Untitled Document THE BEATLES-ABBEY ROAD TYPE SINGLE LP - STEREO LABEL/PRESSING INFO

APPLE 1ST PRESS - DARKER LABELS 33 1/3 JUSTIFIED TO THE LEFT. NO HER MAJESTY ON SIDE 2 TRACK LISTING and EMI MATRIX NUMBERS: YEX 749-2 & YEX 750-1

CATALOGUE NUMBER PCS 7088 YEAR OF RELEASE 1969 COUNTRY OF RELEASE U.K. SLEEVE TYPE SINGLE-GARROD & LOFTHOUSE FULLY LAMINATED WITH WRAP-OVER SPINE INSERTS/EXTRAS NONE  

GRADING/CONDITION DISC(s)

EXCELLENT+ (NICE CLEAN record with MINIMAL playwear and VERY LIGHT overall handling and storage wear/marking. PLAYS well with a crisp and slear STEREO sound,)

LABELS

EXCELLENT+ (CLEAN with NO user writing rips tears stickers or removal marks with VERY LIGHT spindleusage and VERY LIGHT ageing and wear)

SLEEVE

EXCELLENT+ (Clean sleeve with NO writing rips tears stickers or removal marks,Front and rear laminiate is clean and shiny with light rubbing and pressure marking. Spine edges and opening have very light wear, as do the corners)

N/A

DETAILS

The final album recorded by the Beatles, as John Lennon had mentioned he "wanted a divorce" a couple of weeks before Abbey Road hit the record store shelves. It's mostly a three-piece affair, as John Lennon had taken a withdrawn role in the group by this time.

"Come Together" was the most substantial track Lennon had contributed to the album, and the song itself came about as a retread of Chuck Berry's "You Can't Catch Me"; indeed, this would result in a lawsuit by that song's publisher that Lennon would later settle out of court in part by making his "Rock and Roll" solo album five years later. "I Want You (She's So Heavy)" only has three lines of lyrics over nearly 8 minutes. He does have one moment of true brilliance, the vocal showcase "Because" with rich triple-tracked harmonies by Lennon, McCartney, and Harrison; in a matter of perspective to their eventual breakup, the song's vocals were cut in one of the last sessions for the album.

Paul McCartney's contributions aren't much better, although "Oh! Darling" sounds like a dreamy rock oldie chestnut. George Harrison's two contributions are worth the price of admission alone; "Something", his first Beatles A-side single, and "Here Comes the Sun", are two of the best songs he ever contributed to the band, and possibly his two best ever compositions. Whether by accident or design, they helped set the table for his enormously successful "All Things Must Pass" one year later.

But it's the production values that really make Abbey Road. The medley that makes up the bulk of Side 2 (on the vinyl configuration) is nothing more than a triumph of production thanks to McCartney and producer George Martin. Most of the medley are vignettes and incomplete songs written the previous year in India and rejected from the White Album and Let It Be sessions.

But Abbey Road does stand as arguably one of their best and slickest produced albums, the summation of years of experimentation and perfection culminating in this final effort. And even if the Beatles were breaking up, they were still pushing themselves forward here; nothing even the best production could hide if they weren't at least trying. Even on "Come Together" McCartney's thick, swampy bass, Lennon's tight rhythm playing and Ringo Starr's intricate, precise drumming make the track a stunning ensemble showcase.

And Harrison's Moog synthesizer adds the right touches to the songs (notably "I Want You (She's So Heavy)", "Maxwell's Silver Hammer" and "Here Comes the Sun") without becoming overbearing. So this was the end of the road.

Most consider Abbey Road as the way to go out instead of Let It Be; if that's how you choose to view it, then they couldn't have ended on a better note; a full summary of everything they'd learned up until now. And for awhile, would carry into their respective solo careers.

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