Come Together 04:2002. Something (George Harrison) 03:0203. Maxwell’s Silver Hammer 03:2804. Darling 03:2705. Octopus’s Garden (Richard Starkey) 02:5106. I Want You She’s So Heavy 07:4707.
Here Comes the Sun (George Harrison) 03:0608. Because 02:4609. You Never Give Me Your Money 04:0310. Sun King 02:2611. Mustard 01:0612.
Polythene Pam 01:1313. She Came in Through the Bathroom Window 01:5914.
Golden Slumbers 01:3115. Carry That Weight 01:3616.
The End 02:2217. Her Majesty 00:25All songs written by John Lennon / Paul McCartney unless indicated otherwise. Exact Audio Copy V1.3 from 2. September 2016EAC extraction logfile from 28.
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Goodbye Home Demo 02:2403. Something Studio Demo (George Harrison) 03:3704. The Ballad Of John And Yoko Take 7 03:3805.
Old Brown Shoe Take 2 (George Harrison) 03:1606. Darling Take 4 03:3107. Octopus’s Garden Take 9 (Richard Starkey) 01:4308.
You Never Give Me Your Money Take 36 05:1809. Her Majesty Takes 1-3 01:3410. Golden Slumbers - Carry That Weight Takes 1-3 - Medley 03:2111. Here Comes The Sun Take 9 (George Harrison) 03:4112. Maxwell’s Silver Hammer Take 12 04:44All songs written by John Lennon / Paul McCartney unless indicated otherwise. Exact Audio Copy V1.3 from 2. September 2016EAC extraction logfile from 28.
REM GENRE 'Retrospective Pop'REM DATE 2019REM DISCID 880A410CREM COMMENT 'ExactAudioCopy v1.3'CATALOG 093PERFORMER 'The Beatles'TITLE 'Abbey Road (Disc 2: Sessions) Super Deluxe Edition'REM COMPOSER 'John Lennon / Paul McCartney'FILE '01. I Want You (She's So Heavy) Trident Recording Session & Reduction Mix.wav' WAVETRACK 01 AUDIOTITLE 'I Want You (She's So Heavy) Trident Recording Session & Reduction Mix'PERFORMER 'The Beatles'REM COMPOSER 'John Lennon / Paul McCartney'ISRC GBUM71903346INDEX 01 00:00:00TRACK 02 AUDIOTITLE 'Goodbye Home Demo'PERFORMER 'The Beatles'REM COMPOSER 'John Lennon / Paul McCartney'ISRC GBUM71903347INDEX 00 06:57:63FILE '02. Goodbye Home Demo.wav' WAVEINDEX 01 00:00:00TRACK 03 AUDIOTITLE 'Something Studio Demo'PERFORMER 'The Beatles'REM COMPOSER 'George Harrison'ISRC GBUM71903348INDEX 00 02:21:71FILE '03. Something Studio Demo.wav' WAVEINDEX 01 00:00:00TRACK 04 AUDIOTITLE 'The Ballad Of John And Yoko Take 7'PERFORMER 'The Beatles'REM COMPOSER 'John Lennon / Paul McCartney'ISRC GBUM71903349INDEX 00 03:35:35FILE '04. The Ballad Of John And Yoko Take 7.wav' WAVEINDEX 01 00:00:00TRACK 05 AUDIOTITLE 'Old Brown Shoe Take 2'PERFORMER 'The Beatles'REM COMPOSER 'George Harrison'ISRC GBUM71903350INDEX 00 03:35:67FILE '05. Old Brown Shoe Take 2.wav' WAVEINDEX 01 00:00:00TRACK 06 AUDIOTITLE 'Oh! Darling Take 4'PERFORMER 'The Beatles'REM COMPOSER 'John Lennon / Paul McCartney'ISRC GBUM71903351INDEX 00 03:14:05FILE '06.
Darling Take 4.wav' WAVEINDEX 01 00:00:00TRACK 07 AUDIOTITLE 'Octopus's Garden Take 9'PERFORMER 'The Beatles'REM COMPOSER 'Richard Starkey'ISRC GBUM71903352INDEX 00 03:28:72FILE '07. Octopus's Garden Take 9.wav' WAVEINDEX 01 00:00:00TRACK 08 AUDIOTITLE 'You Never Give Me Your Money Take 36'PERFORMER 'The Beatles'REM COMPOSER 'John Lennon / Paul McCartney'ISRC GBUM71903353INDEX 00 01:41:18FILE '08. You Never Give Me Your Money Take 36.wav' WAVEINDEX 01 00:00:00TRACK 09 AUDIOTITLE 'Her Majesty Takes 1-3'PERFORMER 'The Beatles'REM COMPOSER 'John Lennon / Paul McCartney'ISRC GBUM71903354INDEX 00 05:16:09FILE '09. Her Majesty Takes 1-3.wav' WAVEINDEX 01 00:00:00TRACK 10 AUDIOTITLE 'Golden Slumbers - Carry That Weight Takes 1-3 - Medley'PERFORMER 'The Beatles'REM COMPOSER 'John Lennon / Paul McCartney'ISRC GBUM71903355INDEX 00 01:32:13FILE '10. Golden Slumbers - Carry That Weight Takes 1-3 - Medley.wav' WAVEINDEX 01 00:00:00TRACK 11 AUDIOTITLE 'Here Comes The Sun Take 9'PERFORMER 'The Beatles'REM COMPOSER 'John Lennon / Paul McCartney'ISRC GBUM71903356INDEX 00 03:18:56FILE '11. Here Comes The Sun Take 9.wav' WAVEINDEX 01 00:00:00TRACK 12 AUDIOTITLE 'Maxwell's Silver Hammer Take 12'PERFORMER 'The Beatles'REM COMPOSER 'John Lennon / Paul McCartney'ISRC GBUM71903357INDEX 00 03:39:16FILE '12. Maxwell's Silver Hammer Take 12.wav' WAVEINDEX 01 00:00:00.
