In the studio
‘Maxwell’s Silver Hammer’ was recorded over three days while John Lennon and Yoko Ono were recuperating from a car accident sustained in Scotland. However, they both attended the Abbey Road sessions.That’s Paul’s. I hate it. ’Cuz all I remember is the track – he made us do it a hundred million times. He did everything to make it into a single and it never was and it never could’ve been, but he put guitar licks on it and he had somebody hitting iron pieces and we spent more money on that song than any of them in the whole album. I think.
All We Are Saying, David Sheff
Lennon’s assessment, however, is somewhat misleading; the song took just three sessions to record, plus a Moog overdub done alone by Paul McCartney some days later. Additionally, it lacked the expensive orchestral overdubs that adorned several of the other Abbey Road songs.
They got annoyed because ‘Maxwell’s Silver Hammer’ took three days to record. Big deal.
Anthology
The recording began on 9 July 1969. McCartney, George Harrison, and Ringo Starr recorded 16 takes of the basic track, which were numbered 1-21 – there were no takes 6-10.
The 16 takes had Harrison’s bass guitar recorded onto track one; Starr’s drums on track two; McCartney’s piano on track three; and his vocals on track eight.
Take five, recorded on that day, was preserved on the Anthology 3 album, revealing how the song sounded at this early stage. McCartney sings and plays piano, with Harrison on bass guitar and Starr on drums. Take 12, meanwhile, was included on some formats of the 50th anniversary reissue of Abbey Road.
The Beatles selected the final attempt, take 21, as the best, and spent over two hours overdubbing guitars during the first session.
On 10 July McCartney added more piano, George Martin played Hammond organ, Starr banged an anvil, and Harrison recorded a guitar part, fed through a rotating Leslie speaker. McCartney also taped more lead vocals, and was joined by Harrison and Starr for backing vocals.
There was a proper blacksmith’s anvil brought to the studio for Ringo to hit. They had it rented from a theatrical agency.
More guitar and vocals were added on 11 July. At this stage the eight-track tape had bass guitar on track one; drums on two; piano on three; guitars on four and five; the anvil in verse one, McCartney’s vocals in the chorus, piano arpeggios before the later verses, vocal harmonies and the backing vocals in the line “Maxwell must go free” on six; organ, anvil in verses two and three, and more lead and harmony vocals by McCartney on track seven; and McCartney’s re-recorded lead vocals on eight.
The final words, “Silver hammer, man” featured McCartney, Harrison and Starr on vocals. They sang the higher notes onto track six, the lower notes on seven, and a mixture of the two on eight.
‘Maxwell’s Silver Hammer’ was finally completed on 6 August, when McCartney recorded his Moog synthesiser solo. Prior to this a number of reduction mixes were made to free up space on the tape, and combined tracks six and seven. The best of the mixes became known as take 27, and was subjected to further overdubs.
We put together quite a nice album, and the only arguments were about things like me spending three days on ‘Maxwell’s Silver Hammer’. I remember George saying, ‘You’ve taken three days, it’s only a song.’ – ‘Yeah, but I want to get it right. I’ve got some thoughts on this one.’ It was early-days Moog work and it did take a bit of time.
Anthology
McCartney recorded the Moog onto tracks four, five and six.
Paul did Maxwell using the ribbon, playing it like a violin and having to find every note, which is a credit to his musical ability.
EMI engineer
Above John states he did not play at all on this song, though Wikipedia states he played Fender Six String Bass. I’m listening to Twickenhan sessions and somebody is playing the Hofner along with Paul on Piano. Doesn’t sound like a Fender. I realize the Twickenham Rehearsals and Abbey Road recording sessions are separate and distinct.
Also, George played the Moog synthesizer part.
George to Playboy, 1969:
“Maxwell’s Silver Hammer is just something of Paul’s which we’ve been trying to record. We spent a hell of a lot of time on it. And it’s one of those instant sort of whistle-along tunes, which some people will hate, and some people will really love it. It’s more like Honey Pie, you know, a fun sort of song. But it’s pretty sick as well though, ‘cuz the guy keeps killing everybody.
