{"id":45763,"date":"2020-04-18T16:59:21","date_gmt":"2020-04-18T16:59:21","guid":{"rendered":"https:\/\/producelikeapro.com\/blog\/?p=45763"},"modified":"2020-11-30T14:58:22","modified_gmt":"2020-11-30T19:58:22","slug":"eight-track-nostalgia-finding-abbey-road-at-the-nexus-of-progress-and-reflection","status":"publish","type":"post","link":"https:\/\/producelikeapro.com\/blog\/eight-track-nostalgia-finding-abbey-road-at-the-nexus-of-progress-and-reflection\/","title":{"rendered":"Eight-Track Nostalgia:  Finding Abbey Road at the Nexus of Progress and Reflection"},"content":{"rendered":"<div class=\"produ-leaderboard-placement\" style=\"margin-left: auto;margin-right: auto;text-align: center;margin-bottom: 30px!important;\" id=\"produ-150906800\"><script async=\"async\" src=\"https:\/\/securepubads.g.doubleclick.net\/tag\/js\/gpt.js\"><\/script>\n<script> var googletag = googletag || {}; googletag.cmd = googletag.cmd || [];<\/script>\n<div id=\"gpt-ad-4976786336315-0\">\n  <script>\n\tgoogletag.cmd.push(function() {\n\t\t\t\tgoogletag.defineSlot( '\/21927241144\/728x90-Leaderboard', [728,90], 'gpt-ad-4976786336315-0' )\n\t\t.addService(googletag.pubads());\n\t\t\t\twindow.advadsGamEmptySlotsTimers = window.advadsGamEmptySlotsTimers || {};\n\t\tconst timers                     = window.advadsGamEmptySlotsTimers;\n\n\t\ttimers['gpt-ad-4976786336315-0'] = setTimeout( function () {\n\t\t\tconst id = 'gpt-ad-4976786336315-0';\n\t\t\tdocument.dispatchEvent( new CustomEvent( 'aagam_empty_slot', {detail: id} ) );\n\t\t\tdelete ( timers[id] );\n\t\t}, 1000 );\n\n\t\tif ( typeof window.advadsGamHasEmptySlotListener === 'undefined' ) {\n\t\t\tgoogletag.pubads().addEventListener( 'slotRequested', function ( ev ) {\n\t\t\t\tconst id = ev.slot.getSlotElementId();\n\t\t\t\tif ( typeof timers[id] === 'undefined' ) {\n\t\t\t\t\treturn;\n\t\t\t\t}\n\t\t\t\tclearTimeout( timers[id] );\n\t\t\t\ttimers[id] = setTimeout( function () {\n\t\t\t\t\tdocument.dispatchEvent( new CustomEvent( 'aagam_empty_slot', {detail: id} ) );\n\t\t\t\t\tdelete ( timers[id] );\n\t\t\t\t}, 2500 );\n\t\t\t} );\n\t\t\tgoogletag.pubads().addEventListener( 'slotResponseReceived', function ( ev ) {\n\t\t\t\tconst id = ev.slot.getSlotElementId();\n\t\t\t\tif ( typeof timers[id] !== 'undefined' ) {\n\t\t\t\t\tclearTimeout( timers[id] );\n\t\t\t\t\tdelete ( timers[id] );\n\t\t\t\t}\n\t\t\t\tif ( ! ev.slot.getResponseInformation() ) {\n\t\t\t\t\tdocument.dispatchEvent( new CustomEvent( 'aagam_empty_slot', {detail: id} ) );\n\t\t\t\t}\n\t\t\t} );\n\t\t\twindow.advadsGamHasEmptySlotListener = true;\n\t\t}\n\n\t\tgoogletag.enableServices();\n\t\tgoogletag.display( 'gpt-ad-4976786336315-0' );\n\t} );\n  <\/script>\n<\/div>\n<\/div>[vc_row][vc_column][vc_column_text]BY: CAITLIN VAUGHN CARLOS<\/p>\n<p>On January 30, 1969, The Beatles performed their first live concert together in almost two and a half years, in an unannounced rooftop performance on top of the London headquarters of their record label, Apple Records. In a twist of irony, this first live performance would also be their last. Memorialized through the Let It Be album and documentary film (both 1970), the concert represents a mirror looking back to the roots of this quartet of rock and roll fans who had, over the course of a single decade, revolutionized the landscape of what rock and roll could mean.<\/p>\n<p>But despite these significant landmarks of finality, the Let It Be recordings were not actually the last tracks written, recorded and produced by the band. That honor lies in the tracks of Abbey Road \u2013 the band\u2019s penultimate release but final recordings. In terms of technology and production, the album embraces a more modern sound than much of their previous work, and yet so much of the song writing looks to a past time, from the 1950\u2019s inspired \u201cOh! Darling\u201d to the music hall theatricality of \u201cMaxwell\u2019s Silver Hammer.\u201d Further, personally tender ballads sprinkled throughout the album \u2013 even as fragments within the famed \u201cMedley\u201d from the album\u2019s second side \u2013 offer a hint of nostalgic longing, as the band closes their career together. A self-conscious swan song and a reflection of everything that had come before, Abbey Road is both inventive and nostalgically sentimental. If Let It Be is the Beatle\u2019s return-to-roots, live-performance inspired album, then Abbey Road is the return to the studio \u2013 a look back to the futuristic imaginings and the artistic ambition that had characterized most of the Beatle\u2019s late sixties albums, as well as the eclecticism that had pervaded their entire history as a band.