Come Together Take 5 03:3002. The End Take 3 02:1103. Come and Get It Studio Demo (Paul McCartney) 02:4304. Sun King Take 20 03:1405. Mustard Take 20 01:3406. Polythene Pam Take 27 01:3907. She Came in Through the Bathroom Window Take 27 02:0608.
Because Take 1 03:0809. The Long One Trial Edit & Mix – 30 July 1969 16:1010. Something Take 39 / Instrumental / Strings Only (George Harrison) 02:4211.
Golden Slumbers / Carry That Weight Take 17 / Instrumental / Strings & Brass Only 03:17All songs written by John Lennon / Paul McCartney unless indicated otherwise. Exact Audio Copy V1.3 from 2. September 2016EAC extraction logfile from 28. REM GENRE 'Classic Rock'REM DATE 2019REM DISCID 8109E60BREM COMMENT 'ExactAudioCopy v1.3'CATALOG 100PERFORMER 'The Beatles'TITLE 'Abbey Road 50th Anniversary Disc 3: Sessions 'REM COMPOSER 'John Lennon / Paul McCartney'FILE '01. Come Together Take 5.wav' WAVETRACK 01 AUDIOTITLE 'Come Together Take 5'PERFORMER 'The Beatles'REM COMPOSER 'John Lennon / Paul McCartney'ISRC GBUM71903358INDEX 01 00:00:00TRACK 02 AUDIOTITLE 'The End Take 3'PERFORMER 'The Beatles'REM COMPOSER 'John Lennon / Paul McCartney'ISRC GBUM71903359INDEX 00 03:28:29FILE '02. The End Take 3.wav' WAVEINDEX 01 00:00:00TRACK 03 AUDIOTITLE 'Come and Get It Studio Demo'PERFORMER 'The Beatles'REM COMPOSER 'Paul McCartney'ISRC GBUM71903389INDEX 00 02:09:24FILE '03. Come and Get It Studio Demo.wav' WAVEINDEX 01 00:00:00TRACK 04 AUDIOTITLE 'Sun King Take 20'PERFORMER 'The Beatles'REM COMPOSER 'John Lennon / Paul McCartney'INDEX 00 02:41:00FILE '04.
Sun King Take 20.wav' WAVEINDEX 01 00:00:00FILE '05. Mustard Take 20.wav' WAVETRACK 05 AUDIOTITLE 'Mean Mr.
Mustard Take 20'PERFORMER 'The Beatles'REM COMPOSER 'John Lennon / Paul McCartney'ISRC GBUM71903388INDEX 01 00:00:00TRACK 06 AUDIOTITLE 'Polythene Pam Take 27'PERFORMER 'The Beatles'REM COMPOSER 'John Lennon / Paul McCartney'ISRC GBUM71903361INDEX 00 01:32:40FILE '06. Polythene Pam Take 27.wav' WAVEINDEX 01 00:00:00FILE '07. She Came in Through the Bathroom Window Take 27.wav' WAVETRACK 07 AUDIOTITLE 'She Came in Through the Bathroom Window Take 27'PERFORMER 'The Beatles'REM COMPOSER 'John Lennon / Paul McCartney'ISRC GBUM71903390INDEX 01 00:00:00TRACK 08 AUDIOTITLE 'Because Take 1'PERFORMER 'The Beatles'REM COMPOSER 'John Lennon / Paul McCartney'ISRC GBUM71903362INDEX 00 02:04:24FILE '08. Because Take 1.wav' WAVEINDEX 01 00:00:00TRACK 09 AUDIOTITLE 'The Long One Trial Edit & Mix – 30 July 1969'PERFORMER 'The Beatles'REM COMPOSER 'John Lennon / Paul McCartney'ISRC GBUM71903363INDEX 00 03:05:57FILE '09. The Long One Trial Edit & Mix – 30 July 1969.wav' WAVEINDEX 01 00:00:00TRACK 10 AUDIOTITLE 'Something Take 39 / Instrumental / Strings Only'PERFORMER 'The Beatles'REM COMPOSER 'George Harrison'ISRC GBUM71903364INDEX 00 16:08:53FILE '10. Something Take 39, Instrumental, Strings Only.wav' WAVEINDEX 01 00:00:00TRACK 11 AUDIOTITLE 'Golden Slumbers / Carry That Weight Take 17 / Instrumental / Strings & Bras.'
PERFORMER 'The Beatles'REM COMPOSER 'John Lennon / Paul McCartney'ISRC GBUM71903365INDEX 00 02:39:72FILE '11. Golden Slumbers, Carry That Weight Take 17, Instrumental, Strings & Brass Only.wav' WAVEINDEX 01 00:00:00. Conventional wisdom holds that the Beatles intended Abbey Road as a grand farewell, a suspicion seemingly confirmed by the elegiac note Paul McCartney strikes at the conclusion of its closing suite. It’s hard not to interpret “And in the end / the love you take / is equal to the love you make” as a summation not only of Abbey Road but perhaps of the group’s entire career, a lovely final sentiment. The truth is perhaps a bit messier than this. The Beatles had tentative plans to move forward after the September 1969 release of Abbey Road, plans that quickly fell apart at the dawn of the new decade, and while the existence of that goal calls into question the intentionality of the album as a finale, it changes not a thing about what a remarkable goodbye the record is.
