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Abbey Road by  Released26 September 1969Recorded22 February – 20 August 1969Studio,  and , London Length47:03The Beatles chronology
(1969)Abbey Road
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(1970)  chronology
(1969)Abbey Road
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(1970) from Abbey Road "" / ""
Released: 6 October 1969

Abbey Road is the eleventh studio album by the English  band , released on 26 September 1969 by . Named after  of  in London, the cover features the group walking across the street's , an image that became one of the most famous and imitated in . The album's initially mixed reviews were contrasted by its immediate commercial success, topping record charts in the UK and US. The lead single "" / "" was released in October and topped US charts.

The album incorporates genres such as ,  and , and makes prominent use of , sounds filtered through a , and . It is the Beatles' only album recorded exclusively through a   mixing desk, which afforded a clearer and brighter sound than the group's previous records. Side two contains a medley of song fragments edited together to form a single piece. The sessions also produced a non-album single, "" backed with "".

Producer  returned on the condition that the Beatles adhere to the discipline of their earlier records. They found the album's recording more enjoyable than the preceding  sessions, but personal issues still permeated the band. Production lasted from February to August 1969, and the closing track "" marked the final occasion that all four members recorded together.  privately left the group six days before the album's release;  publicly declared  the following April.

Upon release, detractors found Abbey Road to be inauthentic and bemoaned the production's artificial effects. Since then, many critics have hailed the album as the Beatles' finest; in particular, "Something" and "" are considered among the best songs  wrote for the group. The album has also been ranked as one of the Beatles' best-selling, including a multi-platinum certification by the . Shortly after its release, the cover was scrutinised in connection with widespread rumours of . EMI Studios was also renamed  in honour of the album.

Background

After the tense and unpleasant recording sessions for the proposed  album,  suggested to music producer  that the group get together and make an album "the way we used to do it", free of the conflict that had begun during sessions for  (also known as the "White Album"). Martin agreed, but on the strict condition that all the group – particularly  – allow him to produce the record in the same manner as earlier albums and that discipline would be adhered to. No one was entirely sure that the work was going to be the group's last, though  said "it felt as if we were reaching the end of the line".

Production Recording history

The first sessions for Abbey Road began on 22 February 1969, only three weeks after the Get Back sessions, in . There, the group recorded a backing track for "" with  accompanying them on . No further group recording occurred until April because of 's commitments on the film . After a small amount of work that month and a session for "" on 6 May, the group took an eight-week break before recommencing on 2 July. Recording continued through July and August, and the last backing track, for "", was taped on 1 August. Overdubs continued through the month, with the final sequencing of the album coming together on 20 August – the last time all four Beatles were present in a studio together.

McCartney, Starr and Martin have reported positive recollections of the sessions, while Harrison said, "we did actually perform like musicians again". Lennon and McCartney had enjoyed working together on the non-album single "" in April, sharing friendly banter between takes, and some of this camaraderie carried over to the Abbey Road sessions. Nevertheless, there was a significant amount of tension in the group. According to , McCartney had an acrimonious argument with Lennon during the sessions. Lennon's wife, , had become a permanent presence at Beatles' recordings and clashed with other members. Halfway through recording in June, Lennon and Ono were involved in a car accident. A doctor told Ono to rest in bed, so Lennon had one installed in the studio so she could observe the recording process from there.

During the sessions, Lennon expressed a desire to have all of his songs on one side of the album, and McCartney's on the other. The album's two halves represented a compromise: Lennon wanted a traditional release with distinct and unrelated songs while McCartney and Martin wanted to continue their thematic approach from  by incorporating a medley. Lennon ultimately said that he disliked Abbey Road as a whole and felt that it lacked authenticity, calling McCartney's contributions "[music] for the grannies to dig" and not "real songs", and describing the medley as "junk ... just bits of songs thrown together".

