Abbey Road

This article is about the album by the Beatles. For other Be), Paul McCartney suggested to music producer George
uses, see Abbey Road (disambiguation). Martin that the group get together and make an album
the way we used to do it,[4] free of the conict that had
Abbey Road is the eleventh studio album by English rock begun following the death of Brian Epstein and carried
over to the sessions for the White Album. Martin agreed,
band the Beatles, released on 26 September 1969 by
Apple Records. The recording sessions for the album but on the strict condition that all the group particularly
John Lennon allow him to produce the record in the
were the last in which all four Beatles participated. Al-
though Let It Be was the nal album that the Beatles com- same manner as [5]
earlier albums and that discipline would
pleted before the bands dissolution in April 1970, most be adhered to.
of the album had been recorded before the Abbey Road The rst sessions for Abbey Road began on 22 Febru-
sessions began.[1] A double A-side single from the al- ary 1969, only three weeks after the Get Back sessions,
bum, "Something"/"Come Together", released in Octo- in Trident Studios. There, the group recorded a backing
ber, topped the Billboard chart in the US. track to "I Want You (Shes So Heavy)" with Billy Preston
Abbey Road is a rock album[2] that incorporates genres accompanying them on Hammond organ.[6] No further
such as blues, pop, and progressive rock,[3] and it makes group recording occurred until April because of Ringo
prominent use of the Moog synthesizer and the Leslie Starr's commitments on the lm The Magic Christian.[7]
speaker. Side two contains a medley of song fragments After a small amount of work that month and a session
edited together to form a single piece. The album was for "You Never Give Me Your Money" on 6 May, the
recorded amid a more enjoyable atmosphere than the Get group took an eight-week break before recommencing on
Back/Let It Be sessions earlier in the year, but there were 2 July.[8] Recording continued through July and August,
still frequent disagreements within the band, particularly with the last backing track, for "Because", being taped
on 1 August.[9] Overdubs continued through the month,
over Paul McCartney's song "Maxwells Silver Hammer".
John Lennon had privately left the group by the time the with the nal sequencing of the album coming together
on 20 August the last time all four Beatles appeared in
album was released and McCartney publicly quit the fol-
lowing year. A 16-minute medley of several short songs a studio together.[10]
comprise the majority of side two, closing with the lyric McCartney, Starr and Martin have reported positive
and in the end, the love you take is equal to the love you recollections of the sessions,[11] while George Harrison
make. said, we did actually perform like musicians again.[12]
Although Abbey Road was an immediate commercial suc- Lennon and McCartney had enjoyed working together
cess and reached number one in the UK and US, it ini- on the non-album single "The Ballad of John and Yoko"
tially received mixed reviews, some critics describing its in April, contributing friendly banter between takes, and
music as inauthentic and bemoaning the productions ar- some of [13] this camaraderie carried over to the Abbey Road
ticial eects. Many critics now view the album as the sessions. Nevertheless, there was a signicant amount
Beatles best and rank it as one of the greatest albums of of tension between the group members. According to au-
all time. In particular, George Harrison's contributions, thor Ian MacDonald, McCartney had an acrimonious ar-
Something and "Here Comes the Sun", are considered gument with Lennon during the sessions. Lennons wife
to be among the best songs he wrote for the group. The Yoko Ono had become a permanent presence at Beatles
albums cover features the four band members walking recordings and clashed with other members.[11] Halfway
across a zebra crossing outside Abbey Road Studios and through recording in June, Lennon and Ono were in-
has become one of the most famous and imitated images volved in a car accident. A doctor told Ono to rest in bed,
in the history of recorded music. As of 2011, Abbey Road so Lennon had one installed in the studio[5]so she could ob-
remains one of the Beatles best-selling albums. serve the recording process from there.
The albums two halves represented a compromise;
Lennon wanted a traditional release with distinct and
unrelated songs while McCartney and Martin wanted
1 Background to continue their thematic approach from Sgt. Peppers
Lonely Hearts Club Band by incorporating a medley.
After the unpleasant recording sessions for the proposed Lennon ultimately said that he disliked Abbey Road as a
Get Back album (ultimately released in 1970 as Let It whole and felt that it lacked authenticity, calling McCart-

