• Published on 1969
• Author: Lennon/McCartney
• Track 11 on “Abbey Road“

JOHN 1980: “I’d read somewhere in the newspaper about this mean guy who hid his five-pound notes, not up his nose but ‘somewhere else.’ No, it had nothing to do with cocaine.”

PAUL circa-1994: “‘Mean Mr Mustard’ was very John. I liked that. A nice quirky song.”

About “Mean Mr. Mustard”

Written by John Lennon and credited to Lennon–McCartney, it is the third track of the album’s B-side medley. It was recorded with “Sun King” in one continuous piece.

The song was written during the Beatles’ stay in India; Lennon said that it was inspired by a newspaper story about a miser who concealed his cash wherever he could in order to prevent people from forcing him to spend it. On reflection, Lennon did not think highly of the composition, dismissing it in Anthology as “a bit of crap I wrote in India.”

A demo version of the song was recorded in May 1968 at Kinfauns, George Harrison’s home in Esher. It appears on Anthology 3 and the 2018 Deluxe Edition of The Beatles. In this version, Mustard’s sister is named Shirley. Lennon changed it to Pam when he saw the opportunity to ease the segue into the song “Polythene Pam“, which follows “Mean Mr. Mustard” on the album. According to Lennon, “In ‘Mean Mr. Mustard’, I said ‘his sister Pam’—originally it was ‘his sister Shirley’ in the lyric. I changed it to Pam to make it sound like it had something to do with it.”

As eventually recorded, “Mustard” originally was to end in the chord of D major—this would have led into the next track in the climactic medley, “Her Majesty“. However, since the latter song was moved to the end of the album, “Mustard” instead hard-edits into “Polythene Pam“, and thus the final note of “Mustard” would open “Her Majesty“. as a stand-alone track at the album’s conclusion. The complete version of “Mustard” (with its original clean ending) can be heard on The Beatles: Rock Band video game, as well as Abbey Road’s 2019 Super Deluxe Edition.

Meaning of “Mean Mr. Mustard”

The song’s lyrics paint a vivid picture of a peculiar character named Mr. Mustard, portrayed as an eccentric individual with peculiar habits. This characterization could be a playful exploration of oddity and quirkiness. Some listeners and critics have speculated that Mr. Mustard may be a symbolic figure representing societal outcasts or unconventional individuals who don’t fit into traditional norms.

“Mean Mr. Mustard” is part of a medley on the “Abbey Road” album, sandwiched between “Sun King” and “Polythene Pam.” Its offbeat lyrics and character stand out in contrast to the dreamy atmosphere of “Sun King” and the energetic narrative of “Polythene Pam.”

Like many of The Beatles’ songs, “Mean Mr. Mustard” may not have a concrete, literal meaning. Instead, it could serve as an exercise in creative expression and wordplay, showcasing the band’s penchant for imaginative storytelling.

Ultimately, the true meaning of “Mean Mr. Mustard” may remain known only to the songwriters, and it’s possible that even they may have left room for interpretation. The song’s enigmatic lyrics and catchy melody contribute to its enduring popularity among fans of The Beatles.

Personnel

• John Lennon – lead and harmony vocals, rhythm guitar, piano
• Paul McCartney – harmony vocals, fuzz bass
• George Harrison – lead guitar
• Ringo Starr – drums, tambourine, maracas

• Published on 1969
• Author: Harrison
• Track 7 on “Abbey Road“
• Track 22 on “The Beatles 1967-1970” (Blue Album)

GEORGE 1980: “…written at a time when Apple was getting like school, where we had to go and be businessmen– all this signing accounts, and ‘sign this’ and ‘sign that.’ Anyway, it seems as if winter in England goes on forever; by the time spring comes you really deserve it. So one day I decided, ‘I’m going to sag-off Apple,’ and I went over to Eric Clapton’s house. I was walking in his garden. The relief of not having to go and see all those dopey accountants was wonderful. And I was walking around the garden with one of Eric’s acoustic guitars, and wrote ‘Here Comes The Sun.’”

About “Here Comes The Sun”

“Here Comes The Sun” was written by George Harrison and is one of his best-known compositions. Harrison wrote the song in early 1969 at the country house of his friend Eric Clapton, where Harrison had chosen to play truant for the day to avoid attending a meeting at the Beatles’ Apple Corps organisation. The lyrics reflect his relief at the arrival of spring and the temporary respite he was experiencing from the band’s business affairs.

The Beatles recorded “Here Comes the Sun” at London’s EMI Studios in the summer of 1969. Led by Harrison’s acoustic guitar, the track features a Moog synthesizer, which he had introduced to the band’s sound after acquiring an early model of the instrument in California. Reflecting the continued influence of Indian classical music on Harrison’s writing, the composition includes several time signature changes.

