MOBILE FIDELITY ORIG The BEATLES ABBEY ROAD MFSL

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57

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           SCARCE ORIGINAL MASTER RECORDING  

                                 THE BEATLES

                 ABBEY ROAD   

                         ...USA - MOBILE FIDELITY - MFSL 1023

SCARCE...Original MOBILE FIDELITY Records deluxe issue of the last BRITISH release Beatles album...in stunning stereo! Original "limited edition" MOBILE FIDELITY SOUND LABS issue of the LEGENDARY ABBEY ROAD !

Contains the specially designed MFSL inner sleeve and plastic lined MFSL inner sleeve

What distinguishes an Original master Recording LP from any other record ?

1. Original Master Recordings are exclusively transferred from the original stereo master tape that the musicians recorded in the studio (not from a second, third, or fourth generation copy of that master tape).

2. Each Original Master Recording employs Mobile Fidelity Sound lab's exclusive half-speed mastering process, thus capturing every nuance of sound from the master tape.

3. Quality, not quantity, is the overwhelming consideration in the creation of each Original Master Recording. The number of pressings is strictly controlled. These limited editions assure you that the quality of the last pressing matches the quality of the first.

4. Original Master recordings are custom pressed overseas by the Victor Company of Japan (JVC). Super Vinyl, an exclusive compound far superior to even so-called 100% virgin vinyl, is utilized to achieve maximum clarity and startling quietness.... Super Vinyl also bestows unsurpassed durability to each Original Master Recording LP, achieving a "playing lifespan" at least five times longer than mass- produced records.

5. Each Original Master Recording is ultra-packaged to maintain flatness and prevent warpage.

MFSL became well known for quality vinyl pressings and went out of business in the 1990's -- their pressings are now extremely sought after and only getting harder to get by the day....

ABBEY ROAD, recorded in the summer of 1969, was the last album recorded by the Beatles (LET IT BE was released in 1970, but recorded in early '69).

After the laborious disorganization and infighting that characterized early 1969's LET IT BE sessions (as famously captured on film), the fractious four were willing to let George Martin take the reins and to work with him as a cohesive unit for the much more succinct production of their (and the decade's) swan song, ABBEY ROAD. The superb performances make the album an artistic high point for all members of the group. Paul McCartney inspired the suite of songs that begins with "You Never Give Me Your Money" Often thought of as two long medleys, the songs that fill most of the second half of ABBEY ROAD segue seamlessly into one another. From 'You Never Give Me Your Money' to "Sun King" to "Golden Slumbers" and ending with 'The End' is unprecedented in rock. George Harrison had his first A-side on a Beatles' single ("Something"); John Lennon contributed a pair of heavy rockers ("Come Together" and "I Want You"); and Ringo Starr's "Octopus's Garden" was a favorite with everyone.

The album is brilliant. From Lennon's slinky 'Come Together' to McCartney's passionate 'Oh! Darling'

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SIDE ONE:

The album opener "Come Together" was a Lennon contribution. The chorus was inspired by a song Lennon originally wrote for Timothy Leary's campaign for governor of California titled "Let's Get It Together". It has been speculated that the verses, described by Lennon as intentionally obscure, refer cryptically to each of the Beatles (e.g. "he's one holy roller" allegedly refers to the spiritually inclined George Harrison); however, it has also been suggested that the song has only a single "pariah-like protagonist" and Lennon was "painting another sardonic self-portrait". The song was later the subject of a lawsuit brought against Lennon by Morris Levy because the opening line in "Come Together"—"Here come old flat-top"—was admittedly lifted from a line in Chuck Berry's "You Can't Catch Me". George Martin has noted the track as a personal favourite.

The second track on the album later became Harrison's first A-side single. Basing the first line of the song on "Something in the Way She Moves" from James Taylor's 1968 Apple Records album James Taylor, Harrison wrote "Something" during the The Beatles sessions. After the lyrics were refined during the "Let It Be" sessions (tapes reveal Lennon giving Harrison some songwriting advice during its composition), the song was initially given to Joe Cocker, but was subsequently recorded for Abbey Road. "Something" was Lennon's favourite song on the album, and McCartney considered it the best song Harrison had written. "Something" became the first Beatles number one single that was not a Lennon/McCartney composition

"Maxwell's Silver Hammer"

"Maxwell's Silver Hammer", McCartney's first song on the album, was first performed by the Beatles during the Let It Be sessions. Lennon said the song was "more of Paul's granny music", and refused to participate in the recording of the song.