<\/p>\n<h2><strong>Finding Abbey Road in the eclecticism of the early recordings<\/strong><\/h2>\n<p>Let us first situate the album in its historical context, at the crest of rock modernism and looking towards the eclectic and nostalgic rock that would emerge in the early seventies. Viewing this moment as a key departure from the hyper-progressive, \u201cwhite heat\u201d revolution promised by British leaders in the sixties, we can see hints of the disillusionment and tentative longing that can be found in a year or two later in that major works of early seventies rock \u2013 in back to roots, country rock and fifties revivals (even John Lennon\u2019s 1975 solo record, Rock \u2018n\u2019 Roll, would take this giant of rock\u2019s evolution back to his rhythm and blues roots). In Abbey Road, we find a Beatles\u2019 album that is self-reflective on all that has occurred and has been created, both culturally and musically, in the previous decade. Simultaneously, the album embraces the newest recording technologies and production techniques of its time. This was the Beatle\u2019s most modern sounding album.<\/p>\n<p>Both England and the United States, at the end of the sixties, had seen a tumultuous and complicated decade. The Beatles, like the rest of the baby boomer generation, had grown up amid a soundtrack of early rock and roll. Rebellion, change and innovation was built into their understanding of self and society. In his study, Baby Boomer Rock \u2018n\u2019 Roll Fans: The Music Never Ends, Kotarba argues that rock and roll is a \u201cprimary source of everyday meanings for the first generation that was raised on it.\u201d The boomer generation did not invent rock and roll, but they were the first generation to grow up with it. Rock and Roll, as a hybrid style, crossed the color line and challenged the adult generation of the fifties with its focus on topics favored by the youth, and deemed inappropriate for them. As Linda Martin and Kerry Segrave explain:<\/p>\n<p>With its black roots, its earthy, Sexual or rebellious lyrics, and its exuberant acceptance by youth, rock and roll has long been under attack by the establishment world of adults. No other form of culture, and its artists, has met with such extensive hostility. The music has been damned as a corrupter of morals, as an instigator of juvenile delinquency and violence. Denounced as a communist plot, perceived as a symbol of Western decadence, it has been fulminated against by the left, the right, the center, the establishment, rock musicians themselves, doctors, clergy, journalists, politicians, and &#8220;good&#8221; musicians.<\/p>\n<p>When these four teenagers from Liverpool picked up their instruments in the late fifties to add their voices to the rock and roll soundscape, they participated in this act of rebellion.<\/p>\n<p>Further, while on the surface, the band\u2019s early recordings seem to be simple early rock and roll tunes, in actuality, they were a complex amalgamation of rhythm and blues, skiffle (a form of British folk music that combined blues and jazz with folk or country instrumentation), and American popular music influences. While one of the first known recordings of the band (when Lennon, McCartney and Harrison were performing as the Quarrymen) is a cover of Buddy Holly\u2019s classic \u201cThat\u2019ll Be the Day,\u201d performed in an almost-identical style as their idol, tracing the Beatle\u2019s earliest recordings reveals a the wide range of American popular music influences, beyond mainstream rock and roll:<\/p>\n<p>The tapes [recordings from BBC radio broadcasts in the early sixties] feature four Elvis Presley covers, including McCartney performing a close copy of \u201cThat\u2019s All Right (Mama),\u201d and nine Chuck Berry covers, including Lennon singing the lyrically sophisticated \u201cMemphis.\u201d Among the other first-wave rockers, Little Richard and Carl Perkins are also represented multiple times. That band also shows an appreciate for Leiber and Stoller\u2019s Coasters records, as well as Phil Spector\u2019s \u201cTo Know Him is to Love Him.\u201d The first Anthology CD sets, released in 1995, provides five selections from the bands audition tape for Decca (including two Coasters tunes) and an excerpt from Ray Charles\u2019 \u201cHallelujah I Love Her So\u201d recorded at the Cavern Club. Finally, their first two British albums, Please Please Me and With the Beatles (both 1963), contain several cover versions, including girl-group numbers (\u201cChains\u201d and \u201cBaby It\u2019s You\u201d), Motown tracks (\u201cYou Really Got a Hold on Me,\u201d \u201cPlease Mr. Postman,\u201d and \u201cMoney\u201d), and a movie theme (\u201cA Taste of Honey\u201d).