Tag Archives: Paul McCartney

Concert Reviews, Music, Pop Music, Retro Rock, Rock Music

Live Aid Top Performances:  London & Philadelphia 1985

Earlier this month was the 40th anniversary of Live Aid which was a two-venue benefit concert and music-based fundraising initiative held on July 13, 1985.

The Live Aid musical happening was held simultaneously at Wembley Stadium in London, England and John F. Kennedy Stadium in Philadelphia, Pennsylvania.

This event was organized by Irish singer-songwriter Bob Geldof, lead singer of the Boomtown Rats band, along with Scottish singer-songwriter and record producer James “Midge” Ure.

Geldof and Ure conceived the dual concert extravaganza after they co-wrote and collaborated together on a successful fund-raising charity single, “Do They Know It’s Christmas?” recorded by Band Aid in 1984.

More than 70 artists and bands performed over 16 hours of live music across the London and Philadelphia concerts.  For a complete listing of performing acts and ultimate info about dual charity shows, please access this Live Aid webpage.

For this article, I will be counting down what I consider to be the ten best artists and bands performing at Live Aid.

The top ten performances that I have selected are all personal favorites that I deem to be culturally, historically, aesthetically significant, meaningful or relevant.  These songs still sound good to me 40 years later.

Please note: my article is not a definitive ranking of all 70 artists that performed at the Live Aid venues in July 1985. For a more thorough accounting of this historic event, I would encourage you to search the Internet for that information.

Before I start my countdown, I will be highlighting two anthems that were performed at the end of each trans-continental shows.

At the end of the London segment, “Do They Know It’s Christmas” by Band Aid closed the U.K. concert.

And on the American side, “We Are the World” from USA for Africa was the Philadelphia finale, which ended the entire event.

Obviously, there were more outstanding musical performances at Live Aid besides those listed on my countdown. Below are some worthy artists and bands that didn’t make my top ten tabulation. Those performers are not ranked and place in a random order.

  • Crosby Stills & Nash
  • Elton John (with George Michael)
  • Led Zeppelin
  • Hall & Oates
  • The Pretenders
  • Simple Minds
  • Bryan Adams  
  • The Beach Boys
  • Crosby Stills Nash & Young
  • REO Speedwagon  
  • The Four Tops
  • Santana
  • Sade
  • Joan Baez

Without further ado, my Top 10 countdown of best Live Aid performances begin:

10.   The Who

Songs Performed:

  • “My Generation”
  • “Pinball Wizard”
  • “Love, Reign o’er Me”
  • “Won’t Get Fooled Again”

My favorite of the set list: “Won’t Get Fooled Again”

British Invasion band the Who performed 4 of their biggest and most renowned songs in London. “Pinball Wizard” from the “Tommy” rock opera and “Won’t Get Fooled Again” from the “Who’s Next” album were the highlights by this influential 20th century band.

9.     The Cars  

Song Performed:

  • “You Might Think”
  • “Drive”
  • “Just What I Needed”
  • “Heartbeat City”

My favorite of the set list: “Just What I Needed”

New Wave and power pop rock band the Cars were at the height of their popularity in 1985 when they performed at Live Aid. Leaders of the band, Benjamin Orr and Ric Ocasek, gave a spirited performance on fan favorites like “You Might Think”, “Drive” and “Just What I Needed.”

8.     Tom Petty & the Heartbreakers

Songs Performed:

  • “American Girl”
  • “The Waiting”
  • “Rebels”
  • “Refugee”

My favorite of the set list: “Refugee”

Along with his band the Heartbreakers, Tom Petty fired off four superb power pop rock songs with the raising of funds for famine relief in Ethiopia. “American Girl” and “The Waiting” were both superb, while Petty’s 1980 hit “Refugee” ended the exceptional set on a high note.

7.     Eric Clapton & Phil Collins

Songs Performed:

  • “White Room”
  • “She’s Waiting”
  • “Layla”

My favorite of the set list: “Layla”

Arguably, “Layla” is one of the greatest classic rock songs of all time.  With “Slow Hand” Eric Clapton shredding his guitar, Phil Collins on drums and Chris Stainton playing keyboards, it was an outstanding rendition of the song written by Clapton. The opening selection of “White Room” was also memorable.

