Abbey Road Anniversary Deluxe

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Track Listings

Disc: 1

1	Come Together
2	Something
3	Maxwell's Silver Hammer
4	Oh! Darling
5	Octopus's Garden
6	I Want You (She's So Heavy)
7	Here Comes The Sun
8	Because
9	You Never Give Me Your Money
10	Sun King
11	Mean Mr Mustard
12	Polythene Pam
13	She Came In Through The Bathroom Window
14	Golden Slumbers
15	Carry That Weight
16	The End
17	Her Majesty

Disc: 2

1	Come Together (Take 5)
2	Something (Studio Demo)
3	Maxwell's Silver Hammer (Take 12)
4	Oh! Darling (Take 4)
5	Octopus's Garden (Take 9)
6	I Want You (She's So Heavy) (Trident Recording Session & Reduction Mix)
7	Here Comes The Sun (Take 9)
8	Because (Take 1 Instrumental)
9	You Never Give Me Your Money (Take 36)
10	Sun King (Take 20)
11	Mean Mr Mustard (Take 20)
12	Polythene Pam (Take 27)
13	She Came In Through The Bathroom Window (Take 27)
14	Golden Slumbers/Carry That Weight (Takes 1-3 / Medley)
15	The End (Take 3)
16	Her Majesty (Takes 1-3)

Editorial Reviews

The Deluxe 2CD set pairs the new stereo mix, sourced directly from the original eight-track session tapes with versions taken from the session takes and demo recordings of its 17 songs, sequenced to match the album's running order. The two discs are presented in a digipak with a 40-page booklet.

Product details

Product Dimensions ‏ : ‎ 5.59 x 5 x 0.31 inches; 4.37 Ounces
Manufacturer ‏ : ‎ Capitol
Item model number ‏ : ‎ 602577915079
Original Release Date ‏ : ‎ 2019
Date First Available ‏ : ‎ August 7, 2019
Label ‏ : ‎ Capitol
ASIN ‏ : ‎ B07VLMMG2F
Number of discs ‏ : ‎ 2

Best Sellers Rank: #2,391 in CDs & Vinyl (See Top 100 in CDs & Vinyl)
- #138 in Classic Rock (CDs & Vinyl)
- #1,032 in Rock (CDs & Vinyl)

Customer Reviews:
4.8 16,777 ratings

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AB

"Last Chance to Be Loud!" (for the Beatles) and to Add an Orchestra (for George Martin)

Reviewed in the United States on September 29, 2019

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"Abbey Road" has long been known as the project in which The Beatles set aside their differences and intentionally went about making one last strong album in the interest of healing and ending their tenure on a positive note. As the liner notes suggest, however, this assumption may have been too simplistic to be true. While such characterizations make sense in hindsight, the reality is that no one at the time knew exactly what the future would hold. Instead, this release drives home the original intent behind the album: to humble themselves and resume working with George Martin and let him "produce an album like [he] used to" (as Paul requested) because they knew after two attempts that they couldn\'t successfully do it on their own (any more than they could run a business like Apple). The result was the orchestral-rock synthesis that Martin had hoped for the White Album to be but that quickly evolved into something far different. Thus, "Abbey Road" may be better understood as the Beatles' effort to make amends with their mentor--and, in so doing, they also became able to accept the individuality that grown into (and that George Martin arguably had helped draw out of each of them during the previous seven years).

With two strong 50th anniversary editions issued during the last two years, I have been looking forward to and feeling hopeful for this set. Having read reviews weeks before its release, though, I also went in with a realistic awareness that it may not be quite as robust. In the end, overall, it has not let me down--though, as noted by some other reviewers, it is indeed incomplete and there are a couple of notable flaws.

PROS

In the liner notes, Giles Martin acknowledges that "Abbey Road" already had a solid sound and that, compared to the previous 50th anniversary editions, there was only so much more he could add with this remix. Nonetheless, his venture back to the original 8-track tapes indeed draws out and accentuates some depth, dimensional nuances, and definition in the voices and instruments (especially Ringo's drums, the pianos and Moog synth, and Martin's orchestra) that simply were not available with '69-era technology. In many places, this opens up room for the individual parts to breathe within the context of the greater whole. And though there are relatively few hidden parts and phrases brought to the foreground a la "White Album" remix, there are a few surprises, such as previously-muted organ on "Something" and rhythm guitar work on "You Never Give Me Your Money." Plus, the stereo panning of the round robin guitar soloing on "The End" is a nice touch--sonically portraying the individual personalities of Paul, George, and John as they each uniquely respond to the calling of Ringo's gumptious drumming.