Technical aspects An EMI TG mixing desk, similar to this one, was used in the production of Abbey Road

Abbey Road was recorded on   tape machines rather than the four-track machines that were used for earlier Beatles albums such as Sgt Pepper, and was the first Beatles album not to be issued in mono. The album makes prominent use of guitar played through a , and of the . The Moog is not merely used as a background effect but sometimes plays a central role, as in "Because", where it is used for the middle eight. It is also prominent on "Maxwell's Silver Hammer" and "Here Comes the Sun". The synthesizer was introduced to the band by Harrison, who acquired one in November 1968 and used it to create his album . Starr made more prominent use of the  on Abbey Road, later saying the album was "tom-tom madness ... I went nuts on the toms."

Abbey Road was also the first and only Beatles album to be entirely recorded through a   mixing desk, the , as opposed to earlier -based  desks. The TG console also allowed better support for , facilitating the Beatles' considerable use of . Emerick recalls that the TG desk used to record the album had individual limiters and compressors on each audio channel and noted that the overall sound was "softer" than the earlier valve desks. In his study of the role of the TG12345 in the Beatles' sound on Abbey Road, music historian  observes that "the expansive sound palette and mixing capabilities of the TG12345 enabled George Martin and Geoff Emerick to imbue the Beatles' sound with greater definition and clarity. The warmth of solid-state recording also afforded their music with brighter  and a deeper low end that distinguished Abbey Road from the rest of their corpus, providing listeners with an abiding sense that the Beatles' final long-player was markedly different."

 worked as an assistant engineer on the album. He later went on to engineer 's landmark album  and produce many popular albums himself with . John 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  film trilogy.

Songs Side one "Come Together"

"Come Together" was an expansion of "Let's Get It Together", a song Lennon originally wrote for 's  campaign against . A rough version of the lyrics for "Come Together" was written at Lennon's and Ono's second  event in Montreal.

Beatles author Jonathan Gould suggested that the song has only a single "pariah-like protagonist" and Lennon was "painting another sardonic self-portrait". MacDonald has suggested that the "juju eyeballs" has been claimed to refer to  and "spinal cracker" to Ono. The song was later the subject of a  brought against Lennon by  because the opening line in "Come Together" – "Here come old flat-top" – was admittedly lifted from a line in 's "". A settlement was reached in 1973 in which Lennon promised to record three songs from Levy's publishing catalogue for his .

"Come Together" was later released as a  single with "Something". In the liner notes to the compilation album , Martin described the track as "a simple song but it stands out because of the sheer brilliance of the performers".

"Something"

Harrison was inspired to write "Something" during sessions for the White Album by listening to label-mate 's "" from his album . After the lyrics were refined during the Let It Be sessions (tapes reveal Lennon giving Harrison some songwriting advice during its composition), the song was initially given to , but was subsequently recorded for Abbey Road. Cocker's version appeared on his album  that November.

"Something" was Lennon's favourite song on the album, and McCartney considered it the best song Harrison had written. Though the song was written by Harrison,  once commented that it was his favourite  composition and "the greatest love song ever written". Lennon contributed piano to the recording and while most of the part was removed, traces of it remain in the final cut, notably on the , before Harrison's guitar solo.

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 Beatles' first number-one single that was not a Lennon–McCartney composition. It was also the first Beatles single from an album already released in the UK. Apple's  filmed a promotional video, which combined separate footage of the Beatles and their wives.

"Maxwell's Silver Hammer"

"Maxwell's Silver Hammer", McCartney's first song on the album, was first performed by the Beatles during the Let It Be sessions (as seen in the ). He wrote the song after the group's  in 1968 and wanted to record it for the White Album, but it was rejected by the others as "too complicated".

The recording was fraught with tension between band members, as McCartney annoyed others by insisting on a perfect performance. The track was the first Lennon was invited to work on following his car accident, but he hated it and declined to do so. According to engineer , Lennon said it was "more of Paul's granny music" and left the session. 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. Harrison was also tired of the song, saying "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 stuff like that on our album so other people would listen to it". Longtime roadie Mal Evans played the  sound in the chorus. This track also makes use of Harrison's , played by McCartney.

