Song Info:

The last song to be recorded for Abbey Road was Lennon's Because - a three-part harmony in C sharp minor insured by hearing Yoko Ono play the Adagio sostenuto of Beethoven's Piano Sonata No.14, Op. 27 No. 2 (Moonloght). Overdubbed twice, making nine voices in all, the harmony in one of the most complex of any of the group's records and, even under the guidance of George Martin, took them some while to learn. Accompanied by continuous arpeggios on harpsichord (left), guitar (right), and synthesiser (centre), the choral melody has an icy grandeur which fails to engage the emotions, instead floating on the lofty breeze of its high-flown word-play. Many have admired this song's mood of visionary detachment without taking account of the heroin then flowing coldly around its composer's body. Fifty days after finishing Because, he was back in the studio howling his addiction in 'Cold Turkey'.

Abbey Road is The Beatles' most technically accomplished album, its eight-track recordings filled with crystal-clear sounds, crispy EQ'd, if sometimes oddly mixed. The bass-end, which the group had been improving since 1966, is deep and rich, with Starr's kit captured more ringingly than ever. (His bass-drum, in particular, really socks home.) A sheen of spacious luxury is provided by the use of the Moog synthesiser (1) and Harrison's ubiquitous Leslie-toned guitar. With George Martin back at the helm after the anarchic period of The Beatles and the chaos of the 'Get Back' sessions, the production is smooth and disciplined. The actual content, however, is erratic and often hollow. Now fondly called recalled by McCartney, Starr, and Martin (although not by the reliably dry Harrison), Abbey Road was recorded in a peculiarly volatile atmosphere veering from friendly tolerance to childish violence. Lennon twice argued savagely with McCartney, at one point taking a less-than-peaceful swing at his wife Linda (2). Another major schism flared when Ono took one of Harrison's chocolate digestives without asking him. For a while, Lennon wanted his songs on one side of the album and McCartney's on the other (3).

The creative energy of The Beatles' earlier recordings was all but gone, over a third of the album's material was a year old (4) - and had it not been for McCartney's input as designer of the Long Medley (which Lennon disliked), Abbey Road would have lacked the semblance of unity and coherence that makes it appear better than it is. (5)

(1) This instrument, the first of its kind to be marketed commercially, was then very new, having been previously used on record mainly by Walter (later Wendy) Carlos, its co-developer with Dr Robert Moog. Harrison, who acquired his in California in November 1968, first used it on his album Electronic Sounds, issued by Apple's experimental label Zapple in May 1969. Because was the first Abbey Road track to be overdubbed with the Moog. Others were (in order): Maxwell's Silver Hammer (played my McCartney), I Want You (played by Lennon), and Here Comes The Sun (played by Harrison). - back -

(2) McCartney's recollections of the Abbey Road sessions are beyond doubt to some extent rose-tinted. Even he admits that he was rebunked by Harrison and Starr for being too overbearing (Musician, October 1986). Gill Pritchard, then an Apple Scruff, recalls that, one one evening during the closing dates for Abbey Road, he 'came racing out of the front door of the studio in tears, went home and didn't come back. The next day he didn't turn up at all even though the studio was booked'. (Mojo, October 1996.) McCartney's failure on this - or another? - occasion provoked a furious Lennon to hammer on his door and clamber over the garden wall for a shouting match with him, during which he smashed a picture he had given McCartney (the latter's favourite painting). - back -

(3) Asked about Maxwell's Silver Hammer only a month after finishing Abbey Road, Lennon replied 'That's McCartney, as you might know. We don't really write together any more.' In the same interview (Mojo, November 1995), he anticipated Something and Come Together being issued together as a single: So I can listen to (them) without having to listen to the rest of the album.' - back -

(4) Something, Octopus's Garden, Maxwell's Silver Hammer, Sun king / Mean Mister Mustard, Polythene Pam/ She Came In Through The Bathroom Window. - back -

(5) At on stage, its working title was Everest (after engineer Geoff Emerick's favoured brand of cigarettes), but when it was suggested that the group fly to the Himalayas to shoot a cover, they discovered themselves prepared to go no further than just outside the studio - hence the cover and title. - back -

Anthology notes:

Recorded EMI Studios, London, 1 and 4 August 1969 Producer George Martin
Engineers Geoff Emerick, Phil McDonald

Using the fine acoustics of Abbey Road's Studio One, this remix exposes the exquisite vocal harmonies recorded by John Lennon, Paul McCartney and George Harrison for john's song Because. Clearly, the Beatles enjoyed an innate ability to harmonise, and in their earlier recording days had written two songs, This Boy and Yes It Is, with three-part vocals to the fore. Instrumentation on the Abbey Road mix of Because was sparse - spinet electric harpsichord, bass, electric guitar and overdubbed Moog synthesiser - but here it has been stripped away to reveal the nine voices (the vocals were recorded once and then overdubbed twice more by the three Beatles) in isolation.

recording Info:

An acoustic demo version of this song was performed by John Lennon and recorded on May 26, 1969, during the Montreal Bed-In. This demo can be heard on the home video release "Bed-In."

The Beatles began recording 'Because' on August 1, 1969. Twenty-three takes (1 - 23) of the basic track were recorded, take 16 being "best." George Martin supplied the Baldwin spinet electric harpsichord for this take. This basic take has been bootlegged and can be found on "Abbey Road Show 1983" (CD).

The first three-part harmony vocal by John, Paul McCartney and George Harrison were added to take 16 this day also. Two more three-part harmony vocals were added August 4, making nine-part harmony altogether. This vocal track was released in both the US and the UK on October 29, 1996 on "The Beatles Anthology Volume 3."

George Harrison added two Moog synthesizer overdubs on August 5. Two stereo mixes were prepared August 12 (remixes 1 and 2 of take 16) and the track was complete. This song was first released on the album "Abbey Road" on September 26, 1969.

It has been reported that a mono version of the "Abbey Road" album was released in England in September of 1970 on pre-recorded, open-reel tapes. No record of a mono mix of the tracks of the album exists. This may be a simulated mono release.