Tag Archives: Final Album

2nd Favorite Beatles Album: Abbey Road

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Abbey Road
1969, Parlophone. Producer: George Martin.
Purchased Cassette, 1986.

IN A NUTSHELL: Abbey Road fully encapsulates everything that is wonderful about The Beatles. It also recapitulates their entire career, from doo-wop (“Oh! Darling”) to psychedelia (“I Want You,” “Sun King”) to singer/songwriter balladry (“Here Comes the Sun”). As if to lay to rest any doubts about their talents, the album is chock full of amazing songwriting (from all four members!), incredible vocal harmonies, and even some knockout solos from the boys. It’s the most-perfect final album of any band ever.

NOTE: The setup – below the line ↓ – might be the best part … Or skip right to the album discussion.

~ ~ ~ ~ ~

Star Wars opened in American theaters in May 1977, a week before my tenth birthday, making me a prime member of the film’s target audience. The film had spaceships, lasers, robots, bigfoots, a swashbuckling cowboy and a princess (with no kissing!), plus a teen-ager who learns to fight with a lightsaber. It came at a time when I was young enough that I still played with GI Joes. All those Star Wars action figures were aimed directly at me, and my dad’s wallet.

But my family were targets the marketers could rarely hit. We weren’t destitute by any means, but we were definitely lower-middle class, a family of five living on a machinist’s hourly wages. We were fed and clothed, and had a few “nice things,” like bikes and church outfits and a handheld calculator that cost more than all three bikes together, and that was hidden in my mom’s desk, requiring special permission for my sisters and I to access it. But non-necessary expenditures were rare, and anything that could be found as a “hand-me-down” was. Those GI Joes that I still played with had come from my older cousins.

Also, my parents weren’t movie-people. It cost money to go see a movie. Additionally, they required leaving the house, and possible mingling with people, an experience my dad, in particular, found difficult. My parents never went out on “dates.” They were content to watch movies on TV with annoying commercial interruptions, years after they’d been released in the theaters. Throughout the 70s I only recall them going to three movies in the theater: The Sting, Mel Brooks’ Silent Movie, and one other.

My sisters and I periodically went to a kids movie – Willy Wonka & The Chocolate Factory, Bambi, Snowball Express, – and once or twice we went as a family to the Drive-In theater. But as a whole, my family were not movie-goers. I’d never cared about that fact until I returned to school in the late summer of ’77.

That’s when Star Wars fever was boiling over.

Everyone in my fifth grade class had seen the film, and I mean everyone. John H. claimed to have seen it 30 times, probably an exaggeration, given his well-known penchant for stretching the truth, and, frankly, his family’s well-known limited financial means. However, he could, indeed, draw an astoundingly accurate version of R2-D2 in chalk on the blackboard. And this being decades before the internet, and years before DVDs and even household VHS machines, he’d had to have gone to the theater more than once to draw such a great picture.

I figured there was no way I’d get to see Star Wars until it appeared on TV. I even discussed with my buddy, Bruce F., my only ‘wealthy’ friend with HBO, whether I could come watch it at his house, without commercials, when it finally ran. I thought it was hopeless to ask my parents to take me to an actual movie theater to see it, but I decided to give it a shot.

My dad told me he’d take me. We went to see it one evening at a theater in downtown Lebanon, PA, and it was amazing. I will never forget the first time I saw Star Wars because 1) it meant so much that my near-hermit, movie-indifferent dad took me; and 2) it was such a cool movie!

I’ve thought a lot about it, and there’s only one other work that I so clearly recall experiencing for the first time, and that’s The Beatles’ Abbey Road. And I didn’t even have all the family baggage surrounding that experience!

It was a summer evening in 1986, and I stopped to shoot hoops in an elementary school playground with a guy named Jeff. He had a boombox in his nearby car and was blasting the tape. Some of the songs I knew, some of them I didn’t, but one trip through the entire album while we played HORSE and one-on-one, and it immediately became my favorite record. The sounds, the melodies, the guitar, the feeling, the ending … it made an impression. Of all the records I love, I can’t recall my first listen as clearly or as deeply as I recall that first Abbey Road.

