zapple.
Album cover photograph“At some point, the album was going to be titled Everest after the brand of cigarettes I used to smoke,” recalls Geoff Emerick. The idea included a cover photo in the Himalayas but by the time the group was to take the photo they decided to call it Abbey Road and take the photo outside the studio on 8 August 1969. The cover designer was Apple Records creative director Kosh. The cover photograph was taken by photographer Iain Macmillan. Macmillan was given only ten minutes around 11:30 that morning to take the photo on a zebra crossing on Abbey Road. That cover photo-graph has since become one of the most famous and most imitated album covers in recording history. McCartney is bare-footed and out of step with the other three. The man standing on the pavement in the background is Paul Cole (1911? - 13 February 2008), an American tourist unaware he had been photographed until he saw the album cover months later. The zebra crossing today re-mains a popular destination for Beatles fans; see the Abbey Road webcam
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COME TOGETHER(Lennon/McCartney)
JOHN 1969: “’Come Together’ changed at the ses-sion. We said, ‘Let’s slow it down. Let’s do this to it, let’s do that to it,’ and it ends up however it comes out. I just said, ‘Look, I’ve got no arrange-ment for you, but you know how I want it.’ I think that’s partly because we’ve played together a long time. So I said, ‘Give me something funky and set up a beat, maybe.’ And they all just joined in.”
PAUL 1969: “On the new album I like ‘Come To-gether,’ which is a great one of John’s.”
GEORGE 1969: “Come Together” was one of the last ones to be recorded. John was in an (auto-mobile) accident, so he was off for a period of time. Then when we got back, which was only a week or so before we finished the album, we did this one. I think he wrote it only a month or so ago, so it’s very new. It’s sort of twelve-bar type of tune, and it’s one of the nicest sounds we’ve got, actually. Nice drumming from Ringo. And it’s sort of up-tempo. I suppose you’d call it a rocker. Rocker-beat-a-boogie.”
JOHN 1980: “’Come Together’ is me-- writing ob-scurely around an old Chuck Berry thing. I left the line ‘Here comes old flat-top.’ It is nothing like the Chuck Berry song, but they took me to court because I admitted the influence once years ago. I could have changed it to ‘Here comes old iron face,’ but the song remains independent of Chuck Berry or anybody else on earth. The thing was created in the studio. It’s gobbledygook-- ‘Come Together’ was an expression that Tim Leary had come up with for his attempt at being president or whatever he wanted to be, and he asked me to write a campaign song. I tried and I tried, but I couldn’t come up with one. But I came up with this, ‘Come Together,’ which would’ve been no good to him-- you couldn’t have a campaign song like that, right? Leary attacked me years later, saying I ripped him off. I didn’t rip him off. It’s just that it turned into ‘Come Together.’ What am I going to do, give it to him? It was a funky record-- it’s one of my favorite Beatle tracks, or, one of my favorite Lennon tracks, let’s say that. It’s funky, it’s bluesy, and I’m singing it pretty well. I like the sound of the record. You can dance to it. I’ll buy it!” (laughs)
SOMETHING(Harrison)
JOHN 1969: “I think that’s about the best track on the album, actually.”
PAUL 1969: “I like George’s song ‘Something.’ For me I think it’s the best he’s written.”GEORGE 1969: “I wrote the song ‘Something’ for the album before this one, but I never finished it off until just recently. I usually get the first few lines of words and music together, both at once... and then finish the rest of the melody. Then I have to write the words. It’s like another song I wrote when we were in India. I wrote the whole first verse and just said everything I wanted to say, and so now I need to write a couple more verses. I find that much more difficult. But John gave me a handy tip. He said, ‘Once you start to write a song, try to finish it straight away while you’re still in the same mood.’ Sometimes you go back to it and you’re in a whole different state of mind. So now, I do try to finish them straight away.”
GEORGE 1969: “I could never think of words for it. And also because there was a James Taylor song called ‘Something In The Way She Moves’ which is the first line of that. And so then I thought of trying to change the words, but they were the words that came when I first wrote it, so in the end I just left it as that, and just called it Something. When I wrote it, I imagined somebody like Ray Charles doing it. That’s the feel I imag-ined, but because I’m not Ray Charles, you know, I’m sort of much more limited in what I can do, then it came out like this. It’s nice. It’s probably the nicest melody tune that I’ve written.”