“Here Comes the Sun” has received acclaim from music critics. Combined with his other contribution to Abbey Road, “Something“, it gained for Harrison the level of recognition as a songwriter previously reserved for his bandmates John Lennon and Paul McCartney. “Here Comes the Sun” was the track used to promote the 50th anniversary reissue of Abbey Road in 2019. It peaked at number 3 on the US Billboard Hot Rock Songs chart at that time and has since been certified double platinum for UK sales since 2010. As of 2021, it was the most streamed Beatles song on Spotify globally.

Harrison played the song during many of his relatively rare live performances as a solo artist, including at the Concert for Bangladesh in 1971 and, with Paul Simon, during his appearance on Saturday Night Live in 1976. Richie Havens and Steve Harley & Cockney Rebel each had hit singles with “Here Comes the Sun” in the 1970s. Nina Simone, George Benson, Booker T. & the M.G.’s, Peter Tosh and Joe Brown are among the many other artists who have covered the song.

Meaning of “Here Comes The Sun”

“Here Comes the Sun” is known for its optimistic and uplifting tone, and its meaning is often interpreted as a celebration of new beginnings, hope, and the arrival of better times.

The lyrics convey a sense of relief and joy, with Harrison expressing his happiness at the arrival of a new day after a long and cold winter. The phrase “Here comes the sun” is a metaphor for the emergence of positivity and warmth after a period of darkness and difficulty.

At the time of writing the song, George Harrison was experiencing a period of personal and creative growth. The composition of “Here Comes the Sun” coincided with a time when Harrison was feeling inspired and rejuvenated, which is reflected in the song’s cheerful and hopeful lyrics.

Overall, “Here Comes the Sun” is often seen as a song about embracing change, finding light in dark times, and looking forward to a brighter future. It has become one of the most beloved and enduring songs in the Beatles’ catalog, celebrated for its timeless message of optimism and renewal.

Personnel

The Beatles

• George Harrison – lead and backing vocals, acoustic and electric guitars, harmonium, moog synthesizer, handclaps
• Paul McCartney – backing vocal, bass, handclaps
• Ringo Starr – drums, handclaps

Additional musicians

• Uncredited – four violas, four cellos, double bass, two piccolos, two flutes, two alto flutes, two clarinets
• George Martin – orchestral arrangement and conducting

• Published on 1969
• Author: Lennon/McCartney
• Track 17 on “Abbey Road”

PAUL 1969: “That was just… I don’t know. I was in Scotland, and I was just writing this little tune. I can never tell, like, how tunes come out. I just wrote it as a joke.”

About “Her Majesty”

Written by Paul McCartney and credited to Lennon–McCartney, it is a brief tongue-in-cheek music hall song. Although credited to the band, McCartney is the only Beatle to appear on the track. “Her Majesty” is the final cut on Abbey Road and appears 14 seconds after the previous song “The End”, but was not listed on the original sleeve. Some observers consider it the first example of a hidden track.

Interestingly, “Her Majesty” was initially intended to be a part of the longer suite of songs that conclude the Abbey Road album. However, during the editing process, McCartney decided to have it removed. Instead of discarding the snippet entirely, producer George Martin added it to the end of the album as a hidden track, creating a surprise for listeners. This decision added to the song’s quirky and unexpected charm.

The song was recorded in three takes on 2 July 1969, prior to the Beatles beginning work on “Golden Slumbers/Carry That Weight”. McCartney sang and simultaneously played a fingerstyle acoustic guitar accompaniment. The decision to exclude it from the Abbey Road medley was made on 30 July. It runs only 23 seconds, but the Beatles also recorded a longer version during the Get Back sessions.

Meaning of “Her Majesty”

The song’s meaning is relatively straightforward. “Her Majesty” is a brief, cheeky ode to the British monarchy, specifically Queen Elizabeth II at the time. It employs a playful and irreverent tone, suggesting a casual affection for the Queen.

The lyrics reflect a playful admiration for Her Majesty, with McCartney singing about wanting to “tell her about the love [he’s] found” and his desire to “make her a part of [his] world.” The tone is light and slightly tongue-in-cheek, reflecting the Beatles’ penchant for incorporating humor and wit into their music.

In summary, “Her Majesty” can be seen as a playful, good-natured tribute to Queen Elizabeth II, showcasing McCartney’s whimsical songwriting style. Its unconventional placement on the album also contributes to its unique character within the Beatles’ discography.