"Oh! Darling"

"Oh! Darling" was written by McCartney in the  style, like contemporary work by . It was tried at the Get Back sessions, and a version appears on . It was subsequently re-recorded in April, with overdubs in July and August.

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 first my voice was too clear. I wanted it to sound as though I'd been performing it on stage all week." Lennon thought he should have sung it, remarking that it was more his style.

"Octopus's Garden"

As was the case with most of the Beatles' albums, Starr sang lead vocal on one track. "Octopus's Garden" is his second and last solo composition released on any album by the band. It was inspired by a trip to  aboard 's yacht after Starr left the band for two weeks with his family during the sessions for the White Album. Starr received a full songwriting credit and composed most of the lyrics, although the song's melodic structure was partly written in the studio by Harrison. The pair would later collaborate as writers on Starr's solo singles "", "" and "".

"I Want You (She's So Heavy)"  played the 's  generator to create the "wind" sounds at the end of "I Want You (She's So Heavy)"

"I Want You (She's So Heavy)" was written by Lennon about his relationship with Ono, and he made a deliberate choice to keep the lyrics simple and concise. Author Tom Maginnis writes that the song had a  influence, with its unusual length and structure, repeating guitar riff, and  effects, though he noted the "I Want You" section has a straightforward blues structure.

The finished song is a combination of two different recording attempts. The first attempt occurred almost immediately after the Get Back/Let It Be sessions, in February 1969, with . This was subsequently combined with a second version made during the Abbey Road sessions proper in April. The two sections together ran to nearly eight minutes, making it the Beatles' second-longest released track. Lennon used Harrison's Moog synthesizer with a white noise setting to create a "wind" effect that was overdubbed on the second half of the track. During the final edit, Lennon told Emerick to "cut it right there" at 7 minutes and 44 seconds, creating a sudden, jarring silence that concludes the first side of Abbey Road (the recording tape would have run out within 20 seconds as it was). The final mixing and editing of the track occurred on 20 August 1969, the last day all four Beatles were together in the studio.

Side two "Here Comes the Sun"

"Here Comes the Sun" was written by Harrison in 's garden in Surrey during a break from stressful band business meetings. The basic track was recorded on 7 July 1969. Harrison sang lead and played acoustic guitar, McCartney provided backing vocals and played bass and Starr played the drums. Lennon was still recuperating from his car accident and did not perform on the track. Martin provided an orchestral arrangement in collaboration with Harrison, who overdubbed a Moog synthesizer part on 19 August, immediately before the final mix.

Though not released as a single, the song attracted attention and critical praise. It has been featured several times on 's , having been chosen by , ,  and . The 's Martin Chilton said it was "almost impossible not to sing along to". Since digital downloads have become eligible to chart, it reached number 56 in 2010 after the Beatles' back catalogue was released on .

Harrison recorded a guitar solo for this track that did not appear in the final mix. It was rediscovered in 2012, and footage of Martin and Harrison's son  listening to it in the studio was released on the DVD of .

"Because"

"Because" was inspired by Lennon listening to Ono playing 's "" 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." The track features three-part harmonies by Lennon, McCartney and Harrison, which were then triple-tracked to give nine voices in the final mix. The group considered the vocals to be some of the hardest and most complex they attempted. Harrison played the Moog synthesizer, and Martin played the  that opens the track.

Medley The medley of songs on side two finished with "The End"

Side two contains a 16-minute medley of eight short songs, recorded over July and August and blended into a suite by McCartney and Martin. 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. While the idea for the medley was McCartney's, Martin claims credit for some structure, adding he "wanted to get John and Paul to think more seriously about their music".

The first track recorded for the medley was the opening number, "". McCartney has claimed that the band's dispute over  and what McCartney viewed as Klein's empty promises were the inspiration for the song's lyrics. However, MacDonald doubts this, given that the backing track, recorded on 6 May at , predated the worst altercations between Klein and McCartney. The track is a suite of varying styles, ranging from a piano-led ballad at the start to  guitars at the end. Both Harrison and Lennon provided guitar solos with Lennon playing the solos at the end of the track.