It’s good because I have this synthesiser and ‘Maxwell’s Silver Hammer’ was one of the things I used the synthesiser on, which is pretty effective.”
George owned the Moog IIIp but Paul played it on this song using the ribbon controller. Alan Parsons witness this and has stated so in interviews (one of Howard Massey’s books, I believe),
You’re right – it is Paul playing the Moog and it wouldn’t be possible for George to come in and overdub it, because a) he was already preoccupied in another studio overdubbing guitar parts onto “Here Comes the Sun”, so overdubbing a Moog part onto “Maxwell’s Silver Hammer” was not on the top of the list of his priorities.
It sounds a lot like McCartney’s playing style and not like George’s. I would be surprised if it really were George. Paul could have overdubbed his own bass over George’s guide. I also agree that it sounds a lot like a Hofner, although it needs be said that some perceived Hofner sounds in those days were actually a Fender jazz (like much of the bass lines on the White Album.)
The thing with George being the bassplayer here is it’s just like Paul supposedly being the drummer on Dear Prudence. It’s hard to believe given that it sounds so much better than George’s usual bass playing and Paul’s usual drumming. Compare the bass sound on Golden Slumbers and Hey Jude to the one on Maxwell. And compare Back in the USSR or Jet to Dear Prudence. Particularly the fills towards the end of Dear Prudence are so spectacularly Ringo-ish and much better than any other drumpart ever recorded by McCartney, I wouldn’t be surprised if it tuned out that Ringo did do those after all. By the way, that’s also a fine example of a bass line that could have been a Hofner, but also a Fender Jazz.
But if the official version is correct then I guess Paul and George must have been incredibly motivated to sound like another Beatle when they recorded those lines.
The bass IS George. If you listen to him playing on the Anthology 3 outtake the bass part is just like on the finished record, no need to re-record anything later.
True. Even if Paul replaced George’s bass part with his own, he had every right to do that, since he was The Beatles’ usual bassist. Even if this was the case for “Maxwell’s Silver Hammer”, although I don’t have proof to confirm it, it’s highly unlikely that George would’ve cared, since he was a guitarist first and foremost and the bass was not his usual instrument – remember that neither he nor John would switch to the bass after Stuart Sutcliffe left, so Paul got lumbered and reluctantly took up the instrument.
Studio paperwork does not substantiate the allegations of Paul replacing George’s guitar parts, let alone Ringo’s drum work, with his own.
The Get Back documentary shows George.playing The bass guitar on a early version of the song, and the riff he does.is so good that Paul takes notice of it.
“Above John states he did not play at all on this song, though Wikipedia states he played Fender Six String Bass.”
Wikipedia? Meaningless. Wikipedia isn’t a source for anything.
Paul told Rick Rubin on McCartney 321 that it must have been George Martin on piano, as it was too hard for Paul to play. Interesting.
George Martin played the organ and besides, why would Paul ask George Martin to play the piano on one of his piano-driven songs when he was more than capable of playing it himself?
Don’t forget that none of their memories were 100% flawless or clear as day, perhaps resulting from too much drugs and normal inability to remember things from the past as the years go by.
George Martin only played the piano arpeggios coming out of the chorus. Paul stated clearly to Rick Rubin in 3-2-1 that George Martin went in and overdubbed those arpeggios because Paul couldn’t play them as clean. McCartney is great and obviously THE musical genius of our time, but his piano facility is not all that exacting.
George played the bass at the Twickenham sessions as can be seen in the films Let It Be and Get Back.
So, what? That was filmed in January. 1969 and the version on “Abbey Road” was recorded in July. One has little -or nothing- to do with the other. The original “Let It Be” movie shows Mal Evans hitting the anvil. Does that mean he played it in July? Nope.
