1969: Abbey Road


(Apple/September 26, 1969) PCS 7088 (stereo)

Produced by George Martin All songs composed by John Lennon and Paul McCartney, unless otherwise noted.

Side 1:

Come Together 
Something (George Harrison) 
Maxwell's Silver Hammer 
Oh! Darling 
Octopus's Garden (Richard Starkey) 
I Want You (She's So Heavy) 

Side 2:

Here Comes The Sun (George Harrison) 
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 

Her Majesty is typically not mentioned on the LP sleeve.
Abbey Road didn't get the honour of being the Beatles final LP,even though it was the last one to be recorded. In 1970 some recordings from January 1969 were dusted off and released as "Let It Be" to accompany the documentary motion picture "Let It Be".
Abbey Road did not have any writing on the front sleeve, so the four Beatles were selling this record on the basis of their familiar faces.

Abbey Road was the first of the Beatles'EMI LP's to be released as a compact disc (CD) in 1984, but only in Japan. The japanese CD was later withdrawn due to complaints from Apple, who had not authorized the CD-release. It finally appeared on CD again in 1987, this time in better quality and with Apple's approval..

The front cover of this record has been copied and parodied several times by other artists. To see more pictures from the photo session of the album cover, click here.

Come Together

"Come Together" was written mainly by John Lennon; Paul McCartney slowed it down and wrote the bass-riff, among other things. This song was the lead-off track on The Beatles' September 1969 album Abbey Road. One month later it also appeared as one of the sides of the group's twenty-first single (it was a double A-side, the other side being George Harrison's "Something") in the UK, their twenty-sixth in the USA.

Here come ol' flat-top, he come groovin' up slowly
He got juju eyeball, he one holy rollah...

The song's history began with Lennon writing a song for Timothy Leary's failed gubernatorial campaign in California against Ronald Reagan, one which promptly ended when Leary was arrested for possession of marijuana. It was transformed by Lennon into a track with digs at McCartney and Harrison interspersed alongside tales of his Bagism movement with wife Yoko Ono. It was the subject of a lawsuit brought against Lennon by Chuck Berry's music publisher, Morris Levy, due to the fact that one line in "Come Together" closely resembled a line of Berry's You Can't Catch Me: (i.e. The Beatles' "Here come ol' flattop, he come groovin' up slowly" vs. Berry's "Here come up flattop, he was groovin' up with me"). After settling out of court, Lennon promised to record other songs owned by Levy, all of which were released on Lennon's 1975 album Rock 'n' Roll.

Lennon played rhythm guitar and tambourine in addition to singing the vocal (first and second voice; it was claimed that Lennon was so high when singing he had to lie down). McCartney played bass and the electric piano (estimated as "southern" by John), Harrison lead guitar, and Ringo Starr drums and maracas. It was produced by George Martin and recorded at the end of July 1969 at Abbey Road Studios.

JOHN 1969: "'Come Together' changed at the session. We said, 'Let's slow it down. Let's do this to it, let's do that to it,' and it ends up however it comes out. I just said, 'Look, I've got no arrangement for you, but you know how I want it.' I think that's partly because we've played together a long time. So I said, 'Give me something funky and set up a beat, maybe.' And they all just joined in."

PAUL 1969: "On the new album I like 'Come Together,' which is a great one of John's."

JOHN 1980: "'Come Together' is me-- writing obscurely around an old Chuck Berry thing. I left the line 'Here comes old flat-top.' It is nothing like the Chuck Berry song, but they took me to court because I admitted the influence once years ago. I could have changed it to 'Here comes old iron face,' but the song remains independent of Chuck Berry or anybody else on earth. The thing was created in the studio. It's gobbledygook-- 'Come Together' was an expression that Tim Leary had come up with for his attempt at being president or whatever he wanted to be, and he asked me to write a campaign song. I tried and I tried, but I couldn't come up with one. But I came up with this, 'Come Together,' which would've been no good to him-- you couldn't have a campaign song like that, right? Leary attacked me years later, saying I ripped him off. I didn't rip him off. It's just that it turned into 'Come Together.' What am I going to do, give it to him? It was a funky record-- it's one of my favorite Beatle tracks, or, one of my favorite Lennon tracks, let's say that. It's funky, it's bluesy, and I'm singing it pretty well. I like the sound of the record. You can dance to it. I'll buy it!" (laughs)