1
2 2 COMPOSITION AND RECORDING

neys contributions "[music] for the grannies to dig and
not real songs[14] and describing the medley as junk
... just bits of songs thrown together.[15] During the
sessions, Lennon expressed a desire to have all of his
songs on one side of the album, with McCartneys on the
other.[12]
Nobody was entirely sure that the work was going to be of the performers.[29]
the groups last, though Harrison said it felt as if we were
reaching the end of the line.[16] After the album was re-
leased, the Get Back/Let It Be project was re-examined, 2.1.2 Something
and work on it continued into 1970. Therefore, Let It Be
became the last album to be nished by the Beatles, even Main article: Something (Beatles song)
though its recording had begun before Abbey Road.[10]
By September 1969, after the recording of Abbey Road,
Lennon had formed a new group, the Plastic Ono Band,
in part because the Beatles had rejected his song "Cold
Turkey".[17] While Harrison worked with such artists as
Leon Russell, Doris Troy, Preston and Delaney & Bon-
nie through to the end of the year,[18] McCartney took
a hiatus from the group after his daughter Mary was
born on 28 August.[19] On 20 September, Lennon for-
mally announced his departure to the other Beatles.[20]
Abbey Road was released on 26 September 1969. The
single Something"/"Come Together followed in Octo-
ber, while Lennon released the Plastic Ono Bands ver-
sion of Cold Turkey the same month.[21] The Beatles
did not promote Abbey Road directly, and no public an-
nouncement was made of the bands split until McCart-
ney announced he was leaving the group in April 1970, at
which point they ocially disbanded.[22]
2 Composition and recording
2.1 Side one
2.1.1 Come Together
Main article: Come Together
promised to record three songs from Levys publishing
catalogue for his next album.[27]
Come Together was later released as a double A-side
single with Something.[28] In the liner notes to the com-
pilation album Love, Martin described the track as a sim-
ple song but it stands out because of the sheer brilliance
Harrison was inspired to write Something during ses-
sions for the White Album by listening to label-mate
James Taylor's "Something in the Way She Moves" from
his album James Taylor.[30] After the lyrics were rened
during the Let It Be sessions (tapes reveal Lennon giv-
ing Harrison some songwriting advice during its compo-
sition), the song was initially given to Joe Cocker, but was
subsequently recorded for Abbey Road. Cockers version
appeared on his album Joe Cocker! that November.[31]
Something was Lennons favourite song on the al-
bum, and McCartney considered it the best song Harri-
son had written.[32] Frank Sinatra once commented that
it was his favourite LennonMcCartney composition[33]
(though the song was actually Harrisons) and the great-
est love song ever written.[34] Lennon contributed piano
to the recording and while most of the part was removed,
traces of it remain in the nal cut, notably on the middle
eight, prior to Harrisons guitar solo.[31]
The song was issued as a double A-side single with Come
Together in October 1969 and topped the US charts for
one week, becoming the rst Beatles number-one sin-
gle that was not a LennonMcCartney composition;[35] it
was also the rst Beatles single from an already released
album.[nb 1] Apples Neil Aspinall lmed a promotional
video, which combined separate footage of the Beatles
and their wives.[37]

Come Together was an expansion of Lets Get

2.1.3 Maxwells Silver Hammer
It Together, a song Lennon originally wrote for
Timothy Leary's California gubernatorial campaign
against Ronald Reagan.[23] A rough version of the lyrics Main article: Maxwells Silver Hammer
for Come Together was written at Lennons and Onos
second bed-in event in Montreal.[24] Maxwells Silver Hammer, McCartneys rst song on
Beatles author Jonathan Gould suggested that the song has the album, was rst performed by the Beatles during the
only a single pariah-like protagonist and Lennon was Let It Be sessions (as can be seen in the lm). He wrote
painting another sardonic self-portrait.[25] MacDonald the song after the groups trip to India in 1968 and wanted
has suggested that the juju eyeballs has been claimed to to record it for the White Album,[25]
but it was rejected by
[26]
refer to Dr John and spinal cracker to Ono. The song the others as too complicated.
was later the subject of a lawsuit brought against Lennon The recording was fraught with tension between band
by Morris Levy because the opening line in Come To- members, as McCartney annoyed others by insisting on a
gether Here come old at-top was admittedly perfect performance. The track was the rst Lennon was
lifted from a line in Chuck Berry's "You Can't Catch invited to work on following his car accident, but he hated
Me". A settlement was reached in 1973 whereby Lennon it and declined to do so.[38] According to engineer Geo
2.2 Side two
Emerick, Lennon said it was more of Pauls granny mu-
sic and left the session.[39] He spent the next two weeks
with Ono and did not return to the studio until the backing
track for Come Together was laid down on 21 July.[23]
Harrison was also tired of the song, adding we had to
play it over and over again until Paul liked it. It was a
real drag. Starr was more sympathetic to the song. It
was granny music, he admitted, but we needed stu like
that on our album so other people would listen to it.[39]
Starr played the anvil sound in the chorus.[40] This track
also makes use of Harrisons Moog Synthesizer, played
by McCartney.[38]
2.1.4 Oh! Darling
Main article: Oh! Darling
Oh! Darling was written by McCartney in the doo-wop
style, similar to contemporary work by Frank Zappa.[41]
It was tried at the Get Back sessions, and a version appears
on Anthology 3.[nb 2] It was subsequently re-recorded in
April, with overdubs in July and August.[41]
McCartney attempted recording the lead vocal only once
a day. He said: I came into the studios early every day for
a week to sing it by myself because at rst my voice was
too clear. I wanted it to sound as though I'd been perform-
ing it on stage all week.[43] Lennon thought he should
have sung it, remarking that it was more his style.[44]
2.1.5 Octopuss Garden
Main article: Octopuss Garden
As was the case with most of the Beatles albums, Starr
sang lead vocal on one track. Octopuss Garden is his
second and last solo composition released on any album
by the band. It was inspired by a trip to Sardinia aboard
Peter Sellers' yacht after Starr left the band for two weeks
with his family during the sessions for the White Al-
bum. Starr received a full songwriting credit and com-
posed most of the lyrics, though the songs melodic struc-
ture was partly written in the studio by Harrison.[45] The
pair would later collaborate as writers on Starrs solo sin-
gles "It Don't Come Easy", "Back O Boogaloo" and
"Photograph".[46]
2.1.6 I Want You (Shes So Heavy)"
Main article: I Want You (Shes So Heavy)
I Want You (Shes So Heavy)" was written by Lennon
about his relationship with Ono,[6] and he made a deliber-
ate choice to keep the lyrics simple and concise.[47] Au-
thor Tom Maginnis thought the song had a progressive
rock inuence, with its unusual length and structure, re-
peating guitar ri, and white noise eects, though he The song was not released as a single but still attracted
3
John Lennon played the Moog synthesizer's white noise generator
to create the wind sounds at the end of I Want You (Shes So
Heavy)"
noted the I Want You section has a straightforward
blues structure.[48][49]
The nished song is a combination of two dierent
recording attempts. The rst attempt occurred almost im-
mediately after the Get Back/Let It Be sessions, in Febru-
ary 1969, with Preston. This was subsequently combined
with a second version made during the Abbey Road ses-
sions proper in April. The two sections together ran to
nearly 8 minutes, making it the Beatles second-longest
released track.[nb 3] Lennon used Harrisons Moog syn-
thesizer with a white noise setting to create a wind
eect that was overdubbed on the second half of the
track.[6] During the nal edit, Lennon told Emerick to
cut it right there at 7 minutes and 44 seconds, creat-
ing a sudden, jarring silence that concludes the rst side
of Abbey Road (the recording tape would have run out
within 20 seconds as it was).[50] The nal mixing and edit-
ing for the track occurred on 20 August 1969, the last day
all four Beatles were together in the studio.[51]
2.2 Side two
2.2.1 Here Comes the Sun
Main article: Here Comes the Sun
Here Comes the Sun was written by Harrison in Eric
Clapton's garden in Surrey while Harrison took a break
from stressful band business meetings.[52] The basic track
was recorded on 7 July 1969. Harrison sang lead and
played acoustic guitar, McCartney provided backing vo-
cals and played bass and Starr played the drums.[50]
Lennon was still recuperating from his car accident and
did not perform on the track. Martin provided an or-
chestral arrangement in collaboration with Harrison, who
overdubbed a Moog synthesizer part on 19 August, im-
mediately before the nal mix.[52]
4 2 COMPOSITION AND RECORDING