GEORGE 1980: “’Something’ was written on the piano while we were making the White Album. I had a break while Paul was doing some overdub-bing so I went into an empty studio and began to write. That’s really all there is to it, except the middle took some time to sort out. It didn’t go on the White Album because we’d already finished all the tracks.”
MAXWELL’S SILVER HAMMER(Lennon/McCartney)
JOHN 1969: “He (Paul) did quite alot of work on it. I was ill after the (automobile) accident while they did most of the track, and I believe he really ground George and RIngo into the ground record-ing it. We spent more money on that song than any of them on the whole album, I think.”
GEORGE 1969: “Maxwell’s Silver Hammer is just something of Paul’s which we’ve been trying to record. We spent a hell of a lot of time on it. And it’s one of those instant sort of whistle-along tunes, which some people will hate, and some people will really love it. It’s more like Honey Pie, you know, a fun sort of song. But it’s pretty sick as well though, ‘cuz the guy keeps killing every-body. But that’s one of the tunes we use synthe-sizer on, which is pretty effective on this.”
PAUL circa-1994: “’Maxwell’s Silver Hammer’ is my analogy for when something goes wrong out of the blue, as it so often does, as I was begin-
ning to find out at that time in my life. I wanted something symbolic of that, so to me it was some fictitious character called Maxwell with a silver hammer. I don’t know why it was silver, it just sounded better than Maxwell’s hammer. It was needed for scanning. We still use that expression now when something unexpected happens.” OH! DARLING(Lennon/McCartney)
JOHN 1980: “’Oh! Darling’ was a great one of Paul’s that he didn’t sing too well. I always thought that I could’ve done it better-- it was more my style than his. He wrote it, so what the hell, he’s going to sing it. If he’d had any sense he should have let me sing it.” (laughs)
PAUL circa-1994: “I mainly remember wanting to get the vocal right, wanting to get it good, and I ended up trying each morning as I came into the recording session. I tried it with a hand mike, and I tried it with a standing mike, I tried it every which way, and finally got the vocal I was reasonably happy with. It’s a bit of a belter and if it comes off lukewarm then you’ve missed the whole point. It was unusual for me-- I would nor-mally try all the goes at a vocal in one day.”
OCTOPUS’S GARDEN(Starkey)
GEORGE 1969: “’Octopus’s Garden’ is Ringo’s
song. It’s only the second song Ringo wrote, and it’s lovely. Ringo gets bored playing the drums, and at home he plays a bit of piano, but he only knows about three chords. He knows about the same on guitar. I think it’s a really great song, because on the surface, it just like a daft kids’ song, but the lyrics are great. For me, you know, I find very deep meaning in the lyrics, which Ringo probably doesn’t see, but all the thing like ‘rest-ing our head on the sea bed’ and ‘We’ll be warm beneath the storm’ which is really great, you know. Because it’s like this level is a storm, and if you get sort of deep in your consciousness, it’s very peaceful. So Ringo’s writing his cosmic songs without noticing.”
RINGO 1981: “He (a ship captain) told me all about octopuses-- how they go ‘round the sea bed and pick up stones and shiny objects and build gardens. I thought, ‘How fabulous!’ because at the time I just wanted to be under the sea, too. I wanted to get out of it for a while.”
I WANT YOU (SHE’S SO HEAVY)(Lennon/McCartney)
GEORGE 1969: “It’s very heavy. John plays lead guitar and sings the same as he plays. It’s really basically a bit like a blues. The riff that he sings and plays is really a very basic blues-type thing. But again, it’s very original sort of John-type song. And the middle bit’s great. John has an amazing thing with his timing. He always comes
across with sort of different timing things, for example All You Need Is Love, which just sort of skips beats out and changes from three-four to four-four, all in and out of each other. But when you question him as to what it is, he doesn’t know. He just does it naturally. And this has got... the bridge section of this is a bit like that. And it’s got a really very good chord sequence that he uses.”
JOHN 1969: “We used a Moog synthesizer on the end. That machine can do all sounds and all ranges of sound.”