In many ways, Abbey Road stands apart from the rest of the Beatles’ catalog, an album that gains considerable strength from its lush, enveloping production—a recording so luxuriant, it glosses over aesthetic differences between the group’s main three songwriters and ties together a series of disconnected unfinished songs into a complete suite. Pepper pioneered such mind-bending aural techniques, Abbey Road truly seized the possibilities of the studio and, in doing so, pointed the way forward to the album rock era of the 1970s. Many of the studio tricks arrive during that brilliant suite of songs, a sequence that lasts nearly a full side of an album.
Here, McCartney’s playful eccentricity juts against John Lennon’s curdled cynicism, while the band thrills in sudden changes of mood and plays plenty of guitar, culminating in McCartney, Lennon, and George Harrison trading solos on “The End.” The depth of sonic detail within “You Never Give Me Your Money” and “She Came in Through the Window” provided ideas for entire subgenres of pop in the ’70s, but Abbey Road also contains a handful of the most enduring Beatles songs, each adding a new emotional maturity to their catalog. The subdued boogie of Lennon’s “Come Together” contains a sensuality previously unheard in the Beatles—it’s matched by “Because,” which may be the best showcase for the group’s harmonies—Harrison’s “Something” is a love ballad of unusual sensitivity, and his “Here Comes the Sun” is incandescent, perhaps his purest expression of joy. As good as these individual moments are, what makes Abbey Road transcendent is how the album is so much greater than the sum of its parts.
A single song or segment can be dazzling, but having a succession of marvelous, occasionally intertwined moments is not only a marvel but indeed a summation of everything that made the Beatles great.If the Anniversary Edition of Abbey Road may seem a bit underwhelming in comparison to its Sgt. Pepper and White Album companions, that speaks not to the quality of the reissue but the source material. Where the original stereo mixes of both Pepper and the White Album weren’t as considered as the original mono mixes, thereby giving producer Giles Martin the opportunity to replicate the feel of mono in a new stereo mix, Abbey Road was given a state-of-the-art stereo mix—one that pioneered many lush studio innovations that helped shape the sound of the 1970s.
On the margins, the original mix sounded dated, but its enduring influence also meant that it wasn’t a ripe candidate for a radical new remix. Thankfully, Martin resists the urge to fiddle with Abbey Road.
His new stereo mix feels like a fresh, vivid rendition of the original, one where the colors are bright and bold but not saturated. Listen closely and it’s possible to discern shifts in placement of the rhythm section, accentuated echo—or in the case of “Oh Darling,” an absence of echo—boosted harmonies, buried guitar lines, or a wider soundscape, but the remix is so absorbing, it doesn’t invite nitpicking.The alternate takes, demos, studio sessions, and chatter that fill out the two bonus CDs also aren’t heavy on surprises. There is only one cut that could qualify as being unheard as a Beatles song—“Goodbye,” an acoustic demo of a sweet, poignant tune Paul McCartney wrote for Mary Hopkin—although it’s possible the “trial edit” of “The Long One,” aka the closing suite on the second side, may also count in this category. “The Long One” does insert “Her Majesty” into its original slot following “Mr. Mustard” and preceding “Polythene Pam,” a placement that sounds clumsy and only underscores that the Beatles’ original decision was their best decision. That’s the case with all the outtakes on Abbey Road: they’re interesting, but they ultimately confirm that the group put their best material on the final LP. Despite this, there are still plenty of small moments that make this Anniversary Edition worth hearing, whether it’s John Lennon’s raw rasp on “Come Together,” George Harrison pulling “Something” into shape on the studio demo, or Paul McCartney’s directions on “Maxwell’s Silver Hammer,” which sounds not quite as cloying stripped of its overdubs.
Perhaps these moments won’t make for regular listening, but they are worthwhile additions to the historical record, as they give a good sense of how the Beatles worked in the studio. (Stephen Thomas Erlewine, AllMusic).
Release Name: TheBeatles-AbbeyRoad-ANNIVERSARYEDITION-2CD-FLAC-2019-401Artist: The BeatlesAlbum: Abbey RoadGenre: RockYear: 2019Tracks: 16Duration: 01:39:05Size: 569.29 MBThis is the first time Abbey Road has been remixed and presented with additional session recordings and demos. To create Abbey Road’s new stereo mixes, Giles Martin and Sam Okell worked with an expert team of engineers and audio restoration specialists at Abbey Road Studios.The Deluxe 2CD set pairs the new stereo mix, sourced directly from the original eight-track session tapes with versions taken from the session takes and demo recordings of its 17 songs, sequenced to match the album’s running order. The two discs are presented in a digipak with a 40-page booklet.Tracklist:. The Beatles – Come Together – 4:20 (812 kbps, 25.19 MB). The Beatles – Something – 3:02 (837 kbps, 18.19 MB). The Beatles – Maxwell’s Silver Hammer – 3:28 (864 kbps, 21.42 MB).
The Beatles – Oh!
. ' / 'Released: 6 October 1969Abbey Road is the eleventh studio album by English rock band, released on 26 September 1969.
The recording sessions were the last in which all four Beatles participated. Was the final album that the Beatles completed and released before the in April 1970, but most of the album had been recorded before the Abbey Road sessions began. The album's cover features the four band members walking across a outside and has become one of the most famous and imitated images in.The album incorporates genres such as, and and makes use of the and the. Side two contains a medley of song fragments edited together to form a single piece. The album was recorded amid a more enjoyable atmosphere than the Get Back/Let It Be sessions earlier in the year, but there were still frequent disagreements within the band.
