The Beatles were at the height of their popularity, and surprisingly near the end of their time as a group when they recorded Abbey Road, their eleventh studio album. In fact, it would be the last album the group started recording, as Let it Be was mostly recorded prior to the Abbey Road sessions even though it wasn't finished until after Abbey Road was released. John, Paul, George, and Ringo were iconic by this time, though all were still under 30 years of age.
The recording of this album wa...
The Beatles were at the height of their popularity, and surprisingly near the end of their time as a group when they recorded Abbey Road, their eleventh studio album. In fact, it would be the last album the group started recording, as Let it Be was mostly recorded prior to the Abbey Road sessions even though it wasn't finished until after Abbey Road was released. John, Paul, George, and Ringo were iconic by this time, though all were still under 30 years of age.
The recording of this album was more harmonious than the Get Back/Let It Be sessions earlier in the same year, but they were not free of conflict. John Lennon did not perform on several tracks, and would have quietly left the group prior to the album's release.
The album is a bit of a throwback to a previous style of production, prior to the conflict-ridden processes that had typified Get Back and The White Album. Producer George Martin agreed to this, but on the condition that all group members - especially John Lennon - let him produce the record as the earlier records were produced, and that everyone maintain discipline for the process. The result actually faced mixed reviews at the time of its release, though with the passage of time it has attained its present status as one of the greatest rock albums of all time.
The cover is the iconic picture of the band members walking across a zebra crossing outside Abbey Road Studios.
Special guest and friend of the show Eric Von Haessler from “The Von Haessler Doctrine” on WSB Radio joins us to present this album - one of his all-time favorites. Eric recommends the version from the 1987 CD, as newer versions have been remixed to the detriment of the album.
Come Together
The opening track is a bit of a continuation of the earlier song “Let's Get It Together” which John Lennon wrote for Timothy Leary when he was campaigning for the California gubernatorial race against Ronald Reagan. The song’s lyrics are quite surrealistic, but the title may represent the desire of the band to get together in harmony for the sake of the music.
Here Comes the Sun
George Harrison wrote this incredibly positive song in Eric Clapton's garden during a break from business meetings for the Beatles. John Lennon was recovering from a car accident when the track was recorded, and did not perform on the track. Believe it or not, this was not released as a single from the album!
Maxwell's Silver Hammer
Paul McCartney wrote this song after traveling to India in 1968 and originally wanted to record it for the White Album, but the group thought it was “too complicated” and pushed it off until this album. McCartney further annoyed the others by insisting on a perfect performance of the work. The multiple takes were, in the words of George Harrison, “a real drag.”
I Want You (She's So Heavy)
Lennon wrote this song about his relationship with Yoko Ono. The finished product is a combination of two different recording attempts, one made just after the Get Back sessions with Billy Preston, and the other made during the Abbey Road sessions. The phrase “heavy” at the time meant deep or significant, and in no way related to Ono's weight!
**We opted to cover 5 Staff Picks and did not feature an Entertainment Track on this podcast**
STAFF PICKS:
Me by Otis Rush
Wayne starts this week's staff picks with a Chicago blues artist that got his start in the early 50's. This song is about a guy who attributes his position on hard work and self-determination. “I paid my own way, gave stuff for free 'cause the only true friend I ever had was me.” Duane Allman is on guitar on this track.
Oh What a Night by the Dells
Bruce's staff pick is a remake of a number 4 R&B hit from 1956, also by The Dells. This updated version went to number 10 on the Billboard Hot 100. A number of covers of this song have been done through the years, including by Sly Stallone and the Biscaynes, Tracey Ullman, Lester Bowie, Nick Kaman, and the Moonlighters.
Sweet Caroline by Neil Diamond
This one is not a deep cut by any stretch of the imagination. Rob features a sing-a-long song for many sports teams, including the Carolina Panthers, Iowa State, the University of Pittsburgh, and of course the Boston Red Sox. The inspiration for the name was Caroline Kennedy, the last surviving child of President John Kennedy, though Diamond wrote it for his wife, Marsha. He felt like a three-syllable name would fit the song better.
Green River by Creedence Clearwater Revival
Lynch brings us some swamp rock from CCR. Creedence Clearwater Revival had 14 top 10 hits within a 17-month period. Although the group is from California, the song was written about the Green River near New Orleans and has a Louisiana feel. Despite their success, acrimony within the group would lead to a breakup in 1972.
Sugar, Sugar by The Archies
Eric Von Haessler finishes off the staff picks with a very different song from the Beatles. The Archies were a fictional band based on the TV show and comic strip of the same name. The music was recorded by session musicians. A number of these “bubble gum pop” songs were successful, with a lighthearted, positive touch. Jeff Barry and Andy Kim wrote this, and it hit number 1 on the Billboard Hot 100 for four weeks
INSTRUMENTAL TRACK:
Baby, I Love You by Otis Rush
We exit the podcast by double-dipping on an instrumental blues number by Otis Rush.
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