critical praise. It has been featured several times on BBC

Radio 4's Desert Island Discs, having been chosen by
Sandie Shaw, Jerry Springer, Boris Johnson and Elaine
Page.[53] The Daily Telegraph's Martin Chilton said it was
almost impossible not to sing along to.[54] Since digi-
tal downloads have become eligible to chart, it reached
number 56 in 2010 after the Beatles back catalogue was
released on iTunes.[55]
Harrison recorded a guitar solo for this track that did not
appear in the nal mix. It was rediscovered in 2012, and
footage of Martin and Harrisons son Dhani listening to
it in the studio was released on the DVD of Living in the
Material World.[56]

2.2.2 Because

Main article: Because (Beatles song)

Because was inspired by Lennon listening to Ono play-

ing Ludwig van Beethoven's "Moonlight Sonata" on the
piano. He recalled he was lying on the sofa in our
house, listening to Yoko play ... Suddenly, I said, 'Can
you play those chords backward?' She did, and I wrote
'Because' around them.[57] The track features three-part
harmonies by Lennon, McCartney and Harrison, which
were then triple-tracked to give nine voices in the nal
mix. The group considered the vocals to be some of
the hardest and most complex they attempted. Harri-
son played the Moog synthesizer, and Martin played the
harpsichord that opens the track.[9]
2.2.3 Medley
Side two contains a 16-minute medley of several short
songs, recorded over July and August and blended into
a suite by McCartney and Martin.[58] Some songs were
written (and originally recorded in demo form) during
sessions for the White Album and Get Back / Let It Be,
which later appeared on Anthology 3.[59] While the idea
for the medley was McCartneys, Martin claims credit for
some structure, adding he wanted to get John and Paul
to think more seriously about their music.[16]
The rst track recorded for the medley was the opening
number, "You Never Give Me Your Money". McCartney
has claimed that the bands dispute over Allen Klein and
what McCartney viewed as Kleins empty promises were
the inspiration for the songs lyrics.[60] However, Mac-
Donald doubts this given that the backing track, recorded
on 6 May at Olympic Studios, predated the worst alter-
cations between Klein and McCartney. The track is a
suite of varying styles, ranging from a piano-led ballad at
the start to arpeggiated guitars at the end.[61] Both Harri-
son and Lennon provided guitar solos with Lennon play-
ing the solos at the end of the track, which Beatles au-
thor Walter Everett considers his favourite Lennon guitar
contribution.[62]
The medley of songs on side two nished with The End
This song transitions into Lennons "Sun King" which,
like Because, showcases Lennon, McCartney and
Harrisons triple-tracked harmonies. Following it are
Lennons "Mean Mr. Mustard" (written during the Beat-
les 1968 trip to India) and "Polythene Pam".[63] These
in turn are followed by four McCartney songs, "She
Came in Through the Bathroom Window" (written af-
ter a fan entered McCartneys residence via his bath-
room window),[64] "Golden Slumbers" (based on Thomas
Dekker's 17th-century poem set to new music), "Carry
That Weight" (reprising elements from You Never Give
Me Your Money, and featuring chorus vocals from all
four Beatles), and closing with "The End".[65]
The End features Starrs only drum solo in the Beat-
les catalogue (the drums are mixed across two tracks in
true stereo, unlike most releases at that time where they
were hard panned left or right). Fifty-four seconds into
the song are 18 bars of lead guitar: the rst two bars are
played by McCartney, the second two by Harrison, and
the third two by Lennon, with the sequence repeating.[66]
Harrison suggested the idea of a guitar solo in the track,
Lennon decided they should trade solos and McCartney
elected to go rst. The solos were cut live against the
existing backing track in one take.[16] Immediately after
Lennons third and nal solo, the piano chords of the nal
part of the song begin. The song ends with the memorable
nal line, And in the end, the love you take is equal to
the love you make. This section was taped separately
to the rst, and required the piano to be re-recorded by
McCartney, which was done on 18 August.[66] An alter-
native version of the song, with Harrisons lead guitar solo
 5

played against McCartneys (with Starrs drum solo heard
in the background), appears on the Anthology 3 album
and the 2012 digital-only compilation album Tomorrow
Never Knows.[67]
2.2.4 Her Majesty
Main article: Her Majesty (song)
on Abbey Road.[76] It was instead covered by Badnger,
while McCartneys original recording appeared on An-
thology 3.
The original backing track to Something, featuring
a piano-led coda,[31] and You Never Give Me Your
Money, which leads into a fast rock-n-roll jam ses-
sion,[61] have appeared on bootlegs.[77][78]