Abbey Road turned out to be the final album the band ever recorded. After the studio experimentation of Sgt. Pepper’s, the fraught individuality of “The White Album,” the band’s indifference to Yellow Submarine, and the awkward discomfort of filming the recording of Let it Be, (which was recorded earlier, but released after Abbey Road), it was to be a return to the camaraderie, synergy and musical focus that marked their earlier albums. Named for the recording studio in which they worked, The Beatles’ Abbey Road is as good a final album as any band has ever recorded.

And John Lennon’s “Come Together” is as good an album opener as has ever been recorded.

The bass, the drums the whispered “Shoot me,” with the “me” obscured by echoing handclaps … it’s among the most identifiable 4 seconds in rock music history. The nonsense lyrics are fun to sing, and it’s actually John singing his own harmonies during the verses. The bass line throughout is one of the coolest ever. At 2:31 Paul plays a little curlicue at the end of a line, and you can hear a little bit of studio shouting, if you listen closely. Lennon plays the Billy Preston-like electric piano, and Harrison adds a terrific lead guitar. And the entire time Ringo proves he’s one of the most creative drummers in rock. At 3:13, a lengthy runout begins, and if you listen closely in the left side, you’ll hear Lennon’s great rhythm guitar. It’s a song that’s been played a million times that I never get tired of hearing.

“Come Together” is an obvious group effort, and teamwork is a feeling that permeates Abbey Road. Even on Harrison’s masterpiece “Something,” a certain Beatle-ness is evident that was missing on “The White Album.”

As with “Come Together,” the bass and drums are once again perfect and indelible. Paul’s widely ranging bass and Ringo’s slow tom rolls are perfection, and check out what Ringo does in the bridge (~1:14 on). Harrison’s guitar is also amazing, and his sound and slide work throughout, (on the solo, at 1:43, in particular) became a sort of template (perhaps unfortunately) for 70s lite-rock. As love songs go, the lyrics of “Something”, coupled with George’s voice, are among the best. And let’s not forget the wonderful harmonies throughout!

The collaboration among the band is even clear on songs on which part of the band is absent – for example “Maxwell’s Silver Hammer,” which John considered “Granny music,” and so didn’t play along.

It is a silly song, with goofy lyrics about a serial killer, but I do like the tuba-ish bass, which is played by Harrison. And it’s got that wonderful guitar throughout the choruses, pure Harrison in sound and style.

Of course, even while the boys sound like they’re playing nice together, there were still some hurt Beatle feelings. For example, John really thought Paul should’ve asked him to sing “Oh! Darling.”

But maybe those hurt feelings are why he played such amazing guitar on the song! It’s Lennon alone playing all those attacking slides in the verses and arpeggiated chords in the choruses. And it was revealed last year that Harrison actually played bass on the song! Just as Paul easily copped the “Harrison sound” in past guitar solos in, for example, “Taxman” and “Ticket to Ride,” Harrison plays a wonderfully McCartney-esque bass line throughout, changing things up every time through. (I particularly love the syncopated ascending run he throws in, about 2:28.) Paul sings the hell out of this doo-wop tune about a gal who left him, and the subtle backing vocals are perfect. Lennon finishes off the song with great harmonics.

With Harrison doing so much on the album – bass, songwriting, guitar – I find him to be the unsung hero of Abbey Road. He even helped Ringo write his second Beatles songwriting credit, “Octopus’s Garden.”

And of course, he played that super lead guitar! Lennon actually plays all the nice fingerpicking rhythm guitar. The bass is A+, of course, and I really love all the backing vocals, particularly during the great guitar solo (1:38), when they sound as though they’re under water! It’s a perfect Ringo song, his voice is great, and though the song is often criticized as just a glorified kids’ song, Harrison actually found the lyrics to be quite spiritual.

Perhaps they are. And maybe there’s something spiritual, in a mantra-way, in the minimalist lyrics of Lennon’s “I Want You (She’s So Heavy).”

