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Abbey Road incorporates styles such as rock, pop, blues, singer-songwriter, and progressive rock,[4] and makes prominent use of the Moog synthesizer and guitar played through a Leslie speaker unit. It is also notable for having a long medley of songs on side two that have subsequently been covered as one suite by other notable artists. The album was recorded in a more collegial atmosphere than the Get Back / Let It Be sessions earlier in the year, but there were still significant confrontations within the band, particularly over Paul McCartney's song "Maxwell's Silver Hammer", and John Lennon did not perform on several tracks. By the time the album was released, Lennon had left the group, though this was not publicly announced until McCartney also quit the following year.

Although Abbey Road was an immediate commercial success, it received mixed reviews upon release. Some critics found its music inauthentic and criticised the production's artificial effects. By contrast, critics today view the album as one of the Beatles' best and it is considered by many to be one of the greatest albums of all time. George Harrison's two songs on the album, "Something" and "Here Comes the Sun", have been regarded as among the best he wrote for the group. The album's cover, featuring the group walking across a zebra crossing outside Abbey Road Studios, has become one of the most famous and imitated in the history of recorded music.

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McCartney, Starr and Martin have reported positive recollections of the sessions,[11] while Harrison said, "we did actually perform like musicians again".[12] Lennon and McCartney had enjoyed working together on the non-album single "The Ballad of John and Yoko" in April, sharing friendly banter between takes, and some of this camaraderie carried over to the Abbey Road sessions.[13] Nevertheless, there was a significant amount of tension in the group. According to Ian MacDonald, McCartney had an acrimonious argument with Lennon during the sessions. Lennon's wife Yoko Ono had become a permanent presence at Beatles recordings, and clashed with other members.[11] Halfway through recording in June, Lennon and Ono were involved in a car accident. A doctor told Ono to rest in bed, so Lennon had one installed in the studio so she could observe the recording process from there.[6]

During the sessions, Lennon expressed a desire to have all of his songs on one side of the album, and McCartney's on the other.[12] The album's two halves represented a compromise: Lennon wanted a traditional release with distinct and unrelated songs, while McCartney and Martin wanted to continue their thematic approach from Sgt. Pepper's Lonely Hearts Club Band by incorporating a medley. Lennon ultimately said that he disliked Abbey Road as a whole and felt that it lacked authenticity, calling McCartney's contributions "[music] for the grannies to dig" and not "real songs",[14] and describing the medley as "junk ... just bits of songs thrown together".[15]

Abbey Road was also the first and only Beatles album to be entirely recorded through a solid-state transistor mixing desk, the TG12345 Mk I, as opposed to earlier tube (thermionic valve)-based REDD desks. The TG console also allowed better support for eight-track recording, facilitating the Beatles' considerable use of overdubbing.[18] Emerick recalls that the TG desk used to record the album had individual limiters and compressors on each audio channel[19] and noted that the overall sound was "softer" than the earlier tube (valve) desks.[20] In his study of the role of the TG12345 in the Beatles' sound on Abbey Road, music historian Kenneth Womack observes that "the expansive sound palette and mixing capabilities of the TG12345 enabled George Martin and Geoff Emerick to imbue the Beatles' sound with greater definition and clarity. The warmth of solid-state recording also afforded their music with brighter tonalities and a deeper low end that distinguished Abbey Road from the rest of their corpus, providing listeners with an abiding sense that the Beatles' final long-player was markedly different."[21]

Alan Parsons worked as an assistant engineer on the album. He later went on to engineer Pink Floyd's landmark album The Dark Side of the Moon and produce many popular albums himself with the Alan Parsons Project.[22] John Kurlander also assisted on many of the sessions, and went on to become a successful engineer and producer, most noteworthy for his success on the scores for the Lord of the Rings film trilogy.[23]

"Come Together" was later released as a double A-side single with "Something".[29] In the liner notes to the compilation album Love, Martin described the track as "a simple song but it stands out because of the sheer brilliance of the performers".[30]

Harrison was inspired to write "Something" during sessions for the White Album by listening to label-mate James Taylor's "Something in the Way She Moves" from his album James Taylor.[31] 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. Cocker's version appeared on his album Joe Cocker! that November.[32]