Had privately left the group by the time that the album was released, and publicly quit the following year.Abbey Road was an immediate commercial success and reached number one in the UK and US, although it initially received mixed reviews, with some critics describing its music as inauthentic and bemoaning the production's artificial effects. The two-sided hit single from the album, ' backed with ', was released in October and topped the Billboard Hot 100 chart in the United States. 's contributions in 'Something' and ' are considered to be among the best songs that he wrote for the group.
The album is ranked as one of the Beatles' best-selling, including a multi-platinum certification by the, and continues to attract critical praise. Contents.Background After the tense and unpleasant recording sessions for the proposed album, suggested to music producer that the group get together and make an album 'the way we used to do it', free of the conflict that had begun during sessions for (also known as the 'White Album'). Martin agreed, but on the strict condition that all the group – particularly – allow him to produce the record in the same manner as earlier albums and that discipline would be adhered to.The first sessions for Abbey Road began on 22 February 1969, only three weeks after the Get Back sessions, in. There, the group recorded a backing track for ' with accompanying them on. No further group recording occurred until April because of 's commitments on the film. After a small amount of work that month and a session for ' on 6 May, the group took an eight-week break before recommencing on 2 July.
Recording continued through July and August, with the last backing track, for ', being taped on 1 August. Overdubs continued through the month, with the final sequencing of the album coming together on 20 August – the last time all four Beatles were present in a studio together.McCartney, Starr and Martin have reported positive recollections of the sessions, while George Harrison said, 'we did actually perform like musicians again'. Lennon and McCartney had enjoyed working together on the non-album single ' in April, contributing friendly banter between takes, and some of this camaraderie carried over to the Abbey Road sessions. Nevertheless, there was a significant amount of tension in the group.
According to author, McCartney had an acrimonious argument with Lennon during the sessions. Lennon's wife, had become a permanent presence at Beatles' recordings and clashed with other members.
Halfway through recording in June, Lennon and Ono were involved in a car accident. A doctor told Ono to rest in bed, so Lennon had one installed in the studio so she could observe the recording process from there.The album's two-halves represented a compromise; Lennon wanted a traditional release with distinct and unrelated songs while McCartney and Martin wanted to continue their thematic approach from by incorporating a medley. Lennon ultimately said that he disliked Abbey Road as a whole and felt that it lacked authenticity, calling McCartney's contributions 'music for the grannies to dig' and not 'real songs' and describing the medley as 'junk. Just bits of songs thrown together'.
During the sessions, Lennon expressed a desire to have all of his songs on one side of the album, with McCartney's on the other.Nobody was entirely sure that the work was going to be the group's last, though Harrison said 'it felt as if we were reaching the end of the line'. After Abbey Road was released, the Get Back project (by now retitled ) was re-examined, and work on it continued into 1970.
Therefore, Let It Be became the last album to be finished and released by the Beatles, even though its recording had begun before Abbey Road.By September 1969, after the recording of Abbey Road, Lennon had formed a new group, the, in part because the Beatles had rejected his song '. While Harrison worked with such artists as, Preston and through to the end of the year, McCartney took a hiatus from the group after his daughter was born on 28 August. On 20 September, Lennon told the other Beatles he was leaving the group, six days before Abbey Road was released. The single 'Something'/'Come Together' followed in October, while Lennon released the Plastic Ono Band's 'Cold Turkey' the same month. The Beatles did little promotion of Abbey Road directly, and no public announcement was made of the band's split until McCartney announced he was in April 1970.
Composition and recording Side one 'Come Together'. Main article:'Come Together' was an expansion of 'Let's Get It Together', a song Lennon originally wrote for 's campaign against. A rough version of the lyrics for 'Come Together' was written at Lennon's and Ono's second event in Montreal.Beatles author Jonathan Gould suggested that the song has only a single 'pariah-like protagonist' and Lennon was 'painting another sardonic self-portrait'.
MacDonald has suggested that the 'juju eyeballs' has been claimed to refer to and 'spinal cracker' to Ono. The song was later the subject of brought against Lennon by because the opening line in 'Come Together' – 'Here come old flat-top' – was admittedly lifted from a line in 's '. A settlement was reached in 1973 whereby Lennon promised to record three songs from Levy's publishing catalogue for his.' Come Together' was later released as a single with 'Something'. In the liner notes to the compilation album, Martin described the track as 'a simple song but it stands out because of the sheer brilliance of the performers'. 'Something'. Main article:Harrison was inspired to write 'Something' during sessions for the White Album by listening to label-mate 's ' from his album.
After the lyrics were refined during the Let It Be sessions (tapes reveal Lennon giving Harrison some songwriting advice during its composition), the song was initially given to, but was subsequently recorded for Abbey Road. Cocker's version appeared on his album that November.'
Abbey Road The Beatles
Something' was Lennon's favourite song on the album, and McCartney considered it the best song Harrison had written. Though the song was written by Harrison, once commented that it was his favourite composition and 'the greatest love song ever written'. Lennon contributed piano to the recording and while most of the part was removed, traces of it remain in the final cut, notably on the, prior to Harrison's guitar solo.The song was issued as a double A-side single with 'Come Together' in October 1969 and topped the US charts for one week, becoming the first Beatles number-one single that was not a Lennon–McCartney composition; it was also the first Beatles single from an already released album in the UK. Apple's filmed a promotional video, which combined separate footage of the Beatles and their wives. 'Maxwell's Silver Hammer'. Main article:'Maxwell's Silver Hammer', McCartney's first song on the album, was first performed by the Beatles during the Let It Be sessions (as can be seen in the ).