6.     David Bowie

Songs Performed:

  • “TVC 15”
  • “Rebel Rebel”
  • “Modern Love”
  • “Heroes”

My favorite of the set list: “Modern Love”

David Bowie and his band played 4 up-tempo songs during his set. “Modern Love” was a rousing number with outstanding saxophone playing while the lyrics of “Heroes” fit nicely with the message and purpose of the benefit concert: “Oh, we can be heroes, just for one day.”

5.     Mick Jagger & Tina Turner

Songs Performed:

  • “Lonely at the Top”
  • “Just Another Night”
  • “Miss You”
  • “State of Shock” (w/ Tina Turner)
  • “It’s Only Rock ‘n Roll (But I Like It)” (with Tina Turner)

My favorite of the set list: “It’s Only Rock ‘n Roll (But I Like It)” (with Tina Turner)

Mick Jaggar sang 3 songs before Tina Turner joined him on stage as the pair performed “State of Shock” and “It’s Only Rock ‘n’ Roll (But I Like It).”

During this racy two-song duet, Jagger stripped off his shirt for a mid-song costume change and then dramatically ripped off Turner’s skirt. The singer’s fun and flirty chemistry electrified the audience in London.

4.     Paul McCartney  

Song Performed: “Let It Be” (w/ David Bowie, Bob Geldof, Alison Moyet and Pete Townshend)       

The beginning of “Let It Be” was sparse: Just Sir Paul playing a piano and singing solo. McCartney didn’t want any other vocalists or instruments to accompany his performance.

 At some point during McCartney’s performance, his microphone stopped working. The crowd started singing the chorus of “Let It Be” and then fellow artists Bowie, Geldof, Moyet and Townshend joined McCartney on the stage for a powerful ending of this classic Beatles ode.

3.    U2

Songs Performed:

  • “Sunday Bloody Sunday”
  • “Bad”

My favorite of the set list: “Sunday Bloody Sunday”

U2 was an up-and-coming band in 1985 and their appearance helped the Irish band achieve a new level of stardom after their two-song set.

Kicking off the performance was the anti-war anthem “Sunday Bloody Sunday” with front man Bono giving a fiery, passionate vocal delivery.  Following the U2 signature song was a 12-minute rendition of “Bad” that was a crowd favorite in London.

2.   Dire Straits & Sting

Songs Performed:

  • “Money for Nothing” (with Sting)
  • “Sultans of Swing”

My favorite of the set list: “Money for Nothing”

British band Dire Straits (DS) performed only two songs and both selections were superb. “Sultans of Swing” is my favorite DS song of all-time:  I love the guitar riffs and vocals by Mark Knopfler on this signature song by the British band.

My absolute top performance of the day by DS was “Money for Nothing.”  Joining the band on stage was Sting and his singing of “I want my MTV” reverberated throughout Wembley Stadium as DS rocked the house with their #1 summer of 1985 smash hit.

  1.  Queen

Songs Performed:

  • “Bohemian Rhapsody”
  • “Radio Ga Ga”
  • “Hammer to Fall”
  • “Crazy Little Thing Called Love”
  • “We Will Rock You”
  • “We Are the Champions”

My favorite of the set list:  “Bohemian Rhapsody”

Many music historians proclaim that Queen’s Wembley Stadium set is the greatest live rock musical performance of all-time.  The 21-minute set was actually one continuous medley of popular short snippets of some of the British band’s most beloved songs.

This was Freddie Mercury’s shining moment, along with guitarist Brian May, bassist Jon Deacon and Roger Taylor on drums.  Queen’s musical presentation is my #1 best performance during Live Aid in 1985.

That wraps up my countdown of what I consider to be the best performances at Live Aid 1985.

I realize that my listing of songs in this category was written from my point of view and is subjective. My countdown of top performances is based completely upon my personal humble opinions.

If you were creating a similar listing of outstanding Live Aid performances during 1985, your tabulation may be totally different from my selections. There are no right or wrong answers. I welcome your thoughts.

Here is hoping that you will listen to and/or watch YouTube videos of Live Aid performances after you have read this music blog message.

I still have fond memories of music that was performed at Live Aid in July 1985.  And much of the music played 40 years ago still sounds great 40 years later. Rock on!

To subscribe to my blog via email, please click the “Follow” button in the menu above.

