Article highlights:
The article sets the stage by contrasting the sessions for "Abbey
Road" with the "Get Back / Let
It Be" sessions.1
The recording sessions for "Abbey Road"
began
on July 2 without John Lennon 2who
was involved in a car crash in Scotland, the previous day, and would
not
be in attendance for 10 days. Paul McCartney used this time to work on
the medley with the other Beatles and George Martin. 3
George Martin now had eight tracks to work with instead of four.
Certainly
substandard
compared to what is available today but at that time, it enabled the
Beatles to refine their
production to a higher degree than what could be attained on previous
recordings.
In some ways, the song writing on "Abbey Road"
contrasted with what was generally
considered to be the individual Beatles' writing styles: McCartney's
compositions were often
emotionally down. By contrast, George Harrison's compositions were
upbeat and positive.
Musically the Beatles were at the top of their game. In the article,
Harrison compliments
McCartney for his bass contribution to "Something":
"He was very creative with what he
contributed to my songs at the time....when Paul wanted to, he could
give a lot." Harrison was
credited for his guitar lines, flourishes and graceful fills which
has influenced musicians ever
since. Ringo is complimented for his inventive drum fills. Lennon
contrasts
"Come
Together"
and the rawness of "I Want You (She's So Heavy)"
with the sheer beauty of "Because" and
"Sun King".
The article provided much detail on the construction of the medley
on
"Side
2". The quick
tempo changes and challenging edits (especially considering that they
didn't use digital
technology in 1969) was achieved by editing the fragments together
on the beat. When the
fragments were recorded, the tape was rolled back and played so that
the Beatles could
synchronize their timing and flow right into the next section. This
was done, in part, so that they
could cram as much music as possible on each individual track before
running out of room.
During this process, the Beatles actually learned to play the whole
medley live in the studio.
In spite of the difficulties that the Beatles were experiencing at
the
time, they managed to create
a masterpiece with "Abbey Road". The
moral
implication behind this recording demonstrates
that it is possible for people to transcend their egos and petty
problems
and achieve greatness.
"Abbey Road" has elements of sorrow,
anger,
humor and in "The End", a feeling of
resignation.
"Abbey Road" was considered to be both
a death and a rebirth. It was the Beatles' last album,
however it was also the first album of the modern rock era. It's
excellence
and quality would be
a high watermark for striving bands: then, now and for many years to
come.
Personal views: The spirit of
the
“Guitar
World” article moved me in two different ways. First:
"Abbey Road" was the first album I
purchased
(that wasn't a children's recording). It was very
easy for me to return to recollections of a 12 year old, listening
for the first time, to what I knew
even then was a very important, if not *the* most important recording
that I may ever
experience. Second: My feelings about
the upcoming 30th anniversary of this album contrasts
sharply with the current hype surrounding the "Yellow
Submarine" project (especially the Geoff
Baker incidents). IMO, I certainly know which album *should* be
celebrated
during the
summer and fall of 1999. It would be nice if Capitol did "something"
in recognition of this fine
recording. However, I will certainly have my own personal tribute
-
as I'm sure many of you
will
Footnotes:
1 Ironically, there is a great deal of overlap with the "Get Back / Let It Be" period and what was eventually to become the "Abbey Road" album. In fact, the genesis of many of the tracks that were composed and wound up on "Abbey Road" originate from the Beatles period in India prior to the recording of the "White Album".
2 Curiously, in the "Guitar World" article, Garbarini states "The Beatles officially began recording at Abbey Road on July 2" (pg 88); Lewisohn uses "July 1st" in "Sessions" (pg. 177).
3 Session work for what was to be some of the tracks on "Abbey Road" began well before July 1969. However, many of the sessions that happened between the rooftop concert (performed on January 30) and July had a miscellaneous nature to them (i.e. work on singles, "Let It Be", etc.) I assume (and I admit that I'm only guessing) that there was a definite intent to record another album (besides "Let It Be") beginning on July 1st, 1969. The concentration of sessions that are exclusively devoted to "Abbey Road" certainly suggests a change of purpose and a renewed sense of commitment at this time.