Personnel

• Paul McCartney – lead vocals, acoustic guitar

• Published on 1969
• Author: Lennon/McCartney
• Track 14 on “Abbey Road“

GEORGE 1969: “Another very melodic tune of Paul’s which is also quite nice.”

JOHN 1969: “It was up to Paul where he went with violins and what he did with them, and I think he wanted a stright kind of backing– nothing freaky.”

PAUL 1969: “I was just playing the piano in Liverpool at my dad’s house, and my sister Ruth’s piano book… she was learning piano… and ‘Golden Slumbers and your old favorites’ was up on the stand, you know– it was a little book with all those words in it. I was just flipping through it and I came to ‘Golden Slumbers.’ I can’t read music so I didn’t know the tune… I can’t remember the old tune… so I just started playing ‘my’ tune to it. And then, I liked the words so I just kept that, you know, and then it fitted with another bit of song I had– which is the verse in between it. So I just made that into a song. It just happened ‘cuz I was reading her book.”

About “Golden Slumbers”

Written by Paul McCartney and credited to Lennon–McCartney, it is the sixth song of the album’s climactic B-side medley. The song is followed by “Carry That Weight” and begins the progression that leads to the end of the album. The two songs were recorded together as a single piece, and both contain strings and brass arranged and scored by producer George Martin.

“Golden Slumbers” is based on the poem “Cradle Song” from the play Patient Grissel, a lullaby by the dramatist Thomas Dekker. McCartney saw sheet music for “Cradle Song” at his father’s home in Liverpool, left on a piano by his stepsister Ruth. Unable to read music, he created his own music.

McCartney uses the first stanza of the original poem, with minor word changes, adding to it a single lyric line repeated with minor variation. In the 1885 collection “St Nicholas Songs”, p. 177, is W J Henderson’s music set to the poem, titled “Golden Slumbers Kiss Your Eyes”. Abbey Road does not credit Dekker with the stanza or with the title. Thomas Dekker’s poem was set to music by W J Henderson in 1885, Peter Warlock in 1918, also by Charles Villiers Stanford and Alfredo Casella.

McCartney was the lead vocalist. He begins the song in a soft tone appropriate for a lullaby, with piano, bass guitar, and string section accompaniment. The drums come in on the line “Golden slumbers fill your eyes”, and McCartney switches to a stronger tone, both of which emphasise the switch to the refrain. McCartney said, “I remember trying to get a very strong vocal on it, because it was such a gentle theme, so I worked on the strength of the vocal on it, and ended up quite pleased with it.”

The main recording session for “Golden Slumbers”/”Carry That Weight” was on 2 July 1969. John Lennon was not present, as he had been injured in a motor vehicle accident in Scotland on 1 July, and was hospitalised there until 6 July.

Drums, timpani, and additional vocals were added in an overdub session on 31 July, the same day the first trial edit of the side two medley was created, with Lennon participating in the session. On 15 August, orchestral overdubs that marked 30 musicians altogether were added to “Golden Slumbers” and five other songs on Abbey Road.

Scottish band White Trash recorded “Golden Slumbers/Carry That Weight” which was released as a single on Apple Records a week prior to the Abbey Road release.

Meaning of “Golden Slumbers”

The lyrics of “Golden Slumbers” evoke a sense of comfort, warmth, and a lullaby-like atmosphere.The term “Golden Slumbers” is a metaphor for a peaceful and blissful state of rest or sleep. The song’s lyrics speak to a soothing and protective presence, suggesting a sense of security and contentment. It conveys a message of care and reassurance, perhaps akin to a parent singing a lullaby to a child.

McCartney, inspired by Thomas Dekker’s poem “Cradle Song,” incorporated its sentiments into the song, adding his own musical interpretation.

Overall, “Golden Slumbers” can be interpreted as a gentle and heartfelt expression of comfort, love, and protection, making it a universally relatable and emotionally resonant song.

Personnel

The Beatles

• Paul McCartney – lead vocals, piano
• George Harrison – 6-string bass guitar
• Ringo Starr – drums, timpani

Additional musicians

• Unnamed session musicians – twelve violins, four violas, four cellos, double bass, four horns, three trumpets, trombone, bass trombone
• George Martin – orchestral arrangement

• Published on 1969
• Author: Lennon/McCartney
• Track 4 on “Abbey Road“

JOHN 1980: “‘Oh! Darling’ was a great one of Paul’s that he didn’t sing too well. I always thought that I could’ve done it better– it was more my style than his. He wrote it, so what the hell, he’s going to sing it. If he’d had any sense he should have let me sing it.” (laughs)

PAUL circa-1994: “I mainly remember wanting to get the vocal right, wanting to get it good, and I ended up trying each morning as I came into the recording session. I tried it with a hand mike, and I tried it with a standing mike, I tried it every which way, and finally got the vocal I was reasonably happy with. It’s a bit of a belter and if it comes off lukewarm then you’ve missed the whole point. It was unusual for me– I would normally try all the goes at a vocal in one day.”