"Something", according to most sources, came about as a tribute to Harrison's then wife, Pattie Boyd. Harrison lifted the first line of his song from James Taylor's "Something in the Way She Moves" (made popular by Tom Rush's 1968 recording) and used it to write a working lyric ("Something in the way she moves / Attracts me like a pomegranate", in the vein of "Scrambled Eggs," the original lyrics to "Yesterday"). Later in 1969, Harrison offered his story of how he composed it, but oddly didn't make any reference to the numerous anecdotes about "Something":

I wrote the song "Something" for the album before this one, but I never finished it off until just recently. I usually get the first few lines of words and music together, both at once... and then finish the rest of the melody. Then I have to write the words. It's like another song I wrote when we were in India. I wrote the whole first verse and just said everything I wanted to say, and so now I need to write a couple more verses. I find that much more difficult. But John gave me a handy tip. He said, 'Once you start to write a song, try to finish it straight away while you're still in the same mood.' Sometimes you go back to it and you're in a whole different state of mind. So now, I do try to finish them straight away.

It later transpired that Harrison didn't actually have Boyd in mind. In his words: "Everybody presumed I wrote ['Something'] about Patti, but actually when I wrote it I was thinking of Ray Charles."

The original version, at eight minutes, was even longer than "Hey Jude," featuring Lennon on the piano at the end, with a counter-melody in the middle. These were cut out, the piano part going to a Lennon song, "Remember," and the counter-melody finally appearing on The Beatles Anthology 3.

"Something" was nearly polished by the release of the Beatles' self-titled The Beatles album, as it had been recorded, but eventually dropped for the album's release. Harrison explained it in 1980:

"Something" was written on the piano while we were making the White Album. I had a break while Paul was doing some overdubbing so I went into an empty studio and began to write. That's really all there is to it, except the middle took some time to sort out. It didn't go on the White Album because we'd already finished all the tracks.

The song was later tried as part of the "Get Back" project which eventually became Let It Be, but again failed to make the final cut. Eventually Harrison succeeded in forcing the song's way into a final release, officially recording it for Abbey Road on his 26th birthday. Harrison played lead guitar, accompanied by McCartney on bass and Ringo Starr on drums. Billy Preston, one of the few non-Beatles to have performed with them on a final release, joined them on the organ. George Martin subsequently edited in a string arrangement to the original recording. Harrison later complained about McCartney's 'fussy' bass playing on the track, saying he'd "rather have Willie Weeks playing bass for me than Paul McCartney".

The song runs at a speed of about sixty-six beats per minute and is in common time throughout. The melody begins in the key of C Major. It continues in this key throughout the intro and the first two verses, until the bridge, which is in the key of A Major. After the bridge, the melody returns to C Major for the guitar solo, the third verse, and the outro.

JOHN 1969: "I think that's about the best track on the album, actually."

PAUL 1969: "I like George's song 'Something.' For me I think it's the best he's written."

Maxwell's Silver Hammer

Paul McCartney singing the lead, and is included on their album Abbey Road. It was written by Paul McCartney, though the songwriting credit is Lennon-McCartney. Beatle George Harrison described it in 1969 as "one of those instant whistle-along tunes which some people hate, and other people really like. It's a fun song, but it's kind of a drag because Maxwell keeps on killing everyone like his girlfriend then the school teacher, and then, finally, the judge."

The vaudevillian-style song is about medical student Maxwell Edison, who uses his silver hammer to murder his girlfriend, then his teacher, and finally a judge. According to McCartney, it epitomizes the downfalls of life. He said in 1994:

"Maxwell's Silver Hammer" is 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't know why it was silver, it just sounded better than Maxwell's hammer. It was needed for scanning. We still use that expression now when something unexpected happens.