The "Sessions" discs offer a nice glimpse into the generally lighthearted atmosphere of The Beatles working together during spring and summer '69--a far cry from the tension of the "Get Back" sessions that January. Though I could always go for more (see below), and though there is no mention of Marmite (like there was on the White Album "Sessions" discs), there is a reasonable smattering of chatter (and a better chatter-to-music ratio compared to the "Sessions" discs on the previous anniversary releases). Both Paul and John offer playful variations on the lyrics between takes of "Come Together," "You Never Give Me Your 'Coffee,'" and "Mean Mr. Mustard." Before launching into "Sun King," John focuses the group's attention by pointing out that their milling around will not keep the Apple staff fed for another decade. Before "Polythene Pam," he compares the Beatles' sound on that tune to the Dave Clark Five and the Who and then growls the count-off. And before "I Want You," Glyn Johns tactfully asks John to turn down the amps because there has been a noise complaint, to which Lennon retorts, "What are they doing here at this time of night?" before he compromises and motivates the band, "Last chance to be loud!"

Further, the rough mix of the Side 2 medley is essential. It not only offers the inclusion of "Her Majesty" but also introduces several parts that were deleted from the final mix (e.g., harmony vocals on "You Never Give Me Your Money"; an organ segue into "Sun King" that was replaced by field recordings of crickets; Lennon's Scouse monologue at the end of "Polythene Pam"). Also, with some tracks ("Golden Slumbers" through "The End") not yet having key overdubs added, we are able to hear the raw power of the basic tracks and subtleties in the lead vocals.

While Giles Martin has rightfully pointed out that the songs were fairly well-formulated and rehearsed before the Beatles entered the studio, the outtakes nonetheless reveal the organic process by which the songs took shape. For example, Ringo required several runs through the chorus of "Here Comes the Sun" to master his 4/4 counterpart to the Indian-flavored timing (recall his account in the "Living in the Material World" documentary) while George patiently repeated that section several times. Also, we hear that the phrasing of Ringo's drum solo on "The End" and of John's fingerpicked guitar line on "Sun King" required some practice to work up to the final takes.

A facet of the "Sessions" discs that I did not anticipate I would enjoy as much but which have landed in somewhat frequent rotation is the isolated orchestra overdubs from "Something" and "Golden Slumbers" and the instrumental run through "Because" (with Ringo's steady handclapping serving as a click track). Like some of the instrumental-only tracks on the White Album "Sessions" discs, these tracks clearly demonstrate the Beatles' aptitude as composers--beyond just songwriters--and the degree to which their music was conducive to the sensitivity of George Martin's classically-tinged embellishments.

The book offers a sizable stack of previously-unseen Linda McCartney photos from the sessions. Though some may not show the band at their most photogenic, they most certainly match the lighthearted atmosphere conveyed on the "Sessions" discs. Moreover, both Paul's introductory remarks and the liner notes (one of the highlights of the set) offer considerably more detail about the development of the album and its individual songs compared to the previous anniversary editions. For just one example, George's remarks about the Liverpool influence in "Mean Mr. Mustard" and "Polythene Pam" bring home the point that those songs really told stories on their own and were not merely unfinished ditties used to fill up space on the album. Accordingly, they arguably serve as the next logical step in John Lennon's ever-deepening exploration of childhood memories that had begun with "In My Life" and "Strawberry Fields Forever" less than five years earlier and that culminated in the "Plastic Ono Band" album a year later.

CONS

The three greatest cons are (a) Giles' botched remix of "Come Together" and the uneven bass across parts of the album, (b) the construction of the packaging, and (c) the incompleteness of the "Sessions" discs.

I can\'t help thinking (or at least hoping) that this specific remix of "Come Together" was an early run, that another, better one was made later, that the two files became confused for one another, and that this one was simply released by mistake. First, the layers of guitars during the opening verses are smooshed together and muffled behind the overpowering bass. Second, the volume swell guitar shortly after 3:00 fades in too late each time it appears, which distractingly alters the phrasing. Third, Lennon's "Ahhhhhwwwwwwllllll" that begins just before 4:00, while not removed altogether, is barely audible and probably would go unnoticed if one didn\'t know to listen for it. (Sorry, Giles, while I appreciate and applaud your efforts overall, these were NOT good editorial decisions if they were indeed intentional.)

