There are masterpieces and then there is Abbey Road. Very few albums in the history of recorded music maintain the mystique that Abbey Road does. From its iconic cover art, to the Paul is dead conspiracy theories, to the sonic wonderland that still eludes musicians to this day, Abbey Road is beyond perfect and this is, therefore, less of a review and more of a love letter to the fans and those remarkable individuals who made the album.

When comparing Abbey Road, it is important to note that all three versions detailed in this overview are from the same mastering sessions and therefore, logically, should be on par with each other. I can attest that that is the case as they all sound incredible, but there are some minor differences that I would like to highlight. 

The CD has plenty of punch, perhaps a little too much at times. Yes, vinyl by its very nature needs amplification but I prefer digital music that allows me to pump it to the level that I choose, yet the 2009 CD release requires me to turn the volume down to a level that is a few decibels lower than I would ultimately prefer. This increased volume is also fatigue-inducing and while I find that I can play the vinyl edition on repeat for hours on end, the treble-focused presentation of the CD can be a little jarring at times; despite it’s overall warm, for CD, tone. This is where the Apple Music edition, an Apple Digital Master, shines as the laid back analogue sound, as heard on the vinyl reissue, has made it’s way to the Apple Music edition thereby ensuring that this version is less shrill in the treble range, subsequently resulting in a much more pleasurable listening experience at all volume levels. 

It’s important to note that the vinyl reissue was pressed from a high-resolution master file and Apple Music similarly requires the high-resolution master to be presented before compressing to the AAC format; a result that is increasingly providing a much better audio quality when compared to the CD counterpart. Now, the delta between versions remains quite low and in all honesty, unless you’re comparing them, as I have, it is unlikely that you’ll be disappointed by the CD release for, as a standalone item, it is superb and an example of how good CD can sound. It is just that I prefer the tonally warmer sound that is more noticeable on the vinyl and Apple Music editions but I’ve no doubt that many CD lovers wouldn’t consider the CD release to be too clinical and clean sounding, but perfect to their ears. I’ve never been completely enamoured with accuracy and enjoy a bit of colouration, especially when it comes to the mid and low range elements, but that isn’t necessarily everyone’s taste. Truthfully, there isn’t a bad way to experience the 2009 remasters but if you’re like me, trying to find the version that best suits your tastes, then the above details will hopefully assist you with making a judgement call. 

Where the CD shines, however, is in its presentation. The Digipak folding design works well, and the included liner notes are a nice addition to peruse as you’re enjoying the music. If you’re after lyrics, however, the CD is not for you but thankfully Apple Music provides that functionality. The vinyl edition, however, is barebones with no booklet or liner notes other than the main cover sleeve. It’s a little disappointing if I’m to be completely honest. The CD is also an enhanced CD but that technology is unfortunately rather dated and if you no longer have a CD drive in your computer, then the Abbey Road Documentary is forever locked within the plastic disc. Again, the Apple Music edition provides additional functionality and thankfully the documentary is included in the digital version. I acknowledge, however, that this can be rather distracting as you’re unlikely to want to watch it every time you play the album. Thankfully, you can simply deselect it from your library and only stream it when you wish, ensuring that the music remains front and centre. 

Side One

Come Together is an incredible song and a perfect opener. Interestingly, when I first heard Come Together, it was Michael Jackson’s version and at the time I had no idea that it was a Beatles original. Well, Jackson performed it admirably with a little more pop than the original, but the ultimate masters are The Beatles and we can completely ignore Aerosmith’s bastardisation of this classic. However, if you like the classical guitar, you’re going to love Miloš Karadaglić’s version from Blackbird.   

Something is absolutely stunning, leaving me somewhat speechless upon each listen. 

Maxwell’s Silver Hammer is a fun tune, despite its darker lyrical undertones, that will get your body moving to the rhythm. I just can’t seem to sit still when listening to Maxwell’s Silver Hammer and I love McCartney’s somewhat awkward giggle during the recording. Thankfully that was kept in! 

Oh! Darling is pure McCartney. His vocal recording on this track is spectacular; the best in his career in my opinion. 

Octopus’s Garden is perfect, I love it! 

I Want You (She’s So Heavy) is one of my favourite Beatles’ songs and is a great way to close out Side One of the vinyl release. Is it just me or do you find it challenging to accurately predict the end of the song? It is almost like a game for me and I rarely get it because the song keeps going on and on and on and on but I must admit that the sharp cutoff always irritates me for a moment as I would prefer the song to simply fade away. Yes, I Want You (She’s So Heavy) very possibly could have been a disaster, but it is arguably The Beatles at their very best. 

Side Two

Here Comes The Sun is superb. Nothing more really needs to be said when a song is this good. 

Because is moody, brooding, and the ultimate sonic contrast to Here Comes The Sun. The triple-tracked harmonies are spectacular, making Because the epic we know it to be. 

You Never Give Me Your Money flows perfectly from Because and is musically gorgeous. Although, and perhaps it’s just me, at times I feel there is a little too much distortion in the guitar tracking and it can subsequently become a little distracting. 

Sun King is a little off-beat and it takes a while to get used to. While it isn’t a song that I would actively seek out on its own, it works well with the melody aspect on the second half of Abbey Road.

Mean Mr Mustard flows beautifully and is a great song. I particularly like the fuzz bass as it works extremely well for this song.

Polythene Pam shifts the musical style masterfully. A great tune! 

She Came In Through The Bathroom Window is brilliant!

Golden Slumbers is stunningly beautiful and while I admire its polished recording, getting to the point of the song, I would love it to be a full-length song, for I feel it is that good. That said, it flows perfectly into Carry That Weight and both together could ultimately be seen as a singular song. 

Carry That Weight has an incredible presence and is one song where I would have loved to have been a fly on the wall in the studio when it was recorded. Surely they knew they had a masterpiece on their hands during the recording sessions. 

The End is brilliant and is Ringo’s chance to shine with a melodic drum beat that sets the tone for the song and closes out the album perfectly; at least it would have if they hadn’t left in Her Majesty. 

Her Majesty (Hidden) is the only song on Abbey Road that I abhor. It doesn’t ruin the album for me, but it is cringeworthy and frankly unnecessary. 

I could listen to Abbey Road on repeat indefinitely and it isn’t uncommon to put the record on in the morning and still be flipping it that evening. It’s a prized possession and if I had to choose a version that I prefer, it would be the vinyl reissue for its laid back presentation as I feel it is the very best way to experience this masterpiece.

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