This song transitions into Lennon's "" which, like "Because", showcases Lennon, McCartney and Harrison's triple-tracked harmonies. Following it are Lennon's "" (written during the Beatles' 1968 trip to India) and "". These in turn are followed by four McCartney songs, "" (written after a fan entered McCartney's residence via his bathroom window), "" (based on 's 17th-century poem set to new music), "" (reprising elements from "You Never Give Me Your Money", and featuring chorus vocals from all four Beatles), and closing with "".

"The End" features Starr's only drum solo in the Beatles' 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 first two bars are played by McCartney, the second two by Harrison, and the third two by Lennon, and the sequence is repeated two more times. Harrison suggested the idea of a guitar solo in the track, Lennon decided they should trade solos and McCartney elected to go first. The solos were cut live against the existing backing track in one take. Immediately after Lennon's third and final solo, the piano chords of the final part of the song begin. The song ends with the memorable final line, "And in the end, the love you take is equal to the love you make". This section was taped separately from the first, and required the piano to be re-recorded by McCartney, which was done on 18 August. An alternative version of the song, with Harrison's lead guitar solo played against McCartney's (and Starr's drum solo heard in the background), appears on the Anthology 3 album and the 2012 digital-only compilation album .

Musicologist  interprets that most of the lyrics on side two's medley deal with "selfishness and self-gratification – the financial complaints in 'You Never Give Me Your Money,' the  of Mr. Mustard, the holding back of the pillow in 'Carry That Weight,' the desire that some second person will visit the singer's dreams – perhaps the 'one sweet dream' of 'You Never Give Me Your Money'? – in 'The End.'" Everett adds that the medley's "selfish moments" are played in the context of the  of , while "generosity" is expressed in songs where  is central. The medley concludes with a "great compromise in the 'negotiations'" in "The End", which serves as a  balanced . 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  and C major, respectively.

"Her Majesty"

"Her Majesty" was recorded by McCartney on 2 July when he arrived before the rest of the group at Abbey Road. It was originally included in a rough mix of the side two (eight-song) medley (known during the recording sessions as "The Long One" and officially available for the first time on the album's 3CD Super Deluxe edition box set), appearing between "Mean Mr. Mustard" and "Polythene Pam". McCartney disliked the way the medley sounded when it included "Her Majesty", so he asked for it to be cut. The second , John Kurlander, had been instructed not to throw out anything, so after McCartney left, he attached the track to the end of the master tape after 20 seconds of silence. The tape box bore an instruction to leave "Her Majesty" off the final 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, including "Her Majesty". The Beatles liked this effect and included it on the album.

"Her Majesty" opens with the final, crashing chord of "Mean Mr. Mustard", while the final note remained buried in the mix of "Polythene Pam", as a result of being snipped off the reel during a rough mix of the medley on 30 July. The medley was subsequently mixed again from scratch although the song was not touched again and still appears in its rough mix on the album.

Original US and UK pressings of Abbey Road do not list "Her Majesty" on the album's cover nor on the record label, making it a . The song title appears on the inlay card and disc of the 1987 remastered CD reissue, as track 17. It also appears on the sleeve, booklet and disc of the 2009 remastered CD reissue, but not on the cover or record label of the 2012 vinyl reissue.

Unreleased material

Three days after the session for "I Want You (She's So Heavy)", Harrison recorded solo demos of "" (which became the title track of his ), "" and "". The latter was re-recorded by the Beatles in April 1969 and issued as the B-side to "The Ballad of John and Yoko" the following month. All three of these Harrison demos were later featured on Anthology 3.

During the sessions for the medley, McCartney recorded "", playing all the instruments. It was assumed to be a  for another artist but McCartney later said that he originally intended to put it on Abbey Road. It was instead covered by , while McCartney's original recording appeared on Anthology 3.

