At 11:35 that morning, photographer Iain Macmillan was given only ten minutes to take the photo while he stood on a step-ladder and a policeman held up traffic behind the camera. Macmillan took six photographs, which McCartney examined with a magnifying glass before deciding which would be used on the album sleeve. In the image selected by McCartney, the group walk across the street in single file from left to right, with Lennon leading, followed by Starr, McCartney, and Harrison. McCartney is barefoot and out of step with the others. Except for Harrison, the group are wearing suits designed by Tommy Nutter.
Cover photo
Abbey Road
Abbey Road | Cover photo
Iain Macmillan Iain Macmillan Iain Macmillan Iain Macmillan
who did george harrison wrote the song something for
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Pattie Boyd
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who was she?
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She is an English model and photographer.
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who sang the above mentioned song?
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Joe Cocker
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which album is it a part of?
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"Abbey Road"
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can you name some of the other tracks from it?
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"Come Together"
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can you describe in brief the famous photograph that appeared on the cover of this album?
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The front cover was a photograph of the group on a zebra crossing based on ideas that McCartney sketched
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who clicked it?
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Paul McCartney drew a sketch with four little stick men crossing the zebra crossing on Abbey Road. The group liked the idea and McCartney suggested they just go outside, take the photo there and name the album after the street. On 8 August 1969, photographer Iain Macmillan took the iconic album cover photograph of the group walking on the zebra crossing outside the studio.
Everest (cigarette) | "Abbey Road" album name
The original copy of the Beatles' "Abbey Road" album cover shows Paul McCartney, third in line, holding a cigarette. United States poster companies have airbrushed this image to remove the cigarette from McCartney’s hand. This change was made without the permission of either McCartney or Apple Records, which owns the rights to the image.
Photographic manipulation | Beatles Abbey Road 2003
At 11:35 that morning, photographer Iain Macmillan was given only ten minutes to take the photo while he stood on a step-ladder and a policeman held up traffic behind the camera. Macmillan took six photographs, which McCartney examined with a magnifying glass before deciding which would be used on the album sleeve. In the image selected by McCartney, the group walk across the street in single file from left to right, with Lennon leading, followed by Starr, McCartney, and Harrison. McCartney is barefoot and out of step with the others. Except for Harrison, the group are wearing suits designed by Tommy Nutter.
Abbey Road | Cover photo
Apple Records creative director Kosh designed the album cover. It is the only original UK Beatles album sleeve to show neither the artist name nor the album title on its front cover, which was Kosh's idea, despite EMI claiming the record would not sell without this information. He later explained that "we didn't need to write the band's name on the cover ... They were the most famous band in the world". The front cover was a photograph of the group on a zebra crossing based on ideas that McCartney sketched and taken on 8 August 1969 outside EMI Studios on Abbey Road.
Abbey Road | Cover photo
The escalation of the "Paul is dead" rumour became the subject of intense analysis on mainstream radio and contributed to "Abbey Road"s commercial success in the US. Lennon was interviewed in London by New York's WMCA, and he ridiculed the rumour but conceded that it was invaluable publicity for the album. The cover image has been parodied on several occasions, including by McCartney on his 1993 live album "Paul Is Live". The Red Hot Chili Peppers' "The Abbey Road E.P." parodies the cover, with the band walking near-naked across a similar zebra crossing. In 2003, several US poster companies airbrushed McCartney's cigarette out of the image without permission from Apple or McCartney.
Abbey Road | Abbey Road crossing and "Paul is dead"
A white Volkswagen Beetle is to the left of the picture, parked next to the zebra crossing, which belonged to one of the people living in the block of flats across from the recording studio. After the album was released, the number plate (LMW 281F) was repeatedly stolen from the car. In 2004, news sources published a claim made by retired American salesman Paul Cole that he was the man standing on the pavement to the right of the picture.
Abbey Road | Cover photo
The same recording of "Fire", however, would be later included once again on the band's next studio album "Mother's Milk" in tribute to Hillel Slovak, the band's original guitarist who died of a heroin overdose and plays guitar on the track. The title and cover was a tribute to The Beatles' famous album "Abbey Road". Like the Beatles, the cover depicts the four bandmembers walking across a zebra crossing in single file, the twist being that they are all naked except for white tube socks covering their genitals. Wearing only socks in this manner was something they regularly employed in their stage shows at the time.
The Abbey Road E.P. | Introduction
The album's cover is a parody of the cover for The Beatles album "Abbey Road", showing Mr. Horse (in place of John Lennon), Muddy Mudskipper (in place of Ringo Starr), Stimpy (in place of Paul McCartney), and Ren (in place of George Harrison) walking across the street.
You Eediot! | Introduction
Lennon met Ono at the Indica Gallery on 9 November 1966, and she later introduced him to Macmillan. In 1969, Lennon invited him to photograph the "Abbey Road" cover. The Beatles recorded most of their music at the EMI Studios on Abbey Road, St John's Wood, London, and they decided to name their last album after the road. Later EMI changed the name of the studio to the Abbey Road Studios. Paul McCartney gave Macmillan a sketch a couple days before the shoot showing where and what the picture should look like. Macmillan added his own sketch in the top corner to confirm the layout.
Iain Macmillan | 1966–1971
Paul is wearing sandals. Second Photo: They walk back in the same order. Good spacing but only John has a full step. Third Photo: Left to right again, full steps this time but they are all too far left. There is now a traffic backup. There are a taxi, two vans, and a double-decker bus waiting to come forward. Paul is now barefoot. Fourth Photo: Walking right to left, Paul, Ringo, and George all in mid-step. The traffic has gone through but the bus has stopped to watch. Fifth Photo: This photo was used for the cover of the album and is the only photo where we see Paul smoking and the only one with their legs in perfect formation.
Iain Macmillan | 1966–1971
On 8 August 1969, around 11:30 am, Macmillan climbed up a stepladder about 10 feet in the air in the middle of Abbey Road and took six pictures of the Beatles crossing the street. A policeman was hired to control traffic. The Beatles usually came to the studio around 2–3 pm, so the earlier hour was chosen to avoid fans. First Photo: John leads the group from left to right followed by Ringo, Paul, and George. They kept this order throughout all the photos. There is a Mercedes pulling out of the studio behind them. John is looking away from the camera and Paul and George are in mid step.
Iain Macmillan | 1966–1971
The procession was led by Lennon dressed in white as a religious figure; Starr was dressed in black as the undertaker; McCartney, out of step with the others, was a barefoot corpse; and Harrison dressed in denim was the gravedigger. The left-handed McCartney is holding a cigarette in his right hand, indicating that he is an imposter, and the number plate on the Volkswagen parked on the street is 28IF, meaning that McCartney would have been 28 if he had lived – despite the fact that he was only 27 at the time of the photo and subsequent release of the record.