Her Majesty was recorded by McCartney on 2 July

3 Production
when he arrived before the rest of the group at Abbey
Road. It was included in a rough mix of the side two
medley, appearing between Mean Mr. Mustard and
Polythene Pam. McCartney disliked the way the med-
ley sounded when it included Her Majesty, so he asked
for it to be cut. The second engineer, John Kurlander, had
been instructed not to throw out anything, so after Mc-
Cartney left, he attached the track to the end of the master
tape after 20 seconds of silence. The tape box bore an in-
struction to leave Her Majesty o the nal product, but
the next day when mastering engineer Malcolm Davies
received the tape, he (also trained not to throw anything
away) cut a playback lacquer of the whole sequence, in-
cluding Her Majesty. The Beatles liked this eect and
included it on the album.[68]
Her Majesty opens with the nal, crashing chord of An EMI TG mixing desk, similar to this one, was used in the
Mean Mr. Mustard, while the nal note of Her production of Abbey Road
Majesty remained buried in the mix of Polythene Pam.
This is the result of Her Majesty being snipped o the Abbey Road was recorded on professional eight-track reel
reel during a rough mix of the medley on 30 July. The to reel tape machines[11] rather than the four-track ma-
medley was subsequently mixed again from scratch al- chines that were used for earlier Beatles albums such as
though Her Majesty was not touched again and still ap- Sgt Pepper, and was the rst Beatles album not to be is-
pears in its rough mix on the album.[68] sued in mono.[79] The album makes prominent use of the
Original US and UK pressings of Abbey Road do not list Moog synthesizer, and the guitar played through a Leslie
Her Majesty on the albums cover nor on the record speaker. The Moog is not merely as a background ef-
label,[69] making it a hidden track. The song title appears fect but sometimes playing a central role, as in Because
on the inlay card and disc of the 1987 remastered CD reis- where it is used for the middle eight. It is also promi-
sue, as track 17.[70] It also appears on the sleeve, booklet nent on Maxwells Silver Hammer (played using a rib-
and disc of the 2009 remastered CD reissue,[71] but not bon strip) and Here Comes the Sun. The instrument
on the cover or record label of the 2012 vinyl reissue.[72] was introduced to the band by Harrison who acquired
one in November 1968 and subsequently used it to create
his Electronic Sound album.[11] Starr made more promi-
2.3 Unreleased material nent use of the tom-toms on Abbey Road, later saying
the album was tom-tom madness ... I went nuts on the
Three days after the session for I Want You (Shes So toms.[80]
Heavy)", Harrison recorded solo demos of "All Things Abbey Road was also the rst and only Beatles album
Must Pass" (which became the title track of his 1970 to be entirely recorded through a solid state transistor
triple album), Something and "Old Brown Shoe".[73] mixing desk, the TG12345 Mk I, as opposed to ear-
The latter was re-recorded by the Beatles in April 1969 lier thermionic valve based REDD desks. The TG con-
and issued as the B-side to The Ballad of John and Yoko sole also allowed better support for eight-track multi-
the following month. All three of these Harrison demos track recording, helping the Beatles considerable use of
were later featured on Anthology 3.[74] overdubbing.[81] Emerick recalls the TG desk used to
During the sessions for the medley, McCartney recorded record the album had individual
[82]
limiters and compressors
"Come and Get It", playing all the instruments. It was on each audio channel and noted the overall sound was
[83]
[75]
assumed to be a demo recording for another artist but softer than the earlier valve desks.
McCartney later said that he originally intended to put it One of the assistant engineers working on the album was
6 5
a 19-year-old Alan Parsons. He went on to engineer Pink
Floyd's landmark album The Dark Side of the Moon and
produce many popular albums himself with the Alan Par-
sons Project.[84] Kurlander also assisted on many of the
sessions, and went on to become a successful engineer and
producer, most noteworthy for his success on the scores
for The Lord of the Rings lm trilogy.[85]
4 Album cover
The cover was designed by Apple Records creative direc-
tor Kosh. It is the only original UK Beatles album sleeve
to show neither the artist name nor the album title on its
front cover, which was Koshs idea, despite EMI claiming
the record would not sell without this information. He
later explained that we didn't need to write the bands
name on the cover ... They were the most famous band in
the world.[86]
4.1 Imagery
The zebra crossing, with EMI Studios in the background, in 1969
The front cover design, a photograph of the group
on a zebra crossing, was based on ideas sketched by
McCartney,[19][nb 4] and taken on 8 August 1969 outside
EMI Studios in Abbey Road. At 11:35 that morning,
photographer Iain Macmillan was given only ten minutes
to take the photo whilst he stood on a step-ladder and a
policeman held up trac behind the camera. Macmil-
lan took six photographs, which McCartney later exam-
ined with a magnifying glass before deciding which of the
shots would be used upon the album sleeve.[87][86]
In the image selected by McCartney, the group walk
across the street in single le from left to right, with
Lennon leading, followed by Starr, McCartney, and Har-
rison. McCartney is barefoot and out of step with the
other members. Apart from Harrison, the group are
wearing suits designed by Tommy Nutter.[88] To the left
of the picture, parked next to the zebra crossing, is a
white Volkswagen Beetle which belonged to one of the
people living in the block of ats across from the record-
ing studio. After the album was released, the number
plate (LMW 281F) was stolen repeatedly from the car.
In 1986, the car was sold at auction for 2,530[89][nb 5]
CRITICAL RECEPTION
and in 2001 was on display in a museum in Germany.[90]
The man standing on the pavement to the right of the pic-
ture is Paul Cole (7 July 1911 13 February 2008),[91]
an American tourist unaware he had been photographed
until he saw the album cover months later.[91] On the
original cover, McCartney holds a cigarette; in 2003 sev-
eral US poster companies airbrushed this cigarette out
of the image, without permission from either Apple or
McCartney.[92]
4.2 Legacy
Imitating the cover of Abbey Road has become popular with fans
The image of the Beatles on the Abbey Road crossing has
become one of the most famous and imitated in record-
ing history.[86] The crossing is a popular destination for
Beatles fans[86] and a webcam, provided by EarthCam,
has operated there since 2011.[93] In December 2010,
the crossing was given grade II listed status for its cul-
tural and historical importance"; the Abbey Road stu-
dios themselves had been given similar status earlier in
the year.[94] In 2013, Kolkata Police launched a trac
safety awareness advertisement against jaywalking, using
the cover and a caption that read: If they can, why can't
you?"[95][96] The cover image has been parodied on sev-
eral occasions, including by McCartney on his 1993 live
album Paul Is Live.[97] The Red Hot Chili Peppers' The
Abbey Road E.P. parodies the cover, with the band walk-
ing near-naked across a similar zebra crossing, although
the musical content is dierent.[98]
5 Critical reception
5.1 Contemporary reviews
Abbey Road initially received mixed reviews from music
critics,[99] who criticised the productions articial sounds
and viewed its music as inauthentic.[100] William Mann
of the London Times said that the album will be called