He wrote the song after the group's in 1968 and wanted to record it for the White Album, but it was rejected by the others as 'too complicated'.The recording was fraught with tension between band members, as McCartney annoyed others by insisting on a perfect performance. The track was the first Lennon was invited to work on following his car accident, but he hated it and declined to do so. According to engineer, Lennon said it was 'more of Paul's granny music' and left the session. He spent the next two weeks with Ono and did not return to the studio until the backing track for 'Come Together' was laid down on 21 July. Harrison was also tired of the song, adding 'we had to play it over and over again until Paul liked it. It was a real drag'.
Starr was more sympathetic to the song. 'It was granny music', he admitted, 'but we needed stuff like that on our album so other people would listen to it'. Longtime roadie Mal Evans played the sound in the chorus. This track also makes use of Harrison's, played by McCartney. Darling'. Main article:'Oh! Darling' was written by McCartney in the style, similar to contemporary work.
It was tried at the Get Back sessions, and a version appears on. It was subsequently re-recorded in April, with overdubs in July and August.McCartney attempted recording the lead vocal only once a day. He said: 'I came into the studios early every day for a week to sing it by myself because at first my voice was too clear. I wanted it to sound as though I'd been performing it on stage all week.' Lennon thought he should have sung it, remarking that it was more his style. 'Octopus's Garden'. Main article:As was the case with most of the Beatles' albums, Starr sang lead vocal on one track.
'Octopus's Garden' is his second and last solo composition released on any album by the band. It was inspired by a trip to aboard ' yacht after Starr left the band for two weeks with his family during the sessions for the White Album.
Starr received a full songwriting credit and composed most of the lyrics, though the song's melodic structure was partly written in the studio by Harrison. The pair would later collaborate as writers on Starr's solo singles ', ' and '. 'I Want You (She's So Heavy)'. Played the 's generator to create the 'wind' sounds at the end of 'I Want You (She's So Heavy)'I Want You (She's So Heavy)' was written by Lennon about his relationship with Ono, and he made a deliberate choice to keep the lyrics simple and concise.
Author Tom Maginnis thought the song had a influence, with its unusual length and structure, repeating guitar riff, and effects, though he noted the 'I Want You' section has a straightforward blues structure.The finished song is a combination of two different recording attempts. The first attempt occurred almost immediately after the Get Back/Let It Be sessions, in February 1969, with. This was subsequently combined with a second version made during the Abbey Road sessions proper in April. The two sections together ran to nearly 8 minutes, making it the Beatles' second-longest released track.
Lennon used Harrison's Moog synthesizer with a white noise setting to create a 'wind' effect that was overdubbed on the second half of the track. During the final edit, Lennon told Emerick to 'cut it right there' at 7 minutes and 44 seconds, creating a sudden, jarring silence that concludes the first side of Abbey Road (the recording tape would have run out within 20 seconds as it was).
The final mixing and editing for the track occurred on 20 August 1969, the last day all four Beatles were together in the studio. Side two 'Here Comes the Sun'. Main article:'Here Comes the Sun' was written by Harrison in 's garden in Surrey while Harrison took a break from stressful band business meetings.
The basic track was recorded on 7 July 1969. Harrison sang lead and played acoustic guitar, McCartney provided backing vocals and played bass and Starr played the drums. Lennon was still recuperating from his car accident and did not perform on the track.
Martin provided an orchestral arrangement in collaboration with Harrison, who overdubbed a Moog synthesizer part on 19 August, immediately before the final mix.Though not released as a single, the song attracted attention and critical praise. It has been featured several times on 's, having been chosen by,. The 's Martin Chilton said it was 'almost impossible not to sing along to'. Since digital downloads have become eligible to chart, it reached number 56 in 2010 after the Beatles' back catalogue was released on.Harrison recorded a guitar solo for this track that did not appear in the final mix.
It was rediscovered in 2012, and footage of Martin and Harrison's son listening to it in the studio was released on the DVD of. 'Because'.
Main article:'Because' was inspired by Lennon listening to Ono playing 's ' on the piano. He recalled he was 'lying on the sofa in our house, listening to Yoko play. Suddenly, I said, 'Can you play those chords backward?'
She did, and I wrote 'Because' around them.' The track features three-part harmonies by Lennon, McCartney and Harrison, which were then triple-tracked to give nine voices in the final mix. The group considered the vocals to be some of the hardest and most complex they attempted. Harrison played the Moog synthesizer, and Martin played the that opens the track. The medley of songs on side two finished with 'The End'Side two contains a 16-minute medley of eight short songs, recorded over July and August and blended into a suite by McCartney and Martin. Some songs were written (and originally recorded in demo form) during sessions for the White Album and Get Back / Let It Be, which later appeared on Anthology 3.
While the idea for the medley was McCartney's, Martin claims credit for some structure, adding he 'wanted to get John and Paul to think more seriously about their music'.The first track recorded for the medley was the opening number, '. McCartney has claimed that the band's dispute over and what McCartney viewed as Klein's empty promises were the inspiration for the song's lyrics. However, MacDonald doubts this given that the backing track, recorded on 6 May at, predated the worst altercations between Klein and McCartney. The track is a suite of varying styles, ranging from a piano-led ballad at the start to guitars at the end. Both Harrison and Lennon provided guitar solos with Lennon playing the solos at the end of the track, which Beatles author Walter Everett considers his favourite Lennon guitar contribution.This song transitions into Lennon's ' which, like 'Because', showcases Lennon, McCartney and Harrison's triple-tracked harmonies. Following it are Lennon's ' (written during the Beatles' 1968 trip to India) and '.