I’m not sure whether Wikipedia is correct, or where the info comes from. Mark Lewisohn’s Complete Beatles Recording Sessions says that Lennon wasn’t on it. The book isn’t flawless, but it’s a mostly-reliable record of the Abbey Road sessions.
Wikipedia is an open forum where anyone can post any baloney – sort of like the Donald Trump of information pages.
Not entirely true. If I went into Wikipedia and posted something like “John Lennon played bass on Maxwell’s Silver Hammer”, it would require a primary source citation. If it didn’t have one, it would be deleted within the day.
I always knew Ringo was singing backing on this! Whenever all of them sing, Ringo’s voice always sticks out the most, same on Carry That Weight.
Lots of verbiage that says John never participated in this song. BUt–if you listen closely when they sing “Maxwell must go free,” it sure sounds like John’s falsetto voice! And there is a recent picture that Yoko took and the caption says John and Paul working on Maxwell’s Silver Hammer
Lennon says he wasn’t on it in this interview: https://www.youtube.com/watch?v=uXzdCQmN-hE
It´s a beautiful song. John sometimes was very radical. Love those Yoko´s shit songs. Oh God.
Maxwell’s Silver Hammer and Octopuses Garden, look we have to accept experimentation. The Beatles broke new ground with the White Album and the Let it Be sessions show that they were moving along on the same track.i find McCartney’s comments (above) very interesting about it being ‘early days’ with the moog synthesizer–enter Elton John!
I’ll pass, thanks.
No mention of Mal Evans? He was the first to play the anvil on this song, during the Let It Be sessions.
I agree with albatossursus! I read the article and was expecting to see something related to Mal Evans. We can see him, hitting de anvil, on the Let It Be film.
Joe, you’re the one, man! Great, incredible job of research and compilation. I can only compare your work, on the writing field, to that of Peter Duckett on the audio field, with his masterpices CDs (of the sounds that influenced The Beatles), “Beatles Beginnings – Vols. 1 to 7”!
So Ringo thinks Maxwell was the “worst track ever”..uh, except for every one you wrote man. Octopus’s Garden is far worse. Also, Ringo should be careful to go after Paul…if not for Paul, he never would have had “With a Little Help From My Friends” or “Yellow Submarine” his two high points as a Beatles vocalist.
I think Ringo was talking about the recording when he said “track”, not necessarily dismissing the song.
You’ve got to be kidding! Octopus Garden is musically superior??? George’s lead guitar rocks. The bubbles and electronic sounds are fitting for a song like this. Maxwell’s Silver Hammer is a boring song that irritates the ear. I want to smash Abbey Road every time I hear it but the rest of the album is fantastic!
And Mr Harrison wrote most of Octopus Garden, with a little help from Ringo. No question, Beatles fans liked Octopus Garden a lot more than Maxwell’s Silver Hammer, even though it’s a fruity song as well. Guess George did like some fruity songs if he was the one writing them.
Both songs are pretty good.
I agree with you
Octopus’s Garden was mostly written by Ringo, with George’s help (Let It Be film shows GH helping Ringo transition from the middle-eight back to the verse).
What? Octopus never did it for me. LOVE Silver Hammer! Ringo simply could not sing. He tried, bless him, but he couldn’t stay on pitch if his life depended on it. THAT’S why his voice always “stands out in the backing vocal tracks”
In modern Russian there is an analogue tio Maxwell’s Silver hammer. It is Called “Otsos Petrovich”.
LOL. Awesome, comrade.
After hearing from those that disliked Maxwell Silver Hammer, I first listened to it with a bias against it because I was expecting something dreadful. Well it took a couple of hearings before I discovered that I really loved the tune.
It’s a silly, funny little laugh riot of absurdity! The subject matter is extremely dark (nutcase serial killer running amuck) but sung and played in a jaunty, playful, upbeat tune to mask the craziness of Maxwell and plays against type. Paul McCartney is a total genius. It has been said before and bears repeating.
I loved that song the first time I heard it. I was shocked when I read that a lot of people hated it. It wasn’t so bad. It was actually good.