When recording "Oh! Darling", McCartney attempted recording only once a day. He said, "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." Lennon was of the opinion that it was the type of song that he would've sung the lead on, remarking that it was more his style.

"Octopus's Garden"

Ringo Starr wrote and sang one song for the album, "Octopus's Garden", his second (and last) composition released on a Beatles album. It was inspired by a trip to Sardinia that occurred when Starr left the band for two weeks with his family during the sessions for The Beatles. While there, he composed the song, which is arguably his most successful writing effort. While Starr had the lyrics nearly pinned down, the song's melodic structure was partly written in the studio by Harrison, although Harrison gave full songwriting credit to Starr.

"I Want You (She's So Heavy)" is a combination of two somewhat different recording attempts. Perhaps more than any other Beatles song, "I Want You (She's So Heavy)" reveals a pronounced progressive rock influence, with its unusual length and structure, repeating guitar riff, and "white noise" effects; the "I Want You" section has a straightforward blues structure. It also features one of the earliest uses of a Moog synthesizer to create the white-noise or "wind" effect heard near the end of the track. During the final edit, as the guitar riff and white noise effect continues on and on, Lennon told engineer Emerick to "cut it right there" at the 7:44 mark, creating a sudden, jarring silence which concluded side one of Abbey Road. The final overdub session for "I Want You (She's So Heavy)" would be the last time all four Beatles worked in the studio together.

Side two

"Here Comes the Sun" is Harrison's second song on the album and one of his best-known; it was written in Eric Clapton's garden while Harrison was absent from an Apple board meeting. "Here Comes The Sun" was influenced by the Cream song "Badge", which was co-written by Clapton and Harrison. While not released as a single, the song has received frequent radio airplay since its release.

"Because" features a Moog synthesizer, played by Harrison. The chords in the song were inspired by Ludwig van Beethoven's "Moonlight Sonata", in a roundabout way: Lennon said he "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." "Because" features three-part harmonies by Lennon, McCartney, and Harrison, which were then triple-tracked to sound like nine singers. The results of this have been compared in sound to the Beach Boys.

The climax of the album is the 16-minute medley consisting of several short songs, both finished and unfinished, blended into a suite by McCartney and Martin. Most of these songs were written (and originally recorded in demo form) during sessions for The Beatles and the "Get Back"/Let It Be sessions.

"You Never Give Me Your Money" is the first song of the Abbey Road medley. It was written by McCartney and based loosely on The Beatles' financial problems with Apple. (Paul had refused signing Allen Klein as their new manager.) It slowly and quietly follows into "Sun King" (which, like "Because", showcases Lennon's, McCartney's, and Harrison's overdubbed harmonies), "Mean Mr. Mustard" (written during The Beatles' trip to India), and "Polythene Pam" (contributed by Lennon). These in turn are followed by four McCartney songs, "She Came in Through the Bathroom Window" (written after a fan came into McCartney's residence literally through the bathroom window), "Golden Slumbers" (based on lyrics but not the music of Thomas Dekker's 17th-century song of the same name), "Carry That Weight" (featuring chorus vocals from all four Beatles), and the climax, "The End".

"The End" is notable for featuring Starr's only drum solo in The Beatles catalogue (the drums are mixed across two tracks in "true stereo"—in a similar way to the studio single version of Get Back).

CONDITION:

The cover: The thick cover is solid & crisp with only a 'touch of minor shelf wsear you really don't notice...VG++ with no writing and no split seams... collectibly nice. 

The vinyl: is all glossy smooth over both sides, VG++ having only a few very minor little soft hairline scuffs, so plays very nice and only a minor visual thing. The play grade was overy enjoyable.

keeper!

     A  GREAT ADDITION TO ANYONE'S COLLECTION !

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All imperfections are noted both cover & record