<\/p>\n<p>So, while The Beatles were certainly students of early rock and roll, from their earliest recordings it is clear that they were also devoted followers of all the innovations of American popular music \u2013 from song writing, to vocal harmonies and instrumentation to record production. When the Beatles return to Abbey Road studios in 1969 to record their final tracks, it is fitting that the resulting album is also an eclectic compilation of their complex and innovative sound worlds.<\/p>\n<h2><strong>Abbey Road as Nostalgic Modernism<\/strong><\/h2>\n<p>When the Beatles entered Abbey Road studios in the fall of 1962 to make their first recordings with George Martin, they were, as we have found, well versed in the latest sounds and recordings of American popular music. When they finished their recording career in the same studio in 1969, the Beatles returned to eclectic <a href=\"https:\/\/producelikeapro.com\/blog\/songwriting-inspiration\/\">songwriting<\/a> and the latest technological innovations to create their final swan song. Abbey Road was the first album where the Beatles used the Modern EMI designed TG12345 Solid State console. Previously, their albums had been recorded through valve\/tube consoles. A 1969 article in Oz magazine highlights Abbey Road as both a homecoming and a step forward in recording progress:<\/p>\n<p>The sleeve photographs by lain Macmillan, who did their first album sleeve, represent this album perfectly. The picture shows the Beatles happily back at the EMI Abbey Road studios, after a brief flirtation with Kingsway and Trident studios they&#8217;ve gone home to where Rubber Soul and Sgt Pepper were made on old 4-track equipment. Now EMI has 8 tracks and The Beatles usual engineer, one of the world&#8217;s best, Geoff Emerick is there and so is (Big) George Martin and all&#8230; It&#8217;s like a British Carry On film, Abbey Road itself with gentle trees and late Victorian mansions, the studios Battle of Britain modern. All under a blue sky.<\/p>\n<p>The Beatles are not only home physically, but at home in the space of innovation and progress. While Let it Be takes the band and their listeners back to the space of live performance and rock and roll nostalgia, it captures only a portion of the band\u2019s musical career. They had certainly cut their teeth on exhausting tours and late night live performance gigs in Hamburg and Liverpool, but the band ultimately established their identity in the studio.<\/p>\n<p>While the upgrades to EMI\u2019s studio technology may have been behind-the-scenes alterations for the album\u2019s listeners, there is no doubt that the album sounded different. Music critics across the board commenting on this change \u2013 whether they like the album or not. In his review of the album for Rolling Stone in November 1969, Ed Ward criticized the pieces of the album\u2019s now-famous medley as \u201cso heavily overproduced, that they are hard to listen to.\u201d Albert Goldman wrote in Life magazine, that the medley \u201cseems symbolic of the Beatle\u2019s latest phase, which might be described as the round-the-clock production of disposable music effects.\u201d Even William Mann, who praised the album in his December 1969 review in the Times, acknowledged that \u201cthe stereo recording will be called gimmicky by people who want a record to sound exactly like live performance\u201d but concluded that \u201cthe stereo manipulation is used for musical purpose, not just to sound ravey.\u201d 50 years later, Kenneth Womack explains the strikin sonic newness of the album:<\/p>\n<p>The sound of the Beatles that had thrilled the world \u2013 the \u201cmaximum volume\u201d that their producer George Martin had coaxed out of EMI\u2019s aging studio gear \u2013 had been conspicuously altered by the subatomic properties inherent in solid-state electronics. For workaday fans and seasoned audiophiles alike \u2013 who likely had little, if any working knowledge about the equipment upgrades at EMI Studios \u2013 the sonic differences were palpable. As far as they were concerned, the sound of the Fab Four had been \u2013 somehow \u2013irrevocably changed.<\/p>\n<p>The sonic space of the album places Abbey Road at the furthest most edge of late sixties rock modernism. Even in moments when songs or lyrics look back to the past, the sound of the album to 1969 ears could only be heard as representative of the future.