Abbey Road | Abbey Road crossing and "Paul is dead"
The crossing was given status of Grade II Listed Building, by English Heritage, in December 2010. The zebra crossing, featured on the Beatles cover, has become a popular photo opportunity area, despite the road still being the busy thoroughfare for traffic.
Abbey Road, London | History
The image of the Beatles on the Abbey Road crossing has become one of the most famous and imitated in recording history. The crossing is a popular destination for Beatles fans, and a webcam has operated there since 2011. In December 2010, the crossing was given grade II listed status for its "cultural and historical importance"; the Abbey Road studios themselves had been given similar status earlier in the year. Shortly after the album's release, the cover became part of the "Paul is dead" theory that was spreading across college campuses in the US. According to followers of the rumour, the cover depicted the Beatles walking out of a cemetery in a funeral procession.
Abbey Road | Abbey Road crossing and "Paul is dead"
Once again after Notebook, there was no group photo on the album cover, only a small black-and-white picture of Shirley Jones to the left and one of David Cassidy to the right.
Crossword Puzzle | Introduction
The photograph on the front cover of the album was taken by rock photographer Michael Spencer Jones in guitarist Bonehead's house. The image was inspired by the cover of the Beatles' 1966 compilation LP "A Collection of Beatles Oldies" and, in the positioning of Liam on the floor, by a visit Spencer Jones had made to the Egyptology section at Manchester Science Museum. In a 2019 interview, Spencer Jones said that the idea to photograph the band at Bonehead's house came from Noel, who originally wanted the band to be seated around Bonehead's dining table; Spencer Jones instead suggested shooting in the lounge, facing a bay window.
Definitely Maybe | Cover art
Pepper's Lonely Hearts Club Band" by incorporating a medley. Lennon ultimately said that he disliked "Abbey Road" as a whole and felt that it lacked authenticity, calling McCartney's contributions "[music] for the grannies to dig" and not "real songs", and describing the medley as "junk ... just bits of songs thrown together".
Abbey Road | Recording history
The three men on the left above Paul's head are Alan Flanagan, Steve Millwood, and Derek Seagrove. They were interior decorators returning from a lunch break. On the right side between John and Ringo's head is Paul Cole, an American tourist. Sixth Photo: Ringo is slightly too far behind John. The bus has turned around to leave. After the shoot, Macmillan went to find a road sign for use on the back cover. It was taken on the corner with Alexandra Road. During photographing the sign, a girl in a blue dress walked through the shot. Iain was angry but later it was chosen as the back cover.
Iain Macmillan | 1966–1971
In 1958, Studio Two at EMI became a centre for rock and roll music when Cliff Richard and the Drifters (later Cliff Richard and the Shadows) recorded "Move It" there, and later pop music material. EMI is closely associated with the Beatles, who recorded almost all of their albums and hits there between 1962 and 1970 using the four-track REDD mixing console designed by Peter K. Burkowitz. The Beatles named their 1969 album "Abbey Road", after the street where the studio is located, following which the studio was renamed as Abbey Road Studios. Iain Macmillan took the album's cover photograph outside the studios, with the result that the nearby zebra crossing has become a place of pilgrimage for Beatles fans.
Abbey Road Studios | 1950s–1970s
"Abbey Road" also provides the cover parody (referencing the image of the Beatles crossing Abbey Road in various ways, such as "Kliff McBurtney" wearing bear slippers, and a van with the plate "28KLIFF"), and most of the track list, with opener "Come Together" and the 16-minute medley on the album's Side B. Among the exclusions were "I Want You (She's So Heavy)" - which Beatallica had already spoofed as "Ktulu (He's So Heavy)" - and the George Harrison compositions "Here Comes the Sun" and "Something", denied the inclusion by his estate.
Abbey Load | Introduction
In the 1970s, Macmillan taught photography part-time at college in Stoke-on-Trent. In 1980 he took the cover photo for the album "Hinge and Bracket at Abbey Road" which was a parody of the Beatles photo. In the 1980s, his work was on exhibit in the US, Britain and Europe. The BBC used some of his photos in the series "The Rock 'n' Roll Years". After the death of his mother, Macmillan moved back to Carnoustie, Scotland. On 22 July 1993, he photographed Paul McCartney at Abbey Road on the zebra crossing, this time with only an Old English Sheepdog. The shot was used on the cover of "Paul is Live" album.
Iain Macmillan | After 1971
The album's cover features Paul McCartney and his then-wife, Linda McCartney. The album cover's photograph was taken by George Hurrell, using the same box camera that he used in Hollywood in the 1930s and the 1940s. Hurrell was renowned for his photographs of movie stars of the 1930s and 1940s like Clark Gable and Greta Garbo, to which the album's cover was meant to pay homage.
Press to Play | Cover artwork
Abbey Road is the eleventh studio album by the English rock band the Beatles, released on 26 September 1969 by Apple Records. Named after the location of EMI Studios in London, the cover features the group walking across the street's zebra crossing, an image that became one of the most famous and imitated in popular music. The album's initially mixed reviews were contrasted by its immediate commercial success, topping record charts in the UK and US. The lead single "Something" / "Come Together" was released in October and topped the US charts. The album incorporates genres such as blues, rock and pop, and makes prominent use of Moog synthesizer, sounds filtered through a Leslie speaker, and tom-tom drums.
Abbey Road | Introduction
George Martin was an honorary fellow of the Zoological Society of London, which owns the London Zoo. Martin thought that it might be good publicity for the zoo to have the Beatles pose outside the insect house for the cover photography of the album. However, the society turned down Martin's offer, and instead, Angus McBean was asked to take the distinctive colour photograph of the group looking down over the stairwell inside EMI's London headquarters in Manchester Square. Martin was to write later: "We rang up the legendary theatre photographer Angus McBean, and bingo, he came round and did it there and then.
Please Please Me | Artwork and packaging
The 30 March 1967 photo session with Cooper also produced the back cover and the inside gatefold, which Inglis describes as conveying "an obvious and immediate warmth ... which distances it from the sterility and artifice typical of such images". McCartney recalled the inner-gatefold image as an example of the Beatles' interest in "eye messages", adding: "So with Michael Cooper's inside photo, we all said, 'Now look into this camera and really say I love you! Really try and feel love; really give love through this!' ... [And] if you look at it you'll see the big effort from the eyes." In Lennon's description, Cooper's photos of the band showed "two people who are flying [on drugs], and two who aren't".
Sgt. Pepper's Lonely Hearts Club Band | Back cover, gatefold and cut-outs
To fit the square format of the cover, he put Ringo Starr in the bottom right corner, "since he was the last to join the group. He was also the shortest". Paul McCartney described the result as "very moody", adding: "people think he must have worked at [it] forever and ever. But it was an hour. He sat down, took a couple of rolls, and he had it." The original concept was to paint the picture from edge to edge, with no bleeding, title or artist credit – a concept that went against music industry practice and was immediately vetoed by EMI.