Precisely. I don’t understand why people hate it.
As I’ve said before, I love this little comedy singalong. It’s Heavy, Dark and Light all at the same time. Part of its genius. I also now believe,(because of the clues sprinkled throughout), that it’s a song about The Beatles, who at one time were; The Silver Beatles. And the purpose of a hammer? To beat!
Since Paul wrote the song, he is Maxwell Edison…(ME)…and he gets away with “murder” by making the others rehearse MSH “to death”, and it’s “killling” them to do it (“Again fellas, from the top!”).
Joan/John is his intellectual equal/science rival/songwriting partner.
Teacher/George is the grump who doles out character building punishment.
Judge/Ringo is wise and fair but doesn’t see what’s coming at him.
P.C.31/ are the police security. Screaming Rose & Valerie/ are fans.
Showbiz slang “kill the people” & “killed” means “win over big” & “great success”, and The Beatles had overwhelming success everywhere worldwide. Bang Bang/is the availability and frequency of sex. The absurdity of the song is the craziness that was Beatlemania.
Maxwell…Mac’s well (Macca’s well) and not insane for writing the macabre song. That’s my take on it.
This is insane though.
I don’t get the Maxwell hate. Maxwell’s Silver Hammer is a triumph of bizarro fiction, the crowning glory being the fact that they didn’t strip Maxwell of the murder weapon and he has it at the trial itself. The first time you listen to the song, the first time you hear the chorus, it hits you over the head with surprise: up until then, you think it’s going to be some sort of romancy boy-meets-girl tune. The anvil is really innovative.
Neither do I. I always liked this song and I really enjoy singing “ting-ting” in time with the anvil hits.
John said that he was ill after his car accident and perhaps he was under doctor’s orders to rest, so that may be why he didn’t appear on the final recording, but his statement that Paul made them record the song 100 million times was clearly an exaggeration, as Ringo’s statement that it went on for weeks and George saying that they spent so much time on it, because studio paperwork confirms that it only took three days plus a fourth day for a Moog overdub and even Paul himself verifies this.
Doing 100 million takes of one of Paul’s songs is an insane amount to do, even for someone as multitalented as Paul to request.
Geoff Emerick wasn’t even at these sessions for the basic track or pre-Moog overdub ones, so how he could say that Ringo didn’t have the strength to lift the hammer, only to say that Mal Evans played it, but with no sense of drummer’s timing, is dubious. He also made the unconvincing claim that John flatly refused to take part in the recording when he wasn’t even present in the control room in July 9.
When Pauls says “Writing” in the second verse you can hear him laugh. I’ve always wanted to know more about that. Any ideas?
I imagine that this delightful little ditty’s main character with his murderous edge, is a Bart Simpsonlike brat on steroids. I wonder if Paul was remembering an experience he had, as an angelic face boy, caught by his teacher kicking another boy, then pulling that puppy eyed innocent look on her.
The song makes me laugh too, it;s just so oh oh oh……naughty!
I think in Beatles Anthology Paul says that John was making faces at him from behind the window in the mixing room, and that caused him to laugh during this phrase.
I think Paul’s laughing at how clever his lyric is.
Even knowing how much John hated this song, it’s pretty interesting to hear John sing it during let it be sessions (with his mock-voice)
this is a nasty song. MAC kills JOAN with a hammer when (s)he’s not looking. the names arent an accident .
have to agree with George hated the song. and it is realllly dark
I think he means Ma(rk)c & Joa(h)n.
What? Are you referring to McCartney and John? That’s an original idea,lol. Never have I thought of that.
This is not one of Paul’s best, though it is original, as their songs were. It doesn’t irritate me the way Your Mother Should Know or Honey Pie does.
I remember an old Ed Sullivan special with a tribute to the Beatles in the early 1970s. Of all people, Peggy Lee sang Maxwell with a dancing chorus. Now that was a “fruity” experience.