The song took three days of overdubbing because McCartney imagined that it could be a future single. John Lennon later recalled, "he did everything to make it into a single, and it never was and it never could have been." According to Lennon, the band spent more money on that song than any other on Abbey Road.

McCartney referred to the song when talking about his 2005 album Chaos and Creation in the Backyard:

"In the past I may have written tongue-in-cheek, like `Maxwell's Silver Hammer,' and dealt with matters of fate in a kind of comical, parody manner. It just so happens in this batch of songs I would look at these subjects and thought it was good for writing. If it's good enough to take to your psychiatrist, it's good enough to make a song of."

Oh! Darling

Its working title was "I'll Never Do You No Harm".

Paul McCartney later said of recording the track, 'When we were recording 'Oh! Darling' I came into the studios early every day for a week to sing it by myself because at first my voice was too clear. I wanted it to sound as though I'd been performing it on stage all week.' In order to make sure he got every precious first take right, McCartney would practice the song in the bathtub.

PAUL circa-1994: "I mainly remember wanting to get the vocal right, wanting to get it good, and I ended up trying each morning as I came into the recording session. I tried it with a hand mike, and I tried it with a standing mike, I tried it every which way, and finally got the vocal I was reasonably happy with. It's a bit of a belter and if it comes off lukewarm then you've missed the whole point. It was unusual for me-- I would normally try all the goes at a vocal in one day."

John Lennon's later quote about this song: 'I always thought I could have done it better - it was more my style than his. He wrote it, so what the hell, he's going to sing it.' Lennon can be heard singing background vocals on the version of the song on The Beatles Anthology 3.

Octopus's Garden

"Octopus's Garden" is a song written by Ringo Starr with some help from George Harrison, although it is credited solely to Starr. It is featured on the Beatles' 1969 album Abbey Road.

The idea for the song came about when Ringo was on a boating trip with his family in Sardinia in 1968. The boat's captain offered him an octopus lunch, but he turned it down. It was then that the captain began to tell him everything he knew about octopuses, and how they travel along the sea bed looking for shiny objects and stones with which to build gardens. Ringo once said that hearing about octopuses spending their days collecting shiny objects at the bottom of the sea was one of the happiest things he'd heard of. Wanting to write a song on it, Ringo decided to write this song.

It is sometimes seen as being a song for children, like "Yellow Submarine" or "Rocky Raccoon," though the latter is also seen as a profound piece on redemption.

GEORGE 1969: "'Octopus's Garden' is Ringo's song. It's only the second song Ringo has ever written, mind you, and it's lovely. Ringo gets bored with just playing drums all the time, so at home he sometimes plays a bit of piano, but unfortunately he only knows about three chords. He knows about the same on guitar too. This song gets very deep into your consciousness, though because it's so peaceful. I suppose Ringo is writing cosmic songs these days without even realizing it."

I Want You (She's So Heavy)

The song is an unusual Beatles composition for a variety of reasons, namely its length (7:47), its disproportionately small number of lyrics (there are only fourteen different words in the song), its three-minute descension through the same repeated guitar chords, its gravitation towards the genre of heavy rock and roll, and for its instantaneous and unanticipated end. It is also one of the last songs that the Beatles ever recorded as a group, on August 20, 1969.

GEORGE 1969: "It is very heavy. John plays lead guitar and sings, and it's basically just an old blues riff he's doing, but again, it's a very original John-type song as well... It's a very good chord sequence he used on this particular one."

JOHN 1969: "We used a Moog synthesizer on the end. That machine can do all sounds and all ranges of sound."

JOHN 1971: "Simplicity is evident in 'She So Heavy.' In fact a reviewer wrote: 'He seems to have lost his talent for lyrics, it's so simple and boring.' When it gets down to it-- when you're drowning, you don't say 'I would be incredibly pleased if someone would have the foresight to notice me drowning and come and help me,' you just scream."

