The Beatles' Abbey Road: A track-by-track guide

Abbey Road, released in September 1969, remains a pivotal work in The Beatles’ discography. While previous albums like White and Let It Be showcased individual tendencies, Abbey Road presented a more unified effort despite underlying tensions. John Lennon described it as “unfinished songs all stuck together,” but this track-by-track analysis unravels the stories behind each composition, revealing the creative dynamics and tensions that shaped their final collaborative recording.

Table of Contents

Key Points:

Cohesive Effort: Despite internal conflicts, Abbey Road achieved greater cohesion than its predecessors.
Track-by-Track Breakdown: Each song reveals unique stories, influences, and tensions within the band.
Creative Contributions: The album highlights the distinct songwriting styles and instrumental prowess of each Beatle.
Final Collaborative Recording: Abbey Road marks the culmination of The Beatles’ collective journey before their eventual disbandment.

This article provides a track-by-track guide to unravel the stories behind each composition, shedding light on the creative dynamics that shaped The Beatles’ final collaborative recording.

Come Together: Lennon’s Counter-Cultural Groove

Abbey Road kicks off with “Come Together,” a composition primarily attributed to John Lennon. Initially conceived as “Let’s Get It Together,” a campaign song for Timothy Leary’s political venture, the track took a different turn. Lennon drew inspiration from Chuck Berry’s “You Can’t Catch Me,” incorporating a phrase while neglecting to remove it, leading to plagiarism concerns. The song, recorded over nine days in July, weaves a groove-based narrative of the counter-culture, featuring references to Yoko Ono and a zeitgeist-defining line – “you got to be free.”

Something: Harrison’s Masterpiece Takes Flight

George Harrison, often overshadowed by Lennon and McCartney, delivered a masterpiece with “Something.” Initially developed during the White Album sessions, the song, featuring Harrison’s double-tracked lead vocal and a soaring guitar solo, became one of The Beatles’ most covered tracks. Released as a double A-side with “Come Together,” “Something” received acclaim, with even Frank Sinatra hailing it as “the greatest love song ever written.” Despite the creative tensions, Harrison’s contribution solidified its place as a standout on the Abbey Road album.

Maxwell’s Silver Hammer: McCartney’s Macabre Misstep

A bone of contention between Lennon and McCartney, “Maxwell’s Silver Hammer” reveals McCartney’s penchant for dark humor. Inspired by French writer Alfred Jarry, the song tells the tale of Maxwell Edison’s macabre deeds. McCartney’s persistence in perfecting the track during grueling sessions met resistance from his bandmates. Despite its catchy melody, the song failed to become the hit McCartney envisioned, adding a touch of macabre humor to the album.

Oh! Darling: McCartney’s Retro Rocker

“Oh! Darling” finds Paul McCartney drawing inspiration from Frank Zappa’s doo-wop experiments. McCartney, aiming for raw perfection, arrived early at Abbey Road, showcasing his vocal prowess. However, tension surfaced as Lennon pointedly remarked that McCartney didn’t sing it well. The track reflects McCartney’s evolution from the carefree days of ’63 to a more mature sound, embodying the shifting dynamics within the band.

Octopus’s Garden: Ringo’s Seaside Solace

Ringo Starr, following a temporary departure, found solace in Sardinia and composed “Octopus’s Garden.” A light-hearted nursery ditty, the song features a characteristically lugubrious lead vocal from Starr. With underwater sound effects and contributions from the entire band, “Octopus’s Garden” stands as a whimsical yet charming entry in the Abbey Road repertoire, often described as a “poor man’s Yellow Submarine.”

I Want You (She’s So Heavy): Lennon’s Obsession Unleashed

Initiated for Abbey Road but one of the last to be completed, “I Want You (She’s So Heavy)” reveals John Lennon’s intense obsession with Yoko Ono. The track’s composition, marked by circular repetition and an extended coda, captures the dissolute band’s final collaborative energy. With avant-garde touches and a mesmerizing tumult, the song stands as a testament to latter-period Beatles at their best.

Here Comes The Sun: Harrison’s Ray of Light

Amidst the band’s infighting and business struggles, George Harrison found solace in the creation of “Here Comes The Sun.” Inspired by a sunny day in Eric Clapton’s garden, the song represents a stark contrast to the heaviness of “I Want You (She’s So Heavy).” With its optimistic chords and Harrison’s bright arpeggiated triads, the track emerged as a beacon of hope in the tumultuous recording sessions.

