Abbey Road Anniversary

This album was released before "Let It Be," but produced after it. As such, it is the last music the Beatles ever created, and a fitting capstone to their incomparable career. As with my other album reviews I will rate each song on a scale of 5 stars, with 5 representing a classic or timeless piece, 4 a great song, 3 a craftsman-like work, 2 a pedestrian affair, and 1 a throw away. Come Together -- 5 stars - This is one of John Lennon's great nonsense lyrics, but what raises it to the heights is the presentation, a sound that is instantly recognizable and unlike any other song you have ever heard. Thus, it is ironic that Lennon was accused of plagiarizing a Chuck Berry song. The truth is that he borrowed one phrase as homage to Berry (here comes old flat top), and nothing more. The rest is original and unique. The execution of the song, from McCartney's bass to Ringo's drums, shows the power of the Beatles' ensemble to produce work that was greater than the sum of their individual contributions. Something -- 5 stars - After trashing the Beatles in their early days Frank Sinatra later came to nominate this piece as his favorite love song. Sadly, he credited it to Lennon and McCartney when it is actually a Harrison composition. It is probably the best song on the album - a work of elegance, passion, and captivating musicality. It will live forever. Maxwell's Silver Hammer -- 4 stars - This is one of Paul's "cartoon" songs. It seduces you to smile and sing along with its bizarrely cheerful dark humor, and thus wins 4 stars in spite of its meager ambitions. Oh! Darling -- 4 stars - McCartney bares his heart by scorching his throat with a passionate, guttural performance. As usual you will want to sing along, but try to compete with Paul and you may pay a visit to the throat doctor. Octopus's Garden -- 4 stars - Another "cartoon" song, this one written by Ringo. Yes, it's silly and slight, but I dare you not to sing along (and that's my mark of a 4 star song). I Want You (She's So Heavy) -- 4 stars - The subtitle says it all - this song has a very heavy ambiance. Lennon displays his gift for combining simple components to create a work that lingers in the mind much longer than you expect. Here Comes the Sun -- 5 stars - This is another Harrison work and another song that will live forever. It matches tone to theme as well as any song you will ever hear. It is a work of simple genius. Are you feeling down? Then play this song and feel your mood lift like the rising sun. Because -- 4 stars - As I understand it John Lennon heard Yoko Ono play Beethoven's Moonlight Sonata backwards and John made this song out of it. It is, quite simply, beautiful. You Never Give Me Your Money -- 4 stars - This would be a minor work except for its semi-biographical echoes of the Beatles' rise and fall. Because of this it has a special poignancy to it. And once again, it will compel you to sing along. "The Final Medley": Sun King, Mean Mr. Mustard, Polythene Pam, She Came In Through The Bathroom Window, Golden Slumbers, Carry That Weight, The End -- 5 stars - These seven songlets represent the last stretch of music on the last record the Beatles ever produced. They are joined together in a seamless whole, a mini pop opera, and so I have titled the group "The Final Medley" and treat them as one composition. Taken together they are, to re-use a phrase, greater than the sum of their parts. In fact, though I hesitate to admit it, I enjoy listening to these songlets more than anything else the Beatles ever did. And so I rate them 5 stars as a group. The details . . . "Sun King" provides a nice, slow intro. "Mean Mr. Mustard" is an edgy but humorous Lennon character study. "Polythene Pam" is Lennon again. It is a hard driving piece that seems to anticipate both heavy metal and punk. It is also the one piece here that cries out for a longer treatment. "She Came in Through The Bathroom Window" is McCartney. It is probably the slightest component here and foreshadows Pauls' work with Wings, but it fits and adds to the whole. "Golden Slumbers" is Paul again. It is heartbreakingly beautiful. "Carry That Weight" is a rousing chorus of the entire group, and seems to speak of the burden that attaches to the blessing of being a Beatle (you're going to carry that weight for a long time boys, and so they did, and do, and will - those who still live). The End is the end and contains the verse "and in the end the love you take is equal to the love you make." It is a fitting conclusion for a group that made so much love through their music that they earned the love of the whole world. Her Majesty -- ??? stars - it is characteristic of the Beatles that they could not leave off without adding a humorous note, and this irreverent fragment of a love song to the English Queen starts playing after you think the record has finished. The Beatles were not only great composers and musicians, they were also very funny. And so we have 4 five-star songs out of 10, joined by 6 four-star songs. This is truly one of the greatest albums ever made.