Standard
Broadcasting, Music, Music Countdowns, Pop Music, Radio, Retro Rock, rock, Rock Music

Favorite Double-Sided 45-RPM Radio Hits of the 60s and 70s

Did you ever wonder why some artists had two hits from the same 45-rpm single during the golden age of top 40 radio?  With this edition of my musical musings, I will be counting down what I consider to be some of the best two-sided radio hits from the 60s and 70s.

The first 7-inch, 45-rpm vinyl record, a format that became known as a “single,” was released by RCA Victor in March 1949. Creation of the 45-rpm single helped to change music forever.

In simple terms, record companies labeled their singles with an A-side and a B-side. Generally, songs that record labels wanted to promote as possible hits received an A-side designation while the B-side traditionally was not considered “hit material” by a record company.

It is interesting that sometimes the A-side of a single flopped while the B-side actually became a major hit record. “Na Na Hey Hey Kiss Him Goodbye” by Steam is an excellent example of the B-side of a single actually became a #1 hit while the A-side (“Sweet Laura Lee”) never charted.

Other outliers in this category:  Occasionally, the A-side of a single becomes a hit but the B-side doesn’t initially chart.  Eventually, the original B-side is re-released as an A-side single and then becomes a hit. “Another Park, Another Sunday” and “Black Water” by the Doobie Brothers are a perfect example of this phenomenon.

Some record companies regularly promoted what is known as a Double-A Single, in which both sides of the 45-rpm record were of equal importance with regard to promotion.  Most of the time, record companies released a Double-A single from an established music artist.

In the 50s and early 60s, Elvis Presley was the king of double-sided hit singles. According to Billboard magazine, Presley achieved 39 singles where both sides reached the Billboard Hot 100 chart.

Then in the 60s, the Beatles charted 24 two-sided hits while Creedence Clearwater Revival had 7 double-sided radio hits from 1969 through 1971.

For the remainder of this message, I will be counting down what I consider to be the 5 best double-sided radio hits from the golden age of top 40 radio. 

In researching historical musical data for this article, I used “The Billboard Book of Top 40 Hits” by Joel Whitburn.  I consider Whitburn’s book to be the “bible” of Top 40 music history and I bought a second copy of this superb music guide a few years ago.

The criteria that I used for my countdown of double-sided 45-rpm singles hits:

  • Only top 40 hits in the United States from 1965 to 1975.
  • Both sides of a 45-rpm vinyl single must have charted #40 or higher on the Billboard Hot 100 chart.
  • Both sides of a 45-rpm charted #40 or higher within 6 months of the first song becoming a hit.

My countdown of the top 5 double-sided 45-rpm hits is based entirely on my opinions, songs that I consider to be my favorites. These are selections that I deem to be culturally, historically, aesthetically significant, meaningful or relevant.

Obviously, there are many more excellent double-sided hits from the golden age of top 40 radio that fell outside of my top 5 countdown. My selections below are not ranked and placed in a random order:

  • Question 67 & 68 & I’m a Man—Chicago
  • The House That Jack Built & I Say a Little Prayer—Aretha Franklin
  • All You Need is Love & Baby You’re a Rich Man—The Beatles.
  •  Up Around the Bend & Run Through the Jungle—Creedence Clearwater Revival
  •  Junior’s Farm & Sally G—Paul McCartney
  •  Pleasant Valley Sunday & Words—The Monkees
  •  Atlantis & To Susan on the West Coast Waiting—Donovan
  • There’s a Kind of Hush & No Milk Today—Herman’s Hermits
  • Green River & Commotion—Creedence Clearwater Revival
  • Get Back & Don’t Let me Down—The Beatles
  • Calypso & I’m Sorry—John Denver
  • Lookin’ Out My Back Door & Long As I Can See the Light—Creedence Clearwater Revival
  • (Sweet Baby Baby) Since You’ve Been Gone & Ain’t No Way—Aretha Franklin
  • Thank You (Falettinme Be Mice Elf Agin) & Everybody is a Star—Sly & the Family Stone
  • I’m a Believer & (I’m Not Your) Steppin’ Stone—The Monkees
  • My Sweet Lord & Isn’t It a Pity—George Harrison
  •  It’s Too Late & I Feel the Earth Move—Carole King
  • Have You Ever Seen the Rain & Hey Tonight—Creedence Clearwater Revival
  • Colour My World & Beginnings—Chicago
  • Laughing & Undun—The Guess Who
  • Paperback Writer & Rain—The Beatles
  • Who’ll Stop the Rain & Travelin’ Band—Creedence Clearwater Revival
  • Maggie May & Reason to Believe—Rod Stewart
  • So Far Away & Smackwater Jack—Carole King
  • Something & Come Together—The Beatles
  • Bad Moon Rising & Lodi—Creedence Clearwater Revival