JOHN 1980: "That's me, about Yoko."

Here Comes The Sun

The song, Harrison's most well-known Beatles contribution alongside "Something", had its genesis with a songwriting collaboration between Harrison and close friend Eric Clapton called "Badge", recorded by Clapton's group Cream. It was the song's bridge that formed the basis for "Sun", the final version of which was written in Clapton's garden as Harrison was avoiding Apple Records meetings. 1969 was a difficult year for George: he was arrested for cannabis possession (his wife Pattie Boyd actually had been set up), he had his tonsils out, and he had temporarily quit the band. The song was written while Harrison was happily away from all of these troubles.

GEORGE 1980: "...written at a time when Apple was getting like school, where we had to go and be businessmen-- all this signing accounts, and 'sign this' and 'sign that.' Anyway, it seems as if winter in England goes on forever; by the time spring comes you really deserve it. So one day I decided, 'I'm going to sag-off Apple,' and I went over to Eric Clapton's house. I was walking in his garden. The relief of not having to go and see all those dopey accountants was wonderful. And I was walking around the garden with one of Eric's acoustic guitars, and wrote 'Here Comes The Sun.'"

John Lennon was absent during the recording of the song, due to a traffic incident in Scotland. Harrison sang lead vocals and backing vocals, and played acoustic guitar, harmonium, synthesiser, and handclaps. Paul McCartney sang backing vocals, and played bass guitar and handclaps. Ringo Starr played drums, handclaps. Unknown musicians played violas, cellos, double bass, piccolos, flutes, alto flutes, and clarinets.

The "Badge" bridge/guitar riff would return in two later Abbey Road album tracks, "You Never Give Me Your Money" and "Carry That Weight".


Urban legend has it that this song is actually "Moonlight Sonata" by Ludwig van Beethoven played backwards. While this is not precisely true, "Moonlight Sonata" certainly served as an inspiration for the song. "I was lying on the sofa in our house," said Lennon, "listening to Yoko play Beethoven's 'Moonlight Sonata' on the piano. Suddenly, I said, 'Can you play those chords backward?' She did, and I wrote 'Because' around them. The song sounds like 'Moonlight Sonata,' too."

One cover version of the song was recorded by Alice Cooper and the Bee Gees for the movie version of the Sgt. Pepper's Lonely Hearts Club Band album; another by indie singer-songwriter Elliott Smith was used in the closing credits of the film American Beauty. Negativland also edited samples of the song's backing vocals on their No Business album for the cuts "Old Is New" and "New Is Old," in which they are made to repeatedly intone the tracks' titles, seemingly indicating the band's stance on sampling.

The song was one of the few Beatles songs to include an analog synthesizer arrangement (although analog keyboards such as the Mellotron had been used often by the Beatles, few songs featured the use of a traditional analog synthesizer with voltage-controlled oscillators).

The song has many puns in it; for example, "Because the sky is blue, it makes me cry."

PAUL 1969: "I like John's 'Because' on the second side. To say, 'Because the world is round it turns me on' is great. And 'Because the wind is high it blows my mind'"

GEORGE 1969: "I think my favorite one on the album is 'Because.' The lyrics are uncomplicated... but the harmony was actually pretty difficult to sing. I think it's one of those tunes that will definitely impress most people."

JOHN 1980: "I was lying on the sofa in our house, listening to Yoko play Beethoven's 'Moonlight Sonata' on the piano. Suddenly, I said, 'Can you play those chords backward?' She did, and I wrote 'Because' around them. The song sounds like 'Moonlight Sonata,' too. The lyrics are clear, no bullshit, no imagery, no obscure references."

You Never Give Me Your Money

"You Never Give Me Your Money" is a song by the The Beatles that opens the climactic medley on side two of the album Abbey Road. It was mainly written by Paul McCartney (though attributed to Lennon-McCartney) and details the Beatles' monetary problems.