GEORGE: “A typical 1950s–’60s-period song because of its chord structure”

Info about “Oh! Darling”

“Oh! Darling” was primarily composed by Paul McCartney with some input from John Lennon. It was released on 1969 album “Abbey Road.” The initial working title for the song was “Oh! Darling (I’ll Never Do You No Harm).”

The basic track for the song was recorded on April 20, 1969, followed by numerous overdub sessions. During these sessions, McCartney made multiple attempts at recording the lead vocal. Ian MacDonald, a Beatles historian, described the backing vocals as “exquisite,” though lamented that they were somewhat subdued in the mix. Engineer Geoff Emerick recalled that McCartney chose to sing with the backing track playing over speakers, rather than using headphones, to capture the sensation of performing for a live audience.

An early demo of “Oh! Darling” was recorded by McCartney at Twickenham Studios on January 16, 1969, during the Get Back sessions. Notably, the other Beatles were absent during this recording. The song and the following improvisation are included on the Anthology 3. This version also features a keyboard part played by Billy Preston.

The song’s musical style is rooted in rhythm and blues, incorporating elements of doo-wop and the New Orleans rhythm and blues sound popular in the 1950s and early 1960s. It is thought to have drawn influences from the Louisiana swamp blues sound found in songs like Slim Harpo’s “Rainin’ in My Heart” and Charles Brown’s “Please Come Home for Christmas.”

Moreover, it may have been influenced by the related Louisiana genre known as swamp pop. Its distinctive sound bears striking resemblance to the basic structure of “Oh! Darling” to the point where some in Louisiana initially believed the song was recorded by a local musician. In fact, when swamp pop artist John Fred met the Beatles in 1960s London, he was astonished to discover that ‘they were very familiar with Louisiana music.’ Fittingly, swamp pop musician Jay Randall eventually covered “Oh! Darling” for the Lanor label, based in Church Point, Louisiana.

The song continues to be celebrated as a significant piece in the Beatles’ extensive discography, known for its passionate vocals and emotional intensity. It was even performed live by Paul McCartney and Chrissie Hynde of The Pretenders during a memorial concert for Foo Fighters drummer Taylor Hawkins on September 3, 2022.

Meaning of “Oh! Darling”

The lyrics of the song express a plea for love and affection. The narrator is singing to a lover, expressing a deep desire for his affection and attention. The song is filled with emotional intensity and longing, and McCartney’s passionate vocals add to the raw, heartfelt nature of the lyrics.

Overall, “Oh! Darling” is a love song that conveys the yearning and desperation one might feel when they are deeply in love and are afraid of losing their beloved. The title phrase “Oh! Darling” is an exclamation of intense feelings and desire for lover.

Personnel

• Paul McCartney – lead and backing vocals, bass
• John Lennon – backing vocals, piano
• George Harrison – backing vocals, electric guitar
• Ringo Starr – drums

• Published on 1969
• Author: Lennon/McCartney
• Track 12 on “Abbey Road“

JOHN 1980: “That was me, remembering a little event with a woman in Jersey, and a man who was England’s answer to Allen Ginsberg, who gave us our first exposure… I met him when we were on tour and he took me back to his apartment, and I had a girl and he had one he wanted me to meet. He said she dressed up in polythene, which she did. She didn’t wear jackboots, and kilts, I just sort of elaborated. Perverted sex in a polythene bag– Just looking for something to write about.”

About “Polythene Pam”

“Polythene Pam” is the fourth song of Abbey Road‘s climactic side-two medley. The Beatles recorded the track in July 1969 as a continuous piece with “She Came In Through the Bathroom Window“, which follows it in the medley.

Lennon wrote “Polythene Pam” during the Beatles’ 1968 stay in India. While not formally recorded during the sessions for The Beatles (also known as “the White Album“), the song was recorded as a demo at George Harrison’s Kinfauns home before the sessions. The demo was later released on Anthology 3 and the 2018 super-deluxe edition of The Beatles. Lennon dismissed the song, along with “Mean Mr. Mustard“, in The Beatles Anthology as “a bit of crap I wrote in India”.

Polythene is the British variant of the word polyethylene, a plastic material. The name “Polythene Pam” came from the nickname of an early Beatles fan from the Cavern Club days, named Pat Hodgett (now Dawson), who would often eat polythene. She became known as “Polythene Pat”. She said in an interview, “I used to eat polythene all the time. I’d tie it in knots and then eat it. Sometimes I even used to burn it and then eat it when it got cold.”