Much like the way I used to dislike “Within You Without You,” on Sgt. Pepper’s, but found myself growing to love it, this song is now officially one of my favorite Beatles’ songs. There’s so much happening, from an almost jazzy beginning through a slow-building musical fire that’s repeatedly tamped down, to a droning, repetitive, wild outro, it’s a song that simply requires repeated listens. “Fifth Beatle” Billy Preston plays a terrific Hammond organ, and I noted so many times in this song where I went back and re-listened (Paul’s bass, 1:00; Preston, 2:00; harmonies, 2:05; Guitar solo with organ, 2:26; drums everywhere; Guitar 3:37, 4:05, 4:14, 4:19; studio shouting at 4:33) that, really, it would be ridiculous to list them all. Okay, so I just did, but basically I think you should go listen to this song a bunch of times in a row, on headphones. You’ll be happy you did. Listen for the extra hi-hat at 7:16, after which there are two more times through the pattern before the song abruptly cuts out.

More evidence of Harrison’s status as Album Hero on Abbey Road comes in the next song, one of the band’s most popular ever, “Here Comes the Sun.”

First off, that’s a cool video produced for the song last year. From the first notes of Harrison’s acoustic guitar, this song is perfection. Once again, McCartney’s rolling bass provides a great countermelody, and the backing instruments – a whooshing Moog synthesizer, a harmonium, electric guitar – give the song an uplifting sound. The lyrics celebrate, well, being alive, when it gets down right to it. The backing harmonies (by George and Paul – John doesn’t appear at all on the track) are brilliant. Ringo’s drumming is pretty straightforward, even through the 3/4 “it’s all right” sections. Then, from 1:30 to 2:12, during the “sun, sun, sun, here it comes” section,” he goes nuts with some of the coolest tom fills ever. It’s a tremendous song – upbeat, positive, fun to sing along to, interesting musically … I love it.

The rest of the album is unique and wonderful, and – for some people – almost as frustrating as “The White Album.” That album left some folks wondering “what if they’d truly collaborated and then pared the record down to the strongest 15 songs?” The second half of Abbey Road is made up of a medley of songs, and leaves some folks wondering “what if they’d completed all those snippets?” As for me – it’s interesting to think about, but I’m happy with the record as it is. The record builds, and packs an emotional wallop that may not have occurred with 9 more complete songs.

The beautiful “Because” is probably not part of the medley, but it melds so seamlessly with the rest of the songs, I usually think of it as the first bit.

Musicologist Walter Everett, in comparing the song to Beethoven’s “Moonlight Sonata,” notes that both songs “arpeggiate triads and seventh chords in C♯minor in the baritone range of a keyboard instrument at a slow tempo, move through the submediant to ♭II and approach vii dim7/IV via a common tone.” I think you should just listen to the beauty of the song, the voices, the sparse, hippy-ish lyrics, and not worry about all that. Then listen to this mix of vocals-only from the song, George, John and Paul (low register to high), each recorded three times to create 9 voices. Amazing.

Then comes the medley. NOTE: The Beatles(R) are very diligent in removing unofficial content from YouTube, etc. They only allow what they want floating around out there, which means … the version of The Medley that was on the original album, and the 2009 remix, is no longer available on YouTube as a single piece. The only full medley available is the version below, from 2019, when the band (i.e. McCartney) reshuffled things and put “Her Majesty” in between “Mean Mr. Mustard” and “Polythene Pam,” where it had (apparently) originally been before a last-second change (made by McCartney!) before the album release. Also, the arrangements are different, with different vocal tracks, missing orchestral tracks, fewer guitar solos … SO – I’ll have a link to each song, below, but I like to hear the medley as a medley, so I’ll leave this here, too, even though it’s not the way I’ve always heard it. Ugh. Artists. Such prima donnas. (Love you, Paul!!)