The original backing track to "Something", featuring a piano-led coda, and "You Never Give Me Your Money", which leads into a fast rock-n-roll , have appeared on .

Cover photo The , with  in the background in 1969

 creative director  designed the album cover. 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 Kosh's idea, despite EMI claiming the record would not sell without this information. He later explained that "we didn't need to write the band's name on the cover ... They were the most famous band in the world". The front cover was a photograph of the group on a zebra crossing based on ideas that McCartney sketched and taken on 8 August 1969 outside  on . At 11:35 that morning, photographer  was given only ten minutes to take the photo while he stood on a step-ladder and a policeman held up traffic behind the camera. Macmillan took six photographs, which McCartney examined with a magnifying glass before deciding which would be used on the album sleeve.

In the image selected by McCartney, the group walk across the street in single file from left to right, with Lennon leading, followed by Starr, McCartney, and Harrison. McCartney is barefoot and out of step with the others. Except for Harrison, the group are wearing suits designed by . A white  is to the left of the picture, parked next to the zebra crossing, which belonged to one of the people living in the block of flats across from the recording studio. After the album was released, the number plate (LMW 281F) was repeatedly stolen from the car. In 2004, news sources published a claim made by retired American salesman Paul Cole that he was the man standing on the pavement to the right of the picture.

Release

In mid-1969, Lennon formed a new group, the , in part because the Beatles had rejected his song "". While Harrison worked with such artists as , , Preston and  through to the end of the year, McCartney took a hiatus from the group after his daughter  was born on 28 August. On 20 September, Lennon told the other Beatles he was leaving the group, six days before Abbey Road was released. The single "Something"/"Come Together" followed in October, while Lennon released the Plastic Ono Band's "Cold Turkey" the same month.

The Beatles did little promotion of Abbey Road directly, and no public announcement was made of the band's split until McCartney announced he was  in April 1970. By this time, the Get Back project (by now retitled ) had been re-examined, with overdubs and mixing sessions continuing into 1970. Therefore, Let It Be became the last album to be finished and released by the Beatles, even though its recording had begun before Abbey Road.

Abbey Road sold four million copies in its first two months of release. In the UK, the album debuted at number one, where it remained for 11 weeks before being displaced for one week by ' . The following week (which was Christmas), Abbey Road returned to the top for another six weeks (completing a total of 17 weeks) before being replaced by . Altogether, it spent 81 weeks on the UK albums chart. Reaction overseas was similar. In the US, the album spent 11 weeks at number one on the  chart. It was the  (NARM) best-selling album of 1969. In Japan, it was one of the longest-charting albums to date, remaining in the top 100 for 298 weeks during the 1970s.

Critical reception Contemporary

Abbey Road initially received mixed reviews from , who criticised the production's artificial sounds and viewed its music as inauthentic.  of  said that the album will "be called gimmicky by people who want a record to sound exactly like a live performance", although he considered it to be "teem[ing] with musical invention" and added: "Nice as Come Together and Harrison's Something are – they are minor pleasures in the context of the whole disc … Side Two is marvellous …"  of  called the album "complicated instead of complex" and felt that the Moog synthesizer "disembodies and artificializes" the band's sound, adding that they "create a sound that could not possibly exist outside the studio". While he found the medley on side two to be their "most impressive music" since ,  of  said that, "individually", the album's songs are "nothing special".  of  magazine wrote that Abbey Road "is not one of the Beatles' great albums" and, despite some "lovely"  and "stirring" , side two's suite "seems symbolic of the Beatles' latest phase, which might be described as the round-the-clock production of disposable music effects".

Conversely,  wrote in : "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."  of  found the album "refreshingly terse and unpretentious", and although he lamented the band's "cod-1920s jokes (Maxwell's Silver Hammer) and … Ringo's obligatory nursery arias (Octopus's Garden)", he considered that Abbey Road "touches higher peaks than did their last album". , writing 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 doodlings into a uniformly wonderful suite ... seems potent testimony that no, they've far from lost it, and no, they haven't stopped trying."