With the Beatles | Packaging
John Lennon privately left the group six days before the album's release; Paul McCartney publicly declared the band's break-up the following April.
Abbey Road | Introduction
For the album's gatefold cover, artist Gordon House and designer Roger Huggett worked on a design concept by McCartney. Photos by Linda McCartney featured throughout the packaging, including a collage of 21 family snapshots in the jacket's inner spread. The images depicted Paul, Linda, seven-year-old Heather (Linda's daughter by her first marriage), newborn Mary, and the McCartneys' sheepdog, Martha. The gatefold cover of "McCartney" was the first of close to 30 years of albums by her husband to feature Linda McCartney's photography. Set against a black background, the front cover image consisted of a bowl of cherry-red liquid placed on a cream-coloured wall and surrounded by loose red cherries, as if the fruit had been emptied from the bowl.
McCartney (album) | Artwork
The album's title is a response to the "Paul is dead" rumours after the 1969 release of the Beatles' last studio album, "Abbey Road". The cover is a digitally altered photo from the August 1969 photo shoot for the "Abbey Road" album cover. Intentional differences between the two are:
Paul Is Live | Title and cover
EMI, however, pressed the record in Britain, while the album cover was printed by Technik. Apple got around the sleeve packing problem by hiring several Apple scruffs to package the album. Apple employee Jack Oliver had the Apple scruffs packing the record into sleeves "in the basement of the old Apple shop". The Beatles' song "She Came In Through the Bathroom Window" ("Abbey Road", 1969) refers to the day that some Beatles fans climbed into Paul McCartney's house through an upstairs bathroom window and raided his wardrobe for a pair of trousers, which they took turns wearing. They also stole a framed photograph, which they later returned at McCartney's request.
Apple scruffs | Introduction
Iain Stewart Macmillan (20 October 1938 – 8 May 2006) was the Scottish photographer famous for taking the cover photograph for The Beatles' album "Abbey Road" in 1969. He grew up in Scotland, then moved to London to become a professional photographer. He used a photo of Yoko Ono in a book that he published in 1966, and Ono invited him to photograph her exhibit at Indica Gallery. She introduced him to John Lennon, and Lennon invited him to photograph the cover for "Abbey Road". He worked with Lennon and Ono for several years, even staying for a while at their home in New York.
Iain Macmillan | Introduction
The album cover photograph was taken at Osterley Park, west London, on 28 October 1973 by photographer Clive Arrowsmith. It depicts McCartney, Linda and Laine plus six other well-known people dressed as convicts caught in the spotlight of a prison searchlight. They are Michael Parkinson, Kenny Lynch, James Coburn, Clement Freud, Christopher Lee and John Conteh. Arrowsmith detailed that the eventual cover was one of the four he found acceptable in the 24 attempts he took. The spotlight's low potency meant everyone had to stand still for two seconds for proper exposure, which was made difficult by the photographer and subjects reportedly being in a "substance haze" following a party held by McCartney, making it harder for them to hold the pose.
Band on the Run | Cover artwork
The Beatles submitted photographs from the session for their promotional materials. Contrary to Whitaker's original vision, the band chose the butcher photo as the cover image for "Yesterday and Today", and Lennon and Paul McCartney insisted that it was the Beatles' statement against war, particularly the Vietnam War. Capitol president Alan Livingston was immediately against using the image, but Epstein told him that the Beatles were adamant. In a 2002 interview published in "Mojo" magazine, Livingston recalled that his principal contact was with McCartney, who pushed strongly for the photo to be used as the album cover and described it as "our comment on the [Vietnam] war".
Yesterday and Today | Cover images
The album cover is a painting by artist David Christian, who captured the vibrant colours then popular in London's Carnaby Street fashion boutiques. In the description of music journalist Martin O'Gorman, the cover image partly reflects the popularity of retro boutiques such as I Was Lord Kitchener's Valet; it also includes a man with a mop-top haircut reclining on a chair and "clad in Day-Glo striped trousers and a garishly patterned tie". O'Gorman adds that, except for the moustaches that the four Beatles had recently grown, the artist had captured the band's new psychedelic image, which would be unveiled in the film clips for the two songs on their next single, "Strawberry Fields Forever" and "Penny Lane".O'Gorman, Martin.
A Collection of Beatles Oldies | Artwork
Lennon and Ono used a time-delay camera, which was set up by Tony Bramwell, to take nude photographs of themselves for the album's cover: these were taken at 34 Montagu Square, in early October 1968. Lennon explained that they "were both a bit embarrassed when we peeled off for the picture, so I took it myself with a delayed action shutter." The front cover showed them frontally nude while the rear cover showed them nude from behind. John's idea was to have the nude shot for the front album cover. Neil Aspinall recalled that Lennon gave the roll of film to an Apple employee called Jeremy, with instructions to develop the photographs.
Unfinished Music No. 1: Two Virgins | Cover
Capitol's art director was more impressed with the image and prepared it to appear like a painting, with a canvas effect. The cover photo was soon replaced with a picture of the four band members posed around an open trunk. This image was taken by Whitaker at Epstein's NEMS offices, near Carnaby Street. Rather than being submitted as an afterthought, the trunk photo had been pasted onto a mock-up LP sleeve and was being considered by Epstein while the Beatles filmed promotional clips for "Paperback Writer" and "Rain" at Chiswick House on 20 May. Lennon later described the replacement as "an awful looking photo of us looking just as deadbeat but supposed to be a happy-go-lucky foursome".
Yesterday and Today | Cover images
They were posing for a photograph and the crowd behind them was a crowd of fans who had been at the concert. Having decided on this, then, by making cut-outs, the fans could be anybody, dead or alive, real or fictitious. If we wanted Hansel and Gretel, I could paint them and they could be photographed and blown up. I asked the four Beatles for a list and I did one myself. Robert Fraser did a list and I can't remember whether Brian Epstein did one or not. The way that worked out was fascinating. John gave me a list and so did Paul.
List of images on the cover of Sgt. Pepper's Lonely Hearts Club Band | Introduction
There were two proposed artworks for the cover, including one colour collage cover and one with a black and white photo of the group in the courtyard of Abbey Road Studios. In 2014, a complete slick set for the black and white cover was auctioned on eBay by Beatles collector Perry Cox; the bidding stopped at US $2,910.00, which failed to meet the reserve. This was the complete artwork, including the front cover, the back cover, and the inner sleeve. This was as far as production ever reached before the entire project was cancelled by EMI Records and no album was pressed for it.