On the album Abbey Road, the song is linked with the previous song “Mean Mr. Mustard” musically, as the two run together without pause. The two songs are also linked narratively, since “Mean Mr. Mustard” mentions that the title character Mustard has a sister named Pam. The line beginning “His sister Pam” in the song was originally “His sister Shirley”, but Lennon changed it to contribute to the continuity of the Abbey Road side two medley. The song “Her Majesty” was originally set between “Mean Mr. Mustard” and “Polythene Pam”. “Polythene Pam” then segues into the following song, “She Came In Through the Bathroom Window“

Meaning of “Polythene Pam”

Deciphering the exact meaning of “Polythene Pam” has been a subject of speculation and interpretation over the years.

One common perspective is that “Polythene Pam” is a fictitious character, a creation of Lennon’s whimsical imagination. The name itself, “Polythene Pam,” doesn’t hold a literal meaning and is rather an imaginative construct.

Another interpretation revolves around the notion that “Polythene Pam” might symbolize a person fixated on material possessions or caught up in a superficial, consumer-driven lifestyle. The use of the term “polythene,” a synthetic plastic material, could be metaphorical, representing a penchant for artificiality or a superficial way of living.

Yet another angle considers the song as an exploration of escapism and fantasy. “Polythene Pam” might represent an individual seeking refuge from the ordinary and mundane aspects of everyday life, yearning for a world of their own creation.

It’s important to acknowledge that, like many Beatles songs, “Polythene Pam” may not adhere to a clear, concrete meaning. Instead, it could be viewed as a playful exercise in wordplay and imaginative storytelling, showcasing the band’s remarkable creative range.

Additionally, its placement within the medley on the Abbey Road album, sandwiched between “Mean Mr. Mustard” and “She Came In Through the Bathroom Window,” adds to its enigmatic nature. This trio of songs forms a unique narrative within the album, inviting various interpretations.

Ultimately, the precise meaning of “Polythene Pam” remains known only to the songwriters, and they might have intentionally left room for individual interpretation. The song’s quirky lyrics and upbeat melody continue to captivate and intrigue fans of The Beatles, solidifying its place in the band’s iconic catalog.

Personnel

• John Lennon – lead vocal, twelve-string acoustic guitar
• Paul McCartney – backing vocal, bass guitar
• George Harrison – backing vocal, lead guitars
• Ringo Starr – drums
• uncredited – tambourine, maracas, cowbell, “whipcrack” percussion

• Published on 1969
• Author: Lennon/McCartney
• Track 16 on “Abbey Road“

JOHN 1980: “That’s Paul again, the unfinished song, right? Just a piece at the end. He had a line in it, (sings) ‘And in the end the love you take is equal to the love you make,’ which is a very cosmic, philosophical line– which again proves that if he wants to, he can think.”

PAUL 1988: “Ringo would never do drum solos. He hated drummers who did lengthy drum solos. We all did. And when he joined the Beatles we said, ‘Ah, what about drum solos then?’ and he said, ‘I hate ’em!’ We said, ‘Great! We love you!’ And so he would never do them. But because of this medley I said, ‘Well, a token solo?’ and he really dug his heels in and didn’t want to do it. But after a little bit of gentle persuasion I said, ‘…it wouldn’t be Buddy Rich gone mad,’ because I think that’s what he didn’t want to do. … anyway we came to this compromise, it was a kind of a solo. I don’t think he’s done one since.”

PAUL 1994: “We were looking for the end to an album, and ‘In the end the love you take is equal to the love you make’ just came into my head. I just recognized that would be a good end to an album. And it’s a good little thing to say– now and for all time, I think. I can’t think of anything much better as a philosophy, because all you need IS love. It still is what you need. There aint nothin’ better. So, you know, I’m very proud to be in the band that did that song, and that thought those thoughts, and encouraged other people to think them to help them get through little problems here and there. So uhh… We done good!!”

About “The End”

“The End” stands as the concluding piece of the medley that dominates the latter half of Abbey Road. The song bears a unique distinction as it features Ringo Starr’s only recorded drum solo with the Beatles.

McCartney expressed his intention for the medley to culminate in a profound couplet, drawing inspiration from the Bard. In a candid interview with Playboy in 1980, John Lennon acknowledged McCartney’s authorship, noting the cosmic and philosophical essence of the line, ‘And in the end, the love you take, is equal to the love you make.’