These in turn are followed by four McCartney songs, ' (written after a fan entered McCartney's residence via his bathroom window), ' (based on 's 17th-century poem set to new music), ' (reprising elements from 'You Never Give Me Your Money', and featuring chorus vocals from all four Beatles), and closing with '.' The End' features Starr's only drum solo in the Beatles' catalogue (the drums are mixed across two tracks in 'true stereo', unlike most releases at that time where they were hard panned left or right). Fifty-four seconds into the song are 18 bars of lead guitar: the first two bars are played by McCartney, the second two by Harrison, and the third two by Lennon, with the sequence being played three times. Harrison suggested the idea of a guitar solo in the track, Lennon decided they should trade solos and McCartney elected to go first.
The solos were cut live against the existing backing track in one take. Immediately after Lennon's third and final solo, the piano chords of the final part of the song begin. The song ends with the memorable final line, 'And in the end, the love you take is equal to the love you make'. This section was taped separately to the first, and required the piano to be re-recorded by McCartney, which was done on 18 August.
An alternative version of the song, with Harrison's lead guitar solo played against McCartney's (with Starr's drum solo heard in the background), appears on the Anthology 3 album and the 2012 digital-only compilation album. 'Her Majesty'. Main article:'Her Majesty' was recorded by McCartney on 2 July when he arrived before the rest of the group at Abbey Road. It was originally included in a rough mix of the side two (eight-song) medley (known during the recording sessions as 'The Long One' and officially available for the first time on the album's 3CD Super Deluxe edition box set), appearing between 'Mean Mr.
Mustard' and 'Polythene Pam'. McCartney disliked the way the medley sounded when it included 'Her Majesty', so he asked for it to be cut.
The second, John Kurlander, had been instructed not to throw out anything, so after McCartney left, he attached the track to the end of the master tape after 20 seconds of silence. The tape box bore an instruction to leave 'Her Majesty' off the final product, but the next day when mastering engineer Malcolm Davies received the tape, he (also trained not to throw anything away) cut a playback lacquer of the whole sequence, including 'Her Majesty'. The Beatles liked this effect and included it on the album.' Her Majesty' opens with the final, crashing chord of 'Mean Mr. Mustard', while the final note remained buried in the mix of 'Polythene Pam', as a result of being snipped off the reel during a rough mix of the medley on 30 July. The medley was subsequently mixed again from scratch although the song was not touched again and still appears in its rough mix on the album.Original US and UK pressings of Abbey Road do not list 'Her Majesty' on the album's cover nor on the record label, making it a.
The song title appears on the inlay card and disc of the 1987 remastered CD reissue, as track 17. It also appears on the sleeve, booklet and disc of the 2009 remastered CD reissue, but not on the cover or record label of the 2012 vinyl reissue. Unreleased material Three days after the session for 'I Want You (She's So Heavy)', Harrison recorded solo demos of ' (which became the title track of his ), ' and '.
The Beatles Abbey Road Flac Youtube
The latter was re-recorded by the Beatles in April 1969 and issued as the B-side to 'The Ballad of John and Yoko' the following month. All three of these Harrison demos were later featured on Anthology 3.During the sessions for the medley, McCartney recorded ', playing all the instruments. It was assumed to be a for another artist but McCartney later said that he originally intended to put it on Abbey Road.
It was instead covered by, while McCartney's original recording appeared on Anthology 3.The original backing track to ', featuring a piano-led coda, and 'You Never Give Me Your Money', which leads into a fast rock-n-roll, have appeared on. Production. An EMI TG mixing desk, similar to this one, was used in the production of Abbey RoadAbbey Road was recorded on tape machines rather than the four-track machines that were used for earlier Beatles albums such as Sgt Pepper, and was the first Beatles album not to be issued in mono.
The album makes prominent use of the Moog synthesizer, and the guitar played through a Leslie speaker. The Moog is not merely used as a background effect but sometimes plays a central role, as in 'Because' where it is used for the middle eight. It is also prominent on 'Maxwell's Silver Hammer' and 'Here Comes the Sun'. The instrument was introduced to the band by Harrison who acquired one in November 1968 and subsequently used it to create his album. Starr made more prominent use of the on Abbey Road, later saying the album was 'tom-tom madness.
I went nuts on the toms.' Abbey Road was also the first and only Beatles album to be entirely recorded through a mixing desk, the, as opposed to earlier -based desks. The TG console also allowed better support for eight-track, helping the Beatles' considerable use of. Emerick recalls the TG desk used to record the album had individual limiters and compressors on each audio channel and noted the overall sound was 'softer' than the earlier valve desks. In his study of the role of the TG12345 in the Beatles' sound on Abbey Road, music historian observes that 'the expansive sound palette and mixing capabilities of the TG12345 enabled George Martin and Geoff Emerick to imbue the Beatles' sound with greater definition and clarity. The warmth of solid-state recording also afforded their music with brighter and a deeper low-end that distinguished Abbey Road from the rest of their corpus, providing listeners with an abiding sense that the Beatles' final long-player was markedly different, that they ended their career in a new and disparate phase in terms of their sonic capabilities.'
The Beatles Abbey Road Track Listing
Worked as an assistant engineer on the album. He went on to engineer 's landmark album and produce many popular albums himself with. John Kurlander also assisted on many of the sessions, and went on to become a successful engineer and producer, most noteworthy for his success on the scores for the film trilogy.
Album cover The cover was designed by creative director. It is the only original UK Beatles album sleeve to show neither the artist name nor the album title on its front cover, which was Kosh's idea, despite EMI claiming the record would not sell without this information. He later explained that 'we didn't need to write the band's name on the cover. They were the most famous band in the world'.