While covering  for ,  reported from a meeting with  in  that "opinion has shifted against the Beatles. Everyone is putting down Abbey Road." Shortly afterwards, in Los Angeles, he wrote that his colleague  had grown to love the record, adding: "Damned if she isn't right – flawed but fine. Because the world is round it turns her on.  tells us he likes it too."

Retrospective Professional ratingsAggregate scoresSourceRating99/100Review scoresSourceRatingAA+100/10010/10

Many critics have since cited Abbey Road as the Beatles' greatest album. In a retrospective review, Nicole Pensiero of  called it "an amazingly cohesive piece of music, innovative and timeless".  of  viewed the album as being "among The Beatles' finest works, even if it foreshadows the cigarette-lighter-waving  that technically skilled but critically maligned artists from  to  would belabor throughout the '70s and '80s". Neil McCormack of  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".

's  felt that the album shared Sgt. Pepper's "faux-conceptual forms", but had "stronger compositions", and wrote of its standing in the band's catalogue: "Whether Abbey Road is the Beatles' best work is debatable, but it's certainly the most immaculately produced (with the possible exception of Sgt. Pepper) and most tightly constructed." Ian MacDonald 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 Starr's bass drum.

Abbey Road received high rankings in several "best albums in history" polls by critics and publications. It was voted number 8 in 's  3rd Edition (2000).  included it in their 2006 list of the All-Time 100 Albums. In 2009, readers of Rolling Stone named Abbey Road the greatest Beatles album. and in 2012, the magazine ranked it number 14 on its list of . The album was also included in the book .

Legacy Abbey Road crossing 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 recording history. The crossing is a popular destination for Beatles fans, and a webcam has operated there since 2011. In December 2010, the crossing was given  status for its "cultural and historical importance"; the Abbey Road studios themselves had been given similar status earlier in the year.

Shortly after the album's release, the cover became part of the "" theory that was spreading across college campuses in the US. According to followers of the rumour, the cover depicted the Beatles walking out of a cemetery in a funeral procession. The procession was led by Lennon dressed in white as a religious figure; Starr was dressed in black as the undertaker; McCartney, out of step with the others, was a barefoot corpse; and Harrison dressed in denim was the gravedigger. The left-handed McCartney is holding a cigarette in his right hand, indicating that he is an imposter, and the number plate on the Volkswagen parked on the street is 28IF, meaning that McCartney would have been 28 if he had lived – despite the fact that he was only 27 at the time of the photo and subsequent release of the record. The escalation of the "Paul is dead" rumour became the subject of intense analysis on mainstream radio and contributed to Abbey Road's commercial success in the US. Lennon was interviewed in London by New York's , and he ridiculed the rumour but conceded that it was invaluable publicity for the album.

The cover image has been parodied on several occasions, including by McCartney on his 1993 live album . The '  parodies the cover, with the band walking near-naked across a similar zebra crossing. In 2003, several US poster companies airbrushed McCartney's cigarette out of the image without permission from Apple or McCartney. In 2013,  launched a traffic safety awareness advertisement against jaywalking, using the cover and a caption that read: "If they can, why can't you?"

Track listing Original edition

All tracks are written by , except where noted.

Side oneNo.TitleWriter(s)Lead vocalsLength1."" Lennon4:192.""Harrison3:023."" McCartney3:274."" McCartney3:275.""Starr2:516."" Lennon7:47Total length:24:53Side twoNo.TitleWriter(s)Lead vocalsLength1.""HarrisonHarrison3:052."" Lennon, McCartney and Harrison2:453."" McCartney4:034."" Lennon, with McCartney and Harrison2:265."" Lennon1:066."" Lennon1:137."" McCartney1:588."" McCartney1:319."" McCartney, with Lennon, Harrison and Starr1:3610."" McCartney2:0511."" () McCartney0:23Total length:22:10