gimmicky by people who want a record to sound ex-
actly like a live performance,[100] although he considered
it to be teem[ing] with musical invention and added:
Nice as Come Together and Harrisons Something are
they are minor pleasures in the context of the whole disc
Side Two is marvellous "[101] Ed Ward of Rolling
Stone called the album complicated instead of complex
and felt that the Moog synthesizer disembodies and ar-
ticializes the bands sound, adding that they create a
sound that could not possibly exist outside the studio.[100]
While he found the medley on side two to be their most
impressive music since Rubber Soul, Nik Cohn of The
New York Times said that, individually, the albums
songs are nothing special.[102] Albert Goldman of Life
magazine wrote that Abbey Road is not one of the Bea-
tles great albums and, despite some lovely phrases
and stirring segues, side twos suite seems symbolic
of the Beatles latest phase, which might be described
as the round-the-clock production of disposable music
eects.[103]
Conversely, Chris Welch wrote in Melody Maker: the
truth is, their latest LP is just a natural born gas, entirely
free of pretension, deep meanings or symbolism While
production is simple compared to past intricacies, it is still
extremely sophisticated and inventive.[104] Derek Jew-
ell of The Sunday Times found the album refreshingly
terse and unpretentious, and although he lamented the
bands cod-1920s jokes (Maxwells Silver Hammer) and
Ringos obligatory nursery arias (Octopuss Garden)",
he considered that Abbey Road touches higher peaks
than did their last album.[101] John Mendelsohn, writ-
ing for Rolling Stone, called it breathtakingly recorded
and praised side two especially, equating it to the whole
of Sgt. Pepper" and stating, That the Beatles can unify
seemingly countless musical fragments and lyrical doo-
dlings into a uniformly wonderful suite ... seems potent
testimony that no, they've far from lost it, and no, they
haven't stopped trying.[105]
5.2 Retrospective reviews
Many critics have since cited Abbey Road as the Beat-
les greatest album.[116] In a retrospective review, Nicole
Pensiero of PopMatters called it an amazingly cohesive
piece of music, innovative and timeless.[2] Mark Kemp
of Paste viewed the album as being among The Beatles
nest works, even if it foreshadows the cigarette-lighter-
waving arena rock that technically skilled but critically
maligned artists from Journey to Meatloaf would bela-
bor throughout the '70s and '80s.[113] Neil McCormack
of The Daily Telegraph dubbed it the Beatles last love
letter to the world and praised its big, modern sound,
calling it lush, rich, smooth, epic, emotional and utterly
gorgeous.[109] AllMusic's Richie Unterberger felt that
the album shared Sgt. Peppers faux-conceptual forms,
but had stronger compositions, and wrote of its stand-
ing in the bands catalogue: Whether Abbey Road is the
7
Beatles best work is debatable, but its certainly the most
immaculately produced (with the possible exception of
Sgt. Pepper) and most tightly constructed.[106] Ian Mac-
Donald gave a mixed opinion of the album, noting that
several tracks had been written at least a year previously,
and would possibly have been unsuitable without being
integrated into the medley on side two. He did, however,
praise the production, particularly the sound of Starrs
bass drum.[11]
Abbey Road received high rankings in several
best albums in history polls by critics and
publications.[117][118][119] Time included it in their
2006 list of the All-Time 100 Albums.[120] In 2009,
readers of Rolling Stone named Abbey Road the greatest
Beatles album.[117][121] and in 2012, the magazine ranked
it number 14 on its list of the 500 greatest albums of all
time.[122] The album was also included in the book 1001
Albums You Must Hear Before You Die.[123]
Musicologist Walter Everett interprets that most of the
lyrics on side twos medley deal with selshness and self-
gratication the nancial complaints in 'You Never Give
Me Your Money,' the miserliness of Mr. Mustard, the
holding back of the pillow in 'Carry That Weight,' the de-
sire that some second person will visit the singers dreams
perhaps the 'one sweet dream' of 'You Never Give Me
Your Money'? in 'The End.'"[124] Everett adds that
the medleys selsh moments are played in the context
of the tonal centre of A, while generosity is expressed
in songs where C major is central.[124] The medley con-
cludes with a great compromise in the 'negotiations" in
The End, which serves as a structurally balanced coda.
In response to the repeated A-major choruses of love
you, McCartney sings in realisation that there is as much
self-gratifying love (the love you take) as there is of the
generous love (the love you make), in A major and C
major, respectively.[124]
6 Commercial performance
Abbey Road sold four million copies in its rst two months
of release.[125] In the UK, the album debuted at number 1,
where it remained for 11 weeks before being displaced for
one week by the Rolling Stones' Let It Bleed. The follow-
ing week (which was Christmas), Abbey Road returned
to the top for another six weeks (completing a total of 17
weeks) before being replaced by Led Zeppelin II.[126][127]
In all it spent 81 weeks on the UK albums chart.[128]
Reaction overseas was similar. In the US, the album
spent 12 weeks at number one on the Billboard Top LPs
chart.[129] It was the National Association of Recording
Merchandisers (NARM) best-selling album of 1969[130]
and was number four on Billboard magazines top LPs of
1970 year-end chart. Abbey Road was certied 12 plat-
inum by the RIAA in 2001.[131] In Japan, it was one of
the longest-charting albums to date, remaining in the top
8 14 REFERENCES