The song begins with two verses sung by Paul in a large-sound, almost classical style. This is followed by a much faster section with Paul switching to a more nasal vocal style, using a baritone voice which lends an almost bouncy air in addition to the song's slightly comic lyrics. The song fades out with a chant reminiscent of a nursery rhyme, set to the George Harrison guitar riff introduced in a previous album track, "Here Comes the Sun" (in turn based on a previous Harrison/Eric Clapton composition, "Badge")--the riff will return later in the medley's track "Carry That Weight". The song's production is notable for prominent use of leslie-amplified, arpeggiated guitar parts, which would become synonymous with the late-era Beatles sound.

It is notable for the way it opens up, lyrically, from profound introspection, to society at large, to the alienating effects of fame, to heaven itself:

1,2,3,4,5,6,7; All good children go to heaven.

Some believe that this song is a reference to the Beatles drug dealer always complaining about payment. As Paul said in an interview to the BBC, "we never wanted to have to pay for drugs. We expected them to be complimentary."

GEORGE 1969: "It does two verses of one tune, and then the bridge is almost like a different song altogether, so it's quite melodic."

PAUL 1988: "We wanted to dabble, and I had a bit of fun making some of the songs fit together, with key changes (into the long medley). That was nice. It worked out well."

Sun King

"Sun King" is the 4th song on side two of The Beatles Abbey Road record. It is the second song of the final medley, although it is in a different key and rhythm. It was originally to be titled "Here Comes the Sun King" but was shortened to just Sun King to avoid confusion with Here Comes the Sun. The lyrics to start the song are the same as the title and lyrics of Here Comes the Sun, but with the word "King" inserted afterwords, although George Harrison wrote the latter and Sun King is written by John Lennon. Later, the song, in minor key with an organ in the background, breaks into a faux Romance language mixing English, Italian, Spanish, and Portuguese. The song is in three part harmony sung by all John, Paul McCartney, and George, similar to the song "Because", earlier on the album. At the end of the song, the music stops abruptly and a Ringo Starr drum fill leads into the next track, "Mean Mr. Mustard".

The "faux Romance mixing" of languages occurs in the last three lines of the song, which are as follows:

Quando para mucho mi amore de felice corazon

Mundo paparazzi mi amore chica ferdi parasol

Cuesto obrigado tanta mucho cake and eat it carousel

Although open for interpretation, it roughly translates as:

If for much, my love of happy heart

World Paparazzi, my love, green girl for the sun

This, thanks very much, cake and eat it, dearest sun

On the bootleg LP "Abbey Road Talks" John is interviewed about these lyrics and says:

"We just started joking, you know, singing 'quando para mucho'. So we just made up, ah, Paul knew a few Spanish words from school, you know. So we just strung any Spanish words that sounded vaguely like something. And of course we got `chicka ferdy' in. That's a Liverpool expression - just like sort of - it doesn't mean anything to me but 'na-na, na-na-na'"

JOHN 1980: "That's a piece of garbage I had around."

GEORGE 1987: "At the time, 'Albatross' (by Fleetwood Mac) was out, with all the reverb on guitar. So we said, 'Let's be Fleetwood Mac doing Albatross, just to get going.' It never really sounded like Fleetwood Mac... but that was the point of origin."

Mean Mr. Mustard

Mean Mr. Mustard is the name of a song written by John Lennon (although credited to Lennon-McCartney) and performed by The Beatles on their album, Abbey Road (also released on Anthology 3). Written in India, John said that the song was inspired by a newspaper story about a miser who concealed his cash wherever he could in order to prevent people from forcing him to spend it.

Tony Bramwell offers a secondary interpretation: "There was an old 'bag lady' who used to hang around the Knightsbridge end of Hyde Park, London, close to the army barracks. She had all her possessions in plastic bags and slept in the park. I'm sure that she had something to do with the song."

In the original version of the lyrics, Mustard's sister is named Shirley. Lennon changed it to Pam when he saw the opportunity to ease the segue into the song "Polythene Pam", which follows "Mean Mr. Mustard" on the album. Additionally, the original version of the song was much quieter, almost Dylanesque in that it was performed with an acoustic guitar.