Sessions (Beatles album) | Cover art
The album cover for "Beatles for Sale" shows the Beatles in an autumnal setting photographed in Hyde Park, London. McCartney recalled: "The album cover was rather nice: Robert Freeman's photos. It was easy. We did a session lasting a couple of hours and had some reasonable pictures to use ... The photographer would always be able to say to us, 'Just show up,' because we all wore the same kind of gear all the time. Black stuff; white shirts and big black scarves." The album also features a gatefold cover, the photo inside the gatefold cover showed the Beatles standing in front of a montage of photos.
Robert Freeman (photographer) | "Beatles for Sale" cover
George suggested only Indian gurus, about six of them, and Ringo said, "Whatever the others say is fine by me" and didn’t suggest anyone. It's an insight into their characters. All kinds of people were suggested. Hitler was there; he is actually in the set-up, but he is covered by the Beatles themselves as we felt he was too controversial. The same applied to Jesus. There were only two of their contemporaries on the cover. Bob Dylan was suggested by John and I put on Dion because he is a great favourite of mine.
List of images on the cover of Sgt. Pepper's Lonely Hearts Club Band | Introduction
Afterwards, the band left messages in their music and album artwork to communicate the truth to their fans. These include the 1968 song "Glass Onion", in which Lennon sings "here's another clue for you all / the walrus was Paul", and the cover photo of their album "Abbey Road", in which McCartney is shown barefoot and walking out of step with his bandmates. Rumours declined after an interview with McCartney, who had been secluded with his family in Scotland, was published in "Life" magazine in November 1969. During the 1970s, the phenomenon was the subject of analysis in the fields of sociology, psychology and communications.
Paul is dead | Introduction
"Abbey Road" is the eleventh studio album by English rock band the Beatles and was released on 26 September 1969. Geoff Emerick, the band's audio engineer, used to smoke Everest cigarettes and hence the group had decided to name the album after the brand of cigarette and title it either "Mount Everest", "Everest" or "Ever Rest" (since packets had a silhouette of Mount Everest on them and the Beatles liked the imagery). Originally the band intended to take a private plane over to the Himalayas to shoot a photograph of Mount Everest for the album cover. The group, however, did not want to undertake the long trip and travel to Mount Everest for the photo shoot.
Everest (cigarette) | "Abbey Road" album name
For the group's 1963 debut LP "Please Please Me", photographer Angus McBean took the distinctive colour photograph of the group looking down over the stairwell inside EMI House (EMI's London headquarters in Manchester Square, now demolished). The cover for the 1963 EP "The Beatles (No. 1)" used a picture from the same shoot. In 1969, the Beatles asked McBean to recreate this shot. Although one of the 1969 photographs was originally intended for the planned "Get Back" album, it was not used when that project saw eventual release in 1970 as "Let It Be". Instead, another 1969 photograph, along with an unused one from the 1963 photo shoot, were used for both this LP and the cover of "1967–1970".
1962–1966 | Album covers
McCartney said the song was inspired by Apple scruffs (dedicated fans who hung around outside the Abbey Road studio, the Apple Corps offices, and the individual homes of the Beatles), who broke into McCartney's St John's Wood home. Diane Ashley says: She then opened the front door to let the others in. The scruffs also stole a number of photographs in addition to clothes. Another Apple scruff, Margo Bird, remembers being good friends with McCartney – she would often take his dog for walks – and later got a job at Apple Corps. She says that she was asked to retrieve a photograph of his father Jim, which she did.
She Came In Through the Bathroom Window | Origin
All that Coca-Cola and cars with big fins was the Fifties!" Lennon was also critical of the artwork and wrote an angry letter to Capitol Records saying it "looks like a Monkees reject" and instead suggested the use of photos by Astrid Kirchherr or Jürgen Vollmer, both of whom had photographed the band during their Hamburg days. Lennon had also offered to design the cover himself, but was declined.
Rock 'n' Roll Music (album) | Controversial album cover
For the group's 1963 debut LP "Please Please Me", photographer Angus McBean took the distinctive colour photograph of the group looking down over the stairwell inside EMI House (EMI's London headquarters in Manchester Square, demolished in 1995). In 1969, the Beatles asked McBean to recreate this shot. Although a photograph from the 1969 photo shoot was originally intended for the then-planned "Get Back" album, it was not used when that project saw eventual release in 1970 as "Let It Be". Instead, another photograph from the 1969 shoot, along with an unused photograph from the 1963 photo shoot, was used for both this LP and "1962–1966".
1967–1970 | Album covers
The Beatles carried out overdubs on the track on 28 July, although many of these contributions, such as piano and electric piano, were subsequently cut. Recording was completed on 30 July, when the final vocal, guitar and percussion overdubs were taped. These included a second lead guitar part by Harrison, playing the descending notes (accompanying Lennon's spoken "Listen to that now. Oh, look out! Here she...") into the start of "She Came in Through the Bathroom Window".
Polythene Pam | Placement on "Abbey Road"
According to Mark Lewisohn, Ian MacDonald, Barry Miles and Kevin Howlett The Beatles Additional musicians Production
Abbey Road | Personnel
"Because" was inspired by Lennon listening to Ono playing Ludwig van Beethoven's "Moonlight Sonata" on the piano. He recalled he was "lying on the sofa in our house, listening to Yoko play ... Suddenly, I said, 'Can you play those chords backward?' She did, and I wrote 'Because' around them." The track features three-part harmonies by Lennon, McCartney and Harrison, which were then triple-tracked to give nine voices in the final mix. The group considered the vocals to be some of the hardest and most complex they attempted. Harrison played the Moog synthesizer, and Martin played the harpsichord that opens the track.
Abbey Road | "Because"
The Other Side of Abbey Road is a 1970 studio album by American guitarist George Benson of songs from the Beatles' 1969 album "Abbey Road". It was his last album for A&M Records. Online music service Rhapsody praised the album, calling it "winning", a "delightful release", and citing it as one of their 20 favorite cover albums.
The Other Side of Abbey Road | Introduction
McCartney's profile in the artwork for the front cover reused a portion of the illustration from the Beatles' album "Revolver", and Lennon's profile is a drawing that duplicated the back-cover photograph from his album "Imagine".
The Songs Lennon and McCartney Gave Away | Artwork
All songs written by Lennon–McCartney, except "Something" and "Here Comes the Sun" by George Harrison, and "Octopus's Garden" by Richard Starkey.
The Other Side of Abbey Road | Track listing
Writing in 2007, music critic John Harris remarked that Bramwell's set design reflected the "collision of serenity and almost gothic eeriness" evident in the finished song. The clip presented the Beatles' new group image, since all four now sported moustaches, following Harrison's lead when he left for India in September 1966. In addition to a horseshoe moustache, Lennon wore his round "granny" glasses for the first time as a member of the Beatles, in keeping with his look as Private Gripweed in "How I Won the War", for which he had also shorn off his long hair. Combined with their psychedelic clothing, the band's appearance contrasted sharply with the youthful "moptop" image of their touring years; this former image and identity had instead been adopted by the Monkees, an American television and recording act based on the Beatles as they had appeared in "A Hard Day's Night" and "Help!" In author Kevin Courrier's description, Lennon now resembled a character from an Arthur Conan Doyle mystery, while Harrison looked equally austere, with his beard and heavy balaclava.
