"And in the end, the love you take, is equal to the love you make" - Abbey Road turns 50

Cafe Society
21

Yes. Indeed, Ian MacDonald opines that this makes Abbey Road seem better than it actually is. I love the album, but I get what he means.

“…the most technically accomplished album, its eight-track recordings filled with crystal clear sounds…the bass-end is deep and rich…with Starr’a kit captured more ringingly than ever…a sheen of spacious luxury is provided by the use of the Moog synthesizer and Harrison’s ubiquitous Leslie-toned guitar. With George Martin back at the helm…the production is smooth and disciplined.
The actual content, however, is erratic…Had it not been for McCartney’s input as designer of the Long Medley, Abbey Road would lack the semblance of unity and coherence that makes it appear better than it is.”

I don’t mean this as a thread-sh$@ — as I said, I’ve the album! — but I think Ian was on to something here.

22

Both engineered by Alan Parsons (of “Project” fame).

23

It you drive down Abbey Road, (as I occasionally have for work) you can’t move for tourists getting their picture taken on the crossing.

24

And Dark Side was mixed by Chris Thomas, who engineered the White Album.

25

Mr. Middon’s step-grandfather was a crusty old guy who hated rock and roll. (I bet you can see where this is going.)

One day in the mid-1980’s we had the family over for dinner. Grandpa was sitting in the family room with my husband, who naturally had music playing.

“Hey,” said Grandpa, “these guys are pretty good. Who is this?”

Of course, it was the Beatles and Abbey Road.

26

I was in 9th grade when it came out. I asked the school’s best guitarist what was that chord on Come Together. I was like a 2nd degree friend of his so he’d speak to me. He showed me a D7#9 (x5456x). I thought it sounded better than the Cm others tried. Nick also taught me the arpeggio for I Want You (She’s So Heavy).

27

Well, needless to say it’s my all-time favorite album. I sprang for the mfsl half speed mastered vinyl back in the day. Still have it, of course.

The medley, to my mind, is the most flawless block of music I know of. The way it switches gears on a dime - and every switch is perfection - happens the way great music is supposed to happen. It couldn’t/shouldn’t have been written any other way.

And Golden Slumbers morphing into Carry That Weight is an absolute joy to play on the piano.

28

Well shit, I’ll have to listen to Side Two again, for the first time in years.

“Here Comes the Sun” has shifted into “Yesterday” mode for me…don’t ever need to hear It I think ever again.

29

And I’ll play “Golden Slumbers” into “Carry that Weight” on my baby grand, I’ve got a couple books of Beatles sheet music. I’ll get back to you on that.

30

Yeah, Golden Slumbers and so on.

There was a daylight only AM station that played the Good Music. When it signed off, it used that sequence of songs. An announcer talked over the instrumental part to explain they were ending their broadcast day, etc.

Regarding the movie Yesterday:

They missed a chance for fun. The guy does Her Majesty in the studio. The producers are puzzled by it being so short. Could he make it longer? Of course not.

31

Biggest blown opportunity in Yesterday: how the hell did they not end the movie with him singing “Drive My Car” to the girl???

32

My 8-year-old son is familiar with “Golden Slumbers,” “Carry that Weight,” and “The End” mainly thanks to their masterful inclusion in the terrific animated film Sing!

33

Shit. This means I’m coming up on the 50th anniversaries of actual major life events. :eek: :stuck_out_tongue:

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Bonus: it’s easy to play and sounds great.

35

Just remember to de-tune the piano as you approach the last chords of “The End.” :slight_smile:

(The whole thing goes down part of a tone…which is why the first chord of “Her Majesty” — originally the last chord of our colleague MMM — sounds a bit off).