"The Beatles recording journey had gone through many twists and turns, learning curves and thrilling rides. Here we were--still wondering at the magic of it all." Paul McCartney. This is another worthwhile anniversary release of a classic Beatles album. The packaging is similar to the "Sgt. Pepper's" and the "White Album" anniversary releases. The thick, glossy slipcase (with complete track list on the back cover) holds an equally thick hardcover book. The front and back inside covers each hold two discs, which are inside glossy cardboard jackets with a track list on the back covers. The book (with sewn in binding) has a Forward by Paul McCartney, an Introduction by Giles Martin, plus chapters by Beatles historian Ken Howlett--"The Route To Abbey Road", "Track By Track", "The Cover", and "The Arrival Of Abbey Road". David Hepworth has a chapter titled "And In The End". The track by track text (which includes info on the "Sessions" tracks) is usually two pages for each song and is both interesting and informative. Also included are many rare photos from the sessions (including Linda McCartney's photographs), plus repros of handwritten lyrics, recording data sheets, and tape boxes--everything adding to the feel of that time period. The presentation is up to high standards for such an important album as this. The music. Besides the 2019 mix of the original album, the session tracks too have good sound. If you're familiar with the last reissue of this album, the sound isn't to far from that version to my ears--everything seems to be in the right place in the mix. The 23 outtakes sound every bit as good as the album. The Blue-Ray disc is well worth having--the quality--in Dolby Atmos 5.1 master audio and High Resolution Stereo Mix--is a good addition to this set. Disc 1 is the original album which is familiar to most all of us so no real comment is needed. Discs 2 and 3 have the outtakes, and this is where the fun begins. The tracks are in chronological order which is a good thing--no guessing about the recording sequence. There's some studio chat from the group and they sound like they're having a good time in the studio--joking around a bit. Several of the outtakes are close to the finished songs in feel as we know them. But there's also some goodies that make these sessions worth hearing. A few things I like: Included are takes of "I Want You (She's So Heavy)", "Something" (with a different feel from the tune we know), "Old Brown Shoe", "Here Comes The Sun" (also with a different feel from the album track), "Come Together", "Sun King", plus a demo of "Come And Get It" (made famous by that great band Badfinger), and three instrumental tracks--which give insight into how the music came together. Also give a listen to "The Long One" which includes eight shorter songs heard on the album, which gives some perspective on the finished album. But there's other good things included and everyone will have their own favorites--to each his own. I have to say for me that this album has always been near the top of Beatles albums. It's the one I find myself reaching for unless I need a dose of early Beatles. The outtakes plus a really nice book with informative essays and rare photos makes this another good addition alongside the previous anniversary sets--even at ninety bucks or so--which seems a bit high. But when you slip the book out of its slipcase and see the quality, and when you hear the all the music, the price tag slips back into your head. This is a worthwhile purchase for "Abbey Road" and/ or Beatles fans in general. And for "Abbey Road" fans, check out Bruce Spizer's latest book about "Abbey Road". It's similar to his other books on the "Sgt. Pepper's" and the "White Album" releases.

Excellent. What's not to love about the Beatles. I prefer the final music cut cd1 to the practice studio cut cd 2 but is interesting. I usually just listen to the final cuts. I prefer to own CD's rather than have a music service or store things in the cloud. With today's ever changing technology, price increases and our upside down world this works for me. I'm going old school. I can play my CDs on a CD player, load them on any of my devices or play them on my dvd or Blu-ray without investing tons of money. Great buy!

