October 13, 1969
The N. C. Essay
Page 2
Since 1964 the Beatles have been
the one really consistently good,
innovative group in rock music.
Originally, they lent to rock the
exuberent joy it had lost during the
sterile Fabian/Frankie Avalon period.
From there they took rock places it
had never been before. Their al
bums, from Rubber Soul to Sgt. Pepper
(and in many ways, The Beatles) are
considered rock masterpieces. In
these works, the group used outside
influences (the Indian raga, elec
tronic music, orchestral symphonies,
etc.) within a rock framework. Now,
with Abbey Road, but for a few elec
tronic tremblings here and there, the
Beatles extend the theme of their
last LP and begin to bring rock and
roll back to its unpretensious, hon
est origins. (Whether or not this is
a conscious effort or not is unim
portant; the Beatles, as artists,
feel this need and their art reflects
this drive).
As is any new Beatle release,
this is an important LP for rock ears.
They are, after all, a group whose
woj?k often determines the direction
of rock music. But this record is
important in another respect also, for
it is the most unified and satisfying
effort the Beatles have done since
Sgt. Pepper.
Side One begins with "Come
Together." John singst lead as George,
Paul and Ringo shimmer instrumen-
tally in the background. The song
sounds very much like a Lennon com
position, with several juxtaposed
images appearing. The lyrics are
obscure and hard to decipher,
although the words feel good. Often,
it is the sound of words which attract
the listener, rather than the words
themselves (remember the Left Banke’s
"Walk Away Renee'?).
"Something".is one of two songs
George contributed to the LP. A
lilting love ballad, it is charac
teristic of Harrison's style. I find
it similar to "Long, Long Time" (off
the last album), although "Something"
is a more fully realized work. It's
certainly one of the finest things
George has done. Simple and direct,
it avoids the near pretension he
barely escaped in much of his earlier
work. "Maxwell's Silver Hammer"
follows, obviously a McCartney song,
a musical half-brother to the earlier
campy/vaudeville style of "When I'm
Sixty-four" and "Honey". Paul
handles the vocal with what sounds like
a Salvation Army band in the back
ground. Nothing new, but a nice cut.
The Beatles get down to it with
"OhI Darling." Paul with his best
Elvis voice, wails through this
powerful rock house in a style rem-
by MIKE FERGUSON
iniscent of "Heartbreak Hotel" and
"One Night". George's (or Lennon's)
guitar chugs along, chording quick,
sharp statements to provide an
authentic '50's instrumental
accompaniment; one of the best cuts
on the LP. Ringo's one song,
"Octopus's Garden", recalls the
good-time tradition of "Yellow Sub
marine". It's a happy child's song
which Ringo offers in his typically
nasal style, with charming harmony
from John and Paul. The song succeeds
because of its simplicity, ease and
a delightful chorus: I'd like to be/
under the sea/in Octopus’s Garden/
'neath the shade". Heavy blues (at
times they sound like Ten Years
After) a dose of electronic, and
repetition dominate "I Want You
(She's So Heavy)". Although it is one
of the Beaties'
Guess Who?
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best blues-oriented pieces,
the repetition tends to run a
bit thin. They fail to achieve
the hypnotic effect which was so
successful on "Hey Jude".
Running over seven minutes, the
song loses its intensity toward
the end. It could have been
shorter. The song ends In an
electronic burst, and with it,
the first side.
Side Two is difficult to talk
about in a sequential evaluation.
Although the ten songs on the side
are listed separately, many run into
each other and the whole side has
a medely of musical and verbal
images which begins in child-like
innocence ("Here Comes The Sun")
and ends with a realization of
sorts ("The love you take is equal
to the love you make"). Caught in
between are several lurking melo
dies and phrases which portray the
rather nebulous journey. One
theme recurs several times, both
musically and lyrically. Early
on the side, McCartney begins:
"You never give me your money/you
just give me your funny papers."
And that phrase seems to be the
foundation around which the musi
cal collage is constructed.
The entire side is wrapped up
in the best rock music the Beatles
have done in some time. Despite
occasslonally confusing verbal
symbols, the music is solid and
tight. Harrison and Lennon have
rarely played as well, with Lennon
doing some surprising lead guitar
work. McCartney's bass is a power
house throughout. He plays varied
collections of patterns and shapes
which go all over the board. He's
the best and his influence on rock
bassists (and jazz people too) is
staggering. Ringo's drumming,
while never spectacjular, is always
perfect. His greatest’ asset is
his incredible understanding of
exactly what the other three want.
As an overall effort. Abbey
Road stands as the most cohesive
work the Beatles have turned out in
two years; with side two's collage
being one of their strongest musical
statements. It isn't a spectacle in
the sense of Sgt. Pepper or The
Beatles; it has few of its frills
or decorations. But it is good,
lively rock music. The Beatles
seem to be gradually nursing rock
back home. If that is the trend,
their next album should be dynamite.
Will the person who took Mrs. John's
umbrella please return it immediately.
She will kill you if you don't^