Famous for being one of the first rock songs about being screwed by the music industry, “You Never Give Me Your Money” introduces a melody on piano that will return throughout the medley. The song’s various sections are held together by the genius of Ringo. The chiming guitars (1:34) in the “magic feeling” section give me chills every time. I think it’s might be Harrison playing it, and the chiming continues (1:50) when a great guitar solo enters, maybe played by John? Either way, the dueling guitar work is stellar, and when the pair doubles on the solo (along with Paul on bass near the end of the solo, 2:12 – 2:32), with Ringo’s fills, it’s some of the best Beatles stuff on record. Every time I listen, I hear something new. It’s actually a rather sad song, particularly for a Beatles fan, and considering it’s the last album. “Step on the gas and wipe that tear away …”

Next comes “Sun King,” a kind of repeat of “Because,” vocal-wise, with awesome harmonies, this time on nonsense, faux Spanish lyrics. The guitar work of Harrison and Lennon is, once again, really sweet. And Paul plays a slightly distorted bass that sounds cool. And check out Ringo’s bongos! The song transitions quite suddenly with a nice Ringo fill into …

Mean Mr. Mustard.” For all of Lennon’s complaints about Paul’s “granny music,” this composition of his is not too far from that description! Paul plays a fuzz bass and sings harmonies. This song, though short and somewhat insignificant (anyway, it’s my least-favorite part of the medley), really showcases how the voices of John and Paul blend together. It’s about a miser, with a sister named Pam, who turns out to be …

Polythene Pam.” Those three acoustic chords that open the song are so simple and so grand next to McCartney’s swooping bass. Great harmony vocals, as usual, on a song about a particular woman (who seems much different than her brother). It’s one of Ringo’s most creative, terrific drum tracks, and George’s solo (0:49) adds so much, leading to (“Oh, Look out!) …

She Came In Through the Bathroom Window.” Actually, George’s guitar seems to continue right through into this song, with the same tone. He’s hero-George again, and his guitar work is my favorite part of this song. His guitar sound, coupled with the vocals is another place on the album where I always get chills. This is another awesome Ringo performance, too, with classic swingin’ Ringo hi-hat and Ringo-y fills, like 1:20 and 1:26. And don’t sleep on John’s 12-string acoustic, in the left channel! The song was written by Paul after an actual Beatle fan actually climbed into his house through his bathroom window.

The medley has about a 2 second break here, as the powerful “Golden Slumbers” is cued up. It’s one of Paul’s best vocal performances, fluctuating between sweet and powerful with ease on lyrics partially adapted from an old poem. It also has some fine orchestral work (WHICH IS REMOVED FROM THE MEDLEY VERSION, ABOVE!!), arranged by George Martin. His strings never seem overdone, like the ones Phil Spector added to Let It Be, and it’s nice to hear him go out with a bang on Abbey Road, as well.

Carry That Weight” is kind of the second half of “Golden Slumbers.” John was recuperating from a car crash, and doesn’t appear on either song (except vocals in the chorus), but hero George plays 6-string bass on both. It has a nice reprise of “You Never Give Me Your Money,” and some nice electric guitar from George. It transitions quite suddenly into …

The End,” is truly a bittersweet song – the final time the band played together, on the final song of the final album, and titled “The End.” And it really delivers a thrilling demonstration of the 4 lads’ musical abilities. It features (0:20) Ringo’s only recorded drum solo (unless you count those 8 bars in “Birthday,” which nobody does) and dueling guitar solos from the other three. The solos start about 0:54, and rotate, 2 bars each, in order – McCartney, Harrison and Lennon. They sound like they’re having so much fun!! I love listening to the distinctive styles of each, with Paul flashily ranging up and down the neck, George playing tricky bends and rockabilly-ish riffs, and Lennon mostly playing simple licks and dirty chords. When the solos end, about 1:30, and Paul’s piano remains, I once again feel the frisson, leading into the famous couplet from Paul: “And in the end the love you take/ Is equal to the love you make.” (I get a little misty typing it.) Somewhat lost in there is the fact that Harrison and Lennon play cool riffs behind the lyrics, and Ringo’s drums are orchestral and brilliant to close things out.

Perfection. And it wouldn’t be perfection without a little mistake: “Her Majesty.” As discussed above, this song was originally excised from the medley, then was mistakenly added to the end of the master tape, so it made it onto the record. It’s Paul on an acoustic, singing to the queen. And it’s really a song for our time, 2020: at 23 seconds long, it’s the perfect song to sing so I’m sure I wash my hands a sufficient length of time!