What is here is definitely 5 Star(r) Beatles music! "Abbey Road" never sounded this good! It's pristine with nuances and sounds that were buried in the eight track 1969 mix. Now with 2019's 16 technology you hear "Abbey Road" as close to how The Beatles themselves heard when they recorded it. Bravo to Giles, Sam and their entire team. I have been a fan of The Beatles since they first appeared on "The Ed Sullivan Show" on February 9. 1964 and have everything they legitimately released and, for me, this is the definitive, "Go To" version of "Abbey Road"! The 2 CDs of outtakes are a joy to hear and, unlike some reviewers who said they are only worthy of being listened to once, I listen to and enjoy them frequently. My favorite outtakes are "Come Together (Take 5)"; "I Want You (She's So Heavy) Trident Mix (with Billy Preston's excellent organ solo coda); "The Ballad of John and Yoko (Take 7)"; "The End (Take 3)" (with different guitar parts and a different drum solo from Ringo) and "The Long One" (The Abbey Road Side 2 medley with "Her Majesty" appearing between "Mean Mr. Mustard and "Polythene Pam". "The Long One" and "TBOJ&Y" only appear on the Box Set version. Also noteworthy and only available on the Box Set are George Martin's isolated orchestral instrumental tracks for "Something" and "Golden Slumbers/Carry That Weight". I really don't have the perfect system to do the Blu-ray justice but I will play it at some point. The hardcover book is well researched and of quality printing, full of many facts and photos. Many of the photos were taken by Linda McCartney. RIP John, George and Linda. You live on through your work. The Beatles always tried to be different and try new things with each album. With "Abbey Road" they reached their pinnacle with their last album. "Abbey Road" has always been my favorite Beatles album for that reason. Is this a perfect set? No. I would have liked "Something" with the added keyboard coda that has been bootlegged for years on this set. Also, I would have liked a version of "Here Comes The Sun" with Harrison's unused guitar solo that Giles discovered during the making of Martin Scorsese's 2011 documentary film "Living In The Material World" melded together into its own take. There is bonus footage from the movie's DVD/Blu-ray of Giles Martin, George Martin and Dhani Harrison listening to it. George Martin had forgotten about it or the fact that they hadn't used it on the take that made the original album and Dhani had never heard it before. I also wish the audio version of "Octopus' Garden" from the "Let It Be" film with different lyrics had been included. It features Ringo Starr playing part of the song on piano for George Harrison. The lyrics are: "I'd like to be under the sea in an octopus' garden in the shade. It would be nice, paradise, in an octopus' garden in the shade." Those 3 things would have made it perfect and 5+ Star(r)s for me, but I digress. This set is worth every penny for what it is! Amazon also offers it at a great price.

ONE OF THE GREATEST ALBUMS EVER

I have to admit that I haven't even listened to the two discs of extras. I've only listened to the new stereo and surround mixes. Before I get to that, I will say that the packaging is very nice and the book that comes with it beautifully laid out and detailed. As for the mixes, the stereo mix sounds great to me. It is not too much of a departure from the original except that there is some added clarity and bottom end. In short, it sounds a bit more modern and clean. You may prefer the original and that's fine, but this isn't worth buying for the new stereo mix. If you're thinking about buying this, it's because of the extra material and the surround mix. I'm sure the extra material is great, but it's that 5.1 surround mix I'm going to tell you about (there's an Atmos mix too, but I don't have my system setup for that). I have a lot of surround material and a lot of the truly great mixes out there. Stuff like Pink Floyd was made for that kind of presentation, and some of the older and newer prog like Yes and Porcupine Tree has found its way into beautiful surround presentations that are universally lauded for good reason. This mix is different. Apart from I Want You (She's So Heavy), do not expect to have a psychedelic, out of body experience listening to this in surround. What you will get, however, is remarkable clarity. Some people find surround sound to be jarring because it doesn't sound like the original mix. Well, it's not necessarily supposed to. But the beauty of this surround mix is that it isn't especially jarring. It is a smart mix, exceptionally well balanced. Rather than a single (mono) speaker or two (stereo) speaker mix where you have all tracks competing for sonic space within that format, we are treated to 5 speakers (6 actually, with the subwoofer handling the lowest frequencies). This allows the instruments to have their space and breathe. The vocals and harmonies have never sounded better, the bass is smooth and rounded, the guitars perfectly played, and Ringo just swings on this mix like he hasn't ever before (the drums are the biggest beneficiary on the mix). The clarity of all these instruments in their own sonic space gives this album a sparkle that it has not previously had. It was a 10 album before, but it's a 10 plus in surround. If you are a Beatles fan on the fence about this due to the price, save up and treat yourself (assuming that you have a surround system). This is a top notch and thoughtful surround mix, beautifully presented and executed, and the coffeetable book, new stereo mix, and bonus tracks are tasty gravy.