JOHN 1971: “Simplicity is evident in ‘She So Heavy.’ In fact a reviewer wrote: ‘He seems to have lost his talent for lyrics, it’s so simple and boring.’ When it gets down to it-- when you’re drowning, you don’t say ‘I would be incredibly pleased if someone would have the foresight to notice me drowning and come and help me,’ you just scream.”
JOHN 1980: “That’s me, about Yoko.”
HERE COMES THE SUN(Harrison)
GEORGE 1969: “It was written on a nice sunny day this early summer, in Eric Clapton’s garden. We’d been through hell with business, and on that day I just felt as though I was sagging off, like from school, it was like that. I just didn’t come in one
day. And just the release of being in the sun and it was just a really nice day. And that song just came. It’s a bit like If I Needed Someone, you know, like that basic sort of riff going through it is the same as all those ‘Bells Of Rhymney’ sort of Byrd-type things.”
GEORGE 1980: “...written at a time when Apple was getting like school, where we had to go and be businessmen-- all this signing accounts, and ‘sign this’ and ‘sign that.’ Anyway, it seems as if winter in England goes on forever; by the time spring comes you really deserve it. So one day I decided, ‘I’m going to sag-off Apple,’ and I went over to Eric Clapton’s house. I was walking in his garden. The relief of not having to go and see all those dopey accountants was wonderful. And I was walking around the garden with one of Eric’s acoustic guitars, and wrote ‘Here Comes The Sun.’”
BECAUSE(Lennon/McCartney)
JOHN 1969: “I’ve just written a song called ‘Be-cause.’ Yoko was playing some classical bit, and I said ‘Play that backwards,’ and we had a tune. We’ll probably write a lot more in the future.
PAUL 1969: “I like John’s ‘Because’ on the second side. To say, ‘Because the world is round it turns me on’ is great. And ‘Because the wind is high it blows my mind.’”
GEORGE 1969: “’Because’ is one of the most beautiful tunes. It’s three-part harmony, John, Paul and George all sing it together. John wrote this tune. The backing is a bit like Beethoven. And three-part harmony right throughout. Paul usually writes the sweeter tunes, and John writes the, sort of, more the rave-up things, or the freakier things. But John’s getting to where he doesn’t want to. He just wants to write twelve-bars. But you can’t deny it, I think this is possibly my fa-vorite one on the album. The lyrics are so simple. The harmony was pretty difficult to sing. We had to really learn it. But I think that’s one of the tunes that will impress most people. It’s really good.”
JOHN 1980: “I was lying on the sofa in our house, listening to Yoko play Beethoven’s ‘Moonlight Sonata’ on the piano. Suddenly, I said, ‘Can you play those chords backward?’ She did, and I wrote ‘Because’ around them. The song sounds like ‘Moonlight Sonata,’ too. The lyrics are clear, no bullshit, no imagery, no obscure references.”
YOU NEVER GIVE ME YOUR MONEY(Lennon/McCartney)
GEORGE 1969: “Then begins the sort of big med-ley of Paul and John’s songs all shoved together. You have to hear this, because it does like two verses of one tune. And then the bridge of it is like a different song all together.”
PAUL 1988: “We wanted to dabble, and I had a bit of fun making some of the songs fit together, with key changes (into the long medley). That was nice. It worked out well.”
SUN KING(Lennon/McCartney)
JOHN 1969: “We just started joking, you know, singing `quando para mucho.´ So we just made up... Paul knew a few Spanish words from school, you know. So we just strung any Spanish words that sounded vaguely like something. And of course we got `chicka ferdy´ in. That´s a Liv-erpool expression. Just like sort of-- it doesn´t mean anything to me but (childish taunting) `na-na, na-na-na!´ `Cake and eat it´ is another nice line too, because they have that in Spanish-- ‘Que’ or something can eat it. One we missed-- we could have had ‘para noya,’ but we forgot all about it.”
JOHN 1980: “That’s a piece of garbage I had around.”
GEORGE 1987: “At the time, ‘Albatross’ (by Fleet-wood Mac) was out, with all the reverb on guitar. So we said, ‘Let’s be Fleetwood Mac doing Alba-tross, just to get going.’ It never really sounded like Fleetwood Mac... but that was the point of origin.”
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