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"I mean, no because, you know, it's not that I don't like them but, I mean they're a bit old, don't you think? I mean I like them, not saying I don't, especially the one that also has the TIM commercial and then there's one I used to listen to when I was little, what's it called? wait it was obabi obaba nananana na nananana, do you get it? Anyway, Rihanna is the top but I also listen to serious music, in fact, I adore Husher." If I had a chromosome XY in front of me I would have set him on fire, doing him a big favor, but the décolleté has a calming effect on me and I kept smiling dumbfounded while thinking about how and when it happened, how we went from "Across The Universe" to "Womanizer" in less than 40 years without anyone saying anything.
From zenith to nadir.
40 years ago the second-last Beatles album was released, the last in recording, their musical testament.
Between this record and any other, there is a chasm not to be found in the individual songs but in the magic and surreal balance of the whole, a work of inlay that, however studied and carved with hours of recording studio, appears naturally disarming, almost consequential, each song inevitably leads to the next, and this feeling materializes in the incredible side B.
Objectively "Maxwell's Silver Hammer", "Octopus's Garden", "Mean Mister Mustard" are not great songs, they are obviously beautiful songs (the Beatles are genetically incapable of writing bad songs) not foundational, not even useful outside their context, but here in this album, they become necessary, vital for the album itself, paradoxically with a "Dear Prudence" or an "A Day In The Life" (songs that deserve a Nobel with an Oscar inside with a Pulitzer inside) in their place the album would not gain anything, indeed it would lose its magical cohesion.
But alongside those songs that do the dirty work, the Fab Four give us several masterpieces: the album opens with a song that alone is worth a career and here is just one of the many gems, "Come Together" seems written tomorrow, tense, dirty, sexual "Something" makes you understand why there are so many people who would like to see Yoko Ono kicked in the teeth, she accelerated a process that if it had naturally continued would have made Harrison explode as an equal talent in the next album "Oh Darling" is simply beautiful, without pretensions of complexity, just beautiful "I Want You" is as nerve-racking and alienating as it wanted to be.
And then there is side B, and with side B of Abbey Road, music reaches the top and from that moment on, it can only descend, that's what happened, that's why "Womanizer".
A single song of just over 20 minutes divided into 11 episodes with Harrison's sunny introduction "Here Comes The Sun" standing out a bit and the irreverent surprise ending of "Her Majesty".
In the midst, a brilliant medley composed of "Because" (fantastic), "You Never Give Me Your Money", "Sun King", "Mean Mister Mustard", "Polythene Pam", "She Came In Through The Bathroom Window", "Golden Slumbers" (tear-inducing!), "Carry That Weight", "The End" (in my opinion one of the most beautiful Beatles songs, and Beatles always coincide with "music in general") where apart from "Because", "Golden Slumbers", and "The End" each song outside this context would lose strength and meaning, which instead in their habitat is astonishingly elevated.
The importance of this album is understandable; Abbey Road represents the Beatles themselves: there have been many musicians technically better than them, singers vocally better than them, there is someone who writes better lyrics than theirs (all of which can easily be observed by looking at their solo careers, Lennon, partly, excluded) but no one can get close to the magic derived from their union.
Tracklist Lyrics and Videos
01 Come Together (04:21)
Here come old flat top
He come groovin' up slowly
He got ju-ju eyeball
He one holy roller
He got hair down to his knees
Got to be a joker
He just do what he please
He wear no shoeshine
He got toe jam football
He got monkey finger
He shoot Coca Cola
He say I know you, you know me
One thing I can tell you is
You got to be free
Come together, right now
Over me
He bag production
He got walrus gumboot
He got Ono sideboard
He one spinal cracker
He got feet down below his knees
Hold you in his arms yeah
You can feel his disease
Come together, right now
Over me
He roller coaster
He got early warning
He got muddy water
He one Mojo filter
He say one and one and one is three
Got to be good looking
'Cause he's so hard to see
Come together right now
Over me
Come together, yeah
Come together, yeah
Come together, yeah
Come together, yeah
Come together, yeah
Come together, yeah
Come together, yeah
Come together, yeah
Come together, yeah
Come together, yeah
02 Something (03:03)
Something in the way she moves
Attracts me like no other lover
Something in the way she woos me
I don't want to leave her now
You know I believe and how
Somewhere in her smile she knows
That I don't need no other lover
Something in her style that shows me
I don't want to leave her now