<\/p>\n<p>In addition to the progressive possibilities afforded by the newest recording technologies available in Abbey Road studios in 1969, The Beatles also held the advantage of moving from a primary songwriting duo to four different songwriters with their own distinctive sounds. As John Lennon explained to Oz in a 1969 interview, \u201cwhenever we all combine and do it, that&#8217;s what we term Beatle music.\u201d<\/p>\n<p>Further expanding this definition and the lack of \u201cgroup direction\u201d, Lennon explains: \u201cBut we never did [have a group direction]! It was just whosever was pushing the limits at the time. I mean, we often all pushed at the same point, but it was never \u2018This is the way we are going!\u2019 As far as we\u2019re concerned this album is more Beatley than the Beatles double album\u2026\u201d<\/p>\n<p>When we listen to the individual tracks of Abbey Road, we can hear the tension between The Beatles\u2019 role as the vanguard of rock modernism, and the nostalgic sentimentality of a band at the end of their career together. Although several interviews with the band at the time of its recording and release indicate the assumption that they would continue working as a band, even if they took on solo projects, there is certainly every indication that the members of the band knew that \u201cThe Beatles\u201d as a unit, was changing (even if they did not know how that change would manifest).<\/p>\n<h2><strong>Come Together<\/strong><\/h2>\n<p>According to an interview with George Harrison shortly after the album\u2019s release, \u201cCome Together\u201d was one of the last tracks to be recorded for the album, even though it is placed as the album\u2019s opening track. The title phrase came from John Lennon\u2019s attempt to write a campaign song for Timothy Leary in his ill-fated attempt to run for governor of California in 1969. The song, however, evolved into its own creation \u2013 a \u201cfunky bit of rock,\u201d according to Lennon. Aside from the original inspiration, the track is notable for its heavy rock and roll feel, the type of writing Lennon would return to on his overtly nostalgic 1975 solo album Rock \u2018N\u2019 Roll. In 1980, Lennon still reflected positively on the track: \u201cCome Together is me \u2013 writing obscurely around an old Chuck Berry thing. [\u2026] it\u2019s one of my favorite Beatle tracks, or, one of my favorite Lennon tracks, let\u2019s say that. It\u2019s funk, its bluesy, and I\u2019m singing it pretty well. I like the sound of the record. You can dance to it. I\u2019ll buy it!\u201d<\/p>\n<h2><strong>Something<\/strong><\/h2>\n<p>George Harrison wrote \u201cSomething\u201d when the band was still recording the tracks for Let it Be, but hadn\u2019t finished the song\u2019s lyrics. He gave the song to Joe Cocker to record before knowing that it would be included on Abbey Road. It is also notable for being the first Harrison composition to place as the A-side of a single. Shortly after the album\u2019s release, Harrison acknowledge that while he had originally envisioned it having a Ray Charles feel to the track, he was pleased with the recording for Abbey Road describing the melody as \u201cprobably the nicest melody I\u2019ve every written.\u201d Many artists have later performed or recorded it, including Frank Sinatra, who described it as \u201cone of the best love songs I believe to have been written in 50, 100 years.\u201d However, the crowning achievement, according to musicologist Kenneth Womack is Harrison\u2019s guitar solo on the Abbey Road recording. In his 2002 list of the top 10 Beatles Moments, he names the guitar solo on \u201cSomething\u201d as number 8, writing:<\/p>\n<p>For much of the song, Harrison\u2019s soaring guitar \u2013 his musical trademark \u2013 dances in counterpoint with McCartney\u2019s jazzy, melodic bass, weaving an exquisite musical tapestry as \u201cSomething\u201d meanders towards the most unforgettable of Harrison\u2019s guitar solos, the song\u2019s greatest lyrical feature \u2013 even more lyrical, interestingly enough, than the lyrics themselves. A masterpiece in simplicity, Harrison\u2019s solo reaches towards the sublime, wrestles with it in a bouquet of downward syncopation, and hoists it yet again in a moment of supreme grace.<\/p>\n<p>Although, as a single, the song topped out at number 4 on the charts (likely due to the fact that it was the first Beatles single to be released after already appearing on an album \u2013 and a very successful album, at that), the song has enjoyed a legacy as one of the Beatles\u2019 most beloved songs.