Recording commenced on July 23, 1969, with the Beatles initially laying down a one-minute, thirty-second master take, later extended through overdubs. Initially dubbed “Ending,” the first vocals were added on August 5, with additional vocals and guitar overdubs on August 7. Bass and drums were incorporated on August 8, coinciding with the iconic Abbey Road cover photoshoot. Orchestral embellishments were introduced on August 15, culminating with the closing piano and accompanying vocal on August 18.

“The End” showcases solos from all four Beatles, including Ringo Starr’s distinctive drum solo. McCartney, George Harrison, and Lennon each take turns in a sequence of three, two-bar guitar solos, with the idea for this instrumental segment originating from Harrison. These solos commence around 53 seconds into the song. The dynamic interplay reflects a sense of camaraderie, akin to ‘gunslingers,’ as described by Geoff Emerick, the Beatles’ recording engineer.

The song culminates in a spiritually evocative cadence, shifting from A major to C, introducing a fresh musical key. The final bars gracefully reconcile various musical genres.

“The End” has received acclaim for its adept execution of improvised jamming characteristic of late ’60s rock. It is hailed for its precision and economic musicality, marking it as a fitting conclusion to the world of Beatle daydreams. John Mendelsohn of Rolling Stone aptly summarized it as “a perfect epitaph for our visit to the world of Beatle daydreams: ‘The love you take is equal to the love you make.'”

Meaning of “The End”

“The End,” encapsulates a sense of closure, resolution, and culmination. Its lyrics, while concise, convey a profound message about love and reciprocity.

The central message of the song revolves around the idea that the love one receives in life is directly proportional to the love one gives. This concept is encapsulated in the famous line, “And in the end, the love you take is equal to the love you make.”

In essence, “The End” offers a reflection on the cyclical nature of love and the importance of giving and receiving in balanced measure. It implies that the love and kindness one extends to others ultimately return to enrich one’s own life. This sentiment is both poignant and optimistic, suggesting a hopeful outlook on the human capacity for love and connection.

Furthermore, the title “The End” and its placement as the final track on the “Abbey Road” album also serve to signify the conclusion of an era. As one of the last songs recorded collectively by all four Beatles, it carries a sense of closure for the band and their prolific musical journey together.

Overall, “The End” stands as a powerful reflection on the universal themes of love, reciprocity, and the cyclical nature of human connections. Its enduring message continues to resonate with listeners across generations.

Personnel

• Paul McCartney – lead and backing vocals, bass guitar, piano, guitar solo (Epiphone Casino)
• John Lennon – harmony vocals, rhythm guitar, guitar solo (Epiphone Casino)
• George Harrison – harmony vocals, rhythm and lead guitar, guitar solo (Gibson Les Paul)
• Ringo Starr – backing vocals, drums, tambourine
• George Martin – orchestration
• uncredited – 12 violins, four violas, one double-bass, four horns, three trumpets, one trombone, one bass trombone

• Published on 1969
• Author: Lennon/McCartney
• Track 10 on “Abbey Road“

JOHN 1969: “We just started joking, you know, singing ‘quando para mucho.’ So we just made up… Paul knew a few Spanish words from school, you know. So we just strung any Spanish words that sounded vaguely like something. And of course we got ‘chicka ferdy’ in. That’s a Liverpool expression. Just like sort of– it doesn’t mean anything to me but (childish taunting) ‘na-na, na-na-na!’ ‘Cake and eat it’ is another nice line too, because they have that in Spanish– ‘Que’ or something can eat it. One we missed– we could have had ‘para noya,’ but we forgot all about it.”

JOHN 1980: “That’s a piece of garbage I had around.”

GEORGE 1987: “At the time, ‘Albatross’ (by Fleetwood Mac) was out, with all the reverb on guitar. So we said, ‘Let’s be Fleetwood Mac doing Albatross, just to get going.’ It never really sounded like Fleetwood Mac… but that was the point of origin.”

About “Sun King”

“Sun King” is a captivating song featured 1969 album Abbey Road. Crafted primarily by John Lennon, with contributions from Paul McCartney, the song stands out for its distinctive integration within the medley alongside “Mean Mr. Mustard” and “Polythene Pam,” creating a seamless musical flow on the album.

“Sun King” adopts a relaxed, laid-back style, reflective of the experimental and psychedelic sound that characterized The Beatles’ work during this period. The song exudes a certain tranquility, inviting listeners into a dreamy musical landscape.

Interpretations of “Sun King” have suggested that it may draw inspiration from the influence of Eastern philosophy and mysticism that was pervasive in the late 1960s. This adds an intriguing layer of depth to the song’s meaning, as it could be seen as an exploration of spiritual themes.