Because: Harmonic Hymn Inspired by Yoko

“Because” stands out as the last track where all four Beatles collaborated from start to finish. John Lennon’s inspiration for the song came from Yoko playing Beethoven’s Moonlight Sonata backward. The ethereal harmony, created through three sets of close-vocal harmonies, echoes the opiated idealism inspired by Yoko’s conceptual art book, Grapefruit. The medieval feel enhanced by George Martin’s electric spinet makes “Because” a unique and harmonically rich addition to Abbey Road.

You Never Give Me Your Money: McCartney’s Medley Opus

As The Beatles’ journey neared its conclusion, McCartney crafted an ambitious medley for Abbey Road‘s Side Two. “You Never Give Me Your Money” serves as the opening section, comprising five distinct parts. Reflecting on financial acrimony and the band’s impending breakup, McCartney weaves a poignant narrative, setting the stage for the medley’s journey through unfinished snippets and musical transitions.

Sun King: Lennon’s Dreamy Voyage

Lennon’s “Sun King” unfolds as a dreamy, five-part composition, inspired by Fleetwood Mac’s “Albatross.” The song blends multi-tracked vocals, gentle sound beds, and a touch of surrealistic John-speak. With a nod to the Beach Boys and a whimsical cod-Iberian/Italian coda, “Sun King” creates a captivating sonic journey within the larger medley.

Mean Mr Mustard: Lennon’s Brief, Potent Earworm

Despite its brief duration, Lennon’s “Mean Mr Mustard” packs a punch, serving as the second half of the medley’s dreamy interlude. Derided by its author as “a bit of crap,” the song introduces a character reminiscent of the Sgt. Pepper era. Its potency lies in its ability to jar listeners out of the tranquil siesta established by “Sun King,” showcasing Lennon’s knack for character-driven compositions.

Polythene Pam: Lennon’s Plastic Fantasia

Continuing the medley’s thematic continuity, Lennon’s “Polythene Pam” shares origins with McCartney’s “She Came In Through The Bathroom Window.” Inspired by a Beatles fan with a peculiar penchant for eating polythene, Lennon transforms the character into a plastic fetishist with a scouse flair. Driven by a vigorously scrubbed 12-string acoustic guitar, “Polythene Pam” adds a touch of whimsy to the medley.

She Came In Through The Bathroom Window: McCartney’s Home Invasion Tale

McCartney takes the lead in “She Came In Through The Bathroom Window,” narrating a real-life incident involving an Apple Scruff breaking into his home. Despite the intrusion, McCartney’s inventive bass and lead guitar interactions with Harrison create a satisfying contrast to the preceding “Polythene Pam.” The song captures a slice of Beatles’ life as they grappled with the intense scrutiny of their fanbase.

Golden Slumbers: McCartney’s Melancholic Reverie

Following Lennon’s car crash in Scotland, McCartney, Harrison, and Starr collaborated on “Golden Slumbers.” McCartney stumbled upon Thomas Dekker’s “Golden Slumbers” while visiting his father, and the result was a melancholic piano-driven composition. The orchestral introduction and Dekker’s poetic contribution add depth to the medley, setting the stage for the emotional crescendo.

Carry That Weight: Beatles Unite for the Final Hurrah

“Carry That Weight” emerges as the medley’s crescendo, featuring spirited gang vocals from all four Beatles. With a thematic link to “You Never Give Me Your Money,” McCartney’s lyrics carry a weighty message about the enduring legacy of The Beatles. The orchestral setting and Harrison’s guitar contribute to a rousing reprise, marking the final collaborative effort before the individual solos.

The End: Beatles’ Rock ‘n’ Roll Finale

Appropriately titled, “The End” serves as the concluding section of the Long Medley, capturing a rush of rock ‘n’ roll positivity. Each Beatle takes a solo, showcasing their individual brilliance. McCartney’s iconic final lines, “And in the end, the love you take, is equal to the love you make,” resonate as a timeless couplet, closing the chapter on The Beatles’ collective journey.

Her Majesty: Untidy Afterthought

Closing the Abbey Road album with an unexpected twist, “Her Majesty” was initially conceived as a buffer but found its place as an untidy afterthought. McCartney’s affectionate observation of the Queen adds a touch of humor to the concluding moments, leaving listeners with a quirky and unexpected finale.

Conclusion

Abbey Road stands as a testament to The Beatles’ enduring creativity and collaborative spirit. This track-by-track guide delves into the intricate stories behind each composition, unraveling the dynamics, tensions, and moments of brilliance that shaped the iconic album. From Lennon’s counter-cultural groove in “Come Together” to McCartney’s medley opus, the album captures the essence of The Beatles’ evolution and the unique contributions of each member. As “Her Majesty” closes the curtain on Abbey Road, it marks not just the end of an album but the conclusion of an era for one of the greatest bands in music history.