So long, boys! Thanks for everything!!

This was a long post – if you made it to the end, bless you. Leave a comment so I can thank you directly. But I love Abbey Road so much, I could have typed three times as many words. Long, long ago, on a playground far, far away, I had no idea it would still resonate with me as a 53 year old.

TRACK LISTING:
“Come Together”
“Something”
“Maxwell’s Silver Hammer”
“Oh! Darling”
“Octopus’s Garden”
“I Want You (She’s So Heavy)”
“Here Comes the Sun”
“Because”
“You Never Give Me Your Money”
“Sun King”
“Mean Mr. Mustard”
“Polythene Pam”
“She Came In Through the Bathroom Window”
“Golden Slumbers”
“Carry That Weight”
“The End”
“Her Majesty”

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9th Favorite Beatles Album: Let It Be

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Let It Be
1970, Apple Records. Producer: Phil Spector.
Purchased CD, Approx. 1992.

IN A NUTSHELL: Let It Be is a collection of fantastic songs, many of them unfamiliar to the casual listener. The songs and performances by the band are wonderful, but the producer overlaid them with orchestras and choirs that very often muffle the music and at times completely obscure the band’s efforts. But there are a number of Lennon-McCartney songs that find the pair harmonizing like the old days, and the entire band performs brilliantly.

NOTE: The setup – below the line ↓ – might be the best part … Or skip right to the album discussion.

~ ~ ~

I’ve written many times about growing up in my little town in Pennsylvania, being raised in a culture that was rather closed and homogenous, where there was an aversion to anything new and different. But there’s an aspect of my 70s rural PA childhood that I don’t think I’ve touched on yet. And that is the expectation, deeply held there among the people, that everyone should just “deal with it.” Whatever “it” may be. The solution is to “deal.”

Did you get the wrong order at a restaurant? “Deal with it.” Did the kid who cheated get a better grade than you? “Deal with it.” Did you get mercilessly teased and beaten because you’re gay or chubby or not white or a woman or bad at sports or too poor for cool clothes or part of a different religion? “Deal with it.”

Of course, one way to deal with a wrong order is to send it back; a good way to deal with cheaters is to let someone know; a way to deal with abusive systemic power structures is to work to change them. But this is NOT what the term “Deal with it” meant. What “Deal with it” meant is “keep your mouth shut and don’t upset anyone.”

(Somehow, though, to many of these steely, set-jaw, denizens of my region, if the “problem” was changing demographics and an influx of Spanish-speaking people, then “deal with it” apparently meant to yell insults and threats, and to urge for English-speaking standards, despite the fact that in generations past in this community nobody spoke English, and everyone spoke Pennsylvania Dutch. But I digress …)

This “deal with it” attitude was a hindrance to my development as a happy human being, and it’s something I continue to work on (with great success, I believe) so as to NOT pass it onto my children. But it can be difficult for me to advocate for myself.

For example, let’s say I helped make an album with a band I was in, and none of us really liked the final product, and there were bad feelings around the recording experience and lots of tension among my bandmates and me, and so everyone just left the record sit on a shelf for months. And let’s say that after a few months some folks went, essentially, behind my back to hire a famous producer to make changes to the album, and that when it was released I thought it sounded horrible and stunk to high-heaven, especially the songs that I’d written, and that I was – frankly – embarrassed by the record, no matter how commercially successful it eventually became. Imagine me in that situation, and I’ll tell you I probably NEVER would have thought to remix the entire thing and re-release it. But that’s what Paul McCartney did with Let It Be.

In 2003, McCartney oversaw the remix and re-release of the 1970 Beatles album Let It Be, my 9th-favorite Beatles album. He called it Let It Be… Naked, a reflection of the stripped-down content of the songs.