Strawberry Fields Forever | Promotional film
Voormann also designed a series of four images, titled "Wood Face", "Wool Face", "Triangle Face" and "Sun Face", which appeared on the front of the Northern Songs sheet music for each of the album's songs. The LP's back cover included a photograph of the Beatles, in Riley's description, "shaded by the hip modesty of sunglasses and cigarette smoke". The photo was part of a series taken by Robert Whitaker during the filming at Abbey Road on 19 May and demonstrated the Beatles' adoption of fashions from boutiques that had recently opened in Chelsea, rather than the Carnaby Street designers they had favoured previously.
Revolver (Beatles album) | Artwork
Music critic Tim Riley describes it as "tame" but, due to the Beatles' sullen expressions, still evocative of their will to ridicule the standard band portrait.
Yesterday and Today | Cover images
It reminds me of the way we used to do the Beatles. John [Lennon] and I would write a song, we'd have a date booked at Abbey Road, and neither George Martin, George Harrison or Ringo [Starr] knew what the songs were about. They'd work it out right there in the room". The album was recorded during March 2010 at Capitol Studios and Avatar Studios. The album's title comes from the lead track "I'm Gonna Sit Right Down and Write Myself a Letter", originally a hit for Fats Waller in 1935. In the liner notes for the album, McCartney commented, "I worked with Diana Krall, and great jazz musicians like John Clayton.
Kisses on the Bottom | History and recording
A video containing footage of the concert as well as interviews and bonus music videos for the first four singles of "Late Registration" was also released under the same name. The cover photograph (taken by photographer Andrew Meredith) is a reference to the Beatles' cover of their 1969 album "Abbey Road", which features the four band members walking across a crosswalk on the well known street. The album has been cited as the most well-known instance of hip hop and classical music coming together.
Late Orchestration | Introduction
A zebra crossing appears on the cover of The Beatles' "Abbey Road" album. The cover made the crossing a tourist attraction, and it has been incorporated into the Abbey Road Studios logo. Since the Abbey Road photo was taken, zigzag lines at the kerb and in the centre of the road have been added to all zebra crossings. The band Shriekback's album "Sacred City" contains an entire song, "Beatles Zebra Crossing?", about the Abbey Road zebra crossing and its status as a tourist attraction. English Heritage has given this crossing Grade II listed building status. There is also a tongue-in-cheek reference to zebra crossings in the science-fiction comedy "The Hitchhiker's Guide to the Galaxy" by English author Douglas Adams, in reference to Man using the improbable creature called the Babel fish as proof of the "non"-existence of God; the novel says, "Man then goes on to prove that black is white and gets himself killed at the next zebra crossing." The La Paz traffic zebras is a team of young people who dress in zebra costumes and dance in the streets of La Paz, Bolivia in order to make drivers and pedestrians aware of traffic rules.
Zebra crossing | In popular culture
The cover photograph of "John Wesley Harding" shows a squinting Dylan flanked by brothers Luxman and Purna Das, two Bengali Bauls, South Asian musicians brought to Woodstock by Dylan's manager, Albert Grossman. Behind Dylan is Charlie Joy, a local stonemason and carpenter. Upon the album's release, rumors circulated that the faces of the Beatles were hidden on the front cover in the knots of the tree. When contacted by "Rolling Stone" magazine in 1968, album cover photographer John Berg "acknowledged their presence but was reluctant to talk about it." However, in a 1995 interview, Berg clarified that although the images seem to resemble the Beatles, this was not done intentionally, nor was he aware of the resemblance until it was pointed out to him after the album's release: "Later on, I got a call from "Rolling Stone" magazine in San Francisco.
John Wesley Harding (album) | Packaging
Many critics have since cited "Abbey Road" as the Beatles' greatest album. In a retrospective review, Nicole Pensiero of "PopMatters" called it "an amazingly cohesive piece of music, innovative and timeless". Mark Kemp of "Paste" viewed the album as being "among The Beatles' finest works, even if it foreshadows the cigarette-lighter-waving arena rock that technically skilled but critically maligned artists from Journey to Meatloaf would belabor throughout the '70s and '80s". Neil McCormick of "The Daily Telegraph" dubbed it the Beatles' "last love letter to the world" and praised its "big, modern sound", calling it "lush, rich, smooth, epic, emotional and utterly gorgeous".
Abbey Road | Retrospective
One of these was "Songs, Pictures and Stories of the Fabulous Beatles" (Vee-Jay VJLP(S)-1062), which featured a three-quarters gatefold cover, portrait paintings of the four musicians and the text: The inside cover text describes Paul as the "Nut Beatle" or "Beatle Nut", John as "nearsighted" and the "Chief Beatle", George as the "quietest" and the "one with the deadpan face" and Ringo as the "shortest Beatle" who "will send his steak back if it is not blood red". The back sleeve shows outlines of hearts below each Beatle-photo and holds instructions of how to fill the hearts with personal photos.
Introducing... The Beatles | VJ 1062 (with photos)
The album's cover collage was created by the artist Peter Blake, designer of The Beatles' "Sgt Pepper's" album artwork (album package design for Weller was supervised by his long-term associate Simon Halfon).
Stanley Road | Artwork
I wound up really liking it." The original cover was eventually used for the first pressing of the album's vinyl edition. "Alternative Press" called the finalized cover "the pop-punk "Abbey Road"," calling it "instantly recognizable, extremely identifiable and absolutely iconic in certain circles". Wentz elaborated on the selection of that particular image and not the record's original cover: "It makes me wonder: How many of these things are just accidental moments? [...] If we had a bigger budget, we probably would have ended up with a goofier cover that no one would have cared about."
Take This to Your Grave | Artwork
Apple Records released the single on 24 September 1973 in America and on 19 October in Britain. Starr made a promotional film for "Photograph", in which he mimed to the song while walking through the grounds of Tittenhurst Park, the Berkshire estate that he had recently purchased from former bandmate John Lennon. To circumvent the BBC's ban on lip-synching, Starr placed his hand over his mouth for part of the song, making it impossible to tell whether he was singing or merely miming. The single's picture sleeve consisted of a photo by Barry Feinstein that showed Starr's head poking through a large star made of silver foil.
Photograph (Ringo Starr song) | Release
According to engineer Geoff Emerick, Lennon said it was "more of Paul's granny music" and left the session. He spent the next two weeks with Ono and did not return to the studio until the backing track for "Come Together" was laid down on 21 July. Harrison was also tired of the song, saying "we had to play it over and over again until Paul liked it. It was a real drag". Starr was more sympathetic to the song. "It was granny music", he admitted, "but we needed stuff like that on our album so other people would listen to it".