<\/p>\n<h2><strong>Maxwell\u2019s Silver Hammer<\/strong><\/h2>\n<p>\u201cMaxwell\u2019s Silver Hammer\u201d finds its roots in one of the band\u2019s travels to India in 1968, where both McCartney and Lennon, through their tutelage under Maharishi Mahesh Yogi, found a shared belief in a philosophy \u201cinstant karma\u201d for those who commit a wrongdoing. McCartney described the song saying: \u201cMaxwell\u2019s Silver Hammer\u201d was my analogy for when something goes wrong out of the blue, as it so often does, as I was beginning to find out at that time in my life. I wanted something symbolic of that, so to me it was some fictitious character called Maxwell with a silver hammer. I don\u2019t know why it was silver, it just sounded better than \u201cMaxwell\u2019s Hammer.\u201d The song was considered for inclusion on the Get Back \/ Let it Be album but became a place of tension and frustration as they struggled to find the appropriate arrangement and instrumentation for the song. It was in the middle of work recording this song that Harrison briefly quit the band during those session. However, the conception of striking an anvil or piece of iron during the lines \u201cbang, bang, Maxwell\u2019s silver hammer\u201d comes from these sessions, although the final version came from the Abbey Road sessions, with Ringo hitting a real anvil rented from a theatrical agency.<\/p>\n<p>When the band returned to the song in the Abbey Road session, it was the first track worked on following Lennon and Ono\u2019s July 1969 car accident in Scotland. Still, the song took an enormous amount of time to finish, including McCartney experimenting with and recording on the Moog synthesizer for the first time. After the album\u2019s release, Harrison described the song as \u201c just something of Paul\u2019s. We spent a hell of a lot of time recording this one. It\u2019s one of those instant, whistle along tunes which some people will hate and others will love. It\u2019s like \u2018Honey Pie,\u2019 a fun sort of song, but probably sick as well because the guy keeps killing everyone.\u201d<\/p>\n<p>The song captures the tension between technological progress and temporal reflection. Its reference to previous songs and musical timbres of British brass band music and music hall theatricality look to the past, while the innovative use of recording technology and the Moog offers a sonic space that is undoubtedly modern.<\/p>\n<h2><strong>Oh! Darling<\/strong><\/h2>\n<p>Another one of McCartney\u2019s compositions, \u201cOh! Darling\u201d looks back to the fifties rock and roll vibe. Harrison viewed it as \u201ca typical 1955 song which thousands of groups used to make \u2013 the Moonglows, the Paragons, the Shells and so on.\u201d In the midst of a fifties swing and some appropriate \u201coohs\u201d and \u201cahhs\u201d in the background vocal tracks by the rest of the band, McCartney\u2019s raw vocal shoutings capture some of the rebellious intensity of rock and roll at its emergence in the fifties. Audio engineer Alan Parsons recalls McCartney\u2019s unorthodox method of trying to produce the right sound by coming in to the studio alone each afternoon to record the lead vocal track: \u201cHe only tried it once per day, I suppose he wanted to capture a certain rawness which could only be done once before the voice changed. I remember him saying, \u2018five years ago I could have done this in a flash,\u2019 referring, I supposed, to the days of \u2018Long Tall Sally\u2019 and \u2018Kansas City.\u2019\u201d The irony of weeks of individual takes of one vocal track to make it sound like the raw, rock and roll performances of McCartney\u2019s youth highlights the detailed production values and artistry that went in to creating a sound that evokes a sense of the past. In order to sound unrehearsed and \u201clive,\u201d he had to do the opposite, relying on studio technology\u2019s ability to record several versions of a single track.<\/p>\n<h2><strong>Octopus\u2019s Garden<\/strong><\/h2>\n<p>\u201cOctopus\u2019s Garden\u201d holds a unique place as one of only two compositions written by Ringo Starr for the Beatles. A lively, almost-childlike song, \u201cOctopus\u2019s Garden\u201d takes the penultimate place on side one of the album. The song\u2019s roots come from a moment of escape to the Mediterranean after getting fed up with his bandmates while recording The Beatles (the White Album) in 1968. Lounging on Peter Seller\u2019s yacht, he heard the captain speaking about octopuses hiding out in the caves, coming out to find \u201cshiny stones and tin cans and bottles to put in front of their cave.\u201d He recalls connecting that image to his own moment of frustration, thinking \u201c\u2019How fabulous!\u2019\u2026\u2019cause at the time I just wanted to be under the sea, too. I wanted to get out of it for a while.