Of course it was Dr. Dave who first introduced me to the original Let It Be. Our band, JB and The So-Called Cells, played lots of Beatles songs, and Let It Be has a bunch of songs that are fun to play – several of which are rather obscure to the casual music fan. Most people know “I Wanna Hold Your Hand” and “Hey Jude,” but how many people really know where you can syndicate any boat you row? I dove into the album, and I loved it, and I never really considered how much extra stuff, like choirs and orchestras, had been added.

Now that I’m older, I still think it’s a great album, one of my favorites. But I like Let It Be… Naked so much more. It sounds like it’s a direct expression of the band, whereas the original seems like an interpretation. If I want to listen to the songs on Let It Be, I’ll listen to Let It Be… Naked. I’m rating the original release, because I’m following my rules, and it lands at #9. However, Let It Be… Naked would be higher.

But as I said: Let It Be is great!! It starts out with one of the coolest Lennon-McCartney pieces I know, the acoustic ode to friendship, “Two of Us.”

I like to imagine it’s about Lennon and McCartney’s friendship, but in fact Paul wrote the song and lyrics about his new (at the time) girlfriend, Linda. Paul plays a nifty, simple riff to start each line, then he and John strum acoustic guitars, while Harrison picks out a bass line on an electric guitar. The instrumentation gives the song a folksy, campfire feel that enhances the chummy lyrics, as does the whistling, by John, to end the song. The … Naked version of the song isn’t much different, although it leaves out the funny spoken intro by John.

Next up is a song that is SO MUCH FUN TO PLAY on guitar and bass that it’s hard for me to give an assessment of the sound. All I think about is how much I love to play it! It’s the nonsensical, John Lennon-penned “Dig a Pony,” and it’s a staple of any JB and The So-Called Cells performance.

After an aborted intro (Ringo didn’t have his drumsticks ready and stops things after one note) the entire band plays the waltzing main riff, which is an astounding four bars long, ranges nearly two octaves and sounds unlike any other riff in rock. Lennon’s lyrics are bizarre, but Paul’s harmonies are terrific, and Harrison’s guitar playing is among his best. And let’s not forget – it’s a difficult song to drum, but Ringo, as always, is up to the challenge. The … Naked version removes the false start (one of the few changes on the album that I dislike) and cleans up a couple mistakes. It’s a cool, weird song, and most non-Beatle fans are unfamiliar with it.

Across the Universe” is up next, and as much as I love John Lennon (he’s probably my favorite Beatle), this is a song that’s never done much for me. The lyrics have some nice stuff (“pools of sorrow/waves of joy”), but they’re mostly just self-affirmations. The orchestration is quite over the top, and the … Naked version strips all that away. The next song is full of too much orchestra, as well: Harrison’s “I Me Mine.”

Harrison’s guitar really makes this song, both the electric and the acoustic. I like dual lead guitar at the beginning, over Paul’s organ, and the little squawks he throws in. It’s another waltz, a beat Ringo excels at, until the “I Me Me Mine” chorus, where the band rocks out a bit, and Harrison gets to blaze away on electric. When the orchestra is removed on … Naked, you can really hear Ringo’s terrific drumming as the pre-chorus builds (1:12 – 1:20). The orchestra also obscures Harrison’s guitar work from 1:48 – 2:03. “I Me Mine” is a song I like on Let It Be, but that I LOVE on Let It Be… Naked.

The latter album also removes “Dig It,” one of 2 songs ever credited to Lennon, McCartney, Harrison, Starkey, the other being “Flying,” from Magical Mystery Tour. It’s a 50-second goofball song with nonsense lyrics, the kind of song I find interesting because I love the Beatles, but about which I expect most people scratch their heads. However, it does lead into one of the greats, “Let It Be.”

There’s not much to be written about a song as well-known and popular as this song. I like Billy Preston’s organ throughout, and I really like Harrison’s solo, about 1:58, and all his subsequent electric guitar riffs he plays. Also not to be overlooked are Paul’s bass guitar, starting at 1:06, and Ringo’s drums, which were augmented on the original release by Spector, but are clearer on … Naked. The lyrics are inspirational to many, and it’s one of the band’s most popular songs. I think it’s a great song, certainly better than “Maggie Mae,” 40 seconds of an old Liverpudlian street song the band recorded in jest, that was left off … Naked. And certainly not nearly as good as one of my favorite all-time songs, “I’ve Got a Feeling.”