100 for 298 weeks during the 1970s.[132] 9 Track listing

In June 1970, Allen Klein reported that Abbey Road was
the Beatles best-selling album in the US with sales of All tracks written by LennonMcCartney, except where
about ve million.[133] By 1992, Abbey Road had sold noted.
nine million copies.[125] The album became the ninth- Notes
most downloaded on the iTunes Store a week after it was
released there on 16 November 2010.[55] A CNN report
Her Majesty appears as a hidden track. Between
stated it was the best-selling vinyl album of 2011.[134] It
The End and Her Majesty is 14 seconds of si-
is the rst album from the 1960s to sell over ve million
lence. Later releases of the album included the song
albums since 1991 when Nielsen SoundScan began track-
[135] on the track listing.
ing sales. In the US, the album had sold 7,177,797
[136]
copies by the end of the 1970s. The album has sold Some cassette tape versions in the UK and US
over 31 million copies worldwide and is one of the bands had Come Together and Here Comes the Sun
best-selling albums.[137] swapped to even out the playing time of each
side.[152]

7 Cover versions
10 Personnel
The songs on Abbey Road have been covered many times
and the album itself has been covered in its entirety. According to Mark Lewisohn,[153] Ian MacDonald[154]
One month after Abbey Road's release, George Benson and Barry Miles.[155]
recorded a cover version of the album called The Other
Side of Abbey Road.[138] Later in 1969 Booker T. & the
M.G.'s recorded McLemore Avenue (the location of Stax 11 Charts
Records) which covered the Abbey Road songs and had a
similar cover photo.[139]
11.1 Weekly charts
Additionally, several artists have covered some or all of
the side-B medley, including Phil Collins (for the Mar-
tin/Beatles tribute album In My Life),[140] The String 12 Certications
Cheese Incident,[141] Transatlantic[142] and Tenacious D
(who performed the medley with Phish keyboardist Page BPI certication awarded only for sales since 1994.[196]
McConnell).[143] Furthur, a jam band including former
Grateful Dead members Bob Weir and Phil Lesh, played
the entire Abbey Road album during its Spring Tour
2011. It began with a Come Together opener at Boston
13 See also
on 4 March and ended with the entire medley in New
York City on 15 March, including Her Majesty as an List of best-selling albums
encore.[144] The Beatles discography

8 Release history 14 References

Abbey Road has remained in print since its rst release in Footnotes
1969. The original album was released on 26 Septem-
ber in the UK[145] and 1 October in the US on Apple [1] In the 1960s, UK record industry protocol was that singles
Records.[146] It was reissued on vinyl in the US under did not normally appear on albums.[36]
Capitol on 27 December 1978,[147] while a CD reissue of
the album was released in 1987, with a remastered ver- [2] In the version released on Anthology 3, Lennon can be
sion appearing in 2009.[148] The remaster included ad- heard singing the lead on an ad-libbed verse regarding
the news that Yoko Onos divorce from previous husband
ditional photographs with additional liner notes and the
Anthony Cox had been nalised.[42]
rst, limited edition, run also included a short documen-
tary about the making of the album.[149] [3] At 8:22, "Revolution 9" is the longest track to appear on a
Beatles album
The album continues to be reissued on vinyl. It was in-
cluded as part of the Beatles Collectors Crate series in [4] A working title of the album was Everest, after a brand of
September 2009[150] and saw a remastered LP release on cigarettes favoured by Emerick, but the band were reluc-
180-gram vinyl in 2012.[151] tant to travel to the Himalayas for a photo session.[11]
 9

[5] Equivalent to 6,685 or $8,712 in 2014 [30] Gould 2008, p. 576.

[31] Everett 1999, p. 249.

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Lewisohn, Mark (1988). The Beatles Recording Ses-
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Lewisohn, Mark (1992). The Complete Beatles
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MacDonald, Ian (1997). Revolution in the Head:
The Beatles Records and the Sixties (First Revised
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978-0-7126-6697-8.
MacFarlane, Thomas (2007). The Beatles Abbey
Road Medley Extended Forms in Popular Music.
Rowman & Littleeld. ISBN 978-1-4617-3659-2.
14 15 EXTERNAL LINKS

Miles, Barry (1997). Many Years From Now.

Vintage-Random House. ISBN 978-0-7493-8658-
0.