Until recently, the only thing I knew about The Beatles' "Abbey Road" was the goofy album cover where all four band members are crossing the street. Now I consider it one of the best, most innovative rock 'n' roll albums ever released. And I mean innovative and fresh by today's standards, not just the standards of the late 1960s. These guys practically invented the art of making melodic rock music, and they certainly weren't afraid to experiment with sounds and ideas. "Abbey Road" offers something for everybody; a 90-year-old senior citizen could enjoy this album as easily as a 5-year-old kid. The sounds and tastes of this record are all over the map. For instance, whereas "Come Together" is a serious rock anthem with a heavy message, songs like "Maxwell's Silver Hammer" (Lennon-McCartney) and "Octopus's Garden" (Ringo Starr) are silly pop nuggets. Romance is also present, like on George Harrison's beautiful "Something" (which includes a swooning string section), and on the dramatic "Oh! Darling," where Paul McCartney belts out the lyrics in his most sincere tone. Overall, there's a boyish, innocent quality to these songs, especially lyrically, yet a sophistication to the sound and musical development. In short, the Beatles, as well as their producer, George Martin, possessed the resources, talent, musicality and what must have been a sense of finality to create one of the best records ever. Though the Beatles were on their way out with "Abbey Road," the seven-minute-plus "I Want You (She's So Heavy)" is reminiscent of another British band on their way in back in 1969, Led Zeppelin. The song features longing lyrics and an indelibly heavy guitar riff in the style of Jimmy Page before he became a household name. Conversely, songs like "Because" and "Sun King" are positively airy and lightweight, unbelievably catchy. The Beatles thrived on hazy, dreamy songs that featured their head-in-the-cloud choruses and melting melodies, making it all seem as easy as a summer breeze. Beginning at "You Never Give Me Your Money," the album transforms into a hot-potato medley of one sublimely melodic song after another, a shockingly creative assembly line of tracks that magically blend together, thanks mostly to producer George Martin. It's comparable to a movie score with words or a spur-of-the moment "Best of" mixture. McCartney and Lennon deserve the lion's share of credit for creating this 20-minute joyride, on the second side of one album. Despite the inevitable end of the band, the guys sound excited, joyful, happy to be alive, inspiring, a little crazy and willing to experiment on their way out. As the music on "Abbey Road" mutates from one moment to the next -- sometimes in the space of just one song -- the lustrous sounds and sky-high choruses mix perfectly with the weightless lyrics. As the album winds down and such greats as "Mr. Mustard" and the punk-ish "Polythene Pam" rage on, the band opt to go out on a positive and touching message that truly resonates. Overall, I understand now why many have said that there are the Beatles and then there is everyone else.

To put it simply, this album is a result of the Get Back sessions, which all the Beatles and producer George Martin were ultimately unhappy with. Lennon was essentially finished with the Beatles, and McCartney was not, but wanted to on his own terms, ultimately getting what he wanted. This IS the Beatles’ final album, and what a wonderful finale. Abbey Road clearly shows a superstar band in their prime, able to write and record at such a high level that many other bands clearly envy. Even after forty seven years, especially on the remastered 2012 vinyl I bought, the album manages to sound fresh. Although it’s easy to argue that it’s a Paul McCartney solo album plus Martin in the style of Brian Wilson’s Pet Sounds plus The Wrecking Crew (see: side b), all four Beatles truly showcased their chops. Sgt. Pepper stretched itself for relevancy, The White Album was all over the place, and Let It Be was a nuisance striped with distinction, Abbey Road clearly lays out its terms and meets them. Admit it: there’s not a low note on this entire LP. This album includes tracks like George Harrison’s lead off “Here Comes the Sun” to John Lennon’s album opener “Come Together” and later track “I Want You (She's So Heavy)”, which showcases incredible repetition and an amazing three minute coda that perfected Lennon’s earlier interest in sharper rock and roll and psychedelic studio experimentation. Both Lennon tracks on the first side of the record are hardcore, straightforward, and unrelenting. Regardless, they are still graces with rich studio production. This makes them sound like actual collaborative Beatle tracks, rather than Lennon’s contributions from The White Album, which could be identified simply as solo tracks. It is an improvement to say the least. Overall, the album sounds honest and deep, even though it isn’t. Closing the album is “The End”, technically the last track all four Beatles recorded together. This song includes alternating guitar solos from Lennon, McCartney, and Harrison, along with a drum solo from Starr, the only one in the entire Beatles catalog. Only a half-decade ago, this band had been writing “amateur” songs as a Scouser boy band with more confidence than skill. Although Let It Be wouldn’t come out until next year, the Fab Four would never record another album together again. They were all still young and in their mid to late 20s. Please Please Me was released almost exactly six and a half years earlier. So if Abbey Road had been released today, Please Please Me would date to September 2009. It’s insane if you think about it: twelve studio albums and a couple of dozen singles, with a sound that went from simple love songs to complex explorers of sound and with so many detours and bends along the way. All of this happened in such a short period of time, and that is truly a weight to carry. (2012 pressing of vinyl arrived new in sealed condition and plays without skips.)