Without further ado, my countdown of the best double-sided 45-rpm radio hits begins:

5.    Hey Jude & Revolution—The Beatles:  1968

Peak Positions on Billboard Hot 100

  • Hey Jude:  #1
  • Revolution #12

Both songs were first placed on the “Hey Jude” (original title: The Beatles Again) album, which is a collection of non-album singles and B-sides by the Beatles. Released February 1970.

These songs were recorded during the Beatles “White Album” sessions but left off the 30-track double LP (November 1968).  This Double-A sided 45-rpm single became the first Beatles’ recordings that were released on Apple Records by the band.

  • Revolution:  Co-written/credited as a John Lennon & Paul McCartney song.  It was primarily written by Lennon.

Lyrics for “Revolution” came about as some anti-war moment members were calling out for violence to achieve their goals.  Lennon, being a peace activist, believed in non-violent methods to promote peaceful transitions.

The Beatles rocked with a message of social change on this hard driving tune. I rate “Revolution” as the 8th best protest and social justice anthem from the 60s and 70s.

  • Hey Jude: Co-written/credited as a John Lennon & Paul McCartney song. It was primarily written by McCartney.

One of the signature songs for British band.  “Hey Jude” spent 9 weeks at the top of Billboard’s singles chart and is ranked as the #1 song of 1968. It also was Billboard’s biggest charting single of the 60s decade.

The Beatles successful song has been inducted into the Grammy Hall of Fame, the Rock and Roll Hall of Fame and National Academy of Recording Arts & Sciences Grammy Hall of Fame. Without a doubt, this track remains one of the Fab Four’s most enduring singles.

4.    American Woman & No Sugar Tonight—The Guess Who:  1970

Peak Position on Billboard Hot 100:  Both songs reached #1

These songs are found on the “American Woman” album. Released January 1970.

  • No Sugar Tonight

Released as the B-side. “No Sugar Tonight” is a stand-alone track on the 45-rpm single. However, the song is actually part of the “No Sugar Tonight/New Mother Nature” medley that is found on the Guess Who’s “American Woman” album.

Co-written by Burton Cummings and Randy Bachman. Classic rock and classic hits radio stations do not separate the “No Sugar Tonight/New Mother Nature” medley in 2025 like top 40 stations did back in 1970.

  • American Woman

Co-written by Burton Cummings, Garry Peterson, Jim Kale & Randy Bachman: According to Billboard, it was the third biggest Song of 1970 and the most popular track in the U.S. by the Canadian band.

Randy Bachman of the Guess Who stated in 2014 that “American Woman” was an anti-war protest song against the Vietnam conflict from a Canadian point of view. Of course, lyrics can also be interpreted literally as guys from Canada not wanting anything to do with women from the U.S.

3.    Wouldn’t It Be Nice & God Only Knows—The Beach Boys:  1966

Peak Positions on the Billboard Hot 100

  • Wouldn’t It Be Nice: #8
  • God Only Knows: #39

Both songs from the “Pet Sounds” album. Released May 1966

  • God Only Knows

Issued as the B-side. Co-written by Brian Wilson and Tony Asher. Like many of the songs on the Beach Boys “Pet Sounds” album, around 20 session musicians played on this orchestral masterpiece. Single is in the sub-genre Baroque pop classification.

“God Only Knows” is renowned for its beautiful harmonic structure and innovative complexity. Rolling Stone magazine ranks it at number 11 on their “500 Greatest Songs of All Time” listing and Paul McCartney proclaims the Beach Boys single to be the greatest song ever written.

  • Wouldn’t It Be Nice

 Co-written by Brian Wilson, Tony Asher & Mike Love. Wilson produced this classic “Sunshine Pop” song himself by using the “Wall of Sound” production technique, with 18 different instruments played on the track.  The Beach Boys single is considered ground-breaking and influential for future sub-genres of rock music: Power pop and progressive pop.

This track is superb and has a melodic tune and excellent vocal harmonies. Pitchfork ranks Wilson’s gem at number 7 on their “200 Best Songs of the 1960s” listing.  Without any doubt, “Wouldn’t It Be Nice” is my favorite number one, “Sunshine Pop” song of the 60s.