Roberts, Jeremy (2011). The Beatles Music Revolu-

tionaries. Twenty-First Century Books. ISBN 978-
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Rodriguez, Robert (2010). Fab Four FAQ 2.0 The
Beatles Solo Years, 19701980. Milwaukee, WI:
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Lennon, John; Ono, Yko; She, David (2000). All

We Are Saying The Last Major Interview with John
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Spizer, Bruce (2005). The Beatles Solo on Apple
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Stark, Steven D. (13 October 2009). Meet the Beat-

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Turner, Steve (1994). A Hard Days Write. Harper.

Urish, Ben (2007). The Words and Music of John
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Wallgren, Mark (1982). The Beatles on Record.

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45682-5.
Wenner, Jann; Lennon, John (2001). Lennon Re-
members The Full Rolling Stone Interviews from
1970. Verso. ISBN 978-1-85984-376-5.

15 External links
Abbey Road at Discogs (list of releases)

Beatles comments on each song

Beatles engineer Geo Emerick on Abbey Road
A track-by-track walkthrough
Live webcam at the Abbey Road zebra crossing

Live webcam at the Abbey Road zebra crossing

(Adobe Flash Player not required)
 15

16 Text and image sources, contributors, and licenses

16.1 Text
Abbey Road Source: https://en.wikipedia.org/wiki/Abbey_Road?oldid=783695078 Contributors: Kpjas, Derek Ross, Lee Daniel Crocker,
Robert Merkel, Tarquin, Koyaanis Qatsi, Gareth Owen, Eclecticology, Deb, Ortolan88, Mazzy, Montrealais, Modemac, KF, Ewen,
Soulpatch, Olivier, OlofE~enwiki, Kchishol1970, Smelialichu, Paul Barlow, GTBacchus, Delirium, Kosebamse, Tregoweth, Ellywa,
Mortene, ZoeB, CatherineMunro, TUF-KAT, TUF-KAT, Mark Foskey, Jimregan, Lee M, Adam Bishop, Joshk, Joseaperez, GPHem-
sley, MK~enwiki, Chuunen Baka, Robbot, Dale Arnett, RedWolf, Chocolateboy, Psychonaut, Siennalizard, Blainster, Alan De Smet,
UtherSRG, Arm, TexasDex, Dmn, GreatWhiteNortherner, Jordon Kalilich, ScudLee, Laudaka, Counsell, Angmering, Everyking, An-
druil~enwiki, Michael Devore, Gamaliel, David Johnson, Sunny256, Cantus, ZeroJanvier, Beardo, Mboverload, Glenn Koenig, Hiphats,
Bobblewik, Wmahan, Stevietheman, ChicXulub, Scraggy4, GeneMosher, Dunks58, Sharavanabhava, Comics, Yossarian, Barrettam, Pho-
tonix, Mschlindwein, Avihu, Grstain, DanielCD, Cbing01, Bedders, Rich Farmbrough, Rhobite, Loganberry, Vague Rant, Frehorse,
YUL89YYZ, Ajplmr, Martpol, Night Gyr, Unixslug, Bender235, Sc147, Surachit, Nickj, Triona, Orlady, Thu, Redlentil, Shenme, Ar-
cadian, DaveGorman, Giraedata, CoolGuy, Draconiszeta, Rje, Words to sell, Haham hanuka, Analogdemon, Jason One, A strolling
player, Snow1215, Alansohn, Guy Harris, 119, !melquiades, Phyllis1753, Mad Hatter, Omphaloscope, Dragunova, Someoneinmyhead-
butitsnotme, Mattbrundage, Red dwarf, The JPS, Woohookitty, Bjones, Camw, Durga2112, John Cardinal, Robert K S, Ratzer, Gws57,
Jleon, Mangojuice, Mb1000, Wikedguy, DavidFarmbrough, Graham87, GoldRingChip, BD2412, Kbdank71, JIP, Tokle, Sj, Rjwilmsi,
Koavf, Amire80, Staecker, Sdornan, Soakologist, Nick R, Bubba73, The wub, Tarc, Fred Bradstadt, Nowhither, Margosbot~enwiki,
Backin72, Flowerparty, Thenowhereman, Preslethe, Butros, Jacurtis, El Slameron, Roygbiv666, Barrettmagic, Hairy Dude, Rt66lt, Russ-
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ings, Kingboyk, Sbassi, WesleyDodds, Danness, Conman33, PKtm, SmackBot, Smokeverbs, Cubs Fan, Allixpeeke, Jagged 85, Chairman
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tissue, P. S. Burton, Piledhigheranddeeper, Namralos, NillaGoon, Excirial, Avdoyle80, Nymf, Jusdafax, Viragored, Elephantissimo, Yoshi-
man64, Zhwarday, Wiki libs, Arjayay, Titan50, Himtroy, TwentiethApril1986, Johnkurlander, Saebjorn, Rgoogin, Leroyinc, Supineny,
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bjork, Fugreena, Shea72, Unless 68, WikiRedactor, WikHead, Doc9871, PL290, EightDash, WikiMidget, Kodster, Addbot, Chives42,
EpsilonJSTC, Dan56, Didiierbardon, TripOnMyShip, Metagraph, Rank11, Darwin-rover, Ronhjones, Koossepa, Dan is the coolest6, Cana-
dianLinuxUser, Fluernutter, Groundsquirrel13, Noozgroop, Coordinatezero, Ianmax69, NjardarBot, Lemonag, The Shadow-Fighter,
LinkFA-Bot, Aacugna, Densock, Tassedethe, PriceCullen, Kyuko, Zorrobot, Legobot, Yobot, Themfromspace, Therimjob, JJARichardson,
Ptbotgourou, Rsquire3, L337hunter, Bob Caldwell CSL, Phil Kessell, Spiervanzwicht, Radiopathy, AnomieBOT, Skilletfan92, Builtbyan-
imals, Jim1138, HM211980, Piano non troppo, Spinaci, Citation bot, Jackeddemon, Krobertj, Rvd4life, Pacotaco9, GB fan, Quebec99,
LilHelpa, Elninotorres9, Xqbot, Mr. Frank, Belasted, Jbruin152, Palaciopalermo12, Kieronoldham, CheezerRox (forgot his old password
so here he is), J04n, GrouchoBot, Rochabeatlesfan, F-22 Raptored, CheezerRox4502, Foreverprovence, Sabrebd, Traord09, Macgroover,
Joing1992joing1992, Dou Gweler, Erik9, Dwlkr51, Dan6hell66, GripTheHusk, Sickened, Ponde, NSH002, Jd5544, Eagrant, Theall-
knowingplant, Democraticmacguitarist, Bartle1, NorthPark420, DangTungDuong, ChrisJBenson, Jonesey95, Tomcat7, RedBot, D437,
Nofoolz, Obscurasky, Reconsider the static, PacicWarrior101, Auxseq, Cnwilliams, Proedit21, DC, Robvanvee, Discographer, Trap-
pist the monk, Colchester121891, Holy-Snail, Tough Thickpan, Beatlefan97, Wrapped in Grey, Dvvoovnoono, Callanecc, Dinamik-bot,
Mauri96, Vera.tetrix, Chasewc91, Reach Out to the Truth, Shimmy2, Onel5969, Mondotta, RjwilmsiBot, TjBot, EderRedeld, Smar-
tiger, Bossanoven, Baddog19, Ben-Bopper, GabeMc, DASHBot, Lucyconlon, EmausBot, Timtempleton, Yids2010, Gil gosseyn, Bumbas
Tolker, Mashaunix, Starcheerspeaksnewslostwars, GoingBatty, Prenigmamann, Nico krriquiere, Woodywoodpeckerthe3rd, Bt8257, Di-
16 16 TEXT AND IMAGE SOURCES, CONTRIBUTORS, AND LICENSES

