The Beatles
Abbey Road

THE REVIEW

Paul is dead. The evidence would allegedly hide in the details.
If you look at the now famous cover depiction of the album, you will understand that Sir McCartney is the only one differing from the other FAB 4. In other words, the only one whose stride begins with the right foot and not the left, and moreover, he walks on the crosswalk barefoot.
These are only two of the distressing clues that would confirm the demise of the baronet. As they say, the devil is in the details. And here we go again.

The conjectured loss of McCartney represents one of the darkest legends concerning the Beatles universe. For the most cynical, a simple and clever gossip meant to raise the hair of the unsuspecting fans. But if it were mere mythology, it's worth saying, it is nothing short of meticulous. Because you need to know that in every album of the "Beatles" (from "Yellow Submarine" onwards), apparently, numerous riddles and hints about it would be concealed. A real case indeed.

So, let's see.
Paul allegedly disappeared in a car accident and was then replaced by a look-alike particularly similar to him (please!!!). But even if that were the case, the substitute contender makes us not miss the best McCartney (a harsh truth since his most inspired phase is precisely that of the period following the supposed disappearance!).
This "Abbey Road", in fact, is dominated first and foremost by Paul's particular state of grace, as he tests himself in the album's authentic pillars. The final medley. From four incomplete and disconnected compositions, that genius builds a sober but flashy, essential, and majestic mosaic. As if that weren't enough, "You Never Give Me Your Money", a little splendor built on some piano phrases and placed in the middle of the lineup, whose is it? Yes, still his, the genius of the moment.
Elsewhere, there is subtle glory for George Harrison who signs here two of his most successful songs ever. "Something" is a small pop fresco with perfect writing and execution, while "Here Comes The Sun" is a little electro-acoustic gem born from the direct influence of a certain Eric Clapton (according to the author himself).
Lennon, particularly discontent with the project, contributes his part with the song that opens the album. The explicitly erotic nature of "Come Together" draws a brilliant example of a song destined to worm its way into your head, thanks to a very sharp and circular bass riff (who could have played it?). While the avant-garde masterpiece "Because" is said to have been inspired by none other than Beethoven's "Moonlight Sonata", played backwards. After all, in the state he was in, John was not really able to make him sing a chart-topping tune. All the better.
Poor Starr tries, but his contribution as an author is anything but unforgettable. In compensation, his percussion performances, here like in no other of the baronets' albums, render wonderfully and even ooze a lot of creative impulse.
Special mention also for the mantra of "I Want You (She's So Heavy)", a sort of psychedelic experiment that from an expressive point of view torments just like a nightmare you can't escape from.

I was thinking. But what if today's Paul, the abundant pampered of the star system, really died more than thirty years ago?
The math doesn't add up.
Paranormal situations that even the very strange little green men (argh...) from far-off worlds would have gotten exhausted by, delivering themselves in despair to the earthly world.
Then again, a pair of headphones, a little less than an hour available, and the journey is complete. With the awareness that each time can lead you to different experiences, in millions of fragmented and upside-down visions impossible to describe. So immense, gloomy, and mysterious when not visionary and excruciating.
But it is really indispensable.