2.    Fortunate Son & Down on the Corner—Creedence Clearwater Revival:  1969

Peak Position on the Billboard Hot 100: Both songs reached #3.

From the “Willie & the Poor Boys” album. Released October 1969

  • Down on the Corner

Produced and written by John Fogerty.  The tune on this ditty contains a calypso beat and is a feel-good story about Willy and the Poor Boys, a fictional jug band who were street musicians. The song makes reference to a harmonica, washboard, a kazoo, a Kalamazoo guitar, and a gut bass.

Initially, “Down on the Corner” was the B-side of the CCR single. It quickly became just as popular as the A-side “Fortunate Son” song. The band came up with the name “Willie and the Poor Boys” for their 1969 album, from the lyrics to this “swamp rock” classic song.

  • Fortunate Son

Written by John Fogerty. Released in September 1969 during the peak period of American involvement in the Vietnam War, this ode quickly became an anti-war movement anthem and is considered a signature song for its author, singer-songwriter Fogerty.

The former CCR front man recently explained with a post on X, “Fortunate Son is a song I wrote during the Vietnam War, inspired by the stark contrast between those who were drafted to fight and die for their country and those who had the privilege to avoid the draft because of their wealth and connections.”

“Fortunate Son” is my favorite John Fogerty/CCR track of all-time and I rate it as the #1 best protest and social justice song of the 60s and 70s.

  1. Penny Lane & Strawberry Fields Forever—The Beatles:  1967

Peak Positions on Billboard Hot 100

  • Penny Lane #1
  • Strawberry Fields Forever:  #8

Both songs were placed on the “Magical Mystery Tour” (MMT) album which was divided into separate song categories:  Side 1: Soundtrack songs from “MMT” and Side 2:  Tracks from the 1967 Beatles’ non-album singles.

These songs were recorded during the “Sgt. Pepper’s Lonely Hearts Club Band” sessions but left off that 13-track album (Summer of Love 1967).

  • Strawberry Fields Forever
  • Co-written/credited as a John Lennon & Paul McCartney song.  It was primarily written by Lennon.

Double-A sided hit. John Lennon based the song on his childhood memories of playing in the garden of Strawberry Field, a Salvation Army children’s home in Liverpool, England. Musically, the sound on this song had a much different feel than any other Beatles singles released before 1967.

Strawberry Fields Gate: Liverpool, England. Photo courtesy of Dave Delaney

With a psychedelic rock sound, “Strawberry Fields Forever” was ground breaking. Beatles producer George Martin utilized diverse recording techniques such as reverse-recorded instrumentation, Mellotron flute sounds, an Indian Swarmandal (or harp), a fade-out/fade-in coda, as well as a cello and brass arrangement.

The combination of musical instruments, studio space-age sound effects and Lennon’s vocals, helped to make “Strawberry Fields Forever” a landmark recording in the psychedelic pop rock genre of music. Rolling Stone magazine ranks at #7 on their “500 Greatest Songs of All Time” list.

  • Penny Lane
  • Co-written/credited as a John Lennon & Paul McCartney song. It was primarily written by McCartney.

I rate “Penny Lane” as my second favorite Beatles song of all-time. The lyrics of the single refer to a street in Liverpool, and make mention of the sights and characters that Paul McCartney recalled from his upbringing in the city. 

Just like the song “Strawberry Fields Forever”, the Beatles became avant-garde pop rock composers and broke new ground with instrumentation with the recording of “Penny Lane.”  Music historians declare that the single is a cross between progressive and Baroque pop. The song was inducted into the Grammy Hall of Fame in 2011.

McCartney’s ode uses many instruments not associated with most Beatles songs: flutes, piccolos, oboes, trumpets and a flugelhorn.  It became the 13th Beatles single to peak at #1 on the Billboard Hot 100 during March 1967.

When I discovered Top 40 radio on WROV Roanoke in early 1967, the first song that I remember liking was “Penny Lane.”  Sometime in the spring of that year, I went to Sears and bought a 45-rpm single of my favorite Beatles song. It was the first vinyl record that I bought with my own money and still own it here in 2025.

Without a doubt, the Beatles, “Penny Lane/Strawberry Fields Forever” is my #1 favorite double-A sided single from the golden age of top 40 radio.