Critically acclaimed, “Sun King” is celebrated for its atmospheric allure and distinctive linguistic approach. It exemplifies The Beatles’ willingness to explore new musical territories and demonstrates their boundless creativity.

Over the years, numerous artists and bands have paid tribute to The Beatles by covering “Sun King,” underscoring the enduring influence of the band on the musical landscape.

In the larger context of The Beatles’ discography, “Sun King” stands as a testament to the band’s ability to push the boundaries of songwriting and recording. Its enigmatic lyrics and dreamy musical style contribute to its lasting appeal among fans and music enthusiasts, solidifying its place as a noteworthy composition in the pantheon of rock music history.

Meaning of “Sun King”

“Sun King” by The Beatles is known for its distinctive and somewhat enigmatic lyrics, which include a mix of English, Spanish, and fabricated phrases. The song doesn’t have a clear, literal meaning and has been subject to various interpretations over the years.

John Lennon, who primarily wrote the song, incorporated a mix of English and Spanish, along with some phrases that don’t have a specific meaning. This linguistic experimentation may be viewed as a form of artistic expression rather than conveying a specific message. The overall effect is a sense of warmth, happiness, and carefree sentiment.

The song creates a dreamy, relaxed atmosphere through its musical style and lyrics. The use of phrases like “Quando para mucho mi amore de felice corazon” contributes to the song’s exotic and otherworldly feel. The intention might have been to evoke a mood rather than to convey a concrete narrative.

Some interpretations suggest that “Sun King” may have been influenced by Eastern philosophy and mysticism, which were prominent themes in the counterculture of the 1960s. Phrases like “mi amore” and “felice corazon” could be seen as references to universal themes of love and happiness.

The song could be seen as a celebration of artistic freedom and creativity. The use of non-standard language and the dreamy musical arrangement might represent a departure from conventional songwriting, reflecting The Beatles’ willingness to experiment and innovate. “Sun King” is a song that encourages personal interpretation. Its abstract and poetic nature allows listeners to derive their own meanings and emotions from the music.

In essence, “Sun King” is a song that prioritizes mood, atmosphere, and artistic expression over explicit storytelling. Its enigmatic lyrics and dreamy musical style invite listeners to immerse themselves in the music and draw their own interpretations based on their experiences and perceptions.

Personnel

• John Lennon – lead, harmony and backing vocals, electric guitar (with leslie effect)
• Paul McCartney – harmony and backing vocals, bass guitar, tape loops
• George Harrison – harmony and backing vocals, electric guitar (with tremolo)
• Ringo Starr – drums, bongos, tambourine, maracas
• George Martin – Lowrey organ

• Published on 1969
• Author: Starkey
• Track 5 on “Abbey Road“
• Track 25 on “The Beatles 1967-1970” (Blue Album)

GEORGE 1969: “‘Octopus’s Garden’ is Ringo’s song. It’s only the second song Ringo has ever written, mind you, and it’s lovely. Ringo gets bored with just playing drums all the time, so at home he sometimes plays a bit of piano, but unfortunately he only knows about three chords. He knows about the same on guitar too. This song gets very deep into your consciousness, though because it’s so peaceful. I suppose Ringo is writing cosmic songs these days without even realizing it.”

RINGO 1981: “He (a ship captain) told me all about octopuses– how they go ’round the sea bed and pick up stones and shiny objects and build gardens. I thought, ‘How fabulous!’ because at the time I just wanted to be under the sea, too. I wanted to get out of it for a while.”

About “Octopus’s Garden”

“Octopus’s Garden” penned and sung by Ringo Starr (credited to his birth name, Richard Starkey), found its place in Beatles’ iconic 1969 album, Abbey Road.

The inspiration for “Octopus’s Garden” came from Ringo’s interest in boating and the sea. He was on a boat trip with his family in Sardinia, Italy, and the captain of the boat told him that octopuses like to gather shiny objects and create gardens with them. This concept fascinated Ringo and he used it as the basis for the song’s lyrics. George Harrison quietly contributed to the development of the song’s chord progressions, as vividly captured in documentaries like “Let It Be” (1970) and “The Beatles: Get Back” (2021).

The initial instrumental track was laid down on April 26, 1969, featuring electric guitars (Harrison and Lennon), bass guitar (McCartney), and drums (Starr). Starr also provided a temporary guide vocal during this session. In the absence of George Martin, the Beatles themselves took on the role of producers, with Martin’s apprentice, Chris Thomas, offering assistance in the control room. It took an impressive 32 takes before the Beatles were content with the track.

During the guitar solo, backing vocals by McCartney and Harrison were processed through compressors and limiters to create a distinctive gurgling sound. Responding to Starr’s request, Harrison introduced the sound of bubbles by blowing through a straw into a glass of milk.