..and some faux dancing/marching band doing “Her Majesty”, of all things. It was a very strange program.
Ever since I heard the Anthologies, I’ve always dreamed if Abbey Road was released with “Come And Get It”, instead of “Maxwell’s Silver Hammer” in it. Paul shouldn’t have to give it to Badfinger.
I’ve got a feeling(!) that ‘Come And Get It’ could easily have made its way to side 2, but that would probably mean replacing one of John’s songs; ‘Because’ or ‘Sun King’ most likely, and that would make McCartney’s dominance on side 2 abnormally…hugely..massive.
‘Come And Get It’ never struck me as being quite as complete as a song as ‘Maxwell’s Silver Hammer’ or ‘Oh! Darling’, as[why are you still saying ‘as’?]it’s quite repetitive in its structure.
But it became a hit for Badfinger, so who am I to argue?
There is no way “Come and Get It” could have replaced “Because”, which is one of the best songs of the Beatles ! The chords, the vocal harmony…
If the other three really hated this song, it could have been vetoed and left for the Anthology album later. All the discards are there. The usual process was in place to knock it down but they didn’t. All talk and no action.
Of course there was Maxwell from MI5 who roughed up the Beatles to keep their traps shut about the death crash and the double, according to the tapes allegedly provided by George. It’s a bloody awful puerile song.
First of all, I really like this song. By no means do I think it’s the best song on Abbey Road, but it’s still better than many others in their catalog in my opinion. Okay, maybe not many others but enough others. I’m just confused about one thing. I know it says that George was the bass player on this song, but then why does it say in Emerick’s book that Paul played the bass and even described how he played it? Also, it really stands out as a bass part (more complex and interesting) which I would think would be more characteristic of Paul and not George. I’m not trying to knock George as a bass player since he was obviously quite competent on bass, but it sounds like Paul. If it is George, that’s totally fine, but I’m thinking that maybe he played it initially and then Paul rerecorded it. Whichever one it is, fantastic bass part!!!!
I agree, I was surprized to find George played bass. It’s really melodic, fluid bass part, perfect for the song. And the tone of the (I’m guessing?) Fender VI he played was sweet
It’s Paul and I think on his Rick. George would have never played it like that.
Guys, you all know that George did play an outstanding, very Paul-style bass part in She Said She said, he also knew how to play it stylish in Honey Pie, so why do you think he wasn’t able to do it in MSH?
Emerick’s book is written like a love song to Paul McCartney. I wouldn’t trust his recollections. On the other hand, Lewisohn’s book uses logs from the studio, which were fairly well maintained. Plus, there’s the Anthology recording with George playing exactly the same as the final recording. As far as George playling like Paul, let’s not forget the backstory here. Paul was obsessive and tyrannical about this song. He would have told George exactly what to play (to which, George might have responded “I’ll play if you want me to play, and I won’t play if you don’t want me to.”).
So you basis for not trusting Geoff Emerick’s recollectons is that he writes favorably about Paul McCartney? Sounds a bit marginal to me.
It’s George. Nobody takes Geoff Emerick seriously anymore. He was a friend of McCartney. For him, Paul did everything.
I like this track. I’ve always liked this track. I really can’t be arsed with all the negative comments made about it as if its just not cool to like it.
It is a superb Song.
I replaced ‘Maxwell’ and ‘Octopuss’ with ‘Ballad of John and Yoko’ and ‘Old Brown Shoe’ on my version of Abbey Road. Now I enjoy it from start to finish. This can be done with every other Beatles album due to their practice of not including many of their iconic singles on the respective album sessions that they were recorded at. Simple!
Really ? You’re replacing Maxwell with the A and
b sides of what has to be the worst Beatles single ever . That would make Abbey Road side one unlistenable.
Love the song… however, it and Octopus’s Garden on the same album AND same side is perhaps a tad much. And I love Octopus’s Garden too. I probably would’ve cut one of these two and added a different song, and saved the one that was cut for a different album…… assuming they didn’t break up.