"Maxwell's Silver Hammer", McCartney's first song on the album, was first performed by the Beatles during the Let It Be sessions (as seen in the film). He wrote the song after the group's trip to India in 1968 and wanted to record it for the White Album, but it was rejected by the others as "too complicated".[26]

The recording was fraught with tension between band members, as McCartney annoyed others by insisting on a perfect performance. The track was the first Lennon was invited to work on following his car accident, but he hated it and declined to do so.[39] According to engineer Geoff Emerick, Lennon said it was "more of Paul's granny music" and left the session.[40] He spent the next two weeks with Ono and did not return to the studio until the backing track for "Come Together" was laid down on 21 July.[24] Harrison was also tired of the song, saying "we had to play it over and over again until Paul liked it. It was a real drag". Starr was more sympathetic to the song. "It was granny music", he admitted, "but we needed stuff like that on our album so other people would listen to it".[40] Longtime roadie Mal Evans played the anvil sound in the chorus.[41] This track also makes use of Harrison's Moog synthesizer, played by McCartney.[39]

As was the case with most of the Beatles' albums, Starr sang lead vocal on one track. "Octopus's Garden" is his second and last solo composition released on any album by the band. It was inspired by a trip with his family to Sardinia aboard Peter Sellers's yacht after Starr left the band for two weeks during the sessions for the White Album. Starr received a full songwriting credit and composed most of the lyrics, although the song's melodic structure was partly written in the studio by Harrison.[46] The pair would later collaborate as writers on Starr's solo singles "It Don't Come Easy", "Back Off Boogaloo" and "Photograph".[47]

"I Want You (She's So Heavy)" was written by Lennon about his relationship with Ono,[2] and he made a deliberate choice to keep the lyrics simple and concise.[48] Author Tom Maginnis writes that the song had a progressive rock influence, with its unusual length and structure, repeating guitar riff, and white noise effects, though he noted the "I Want You" section has a straightforward blues structure.[49][50]

The finished song is a combination of two different recording attempts. The first attempt occurred in February 1969, almost immediately after the Get Back/Let It Be sessions with Billy Preston. This was subsequently combined with a second version made during the Abbey Road sessions proper in April. The two sections together ran to nearly eight minutes, making it the Beatles' second-longest released track.[nb 3] Lennon used Harrison's Moog synthesizer with a white noise setting to create a "wind" effect that was overdubbed on the second half of the track.[2] During the final edit, Lennon told Emerick to "cut it right there" at 7 minutes and 44 seconds, creating a sudden, jarring silence that concludes the first side of Abbey Road (the recording tape would have run out within 20 seconds as it was).[51] The final mixing and editing of the track occurred on 20 August 1969, the last day on which all four Beatles were together in the studio.[52]

"Here Comes the Sun" was written by Harrison in Eric Clapton's garden in Surrey during a break from stressful band business meetings.[53] The basic track was recorded on 7 July 1969. Harrison sang lead and played acoustic guitar, McCartney provided backing vocals and played bass, and Starr played the drums.[51] Lennon was still recovering from his car accident and did not perform on the track. Martin provided an orchestral arrangement in collaboration with Harrison, who overdubbed a Moog synthesizer part on 19 August, immediately before the final mix.[53]

The first track recorded for the medley was the opening number, "You Never Give Me Your Money". McCartney has said the band's dispute over Allen Klein and what McCartney viewed as Klein's empty promises were the inspiration for the song's lyrics.[64] However, MacDonald doubts this, given that the backing track, recorded on 6 May at Olympic Studios, predated the worst altercations between Klein and McCartney. The track is a suite of varying styles, ranging from a piano-led ballad at the start to arpeggiated guitars at the end.[65] Both Harrison and Lennon provided guitar solos, with Lennon playing the solos at the end of the track.[66]

This song transitions into Lennon's "Sun King" which, like "Because", showcases Lennon, McCartney and Harrison's triple-tracked harmonies. Following it are Lennon's "Mean Mr. Mustard" (written during the Beatles' 1968 trip to India) and "Polythene Pam".[67] These in turn are followed by four McCartney songs, "She Came In Through the Bathroom Window" (written after a fan entered McCartney's residence via his bathroom window),[68] "Golden Slumbers" (based on Thomas Dekker's 17th-century poem set to new music),[69] "Carry That Weight" (reprising elements from "You Never Give Me Your Money", and featuring chorus vocals from all four Beatles), and closing with "The End".[70] 2351a5e196