The, with in the background in 1969The front cover design was a photograph of the group on a zebra crossing based on ideas that McCartney sketched and taken on 8 August 1969 outside on. At 11:35 that morning, photographer was given only ten minutes to take the photo while he stood on a step-ladder and a policeman held up traffic behind the camera. Macmillan took six photographs, which McCartney examined with a magnifying glass before deciding which would be used on the album sleeve.In the image selected by McCartney, the group walk across the street in single file from left to right, with Lennon leading, followed by Starr, McCartney, and Harrison. McCartney is barefoot and out of step with the others. Apart from Harrison, the group are wearing suits designed. A white is to the left of the picture, parked next to the zebra crossing, which belonged to one of the people living in the block of flats across from the recording studio. After the album was released, the number plate (LMW 281F) was stolen repeatedly from the car.
In 1986, the car was sold at auction for £2,530 and in 2001 was on display in a museum in Germany. In 2004, news sources published a claim made by retired American salesman Paul Cole that he was the man standing on the pavement to the right of the picture. On the original cover, McCartney holds a cigarette; in 2003, several US poster companies airbrushed the cigarette out of the image without permission from Apple or McCartney.Shortly after the album's release, the cover became part of the ' theory that was spreading across college campuses in the United States. According to followers of the rumour, the cover depicted the Beatles walking out of a cemetery in a funeral procession. The procession was led by Lennon dressed in white as a religious figure; Starr was dressed in black as the undertaker; McCartney, out of step with the others, was a barefoot corpse; and Harrison dressed in denim was the gravedigger. The left-handed McCartney is holding a cigarette in his right hand, indicating that he is an imposter, and the number plate on the Volkswagen parked on the street is 28IF, meaning that McCartney would have been 28 if he had lived – despite the fact that he was only 27 at the time of the photo and subsequent release of the record.
The escalation of the 'Paul is dead' rumour became the subject of intense analysis on mainstream radio and contributed to Abbey Road 's commercial success in the US. Lennon was interviewed in London by New York's, and he ridiculed the rumour but conceded that it was invaluable publicity for the album. Imitating the cover of Abbey Road has become popular with fans.The image of the Beatles on the Abbey Road crossing has become one of the most famous and imitated in recording history. The crossing is a popular destination for Beatles fans, and a webcam has operated there since 2011. In December 2010, the crossing was given status for its 'cultural and historical importance'; the Abbey Road studios themselves had been given similar status earlier in the year. In 2013, launched a traffic safety awareness advertisement against jaywalking, using the cover and a caption that read: 'If they can, why can't you?'
The cover image has been parodied on several occasions, including by McCartney on his 1993 live album. The ' parodies the cover, with the band walking near-naked across a similar zebra crossing. Similarly, other artists who have covered the album have also attempted to recreate the album cover in their own image, such as 's. Critical reception Contemporary reviews Abbey Road initially received mixed reviews from, who criticised the production's artificial sounds and viewed its music as inauthentic.
Of said that the album will 'be called gimmicky by people who want a record to sound exactly like a live performance', although he considered it to be 'teeming with musical invention' and added: 'Nice as Come Together and Harrison's Something are – they are minor pleasures in the context of the whole disc Side Two is marvellous ' of called the album 'complicated instead of complex' and felt that the Moog synthesizer 'disembodies and artificializes' the band's sound, adding that they 'create a sound that could not possibly exist outside the studio'. While he found the medley on side two to be their 'most impressive music' since, of said that, 'individually', the album's songs are 'nothing special'. Of magazine wrote that Abbey Road 'is not one of the Beatles' great albums' and, despite some 'lovely' and 'stirring', side two's suite 'seems symbolic of the Beatles' latest phase, which might be described as the round-the-clock production of disposable music effects'.Conversely, wrote in: 'the truth is, their latest LP is just a natural born gas, entirely free of pretension, deep meanings or symbolism While production is simple compared to past intricacies, it is still extremely sophisticated and inventive.' Of found the album 'refreshingly terse and unpretentious', and although he lamented the band's 'cod-1920s jokes (Maxwell's Silver Hammer) and Ringo's obligatory nursery arias (Octopus's Garden)', he considered that Abbey Road 'touches higher peaks than did their last album'., writing for Rolling Stone, called it 'breathtakingly recorded' and praised side two especially, equating it to 'the whole of Sgt. Pepper' and stating, 'That the Beatles can unify seemingly countless musical fragments and lyrical doodlings into a uniformly wonderful suite.
Seems potent testimony that no, they've far from lost it, and no, they haven't stopped trying.' While covering for, reported from a meeting with in that 'opinion has shifted against the Beatles. Everyone is putting down Abbey Road.' Shortly afterwards, in Los Angeles, he wrote that his colleague had grown to love the record, adding: 'Damned if she isn't right – flawed but fine. Because the world is round it turns her on. Tells us he likes it too.'
Retrospective reviews Professional ratingsAggregate scoresSourceRating100/100Review scoresSourceRatingAA+100/10010/10Many critics have since cited Abbey Road as the Beatles' greatest album. In a retrospective review, Nicole Pensiero of called it 'an amazingly cohesive piece of music, innovative and timeless'. Of viewed the album as being 'among The Beatles' finest works, even if it foreshadows the cigarette-lighter-waving that technically skilled but critically maligned artists from to would belabor throughout the '70s and '80s'.
Neil McCormack of dubbed it the Beatles' 'last love letter to the world' and praised its 'big, modern sound', calling it 'lush, rich, smooth, epic, emotional and utterly gorgeous'. 's felt that the album shared Sgt. Pepper 's 'faux-conceptual forms', but had 'stronger compositions', and wrote of its standing in the band's catalogue: 'Whether Abbey Road is the Beatles' best work is debatable, but it's certainly the most immaculately produced (with the possible exception of Sgt. Pepper) and most tightly constructed.'
