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The Beatles - Abbey Road CD (album) cover


The Beatles



4.49 | 1196 ratings

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3 stars The big one, Abbey Road. The tenular rock album (I don't know if I'm using that word correctly). I like it a lot, it's a good album. But it ain't experimental enough, not nearly as much as The Beatles [White Album]. Which is kind of a bummer considering what they did with that one, oh well. Here I feel like McCartney got his grubby hands too much on the production. It sounds too much like him, it's too milky and not as grounded and Earth as The Beatles [White Album]. And I like the later The Beatles [White Album] sound a lot better. And sorry if I fuck up some of the wording. As you can tell by the title, this is my second time writing this review, and I am soooooooooooo fucking tired.

Come Together is iconic, really one of the most recognizable songs ever. The bassline is funky, the solo is solid. Its mellowness and lyric content work well together. Although I don't think it's the best choice for the opening track. I think Because would've been a better choice.

Something is a sweet loving song, it should be right up my alley, but it just doesn't hit the nerve with me the same way it has with so many other people. Musically it rides the coattails of Come Together with its mellowness. But then the bridge comes along and all of these different ideas come together (pun intended), and it just doesn't work. The dynamics are all weird.

Maxwell's Silver Hammer is awesome. It is very overproduced though. What should be a very fitting album track tried to stretch and over-reach its boundaries. It tried way too hard to become a single when it just never could considering what it's about. None of this stops it from being an amazing track though. It's a very bouncy track. It's all made to be very playful. Because of this no matter how many times I listened to this album this one always makes me a bit uneasy. Just the concept and how lightly it's being treated rubs me the way. The anvil and Moog are so eerie and hang over the track so well. It all feels like a well-done creepypasta in song form.

Oh! Darling is the only track on this album that feels like a throwaway. It's boring, it does nothing interesting. If John sang the vocals he would've been able to make something (pun intended) out of it. But I guess Paul was hellbent on having ripe filler in this album.

Octopus's Garden is an incredible song. Everything is so fine-tuned, it feels perfect without feeling overproduced. The bassline moves everything along nicely, the guitar is frosty, and the piano is playful. The guitar solo is perfect for setting up the song's environment. This is the perfect song for a voice like Ringo has, it's so warm and sing- alongable (?). The lyrics are the best, from the music I've heard, about finding warmth and comfort from the world with sounding existential and chilling.

I Want You is for now my favorite Beatles song. The lyrics themselves don't say much. You have to get most of the context and meaning of what this is by the composition. My interpretation of it is that our protagonist loves this girl very deeply. In the first half of the song the instrumentation between the lyrics are telling us that rather than longing for this girl because of the features she has, or her nice personality, he's longing for her because he needs her as a piece to fix himself. It's an incredibly heavy song the lyrics are meant as they are verbatim, but they're definitely not meant lightly. The line "she's so heavy" means basically that she's important. Which again, doesn't sound like much, but everything around it highlights and bolds it, tries to make you understand. The last line of the song cuts it off at "She's so-" before the outro. The booming proto-metal outro in place of the word "heavy" jams the theme of the song SO far down our throats that it creates this existential whirlpool. The song doesn't even give you the satisfaction of knowing it ends, it just cuts off. This gave us no context of how the story ended, any change or end to what was going on would've implied something.

Here Comes the sun is a nice warm landing from the cold atmosphere of I Want You. It's their most popular song, which I can see why it's optimistic and comforting. My only problem with it is that it's dreadfully boring. Nothing is engaging about it. It's too white. The sound is weirdly isolated despite trying to sound comforting. And if I wanted a comforting and warm song, Octopus's Garden is already here.

Because is a nice separation between everything else in this album and The Long One. It's soft and thoughtful. It's very ghostly. I love the loving nature of the lyrics, they feel very honest and appreciative.

The Long One is the big centerpiece of the album. A bunch of odds and sods fit together to be somewhat coherent. It works for the most part. But I could honestly live without Sun King through Golden Slumbers. Aside from good spirits, those tracks don't offer much. I'd prefer they made a proto-prog epic out of You Never Give Me Your Money, Carry That Weight, and The End.

You Never Give Me Your Money starts The Long One with a nice track about mistrust and their managers (I think). I prefer to think of it as a bunch of off-lines scotch taped together creating some sediment about love or whatever. And it works. Probably not the way most people listen to this track, but I like it more this way, so that's that I guess.

Sun King has affected me in the following ways: it's booooooorrrring. I don't care if you can speak Spanish, get on with it. They even got crickets in this track, they know what they're doing, PUTTING ME TO SLEEP!!!

Mean Mr. Mustard is a bit of a bop I guess, I thank it for introducing me to Mr. Mustard himself. It's a bit too McCartney.

Polythene Pam is much the same case. Pam sounds hot, thanks for telling me about her. The music here is more interesting, it's more power poppy, it's cool. I like that it doesn't overstay its welcome.

She Came In Through The Bathroom Window is much like You Never Give Me Your Money. A collection of pretty cool lines. It doesn't hit me the same way that song did though. The music's dynamics are pretty cool, but nothing to write home about.

Golden Slumbers is a very emotionally driven song. It doesn't mean anything to me in particular. But the lines are powerful, and its sort runtime doesn't force me to think about it that much.

Carry That Weight is amazing. The opening line talks to you directly, telling you to think about whatever awful thing it is that you've done in your life, and to think about them enough to where you never do them again. The horns are triumphant and bring everything home.

The End is just that, the end of the Beatles. It has amazing energy and musicianship that makes you appreciate the Beatles. The final lines "And in the end, the love you take, is equal to the love you make" isn't masterful wordplay or writing, but it's the Beatles and what they stood for, you really couldn't have any better ending to a career than that.

theCoagulater | 3/5 |


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