\u201d While the band won him back with a telegram declaring, \u201cYou\u2019re the best rock \u2018n\u2019 roll drummer in the world. Come on home, we love you,\u201d the impromptu vacation inspired this charming and surprisingly sincere composition.<\/p>\n<p>With Starr sitting in the same room listening and smiling, Harrison told a reporter after the album\u2019s release, \u201cRingo gets very bored playing the drums, so at home he plays the piano. But knows about three chords. And he knows about the same on guitar\u2026It\u2019s [\u201cOctopus\u2019s Garden\u201d] a really great song. On the surface, it\u2019s a daft kids\u2019 song, but I find the lyrics very meaningful\u2026it makes me realize that when you get deep into your consciousness its very peaceful.\u201d Although it didn\u2019t fit into the back to roots rock and roll tracks of Let it Be, the song\u2019s inclusion on Abbey Road looks back at playful, almost whimsical, side of the Beatle\u2019s oeuvre.<\/p>\n<h2><strong>I Want You (She\u2019s So Heavy)<\/strong><\/h2>\n<p>Another heavy blues-based Lennon composition, \u201cI Want You (She\u2019s So Heavy)\u201d was originally recorded by the band during the Get Back \/ Let it Be sessions and included Billy Preston on keyboards. It\u2019s another example of the band turning to their rock and roll roots as their career as a unit was coming to a close. In that original jam session, they also improvised their way through two Buddy Holly singles \u201cNot Fade Away\u201d and \u201cMailman, Bring Me No Tears,\u201d and Consuelo Vel\u00e1squez\u2019s \u201cB\u00e9same Mucho.\u201d While the Holly tunes are obvious connections to the band\u2019s early gigging career playing clubs in Hamburg and Liverpool, the Vel\u00e1squez looks to an even more career defining moment in their past \u2013 their first recording session at Abbey Road studios on June 6, 1962. So while \u201cI Want You\u201d was still a relatively new composition when they brought it back for the Abbey Road recordings, it had been forged in the fires of their collective memory and sonic history.<\/p>\n<p>As the song\u2019s harmonic core looks to the past, the final arrangement looks to the future. At almost 8 minutes, it is one of the band\u2019s longest tracks. Further, the album\u2019s final master of the track is made from a compilation of previous recordings of the song with the newest innovations on the composition from the Abbey Road sessions (including more use of the Moog synthesizer). Finally, the song\u2019s ending, with its long and powerful build up of noise and sonic effects over a rising blues progression abruptly ends with silence in an avante-guard style ending for the album\u2019s first side.<\/p>\n<h2><strong>Here Comes the Sun<\/strong><\/h2>\n<p>Opening up the album\u2019s second side, \u201cHere Comes the Sun\u201d is Harrison\u2019s second songwriting credit on the album. Like \u201cSomething,\u201d it has lived on as one of the Beatle\u2019s most beloved songs. It offers both a sense of optimism and reflection at a time when the band had already faced so much tension (indeed, both Starr and Harrison had quit the band for a time during the recording sessions for The Beatles (White Album) and Get Back \/ Let it Be, respectively). The song\u2019s title and chorus comes from a line in the lyrics for \u201cSun King,\u201d already recorded during the Get Back sessions in 1969, but it wouldn\u2019t be heard by audiences until the final medley of Abbey Road. However, it wasn\u2019t until a visit to Eric Clapton\u2019s country estate, Hurtwood Edge, later that year, that Harrison would bring the idea to life. Clapton later reminisced watching Harrison\u2019s composition come alive: \u201cIt was a beautiful spring morning, and we were sitting at the top of a big field at the bottom of the garden\u2026we had our guitars and were just strumming away when he started singing \u2018de da de de, its been a long cold lonely winter,\u2019 and bit by bit he fleshed it out, until it was time for lunch.\u201d<\/p>\n<p>In many ways \u201cHere Comes the Sun\u201d is a clear representation of the thin line between progress and reflection, around which the band continually dances in the Abbey Road recordings. Its simplicity of lyrical imagery relies on a long history of symbolism in nature and seasons in poetry and song. In addition to references to the \u201cSun King\u201d recording (in the past for the band and the future for audiences), Womack points out that the chorus likely turned to the Diamond\u2019s 1957 do-wop hit \u201cLittle Darling\u201d for inspiration. And yet the song is modern, not only in its use of recording technology but also in its complex time signatures moving in rapid succession. George Martin heard the song as progressively inventive, saying \u201cI think there was a great deal of invention\u2026I mean, George\u2019s \u2018Here Comes the Sun\u2019 was the first time he\u2019d really come through with a brilliant composition, and musical ideas, you know, the multiple odd rhythms that came through. They really became commercial for the first time on that one.