“Octopus’s Garden” remains a beloved gem in the Beatles’ illustrious repertoire, celebrated for its whimsy, catchy melodies, and Ringo’s endearing vocals. It continues to captivate audiences, both young and old, with its timeless charm. Notably, the Muppets have paid homage to this song in various episodes of their shows.

Meaning of “Octopus’s Garden”

The song has a whimsical and light-hearted feel, characteristic of Ringo’s songwriting style.

With lyrics like “Oh what joy for every girl and boy, knowing they’re happy and they’re safe,” the song is often regarded as a children’s tune, akin to “Yellow Submarine” or “All Together Now.”

The lyrics describe an underwater fantasy world where the singer imagines living in an octopus’s garden, free from troubles and worries. The song is known for its catchy melody and simple, yet vivid, imagery.

“Octopus’s Garden” became one of Ringo’s signature songs and remains a beloved track among Beatles fans. It’s often praised for its cheerful, optimistic tone and is considered a classic example of the Beatles’ ability to craft memorable and accessible pop music.

Personnel

• Ringo Starr – double-tracked lead vocals, drums, percussion, bubbling effects
• John Lennon – guitar
• Paul McCartney – backing vocals, bass guitar, piano
• George Harrison – backing vocals, lead guitar

• Published on 1969
• Author: Lennon/McCartney
• Track 13 on “Abbey Road“

GEORGE 1969: “A very strange song of Paul’s with terrific lyrics, but it’s hard to explain what they’re all about.”

JOHN 1980: “He wrote that when we were in New York announcing Apple and we first met Linda. Maybe she’s the one that came in the window.”

About “She Came In Through The Bathroom Window”

“She Came In Through the Bathroom Window” is a vibrant track featured on Beatles’ seminal 1969 album Abbey Road. Penned by Paul McCartney and jointly credited to Lennon–McCartney, it occupies a pivotal position as the fifth song in the album’s climactic medley, seamlessly following “Polythene Pam.”

The foundational rhythm track for both “She Came In Through the Bathroom Window” and “Polythene Pam” was captured by The Beatles as a single entity on July 25, 1969. Following take 39, lead vocals were layered, and subsequent re-recordings of drums and bass ensued. July 28 witnessed the incorporation of additional vocals, guitar, percussion, and piano. The song was polished off two days later with supplementary guitar and percussion. Notably, “She Came In Through the Bathroom Window” transitions abruptly after “Polythene Pam” without pause. As the tempo shifts, John Lennon’s laughter and exclamation, “Oh, look out!” signal the impending change.

A slower rendition of this song, recorded in late January 1969 during the Get Back sessions, can be found on the 1996 compilation “Anthology 3.” Additionally, a work-in-progress version is featured on the 2021 release, “Let It Be 50th Anniversary Edition.”

Meaning of “She Came In Through The Bathroom Window”

Paul McCartney drew inspiration for this song from a real-life encounter with an ardent fan who frequented his residence in St. John’s Wood. While the identity of the intruder is not explicitly mentioned, it’s commonly believed to be about a real-life incident involving a fan who entered Paul McCartney’s home. The intruder took pictures and stole a silver spoon before being caught. The fan, Diane Ashley, ultimately broke in, recounting:

“In a moment of boredom, we decided to pay him a visit. Spotting a ladder in his garden, we propped it up against the bathroom window, which he had left slightly ajar. It was me who ascended and entered.”

Diane then proceeded to open the front door, allowing her companions to join her inside. Along with some articles of clothing, the fans also made off with a collection of photographs.

Margo Bird, who enjoyed a close friendship with McCartney – often taking his dog for walks – and later secured a position at Apple Corps, recalls being tasked with retrieving a photograph of McCartney’s father, Jim, which she successfully accomplished.

“She Came In Through The Bathroom Window” can be seen as a reflection on fame, celebrity, and the sometimes invasive nature of fan culture. The lyrics capture the surreal and unsettling experience of having a stranger invade one’s private space, which can be a challenging aspect of being in the public eye.

Additionally, the song’s upbeat and almost whimsical musical arrangement contrasts with the potentially disturbing narrative, creating an interesting juxtaposition. This contrast might reflect the way fame can bring both moments of joy and moments of intrusion and discomfort.

Personnel

• Paul McCartney – lead and harmony vocals, bass guitar
• John Lennon – 12-string acoustic guitar, backing vocals
• George Harrison – lead guitar, backing vocals
• Ringo Starr – drums
• uncredited – tambourine, maracas, “whipcrack” percussion