You know I believe and how
You're asking me will my love grow
I don't know, I don't know
You stick around and it may show
I don't know, I don't know
Something in the way she knows
And all I have to do is think of her
Something in the things she shows me
I don't want to leave her now
You know I believe and how
04 Oh! Darling (03:27)
Oh, darling
Please believe me
I'll never do you no harm
Believe me when I tell you
I'll never do you no harm
Oh, darling
If you leave me
I'll never make it alone
Believe me when I beg you
Don't ever leave me alone
When you told me
You didn't need me anymore
Well, you know, I nearly
Broke down and cried
When you told me
You didn't need me anymore
Well, you know, I nearly
Broke down and died
Oh, darling
If you leave me
I'll never make it alone
Believe me when I tell you
I'll never do you no harm
Believe me, darling
When you told me
You didn't need me anymore
Well, you know, I nearly
Broke down and cried
When you told me
You didn't need me anymore
Well, you know, I nearly
Broke down and died
Oh, darling
Please believe me
I'll never let you down
Oh, believe me, darling
Believe me when I tell you
I'll never do you no harm
06 I Want You (She's So Heavy) (07:47)
I want you
I want you so bad
I want you
I want you so bad
It's driving me mad
It's driving me mad
I want you
I want you so bad, babe
I want you
I want you so bad
It's driving me mad
It's driving me mad
I want you
I want you so bad
I want you
I want you so bad
It's driving me mad
It's driving me mad
I want you
I want you so bad, babe
I want you
I want you so bad
It's driving me mad
It's driving me mad
She's so heavy
Heavy, heavy, heavy, heavy
I want you
I want you so bad
I want you
I want you so bad
It's driving me mad
It's driving me mad
I want you
I want you so bad, babe
I want you
You know I want you so bad
It's driving me mad
It's driving me mad
Yeah, she's so heavy
Heavy, heavy, heavy, heavy
I want you
I want you so bad
I want you
I want you so bad
It's driving me mad
It's driving me mad
I want you
You know I want you so bad, babe
I want you
You know I want you so bad
It's driving me mad
It's driving me mad
Yeah
She's so
12 Polythene Pam (01:13)
Well you should see Polythene Pam
She's so good looking but she looks like a man
Well you should see her in drag
Dressed in a polythene bag
Yes you should see Polythene Pam
Yeah, yeah, yeah
Get a dose of her in jackboots and kilt
She's killer-diller when she's dressed to the hilt
She's the kind of a girl
That makes the "News of the World"
Yes you could say she was attractively built
Yeah, yeah, yeah
14 Golden Slumbers (01:32)
Once there was a way, to get back homeward
Once there was a way, to get back home
Sleep pretty darling, do not cry
And I will sing a lullaby
Golden Slumbers fill your eyes
Smiles awake you when you rise
Sleep pretty darling, do not cry
And I will sing a lullaby
Once there was a way, to get back homeward
Once there was a way, to get back home
Sleep pretty darling, do not cry
And I will sing a lullaby
15 Carry That Weight (01:37)
Boy, you're gonna carry that weight
Carry that weight a long time
Boy, you're gonna carry that weight
Carry that weight a long time
I never give you my pillow
I only send you my invitation
And in the middle of the celebrations, I break down
Boy, you're gonna carry that weight
Carry that weight a long time
Boy, you're gonna carry that weight
Carry that weight a long time
16 The End (02:20)
Oh yeah
Alright
Are you gonna be in my dreams
Tonight
Love you
Love you
Love you
Love you
And in the end
The love you take
Is equal to
The love you make
17 Her Majesty (00:23)
Her Majesty's a pretty nice girl
But she doesn't have a lot to say
Her Majesty's a pretty nice girl
But she changes from day to day
I wanna tell her that I love her a lot
But I gotta get a belly full of wine
Her Majesty's a pretty nice girl
Someday I'm gonna make her mine
Oh yeah, someday I'm gonna make her mine
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Other reviews
By rob
Paul is the only one differing from the other FAB 4, walking barefoot with the right foot leading—clues to his alleged death.
Abbey Road is dominated by Paul’s particular state of grace, especially in the final majestic medley that builds a sober but flashy mosaic.
By pinkoSpallino
This album is mainly famous for its cover, which portrays the 4 boys from Liverpool as they were heading towards their futures.
In short, a great album that demonstrates how this group created unforgettable things.
By Jack Darko
"Abbey Road is the true masterpiece of rock music, it is certainly the album that has influenced rock music the most."
"The track 'The End' is of astonishing beauty because it mixes a sort of primitive punk, rock, and a beautiful slow bit at the end. Absolute masterpiece."
By Braindamaged
Abbey Road was released, the last (but not last) of the 12 albums published by the Beatles.
Come Together has become a generational anthem and is electrifyingly beautiful.
By enbar77
"Abbey Road, despite everything, is a work of overwhelming charm, rich with exceptional pieces of pure rock."
"In the end the love you take is equal to the love you make."