Also, Paul's bass feels a bit uneven across the album. In some places, it is overpowering and drowns out the subtleties of the guitar playing (in addition to "Come Together," John's chugga-chugga 12-string rhythm on "Polythene Pam" and "Bathroom Window") while on other songs it is too weak (e.g., "The End," "Maxwell's Silver Hammer"). For me, between the '09 remaster and the '19 remix, while the remix may offer greater depth, dimension, and definition (as noted above), the remaster of the original mix offers more dynamic balance across the sonic spectrum.

Next, as with the "White Album" set, at $60 more than the digital download, I would have expected a bit more from the hard copy set (and its construction makes that of the "White Album" set now seem a lot more appealing). While the content itself is excellent (as noted above), the layout of the book strikes me as an effort to stretch +/-65 pages of material to 100 by blowing up photos (sometimes to the point of making them pixelated), enlarging the font size, and including extraneous content (e.g., do we really need a 2-page spread that replicates the track listing on the back of the slipcover?). Further, the slipcover, though seemingly sturdier than the previous anniversary releases, dents easily with handling; the spine of the hardcover book feels flimsy and the pages inside are thin and nick easily when turned; and the book does not easily slide back into the slipcover without needing to squeeze the two cover panels together.

Moreover, does anyone know how to access the digital download without a subscription to Amazon Unlimited?

Further, with some notable exceptions, several of the "Sessions" tracks strike me as "one time listens" (e.g., false starts of "Octopus' Garden" and "Her Majesty" and a demo of Paul's syrupy "Goodbye" that has long been available on bootlegs/YouTube), and some are repeated from the "Anthology 3" ("Come and Get It" and "Something"--though the latter does reinstate a piano part that had been edited out of the initial release). Meanwhile, MUCH more should have been added. See Deriso's article (on Ultimate Classic Rock, August '19) for a description of key tracks that did not make the cut but which easily could have been worked into the two discs (which currently hold less than 45 minutes each). Plus, the old "Postcard Tape" bootleg included a complete version of the master take of "You Never Give Me Your Money" with a rather zany rockabilly jam at the end, and YouTube offers some "Abbey Road" chatter including John playfully chastising the band ("Stop it, you disgusting middle-aged squares!") between takes of "Come Together." And what of the run through "I Want You" with Paul singing, or the other takes included in the composite master take of that song? While I don\'t expect to hear every single take, it would have been nice to hear the honing of the songs over time a la the "Sgt. Pepper" set or Dylan's "Cutting Edge" set.

CONCLUSION

All in all, though this set is not quite as robust as its predecessor anniversary editions, the remix is generally rich, the "Sessions" discs include several gems, and the book content is by far the best to date. Accordingly, this set should not be passed over. I just wish it offered more for the price of admission. My hope is that this is a blip on the anniversary set radar and that "Revolver" and "Rubber Soul" will eventually receive the same remix-and-making-of treatment and potentially revive the relative comprehensiveness of the "Sgt. Pepper" and "White Album" anniversary sets.

45 people found this helpful

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Bonita Z Rose

I love this album!

Reviewed in the United States on November 12, 2023

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I had always wanted to own this particular Beatles album. I am so glad it\'s in CD format, and the music is as fantastic as ever! I recommend this for all Beatles fans, young and old (like me)!

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Rocky Raccoon

The Beatles "Come Together" for One Last Triumph

Reviewed in the United States on September 19, 2006

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'Abbey Road' is actually the last album the Beatles recorded together. It is a triumph and a fine way to end their time together as history's most celebrated rock band. They agreed to do two "sides"--as was conventional before C.D.'s--each one uniform. Side one is rock and roll unadulterated. Side two is a pop symphony that is carefully melded together with several segues, making the songs melt into one another. It is correctly considered one of their great works, but the polish makes it different than their previous work 'The White Album'.

As usual the individual tastes are apparent. John has some heavy-duty rock songs with an almost caveman sexuality. "Come Together" is shivery in pattern with vocals that are processed for a primitive effect. Purposely, Lennon sings like he just learned English. It is still intriguing if he relates to "old flat-top" or if he's mocking him. Maybe, both. John gets to end and begin his rock side, so "I Want You (She's So Heavy)" presents sexuality with synthesizers and guitars that bring a mammoth presence to his topic. In the mix is Paul's fifties' shake shop ballad "Oh, Darling!" complete with a substantial refrain that gives some heft to the song. "Maxwell's Silver Hammer" continues Paul's love for fun novelty songs. This story isn\'t as clever as "Rocky Raccoon," but it\'s as easily as funny. He makes his creepy character seem cutely normal. And, on 'Abbey Road,' this is the beginning of many. Ringo turns in one of his best moments with his own composition "Octopus's Garden". Having sufficient accompaniment, he sings a narration of an underwater paradise that should be considered more than an elaboration of "Yellow Submarine". The country-accented music and the fifties' feel refrain make it a substantial contribution. Then, if George always seemed in the shadow of John and Paul, on 'Abbey Road' he comes up with two songs that not only match, but surpass, his comrades' work. Frank Sinatra called 'Something' "the best love song of the last fifty years." George caressed the melody and provided enough of his own accompaniment to shoot this great ballad to one of the top six all-time Beatles' bestsellers.

