(CPS)--V/hat the heck do you say about
the Beatles at this date? Every new
release, single or album, is being
dissected, inspected, sometimes
neglected. Not being one to ignore
tradition (unless I feel like it), what
follows is an introductory mystery tour
of their new album, Abbey Road, the
title of which fs taken trom me STreet
in London's St. John's Woods where the
E.M.I. recording studios are located.
This has been the birthplace of almost
every song the group has ever done
since "Love Me Do" their very first
Before we begin, let me say that I
have been extremely biased in favor of
the Beatles through six years of the
best music this side of Albert Hall,
so don't expect anything like a
unilateral Richard Goldstein rejection
on the grounds that I can't see the
forest for the trees. The L.P. contains
16 songs of varying length, 13 of which
are written by Lennon and McCartney,
so we'll all be racking our brains
trying to come up v/ith interpretations
at least until December, when their
next album will be out. I couldn't care
less that there's alot to dig for here,
because without trying too hard, there s
a lot to dig;
"Come Together"--sung by John, this
starts out as a takeoff on Chuck
Berry's "You Can't Catch Me", but you
soon realize there's more to it than
Just that. The lyrics are "Highway
61" vintage and are open to much
interpretation, but we know what he's
saying just from the title, don't
brothers and sisters?
"Something"--written and sung by George
Harrison. This is the A--side of the
single taken from the album with "Come
Together" as the flip. Generally
recognized as George's best song to
date, it's a love opus which sounds
similar to "Blue Jay Way" but with
good atmospheric guitar and some
phasing (sounds like a marble rolling
through a pipe.)
"Maxwell's Silver Hammer"—Here's one
you can play with for awhile. A
rinky-tink innocent sounding tale sung
by Paul in his good-time "Honey Pie"
"When I'm 64" voice, but it's all an
elaborately constructed ironic setting
for some real down-home violence.
You see, the hammer "came down on his
head...made sure he was dead." Love
the way that one syllable words like
"Joan" and "scene" become "Jo-ho-hoan"
and "sce-he-he-hene" in the style of
the late Buddy Holly.
"Octopus Garden"—Ringo sings of a
place he'd like to go (in his yellow
submarine?) where "we'll be so happy
...no one to tell us what to do." The
lyrics are rather medicore but it's
such an optimistic song with beautiful
Lennon-McCartney harmony that up-and-
coming composer Richard Starkey may
"You Never Give Me Your Money"--
Typically tender McCartney ballad, but
that changes at the bridge to Honky
Tonk Piano, accompaining Paul's
"Lady Madonna" voice. After the
bridge it becomes another melody with
the line "1, 2, 3, 4, 5, 6, 7, all
good children go to Heaven." Weird.'
The rest of side two is a melody of
seven songs that seem to have no
cohesive theme, but most of the parts
of the whole stand up very well on
their individual merits. "Sun King"
starts it off in a gentle, romantic
mood with soft harmony dominated by
John. A nice touch is a chorus sung
in Spanish and/or Italian.
"Mean Mr. Mustard" is Lennon at his
best, singing of a cheap, mean, dirty
old man and his sister Pam who we
learn is "Polythene Pam." This short
passage has got to be a tribute to
the WHO, what with chorded guitar
lifted out of "Tommy." Next comes
"She Came In Through the Bathroom
Window" which has Paul singing to a
beautiful melody that will quickly
become a favorite. Possibly the most
gorgeous piece of music in the album
is "Golden Slumbers," a string thing
with Paul singing like he did on
"Yesterday". Wish that was longer.
"Carry that Weight" is just a bridge
between "Slumbers" and a reprise of
"You Never Give Me Your Money" and
between "Money" and "The End."
Weight is only one line repeated and
you can picture the Roman legions
marching into the sunset with it
playing in the background. At last
we're at "The End" with Paul singing
"And in the end, the love you take
is equal to the love you make." Never
thought about it that way before, but
there's a lot to think about on "Abbey
Road" if you're so inclined. Enjoy the
sights along the way; getting there
is half the fun.
"I Want You (She's so Heavy)"--a very
long, monotonous song with not too
many words sung by John. It's this
album's "Why Don't We Do It in The
Road" but it's four or five times
as long as "Road" and that's too bad.
You might not hate this but then again
you won't walk around humming it.
"Here Comes the Sun," George's other
contribution is a delicate tune with
great crashing cymbols and a 12-string
guitar riff right out of "Badge" by
Cream on which George played.
"Because"--Entire song is sung in
close harmony, which is something they
haven't done in a long time. If you're
a Beatle freak this will remind you of
"Yes It Is" from "Beatles VI."
Laughter shall finally be heard in the
chapel at Gaither December 16, 17, and
I8th at 8:15 P.M, when the three-act
play "Never Too Late" will be presented.
This comical production that ran three
years on Broadway, will be directed by
Mark Steilj who is now co-starring in
"How to Succeed in Business Without
Really Trying" at the Asheville
Community Theatre. The cast list of
"Never Too Late" consists of Ed Chesire,
Cheryl England, Leon Rippy, Annette
Eddins, Laura Hall, Frank McCarthy,
Lee Chewning, Dave Gutierrez, and Walt
Camilla Culpepper has been selected
stage manager, Barbara Sutton and
Margie Young are in charge of j)rQ0s,
and Debbie White heads publicity.
Anyone interested in working on a
committee should contact Camilla
Culpepper in Montreat-Anderson Hall,
SATURDAY, NOVEMBER 22
1 1:00 -12:00 A.M.
Business Meeting of
Lunch in Howerton
vs. Varsity (men)
Anderson Hal 1
SUNDAY, NOVEMBER 23
Bible Cl ass
Mrs. Billy Graham
C.E. Bui 1dina
Dr. Calvin Thielman
Howerton* Ha 1 1
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