Abbey Road | "Maxwell's Silver Hammer"
Lennon contributed piano to the recording and while most of the part was removed, traces of it remain in the final cut, notably on the middle eight, before Harrison's guitar solo. The song was issued as a double A-side single with "Come Together" in October 1969 and topped the US charts for one week, becoming the Beatles' first number-one single that was not a Lennon–McCartney composition. It was also the first Beatles single from an album already released in the UK. Apple's Neil Aspinall filmed a promotional video, which combined separate footage of the Beatles and their wives.
Abbey Road | "Something"
The cover photo is a retouched and tinted reproduction of a well-known photograph taken at a public burning of Beatles records, which took place in August 1966 in the town of Waycross, Georgia, in response to John Lennon's controversial "more popular than Jesus" remark. The photograph, distributed by UPI and printed on front pages of newspapers including "The Savannah Morning News", depicts the burning of the Beatles albums in Waycross in a large bonfire, while in the foreground a boy holds an LP which is about to be thrown into the fire. In the original image, the album the boy holds is a copy of The Beatles' Capitol Records debut LP "Meet The Beatles", but on the Utopia cover this has been photographically replaced with an image of the "Swing To The Right" cover (thereby creating the illusion of an endless regression of the same image).
Swing to the Right | Introduction
On the back cover, a photo taken by Linda in Scotland showed her husband with Mary tucked inside his fur-lined leather jacket. Madinger and Easter comment that, unlike Lennon, McCartney did not feel the need to include his wife on the cover, and her back-cover photo was a "stunning" contribution from the former professional photographer. In a 2013 news article recalling the album's release, the Philadelphia radio station WMMR described the photo of McCartney and his baby daughter as "iconic" and reflective of "his ultimate message: 'Home, family (and) love'."
McCartney (album) | Artwork
In his "NME" interview at this time, Lennon said that although the story had already emerged that Harrison and Starr did not play on the song, he would not have chosen to publicise this, adding, "It doesn't mean anything, it just so happened that there were only us two there." In the US, Apple issued the record in a picture sleeve containing two photos of the Beatles and Ono in the garden of McCartney's London home, taken by Linda McCartney. The front of the sleeve shows Lennon and Ono seated, and Harrison, McCartney and Starr standing behind them. According to author Bruce Spizer, Lennon's bandmates appear uncomfortable ceding the spotlight to Ono and in better humour in the shot used for "Old Brown Shoe", on the reverse of the sleeve.
The Ballad of John and Yoko | Release
It has been a tradition for visitors to pay homage to the band by writing on the wall in front of the building even though it is painted over every three months. In December 2010, the zebra crossing at Abbey Road was given a Grade II listed status. Notable producers and sound engineers who have worked at Abbey Road include George Martin, Geoff Emerick, Norman "Hurricane" Smith, Ken Scott, Mike Stone, Alan Parsons, Peter Vince, Malcolm Addey, Peter Brown, Richard Langham, Phil McDonald, John Kurlander, Richard Lush and Ken Townsend, who invented the studio effect known as automatic double tracking (ADT).
Abbey Road Studios | 1950s–1970s
The album's original title was "The Who Looks Back". On the front cover the Who are looking at four children, one of whom is Who manager Bill Curbishley's younger brother Paul. The panoramic photograph featured on the inside cover of the gatefold vinyl packaging is an exterior shot of the side of the Railway Hotel, a pub that was sited on the bridge next to Harrow & Wealdstone station in north-west London. The Railway Hotel was a popular hangout for Mods and soon after Keith Moon joined the band, the Who became a regular attraction there from June 1964, performing every Tuesday night.
Meaty Beaty Big and Bouncy | Artwork and photographs
Harrison later said: "Our early van became the centre of attention every time it pulled up. It was brush-painted red and grey and from head to foot was covered in graffiti – girls' names, and things like 'I love you, John'. It looked interesting, but the moment anybody saw it they would feel free to write all over it." The Beatles returned from their second trip to Hamburg in July 1961, and Aspinall left his job to become their permanent road manager, as he was earning more money driving them around than he was earning by being an accountant. The Beatles were driven down to London by Aspinall on New Year's Eve in 1962, for the now-famous Decca audition, but Aspinall lost his way, and the trip took ten hours.
Neil Aspinall | The Beatles
The butcher photo was to appear in the central portion of the triptych or on the back cover. He planned to reduce the image to just "two-and-a-quarter inches square" and set it in the middle of the panel; bejewelled silver halos would be added behind the band members' heads, and the remaining space would be designed as a Russian religious icon in colours of silver and gold. Whitaker said: "The meat is meant to represent the fans, and the false teeth and the false eyes is the falseness of representing a god-like image as a golden calf." For the front cover, or left-hand portion of the triptych, Whitaker planned to use a photo of the Beatles holding two strings of sausages, symbolising umbilical cords, that appeared to connect to the belly of a woman whose back was to camera.
Yesterday and Today | Whitaker photo session
AllMusic's Richie Unterberger felt that the album shared "Sgt. Pepper"s "faux-conceptual forms", but had "stronger compositions", and wrote of its standing in the band's catalogue: "Whether "Abbey Road" is the Beatles' best work is debatable, but it's certainly the most immaculately produced (with the possible exception of "Sgt. Pepper") and most tightly constructed." Ian MacDonald gave a mixed opinion of the album, noting that several tracks had been written at least a year previously, and would possibly have been unsuitable without being integrated into the medley on side two. He did, however, praise the production, particularly the sound of Starr's bass drum.
Abbey Road | Retrospective
The photo of the Beatles on the "Rubber Soul" cover appears stretched. McCartney relates the story behind this in Volume 5 of the documentary film "Anthology". Photographer Bob Freeman had taken some pictures of the Beatles at Lennon's house. Freeman showed the photos to the Beatles by projecting them onto an album-sized piece of cardboard to simulate how they would appear on an album cover. The unusual "Rubber Soul" album cover came to be when the slide card fell slightly backwards, elongating the projected image of the photograph and stretching it. Excited by the effect, they shouted, "Ah! Can we have that? Can you do it like that?" Freeman said he could.
Robert Freeman (photographer) | "Rubber Soul" cover
McCartney opens the book to reveal his childhood house address, a possible reference to the VHS covers of this film. The page then turns to the title card. The print of this version is also matted, cropping the top and bottom of the image to an aspect ratio of 1.85:1 widescreen, which was how the film was exhibited theatrically. The opening for this edition was previously used at the start of a music video for the song "We All Stand Together".
