(THE BEATLES-Abbey Road)-[MINT]-H5-LP

	A$		45
	$		30

DESCRIPTION ITEM: VINYL 12" LP 33 1/3 RPM
ARTIST: THE BEATLES
TITLE: Abbey Road
COUNTRY: OZ
CAT No: APPLE, PCSO-7088
COVER: (Grade at MINT-)
LABELS: (Grade at MINT)
VINYL: (Grade at MINT)
TRACKS:
Side one
"Come Together" - 4:20
Lead vocals: Lennon

"Something" (George Harrison) - 3:03
Lead vocals: Harrison

"Maxwell's Silver Hammer" - 3:27
Lead vocals: McCartney

"Oh! Darling" - 3:26
Lead vocals: McCartney

"Octopus's Garden" (Ringo Starr) - 2:51
Lead vocals: Starr

"I Want You (She's So Heavy)" - 7:47
Lead vocals: Lennon

Side two
"Here Comes the Sun" (Harrison) - 3:05
Lead vocals: Harrison

"Because" - 2:45
Lead vocals: Lennon, McCartney, Harrison

"You Never Give Me Your Money" - 4:02
Lead vocals: McCartney

"Sun King" - 2:26
Lead vocals: Lennon

"Mean Mr. Mustard" - 1:06
Lead vocals: Lennon

"Polythene Pam" - 1:12
Lead vocals: Lennon

"She Came in Through the Bathroom Window" - 1:57
Lead vocals: McCartney

"Golden Slumbers" - 1:31
Lead vocals: McCartney

"Carry That Weight" - 1:36
Lead vocals: Lennon, McCartney, Harrison, Starr

"The End" - 2:19
Lead vocals: McCartney

"Her Majesty" - 0:23
Lead vocals: McCartney
ALBUM REVIEW: By John Mendelsohn November 15, 1969 of “Rolling Stone” magazine
Simply, side two does more for me than the whole of Sgt. Pepper, and I'll trade you The Beatles and Magical Mystery Tour and a Keith Moon drumstick for side one.

So much for the prelims. "Come Together" is John Lennon very nearly at the peak of his form; twisted, freely-associative, punful lyrically, pinched and somehow a little smug vocally. Breathtakingly recorded (as is the whole album), with a perfect little high-hat-tom-tom run by Ringo providing a clever semi-colon to those eerie shooo-ta's, Timothy Leary's campaign song opens up things in grand fashion indeed.

George's vocal, containing less adenoids and more grainy Paul tunefulness than ever before, is one of many highlights on his "Something," some of the others being more excellent drum work, a dead catchy guitar line, perfectly subdued strings, and an unusually nice melody. Both his and Joe Cocker's version will suffice nicely until Ray Charles gets around to it.

Paul McCartney and Ray Davies are the only two writers in rock and roll who could have written "Maxwell's Silver Hammer," a jaunty vaudevillian/music-hallish celebration wherein Paul, in a rare naughty mood, celebrates the joys of being able to bash in the heads of anyone threatening to bring you down. Paul puts it across perfectly with the coyest imaginable choir-boy innocence.

Someday, just for fun, Capitol/Apple's going to have to compile a Paul McCartney Sings Rock And Roll album, with "Long Tall Sally," "I'm Down," "Helter Skelter," and, most definitely, "Oh! Darling," in which, fronting a great "ouch!"-yelling guitar and wonderful background harmonies, he delivers an induplicably strong, throat-ripping vocal of sufficient power to knock out even those skeptics who would otherwise have complained about yet another Beatle tribute to the golden groovies' era.

That the Beatles can unify seemingly countless musical fragments and lyrical doodlings into a uniformly wonderful suite, as they've done on side two, seems potent testimony that no, they've far from lost it, and no, they haven't stopped trying.

No, on the contrary, they've achieved here the closest thing yet to Beatles freeform, fusing more diverse intriguing musical and lyrical ideas into a piece that amounts to far more than the sum of those ideas.

