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The Abbey Road Medley
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21 February 2013
6.43pm
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Sky999
On The Hill
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exarctly said
You know, I have a hard time calling all the tracks from 'never give me your money' to 'the end' one medley. Seems to me that the medley already completely resolves and dies after
She Came In Through The Bathroom Window. Then a second medley from Golden Slumbers to The End happens.

Maybe I am too picky. I get the point. But anyone else ever think this?

 

 

I think this too. For me the first medley begins with "Sun King" and ends with "She Came In Through The Bathroom Window". The second one begins with "Golden Slumbers" and finishes with "The End" even though I know "Carry That Weight" catches up with "You Never Give Me You're Money". It just sounds different melodies, maybe because theres dead space in between.

22 February 2013
2.03pm
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Long John Silver
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Zig said

Long John Silver said
One question, who plays 2:48 guitar part:

 

sorry for off topic but i found it silly to open a topic just for this part.

I always assumed it was George. It has the same sound as that found in 'It Don't Come Easy'.

 

BOT: To me, the medley begins with 'Because' and ends with 'The End'. I do find the theory of two separate medleys interesting, however.

Yeah it was probably George. I was wondering though, which part John plays?

Living is easy with eyes closed, misunderstanding all you see.
27 February 2013
3.18am
exarctly
Chicagoland
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Great thoughts... and the fact that the Golden Slumbers brings back older melodies is a very relevant point, as is the fact that silence can be considered a musical effect. Add to that the fact that The Beatles themselves obviously consider all the songs to be part of the medley. So I accept it as a medley. Though, I still think that technically the definition of a medley may be violated by having the silence, as I think of medley as something consisting of a string of continuous pieces put together. So, maybe I would have preferred a cross fade or something... 

 

but then again, all I can do is be thankful I have the music (especially after how poorly things had gone recording the Get Back sessions) 

So my complaint is more just for the sake of analyzing then changing my ability to enjoy it. 

28 May 2013
7.19am
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PETER JACKSON
A Beginning
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For me the only medley is "Golden Slumbers", "Carry Taht Weight" and "The End" such a shame "Golden Slumbers" is so áinfully short,cause it really is a beautiful piece of music.

1 June 2013
8.31am
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Von Bontee
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meanmistermustard said

Right after that line in The End there are harmonies by all 3 so Paul gets the two words but you end with John, Paul and George and their glorious harmonies, a part of their music that still capture onhearers.

There is also the case that Her Majesty wasnt listed on the cover so The End was at the end of the tracklisting, Her Majesty being a hidden track to listeners who would get the shock of their lives hearing that crashing guitar chord after fourteen seconds of silence.

Hey you're right, I totally forgot about those wordless harmonies after "...you make"! Thanks for pointing that out.

"Her Majesty" makes for a cool surprise, yes...but only the first time you play the album. Or the first few times, anyways. After that, you anticipate it. (And although I can't blame the Beatles for it, the CD era gave us 9347 recording artists who just HAD to do the hidden-track thing, and MAN that shit got annoying, then irritating, then infuriating. QUIT DOING THAT, IT'S NOT FUNNY ANYMORE!! Grrr.)

And in fact, it's Side One of Abbey Road that gives us the REAL surprise: The musicus-interruptus finish of "She's So Heavy"! That one has the ability to take me by surprise every time, unless I concentrate on counting all 15 repetitions of the instrumental chorus (or refrain or heavy bit or whatever)

One day, a tape-op got a tape on backwards, he went to play it, and it was all "Neeeradno-undowarrroom" and it was "Wow! Sounds Indian!" -- Paul McCartney
1 June 2013
8.50am
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LongHairedLady
coming in through the bathroom window
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Von Bontee said
"
Her Majesty" makes for a cool surprise, yes...but only the first time you play the album. Or the first few times, anyways. After that, you anticipate it. (And although I can't blame the Beatles for it, the CD era gave us 9347 recording artists who just HAD to do the hidden-track thing, and MAN that shit got annoying, then irritating, then infuriating. QUIT DOING THAT, IT'S NOT FUNNY ANYMORE!! Grrr.)

I forget about it sometimes when I play that album at work, and when it comes in it has made me jump!  

"Please don't bring your banjo back, I know where it's been..  I wasn't hardly gone a day, when it became the scene..  Banjos!  Banjos!  All the time, I can't forget that tune..  and if I ever see another banjo, I'm going out and buy a big balloon!"

 

2 June 2013
9.44am
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Gerard
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5 September 2013
2.53pm
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SatanHimself
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It looks like someone took the Rockband files and posted a beautiful 16-minute gift.

http://dangerousminds.net/comm.....ed_beatles

E is for 'Ergent'.
6 September 2013
3.33pm
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Joe
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Yeah, s/he admits on the YouTube page that it's from Rock Band.

I loved it. It's like hearing the album anew.

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6 September 2013
3.49pm
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Zig
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I enjoyed that, thanks!

I was not disappointed that they included

.

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6 September 2013
4.16pm
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HeyTrud
Edmonton, Alberta Canada
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6 September 2013
5.59pm
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Funny Paper
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Amazing.  To the very end, they were creating wonderful 50s-style vocal harmonies.  That seems to be an underappreciated aspect of Abbey Road.

P.S.: The harmonies often have a kind of 50s doo-wop/60s Motown stylistics to them, with a dash of Crosby, Stills, Nash and/or Young and a tablespoon of Beach Boys.

Faded flowers, wait in a jar, till the evening is complete... complete... complete... complete...
20 September 2013
6.20pm
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parlance
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Deep Beatles has an entry on the making of "Sun King" with some interesting revelations - most notably (for me anyway) the Fleetwod Mac influence.

However, another musical influence entered the studio — Fleetwood Mac. In 1968, the Peter Green-iteration of the band released “Albatross,” a dreamy instrumental driven by Green’s reverb-filled guitar solo and chords emulating the tide rolling in. In a 1987 interview, George Harrison revealed that the single inspired the Beatles to rework “Sun King.” “At the time, ‘Albatross’ was out, with all the reverb on guitar. So we said, ‘Let’s be Fleetwood Mac doing “Albatross,” just to get going,’ Harrison said. “It never really sounded like Fleetwood Mac … but that was the point of origin.”

While “Sun King” may not exactly duplicate the track, the mellow quality of the song, created with melodic guitars and sound effects like chimes and use of cymbals, faintly echo “Albatross.”

More at the link.

parlance

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23 September 2013
1.11pm
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Joe
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I was thinking about that this morning. This is going a bit off-topic but whatever.

Sun King is very Fleetwood Mac. The guitar work in Don't Let Me Down sounds very Hendrix-y (Wind Cries Mary), and Lennon's voice in that song sounds like nothing else he recorded (listen to "Ooh she done me/She done me gooood" - can anyone tell me who he's trying to sound like? Dylan?). We all know he lost his mojo towards the end, but it's interesting how some of his late-Beatles music was quite derivative of his contemporaries. It's like his early and late music was heavily inspired by other people, and only in the middle stage was his songwriting truly original.

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23 September 2013
1.32pm
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Ron Nasty
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I can't think of any Dylan song that featured that kind of vocal at that time. Bob was very much using his country voice at that time, and I can't think of a vocal like Lennon's from earlier in the decade. I tend to think that the last time Bob as a performer influenced a Beatles performance was Paul's on Rocky Raccoon - which, along with the song itself, seems heavily influenced by John Wesley Harding and, in particular, The Ballad of Frankie Lee and Judas Priest.

Anyway, we should know better!

stay-on-topic

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