\u201d Further, Harrison\u2019s performance on the Moog synthesizer, and in particular, on the ribbon controller, presented some of the most modern sounds 1969 had to offer.<\/p>\n<h2><strong>Because<\/strong><\/h2>\n<p>One of John Lennon\u2019s contributions, \u201cBecause\u201d was the last song recorded for the album. Like many of the previous songs heard on Abbey Road, we can find aspects of both modernist imaginings and nostalgic reflection in this track. One of the song\u2019s most powerful sonic features is the lush three-part harmony. It seems unusual in the context of this album, but as musicologist Elizabeth Randell Upton points out, the band had been recording in a wide range of complex vocal textures throughout their career. In looking back through the band\u2019s recorded history (especially the covers on their early albums) and, in particular, noting which songs become highlighted in films (such as Help!), Upton also suggests that 3-voiced harmonies \u2013 like those found on \u201cBecause\u201d &#8211; may actually be understood as one of the band\u2019s early defining sonic features. However, the vocal harmonies on \u201cBecause\u201d were significantly more challenging than their previous experiences with that vocal texture. George Harrison called the song \u201cone of the most beautiful things we\u2019ve ever done,\u201d but admitted that \u201cthe harmony was very difficult to do, we had to really learn it.\u201d Characteristic of the Abbey Road recordings in general, the homecoming found in \u201cBecause\u201d is not a simple back-to-roots return to rock and roll, but rather a return to the innovative complexity and creativity that had characterized their entire career.<\/p>\n<p>fFurther, the sonic space created by the song is of particular note because of how it sets up the transition between individual songs to a more avante-garde conception of musical creation in rock with the album\u2019s elaborate final medley. As Upton explains, the \u201cfloating harmonies change the mood of the album\u2026to one of timelessness, signaling to the listener that what will follow will also be special.\u201d<\/p>\n<h2><strong>The Medley<\/strong><\/h2>\n<p>Along with Harrison\u2019s guitar solo on \u201cSomething,\u201d Womack declares the final medley on Abbey Road as one of his \u201cTen Great Beatles Moments.\u201d Essentially, a \u201cmedley of Paul and John songs all shoved together,\u201d the final track of Abbey Road often looks to the past both lyrically and in the weaving together of bits of songs from several different moments in the band\u2019s past. Some (like \u201cSun King\u201d and \u201cShe Came in Through the Bathroom Window\u201d) had been part of the Get Back \/ Let it Be sessions, while others (like \u201cMean Mr. Mustard\u201d) had been contemplated for The Beatles (White Album) back in 1968. \u201cMean Mr. Mustard\u201d finds its roots even further in the past \u2013 originating in the band\u2019s internal repertoire during a 1968 trip to India. Lyrically, \u201cYou Never Give Me Your Money\u201d reflects on the financial confusions and troubles that had plagued the band throughout their rise to stardom, McCartney later recalled \u201cWe used to ask \u2018Am I a millionaire yet?\u2019 and they used to say cryptic things like, \u2018On paper you are.\u2019 And we\u2019d say, \u2018Well, what does that mean? Am I or aren\u2019t I? Are there more than a million of those green things in my bank yet?\u2019 and they\u2019d say, \u2018Well, it\u2019s not actually in the bank. We think you are [a millionaire].\u2019 It was actually very difficult to get anything out of these people, and the accountants never made you feel successful.\u201d By the end of the sixties, and their career, their financial entanglements had become even more tension filled and frustrating. While \u201cYou Never Give Me Your Money\u201d looks to the band\u2019s career-long troubles with financial clarity, \u201cShe Came in Through the Bathroom Window\u201d references a specific moment in McCartney\u2019s life \u2013 a 1968 burglary of his Cavendish Avenue home by several of the female fans who would often wait outside locations frequented by McCartney and the band. \u201cPolythene Pam\u201d looks back even further \u2013 to the band\u2019s gigging days at the Cavern Club with a vaguely hidden reference to a club regular named Pat Dawson, to whom they had given the song\u2019s title as a nickname.