"Here Comes the Sun," for example, would come off as quite mediocre on its own, but just watch how John and especially Paul build on its mood of perky childlike wonder. Like here, in "Because," is this child, or someone with a child's innocence, having his mind blown by the most obvious natural phenomena, like the blueness of the sky. Amidst, mind you, beautiful and intricate harmonies, the like of which the Beatles have not attempted since "Dr. Robert."

Then, just for a moment, we're into Paul's "You Never Give Me Your Money," which seems more a daydream than an actual address to the girl he's thinking about. Allowed to remain pensive only for an instant, we're next transported, via Paul's "Lady Madonna" voice and boogie-woogie piano in the bridge, to this happy thought: "Oh, that magic feelin'/Nowhere to go." Crickets' chirping and a kid's nursery rhyme ("1-2-3-4-5-6-7/All good children go to heaven") lead us from there into a dreamy John number, "Sun King," in which we find him singing for the Italian market, words like amore and felice giving us some clue as to the feel of this reminiscent-of-"In My Room" ballad.

And then, before we know what's happened, we're out in John Lennon's England meeting these two human oddities, Mean Mr. Mustard and Polythene Pam. From there it's off to watch a surreal afternoon telly programme, Paul's "She Came In Through the Bathroom Window." Pensive and a touch melancholy again a moment later, we're into "Golden Slumbers," from which we wake to the resounding thousands of voices on "Carry That Weight," a rollicking little commentary of life's labours if ever there was one, and hence to a reprise of the "Money" theme (the most addicting melody and unforgettable words on the album). Finally, a perfect epitaph for our visit to the world of Beatle daydreams: "The love you take is equal to the love you make ..." And, just for the record, Paul's gonna make Her Majesty his.

I'd hesitate to say anything's impossible for him after listening to Abbey Road the first thousand times, and the others aren't far behind. To iy mind, they're equatable, but still unsurpassed.

COMMENT: Biography by Richie Unterberger
So much has been said and written about the Beatles — and their story is so mythic in its sweep — that it's difficult to summarize their career without restating clichés that have already been digested by tens of millions of rock fans. To start with the obvious, they were the greatest and most influential act of the rock era, and introduced more innovations into popular music than any other rock band of the 20th century. Moreover, they were among the few artists of any discipline that were simultaneously the best at what they did and the most popular at what they did. Relentlessly imaginative and experimental, the Beatles grabbed a hold of the international mass consciousness in 1964 and never let go for the next six years, always staying ahead of the pack in terms of creativity but never losing their ability to communicate their increasingly sophisticated ideas to a mass audience. Their supremacy as rock icons remains unchallenged to this day, decades after their breakup in 1970.

VINYL GRADING SYSTEM

MINT:
RECORD: New condition with no surface marks or loss of sound quality.
COVER: New condition with no surface marks, creases or wear.
NEAR MINT:
RECORD: Barely noticeable surface mark with no loss of sound quality.
COVER: Barely noticeable surface mark/ wear.
EXCELLENT:
RECORD: Some signs of being played with extremely little if no loss of sound quality.
COVER: Slight wear or creasing.
VERY GOOD:
RECORD: Obviously been played with noticeable surface marks & the occasional light scratches but exhibits no major loss of sound quality.
COVER: Noticeable wear on cover, seam or spine.
GOOD:
RECORD: Very obviously been played with very noticeable surface marks & exhibits major loss of sound quality.
COVER: Noticeable folding, scuffing of spine or edges, splits in seams or spine or fading of colour.
FAIR:
RECORD: Still just playable & exhibits considerable surface noise.
COVER: Major tears, wearing, splits & stains.
POOR:
RECORD: Will not play properly due to scratches etc.
COVER: Very badly damaged.
+(PLUS)/-(MINUS):
Slightly up or down in condition as appears in the comments above.
NOTE:
Gradings are done visually unless there appears to be a questionable surface mark on the vinyl, it is then put on the turntable to check. A comment describing the outcome will appear if this is the case.

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NOTE:
Double albums count as 2 LPs; triple albums count as 3 LPs etc

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