That wraps up my countdown of what I consider to be the 5 best double-sided 45 rpm singles from the golden age of Top 40 radio. I realize that my listing of songs in this category was written from my point of view and is subjective.

If you were creating a similar register of excellent double-sided singles from the 60s and 70s, your tabulation may be totally different. What do you consider to be best preeminent double-sided hit singles in this category? There are no right or wrong answers. I welcome your thoughts.

I still love all of the double-sided singles that are in my countdown above and fondly remember hearing those songs played on the radio when I was growing up. I still cherish those singles here in 2025.  Rock on!

To subscribe to my blog via email, please click the “Follow” button in the menu above.

Standard
Album Review, Broadcasting, Music, Music Countdowns, Pop Music, Radio, Retro Rock

The Beatles Abbey Road Album at 55

Photo above:  Yours truly, DJ Dave with my three-year old dog Abbey Road, whom I named after the legendary album by the Beatles. Photo credit: Stephanie Woodson.

It is hard to believe that it has been 55 years since the Beatles “Abbey Road” (AR) album was released during the fall of 1969.  Arguably, the last studio album that was recorded by the British rock band is among the most renowned rock albums from the late 60s.

The “Abbey Road” album had two release dates:  In the United Kingdom, the LP came out on September 26, 1969 while in the United States, AR became available almost a week later on October 1st.

On this 55th anniversary of the 1969 Beatles album, I am sharing my thoughts on how the music of Abbey Road has aged, along with historical significance of individual songs.  I will also have a countdown on what I consider to be the 8 best full-length tracks on AR.

 I must note: this message is not a review of the Fab Four’s AR album.  For those wanting to read opinions on the 1969 LP, there are plenty of online sources to view what others have written about “Abbey Road.”

The Beatles masterpiece LP is rated at #5 on Rolling Stone magazine’s “500 Greatest Albums of All Time” listing. Most music historians in 2024 praise AR as an outstanding Fab Four compilation.  

“Abbey Road” contains 17 songs: It starts with 8 full-length tracks and ends with a 16-minute medley of 9 short songs. I will be describing the AR songs in a couple of groupings.

The first category will be breaking down the 9-song medley, while in the second section I will countdown my ranking of the AR 8 full-length tracks.

Here are the 9 medley songs:

  • 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

As I recently re-listened to the Beatles 16-minute medley, I came away appreciating the brilliance of what some have nicknamed “The Abbey Road Suite.”

I believe the AR medley was a foundational building block for the progressive rock sub-genre of music that became popular in the early 70s. This outstanding medley utilizes a variety of musical instruments, many that weren’t normally associated with pop rock sounds in 1969.

Some main characteristics of the 9-song medley and interesting facts:

  • Classical and jazz music elements
  • Multiple tempo changes within songs
  • Subject matter with lyrics in songs are mostly unrelated
  • Songs tied together by chord transitions and/or sound effects
  • The last song “Her Majesty” is considered a “hidden track” and is only 14 seconds long

My favorite 3 songs on the medley are “Golden Slumbers/Carry that Weight/The End.”  I have seen Paul McCartney twice in concert during the past ten years and at both shows, he ended his encore performance with these 3 songs from the AR medley.

Now it is on to my countdown of the 8-full-length tracks on AR.  Here are the songs in order of placement on the album:

  • Come Together
  • Something
  • Maxwell’s Silver Hammer
  • Oh! Darling
  • Octopus’s Garden
  • I Want You (She’s So Heavy)
  • Here Comes the Sun
  • Because

My countdown goes from what I consider to be the least significant song to the number 1 overall best Beatles track on “Abbey Road.”

8.    Maxwell’s Silver Hammer

Primarily written by Paul McCartney 

Credited as a Lennon/McCartney written song

McCartney has lead vocals on song

A tune that has an upbeat sound, is catchy and sounds pleasant but the song is actually Paul McCartney’s contribution to “death pop.”  A student named Maxwell Edison commits homicides with a hammer.  Ringo Starr cleverly plays an anvil on this avant-garde ode.

 7.    Octopus’s Garden

Written by Ringo Starr & Beatles drummer sings lead vocals

This whimsical ditty was only the 2nd song written by Ringo recorded by the Beatles.  Starr created “bubbling sound effects” for his country flavored tune. Jim Henson’s Muppets covered the song with multiple Sesame Street videos.  Starr published a children’s book called “Octopus’s Garden” in 2013.