Rupert and the Frog Song | Release
When viewed in a certain way, the lenticular image shows the band members' faces turning towards each other with the exception of Jagger, whose hands appear crossed in front of him. Looking closely on its cover, one can see the faces of each of the four Beatles, reportedly a response to the Beatles' inclusion of a Shirley Temple doll wearing a "Welcome the Rolling Stones" sweater on the cover of "Sgt. Pepper". Later editions replaced the glued-on three-dimensional image with a photograph, due to high production costs. A limited edition LP version in the 1980s reprinted the original 3D cover design; immediately following the reissue, the master materials for reprinting the 3D cover were intentionally destroyed.
Their Satanic Majesties Request | Title and packaging
Scott concluded, "It's either a stylish or graphically strong cover or a sexist "Smell the Glove" travesty." Although British retail chains HMV and Woolworths objected to the photograph, they stocked the album without amendment. The group deliberately left out the grammatically correct question mark from the album title because aesthetically, "it did not look right". The booklet insert contains stylized separate portraits of the Strokes, Raphael, Gentles, and Bowersock, all photographed by Lane. For the American market and the October 2001 release, the cover art of "Is This It" was changed to a psychedelic photograph of subatomic particle tracks in a bubble chamber.
Is This It | Packaging
The cover for the album was photographed by Tim Barber. In an interview for his official website, Healy claimed that "I wanted a portrait of what I looked like at that very second. I wanted to show that I was no longer the little boy that appeared on the inside sleeve of "The Man Who". I did think about other images, but they just didn't feel right. This one looked particularly cool." As a thank you for his work on the album, Healy honoured Paul McCartney by becoming a vegetarian. "My wife and I were sitting at the table, thinking of a way to thank Paul, and I suggested becoming a vegetarian.
Wreckorder | Background
After the tense and unpleasant recording sessions for the proposed "Get Back" album, Paul McCartney suggested to music producer George Martin that the group get together and make an album "the way we used to do it", free of the conflict that had begun during sessions for "The Beatles" (also known as the "White Album"). Martin agreed, but on the strict condition that all the group – particularly John Lennon – allow him to produce the record in the same manner as earlier albums and that discipline would be adhered to. No one was entirely sure that the work was going to be the group's last, though George Harrison said "it felt as if we were reaching the end of the line".
Abbey Road | Background
This photo would be set inside another image, showing a woman's womb, thereby representing the Beatles' birth and emphasising their human qualities. The third part of Whitaker's triptych was a photo of George Harrison hammering long nails into Lennon's head, suggesting trepanation. Apparently in a state of transcendence, Lennon's face would be rendered as wood grain and a horizon would be added in which ocean and sky were reversed. Whitaker credited Man Ray as a partial inspiration for this idea and said it again emphasised the band's human qualities over their idol status.
Yesterday and Today | Whitaker photo session
The album cover shows the Beatles with their arms positioned to spell out a word in flag semaphore. According to cover photographer Robert Freeman, "I had the idea of semaphore spelling out the letters 'HELP'. But when we came to do the shot, the arrangement of the arms with those letters didn't look good. So we decided to improvise and ended up with the best graphic positioning of the arms." On the UK Parlophone release, the letters formed by the Beatles appear to be "NUJV", whilst the slightly re-arranged US release on Capitol Records appeared to indicate the letters "NVUJ", with McCartney's left hand pointing to the Capitol logo.
Help! | Album cover
In 1971, members of rock band The Who shot the cover photograph for their album "Who's Next" at a concrete piling protruding from a spoil tip in the area. This cover was named by the VH1 network as one of the Greatest Album Covers.
Easington Colliery | In popular culture
In mid-1969, Lennon formed a new group, the Plastic Ono Band, in part because the Beatles had rejected his song "Cold Turkey". While Harrison worked with such artists as Leon Russell, Doris Troy, Preston and Delaney & Bonnie through to the end of the year, McCartney took a hiatus from the group after his daughter Mary was born on 28 August. On 20 September, Lennon told the other Beatles he was leaving the group, six days before "Abbey Road" was released. The single "Something"/"Come Together" followed in October, while Lennon released the Plastic Ono Band's "Cold Turkey" the same month.
Abbey Road | Release
The front cover included an Om symbol, positioned below the angled title text and also coloured blue. On the back of the inner sleeve, there was a second Henry Grossman tour photo of Harrison, clearly enjoying himself on stage. Seen as a joke referencing the demise of the Beatles' record label, the Apple logo was presented on "Extra Texture" as an eaten-away apple core. In addition, the blue inner-sleeve photo of Harrison – "grinning like a Monty Python choirboy", in the words of Robert Christgau – was captioned "OHNOTHIMAGEN" ("Oh not him again"), Harrison's self-deprecating take on his dwindling popularity in 1974–75.
Extra Texture (Read All About It) | Album artwork and title
A different photo from the shoot appeared in full colour on the cover of the 11 June edition of "Disc and Music Echo"; lacking the doll parts but retaining the raw meat, the image was accompanied by a caption reading, "Beatles: What a Carve-Up!" The picture attracted an unfavourable response from many of the magazine's readers, and the UK music press were similarly offended by the ads for the single. To the public, the Beatles' celebration of the grotesque was something that had previously been evident only in Lennon's books of nonsensical verse and drawings. Some US commentators and music industry executives viewed the cover imagery as a statement on Capitol's policy of "butchering" the Beatles' albums for the North American market.
Yesterday and Today | Cover controversy and Operation Retrieve
Ultimately, what would be their final live performance was filmed on the rooftop of the Apple Corps building at 3 Savile Row, London, on 30 January 1969. Five weeks later, engineer Glyn Johns, whom Lewisohn describes as "Get Back"s "uncredited producer", began work assembling an album, given "free rein" as the band "all but washed their hands of the entire project". New strains developed between the band members regarding the appointment of a financial adviser, the need for which had become evident without Epstein to manage business affairs. Lennon, Harrison and Starr favoured Allen Klein, who had managed the Rolling Stones and Sam Cooke; McCartney wanted Lee and John Eastman – father and brother, respectively, of Linda Eastman, whom McCartney married on 12 March.
The Beatles | "Abbey Road", "Let It Be" and separation
Part of the same image had already been used for the cover of the Prince album "Graffiti Bridge". RCA product manager Dave Gottlieb commented that "it was straight up a band decision", while Gentles indicated that Casablancas had wanted it to appear globally. According to the band's manager, the frontman phoned him before the Japan and Europe release and said, "I found something even cooler than the ass picture." At the time, the Lane photograph was already at the presses and was included in the July and August 2001 versions. The Strokes' 2003 biography mentions the fear of objections from America's conservative retail industry and right-wing lobby as reasons for the artwork's alteration.