Having just listened to the version of Maxwell on Anthology 3 I can hear segments which sound similar to Elton John’s Good Bye Yellow Brick Road, but of course Maxwell was written and recorded years earlier. There are just so many notes and chords. Eventually they will be repeated unintentionally or deliberately by someone else. At the time the Abbey Road LP was released I was 13yo and It sounded fine to me, but it isn’t one of the very best Beatles songs. We do hold the Beatles up to higher standards than any other recording group. I have imagined this song would have been perfect for one the groups in the Apple stable of artists, but it is a bone fide Beatles song, which still has a well earned place on their last recorded album.
The synth in this song is wild!
I’ve never had a problem with this song. As for the others’ antipathy towards it, the subtext seems to be Paul’s fussy perfectionism and his rather clear arranging ideas (in short: he told them what to play and to keep at it until they got it just to his satisfaction), which by this point was seriously running them the wrong way.
Sounds a LOT like John singing the high falsetto harmony on “Maxwell must go free”
According to The Beatles Book Monthly George plays acoustic guitar on this song.
I don’t hate this song it is not worth the effort. Skip it like “honey pie” and “your mother should know.
I think Honey Pie is one more brilliant, quirky number showing creativity and a bit of cheekiness. It’s fun and different – and a brave offering. It does an amazing job of capturing the feel of early Valentino and the like. The woodwind arrangements in particular capture that magic, IMHO.
I think the song is pure genius. All the words rhyme, the instrumentation is unbelievable. Paul’s voice on it is so mellow, like he is telling a story. The chorus is so catchy, if you hear the song it will be on your mind all day long. I am a serious Beatles fan, and I think this is one of the most dripping with talent songs Paul ever did. He is under-rated for this song.
Funny how we interpret what artists create. A few years ago my young Beatles fan daughter asked me about Maxwell, and I told her it is a social commentary how rich brats get away with murder, that the silver hammer is like a silver spoon. If you use that analogy and listen again, you will get it. My daughter accepted that explanation and moved on. Finally, IMO, it was worth the three days of work, especially if it was indeed about rich brats and their privilege.
Epstein/Maxwell
Maybe Paul conciously(or unconsciously or both) was processing his thoughts re:ending the band ,the song symbolically acting as a metaphor for his (or a possible) future reality?
Might then explain the reactions of the other band members to his work.
Maybe at this point they all really knew (or sensed (at this point) that the end was coming(or at least a possability in his own mind) The question is why does it currently resound so strongly in my own mind ? That said I consider it to be a particularly stand out and significant track for whatever reasons and would rate it as one of their best (despite Lennons absence who I might add I’ve always considered to be my fav band member) Again that said in this case ‘hats off to Paul – you are a true genius’ and thanks for sharing the Love!?
I adore all of the Fab Four and respect their opinions, but I don’t think that there is anything wrong with how this song sounds. George and Ringo apparently never liked Paul’s “whimsical” songs, but tbh I think that those songs sound lovely just like all the other songs. But I can definitely understand the whole aspect of it being tedious to record, which John and Ringo made clear.
Hearing all the music garbage put out today, I love all the Beatles songs. Leave it alone. It’s a work of art. It’s like a metaphysical abstract painting. It seems every song the Beatles made is great. I don’t really have a favorite Beatles album because I love them all equally. Just like there is a four way tie of my favorite member of the Beatles.
On an otherwise superb album, Maxwell might be the weakest link. A good little song ,but pales a little by comparison. What makes octopus good is Georges beautiful lead fills
I recall reading in the Guardian several years ago, an obituary for one of Paul’s teachers at the Liverpool Institute. Apparently there was a rumour amongst the boys (and I have no idea whether it is true or not) that the said teacher marched the young McCartney away and washed his mouth out with soap and water because he couldn’t pronounce his Latin vowels correctly in his ‘fruity’ Liverpool accent. Wonder if this is a revenge song about his ‘teacher gets annoyed’ …
It’s funny how back then 3 days was an INCREDIBLY long time to spend on a song, when these days bands often spent weeks on a single track!
