September 26th, 2014 16:26 EST
Abbey Road`s Light and Life-Altering Influence Hasn`t Dimmed One Iota in 45 Years!
In the early morning hour, when grabbing an eyeful of This Day In Music, with an arsenal of fresh coffee in tote, to fend off the nappy Sandman`s sleepy spell, I awkwardly observed that this is the 45th anniversary of The Beatles` Abbey Road (their eleventh studio album), released in the UK, in 1969 (hit the stands in the U.S. October 1st). This struck a sensitive nerve with me that sent me back in time, remembering clearly where I was and what I was thinking, even recalling purchasing it at a local record shop (The Melody Shop), near my house in North Dallas.
This is The Beatles best selling album, and is considered to be their last record, although Let It Be didn`t come out until 1970 (Phil Spector took a while to fix up the reels of tape for release). There`s probably not so much I can tell you, factually speaking, about Abbey Road, that you haven`t already heard a zillion times before, other than to say it completely altered my life forever, and somehow managed to inform who I would become, even making me a better person, while joined The Boys for a fun, but wild ride (after a trillion listens in my room).
This is the band playing together marvelously for one final fling before they break-up into a million pieces, heading for less green pastures as solo artists. Most of the recording was done in July and August of 1969, with most of the band members making the sessions, but with some exceptions, such as John wanting to avoid the Maxwell`s Silver Hammer sessions, since he called the tune one of Paul`s Grannie songs (turns out George got on a bummer with Hammer also).
Nonetheless, the guys made a point to Come Together on this last project; I believe this shows through, especially on side two with the medley stuff, where one of John`s shower tunes synchs right into one of Paul`s equally prodigious shower ditties. And of course, George has the two greatest songs on the album, with Something and Here Comes The Sun! Furthermore, they let George Martin do just what he does best, supervise the recordings, help with the arrangements, and twist the knobs like nobody else could ever do.
I will mention one small detail about the recordings that fascinates me no end; George purchased a Mini-Moog synthesizer which was shipped to EMI Studios (wasn`t renamed Abbey Roads until several years after The Beatles made their final recordings). The Mini-Moog is used on Here Comes The Sun, Because, Maxwell`s Silver Hammer, and on I Want You (she`s so heavy); if you listen carefully for it, you can hear the synthesizer distinctly, since the sound wobbles or oscillates (hard not to notice it).
If not for this unusual instrument, I don`t believe this record would`ve accomplished nearly as much as it ended up accomplishing, making it one of the greatest records ever made, with ease! You know about the cover; I wonder how many times I`ve stared at it, wondering if I could find the clues proving that PAUL IS DEAD!
Because is interesting, since it`s Beethoven`s Moonlight Sonata backwards; when John heard Yoko playing it one day, he asked her to play the chords backwards. Absolutely, my favorite song is I Want You (she`s so heavy); the ending builds up, such that it acts as a metaphor for the sex act. Rock N Roll was meant to be this way, a simulated orgasm on electric guitars, I suppose!