Side two is not an anti-climax. Appropriately, George continues his roll with the intricate and beautiful "Here Comes the Sun". Eloquent in word and expert in guitar interplay, "Here Comes the Sun" has to be one of the five best Beatles' songs ever. It\'s a majestic beginning to a magnificent side. "Because" which follows is a soaring piece of music. Sort of a hippie exhaltation of nature, "Because" may contain their best harmony performance of any song. Next, we start off tenderly with Paul's "You Never Give Me Your Money," a song that gets funky and faster and laments the financial headaches the Beatles had with their songwriting contracts. "Sun King," which follows seems to add to the langorous grandeur of "Because," but from here we get the long stretch. "Sun King" melts into "Mean Mr. Mustard" and provides one of many weirdos. This one seems unnaturally tight with money. "Polythene Pam" provides great bouncey music for someone who can only be considered androgenous . Then, "She Came Through the Bathroom Window" is Paul's fanciful take on a wayward woman who seems to take over. Once the listeners catch their breath, Paul provides a fine lullaby "Golden Slumbers," sung passionately enough in the refrain to prevent it from becoming ordinary. Lastly, "Carry That Weight" is a chiding admonition for someone. Maybe it is to say we are all overly burdened. Then, we get a reprise to "You Never Give Me Your Money" and "The End" which is wild and funky--some compare it to The James' Gang.

"And, in the end/The love you take/ Is equal to the love you make." Always remaining irreverent until "The End," the Beatles hang together musically for what has to be the bottom line of their music. It is hard to imagine that they didn\'t know that 'Abbey Road' would be their last recording together. If they didn\'t, they sure found the best way to send us off. Perhaps it may seem extraneous, but if we didn\'t know they weren\'t being serious, Paul adds "Her Majesty," a playful piece of nonsense as an afterthought.

(Both sides end abruptly, just to let us know not to take them too seriously. For Beatle hounds, their last magnum opus provided the groups' greatest rumor. Paul was dead. He was gone for three years and mysteriously replaced by a double who sprouted a moustache for a disguise, but still retained a voice that matched his deceased predecessor, even though he was able to add some new depth to the group's lyrics. It was the best kept secret in show business, but The Beatles wanted to be discreet, yet fair to their audience. So they sprinkled clues on every album starting with 'Sgt. Pepper' in case their secret was discovered. They could then save face with an explanation that they always meant to tell us, and they always provided a treasure hunt of clues to help their fans find out the truth. Malcolm Smith (bka Paul McCartney) is living well somewhere in England and recently published 'Chaos and Creation in the Backyard' under his assumed name...)

19 people found this helpful

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timothy moule

Best Album Ever1

Reviewed in the United States on October 25, 2023

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16 songs 14 of them are Great the other 2 are great I think it is The Greatest Album of All Time !

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TNVFL1973

Review of Abbey Road CD

Reviewed in the United States on November 2, 2023

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I always like the Beatles

Reviewed in the United States on October 28, 2023

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Great album from the greatest band ever.

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Amazon カスタマー

リマスターとドキュメントDVD入り

Reviewed in Japan on November 16, 2023

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最初、ジャケットの中からCDを聴こうと
パソコンに入れたらドキュメントDVDが
始まり（？）となりジャケットを良く探したらCDがあり安心しました♪
音も良く得した気分でした。

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Stan

Classic Album

Reviewed in the United Kingdom on November 13, 2023

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I thought the remastered discs were a great improvement Really enjoyed the package

Sanavio jean

CD musique

Reviewed in France on October 20, 2023

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Très bon CD

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エンゾ

実は初購入のビートルズ

Reviewed in Japan on October 12, 2023

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今まで世間の高評価に対して同時期に活躍していたツェッペリンの方が好きなので全く購入していなかったんですが、1曲目以外は全く知らず他の曲も今は微妙です。音楽の趣味は個人個人違うものを実感ですね〜ビートルズの名盤で1番なので購入です。これから聴き込んでみます。

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Unknown

Enjoyed

Reviewed in the United Kingdom on October 22, 2023

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Brought for partner for birthday. They enjoyed it.

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