Yes. John, George and Ringo didn’t know what they were talking about. I guess it never occurred to the other three to review studio paperwork to refresh their memories and realize that it wasn’t as painful as they made it out to be.
It only took 21 takes to get right and it wasn’t like The Beach Boys’ “Good Vibrations”, which took eight months alone to record.
I love this song. It is a purest Beatles art in a purest musical form. I don’t care about meaning of words really, Paul voice is just another beautiful instrument in it. The most beautiful part is his playing Moog, and the part ” the noise come from behind”. First I listened this song in 1972, I bought my first Abbey Road- by Pathe Marconi French print.
Paul’s voice these days sounds totally different, but this song is simply his Greatest One, it is my humble opinion.
Today I was listening to it again. Cheers and Good Luck to all Beatles fans around the world
JOE THANK YOU SO MUCH FOR YOUR GREAT SITE!
I love The Beatles, but I’ve grown to appreciate some of the more serious, obscure tracks (if there is such a thing in their catalogue) and dislike the “fruity” tunes like Maxwell’s Silver Hammer.
In another context this song wouldn’t be hated so much, say if it were by The Scaffold (would have made a perfect follow up to Lily The Pink) or Bonzo Dog Doo Dah Band, but it’s right there on what we are supposed to accept as one of, if not THE best albums by the best band ever.
As Beatles fans we are interested in hearing *anything* they did and are predisposed to want to enjoy it, but if this was by any other major act from 1969, everyone would have thought they’d lost the plot. It’s not poorly executed, it’s just… a terrible thing
Hmmm … it is interesting to note that when a Catholic Pope dies it is custom to tap him on the forehead with a “silver hammer” while announcing his baptismal name 3 times after which he is officially pronounced dead. It has always seemed somehow relevant to me … don’t know why.
Paul McCartney wrote some of the greatest songs ever. But he also wrote a few ridiculous songs — and this Maxwell song is one of them. The other 3 Beatles hated it and Lennon refused to be part of it. Would this song get any positive attention at all if it were not written by Paul, and on a Beatles album? No. On it’s own as a song, it is embarrassingly awful.
John never said that he refused to play on it, out of personal dislike. He had only just come out of the hospital following a serious car crash, hence he was absent from “Here Comes the Sun”, so he obviously was following doctor’s orders to rest and take things easy.
maxwell’s silver hammer was interesting. It isn’t boring or bad, it was just disturbing to the shit and honestly, it made it easy and hard to listen to. Like i wouldn’t take it to the heart and say this is an amazing song, but put it in the rank where pumped up kicks is. They’re both amazing tunes with disturbing as fuck lyrics.
Joe, It was Mal who plays the advil on “Maxwell’s Silver Hammer” on the new Disney “Get Back” film. Maybe, he did so when they recorded of the Song.
I went to see The Analogues play the whole of Abbey Road (and loads of other tracks) on Monday. A brilliant concert, and being perfectionists they wheeled out at anvil, especially for this song!
If McCartney decided to put Come and Get it on Abbey Road instead of Maxwell’s Silver Hammer he would have had a hit song on this album instead of none.
I can tolerate this song maybe once a year. I can see why the other Beatles hated this track after the first handful of takes.
Drug induced channeled cryptic crap from the annals of the loveless illusory collective ego. Catchy tune hey ? As should be asked about everything in this dualistic dream ~ what’s it for ?
I’m not one of the haters. I’ve always really liked Paul’s whimsical songs and when i heard it again the other day it stuck so firmly into my brain that even when I woke up in the middle of the night I was singing it and I was happy enough about that!
I just love the diversified talent of Paul. He’s been a part of my life for over 60 years and, like an old seasoned marriage I love him “for better or worse”. But for me, there’s not much I can think of that I really don’t like!
Still, I’m happy to read other points of view!