This song was recorded with "Sun King" in one continuous piece.

The version on the film version of "Sgt. Pepper's Lonely Hearts Club Band" was performed by Mean Mr. Mustard (played by Frankie Howard) and his evil robot companions named the Computerettes (played by Anna Rodzianko and Rosa Aragon). It is very likely that the computerized singing of the Computerettes was achieved by using a vocoder.

Polythene Pam

Polythene Pam is the name of a song written by John Lennon (although credited to Lennon-McCartney) and performed by The Beatles on their final album, Abbey Road. Superficially about "a mythical Liverpool scrubber dressed up in her jackboots and kilt", the song was inspired by an evening that John spent with poet Royston Ellis and his girlfriend, Stephanie. The three wore polythene (a common British truncation of the word polyethylene) bags and slept in the same bed out of curiosity about kinky sex. Incidentally, John would later admit in the 1980 interview with Playboy that Ellis was the first person to introduce the Beatles to drugs when he showed them how to get high from the strips inside a Benzedrine inhaler. It was in this interview that John supplied the details of this event but refused to elaborate further.

The song may have been equally inspired by Cavern Club fan Pat Hodgetts, who was called "Polythene Pat" because she used to eat the material. "I'd tie it in knots and then eat it," she later reported. "Sometimes I even used to burn it and then eat it when it got cold."

On the album, the song is linked with the previous song (Mean Mr. Mustard) both musically (the two run together without pause) and narratively (since "Mean Mr. Mustard" mentions that Mr. Mustard has a sister named Pam before launching into the song about her). "Polythene Pam" also runs directly into the next song, "She Came in Through the Bathroom Window". Technically, "Polythene Pam" is over at the end of the guitar solo, at which point Lennon says, "We'll listen to that now," followed by McCartney's "Oh, look out!"

At 0:47, someone picks up a maraca and, in the right channel, Paul McCartney can be heard saying "Yeah," while Lennon says, "Great".

She Came In Through The Bathroom Window

She Came In Through The Bathroom Window is a song written by Paul McCartney (although credited to Lennon-McCartney) and performed by The Beatles on the final album they recorded, Abbey Road. The subject of the song is a real life event. A fan named Diane Ashley found a ladder in McCartney's garden and used it to climb up to the bathroom window, which was slightly open. "I was the one who climbed up and got in," she says. Diane was surprised to have become the subject of a Beatles song. "I didn't believe it at first, because he'd hated it so much when we broke in. But then I suppose anything can inspire a song, can't it? I know that all his neighbors rang him when they saw we'd got in and I'm sure that gave rise to the lines, 'Sunday's on the phone to Monday/Tuesday's on the phone to me'."

This song was performed directly after "Polythene Pam", the song on the preceding track, without pause. Allegedly, Paul plays lead guitar on this song, while George Harrison plays the bass part.

Golden Slumbers

"Golden Slumbers" is a Beatles song. It was initially released on Abbey Road. Mainly written by Paul McCartney, it is based upon a poem by Thomas Dekker and written in a lullaby style. Paul McCartney was the lead. Halfway through, Paul briefly switches from his clear melodic voice to a slightly distorted voice, more typical of heavy rock singers. It was covered by Ben Folds on the I Am Sam soundtrack in 2002 and by Phil Collins in In My Life: Tribute to George Martin (1998).

PAUL 1969: "I was just playing the piano in Liverpool at my dad's house, and my sister Ruth's piano book... she was learning piano... and 'Golden Slumbers and your old favorites' was up on the stand, you know-- it was a little book with all those words in it. I was just flipping through it and I came to 'Golden Slumbers.' I can't read music so I didn't know the tune... I can't remember the old tune... so I just started playing 'my' tune to it. And then, I liked the words so I just kept that, you know, and then it fitted with another bit of song I had-- which is the verse in between it. So I just made that into a song. It just happened 'cuz I was reading her book."