iCinta, Wikiturrican, CrimsonBlue, MPFC1969, Slightsmile, John of Lancaster, Yeepsi, Rocketj23, Werieth, Evanh2008, Sepguilherme,
Jonhmayer-f, ZroBot, Swastikka, Abbey Road LLC, Boonetrailboy, A Thousand Doors, Unreal7, NewMoonBay, KiSouKo, Table-
clothes, Orange Suede Sofa, Snowconeboy789, Dillymachadlin2, Kevjgav, Mhiji, ClueBot NG, Pantergraph, CactusBot, SgtPetsounds,
Galenfott, Stwheel1, Joe MiGo, Frietjes, Cntras, DanWiki2011, Streadwell, Helpful Pixie Bot, Popcorndu, Calidum, AlterBerg, Ally in
Bookham, FromtheWordsofBR, Lowercase sigmabot, BG19bot, Avdelamerced, Theherald1000, Barewires, Uzielis, Lifeformnoho, Zis-
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JG66, HueSatLum, Smorgan.mus, Midnite Joker, Silverbeatles, MagnusMan, Alex Mirabella, StawberryFields, Jokemuncher, Dexbot,
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16.2 Images
File:1969_Abbey_Road.JPG Source: https://upload.wikimedia.org/wikipedia/commons/7/7b/1969_Abbey_Road.JPG License: CC BY-
SA 3.0 Contributors: Own work Original artist: Dr. Ronald Kunze
File:Cassini_team_Abbey_road.jpg Source: https://upload.wikimedia.org/wikipedia/commons/b/bd/Cassini_team_Abbey_road.jpg
License: Public domain Contributors: http://ciclops.org/team/iss_team.php Original artist: Cassini
File:Dagger-14-plain.png Source: https://upload.wikimedia.org/wikipedia/commons/3/37/Dagger-14-plain.png License: CC0 Contrib-
utors: Own work Original artist: RexxS
File:Moog_Modular_55_img2.jpg Source: https://upload.wikimedia.org/wikipedia/commons/e/e6/Moog_Modular_55_img2.jpg Li-
cense: CC BY 3.0 Contributors: http://www.vintagesynth.com/moog/m55_5whole.jpg e Original artist: . The original uploader was Kimi95
at Italian Wikipedia
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tributors: Made with Inkscape from Stars615.svg: <a href='//commons.wikimedia.org/wiki/File:Stars615.svg' class='image'><img
alt='Stars615.svg' src='https://upload.wikimedia.org/wikipedia/commons/thumb/7/72/Stars615.svg/96px-Stars615.svg.png' width='96'
height='17' srcset='https://upload.wikimedia.org/wikipedia/commons/thumb/7/72/Stars615.svg/144px-Stars615.svg.png 1.5x,
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le-height='110' /></a>. Original artist: This vector image was created with Inkscape by Conti from the original images by RedHotHeat,
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Made with Inkscape from Image:Stars615.svg. Original artist: User:Conti from the original images by User:RedHotHeat
File:TG12345_Mk.II_desk_(1970s)_and_Microphones,_Abbey_Road_Studios.jpg Source: https://upload.wikimedia.org/
wikipedia/commons/2/29/TG12345_Mk.II_desk_%281970s%29_and_Microphones%2C_Abbey_Road_Studios.jpg License: CC BY
2.0 Contributors: Flickr: SAM_4386 Original artist: Josephenus P. Riley
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Own work Original artist: Andreas Thum

16.3 Content license

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