Ian MacDonald gave a mixed opinion of the album, noting that several tracks had been written at least a year previously, and would possibly have been unsuitable without being integrated into the medley on side two. He did, however, praise the production, particularly the sound of Starr's bass drum.Abbey Road received high rankings in several 'best albums in history' polls by critics and publications. It was voted number 8 in 's 3rd Edition (2000). Included it in their 2006 list of the All-Time 100 Albums.
In 2009, readers of Rolling Stone named Abbey Road the greatest Beatles album. And in 2012, the magazine ranked it number 14 on its list of.
The album was also included in the book.Musicologist interprets that most of the lyrics on side two's medley deal with 'selfishness and self-gratification – the financial complaints in 'You Never Give Me Your Money,' the of Mr. Mustard, the holding back of the pillow in 'Carry That Weight,' the desire that some second person will visit the singer's dreams – perhaps the 'one sweet dream' of 'You Never Give Me Your Money'? – in 'The End.' ' Everett adds that the medley's 'selfish moments' are played in the context of the of, while 'generosity' is expressed in songs where is central. The medley concludes with a 'great compromise in the 'negotiations' in 'The End', which serves as a balanced. In response to the repeated A-major choruses of 'love you', McCartney sings in realisation that there is as much self-gratifying love ('the love you take') as there is of the generous love ('the love you make'), in and C major, respectively. Commercial performance Abbey Road sold four million copies in its first two months of release.
In the UK, the album debuted at number 1, where it remained for 11 weeks before being displaced for one week by the '. The following week (which was Christmas), Abbey Road returned to the top for another six weeks (completing a total of 17 weeks) before being replaced. In all it spent 81 weeks on the UK albums chart. It re-entered the charts in October 2019, again hitting number one.Reaction overseas was similar.
In the US, the album spent 11 weeks at number one on the chart. It was the (NARM) best-selling album of 1969 and was number four on Billboard magazine's top LPs of 1970 year-end chart. Abbey Road was certified 12× platinum by the in 2001. In Japan, it was one of the longest-charting albums to date, remaining in the top 100 for 298 weeks during the 1970s.In June 1970, Allen Klein reported that Abbey Road was the Beatles' best-selling album in the US with sales of about five million. By 1992, Abbey Road had sold nine million copies. The album became the ninth-most downloaded on the a week after it was released there on 16 November 2010. A CNN report stated it was the best-selling vinyl album of 2011.
It is the first album from the 1960s to sell over five million albums since 1991 when began tracking sales. In the US, the album had sold 7,177,797 copies by the end of the 1970s. As of 2011, the album had sold over 31 million copies worldwide and is one of the band's best-selling albums.
Cover versions The songs on Abbey Road have been many times and the album itself has been covered in its entirety. One month after Abbey Road 's release, recorded a cover version of the album called. Later in 1969 recorded (the location of ) which covered the Abbey Road songs and had a similar cover photo.Additionally, several artists have covered some or all of the side-B medley, including (for the Martin/Beatles ), and (who performed the medley with keyboardist )., a including former members and, played the entire Abbey Road album during its Spring Tour 2011. It began with a 'Come Together' opener at Boston on 4 March and ended with the entire medley in New York City on 15 March, including 'Her Majesty' as an encore. Certifications RegionCertification/salesArgentina Diamond500,000 ^Australia 3× Platinum210,000 ^Canada Diamond1,000,000 ^Denmark 2× Platinum160,000 ^France Gold732,000Germany Platinum500,000 ^Italy Platinum100,000.Japan—655,000New Zealand 5× Platinum75,000 ^United Kingdom 2× Platinum600,000 ^United States 12× Platinum12,000,000 ^.sales figures based on certification alone^shipments figures based on certification aloneBPI certification awarded only for sales since 1994. See also.References Footnotes. In the 1960s, UK record industry protocol was that singles did not normally appear on albums.
In the version released on Anthology 3, Lennon can be heard singing the lead on an ad-libbed verse regarding the news that Yoko Ono's divorce from previous husband had been finalised. At 8:22, ' is the longest track to appear on a Beatles album.
A working title of the album was Everest, after a brand of cigarettes favoured by Emerick, but the band were reluctant to travel to the Himalayas for a photo session. Equivalent to £7,282 or $9,114 in 2014Citations. The Beatles Anthology. San Francisco: Chronicle Books. Buckley, Peter (2003). The Rough Guide To Rock. Rough Guides Illustrated.
Emerick, Geoff; Massey, Howard (2006). Here, There and Everywhere My Life Recording the Music of The Beatles.
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The Beatles As Musicians Revolver Through the Anthology. Oxford University Press. Gottlieb, Gary (2010). How Does It Sound Now – Legendary Engineers and Vintage Gear. Cengage Learning.
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Lewisohn, Mark (1992). The Complete Beatles Chronicle. Hamlyn.
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London: Pimlico (Random House). MacFarlane, Thomas (2007). The Beatles' Abbey Road Medley Extended Forms in Popular Music. Rowman & Littlefield. (1997).
Roberts, Jeremy (2011). Rodriguez, Robert (2010). Milwaukee, WI: Backbeat Books.
(1978). McGraw-Hill.; Ono, Yōko; Sheff, David (2000).
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New Orleans, LA: 498 Productions. Stark, Steven D. (13 October 2009). HarperCollins. (1994). A Hard Day's Write.
Harper. Urish, Ben (2007). The Words and Music of John Lennon. Greenwood Publishing Group. Wallgren, Mark (1982).
The Beatles on Record. New York: Simon & Schuster. Wenner, Jann; Lennon, John (2001). Verso. Winn, John C.
That Magic Feeling: The Beatles' Recorded Legacy, Volume Two, 1966–1970. New York, NY: Three Rivers Press. (2019).
Ithaca, NY:.External links. at (list of releases).