6.     Because

Primarily written by John Lennon

Credited as a Lennon/McCartney written song

Lennon has lead vocals on song

The Beatles Bible states that John Lennon wrote “Because” after he heard Yoko Ono play Ludwig van Beethoven’s Moonlight Sonata on a piano. The track features a harpsichord and Moog synthesizer. Has dreamy 3-part harmonies by Harrison, McCartney and Lennon.

5.    I Want You (She’s So Heavy)

Primarily written by John Lennon

Credited as a Lennon/McCartney written song

Lennon has lead vocals on song 

An almost 8-minute tune. Written as a love song to Yoko Ono by John Lennon. It incorporates progressive rock sounds. The most psychedelic composition on the AR album. Billy Preston is guest organist. Multi-tracked guitars, driving bass and a Moog synthesizer blend together for a superb musical delight.

4.    Oh! Darling

Primarily written by Paul McCartney

Credited as a Lennon/McCartney written song

McCartney has lead vocals on song

The British band paid tribute to 50s rock ‘n’ roll, R&B and doo-wop sounds on this throwback track with a catchy melody. The Trio of Lennon, Harrison and McCartney recorded outstanding three-part doo-wop vocal harmonies to backup Sir Paul’s larynx-shredding lead vocals.

3.    Come Together

Primarily written by John Lennon

Credited as a Lennon/McCartney written song

Lennon has lead vocals on song

“Come Together” was released as a double-A-sided 45-rpm single along with “Something” on October 6, 1969. It peaked at #1 on the Billboard Hot 100. Hard driving blues rock tune. Paul McCartney’s exceptional melodic bass line riff rocks on this tune.

Who knows what this John Lennon sardonic nonsensical lyric actually means? The phrase, “Here comes old flat-top” is a direct quote from Chuck Berry’s, 1956 song “You Can’t Catch Me.”  Ringo Starr proclaimed in 2021 that “Come Together” was his favorite Beatles song of all time.

2.    Something

Written by George Harrison & Beatles guitarist sings lead vocals

“Something” was released as a double-A-sided 45-rpm single along with “Come Together.”  This George Harrison penned love ballad to his first wife Pattie Boyd, is the only Beatles #1 song not written by Lennon/McCartney.

The opening lyric was taken from the title of “Something in the Way She Moves”, a track by another Apple Records artist James Taylor. Harrison’s guitar riffs on this tune are exquisite.

 This song received the Ivor Novello Award for “Best Song Musically and Lyrically” in 1969, ranked as the 17th-most recorded song of the 20th century and is #110 on Rolling Stone Magazine’s “500 Greatest Songs of All Time” listing.

  1.   Here Comes the Sun

Written by George Harrison & Beatles guitarist sings lead vocals

Without a doubt, I consider “Here Comes the Sun” as the best song on “Abbey Road.”  I place this melodic acoustical tune as my 5th favorite Beatles song of all-time.

Together with his second contribution to AR, “Something”, many music historians place Harrison’s song-writing on par with that of Lennon & McCartney.  The “Quiet Beatle” wrote his beloved composition when he was outside visiting his friend Eric Clapton’s home in early 1969.

An exceptional acoustic guitar part by Harrison was enhanced by producer George Martin’s hiring of an orchestra of violas, cellos, piccolos, flutes and clarinets.  It gives this cheerful pop song a classical feel.

During the 21st century, Harrison’s track is the most streamed Beatles song on Spotify and other online music platforms around the world.  Folks of all ages love the positive, encouraging message of Harrison’s number 1 AR song on my countdown: “Here Comes the Sun.

That wraps up my musical musings of the Beatles “Abbey Road” album at 55.  I look forward reading your comments below on any aspect of AR, including what you consider to be the best song on the album.

As music historians state, the Beatles had much tension when recording tracks for “Abbey Road” and were on the verge of breaking up.  Hardly anyone knew that AR would be the swansong achievement for the greatest rock band of the 20th century.

I rate the Beatles “Abbey Road” as a masterpiece and one of the best albums from the late 60s.

I close this article by quoting lyrics from the last song recorded collectively by all four of the Beatles and also the final song of the AR medley, “The End.”  Rock on!

“And in the end, the love you take, Is equal to the love you make.”

To subscribe to my blog via email, please click the “Follow” button in the menu above.

Standard