<\/p>\n<p>And yet the band takes of all this lyrical and sonic reflection of their past and transforms it into modern rock artistry. George Martin had been encouraging the band to record a \u201cpop opera,\u201d and in fact, while the Beatles were recording \u201cYou Never Give Me Your Money,\u201d the Who released their rock opera \u2013 Tommy. The Beatles were not interested in following suit, but they retained an interest in working in a large-scale form. The resulting montage negotiates the space between the band\u2019s avant-garde creative tendencies that characterize their later sixties works and a reflection upon the entire past decade that seemed to hover over all of their final attempts at recording together.<\/p>\n<h2><strong>Abbey Road &#8211; Fifty Years Later<\/strong><\/h2>\n<p>Although it was released before the Let It Be LP, the recording sessions for Abbey Road represent the final days of creative music making for the Beatles. The album becomes a time capsule of the progressive creativity of artists at the top of their game, while simultaneously reflecting on a decade of writing, performing and recording music together. As we have seen, the juxtaposition of modernity and pastness characterize both the individual tracks and the album as a whole. For its time, Abbey Road was undoubtedly modern, sonically, while so much of the songwriting and lyrics look to the band\u2019s past. The homecoming of the Beatles\u2019 return to Abbey Road studios in 1969 to record their final tracks is perhaps so meaningful because it marks not only the band\u2019s final days, but also the conclusion of the entire sixties\u2019 dream of progress and revolution. As the decade ended, the seventies emerged as nostalgic age, surrounded by fifties revivals (i.e. American Graffiti, Grease), country-rock\/Westerns and medievalism. But in 1969, even nostalgic reflection was expressed through progressive and revolutionary creativity.<\/p>\n<p>Today, we look back on Abbey Road as a nexus of hope and memory. The album\u2019s progressive features have become markers of cultural meaning for a 21th century world. We experience Abbey Road both as personal nostalgia and cultural memory. We may no longer be surprised by the changing meters of \u201cHere Comes the Sun,\u201d but we vividly remember moments in our lives to which the song provided the soundtrack. Abbey Road Studios and its famed crosswalk has, because of the Abbey Road album, become a tourist landmark \u2013 a physical marker of cultural meaning that we all can share. 50 years after its release, Abbey Road continues to hold a sentimental place in the public\u2019s cultural and musical memory.[\/vc_column_text][\/vc_column][\/vc_row]\n","protected":false},"excerpt":{"rendered":"<p>[vc_row][vc_column][vc_column_text]BY: CAITLIN VAUGHN CARLOS On January 30, 1969, The Beatles performed their first live concert together in almost two and a half years, in an unannounced rooftop performance on top of the London headquarters of their record label, Apple Records. In a twist of irony, this first live performance would also be their last. Memorialized&hellip;<\/p>\n","protected":false},"author":25,"featured_media":45765,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"om_disable_all_campaigns":false,"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"_uf_show_specific_survey":0,"_uf_disable_surveys":false,"footnotes":""},"categories":[1,51],"tags":[136],"class_list":["post-45763","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-audio-engineering","category-faq-friday","tag-the-beatles"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v26.4 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>Eight-Track Nostalgia: Finding Abbey Road at the Nexus of Progress and Reflection - Produce Like A Pro<\/title>\n<meta name=\"description\" content=\"That honor lies in the tracks of Abbey Road \u2013 the band\u2019s penultimate release but final recordings.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/producelikeapro.com\/blog\/eight-track-nostalgia-finding-abbey-road-at-the-nexus-of-progress-and-reflection\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Eight-Track Nostalgia: Finding Abbey Road at the Nexus of Progress and Reflection - 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