Is This It | Packaging
In the UK, the song increased the public's recognition of Harrison as a songwriter, after "Badge", which he co-wrote with Eric Clapton, had been a hit single for Cream that spring and established him as a composer outside the Beatles. In the US, Apple Records issued the record in a picture sleeve featuring shots of the four Beatles and Ono in the garden of McCartney's London home. On the reverse side of the sleeve, the photo included a dark brown shoe placed in a bush in front of the five figures. In the opinion of author Bruce Spizer, this shot, taken by Linda McCartney, shows Harrison, McCartney and Starr in better humour than in the shot used on the front of the sleeve, where the three bandmates appear uncomfortable with having to pose behind Ono and Lennon.
Old Brown Shoe | Release
Also referenced was the back cover of "Sgt. Pepper", where every Beatle except McCartney is photographed facing the viewer, and the front cover of "Magical Mystery Tour", which depicts one unidentified band member in a differently coloured suit from the other three. According to music journalist Merrell Noden, Harper's "Drake Times-Delphic" was the first to publish an article on the "Paul is dead" theory. Harper later said that it had become the subject of discussion among students at the start of the new academic year, and he added: "A lot of us, because of Vietnam and the so-called Establishment, were ready, willing and able to believe just about any sort of conspiracy." In late September 1969, the Beatles released the album "Abbey Road" as they were in the process of disbanding.
Paul is dead | Beginnings
It has been featured several times on BBC Radio 4's "Desert Island Discs", having been chosen by Sandie Shaw, Jerry Springer, Boris Johnson and Elaine Paige. The "Daily Telegraph"'s Martin Chilton said it was "almost impossible not to sing along to". Since digital downloads have become eligible to chart, it reached number 56 in 2010 after the Beatles' back catalogue was released on iTunes. Harrison recorded a guitar solo for this track that did not appear in the final mix. It was rediscovered in 2012, and footage of Martin and Harrison's son Dhani listening to it in the studio was released on the DVD of "".
Abbey Road | "Here Comes the Sun"
The new look was the focus of much scrutiny, as facial hair went against convention for pop idols and implied maturation. Promotion for the single and its musical content left many listeners unable to recognise the act as the Beatles. In author Kevin Courrier's description, the picture sleeve showed the Beatles dressed and posing formally as if they were "arcane artifacts from the nineteenth century", with the portrait set inside a gold picture frame. The reverse was a collage of photos of the band members as infants. The clips were first broadcast in America on "The Ed Sullivan Show" and in Britain on "Top of the Pops", a day before the respective release dates in those two countries.
Penny Lane | Release
"Yesterday and Today" is remembered primarily for the controversy surrounding its original cover image. Known as the "butcher cover", it was taken by photographer Robert Whitaker and shows the band dressed in white coats and covered with decapitated baby dolls and pieces of raw meat. Although the photo was intended to be part of a larger work critiquing the adulation afforded the Beatles, the band members insisted it was a statement against the Vietnam War. Others interpreted it as the Beatles protesting the record company's policy of "butchering" their albums for the North American market. In response to outrage from record retailers, the LP was withdrawn and the cover replaced with a shot of the band posed around a steam trunk.
Yesterday and Today | Introduction
George Martin notes that on "Because": The main recording session for "Because" was on 1 August 1969, with vocal overdubs on 4 August, and a double-tracked Moog synthesiser overdub by Harrison on 5 August. As a result, this was the last song on the album to be committed to tape, although there were still overdubs for other incomplete songs. This approach took extensive rehearsal, and more than five hours of extremely focused recording, to capture correctly. McCartney and Harrison both said it was their favourite track on "Abbey Road". "They knew they were doing something special," said engineer Geoff Emerick, "and they were determined to get it right." A remixed version of the song, with the instrumentation removed so as to highlight the three-part harmony by Lennon, McCartney and Harrison, was released on 1996's "Anthology 3" and, in a different remix, on 2006's "Love".
Because (Beatles song) | Recording
It was done in an almighty rush, like the music. Thereafter, though, the Beatles' own creativity came bursting to the fore." In 1969, the Beatles asked McBean to recreate this shot. Although the 1969 photograph was originally intended for the then-planned "Get Back" album, it was not used when that project saw eventual release in 1970 as "Let It Be". Instead, the 1969 photograph, along with an unused photograph from the 1963 photo shoot, was used in 1973 for the Beatles' retrospective albums "1962–1966" and "1967–1970". Another unused photograph from the 1963 photo shoot was used for "The Beatles (No.
Please Please Me | Artwork and packaging
The photographs for the poster were assembled by Hamilton and McCartney, and sorted them in a variety of ways over several days before arriving at the final result.
The Beatles (album) | Packaging
In 1814 and 1815 the square was the chosen setting for cheaper newspapers and, above all, their inner page articles to perpetuate a fresh round of the urban myth of a pig-faced woman. The cover photograph for "Please Please Me", the first LP by The Beatles, was taken by Angus McBean in 1963. It showed the group looking down over the stairwell inside EMI House here, EMI's London headquarters (now demolished). A repeat photo was taken in 1969 for the cover of their then-intended "Get Back" album; it was not used when the project saw release as "Let It Be", but was eventually used on the retrospective albums "1962–1966" and "1967–1970".
Manchester Square | In film, fiction and the media
The cover for "With the Beatles" was shot by Freeman on 22 August 1963 in the Palace Court Hotel, Bournemouth, England. Freeman recalled: Paul McCartney's recollection of the session: The original idea was to paint the picture from edge to edge, with no bleeding or title, but the studio vetoed it, on the grounds that the Beatles were not yet famous enough to carry a nameless cover. (The first album to carry an edge-to-edge cover was The Rolling Stones' self-titled debut, released a few months later.) The studio also tried to pull the cover, because the Beatles were not smiling, and it was only after George Martin intervened that they won the day.
Robert Freeman (photographer) | "With the Beatles" album cover
The two sections together ran to nearly eight minutes, making it the Beatles' second-longest released track. Lennon used Harrison's Moog synthesizer with a white noise setting to create a "wind" effect that was overdubbed on the second half of the track. During the final edit, Lennon told Emerick to "cut it right there" at 7 minutes and 44 seconds, creating a sudden, jarring silence that concludes the first side of "Abbey Road" (the recording tape would have run out within 20 seconds as it was). The final mixing and editing of the track occurred on 20 August 1969, the last day all four Beatles were together in the studio.
Abbey Road | "I Want You (She's So Heavy)"
Meanwhile, the British government declared Abbey Road Studios a Grade II listed building which protected it from major alteration. The following December, the pedestrian crossing at Abbey Road was listed on the National Heritage List. Paul McCartney, speaking to BBC "Newsnight" on 16 February 2010, said there had been efforts to save Abbey Road by "a few people who have been associated with the studio for a long time," although he did not name them or include himself among them. "I have so many memories there with the Beatles," McCartney said, "It still is a great studio. So it would be lovely for someone to get a thing together to save it."
Abbey Road Studios | Controversy over sale