Carry That Weight

The middle bridge, featuring brass instruments, electric guitar and vocals, reprises the beginning of "You Never Give Me Your Money", but with different lyrics. The ending also reprises the guitar motif from the end of that track, also featured prominently in the George Harrison written tracks "Here Comes The Sun" and "Badge" (co-written with Eric Clapton).

This was also one of the few songs that the Beatles ever recorded that featured every band member vocally harmonizing.

JOHN 1980: "That's Paul. Apparently he was under strain at that period."

PAUL circa-1994: "I'm generally quite upbeat, but at certain times things get to me so much that I just can't be upbeat anymore and that was one of those times. 'Carry that weight a long time'-- like forever! That's what I meant... in this heaviness there was no place to be. It was serious, paranoid heaviness and it was just very uncomfortable."

The End

The End is a song, specifically the last song, by The Beatles. Composed by Paul McCartney and John Lennon, it was the final song ever recorded collectively by all four Beatles (the four would never record together again), and released on Abbey Road (1969) as the final full piece from the last album they recorded. It is seen by many as a fittingly grandiose finish to their career.

The album's preceding track, "Carry That Weight", segues into "The End". The song is unique in that it features Ringo Starr's only drum solo in The Beatles' catalog. Additionally, there are three extended guitar solos performed in turn by Paul McCartney, George Harrison, and John Lennon, although it is not positively known when each one begins and finishes. The final line, "And in the end, the love you take is equal to the love you make", in the view of many fans, captures the essence of the Beatles' message.

An alternate version (with additional George Harrison guitar work and George Martin orchestration not in the released version) appears on the Beatles Anthology 3 CD.

JOHN 1980: "That's Paul again, the unfinished song, right? Just a piece at the end. He had a line in it, (sings) 'And in the end the love you take is equal to the love you make,' which is a very cosmic, philosophical line-- which again proves that if he wants to, he can think."

PAUL 1988: "Ringo would never do drum solos. He hated drummers who did lengthy drum solos. We all did. And when he joined the Beatles we said, 'Ah, what about drum solos then?' and he said, 'I hate 'em!' We said, 'Great! We love you!' And so he would never do them. But because of this medley I said, 'Well, a token solo?' and he really dug his heels in and didn't want to do it. But after a little bit of gentle persuasion I said, '...it wouldn't be Buddy Rich gone mad,' because I think that's what he didn't want to do. ... anyway we came to this compromise, it was a kind of a solo. I don't think he's done one since."

PAUL 1994: "We were looking for the end to an album, and 'In the end the love you take is equal to the love you make' just came into my head. I just recognized that would be a good end to an album. And it's a good little thing to say-- now and for all time, I think. I can't think of anything much better as a philosophy, because all you need IS love. It still is what you need. There aint nothin' better. So, you know, I'm very proud to be in the band that did that song, and that thought those thoughts, and encouraged other people to think them to help them get through little problems here and there. So uhh... We done good!!"

Her Majesty

Her Majesty is the name of a song written by Paul McCartney (although credited to Lennon-McCartney) that appears on The Beatles' album Abbey Road. "Her Majesty" appears at the very end of the album, however, it was originally meant to sit in between "Mean Mr. Mustard" and "Polythene Pam". When Paul heard this sequence, he was displeased, so it was edited out and recycled to the end of the tape so that it wouldn't be destroyed. It would remain here, probably because of its seemingly random effect.

On the album, there are fourteen seconds of silence between "The End" and "Her Majesty". After the pause, a loud burst, the last chord of "Mean Mr. Mustard", introduces the song. "Her Majesty" ends abruptly (on an A natural, the 5th from the song's tonic) because its own final note was left at the beginning of "Polythene Pam".

"Her Majesty" can be considered the first hidden track to appear on an album.

Paul McCartney played "Her Majesty" at British Sovereign Elizabeth II's Jubilee Concert.

PAUL 1969: "That was just... I don't know. I was in Scotland, and I was just writing this little tune. I can never tell, like, how tunes come out. I just wrote it as a joke."


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