As with “Two of Us,” I love this song partly because it supports my idealized version of the Lennon-McCartney partnership, in which they’re lifelong pals and companions, a songwriting sum that is greater than its parts, driving each other to produce the best possible songs. This version of the pair was probably finished by 1966, but “I’ve Got a Feeling” rejuvenates the idea. It’s actually two different song parts contributed by both and they fit together perfectly, not unlike “A Day in the Life.” So much is happening that it takes multiple listens to truly appreciate. Paul starts off with the main melody, supported by Harrison’s mighty guitar. After his “Oh no,” at 0:29, when the band kicks in, the feeling and sound are heavenly. I love Harrison’s ascending guitar run throughout (example at 0:33), and Lennon’s harmonies on the second verse. Paul and Ringo are locked in, and at 1:15, when Paul really lets lose, the intensity is bumped up a notch, ending with Harrison’s terrific 2-bar wail, at 1:27, which lets the air out.

Next is Lennon’s half, and it’s the perfect complement to Paul’s. The song has a terrific ending. It’s a perfect Lennon/McCartney song, and even … Naked couldn’t improve it much. The band follows it up with another gem the pair wrote together, one of the first songs they’d ever written, but one that hadn’t been previously released. It’s the 50’s Rock and Roll of “One After 909.”

The band actually recorded it in 1963, but didn’t release it, and the Let It Be version is much better than the original. It’s a fun number with Lennon on lead vocals and McCartney on harmony singing about arriving at the wrong track to pick up a girlfriend. Billy Preston, the “fifth Beatle,” who George tried to bring into the band to ease tensions in 1969, plays a great electric piano, and Harrison does his amazing guitar work throughout. The song was, as heard on Let It Be, recorded live during the band’s famous “rooftop concert” in 1969 (as were “I’ve Got a Feeling” and “Dig a Pony.”) The … Naked version is simply remixed from the original.

The songs recorded on the rooftop show what the band was capable as a live act, even after 3 years away from touring. “The Long and Winding Road” shows what too much orchestration and choral accompaniment can do to a decent song. The … Naked version shows it’s not a bad song, a little lyrically schmaltzy, perhaps, but breakups can elicit the schmaltz, so that’s okay. But nowadays I find the original Let It Be version almost unlistenable.

For You Blue” is a bluesy love song from George that the band jams on, with Lennon on lap steel guitar and Paul on the piano. The band is clearly having fun, trading solos, including a cool, simple, descending scale on piano, by Paul. The … Naked version isn’t much different. The album ends on the cool-rockin’, slow-burning groove of “Get Back,” a song that’s been played a lot but that never sounds old.

The band once again sounds like they’re having fun, with McCartney and Lennon harmonizing on lyrics about traveling. The lead guitar throughout really carries things, and it’s actually played by Lennon this time, relegating Harrison to rhythm guitar. His solo at 1:00 is pure fun. Billy Preston plays an electric piano solo next, at 1:33, then around 2:20 Lennon repeats his solo. It’s a fun song, which includes band banter throughout. The … Naked version leaves off the banter.

One other item about Let It Be … Naked: it includes “Don’t Let Me Down,” a song that should have been on the original album. The Beatles played it on the rooftop, and I think it’s one of their best songs ever. It was released as the B-side to the “Get Back” single. McCartney’s bass is great, Harrison’s guitar is great, Starr’s drums are great, Lennon’s vocals are great … I guess what I’m saying is “The Beatles are great!!” Their music stands out, even when it’s partially obscured by extraneous orchestral and choral arrangements. But I’m glad Paul showed an example of how to “deal with” a situation: he made a change!

TRACK LISTING:
“Two Of Us”
“Dig a Pony”
“Across the Universe”
“I Me Mine”
“Dig It”
“Let It Be”
“Maggie Mae”
“I’ve Got a Feeling”
“One After 909”
“The Long and Winding Road”
“For You Blue”
“Get Back”

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